The Life of Gaddo Gaddi

Gaddo, painter of Florence, displayed at this same time more design in his works, wrought after the Greek manner, than did Andrea Tafi and the other painters that were before him, and this perchance arose from the intimate friendship and intercourse that he held with Cimabue, seeing that, by reason either of their conformity of blood or of the goodness of their minds, finding themselves united one to the other by a strait affection, from the frequent converse that they had together and from their discoursing lovingly very often about the difficulties of the arts there were born in their minds conceptions very beautiful and grand; and this came to pass for them the more easily inasmuch as they were assisted by the subtlety of the air of Florence, which is wont to produce spirits both ingenious and subtle, removing continually from round them that little of rust and grossness that most times nature is not able to remove, together with the emulation and with the precepts that the good craftsmen provide in every age. And it is seen clearly that works concerted between those who, in their friendship, are not veiled with the mask of duplicity (although few so made are to be found), arrive at much perfection; and the same men, conferring on the difficulties of the sciences that they are learning, purge them and render them so clear and easy that the greatest praise comes therefrom. Whereas some, on the contrary, diabolically working with profession of friendship, and using the cloak of truth and of lovingness to conceal their envy and malice, rob them of their conceptions, in a manner that the arts do not so soon attain to that excellence which they would if love embraced the minds of the gracious spirits; as it truly bound together Gaddo and Cimabue, and in like manner Andrea Tafi and Gaddo, who was taken by Andrea into company with himself in order to finish the mosaics of S. Giovanni, where that Gaddo learnt so much that afterwards he made by himself the Prophets that are seen round that church in the square spaces beneath the windows; and having wrought these by his own self and with much better manner, they brought him very great fame. Wherefore, growing in courage and being disposed to work by himself, he applied himself continually to studying the Greek manner together with that of Cimabue. Whence, after no long time, having become excellent in the art, there was allotted to him by the Wardens of Works of S. Maria del Fiore the lunette over the principal door within the church, wherein he wrought in mosaic the Coronation of Our Lady; which work, when finished, was judged by all the masters, both foreign and native, the most beautiful that had yet been seen in all Italy in that craft, there being recognized therein more design, more judgment, and more diligence than in all the rest of the works in mosaic that were then to be found in Italy.

Gaddo, a painter from Florence, showed more skill in design than Andrea Tafi and the painters before him. His works, like theirs, were made in the Greek style. Perhaps his greater skill came from his close friendship and frequent conversations with Cimabue. Whether because they were related or because of their good characters, the two were bound by deep affection. They often spoke together lovingly about the difficulties of the arts. From these conversations, beautiful and grand ideas arose in their minds. This happened all the more easily because they were helped by the refined air of Florence. That air tends to produce spirits who are both ingenious and subtle. It constantly removes the little rust and coarseness that nature, together with rivalry and the instruction good craftsmen provide in every age, is often unable to remove. Works planned together by friends who do not hide behind a mask of deceit clearly attain great perfection. Yet few such friends can be found. When these same friends discuss the difficulties of the subjects they are learning, they clear them up. They make them so clear and easy that great praise follows. Some people, by contrast, act devilishly while pretending to be friends. They use the appearance of honesty and affection to conceal their envy and malice, and steal others' ideas. As a result, the arts do not reach excellence as quickly as they would if love united gracious spirits. Love truly united Gaddo and Cimabue, and likewise Andrea Tafi and Gaddo. Andrea took Gaddo as a partner to finish the mosaics of S. Giovanni. There Gaddo learned so much that he later made the Prophets by himself. They can be seen around the church in the square spaces beneath the windows. He made them on his own and in a much better style, and they brought him great fame. His confidence grew, and he was ready to work independently. So he devoted himself to studying the Greek style alongside that of Cimabue. Before long, Gaddo became excellent in his art. The Wardens of Works of S. Maria del Fiore then assigned him the lunette above the main door inside the church. There he made a mosaic of the Coronation of Our Lady. When it was finished, all the masters, both foreign and native, judged it the most beautiful mosaic yet seen in Italy. They recognized in it more skill in design, more judgment, and more care than in all the other mosaics then found in Italy.

Wherefore, the fame of this work spreading, Gaddo was called to Rome in the year 1308 (which was the year after the fire that burnt down the Church and the Palaces of the Lateran) by Clement V, for whom he finished certain works in mosaic left imperfect by Fra Jacopo da Turrita. He then wrought certain works, also in mosaic, in the Church of S. Pietro, both in the principal chapel and throughout the church, and in particular a large God the Father, with many other figures, on the façade; and helping to finish some scenes in mosaic that are in the façade of S. Maria Maggiore, he somewhat improved the manner, and departed also a little from that manner of the Greeks, which had in it nothing whatever of the good.

As the fame of this work spread, Clement V summoned Gaddo to Rome in 1308. This was the year after the fire that burned down the Church and the Palaces of the Lateran. For Clement V, Gaddo finished some mosaic works left unfinished by Fra Jacopo da Turrita. He then created mosaics in the Church of S. Pietro, both in the main chapel and throughout the church. On the façade, he made a large figure of God the Father, along with many other figures. He also helped finish some mosaic scenes on the façade of S. Maria Maggiore. In doing so, he improved the style somewhat and moved a little away from the Greek style, which had nothing good in it at all.

Next, having returned to Tuscany, he wrought in the Duomo Vecchio without the city of Arezzo, for the Tarlati, Lords of Pietramala, certain works in mosaic on a vault that was all made of sponge-stone and served for roof to the middle part of that church, which, being too much burdened by the ancient vault of stone, fell down in the time of Bishop Gentile of Urbino, who had it afterwards all rebuilt with bricks. Departing from Arezzo, Gaddo went to Pisa, where, in the niche over the Chapel of the Incoronata in the Duomo, he made a Madonna who is ascending into Heaven, and, above, a Jesus Christ who is awaiting her and has a rich chair prepared as a seat for her; which work, for those times, was wrought so well and with so great diligence that it has been very well preserved, even to our own day. After this Gaddo returned to Florence, in mind to rest; wherefore, undertaking to make little panels in mosaic, he executed some with egg-shells, with incredible diligence and patience, as can be seen, among others, in some that are still to-day in the Church of S. Giovanni in Florence. It is read, also, that he made two of them for King Robert, but nothing more is known of these. And let this be enough to have said of Gaddo Gaddi with regard to work in mosaic.

Next, he returned to Tuscany. There he made mosaics for the Tarlati, Lords of Pietramala, in the Duomo Vecchio outside Arezzo. The mosaics were on a vault made entirely of sponge-stone, which formed the roof over the middle of the church. An ancient stone vault placed too great a weight on it, and it collapsed during the time of Bishop Gentile of Urbino. The bishop later had it all rebuilt in brick. Gaddo left Arezzo and went to Pisa. There, in the niche above the Chapel of the Incoronata in the Duomo, he made a Madonna ascending into Heaven. Above her, he made a Jesus Christ awaiting her, with a richly decorated chair prepared for her. For those times, the work was made so well and with such care that it has been very well preserved to our own day. After this, Gaddo returned to Florence, intending to rest. He began making small mosaic panels and made some with eggshells, using incredible care and patience. Some of these can still be seen today in the Church of S. Giovanni in Florence. It is also recorded that he made two panels for King Robert, but nothing more is known of them. Let this be enough to say about Gaddo Gaddi's work in mosaic.

In painting he made many panels, and among others that which is in S. Maria Novella, in the tramezzo⁸ of the church, in the Chapel of the Minerbetti, and many others that were sent into diverse parts of Tuscany. And working thus, now in mosaic and now in painting, he made both in the one and in the other exercise many passing good works, which maintained him ever in good credit and reputation. I could here enlarge further in discoursing of Gaddo, but seeing that the manners of the painters of those times cannot, for the most part, render great assistance to the craftsmen, I will pass this over in silence, reserving myself to be longer in the Lives of those who, having improved the arts, can give some measure of assistance.

He painted many panels. Among them was the panel in the Minerbetti Chapel, in the tramezzo⁸ of S. Maria Novella. Many others were sent to different parts of Tuscany. Working in both mosaic and painting, he produced many very good works in each art. These works kept his standing and reputation high. I could say more about Gaddo here. But the styles of painters of that time cannot, for the most part, offer much help to craftsmen. So I will say no more about him. I will devote more space to the Lives of those who improved the arts and can offer some help.

Gaddo lived seventy-three years, and died in 1312, and was given honourable burial in S. Croce by his son Taddeo. And although he had other sons, Taddeo alone, who was held at the baptismal font by Giotto, applied himself to painting, learning at first the principles from his father and then the rest from Giotto. A disciple of Gaddo, besides Taddeo his son, was Vicino, painter of Pisa, who wrought very well certain works in mosaic in the principal apse of the Duomo of Pisa, as these words demonstrate, that are still seen in that apse:

Gaddo lived for seventy-three years and died in 1312. His son Taddeo gave him an honorable burial in S. Croce. Although Gaddo had other sons, only Taddeo took up painting. Giotto was Taddeo's godfather at his baptism. Taddeo first learned the principles of painting from his father, then learned the rest from Giotto. Besides his son Taddeo, Gaddo also taught Vicino, a painter from Pisa. Vicino produced some very fine mosaic work in the main apse of the Duomo of Pisa. This is shown by the following words, which can still be seen in the apse:

In the Chapel of the Baroncelli, in the same Church of S. Croce, there is a portrait of Gaddo by the hand of his son Taddeo, in a Marriage of Our Lady, and beside him is Andrea Tafi. And in our aforesaid book there is a drawing by the hand of Gaddo, made in miniature, like that of Cimabue, wherein it is seen how strong he was in draughtsmanship.

In the Baroncelli Chapel, in the same Church of S. Croce, there is a portrait of Gaddo painted by his son Taddeo. It appears in a Marriage of Our Lady, with Andrea Tafi beside him. Our book mentioned above also contains a miniature drawing by Gaddo, like the one by Cimabue. The drawing shows how skilled Gaddo was at drawing.

Now, seeing that in an old book, from which I have drawn these few facts that have been related about Gaddo Gaddi, there is also an account of the building of S. Maria Novella, the Church of the Preaching Friars in Florence, a building truly magnificent and highly honoured, I will not pass by in silence by whom and at what time it was built. I say, then, that the Blessed Dominic being in Bologna, and there being conceded to him the property of Ripoli without Florence, he sent thither twelve friars under the care of the Blessed Giovanni da Salerno; and not many years afterwards these friars came to Florence to occupy the church and precincts of S. Pancrazio, and they were settled there, when Dominic himself came to Florence, whereupon they left that place and went to settle in the Church of S. Paolo, according to his pleasure. Later, there being conceded to the said Blessed Giovanni the precincts of S. Maria Novella, with all its wealth, by the Legate of the Pope and by the Bishop of the city, they were put in possession and began to occupy the said precincts on the last day of October, 1221. And because the said church was passing small and faced westward, with its entrance on the Piazza Vecchia, the friars, being now grown to a good number and having great repute in the city, began to think of increasing the said church and convent. Wherefore, having got together a very great sum of money, and having many in the city who were promising every assistance, they began the building of the new church on St. Luke's Day, in 1278; the first stone of the foundations being most solemnly laid by Cardinal Latino degli Orsini, Legate of Pope Nicholas III to the Florentines. The architects of the said church were Fra Giovanni, a Florentine, and Fra Ristoro da Campi, lay-brothers of the same Order, who rebuilt the Ponte alla Carraja and that of S. Trinita, destroyed by the flood of 1264 on October 1. The greater part of the site of the said church and convent was presented to the friars by the heirs of Messer Jacopo, Cavaliere de' Tornaquinci. The cost, as has been said, was met partly by alms and partly by the money of diverse persons who assisted gallantly, and in particular with the assistance of Frate Aldobrandino Cavalcanti, who was afterwards Bishop of Arezzo and is buried over the door of the Virgin. Some say that, besides everything else, he got together by his own industry all the labour and material that went into the said church, which was finished when the Prior of this convent was Fra Jacopo Passavanti, who was therefore deemed worthy of a marble tomb in front of the principal chapel, on the left hand. This church was consecrated in the year 1420, by Pope Martin V, as is seen in an inscription on marble on the righthand pillar of the principal chapel, which runs thus:

The old book from which I drew these few facts about Gaddo Gaddi also describes the building of S. Maria Novella. This magnificent and highly honored church belonged to the Preaching Friars in Florence. I will therefore record who built it and when. While the Blessed Dominic was in Bologna, he was granted the property of Ripoli outside Florence. He sent twelve friars there under the care of the Blessed Giovanni da Salerno. A few years later, the friars came to Florence and settled in the church and precincts of S. Pancrazio. While they were there, Dominic himself came to Florence. At his request, they left S. Pancrazio and settled in the Church of S. Paolo. Later, the Pope's Legate and the city's Bishop granted the Blessed Giovanni the precincts of S. Maria Novella, with all their wealth. The friars took possession and began to occupy them on October 31, 1221. The church was very small and faced west, with its entrance on the Piazza Vecchia. By now the friars had grown considerably in number and were held in high regard in the city. They therefore began to think of enlarging the church and convent. After raising a very large sum of money, they found many people in the city who promised every assistance. They began building the new church on St. Luke's Day, in 1278. Cardinal Latino degli Orsini, Pope Nicholas III's Legate to the Florentines, laid the first foundation stone with great ceremony. The church's architects were Fra Giovanni, a Florentine, and Fra Ristoro da Campi, lay brothers of the same Order. They rebuilt the Ponte alla Carraja and the bridge of S. Trinita, which had been destroyed by the flood of October 1, 1264. The heirs of Messer Jacopo, Cavaliere de' Tornaquinci, gave the friars most of the land for the church and convent. As I have said, the cost was met partly by alms and partly by money from various people who gave generous help. Frate Aldobrandino Cavalcanti was a particular help. He later became Bishop of Arezzo and is buried above the door of the Virgin. Some say that, in addition to everything else, his own efforts secured all the labor and materials for the church. The church was finished while Fra Jacopo Passavanti was Prior of the convent. He was therefore considered worthy of a marble tomb in front of the principal chapel, on the left. Pope Martin V consecrated the church in 1420. A marble inscription on the right-hand pillar of the principal chapel records this in the following words:

Of all these things and of many others there is an account in a chronicle of the building of the said church, which is in the hands of the fathers of S. Maria Novella, and in the History of Giovanni Villani likewise; and I have not wished to withhold these few facts regarding this church and convent, both because it is one of the most important and most beautiful churches in Florence, and also because they have therein, as will be said below, many excellent works made by the most famous craftsmen that have lived in the years past.

A chronicle of the church’s construction records all these things and many others. The fathers of S. Maria Novella hold the chronicle. The History of Giovanni Villani also recounts them. I have chosen to include these few facts about the church and convent because the church is among the most important and beautiful in Florence. As I will explain below, the church and convent also contain many excellent works by the most famous craftsmen of past years.