In the façade of S. Maria del Fiore, on the left side as one enters the church by the central door, there is an Evangelist by the hand of the same man, which is a passing good figure for those times. It is also reputed that the S. Lo which is without the said Oratory of Orsanmichele, and which was made for the Guild of Farriers, is by the hand of the same Nanni, and likewise the marble shrine, in the base of which, at the foot, there is a scene wherein S. Lo, the Farrier, is shoeing a frenzied horse, so well made that Nanni deserved much praise for it; and he would have deserved and obtained much greater praise with other works, if he had not died, as he did, while still young. None the less, by reason of these few works Nanni was held a passing good sculptor; and being a citizen, he obtained many offices in his native city of Florence, and because he bore himself like a just and reasonable man both in these and in all his other affairs, he was greatly beloved. He died of colic in the year 1430, at the age of forty-seven.
LUCA DELLA ROBBIA
LIFE OF LUCA DELLA ROBBIA
SCULPTOR OF FLORENCE
Luca Della Robbia, sculptor of Florence, was born in the year 1388 in the house of his ancestors, which is in Florence, below the Church of S. Barnaba; and therein he was honestly brought up until he had learnt not only to read and write but also to cast accounts, in so far as it was likely to be needful, after the custom of most Florentines. And afterwards he was placed by his father to learn the art of the goldsmith with Leonardo di Ser Giovanni, who was then held the best master of that art in Florence. Now, having learnt under this man to make designs and to work in wax, Luca grew in courage and applied himself to making certain things in marble and in bronze, which, seeing that he succeeded in them well enough, brought it about that he completely abandoned his business of goldsmith and applied himself to sculpture, insomuch that he did nothing but ply his chisel all day and draw all night; and this he did with so great zeal, that, feeling his feet very often freezing at night, he took to keeping them in a basket full of shavings, such as carpenters strip from planks when they shape them with the plane, in order to warm them without giving up his drawing. Nor do I marvel in any way at this, seeing that no one ever became excellent in any exercise whatsoever without beginning from his childhood to endure heat, cold, hunger, thirst, and other discomforts; wherefore those men are entirely deceived who think to be able, at their ease and with all the comforts of the world, to attain to honourable rank. It is not by sleeping but by waking and studying continually that progress is made.
Luca was barely fifteen years of age when he was summoned, together with other young sculptors, to Rimini, in order to make some figures and other ornaments in marble for Sigismondo di Pandolfo Malatesti, Lord of that city, who was then having a chapel made in the Church of S. Francesco, and a tomb for his wife, who had died. Luca had given an honourable proof of his knowledge in some low-reliefs in this work, which are still seen there, when he was recalled by the Wardens of Works of S. Maria del Fiore to Florence, where, for the campanile of that church, he made five little scenes in marble, which are on the side that faces the church, and which were wanting, according to the design of Giotto, to go with that wherein are the Sciences and Arts, formerly made, as it has been said, by Andrea Pisano. In the first Luca made Donato teaching grammar; in the second, Plato and Aristotle, standing for philosophy; in the third, a figure playing a lute, for music; in the fourth, a Ptolemy, for astrology; and in the fifth, Euclid, for geometry. These scenes, in perfection of finish, in grace, and in design, were far in advance of the two made, as it has been said, by Giotto, in one of which Apelles, standing for painting, is working with his brush, while in the other Pheidias, representing sculpture, is labouring with his chisel. Wherefore the said Wardens of Works—who, besides the merits of Luca, were persuaded thereunto by Messer Vieri de' Medici, then a great citizen and a friend of the people, who loved Luca dearly—commissioned him, in the year 1405, to make the marble ornament for the organ which the Office of Works was then having made on a very grand scale, to be set up over the door of the sacristy of the said church. In certain scenes at the base of this work Luca made the singing choirs, chanting in various fashions; and he put so much zeal into this labour and succeeded so well therein, that, although it is sixteen braccia from the ground, one can see the swelling of the throats of the singers, the leader of the music beating with his hands on the shoulders of the smaller ones, and, in short, diverse manners of sounds, chants, dances, and other pleasing actions that make up the delight of music. Next, on the great cornice of this ornament Luca placed two figures of gilded metal—namely, two nude angels, wrought with a high finish, as is the whole work, which was held to be something very rare, although Donatello, who afterwards made the ornament of the other organ, which is opposite to the first, made his with much more judgment and mastery than Luca had shown, as will be told in the proper place; for Donatello executed that work almost wholly with bold studies and with no smoothness of finish, to the end that it might show up much better from a distance, as it does, than that of Luca, which, although it is wrought with good design and diligence, is nevertheless so smooth and highly finished that the eye, by reason of the distance, loses it and does not grasp it well, as it does that of Donatello, which is, as it were, only sketched.
To this matter craftsmen should pay great attention, for the reason that experience teaches us that all works which are to be viewed from a distance, whether they be pictures, or sculptures, or any other similar thing whatsoever, have more vivacity and greater force if they are made in the fashion of beautiful sketches than if they are highly finished; and besides the fact that distance gives this effect, it also appears that very often in these sketches, born in a moment from the fire of art, a man's conception is expressed in a few strokes, while, on the contrary, effort and too great diligence sometimes rob men of their force and judgment, if they never know when to take their hands off the work that they are making. And whosoever knows that all the arts of design, not to speak only of painting, are similar to poetry, knows also that even as poems thrown off by the poetic fire are the true and good ones, and better than those made with great effort, so, too, the works of men excellent in the arts of design are better when they are made at one sitting by the force of that fire, than when they go about investigating one thing after another with effort and fatigue. And he who has from the beginning, as he should have, a clear idea of what he wishes to do, ever advances resolutely and with great readiness to perfection. Nevertheless, seeing that all intellects are not of the same stamp, there are some, in fact, although they are rare, who cannot work well save at their leisure; and to say nothing of the painters, it is said that the most reverend and most learned Bembo—among the poets—sometimes laboured many months, perchance even years, at the making of a sonnet, if we can believe those who affirm it; wherefore it is no great marvel that this should happen sometimes to some of the masters of our arts. But for the most part the rule is to the contrary, as it has been said above, although the vulgar think more of a certain external and obvious delicacy that proves to lack the essential qualities, which are made up for by diligence, than of the good, wrought with reason and judgment, but not so highly finished and polished on the outside.
But to return to Luca; the said work being finished and giving great satisfaction, he was entrusted with the bronze door of the said sacristy, which he divided into ten squares—namely, five on either side, making the head of a man at every corner of each square, in the border; and he varied the heads one from another,