issued from a tomb, is seeking furtively to put himself among the good, while an angel discovers him and thrusts him among the damned.
Besides Bernardo, Andrea had a brother called Jacopo, who was engaged in sculpture, but with little profit; and in making on occasion for this Jacopo designs in relief and in clay, there came to him the wish to make something in marble and to see whether he remembered the principles of that art, wherein, as it has been said, he had worked in Pisa; and so, putting himself with more study to the test, he made progress therein in such a fashion that afterwards he made use of it with honour, as it will be told. Afterwards he devoted himself with all his energy to the study of architecture, thinking that at some time or another he would have to make use of it. Nor did his thought deceive him, seeing that in the year 1355, the Commune of Florence having bought some citizens' houses near their Palace (in order to have more space and to make a larger square, and also in order to make a place where the citizens could take shelter in rainy or wintry days, and carry on under cover such business as was transacted on the Ringhiera when bad weather did not hinder), they caused many designs to be made for the building of a magnificent and very large Loggia for this purpose near the Palace, and at the same time for the Mint where the money is struck. Among these designs, made by the best masters in the city, that of Orcagna being universally approved and accepted as greater, more beautiful, and more magnificent than all the others, by decree of the Signori and of the Commune there was begun under his direction the great Loggia of the square, on the foundations made in the time of the Duke of Athens, and it was carried on with squared stone very well put together, with much diligence. And what was something new in those times, the arches of the vaulting were made no longer quarter-acute, as it had been the custom up to that time, but they were turned in half-circles in a new and laudable method, which gave much grace and beauty to this great fabric, which was brought to completion in a short time under the direction of Andrea. And if there had been taken thought to put it beside S. Romolo and to turn the arches with the back to the north, which they did not do, perchance, in order to have it conveniently near to the gate of the Palace, it would have been as useful a building for the whole city as it is beautiful in workmanship; whereas, by reason of the great wind, in winter no one can stand there. In this Loggia, between the arches on the front wall, in some ornamental work by his own hand, Orcagna made seven marble figures in half-relief representing the seven Theological and Cardinal Virtues, as accompaniment to the whole work, so beautiful that they made him known for no less able as sculptor than as painter and architect; not to mention that he was in all his actions as pleasant, courteous, and lovable a man as was ever any man of his condition. And because he would never abandon the study of any one of his professions for that of another, while the Loggia was building he made a panel in distemper with many large figures, with little figures in the predella, for that chapel of the Strozzi wherein he had formerly made some works in fresco with his brother Bernardo; on which panel, it appearing to him that it could bear better testimony to his profession than the works wrought in fresco could do, he wrote his name with these words: ANNO DOMINI MCCCLVII, ANDREAS CIONIS DE FLORENTIA ME PINXIT.
Alinari
THE DEATH AND ASSUMPTION OF THE VIRGIN
(Relief on the Tabernacle by Andrea di Cione Orcagna, Or San Michele, Florence) View larger image
This work completed, he made some pictures, also on panel, which were sent to the Pope in Avignon and are still in the Cathedral Church of that city. A little while afterwards the men of the Company of Orsanmichele, having collected large sums of money from offerings and donations given to their Madonna by reason of the mortality of 1348, resolved to make round her a chapel, or rather shrine, not only very ornate and rich with marbles carved in every way and with other stones of price, but also with mosaic and ornaments of bronze, as much as could possibly be desired, in a manner that both in workmanship and in material it might surpass every other work of so great a size wrought up to that day. Wherefore, the charge of the whole being given to Orcagna as the most excellent of that age, he made so many designs that finally one of them pleased the authorities, as being better than all the others. The work, therefore, being allotted to him, they put complete reliance in his judgment and counsel; wherefore, giving the making of all the rest to diverse master-carvers brought from several districts, he applied himself with his brother to executing all the figures of the work, and, the whole being finished, he had them built in and put together very thoughtfully without mortar, with clamps of copper fixed with lead, to the end that the shining and polished marbles might not become discoloured; and in this he succeeded so well, with profit and honour from those who came after him, that to one who studies that work it appears, by reason of such union and methods of joining discovered by Orcagna, that the whole chapel has been shaped out of one single piece of marble. And although it is in a German manner, for that style it has so great grace and proportion that it holds the first place among the works of those times, above all because its composition of figures great and small, and of angels and prophets in half-relief round the Madonna, is very well executed. Marvellous, also, is the casting of the bands of bronze, diligently polished, which, encircling the whole work, enclose and bind it together in a manner that it is therefore as stout and strong as it is beautiful in all other respects. But how much he laboured in order to show the subtlety of his intellect in that gross age is seen in a large scene in half-relief on the back part of the said shrine, wherein, with figures of one braccio and a half each, he made the twelve Apostles gazing on high at the Madonna, while she, in a mandorla, surrounded by angels, is ascending to Heaven. In one of these Apostles he portrayed himself in marble, old, as he was, with the beard shaven, with the cap wound round the head, and with the face flat and round, as it is seen above in his portrait, drawn from that one. Besides this, he inscribed these words in the marble below: ANDREAS CIONIS, PICTOR FLORENTINUS, ORATORII ARCHIMAGISTER EXTITIT HUJUS, MCCCLIX.
It is known that the building of this Loggia and of the marble shrine, with all the master-work, cost ninety-six thousand florins of gold, which were very well spent, for the reason that it is, both in the architecture and in the sculptures and other ornaments, as beautiful as any other work whatsoever of those times, and is such that, by reason of the parts made therein by him, the name of Andrea Orcagna has been and will be ever living and great.
He used to write in his pictures: FECE ANDREA DI CIONE, SCULTORE; and in his sculptures: FECE ANDREA DI CIONE, PITTORE; wishing that his painting should be known by his sculpture, and his sculpture by his painting. There are throughout all Florence many panels made by him, which are partly known by the name, such as a panel in S. Romeo, and partly by the manner, such as one that is in the Chapter-house of the Monastery of the Angeli. Some of them that he left unfinished were completed by Bernardo, his brother, who survived him, but not for many years. And because, as it has been said, Andrea delighted in making verses and various forms of poetry, when already old he wrote some sonnets to Burchiello, then a youth; and finally, being sixty years of age, he finished the course of his life in 1389, and was borne with honour from his dwelling, which was in the Via Vecchia de' Corazzai, to his tomb.
There were many men able in sculpture and in architecture at the same time as Orcagna, of whom the names are not known, but their works are to be seen, and these are worthy of nothing but praise and commendation. Among their works is not only the Monastery of the Certosa of Florence, made at the expense of the noble family of the Acciaiuoli, and in particular of Messer Niccola, Grand Seneschal of the King of Naples, but also the tomb of the same man, whereon he is portrayed in stone, and that of his father and one of his sisters, which has a covering of marble, whereon both were portrayed very well from nature in the year 1366. There, too, wrought by the hand of the same men, is the tomb of Messer Lorenzo, son of the said Niccola, who, dying at Naples, was brought to Florence and laid to rest there with the most honourable pomp of funeral obsequies. In like manner, in the tomb of Cardinal Santa Croce of the same family, which is in a choir then built anew in front of the high-altar, there is his portrait on a slab of marble, very well wrought in the year 1390.
Disciples of Andrea in painting were Bernardo Nello di Giovanni Falconi of Pisa, who wrought many panels in the Duomo of Pisa, and Tommaso di Marco of Florence, who, besides many other works, made in the year 1392 a panel that is in S. Antonio in Pisa, set up against the tramezzo