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Die Plastik Sienas Im Quattrocento

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Die Plastik Sienas Im Quattrocento im "CO _m CO -o "(O rCn •PAVL-SCHVBRING- D1E-PLASTIK-SIENAS IM ÖVATTROCENTO isRmmn * # • 'i<~*i ' £*v-^ J '< \ >. \X^-* « '' vv"*" ^^-T ^V*v u^^v «r M * S£- £> 'm^M t! "1 • *• ?% ress" ir ^^-u«¥* ? - - V T^^^O Wm'^ *ußiv^^'«" ^IP^* \r^^'\ .* >X 1 ' l**5 Viv.4-iet^:^'Vi . ^ T^<>'T%> -s~ tf.6vjj\l i*^ •*< ä . ^d >v \£'A V^t •4 v ^sT *-£ si- *: r ^V^-i* :/V,tV 'JT + iW ^V /] 3?g PAUL SCHUBRING Die Plastik Sienas im Quattrocento 2,l-£-[?C8 ^ Digitized by the Internet Archive in 2011 with funding from University of Toronto i.;*V- http://www.archive.org/details/dieplastiksienasOOschu Die Plastik Sienas im Quattrocento VON PAUL SCHUBRINC, 43 ABBILDUNGEN BERLIN 1907 G. GROTE'SCHE VERLAGSBÜCHHANDLUNG Kunstgeschichtliches Seminar der Universität Zürich Ausgeschiedene Doublette ALLE RECHTE VORBEHALTEN DRUCK VON FISCHER & WITTIG IN LEIPZIG ///3 7 <i Meiner Frau c VORWORT D IK vor drei Jahren in Siena veranstaltete Ausstellung altsieneser Kunst hat nicht nur der Forschung über die Malerei und das Kunst- geschenkt. so die Kenn t- gewerbe dieser Stadt neues Material ndern _ auch nis der sienesischen Plastik bedeutend erweitert, zumal v iele versteckte Sachen aus der weiten ..terra di Siena" hier zum ersten Mal leicht zu- gänglich wurden und mit datierten Arbeiten verglichen werden konnten. , c — , Der Verfasser machte sich um so freudiger an die Bearbeitung dieses schönen Stoffes, als die vier Bände der von Milanesi veröffentlichten Ur - kunden ein festes archivalisches Rückgrat gaben. Wem ein Lehramt nur auf Wochen Zeit läßt, über die Berge zu gehen, der ist auf veröffentlichtes Material angewiesen. An der Hand des Inventars von Brogi wurde die terra di Siena bereist; freilich unter großen Enttäuschungen, da seit der N iederschrift dieses Inventars (1862) vieles seinen Platz gewechselt hat. I )ie einzigartige Förderung, welche die Forschung über italienische Renaissance- plastik Wilhelm Bod e zu verdanken hat, kam auch dieser Arbeit in erster Linie zugute: daneben bin ich vor allem Com, vo n Fabriczv für vielfache Beihilfe verpflichtet. Die Malerei wurde nur soweit herangezogen, als für das Verständnis der Malerplastiker notwendig war. Da die meisten Urkunden an leicht zugänglicher Stelle schon gedruckt vorliegen, wurde ein Wiederabdruck nicht für nötig gehalten; nur das Ungedruckte wurde ini Wortlaut mitgeteilt. — Der Verlag erklärte sich bereit, das Anschauungs- material , das teilweise mit großer Umständlichkeit zusammengebracht wurden ist, vollständig abzubilden. Dafür wie für die Ausstattung ge- bührt ihm der besondere Dank des Verfassers. 3. VI. MCMYII. PAUL SCHUBRING. INHALTSVERZEICHNIS Seite I. Einleitung i II. Jacopo della Quercia III. Giovanni Turini 21 1 IY. Antonio Federighi de Tolomei 54 V. Lorenzo di Pietro gen. Yecchietta -- VI. Neroccio di Bartolommeo di Benedetto 108 VII. Giovanni di Stefano uX Der Piccolomini -Meister 1 55 VIII. Francesco di Giorgio 162 IX. Giacomo Cozzarelli 201 X. Lorenzo di Mariano (Marrina) 223 XI. Zusammenfassendes 235 Ortsregister 247 Personenregister 250 Verzeichnis der Abbildungen 253 I EINLEITUNG. DIH Eigenart Sienas als politischen und kommunalen Gebildes wird zunächst negativ dadurch bestimmt, daß diese Ghibellinenstad: nie einen Fürsten großgezogen und die selbstherrlichen Condottieri ihrer Heere immer nur so lange geduldet hat, als der Krieg sie ihr unentbehrlich machte. Nicht nur die Städte der Poebene und der adriatischen Küste, nicht nur die Plätze der Marken und der Romagna, auch Pisa und Lucca haben ihre Diktatoren kürzer oder länger ertragen müssen. Florenz frei- lich blieb ebenso wie Siena Demokratie, aber in dem besonderen Sinne der Krämerstadt, mit oligarchischer Leitung im plutokratischen System. Siena bildet einen Typus so eigener Art, daß man nach den besonderen l rsachen dieser fürstenlosen Entwicklung suchen muß. In der Tat haben oft genug die getreuen Nachbarn ihre Fangarme nach der Bergstadt aus- gestreckt: am zähesten und begehrlichsten hat Neapel um diesen Besitz geworben. Die gebirgige Lage hat Siena immer wieder gegen die fremden Überwinder verteidigt. Aus den eigenen Reihen ist den Sienesen am Ende des 15. Jahrhunderts ein P'ührer erwachsen, der die Stadt einem Cesare Borgia gegenüber hielt: Pandolfo Petrucci. Genug Geistesmächtige hat Siena zu seinen Söhnen gezählt; und bisweilen gewannen diese klugen Kopie, wie Aeneas Sylvius, den höchsten Thron, diese leiden- schaftlichen Seelen, wie Caterina Benincasa, die berühmteste Kanzel. Politiker sind diese aber alle nicht gewesen. Die Skrupellosigkeit der kurzen jähen Tat war diesen Sienesen nur im Affekt möglich, nicht als das Ergebnis einer klug angelegten Rechnung. Schubring, Die Plastik Sienas im Quattrocento. I : Sienas Schicksal war die Nähe von Florenz und dessen vorsichtige, aber systematische Aufsaugungspolitik. Siena sowohl wie Pisa sind älter als Florenz und treten viel früher in die Geschichte ein. Pisa fiel schon am Anfang des 15. Jahrhunderts dem Florentiner Machtwillen anheim. was mit Rücksicht auf seine maritime Lage doch sehr viel sagen will. Man hat an das ähnliche Schicksal Brügges erinnert, das von Antwerpen er- drosselt wurde; aber Brügge hat zu seiner Entschuldigung anzuführen, daß sein Kanal versandete. Pisa hat diese Ausrede nicht zur Hand Menschen, nicht Katastrophen, haben seine Macht gebrochen. Sienas Glanzzeit liegt im 12. bis zum 14. Jahrhundert. Die hohen Ziegelmauern dieser Bergstadt reden die Sprache Dantes; das Wort ..Renaissance" klingt in diesen engen Gassen nicht nach. Als die Florentiner sich erst zu strecken beginnen, ist Siena schon königlichen Reichtums voll und schenkt willig der kargeren Nachbarin von seinem Überfluß. Will man in Florenz am Anfang des 14. Jahrhunderts von höchsten Kostbarkeiten reden, so sagt man: sienesische Dinge. Duccios Dombild blieb lange der Superlativ, nach dem die Florentiner ihre eigenen, weniger glänzen- den taxierten. Aber schon des 4. Jahrhunderts Leistungen im Verlaufe 1 trat eine leise Schiebung ein; man verzichtete am Arno auf die goldenen Maler der Bergstadt, weil man inzwischen zwar nicht SO prächtig, aber ausdrucksvoller zu malen gelernt hatte. Gegen Ende des Jahrhunderts ZOget) dann schon die Florentiner Pioniere über die Arbia in eine Stadt. die keinen Überfluß mehr hatte. I'nd nun gar im 15. Jahrhundert! Die Geschichte der beiderseitigen Dome, an denen man hier wie so oft wie an einem Pegel den Stand der bürgerlichen Elastizität und Gesundheit ablesen kann, gibt uns ein klares Bild. Siena setzt fast hundert Jahre früher mit seinem Hau ein als Florenz und der llauptbau war vollendet. als Arnolfo in Florenz erst den Grundstein legte. Die Angst, dieser lloientiner Bau könne den ihren in Schatten stellen, trieb dann die Sienesen fünfzig Jahre spater zu dem hybriden Plan der Riesenkirche, die fünfmal so groß werden sollte, als die erste Anlage. Wohin wollte die Kühnheit, wenn Giov. Pisanos Fassade nur die des linken Ouer- schiffes sein sollte: Solcher Wahnsinn verflog bald, als die schlimme Geißel der Pest die Leiber erschauern ließ, als die Wirklichkeit des Lebens wieder in die verstiegenen Traume brach. Das Jahr [357, in dem man in Siena den kecken Neubau unterbrach, ist genau das gleiche Jahr, in dem man in Florenz die ersten Modelle für die Kuppel ein- forderte; die Lösung, die Brunelleschi brachte, liegt dann wieder fünfzig Jahre später, die Vollendung ein volles Jahrhundert. Bernardino Albiz- zeschi muß um 1430 die Sienesen anfeuern, den noch immer unvoll- endeten Hau di >ch endlich ganz fertig zu stellen — wie anders ist damals die Stimmung in Florenz, als die ersten Ringe des Kuppel -Tambours aufgemauert wurden und alle Florentiner das Unmögliche dieses archi- tektonischen Wagnisses allabendlich diskutierten! In Siena wehte damals schon die melancholische Ruinen- Atmosphäre um die ratlos in die Luft starrenden Säulen und Mauern des Erweiterungsbaues, welche, so scheint es. von der Hand des Ewigen abgebrochen wurden — in Florenz stieg langsam und sicher, in glücklichster Kraft die Riesenkuppel hoch, mit ruhigster Wölbung sich selber festigend und sich fügend zu einem Throne des Höchsten. Sucht man sich die politische Geschichte Sienas im 13. Jahrhundert in ihren Grundzügen vorzustellen, so gerät man in die Verlegenheit, daß keine großen (Zäsuren zu linden sind. Das Bild des 13. Jahrhunderts wird durch die Schlacht. bei Monte Aperto (3. September 1260) im Tal der Arbia bestimmt; das 14. erlebt die Vollendung des Palazzo pubblico (um 1340I. den Besuch Kaiser Karls IV. und das Ringen mit Gian Galeazzo Visconti. Aber im 15. Jahrhundert gibt es keine entscheidenden Haupt- schläge, nur kluge Schiebungen in der äußeren Politik, ewige Scharmützel bezahlter Söldner, „Schlachten", bei denen drei Mann fielen, und im Innern das dauernde Ringen der Parteien um die Vorherrschaft, die bald von den Geschlechtern, bald von dem popolo basso mit wechselndem Glück, aber immer nur auf kurze Zeit behauptet wird. Kritisch sind nur die Jahre um 1470 gewesen; aber damals hat den Sienesen nicht ihre Tapferkeit gegen die Neapolitaner, sondern der Überfall der Türken in Otranto geholfen, durch deren Landung die damals Siena besetzt haltenden Truppen Alfonsos von Calabrien im Süden Italiens benötigt w urden. Bezeichnend für die Kämpfe dieses Jahrhunderts sind die immer neu geschlossenen I.iguen der „Großen" Italiens, denen sich die kleineren Mächte angliedern durften. Die für Siena wichtigen Hauptmächte heißen Venedig und Mailand, der Papst und Neapel. Florenz sucht eine kluge Gleichgewichtsfunktion bei diesem Gegensatz von Nord- und Süditalien auszuüben. Siena ist in
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