crossANNO DN͞I MO. CO. OCTUAG͞O SEPTIMO. SEPULCRŪ.TEPLŪ. ET. CRUC̄E. X͞PI. SARA.CENI. CEPERUNT. PERFIDI. SUB. SALADINO.MILITE.... ANNO. PROXIMO. SEQUENTI. DIE....KL̄. AGOSTO. HEC. HECCLĀ. DE NOVO REFŪDARI. CEPIT.... SOLO. QUAE LAUDAT. DM̄. XBEATE. MARIE. VIT̄V. BLASI͞U CONDORD͞IU. CERBONIUET ALEXIUM.GUIDUS. MAISER, EDIFICAVIT. O....[177]Ridolfi,Guida di Lucca, p. 10.[178]Merzario,I Maestri Comacini, Vol. I. chap. vi. p. 193.[179]S. Martin von Lucca, und die Anfänge der Toscanischen Sculptur im Mittelalter, von August Schmarsow, pp. 56, 57. Breslau, 1890.[180]Cav. F. Tolomei,Guida di Pistoja, p. 74. Pistoja, 1821.[181]Doctor to King Desiderius.[182]Reproduced in Muratori'sRerum Italicum, verse 636et seq.—"Inteluum scandunt et amicos insimul addunt... veniunt properantesArtificesque, boni nimium satis ingeniosi;Strenuus inter quosque rogatus adesse JoannesQuinque Bonus de Vesonzo cognomine dictus."[183]Merzario,I Maestri Comacini, Vol. I. chap. iv. pp. 161, 162.[184]Vasari,Life of Arnolfo di Lapo.[185]I Maestri Comacini, Vol. I. chap. iv. p. 162.[186]Milanesi, quoting other experts, says that when IX. is placed between hundreds and units it signifies 90, consequently the date is 1196.[187]One only has to glance at the names of the well-known artists to see how common this use of nicknames was. We have Masaccio (the bad Thomas); Cronaca, whose real name was Pollajuolo; Domenico Bigordi, called Ghirlandajo; the iron-worker Niccolò Grossi, called Caparra; Antonio Allegri, called Correggio; Francesco Barbieri, known as Guercino; Alessandro Buonvicino, called Moretto da Brescia (the dark man from Brescia); Pietro Vanucci, Perugino; Andrea Vanucchi, del Sarto; Michelangelo Amerighi, nicknamed Caravaggio; Domenico Zampieri, styled Domenichino; and hundreds of others. No doubt the Buschetto architect of Pisa was only another instance; probably he had a shock head of hair and was nicknamed "the little bush."[188]Marchese Ricci,Dell' Architettura in Italia, Vol. I. cap. ii. p. 485, note 40.[189]The name of this councillor of theOperastill exists in Lucca, where are more than one family of Pagni.[190]Tolomei,Guida di Pistoja per gli amanti delle belle arti, 1821.—Pistoja, p. 38 (note).[191]S. Paolo was destroyed by fire in 1896, only the outer walls having escaped.[192]Symonds,The Renaissance, etc. Fine Arts, chap. iii. p. 77.[193]Ciampi,Notizie inedite della Sagrestia Pistojese. Firenze.[194]Merzario,I Maestri Comacini, Vol. I. chap. v. p. 177.[195]Ruskin,Val d'Arno, p. 17.[196]This must have been another scion of the Buoni family, probably a small man, and therefore called "Little Buono."[197]This rustic style is carried to an eccentric excess in some buildings of the seventeenth century, such as the Parliament House (Palazzo Monte Citorio) at Rome, and Zucchari's house in Florence. In Monte Citorio the window-sills are hewn and shaped smoothly for half their length, the other half being left in the rough. Zucchari has done the same with his door-lintels and window-panels. The effect is an incongruity, not pleasing to the eye.[198]Merzario,I Maestri Comacini, Vol. II. ch. xxxviii. p. 420.[199]Mulroody'sS. Clemente. St. Asterius, Bishop of Amasia (fourth century), describes a fresco of the martyr St. Euphemia of Chalcedonia, which moved him to tears, and St. Paulinus of Nola (died 401) describes a Basilica covered with paintings.[200]St. Ephrun, Deacon of Edessa, in hisSermo I. de Pœnitentia XV., uses glass mosaic as an illustration of the sacrament of penance. "Penance is a great furnace: it receives glass and changes it into gold. It takes lead and makes it silver.... Have you seen glass, how it is made of the colour of beryl, emerald, and sapphire? You cannot doubt, too, that penance makes silver of lead and gold of glass. If human art knows how to mix nature with nature, and change what was before, how much more would the grace of God be able to effect? Man has added gold-leaf to glass, and in appearance that seems gold which was before glass. If man had chosen to mix in gold, the glass would have been made golden; but avoiding the cost, he invented the fitting together and inserting the thinnest leaf."[201]The Dal Colle family were nobles of Pisa. A deed in the archives of the Duomo dated 1229 registers the sale of some land to Giunta by the Archbishop Vitale—"Vendo tibi Juncti q Guidotti de Colle totum unum edificium," etc.[202]"Circa an. sal. 1210, Juncta Pisanus ruditer a Græcis Instructus amoenitas primus ex Italia artem apprehendit."—Padre Angeli,Collis Paradisi seu sacri conv. assissiens. historiæ, Liber I. Tit. xxiv.[203](See Vasari,Life of Andrea Tafi.) Tafi was a nickname. In his matriculation to the Arte de' Medici e Speziali, where the painters had to enroll themselves after their split from the Masonic Guild, he is written as "Andreas vocatus Tafi olim Ricchi."[204]Archives of Opere Del Duomo, Pisa. Docum. 26, libro sud anno 1301 sud "Magister Cimabue pictor Magiestatis pro se et famulo suo pro diebus quatuor quibus laborarunt in dicta Opera ad rationem solid. X. pro die libr II."II. Cimabue pictor Magiestatis sua sponte confessus fuit se habuisse a D. Operario de summa libr: decem quas dictus Cimabue habere debebat de figura S. Johannis quas fecit juxta Magiestatem libr V sol X."III. Bacciomeus filius Jovenchi mediolanensis ... fuit confessus se habuisse ... de precio vitri laborati et colorati quem facere debuit juxta ... et voluntatem magistri Cimabovis pictoris, quem vitris Bacciomeus vendere et dare debet suprad. operario ad rationem den. XXIIII pro qualibet libra pro operando ipsum ad illas figuras que noviter fiunt circe Magiestatem inceptam in majori Ecclesia S. Maria."—See Morrona,Pisa Illustrata, etc., vol. i. p. 249, notes.[205]Quoted by Del Migliore inFirenze Illustrata, p. 414.[206]Gozzoli is in some books entered as Benozzo di Lese de Fiorenza, in others as "di Cese de Florentia." So uncertain is mediæval spelling.[207]Extract from the book entitled in Latin: "Introitus et exilus facti et habiti a Burgundio Tadi Operario opere sc͠e marie dis. majoris ecclē. subA.D.MCCCII. Ind IIII de mense madij incept...Magistri Magiestatis majorisMagister Franciscus pictor de S. Simone porte maris cum famulo suo pro diebus V quibus in dicta opera Magiestatis laborarunt ad rationem solid. X pro die ... Victorius ejus filius pro se et Sandruccio famulo suo, etc. Lapus de Florentia, etc ... Michael pictor, etc ... Duccius pictor, Tura pictor etc. Datus pictor ... Document 25."—See Morrona,Pisa Illustrata, vol. i. p. 249, note.[208]Upechinus must be dog Latin for Upettino, who is in theBrevePisani "ab eo ad operam Magiestatis." Johannes Orlandi was a member of a Lombard family, who had been long in the guild. The Orlandi are found at Milan, Siena, etc.[209]See Milanesi'sDocumenti per l' Arte Senese, pp. 1 to 56. Breve dell' arte de' Pittori Senesi.[210]All the Masters marked * were receiving pay at the Duomo of Siena in 1318.[211]All the Masters marked † gave their opinion, on oath, of the works at the Duomo of Siena in councils in 1333.[212]Merzario,I Maestri Comacini, Vol. I. chap. vii. p. 210, quoted from an ancient MS. cited by Cicognara.[213]Pope Alexander had a long reign from 1159 to 1181, but there were four antipopes to harass him during its duration.[214]Reproduced in Milanesi'sDocumenti per l' Arte Senese, vol. i. pp. 128, 129.[215]Milanesi,Documenti per la Storia dell' Arte Senese, p. 130.[216]These Four Holy Martyrs are the "Santi Quattro Incoronati," the patron saints of the guild. We find from theBrevethat at the feast of the dead, on November 2, all the Masters and officers of the guild had to meet in their chapel to hear mass. Each Master was to bring a wax taper not weighing less than half-a-pound, and was to make an offering for the maintenance of the chapel, etc., of whatever he could afford. The Rector (Grand Master) was obliged by oath to enforce the strict observance of the day, and to fine any Magister who, being in Siena, should absent himself from the meeting, fifteen soldi, besides the offering he ought to have made. They had another greater feast of the Four Martyrs in June, the grandfêteof the guild.[217]In Florence and Venice theriveditoriare calledprobi viri, sometimes they areBuonuomini.[218]Milanesi,Op. cit.pp. 153, 154.[219]Milanesi,Op. cit.vol. i. p. 157.[220]"De immunitate magistri Johannis quondam magistri Nichole."Item statuerunt et ordinaverunt, quod magister Johannes filius quondam magistri Nicchole, qui fuit de civitate Pisana, pro cive et tanquam civis senensis habeatur et defendatur. Et toto tempore vite sue sit immunis ab omnibus et singulis honeribus comunis Senensis: seu datiis et collectis et exactionibus et factionibus et exercitiis faciendis et aliis quibuscumque."—Milanesi,Op. cit.vol. i. p. 163.[221]Milanesi,Op. cit.p. 162.[222]Ibid.p. 173, note.[223]Milanesi,Op. cit.p. 103, note. Magister Michele, the lawyer's son, was in 1360 Master builder of the chapel towards the Piazza del Campo, and in 1370 wascamarlengoof theOpera.[224]Fergusson,Handbook of Architecture, p. 770.[225]Milanesi,Op. cit.p. 228, gives the original Latin report of the deliberation.[226]Milanesi,Op. cit.vol. i. p. 242.[227]Milanesi,Documenti per la Storia dell' Arte Senese, vol. ii. p. 166.[228]He was alsocapo maestroof the works of the cathedral at Spello, near Orvieto.[229]Merzario,Op. cit.Vol. I. chap. vii. p. 231.[230]Document quoted by Merzario,I Maestri Comacini, Vol. I. chap. vii. p. 216. Milanesi,Op. cit.vol. iii. p. 282.[231]Milanesi,Op. cit.vol. iii. p. 77.[232]All these letters are reproduced in Milanesi'sDocumenti per l' Arte Senese, vol. ii. pp. 430-452.[233]"Entro il quale facevasi l'acconciatura delle pietre, el erano le masserizie e la scuola."—Della Valle,Il Duomo di Orvieto.[234]Milanesi,Doc. per la storia, etc., vol. ii. p. 48.[235]1459. Uno letto e chapezale di penna di peso libbre 200 die dare lire trenta-una; soldi uno: denari otto. Sono per tanti ne abiamo messi a uscita di Vanni di Ser Giovanni di Bindo Kamarlingho; il quale letto lo tiene al presente Maestro Donatello da Firenze che fa le porti di bronzo. Archivio detto Libro Rosso a carte 162 pergo. Milanesi,Documenti, etc., vol. ii. p. 298.[236](The five preceding artists were in the Council of July 1355.)[237]Milanesi'sVasari, Vita Niccolò e Giovanni Pisano, vol. i. p. 388.[238]The Cardinal died in 1290, so he must have given the commission during his lifetime.[239]In the register of deaths it occurs that Arnolfo's mother's name was Perfetta.[240]Gaye,Carteggio degli Artisti, vol. i. pp. 445, 446.[241]We find these same men, Alberto and Enrico his kinsman, sculpturing in San Pietro at Bologna in 1285.[242]Baldinucci, tom. iv. p. 96.[243]Milanesi, vol. i. p. 283.[244]La Metropolitana Fiorentina Illustrata, p. 54. Firenze, Molini e Co., 1820.[245]La Metropolitana Fiorentina Illustrata, p. 59. Firenze, Molini e Co.[246]Francesco Talenti, head of thelaborerium.[247]Cesare Guasti,Santa Maria del Fiore, p. 77.[248]Here is another office in the organization of the guild which we have not hitherto met with. TheRegolatorimust have formed the economical council, to control expenses.[249]Carta 12 ofAntica Necrologia di Santa Reparatain the Archives of the Opera del Duomo.Q. Davanzato f Alfieri.Q. Cambio chiavaiuolo.Q. Magister Arnolfus de l'opera di Santa Reparata MCCCX.[250]Guasti,Santa Maria del Fiore, p. 29.[251]Cronaca di Lorenzo Ghiberti MS.in the Magliabecchian Library, Florence.—"Le prime storie che sono all'edificio, furono di sua mano scolpite e disegnate. Nella mia età vidi provvedimenti di sua mano, di dette istorie egregissimamente disegnati."[252]"Compose et ordinò Giotto il campanile di marmo di Santa Reparata di Firenze, notabile campanile et di gran costo. Commisevi due errori: l'uno che non ebbe ceppo da piè, l'altro che fu stretto: posesene tanto dolore al cuore ch'egli, si dice, ne infermò et morissene."—Commento alla Divina Commedia d'Anonimo fiorentino del secolo XIV., vol. ii. p. 188. Bologna, 1868.[253]"Ac etiam cum magistro Andrea, majore magistro dicte opere: facto prius et oblento partito inter eos ad fabas nigras et albas." Andrea was a scholar of Giovanni Pisano, and had worked with him at Pisa and Siena, where he is mentioned asfamulus Magistri Johannis.[254]"A Franciescho Talenti e al compagno da Firenze tre fiorini d'oro per lo consiglio che diederono del Duomo nuovo."—Milanesi,Documenti per l' Arte Senese, Aprile 1336.[255]Milanesi,Documenti per la Storia dell' Arte Senese, tom. i. p. 200.[256]Ristoro had a son, Taddeo di Ristori, who wascapo maestroof the Loggia dei Lanzi in 1376.[257]This and many other deliberations at the same epoch put it beyond a doubt that Arnolfo's church was considerably changed in form, as time went on, if not rebuilt entirely.[258]"Andreas Cionis, vocatus Arcagnolus, pictor populi Sancti Michaelis Visdominis, juravit et promisit dicte arte, pro quo fideiussit Nerius Fioravantis Magister in MCCCLII, indictione sexta, die XX ottubris" (sic).—Milanesi's Vasari,Vita di Andrea Orcagna.[259]Extract from the books of theOpera, 1372, December 13—"Francischus Salvetti de sua propria et spontanea voluntæ qui erat caput magister dicti operis Sancte Reparate renuntiat et repudiat dicto officio, et quot non vult confirmus esse caput magistro in presentæ operarorum."[260]Milanesi,Vasari, Vita Filippo Brunelleschi, vol. ii. p. 351, note.[261]Cesare Guasti,La Cupola di Santa Maria del Fiore, pp. 34, 35.[262]SeeSculpture, Renaissance and Modern, pp. 63, 64, published by Messrs. Sampson Low and Marston.[263]Tuscan Sculptors, Vol. I. chap. v. p. 135.[264]Milanesi'sVasari, Vita di Filippo Brunellesco, vol. ii. p. 362, notes. See also Cesare Guasti,La Cupola di Santa Maria del Fiore, p. 54, document 116.[265]Merzario,I Maestri Comacini, chap. xii. I have taken the facts for this chapter from Merzario's collection of documents, not being able to get at the archives of Milan.[266]Magister Marcus de Frixono Inzignerius Fabricæ, decessit die supra scripto (10 Julii 1390) circa horam Ave Marie in mane et Corpus ejus sepultum fuit honorifice in Ecc. S. Teglæ ipsi die post prandium.[267]Is this by chance a French rendering of Giovanni da Campione?[268]I Maestri Comacini, Vol. I. chap. xii. p. 342.[269]Merzario,I Maestri Comacini, Vol. I. chap. xviii. p. 512.[270]Giulini,Memorie della città e Campagna di Milano, lib. lxxxv. (anno 1452), p. 497.[271]Merzario,Op. cit.Vol. I. chap. xviii. p. 521.[272]See Merzario,Op. cit.Vol. I. chap. xviii. pp. 522, 523.[273]Merzario, Vol. I. chap. xviii. p. 526.[274]Pro solvendis magistris sex qui venerunt a Mediolano ad Monasterium occasione incantandi opus marmoris pro fabrica.[275]Merzario,I Maestri Comacini, Vol. I. chap. xvii. pp. 494-499.[276]Promiserunt et dederunt ad faciendum fabricandum et laborandum ... totam fazatam dicte Ecclesie ac portam, cum fenestris et aliis laboreriis necessariis pro ipsa fazata ... juxta modum et designationem ipsis fratribus dandum et dandem per dictum Monasterium.—Merzario,I Maestri Comacini, Vol. I. chap. xvii. p. 508, note 51.[277]Archivio di Stato in Milano.—Reg. Miss.N. 210, vol. clviii.[278]Sulle Consorterie delle Arti Edificative in Venezia, capo ii. p. 14.[279]"I quattro martiri patroni de la dita arte cioè San Nicostrato, San Claudio, San Castorio e S. Superian."—Sagredo,Sulle Consorterie è, etc.[280]Agostino Sagredo,Sulle Consorterie delle Arti Edificative in Venezia, capo ix. pp. 84, 85.[281]Gualandi,Memorie Originali Italiane risguardanti le Belle Arti, Parte vi. p. 108. Bologna, 1485.[282]Merzario,Op. cit.Vol. II. chap. xxii. p. 16.[283]Notizie storiche intorno al Palazzo Ducale di Venezia, p. 1, by Gius. Cadorin. Venezia, 1838.[284]Merzario,Op. cit.Vol. II. cap. xxii. p. 23.[285]Monsignor Paolo Giovio wrote a poem on Antonio."Un Riccio nel contado all 'età nostraNacque di Como, che fu buon scultoreE l'opre di costui Venezia mostra:Fece un Adamo, ch'è di tanto valoreChe di bellezza cogli antichi giostra," etc.[286]To show how difficult it is to trace names through the queer old documents, we may mention that this sculptor is sometimes written in the archives as "Guglielmo Bergamasco"—probably he entered the lodge at Bergamo—and sometimes "Vielmo Vielmi di Alzano."[287]Merzario,I Maestri Comacini, Vol. II. chap. xxiii. p. 47.[288]The parentage of Pietro is clearly proved by documents in the Venetian archives. One is a deed dated Sept. 19, 1492, drawn up by the notary Gerolamo Bossis. It confirms the will of Magister Petrus Lombardus quondam Martini lapiciola. Another, dated Sept. 8, 1479, drawn up by the notary Bartolommeo de Vegiis, begins—"Io piero lombardo fiolo di ser martino de charona, tajapiera in Venesa in la chontrada de samoele in casa del duse testimonio e scrive de mano propria." Here Pietro tells us not only his father's name Martin, but his birthplace Carona, a village near Arogno and Campione—the place his relative Marco da Carona came from. In fact here we have the Campionese school still surviving and sending forth fine artists.[289]Marchese Ricci,Dell' Architettura in Italia, Vol. II. chap. xix. p. 605.[290]VIR P(RO)BUS. | DOCT' PASCA- | LIS RI | TA, VO CAT: S͞VMO CUM STUDIO | C͞ODIDIT | H͞UC CEREVM:[291]Marchese Ricci,Dell' Architettura in Italia, Vol. I. chap. ii. p. 467.[292]Ibid.[293]Ibid.[294]Boito,Architettura del Medio Evo. I Cosmati, p. 124.[295]† ANNO V̊ PONTI͡F D͡NI CELESTINI III P͡P G͡E GIO CA͠DIN LUCE ET DE D͡NI PP CAMERARIO JUBENE OPUS ISTUD FACTȖ Ȇ.[296]This Giovanni,Jubenteor President of the lodge, would probably be the same one under whom the bronze doors of the Baptistery of S. John Lateran were made. By this date he has risen to be Abbot.[297]D͠NS.Albertus. Venerabilis anagnin e͞ps fecit hoc fieri paviment͠u pi (pro illo) construendomagister Rainaldus anagnin canonicus,DNI.Honorii III.PP.subdiacon' et capellan'C obolos aureos erogavit. Magist. Cosmos hoc op fecit.[298]Storia della città di Roma nel medio evo, translated into Italian by Renato Manzato, vol. vii. p. 744. Venice, 1875.[299]Merzario,I Maestri Comacini, Vol. II. chap. xxxviii. p. 413.[300]Merzario,I Maestri Comacini, Vol. II. chap. xxxvii. p. 415.[301]Probably the son of Cristoforo di Milano, who worked so much in Venice and Udine. He may have been employed by the Medici in their buildings at Pietrasanta.[302]"Superstans marmorariis laborantibus, lapides marmoreas pro ecclesia et palatio Sancti Marci presidens fabrice palatii apostolici."—Muntz,Les Arts à la Cour des Papes, vol. i. p. 606. It is interesting to note that the head of thelaboreriumbore the same title as inA.D.1250, when Guido da Como wrote on his pulpit, "Superstans Turrisianus."[303]Merzario,I Maestri Comacini, Vol. II. chap. xxxviii. p. 424.[304]Merzario,I Maestri Comacini, Vol. II. chap. xxxvi. p. 359.[305]"Petrus de Martino Mediolanensis ob triumphalem arcis novæ arcum solerter structum et multa statuariæ artis suo munere hinc œdi oblata, a divo Alphonso rege in equestrem adscribi ordinem et ab ecclesia hoc sepulcro pro se ac posteris suis donari meruit MCCCCLXX."—Merzario,Op. cit.Vol. II. chap. xxxvi. p. 375, note 4.[306]Milanese State Archives. Documents of the Dukes Sforza.
crossANNO DN͞I MO. CO. OCTUAG͞O SEPTIMO. SEPULCRŪ.TEPLŪ. ET. CRUC̄E. X͞PI. SARA.CENI. CEPERUNT. PERFIDI. SUB. SALADINO.MILITE.... ANNO. PROXIMO. SEQUENTI. DIE....KL̄. AGOSTO. HEC. HECCLĀ. DE NOVO REFŪDARI. CEPIT.... SOLO. QUAE LAUDAT. DM̄. XBEATE. MARIE. VIT̄V. BLASI͞U CONDORD͞IU. CERBONIUET ALEXIUM.GUIDUS. MAISER, EDIFICAVIT. O....
crossANNO DN͞I MO. CO. OCTUAG͞O SEPTIMO. SEPULCRŪ.TEPLŪ. ET. CRUC̄E. X͞PI. SARA.CENI. CEPERUNT. PERFIDI. SUB. SALADINO.MILITE.... ANNO. PROXIMO. SEQUENTI. DIE....KL̄. AGOSTO. HEC. HECCLĀ. DE NOVO REFŪDARI. CEPIT.... SOLO. QUAE LAUDAT. DM̄. XBEATE. MARIE. VIT̄V. BLASI͞U CONDORD͞IU. CERBONIUET ALEXIUM.GUIDUS. MAISER, EDIFICAVIT. O....
[177]Ridolfi,Guida di Lucca, p. 10.
[178]Merzario,I Maestri Comacini, Vol. I. chap. vi. p. 193.
[179]S. Martin von Lucca, und die Anfänge der Toscanischen Sculptur im Mittelalter, von August Schmarsow, pp. 56, 57. Breslau, 1890.
[180]Cav. F. Tolomei,Guida di Pistoja, p. 74. Pistoja, 1821.
[181]Doctor to King Desiderius.
[182]Reproduced in Muratori'sRerum Italicum, verse 636et seq.—
"Inteluum scandunt et amicos insimul addunt... veniunt properantesArtificesque, boni nimium satis ingeniosi;Strenuus inter quosque rogatus adesse JoannesQuinque Bonus de Vesonzo cognomine dictus."
[183]Merzario,I Maestri Comacini, Vol. I. chap. iv. pp. 161, 162.
[184]Vasari,Life of Arnolfo di Lapo.
[185]I Maestri Comacini, Vol. I. chap. iv. p. 162.
[186]Milanesi, quoting other experts, says that when IX. is placed between hundreds and units it signifies 90, consequently the date is 1196.
[187]One only has to glance at the names of the well-known artists to see how common this use of nicknames was. We have Masaccio (the bad Thomas); Cronaca, whose real name was Pollajuolo; Domenico Bigordi, called Ghirlandajo; the iron-worker Niccolò Grossi, called Caparra; Antonio Allegri, called Correggio; Francesco Barbieri, known as Guercino; Alessandro Buonvicino, called Moretto da Brescia (the dark man from Brescia); Pietro Vanucci, Perugino; Andrea Vanucchi, del Sarto; Michelangelo Amerighi, nicknamed Caravaggio; Domenico Zampieri, styled Domenichino; and hundreds of others. No doubt the Buschetto architect of Pisa was only another instance; probably he had a shock head of hair and was nicknamed "the little bush."
[188]Marchese Ricci,Dell' Architettura in Italia, Vol. I. cap. ii. p. 485, note 40.
[189]The name of this councillor of theOperastill exists in Lucca, where are more than one family of Pagni.
[190]Tolomei,Guida di Pistoja per gli amanti delle belle arti, 1821.—Pistoja, p. 38 (note).
[191]S. Paolo was destroyed by fire in 1896, only the outer walls having escaped.
[192]Symonds,The Renaissance, etc. Fine Arts, chap. iii. p. 77.
[193]Ciampi,Notizie inedite della Sagrestia Pistojese. Firenze.
[194]Merzario,I Maestri Comacini, Vol. I. chap. v. p. 177.
[195]Ruskin,Val d'Arno, p. 17.
[196]This must have been another scion of the Buoni family, probably a small man, and therefore called "Little Buono."
[197]This rustic style is carried to an eccentric excess in some buildings of the seventeenth century, such as the Parliament House (Palazzo Monte Citorio) at Rome, and Zucchari's house in Florence. In Monte Citorio the window-sills are hewn and shaped smoothly for half their length, the other half being left in the rough. Zucchari has done the same with his door-lintels and window-panels. The effect is an incongruity, not pleasing to the eye.
[198]Merzario,I Maestri Comacini, Vol. II. ch. xxxviii. p. 420.
[199]Mulroody'sS. Clemente. St. Asterius, Bishop of Amasia (fourth century), describes a fresco of the martyr St. Euphemia of Chalcedonia, which moved him to tears, and St. Paulinus of Nola (died 401) describes a Basilica covered with paintings.
[200]St. Ephrun, Deacon of Edessa, in hisSermo I. de Pœnitentia XV., uses glass mosaic as an illustration of the sacrament of penance. "Penance is a great furnace: it receives glass and changes it into gold. It takes lead and makes it silver.... Have you seen glass, how it is made of the colour of beryl, emerald, and sapphire? You cannot doubt, too, that penance makes silver of lead and gold of glass. If human art knows how to mix nature with nature, and change what was before, how much more would the grace of God be able to effect? Man has added gold-leaf to glass, and in appearance that seems gold which was before glass. If man had chosen to mix in gold, the glass would have been made golden; but avoiding the cost, he invented the fitting together and inserting the thinnest leaf."
[201]The Dal Colle family were nobles of Pisa. A deed in the archives of the Duomo dated 1229 registers the sale of some land to Giunta by the Archbishop Vitale—"Vendo tibi Juncti q Guidotti de Colle totum unum edificium," etc.
[202]"Circa an. sal. 1210, Juncta Pisanus ruditer a Græcis Instructus amoenitas primus ex Italia artem apprehendit."—Padre Angeli,Collis Paradisi seu sacri conv. assissiens. historiæ, Liber I. Tit. xxiv.
[203](See Vasari,Life of Andrea Tafi.) Tafi was a nickname. In his matriculation to the Arte de' Medici e Speziali, where the painters had to enroll themselves after their split from the Masonic Guild, he is written as "Andreas vocatus Tafi olim Ricchi."
[204]Archives of Opere Del Duomo, Pisa. Docum. 26, libro sud anno 1301 sud "Magister Cimabue pictor Magiestatis pro se et famulo suo pro diebus quatuor quibus laborarunt in dicta Opera ad rationem solid. X. pro die libr II.
"II. Cimabue pictor Magiestatis sua sponte confessus fuit se habuisse a D. Operario de summa libr: decem quas dictus Cimabue habere debebat de figura S. Johannis quas fecit juxta Magiestatem libr V sol X.
"III. Bacciomeus filius Jovenchi mediolanensis ... fuit confessus se habuisse ... de precio vitri laborati et colorati quem facere debuit juxta ... et voluntatem magistri Cimabovis pictoris, quem vitris Bacciomeus vendere et dare debet suprad. operario ad rationem den. XXIIII pro qualibet libra pro operando ipsum ad illas figuras que noviter fiunt circe Magiestatem inceptam in majori Ecclesia S. Maria."—See Morrona,Pisa Illustrata, etc., vol. i. p. 249, notes.
[205]Quoted by Del Migliore inFirenze Illustrata, p. 414.
[206]Gozzoli is in some books entered as Benozzo di Lese de Fiorenza, in others as "di Cese de Florentia." So uncertain is mediæval spelling.
[207]Extract from the book entitled in Latin: "Introitus et exilus facti et habiti a Burgundio Tadi Operario opere sc͠e marie dis. majoris ecclē. subA.D.MCCCII. Ind IIII de mense madij incept...
Magistri Magiestatis majoris
Magister Franciscus pictor de S. Simone porte maris cum famulo suo pro diebus V quibus in dicta opera Magiestatis laborarunt ad rationem solid. X pro die ... Victorius ejus filius pro se et Sandruccio famulo suo, etc. Lapus de Florentia, etc ... Michael pictor, etc ... Duccius pictor, Tura pictor etc. Datus pictor ... Document 25."—See Morrona,Pisa Illustrata, vol. i. p. 249, note.
[208]Upechinus must be dog Latin for Upettino, who is in theBrevePisani "ab eo ad operam Magiestatis." Johannes Orlandi was a member of a Lombard family, who had been long in the guild. The Orlandi are found at Milan, Siena, etc.
[209]See Milanesi'sDocumenti per l' Arte Senese, pp. 1 to 56. Breve dell' arte de' Pittori Senesi.
[210]All the Masters marked * were receiving pay at the Duomo of Siena in 1318.
[211]All the Masters marked † gave their opinion, on oath, of the works at the Duomo of Siena in councils in 1333.
[212]Merzario,I Maestri Comacini, Vol. I. chap. vii. p. 210, quoted from an ancient MS. cited by Cicognara.
[213]Pope Alexander had a long reign from 1159 to 1181, but there were four antipopes to harass him during its duration.
[214]Reproduced in Milanesi'sDocumenti per l' Arte Senese, vol. i. pp. 128, 129.
[215]Milanesi,Documenti per la Storia dell' Arte Senese, p. 130.
[216]These Four Holy Martyrs are the "Santi Quattro Incoronati," the patron saints of the guild. We find from theBrevethat at the feast of the dead, on November 2, all the Masters and officers of the guild had to meet in their chapel to hear mass. Each Master was to bring a wax taper not weighing less than half-a-pound, and was to make an offering for the maintenance of the chapel, etc., of whatever he could afford. The Rector (Grand Master) was obliged by oath to enforce the strict observance of the day, and to fine any Magister who, being in Siena, should absent himself from the meeting, fifteen soldi, besides the offering he ought to have made. They had another greater feast of the Four Martyrs in June, the grandfêteof the guild.
[217]In Florence and Venice theriveditoriare calledprobi viri, sometimes they areBuonuomini.
[218]Milanesi,Op. cit.pp. 153, 154.
[219]Milanesi,Op. cit.vol. i. p. 157.
[220]"De immunitate magistri Johannis quondam magistri Nichole.
"Item statuerunt et ordinaverunt, quod magister Johannes filius quondam magistri Nicchole, qui fuit de civitate Pisana, pro cive et tanquam civis senensis habeatur et defendatur. Et toto tempore vite sue sit immunis ab omnibus et singulis honeribus comunis Senensis: seu datiis et collectis et exactionibus et factionibus et exercitiis faciendis et aliis quibuscumque."—Milanesi,Op. cit.vol. i. p. 163.
[221]Milanesi,Op. cit.p. 162.
[222]Ibid.p. 173, note.
[223]Milanesi,Op. cit.p. 103, note. Magister Michele, the lawyer's son, was in 1360 Master builder of the chapel towards the Piazza del Campo, and in 1370 wascamarlengoof theOpera.
[224]Fergusson,Handbook of Architecture, p. 770.
[225]Milanesi,Op. cit.p. 228, gives the original Latin report of the deliberation.
[226]Milanesi,Op. cit.vol. i. p. 242.
[227]Milanesi,Documenti per la Storia dell' Arte Senese, vol. ii. p. 166.
[228]He was alsocapo maestroof the works of the cathedral at Spello, near Orvieto.
[229]Merzario,Op. cit.Vol. I. chap. vii. p. 231.
[230]Document quoted by Merzario,I Maestri Comacini, Vol. I. chap. vii. p. 216. Milanesi,Op. cit.vol. iii. p. 282.
[231]Milanesi,Op. cit.vol. iii. p. 77.
[232]All these letters are reproduced in Milanesi'sDocumenti per l' Arte Senese, vol. ii. pp. 430-452.
[233]"Entro il quale facevasi l'acconciatura delle pietre, el erano le masserizie e la scuola."—Della Valle,Il Duomo di Orvieto.
[234]Milanesi,Doc. per la storia, etc., vol. ii. p. 48.
[235]1459. Uno letto e chapezale di penna di peso libbre 200 die dare lire trenta-una; soldi uno: denari otto. Sono per tanti ne abiamo messi a uscita di Vanni di Ser Giovanni di Bindo Kamarlingho; il quale letto lo tiene al presente Maestro Donatello da Firenze che fa le porti di bronzo. Archivio detto Libro Rosso a carte 162 pergo. Milanesi,Documenti, etc., vol. ii. p. 298.
[236](The five preceding artists were in the Council of July 1355.)
[237]Milanesi'sVasari, Vita Niccolò e Giovanni Pisano, vol. i. p. 388.
[238]The Cardinal died in 1290, so he must have given the commission during his lifetime.
[239]In the register of deaths it occurs that Arnolfo's mother's name was Perfetta.
[240]Gaye,Carteggio degli Artisti, vol. i. pp. 445, 446.
[241]We find these same men, Alberto and Enrico his kinsman, sculpturing in San Pietro at Bologna in 1285.
[242]Baldinucci, tom. iv. p. 96.
[243]Milanesi, vol. i. p. 283.
[244]La Metropolitana Fiorentina Illustrata, p. 54. Firenze, Molini e Co., 1820.
[245]La Metropolitana Fiorentina Illustrata, p. 59. Firenze, Molini e Co.
[246]Francesco Talenti, head of thelaborerium.
[247]Cesare Guasti,Santa Maria del Fiore, p. 77.
[248]Here is another office in the organization of the guild which we have not hitherto met with. TheRegolatorimust have formed the economical council, to control expenses.
[249]Carta 12 ofAntica Necrologia di Santa Reparatain the Archives of the Opera del Duomo.
Q. Davanzato f Alfieri.
Q. Cambio chiavaiuolo.
Q. Magister Arnolfus de l'opera di Santa Reparata MCCCX.
[250]Guasti,Santa Maria del Fiore, p. 29.
[251]Cronaca di Lorenzo Ghiberti MS.in the Magliabecchian Library, Florence.—"Le prime storie che sono all'edificio, furono di sua mano scolpite e disegnate. Nella mia età vidi provvedimenti di sua mano, di dette istorie egregissimamente disegnati."
[252]"Compose et ordinò Giotto il campanile di marmo di Santa Reparata di Firenze, notabile campanile et di gran costo. Commisevi due errori: l'uno che non ebbe ceppo da piè, l'altro che fu stretto: posesene tanto dolore al cuore ch'egli, si dice, ne infermò et morissene."—Commento alla Divina Commedia d'Anonimo fiorentino del secolo XIV., vol. ii. p. 188. Bologna, 1868.
[253]"Ac etiam cum magistro Andrea, majore magistro dicte opere: facto prius et oblento partito inter eos ad fabas nigras et albas." Andrea was a scholar of Giovanni Pisano, and had worked with him at Pisa and Siena, where he is mentioned asfamulus Magistri Johannis.
[254]"A Franciescho Talenti e al compagno da Firenze tre fiorini d'oro per lo consiglio che diederono del Duomo nuovo."—Milanesi,Documenti per l' Arte Senese, Aprile 1336.
[255]Milanesi,Documenti per la Storia dell' Arte Senese, tom. i. p. 200.
[256]Ristoro had a son, Taddeo di Ristori, who wascapo maestroof the Loggia dei Lanzi in 1376.
[257]This and many other deliberations at the same epoch put it beyond a doubt that Arnolfo's church was considerably changed in form, as time went on, if not rebuilt entirely.
[258]"Andreas Cionis, vocatus Arcagnolus, pictor populi Sancti Michaelis Visdominis, juravit et promisit dicte arte, pro quo fideiussit Nerius Fioravantis Magister in MCCCLII, indictione sexta, die XX ottubris" (sic).—Milanesi's Vasari,Vita di Andrea Orcagna.
[259]Extract from the books of theOpera, 1372, December 13—"Francischus Salvetti de sua propria et spontanea voluntæ qui erat caput magister dicti operis Sancte Reparate renuntiat et repudiat dicto officio, et quot non vult confirmus esse caput magistro in presentæ operarorum."
[260]Milanesi,Vasari, Vita Filippo Brunelleschi, vol. ii. p. 351, note.
[261]Cesare Guasti,La Cupola di Santa Maria del Fiore, pp. 34, 35.
[262]SeeSculpture, Renaissance and Modern, pp. 63, 64, published by Messrs. Sampson Low and Marston.
[263]Tuscan Sculptors, Vol. I. chap. v. p. 135.
[264]Milanesi'sVasari, Vita di Filippo Brunellesco, vol. ii. p. 362, notes. See also Cesare Guasti,La Cupola di Santa Maria del Fiore, p. 54, document 116.
[265]Merzario,I Maestri Comacini, chap. xii. I have taken the facts for this chapter from Merzario's collection of documents, not being able to get at the archives of Milan.
[266]Magister Marcus de Frixono Inzignerius Fabricæ, decessit die supra scripto (10 Julii 1390) circa horam Ave Marie in mane et Corpus ejus sepultum fuit honorifice in Ecc. S. Teglæ ipsi die post prandium.
[267]Is this by chance a French rendering of Giovanni da Campione?
[268]I Maestri Comacini, Vol. I. chap. xii. p. 342.
[269]Merzario,I Maestri Comacini, Vol. I. chap. xviii. p. 512.
[270]Giulini,Memorie della città e Campagna di Milano, lib. lxxxv. (anno 1452), p. 497.
[271]Merzario,Op. cit.Vol. I. chap. xviii. p. 521.
[272]See Merzario,Op. cit.Vol. I. chap. xviii. pp. 522, 523.
[273]Merzario, Vol. I. chap. xviii. p. 526.
[274]Pro solvendis magistris sex qui venerunt a Mediolano ad Monasterium occasione incantandi opus marmoris pro fabrica.
[275]Merzario,I Maestri Comacini, Vol. I. chap. xvii. pp. 494-499.
[276]Promiserunt et dederunt ad faciendum fabricandum et laborandum ... totam fazatam dicte Ecclesie ac portam, cum fenestris et aliis laboreriis necessariis pro ipsa fazata ... juxta modum et designationem ipsis fratribus dandum et dandem per dictum Monasterium.—Merzario,I Maestri Comacini, Vol. I. chap. xvii. p. 508, note 51.
[277]Archivio di Stato in Milano.—Reg. Miss.N. 210, vol. clviii.
[278]Sulle Consorterie delle Arti Edificative in Venezia, capo ii. p. 14.
[279]"I quattro martiri patroni de la dita arte cioè San Nicostrato, San Claudio, San Castorio e S. Superian."—Sagredo,Sulle Consorterie è, etc.
[280]Agostino Sagredo,Sulle Consorterie delle Arti Edificative in Venezia, capo ix. pp. 84, 85.
[281]Gualandi,Memorie Originali Italiane risguardanti le Belle Arti, Parte vi. p. 108. Bologna, 1485.
[282]Merzario,Op. cit.Vol. II. chap. xxii. p. 16.
[283]Notizie storiche intorno al Palazzo Ducale di Venezia, p. 1, by Gius. Cadorin. Venezia, 1838.
[284]Merzario,Op. cit.Vol. II. cap. xxii. p. 23.
[285]Monsignor Paolo Giovio wrote a poem on Antonio.
"Un Riccio nel contado all 'età nostraNacque di Como, che fu buon scultoreE l'opre di costui Venezia mostra:Fece un Adamo, ch'è di tanto valoreChe di bellezza cogli antichi giostra," etc.
[286]To show how difficult it is to trace names through the queer old documents, we may mention that this sculptor is sometimes written in the archives as "Guglielmo Bergamasco"—probably he entered the lodge at Bergamo—and sometimes "Vielmo Vielmi di Alzano."
[287]Merzario,I Maestri Comacini, Vol. II. chap. xxiii. p. 47.
[288]The parentage of Pietro is clearly proved by documents in the Venetian archives. One is a deed dated Sept. 19, 1492, drawn up by the notary Gerolamo Bossis. It confirms the will of Magister Petrus Lombardus quondam Martini lapiciola. Another, dated Sept. 8, 1479, drawn up by the notary Bartolommeo de Vegiis, begins—"Io piero lombardo fiolo di ser martino de charona, tajapiera in Venesa in la chontrada de samoele in casa del duse testimonio e scrive de mano propria." Here Pietro tells us not only his father's name Martin, but his birthplace Carona, a village near Arogno and Campione—the place his relative Marco da Carona came from. In fact here we have the Campionese school still surviving and sending forth fine artists.
[289]Marchese Ricci,Dell' Architettura in Italia, Vol. II. chap. xix. p. 605.
[290]VIR P(RO)BUS. | DOCT' PASCA- | LIS RI | TA, VO CAT: S͞VMO CUM STUDIO | C͞ODIDIT | H͞UC CEREVM:
[291]Marchese Ricci,Dell' Architettura in Italia, Vol. I. chap. ii. p. 467.
[292]Ibid.
[293]Ibid.
[294]Boito,Architettura del Medio Evo. I Cosmati, p. 124.
[295]† ANNO V̊ PONTI͡F D͡NI CELESTINI III P͡P G͡E GIO CA͠DIN LUCE ET DE D͡NI PP CAMERARIO JUBENE OPUS ISTUD FACTȖ Ȇ.
[296]This Giovanni,Jubenteor President of the lodge, would probably be the same one under whom the bronze doors of the Baptistery of S. John Lateran were made. By this date he has risen to be Abbot.
[297]
D͠NS.Albertus. Venerabilis anagnin e͞ps fecit hoc fieri paviment͠u pi (pro illo) construendomagister Rainaldus anagnin canonicus,DNI.Honorii III.PP.subdiacon' et capellan'C obolos aureos erogavit. Magist. Cosmos hoc op fecit.
[298]Storia della città di Roma nel medio evo, translated into Italian by Renato Manzato, vol. vii. p. 744. Venice, 1875.
[299]Merzario,I Maestri Comacini, Vol. II. chap. xxxviii. p. 413.
[300]Merzario,I Maestri Comacini, Vol. II. chap. xxxvii. p. 415.
[301]Probably the son of Cristoforo di Milano, who worked so much in Venice and Udine. He may have been employed by the Medici in their buildings at Pietrasanta.
[302]"Superstans marmorariis laborantibus, lapides marmoreas pro ecclesia et palatio Sancti Marci presidens fabrice palatii apostolici."—Muntz,Les Arts à la Cour des Papes, vol. i. p. 606. It is interesting to note that the head of thelaboreriumbore the same title as inA.D.1250, when Guido da Como wrote on his pulpit, "Superstans Turrisianus."
[303]Merzario,I Maestri Comacini, Vol. II. chap. xxxviii. p. 424.
[304]Merzario,I Maestri Comacini, Vol. II. chap. xxxvi. p. 359.
[305]"Petrus de Martino Mediolanensis ob triumphalem arcis novæ arcum solerter structum et multa statuariæ artis suo munere hinc œdi oblata, a divo Alphonso rege in equestrem adscribi ordinem et ab ecclesia hoc sepulcro pro se ac posteris suis donari meruit MCCCCLXX."—Merzario,Op. cit.Vol. II. chap. xxxvi. p. 375, note 4.
[306]Milanese State Archives. Documents of the Dukes Sforza.