t  Tizio  says,  Qnercia  bonnd  himself  to  do  the  whole  work  with  his  own
hands;  hut  this  seems  impossible,  as  he  had  five  able  assistants,  who  did
much  of  it  for  him:  namely,  Sano  or  Ansano  diMatteo,  Paolo  di  Minella,
Nanni  da  Lncca^  Bastino  di  Corso,  and  Francesco  Yaldambrini,  Sienese
goldsmith  and  sculptor,  one  of  the  competitors  for  the  Baptistry  Gate  at
Fiorence  in  1401-2.    See  chapter  on  GhibertL


Giacomo  delta  Querela.  (yj^

owin^  to  bis  habit  of  accepting  a  great  deal  more  work  tban  be
could  possibly  carry  on  simultaneously,  be  worried  bis  employ-
ers and  brougbt  mucb  trouble  upon  bimself.  Tbus  in  1418,
instead  of  staying  at  Siena  to  complete  Fonte  Gaja,  be  went
to  Lucca  and  remained  tbere  until  tbe  Sienese,  who  in  the
space  of  eight  months  had  five  times  summoned  him  back
without  eftect,  forced  him  under  a  penalty  of  three  hundred
florins  to  return  and  finish  their  fountain.  This  was  in  1419,
when  among  other  works  he  had  finished  at  Lucca  the  monu-
ment of  Ilaria  del  Garretto,  wife  of  Paolo  Guinigi,  Lord  of
that  city,  and  daughter  of  Charles,  Marquis  of  Garretto.  No-
thing remains  of  this  monument,  which  was  broken  up  when
the  tyrant  was  driven  out,  but  the  effigy  and  two  slabs  of  the
base  decorated  with  children  bearing  festoons.  One  of  these
is  in  the  Bargello  museum  at  Florence,  and  the  other  with  the
sepulchral  effigy  in  the  cathedral  at  Lucca.  ''  I  name  it/*
says  Mr.  Buskin,*  "  not  as  more  beautiful  or  perfect  than  other
examples  of  the  same  period,  but  as  furnishing  an  instance  of  the
exact  and  right  mean  between  the  rigidity  and  rudeness  of  the
monumental  effigies,  and  the  morbid  imitations  of  life,  sleep  or
death,  of  which  the  fashion  has  taken  place  in  modem  times.
