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Updated: June 8, 2025
The consul, who had discovered it immured in an ancient garden-wall, believed it to have been carved by Orcagna. Old Hart had it in his hand. What he said could hardly be heard at that distance; he passed it to Gerald with a look that seemed to ask for corroboration.
Giotto's forms are wilfully incomplete, because they aim at mere suggestion, but they are not conventional: they are diagrams, not symbols, and thence it is that Giotto seems nearer to the Renaissance than do his latest followers, not excepting even Orcagna.
A vast fragment of marble had long lain below the Loggia of Orcagna, and many a sculptor had had his thoughts of a design which should just fill this famous block of stone, cutting the diamond, as it were, without loss. Under Michelangelo's hand it became the David which stood till lately on the steps of the Palazzo Vecchio, when it was replaced below the Loggia.
He makes them looking at the coffins with a startled stare, and one holding his nose. This is an extreme instance; but you are not to suppose it is because Orcagna had naturally a coarse or prosaic mind. Where he felt that thoughtfulness and beauty could properly be introduced, as in his circles of saints and prophets, no painter of the Middle Ages is so grand.
I can give you no better proof of this, than the one fact that Michael Angelo borrowed from him openly borrowed from him in the principal work which he ever executed, the Last Judgment, and borrowed from him the principal figure in that work. But it is just because Orcagna was so firmly and unscrupulously true, that he had the power of being so great when he chose.
One of Orcagna's altar-pieces, that of 'the coronation of the Virgin, containing upwards of a hundred figures, and with the colouring still rich, is in our National Gallery. As an architect, Orcagna designed the famous Loggia de' Lanzi of the grand ducal palace at Florence.
The hideous imagery depicted by the graphic pencil of Orcagna on the walls of the Campo Santo was reproduced no less vividly in the prose works of Bunyan, and with equal vigour, if not with equal force of imagination, by almost all who sought to kindle by impassioned pulpit appeals the conscience of their hearers.
Catharine of Alexandria, S. Giuliano, S. Amerigo of Hungary, S. Martino, S. Gregorio, S. Antonio, and the donor, Amerigo Zati. Carocci suggests Bernardo Orcagna as the painter; whoever he may have been, this altarpiece is beautiful, and the more beautiful too since it is in its own place.
The fragments of painting that remain are fortunately the best; for one is safe in believing that a host of undimmed neighbours would distract but little from the two great works of Orcagna.
If Arnolfo di Cambio is the architect not only of the Duomo but of the Palazzo Vecchio, and if Orcagna conceived the delicate beauty of the Loggia de' Lanzi, it is, if we may believe Vasari, partly to Arnolfo and partly to Agnolo Gaddi that we owe Bargello, that palace so like a fortress, at the corner of Via del Proconsolo and Via Ghibellina. Begun in the middle of the thirteenth century for the Capitano del Popolo, it later became the Palace of the Podest
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