Lives of the Most Excellent Painters, Sculptors, and Architects/Cecca
THE FLORENTINE ENGINEER, CECCA.
[born 1447—died 1488.]
If necessity had not compelled men to the use of their inventive powers for their own advantage and convenience, architecture would never have attained to such excellence, or displayed so much to be admired in the works of those who, to obtain profit and glory, have laboured in that art; nor would these masters ever have gained such honour as is now daily paid to them by all who understand works oi merit. It was necessity that first caused buildings to be erected, and then arose the wish for ornament to the same; whence proceeded the architectural orders, the various decorations, the statues, gardens, baths, and all those other sumptuous appliances which all desire to have, but which few can possess. This it is that has excited in the minds of men the rivalry and emulation with which they labour, not in the erection of buildings only, but for the commodious arrangement of the same. By this, artists are compelled to prove their ingenuity and industry by the discovery of tractile forces, the invention of hydraulic machines, engines of war, catapults, and every other sort of laborious contrivance, which, under the name of architectural and warlike machinery, contribute to disconcert one’s enemies, assist or accommodate one’s friends, and render the world more beautiful and more enjoyable.
And whoever has found means to distinguish himself beyond others in the preparation of such things, not only raises himself above the anxieties of life, but is, moreover, highly commended and prized by all, as was the case in the time of our fathers with the Florentine Cecca.[1] In the course of his life there came into the hands of this master many and various important works, in all which he acquitted himself so well, labouring in the service of his country with frugality and care, to the great satisfaction of his fellow citizens, that he obtained favour with all; and his ingenious and diligently-executed works have rendered him famous, placing his name among those of other great and renowned artists. It is said that in his youth, Cecca was an excellent joiner,[2] but had constantly directed his thoughts towards the mastery of difficult questions relating to the construction of engines of all kinds, more particularly of such as are required in the field of battle or in sieges; as, for example, scaling ladders, battering rams, or erections for giving shelter to the soldier against the enemy, with whatever might serve to injure the adversary, or to afibrd assistance to his friends. He was thus most essentially serviceable to his country, and well deserved the fixed provision which the Signoria of Florence commanded to be made for him. Therefore, when the state was not at war, Cecca went throughout the whole, inspecting the fortresses and city walls, with the different towers, &c.; and when any were found wanting, he supplied the various defences required, or whatever else was needful.
It has been said that the imitation of clouds, used on the festival of San Giovanni and borne in procession, was the invention of Cecca; certainly a most ingenious and beautiful thing, which at that time, when the city was in the habit of solemnizing numerous festivals, were much used for such purposes. And without doubt, although similar representations and festivals are now-a -days almost entirely disused, yet these spectacles were very beautiful, and they were exhibited, not only by the confraternities or brotherhoods, but also in the private houses of the nobles; who were wont to assemble in companies at certain times, cheerfully gathering together, on which occasions there were ever among them many worthy good fellows of artists, who, besides that they were fanciful and amusing, helped to arrange the various matters required for such spectacles. Among others, four public shows, of a very splendid character, were given almost every year, one for each quarter of the city that is to say, the quarter of San Giovanni excepted, for the saint’s day of which a most solemn festival was held, as will be related in good time. Thus, in the quarter of Santa Maria Novella, they kept the feast of Sant’Ignazio; in vSanta Croce, that of San Bartolommeo, called San Baccio; in San Spirito, that of the Spirito Santo; and in the quarter of the Carmine, the festival of the Ascension of our Lord and that of the Assumption of the Virgin, were solemnized. That festival of the Ascension, then (for of the others we have already spoken sufficiently, or shall do so hereafter), was certainly most beautiful, seeing that Christ was raised from the Mount, which was very well contrived in wood-work, on a Cloud, about and amidst which were innumerable angels, and was borne upwards to a Heaven so admirably constructed, as to be really marvellous, leaving the Apostles on the Mount. This Heaven was all the more effective as being somewhat larger than that of San Felice in Piazza, but with machinery very nearly similar to that. The church of the Carmine, wherein this representation took place, is considerably broader and more lofty than that of San Felice, and in addition to that part which represented the Heaven into which the Saviour was received, there was sometimes a second erected, when it seemed good to the rulers, over the principal Tribune. This, then, presented another Heaven, in which certain vast wheels, in the manner of a windlass, were so arranged, that from the centre to the circumference, they moved ten circles, beautifully ordered to represent the ten heavens. These circles glittered with innumerable lights representing the stars, and arranged in small lamps, suspended in such a manner that they maintained their equilibrium as the wheels turned round, as is now done by lanterns of a certain kind, which are used commonly by all Jhe world. From this Heaven, or Paradise, which was certainly very beautiful, there proceeded two strong ropes; these were fastened to the rood-loft, or gallery, of which there is one in that church, and over which the representation was made. To the end of these ropes two small bronze rollers were fastened with cords, and these supported an iron stake fixed to a level platform, on which stood two angels bound firmly by their girdles. They were kept upright by a counterpoise of lead which they had beneath their feet, and by a second bracket, on which they supported themselves, and which assisted to maintain them on the same level. The whole apparatus was covered with a large quantity of well prepared cotton wool, and this gave the appearance of clouds, amidst which were seen numberless cherubim, seraphim, and other angels, clothed in various colours, and all very well distributed and arranged. These, when a cord was loosened from the paradise wherein were the lights, came down the two strong ropes above named, and being arrived on the rood-loft where the spectacle was to proceed, they announced to the Saviour that he was then to ascend into [leaven, or did or recited whatever else was set down for them to perform or speak. And as the iron to w’hich the angels were bound by the girdle was securely fixed into the base or platform on which they stood, they could turn themselves round, could make due obeisance when they came and when they returned, or move themselves about as might be required, so that in returning they set their faces towards heaven, and when the proper time came were drawn up, by means similar to those which had effectuated their descent.
These machines and inventions originated, as is said, with Cecca; for although Filippo Brunelleschi had long before constructed something similar, there were, nevertheless, many additions very judiciously made by Cecca, and to him was due the invention of the “Nuvole,” or clouds, which were borne through the city every year on the Vigil of St. John, with many other admirable contrivances, whereby that festival was embellished. This was indeed the peculiar care of Cecca, because he was, as I have said, in the service of the public.
And now, as these festivals and processions have, for the most part, fallen out of use, it will not be amiss to use the present opportunity for saying somewhat concerning the spectacles exhibited on these occcasions, that so some memorial of them may remain to posterity. First, then, the Piazza of San Gio vanni was covered in with blue cloth, on which were sewn lilies of great size, made of linen tinted yellow; in the midst were large circles, also formed of linen and ten braccia in extent, whereon the Arms of the People and Commune of Florence, with those of the Chiefs of the Guelphic Council and others, were displayed; and all around, from the edges of the before-mentioned canopy, which, large as is the Piazza of San Giovanni, yet covered it entirely over, were suspended banners, also of cloth, with various devices painted on them; the Arms of the different Courts and Guilds, for example, with Lions, which are one of the ensigns of that city. This canopy, or covering thus made, was raised about twenty braccia above the ground, and was supported by very strong ropes attached to numerous iron stancheons, which are still to be seen around the church of San Giovanni, in the façade of Santa Maria del Fiore, and in the different houses which surround that Piazza. Between one rope and another also ran cords which assisted to support the canopy; and the latter was so carefully provided, more particularly towards the extremities, with ropes, cords, linings, and safeguards of every kind, that nothing better could possibly be imagined. But what is more, every thing was arranged with so much care, that although the wind is always very powerful in that place, as every one knows, and frequently lifted and swelled the canopy greatly, yet it never deranged or injured it in any manner. This vast covering was formed of five portions, that it might be the more easily managed; but when it was put up, these divisions were so well fastened and secured together, that they seemed to be of one piece only. Three portions covered the space between San Giovanni and Santa Maria del Fiore; and in the middle portion, which was opposite to the principal doors, were the above described circles, with the Arms of the Commune. The two other divisions covered the remaining space, one towards the Misericordia, and the other towards the Canonicate and the Hall of the Wardens of San Giovanni.
With respect to the Clouds, which were made of various kinds and wdth different inventions by the several Brotherhoods, they were generally managed in the following manner: a square frame was made of planks about two braccia high, with four strong legs at the angles, which were bound fast together beneath, after the manner of trestles; across this frame were laid two planks, each one braccia wide, and having an opening in the centre, half a braccia in diameter, from which arose an upright pole supporting a Mandorla, or Glory, entirely covered with cotton wool, amidst which were angels, lights, and other ornaments. In this there was an iron fixed across, whereon was placed, seated or standing, as was desired, a person who represented that Saint whom the Brotherhood in question principally honoured as their advocate and protector; whether it were the Saviour, the Madonna, St. John, or any other Saint, the vestments of the figure concealing the iron in such sort that it was not seen. To the pole which supported the Mandorla, were fastened four or more iron bars, serving in the manner of branches to a tree; they were fixed around and beneath the Mandorla, and to these irons were secured little children clothed to 'represent angels, who were free to move at their pleasure on the bracket supporting their feet, which was formed with hinges in a manner suited to that end. By means of such branches, three or four circles of angels or of saints, according to the subject represented, were occasionally exhibited. The whole of this structure, which sometimes represented a Lily, sometimes a Tree, but most frequently a Cloud, or something similar, was concealed by the cotton-wool, and was occupied, as we have before said, by cherubim, seraphim, &c., or covered with golden stars and other ornaments. Within them were concealed peasants or porters, who carried the machine on their shoulders, arranging themselves around the wood-work, which we have called a frame, to the under part of which were fixed cushions of leather filled with feathers, cotton, or some other soft and yielding material, to prevent the weight from pressing too painfully on their shoulders. The stairs for ascending these structures and every other part, being covered, as we have said above, with cotton-wool, a very good effect was produced, and all these contrivances were called Nuvole (clouds). Behind these erections followed men on horseback, and soldiers of various kinds on foot, according to the demands of the event to be represented, as they do in the present day behind the cars or other carriages used instead of the Nuvole here described. Of the latter I have, by the hand of Cecca, in my Book of Drawings some specimens, which are certainly very ingenious and well contrived, displaying much varied invention. It was after the plans of the same master that those figures of Saints were made which accompanied or were carried in those processions; some dead, others suffering torments of different kinds, many appearing to be transpierced by a spear or sword, others with a dagger in the throat, or with various weapons in different parts of their persons; respecting all which, as it is now known to every one, that these appearances are produced with the sword, spear, or dagger broken, the pieces of which were held firm on each side, and kept opposite each other by means of an iron ring, taking away the part which has to seem fixed in the person of the sufferer, I will say no more of that matter, save only that they were for the most part invented by Cecca. There were also giants walking in those processions, and they were contrived after the following manner:—persons well accustomed to walk on stilts, provided themselves with such as were five or six braccia from the ground, and having prepared great masks, vestments, and imitations of weapons, to represent the heads, hands, limbs, armour, &c. of giants, they mounted the stilts, and, moving dexterously along, appeared really to be giants. There was, however, a man before them who carried a pike, or pole, on which the giant supported himself with one hand, but this was so managed that it seemed to be his weapon, whether axe, lance, or enormous sword, such as that, for example, which, according to the romance of the poet, was borne by Morgante. And as they had giants, so also had they giantesses, which was certainly a pleasing and wonderful spectacle. Different from these, again, were the phantoms, or disembodied spirits; for these, having no other than their own proper form, being nevertheless mounted on stilts five or six braccia high, moved along in such a manner that they appeared to be really phantoms. They also had a man before them with a pole to give them aid, but it is affirmed that some were able to walk perfectly well, even at that height, without supporting themselves by any assistance whatever; and he who knows what the Florentines are, will have no difficulty in believing it. I say nothing of the Montaghi of Florence, who surpassed every thing that had ever before been seen in ascending and dancing on the rope; but whoever knew a man, called Ruvidino, who died about ten years since, knows well that to him, the ascending to any lieight on a rope or cord, the springing from the walls of Florence to the earth, and walking on stilts much higher than those above-named, were things as easy as to other men is the walking on plain ground. Wherefore, it is by no means wonderful that the men of those times who, for the sake of gain, or from other motives, practised themselves in such exercises, should do what we have related, or even much more.
I will not here speak of the waxen tapers which were painted in many fanciful ways, but so clumsily, that they have given a name to inferior pictures, insomuch that people call badly executed paintings, “puppets of wax.” I will merely mention that, in the time of Cecca, these were for the most part laid aside. Chariots, resembling the triumphal cars now in use, were adopted at this time. The first of these was that of the Mint, which was brought to great perfection, as we may even now perceive, since the comptrollers and masters of the Mint permit it to appear every year on the festival of St. John.[3] On the upper part stands one who represents San Giovanni, with angels, and many other saints, around and beneath him, all represented by living persons. It was determined, no longtime since, that a chariot should be made for every place that should offer a wax-light, that the festival might be honoured magnificently, and these were constructed to the number of ten; but various events, which took place some short time afterwards, prevented that intention from being further proceeded with. That first chariot of the Mint, then, was made under the direction of Cecca, by Domenico, Marco, and Giuliano del Tasso,[4] who were then among the firs.t masters working in wood-carving that could be found in Florence. And in this specimen they merit to be commended, among other things, for the management of the fore wheels, which are so constructed, that in turning sharp corners they permit the vehicle to be moved with as little shaking as possible, which is important, but principally on account of those who stand fastened to the summit of the carriage.
The same master constructed a kind of edifice for the cleansing and restoration of the Mosaic in the Tribune of San Giovanni; this scaffolding could be turned, raised, or lowered at pleasure, and taken to any part of the work, and that with so much ease, that two persons could manage it. By this contrivance Cecca obtained very great reputation.[5]
When the Florentines were invading Piancaldoli, this master was with the army, and managed to undermine the place, so that the soldiers got into the city without striking a blow. But afterwards, having accompanied the same army to another fortress, as evil destiny would have it, he was killed while attempting to measure certain heights from a difficult point: for Cecca, having put his head over the wall for the purpose of dropping a plumb-line, was seen by a certain priest, who was with the enemy, and who dreaded the genius of that master more than all the power of the army,— this man, therefore, discharging a cross-bow at the engineer, fixed the shaft in his head in such sort, that the poor Cecca died immediately.[6] His death and the loss of his services caused much grief to the army and to all his fellow citizens. But as there was no remedy, they sent his remains to Florence, where he received honourable interment from the sisters of San Piero Scheraggio, who buried him in the church of that saint; his likeness in marble was afterwards erected in the same building, and beneath it is the following epitaph:[7]—
Fabrum magister Cicca, natus oppidis vel obsidendis vel tuendis, hic jacet. Vixit an. xxxxi. mens iv. dies xiv. Obiii pro patria telo ictus. Piae sorores monumentum fecerunt mccccxciv.
- ↑ The name of this master was Francesco d’Angelo. Cecca is a byename; first, Cecco, from Francesco, and then Cecca. — Ed. Flor. 1849.
- ↑ Not only his youth, but through his whole life. Cecca is called legnaiuolo (joiner), in the various documents cited by Gaye, Carteggio, &c., respecting him. The word is, however, to be understood, without doubt, in its widest sense of maker of engines and machines in wood, for all purposes, whether of war or peace.
- ↑ The Festival of St. John, after having undergone various changes, was solemnized for the last time in the year 1807. The Chariot of the Mint, with four others, then in existence, were destroyed during the French domination.
- ↑ To these members of the artistic family of Tasso, Vasari makes further allusion in the life of Benedetto Maiano. In the life of Niccolò Tribolo, another Tasso, also a worker in wood, is cited as the builder of the Loggia di Mercato Nuovo. —Ed. Flor.j 1832-8.
- ↑ This scaffolding was erected in 1482, when Cecca was made capomaestro of the works, by way of reward for that service. See Life of Alesso Baldovinetti, vol. i. p. 67.
- ↑ This happened in 1488.—See Machiavelli, Storie Fiorentine, lib. viii, —-Ed. Flor., 1849,
- ↑ The bust and inscription were lost in 1561, when part of the church of San Pietro Scheraggio was demolished to make a site for the new wing of the Uffizj, erected by order of Cosimo I. —Ed. Flor., 1832-8.