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Updated: June 8, 2025
Though the church of Orsammichele owes its present form to Taddeo Gaddi, Orcagna, as capo maëstro after Gaddi's death, completed the structure; and though the Loggia de' Lanzi, long ascribed to him by writers upon architecture, is now known to be the work of Benci di Cione, yet Orcagna's Loggia del Bigallo, more modest but not less beautiful, prepared the way for its construction.
There, among pagan sarcophagi turned into Christian tombs, with heraldic devices chiselled on their arabesques and vizored helmets surmounting their garlands, the great unsigned artist of the fourteenth century, Orcagna of Florence, or Lorenzetti of Siena, painted the typical masterpiece of mediæval art, the great fresco of the Triumph of Death.
From him Milton learnt to bear the stings of evil tongues and the contumely of evil days; and long years after, Byron, thinking of Dante under the pine-trees of Ravenna, was incited to attune his harp to loftier strains than he had ever attempted before. Dante inspired the greatest painters of Italy Giotto, Orcagna, Michael Angelo, and Raphael.
Fra Guglielmo, another pupil of Niccolò's, in his work at Perugia more nearly preserves the manner of his master, though always inferior to him in beauty and force: but in the work of Arnolfo which remains to us chiefly in the tomb of Cardinal de Braye in S. Domenico at Orvieto, and in the Tabernacle of S. Paolo Fuori at Rome, and more especially in the work of Giovanni Pisano in the pulpit for the Duomo of Pisa, now in the Museo, for instance, we may see the beginnings of that new Tuscan sculpture which in Andrea Pisano and Andrea Orcagna was to make the work of Nanni di Banco, of Ghiberti and Donatello possible, and through them to inspire the art of all the sculptors of the fifteenth century, that is to say of the Renaissance itself.
Here, day by day, he beheld the "Last Judgment" of Orcagna, the enthroned figures in the Spanish Chapel, and the solemn blue Madonna, now in the Capella Rucellai, with its little figures of prophets on the frame that are already almost Michael Angelesque.
For an explanation I must refer to the story as I have given it at p 249. See, for the distribution of the subjects in this chapel, Lord Lindsay's "Christian Art," vol. ii. Angiolo Gaddi, 1380. The series in the cathedral at Prato. These comprise the history of the Holy Girdle. Andrea Orcagna, 1373. The beautiful series of bas-reliefs on the shrine in Or-San-Michele, at Florence.
Distribution of Artistic Gifts in Italy Florence and Venice Classification by Schools Stages in the Evolution of Painting Cimabue The Rucellai Madonna Giotto His widespread Activity The Scope of his Art Vitality Composition Colour Naturalism Healthiness Frescoes at Assisi and Padua Legend of S. Francis The Giotteschi Pictures of the Last Judgment Orcagna in the Strozzi Chapel Ambrogio Lorenzetti at Pisa Dogmatic Theology Cappella degli Spagnuoli Traini's "Triumph, of S. Thomas Aquinas" Political Doctrine expressed in Fresco Sala della Pace at Siena Religious Art in Siena and Perugia The Relation of the Giottesque Painters to the Renaissance.
Charity, again, with a flaming heart in her hand, crowned with a flaming brazier, and suckling a child, is Giottesque not only in allegorical conception but also in choice of type and treatment of drapery. While admiring the tabernacle of Orsammichele, we are reminded that Orcagna was a goldsmith to begin with, and a painter. Sculpture he practised as an accessory.
His father was a goldsmith, and Orcagna first studied his father's craft; he was also an architect, sculptor, mosaist, and poet, as well as a painter. He made an advance in color and in the painting of atmosphere that gives him high rank as a painter; as a sculptor, his tabernacle in the Church of Or San Michele speaks his praise. Mr.
Orcagna, or, to give him his right name, Andrea di Cione, for Orcagna was an abbreviation of Arcagnolo, flourished in the middle of the fourteenth century.
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