DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0167
ANDREA PISANO.
151
and also in the fourth chapter of the “ Triumph of Love"1,
where he says-
“See Cino ofPistoja—who, from Guy,
Of fair Arezzo, claims the foremost place”, etc.
The portrait of this Messer Cino, from the hand of Andrea
Pisano, is placed on the tomb, where he is depicted teaching
a number of his scholars, who stand around him in attitudes
of so much grace and beauty, that in his day they must have
been thought something wonderful, even though they should
not be greatly admired in ours.
Gualtieri, duke of Athens, and tyrant of Florence, also
profited by the services of Andrea for his architectural under-
takings, causing him to enlarge the piazza; and, desiring to
render himself more secure in his palace, be had a very strong
grating of iron bars placed on all the windows of the first
floor (where the hall of the Two Hundred now is). The same
duke erected the walls in rustic masonry which were added
to the palace, on the side opposite to San Scheraggio; and in
the thickness of the wall he made a secret stair, by which he
could ascend or descend without being observed. In this
wall he also placed a large door, which now serves as the en-
trance to the custom-house, and over the door he carved his
arms, all which was completed after the designs and by the
advice of Andrea. These arms were subsequently effaced by
the Council of Twelve, those magistrates desiring to destroy
all remembrance of the duke. The form of a lion rampant,
with double tail, may nevertheless be still discerned by
whomsoever will examine the shield carefully. Andrea
Pisano erected many towers around the circuit of the city
walls for the same duke, and not only commenced the magni-
ficent church of San Friano, which he brought to the state in
which we now see it, but also raised the walls for the vestibule
of all the gates of the city, with the smaller gates which were
opened for the convenience of the people.* The duke further
desired to construct a fortress on the side of San Giorgio,
and Andrea prepared the model for it; but this was not used,
the work never having been commenced, because the duke was
attributesit to Goro di Gregorio, of Siena; both agree to refuse the
honour of the work to Andrea Pisano.
* For various documents relating to these three works, see Gaye,
Carteggio Inedlto, i, 477, 491, 493, et seq.
151
and also in the fourth chapter of the “ Triumph of Love"1,
where he says-
“See Cino ofPistoja—who, from Guy,
Of fair Arezzo, claims the foremost place”, etc.
The portrait of this Messer Cino, from the hand of Andrea
Pisano, is placed on the tomb, where he is depicted teaching
a number of his scholars, who stand around him in attitudes
of so much grace and beauty, that in his day they must have
been thought something wonderful, even though they should
not be greatly admired in ours.
Gualtieri, duke of Athens, and tyrant of Florence, also
profited by the services of Andrea for his architectural under-
takings, causing him to enlarge the piazza; and, desiring to
render himself more secure in his palace, be had a very strong
grating of iron bars placed on all the windows of the first
floor (where the hall of the Two Hundred now is). The same
duke erected the walls in rustic masonry which were added
to the palace, on the side opposite to San Scheraggio; and in
the thickness of the wall he made a secret stair, by which he
could ascend or descend without being observed. In this
wall he also placed a large door, which now serves as the en-
trance to the custom-house, and over the door he carved his
arms, all which was completed after the designs and by the
advice of Andrea. These arms were subsequently effaced by
the Council of Twelve, those magistrates desiring to destroy
all remembrance of the duke. The form of a lion rampant,
with double tail, may nevertheless be still discerned by
whomsoever will examine the shield carefully. Andrea
Pisano erected many towers around the circuit of the city
walls for the same duke, and not only commenced the magni-
ficent church of San Friano, which he brought to the state in
which we now see it, but also raised the walls for the vestibule
of all the gates of the city, with the smaller gates which were
opened for the convenience of the people.* The duke further
desired to construct a fortress on the side of San Giorgio,
and Andrea prepared the model for it; but this was not used,
the work never having been commenced, because the duke was
attributesit to Goro di Gregorio, of Siena; both agree to refuse the
honour of the work to Andrea Pisano.
* For various documents relating to these three works, see Gaye,
Carteggio Inedlto, i, 477, 491, 493, et seq.