DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0143
AGOSTINO AND AGNOLO.
127
and placed as are the balls in the arms of the Medici. These
•armorial bearings of the bishop are described by the Frate
Guittone, a knight and poet of Arezzo, who is writing of the
castle of Pietramala, whence the family took its origin, in
the following terms :—
“ Dove si scontra il Giglion con la Chiassa
Ivi furono i miei antecessori.
Che in campo azzurro d’or portan sei sassa.”*
In the execution of this work, a higher degree of inventive
power and greater care in execution were exhibited by
Agostino and Agnolo, than had been displayed in any pre-
vious undertaking of that time, and they certainly did merit
high praise for the great variety of sites, towns, towers,
castles, horses, men, and other objects, with the vast crowd
of figures of all kinds, which render the work a true marvel.
This tomb was almost entirely destroyed by the French,
under the Duke of Anjou, who, to avenge themselves for
certain affronts offered by the party inimical to them, sacked
the city ; it is nevertheless manifest, that the work was
executed by Agostino and Agnolo with very great ability.
The following words were carved on it by them, in letters
of moderate size :—“ Hoc opus fecit magister Augustinus et
magister Angelas de Senis.” At a later period, in the year
1329 namely, the same artists executed a marble altar for
the church of San Francesco, in Bologna; the work is in a
tolerably good manner, and in addition to the intagliatura,
which is very rich, they adorned it with a figure of Christ
crowning the Virgin, one braccia and a half high, with three
figures of similar height on each side. San Francesco, San
Jacopo, and San Domenico, on the one side, with Sant’
Antonio of Padua, San Petronio, and St. John the Evan-
gelist on the other ; beneath each of these figures is carved
a scene in basso-rilievo, representing events in the life of the
saint above ; and in all these historical representations is a
large number of half-figures, which form a rich and beautiful
ornament, in the manner of that time. It is clearly obvious,
* “ Where the Chiassa with the Giglion meets,
There dwelt my forefathers, whose shield displays
Six golden cubes upon a field of blue.”
127
and placed as are the balls in the arms of the Medici. These
•armorial bearings of the bishop are described by the Frate
Guittone, a knight and poet of Arezzo, who is writing of the
castle of Pietramala, whence the family took its origin, in
the following terms :—
“ Dove si scontra il Giglion con la Chiassa
Ivi furono i miei antecessori.
Che in campo azzurro d’or portan sei sassa.”*
In the execution of this work, a higher degree of inventive
power and greater care in execution were exhibited by
Agostino and Agnolo, than had been displayed in any pre-
vious undertaking of that time, and they certainly did merit
high praise for the great variety of sites, towns, towers,
castles, horses, men, and other objects, with the vast crowd
of figures of all kinds, which render the work a true marvel.
This tomb was almost entirely destroyed by the French,
under the Duke of Anjou, who, to avenge themselves for
certain affronts offered by the party inimical to them, sacked
the city ; it is nevertheless manifest, that the work was
executed by Agostino and Agnolo with very great ability.
The following words were carved on it by them, in letters
of moderate size :—“ Hoc opus fecit magister Augustinus et
magister Angelas de Senis.” At a later period, in the year
1329 namely, the same artists executed a marble altar for
the church of San Francesco, in Bologna; the work is in a
tolerably good manner, and in addition to the intagliatura,
which is very rich, they adorned it with a figure of Christ
crowning the Virgin, one braccia and a half high, with three
figures of similar height on each side. San Francesco, San
Jacopo, and San Domenico, on the one side, with Sant’
Antonio of Padua, San Petronio, and St. John the Evan-
gelist on the other ; beneath each of these figures is carved
a scene in basso-rilievo, representing events in the life of the
saint above ; and in all these historical representations is a
large number of half-figures, which form a rich and beautiful
ornament, in the manner of that time. It is clearly obvious,
* “ Where the Chiassa with the Giglion meets,
There dwelt my forefathers, whose shield displays
Six golden cubes upon a field of blue.”