then proceeding,—all which impelled our artist to more zealous efforts; and these were so successfully put forth, that, even to the present day, this work of Jacopo’s is considered by modern sculptors to be a most rare production. On the side of the Madonna, opposite to that occupied by St. Thomas, is the figure of a bear climbing a pear-tree; and respecting this fanciful caprice of the master, much was said in that day, as there continues to be in our own; but I will not repeat these observations, preferring that every one should be left to think and opine of this matter as seemeth to him good.[1]
Jacopo now desired to revisit his native city, and returned to Siena accordingly. He had no sooner arrived there, than an opportunity was afforded him of establishing an honourable memorial of himself—as he had desired to do—in the place of his birth. The Signoria of Siena had resolved to erect very rich decorations in marble around the fountain on the piazza, to which the Sienese masters, Agostino and Agnolo, had conducted the water in 1343; they therefore appointed Jacopo to complete the undertaking, at the cost of 2,200 gold ducats. The master having prepared his model, and sent for the requisite marbles, commenced the work forthwith, and this he ultimately completed so much to the satisfaction of his fellow-citizens, that they no longer called him Jacopo della Quercia, but ever afterwards named him Jacopo of the Fountain (Jacopo della Fonte). In the centre of this work, the sculptor placed the glorious Virgin Mary, the especial advocate and protector of that city; her figure is somewhat larger than those surrounding her, and is of singular grace and beauty:[2] around the Madonna the artist then grouped the seven theological and cardinal virtues: the heads of these figures are finished with much delicacy, and have a charming
- ↑ In Vasari’s first edition, he intimated that this bear may typify the efforts of the wicked, who vainly seek to climb to the height on which the Virgin and angels are placed. Della Valle thinks he has read somewhere that the artist intended this bear to represent those who had excluded him from the works of San Giovanni. Cicognara is of opinion that this may be the correct view of the matter: but Bottari, with more probability, considers the figure of the bear to be a mere caprice of the artist.
- ↑ A magnificent work, in which Jacopo della Quercia was assisted by Francesco Valdambrino and Ansano di Matteo, sculptors of Siena,—See Della Valle, Lettere Sanesi, vol. ii, p. 161, et seq.
