Arnolfo di Cambio

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(b Colle di Val d'Elsa, nr Siena; fl 1265; d Florence, ?8 March 1302). Italian sculptor and architect. The identification of Arnolfo the sculptor, who is documented as Nicola Pisano's pupil and who worked principally in Rome, with the architect Arnolfo, who worked in Florence, is no longer doubted, although it was once strongly contested by Frey (Thieme-Becker). In the first edition of his Vite (1550), Vasari mentioned Arnolfo only briefly as the builder of Florence Cathedral, but in the second edition (1568) he praised him as an architectural innovator and a precursor of the Renaissance, who had the same pioneering significance for architecture as Nicola Pisano for sculpture and Cimabue for painting.

See the Abbreviations for further details.

Arnolfo di Cambio (1245-1302) was the most important Florentine sculptor and architect of the last half of the 13th century.

Arnolfo di Cambio was trained in the sculptural workshop of Nicola Pisano, where he assisted in carving the marble pulpit in the Cathedral, Siena (1265-1268). Shortly thereafter he left Nicola's shop to establish himself as an independent artist. Little is known of his activities until 1277, when he was working in Rome under the patronage of Charles of Anjou. Arnolfo's three earliest works date from the period 1265-1277: the monument to Adrian V in S. Francesco, Viterbo, made in collaboration with a Cosmati master; the monument to Cardinal Riccardo Annibaldi, of which remnants are in the cloister of St. John Lateran, Rome; and the seated portrait of Charles of Anjou in the Capitoline Museum, Rome. Arnolfo's early style was characterized by simple, geometric forms that gave the figures a certain blockiness and immobility. Drapery folds were deeply cut and arranged in regular patterns, often falling in V-shaped folds.

Arnolfo's services were requested in Perugia in 1277 for work on a fountain. Charles of Anjou gave him leave to go, though Arnolfo's presence in Perugia is not documented until early 1281. Presumably the fountain he worked on is the one known through three fragments representing assetati (thirsty ones) in the National Gallery of Umbria, Perugia, rather than the famous Fontana Maggiore in Perugia by Nicola and Giovanni Pisano, which was completed in 1278. Arnolfo signed his monument to Cardinal Guglielmo DeBraye (died 1282) in S. Domenico, Orvieto. This work, which has lost its canopy, revealed for the first time Arnolfo's assimilation of the style of classical antiquity to which he had been exposed in Rome. This is especially noticeable in the Enthroned Virgin, who has a Junoesque quality. The monument to Cardinal DeBraye established a pattern for 14th-century funerary monuments that was repeated many times, especially in the work of Tino di Camaino.

In Rome, Arnolfo was responsible for erecting two ciboria, or altar canopies, one in S. Paolo fuori le Mura (1285) and the other in S. Cecilia in Trastevere (1293), where he combined his talents as sculptor and architect. Both are Gothic structures with give arches, triangular pediments ornamented with crockets, finials, and figure sculpture at the corners and in the spandrels. The muchadored bronze statue of the seated St. Peter located near the crossing of St. Peter's has been attributed to Arnolfo. This work was derived from an Early Christian marble prototype still preserved in the Vatican Grottoes. Other sculptural works done by Arnolfo in Rome during the 1290s include the statue of Pope Boniface VIII blessing and the funerary monument of Boniface VIII, both in the Vatican Grottoes, and the monument to Honorius IV in S. Maria in Aracoeli.

All of Arnolfo's purely architectural works are in Florence. The major one, the design for the Cathedral, was begun in 1296. This was an enormous undertaking that certainly justified the description of Arnolfo as "the most famous and able church builder in the land." The same document, dated April 1, 1300, reveals that he was capomastro, or artistic director and chief builder, for the Cathedral. The Cathedral project included numerous statues for the facade. Those that have survived include the Virgin Enthroned, Pope Boniface VIII Enthroned, and the Nativity in the Cathedral Museum, Florence, and the Dormition of the Virgin in Berlin. A statue of St. Reparata, also in the Cathedral Museum, is usually attributed to Arnolfo. Two other churches in Florence, the Badia and Sta Croce, are associated with Arnolfo's name, as is the massive town hall, the Palazzo Vecchio, in Florence. Arnolfo died on March 8, 1302, in Florence.

Further Reading

The best English-language source on Arnolfo's sculpture is John Pope-Hennessy, An Introduction to Italian Sculpture, vol. 1: Italian Gothic Sculpture (1955). A standard monograph, in Italian, with numerous black-and-white photographs is V. Mariani, Arnolfo di Cambio (1943). Also recommended is G. H. and E. R. Crichton, Nicola Pisano and the Revival of Sculpture in Italy (1938).

Additional Sources

Carli, Enzo, Arnolfo, Firenze: Casa editrice EDAM, 1993.

Master-mason and sculptor, perhaps born in Colle Val d'Elsa, Tuscany, but also referred to in the early C16 as a German, he assisted Nicola Pisano of Siena in the 1260s, before going to Rome in 1277, where he designed a number of sepulchral monuments. His most important surviving tomb is that of Cardinal de Braye (d. 1282) in the Church of San Domenico at Orvieto. He evolved a type of tomb designed to be set against a wall, with a gabled canopy carried on colonnettes protecting an effigy on a sarcophagus, which established the precedent for a century or so. He designed several handsome ciboria, including those over the high altars at San Paolo fuori le mura (1285) and Santa Cecilia in Trastévere (1293), both in Rome. He was probably familiar with French Gothic architecture, and was master-mason for the new Cathedral in Florence (begun 1294–6), responsible for the nave and aisles, and for an earlier version of the present east end, possibly influenced by Rhineland precedents (especially Cologne Cathedral). His other Florentine designs (according to Vasari) include the great Church of Santa Croce (begun 1294–5), the choir of the Badia (begun 1284), and perhaps the tower of the Palazzo Vecchio (c.1310).

Bibliography

• Romanini (1980)
• Jane Turner (1996)
• Vasari (1568)
• J. White (1987)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

The tabernacle over the high altar of St. John Lateran is derived from a design by Arnolfo di Cambio and decorated with paintings by Barna da Siena in 1367-1368. The cage above contains silver reliquaries which are said to hold the heads of SS. Peter and Paul.

The sculpture of St. Peter found within St. Peter's Basilica, Rome.

Arnolfo di Cambio^[1] (c. 1240 – 1300/1310^[2]) was an Italian architect and sculptor.

Contents 1 Biography 2 Selected works 2.1 Architecture 2.2 Sculpture 3 References 4 Footnotes 5 External links

Biography

Arnolfo was born in Colle Val d'Elsa, Tuscany.

Particular of the tomb of Riccardo Cardinal Annibaldi, at St. John Lateran. This was the first major work of Arnolfo in Rome.

He was Nicola Pisano’s chief assistant on the marble pulpit for the Duomo in Siena (1265-1268), but he soon began to work independently on an important tomb sculpture. In 1266-1267 he worked in Rome for King Charles I of Anjou, portraying him in the famous statue housed in the Campidoglio. Around 1282 he finished the monument to Cardinal de Braye in the church of San Domenico in Orvieto, including a Madonna which he created by converting an ancient Roman statue of the goddess Abundantia. In Rome Arnolfo had seen the Cosmatesque art, and its influence can be seen in the intarsio and polychrome glass decorations in the churches of San Paolo fuori le Mura and Santa Cecilia in Trastevere, where he worked in 1285 and 1293 respectively. In this period he also worked on the presepio of Santa Maria Maggiore, on Santa Maria in Aracoeli, on the monument of Pope Boniface VIII (1300) and on the bronze statue of St. Peter in St. Peter's Basilica.

In 1294-1295 he worked in Florence, mainly as an architect. According to his biographer Giorgio Vasari, he was in charge of construction of the cathedral of the city, for which he provided the statues once decorating the lower part of the façade destroyed in 1589. The surviving statues are now in the Museum of the Cathedral. Also attributed to Arnolfo is the design of the Church of Santa Croce. Vasari also attributed to him the urban plan of the new city of San Giovanni Valdarno.

The monumental character of Arnolfo's work has left its mark on the appearance of Florence. His funerary monuments became the model for Gothic funerary art.

Giorgio Vasari included a biography of Arnolfo in his Lives of the Artists.

Selected works

Architecture

• Old basilica of Santa Maria del Fiore, Florence

Sculpture

• St. Peter Enthroned inside St. Peter's Basilica, is often attributed to Arnolfo.
• Monument to Pope Adrian V (1276) - San Francesco, Viterbo
• Monument to Riccardo Cardinal Annibaldi (1276) - San Giovanni in Laterano, Rome
• Statue of Charles I of Anjou (1277) - Campidoglio, Rome
• Fountain of the Thirsty People (Fontana Minore) - Perugia
• Tomb of Cardinal Guillaume de Braye (c. 1282) - San Domenico, Orvieto
• Monument of Pope Boniface VIII - the Museum of the Opera del Duomo - Florence

Tomb of Adrian V

Tomb of Honorius IV

References

• Tomasi, Michele (February 2007). "Lo stil novo del Gotico italiano". Medioevo (121): pp. 32–46. 

Footnotes

1. ^ The name "Arnolfo di Lapo" by which he is mentioned in some sources was an invention by his biographer Giorgio Vasari. See Tomasi, 2007.
2. ^ The traditional date of 1302 has been recently discovered to be wrong. See Tomasi, 2007.

External links

• Arnolfo di Cambio in the "History of Art"

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