in four years with all the possible perfection that he could give to it, for the reason that, besides the natural desire that he had to do well, the rivalry of Donato, of Filippo, and of Lorenzo di Bartolo, from whose hands there had already issued some works that were highly praised, incited him even more in the doing of what he did; and that was so much that this work is studied even to-day by modern craftsmen, as something very rare. On the other side of the Madonna, opposite to S. Thomas, Jacopo made a bear that is climbing a pear-tree; and with regard to this caprice, even as many things were said then, so also there could be others said by me, but I will forbear, wishing to let everyone believe and think in his own fashion in the matter of this invention.
After this, desiring to revisit his own country, Jacopo returned to Siena, where, on his arrival, there came to him, according to his desire, an occasion to leave therein some honourable memorial of himself. For the Signoria of Siena, having resolved to make a very rich adornment in marble for the waters that Agostino and Agnolo of Siena had brought into the square in the year 1343, allotted that work to Jacopo, at the price of 2,200 crowns of gold; wherefore he, having made the model and collected the marbles, put his hand to the work and finally completed it so greatly to the satisfaction of his fellow-citizens, that he was ever afterwards called, not Jacopo della Quercia, but Jacopo della Fonte. In the middle of this work, then, he carved the Glorious Virgin Mary, the particular Patroness of that city, a little larger than the other figures, and in a manner both gracious and singular. Round her, next, he made the seven Theological Virtues, the heads of which are delicate, pleasing, beautiful in expression, and wrought with certain methods which show that he began to discover the good and the secrets of the arts, and to give grace to the marble, sweeping away that ancient manner which had been used up to that time by the sculptors, who made their figures rigid and without the least grace in the world; whereas Jacopo made them as soft as flesh, giving finish to his marble with patience and delicacy. Besides this, he made there some stories from the Old Testament—namely, the Creation of our first parents, and the eating of the forbidden fruit, wherein, in the figure of the woman, there is seen an expression of countenance so beautiful, with a grace and an attitude so deferential towards Adam as she offers him the apple, that it appears impossible for him to refuse it; to say nothing of the remainder of the work, which is all full of most beautiful ideas, and adorned with most beautiful children and other ornaments in the shape of lions and she-wolves, emblems of the city, all executed by Jacopo with love, mastery, and judgment in the space of twelve years. By his hand, likewise, are three very beautiful scenes in half-relief from the life of S. John the Baptist, wrought in bronze, which are round the baptismal font of S. Giovanni, below the Duomo; and also some figures in the round, likewise in bronze, one braccio in height, which are between each of the said scenes, and are truly beautiful and worthy of praise. Wherefore, by reason of these works, which showed his excellence, and of the goodness and uprightness of his life, Jacopo was deservedly made chevalier by the Signoria of Siena, and, shortly afterwards, Warden of Works of the Duomo; which office he filled so well that neither before nor since were these Works better directed, for, although he did not live more than three years after undertaking this charge, he made many useful and honourable improvements in that Duomo. And although Jacopo was only a sculptor, nevertheless he drew passing well, as is demonstrated by some drawings made by him, to be found in our book, which appear to be rather by the hand of an illuminator than of a sculptor. And his portrait, similar to the one that is seen above, I had from Maestro Domenico Beccafumi, painter of Siena, who has related to me many things about the excellence, goodness, and gentleness of Jacopo, who finally died, exhausted by fatigues and by continuous labour, at the age of sixty-four, and was lamented and honourably buried in Siena, the place of his birth, by his friends and relatives—nay, by the the whole city. And truly it was no small good-fortune for him to have his so great excellence recognized in his own country, seeing that it rarely comes to pass that men of excellence are universally loved and honoured in their own country.
A disciple of Jacopo was Matteo, a sculptor of Lucca, who made the little octagonal temple of marble—in the Church of S. Martino in his own city, in the year 1444, for Domenico Galigano of Lucca—wherein there is the image of the Holy Cross, a piece of sculpture miraculously wrought, so it is said, by Nicodemus, one of the seventy-two disciples of the Saviour; which temple is truly nothing if not very beautiful and well-proportioned. The same man carved in marble a figure of S. Sebastian wholly in the round, three braccia high, and very beautiful by reason of its having been made with good design and in a beautiful attitude and wrought with a high finish. By his hand, also, is a panel wherein there are three very beautiful figures in three niches, in the church where the body of S. Regulus is said to be; and likewise the panel that is in S. Michele, wherein are three figures in marble; and in like manner the statue that is on the corner of the said church, on the outer side—namely, a Madonna, which shows that Matteo was ever striving to equal his master Jacopo.
Niccolò Bolognese was also a disciple of Jacopo, and he, among other works, brought to completion divinely well—having found it unfinished—the marble sarcophagus full of scenes and figures wherein lies the body of S. Dominic, a work made long ago by Niccola Pisano in Bologna; and he gained thereby, besides profit, that name of honour, Maestro Niccolò dell'Arca, which he bore ever after. He finished this work in the year 1460, and afterwards, for the façade of the palace where the Legate of Bologna now lives, he made a Madonna in bronze, four braccia high, and placed it in position in the year 1478. In a word, he was an able master and a worthy disciple of Jacopo della Quercia of Siena.
NICCOLÒ ARETINO
LIFE OF NICCOLÒ ARETINO [NICCOLÒ D'AREZZO OR NICCOLÒ DI PIERO LAMBERTI]
SCULPTOR
About the same time, engaged in the same pursuit of sculpture, and almost of the same excellence in the art, lived Niccolò di Piero, a citizen of Arezzo, to whom Nature was as liberal with her gifts of intellect and vivacity of mind as Fortune was niggardly with her benefits. He, then, being a needy fellow, and having received some affront from his nearest of kin in his own country, departed, in order to come to Florence, from Arezzo, where—under the discipline of Maestro Moccio, sculptor of Siena, who, as it has been said in another place, wrought some works in Arezzo—he had applied himself to sculpture with no little fruit, although the said Maestro Moccio was not very excellent. And so, having arrived in Florence, Niccolò at first for many months wrought whatsoever work came to his hand, both because poverty and want were pressing him hard, and also out of rivalry with certain young men, who, competing together honourably with much study and labour, were occupying themselves with sculpture. Finally, after many labours, Niccolò became a creditable sculptor, and was commissioned by the Wardens of Works of S. Maria del Fiore to make two statues for the Campanile; these statues, having been placed therein on the side facing the Canon's house, stand one on either side of those that Donato afterwards made; and since nothing better in full-relief had been seen, they were held passing good.
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