Francis.[1] In the chapter-house of Santa Maria Novella, a painting of the church of Santa Maria del Fiore may also be seen ; it was taken from the model in wood of Arnolfo by Simon of Siena, and represents the exterior, together with the cupola. From this painting, it is obvious that Arnolfo had proposed to raise the dome immediately over the piers and above the first cornice, at that point, namely, where Filippo di Ser Brunellesco, desiring to render the building less heavy, interposed the whole space wherein we now see the windows, before adding the dome. And this fact would be even more clearly obvious, if the model of Arnolfo himself, as well as those of Brunellesco, and others,[2] had not been lost by the carelessness of the persons who directed the works of Santa Maria del Fiore in succeeding years.
NICCOLA AND GIOVANNI, SCULPTORS AND ARCHITECTS OF PISA.
[niccola born between 1205 and 1207, died 1278.
giovanni born ———, died 1320.]
Having treated of Design and Painting in the life of Cimabue, and of Architecture in that of Arnolfo Lapi, we will now consider the art of Sculpture in the lives of Niccola and Giovanni of Pisa, and also the most important edifices erected by these artists. Their works, whether in sculpture or architecture, are, as not only great and magnificent, but thoroughly expressed, well worthy of commemoration, they having, in a great measure, liberated both these branches of art from the rude and tasteless old Greek manner, and having displayed much greater power of invention in their compositions, as well as more grace of attitude in their figures. Niccola Pisano first worked under certain Greek[3] sculptors, who were executing the figures, and other ornaments in sculpture, of the Duomo of Pisa and the chapel of San Gio-
- ↑ This historical work is among the many that have disappeared from the church.—Ed. Flor. 1846.
- ↑ The monument of Pope Honorius III, in the Church of Santa Maria Maggiore in Rome, is said by Vasari himself to have been commenced by Arnolfo, but left unfinished.
- ↑ Della Valle and other Italian writers maintain that Niccola acquired his art from Pisan, and not Greek masters.
