we admire in the remaining two doors, and in the other exterior ornaments of the building. The work of Andrea was placed in the central door of the church, where it remained until Lorenzo Ghiberti executed that which is now in its place, when it was removed and fixed opposite to the Misericordia, where it is still to be seen. I will not omit to mention, that Andrea was assisted in the construction of this door by his son Nino, who afterwards became a much better master than his father. The final completion of this work took place in 1339,[1] when it was not only furbished and polished, but also gilded in fire, the casting of the metal being accomplished, as is reported, by certain Venetian masters, who were very expert in the founding of metals. Records on this subject are to be found in the books belonging to the guild of the merchants of the Calimara, who were wardens of the works for the church of San Giovanni. While this door was in progress, Andrea not only completed the works which we have named above, but many others also, more particularly the model for the church of San Giovanni at Pistoja, which was founded in the year 1337. It was in the same year, and on the twenty-fifth day of January, that the relics of the Beato Atto, formerly bishop of the city, were discovered while digging the foundations of the church. This prelate had been entombed in that place one hundred and thirty-seven years previously. The architecture of the church is round,[2] and was tolerably good for those times. There is a marble tomb in the principal church of Pistoja, which is also by Andrea. The sarcophagus is covered with small figures, with others of larger size above it: the body reposing in it is that of Messer Cino d’Angibolgi, doctor of laws,[3] and one of the famous literati of his time, as we find proved by Messer Francesco Petrarca, in his sonnet beginning—
“ Weep, ladies fair, and love may with you weep.”
- ↑ According to Baldinucci (Sec. 2, Dec. 3, page 32), this door was commenced in the year 1331, and completed in eight, instead of twentytwo, years, as the text, either in error or by a misprint, has made it.— See Cinelli, Bellezze di Firenze, p. 31,—Del Migliore, Firenze Illustrata, p. 91; and Villani, lib. 10, cap. 176.
- ↑ Or rather octagonal.
- ↑ Ciampi maintains that the beautiful monument of Cino da Pistoja was executed by a Maestro Cinello, after the designs of certain artists of Siena.—Memorie Storiche, vol. ii, p. 208. Cicognara, on the contrary,
