DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61670#0379
OTHER WORKS
i99
over the side door of the cathedral, Volterra, locally attributed
to Luca himself. Not only is the face well constructed and
modelled, but the small figures ornamenting the cope are
extremely good, especially the two Madonnas on either side
of the massive brooch. The figure is much injured, but
enough remains to prove it the work of a Master, and no mere
atelier production. With these busts closes the record of
Andrea’s principal work, already sadly confused with that of
Giovanni.1
Of lost or perished works we have the following notices.
Among the archives of the Opera del Duomo is a docu-
ment dated 23rd April 1491, recording payment to “Andree
Marti dalla Robbia ” of five florins for a crucifix constructed
by him for Holy Week—“ ebdomeda 3”’(anta)—with a reference
to the date of commission. (Doc. xxvii. 2.) Turning back
to the indicated page we find a most interesting document,
which throws a new light upon Andrea as a carver in wood
as well as a worker in glazed terra-cotta, and opens up a new
field of possible discoveries among fifteenth-century Florentine
wood-carvings. The document is dated January 24, 1490
(new reckoning, 1491, thus three months before the payments
above cited), and orders the carving of a wooden crucifix, “ so
constructed that the limbs shall appear moveable,” for exhibi-
tion to the populace every Good Friday. (Doc. xxvii. 1.) There
is a third record of this work, dated 29 th April 1491, the
estimation of the said crucifix “ completed by Andrea della
Robbia.” (Doc. xxvii. 3.) Of the crucifix itself I have been
able to find no trace.
Signor Carlo Milanesi, in his commentary on Vasari’s Life
1 I have not found it possible to accept as more than imitative work, showing
more traces of Giovanni’s style than Andrea’s, the Assumption of Citta di
Castello, and several other altarpieces included by M. Reymond in his list of
Andrea’s works. The Tabernacle of Montepulciano, the Santa Fiora Font, the
Madonna and Saints of Camaldoli, the Resurrection of the Accademia, Florence,
also included by him, show so strongly the characteristics of Giovanni that I
have no hesitation in classing them among his works.
i99
over the side door of the cathedral, Volterra, locally attributed
to Luca himself. Not only is the face well constructed and
modelled, but the small figures ornamenting the cope are
extremely good, especially the two Madonnas on either side
of the massive brooch. The figure is much injured, but
enough remains to prove it the work of a Master, and no mere
atelier production. With these busts closes the record of
Andrea’s principal work, already sadly confused with that of
Giovanni.1
Of lost or perished works we have the following notices.
Among the archives of the Opera del Duomo is a docu-
ment dated 23rd April 1491, recording payment to “Andree
Marti dalla Robbia ” of five florins for a crucifix constructed
by him for Holy Week—“ ebdomeda 3”’(anta)—with a reference
to the date of commission. (Doc. xxvii. 2.) Turning back
to the indicated page we find a most interesting document,
which throws a new light upon Andrea as a carver in wood
as well as a worker in glazed terra-cotta, and opens up a new
field of possible discoveries among fifteenth-century Florentine
wood-carvings. The document is dated January 24, 1490
(new reckoning, 1491, thus three months before the payments
above cited), and orders the carving of a wooden crucifix, “ so
constructed that the limbs shall appear moveable,” for exhibi-
tion to the populace every Good Friday. (Doc. xxvii. 1.) There
is a third record of this work, dated 29 th April 1491, the
estimation of the said crucifix “ completed by Andrea della
Robbia.” (Doc. xxvii. 3.) Of the crucifix itself I have been
able to find no trace.
Signor Carlo Milanesi, in his commentary on Vasari’s Life
1 I have not found it possible to accept as more than imitative work, showing
more traces of Giovanni’s style than Andrea’s, the Assumption of Citta di
Castello, and several other altarpieces included by M. Reymond in his list of
Andrea’s works. The Tabernacle of Montepulciano, the Santa Fiora Font, the
Madonna and Saints of Camaldoli, the Resurrection of the Accademia, Florence,
also included by him, show so strongly the characteristics of Giovanni that I
have no hesitation in classing them among his works.