HKB

← back

Lives of the Most Eminent Painters Sculptors and Architects, Vol. 01 (of 10)

Giorgio Vasari · 1550-1552 (main composition); 1568 (revised edition includes later prefatory material)

passage 58 of 167 · (58/129)

in brief
Niccola’s fame grows through works in Pisa, Siena, Arezzo, Cortona, and Viterbo, culminating in major sculpture at Orvieto depicting Paradise and Hell, and he later retires so Giovanni can inherit his projects.

entreaty of Bishop Ubertini he restored the Pieve of Cortona, and founded the Church of S. Margherita for the Friars of S. Francis, on the highest point of that city.

Wherefore, the fame of Niccola ever growing greater by reason of so great works, he was summoned in the year 1267, by Pope Clement IV, to Viterbo, where, besides many other works, he restored the Church and Convent of the Preaching Friars. From Viterbo he went to Naples to King Charles I, who, having routed and slain Conradin on the plain of Tagliacozzo, caused to be made on that spot a very rich church and abbey, burying therein the infinite number of bodies slain on that day, and ordaining afterwards that there should be prayers offered by many monks, day and night, for their souls; in which building King Charles was so well pleased with the work of Niccola that he honoured and rewarded him very greatly. Returning from Naples to Tuscany, Niccola stayed in Orvieto for the building of S. Maria, and working there in company with some Germans, he made in marble, for the facade of that church, certain figures in the round, and in particular two scenes of the Universal Judgment containing Paradise and Hell; and even as he strove, in the Paradise, to give the greatest beauty that he knew to the souls of the blessed, restored to their bodies, so too in the Hell he made the strangest forms of devils that can possibly be seen, most intent on tormenting the souls of the damned; and in this work he surpassed not merely the Germans who were working there but even his own self, to his own great credit. And for the reason that he made therein a great number of figures and endured much fatigue, it has been nothing but praised up to our own times by those who have had no more judgment than this much in sculpture.

← previous passage read in the full work → next passage →

topics: crafts, industry, and manufacture · fate, destiny, and necessity · memory and imagination

Lives of the Most Eminent Painters Sculptors and Architects, Vol. 01 (of 10) · Giorgio Vasari · 1550–1552