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Updated: May 10, 2025
A lesser art, for painting was then what sculpture had been in Antiquity; bound more or less closely to the service of architecture; surrounded by ill-grown, untrained bodies; distracted by ascetic feelings and scientific curiosities, the sculpture of Donatello and Mino, of Jacopo della Quercia and Desiderio da Settignano, of Michelangelo himself, was one of those second artistic growths which use up the elements that have been neglected or rejected by the more fortunate and vigorous efflorescence which has preceded.
But on the very summit of the two hills, crested by their great civic fortresses, and in the centres of their circuit of walls, rose the two guided wells; each in basin of goodly marble, sculptured at Perugia, by John of Pisa, at Siena, by James of Quercia. The Sienese, a little while since, tore it down, and put up a model of it by a modern carver.
They had a manner of their own, so much more graceful and more natural, and so much richer in order, in design, and in proportion, that their statues began to appear almost like living people, and no longer figures of stones, like those of the first age; and to this those works bear witness that were wrought in that new manner, as it will be seen in this Second Part, among which the figures of Jacopo della Quercia have more movement, more grace, more design, and more diligence; those of Filippo, a more beautiful knowledge of muscles, better proportion, and more judgment; and so, too, those of their disciples.
And yet one has pleasures to sweep off an Arbico's neck nice and clean swish!" and he described a circle with his lean, brawny arm with as infinite a relish as a dilettante, grown blind, would listen thirstily to the description of an exquisite bit of Faience or Della Quercia work. "Pleasures! My God! Infinite, endless misery!" murmured a man on her right hand.
In the Cathedral of Lucca, near the entrance door of the north transept, there is a monument by Jacopo della Quercia to Ilaria di Caretto, the wife of Paolo Guinigi.
The next compartment, the creation of Eve, is only less beautiful than that of the Adam. It is small, and the space is a little crowded: the composition is taken exactly from the beautiful bas-relief by Jacopo della Quercia at Bologna. The Almighty is shrouded in a voluminous mantle; Eve joins her hands in worship.
The individual motives of the figures, their grouping and their action, are frequently taken from earlier art, especially sculpture, and they show how carefully and reverently Michael Angelo studied the works of his predecessors, Massaccio, Lorenzo Ghiberti, Donatello, and Jacopo della Quercia. The first division above the High Altar represents the creation of light.
With the help of God, then, we will begin the Life of Jacopo della Quercia of Siena, and afterwards those of the other architects and sculptors, until we come to Masaccio, who, having been the first to improve design in the art of painting, will show how great an obligation is owed to him for the new birth that he gave to her.
While Fra Bartolommeo had been ailing, Albertinelli had also paid his visit to the great city, and seen the two great rivals there. He went from Viterbo, where he had been to finish colouring a work of the Frate's left unfinished, and also to paint some frescoes in the convent of La Quercia, near that town.
Giacomo della Quercia was excluded from the competition at an early stage; but the umpires wavered long between Ghiberti and Brunelleschi, until the latter, with notable generosity, feeling the superiority of his rival, and conscious perhaps that his own laurels were to be gathered in the field of architecture, withdrew his claim.
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