A sculptor, whose signature is also found attached to the document mentioned above. In 1375, and again in 1377, his name occurs as witness to contracts for works of art: the first, a picture for the High Altar of the Duomo, to be made by Lorenzo di Vanni and Nuccio di Neruccio: the second, a marble statue by Mariano d’Agnolo and Bartolommeo di Tommè, for the Cappella del Campo. In 1386, he was commissioned to make some marble steps for the interior of the Duomo.
Of this man, or of his stonemason companions from Como, we hear nothing more than the short notice I have given already. We know that Comacene and Lombard workmen, especially masons and sculptors, were labouring in great numbers all over Italy at this period, and that they have left their traces very markedly, throughout all Tuscan and Umbrian Art. We know also, that the stone workers of Siena made a compact with those of Lombardy, residing and working in that town, on the 5th of December, 1473, whereby they gave to them certain privileges on payment of suitable fees.[152]
10. 1423–33. _Domenico di Niccolo del Coro._
This great artist was born about 1363, and belonged to the noble family of Spinelli. He was one of the cleverest and most prolific workers of his day. His principal trade was that of a wood-carver; and he is said to have obtained his surname of _del Coro_ from his ability and success in designing and carving Choir-stalls. From 1413 to 1423, he held the post of Capo-maestro of the Opera del Duomo of Siena, and we have records of work done by him in glass, as well as in stone and wood. He worked on the older Fonte Gaia, made designs for an intended loggia (on the site of the present Casino dei Nobili), to face into the Piazza del Campo,[153] and was sent for to Orvieto to advise about the repair of the roof of the Duomo there. The panels, inlaid with the _Symbols of the Creed_, for the stalls of the Chapel of the Palazzo Pubblico, executed by him between the years 1415–1428,[154] after designs said to be by Taddeo Bartoli,[155] are works of exceptional beauty. After a long life, in January 1446–7, we find him, at 84 years of age, begging the Signoria of Siena to grant him a pension. A sum of two florins a month was allowed to him, but he could not have enjoyed it for long, since after 1450 we entirely lose sight of him.