Val dArno | Page 8

Italian robber, whether of marble or thought, and look to your Vasari, you find the building attributed to John the Pisan; [1]--and you suppose the son to have been so pleased by his father's adoption of Gothic forms that he must needs borrow them, in this manner, ready made, from the Germans, and thrust them into his round arches, or wherever else they would go.
[Footnote 1: The present traceries are of fifteenth century work, founded on Giovanni's design.]
We will look at something more of his work, however, before drawing such conclusion.
38. In the centres of the great squares of Siena and Perugia, rose, obedient to engineers' art, two perennial fountains Without engineers' art, the glens which cleave the sand-rock of Siena flow with living water; and still, if there be a hell for the forger in Italy, he remembers therein the sweet grotto and green wave of Fonte Branda. But on the very summit of the two hills, crested by their great civic fortresses, and in the centres of their circuit of walls, rose the two guided wells; each in basin of goodly marble, sculptured--at Perugia, by John of Pisa, at Siena, by James of Quercia.
39. It is one of the bitterest regrets of my life (and I have many which some men would find difficult to bear,) that I never saw, except when I was a youth, and then with sealed eyes, Jacopo della Quercia's fountain. [1] The Sienese, a little while since, tore it down, and put up a model of it by a modern carver. In like manner, perhaps, you will some day knock the Elgin marbles to pieces, and commission an Academician to put up new ones,--the Sienese doing worse than that (as if the Athenians were themselves to break their Phidias' work).
[Footnote 1: I observe that Charles Dickens had the fortune denied to me. "The market-place, or great Piazza, is a large square, with a great broken-nosed fountain in it." ("Pictures from Italy.")]
But the fountain of John of Pisa, though much injured, and glued together with asphalt, is still in its place.
40. I will now read to you what Vasari first says of him, and it. (I. 67.) "Nicholas had, among other sons, one called John, who, because he always followed his father, and, under his discipline, intended (bent himself to, with a will,) sculpture and architecture, in a few years became not only equal to his father, but in some things superior to him; wherefore Nicholas, being now old, retired himself into Pisa, and living quietly there, left the government of everything to his son. Accordingly, when Pope Urban IV. died in Perugia, sending was made for John, who, going there, made the tomb of that Pope of marble, the which, together with that of Pope Martin IV., was afterwards thrown down, when the Perugians
[Illustration: PLATE III.--THE FOUNTAIN OF PERUGIA.]
enlarged their vescovado; so that only a few relics are seen sprinkled about the church. And the Perugians, having at the same time brought from the mountain of Pacciano, two miles distant from the city, through canals of lead, a most abundant water, by means of the invention and industry of a friar of the order of St. Silvester, it was given to John the Pisan to make all the ornaments of this fountain, as well of bronze as of marble. On which he set hand to it, and made there three orders of vases, two of marble and one of bronze. The first is put upon twelve degrees of twelve-faced steps; the second is upon some columns which put it upon a level with the first one;" (that is, in the middle of it,) "and the third, which is of bronze, rests upon three figures which have in the middle of them some griffins, of bronze too, which pour water out on every side."
41. Many things we have to note in this passage, but first I will show you the best picture I can of the thing itself.
The best I can; the thing itself being half destroyed, and what remains so beautiful that no one can now quite rightly draw it; but Mr. Arthur Severn, (the son of Keats's Mr. Severn,) was with me, looking reverently at those remains, last summer, and has made, with help from the sun, this sketch for you (Plate III.); entirely true and effective as far as his time allowed.
Half destroyed, or more, I said it was,--Time doing grievous work on it, and men worse. You heard Vasari saying of it, that it stood on twelve degrees of twelve-faced steps. These--worn, doubtless, into little more than a rugged slope--have been replaced by the moderns with four circular steps, and an iron railing; [1] the bas-reliefs have been carried off from the panels of the second vase, and its fair