Florence and Northern Tuscany with Genoa: With Sixteen Illustrations in Colour by William Parkinson and Sixteen Other Illustrations, Second EditionHutton, Edward
History
Florence and Northern Tuscany with Genoa: With Sixteen Illustrations in Colour by William Parkinson and Sixteen Other Illustrations, Second Edition
Hutton, Edward
Art -- Italy -- Florence; Genoa (Italy) -- History; Tuscany (Italy) -- Description and travel
The second door north of the Duomo was carved by Niccolo di Piero
d'Arezzo, who was still working more than forty years after Tedesco's
death; but his best work, for we pass by his Statue of St. Mark in the
chapel of the apex of the Duomo, is the little Annunciation over the
niche of the St. Matthew of Or San Michele. In his work on the gate of
the Duomo, however, he was assisted by his pupil Nanni di Banco, who,
born in the fourteenth century, died in 1420; and in his work, and in
that of Jacopo della Quercia, a Sienese, and a much greater man, we see
the very dawn itself.
Nanni di Banco, Vasari tells us, was a man who "inherited a competent
patrimony, and one by no means of inferior condition." He goes on to say
that Nanni was the pupil of Donatello, and though in any technical sense
that seems to be untrue, it may well be that he sought Donato's advice
whenever he could, for he seems to have practised his art for love of
it, and may well have recognised the genius of Donatello, who probably
worked beside him. He too worked at Or San Michele, where he carved the
St. Philip, the delightful relief under the St. George of Donatello, the
Four Saints, which seem to us so full of the remembrance of antiquity,
and the S. Eligius with its beautiful drapery, a little stupid still, or
sleepy is it, with the mystery of the Middle Age that after all was but
just passing away. Something of this sleepiness seems also to have
overtaken the St. Luke, that tired figure in the Duomo; and so it is
with a real surprise that we come at last upon the best work of Nanni's
life, "the first great living composition of the Renaissances," as
Burckhardt says, the Madonna della Cintola over Niccolo d'Arezzo's door
of the Duomo. Even with all the work of Ghiberti, of Donatello even, to
choose from, that relief of Madonna in an almond-shaped glory,
stretching out her hands among the cherubim, with a gesture so eager and
so moving to St. Thomas, who kneels before her, remains one of the most
beautiful works of that age, and one of the loveliest in all Tuscany.
Public-domain text, read in full here on John Shaqi.
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