The Lives of the Painters, Sculptors Architects, Volume 1 | Page 9

rebuilding of the beautiful church of S. Miniato
on the Mount in the time of M. Alibrando, citizen and bishop of
Florence, for, in addition to the marble ornamentation both within and
without, the façade shows that the Tuscan architects were making
efforts to imitate the good ancient order in the doors, windows,
columns, arches and cornices, so far as they were able, having as a
model the very ancient church of S. Giovanni in their city. At the same
period, pictorial art, which had all but disappeared, seems to have made
some progress, as is shown by a mosaic in the principal chapel of the
same church of S. Miniato.
From such beginnings design and a general improvement in the arts
began to make headway in Tuscany, as in the year 1016 when the
Pisans began to erect their Duomo. For in that time it was a
considerable undertaking to build such a church, with its five aisles and
almost entirely constructed of marble both inside and out. This church,

built from the plans and under the direction of Buschetto, a clever
Greek architect from Dulichium, was erected and adorned by the Pisans
when at the zenith of their power with an endless quantity of spoils
brought by sea from various distant parts, as the columns, bases,
capitals, cornices and other stones there of every description, amply
demonstrate. Now since all these things were of all sizes, great,
medium, and small, Buschetto displayed great judgment in adapting
them to their places, so that the whole building is excellently devised in
every part, both within and without. Amongst other things he devised
the façade, which is made up of a series of stages, gradually
diminishing toward the top and consisting of a great number of
columns, adorning it with other columns and antique statues. He carried
out the principal doors of that façade in the same style, beside one of
which, that of the Carroccio, he afterwards received honourable burial,
with three epitaphs, one being in Latin verse, not unlike other things of
the time:
Quod vix mille boum possent juga juncta movere Et quod vix potuit per
mare ferre ratis Buschetti nisu, quod erat Mirabile visu Dena
puellarum turba levavit onus.
As I have mentioned the church of S. Apostolo at Florence above, I
will here give an inscription which may be read on a marble slab on
one of the sides of the high altar, which runs:
VIII. v. Die vi. Aprilis in resurrectione Domini Karolus Francorum Rex
Roma revertens, ingressus Florentiam cum magno gaudio et tripudio
succeptus, civium copiam torqueis aureis decoravit. Ecclesia
Sanctorum Apostolorum in altari inclusa est laminea plumbea, in qua
descripta apparet praefacta fundatio et consecratio facta per
Archiepiscopum Turpinum, testibus Rolando et Uliverio.
The edifice of the Duomo at Pisa gave a new impulse to the minds of
many men in all Italy, and especially in Tuscany, and led to the
foundation in the city of Pistoia in 1032 of the church of S. Paolo, in
the presence of S. Atto, the bishop there, as a contemporary deed
relates, and indeed of many other buildings, a mere mention of which
would occupy too much space.

I must not forget to mention either, how in the course of time the round
church of S. Giovanni was erected at Pisa in the year 1060, opposite the
Duomo and on the same piazza. A marvellous and almost incredible
statement in connection with this church is that of an ancient record in
a book of the Opera of the Duomo, that the columns, pillars and
vaulting were erected and completed in fifteen days and no more. The
same book, which may be examined by any one, relates that an impost
of a penny a hearth was exacted for the building of the temple, but it
does not state whether this was to be of gold or of base metal. The same
book states that there were 34,000 hearths in Pisa at that time. It is
certain that the work was very costly and presented formidable
difficulties, especially the vaulting of the tribune, which is pear-shaped
and covered outside with lead. The exterior is full of columns, carving,
scenes, and the middle part of the frieze of the doorway contains
figures of Christ and the twelve apostles in half-relief and in the
Byzantine style.
About the same time, namely in 1061, the Lucchese, in emulation of
the Pisans, began the church of S. Martino at Lucea, from the designs
of some pupils of Buschetto, there being no other artists then in
Tuscany. The façade has a marble portico in front of it containing many
ornaments and carvings in honour of Pope Alexander II., who had been
bishop of the city just before he was raised to the pontificate. Nine lines