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Updated: June 17, 2025
It is, however, in the work of his pupils Giovanni Pisano and Arnolfo Fiorentino that Tuscan sculpture begins to throw off the yoke of antiquity and to express itself.
The Sacristan removed the frontal from the High Altar, to show them the golden reliquary that enshrines the dust of San Guido, and unveiled the three fine altar-pieces, attributed to Giacomo Fiorentino, "San Guido Shipwrecked," "San Guide's Return," and "The Good Death of San Guido."
"But that which we admire above all in the artist," observes Fiorentino, "is the pervading soul, the sentiment, the perfect taste, the inimitable method. Then, what body in the voice! What largeness! What simplicity of style! What facility of vocalization! What genius in the contrasts! What color in the phrases! What charm! What expression! Mlle.
But the Fiesolano is otherwise; quarrelsome he is, and a little aloof, he will not concern himself overmuch about you, and will do his business whether you come or go. And I think, indeed, he still hates the Fiorentino, as the Pisan does, as the Sienese does, with an immortal, cold, everlasting hatred, that maybe nothing will altogether wipe out or cause him to forget.
The painter commonly known as Rosso Fiorentino was on a visit to Rome, where he studied the Sistine frescoes. They do not appear to have altogether pleased him, and he uttered his opinion somewhat too freely in public. Now he pens a long elaborate epistle, full of adulation, to purge himself of having depreciated Michelangelo's works.
Stefano Fiorentino, a grandson of Giotto, was the first and only one of the school who endeavoured to grapple with this last difficulty, which he may be said to have perceived rather than overcome; his contemporaries, for the most part, evaded it, and concealed their deficiency as they could.
But to return to Don Lorenzo; he taught Francesco Fiorentino, who, after his death, painted the shrine that is on the Canto di S. Maria Novella, at the head of the Via della Scala, on the way to the Sala del Papa; and he taught another disciple, a Pisan, who painted a Madonna, S. Peter, S. John the Baptist, S. Francis, and S. Ranieri, and three scenes with little figures on the predella of the altar, in the Church of S. Francesco at Pisa, in the Chapel of Rutilio di Ser Baccio Maggiolini; and this work, painted in 1315, was held passing good for something wrought in distemper.
This building, one of the most beautiful in Italy, was copied by Francesco di Giorgio and Bernardo Fiorentino for the palaces they constructed at Pienza. This was the age of sumptuous palace-building; and for no purpose was the early Renaissance style better adapted than for the erection of dwelling-houses that should match the free and worldly splendour of those times.
Fiorentino di nascita, non di costumi, as he describes himself, he had slight sympathy with Blacks or Whites, Guelphs or Ghibellines. A Guelph by birth, a Ghibelline by banishment, he was in reality an absolutist in politics, and a bigot in religion.
From this terrace one can overlook both Foggia and Castel Fiorentino the beginning and end of the drama; and one follows the march of this magnificent retribution without a shred of compassion for the gloomy papal hireling. Disaster follows disaster with mathematical precision, till at last he perishes miserably, consumed by rage and despair. Then our satisfaction is complete.
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