Maestro Cione left many scholars, among whom was Forzore di Spinello, of Arezzo, who executed every kind of chasing to perfection, but was most particularly distinguished for historical representations in silver enamelled, of which we have proof in a mitre, beautifully adorned with enamels, and a pastoral staff, in silver, both preserved in the episcopal palace of Arezzo. The same artist executed many works in silver for the Cardinal Galeotto di Pietramala, all of which remained, after the cardinal’s death, in possession of the friars of Vernia, where Galeotto desired to be buried.[1] Count Orlando, lord of Chiusi, a small castle below Vernia, had constructed a wall about that place, and there Cardinal Galeotto built a church, with numerous cells in the convent and around it, but without placing his arms on the buildings, or leaving any other memorial of himself. Leonardo di Ser Giovanni, a Florentine, was also a disciple of Maestro Cione, who was greatly superior as a designer to those who had preceded him, and produced much enchased work of various kinds. The altar and table of silver in San Jacopo of Pistoja, are by this artist; and, to say nothing of the many historical scenes represented in the work, the figure of San Jacopo, which occupies the centre, has been greatly admired; its height is more than a braccio; it is in high relief, and so admirably executed, as to look more like a work cast than one done by the chisel. It is placed in the midst of the historical representations on the table of the altar, and is accompanied by an inscription to the following effect:—
Ad honorem Dei, et Sancti Jacobi Apostoli hoc opus factum fuit tempore Domini Franc. Pagni dictse operse operarii sub anno 1371, per me Leonardum Ser Io. de Floren. auntie.”
We now return to Agostino and Agnolo, by whose numerous disciples many works, both in sculpture and architecture, were executed in Lombardy and other parts of Italy. Among these scholars was Jacopo Lanfrani, of Venice, who founded
- ↑ The mitre and pastoral staff, here described by Vasari, are no longer in the cathedral of Arezzo; nor is it known that the legacy of Cardinal Galeotto is still preserved by the brothers of La Vernia.
Florence, as is proved by the following inscription:—“Andreas Arditi de Florentia me fecit ”—Cicognara, Storia della Scultura, vol. iii, p. 433.
