The Project Gutenberg EBook of The Pavement Masters of Siena (1369-1562), by Robert H. Hobart Cust This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: The Pavement Masters of Siena (1369-1562) Author: Robert H. Hobart Cust Release Date: April 1, 2019 [EBook #59168] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK PAVEMENT MASTERS OF SIENA (1369-1562) *** Produced by deaurider, Charlie Howard, and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive HANDBOOKS OF THE GREAT CRAFTSMEN. EDITED BY G. C. WILLIAMSON, Litt.D. THE PAVEMENT MASTERS OF SIENA Handbooks of the Great Craftsmen. Illustrated Monographs, Biographical and Critical, on the Great Craftsmen and Workers of Ancient and Modern Times. Edited by G. C. WILLIAMSON, Litt.D. Imperial 16mo, with numerous Illustrations, about 5s. net each. First Volumes of the Series THE PAVEMENT MASTERS OF SIENA. Workers in Graffito. By R. H. Hobart Cust, M.A. PETER VISCHER. Bronze Founder. By Cecil Headlam, B.A. THE IVORY WORKERS OF THE MIDDLE AGES. By A. M. Cust. Others to follow. LONDON: GEORGE BELL AND SONS NEW YORK: THE MACMILLAN CO. T THE PAVEMENT MASTERS OF SIENA (1369–1562) BY ROBERT H. HOBART CUST, M.A. MAGDALEN COLLEGE. OXFORD LONDON GEORGE BELL AND SONS 1906 Published 1901. Cheaper re-issue, 1906. PREFACE HE first impression that this book may give, is that I have put the cart before the horse, and that, instead of dwelling on the Pavement Masters, I have laid too much stress on the Pavement itself, and too little on the makers of it. A careful perusal, however, will, I hope, prove that I have been right in my reasoning. I have felt strongly, that in order to form a fair idea of these Masters, many,—I may say, most,—of whose names are entirely unknown to the general English reader, it was necessary to give as clear and vivid a picture as was possible, of this, their greatest work, through which their names live. Most people, who have ever heard of Siena, have heard of its Cathedral Pavement:—an unique and historical piece of work:—but how many have heard of even such great artists as Pietro del Minella and Antonio Federighi? On this account, it seems to me that the case needed treatment such as I have given it. I have, therefore, composed a full and, as far as I could make it, a clear account of the chain which connects these men together, and then added short notices of each, giving all the important facts obtainable about them. For this purpose, I have examined all the recognized authorities, and tried to introduce any side-lights that may brighten up a somewhat dull record of facts. I have avoided venturing on criticism: partly because I felt myself unequal to the task; and partly because my space was too limited to allow of such digressions without a sacrifice of more important matter. Where I have put forward a theoretical suggestion, I have carefully pointed out that it is only offered as such. I regret that it is impossible to translate all the documents quoted, chiefly because the quaint language in which they are written is untranslatable, and would lose most of its charm if rendered into modern English. On the other hand, I have, where a passage specially important to my argument occurs in a document, given its general meaning in the text. I have added a long list of authorities, and works connected with the Cathedral and its Pavement which have been consulted, and I have to thank cordially, for practical and artistic help, and advice throughout, three ladies: the Hon. Mrs. A. L. Pelham, Mrs. J. P. Richter, and Mrs. Trail. Siena, September, 1901. v vi TABLE OF CONTENTS PAGE LIST OF ILLUSTRATIONS ix AUTHORITIES CONSULTED xi THE SCHEME OF THE PAVEMENT xiv CHAPTER I. HISTORY OF THE PAVEMENT 3 CHAPTER II. THE PAVEMENT 14 CHAPTER III. THE PAVEMENT MASTERS 103 CHAPTER IV. OTHER PAVEMENT WORK 143 CHAPTER V. MATERIALS AND WORKMANSHIP OF THE PAVEMENT 150 INDEX 157 LIST OF ILLUSTRATIONS PLATE TO FACE PAGE I. General view of the Interior of Siena Cathedral, showing the Pavement 1 II. The Entire Pavement Key Plan to the same, page 15. 14 III. Hermes Trismegistus, designed by Giovanni di Maestro Stefano 21 IV. The Badges of Siena and the Confederate Cities, 1373. (Author unknown) 24 V. An Allegory of Fortune, designed by Pinturicchio 27 VI. The Wheel of Fortune, 1372. (Author unknown) 30 VII. The Samian Sibyl, designed by Matteo di Giovanni Bartoli 45 vii ix VIII. The Hellespontine Sibyl, designed by Neroccio di Landi 48 IX. The Expulsion of Herod, designed by Benvenuto di Giovanni del Guasta (the entire panel) 55 X. The chief portion of the same panel, (in large size to show details) 56 XI. Detail of the Frieze of Lions, designed by Bastiano di Francesco 58 XII. The Massacre of the Innocents, designed by Matteo di Giovanni Bartoli (the entire panel) 61 XIII. The chief portion of the same panel, (in large size to show details) 62 XIV. The Relief of Bethulia, designed by Urbano da Cortona(?), or Matteo di Giovanni Bartoli(?), executed by Antonio Federighi 64 XV. Detail from the same panel 66 XVI. Another detail from the same panel 68 XVII. The Story of Absalom, by Pietro del Minella 79 XVIII. The Seven Ages of Man, designed by Antonio Federighi 85 XIX. Elijah’s Compact with Ahab, designed by Domenico Beccafumi 99 XX. Samson and the Philistines, designed by Paolo di Martino 111 XXI. The Emperor Sigismund, designed by Domenico di Bartoli d’Asciano 113 XXII. A Candlestick, designed by Antonio Federighi 119 XXIII. Detail from the Story of Jephthah, designed by Bastiano di Francesco 129 XXIV. Drawings of details. The lily designed by Antonio Federighi(?); border A designed by Domenico Beccafumi 137 XXV. The Story of Moses and the Tables of the Law, designed by Domenico Beccafumi 139 XXVI. Elijah caught up to Heaven (from the drawing by Prof. Alessandro Franchi) 154 AUTHORITIES CONSULTED Milanesi (Gaetano). Documenti per la Storia dell’ Arte Senese. (Porri, Siena, 1856). Sulla Storia dell’ Arte Toscana, Scritti Varii. (Discorso sulla Storia Artistica Senese.) (Sordo-Muti, Siena, 1873.) MS. Notes on the Pavement. Bib. Pubb. Siena. Cod. P. III., 28. Commentario sulle Vite di piu eccellenti Pittori, Scultori ed Architettori da Giorgio Vasari, vols. i. and v. (G. C. Sansone, Firenze, 1880–81.) Borghesi (S.) and Bianchi (L.). Nuovi Documenti per la Storia dell’ Arte Senese. (Torrini, Siena, 1898.) MS. Notes on the Pavement, etc., etc., etc. Bib. Pubb. Siena, Cod. P. II. Faluschi (Abate Gioacchino). MS. Notes, Bib. Pubb. Siena. Cod. E. V. 13 and E. V. 16. Tizio (Sigismondo). Historiarum Senensium, vols. iv., v., vi. MS. Bib. Pubb. Siena, Cod. B. III., 9, 10, 11. Ciaccheri (Abate Giuseppe). MS. Notes, Bib. Pubb. Siena. Della Valle (Padre Guglielmo). Lettere Senesi, vol. iii. (Descrizione del Pavimento, by Alfonso Landi.) (Giovanni Zempel, Rome, 1787.) Ugurgieri-Azzolini (Padre Isidoro). Pompe Senese. (Pistoia, 1649.) Gigli (Girolamo). Diario Senese. (Lucca, 1723.) De Angelis (Padre). Vita di Beato Pier Pettinaio. (Siena, 1802.) Repetti (Emanuele). Dizionario Geografico-Fisico-Storico della Toscana. (Tofani, Firenze, 1833–45.) x xi xii Micheli (Prof. Padre Everardo). Siena e il suo Territorio. (Edifizi Religiosi e Civili). (Sordo-Muti, Siena, 1862.) Il Pavimento dei Duomo di Siena. (Sordo-Muti, Siena, 1870.) La Guida Artistica della Citta e Contorni di Siena. (Sordo-Muti, Siena, 1883.) Benci (Gusmano). Ricordi Artistici di Siena. (Sordo-Muti, Siena, 1875.) Album di Storia Patria. Bozzetti Repubblicani Senesi, vol. i. Domenico Beccafumi. (Giulio Mucci, Siena, 1875.) Mussini (Luigi). Le Tavole della Biccherna e della Gabella della Repubblica di Siena. (Bargellini, Siena, 1877.) Il Pavimento dei Duomo di Siena e il Prof. Alessandro Franchi. (Le Monnier, Firenze, 1880.) Rubini (Ferdinando). Dei Restauri eseguiti nella Chiesa Metropolitana in Siena dal Luglio, 1864, al 31 Dicembre, 1878. (Bargellini, Siena, 1869 and 1879.) Ridolfi (E.). L’Arte in Lucca, studiata nella sua Cattedrale. (Lucca, 1882.) Lusini (V.). Storia della Basilica di S. Francesco in Siena. (Siena, 1894.) Miscellanea Storica Senese, Gennaio-Febbraio, 1898. (Torrini, Siena, 1898.) Sismondi (Jean Ch. L. Simonde de). Histoire des Républiques Italiennes du Moyen Age. (Treuttel et Würtz, Paris, 1818.) Piper (Ferdinand). Mythologie der christlichen Kunst, vol. i. (Weimar, 1847.) Richter (Luise M.). Siena. (Seeman, Leipzig and Berlin, 1901.) Justi (Cari). Michelangelo. (1901.) Wagner (Hans Joachim). Domenico di Bartolo Ghezzi. V. Teil der von einer hohen Fakultät angenommen Abhandlung. Das Dompaviment von Siena und seine Meister. (W. Fr. Kästner, Göttingen, 1898.) Lindsay (Lord). Sketches of the History of Christian Art, vol. ii. Berenson (Bernhard). Central Italian Painters. (Putnam, London and New York, 1899.) Symonds (John Addington). Introduction to the Study of Dante. (A. and C. Black, London, 1893.) Norton (Charles E.). Church Building in the Middle Ages. (Harpers, New York, 1880.) Encyclopædia Britannica. (1880), Hermes Trismegistus: Sibyls. THE SCHEME OF THE PAVEMENT The various designs on the pavement arranged in their chronological order. Notes. Date the work was executed. Numbers corresponding to those on the plan (p. 15). Names of the Artists. Of these eight artists’ work on the Pavement, no recognizable trace now remains. 1369 (1). Antonio di Brunaccio. 1370 (2). Sano di Marco. ” (3). Francesco di Ser Antonio. 1376 (4). Matteo di Bartolo. 1380 (5). Nanni di Corsino. 1398 (6). Sano di Maestro Matteo. ” (7). Luca di Cecco. 1405 (8). Cecco di Giovanni. xiii xiv Fortune’s Wheel revolving with figures of men clinging to it. In the four corners of the picture are half-length portraits of Euripides, Seneca, Epictetus, and Aristotle. (Milanesi. Documenti. Vol. i., p. 177.) 1372 37 The Arms of the Cities allied and friendly to Siena. (Ditto.) 1373 34 A Wheel, in the middle of which is the Imperial Eagle 1373(?) 35 The Parable of the Mote and the Beam 1374–5 38 Temperance The frieze of zig-zags and spikes which frames the five figures Nos. 17–21, also dates from 1406. 1380 17 Prudence ” 18 Christian Piety 1406 19 Justice ” 20 Fortitude. (Mil. Doc., vol. i., p. 177) ” 21 (9). Marchesse d’Adamo and the Comacene Masters in stone. King David the Psalmist. (Siena e il suo Territorio, p. 205.) 1423 53 (10). Domenico di Niccolo del Coro. Goliath the Giant. (Ditto.) ” 54 ” The Young David with his Sling (Ditto.) The frieze inclosing all these designs, together with No. 24, was inlaid by (11) Agostino di Niccolo, and (12) Bastiano di Corso da Firenze, and completed in 1423. ” 55 ” Judas Maccabeus 1424 15 ” Joshua and the King of the Amorites. Ditto.) 1426 22 (13) Paolo di Martino. Samson. (Ditto.) ” 14 ” Moses. (Ditto.) ” 16 ” Joshua. (Ditto.) ” 23 ” A man, giving alms to a woman, carrying a child 1433 39 Domenico di Niccolo del Coro. The Emperor Sigismund enthroned. (Mil. Doc., vol. ii., p. 261.) 1434 13 Designed by (14) Domenico di Bartolo da Asciano. Executed by (15) Giacomo d’Antonio. The Story of Absalom. (Siena e il suo Territorio.) 1447 12 Designed by (16) Pietro del Minella. Solomon ” 24 The Parable of the Pharisee and the Publican These three designs are in the doorways of the principal façade. 1448 57 A Jar, labelled Fel (Gall) ” 58 A similar Jar, labelled Mel (Honey) ” 59 Three designs before doors of Baptistery. (The Birth, Baptism, and Reception of an Infant Christian. 1450 Designed by (17) Nastagio di Guasparre and executed by (18) Bartolomeo di Mariano, called Il Mandriano, and (21) Antonio Federighi. xv xvi Design before the Porta del Perdono Consecration of the Duomo by Pope Alexander III. [Bandinelli] in 1174.) Now destroyed. 1451 Designed by (19) Guasparre d’Agostino and executed by (20) Corso di Bastiano. The two Blind men. (Mil. Doc., vol. ii., p. 437.) 1459 40 Executed, after his own design, by Antonio Federighi. The Relief of Bethulia by Judith. The frieze of Reels around this design was executed by the said Urbano, (24) Giovanni di Maestro Stefano, (25) Bartolommeo di Domenico Calabrone, and (26) Francesco di Bartolomeo. 1473 25 Designed by (22) Urbano da Cortona(?) or by (23) Matteo di Giovanni Bartoli.(?) Executed by Antonio Federighi. The Seven Ages of Man Around it is a frieze of stags, by the same artist. 1475 6 Executed by Antonio Federighi. The Massacre of the Innocents. 1481 26 Designed by Matteo di Giovanni Bartoli. The Delphic Sibyl 1482 1 Executed by (27) Giuliano di Biagio and (28) Vito di Marco. The Cumean Sibyl ” 2 Executed by (29) Luigi di Ruggiero, called L’Armellino, and Vito di Marco. The Cuman Sibyl ” 3 Giovanni di Maestro Stefano. The Erythrean Sibyl ” 4 Antonio Federighi. The Persian Sibyl ” 5 Urbano di Pietro da Cortona. The Sacrifice of Jephthah 1483 11 Designed and executed by (30) Bastiano di Francesco di Sano. The Albunean Sibyl Who executed these five Sibyls is not known, but it seems possible that, amongst other masters, Giuliano di Biagio may have worked on them. ” 28 Designed by (31) Benvenuto Giovanni del Guasta. The Samian Sibyl 1483 29 Designed by Matteo di Giovanni Bartoli. The Phrygian Sibyl ” 30 Luigi di Ruggiero, called L’Armellino(?) and Vito di Marco(?). The Hellespontine Sibyl ” 31 Designed by (32) Neroccio di Bartolommeo Landi. The Libyan Sibyl ” 32 Designed by (33) Guidoccio Cozzarelli. The Expulsion of Herod The frieze of winged lions which surrounds this picture, was designed by Bastiano di Francesco di Sano. Upon this picture and upon No. 26 (above-mentioned), the following artists were also employed: Vito di Marco, (34) Bernardino d’Antonio, (35) Cristofano di Pietro Paolo del Quarantotto, and Bartolomeo di Domenico Calabrone. 1484 27 Designed by Benvenuto di Giovanni del Guasta. Mercurius Trismegistus 1488 33 Designed by Giovanni di Maestro Stefano(?) An Allegory of Fortune. (Mil. Doc., vol. iii., p. 13.) 1505–6 36 Designed by (36) BernardinoBetti, called Pinturicchio, and executed by (37) Paolo Mannucci. The Story of Elijah and Ahab Elijah’s Sacrifice 1518–24 41 Designed by (38) xvii xviii xix The Compact between Elijah and Ahab, each to prove the Truth of his Deity by Sacrifice 42 Domenico Beccafumi, called Mecherino, and executed at the same time by (39) Bernardino di Giacomo, (40) Giovann’ Antonio Marinelli, surnamed il Mugnaino, (41) Giacomo, and (42) Bartolommeo di Pietro Gallo, (43) Niccolo Filippi, and (44) Cristofano di Carbone. The Slaughter of the False Prophets of Baal 43 Ahab’s Sacrifice 44 Elijah bids Obadiah bring Ahab to him 45 Ahab meets Elijah 46 Moses striking the Rock 1525 51 Moses receives the Tables of the Law on Mount Sinai. (This picture is divided into six parts.) 1531 52 (α) Moses receives the Tables of the Law. (β) The Hebrew People wait for Moses’ Descent from the Mount. (γ) The Destruction of the idolatrous Hebrews. (δ) Moses breaks the Tables of Stone. (η) The Hebrews sacrifice to the Golden Calf. (θ) The Hebrews compel Aaron to make them idols. The Story of Abraham’s Sacrifice. 1544–46 56 Designed by Domenico Beccafumi and executed by Bernardino di Giacomo. At the side of this large picture, which is placed before the High Altar, and on either side of the Altar itself, are fourteen other small pictures, seven on each side. These represent: On the right: 1. Elisha raises the son of the Shunammite. 2. A Prophet, with an open book before him. 3. Eve kneeling. 4. A Woman, with an open book in her hand. 5. A Woman holding a hand-mirror, who represents “Prudence.” 6. Melchisedec Sacrificing. 7. A seated Woman, with a Child. On the left: 8. The old Tobit with his Son, and the Angel Raphael. At his feet a dog. xx xxi LOMBARDI PHOTO.] 9. A Woman, representing “Charity.” 10. Adam kneeling. 11. A Prophet, looking up to Heaven. 12. A seated Woman, with a book in her hand. 13. Abel Sacrificing. 14. A Woman, in the act of sitting down, with a Child... The large picture and the smaller ones are framed by a frieze of half-length figures, which represent the Hebrew People journeying from Egypt towards the Promised Land. Designed by Domenico Beccafumi and executed by (45) Pellegrino di Pietro. Elijah fed by Ravens These four designs are usually attributed, as is stated in col. 5; but, as I have argued at length in chap. ii., it is not improbable that they were originally designed by (46) Gio. Battista Sozzini, and executed by (47) Niccolo di Girolamo Gori, (48) Domenico di Pier Giovanni, and Bernardino di Jacomo, in 1562. 1780 47 Designed by (49) Carlo Amidei, and executed by (50) Matteo Pini. Elijah anoints Jehu King of Israel ” 48 Elijah asks bread of the Widow ” 49 Elijah raises the Widow’s son ” 50 Hope Originally designed in 1780, by Carlo Amidei and Matteo Pini, but removed in 1878. 7 Faith 8 Charity 9 (See below.) Religion 10 In 1875–78, the scenes in the four lozenges, Nos. 47–50, by Carlo Amidei, being considered unsatisfactory, and the ancient scenes 38, 39, 40, being much dilapidated, (51) Professor Alessandro Franchi prepared four new designs of the same subjects for the lozenges, and three more subjects from the same story, for the three hexagons. Namely: (a) Elijah predicts the manner of Ahab’s death. No. 39.1 (b) Ahab mortally wounded, No. 40. (c) Elijah carried to Heaven in a Chariot of Fire, No. 38. These designs were executed by (52) Prof. Leopoldo Maccari, with the assistance of the sculptors (53) Antonio and (54) Giuseppe Radicchi. The same artists also, at the same date, designed and executed, respectively, the figures of the four Theological Virtues (Nos. 7, 8, 9, and 10), as we now see them. I. GENERAL VIEW OF THE INTERIOR OF SIENA CATHEDRAL, SHOWING THE PAVEMENT xxii xxiii 1 * * * * * ... “Cast down thine eyes; ’Twere well for thee, to alleviate the way, To look upon the bed beneath thy feet. * * * * * So saw I there, but of a better semblance In point of artifice, with figures covered Whate’er as pathway from the mount projects. * * * * * Who e’er of pencil master was or stile, That could portray the shades and traits which there Would cause each subtile genius to admire? Dead seemed the dead, the living seemed alive; Better than I saw not who saw the truth, All that I trod upon while bowed I went. “La Divina Commedia” of Dante Alighieri, translated by H. W. Longfellow. * * * * * ... Volgi gli occhi in giue; Buon ti sarà, per alleggiar la via, Veder lo letto delle piante tue. * * * * * Si vid’ io li, ma di miglior sembianza Secondo l’ artificio, figurato Quanto per via di fuor dal monte avanza. * * * * * Qual di pennel fu maestro o di stile, Che ritraesse l’ombre e i tratti, ch’ ivi Mirar farieno ogn’ ingegno sottile? Morti li morti, e i vivi parean vivi. Non vede me’ di me chi vide il vero, Quant’ io calcai fin che chinato givi. “La Divina Commedia” di Dante Alighieri, Il Purgatorio, Canto xii. L. 13–15, 22–24, 64–69. THE PAVEMENT MASTERS OF SIENA CHAPTER I HISTORY OF THE PAVEMENT 3 O NE might have supposed that when Dante wrote the lines here quoted, he was describing the wonderful pavement that still adorns the Duomo of Siena. But this, we know, cannot be, since it was not until more than thirty years after Dante’s death that the plans for a greatly enlarged Duomo were abandoned, and the Sienese set themselves to adorn the building in the shape that we see it now. Moreover, as we shall presently see, no records of ornamental work done upon the floor exist earlier than 1369. We may, however, I think, fairly turn the proposition the other way, and fancy that the pavement designers had Dante’s wonderfully descriptive verses in their minds, when they planned such a work. Their subjects and his differ vastly; and in the two hundred years that passed, ere it was in any sense completed, many variations took place in the original design, if complete design there ever was. Still we may feel, on entering that glorious temple, as if we were really treading the first parapet of Purgatory, as pictured by him. Although the order in which the stories meet our eyes does not in the least agree with the chronology of their execution, a sense of fitness in position seems to run through them, even from the great West Door itself. Hermes Trismegistus presenting to his disciples the Poemander, meets us on the very threshold of the Nave, supported in either aisle by the majestic figures of the ten Sibyls; and seems to lead the way, through half-pagan symbolical designs, to where, surrounded by the histories of Hebrew heroes and prophets, the mystery of the Atoning Sacrifice of Christ, the Very God, the Centre of all Faith and Prophecy is, before the High Altar itself, symbolized by the Sacrifice of Isaac. But this suggestion must not be pressed too far, because, as I have already remarked, and as the accompanying plan will show, many variations, for which at first sight the reason is not very obvious, have from time to time crept in. For general purposes, however, the student of the floor may fairly start with some such complete conception. From the admirably arranged Archives, both Ecclesiastical and Communal, of the City of Siena, we are able to piece together a very nearly complete history of the work, showing, in most cases, why certain exceptions probably were made; and from them, through the medium of the carefully compiled volumes of the late Signor Gaetano Milanesi, I have drawn most of the information which follows.2 Vasari’s statement, so often quoted by subsequent writers, that Duccio made designs for this pavement, is quite without documentary authority.3 Duccio died more than fifteen years before the larger Duomo scheme was finally abandoned; whilst the earliest records dealing with work of a decorative nature4 is dated 1369, and runs as follows: “a maestro Antonio di Brunaccio vintuna lire a cinque sol per ij braccia e due quarri di tarsie di marmo di lo spazzo di Duomo.” In the following year (1370) we read “a maestro Sano di Marco per dodici porporelle per lo spazzo di duomo, a sol: 10 l’una, si danno L. 6.“; “a Francesco di Ser Antonio per uno braccio e mezzo di compasso per detto spazzo a ragione d’otto lire e mezzo il braccio si danno lire 12. e soldi 15,” and “a maestro Sano di Marco per birichuocoli bianchi e rossi pello spazzo di duomo, L. 4. soldi 8.”5 Two years later, according to the historian Sigismondo Tizio, the Pavement of the nave from the cupola downwards was begun, and among other things was laid out (spianata) the design of the Wheel of Fortune, with figures of men clinging to it. And in the next year (1373) an old chronicler6 tells us that “In questo anno si fece il pavimento a pietre tassellate,” which no doubt refers to the circle containing the emblems of Siena, surrounded by those of the cities friendly and allied to her. Be it noted here that this is the only portion of the floor that is tessellated; that is to say, decorated with designs, made up of small squares of different coloured stones, in the manner of ordinary mosaic. Then, in 1374, we find reference7 to work done, under the direction of Andrea di Minuccio Operaio, at the foot of the Choir; which was at that date, and until the commencement of the sixteenth century, situated under the Cupola. Again in 1376, 1380, 1398 and 1405, we read of payments to certain master-workmen, named Matteo di Bartolo, Nanni di Corsino, Sano di Matteo, Luca di Ciecho (or Cecco), and Cecco di Giovanni (or Giovannino di Ciecho), for intarsia work on the Pavement, apparently in decorative friezes, some of which, no doubt, exist still, though we cannot now identify them. The first authoritative document, however, which speaks of figures on the Pavement is an entry in the Duomo Archives, under date March 13th, 1406, which records the payment of 140 lire, “e quali li debiamo dare,” to Marchesse d’Adamo (perhaps a son of the architect, Maestro Adamo), “e compagni maestri di pietra da Como per una rotta (ruota) anno fatto murare nello spazzo contra a la sagrestia.”8 From the mention of its neighbourhood to the sacristy, this must point to the circle containing the figure of Fortitude, No 21, from which, alas! restoration, in 1839, has removed all ancient feeling, and sadly reduced to the commonplace. After this we find no entries until 1423; but from that time commences the real history of the Pavement Masters: and we begin with perhaps the most interesting personage connected with it; namely, Domenico di Niccolo del Coro, who held the post of Capo-maestro9 of the Opera del Duomo between the years 1413 and 1423. It is not easy now to separate the work attributed to Domenico from that of another artist, Paolo di Martino, who appears to have immediately succeeded Domenico as Capo-maestro. We know, however, that the following portions of the floor were executed at that date: 1. David the Psalmist, surrounded by four Musicians (No. 53).10 2. David the Youth with his Sling (No. 55). 3. The Giant Goliath falling backwards (No. 54). 4. Moses (No. 16). 5. Samson chastising the Philistines (No. 14). 6. Judas Maccabeus (No. 15). 7. Joshua (No. 23). 4 5 6 7 8 9 8. The Slaughter of the Five Kings of the Amorites (No. 22). Of these eight subjects the first three may be with certainty given to Domenico himself; whilst Nos. 5 and 8 may be11 ascribed to the other artist. Of the single figures that of Judas Maccabeus is so entirely concealed now by the balustrade of the altar of the Blessed Sacrament built over it, that it is impossible to ascertain with any degree of absolute certainty who was its author; but Joshua and Moses are given by Milanesi to Paolo di Martino. Domenico seems to have been a great and versatile artist, a worker in glass,12 as well as in marble, and above all famous for his skill in woodcarving and inlay. The restorations of his work here, which have evidently been frequent, have robbed it of very much of the charm, which we feel so strongly in his inlaid panels in the Palazzo Pubblico Chapel, but there is still a naïve originality about the designs, which cannot fail to show his high merit. The next celebrated artist, who left his mark on this floor was the painter, Domenico di Bartolo di Ghezzo of Asciano, whose charming design of the Emperor Sigismund enthroned, No. 13, is one of the most marked exceptions to the general scheme. Next we have Pietro del Minella, the celebrated sculptor, and a pupil of the still more famous Giacomo della Quercia. He also left only one design, but that perhaps the most striking in the entire floor: Absalom hanging by his hair, No. 12. Then appears that great craftsman, Antonio Federighi, whose graceful “Ages of Man,” No. 6, would alone entitle him to take a high rank in the History of Art. The works of Art left by this artist here and elsewhere are many, and of a very varied description; but we must now pass on to perhaps the most interesting and prolific period in the History of the Duomo, during which the floor was by no means left uncared for. The City of Siena outside was a prey to constant faction and civil disturbance, but her Duomo within, under the fostering care and taste of the noble Alberto Aringhieri, Knight of Rhodes and Malta, Rettore from 1481–1498, was steadily growing in beauty and splendour. I cannot here enumerate all the embellishments added during this period to the fabric, though among them I may name the decoration of the interior of the Cupola: the adornment of the Chapel of S. Giovanni, where may still be seen Pinturicchio’s beautiful portraits of Aringhieri himself in youth and age: and the frieze of Papal busts that runs round the entire building. Aringhieri collected around him a band of artists, eminent already as painters and sculptors; among whom was Federighi himself. From the designs and with the skill of these, he completed the floor of the North and South Transepts; both the Aisles and the last bay of the Nave. Whether, as is possible, he was influenced in his choice of subjects by external historical events, we cannot now say; but some at least of the designs, while appropriate to the general idea of the whole, appear to have a possible political significance. Thus the “Massacre of the Innocents,” No. 26, designed by Matteo di Giovanni Bartoli, may have been chosen to commemorate the terrifying episodes that occurred during the Sack of Otranto by the Turks; and the Expulsion of Herod, No. 27, the Fall of Pandolfo Petrucci and his faction. Whether this was so or not, the works of this period are among the finest and noblest designs on the entire floor. The later work of Beccafumi may be more realistic, but nothing can surpass the force and feeling of power exhibited in the fourteen designs, which date their origin from this period. In 1505–6 was added Pinturicchio’s “Allegory of Fortune,” No. 36; and shortly after an important change in the interior arrangement of the building, by exposing a great deal of floor space, necessitated the addition of a large number of fresh designs, which Domenico Beccafumi (il Mecarino) called upon to supply. This change was the removal, under the direction of Baldassare Peruzzi, Capo-maestro in 1532, of the High Altar, which had hitherto stood under the Cupola, to their present position, further east in the Apse. Beccafumi had previously, in 1525 and 1531, designed his scenes from the Life of Moses, Nos. 51 and 52, and he now, in 1544– 46, was commissioned to make designs to surround the Altar-steps. Of the history of the Elijah designs, Nos. 41–46, under the Cupola, attributed to him, I wish to speak at greater length, so I will reserve the details concerning them until the next chapter. In 1661 the building of the Cappella del Voto by Pope Alexander VII. destroyed the ancient Porta del Perdono; and the scene representing the Consecration of the Cathedral, designed by Guasparre d’Agostino, and executed by Corso di Bastiano in 1451, which formerly lay before that door, was ruthlessly destroyed. In 1750, certain Virtues, Nos. 7, 8, 9, 10, were designed by Carlo Amidei for the entrance to the above-mentioned chapel. This artist also restored a good many of the older designs, and added, it is generally assumed, four lozenges to the story of Elijah, Nos. 47– 50, under the Cupola. These were all considered worthless and removed in 1875 to make way for new designs by Sig. Prof. Alessandro Franchi, the present Director of the Accademia delle Belle Arti. This accomplished gentleman also designed three hexagons to complete the Story of Elijah, Nos. 38, 39 and 40, and to fill spaces, up to that time occupied by fragments of older work, brought from other parts of the Cathedral. These designs were all executed under his direction by Signor Leopoldo Maccari in 1878.13 Between the years 1864 and 1878 a complete restoration of the whole floor has taken place. Much time and money have been expended upon the work, and the result is, on the whole, not unsatisfactory; but the effects of previous restorations by less sympathetic hands in certain parts is painfully apparent. Some of the work, beautiful still, but too much injured to remain in situ has been removed to the Museum of the Opera del Duomo, and replaced by copies. This Pavement, in spite of the opinions of those who consider pictorial design unsuitable floor decoration, is a never-ending source of joy and pleasing suggestion: an unique tour de force, and a stroke of genius on the part of the original designers. Except during the month of August, the entire centre portion from the West door to the High Altar itself is carefully protected by boarding. When this is removed, and the whole vista is spread out before one, it would be hard to imagine any other species of floor, that would have so satisfactorily completed the many-coloured interior harmonies of this wonderful Cathedral. 10 11 12 13 H LOMBARDI PHOTO.] CHAPTER II THE PAVEMENT AVING briefly sketched the history of the entire Pavement, it will be necessary now to describe it in detail. For this purpose I have divided it into ten parts, commencing at the great Western Entrance. These ten parts are as follows: 1. The wide Platform before the Façade. 2. The Spaces in the three Western Doorways. 3. The Nave. 4. The South Aisle. 5. The North Aisle. 6. The North Transept. 7. The Choir Ambulatory. 8. The South Transept. 9. The Choir and Altar-steps. 10. Under the Cupola. II. THE ENTIRE PAVEMENT KEY PLAN TO THE PAVEMENT 1. THE PLATFORM BEFORE THE WESTERN FAÇADE. Tizio14 tells us that this platform with its three steps was laid down in 1448, under the direction of Giovanni Borghesi, then Rettore of the Opera. Originally there were apparently five designs upon it, of which, however, only four were still distinguishable when, in the seventeenth century, Landi wrote his elaborate description of the floor.15 These were: In the centre, as at present, the Pharisee and the Publican kneeling before a round Temple: On either side a vase; the one inscribed Mel (Honey), the other Fel (Gall), symbolic perhaps of the imperfection of earthly joys. On the right-hand side on entering was the Sacrifice of Abel; and on the other side, Landi says, that there was no pictured design, but merely a fancy pattern of coloured marbles, probably replacing a scene previously destroyed by time and hard usage. The constant stream of traffic across this Platform has necessitated frequent restoration of the Pavement; and the story of Abel has now entirely vanished. The vase, also, on the right, now bears the label Lac (Milk), instead of Fel, perhaps in allusion to the Promised Land, and the Golden Jerusalem of Bernard of Clairvaux’s hymn. This work is executed in the earliest of the four principal methods of design: namely a trapano; that is to say, outlined on a slab of white marble in little dots made with a trepanning drill. The figures of the Pharisee and the Publican are executed with great spirit, but are entirely modern in feeling and conception.16 Each figure is formed of a slab or slabs of white marble, cut in outline, and let into a background, of which the atmosphere is black and the ground red marble, so that each figure stands out clear and distinct. Lines of feature, folds of robes and other accessories are outlined, as described above, with a trepanning drill. Certain pieces of yellow marble have been added at the sides of the picture, which seem unnecessary and even discordant. They may have been placed there during the restorations which took place here but a few years since. 2. THE SPACES IN THE THREE DOORWAYS OF THE WESTERN FAÇADE. The three much-worn scenes that remain here evidently represent the “Ceremonies of Ordination” in the three degrees; and such is the opinion of Faluschi, Landi, and Della Valle. Padre Everardo Micheli, however, wishes us to believe that these scenes illustrate the “Reconciliation of the Penitent:” a proposition which seems to me both far-fetched and improbable. These works, executed in the same methods and with the same materials as those just described, retain far more of their original feeling and sentiment; and it is interesting to compare them with a similar set in the doorways of San Giovanni (the Baptistery), which represent the “Birth,” “Baptism,” and “Anointing of an Infant Christian.” In the first case we have, to the extreme right, the “Ordination of the Deacon;” next, that “of the Priest;” and, finally, that “of the Bishop.” In the other, to the extreme left, is the “Birth of the Child” (a composition curiously similar to that employed by many painters at this period for the Birth of St. John the Baptist): then “Its Baptism;” and lastly, “Its Anointing and Reception into the Church of Christ.” Of these three scenes, commenced in 1450 by a certain Bartolomeo di Mariano, called Il Mandriano, from designs made by one Nastagio di Guasparre; that in the centre, which we read was executed by Antonio Federighi (1451),17 is very much the finest, 14 15 17 18 ALINARI PHOTO.] [DESIGNED BY GIOVANNI DI MAESTRO STEFANO (?) although there is a certain similarity in general conception throughout. On further research, we find that a certain Guasparre, described as “dipentore nostro,” made a design for the space before the door for the then existing Porta del Perdono.18 This design represented the “Consecration of the Duomo” in 1174,19 and was executed by Corso di Bastiano of Florence. Now Guasparre d’Agostino, also designated as “nostro dipentore,“20 about this same time painted certain scenes from the Life of S. Bernardino for the Sacristy of the Duomo, and also decorated the apse of the Baptistery with frescoes of the “Crucifixion and Burial of Christ.”21 We may not unreasonably suppose that the above-mentioned Nastagio was his son or pupil, and that the father and son, or master and pupil, were associated together in all these similar works around the doors of the Cathedral and Baptistery. Unfortunately the work known to have been designed by Guasparre before the Porta del Perdono was, together with that entrance itself, ruthlessly destroyed in 1661, so that we have nothing certain remaining of his Pavement work upon which to start comparison. The force and charm, however, of the compositions, still existing before the Western Doorway of the Cathedral; show that they must have been executed from the designs of no mean or inferior draughtsman. We find also several references at this date,22 to work done outside the Duomo by Bastiano di Corso, a Florentine, fine work by whom, as we shall see presently, still exists inside also; but it is not easy to identify the exact portion laid down by him and his son Corso, who, as we have seen above, was employed on the work before the Porta del Perdono. It is interesting to notice how sharp and clear is the trepanning work in the older of these designs, and how close together the points have been drilled. It would appear as if, contrary to the method employed in the more modern work, no graving tool had been used, nor any stucco to fill up the holes and outlines. * * * * * And now we enter the Church. 3. THE NAVE. The first thing that meets the eye is an inscription: “CASTISSIMUM VIRGINIS TEMPLUM CASTE MEMENTO INGREDI.” It is unknown by whom, or when, this inscription was laid down, but it is possible that it was introduced at the same time as the design which follows it. III. HERMES TRISMEGISTUS (No. 33) Beyond this appears the commanding figure of a man in a high crowned head-dress, apparently an Eastern Sage, holding out with his right hand, to two other men, a book inscribed SUSCIPITE O LICTERAS ET LEGES EGYPTII; while with his left, he points to a quotation on a slab supported by two winged sphinxes. The principal figure represents the semi-mythical Hermes Mercurius Trismegistus, who, as we read below, was “Contemporaneus Moysi.” The two men, one old and turbaned, and the other veiled, may perhaps typify the learned men of the East and West. (Ill. III.) The introduction of this mysterious personage, whose very existence is extremely doubtful, is most interesting to the student of Renaissance philosophical and theological ideas. Since to his fabled authorship are attributed a vast number of works dealing with ancient wisdom and religious belief, as well as many treatises on ecclesiastical ceremonial, the placing of him on the threshold of this magnificent Temple is not without appropriate suggestion. From the principal work attributed to him “the Poemander”,23 is drawn the quotation inscribed on the slab beside him here; and the enthusiastic attitudes of the two Seekers after Knowledge before him are very forcibly expressed. This admirable design was placed here in 1488, under the Rectorship of Alberto Aringhieri, mentioned in the last chapter. He, being a Knight of St. John of Jerusalem and of Rhodes, must have been familiar with the mystical tastes and theories of those who endeavoured to bring the learning, lore, and art of Pagan ideals into line with Christian Dogma and Faith. Hence the choice under his direction of this subject, and, as we shall presently see, of the ten Sibyls also. It is not definitely known who designed this group; but it is generally supposed, with considerable show of reason, to have been Giovanni di Maestro Stefano:24 and it appears to have been the last of the series commissioned by Aringhieri, as Rettore, since his occupation of that post ended in 1498.25 He seems, though, seven years later, to have commissioned Pinturicchio’s “Allegory of Fortune.” The next design is that of the Badges or Emblems of Siena, surrounded by those of her allies. In the middle is the Wolf of Siena suckling the Twins. In a circle round her are the symbols of the following cities; Florence (a Lion, the “Marzocco”); Lucca (a Lynx); Pisa (a Hare); Viterbo (an Unicorn); Perugia (a Stork); Rome (an Elephant bearing a Tower); Orvieto (a Goose); and Arezzo (a 19 20 21 22 23 24