ORCAGNA (c. 5308–c. 1368), Italian painter, sculptor, worker in mosaic and architect, whose full name was ANDREA DI CLONE, called ARCAGNUOLO, was the son of a Florentine gold smith, Maestro Cione, said to have been one of the principal artists who 'worked on the magnificent silver frontal of the high altar of San Giovanni, the Florentine Baptistery. The result of Orcagna's early training in the use of the precious metals may be traced in the extreme delicacy and refined detail of his principal works in sculpture. His brothers, Lionardo or Nardo, the eldest, a painter; Matteo, a sculptor and mosaicist, and Jacopo, also a painter, were often associated with Orcagna in his varied labours.
From the time of Giotto to the end of the 14th century Orcagna stands pre-eminent among the many excellent artists of that time.
1. Orcagna as a Painter.—He was admitted to the guild of the Medici and Speziali, where his name first occurs in the documents of 1344. His chief works in fresco were at Florence, in the church of Sta. Maria Novella. He covered the walls of the retro-choir with scenes from the life of the Virgin. These, unfortunately, were much injured by damp very soon after their completion, and towards the end of the following century were replaced by other frescoes of the same subjects by Ghirlandaio, who, according to Vasari, made much use of Orcagna's motives and invention. Vasari says that Orcagna also painted the Strozzi chapel in the same church in company with his brother. But Ghiberti at tributes these works to his brother Nardo alone. These frescoes still exist though much restored; modem criticism is inclined to attribute them to Nardo. The finest composition is that on the west wall, unbroken by any window. It represents paradise, with Christ and the Virgin enthroned in majesty among rows of bril liantly coloured cherubim and seraphim tinged with rainbow-like rays of light. Here Andrea Orcagna may have had a share in the
execution.
In 1357 Orcagna painted one of his finest panel pictures, as a retable for the altar of the same chapel, where it still remains. In the centre is Christ in majesty between kneeling figures of St. Peter and St. Thomas Aquinas, attended by angel musicians; on each side are standing figures of three other saints. It is painted with extreme miniature-like delicacy, and is on the whole very well preserved. This retable is signed, "An. dni. mccclvii. Andreas Cionis de Florentia me pinxit." It is the only certified painting by Orcagna in existence. According to Vasari, he also painted some very fine frescoes in Sta. Croce. Of these only a small fragment remains. Orcagna's figures are plastically con ceived, and clearly defined by a firmly drawn contour. They stand out against the background like statues.
2. Orcagna as a Sculptor and was admitted as a member of the Sculptors' Gild in 1352. His name occurs in the roll as "Andreas Cionis vocatus Arcagnolus, pictor." Accord ing to Vasari, Orcagna worked under Andrea Pisano as a pupil in sculpture. His style, however, constitutes an advance on Andrea's art and prepares the way for 'the coming Renaissance. In 1359 he completed the great marble tabernacle for the chapel of Or San Michele. This, in its combined splendour of architec tural design, sculptured reliefs and statuettes, and mosaic en richments, is one of the most important and beautiful works of art which even rich Italy possesses.