Lives of the Most Eminent Painters, Sculptors and Architects - All 10 Volumes. Giorgio Vasari
Читать онлайн книгу.
sent to Giovanni, who, having gone there, made a tomb of marble for that Pontiff, which, together with that of Pope Martin IV, was afterwards thrown to the ground when the people of Perugia enlarged their Vescovado, in a manner that there are seen only a few relics of it scattered throughout the church. And the people of Perugia, at the same time, having brought a very great body of water through leaden pipes from the hill of Pacciano, two miles distant from the city, by means of the genius and industry of a friar of the Silvestrines, it was given to Giovanni Pisano to make all the ornaments of the fountain, both in bronze and in marble; wherefore he put his hand thereto and made three tiers of basins, two of marble and one of bronze. The first is placed above twelve rows of steps, each with twelve sides; the other on some columns that stand on the lowest level of the first basin—that is, in the middle; and the third, which is of bronze, rests on three figures, and has in the middle certain griffins, also of bronze, that pour water on every side; and because it appeared to Giovanni that he had done very well in this work, he put on it his name. About the year 1560, the arches and the conduits of this fountain (which cost 160,000 ducats of gold) having become in great part spoilt and ruined, Vincenzio Danti, a sculptor of Perugia, without rebuilding the arches, which would have been a thing of the greatest cost, very ingeniously reconducted the water to the fountain in the way that it was before, with no small credit to himself.
This work finished, Giovanni, desiring to see again his old and ailing father, departed from Perugia in order to return to Pisa; but, passing through Florence, he was forced to stay, to the end that he might apply himself, together with others, to the work of the Mills on the Arno, which were being made at S. Gregorio near the Piazza de' Mozzi. But finally, having had news that his father Niccola was dead, he went to Pisa, where, by reason of his worth, he was received by the whole city with great honour, every man rejoicing that after the loss of Niccola there still remained Giovanni, as heir both of his talents and of his wealth. And the occasion having come of making proof of him, their opinion was in no way disappointed, because, there being certain things to do in the small but most ornate Church of S. Maria della Spina, they were given to Giovanni to do, and he, putting his hand thereunto, with the help of some of his boys brought many ornaments in that oratory to that perfection that is seen to-day; which work, in so far as we can judge, must have been held miraculous in those times, and all the more that he made in one figure the portrait of Niccola from nature, as best he knew.
Seeing this, the Pisans, who long before had had the idea and the wish to make a place of burial for all the inhabitants of the city, both noble and plebeian, either in order not to fill the Duomo with graves or for some other reason, caused Giovanni to make the edifice of the Campo Santo, which is on the Piazza del Duomo, towards the walls; wherefore he, with good design and with much judgment, made it in that manner and with those ornaments of marble and of that size which are to be seen; and because there was no consideration of expense, the roof was made of lead. And outside the principal door there are seen these words carved in marble:
A.D. MCCLXXVIII. TEMPORE DOMINI FREDERIGI ARCHIEPISCOPI PISANI, ET
DOMINI TARLATI POTESTATIS, OPERARIO ORLANDO SARDELLA, JOHANNE
MAGISTRO ÆDIFICANTE.
This work finished, in the same year, 1283, Giovanni went to Naples, where, for King Charles, he made the Castel Nuovo of Naples; and in order to have room and to make it stronger, he was forced to pull down many houses and churches, and in particular a convent of Friars of S. Francis, which was afterwards rebuilt no little larger and more magnificent than it was before, far from the castle and under the title of S. Maria della Nuova. These buildings being begun and considerably advanced, Giovanni departed from Naples, in order to return to Tuscany; but arriving at Siena, without being allowed to go on farther he was caused to make the model of the façade of the Duomo of that city, and afterwards the said façade was made very rich and magnificent from this model. Next, in the year 1286, when the Vescovado of Arezzo was building with the design of Margaritone, architect of Arezzo, Giovanni was brought from Siena to Arezzo by Guglielmino Ubertini, Bishop of that city, where he made in marble the panel of the high-altar, all filled with carvings of figures, of foliage, and other ornaments, distributing throughout the whole work certain things in delicate mosaic, and enamels laid on plates of silver, let into the marble with much diligence. In the middle is a Madonna with the Child in her arms, and on one side S. Gregory the Pope, whose face is the portrait from life of Pope Honorius IV; and on the other side is S. Donatus, Bishop and Protector of that city, whose body, with those of S. Antilla and of other Saints, is laid under that same altar. And because the said altar stands out by itself, round it and on the sides there are small scenes in low-relief from the life of S. Donatus, and the crown of the whole work are certain tabernacles full of marble figures in the round, wrought with much subtlety. On the breast of the said Madonna is a bezel-shaped setting of gold, wherein, so it is said, were jewels of much value, which have been carried away in the wars, so it is thought, by soldiers, who have no respect, very often, even for the most holy Sacrament, together with some little figures in the round that were on the top of and around that work; on which the Aretines spent altogether, according to what is found in certain records, 30,000 florins of gold. Nor does this seem anything great, seeing that at that time it was something as precious and rare as it could well be; wherefore Frederick Barbarossa, returning from Rome, where he had been crowned, and passing through Arezzo, many years after it had been made, praised it, nay, admired it infinitely; and in truth with great reason, seeing that, besides everything else, the joinings of this work, made of innumerable pieces, are cemented and put together so well that the whole work is easily judged, by anyone who has not much practice in the matters of the art, to be all of one piece. In the same church Giovanni made the Chapel of the Ubertini, a most noble family, and lords of castles, as they still are to-day and were formerly even more; with many ornaments of marble, which to-day have been covered over with other ornaments of grey-stone, many and fine, which were set up in that place with the design of Giorgio Vasari in the year 1535, for the supporting of an organ of extraordinary excellence and beauty that stands thereon.
Lombardi
A SYBIL
(Detail, after Giovanni Pisano, from the façade of the Duomo, Siena) View larger image
Giovanni Pisano likewise made the design of the Church of S. Maria de' Servi, which to-day has been destroyed, together with many palaces of the most noble families of the city, for the reasons mentioned above. I will not forbear to say that Giovanni made use, in working on the said marble altar, of certain Germans who had apprenticed themselves to him rather for learning than for gain; and under his teaching they became such that, having gone after this work to Rome, they served Boniface VIII in many works of sculpture for S. Pietro, and in architecture when he made Cività Castellana. Besides this, they were sent by the same man to S. Maria in Orvieto, where, for its façade, they made many figures in marble which were passing good for those times. But among others who assisted Giovanni in the work of the Vescovado in Arezzo, Agostino and Agnolo, sculptors and architects of Siena, surpassed in time all the others, as will be told in the proper place. But returning to Giovanni; having departed from Orvieto, he came to Florence, in order to see the fabric of S. Maria del Fiore that Arnolfo was making, and likewise to see Giotto, of whom he had heard great things spoken abroad; and no sooner had he arrived in Florence than he was charged by the Wardens of the said fabric of S. Maria del Fiore to make the Madonna which is over that door of the church that leads to the Canon's house, between two little angels; which work was then much praised. Next, he made the little baptismal font of S. Giovanni, wherein are certain scenes in half-relief from the life of that Saint. Having then gone to Bologna, he directed the building of the principal chapel of the Church of S. Domenico, wherein he was charged by Bishop Teodorigo Borgognoni of Lucca, a friar of that Order, to make an altar of marble; and in the same place he afterwards made, in the year 1298, the marble panel wherein are the Madonna and eight other figures, reasonably good.
In the year 1300, Niccola da Prato, Cardinal Legate of the Pope, being in Florence in order to accommodate the dissensions of the Florentines, caused him to make a convent for nuns in Prato, which is called S. Niccola from his name, and to restore in the same territory the Convent of S. Domenico, and so too that of Pistoia; in both the one and the other