Part 21

Next, having returned to Florence, Taddeo continued for the Commune the work of Orsanmichele and refounded the piers of the Loggia, building them with stone dressed and well shaped, whereas before they had been made of bricks, without, however, altering the design that Arnolfo left, with directions that there should be made over the Loggia a palace with two vaults for storing the provisions of grain that the people and Commune of Florence used to make. To the end that this work might be finished, the Guild of Porta S. Maria, to which the charge of the fabric had been given, ordained that there should be paid thereunto the tax of the square of the grain-market and some other taxes of very small importance. But what was far more important, it was well ordained with the best counsel that each of the Guilds of Florence should make one pier by itself, with the Patron Saint of the Guild in a niche therein, and that every year, on the festival of each Saint the Consuls of that Guild should go to church to make offering, and should hold there the whole of that day the standard with their insignia, but that the offering, none the less, should be to the Madonna for the succour of the needy poor. And because, during the great flood of the year 1333, the waters had swept away the parapets of the Ponte Rubaconte, thrown down the Castle of Altafronte, left nothing of the Ponte Vecchio but the two piers in the middle, and completely ruined the Ponte a S. Trinita except one pier that remained all shattered, as well as half the Ponte alla Carraia, bursting also the weir of Ognissanti, those who then ruled the city determined no longer to allow the dwellers on the other side of the Arno to have to return to their homes with so great inconvenience as was caused by their having to cross in boats. Wherefore, having sent for Taddeo Gaddi, for the reason that Giotto his master had gone to Milan, they caused him to make the model and design of the Ponte Vecchio, giving him instructions that he should have it brought to completion as strong and as beautiful as might be possible; and he, sparing neither cost nor labour, made it with such strength in the piers and with such magnificence in the arches, all of stone squared with the chisel, that it supports to-day twenty-two shops on either side, which make in all forty-four, with great profit to the Commune, which drew from them eight hundred florins yearly in rents. The extent of the arches from one side to the other is thirty-two braccia, that of the street in the middle is sixteen braccia, and that of the shops on either side eight braccia. For this work, which cost sixty thousand florins of gold, not only did Taddeo then deserve infinite praise, but even to-day he is more than ever commended for it, for the reason that, besides many other floods, it was not moved in the year 1557, on September 13, by that which threw down the Ponte a S. Trinita and two arches of that of the Carraia, and shattered in great part the Rubaconte, together with much other destruction that is very well known. And truly there is no man of judgment who can fail to be amazed, not to say marvel, considering that the said Ponte Vecchio in so great an emergency could sustain unmoved the onset of the waters and of the beams and the wreckage made above, and that with so great firmness.

At the same time Taddeo directed the founding of the Ponte a S. Trinita, which was finished less happily in the year 1346, at the cost of twenty thousand florins of gold; I say less happily, because, not having been made like the Ponte Vecchio, it was entirely ruined by the said flood of the year 1557. In like manner, under the direction of Taddeo there was made at the said time the wall of the Costa a S. Gregorio, with piles driven in below, including two piers of the bridge in order to gain additional ground for the city on the side of the Piazza de' Mozzi, and to make use of it, as they did, to make the mills that are there.

While all these works were being made by the direction and design of Taddeo, seeing that he did not therefore stop painting, he decorated the Tribunal of the Mercanzia Vecchia, wherein, with poetical invention, he represented the Tribunal of Six (which is the number of the chief men of that judicial body), who are standing watching the tongue being torn from Falsehood by Truth, who is clothed with a veil over the nude, while Falsehood is draped in black; with these verses below:

LA PURA VERITA, PER UBBIDIRE ALLA SANTA GIUSTIZIA, CHE NON TARDA, CAVA LA LINGUA ALLA FALSA BUGIARDA.

And below the scene are these verses:

TADDEO DIPINSE QUESTO BEL RIGESTRO; DISCEPOL FU DI GIOTTO IL BUON MAESTRO.

Taddeo received a commission for some works in fresco in Arezzo, which he carried to the greatest perfection in company with his disciple Giovanni da Milano. Of these we still see one in the Company of the Holy Spirit, a scene on the wall over the high-altar, containing the Passion of Christ, with many horses, and the Thieves on the Cross, a work held very beautiful by reason of the thought that he showed in placing Him on the Cross. Therein are some figures with vivid expressions which show the rage of the Jews, some pulling Him by the legs with a rope, others offering the sponge, and others in various attitudes, such as the Longinus who is piercing His side, and the three soldiers who are gambling for His raiment, in the faces of whom there is seen hope and fear as they throw the dice. The first of these, in armour, is standing in an uncomfortable attitude awaiting his turn, and shows himself so eager to throw that he appears not to be feeling the discomfort; the other, raising his eyebrows, with his mouth and with his eyes wide open, is watching the dice, in suspicion, as it were, of fraud, and shows clearly to anyone who studies him the desire and the wish that he has to win. The third, who is throwing the dice, having spread the garment on the ground, appears to be announcing with a grin his intention of casting them. In like manner, throughout the walls of the church are seen some stories of S. John the Evangelist, and throughout the city other works made by Taddeo, which are recognized as being by his hand by anyone who has judgment in art. In the Vescovado, also, behind the high-altar, there are still seen some stories of S. John the Baptist, which are wrought with such marvellous manner and design that they cause him to be held in admiration. In the Chapel of S. Sebastiano in S. Agostino, beside the sacristy, he made the stories of that martyr, and a Disputation of Christ with the Doctors, so well wrought and finished that it is a miracle to see the beauty in the changing colours of various sorts and the grace in the pigments of these works, which are finished to perfection.

[Illustration: TADDEO GADDI: THE PRESENTATION IN THE TEMPLE

(_Florence: Accademia 107. Panel_)]

In the Church of the Sasso della Vernia in the Casentino he painted the chapel wherein S. Francis received the Stigmata, assisted in the minor details by Jacopo di Casentino, who became his disciple by reason of this visit. This work finished, he returned to Florence together with Giovanni, the Milanese, and there, both within the city and without, they made very many panels and pictures of importance; and in process of time he gained so much, turning all into capital, that he laid the foundation of the wealth and the nobility of his family, being ever held a prudent and far-sighted man.

He also painted the Chapter-house in S. Maria Novella, being commissioned by the Prior of the place, who suggested the subject to him. It is true, indeed, that by reason of the work being large and of there being unveiled, at that time when the bridges were being made, the Chapter-house of S. Spirito, to the very great fame of Simone Memmi, who had painted it, there came to the said Prior a desire to call Simone to the half of this work; wherefore, having discussed the whole matter with Taddeo, he found him well contented therewith, for the reason that he had a surpassing love for Simone, because he had been his fellow-disciple under Giotto and ever his loving friend and companion. Oh! minds truly noble! seeing that without emulation, ambition, or envy, ye loved one another like brothers, each rejoicing as much in the honour and profit of his friend as in his own! The work was divided, therefore, and three walls were given to Simone, as I said in his Life, and Taddeo had the left-hand wall and the whole vaulting, which was divided by him into four sections or quarters in accordance with the form of the vaulting itself. In the first he made the Resurrection of Christ, wherein it appears that he wished to attempt to make the splendour of the Glorified Body give forth light, as we perceive in a city and in some mountainous crags; but he did not follow this up in the figures and in the rest, doubting, perchance, that he was not able to carry it out by reason of the difficulty that he recognized therein. In the second section he made Jesus Christ delivering S. Peter from shipwreck, wherein the Apostles who are manning the boat are certainly very beautiful; and among other things, one who is fishing with a line on the shore of the sea (a subject already used by Giotto in the mosaics of the Navicella in S. Pietro) is depicted with very great and vivid feeling. In the third he painted the Ascension of Christ, and in the fourth the coming of the Holy Spirit, where there are seen many beautiful attitudes in the figures of the Jews who are seeking to gain entrance through the door. On the wall below are the Seven Sciences, with their names and with those figures below them that are appropriate to each. Grammar, in the guise of a woman, with a door, teaching a child, has the writer Donato seated below her. After Grammar follows Rhetoric, and at her feet is a figure that has two hands on books, while it draws a third hand from below its mantle and holds it to its mouth. Logic has the serpent in her hand below a veil, and at her feet Zeno of Elea, who is reading. Arithmetic is holding the tables of the abacus, and below her is sitting Abraham, its inventor. Music has the musical instruments, and below her is sitting Tubal-Cain, who is beating with two hammers on an anvil and is standing with his ears intent on that sound. Geometry has the square and the compasses, and below, Euclid. Astrology has the celestial globe in her hands, and below her feet, Atlas. In the other part are sitting seven Theological Sciences, and each has below her that estate or condition of man that is most appropriate to her--Pope, Emperor, King, Cardinals, Dukes, Bishops, Marquises, and others; and in the face of the Pope is the portrait of Clement V. In the middle and highest place is S. Thomas Aquinas, who was adorned with all the said sciences, holding below his feet some heretics--Arius, Sabellius, and Averroes; and round him are Moses, Paul, John the Evangelist, and some other figures, that have above them the four Cardinal Virtues and the three Theological, with an infinity of other details depicted by Taddeo with no little design and grace, insomuch that it can be said to have been the best conceived as well as the best preserved of all his works.

In the same S. Maria Novella, over the tramezzo[17] of the church, he also made a S. Jerome robed as a Cardinal, having such a devotion for that Saint that he chose him as the protector of his house; and below this, after the death of Taddeo, his son caused a tomb to be made for their descendants, covered with a slab of marble bearing the arms of the Gaddi. For these descendants, by reason of the excellence of Taddeo and of their merits, Cardinal Jerome has obtained from God most honourable offices in the Church--Clerkships of the Chamber, Bishoprics, Cardinalates, Provostships, and Knighthoods, all most honourable; and all these descendants of Taddeo, of whatsoever degree, have ever esteemed and favoured the beautiful intellects inclined to the matters of sculpture and painting, and have given them assistance with every effort.

Finally, having come to the age of fifty and being smitten with a most violent fever, Taddeo passed from this life in the year 1350, leaving his son Agnolo and Giovanni to apply themselves to painting, recommending them to Jacopo di Casentino for ways of life and to Giovanni da Milano for instruction in the art. After the death of Taddeo this Giovanni, besides many other works, made a panel which was placed on the altar of S. Gherardo da Villamagna in S. Croce, fourteen years after he had been left without his master, and likewise the panel of the high-altar of Ognissanti, where the Frati Umiliati had their seat, which was held very beautiful, and the tribune of the high-altar at Assisi, wherein he made a Crucifix, with Our Lady and S. Chiara, and stories of Our Lady on the walls and sides. Afterwards he betook himself to Milan, where he wrought many works in distemper and in fresco, and there finally he died.

Taddeo, then, adhered constantly to the manner of Giotto, but did not better it much save in the colouring, which he made fresher and more vivacious than that of Giotto, the latter having applied himself so ardently to improving the other departments and difficulties of this art, that although he gave attention to this, he could not, however, attain to the privilege of doing it, whereas Taddeo, having seen that which Giotto had made easy and having learnt it, had time to add something and to improve the colouring.

Taddeo was buried by Agnolo and Giovanni, his sons, in the first cloister of S. Croce, in that tomb which he had made for Gaddo his father, and he was much honoured with verses by the men of culture of that time, as a man who had been greatly deserving for his ways of life and for having brought to completion with beautiful design, besides his pictures, many buildings of great convenience to his city, and besides what has been mentioned, for having carried out with solicitude and diligence the construction of the Campanile of S. Maria del Fiore, from the design left by Giotto his master; which campanile was built in such a manner that stones could not be put together with more diligence, nor could a more beautiful tower be made, with regard either to ornament, or cost, or design. The epitaph that was made for Taddeo was this that is to be read here:

HOC UNO DICI POTERAT FLORENTIA FELIX VIVENTE; AT CERTA EST NON POTUISSE MORI.

Taddeo was very resolute in draughtsmanship, as it may be seen in our book, wherein is drawn by his hand the scene that he wrought in the Chapel of S. Andrea, in S. Croce at Florence.

FOOTNOTES:

[Footnote 16: See note on p. 57.]

[Footnote 17: See note on p. 57.]

ANDREA DI CIONE ORCAGNA

LIFE OF ANDREA DI CIONE ORCAGNA,

PAINTER, SCULPTOR, AND ARCHITECT, OF FLORENCE

Rarely is a man of parts excellent in one pursuit without being able easily to learn any other, and above all any one of those that are akin to his original profession, and proceed, as it were, from one and the same source, as did the Florentine Orcagna, who was painter, sculptor, architect, and poet, as it will be told below. Born in Florence, he began while still a child to give attention to sculpture under Andrea Pisano, and pursued it for some years; then, being desirous to become abundant in invention in order to make lovely historical compositions, he applied himself with so great study to drawing, assisted by nature, who wished to make him universal, that having tried his hand at painting with colours both in distemper and in fresco, even as one thing leads to another, he succeeded so well with the assistance of Bernardo Orcagna, his brother, that this Bernardo took him in company with himself to paint the life of Our Lady in the principal chapel of S. Maria Novella, which then belonged to the family of the Ricci. This work, when finished, was held very beautiful, although, by reason of the neglect of those who afterwards had charge of it, not many years passed before, the roof becoming ruined, it was spoilt by the rains and thereby brought to the condition wherein it is to-day, as it will be told in the proper place. It is enough for the present to say that Domenico Ghirlandajo, who repainted it, availed himself greatly of the invention put into it by Orcagna, who also painted in fresco in the same church the Chapel of the Strozzi, which is near to the door of the sacristy and of the belfry, in company with Bernardo, his brother. In this chapel, to which one ascends by a staircase of stone, he painted on one wall the glory of Paradise, with all the Saints and with various costumes and head-dresses of those times. On the other wall he made Hell, with the abysses, centres, and other things described by Dante, of whom Andrea was an ardent student. In the Church of the Servites in the same city he painted in fresco, also with Bernardo, the Chapel of the family of Cresci; with a Coronation of Our Lady on a very large panel in S. Pietro Maggiore, and a panel in S. Romeo, close to the side-door. In like manner, he and his brother Bernardo painted the outer facade of S. Apollinare, with so great diligence that the colours in that exposed place have been preserved marvellously vivid and beautiful up to our own day.

[Illustration: _Alinari_

CHRIST WITH THE VIRGIN ENTHRONED

(_Detail from the_ "Paradise," _after the fresco by_ Bernardo di Cione Orcagna. _Florence: S. Maria Novella_)]

Moved by the fame of these works of Orcagna, which were much praised, the men who at that time were governing Pisa had him summoned to work on a portion of one wall in the Campo Santo of that city, even as Giotto and Buffalmacco had done before. Wherefore, putting his hand to this, Andrea painted a Universal Judgment, with some fanciful inventions of his own, on the wall facing towards the Duomo, beside the Passion of Christ made by Buffalmacco; and making the first scene on the corner, he represented therein all the degrees of lords temporal wrapped in the pleasures of this world, placing them seated in a flowery meadow and under the shade of many orange-trees, which make a most delicious grove and have some Cupids in their branches above; and these Cupids, flying round and over many young women (all portraits from the life, as it seems clear, of noble ladies and dames of those times, who, by reason of the long lapse of time, are not recognized), are making a show of shooting at the hearts of these young women, who have beside them young men and nobles who are standing listening to music and song and watching the amorous dances of youths and maidens, who are sweetly taking joy in their loves. Among these nobles Orcagna portrayed Castruccio, Lord of Lucca, as a youth of most beautiful aspect, with a blue cap wound round his head and with a hawk on his wrist, and near him other nobles of that age, of whom we know not who they are. In short, in that first part, in so far as the space permitted and his art demanded, he painted all the delights of the world with exceeding great grace. In the other part of the same scene he represented on a high mountain the life of those who, drawn by repentance for their sins and by the desire to be saved, have fled from the world to that mountain, which is all full of saintly hermits who are serving the Lord, busy in diverse pursuits with most vivacious expressions. Some, reading and praying, are shown all intent on contemplation, and others, labouring in order to gain their livelihood, are exercising themselves in various forms of action. There is seen here among others a hermit who is milking a goat, who could not be more active or more lifelike in appearance than he is. Below there is S. Macarius showing to three Kings, who are riding with their ladies and their retinue and going to the chase, human misery in the form of three Kings who are lying dead but not wholly corrupted in a tomb, which is being contemplated with attention by the living Kings in diverse and beautiful attitudes full of wonder, and it appears as if they are reflecting with pity for their own selves that they have in a short time to become such. In one of these Kings on horseback Andrea portrayed Uguccione della Faggiuola of Arezzo, in a figure which is holding its nose with one hand in order not to feel the stench of the dead and corrupted Kings. In the middle of this scene is Death, who, flying through the air and draped in black, is showing that she has cut off with her scythe the lives of many, who are lying on the ground, of all sorts and conditions, poor and rich, halt and whole, young and old, male and female, and in short a good number of every age and sex. And because he knew that the people of Pisa took pleasure in the invention of Buffalmacco, who gave speech to the figures of Bruno in S. Paolo a Ripa d'Arno, making some letters issue from their mouths, Orcagna filled this whole work of his with such writings, whereof the greater part, being eaten away by time, cannot be understood. To certain old men, then, he gives these words:

DACCHE PROSPERITADE CI HA LASCIATI, O MORTE, MEDICINA D' OGNI PENA, DEH VIENI A DARNE OMAI L' ULTIMA CENA!

with other words that cannot be understood, and verses likewise in ancient manner, composed, as I have discovered, by Orcagna himself, who gave attention to poetry and to making a sonnet or two. Round these dead bodies are some devils who are tearing their souls from their mouths, and are carrying them to certain pits full of fire, which are on the summit of a very high mountain. Over against these are angels who are likewise taking the souls from the mouths of others of these dead people, who have belonged to the good, and are flying with them to Paradise. And in this scene there is a scroll, held by two angels, wherein are these words:

ISCHERMO DI SAVERE E DI RICCHEZZA, DI NOBILTADE ANCORA E DI PRODEZZA, VALE NIENTE A I COLPI DI COSTEI;