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The Lives of the Painters, Sculptors & Architects, Volume 1 (of 8)

Giorgio Vasari · 1550 (2nd ed. 1568) primary

passage 116 of 162 · (102/137)

in brief
The author continues with Orcagna’s wider context: he praises contemporaneous unknown sculptors and describes notable Florentine funerary monuments and tomb effigies at the Certosa of Florence and elsewhere for the Acciaiuoli family.

at the age of sixty he completed the course of his life in 1389, and was borne with honour to burial from his house in the via Vecchia de' Corazzai.

In the days of the Orcagna there were many who were skilful in sculpture and architecture, whose names are unknown, but their works show that they are worthy of high praise and commendation. An example of such work is the Monastery of the Certosa of Florence, erected at the cost of the noble family of the Acciaiuoli, and particularly of M. Niccola, Grand Seneschal of the King of Naples, containing Niccola's tomb with his effigy in stone, and those of his father and a sister, both of whose portraits in the marble were made from life in the year 1366. There also and by the same hand may be seen the tomb of M. Lorenzo, Niccola's son, who died at Naples, arid was brought to Florence and buried there with most honourable obsequies. Similarly the tomb of the Cardinal S. Croce of the same family, which is before the high altar in a choir then newly built, contains his portrait in a marble stone very well executed in the year 1390.

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topics: funeral rites and burial · honor, shame, and reputation · old age and the generations

The Lives of the Painters, Sculptors & Architects, Volume 1 (of 8) · Giorgio Vasari · 1550–1568