See also:

• ORCAGNA (c. 1308-c. 13681)

ORCAGNA (c. 1308-c. 13681)  , See also:

• ITALIAN

Italian painter, sculptor and architect, whose full name was See also:

• ANDREA, GIOVANNI (1275-1348)

ANDREA DI CroNE, called The See also:

• DATES

dates of See also:

• ORCAGNA (c. 1308-c. 13681)

Orcagna's See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth and See also:

• DEATH

death are not exactly known . According to See also:

• VASARI, GIORGIO (1511-1571)

Vasari, he died in 1389 at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of sixty; but adocu- ment dated 1376 provides a See also:

• GUARDIAN

guardian for Tessa and Romola, daughters of Orcagna's widow Francesca (see Bonaini, Mem . Ined. pp . 105- to6) . In that See also:

• CASE
• CASE, JOHN (d. 1600)

case 1376 was perhaps the See also:

• YEAR

year of his death; and if ARCAGNUor o,l was the son of a very able Florentine See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

goldsmith, See also:

• MAESTRO

Maestro Cione, said to have been one of the See also:

• PRINCIPAL

principal artists who worked on the magnificent See also:

• SILVER

silver frontal of the high See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar of See also:

• SAN

San Giovanni, the Florentine See also:

• BAPTISTERY (Baptislerium, in the Greek Church 4wrurrilpiov)

Baptistery . The result of Orcagna's See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early training in the use of the See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious metals may be traced in the extreme delicacy and refined detail of his principal See also:

• WORKS

works in See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture . He had at least three See also:

• BROTHERS, RICHARD (1757-1824)

brothers who all practised some See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of the See also:

• FINE

fine arts: Lipnardo or Nardo, the eldest, a painter; Matteo, a sculptor and mosaicist; and Jacopo, also a painter . They were frequently associated with Orcagna in his varied labours . From the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of See also:

• GIOTTO

Giotto to the end of the 14th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century Orcagna stands quite pre-eminent even among the many excellent artists of that time . In sculpture he was a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Andrea See also:

• PISANO, A
• PISANO, ANDREA
• PISANO, GIOVANNI (c. 1250-1330)
• PISANO, NICCOLA (c. 1206-1278)
• PISANO, VITTORE (c. 1380-1456)

Pisano; in See also:

• PAINTING

painting, though indirectly, he was a See also:

• DISCIPLE

disciple of Giotto . Few artists have practised with such success so many branches of the arts . Orcagna was not only a painter and sculptor, but also a worker in See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic, an architect and a poet .

His importance in the See also:

• HISTORY

history of Italian See also:

• ART

art rests not merely on his numerous and beautiful productions, but also on his widespread See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence, transmitted to his successors through a large and carefully-trained school of pupils . In See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style as a painter Orcagna comes midway between Giotto and Fra See also:

• ANGELICO, FRA (1387–1455)

Angelico: he combined the dramatic force and realistic vigour of the earlier painter with the pure brilliant See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and refined unearthly beauty of Fra Angelico . His large See also:

• FRESCO (Ital. for cool, " fresh ")

fresco paintings are works of extreme decorative beauty and splendour—composed with careful reference to their architectural surroundings, arranged for the most See also:

• PART

part on one See also:

• PLANE

plane, without the strong foreshortening or effects of See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective with which the mural paintings of later masters are so often marred . r . Orcagna as a Painter.—His See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief works in fresco were at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of S Maria Novella . He first covered the walls of the retro-See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir with scenes from the See also:

• LIFE

life of the Virgin . These, unfortunately, were much injured by See also:

• DAMP

damp very soon after their completion, and towards the end of the following century were replaced by other frescoes of the same subjects by Ghirlandaio, who, according to Vasari, made much use of Orcagna's motives and invention . Orcagna also painted three walls of the See also:

• STROZZI

Strozzi See also:

• CHAPEL

chapel, at the See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north-See also:

• EAST
• EAST, ALFRED (1849- )

east of the same church, with a See also:

• GRAND

grand See also:

• SERIES (a Latin word from serere, to join)

series of frescoes, which still exist, though in a much injured and " restored " See also:

• STATE
• STATE, GREAT OFFICERS OF

state . On the See also:

• NORTHERN

northern end See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall is the Last See also:

• JUDGMENT

Judgment, painted above and See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the window, the See also:

• LIGHT

light from which makes it difficult to see the picture . In the centre is See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ floating among clouds, surrounded by angels; below are kneeling figures of the Virgin and St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John the Baptist, with the twelve apostles . See also:

• LOWER

Lower still are patriarchs, prophets and See also:

• SAINTS, BATTLE OF THE

saints, with the resurrection of the blessed and the lost . The finest See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition is that on the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

west wall, unbroken by any window .

It represents See also:

• PARADISE (Gr. lrap6BEwos)

paradise, with Christ and the Virgin enthroned in See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

majesty among rows of brilliantly-coloured See also:

• CHERUBIM

cherubim and See also:

• SERAPHIM

seraphim tinged with See also:

• RAINBOW

rainbow-like rays of light . Below are See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long lines of the heavenly See also:

• HIERARCHY (Gr. iepos, holy, and apxe.v, to rule)

hierarchy mingled with See also:

• ANGEL

angel musicians; and lower still a See also:

• CROWD, CROUTH, CROWTH

crowd of saints floating on clouds . Many of these figures are of exquisite beauty especially the few that have escaped restoration . Faces of the most divine tenderness and delicacy occur among the See also:

• FEMALE

female saints; the two central angels below the See also:

• THRONE

throne are figures of wonderful See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace in pose and See also:

• MOVEMENT

movement; and the whole picture, lighted by a soft luminous See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere, seems to glow with an unearthly gladness and See also:

• PEACE
• PEACE, BREACH OF THE

peace . Opposite to this is the fresco attributed by Vasari to Orcagna's See also:

• BROTHER

brother Bernardo, or rather Nardo (i.e . Lionardo); it was completely repainted in 153o, so that nothing but the See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design remains, full of horror and weird See also:

• IMAGINATION

imagination . To some extent the painter has followed See also:

• DANTE

Dante's See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of successive circles . These paintings were probably executed soon after 1350, and in 1357 Orcagna painted one of his finest See also:

• PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel pictures, as a See also:

• RETABLE (Fr. retable, a shortened form derived from Med. Lat. retrotabulum)

retable for the altar of the same chapel, where it still remains . Vasari is right about his age his birth would have been in 1316 . See also:

• MILANESI, GAETANO (1813-1895)

Milanesi, the editor of Vasari, is, however, inclined to think that Orcagna died in 1368, when he is known to have been seriously See also:

• ILL

ill . 3 Of this See also:

• FORM (Lat. forma)

form, sometimes spelt Orcagnuolo, Orcagna is a corruption . In the centre is Christ in majesty between kneeling figures of St See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter and St See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• AQUINAS, THOMAS [Thomas of AQUIN or AQUINO], (c 1227--1274)

Aquinas, attended by angel musicians; on each See also:

• SIDE
• SIDE (mod. Eski Adalia)

side are See also:

• STANDING

standing figures of three other saints .

It is a See also:

• WORK

work of the greatest beauty both in colour and composition; it is painted with extreme See also:

• MINIATURE

miniature-like delicacy, and is on the whole very well preserved . This retable is signed, " An. diii. mccclvii Andreas Cionis de Florentia me pinxit." Another fine altar-piece on panel by Orcagna, dated 1363, is preserved in the Cappella de' See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici, near the See also:

• SACRISTY (through Fr. sacrist-le, from med. Lat. sacristies or sacristina)

sacristy Sta Croce; it represents the four doctors of the Latin church . According to Vasari, Orcagna also painted some very fine frescoes in Sta Croce, similar in subjects to those attributed to him in the Campo Santo of See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa, and full of fine portraits . These do not now exist . In the See also:

• CATHEDRAL

cathedral of Florence, on one of the northern piers, there hangs a nobly designed and highly finished picture on panel by Orcagna, representing S Zanobio enthroned, trampling under his feet See also:

• CRUELTY (through the O. Fr. crualte, mod. cruaute, from the Lat. crudelitas)

Cruelty and See also:

• PRIDE, THOMAS (d. 1658)

Pride; at the sides are kneeling figures of SS See also:

• EUGENIUS

Eugenius and Crescentius—the whole very See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich in colour . The retable mentioned by Vasari as having been painted for the Florentine church of S Pietro See also:

• MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore is now in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery of See also:

• LONDON

London . It is a richly decorative composition of the See also:

• CORONATION (Lat. corona, crown)

Coronation of the Virgin, between rows' of saints, together with nine other subjects painted in miniature . Other paintings on panel by Orcagna were sent by the See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope to See also:

• AVIGNON

Avignon, but cannot now be traced . The frescoes also have been destroyed with which, according to Vasari, Orcagna decorated the See also:

• FACADE

facade of S Apollinare and the Cappella de' Cresci in the church of the Servi in Florence ? 2 . Orcagna as a Sculptor and Architect 3—In 1355 Orcagna was appointed architect to the chapel of Or San Michele in Florence . This curiously-planned See also:

• BUILDING

building, with a large upper See also:

• ROOM

room over the vaulting of the lower part, has been begun by Taddeo See also:

• GADDI

Gaddi as a thank-offering for the cessation of the See also:

• PLAGUE (in Gr. Xotµos; in Lat. pestis, pestilentia)

plague of 1348 .

It took the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of an earlier See also:

• ORATORY (Lat. oratorio, sc. ors; from orare, to speak or pray)

oratory designed by Arnolfo del Cambio, and was the See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of the See also:

• UNITED

united See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade-See also:

• GILDS, or GUILDS

gilds of Florence . As to the building itself, it is impossible to say how much is due to Taddeo Gaddi and how much to Orcagna, but the See also:

• GREAT

great See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble See also:

• TABERNACLE
• TABERNACLE (Lat. tabernaculum, a hut, tent)

tabernacle was wholly by Orcagna . This, in its combined splendour of architectural design, sculptured reliefs and statuettes, and mosaic enrichments, is one of the most important and beautiful works of art which even rich See also:

• ITALY
• ITALY (Italia)

Italy possesses . It combines an altar, a See also:

• SHRINE (Lat. scrinium, a case or chest for books, hence a casket; from scribere, to write, Fr. ecrin, Ital. scrigno)

shrine, a See also:

• REREDOS (Anglo-Fr. areredos, from arere, behind, and dos, back)

reredos and a baldacchino . In See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general form it is perhaps the purest and most gracefully designed of all specimens of Italian See also:

• GOTHIC

Gothic . It is a tall structure of See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white marble, with vaulted See also:

• CANOPY (through Fr. canape, from Med. Lat. canapeum, classical conopeum, a mosquito curtain, Gr. K6v(.4, a gnat)

canopy and richly decorated gables and pinnacles, reaching almost to the vaulted roof of the chapel . The detail is extremely delicate, and brilliant See also:

• GEM (Lat. gemma, a bud,—from the root gen, meaning " to produce,"—or precious stone; in the latter sense the Greek term is > d>os)
• GEM, ARTIFICIAL

gem-like colour is given by lavish enrichments of See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute patterns in See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass mosaic, inlaid in the white marble of the structure . It is put together with the greatest care and precision; Vasari especially notes the fact that the whole was put together without any See also:

• CEMENT (from Lat. caementum, rough pieces of stone, a shortened form of caedimentum, from caedere, to cut)

cement, which might have stained the purity of the marble, all the parts being closely fitted together with See also:

• BRONZE

bronze dowels . The See also:

• SPIRE

spire-like See also:

• SUMMIT

summit of the tabernacle is surmounted by a figure of St See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael, and at a lower See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage on the roof are statuettes of the apostles . The altar has a See also:

• RELIEF

relief of See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

Hope between panels with the See also:

• MARRIAGE

Marriage of the Virgin and the See also:

• ANNUNCIATION

Annunciation . On the right side, looking east, of the See also:

• BASE

base of the tabernacle are reliefs of the Birth of the Virgin and her Presentation in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple; on the See also:

• LEFT

left, the Nativity and the See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi; and behind, the Presentation of Christ in the Temple, and the 2 The magnificent but much injured frescoes of the Last Judgment, See also:

• HELL (0. Eng. hel, a Teutonic word from a root meaning " to cover," cf. Ger. Holle, Dutch hel)

Hell, and the See also:

• TRIUMPH (triumphus)

Triumph of Death in the See also:

• PISAN, CHRISTINE DE (1364-c. 1430)

Pisan Campo Santo, described with great minuteness and See also:

• ENTHUSIASM

enthusiasm by Vasari, are attributed by him to Orcagna, but See also:

• INTERNAL

internal See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence seems to show that they are productions of the Sienese school . See also:

• CROWE, EYRE EVANS (1799-1868)
• CROWE, SIR JOSEPH ARCHER (1828-1896)

Crowe and Cavalcaselle attribute them to the two brothers Lorenzetti of See also:

• SIENA

Siena, but they have been so injured by wet, the See also:

• SETTLEMENT
• SETTLEMENT, ACT OF

settlement of the wall, and repeated retouchings that it is difficult to come to any clear decision as to their authorship .

It appears, however, much more probable that they are the work of Bernardo Daddi . 3 Orcagna was admitted as a member of the Sculptors' Gild in 1352 . His name occurs in the See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

roll as " Andreas Cionis vocatus Arcagnolus, pictor." Angel warning the Virgin to See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape into See also:

• EGYPT

Egypt . Above the last two subjects are large reliefs of the Death of the Virgin, surrounded by the apostles, and higher still her See also:

• ASSUMPTION, FEAST OF

Assumption; she stands in a vesica, and is See also:

• BORNE, KARL LUDWIG (1786–1837)

borne by angels to See also:

• HEAVEN (0. Eng. hefen, heofon, heofone; this word appears in O.S. hevan; the High. Ger. word appears in Ger. Himmel, Dutch hemel; there does not seem to be any connexion between the two words, and the ultimate derivation of the word is unknown; the sugges

heaven . On the base of the Virgin's See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb is inscribed " Andreas Cionis pictor Florentinvs oratorii archimagister extitit hvjvs mccclix." Orcagna's own portrait is given as one of the apostles . In addition to these richly-composed subject-reliefs the whole work is adorned with many other single figures and heads of prophets, angels, and the Virtues, all executed with wonderful finish and refinement . The shrine, which forms an aumbry in the reredos, contains a miraculous picture of the Madonna . A fine bronze See also:

• SCREEN (usually, but very doubtfully, connected with Lat. scrinium, a box for holding books, from scribere, to write; a connexion with Ger. Schranke, barrier, has been suggested)

screen, with open geometrical See also:

• TRACERY

tracery, encloses the whole . No work of sculpture in Italy is more magnificent than this wonderful tabernacle, both in general effect and in the delicate beauty of the reliefs and statuettes with which it is so lavishly enriched . It cost the enormous sum of 96,000 See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold florins . Unfortunately it is very badly placed and insufficiently lighted, so that a minute examination of its beauties is a work of difficulty . No mention is made by Vasari of Orcagna's See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence in See also:

• ORVIETO (anc. Volsinii (q.v.)

Orvieto, where he occupied for some time the See also:

• POST

post of " capomaestro " to the duomo .

He accepted this See also:

• APPOINTMENT, POWER OF

appointment on the 14th of See also:

• JUNE

June 1358 at the large See also:

• SALARY

salary (for that time) of 300 gold florins a year . His brother Matteo was engaged to work under him, receiving 8 florins a See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month . When Orcagna accepted this appointment at Orvieto he had not yet finished his work at Or San Michele, and so was obliged to make long visits to Florence, which naturally interfered with the satisfactory performance of his work for the Orvietans . The result was that on the 12th of See also:

• SEPTEMBER (Lat. septem, seven)

September 136o Orcagna, having been paid for his work up to that time, resigned the post of " See also:

• CAPO

capo-maestro " of the duomo, though he still remained a little longer in Orvieto to finish a large mosaic picture on the west front . When this mosaic (made of glass tesserae from See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice) was finished in 1362, it was found to be uneven in See also:

• SURFACE

surface, and not fixed securely into its cement See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed . An See also:

• ARBITRATION (Lat. arbitrari, to examine or judge)
• ARBITRATION, INTERNATIONAL

arbitration was therefore held as to the See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price Orcagna was to receive for it, and he was awarded 6o gold florins . Vasari mentions as other architectural works by Orcagna the design for the piers in the See also:

• NAVE

nave of the Florentine duomo, a zecca or See also:

• MINT
• MINT (Lat. moneta; Mid. Eng. mynt)

mint, which appears not to have been carried out, and the Loggia dei See also:

• LANZI, LUIGI (1732–1810)

Lanzi in the Piazza della Signoria . It is, however, more than doubtful whether Orcagna had any See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand in this last building, a very graceful vaulted structure, with three semicircular open See also:

• ARCHES, COURT OF

arches on the side and one at each end, intended to form a sheltered See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting-place for the Priori during elections and other public transactions . This loggia was ordered by the General See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

Council of Florence in 1356, but was not actually begun till the year 1376, after Orcagna's death . The architects were Benci di Cione (possibly a brother of Orcagna) and See also:

• SIMONE (1457—1508)

Simone di See also:

• FRANCESCO
• FRANCESCO, 210

Francesco Talenti, both men of considerable reputation in Florence . The sculptured reliefs of the seven Virtues in the spandrels of the arches of the loggia, also attributed to Orcagna by Vasari, were later still . They were designed by Angelo Gaddi (1383-1386), and were carried out by three or four different sculptors .

Pupils of Orcagna named by Vasari are Bernardo Nello, a Pisan, Tommaso di Marco, a Florentine, and, chief of all, Francesco Traini, whose grand painting on panel of St Thomas Aquinas enthroned with the See also:

• ARCH
• ARCH, JOSEPH (1826– )

arch-heretics at his feet still hangs in the church for which it was painted—Sta Caterina at Pisa . Orcagna had, in addition to the two daughters mentioned above, a son named Cione, who was a painter of but little See also:

• EMINENCE (Lat. eminentia)

eminence . Some sonnets attributed to Orcagna exist in MS. in the Strozzi and Magliabecchian See also:

• LIBRARIES

libraries in Florence . They have been published by Trucchi (Poesie inedite, ii. p . 25, See also:

• PRATO

Prato, 1846) . They are graceful in See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language, but rather artificial and over-elaborated . AUTHosrnES.—VaSari, ed . Milanesi, i. p . 593 (Florence, 1878) ; Giornale degli Archivi Toscani, iii. p . 282, &c.; Passerini, Curiositd storico-artistiche; Gaye, Carteggio inedito, i. pp . 500-513, ii. p . 5; Rosini, Storia della pittura, vol. ii .

; See also:

• BALDINUCCI, FILIPPO (1624–1696)

Baldinucci, Professori del disegno, vol. i.; Rumohr, Ricerche Italiane, ii., and Antologia di Firenze, iii . ; Crowe and Cavalcaselle, Painting in Italy, i. p . 425 (London, 1864) ; See also:

• PERKINS, CHARLES CALLAHAN (1823-1886)
• PERKINS, JACOB (1766-1849)

Perkins, Tuscan Sculptors, p . 77 (London, 1865) . (J . H .