Lives of the Most Excellent Painters, Sculptors, and Architects/Jacopo della Quercia

by Giorgio Vasari

 

THE SIENESE SCULPTOR, JACOPO DELLA QUERCIA.

[born 1374?—died 1438.]

The sculptor Jacopo, son of Maestro Piero di Filippo of Quercia, a place in the neighbourhood of Siena, was the first —after Andrea Pisano, Orgagna, and the other masters above named—who, devoting himself to sculpture with a more earnest study, began to show that a near approach might be made to Nature herself; and it was from him that other artists first took courage to hope that it was possible, in a certain measure, to equal her works. The first labours of this master which require to be mentioned, were executed in Siena, when he was but nineteen years old, and the occasion was as follows:—The Sienese army, then in action against the Florentines, was commanded by Gian Tedesco, nephew of Saccone da Pietramala, and by Giovanni d’Azzo Ubaldini, when the latter general fell sick in the camp; he was consequently brought to Siena, where he died. The Sienese deeply lamented the loss of their captain, whom they honoured with a most superb and solemn funeral; they caused an edifice of wood-work to be constructed, in form of a pyramid, on the summit of which was placed a statue of Giovanni on horseback, larger than life, which was executed by Jacopo. This work displayed considerable judgment, as well as fertility of invention; Jacopo having discovered a method of proceeding which had not before been in use: he formed the skeleton and body of the horse, namely, from pieces of wood and small planks, which 'were afterwards swrathed and wrapped with hay, tow, and hemp, being well bound and secured with ropes, when all was covered with clay mixed with a cement formed of paste, glue, and the shearings of woollen cloth. This mode of treatment certainly was, and is, the best for such things, seeing that they are required to have an appearance of massiveness and solidity, yet when completed and dried, are in fact very light, and being whitened over, they have a sufficient resemblance to marble to render them very pleasing to the eye, as was the case with this horse of Jacopo’s; to which may be added, that figures thus made, and with this cement, are not liable to crack, as they would do if formed from the clay merely. The models used by sculptors, in our own day, are prepared in this manner, to the great convenience of the artists, who have the exact form and the just measurements of the sculptures they are executing constantly before their eyes, an advantage for which they owe much gratitude to Jacopo, who is said to have been the inventor of this method.

Having completed the statue here described, Jacopo, still working in Siena, prepared two tables, in the wood of the lime-tree; and in this work he carved the figures, their hair, beards, &c. with such extraordinary patience, that it was a marvel. These tables were placed in the cathedral, and when they were finished, the artist executed the figures of some of the prophets, not of large size, which are now to be seen in the façade of that church.^[1] In the works of this building he would, doubtless, have continued to labour, had not pestilence, famine, and the discords of the Sienese citizens, brought the city to a very unhappy condition: they had more than once risen tumultuously, and at length they expelled Orlando Malevolti, by whose favour Jacopo had been honourably employed in his native city. The master departed from Siena, therefore, being invited, by means of certain friends, to Lucca, where he constructed a mausoleum for the wife of Paolo Guinigi, who was then lord of that city, and who had died some short time previously. This tomb is in the church of San Martino, and on the basement are figures of boys in marble, supporting a garland; these are so finely executed, that they seem rather to be of flesh than stone. On the sarcophagus is the figure of the lady buried within, also finished with infinite care, and at her feet, in the same stone, is a dog in full-relief, as an emblem of her fidelity to her husband.^[2] When Paolo Guinigi left, or rather was driven out of, Lucca, in the year 1429, and the city remained free, this sepulchre was removed from its place; and such was the hatred borne to the name of Guinigi by the Lucchese, that it was almost totally destroyed; but their admiration of the beautiful figure and rich ornaments restraining them to a certain extent, they some time afterwards caused the sarcophagus, with the statue, to be carefully placed near the door leading into the sacristy, where they now are,^[3] but the chapel of the Guinigi was taken into the possession of the commune.

Jacopo had, meanwhile, heard the rumour of what was intended by the guild of the cloth-workers in Florence, who were proposing to have a second door of bronze constructed for the Baptistery of San Giovanni, the first having been executed, as we have said, by Andrea Pisano. He had, consequently, repaired to Florence to make himself known, since this work was to be confided to the artist who, in preparing the required specimen of bronze, should give the most satisfactory evidence of his talents and capabilities. Arrived in Florence, therefore, Jacopo not only prepared the model, but presented one admirably executed story, entirely completed and polished. This work gave so much satisfaction, that, if he had not had those most excellent artists Donatello and Filippo Brunelleschi for competitors, and who did, without doubt, surpass him in the specimens they presented, that great work would have been entrusted to him.^[4] But as the affair concluded differently, our artist left Florence and proceeded to Bologna, where, by the favour of Giovanni Bentivoglio, he received a commission from the wardens of that building to execute the principal door of the church of San Petronio. This door is in marble, and as Jacopo did not wish to alter the manner in which the work had been commenced, he continued it in the Gothic style, adding the stories in relief which adorn the space above the range of columns supporting the cornice and arch. Every part was conducted, with infinite care and diligence, by the master, who devoted twelve years to the work, executing the whole of the foliage, and other ornaments, with his own hands, and bestowing the utmost possible solicitude on every part. On each of the piers, by which the architrave, the cornice, and the arch, are supported, are five stories, with five on the architrave itself, which make in all fifteen. These stories are in basso-relievo, and represent passages from the Old Testament, from the time when God created the world, that is to say, to the Deluge, concluding with the Ark of Noah. In this work, Jacopo della Quercia conferred great benefit on the art of sculpture, seeing that, from the time of the ancients to his own day, there was no one who had produced anything in basso-relievo, insomuch that this mode of treatment was rather lost than merely fallen out of use.^[5] In the arch of this door, the master executed three figures in marble, of the size of life, and in full relief: these are—Our Lady with the Child in her Arms, an extremely beautiful picture; San Petronio; and another saint, also admirably well done, and in fine attitudes.^[6]

The people of Bologna had been fully convinced that it was not possible to execute a work in marble which should surpass, or even equal, that which Agostino and Agnolo, of Siena, had produced in the high altar of San Francesco, in their city, a work in the old manner; they were infinitely surprised, therefore, on perceiving that this was very far superior. Having completed this undertaking, and being requested to return to Lucca, Jacopo repaired thither very willingly, and in the church of San Friano, of that city, he executed an altar-table of marble for Federigo di Maestro Trenta del Veglia. This work comprised a Virgin holding the infant Christ in her arms; with San Bastiano, Santa Lucia, San Hieronimo, and San Gismondo: the design and manner are alike good, and the whole work is full of grace and beauty; in the basement or predella, are stories in mezzorelievo, placed beneath each saint, and representing events from the life of each. This part, also, is greatly and deservedly admired; for the master, with much discernment, has made the figures retiring gradually on the different planes, diminishing them as they fall into the background. His example had the effect of increasing the courage of other artists, and inciting them to enhance the grace and beauty of their works by new and original inventions. When preparing the sepulchres of that Federigo for whom the abovenamed work was executed, he pourtrayed the likenesses, taken from nature, of Federigo himself and his wife, in bassorilievo, on two large stones. On these stones are also the following words:—

“hoc opus fecit jacobus magistri petri de senis”.^[7]

At a later period Jacopo again proceeded to Florence, where the wardens of Santa Maria del Fiore, moved by the high reputation he had acquired, appointed him to execute the decorations which surmount the door of that church on the side towards the Nunziata. Here, within a lengthened oval (mandorla), the sculptor represented the Madonna borne to heaven by a choir of angels, who are singing to the sound of various instruments. The movements and attitudes of these figures are exceedingly beautiful, their flight exhibiting a force of motion and air of triumph such as had never before been displayed in a work of that character. The Virgin, also, is draped with so much grace and decorum, that nothing better could be imagined; the fall of the folds being soft and flowing, while the vestments are disposed with so much art, that the figure is sufficiently discerned, and they clothe the form without wholly concealing it. Beneath the Virgin is St. Thomas receiving the girdle; and the whole work was, in fine, completed by Jacopo in the space of four years, with all the perfection which he could possibly give it, seeing that he was incited to do his best, not only by his natural desire to acquit himself well, but also by the competition of Donato, Filippo Brunelleschi, and Lorenzo di Bartolo,^[8] from whose hands many highly-lauded works were then proceeding,—all which impelled our artist to more zealous efforts; and these were so successfully put forth, that, even to the present day, this work of Jacopo’s is considered by modern sculptors to be a most rare production. On the side of the Madonna, opposite to that occupied by St. Thomas, is the figure of a bear climbing a pear-tree; and respecting this fanciful caprice of the master, much was said in that day, as there continues to be in our own; but I will not repeat these observations, preferring that every one should be left to think and opine of this matter as seemeth to him good.^[9]

Jacopo now desired to revisit his native city, and returned to Siena accordingly. He had no sooner arrived there, than an opportunity was afforded him of establishing an honourable memorial of himself—as he had desired to do—in the place of his birth. The Signoria of Siena had resolved to erect very rich decorations in marble around the fountain on the piazza, to which the Sienese masters, Agostino and Agnolo, had conducted the water in 1343; they therefore appointed Jacopo to complete the undertaking, at the cost of 2,200 gold ducats. The master having prepared his model, and sent for the requisite marbles, commenced the work forthwith, and this he ultimately completed so much to the satisfaction of his fellow-citizens, that they no longer called him Jacopo della Quercia, but ever afterwards named him Jacopo of the Fountain (Jacopo della Fonte). In the centre of this work, the sculptor placed the glorious Virgin Mary, the especial advocate and protector of that city; her figure is somewhat larger than those surrounding her, and is of singular grace and beauty:^[10] around the Madonna the artist then grouped the seven theological and cardinal virtues: the heads of these figures are finished with much delicacy, and have a charming expression. This, and other peculiarities in the treatment, make it obvious that Jacopo began to discover the true path, and to gain a clear perception of the difficulties of his art: he departed entirely from that old manner to which the sculptors had ever before adhered, of making their figures in one rigid unbending piece, without beauty or movement: this master, on the contrary, gave to his forms the softness of flesh, bestowing life and grace on the marble, and finishing every part of his work with infinite delicacy and unwearied patience. To the work just described, Jacopo added certain stories from the Old Testament: the Creation of our first parents, that is to say, with the eating of the forbidden fruit. In this last, the female figure exhibits, in her attitude, so touching an expression of deference towards Adam, as she offers him the apple, and her countenance is so beautiful and charming, that it does not seem possible for Adam to refuse the offering.^[11] The whole of the work is equally full of admirable qualities, exhibiting judicious consideration and much discernment throughout; beautiful children and other ornaments, with lions and wolves, which belong to the arms of Siena, form its decorations; the whole being completed by the practised hand of Jacopo with infinite judgment, devotion, and diligence, in the space of twelve years. Three very beautiful stories, in bronze, representing events from the life of St. John the Baptist, in mezzo-rilievo, are also by this sculptor. They surround and adorn the baptismal font of San Giovanni, beneath the Duomo, and between each of the stories are figures, also in bronze, of one braccio high, and in full relief. These are, likewise, truly beautiful, and worthy of high commendation. Tor all these works—which were, indeed, excellent—and for the uprightness of his life, which was very conspicuous, Jacopo was rewarded by the Signoria of Siena, from whom he received the order of knighthood, and who shortly afterwards made him warden of the Duomo, which latter office he exercised in such a manner, that at no time, either before or after, were the works of that edifice more prudently directed. The master survived his appointment to his office only three years; he nevertheless effected many useful and creditable improvements in the building. Jacopo della Quercia, although but a sculptor, drew extremely well, as may be seen in certain drawings by his hand, preserved in our book, and which would rather seem to have been done by a miniature painter I than a sculptor. His portrait, similar to that here given,^[12] was received by me from Maestro Domenico Beccafumi, painter of Siena,^[13] who has, moreover, related to me many circumstances respecting the talents, goodness, and courtesy of Jacopo, who, worn out by continual efforts and perpetual labours, died at Siena in the sixty-fourth year of his age, and was honourably borne to his grave, in the place of his birth, by his kindred and friends.^[14] Jacopo della Quercia was lamented not by his friends and relations only, but by the whole city; and it must needs be admitted that he was fortunate, in that his many good qualities were appreciated and acknowledged in his native land, since it rarely happens that distinguished men are universally beloved and honoured in their own country.

One of the disciples of Jacopo was the Lucchesan sculptor Matteo,^[15] who executed the small octangular oratory, in marble, which encloses the image of the Holy Cross, in the church of San Martino, in his native city, a work which was miraculously produced, as we are told, by Nicodemus, one of the seventy-two disciples of our Redeemer. This work Matteo completed in the year 1444 for Domenico Galignano, also a Lucchese, and it is, without doubt, a beautiful and well-proportioned structure.^[16] The same artist sculptured a marble figure of SanBastiano, the height of which is three braccia. It is in full relief, and very beautiful, the drawing being good, the attitude graceful, the execution delicate, and the whole carefully finished.^[17] In the church wherein the remains of San Romolo are said to be deposited, there is also a work by this sculptor—an altar-table, with three exceedingly beautiful figures in three niches, with a similar altar-table in the church of San Michele, whereon are likewise three figures in marble. There is, besides, a statue of the Madonna outside this church, which clearly proves the effort made by Matteo to equal Jacopo, his master.

Another disciple of Jacopo della Quercia was the Bolognese^[18] Niccolo, who completed, among other works, the marble tomb, beneath which reposes the body of San Domenico, an undertaking commenced at Bologna by Niccolo Pisano, but which that master left unfinished. This monument, richly covered with figures and stories, was brought to perfection by Niccolo of Bologna, who not only derived great profits therefrom, but also received that name of honour, “Master Niccolo dell’ Area,” which he ever afterwards retained. The sculptor concluded his work in the year 1460, and having finished it, he adorned the façade of the palace, wherein is now the residence of the legate of Bologna, with a statue of the Madonna in bronze, four braccia high, which he fixed in its place in the year 1478. This artist was, in brief, a truly able master, .and a worthy disciple of the Sienese, Jacopo della Quercia.

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1. These prophets still remain, but of the carved tables no authentic account can be discovered. —Schorn.
2. Sercambi tells us that this lady, Ilaria, daughter of Carlo Marchese del Carretto, was buried in December 1405; but the work of Jacopo was not executed until the year 1413.—Ed. Flor. 1849.
3. One side of the basement, a basso-relievo, with three boys holding a festoon or garland, is now in the gallery of Florence, having been purchased in the year 1829.— Ibid. 1832.
4. An account of the competition for this work will be found in the Life of Ghiberti, by whom all other competitors were surpassed, as will be well remembered.
5. The inaccuracy of this assertion is proved, not only by works still to be seen, but by the words of Vasari himself. In Siena, Pisa, Pistoja, and Florence, are many works in basso-relievo, by the Pisani, as well as by Orgagna and other masters, all of whom flourished long before Jacopo della Quercia.— Schorn. and Ed. Flor. 1846-9.
6. See Sculture delle porte di San Petronio, with illustrations, by tho Marquis Virgilio Da via. Bologna, 1834.
7. These words are not on the place here attributed to them, but on the table or altar itself.
8. Lorenzo Ghiberti, that is, whose life follows in due course. — Ed. Flor. 1846 -9.
9. In Vasari’s first edition, he intimated that this bear may typify the efforts of the wicked, who vainly seek to climb to the height on which the Virgin and angels are placed. Della Valle thinks he has read somewhere that the artist intended this bear to represent those who had excluded him from the works of San Giovanni. Cicognara is of opinion that this may be the correct view of the matter: but Bottari, with more probability, considers the figure of the bear to be a mere caprice of the artist.
10. A magnificent work, in which Jacopo della Quercia was assisted by Francesco Valdambrino and Ansano di Matteo, sculptors of Siena,—See Della Valle, Lettere Sanesi, vol. ii, p. 161, et seq.
11. Della Valle has here neglected to clear up an error into which Vasari has fallen. The figure of the Virgin is not larger than those of the other personages represented; and the second basso-rilievo of the Fountain is not the fall of Adam, but the expulsion from Paradise. This admirable work is in so deplorable a condition, that no vestige of it will remain to after ages, unless the patriotism of the Sienese avail to save them from the disgrace of permitting it to perish.
12. Referring to that given in the second edition of Vasari.
13. The life of this master also will be found in its proper place in the present work.
14. In the first edition of Vasari, Jacopo is said to have been buried in the Duomo of his native city, with the following epitaph:—“Jacopo Quercio Senensi equiti clarissimo statuariaeque artis peritissimo amantissimoque, utpote qui illam primus illustraverit, tenebrisque antea immersam in lucem eruerit, amici pietatis ergo non sine lacrymis pos.” — Masselli.
15. Matteo Civitali. — I.
16. Vincenzio Civitali, the nephew of Matteo, made several additions to this work after the death of his uncle; but they are entirely without merit of any kind, and greatly injure the effect.—I.
17. Mazzarosa, Lezioni, &c. considers this to be the first nude statue of an adult executed after the revival of the arts.
18. This is the renowned Niccolo d’Antonio, according to some writers a native of Dalmatia; but stated by others, and with more probability, to have been a native of Bari, in Apuglia, brought to Bologna by his father in early childhood, and therefore called a Bolognese. He died in Bologna on the 2nd March 1494, or 1495, and cannot well have been a disciple of Jacopo della Quercia.—See Marchese, Memorie, etc. vol. i, p. 87, et seq.