adorn the space above the range of columns supporting the cornice and arch. Every part was conducted, with infinite care and diligence, by the master, who devoted twelve years to the work, executing the whole of the foliage, and other ornaments, with his own hands, and bestowing the utmost possible solicitude on every part. On each of the piers, by which the architrave, the cornice, and the arch, are supported, are five stories, with five on the architrave itself, which make in all fifteen. These stories are in basso-relievo, and represent passages from the Old Testament, from the time when God created the world, that is to say, to the Deluge, concluding with the Ark of Noah. In this work, Jacopo della Quercia conferred great benefit on the art of sculpture, seeing that, from the time of the ancients to his own day, there was no one who had produced anything in basso-relievo, insomuch that this mode of treatment was rather lost than merely fallen out of use.[1] In the arch of this door, the master executed three figures in marble, of the size of life, and in full relief: these are—Our Lady with the Child in her Arms, an extremely beautiful picture; San Petronio; and another saint, also admirably well done, and in fine attitudes.[2]
The people of Bologna had been fully convinced that it was not possible to execute a work in marble which should surpass, or even equal, that which Agostino and Agnolo, of Siena, had produced in the high altar of San Francesco, in their city, a work in the old manner; they were infinitely surprised, therefore, on perceiving that this was very far superior. Having completed this undertaking, and being requested to return to Lucca, Jacopo repaired thither very willingly, and in the church of San Friano, of that city, he executed an altar-table of marble for Federigo di Maestro Trenta del Veglia. This work comprised a Virgin holding the infant Christ in her arms; with San Bastiano, Santa Lucia, San Hieronimo, and San Gismondo: the design and manner are alike good, and the whole work is full of grace
- ↑ The inaccuracy of this assertion is proved, not only by works still to be seen, but by the words of Vasari himself. In Siena, Pisa, Pistoja, and Florence, are many works in basso-relievo, by the Pisani, as well as by Orgagna and other masters, all of whom flourished long before Jacopo della Quercia.— Schorn. and Ed. Flor. 1846-9.
- ↑ See Sculture delle porte di San Petronio, with illustrations, by tho Marquis Virgilio Da via. Bologna, 1834.
