Funerary Monument to Sir John Hawkwood

Unveiling the Enigma: The Funerary Monument to Sir John Hawkwood

The Funerary Monument to Sir John Hawkwood is a fresco by Paolo Uccello, commissioned in 1436 for Florence Cathedral. It commemorates English condottiero John Hawkwood, fighting in the Italian peninsula, and is an important example of art and perspective. But what lies behind this masterpiece? Is it merely a tribute to a military leader or a complex political statement?

The Life and Legacy of Sir John Hawkwood

Hawkwood had a long military career, serving various city-states in Italy, including Florence. He fought on both sides of the Pisan-Florentine War and was employed by several rulers, including John II, Marquess of Montferrat, Pope Gregory XI, and Bernabò Visconti. Hawkwood’s reputation as one of the ablest condottieri developed over time.

But in 1377, Hawkwood defected to Florence and became its de facto commander-in-chief until his death in 1394. He won many victories for Florence, including suppressing the Ciompi revolt, but also faced controversy due to past actions against Florence and other city-states.

The Commissioning of Uccello

After Hawkwood’s death, Richard II of England petitioned Florence for the return of Hawkwood’s body. However, it remains an open question whether his remains were ever transferred to England or reburied in 1405 under the old choir of the Duomo.

The commissioning of Uccello to repaint the fresco came at a ‘climax’ of a war with Lucca, which had recently begun a monument to honor Niccolò Piccinino. The Signoria, at the suggestion of Coluccio Salutati, voted to erect a marble statue of Hawkwood in the Duomo.

The Artistic Vision

Uccello’s ‘Hawkwood’ fresco was completed but ordered redone by the capo maestro of the Opera del Duomo in 1436. The second version, copied from the original, is the only true extant testimony to Hawkwood’s appearance.

The inscription on the fresco reads: ‘Ioannes Acutus eques brittanicus dux aetatis suae cautissimus et rei militaris peritissimus habitus est’ (John Hawkwood, British knight, most prudent leader of his age and most expert in the art of war).

The Political Implications

Documents attest to multiple repairs of a nearby window, which may have required restoration. Others suggest that the recommissioning was part of Pope Eugene IV’s rededication of Santa Maria del Fiore in March 1436.

Franco Borsi concludes that ‘undoubtedly under pressure from the Medici,’ the operai discarded their plans for a straightforward restoration and opted for a completely new monument. Uccello was chosen to replace the Gaddi and Pesello fresco, possibly an attempt to find a painter knowledgeable in bronze and statuary.

The Artistic Techniques

Uccello’s use of Masaccio’s eye-point perspective led to speculation about the painting’s original height. The fresco has been seen as ‘classicizing’ the image of condottieri, using terra verde technique to create an equestrian bronze effect.

The horse’s proportions deviate from idealized Renaissance models, and Uccello’s perspective flouted Alberti’s conception of perspective. A preparatory drawing suggests Hawkwood’s original appearance was more armored and militaristic but has been altered over time.

Conclusion

The Funerary Monument to Sir John Hawkwood is not just a tribute; it’s a complex interplay of art, politics, and history. It stands as a testament to the enduring legacy of a man whose life was marked by service to various city-states and the intricate web of political maneuvering in Renaissance Italy.