AGOSTINO DI GIOVANNI

The influence of Tino di Camaino is apparent in the work of Agostino di Giovanni and Agnolo di Ventura, who were probably active in Siena while Tino was Capomaestro of the Cathedral. Their principal surviving work, the Tarlati monument in the Duomo at Arezzo, was executed in the same bracket of years as Tino’s Mary of Valois monument in Naples. But whereas the the Mary of Valois monument has its place in the context of court art, the Tarlati monument belongs in the democratic tradition of Tuscan sculpture. Lacking the refinement and elegance of Tino’s tomb, it celebrates in simple, graphic style Tarlati’s administration.

The monument was executed in collaboration with Agnolo di Ventura. It is many-tiered and soaring slab-like up the wall, to be topped by an airy, pedimented barrel vault. The main relief, containing the two halves of a funeral service or procession, and emotional intensity unmatched in the remainder of the tomb. attains a rhythmic unity. It is the fourteenth-century counterpart of Trajan’s Column, which in many ways it much resembles.

In 1330 Agostino di Giovanni and the sculptor-architect Agnolo di Ventura signed the monumental tomb of Bishop Guido Tarlati in Arezzo Cathedral, the design of which was based on Tino di Camaino’s tomb for Emperor Henry VII in Pisa Cathedral; his son Giovanni was also involved in its execution. The second row of reliefs in the cycle of scenes of Tarlati’s life, the effigy and the right-hand side of the funeral relief can be regarded as Agostino’s work .

The monument was executed in collaboration with Agnolo di Ventura. It is many-tiered and soaring slab-like up the wall, to be topped by an airy, pedimented barrel vault. The main relief, containing the two halves of a funeral service or procession, and emotional intensity unmatched in the remainder of the tomb. attains a rhythmic unity. It is the fourteenth-century counterpart of Trajan’s Column, which in many ways it much resembles.

The monument was executed in collaboration with Agnolo di Ventura. It is many-tiered and soaring slab-like up the wall, to be topped by an airy, pedimented barrel vault. The main relief, containing the two halves of a funeral service or procession, and emotional intensity unmatched in the remainder of the tomb. attains a rhythmic unity. It is the fourteenth-century counterpart of Trajan’s Column, which in many ways it much resembles.

In 1330 Agostino di Giovanni and the sculptor-architect Agnolo di Ventura signed the monumental tomb of Bishop Guido Tarlati in Arezzo Cathedral, the design of which was based on Tino di Camaino’s tomb for Emperor Henry VII in Pisa Cathedral.

This marble relief shows the Comune in Signoria, where a prisoner at the right is about to be beheaded while another, kneeling, pleads his case before the seated judge.

The wooden Annunciata, formerly in San Domenico and now in the National Museum of San Matteo, carries in the octagonal plinth the names of Stefano Accolti and Agostino di Giovanni (perhaps the patrons of the work) and the date 132? (the last digit is uncertain and it is not at all sure whether it is a 1 as it has often been read). The attribution of the work to Agostino is not unanimously accepted.