FEDERIGHI, Antonio

This octagonal font for the chapel of San Giovanni Battista in Siena Cathedral was attributed to Federighi. However, it can no longer be regarded as an autograph work since the chapel was constructed after his death in January 1483.

Federighi’s last commission was to design a marble intarsia of the Erythraean Sibyl (1481-82) for the pavement in the south aisle of the cathedral.

From 1451 to 1456 Federighi served as capomaestro of Orvieto Cathedral, which, no doubt, contributed to his failure to fulfil his Sienese obligations. He contributed some work to the cathedral fa�ade, including the addition of niches to the topmost edge of the rose window, and designed a holy water basin for the interior.

The roof of the 14th-century Gothic chapel was executed by Antonio Federighi who replaced the simple canopy with a Renaissance vault supported by round arches. The chapel was built between 1352 and 1376 by Domenico di Agostino. The sculptures in the Gothic niches of the pillars were made between 1378 and 1382 by Mariano d’Angelo Romanelli (d. 1391).

The figure of St Ansanus is reminiscent of Jacopo della Quercia’s Angel Gabriel (San Gimignano, Collegiata). The treatment of the massive tubular folds of St Ansanus’s robe recalls della Quercia’s handling of the garments of the saints in the Trenta Altarpiece (Lucca, San Frediano).

The figure of St Victor on the third pier is less subtle but more dramatic; barely contained within the niche, the warrior saint gazes defiantly into the distance. The intensity of his expression is accentuated by the straining tendons of his neck and the exaggerated folds of his voluminous mantle. In spirit, the saint is reminiscent of Donatello’s St George (Florence, Orsanmichele).

The figures contributed by Federighi to the Loggia della Mercanzia stem from the late work of Jacopo della Quercia. The figure of St Ansanus is reminiscent of Jacopo della Quercia’s Angel Gabriel (San Gimignano, Collegiata). The treatment of the massive tubular folds of St Ansanus’s robe recalls della Quercia’s handling of the garments of the saints in the Trenta Altarpiece (Lucca, San Frediano). In the St Victor the head is shown in profile, as it is in Quercia’s prophets on the Baptismal Font.

Two holy water basins (Siena Cathedral), described as newly made in an inventory of 1467, are also attributed to Federighi. They resemble antique candelabra and are richly decorated with lush garlands, palmettes, sphinxes and dolphins.

Two holy water basins (Siena Cathedral), described as newly made in an inventory of 1467, are also attributed to Federighi. They resemble antique candelabra and are richly decorated with lush garlands, palmettes, sphinxes and dolphins. They combine antique motifs with contemporary fantasy; the four bound, nude figures ornamenting the neck of one of the basins are sometimes cited as the modest precursors of Michelangelo’s Slaves (Mus�e du Louvre, Paris; Galleria dell’Accademia, Florence) for the tomb of Julius II.

The four bound, nude figures ornamenting the neck of one of the basins are sometimes cited as the modest precursors of Michelangelo’s Slaves (Mus�e du Louvre, Paris; Galleria dell’Accademia, Florence) for the tomb of Julius II.

The construction of this elegant loggia was funded by Pope Pius II, the Sienese pope. The small, three-bay loggia is exceptional for its lack of sculptural detail.

In September 1451 Federighi was commissioned to carve three statues of saints for the Loggia di Mercanzia (Loggia di San Paolo), Siena, but the monies advanced to him were withdrawn in 1453, when he failed to deliver the figures within the specified time. From 1451 to 1456 Federighi served as capomaestro of Orvieto Cathedral, which, no doubt, contributed to his failure to fulfil his Sienese obligations.

Federighi returned to Siena in 1457, lured, perhaps, by a more lucrative contract for the Loggia di Mercanzia, the decoration of which had remained dormant in his absence. In March 1457 his statue of St Peter (untraced) was already installed in a niche on the first pier of the Loggia. A second, documented, figure of St Ansanus (c. 1458-59), on the adjacent pier, is reminiscent of Jacopo della Quercia’s Angel Gabriel (San Gimignano, Collegiata). The treatment of the massive tubular folds of St Ansanus’s robe recalls della Quercia’s handling of the garments of the saints in the Trenta Altarpiece (Lucca, San Frediano). The figure of St Victor (c. 1457-58) on the third pier is less subtle but more dramatic; barely contained within the niche, the warrior saint gazes defiantly into the distance. The intensity of his expression is accentuated by the straining tendons of his neck and the exaggerated folds of his voluminous mantle. In spirit, the saint is reminiscent of Donatello’s St George (Florence, Orsanmichele). Donatello was in Siena at this time (1457-61) and was offered the commission to carve a statue of St Bernardino (unexecuted) for the same Loggia.

The picture shows the five statues of the Loggia della Mercanzia in Siena, from the left: St Sabinus (Italian:San Savino) by Federighi), St Peter by Vecchietta, St Ansanus (Italian: Sant’Ansano) by Federighi, St Victor (Italian: San Vittore) by Federighi, St Paul by Vecchietta.