DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0076
60
LIVES OF THE ARTISTS.
Francis.* In the chapter-house of Santa Maria Novella, a
painting of the church of Santa Maria del Fiore may also
be seen; it was taken from the model in wood of Arnolfo by
Simon of Siena, and represents the exterior, together with
the cupola. From this painting, it is obvious that Arnolfo
had proposed to raise the dome immediately over the piers
and above the first cornice, at that point, namely, where
Filippo di Ser Brunellesco, desiring to render the building
less heavy, interposed the whole space wherein we now see
the windows, before adding the dome. And this fact wrould be
even more clearly obvious, if the model of Arnolfo himself,
as wrell as those of Brunellesco, and others,f had not been
lost by the carelessness of the persons who directed the works
■of Santa Maria del Fiore in succeeding years.
NICCOLA AND GIOVANNI, SCULPTORS AND ARCHITECTS
OF PISA.
[niccola born BETWEEN 1205 AND 1207, DIED 1278.
GIOVANNI BORN -, DIED 1320.]
Having treated of Design and Painting in the life of Cima-
bue, and of Architecture in that of Arnolfo Lapi, wre will now
consider the art of Sculpture in the lives of Niccola and Gio-
vanni of Pisa, and also the most important edifices erected by
these artists. Their works, whether in sculpture or archi-
tecture, are, as not only great and magnificent, but tho-
roughly expressed, well worthy of commemoration, they
having, in a great measure, liberated both these branches of
art from the rude and tasteless old Greek manner, and
having displayed much greater power of invention in their
compositions, as well as more grace of attitude in their figures.
Niccola Pisano first worked under certain Greek J sculptors,
who were executing the figures, and other ornaments in
sculpture, of the Duomo of Pisa and the chapel of San Gio-
* This historical work is among the many that have disappeared from
the church.—Ed. Flor. 1846.
+ The monument of Pope Honoring III, in the Church of Santa Maria
Maggiore in Rome, is said by Vasari himself to have been commenced
by Arnolfo, but left unfinished.
J Della Valle and other Italian writers maintain that Niccola acquired
his art from Pisan, and not Greek masters.
LIVES OF THE ARTISTS.
Francis.* In the chapter-house of Santa Maria Novella, a
painting of the church of Santa Maria del Fiore may also
be seen; it was taken from the model in wood of Arnolfo by
Simon of Siena, and represents the exterior, together with
the cupola. From this painting, it is obvious that Arnolfo
had proposed to raise the dome immediately over the piers
and above the first cornice, at that point, namely, where
Filippo di Ser Brunellesco, desiring to render the building
less heavy, interposed the whole space wherein we now see
the windows, before adding the dome. And this fact wrould be
even more clearly obvious, if the model of Arnolfo himself,
as wrell as those of Brunellesco, and others,f had not been
lost by the carelessness of the persons who directed the works
■of Santa Maria del Fiore in succeeding years.
NICCOLA AND GIOVANNI, SCULPTORS AND ARCHITECTS
OF PISA.
[niccola born BETWEEN 1205 AND 1207, DIED 1278.
GIOVANNI BORN -, DIED 1320.]
Having treated of Design and Painting in the life of Cima-
bue, and of Architecture in that of Arnolfo Lapi, wre will now
consider the art of Sculpture in the lives of Niccola and Gio-
vanni of Pisa, and also the most important edifices erected by
these artists. Their works, whether in sculpture or archi-
tecture, are, as not only great and magnificent, but tho-
roughly expressed, well worthy of commemoration, they
having, in a great measure, liberated both these branches of
art from the rude and tasteless old Greek manner, and
having displayed much greater power of invention in their
compositions, as well as more grace of attitude in their figures.
Niccola Pisano first worked under certain Greek J sculptors,
who were executing the figures, and other ornaments in
sculpture, of the Duomo of Pisa and the chapel of San Gio-
* This historical work is among the many that have disappeared from
the church.—Ed. Flor. 1846.
+ The monument of Pope Honoring III, in the Church of Santa Maria
Maggiore in Rome, is said by Vasari himself to have been commenced
by Arnolfo, but left unfinished.
J Della Valle and other Italian writers maintain that Niccola acquired
his art from Pisan, and not Greek masters.