As regards the Operaio at this period some difficulty arises, since Padre Micheli asserts that Bartolommeo Cecchi only held the post up to 1430. From the Borghesi and the Faluschi MS. lists,[105] however, we find that Cecchi (Bartolommeo di Gio. di Cecco) was still in office on October 25th, 1434, but was apparently compelled to resign on account of his having married a certain Corsa, and had children by her.[106] We read further that he was succeeded, 1434–5, by Giacomo della Quercia, who held the post until his death on February 8th, 1438.[107] From the second of the notices above referred to we gather, therefore, that the work was certainly ordered by Bartolomeo Cecchi, even if, as is possible, it was completed under the direction of his successor.
LOMBARDI PHOTO.] [BY PIETRO DEL MINELLA (?)
The Emperor, crowned and sceptre in hand, sits on a splendid throne, under a marble canopy, hung with garlands. Four counsellors sit beside him, two on each hand; and two tall pages carry his orb and sword. It is worth noting, that this design appears to have early required restoration, because we read in a notice quoted above,[108] under date 1485, of black marble being brought from Chasciano, among other things, “_raconciare la storia del onperadore_.” At the latest restoration (1869–78) a sum of 616 lire 49 c. was expended on it.
Beside this design, as I have remarked above, is the very striking picture of
(Ill. XVII.). No design on the Pavement attracts so much attention as this. The bold, vigorous outlines of the white figures set against the black marble background, the vivid and forcible composition of the picture, and the remarkably decorative foliage of the two trees, almost Japanese in character, from one of which Absalom is hanging, arrest the eye and the attention of even the most casual visitor. We find a notice in the Archivio dell’ Opera,[109] stating that it was commenced after the 11th of July, 1447, during the Rectorship of Giovanni Borghesi, and while Pietro di Tommaso Minella was Capo-maestro.
The design of it is generally attributed to Minella himself, and from the high merit of its conception and composition this is very probable, but there are no records to prove more than that he superintended its execution. Tizio[110] includes it in the list of works to which he gives the date 1424, but this, as I have already pointed out, is an obvious mistake.