expression. This, and other peculiarities in the treatment, make it obvious that Jacopo began to discover the true path, and to gain a clear perception of the difficulties of his art: he departed entirely from that old manner to which the sculptors had ever before adhered, of making their figures in one rigid unbending piece, without beauty or movement: this master, on the contrary, gave to his forms the softness of flesh, bestowing life and grace on the marble, and finishing every part of his work with infinite delicacy and unwearied patience. To the work just described, Jacopo added certain stories from the Old Testament: the Creation of our first parents, that is to say, with the eating of the forbidden fruit. In this last, the female figure exhibits, in her attitude, so touching an expression of deference towards Adam, as she offers him the apple, and her countenance is so beautiful and charming, that it does not seem possible for Adam to refuse the offering.[1] The whole of the work is equally full of admirable qualities, exhibiting judicious consideration and much discernment throughout; beautiful children and other ornaments, with lions and wolves, which belong to the arms of Siena, form its decorations; the whole being completed by the practised hand of Jacopo with infinite judgment, devotion, and diligence, in the space of twelve years. Three very beautiful stories, in bronze, representing events from the life of St. John the Baptist, in mezzo-rilievo, are also by this sculptor. They surround and adorn the baptismal font of San Giovanni, beneath the Duomo, and between each of the stories are figures, also in bronze, of one braccio high, and in full relief. These are, likewise, truly beautiful, and worthy of high commendation. Tor all these works—which were, indeed, excellent—and for the uprightness of his life, which was very conspicuous, Jacopo was rewarded by the Signoria of Siena, from whom he received the order of knighthood, and who shortly afterwards made him warden of the Duomo, which latter office he exercised in such a manner, that at no time, either before or after, were
- ↑ Della Valle has here neglected to clear up an error into which Vasari has fallen. The figure of the Virgin is not larger than those of the other personages represented; and the second basso-rilievo of the Fountain is not the fall of Adam, but the expulsion from Paradise. This admirable work is in so deplorable a condition, that no vestige of it will remain to after ages, unless the patriotism of the Sienese avail to save them from the disgrace of permitting it to perish.
