DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0221
ANDREA ORGAGNA.
205
door of the sacristy and belfry, was also decorated in fresco
by Andrea in company with his brother Bernardo. On one
of the walls of this chapel, to which you ascend by a staircase
of stone, the glory of Paradise was depicted with all the
Saints, who are robed in the various vestments and head-
dresses of that age; on the opposite wall was a representation
of the Inferno, with its abysmal dungeons, circles of fire, and
other features, described by Dante, a poet whom Andrea
studied most carefully.* In the church of the Servites, in
the same city of Florence, this master painted the chapel of
the Cresci family in fresco, and also in company with his
brother Bernardo.f In San Piero Maggiore he executed a
rather large picture, the Coronation of the Virgin, with a
second picture in San Romeo, £ near the lateral door of the
church. §
In like manner, Andrea and his brother Bernardo together
adorned the exterior facade of Sant’ Apollinare in fresco, a
work which they executed with such extraordinary care that
the colours, although in that exposed situation, have remained
in wonderful preservation even to this day, when they are
still fresh and beautiful. || Moved by the fame of these
works, which were highly praised, the men who at that time
governed Pisa, caused Andrea to be summoned for the service
of their Campo Santo, where he was appointed to paint a
part of one of the walls, as had been already done by
Giotto and Buffalmacco, wherefore, setting himself earnestly
to work, Andrea painted a Last Judgment, with various fan-
tasies of his own invention, on that side of the building
nearest to the duomo and beside the Crucifixion of Buffal-
macco. In the angle on which he commenced his work,
Orgagna represented the temporal nobility of every degree,
surrounded by all the pleasures of this worldthey are
* Andrea afterwards painted the altar-piece of this chapel, as will be
seen hereafter; and this work, as well as the mural paintings, is still in
good preservation.
t These works have perished.
J This picture, the fate of which had long remained unknown, has
been lately discovered, and purchased, by the Signors Francesco Lom-
bardi and Ugo Baldi, of Florence, to enrich their important collection of
ancient masters.—Ed. Flor. 1848.
§ More commonly known as San Remigio. Of this picture (the sub-
ject of which Vasari does not tell us, we cannot ascertain the history.
U They have now, unhappily, perished.
205
door of the sacristy and belfry, was also decorated in fresco
by Andrea in company with his brother Bernardo. On one
of the walls of this chapel, to which you ascend by a staircase
of stone, the glory of Paradise was depicted with all the
Saints, who are robed in the various vestments and head-
dresses of that age; on the opposite wall was a representation
of the Inferno, with its abysmal dungeons, circles of fire, and
other features, described by Dante, a poet whom Andrea
studied most carefully.* In the church of the Servites, in
the same city of Florence, this master painted the chapel of
the Cresci family in fresco, and also in company with his
brother Bernardo.f In San Piero Maggiore he executed a
rather large picture, the Coronation of the Virgin, with a
second picture in San Romeo, £ near the lateral door of the
church. §
In like manner, Andrea and his brother Bernardo together
adorned the exterior facade of Sant’ Apollinare in fresco, a
work which they executed with such extraordinary care that
the colours, although in that exposed situation, have remained
in wonderful preservation even to this day, when they are
still fresh and beautiful. || Moved by the fame of these
works, which were highly praised, the men who at that time
governed Pisa, caused Andrea to be summoned for the service
of their Campo Santo, where he was appointed to paint a
part of one of the walls, as had been already done by
Giotto and Buffalmacco, wherefore, setting himself earnestly
to work, Andrea painted a Last Judgment, with various fan-
tasies of his own invention, on that side of the building
nearest to the duomo and beside the Crucifixion of Buffal-
macco. In the angle on which he commenced his work,
Orgagna represented the temporal nobility of every degree,
surrounded by all the pleasures of this worldthey are
* Andrea afterwards painted the altar-piece of this chapel, as will be
seen hereafter; and this work, as well as the mural paintings, is still in
good preservation.
t These works have perished.
J This picture, the fate of which had long remained unknown, has
been lately discovered, and purchased, by the Signors Francesco Lom-
bardi and Ugo Baldi, of Florence, to enrich their important collection of
ancient masters.—Ed. Flor. 1848.
§ More commonly known as San Remigio. Of this picture (the sub-
ject of which Vasari does not tell us, we cannot ascertain the history.
U They have now, unhappily, perished.