three orders of columns, placed one above the other, and varied, not only in the forms of the capitals and bases, but also in the shafts of the columns, some being thick, some being slender ; some in couples, others in groups of four ; some have the form of vines, while others represent supporting figures, variously sculptured. Animals of many kinds are also made to support the weight of some among these columns, which they bear on their backs, the whole presenting the strangest and most extravagant fantasies that can be imagined, not only widely deviating from the pure taste of the antique, but even offending against all rules of just proportion. Yet, notwithstanding these defects, whoever considers the whole work, will perceive that the artist made strenuous efforts towards the amelioration of his art, and probably thought that he had found the true method in that wondrous variety. Over the door of the church, the same master sculptured a rude figure of God the Father, surrounded by angels, of a rather large size, in mezzo-rilievo ; and, together with these, he placed the twelve months of the year, his own name, in round letters, as was then the custom, being sculptured beneath, with the date 1216.[1] Marchionne is also reported to have built the ancient edifice of the hospital and church of the Santo Spirito, in the Borgo Vecchio at Rome, for the same pontiff, Innocent III ; some remains of this hospital may yet be seen, and the ancient church was standing, in its primitive form, even in our own days, but it has been restored, in the modern taste, and with improved designs, by Pope Paul III, of the house of Farnese.
In the church of Santa Maria Maggiore, also in Rome, the same architect built the marble chapel[2] which encloses the manger of the Nativity, and in which he placed the portrait of Pope Honorius III, taken from life, whose tomb he had also constructed with ornaments in a very good style, and totally unlike the manner then prevalent throughout Italy.[3] About the same time Marchionne completed the lateral door
- ↑ This inscription has caused Vasari to conclude the whole façade and campanile to be the work of Marchionne ; but these, as well as the greater part of the church, are of a much later period, namely 1300.—See Rondinelli, Descrizione d'Arezzo, and the Annali Aretini.—Ed. Flor.
- ↑ Afterwards rebuilt by Pope Sixtus V.
- ↑ For the details of this subject, see D’Agincourt and Cicognara.
