pavement of cathed 00 sie nu of t
DESCRIPTION
Pavement of CathedralTRANSCRIPT
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APR - S 1997
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THE PAVEMENT OF THE CATHEDRALOF SIENA
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^kt ^aotrntitt ol tht
^atkeAt^ai &l S^Lttia
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All artistical and literary rights reserved
a. Martini - U. Perlccloli
Tipografia ex Cooperativa - Siena - Oalluzza, 1 - Tel. 20.291
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The pavement of the Cathedral of Siena offers us
a unique example of decoration, so characteristic, that
it is very difficidt to find, even in a reduced scale, such
an example iti older times. However, in the portal
of the Duomo in Lucca, there is a frieze with figures
of men and animals in white, red and black marble
with touches of graffito to give relief to the scene,
and which dates hack to 1233. Before this time, the
Romanesque artists had sometimes inserted a few tondi
with geometrical designs enclosing Christian symbols,
like the doves going to water at a chalice; but in this
manner it was only an intarsio (inlaid) of white on black,
without any trace of graffito, as can be seen, for examplein the Church of Saint Miniato al Monte over Florence.
While the fragments in Lucca and the pavement in Siena,
on which besides the use of various colours of marble,
there is the addition of graffito, which gives reli« f to
the scenes already characterized by the use of polychrome
inaterial: they ai*e a new invention of which we have
no example unless we go back to the Roman mosaics,
the technieque of whic though so fundamentally diffe-
rent.
However, if we are to trust Vasari; Duccio di Bo-
ninsegna was the inventor of this kind of art and muchmore, he had made a few designs for the pavement of
the Duomo. Some critics doubt Vasari's declarations,
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as the old pavement of the Duomo has disappeared
completely. Nowadays it is impossible to control the
affirmation which though it may be well relied on, bythe fact that Duccio may have taken the Lucchesetradition and given it a new impetus. Anyhow% it is
evident from the use of the new way of paving that
was taken a few years after Duccio's death, how this
kind must have been well known to the Sienese artist,
who appear at once masters of this new technique.
The oldest document referring to the execution
of a part of the new pavement dates back to 1369-70,
when the people of the town having given up the plan
of enlarging the cathedral, turned their cares to adorn-
ing, and completing the present one.
Besides one part of the pavement under the dome,in front of the high altar (perhaps the stories that
were later replaced with those by Franchi), the follow-
ing were then made, the square of the wheel of Fortune,
in the central nave, and the artists mentioned are An-tonio di Brunaccio, Sano di Marco and Francesco di
Ser Antonio. The rest of the church, it is said, waspaved with slabs of marble with inlaid ornamentaldesigns or a combination of geometrical squares.
In 1406 Marchese di Adamo made the wheel in
the centre of which there is the figure of Fortress, in
front of the sacristy, while previously the mosaic square
had been made in the central nave; it shows the symbolsof Siena and of her friends.
In 1423, under the direction of Domenico di Nic-
colo dei Cori, there was a retaking of the work; the
ambulacrum of the choir between the altar of Saint
Ansano and the one of the Holy Sacrament was adorned
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with various stories and .figures. Besides the two large
coinpositions of the luassacre of the Philistines andthe battle against Amorrean Kings, tliere is in the cen-
tre the tondo (circle) in which David the Psalmist sits
on a throne, while smaller squares show David with a
sling and Goliath the giant, Salomon and Joshua. It
is said that David and the two figures of David with a
sling and Goliath arc work's hy Niccolo, While Paolo di
Martino and others were ])robably the artists of the
other compositions and ornamental friezes.
When the work of the ambulacrum of the choir
was over, the continuation of the work for the right
transept was begun by Domenico di Bartolo di Ghezzoui.^king the scene of the Emperor Sigismund in 1434;
and by Pietro del Minella making the Death of Absalom.Shortly after, Antonio Federighi made the marv-
ellous allegory of the seven ages of man in front of
the present Chapel del Voto.
After an interval of about 30 years, the works of
the pavement were retaken again. This time the left
transept was begun, for which the imposing compositionof the Siege of Bethulia was designed. Differently
attributed to Matteo di Giovanni and Urbano da Cor-tona, it was materially made by Antonio Federighi.
But the greatest impetus to the accomplishmentof the pavement was given by the new Rector of the
Opera del Duomo, Alberto Aringhieri. In the periodof his function, that is from 1481 to 1498, besides worksof great importance, such as the chapel of Saint Johnand the Baptistery of Saint John, the continuation of
the pavement of the Duomo was particulary taken care
of. The first ti be made was Hermes Trismegisto, put
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at the beginnint; of the main nave, an<l the author of
which, is said to he Giovanni di Maestro Stefano. After
these come the sibyls of the two side naves, the designs
of which were made by the best artists of that time,
among these were Matteo di Giovanni, Antonio Fede-righi, Guidoccio Cozzarelli and Neroccio di Bartolo-
meo. Successively, the ornament of the right transept
was completed; representing the two great stories of
the « Expulsion of Herod » designed by Benvenuto di
Giovanni del Guasta, and the « Massacre of the
Innocents » by Matteo di Giovanni, which is |)erhaps
the finest piece of the entire pavement. And finally the
scene of the story of « Jepthah's Daughter)) by Ba-stiano di Francesco di Sano, thus completing also the
left transept. And it is wonderful to think that this
imposing work was made exactly when Siena wascrossing one of the most agitated period of her history.
In 1505 Pituricchio completed, with the « Allegory
of Fortune », the graffiti of the central nave, and "with
him, ends this first manner of marble ornamentationof the pavement. In Fact, when in 1518 it was continued
and accomplished what remained infinished, Beccafumicreated a new technique by using white and gray andblack marble and graffiti on white and on gray, attain-
ing the effect of a real Charcoal drawing full of shades.
The wonderful scenes of the life of Moses, the « Sacrifice
of Abraham » and the « Prophet Elijah » are byhimself. They are distributed between the High Altar
and the space under the cupola.
Thus the pavement was completed; but the necessary
cares to keep it and renew it when it was worn out by the
walking of the people, was never left. Passing over
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the minor works, we get to 1878, when, heing the three
large hexagons under la cupola and a few smaller diam-onds completely worn out, Alessandro Franchi designed
the beautiful scenese of Elijah prophesing « Ahab'sdeath », the « Death of Ahab », « Eijah's Ascension to
Heaven » and other minor scenes, which complete the
series begini by Beccafumi in the other scenes placed
near these. In the renewed haxagons there were before
these, other scenes, that is, parables of the « Beam in
the Eye », the one showing the « Blind-man leading
a Blind-man », and « An Old-man giving Alms », the
remains of which are now in the « Museum of the
Opera » and which date back to 1373 and 1433.
These are the news we have of this wonderful workwhich has analogies with mosaic, inlaid wood and also
painting, but is instead something original and uniquewhich has given the Sienese artists an everlasting fame,and to our Cathedral an ornament which has no equalin the world.
:^
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Guidoccio Cozzarelli - The Libyan Sibyl
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Neroccio Landi The Ellespontine Sibyl
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Vito di Marco - The Phrygian Sibyl
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Matteo di Giovanni - The Samian and Phrygian sibyls
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Benvenuto di Giovanni - The Albunean Sibyl
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Urbano da Cortona - The Persian Sibyl
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Antonio Federighi - The Erythraean Sibyl
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Giovanni di Stefano The Cuman Sibyl
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Vitp di Marco • The Cumaean Sibyl
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Vito digMarco - The Delphic Sibyl
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Giovanni di Stefano - Hermes Mercurius Trismegistus
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Secolo XIV - Sienna and Towns allied
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Bernardino Betti - Human life under the sway of Fortune
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Bernardino Belli - Fortune' s wheel
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Benvenuto di Giovanni • The expulsion of Herod
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Matteo di Giovanni • The massacre of the Innocents (detail)
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Matteo di Giovanni • The massacre of the Innocents (detail)
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Matteo di Giovanni - The massacre of the innocents (detail)
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Urbano da Cortona - Judith liberates Bethulia (detail)
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Urbano da Cortona • Judith liberates Bethulia (detail)
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Domenico Beccafumi Moses receives the tables of the Law
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Domenico Beccafumi - Moses making water flow
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Domenico Beccafumi - Moses making water flow
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Domenico di Bartolo - The Emperor Sigismondo on throne
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Pietro del Minella - The death of Absalom
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Sebastiano di Francesco • Story of Jephthah (detail)
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Sebastiano di Francesco • Story of Jephthah (detail)
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Antonio Federighi - The seven ages of man
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Alessandro Franchi - Charity
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Alessandro Franclii - Religion
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Alessandro Franchi - Hope
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Alessandro Franchi • Faith
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lessandro Franchi - Elijah brings the son of the widow to life again
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Alessandro Franchi - Tte death of Acab
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Alessandro Franchi Elijah fed by the ravens
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Domenico Beccafumi - The sacrifice of Acab
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Domenico Beccafumi • The sacrifice of Elijah
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Domenico Beccafumi - Killing the false prophets of Baal
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Alessandro Franchi • Elijah anoints Jehu, king of Israel
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Alessandro Franchi - Elijah prophesies death to Acab
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Alessandro Franchi • Elijah asks for breay of the widow
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Alessandro Franchi - The triumph of Elijah
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Pomenico Beccafumi The pact between Elijah and Acab
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Alessandro Franchi - Detail of the expulsion of the king Herod
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Paolo di Martino • The five kings hanged
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Domenico di Niccolb - David the psalmist
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Domenico di Niccolb - Young David
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Domenico di Niccolb - The giant Goliath
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Paolo di Martino - Moses and Joshua
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Paolo di Martino - Samson fighting the Philistines
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Pomenico Beccafumi • Abraham sacrifying Isaac
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Plan of the pavement
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NA The Pavement of the Cathedral5621 of Siena
P36
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET
ERINDALE COLLEGE LIBRARY
MISSISSAUGA ONTARIO
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