THE PAVEMENT MASTERS
The reader, having patiently followed me along the intricacies of the
Pavement, and the ramifications of its history, will now like to know
something more detailed about the men who made it. To satisfy this
wish, I have collected from various sources, chiefly from Milanesi, the
following notes.
Padre Micheli[144] gives no less than forty-one names of workers of
various sorts on the Pavement. To these the writer in Miscellanea[145]
adds three more; and if with them we include the six artists and
sculptors, who, since the middle of the eighteenth century, and up to
the present day, have restored, replaced, and made additions, we arrive
at a total of more than fifty men, who have, in one way or another,
contributed to this beautiful work.[146]
Of these, many remain but as names recorded in documents concerning
the Pavement, and are heard of nowhere else; of others we catch a few
glimpses in the pages of Milanesi; about a dozen were celebrated in
their day as painters and sculptors, in the somewhat limited world of
Sienese Art, and have left specimens of their work elsewhere; while two
alone, Pinturicchio and Beccafumi, have attained world-wide fame.
I propose then to take the names of these men, according to the dates
of the first work contributed by them to the Pavement.
Thus we begin with:
1. 1369. _Antonio di Brunaccio._
This earliest name, connected with work on the Pavement, is of a man,
about whom we do not know very much. In 1362, we find him witnessing
two contracts made between the Operaio and a certain Francesco di
Tonghio, for woodwork (stalls and a lectern) made for the Choir of the
Duomo. He is among the sculptors, whose names are entered in the Book
of Arts and Crafts of the City of Siena, under date 1363, and in the
following year, he binds himself to do certain work in the Cathedral,
and the Cappella di Piazza. In 1369, we read of his making a small
lion, to adorn a fountain in the Palazzo Pubblico. He was, perhaps,
the son of a certain Brunaccio di Santa Colomba, a sculptor, who signed
the _Sculptors’ Brief_ in the thirteenth century, quoted in the _Nuovi
Documenti_.[147]
2. 1370. _Sano di Marco._
This man’s name is also among those of the sculptors working in Siena
in 1363. Milanesi mentions a daughter of his called Valentina, who
married a sculptor named Paolo di Pietro, of the parish (_Popolo_) of
San Stefano: but there is no other record about him.
3. 1370. _Francesco di Ser Antonio._
Appears to have been a painter, and we find his name on the list of
artists flourishing in Siena in 1402.[148] He was also consulted in
1376 as to the walls of the Cappella di Piazza; and was witness to a
contract made with Giacomo di Buonfredi, called _Corbello_, for certain
work done on the façade of the Duomo. He must not, however, be confused
with Francesco d’Antonio di Francesco, the goldsmith, who lived many
years later.
4. 1376. _Matteo di Bartolo._
5. 1380. _Nanni di Corsino._
Of these men, and their work, nothing is known, but the notices already
quoted.
6. 1398. _Sano, or Ansano di Maestro Matteo._
Of this sculptor and architect, notices exist from 1392 to 1429. He
was a native of Siena, and might have been the son of the Matteo di
Bartolo mentioned above, although we cannot prove it. He married twice:
first, Cristofora di Cecco di Domenico; and secondly, after her death,
a certain Madonna Bartolommea. In 1402, we find him witness to a
contract, given to Giacomo di Giovanni, “_a key-maker_” (_chiavaio_) to
make an iron railing round the pulpit in the Duomo in Siena. In 1404,
he held the post of _Petrone_, or valuer, to the Commune, and Director
of the City water-supply, and was re-appointed in 1407. In 1408 and
in 1409, we also find him recommending Cristoforo di Francesco, a
Sienese sculptor, first to the Orvieto Cathedral authorities, and
then to the Signoria of Siena. He was, in 1416, elected Castellan of
the fortalice of Montalcino, but, being engaged to assist Giacomo
della Quercia in his work on the Fonte Gaia, sent Maestro Giovanni di
Giacomo, as his lieutenant.[149] He was Capo-maestro of the Duomo at
Orvieto for various periods during the years 1407–1425, and during
that time he made the font there.[150] He also added a new chapel to
the Cathedral. In 1416, he too was among the artists employed on the
Font in the Baptistery at Siena, and in 1426–27, he was called to
Perugia to superintend the drainage works of Lake Thrasymene. Among the
Sienese State Records of 1427–28 are three letters from the Signoria
to him, apologizing for not sending him an apprentice, but recalling
him home: together with letters addressed, one to the Pope’s Legate,
Bishop Pietro Donato, and the other to Antonio Casini, Cardinal of San
Marcello, asking leave for him to return: the object being, that he
should build the Loggia di S. Paolo, (now the Casino dei Nobili). Among
the documents extracted by Signori Borghesi and Banchi, we find several
referring to work done by Sano at Perugia: among other things, the
construction of a mill at Ragulano. We also learn that, for the months
of May and June, 1414, he was Gonfaloniere of the Compagnia di Rialto e
Cartagne. He had two daughters: Caterina, born on July 30th, 1405; and
Mattia, who married Gherardo di Niccolo.[151]
7. 1398. _Luca di Cecco._
A sculptor, whose signature is also found attached to the document
mentioned above. In 1375, and again in 1377, his name occurs as witness
to contracts for works of art: the first, a picture for the High Altar
of the Duomo, to be made by Lorenzo di Vanni and Nuccio di Neruccio:
the second, a marble statue by Mariano d’Agnolo and Bartolommeo di
Tommè, for the Cappella del Campo. In 1386, he was commissioned to make
some marble steps for the interior of the Duomo.
8. 1405. _Cecco di Giovanni._
Another unrecorded artist.
9. 1406. _Marchesse d’ Adamo._
Of this man, or of his stonemason companions from Como, we hear nothing
more than the short notice I have given already. We know that Comacene
and Lombard workmen, especially masons and sculptors, were labouring in
great numbers all over Italy at this period, and that they have left
their traces very markedly, throughout all Tuscan and Umbrian Art. We
know also, that the stone workers of Siena made a compact with those of
Lombardy, residing and working in that town, on the 5th of December,
1473, whereby they gave to them certain privileges on payment of
suitable fees.[152]
10. 1423–33. _Domenico di Niccolo del Coro._
This great artist was born about 1363, and belonged to the noble family
of Spinelli. He was one of the cleverest and most prolific workers of
his day. His principal trade was that of a wood-carver; and he is said
to have obtained his surname of _del Coro_ from his ability and success
in designing and carving Choir-stalls. From 1413 to 1423, he held the
post of Capo-maestro of the Opera del Duomo of Siena, and we have
records of work done by him in glass, as well as in stone and wood. He
worked on the older Fonte Gaia, made designs for an intended loggia (on
the site of the present Casino dei Nobili), to face into the Piazza
del Campo,[153] and was sent for to Orvieto to advise about the repair
of the roof of the Duomo there. The panels, inlaid with the _Symbols
of the Creed_, for the stalls of the Chapel of the Palazzo Pubblico,
executed by him between the years 1415–1428,[154] after designs said
to be by Taddeo Bartoli,[155] are works of exceptional beauty. After a
long life, in January 1446–7, we find him, at 84 years of age, begging
the Signoria of Siena to grant him a pension. A sum of two florins a
month was allowed to him, but he could not have enjoyed it for long,
since after 1450 we entirely lose sight of him.
11. 1423. _Agostino di Niccolo._
The only specimen of this artist’s work we know of in Siena, is that
on the Pavement. We have no other record of him except that in 1405,
or perhaps even earlier, he was working at Orvieto, in company with a
certain Nanni di Giacomo (a cadet of the noble house of Castori, or
Amidei), a native of Lucca, but resident in Siena, and during the next
year, with an artist named Orbetano, called _il Mastro_, also a Sienese.
12. 1423. _Bastiano di Corso._
Concerning this artist, we know that he came from Florence, lived a
long time in Siena, and died rather before 1455. His family name was
Giuliani, and he married Francesca di Cristoforo Pastella, by whom
he had four sons: Taddeo; Cristoforo (born 1422); Corso (of whom
presently), and Giuliano, who married, in 1469, Marianna, daughter
of Pietro Paoletti. Both of these were sculptors, like their father.
Milanesi gives many notices of work in marble done by this artist, in
company with his sons, in the Cathedral, the Baptistery, the Hospital
of Sta. Maria della Scala, and the Loggia di S. Paolo.
13. 1426. _Paolo di Martino._
Of this man, beyond the records of him in connexion with the Pavement,
scarcely anything is known. He appears once, as witness to a contract
for some carved figures for the Duomo. A curious fact occurs also,
as to work done by him in the before-mentioned Chapel of the Palazzo
Pubblico. In 1414, he, his brother Antonio, and a certain Simone
d’Antonio, were commissioned to decorate the stalls of that Chapel.
Their work seems not to have given public satisfaction, with the result
that the commission was taken away from them, and given to Domenico del
Coro, who, as we have seen, executed his task triumphantly.
[Illustration:
ALINARI PHOTO.] [DESIGNED BY PAOLO DI MARTINO
XX. SAMSON AND THE PHILISTINES (No. 14)]
14. 1434. _Domenico di Bartolo di Ghezzo da Asciano._
We find the name of this artist on the Roll of Sienese Painters in
1428. Vasari would have us believe, that he was the nephew of Taddeo
Bartoli. This, however, is proved to be erroneous, because we know that
Taddeo was the son of a barber, one Bartolo di Maestro Mino: that his
brother died childless; and that his sister Petra married a notary of
Radicondoli, named Ser Antonio Gennari. Domenico Bartoli was a member
of the well-known Ghezzi family of Asciano, and a picture by him is
still to be seen in the Church of St. Agostino in his native town. He
was born about 1400, married in 1440[156] Donna Antonia Pannilini,
and died in 1446.[157] He was an artist of very great merit. His
finest works are his frescoes in the Pellegrinaggio of the Hospital of
Sta. Maria della Scala at Siena, which were painted in 1443–44.[158]
These frescoes throw a vivid light on the manners, customs, costume,
and style of architecture of the period in which he lived, and form a
remarkable picture of Sienese life at that date. It is, moreover, most
interesting to note how much the decorative effects, employed by him in
his work, foreshadow the coming Renaissance.
[Illustration:
ALINARI PHOTO.] [BY DOMENICO DI BARTOLO D’ASCIANO
XXI. THE EMPEROR SIGISMUND (No. 13)]
15. 1434. _Giacomo d’Antonio._
Appears to have been merely a workman (_manovale_), as, except the
record quoted, no other notice appears of him among those hitherto
extracted.
16. 1447. _Pietro di Tommaso del Minella._
A native of Siena, this famous sculptor and architect was born on the
21st of December, 1391. He was son of a certain Tommaso, surnamed
_Minella_ and had two brothers, Antonio and Giovanni (both workers in
wood), the latter of whom became a Franciscan monk, and Rector of the
Hospital of Sta. Croce. Pietro was a favourite pupil of Giacomo della
Quercia, who left him ten florins in his will; and he worked with that
great master on the famous Font in the Baptistery. From 1431 to 1433,
he was Capo-maestro of the Opera del Duomo at Orvieto, and with his
brother Antonio, executed some works there in intarsia on the stalls.
In 1437, Quercia gave him some commissions in connection with the
Loggia di S. Paolo, and in 1439 he was employed to make the choir for
the Chapel of the Hospital of Sta. Maria della Scala. Out of this much
litigation arose, which was settled by the giving of a dowry to his
daughter.[159] In 1441, he and his brother Antonio were commissioned to
make a new Bishops’ Throne for the Cathedral at Orvieto,[160] adorned
with figures of SS. John and Costanzo; but apparently, whether for
want of funds or for what reason does not appear, the work was never
completed.[161] He remained at Orvieto until March, 1444, when he
returned to Siena, where he had been commissioned by the Council to
execute further work on the Loggia di S. Paolo.[162] In August of that
year he was in treaty to go back to Orvieto, and we find a document,
showing that he asked in payment for his services 120 ducats and a
house, but agreed to accept 110 without the house, arranging to come to
Orvieto about the middle of October to complete his bargain.[163] In
September, however, he was promised by the _Camarlingo_ (perhaps the
Treasurer) of the Opera del Duomo at Siena, the post of Capo-maestro
there. This appointment, however, he did not at first obtain, though he
was employed on the tomb of Carlo Bartoli, Bishop of Siena, for which
he received, as his share, a sum of 38 lire 8 soldi;[164] and in the
following year on the Chapel of S. Crescenzio in the Duomo.[165] At
last, in 1447, he was appointed Capo-maestro, and during his occupation
of the post, he designed the Church of S. Ansano. He died in August,
1458, having married Cristofora, daughter of Maestro Pannucci, surnamed
_Cinquino_, and had by her three sons--Tone (Canon of the Duomo),
Niccolo, and Sano, who died in 1498, having married Polissena, daughter
of Arnoldo di Fortunato, by whom he had six sons.
17. 1450. _Nastagio di Guasparre._
18. 1450. _Bartolomeo di Mariano_, called “_Il Mandriano_.”
19. 1451. _Guasparre d’Agostino._
Of the first and second of these three men nothing is known but their
names, and the notice which records their work, described in the last
chapter. As I have suggested, Nastagio di Guasparre and Guasparre d’
Agostino may have been father and son, or master and pupil. I have
also referred to the fact that Guasparre d’Agostino painted frescoes
of the Crucifixion and Burial of Christ in the apse over the altar of
the Baptistery,[166] and was commissioned to paint some scenes from the
life of S. Bernardino for the Sacristy of the Duomo. We are told also
by Milanesi[167] that he was the master of Francesco di Giorgio and
Neroccio di Bartolommeo Landi.
20. 1451. _Corso di Bastiano._
Son of Bastiano di Corso, he married Nanna, daughter of a certain
Simone di Niccolo, surnamed _Calabrese_, a maker of drinking vessels.
He was, as we have seen, a sculptor like his father, with whom he
worked. We read, besides, however, that he made the balcony of the
Palazzo Pubblico,[168] whence the sentences on criminals were read,
and executed certain marble work at the Oratorio di Sta. Caterina in
Fontebranda.[169]
21. 1459. _Antonio di Federigo or Federighi_ (_Federigi_).
[Illustration: XXII. CANDLESTICK
BY ANTONIO FEDERIGHI]
This sculptor and architect was one of the glories of Siena in his
time. In one document, to be referred to later, he is called Tolomei
(_de Ptholomeis_), but we have no record as to his birth or family. In
1444, he was among the artists employed on the tomb of Bishop Carlo
Bartoli, and for his share in the work he received 15 lire. In 1451,
he was appointed Capo-maestro of the Opera del Duomo at Orvieto,[170]
where he remained until 1456, living in considerable style.[171] He
had with him all the time his two pupils, Polimante of Assisi and Vito
di Marco, both of whom were paid by the Duomo authorities. He was
evidently held in high honour, for we find on April 7th, 1452,[172]
the Signoria of Siena writing to the heads of the Commune at Orvieto,
to ask them to recommend him to the notice of the Duke of Calabria.
In April, 1453, with safe conducts from the Republic of Florence and
the King of Naples, he, with seven companions, went to Carrara to
quarry marble, and in October of the same year he started for Corneto
for a similar purpose; but was recalled on the 5th of the same month,
to advise as to the roof of one of the Chapels in the Duomo, which
threatened to collapse. In September, 1456, he made, and put into
position, one of the statues on the façade. During this period he made
statues of SS. Ansano, Vittore, and Savino for the Loggia di Mercanzia
or S. Paolo (now the Casino dei Nobili), and executed the work before
the doors of the Baptistery, to which we have already alluded. (Ill.
XXII.) After 1456, he appears to have returned to Siena, for we find a
number of references to a commission for the statues of SS. Peter and
Paul, given first to Urbano da Cortona, then to Federighi, and lastly
to Lorenzo di Pietro (_Il Vecchietta_); the special object of the last
change being to keep that artist in Siena.[173] From 1460 to 1462, he
was engaged in the design and erection of the magnificent Loggia di
Papa, built by Pope Pius II.; and in 1463, on the palace of that Pope’s
sister, Caterina Piccolomini, called then Palazzo _delle Papesse_, but
now styled Palazzo _Nerucci_.[174] In 1469–70, we hear of work done by
him at the Oratorio di S. Caterina in Fontebranda; in 1473 party to the
contract made between the Sienese and Lombard workers in stone: and
in 1480, he petitioned the authorities with reference to the drainage
and water-supply of the town.[175] Other noticeable works by him are
the marble bench on the right-hand side of the Loggia di Mercanzia,
before-mentioned; the basins of the two holy water stoups at the west
end of the Cathedral Nave (attributed, wrongly, to Quercia); and the
Chapel and Palace, outside the Porta Camollia, known as the _Palazzo
dei Diavoli_.
22. 1473. _Urbano di Pietro di Domenico da Cortona._
This artist came with his brother Bartolommeo, in his early youth, from
his native city of Cortona, to settle in Siena, where in 1451,[176]
they together undertook to build the Chapel of the Madonna delle
Grazie, in the Duomo. In the same year he was commissioned, as we
have seen, to make two statues for the Loggia di Mercanzia, but the
commission was cancelled. In 1456, he made a statue of S. Bernardino
for the Convent of the Osservanza, and a figure of S. Peter for the
façade of the Duomo. In 1458, the Signoria of Siena deliberated as to
the suitability of employing him, in company with Donatello, to procure
alabaster from the Val D’Orcia, to decorate a room in the Palazzo
Pubblico.[177] Among the records of the Oratorio di Sta. Caterina in
Fontebranda, between the years 1465 and 1474, we find two notices
of work by him: namely, a statue of the Saint over the Chapel door,
and a holy-water stoup. In 1471, he had a dispute with Bastiano di
Francesco, as to the price due for work done by the latter, in which
Vecchietta was one of the two arbitrators. In the same year he was
employed on the Palazzo _delle Papesse_, and in 1473, we find him
also joining in the contract made by the Sienese sculptors with their
Lombard fellow-craftsmen. In 1497–98, he was one of the arbitrators in
a dispute between Giovanni di Stefano and his workmen.[178] He died in
Siena, on May the 8th, 1504, leaving, by his wife, Caterina Scotti, a
daughter, Lucrezia, who married Ser Pasquale Griffi, of Montalcino; his
son Tommaso having predeceased him. His finest works still existing are
the decorations for the Chapel of the Madonna delle Grazie referred to
above, which are now affixed to the walls of the Duomo, near the door
leading to the Campanile stairs; and the tomb of Cav. Cristoforo Felice
(Rector 1457–58 and 1460–65) in the church of S. Francesco in Siena.
23. 1473. _Matteo di Giovanni di Bartolo._
This artist, also known as Matteo da Siena, was born about 1435. It
was erroneously supposed, that he was the son of Giovanni di Paolo di
Grazia, the painter of Poggio Malavolti, and brother of Pietro and
Benvenuto di Giovanni, also painters of repute. As a matter of fact,
however, Matteo’s father was a certain Giovanni di Bartolo, a merchant
of Borgo San Sepolcro, who had settled in Siena, by his second wife,
Elisabetta, daughter of Andrea d’Ambrogio, a goldsmith: while Pietro
was the son of another merchant, one Giovanni Pucci; and Benvenuto, of
a certain Giovanni di Maestro Meo del Guasta of San Quirico. Moreover,
Giovanni di Paolo of Poggio was quite an old man when, in 1480, he
married a woman called Domenica, by whom he had no children, as we find
that by his will, dated June 29th, 1482, he left her his sole heiress.
Matteo married twice; first, a certain Contessa, by whom he had no
children; and secondly, Orsina di Francesco del Taia, by whom he
had three sons and four daughters. He died in June, 1495. He was a
distinguished painter, much admired in his day, and had a very distinct
charm of his own, in spite of his somewhat rigid adherence to old
traditions. Many of his pictures are still in their original places in
the churches of Siena,[179] and there are also some good specimens of
his work in the Accademia delle Belle Arti in that town.
24. 1473. _Giovanni di Maestro Stefano di Giovanni._
Son of the celebrated painter, usually called _Sassetta_. We first
hear of him in 1452, as appealing for judgment in the matter of
the price of a fresco, over the Porta Romana, left unfinished by
his father’s death; (subsequently completed by Sano di Pietro, and
Lorenzo di Pietro, commonly called _Il Vecchietta_). In August 1446,
he was commissioned, with the assistance of the goldsmith Francesco
d’Antonio, to make a silver head of Sta. Caterina, for the Monks of S.
Domenico in Siena.[180] He made a model for the head, which Francesco
executed in silver;[181] and perhaps the tabernacle also, although that
has been attributed to Vecchietta. In 1466–68,[182] we find a petition,
addressed to the Signoria, for the erection of two stone wolves outside
the Porta Nuova, or Romana. These are generally supposed to have been
the work of this artist. In 1477, he was recommended by the Signoria
of Siena to Federigo, Duke of Urbino; and in 1481, was witness to the
commission, given by the Opera del Duomo, to Urbano di Pietro, Antonio
Federighi, Vito di Marco and Luigi di Ruggiero, to execute the Sibyls
on the Duomo Pavement; one of which (the _Cuman_) we know was, in
the following year, his work. In 1487, he executed the statue of S.
Ansano (formerly attributed to Neroccio di Bartolommeo Landi, of whom
presently) in the Chapel of S. Giovanni in the Duomo.[183] In 1427,
in company with Giacomo Cozzarelli, and Domenico di Matteo, he made a
valuation of the bronze doors, for the Libreria in the Duomo, executed
by Giacomo Ormanni; and in the same year we read of the dispute with
his workmen, to which we have alluded above. In 1497–98, he also
executed two of the bronze angels[184] for the High Altar of the Duomo.
The celebrated sculptor, Lorenzo di Mariano, better known as _Il
Marrina_, was one of his pupils.
25. 1473. _Bartolommeo de’ Domenico Calabrone._
26. 1473. _Francesco di Bartolommeo._
Both these men appear to have been sculptors, and are associated
together, as arbitrators, with Urbano da Cortona, in the dispute
referred to above, between Giovanni di Stefano and his workmen. Of
the former, we also find a record, under date August 11th, 1507, as
arbitrator between Lorenzo di Mariano (_Il Marrina_) and Battista di
Simone,[185] and we are told that he was surnamed _Baccelli_, and died
in 1531.[186] Of Francesco we know nothing more, except that he also
signed the contract with the Lombard sculptors.
27. 1482. _Giuliano di Biagio._
Of this artist, we know nothing, beyond the reference to his work
on the Pavement, of which mention has been made above. He appears,
however, to have been not merely the mason, but also the contractor,
who procured the marble for his own work.[187]
28. 1482. _Vito di Marco._
A German, who, with his brother Giovanni, came to settle in Siena, as
a mason. He was, as we have seen above, a pupil of Antonio Federighi,
and was employed under him, on the works at Orvieto. In 1473, he was
also party to the contract between the Sienese and Lombard sculptors.
In 1483–84, he was commissioned, in company with a certain Lucillo di
Maestro Marco, to execute the tomb of Tommaso del Testa Piccolomini,
Bishop of Pienza and Montalcino,[188] which commission, through his
absence from Siena, and the death of Lucillo, was transferred in the
following year to Neroccio di Bartolommeo Landi. In 1487, he executed
the façade of the church of S. Andrew at Orvieto, in which city we find
him still working in 1489–91. He died in 1495.
29. 1482. _Luigi di Ruggiero, surnamed L’Armellino._
This man also joined in the above-mentioned contract with the Lombard
stone workers (1473). In January, 1486–87, we find the Signoria of
Siena writing to Ottaviano, Count of Mercatelli, on his behalf, for
arrears of salary due to him for work done.[189] He also appears to
have been a contractor, as well as a sculptor.[190]
30. 1483. _Bastiano di Francesco di Sano._
This man was a sculptor and a painter, but it is uncertain whether he
is the same person, as the Florentine sculptor Bastiano di Francesco,
who, with Francesco di Giovanni, was employed to build the tomb of
Pope Pius III. in S. Peter’s at Rome.[191] We do not know much about
him, beyond the work which he did in the Duomo. In 1481, he assisted
Guidoccio Cozzarelli, Benvenuto di Giovanni del Guasta, and Pellegrino
di Mariano, in decorating the interior of the Cupola with sculpture
and painting. We gather, that in 1484, he moved the beautiful tomb of
Cardinal Petroni, by Tino di Camaino,[192] from its original place near
the present Cappella del Voto, to its present lofty position, by the
Cappella di S. Giovanni. To him, in the same and following years, are
also due the carved festoons, monstrous cherub heads, and painting and
gilding round the east window (_Occhio_) of the choir. Twice we hear
of him in legal difficulties: once, as we have mentioned already, with
Urbano da Cortona in 1471; and again in 1477, when a certain doctor of
laws, one Prospero Poccio, complained to the Podestà, that Bastiano
would not finish a picture for him, that he had contracted to do.[193]
He appears to have lived in the Valle Piatta at Siena.[194] (Ill.
XXIII.)
[Illustration:
ALINARI PHOTO.] [BY BASTIANO DI FRANCESCO.
XXIII. THE STORY OF JEPHTHAH (No. 11)]
31. 1483. _Benvenuto di Giovanni del Guasta._
This versatile artist was the son, as we have seen, of a certain
Giovanni di Meo del Guasta, a mason from San Quirico. He was born
the 13th of September, 1436, and died about 1518. He married Jacopa,
daughter of Tommaso da Cetona, by whom he had three daughters, and a
son, Girolamo, also a clever artist. In 1466, we find him in company
with Sano di Pietro, valuing the decorative work on two chests, made
by a certain Francesco d’Andrea, for Ambrogio Spannocchi. In 1481–82,
as we have already noted, he was employed on the decoration of the
interior of the Cupola in the Duomo, where he painted thirty-five
figures, for which he received a sum of 105 lire.[195] In the same
year, he painted miniatures in the Antiphonaries, for the Duomo; one of
which, the largest, represented “_the Giving of the Keys to S. Peter_,”
for which he received 27 lire 14 soldi.[196] That he was much admired
in his day as a painter, is evident from the number of notices still to
be found of payments made to him for banners, bier-heads and pictures
of various sorts, by Convents and Guilds. Many of these still exist,
either in the Churches for which they were painted, or in the Picture
Gallery.[197] In 1508, he was called as witness, in a lawsuit between
Giovanni Battista di Bartolommeo Alberti and the heirs of Neroccio
Landi, as to the price of an unfinished picture by that artist. From
the two inventories of his property, made in 1491 and 1509, and the
list of goods bequeathed by him to his son Girolamo, we gather that he
lived in houses of his own: first, in the district of Camollia; and
latterly, in that of the Rialto in Siena.
32. 1483. _Neroccio di Bartolommeo di Benedetto Landi._
This great artist was equally celebrated, both as sculptor and painter.
He belonged to the noble family of Landi, who are described as “_of
Poggio Malevolti_”, to distinguish them from the family of Landi
_Sberghieri_. He was born in 1447, and died in 1500. He was twice
married: first, to Elisabetta, daughter of Antonio Cigalini, who died
in 1483; and, secondly, in 1493 to Lucrezia, daughter of Antonio
Paltoni, who bore him several sons, one of whom was a painter as was
his father.[198] Many of his pictures and statues still exist in Siena,
in the places for which he designed them. In 1475, he appears to have
quarrelled with Francesco di Giorgio; a dispute that was settled
by the kindly offices of Sano di Pietro and Lorenzo di Pietro (_Il
Vecchietta_). In the following year we find the same Sano di Pietro,
with Francesco di Giorgio, valuing a picture, painted by Neroccio,
for a certain Bernardino Nini. In the records of the Oratorio di Sta.
Caterina in Fontebranda,[199] we find that this artist was paid 31
lire, for a wooden statue of the Saint, which still stands over the
altar in that Chapel. In 1481, he was engaged to work for the Duke
of Calabria, and also for the Abbot of the Benedictine Convent at
Lucca. In 1484–85, he received the commission (originally given to
Vito di Marco and Lucillo, but cancelled through the absence of the
former, and the death of the latter), to execute the tomb of Bishop
Tommaso del Testa Piccolomini.[200] This tomb is now over the door,
leading from the Cathedral to the stairs of the Campanile. In 1487,
he was also directed to make the beautiful statue of S. Catherine of
Alexandria for the Chapel of S. Giovanni in the Duomo; but his death
left the work unfinished. We find two notices with reference to this
work, dated 5th of February, 1487–88, and 21st of August, 1502[201]
respectively: the first recording the payment of an advance of 40
lire to the painter himself, and the other of a further payment (in
accordance with the valuation of Giacomo Cozzarelli and Ventura di
Ser Giuliano) of 202 lire more to his heirs. These heirs, as we have
seen above, also had a lawsuit over another unfinished work of his,
with one of his pupils, Giovanni Battista di Bartolommeo Alberti.
Milanesi quotes some interesting documents in connection with this
lawsuit in his notes.[202] The names of some of his pupils, besides
the above-mentioned Giovanni Battista di Bartolommeo Alberti are
as follows: Giovanni di Tedaldo, Leonardo di Ser Ambrogio de’
Maestrelli,[203] Taldo di Vittore, and Achille di Pietro di Paolo del
Crogio.[204]
33. 1483. _Guidoccio di Giovanni Cozzarelli._
This artist must not be confused with the more famous Giacomo di
Bartolommeo di Marco Cozzarelli, who was a sculptor and worker in
metal, nor do we know, whether or no, he was related in any way to
the engineer Giovanni Cozzarelli, a notice of whose work on a bridge
at Macereto, we find under date 3rd of November, 1487.[205] This man
was a painter of considerable ability, whose pictures may be studied
in the Picture Gallery, and who executed some of the miniatures in
the Duomo Antiphonaries. We read that in 1447, he was employed with
Sano di Pietro, to decorate the Chapel (now destroyed) of the Madonna
delle Grazie in the Cathedral; and that in 1481, he was employed on the
decoration of the interior of the Cupola. Professor Luigi Mussini[206]
suggests that the Tavoletta di Biccherna (No. 34 of those preserved in
the Archivio di Stato), representing _The Presentation of the Virgin
in the Temple_, is by him.
34. 1484. _Bernardino d’Antonio._
35. 1484. _Cristofano di Pietro Paolo del Quarantotto._
Of these men nothing is known but the reference to them here.
36. 1505–6. _Bernardino di Benedetto or Betto_ (_Il Pinturicchio_).
Of this painter, and his work, so much has been written elsewhere, that
I shall only attempt the briefest sketch of his life here.
He was a native of Perugia, was the son of a certain Betto or
Benedetto, and was born in 1454. He had six children by his wife
Grania: Adriana, who married Giuseppe, son of Giovanni of Perugia, and
died in 1518: Clelia or Egidia, who married Girolamo, son of Paolo
of Perugia, called _Paffa_, a soldier of the guard of Siena; Giulio
Cesare (b. 1506); Camillo (b. 1509); Faustina Girolama (b. 1510); and
Faustina, who married Filippo, son of Paolo of Perugia, or of Deruta.
His frescoes in the Libreria of the Duomo, and the chapel of S.
Giovanni, are among the most celebrated of Italian works of art. Vasari
relates many more or less fictitious stories about his life and doings,
which, though amusing to read, are not borne out by fact. He died in
1513, and was buried in the Church of SS. Vincenzo and Anastasia, the
Chapel of the _Contrada of the Porcupine_ (_Istrice_).
37. 1505–6. _Paolo Mannucci._
Of this artist, nothing is known, but the notice already quoted, which
states that he was employed to execute Pinturicchio’s design of the
_Allegory of Fortune_. (No. 36.)
[Illustration:
LOMBARDI PHOTO.] [LILY DESIGNED BY ANTONIO FEDERIGHI (?)
A. DESIGNED BY DOMENICO BECCAFUMI
XXIV. DRAWINGS OF DETAILS]
38. 1518. _Domenico di Jacopo di Pace Beccafumi, called Mecarino_ (_or
Mecherino_).
This very celebrated painter and sculptor was the son of a certain
Giacomo (Jacopo) di Pace,[207] a labourer on the Podere of Cortine,
near the Castle of Montaperto, and was born in 1486. This Podere
was the property of the Sienese noble, Lorenzo Beccafumi, who, more
than once held high offices in his native town. The boy early showed
remarkable artistic promise, and used to amuse himself modelling
animals, flowers, and leaves in clay. Lorenzo Beccafumi, one day seeing
these efforts, and being struck by their promise, took him into his
house, as a sort of servitor, but also gave him the opportunity of
studying art. Near the house of the Beccafumi family, was then living
an artist, named _Mecarino_, of poor ability and circumstances, but
possessing a fine collection of drawings by good masters. These the
young Domenico studied carefully, and on the death of Mecarino, by
that artist’s special wish, assumed his name. In later years, he also
added, by permission of his first patron, the name of _Beccafumi_.
He was married twice. By his first wife, Andreoccia, of whose family
and origin nothing is known, he had a son, Adriano, who died poor and
childless in 1588. By his second wife, Caterina, sister of Pietro
Cataneo, the Sienese architect and mathematician, he had two daughters:
Ersilia (b. 1535), and Polifila (b. 1573), who became afterwards a
Gesuate nun, under the name of Suor Cecilia. His work was very much
sought after, and is to be found in all directions, in churches and
palaces alike, throughout Siena. (Ill. XXV.) At one time, he came
very much under the influence of Giovanni Antonio Bazzi (called _Il
Sodoma_), in whose company he worked, from 1518 to 1532, at the
decoration of the Oratorio di S. Bernardino,[208] but subsequently,
became his rival and bitter enemy. One of his earliest works in
Siena was, in 1513, the decoration in fresco of the façade of the
Palazzo de’ Borghesi in the Piazza di Postierla, opposite the house
of Agostino Bardi, soon afterwards adorned in similar materials by
Sodoma.[209] In February, 1515, he purchased a house, numbered 408,
in the Via dei Maestri (now Via Tito Sarocchi), for which he paid 270
florins, and, in 1545, another house next door for 245 florins.[210]
We find him continually in request to value works of art of all kinds:
panel-pictures, frescoes, bronze crucifixes, marble tombs, etc.,
and Guilds were always employing him to paint bier-heads and banners
for them. Among the latter, we are told that he was engaged by the
Compagnia di S. Sebastiano in Camollia, to complete Sodoma’s celebrated
banner of S. Sebastian (now in the Uffizi Gallery in Florence).[211]
In 1529, and again in 1535, he received commissions to decorate the
Sala del Concistoro in the Palazzo Pubblico; and on the occasion of the
visit of Charles V. to Siena (23rd of April, 1536), he, in company with
Anton Maria di Paolo Lari (nicknamed _Il Tozzo_) and Lorenzo Donati,
designed and erected a triumphal arch and other decorations, including
a gigantic horse in papier-mâché, in honour of that Emperor.[212] He
was also famous as a worker in bronze,[213] and among the works done
by him in this metal, the most celebrated, now known, are six of the
bronze angels, holding lights, affixed to the columns in the Choir of
the Duomo. For this work he received 11,600 lire from the Opera del
Duomo. According to a contemporary Register of persons buried in the
Duomo, Beccafumi died on the 18th May, 1550, and was buried there:
other authorities state that his death occurred in the following
year.[214] Giorgio di Gio. Simone was one of his pupils, and Giovanni
Battista di Girolamo Sozzini (of whom presently) was another.
[Illustration:
LOMBARDI PHOTO.] [DESIGNED BY DOMENICO BECCAFUMI
XXV. THE STORY OF MOSES AND THE TABLES OF THE LAW (No. 52)]
39. 1518. _Bernardino di Jacomo._
Of this sculptor nothing much is known. In company with a painter
named Francesco di Bartolommeo, in 1555, he valued a picture painted
by Lorenzo di Cristofano (_il Rustico_) and his pupils, for the
Confraternità di S. Michele; and he was in 1559–60, commissioned to
make three coats of arms in tufa, to decorate the façade of the Palazzo
Pubblico.
40. 1518. _Giovannantonio Marinelli, called il Mugnaino._
Of this sculptor we find no trace; but we read of another workman
in the same craft, by name Anton Maria, who was also nicknamed _il
Mugnaino_. This artist in 1583, with another sculptor, Domenico Capo,
was employed to make marble ornaments for an altar in the Duomo.[215]
41. 1518. _Giacomo di Pietro Gallo._
42. 1518. _Bartolommeo di Pietro Gallo._
Of these two brother masons nothing is known. They may have been
related to the cannon-founder, Mosè Gallo, whom we find referred to in
1502, as making guns for the Commune of Siena;[216] or they may have
been related to the family from which came Sodoma’s wife, Beatrice,
daughter of Luca di Gallo.
43. 1518. _Niccolo Filippi._
44. 1518. _Cristofano di Carbone._
45. 1544. _Pellegrino di Pietro._
The only information to be found, concerning this sculptor, is that he
was employed to make a tomb for the Marsili family, which was valued by
Francesco Tolomei and Domenico Beccafumi.[217]
46. 1562. _Giovanni Battista di Girolamo Sozzini._
This painter and sculptor was born in Siena in 1525, and studied the
arts of drawing and painting under Bartolommeo Neroni (_Il Riccio_).
He was also a pupil of Beccafumi’s, and in addition learned to make
portrait-effigies in stucco and wax under Pastorino Pastorini, in which
art he excelled.[218] He was brother to the celebrated Alessandro
Sozzini, Diarist of the last Siege of Siena, and died in 1582. His
work, as we have said above, was much admired in its day.
47. 1562. _Niccolo di Girolamo Gori_,
With his brother Antonio was, in 1552, party to a receipt in full,
given by the Opera del Duomo to Pastorino Pastorini, the painter and
worker in glass, for work done there.[219]
48. 1562. _Domenico di Pier Giovanni._
Of this man also no record is to be found, but perhaps he was the son
of the mason, Pier Giovanni, mentioned in a document dated 1537, who
opened up an arch for a niche in connection with Sodoma’s work on the
Cappella di Piazza.[220]
From this time, for over 200 years, the Pavement work stood still,
until:
49. 1780. _Carlo Amidei_, a craftsman of a very mediocre type.
50. 1780. _Matteo Pini_, who was probably only a mason.
Then another century passed away, until our own day.
51. 1875. _Professor Alessandro Franchi._
52. 1875. _Professor Leopoldo Maccari._
53. 1875. _Antonio Radicchi._
54. 1875. _Giuseppe Radicchi._
These names belong to the History of Modern Italian Art, so that I need
do no more than mention them in passing, as they hardly come into the
scope of this work.