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Antonio Federighi - Architetto

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ANTONIO FEDERIGHI - ARCHITETTO Mirella Cirfi Walton A thesis submitted in conformity with the requirements for the degree of Master of Philosophy Graduate Department of History of Art in the University of Toronto 0 Copyright by Mirella Cirfi Walton 1996 National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services senrices bibliographiques 395 Wellington Street 395, rue Wellington OnawaON KtAON4 WwaON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of ths thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou su.format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être impnprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. "Antonio Federighi - Architetto" Master of Philosophy - 1996 Mirella Cirf i Walton Graduate Department of History of Art University of Toronto Antonio Federighi (1420-1483) was at the forefront of the Sienese Renaissance. He went to Rome to study antiquities first hand and brought back to Siena a rich repertory of classical motifs, He enjoyed the patronage of Popes and was given the prestigious appointment of capomaestro of the Opera del Duomo at Siena and Orvieto. He built palaces, churches, and was also supervisor of the Bottini of Siena. His architecture is also evident at Sarteano. Why is it then, that a man who at the time rivalled Donatello, and who was preferred over Vecchietta by Pope Pius II, has been given such little attention? Considerable research has already been done on his sculpture, but little on his architecture. This research paper introduces Antonio Federighi's architectural oeuvre through careful study of archiva1 and secondary material. iii It is impossible to produce a project of this nature in complete isolation. 1 wish to extend by gratitude to al1 those who have helped see this paper to its completion, with special thanks to the following individuals and institutions. The idea of researching the architecture of Antonio Federighi came from my supervisor, Prof. Hans-Karl Lücke at the Univerisity of Toronto. Bis enthusiasm, and great affinity for Siena convinced me that it was a topic worth investigating. 1 wish to thank him for his encouragement and for believing in me when 1 most needed it. 1 would also like to thank Dr. Susan Lücke for her valuable assistance when we were at the Kunsthistorisches Institut in Florenz. Prof. W. McAllister Johnson, my second reader, whose comments and suggestions during these past few months have been invaluable to me. 1 particularly appreciate his kindness and his continued guidance. My travel to Siena in 1993 was aided through the generous support of the Kinghorn Travel Scholarship. The support and timely assistance of my friends who were there throughout the various stages of my paper, Kathryn Jackson, Dawn Cain, and Dr. Patricia O'Grady. 1 am indebted to Santina Cirfi, Caroline Betsch, Prof. Jaye Wood, Prof. Rocco Capozzi and Sheila Carey; al1 of whom clarified some of those allusive foreign passages. Many thanks Athylyn Fitz-James for suggesting where to stay and with whom to speak whilst doing my research in Siena. Special thanks to Erin O'Neill who took time from her busy schedule to take photographs for me. My work progressed smoothly thanks to many institutions and staff. Of these especially: o the Robarts Librasy, University of Toronto. In particular, the Inter Library Loan Dept, who never fail to amaze me, no matter how obscure the request. 0 The staff of the Biblioteca Comunale degli fntronati, Siena, especially Dr. Cinzia Marianelli for her guidance and Dr. Renzo Pepi who continues to answer my many questions via post and the Internet and whose photographic ski11 can be seen at the end of this paper . O Dr. Carla Zarrilli, Director of the Archivio di Stato di Siena, to whom 1 am deeply indebted, and to her staff. She is soley responsible for the compilation of Appendixes "A" and "Bu which display the full transcription of documents pertaining to the Coronamento della Cappella di Piazza and the Logge del Papa, the majority of which will be published here for the first time. O Dr. Bruno Santi, Soprintendente per i Beni Artistici e Storici delle Province di Siena e Grossetto and his efficient staff. 0 Dr. Paula Rosa and Dr. Maura Masini who allowed me to be part of their restoration of Federighi's pancale at the Loggia della Mercanzia and who gave me great insights into the art of restoration. They also introduced me to Dr, Marco Giamello, of the Istituto di Mineralogia e Petrografia, Universita di Siena. Dr. Giamello and the director of that department, Prof. G. Sabatini gave me access to their technical data on the inaccessible Logge del Papa. It was irom this department that I obtained photographs of the pancale at the losqia. o Prof. Stefano Moscadelli at the Archivo delllOpera del Duomo who gave me access to the various documents. I particularly enjoyed my conversations about Federighi with him and Prof. Alessandro Angelini. O Dr. Salvatore Pisani of the Kunsthistorisches Institut in Florenz who has continued to be of help over the months. 0 Antonella Garfi at the Universita di Siena, who answered many of my queries both in person and via the Internet. O Special thanks for Dr. Aiardi at the Biblioteca Comunale in Pistoia and Prof. Fabio Mazzieri at the Istituto Statale d1Arte <<Duccio Boninsegnan in Siena. They were extrernely helpful while 1 was on my quest for the missing Pèleo Bacci manuscript. O Dr. Carlo Bologni, scholar and archivist in Sarteano. Dr. Bologni opened up his private archives to me and gave me copies of important documents written by Dr. Domenico Bandini. 1 am deeply indebted to this kind gentleman. O Another very important acknowledgment must go to Dr. Fiamma Crestini and her colleagues Prof. Carlo Alessandrini and Mauro Losi who took time from their busy schedules in order to shoot and develop some photographs of Sant'Ansano for me. 1 especially want to thank Dr. Crestini who gave me her time and opened up her home to me in Siena and Pienza. She also drove me to Sarteano and helped me with my research. The Internet has become an important working tool for me. It has allowed me to stay in touch with many of my colleagues in Italy. It is also due to the Internet that I made my connection with Prof. Nicholas Adams from Vassar College. Over the months he has answered my queries and given me insight into some of the aspects of Siena in the Quattrocento. Last, but by no means least, 1 owe a great deal to my supportive husband Michael and my wonderful parents who have always been there over the years and whom 1 love very much. TO MICHAEL Who has shared in this in so many ways. TABLE OF CONTENTS Title Page ......................................S. i Acknowledgments ................................... iii Dedication ..................................... vi Table of Contents ................................. vii List of Illustrations.... ....................... ..viii List of Abbreviations ............................. xiv Chapter 1 - Introduction .......................... Chapter 2 - Documented Works - Part l.......... ... 17 * Cappella in Piazza del Campo * Logge del Papa Chapter 3 - Churches of Siena ..................... 36 Chapter 4 - Palazzi of Siena ...................... 74 Chapter 5 - Engineering Works ..................... 108 * Bottini * Torre del Mangia Chapter 6 - Documented Works - Part 2...... ....... 129 * Plans for the Camposanto * Palazzo Arcivescovile Chapter 7 O Sarteano - 1467-1474 .................. 137 Chapter 8 - Conclusion. ........................... 155 Bibliography ...................................... 155 Appendix "A" .......................,.......... 162 Appendix "B" .........................O*.........t 171 Appendix "Cu..................,...e.,....,........... 180 Appendix "D"....................................... 184 illustrations ...................*...,........... LIST OF ILLUSTRATIONS Figures Page 1 Sermon of San Bernardino in Piazza del Campo, Sano di Piero, 1430. (postcard: Scala, Antella, Firenze) ...185 2. Coronamento della Cappella di Piazza, Antonio Federighi, 1460-1470. Siena ...........................l 86 3. Loggia del Biagallo, Alberto Arnoldi (?), 1352-61. Florence. (from John White, Art and Architecture in Italy 1250-1400, p. 504.) .............................l87 SanttAnsanotLoggia della Mercanzia, Antonio Federighi, 1458-1459. Siena ..........................J88 Pancale, Loggia della Mercanzia, Antonio Federighi, 1464. (Photo taken by: Dr. Fiamma Crestini) ........... 189 Cappella di Piazza, North Side, Siena.. .............. .190 Cappella di Piazza, Front Façade. Siena.. ............. .191 Cappella di Piazza, South Side. Siena ................ A92 Close-up of Coronamento, North Side. Siena .............193 Close-up of Coronamento. Front Façade. Siena ...........193 Close-up of Coronamento, South Side. Siena .............194 Detail of Pancale, Loggia della Mercanzia. Siena .......195 Close-up of
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