*

the fourteenth century adorned with sculptured animals full of life and truth to nature and with ornaments of elegant design, but the figures in the reliefs about them, like the statuettes, are stiff and clumsy. The two monuments at Aquila of the Campioneschi, who were lords of Aquila under the Angevine kings, are very unequal in merit, and different in style, though both are of the fifteenth century. One of them is the picturesquely designed, but clumsily executed Gothic tomb of Count Lalle and his two sons, in the church of San Giuseppe, made in 1432 by Walter Alemanno, a German or of German extraction; the other is the beautiful Renaissance tomb at San Bernardino of Count Lalle's widow, Maria Pereira, and her infant daughter Beatrice, which conforms in its general design to the type adopted by the Florentine sculptors of the period. It has, however, one strikingly original feature, the double effigy, of the child under the ornate sarcophagus and of the mother upon it. Death seems but lately to have set his seal upon her sweet face, which droops to the right shoulder so that it is visible from below, and upon that of her infant, who lies between two mourning genii with one arm crossed upon his breast, an image of perfect repose. In technical treatment, in refinement of feeling, and charm of expression these figures are of that high grade which betokens the Tuscan training of the sculptor, who was probably Andrea dall' Aquila, referred to as the scholar of Donatello, in a letter of recommendation addressed in 1458 to the director of the works at the Cathedral of Siena in terms of the highest praise, and not Salvestro Aquilano,§ who with his pupil Salvatore, made the shrine of San Bernardino in the same church, which is very inferior in style and treatment to the Pereira monument.

This artist made a monument in the church of San Domenico to the knight Niccolò Galioffi (Leosini, op. cit. p. 123).

Upon the monument is this inscription

"Beatrici Camponescæ, infanti dulci, quæ vixit mens. XIV.

Maria Pereyra, Noroniaque mater," &c.

See Doc. per la Storia dell' Arte Sanese, by Carlo Milanesi, and Schultz, op. cit. iii. 190. Another Andrea dall' Aquila studied at Venice under Alessandro Vittoria in the succeeding century. Cicogna, Isc. Venit. ii. 124.

§ He was the son of Giacomo da Salmona, and was called l'Aquilano from Aquila, and d'Arischi from a castle in the Aquilan territory.

The shrine of San Bernardino, erected at a cost of 20,000 golden florins by Giacomo di Notar Nanni, a rich merchant high in favour with King Charles II. and King Frederic of Naples, and a great benefactor to the churches and religious houses at Aquila, is an immense square pile adorned with statuettes, ornamental work, and reliefs. The most important. relief represents the Madonna enthroned upon clouds borne up by cherubs, and the infant Christ, who standing upon her knee blesses the kneeling Donor, here presented to him by San Bernardino.* The figures are simply draped and well grouped, the Divine Child is dignified in attitude and bearing, but the Madonna is self-conscious, and San Giovanni Capistrano who kneels on her right hand with a banner in his hand, is mannered and theatrical. The festoons, birds, fruits, and grotesques want sharpness and delicacy, while the statuettes and the bas-relief of the Resurrection of our Lord, hardly rise above mediocrity. The altar-piece, also ascribed to Salvestro, and given by the same Giacomo Nanni to a chapel in the church of the Madonna del Soccorso, is very superior to the shrine. Its angels with gilded wings and draperies, relieved against a blue background in the central space, recall Luca della Robbia, whose masterpiece in the Vetusti Chapel the artist must have seen and studied.

NAPLES.

Sculpture at Naples in the thirteenth century is represented by Pietro di Stefano, and that somewhat mythical architect and sculptor, Masuccio I. (1230-1305) who, according to the very unsatisfactory and often contradictory accounts given of him by his countrymen, was a pupil of the unknown painter of a miraculous crucifix at San Domenico which is reputed to have spoken to St. Thomas Aquinas. After his master's death, Masuccio went to Rome in company with a foreign architect, to study the antique, but hearing that Giovanni Pisano had been appointed architect to King Charles of Anjou, he returned to Naples, and eventually succeeded him in that position.

The Saint died at Aquila in 1444.

During his tenure of office he is said to have laid the foun. dation of the Cathedral, and to have designed S. Domenico Maggiore, though the honour of having erected these and other churches is also claimed for the Tuscan architects, Niccola and Giovanni Pisano, as well as for Maglione and Arnolfo di Cambio, both scholars of Niccola, who resided at Naples for several years.*

Among the sculptures designated by Neapolitan writers as the works of Masuccio I., which have either disappeared or are now known to be the works of other hands, are the bust of Cardinal Raimondo Barile, a bas-relief of Christ between two saints, the tomb of Jacopo di Costanzo, a crucifix in the Capella de' Caraccioli, and the monument of Pope Innocent IV. The latter consisted of several storeys adorned with mosaics and terminated by a half arch, whose lunette contained a bas-relief of the Pope and the Archbishop Humberto di Montorio kneeling before the Madonna. The recumbent effigy, a simple and expressive figure in the left transept of the Cathedral, is especially interesting as a portrait of the pope who excommunicated Frederic II. at the Council of Lyons. As Masuccio I. died about thirteen years before the erection of this monument (1318), and Pietro di Stefano survived him only about five years, it cannot be their work, but it may be by Pietro's son, Masuccio II. (1290-1387), godson and pupil of Masuccio I., to whom Neapolitan writers ascribe nearly all the churches and tombs of this epoch. They tell us that after his returu from Rome, where he had spent several years in study, he was commissioned by King Robert to build the church of Sta. Chiara, which had been commenced by an incompetent foreign

*Niccola Pisano was at Naples from 1221 to 1231 (P). Giovanni Pisano worked at Naples from 1268 to 1274, and perhaps again in 1279. Maglione, built a portion of the church of San Lorenzo, about 1266, but Masuccio II.'s share in the erection of this building was so much greater than his, that he should be rather regarded as its architect. It was completed in 1324. A document of the year 1284, January 25, speaks of it as then nearly finished. See Schultz, iii. 39; Doc. Reg. Karol. I. b. 57. Arnolfo di Cambio was in the employ of Charles of Anjou in the year 1277. Vermiglioli, Le Sculture della Fontana di Perugia.

Gregorovius, Les Tombeaux des Papes, p. 113.

Dedicated in 1340, according to the inscription on the campanile. Schultz, op. cit. iii. 62.

architect. This is possible, but he cannot have sculptured the Angevine monuments within its walls, as their character bespeaks a Tuscan influence, under which, so far as we know, Masuccio never came. This influence was probably brought to bear upon Naples by the Sienese sculptor Tino da Camaino,* who resided there for about sixteen years (1321-1337), and was appointed by the last will and testament of Queen Maria, widow of Charles II. of Anjou, together with Gallardus of Sermona, to erect her monument in the church of Sta. Maria Domna Regina, whose general design-a Gothic canopy, supported upon columns over a sarcophagus, with a sepulchral effigy exposed to view by curtain-drawing angels-is closely followed in the tombs at Sta. Chiara. The white marble figures in some of the bas-reliefs upon the sarcophagi are either set against a dark blue background studded with golden lilies, or relieved upon black marblet as in the tomb of Queen Maria above mentioned. This system of decoration is followed in the bas-reliefs of early Christian martyrdoms upon the pulpit at Sta. Chiara, and in those from the life of St. Catherine upon the organ loft, where, on account of their distance from the eye, they produce a much better effect.

The most important of the monuments in this church is that which was raised to the memory of her grandfather, King Robert, by Queen Joanna I., who on the 1st of September, 1343, only a few months after his death, as we learn from her letter to Jacobus de Factis, § commissioned the Florentine brothers, Sancius and Johannes, to erect the imposing structure which towers above the high altar and surmounts the doorway leading into the nuns' choir.

The King is there four times represented: first seated on a throne with the globe and the sceptre in his hands; then lying on a sarcophagus in the garb of a Franciscan monk with a * See chapter iv.

+ Doc. 368, Schultz, iii. 146, mentions an order given by King Robert to his agents at Rome to obtain and forward the marbles needed by the sculptor Gallardus for this monument. Documents of the time of King Charles II. record the appointment of Tino da Camaino and Gallardus, and mention the sums paid to them during its progress and when it was completed, A.D. 1326.

Like that of the frieze of the Erectheum at Athens.

§ Reg. Johannæ I., fol. 8, no. i. doc. cdxix. See Schultz, op. cit. iv. 170.

crown upon his head and a cross upon his breast, while angels hold back the heavy curtain folds that they may look down upon him; thirdly as standing upon the front of the sarcophagus, in low relief, with his two wives Iolanthe and Sancia, his son Duke Charles with his wife, Maria of Austria, and their daughter Queen Joanna; and fourthly as kneeling with Queen Sancia before the Madonna, to whom they are presented by St. Francis and Sta. Chiara. Though grand in its general effect, this Gothic tomb is coarsely sculptured, while the figures about

it are cold, lifeless and of little value apart from their decorative office. The same may be said of the monument of Duke Charles (d. 1328), who is represented by a recumbent effigy robed in a royal mantle painted blue and decorated with golden lilies, and in a relief on the front of his sarcophagus seated in the midst of his councillors and vassals. Below it are winged figures of the Virtues, and a wolf drinking out of the same cup with a lamb, symbolic of the harmony which the Duke brought about during his regency between the nobles and the people. Of the remaining tombs we may speak more briefly. Either Marie de Valois, the second wife of Duke Charles, or his daughter