DOI Page / Citation link:
https://doi.org/10.11588/diglit.57409#0083
NICCOLA AND GIOVANNI OF PISA. 67
both were erected. At the entreaty of the Bishop Ubertini,
he restored the capitular church of Cortona, and founded
the church of Santa Margherita for the friars of St. Francis,
on the most elevated point of that city.
By all these labours, the fame of Niccola was con-
tinually extended, and in the year 1267, he was invited
by Pope Clement IV to Viterbo, where, with many others,
he restored the church and convent of the Preaching Friars.
From Viterbo he proceeded to Naples to king Charles I,
who, having routed and slain Conradin, on the plain of
Tagliacozzo, had determined to erect a very rich church
and abbey on the spot, wherein should be buried the great
number of men killed in that battle, and where he had com-
manded that masses for their souls should be performed
night and day, by many monks. And in respect of this
building, King Charles was so well satisfied with the work
of Niccola, that he paid the artist great honours, and re-
warded him largely. Returning from Naples into Tuscany,
Niccola made some stay at Orvieto, where he assisted in
the building of the church of Santa Maria. He there
worked in company with certain Germans, and executed
several figures in high relief, with their assistance, for
the facade of that church. There were two historical
scenes in particular, representing the Universal Judgment,
Paradise, and Hell ; and as he did his utmost to give
beauty to the souls of the blessed who were restored to
their bodies in Paradise, so, in the figures of the devils,
employed in tormenting the souls of the condemned in Hell,
he produced the strangest forms that can be conceived.
In this work he surpassed, not only the Germans with whom
he was associated, but even himself, to his great glory; and
as there were large numbers of figures, and he had given
proof of extraordinary patience in this production, it has
been praised even to our own times by those whose judg-
ment in sculpture does not extend beyond these circum-
stances.*
Among other children, Niccola had a son called Giovanni,
who, being constantly with his father, attained early pro-
ficiency under his care, both in sculpture and architecture,
* Cicognara has shewn that these reliefs are subsequent to Niccola.
See Storla della Scultura.
both were erected. At the entreaty of the Bishop Ubertini,
he restored the capitular church of Cortona, and founded
the church of Santa Margherita for the friars of St. Francis,
on the most elevated point of that city.
By all these labours, the fame of Niccola was con-
tinually extended, and in the year 1267, he was invited
by Pope Clement IV to Viterbo, where, with many others,
he restored the church and convent of the Preaching Friars.
From Viterbo he proceeded to Naples to king Charles I,
who, having routed and slain Conradin, on the plain of
Tagliacozzo, had determined to erect a very rich church
and abbey on the spot, wherein should be buried the great
number of men killed in that battle, and where he had com-
manded that masses for their souls should be performed
night and day, by many monks. And in respect of this
building, King Charles was so well satisfied with the work
of Niccola, that he paid the artist great honours, and re-
warded him largely. Returning from Naples into Tuscany,
Niccola made some stay at Orvieto, where he assisted in
the building of the church of Santa Maria. He there
worked in company with certain Germans, and executed
several figures in high relief, with their assistance, for
the facade of that church. There were two historical
scenes in particular, representing the Universal Judgment,
Paradise, and Hell ; and as he did his utmost to give
beauty to the souls of the blessed who were restored to
their bodies in Paradise, so, in the figures of the devils,
employed in tormenting the souls of the condemned in Hell,
he produced the strangest forms that can be conceived.
In this work he surpassed, not only the Germans with whom
he was associated, but even himself, to his great glory; and
as there were large numbers of figures, and he had given
proof of extraordinary patience in this production, it has
been praised even to our own times by those whose judg-
ment in sculpture does not extend beyond these circum-
stances.*
Among other children, Niccola had a son called Giovanni,
who, being constantly with his father, attained early pro-
ficiency under his care, both in sculpture and architecture,
* Cicognara has shewn that these reliefs are subsequent to Niccola.
See Storla della Scultura.