without doubt an error, in following the order of time, not to make mention of some who, although they have not wrought so many works that it is possible to write their whole life, have none the less contributed betterment and beauty to art and to the world, I will say, taking occasion from that which has been said above about the Vescovado of Arezzo and about the Pieve, that Pietro and Paolo goldsmiths of Arezzo, who learnt design from Agnolo and Agostino of Siena, were the first who wrought large works of some excellence with the chasing-tool, since, for an arch-priest of the said Pieve of Arezzo, they executed a head in silver as large as life, wherein was placed the head of S. Donatus, Bishop and Protector of that city; which work was worthy of nothing but praise, both because they made therein some very beautiful figures in enamel and other ornaments, and because it was one of the first works, as it has been said, that were wrought with the chasing-tool.
About the same time, the Guild of Calimara in Florence caused Maestro Cione, an excellent goldsmith, to make the greater part, if not the whole, of the silver altar of S. Giovanni Battista, wherein are many scenes from the life of that Saint embossed on a plate of silver, with passing good figures in half-relief; which work, both by reason of its size and of its being something new, was held marvellous by all who saw it. In the year 1330 after the body of S. Zanobi had been found beneath the vaults of S. Reparata, the same Maestro Cione made a head of silver to contain a piece of the head of that Saint, which is still preserved to-day in the same head of silver and is borne in processions; which head was then held something very beautiful and gave a great name to its craftsman, who died no long time after, rich and in great repute.
Maestro Cione left many disciples, and among others Forzore di Spinello of Arezzo, who wrought every kind of chasing very well but was particularly excellent in making scenes in silver enamelled over fire, to which witness is borne by a mitre with most beautiful adornments in enamel, and a very beautiful pastoral staff of silver, which are in the Vescovado of Arezzo. The same man wrought for Cardinal Galeotto da Pietramala many works in silver that remained after his death with the friars of La Vernia, where he wished to be buried. There, besides the wall that was erected in that place by Count Orlando, Lord of Chiusi, a small town below La Vernia, the Cardinal built the church, together with many rooms in the convent and throughout that whole place, without putting his arms there or leaving any other memorial. A disciple of Maestro Cione, also, was Leonardo di Ser Giovanni, a Florentine, who wrought many works in chasing and soldering, with better design than the others before him had shown, and in particular the altar and panel of silver in S. Jacopo at Pistoia; in which work, besides the scenes, which are numerous, there was much praise given to a figure in the round that he made in the middle, representing S. James, more than one braccio in height, and wrought with so great finish that it appears rather to have been made by casting than by chasing. This figure is set in the midst of the said scenes on the panel of the altar, round which is a frieze of letters in enamel, that run thus:
AD HONOREM DEI ET SANCTI JACOBI APOSTOLI, HOC OPUS FACTUM FUIT TEMPORE DOMINI FRANC. PAGNI DICTÆ OPERÆ OPERARII SUB ANNO 1371 PER ME LEONARDUM SER JO. DE FLOREN. AURIFIC.
Now, returning to Agostino and Agnolo: they had many disciples who, after their death, wrought many works of architecture and of sculpture in Lombardy and other parts of Italy, and among others Maestro Jacopo Lanfrani of Venice, who founded S. Francesco of Imola and wrought the principal door in sculpture, where he carved his name and the date, which was the year 1343. And at Bologna, in the Church of S. Domenico, the same Maestro Jacopo made a tomb in marble for Giovanni Andrea Calduino, Doctor of Laws and Secretary to Pope Clement VI; and another, also in marble and in the said church, very well wrought, for Taddeo Peppoli, Conservator of the people and of Justice in Bologna. And in the same year, which was the year 1347, or a little before, this tomb being finished, Maestro Jacopo went to his native city of Venice and founded the Church of S. Antonio, which was previously of wood, at the request of a Florentine Abbot of the ancient family of the Abati, the Doge being Messer Andrea Dandolo. This church was finished in the year 1349. Jacobello and Pietro Paolo, also, Venetians and disciples of Agostino and Agnolo, made a tomb in marble for Messer Giovanni da Lignano, Doctor of Laws, in the year 1383, in the Church of S. Domenico at Bologna.
All these and many other sculptors went on for a long space of time following one and the same method, in a manner that with it they filled all Italy. It is believed, also, that the Pesarese, who, besides many other works, built the Church of S. Domenico in his native city, and made in sculpture the marble door with the three figures in the round, God the Father, S. John the Baptist, and S. Mark, was a disciple of Agostino and Agnolo; and to this the manner bears witness. This work was finished in the year 1385. But, seeing that it would take too long if I were to make mention minutely of the works that were wrought by many masters of those times in that manner, I wish that this, that I have said of them thus in general, should suffice me for the present, and above all because there is not any benefit of much account for our arts from such works. Of the aforesaid it has seemed to me proper to make mention, because, if they do not deserve to be discussed at length, yet, on the other hand, they were not such as to need to be passed over completely in silence.
STEFANO AND UGOLINO SANESE
LIFE OF STEFANO, PAINTER OF FLORENCE, AND OF UGOLINO SANESE
[UGOLINO DA SIENA]
Stefano, painter of Florence and disciple of Giotto, was so excellent, that he not only surpassed all the others who had laboured in the art before him, but outstripped his own master himself by so much that he was held, and deservedly, the best of all the painters who had lived up to that time, as his works clearly demonstrate. He painted in fresco the Madonna of the Campo Santo in Pisa, which is no little better in design and in colouring than the work of Giotto; and in Florence, in the cloister of S. Spirito, he painted three little arches in fresco. In the first of these, wherein is the Transfiguration of Christ with Moses and Elias, imagining how great must have been the splendour that dazzled them, he fashioned the three Disciples with extraordinary and beautiful attitudes, and enveloped in draperies in a manner that it is seen that he went on trying to do something that had never been done before—namely, to suggest the nude form of the figures below new kinds of folds, which, as I have said, had not been thought of even by Giotto. Under this arch, wherein he made a Christ delivering the woman possessed, he drew a building in perspective, perfectly and in a manner then little known, executing it in good form and with better knowledge; and in it, working with very great judgment in modern fashion, he showed so great art and so great invention and proportion in the columns, in the doors, in the windows, and in the cornices, and so great diversity from the other masters in his method of working, that it appears that there was beginning to be seen a certain glimmer of the good and perfect manner of the moderns. He invented, among other ingenious ideas, a flight of steps very difficult to make, which, both in painting and built out in relief—wrought in either way, in fact—is so rich in design and variety, and so useful and convenient in invention, that the elder Lorenzo de' Medici, the Magnificent, availed himself of it in making the outer staircase of the Palace of Poggio a Cajano, now the principal villa of the most Illustrious Lord Duke. In the other little arch is a story of Christ when he is delivering S. Peter from shipwreck, so well done that one seems to hear the voice of Peter saying: "Domine, salva nos, perimus." This work is judged much more beautiful than the others, because, besides the softness of the draperies, there are seen sweetness in the air of the heads and terror in the perils of the sea, and because the Apostles, shaken by diverse motions and by phantoms of the sea, have been represented in attitudes very appropriate and all most beautiful. And although time has eaten away in part the labours that Stefano put into this work, it may be seen, although but dimly, that the Apostles are defending themselves from the fury of the winds
