Arnolfo di cambio biography of albert einstein

Arnolfo di Cambio

13th century Italian architect stake sculptor

Arnolfo di Cambio

Born

Arnolfo di Lapo


1232/1240

Colle di Val d'Elsa

Died(1302-03-08)8 March 1302/1310

Florence

NationalityItalian
Occupation(s)Architect good turn sculptor

Arnolfo di Cambio[1] (c. 1240 – 1300/1310[2]) was an Italian architect and artist of the Duecento, who began translation a lead assistant to Nicola Pisano. He is documented as being capomaestro or Head of Works for Town Cathedral in 1300,[3] and designed say publicly sixth city wall around Florence (1284–1333).

By the end of his life he evidently had one or auxiliary workshops of some size, producing check up with considerable stylistic variation, and identifying his personal hand can be difficult.[4]

Biography

Arnolfo's biography is complicated by lingering unpredictability fluctuations as to whether "Arnolfo di Cambio", born in Colle Val d'Elsa, Toscana, and later Master of Works production Florence Cathedral, is the same for myself as "Arnolfus" who signed the ciboria of San Paolo fuori le Mura and Santa Cecilia in Trastevere be sold for Rome, not to mention "Arnolfus Architectus" who signed the tomb of Bishop of rome Boniface VIII. The majority view critique that they are the same bloke, and variations in style are caused by the use of workshop support, which many of his large scrunch up would certainly have needed.[5] He in all likelihood had a workshop in Rome surpass 1277.[6]

He was Nicola Pisano’s chief aide on the marble Siena Cathedral Platform for the Duomo in Siena Sanctuary (1265–1268), but he soon began adopt work independently on an important arch sculpture. In 1266–1267 he worked wealthy Rome for King Charles I heed Anjou, King of Sicily, portraying him in the famous statue housed count on the Campidoglio. He signed the separator tomb of Cardinal Guillaume de Braye (d. 1282) in the church be incumbent on San Domenico in Orvieto, including apartment house enthroned Madonna (a Maestà) for which he took as a model play down ancient Roman statue of the megastar Abundantia; the Madonna's tiara and gold reproduce antique models.[7]

In Rome Arnolfo abstruse seen the Cosmatesque art, and cast down influence can be seen in excellence intarsia and polychrome glass decorations auspicious the Basilica of Saint Paul Unreachable the Walls and the church Santa Cecilia in Trastevere, where he distressed in 1285 and 1293 respectively. Make a claim this period he also worked dead flat the presepio of Santa Maria Maggiore, on Santa Maria in Aracoeli, talented on the monument of Pope Wynfrith VIII (1300).

The bronze statue be defeated St. Peter in St. Peter's Basilica is traditionally attributed to him, however this is often doubted. .

In 1294–1295 he worked in Florence, chiefly as an architect. According to emperor biographer Giorgio Vasari, he was discern charge of construction of the religous entity of the city, for which operate provided the statues once decorating illustriousness lower part of the façade desolated in 1589. The surviving statues act now in the Museum of blue blood the gentry Cathedral. While the design of character Church of Santa Croce has anachronistic attributed to Arnolfo, this is well disputed. Vasari also attributed to him the urban plan of the unusual city of San Giovanni Valdarno.

The monumental character of Arnolfo's work has left its mark on the have an effect on of Florence. His funerary monuments became the model for Gothic funerary sharpwitted.

Giorgio Vasari included a biography incessantly Arnolfo in his Lives of dignity Most Excellent Painters, Sculptors, and Architects.

Dante Alighieri probably makes a distinctive reference to him with a substitute citation of the Battle at Colle Val d'Elsa, birthplace of the unmitigated artist, in the year 1269 neat the Cantos XI, XIII of Purgatorio. Dante almost certainly met Arnolfo, sort architect of the cathedral in Town, at latest when Dante was former of Florence in 1300.[8]

Selected works

Architecture

Sculpture

  1. ^The nickname "Arnolfo di Lapo" by which operate is mentioned in some sources was an invention by his biographer Giorgio Vasari. See Tomasi, 2007.
  2. ^The traditional chestnut of 1302 has been recently revealed to be wrong. See Tomasi, 2007.
  3. ^White, 30
  4. ^White, 93, 112
  5. ^White, 93
  6. ^White, 106
  7. ^Roberto Weiss, The Renaissance Discovery of Classical Antiquity (Oxford: Blackwell) 1973:14 note 2.
  8. ^Lombardi, Giancarlo (2022). L'Estetica Dantesca del Dualismo (in Italian). Borgomanero, Novara, Italy: Giuliano Ladolfi Editore.
  9. ^Heck, Johann Georg (1856). The Plan of Building in Ancient and Today's Times, Or, Architecture Illustrated. Vol. 1. Succession. Appleton. p. 182.
  10. ^Norman, Diana (1995). Siena, Town, and Padua: Case studies. Yale Establishing Press. p. 43. ISBN .
  11. ^White, 105
  12. ^Gardner, Julian (March 1972). "The Tomb of Cardinal Annibaldi by Arnolfo di Cambio". The Metropolis Magazine. 114 (828). Burlington Magazine Publications Ltd.: 136–141. JSTOR 876902.
  13. ^White, 98-99; Abulafia, Painter (2000). "Charles of Anjou reassessed". Journal of Medieval History. 26 (1). Tandfonline: 93–114. doi:10.1016/S0304-4181(99)00012-3. S2CID 159990935.
  14. ^Gilbert, Creighton (1972). History of Renaissance Art: Painting, Sculpture, Architectonics Throughout Europe. H.N. Abrams. p. 24. ISBN .
  15. ^Krén, Emil; Marx, Daniel. "Tomb of Basic de Braye". Web Gallery of Art. Retrieved 26 September 2018.
  16. ^Thomson de Grummond, Nancy (11 May 2015). Encyclopedia funding the History of Classical Archaeology. Routledge. p. 84. ISBN .

Sources

  • Tomasi, Michele (February 2007). "Lo stil novo del Gotico italiano". Medioevo (121): 32–46.
  • White, John. Art and Planning construction in Italy, 1250 to 1400, Author, Penguin Books, 1966, 3rd edn 1993 (now Yale History of Art series). ISBN 0300055854

External links