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Updated: June 19, 2025
One day a great limner, the Signor Andrea di Cione, whom men call d'Orcagna, stayed by me where I stood with my melons in the shadow of the Shepherd's Tower, and bade me follow him to his house, for he would fain use me for an angel's head in the great Altar-piece he was e'en then concerned with for the Church of the White Friars.
Another eminent Florentine artist was ANDREA ORCAGNA, as he is called, though his real name was ANDREA ARCAGNUOLO DI CIONE. He was born about 1329, and died about 1368. It has long been the custom to attribute to Orcagna some of the most important frescoes in the Campo Santo at Pisa; but it is so doubtful whether he worked there that I shall not speak of them.
He studied the goldsmith's craft under his father, Cione, passing the years of his apprenticeship, like other Tuscan artists, in the technical details of an industry that then supplied the strictest method of design. With his brother, Bernardo, he practised painting. Like Giotto, he was no mean poet; and like all the higher craftsmen of his age, he was an architect.
Hawkwood, probably at his instigation, ravages the country, and even threatens the city of Florence. Florence, enraged, rebels against the Pope, and appoints from the ranks of the Ghibellines a new body of Magistrates, known as the Eight of War. Meantime, Cione de' Salimbeni is raiding the country around Siena.
In 1366 the altar was destroyed, but the parts in bas-relief by Cione were retained and incorporated into the new work, which was finished in 1478. Ghiberti, Orcagna, Verocchio, and Pollajuolo, all executed various details of this magnificent monument. Goldsmiths did not quite change their standing and characteristics until late in the sixteenth century.
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