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 of which there are still seen the arms of the said Cardinal. And because the people of Pistoia held in veneration the name of Niccola, father of Giovanni, by reason of that which he had wrought in that city with his talent, they caused Giovanni himself to make a pulpit of marble for the Church of S. Andrea, like to the one which he had made in the Duomo of Siena; and this he did in order to compete with one which had been made a little before in the Church of S. Giovanni Evangelista by a German, who was therefore much praised. Giovanni, then, delivered his finished in four years, having divided this work into five scenes from the life of Jesus Christ, and having made therein, besides this, a Universal Judgment, with the greatest diligence that he knew, in order to equal or perchance to surpass the one of Orvieto, then so greatly renowned. And round the said pulpit, on the architrave, over some columns that support it, thinking (as was the truth, according to the knowledge of that age) that he had done a great and beautiful work, he carved these verses:
HOC OPUS SCULPSIT JOANNES, QUI RES NON EGIT INANES,
NICOLI NATUS … … MELIORA BEATUS,
QUEM GENUIT PISA, DOCTUM SUPER OMNIA VISA.
At the same time Giovanni made the holy-water font, in marble, of the Church of S. Giovanni Evangelista in the same city, with three figures that support it—Temperance, Prudence, and Justice; which work, by reason of its having then been held very beautiful, was placed in the centre of that church as something remarkable. And before he departed from Pistoia, although the work had not up to then been begun, he made the model of the Campanile of S. Jacopo, the principal church of that city; on which campanile, which is on the square of the said S. Jacopo and beside the church, there is this date: A.D. 1301.
Alinari
THE MASSACRE OF THE INNOCENTS
(Detail, after Giovanni Pisano, from the Pulpit of the Church of S. Andrea, Pistoia)
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Afterwards, Pope Benedict IX having died in Perugia, a summons was sent to Giovanni, who, having gone to Perugia, made a tomb of marble for that Pontiff in the old Church of S. Domenico, belonging to the Preaching Friars; the Pope, portrayed from nature and robed in his pontifical habits, is lying at full length on the bier, with two angels, one on either side, that are holding up a curtain, and above there is a Madonna with two saints in relief, one on either side of her; and many other ornaments are carved round that tomb. In like manner, in the new church of the said Preaching Friars he made the tomb of Messer Niccolò Guidalotti of Perugia, Bishop of Recanati, who was founder of the Sapienza Nuova of Perugia. In this new church, which had been founded before this by others, he executed the central nave, which was founded by him with much better method than the remainder of the church had been; for on one side it leans and threatens to fall down, by reason of having been badly founded. And in truth, he who puts his hand to building and to doing anything of importance should ever take counsel, not from him who knows little but from the best, in order not to have to repent after the
