A HISTORY OF PAINTING IN ITALY
BY J. A. CROWE & G. B. CAVALCASELLE
VOL. VI
SIENESE AND FLORENTINE MASTERS OF THE
SIXTEENTH CENTURY
.
A HISTORY OF
PAINTING IN ITALY
UMBRIA FLORENCE AND SIENA
FROM THE SECOND TO THE SIX-
TEENTH CENTURY BY J. A. CROWE
ftP G. B. CAVALCASELLE
VOLS. I.-IV. EDITED BY LANGTON DOUGLAS
VOLS. V., VI. EDITED BY TANCRED BORENIUS
IN SIX VOLUMES ILLUSTRATED
VOL. VI.
SIENESE AND FLORENTINE MASTERS
OF THE SIXTEENTH CENTURY
.
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LONDON
JOHN MURRAY ALBEMARLE STREET
1914
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CONTENTS OF VOL. VI.
CHAPTER I
PAGE
FI7NGAI, PACCHIABOTTI AND PACCHIA, PERUZZI . . .1
CHAPTER II
LORENZO DI CREDI AND PIERO DI COSIMO . . . .30
CHAPTER III
FRA BARTOLOMMEO DELLA PORTA . . . . .50
CHAPTER IV
MARIOTTO ALBERTINELLI AND BTIGIARDINI .... 105
CHAPTER V
FRANCIA BIGIO AND SOGLIANI . . . . .121
CHAPTER VI
RIDOLFO GHIRLANDAIO AND FRANCESCO GRANACCI . . .138
CHAPTER VII
ANDREA DEL SARTO . . . . . . .161
INDEXES .... . 205
LIST OF ILLUSTRATIONS
VOL. VI
THE VIRGIN AND CHILD WITH SAINTS (photo-
gravure) . . ' . . . Fra Bartdommeo Frontispiece
From a picture in the Cathedral at Lucca.
FACING PAGE
THE VIRGIN AND CHILD WITH SAINTS . Bernardino Fungai . 2
From a picture in the Siena Gallery.
THE VISITATION . . . . Giacomo Pacchiarotti . 6
From an altarpiece in the Siena Gallery.
THE NATIVITY OF THE VIRGIN . . Girolamo del Pacchia . 10
From a fresco in the Oratorio di S. Bernardino, Siena.
TH3 PRESENTATION OF THE VIRGIN IN THE
TEMPLE ..... Baldassare Peruzzi . 22
From a fresco in S. Maria della Pace, Rome.
THE VIRGIN AND CHILD WITH SAINTS . Lorenzo di Credi . . 34
From a picture in the Duomo, Pistoia.
THE ADORATION OF THE SHEPHERDS . * Lorenzo di Credi . , 36
From a picture in the Academy of Arts, Florence.
THE VIRGIN AND CHILD WITH SAINTS . Pie.ro di Cosimo . . 44
From a picture in the Spedale degli Innocenti, Florence.
THE DEATH OF PROCRIS (photogravure) . Piero di Cosimo . . 46
From a picture in the National Gallery.
THE LAST JUDGMENT .... Fra Bartdommeo . 58
From a fresco in the Uffizi, Florence.
THE HOLY FAMILY .... Fra Bartdommeo . 70
From a picture in the collection of Lady Desborough, Panshanger.
THE VIRGIN AND CHILD WITH SAINTS . . Fra Bartdommeo . 74
From a picture in the Palazzo Pitti, Florence.
vii
viii LIST OF ILLUSTEATIONS
FACING PAGE
THE VIRGIN OF MERCY . . . Fra Bartolommeo . 82
From a picture in the Lucca Gallery.
ST. MARK .; . .- . . Fra Bartolommeo . 88
From a picture in the Palazzo Pitti, Florence.
THE PRESENTATION IN THE TEMPLE . . Fra Bartolommeo . 88
From a picture in the Imperial Gallery, Vienna.
THE CRUCIFIXION , . . . Fra Padino . . 100
From a fresco in S. Spirito, Siena.
THE ANNUNCIATION . . . . Mariotto Albertinelli . 106
From a picture in the Cathedral, Volterra.
THE VISITATION . . , . Mariotto Albertinelli . 106
From a picture in the Ufflzi, Florence.
THE ANNUNCIATION . . . Mariotto Albertinelli . 108
From a picture in the Academy of Arts, Florence.
PORTRAIT OF A LADY ("LA MONACA") . Oiuliano Bugiardini . 114
From a picture in the Palazzo Pitti, Florence.
THE BIRTH OF ST. JOHN THE BAPTIST . Giuliano Bugiardini . 118
From a picture in the University Gallery, Stockholm.
THE MARTYRDOM OF ST. CATHERINE . . Oiuliano Bugiardini . 118
From a picture in 8. Maria Novella, Florence.
THE ANNUNCIATION . . . . Francia Bigio . . 122
From a picture in the Turin Gallery.
THE SPOSALIZIO . . , Francia Bigio » ;' • I24
From a fresco in SS. Annunziata, Florence.
PORTRAIT OF A YOUNG MAN . . . Francia Bigio . . 126
From a picture in the National Gallery.
THE LAST SUPPER . . . . Francia Bigio . .128
From a fresco in S. Giovanni Battista della Calza, Florence.
MEETING OF CHRIST AND ST. JOHN THE BAPTIST Francia Bigio . . 130
From a fresco in the Chios tro dello Scalzo, Florence.
THE STORY OF BATHSHEBA . . . Francia Bigio . . 132
From a picture in the Dresden Gallery.
THE IMMACULATE CONCEPTION . . Sogliani . . . 134
From a picture in the Uffizi, Florence.
LIST OF ILLUSTRATIONS ix
PORTRAIT OF A YOUNG MAN (" THE GOLD- FACING PAGE
SMITH ") . . . . . Ridolfo Qhirlandaio . 142
From a picture in the Palazzo Pitti, Florence.
THE NATIVITY. .... Ridolfo Ohirlandaio . 144
From a picture in the Budapest Gallery.
ST. ZANOBITJS RAISING A DEAD BOY . . Ridolfo Ohirlandaio . 146
From a picture in the Uffizi, Florence.
THE ASSUMPTION OP THE VIRGIN . . Francesco Granacci . 156
From a picture in the collection of Mr. H. C. Somers Somerset, The
Priory, Reigate.
ST. PHILIP BENIZZI CURSING THE GAMBLERS . Andrea del Sarto . .166
From a fresco in S3. Annunziata, Florence.
THE NATIVITY OF THE VIRGIN . . Andrea del Sarto . . 172
From a fresco in S3. Annunziata, Florence.
PORTRAIT OF LUCREZIA DEL FEDE . . Andrea del Sarto . . 174
From a picture in the Kaiser Friedrich Museum, Berlin.
THE APPARITION OF THE ANGEL TO ZACHARIAH Andrea del Sarto . . 182
From a fresco in the Chiostro dello Scalzo, Florence.
THE MADONNA DEL SACCO . . . Andrea del Sarto . . 188
From a fresco in S3. Annunziata, Florence.
THE LAST SUPPER .... Andrea del Sarto . .190
From a fresco in S. Salvi, Florence.
ST. JAMES (photogravure) . . . Andrea del Sarto . . 192
From a picture in the Uffizi, Florence.
NOTE.
The Editor's notes are marked with an asterisk.
SIENESE AND FLORENTINE MASTERS
OF THE SIXTEENTH CENTURY
CHAPTER I
FUNGAI, PACCHIAROTTI AND PACCHIA, PERUZZI
IN considering the last phase of development in the Sienese
school, nothing is more remarkable than its assimilation of
varied foreign elements. After clinging to old and almost in-
eradicable habits nearly to the close of the fifteenth century,
painters who had lost all power of self-regeneration gradually
took lessons from the Florentine, the Umbrian, and the Lombard,
either by coming into contact with men of those countries at
Siena, or by studying them abroad. Whilst Signorelli, Pintu-
ricchio, Perugino, and Bazzi contributed to this alteration by
practising in Siena, the Florentines of the following of Andrea
del Sarto, Eaphael, and Michael Angelo, extended their influence
in the same quarter by the force, the number, and the importance
of the works with which they filled the cities of Italy. Still,
though tacitly admitting the superiority of men whom they ad-
mired, the Sienese never lost entirely the stamp of their nation-
ality, nor succeeded in discarding their Italo-Byzantine manner.
Bernardino Fungai so completely inherited the style of his
master Benvenuto di Giovanni that a fresco of the Assumption
in the Oratory of S. Sebastiano near Asciano might be assigned
with equal propriety to either.1 But before his death, in 1516,
Fungai transferred his specific traits to Giacomo di Bartolommeo
Pacchiarotti,2 whose art, in its expansion, was at one time hard to
1 See antea, Benvenuto di Giovanni. The fresco is given to Fungai by GAET.
MILANESI (com. VASAEI, vi. 416).
2 The commentator above cited states, without proofs, though positively, that
Fungai died in 1516, aged fifty -six (com. VASARI, vi. 416).
2 BERNAKDINO FUNGAI [CH.
distinguish from that of Girolaino del Pacchia. Pictorial history
soon forgot Fungai, of whom it preserved little more than tradi-
tion ; but it confounded Giacomo with Girolamo, so that the latter
ceased altogether to exist; and the praise which he had received
from Vasari was supposed to apply to Pacchiarotti.1 The research
of Gaetano Milanesi disentangled the lives of the two men. Their
pictures and those of Fungai still require a vigorous sifting.
Guide-books give note of many productions by Fungai, which
are preserved in churches and museums; nor is there any difficulty
in conceding that they are all by one artist, since they are alike
on the spectral model of Matteo da Siena or Benvenuto di Gio-
vanni, and slightly tinged with an imitation of Pinturicchio.
They are all feebly and confusedly composed, ill drawn, dull in
colour, unrelieved, and generally lifeless. The figures are un-
natural and incorrect in movement, dressed in broken and angular
drapery, exaggerated in length, and perfectly rigid. Amongst
the creations of his earlier period, one to which the date of 1500
has been given in books exhibits the peculiarities we have enumer-
ated, coupled with great splendour of gilding and primary colour.
It represents the Coronation at S. Maria de' Servi, or the SS.
Concezione, of Siena.2 Better proportioned, but of the same
stamp are the Virgin, Child, and saints in the Academy, but of old
in the choir of the Carmine at Siena, a Fungai of 1512;3 but more
characteristic pieces are the Coronation in the church of the
1 VASARI speaks of Pacchia in the Life of Giovannantonio Bazzi (vi. 391). He
is confounded with Pacchiarotti by BELLA VALLB and all the Sienese chroniclers
before him (see Lett, san., iii. 317 and following). RUMOHR gives to Pacchiarotti
things, the character of which is that of Fungai (Forschungen, ii. 212), and suggests
the possibility of assistance given by him to Pinturicchio at the Piccolomini
Library (iii. 45). PASSAVANT (Raphael, i. 389) evidently alludes to pictures by
Pacchia when speaking of Pacchiarotti.
2 Assigned to Fungai in TAIA'S and FALUSCHI'S Guides (u.s.). The date is given
by MILANESI (com. VASARI, vi. 416). The figures are life-size, on panel, a caricature
of those of Matteo. The angels are reminiscent of Pinturicchio, the Virgin and
Christ also somewhat Umbrian.
3 Siena Academy, No. 431. Wood. Signed: " OPVS BERNARDINI FONGARII
DE SENIS, 1512." The date is given by MILANESI (ib., ib.) and by BELLA VALLE
(Lett, san., iii. 381). The colour is dry and of a dull, low key. The saints are
Sebastian standing and Jerome kneeling to the left, a standing friar and St. Nicho-
las kneeling to the right; the hat of St. Jerome and the staff of St. Nicholas held by
children in front of the throne.
THE VIRGIN AND CHILD WITH SAINTS
BY BERNARDINO FUNGAI
From a picture in the Siena Gallery
Photo, Alinan
VI.— To face page 2
i.] BERNAEDINO FUNGAI 3
Madonna di Fontegiusta,1 a predella to a Nativity by (?) Francesco
di Giorgio in S. Domenico,2 and the Assumption in the Academy
of Siena. Without any change in its arrangement from the time-
honoured one of the Sienese, the latter displays some Umbrian
and Florentine peculiarities in the round and regular shape of the
heads.3 The five subjects of the predella are distributed in Pin-
turicchio's fashion; and appear more spirited than usual, because
they are of a smaller size. They may be due in part to the assist-
ance afforded to Fungai by Pacchiarotti,4 who would thus claim
a share in divers panels of the same class, — a predella with five
half-lengths of saints in the Sienese Academy,6 a Madonna with
St. Catherine and other saints in the church of the Compagnia di
S. Catarina at Siena,6 a Nativity in the cathedral of Chiusi,7 and
a Madonna amongst saints in the church of Buonconvento.8
1 Beneath the Coronation, SS. John the Baptist and Jerome kneeling, Roch and
another erect, and children with flowers in a landscape. The picture is all points
and angles (wood).
2 This predella comprises a Martyrdom of St. Sebastian, a Massacre of the Inno-
cents, and figures of saints. The lunette of this composite work is by Matteo.
See antea, Matteo and Francesco di Giorgio.
3 No. 441, Siena Academy (wood). The Virgin is taken up as usual to the
Eternal, who is surrounded by saints and patriarchs. Below, about the tomb,
the kneeling SS. Francis, Bernardino, and John Evangelist.
4 No. 412. Comprising St. Michael, St. Catherine clothing a Beggar, the Marriage
of Cana, the Epiphany, the Call of Peter and Andrew, St. Catherine of Alexandria,
Tobit and the angel.
6 No. 366, Siena Academy. In the same style— No. 376: Virgin, Child, SS.
Jerome and the Beato Colombino (half-length). No. 363: Virgin giving the breast
to the Infant, an angel and St. Jerome. No. 374: Virgin adoring the Child on her
knee with SS. Mary Magdalen and Anthony the Abbot in rear (half-length).
6 The Virgin and Child are in majesty amongst angels and female saints (reminis-
cent of Pinturicchio); St. Catherine in prayer to the left, at the Virgin's feet; in
side panels, St. Anthony and another saint. Three upper panels of the altar are
of the seventeenth century. In the predella, three scenes from the life of St.
Catherine, figures of brethren, of Jerome, and other saints (wood, oil), injured,
dirty, and hard; the influence of Pinturicchio very sensible.
7 In the pilasters, the Angel and Virgin Annunciate, SS. Lawrence, Catherine,
Sebastian, and Chiara. In the predella, four scenes from the lives of the saints,
Umbrian in character; exhibited in the capella del Sacramento.
8 Five arched compartments: Virgin and Child, SS. John the Baptist, Peter,
Paul, and Sebastian (naked). In the spandrils, heads of cherubs (figures life-
size, wood). [* This picture, which is reproduced in the Eassegna d'arte, iv. 152,
may be confidently assigned to Pacchiarotti, and shows, as pointed out by Mr,
PERKINS (ibid., p. 151), the strong influence of Matteo da Siena.] Similar works,
BERNAKDINO FUNGAI [OH.
Fungai sometimes assumes the types and affectation of Perugino,
as may be seen in the example exhibited in 1865 at the British
Institution under his name,1 and in the Madonna falsely ascribed
to Vivarini at the Victoria and Albert Museum.2 His more usual
garb is that with which he appears in the Virgin and Child cata-
logued as by Alunno in the collection of Count Paul Stroganoff
at St. Petersburg.3 His best and perhaps latest performance is a
Christ between SS. Francis and Jerome, the lunette of an altarpiece
by Pacchiarotti in the Academy of Siena.4 The difference between
the lunette and the Madonna with saints below it is not so striking
an Assumption, in S. Sebastiano at Buonconvento, with six scenes from the life
of the Virgin, in the predella, the latter like Matteo's Creation; Virgin and Child
between SS. John and Mary Magdalen (wood, gold ground), in the Conservatorio
di S. Maria Maddalena at Siena; Virgin and Child, St. Jerome, and another saint,
in the same place. [* The two last-mentioned pictures are now in the Academy of
Siena (Nos. 375 and 388).]
1 Round of the Virgin and Child (No. 70, Exhibition of 1865), with six heads of
winged cherubs fluttering round her head (wood, half life-size). Various episodes
are in the distant landscape. The low key of Fungai's tone has been further
dimmed by time. [* This picture is now in the National Gallery (No. 1,331).]
2 From the Solages collection (half-length, on gold ground, the Child erect,
in benediction, on the Virgin's lap, and a saint at each side (wood, half life-size).
The tempera is altered by restoring. [* Now on loan to the National Gallery.]
3 The Child holds the orb and a bird fast to a string (wood, gold ground). He
stands on a cushion, on a parapet, before the half-length of the Virgin; somewhat
restored, but not without feeling considering its authorship.
4 No. 424, Academy of Siena. Virgin enthroned between SS. Onofrio and
Bartolommeo (wood). We may note, in passing, as a painter of the rise of the
sixteenth century at Siena, a half Umbrian Sienese of a low class, whose Nativity
(No. 279 in the Academy of Siena, inscribed: " Opus Petri Dominici de Senis
M. CCCC. . . .") is a weak, rosy-coloured picture, of careful but flat treatment.
To him may be given the Nativity (No. 390) in the same collection, and a Virgin,
Child, and saints (No. 397). [* A Virgin and Child with two saints in the
collection of the Earl of Crawford and Balcarres, should also be added to the
number of his works.]
Andrea di Niccolo's works are a caricature of the foregoing, as, e.g., a Cruci-
fixion (No. 368) in the Siena Academy. There are notices of his existence between
1477 and 1509 at Siena, in Doc. sen., ii. 425, and iii. 5, 40, and 296. [* A signed
work by this painter is a Virgin and Child with four saints, inscribed: " Pinxit
Andrea Nichole Senensis A. D. MCCCCC ad Novembris," in the Siena Gallery
(No. 298). Other paintings by him are a Nativity in the same gallery (No. 365);
a Virgin and Child with saints belonging in 1904 to Sig. Sestilio Barni of Siena;
a Virgin and Child with saints in the Compagnia dei SS. Crispino e Crispiniano of
Siena (dated 1510), etc. For further notices of Andrea, see DE NICOLA, i
and BECKER, Allgemeines Lexikon, i. 461.]
i.] GIACOMO PACCHIAKOTTI 5
but that both may have been done in the same atelier. They are
similar; but the drawing of the first is harder, the colour more
sombre than that of the second, which reveals a better design,
more form in drapery, a truer feeling for colour, and greater
animation — improvements traceable in pictures to which, from
the oldest time, the name of Pacchiarotti has been attached.1
It is one of the remarkable circumstances connected with
Pacchiarotti that we know much more of his private life than of
his works. He was born in 1474 at Siena,2 and fills a broad page
in the history of the troubles for which his native city was so
famous in the sixteenth century; and a long list has been made
of pieces that have perished, commissioned of him when habitual
love of disorder and sauntering did not bring him into mischief
either as a soldier defending himself against external foes, or as
a member of a lawless brotherhood which made the streets of
Siena unsafe by day as well as by night.3 There is a most amusing
* x The following works by Fungai may still be noticed:
Brunswick. Vieweg Collection. The Virgin and Child (see HAEOK, in Archivio
storico dell'arte, ser. i., vol. iii., p. 171).
Lucignano (Val di Chiana) 8. Francesco, choir. St. Francis receiving the
stigmata (lunette of altarpiece ; see PERKINS, in Rassegna d' arte senese, iii. 81)-
New York. Mr. 0. Blumenthal. The Virgin and Child with two angels (see
PERKINS, in Rassegna d' arte, xiii. 126, with reproduction).
Paris. Rothschild Collection. Cassone front with mythological subject (story
of Hippo ?) (ib.). Sale at the Hotel Drouot, April 21, 1910, No. 41. The Virgin
and Child with two saints (as a Matteo di Giovanni).
Siena. Archivio di Stato. Tavoletta di gabetta. Abraham's Sacrifice (1485;
LISINI, Le tavolette dipinte, pi. xlviii.). Tavoletta di gabeUa. The Virgin guiding
a Ship to a Port (1487; ib., pi. xlix.). S. Girolamo, Cloister. The Assumption.
Istituto dei Sordomuti (ex Convento di S. Margherita). Old Refectory. The Last
Supper; The Agony in the Garden; The Capture of Christ; the Crucifixion (frescoes).
S. Maria dei Servi, second altar to the left. The Magdalen; St. Joseph.
2 Register of Baptisms. MILANESI in com. VASARI, vi. 416.
3 1502: He takes part in an insurrection after the departure of Pandolfo Petrucci.
1503: Makes flags for the Duomo, models two heads of Emperors for the same
place, and paints pennons on the enthronement of Pius III. 1505: Is captain of
the Division of Stalloreggi di Fuori. Marries (November 8) Girolama di Ser
Alessandro Martini; is agent to Pietro d' Andrea of Rome. 1507: Pennons.
1507 and 1509: Birth of two daughters. 1509: Decorates the chapel of Andrea
Piccolomini in the church of S. Francesco. 1510: Appraises works in the Vieri
chapel of the same church, and Perugino's altarpiece there. 1511: Inherits his
father's property. 1512: Pennons for the funeral of P. Petrucci. 1513: Appraises
the work of Bartolommeo di David in the chapel of the Madonna del Manto in the
VI. — B
6 GIACOMO PACCHIAROTTI [CH-
account in chronicles of his flight from justice in 1535, and his
concealment in a tomb, where he spent forty-eight hours in terror
of his life and a prey to evil smells and vermin. He was out-
lawed, and restored to civil rights again, and had the luck, which
he hardly deserved, of dying in his bed (circa 1540) at his own
place of Viteccio. But all that remains to illustrate his art is an
Ascension at the Academy of Siena, once in the Chiesa dell' Osser-
vanza,1 a Visitation in the same gallery, removed from the church
of Campiglia d'Orcia,2 another in the Academy of Arts at Flor-
ence.3 There is little to distinguish the first of these composi-
tions from the usual one of the old period. The well-known want
of compactness in arrangement and of simplicity in movements
in the Sienese are as conspicuous as the bony dry ness of the forms,
and the affectation resulting from an attempt to realize immediate
decisive action. A light and washy colour helps to give the picture
an impress easily recognized in the Visitations at Siena and
Spedale of Siena. Ditto : The Trinity in the Spedale by Beccaf umi, and paints
the banner of the company of the Beato A. Gallerani. 1514: Finishes the Picco-
lomini chapel. 1518: Colours the dial of the public clock. 1519: Gonfaloniere in
Stalloreggi di Fuori. 1520: Madonna in the town-hall of Casole (said to exist).
1521: Joins in the defence of Siena against Renzo da Ceri; and is one of a facfion
called the Libertini. 1528: Captain in Stalloreggi; furnishes an eagle for the
residence of the notaries, and a fall for the Madonna by Gentile da Fabriano.
Asks for, and is refused, the gabella of the market at Siena. 1526: Fights at
Camollia against the Papal and Florentine troops. 1527: Standard for Annibale
dell'Aquila, captain of Siena. 1528: Gonfaloniere of Stalloreggi. Tavola in
S. Maria a Tressa; takes part in the assault of Montebenicchi; works at the forti-
fications of Siena. 1529: Imprisoned for treason, and placed in a punishment
company at Talamone. Pardoned and confined at Viteccio. Standard for the
Duomo. 1530: Joins the conspiracy of the Libertini and Popolani. 1531: Inter-
poses in favour of a relative sentenced to the stake for forgery. 1532: Works in
the chapel of the compagnia di S. Giov. della Morte. 1533: Captain of district of
S. Marco. 1534: Joins the club of the Bardotti. 1535: His flight and conceal-
ment in a tomb; paints a triumphal arch at the coming of Charles V. 1539: Cap-
tain of Stalloreggi; paints the chapel of S. Giov. della Morte; (November 17) exiled.
1540 (August 17): Recalled. Dies, See com. VASAEI, vi. 426 sqq., iv. 591; Doc.
sen., iii. 40, 46, 47, 59, 84, 103; DELLA VALLE, Lett, san., iii. 317 and following;
GATE, Carteggio, ii. 116.
1 No. 422, Academy of Siena (wood).
2 No. 426, Academy of Siena (wood, in three parts). Visitation between
SS. Michael and Francis.
3 No. 84, Academy of Arts. Visitation, with the kneeling SS. John the Baptist,
and Leonardo; erect, Anthony Abbot, Anthony of Padua, Nicholas of Ban, and
a Dominican.
THE VISITATION
BY GIACOMO PACCHIAROTTI
From an altarpiece in the Siena Gallery
Photo, Alinari
VI. — To face page ft
i.] GIACOMO PACCHIAROTTI 7
Florence, of which it is therefore unnecessary to speak further.
Another Ascension at the Carmine of Siena, if it be by Pacchiarotti,
to whom it is assigned, is the best attempt he ever made at that
subject. The painter is determined that there shall be move-
ment and passion in all his personages, and he tries to realize both
by extraordinary pose, and by speaking gesture or strong expres-
sion; but with all the desire to produce these results he fails,
because he has not the suppleness or correctness of drawing, or
the mastery of anatomy which might enable him to overcome the
difficulties he courts. He produces strained attitudes and con-
tortions; and though feeling and dignity are conveyed in the
figure of the Virgin, awkwardness and rigidity are common to
the surrounding saints. If he has any special tendency in addi-
tion, it is to make the human frame long and bony, to suggest
by childish curls of drapery the idea of a breeze, to colour the
flesh without marked contrasts of light and shadow, in a warm,
rosy, but well-fused yellowish tint. He has, perhaps, in his
memory reminiscences of the most varied nature, Umbrian poses
of Perugino and Pinturicchio, agitated or convulsed action of
SignorelU, affectation caricaturing the Leonardesque of Bazzi, and
recalling even Piero della Francesca.1 The features of this Ascen-
sion are no longer entirely characteristic of Pacchiarotti; they
lead one forward to the consideration of Girolamo del Pacchia,
his contemporary, and perhaps at one time his fellow-labourer.
It is curious, indeed, that whilst the study of Fungai reveals a
companionship between him and Pacchiarotti, a similar relation
is afterwards to be noticed between Pacchiarotti and del Pacchia.
The link which connects the two last might be traced even to the
Ascension just described, in the Academy of Siena, a picture dif-
fering from that of the Carmine in some particulars only. The
latter, in fact, is a composition of the same stamp as that in the
Academy, but a variation of it as regards tone and the admixture
of more modern elements derived from the Umbrians. It makes
a sensible approach to del Pacchia's Coronation of the Virgin in
1 We have noticed in Piero della Francesca (v. 18) an Ascension at Borgo S.
Sepolcro, with the execution of which the names of Gerino da Pistoia and Fran-
cesco da Citta di Castello have also been mentioned. There is much in that picture
reminiscent of this at the Carmine of Siena, and others to be named in connection
with Pacchia.
8 GIROLAMO DEL PACCHIA [OH.
S. Spirito of Siena, and is to be classed rather as one of his youthful
creations than as a work in which Pacchiarotti should have changed
his style to one more like that of his colleague.1
Girolamo del Pacchia was the son of a Hungarian who had
become famous at the close of the fifteenth century as a founder
of cannon.2 This Hungarian, known as Giovanni delle Bombarde,
married a Sienese girl named Apollonia, who bore him Girolamo,
on January 4, 1477. The boy, having lost his father a year after
his birth, was educated by his mother, and brought up to the
business of an artist. He took to wandering at an early age, and
was in 1500 at Eome. An altarpiece which he delivered, in 1508,
to the monastery of Pontignano near Siena, would tell, had it
been preserved, what masters del Pacchia had been studying up
to that time ; in the absence of this example, and of others which
were produced in 1511, one turns to the no less authentic though
uninscribed pictures with which he adorned a chapel in S. Spirito
and the altar of the Bandinelli at S. Cristoforo, of Siena.
The Coronation of the Virgin at S. Spirito3 is remarkable for
the vigour and harmony of its colour, and the breadth and accu-
rate definition of its chiaroscuro. It has all the movement and
none of the awkwardness of the Ascension at the Carmine, and is
a manifest improvement on the forms usually given to the human
face by the Sienese. The draperies are serpentine in fold instead
of being broken as of old. The manner of Kaphael is adapted
with an originality natural to an independent talent, and the
colours are of a thin texture and reddish tone reminiscent of
Andrea da Salerno. A couple of angels beneath the principal
* l We add the following list of paintings by Pacchiarotti that have not yet
been mentioned:
London. National Gallery, No. 1,849. The Nativity.
Siena. Gallery, No. 366. Five saints. No. 576: The Assumption of the Virgin
(fragment). Palazzo Palmieri-Nuti. The Holy Family with four augels. The
Virgin and Child with two saints. Duomo, Chapter. The Virgin and Child with
two saints. Arciconfraternita delta Misericordia, Meeting -room. SS. Anthony
the Abbot and Paul.
2 The authorities for this and the following facts and dates are to be found in
MILANBSI'S com. VASAEI, vi. 415 sqq. ; in Doc. sen., vols. ii. and iii. ; and in MILANBSI
Sulla storia senese, etc., u.s., p. 174. Siena e il suo territorio, ii.
3 Wood, arched, figures life-size, assigned by UGURGIBRI hi BELLA VALLB, Lett,
san., iii. 316, and others, to Pacchiarotti.
i.] GIROLAMO DEL PACCHI A 9
group are drawn in Eaphaelesque movement ; and foreshortenings,
where they occur, disclose their origin in the same school.
The Virgin and Child between SS. Paul and Bernard are con-
ceived with a measure of grandeur, and of refinement in character
and expression to which the Sienese of the sixteenth century have
not as yet accustomed us. The attitudes are dignified and appro-
priate, the Virgin, though broad in face, recalling Mariotto Alberti-
nelli and Fra Bartolommeo as regards mould and Kaphael in
respect of attitude. The child is playful, handsome, and well
drawn. Two infant angels flying under the draperies that would,
but for their support, fall over the parapet of the throne, are quite
airy and light in their aspect. There is a distinguished gravity
and repose in the whole piece. Its colour is of the best obtained
in Siena, powerful, brilliant, and transparent, and handled with a
knowledge of all the technical improvements of the day, softly
fused, well modelled, with an impasto scumbled and glazed after
the approved fashion of the Venetians. A harmonious landscape
adds to the general charm.1
There are proofs of Pacchia's presence at Siena in 1515, when he
painted the bier of the company of S. Bernardino,and joined Becca-
fumj in appraising the frescoes of Girolamo di Benvenuto at Fonte-
giusta ; but the earliest things extant are the Annunciation which
was placed on the altar of the Tantucci by the Dominicans of
S. Spirito in 1518, and the frescoes in the Confraternita di S. Ber-
nardino, of Siena. The altarpiece is injured, but never had the
beauty of that in S. Cristoforo.2 It represents the Annunciation
in a perspective of arches, and the Visitation in a distant land-
scape. The type of the Virgin remains almost unaltered, but
her unnatural grace recalls the earlier efforts of Simone Martini,
whilst the angel is slender, and strained in action. In the lapse
of years, Pacchia had been evidently affected by the examples of
Bazzi, and took some lessons from the Florentine Francia Bigio.
He betrays these influences in the air and drawing of his figures,
into which, however, the Florentine weight and breadth of
drapery are but partially introduced. Nor has he any longer his
1 Assigned also to Pacchiarotti by the old writers (wood, oil, figures life-size).
2 Assigned likewise to Pacchiarotti (injured panel, arched, figures life-size);
now No. 410 in the Academy of Siena.
10 GIROLAMO DEL PACCHIA [OH.
old strength as a colourist, his fine rich tone being exchanged for
one of a more clouded glassy tinge.
In the production of the frescoes for S. Bernardino, Pacchia
competed in 1518 with Bazzi and Beccafumi. Without being
able to surpass the Lombard who took the Leonardesque manner
to Siena, and became one of the greatest masters of his time,
Pacchia clearly outstripped Beccafumi, whose talents were marred
by exaggeration and unhealthy fancy. He repeated with slight
change, on one wall, the Annunciation of S. Spirit o,1 but he
designed a Nativity on the other, as may be seen from the annexed
reproduction, with a vivid memory of the Florentines.2 At a first
glance, indeed, we are reminded of Andrea del Sarto ; but, in reality,
it is the scale of art represented by Francia Bigio at the Servi of
Florence which del Pacchia adopts. With that and a mixture of
Sienese affectation, and with some traits derived from Pinturicchio,
he produces an agreeable and sufficient originality. Having ac-
quired this tendency in his later years, he preserved it unchanged
in frescoes at the Oratorio dell' Oca in Fontebranda of Siena,
where he illustrated three scenes from the legend of St. Catherine
of Siena, with considerable skill and animation.3
1 The lower part and ornament are somewhat injured in the fresco compart-
ment containing the angel. The Virgin's blue mantle is repainted.
2 The female handing a cup to St. Anna is retouched, and the head particularly
injured.
Del Pacchia also painted a St. Bernardino in the same locality (Doc. sen.,
iii. 60).
3 St. Catherine cures Matteo di Cenni of the plague (too injured to give an idea
of Pacchia's style).
Dominicans, assailed on the road by robbers, are liberated by St. Catherine.
In the foreground to the left, a Dominican is held by the head by two of the thieves.
In the distance to the right, some friars are journeying on horseback, and nuns
kneel in prayer.
St. Agnes of Montepulciano, on the bed of death, is visited by St. Catherine, her
foot being raised by miracle as the saint approaches to kiss it. Two females,
kneeling on the left, are full of life and movement; and a fine feminine form near
this group points to St. Catherine. The latter, on the right, stoops to kiss the foot,
behind her a suite. These two last frescoes are injured by restoring. The figures
are slender, and often affected in action. The sharp outlines and raw colour may
be owing to bad condition.
The best of the series is the last, in which Pacchia follows the laws of com-
position bequeathed to the Florentines by Giotto. The face and figure of the
dead St. Agnes are noble, and the attitudes of the remaining figures appropriate.
10
i.] GIROLAMO DEL PACCHIA 11
He was betrayed in his old age into companionship with Pac-
chiarotti and the dangerous club of the Bardotti, in 1533; and
when that lawless community was dispersed in 1535, he disap-
peared from Siena, and was never heard of afterwards. The
character of his authentic works now justifies the historian in
ascribing to him most of the pictures in European galleries usually
attributed to Pacchiarotti. Of these there are good examples in
the Siena Academy1 and in the Munich Pinakothek;2 a better in
the National Gallery,3 and one still more important under the
name of Fra Bartolommeo in the collection of the Duke of West-
minster.4
In Pacchia's earlier style is a fresco of the Marriage of Cana, in a lunette to the
right of the semi-dome, in the Baptistery of S. Giovanni at Siena.
1 Siena Academy, No. 433. Assigned to Pacchia. Holy Family and St. Anthony
of Padua; round, wood; slightly conventional and strained in action; pale yellow
in flesh tone. The technical handling varies slightly from that of other examples
by Pacchia. Same gallery, No. 350 : Virgin and Child.
2 Munich Pinakothek, No. 1,059: St. Bernardino between two angels (wood, half-
lengths). Same gallery, No. 1,058: Virgin, Child, and angels. Baphaelesque and
Florentine mixed; the movement of the Child very lively. The colour has a waxy
semi-transparence (slightly retouched).
3 No. 246. Virgin and Child, a Raphaelesque composition, far above anything
ever done by Pacchiarotti, to whom it is given.
4 The Virgin with her left arm round the waist of the young Baptist, on the
right, to whom the Infant Christ, on her lap gives His blessing; in the rear St. Joseph,
a landscape, and a green curtain. This is a graceful group, little less than half
life-size, carefully executed, but of a veiled transparence in the flesh shadows,
and bright in the lights (yellowish), worked with a fluid brash, a mixture of
Raphael and Fra Bartolommeo, with a certain Sienese impress in the types and
movement that seem peculiar to Pacchia. The hand of Christ and that of the
Baptist are retouched, and the flesh in the Virgin is not free from restoring.
For a Holy Family (No. 35, Gallery of the Hermitage at St. Petersburg), attributed
to Pacchia, see postea, Bugiardini. No. 36, in the same gallery, is a round of the
Nativity, in which the Virgin adores the Infant on the ground, St. Joseph being
seated to the left. In the distance to the right are an open lodge and a landscape.
An impress as of Florentine imitation (Albertinelli, Fra Bartolommeo, and their
followers) may be found in the composition and distance. The execution is not
on a level with the conception, the colour being light and a little gay in the Sienese
manner, and suggesting the name of Pacchia. [j* In addition to the works by
Pacchia already mentioned, the following may be enumerated:
Attington Castle. Sir M. Conway. The Virgin and Child.
Berlin. Kaiser Friedrich Museum, No. 105. The Marriage of the Virgin.
(cf. postea, p. 132). HerrA. von Beckerath. The Virgin and Child with saints and angels.
Gloucester (near}. Highnam Court. Sir Hubert Parry, Bart. The Virgin and
Child with two saints.
12 BALDASSAEE PERUZZI [CH.
It is not sufficient to have reduced Pacchiarotti to his original
mediocrity, and restored del Pacchia to his station in the annals
of Siena. Their countryman Peruzzi claims a more honourable
attention than our age is usually willing to bestow ; and it becomes
necessary to rescue his pictorial labours from oblivion. It may
be true as a general proposition that his merits have been recog-
nized, but in considering the manifold acquirements of so versa-
tile a genius, it has been usual to study one side to the detriment
of the other; and we are too apt to forget the painter in the
architect.
Baldassare Peruzzi was born at Siena on March 7, 1481, and
was the son of a weaver.1 In 1501 he was employed by the
Eector of the Duomo in the circular chapel dedicated to S. Gio-
vanni2— a proof of his precocious powers. Amongst the artists
to whom he may thus early have been indebted for instruction
and advice, Giovanni Antonio Bazzi was the most remarkable.
He had been brought from Lombardy to Siena by an agent of the
Spannochi family, at the close of the fifteenth century, and ob-
tained immediate encouragement as well as satisfactory com-
missions. From Bazzi Baldassare probably took something of the
Leonardesque ; but he had scarcely received payment for his work
in S. Giovanni of Siena, when his sympathy was won by Pintu-
ricchio, who had just obeyed the summons of Cardinal Piccolo-
mini.
Peruzzi in this way combined his own style with the Lombard
and the Umbrian, and went thus fortified to Eome about the
year 1504.3 Though untried, and probably without friends, he
London. Lady Jekytt. Venus.
Sarteano (Val di Chiana). Cottegiata. The Annunciation.
Siena. Gallery, No. 448. The Virgin and Child with two saints. S. Oirolamo,
second altar to the left. St. Jerome in his study and two other saints. Arcicon-
fraternita della Misericordia, chapel. The Virgin and Child.
1 Register of Baptisms at Siena (cit. com. VASABI, iv. 590). Baldassare's father
was Giovanni di Salvestro di Salvadore Peruzzi, weaver, of Volterra, who came to
Siena as a settler between 1475 and 1481.
2 1501, August 15, he receives 42 lire for paintings in that place (com. in VASAEI,
iv. 641).
3 He went, according to VASABI, with one Piero of Volterra to Eome (iv. 591)
about the close of the papacy of Alexander VI. A record is preserved in which
this very Pietro (Maestro Pietro del fu Andrea da Volterra), being at Rome in 1506,
appoints Pacchiarotti his agent at Siena (annot. VASABI, iv. 591).
i.] FKESCOES IN S. ONOFRIO 13
quickly achieved a position, and settled in the capital, a favourite
of his countrymen as well as of the highest dignitaries in the
Church.
One decoration of great extent and importance, completed
before the lapse of the first ten years of the century, gives an exact
view of his progress as well as of the direction taken by his labours.
In the semi- dome and tribune of S. Onofrio, an Eternal, a Corona-
tion of the Virgin, and a Virgin amongst saints, at the sides of
which the Epiphany and Massacre of the Innocents are depicted,
leave no doubt as to the way in which his style was formed. The
Eternal is like Fiorenzo's1 at S. Croce in Gerusalemme. The
angels remind us of Pinturicchio. The apostles about the Corona-
tion are more lively in movement than those of Bernardino, and
recall the Leonardos que of Bazzi. In the central Madonna and
the Massacre, but particularly in the Adoration, where the distant
episodes betray the influence of the Perugian, and the mask of the
Infant Christ is that of the Lombard, we trace the same contrast.2
Nor is it confined to the tribune, being exhibited with equal dis-
tinctness in one of the chapels.3
* * For " Fiorenzo's " read " Antoniasso's " (see antea, v. 267 sq.).
2 MANCINI (in DELLA VALLE, Lett, san., iii. 182) would assign these frescoes
entirely to Pinturicchio. TITI (annot. VASABI, iv. 591) suggests Peruzzi for the
semi-dome, Pinturicchio for the wall-paintings beneath it. VASABI, however, says
(iv. 591): " Peruzzi did the choir of S. Onofrio "; and there is one hand in the
whole work. The semi-dome subjects are all on gold ground, in courses. Below
the Eternal in four spaces, angels ; beneath these the Coronation between the
twelve Apostles and twelve sybils. In the central fresco of the tribune, the Virgin
(mantle repainted) is enthroned between SS. John the Baptist, Jerome, a female,
and Onofrio, the donor kneeling in the foreground. The head of the Baptist is
Leonardesque. A dais of gold hangs over the Virgin's head. The fresco of the
Massacre comprises also a Flight into Egypt, the landscape full of incidents and
small figures as in Pinturicchio. In this, as in the Adoration on the left, the dresses
are almost all repainted, and in the latter the landscape is renewed. The lower part
of the tribune pieces is quite new. The colour, generally, is freely handled in a
warm yellowish tone. [* These frescoes have been carefully analyzed by Professor
HEBMANIN, in Archivio storico dett' arte, ser. ii., vol. ii., p. 321 «<?<?.]
3 First chapel to the right, where the Eternal in benediction, high above the
altar, with three angels on a blue ground (repainted) is in the character of the
choir frescoes. The ceiling may contain paintings of the same type; it is now
covered with a painted canvas. At S. Pietro in Montorio of Rome, second
chapel to the right, are a Coronation with angels, four allegorical figures on the
front of the arched chapel entrance, and angels carrying scutcheons, in the mixed
14 BALDASSARE PERUZZI [CH.
At S. Croce in Gerusalemme, the vaulting of a crypt, dedicated
to St. Helen, is inlaid with mosaics after models furnished by
Peruzzi in the first period of his Roman stay, his employer being
Cardinal Bernardino Carvajal. A central medallion of the Eternal
is connected diagonally with the bends of the angles by four ovals
in which the Evangelists stand. Between the ovals four shovel
frames contain scenes from the Legend of the Cross, SS. Sylvester,
Peter, Paul, and Helen (with Cardinal Carvajal at her feet) being in
niches in the arches of the entrances. The design, akin to that
of an earlier age, might confirm the propriety of an opinion
according to which this ornamentation was made to replace
another of an older date. Its distribution and rendering reveal a
rare mastery of perspective as applied to architecture. A sensible,
perhaps inevitable, hardness prevails. We trace some of the
heavy coarseness derived from Pinturicchio in the Evangelists;
a more successful boldness in the other saints and in the angel
symbolizing St. John Evangelist. Throughout we find the same
composite character as in the frescoes of S. Onofrio.1
Equally interesting and hitherto unacknowledged as a creation
of Peruzzi is the ceiling, partly renewed by Raphael, in the Camera
dell' Eliodoro at the Vatican. With the exception of the corners
and shovel frames, the whole of the decoration evidently existed
previous to the entrance of Sanzio upon his labours in this hall.
Many before him had left specimens of their talent there — Piero
della Francesca,2 Signorelli, and Della_Gatta.3 But the author of
beautiful works like these, which are so clearly the forerunners
of others in the Farnesina, is a painter of the time of Julius II.4
They show the taste of a man impressed with the beauties of the
antique, and with the hardihood, the power, and precision of one
style of S. Onofrio. Of the same class, in the same edifice, four figures above an
altar, near the foregoing. These are all mediocre productions, much injured by
restoring, by some artist of the following of Pinturicchio and Peruzzi.
1 These mosaics are mentioned by ALBERTINI in his Opuscidum, u.s. The orna-
ment is very rich. Each oval is supported by a winged male issuing out of a
flower that grows in a vase, two peacocks interlaced forming a neat addition at
the sides, all on gold ground. In the vaultings there is much in the shape of fruit,
flowers, and birds. Cocks are neatly introduced above the niche containing the
figure of Peter. 2 VASAEI, ii. 492. 3 /&., iv. 330.
4 On the vaulting above the Liberation of St. Peter: " Julius Pont. Max.,"
on that above the Miracle of Bolsena, in a frame: " Julius II."
i.] CEILING FKESCO IN VATICAN 15
familiar with the division of architectural spaces. The frame-
work is on gold ground, into which four medallions imitating bronze
are let in, the rest being monochrome in various forms simulating
bas-reliefs of Greek skirmishes, children, and allegorical imper-
sonations. Peruzzi 's share, if it be not incorrect to assign the
portion we have just examined to him, is richer and better than
that which the aids under Sanzio's orders carried out in the spring
of the angles, the latter being on a simple yellow ground, whilst
the former is on gold. A long and slender figure of Abundance
dancing on a cloud in one of the rhomboids, though obviously
derived from the classic in its pose, action, drapery, and style of
nude, is executed with that tendency to bony articulations and
extremities peculiar to a Sienese. The mould of the face in its
circling of falling locks is not without a reminiscence of Bazzi,
whilst the flowing dress is rendered in the mode derived by Peruzzi
from the Lombard and from Pinturicchio.1 Two children, sitting
above the name of Julius II., exhibit similar maxims of art, and
a raw reddish tinge of colour. The skirmishes in monochrome
are from the antique, which, it is well known, Peruzzi was led to
study with unusual industry in Kome. Eaphael's forbearance
in preserving these masterpieces is as great a proof of judgment
as that which he used towards Perugino was an evidence of
kindness of heart.2
During this period of progress in the career of Peruzzi, the
materials for a thorough insight into the principles of ancient
structures were ready to his hand. As the foundation of old
edifices were laid bare one after the other, artists flocked to the
favoured places, and measured the ground-plans, the diameters
of columns, and the thickness of walls. From fragments of bas-
reliefs, they got an additional insight into the methods familiar
to the sculptors of the best age. Perspective was necessarily
applied in its most scientific abstruseness to realize the outward
appearance of buildings, the fallen members of which were too
1 The figure, in waving drapery, holds a cornucopia in the right, and pours
water from a cup in her raised left hand. The drapery is cast in a manner derived
from Bazzi and Pinturicchio.
2 If the ceiling should be proved at a future time to have been by the old
Bramante (Bramantino), we must then say he is the master of Peruzzi, and that
Baldassare inherited his art exactly as we see it applied at the Farnesina.
16 BALDASSARE PEKUZZI [CH.
bulky to be raised, or too much injured to allow of re-edification.
Through perspective, of which Peruzzi became a master, we may
well suppose that he gained a quicker knowledge of architecture
than he might otherwise have attained. But he owed much also
to Vitruvius, whose text he annotated and translated, leaving the
sheets to be afterwards published by the industry of his pupil
Serlio.1 The latter admits that he was first led to understand
architecture by following a course of perspective,2 and it is likely
that the same thing happened to Baldassare.3 Favoured by cir-
cumstances, as Peruzzi was, and gifted as we have already seen,
it was natural that his accomplishments should soon become
known; and we note without surprise how eagerly Agostino Chigi,
the rich banker of Siena then residing at Eome, took advantage
of his skill to erect a palace on the Tiber banks.4
The Farnesina Palace, as it is now called, has been poetically
described by Vasari as " non murato ma nato."6 It is one of the
finest of its kind, and embodies grace, solidity, and correct pro-
portion. There is no reason to believe that Peruzzi completed it
later than 1509 or 1510,6at which time not only the main block had
been erected and covered externally with subjects,7 but the garden-
lodge had been finished. In the flat central roof of the latter,
Peruzzi drew Perseus overcoming Gorgon, and a Diana furiously
driving a car drawn by bulls; in the curves, gods and goddesses,
such as Venus combing her hair on a couch, Diana preparing for a
hunt, Hercules and the Lion, Hercules and Hydra, Apollo and the
Centaur, Leda on the back of the Swan, Jove and Europa, Venus
and Saturn, Ganymede on the shoulders of the Eagle;8 in the
vaulting of the windows, males and females, mostly seated and
1 LOMAZZO (Idea del Tempio, p. 14) charges Serlio with plagiarism; but he is
hard on Serlio, who acknowledges his debt.
2 See SERLIO in BELLA VALLE, Lett, san., iii. 174, 175.
3 The rivalry of Bramante spurred Peruzzi very strongly, says VASARI (iv. 592).
4 VASARI, iv. 593.
5 /&., ib.
6 Painted before Raphael had reached the pinnacle of his fame (VASARI, v. 567).
[* It seems likely that the Farnesina was begun in 1509; the building was finished
by 1511, in which year Peruzzi may be supposed to have commenced his frescoes.
See FORSTER, Farnesina-Studien (Rostock, 1880), p. 13 sqq.]
7 They have perished.
8 On blue ground.
i.] FRESCOES IN THE FAENESINA 17
variously occupied;1 in the spandrels above the capitals, cupids
in dead colour;2 and in other supplementary spaces, river-gods
on monsters, the whole surrounded by monochrome borders so
graceful and so ably conceived that Titian declared he could not
distinguish them from stone.3 At a later period Sebastian del
Piombo covered the lunettes purposely left bare by Peruzzi, in-
cluding one which tradition assigns to Michael Angelo ;4 and
Eaphael introduced the beauteous Galatea on the wall below.
The authorship of Peruzzi has been contested in spite of Vasari's
text,6 and in defiance of the evidence of style ; and the ceiling of
the Loggia has been ascribed to Daniel da Volterra, perhaps in
consequence of the confusion caused by the similarity of names
between the Palazzo Farnese where Daniel did work, and the
Palazzo della Farnesina where he did not. Peruzzi's manner is
too characteristic to be mistaken. In order thoroughly to under-
stand it, a broad and general view must be taken of the man
not as a painter alone, nor as a sculptor, nor an architect, but as
a combination of all three. The roof of the Farnesina must not
be examined piece by piece, but in connection with its architec-
tural arrangement, its geometrical balance, and the position of
each object depicted. The result of the whole is a harmonic
unity. Peruzzi was a man of compass and of rule, a master of
perspective, and a mathematician. He had already realized what
Eaphael in later years was but hoping to attain — the " fine form
of the edifices of antiquity." For him the flight was no longer
" that of Icarus."6 The antique had made him familiar with the
forms of the classic Greek. It was a necessary consequence of his
studies, as well as of the tasks usually before him, that the pic-
torial should be but a part of a plastic and architectural whole ;
1 On gold ground. 2 On green ground.
3 VASARI, iv. 594. [* For a careful inquiry into the range of subjects depicted
in this fresco, see FORSTER, u.a., p. 39 sqq."]
* See LANZI (History of Painting, u.s., i. 148), who confounds the two Palaces of
the Farnesina and Farnese. [* The fresco traditionally ascribed to Michael Angelo
— a colossal head in monochrome — is in all probability by Peruzzi (cf. FRIZZONI,
Arte italiana del rinascimento, p. 211).]
6 VASARI, iv. 593.
6 See Raphael's letter to Baldassare Castiglione, from Rome, in BOTTARI,
Raccolta, u.s., ii. 23.
18 BALDASSAKE PERUZZI [OH.
that he should calculate how the figures were to fill a given room ;
that painting should not be independent, but fettered. When
he found it suitable, the human proportions were made subservient
to their place rather than to each other, their movements being
calculated with less reference to the reality than to sculptural or
architectural requirements, and therefore unnatural. But, in
his mode of filling, he obeyed a law of harmony as telling in its
way as a similar one applied to colour was telling in the hands
of Titian.1 It was, indeed, his substitute for colour; for in his
ardour he neglected, or he showed that he lacked, the great
and precious gift which charms in Vecelli, del Sarto, and Correggio.
From a very remote time, the Sienese had betrayed their par-
tiality for Greek sculpture. In some the taste was not pure, as
in Simone Martini and Antonio Federighi, their familiarity with
the antique being insufficiently aided by that of nature, which is
the source from which the Greeks drew the ideal. Convention-
alism and rigidity were the results. Peruzzi, who inherited this
tendency in his countrymen, was not free from their defects. His
art stands in the same relation to the classic as that of the Etruscan
vases. He composes subjects in the spirit of bas-reliefs, with
personages of a stiff and affected action — even when moving in
the boldest manner under a quick momentary impulse. In all
circumstances he discloses his Sienese education2 and the influence
exercised by Pinturicchio and Bazzi. Yet he remains original,
and holds the same position of honour in the Sienese school as the
Lorenzetti and Simone, who were not equal to Giotto, though
they surpassed his pupils. He does not keep the high level
climbed by Leonardo, Michael Angelo, or Eaphael, but he comes
immediately after them, and is superior to all their followers.
His execution is technically simple. The hard rosy tones of the
flesh and the tints of the draperies are without any under-prepara-
tion, and the white surface is the highest light. In no part of
the Farnesina Palace is Peruzzi more completely characterized
than in the Fall of Gorgon, where Perseus waves his sword about
her head, whilst a female and three males show their faces and
1 LANZI truly says: " He distorts and connects those images with a surprising
symmetry " (History of Painting, i. 303).
2 In the bony drawing of extremities.
i.] FKESCOES IN THE FAKNESINA 19
busts above the frieze. A diagonal, dividing the picture, would
confine the portion described to one-half of its rectangle, giving it
the appearance of having been intended for the pediment of a
temple, the more as a fragment of a horse at the narrowest part
reminds us of that of the Parthenon. The upper half contains
a single and comparatively colossal Victory blowing a horn, whose
limbs, wings, and drapery are made to fill the space and establish
the equilibrium of the composition.1 The treatment is that
peculiar to Peruzzi. It is full of forced activity and dash, yet
essentially sculptural in feeling, the drapery especially being
searched out for the sake of suggesting the under form. Equally
hardy is the foreshortened position of the female in the next com-
partment, who with surprising wildness throws her head and body
forward, stretching out the arm with the ribbands at which the
steers are pulling, and holding with iron grip the side of her car.2
Peruzzi 's power is not less evident in the representation of the
muscular strength and gigantic exertion of Hercules coping with
the lion, a scene in which he establishes a favourable contrast
between himself and Antonio Pollaiuolo.3
But Peruzzi did not confine himself to the lodge of the Farne-
sina. In the hall of the upper floor, which precedes the rooms
adorned by Bazzi and Beccafumi, he paints the ceiling, with its
tasteful cornice and mouldings resting on mimic caryatidae, the
frieze held up by pilasters and unreal windows, through the
openings of which landscapes are depicted, the effect being, as
1 Perseus and Gorgon are on the clouds. His steel armour is now slightly
discoloured.
2 This fresco has most of the Sienese contortion, the figure being at the same
time too long and slender. The character of Etruscan art is curiously marked
in this as well as in the thinness of the limbs, and in the motion of the steers.
The ground is starred blue. Between the steer's legs are seven heads of the winds.
The car runs along the clouds. The right arm of the female and parts around it
are restored.
3 The Hercules and Lion are as an antique bronze, so powerfully given is the
action of the leg breaking the back of the beast.
The monochrome framing and mouldings are very choice, and look as if they
were real, an effect due at once to modelling and a judicious application of perspec-
tive. The gilt rosettes and the arms in the centre of the ceiling are the only parts
in genuine relief. The lilies of the Farnese family were substituted for the Chigi
scutcheon when the Palace of the Farnesina changed hands.
20 BALDASSAEE PEEUZZI [CH.
Vasari says, to increase the apparent size of the place j1 nor does
he neglect the ornaments above the doors, where the supporters
of scutcheons are made to stand in classic pose, and children play
above the architrave ; nor those of the chimney, on the mantel of
which Vulcan is at his forge ; nor the panellings in which gods
and goddesses are placed. Moderns, it is true, sometimes affirm
that Giulio Eomano was the author of the frieze for which the
fables of antiquity contribute the richness of their imagery.2
But a glance at such incidents as Apollo driving the chariot of the
sun ought to have prevented this mistake. This is not the art
bequeathed by Kaphael to his favourite pupil. It is the bold, the
classical one of Peruzzi, whose conception is the forerunner of
that with which the less gifted Guido, under other influences as
regards manner, produced the Aurora of the Kospigliosi Palace.3
Again, on the ground-floor, a room facing the Corsini Palace
contains a fictive frieze in which we find a copious illustration of
the fable of Hercules, the Eape of Europa, Danae and the golden
rain, Diana transforming Action, the death of the latter, Apollo
and Midas with the ass's ears, Apollo and Marsyas, Venus and
Cupid, gambols of children and tritons, river-gods, Silenus, a
satyr surprising Venus asleep, the chase of Meleager, Endymion.
Nothing can be more fanciful or more powerfully handled than
this graceful and well-arranged series, nothing more like Peruzzi
than the plastic nature and action of the figures. It is the work
of a man who has studied Michael Angelo and Eaphael without
abandoning his own originality, who has become chastened by
contact with great contemporaries.4
An interesting narrative might now be given of various under-
takings entrusted to Peruzzi. We might describe the numerous
edifices which he adorned in Eome ;5 we might illustrate the skill
with which he decorated the walls " with children, sacrifices,
battles, episodes, and architecture," so as greatly to enhance the
1 VASARI, iv. 593. 2 Annot. VASARI, v. 524.
* 3 The frescoes in this room have been accurately described by Professor
FORSTER, u.s., p. 88 sqq.
* 4 Compare on these frescoes FORSTER, u.s., p. 86 sqq.
6 VASARI, iv. 592-596, 599-601; LOMAZZO, Trattato, p. 187, who specially mentions
monochromes of children on a house in Trastevere at Rome; and SERLIO, Eegole
generali d' architettura, etc., fol. Venice, 1537, lib. iv., cap. xi., p. Ixx.
i.] VARIOUS WORKS IN ROME 21
beauty of facades in themselves simple and sparely ornamented;
we might tell how he got up the " Treason of Giulia Tarpeia " at
the festival given to Giuliano de' Medici (1515) on his appointment
to the supreme command of the Papal forces ;* how he furnished
models to Cardinal Pio for the Duomo (1515), and for S. Niccolo
(1517) of Carpi;2 we might register frescoes in the Vatican and
in S. Pietro, others done for Riario, Cardinal of Ostia, both in the
capital and in Ostia;3 but this would be a labour of little fruit,
especially as the Ponzetti chapel in S. Maria della Pace offers an
excellent clue to Peruzzi's manner in 1517. In a semi- dome, no
doubt planned by himself,4 he painted, in three courses, the
Sacrifice of Isaac, the Creation of Adam and Eve, Moses receiving
the Tables of the Law, the Nativity, Epiphany, and Flight into
Egypt, David and Goliath, the Deluge, and Judith despatching
Holof ernes.5 Below these, the Virgin and Child between SS.
Catherine of Alexandria and Brigitta, the latter recommending
Ferrando on his knees at her feet.
All these subjects bear a great and unmistakable stamp. The
beauty of the spacing, and the taste with which the panelling is
adorned, are not surpassed in Raphael's chapel at S. Maria del
Popolo.6 But the talent of Peruzzi at this period is particularly
1 VASABI, iv. 595. 2 CAMPOBI (Gli artisti, u.s., p. 358) and VASABI (iv. 598).
3 VASABI, iv. 591 sq. The latter are said by Vasari to have been done with the
aid of Cesare da Sesto. [* A fresco of the Three Graces in the collection of
Prince Chigi of Rome appears to be a fragment of the work of mural decoration
carried out by Peruzzi in the Castle of Ostia (see FBIZZONI, Arte italiana del
rinascimento, p. 194 sq.). As shown by the same author (*&., p. 202 sqq.), the
Palazzo dei Conservator! at Rome still contains some frescoes by Peruzzi — viz.,
four scenes from the life of Hannibal, in the Sala delle Guerre, and representations
of triumphal processions of Roman Kings in the Sala dei Fasti. All these frescoes
have been much repainted, and those hi the Sala dei Fasti are, moreover, in a frag-
mentary condition.!
4 " Fece una cappella," says VASABI (iv. 594). The period in which the frescoes
were completed was for a long time indicated in the framing of the semi-dome
frescoes by the words: " FEBDZNAOVS POZETTVS GAME APCE* PBESIDE DECAVS
DIVE BBIGIDE NEBiTiE DiCAviT." In 1869 this inscription was painted over in
marble colour; and the same barbarous '* improvement " was made to the pilasters
and basement of the picture. At that time Ferrando Ponzetti was Archdeacon of
Sorrento, and President of the apostolic chamber.
5 The annotators of VASABI (ed. Le Monnier, viii. 223) describe these subjects,
and express regret at then- loss when they are still standing.
6 Begun 1516, finished 1519.
VI.-
22 BALDASSARE PERUZZI [CH.
remarkable as displaying his endeavour to rival Michael Angelo
and Raphael in dignity of character, of expression, and of life, in
breadth of handling, and in noble simplicity of drapery. Though
it was not easy to attain this combination without loss of indepen-
dent style, Peruzzi did so with good fortune, and affords a gratify-
ing example of the impulse which may be given to genius by the
rivalry of great men.
The Creation is composed and carried out with an art in the
footsteps of that of Buonarroti and Sanzio. The Eternal taking
Eve shows her to Adam, from whose rib she has just been shaped.
His movement, as he sweeps in the air, recalls in its grandeur
that of Raphael in the Camera dell' Eliodoro ; but the mode in
which Eve is brought into the presence of Adam is a fine com-
pression of Michael Angelo 's two subjects in the ceiling of the
Sixtine chapel, and full of his elasticity in the reproduction of
nude. In the Adoration, Peruzzi appears more completely in his
own colours, with the oft-recurring impress of Bazzi in the type
of faces, but with rich and skilful grouping of his own, and a grand
cast of drapery.
The conception of the Deluge illustrates another side of Peruzzi's
character. Almost all trace of the Umbrian is lost in a vigorous
union of episodes and action, in the rendering of which the models
of the Florentine school, and particularly those of Buonarroti
afford the master peculiar inspirations. Without falling into the
empty imitation of the Herculean in form, Peruzzi applies with
originality the maxims upon which the art of the great Florentine
was based, and strives to gain a footing on the level which he
attained.1
The Sacrifice of Isaac, in the contemplation of which we revert
to the time of Ghiberti's competition with Brunelleschi, is also
very fine. The angel arresting the hand of Abraham, the patri-
arch himself, are grand in the freedom and life which they embody ;
and the group is adapted to its place by an application of the prin-
ciples that dictated to Raphael his arrangement of the same subject.
1 On the left the ark floats on the waters, and a boat tries to weather the storm.
A horse and an ox swim to the land, and a man grasps in agony at the bank. A
female with two children at her feet listens to a man who points to the rising flood.
More in rear, a man holds on to a tree.
i.] FRESCOES IN S. MARIA DELLA PACE 23
Less successful in the Nativity, the Flight into Egypt, or the
David and Goliath, Peruzzi is himself again in the Judith and
Holofernes, where an old female on the ground stoops with her
arm and shoulder between her knees in a pose, the counterpart,
as to spirit, of one in the Sixtine chapel.
The grand figures of the Virgin, Child, and St. Brigitta, would be
still more effective, were it not for something strained and affected
in them and a certain mannerism in the drawing; but Ferrando
Ponzetti's is a broad and massive portrait, and the pose, the
drapery, and the outline of the head are a noble mixture of the
sculptural with the Leonardesque of Bazzi. The bold and pastose
touch proclaims a thorough mastery over the technwa, though, as
usual, the flesh is a little raw and rusty in tone.1
An artist who can produce the frescoes of S. Maria della Pace has
reached a giddy and dangerous elevation, beyond which it is diffi-
cult to advance and but too easy to recede. Peruzzi at this point
had tried his powers to the utmost. It was but human that he
should rest on his laurels, and that the result should then be rather
the reflex of past greatness than the accession of new strength.
But Peruzzi preserved his ascendancy in architecture after he
had yielded his best in painting; and he remained in honour in
consequence of a versatility which he shared with others of his
highly favoured age. We shall see how he ultimately fell into
increasing conventionalism and affectation. In the meanwhile the
ravages of time and restorers are alone the cause why less attrac-
tion is felt for the Presentation in the Temple at S. Maria della
Pace than for the frescoes of the Ponzetti chapel. In the absence
of any outer charm, we may still admire in it the maxims of true
composition, the introduction of the antique into architecture,
the illustration of several abstruse laws in perspective science, the
grand, the sculptural, and the graceful in action, drapery, and
motives.2
1 The blue drapery on the Virgin's shoulder, and the left hand of St. Catherine,
are repainted, the tapestry behind the group dimmed by time. Flesh parts here
and there are renewed. Paintings by Peruzzi on the face of the wall into which
the domed chapel is sunk are greatly damaged. One sees traces of the angel
liberating St. Peter, David playing the harp, and Christ appearing to St. Paul.
2 This large fresco is enclosed in a gilt wooden frame. It is injured by restoring,
and of a dull reddish tone. The antique classic spirit in the composition and
24 BALDASSAEE PEEUZZI [OH.
Something might be said of a Nativity, the only extant fresco
of those which Peruzzi left in S. Kocco of Eome. But the injured
condition of its parts only permits a guarded opinion, and the
belief that it may have been produced shortly after 1517.1 From
that year till 1520, when he succeeded Kaphael as architect of
S. Pietro,2 and from 1520 to the sack of Eome, he did little that
has not perished. It is interesting, however, to note amongst
fleeting productions of those days the scenes got up for Cardinal
Bibbiena's play of the Calandra. Before his death Eaphael had
furnished the decorations of Ariosto's Suppositi, given at the
expense of Leo X. in a temporary theatre.3 When Eaphael died,
Leo found nobody abler for that sort of work than Peruzzi, whose
fame had otherwise been eclipsed by Sebastian del Piombo ;4 and
the patronage of the Pope no doubt induced his fool Fra Mariano
also to employ him.5
During Leo's last years Peruzzi was induced to visit Bologna at
the request of persons who desired to complete the front of
S. Petronio. In the period of his stay there (1521-22) he made
several drawings on various scales and of different proportions,
without satisfying the superintendents of the building.6 He was
more fortunate in pleasing private friends such as the Albergati,
who erected a palace on his designs, Messer Panfilio dal Monte,
and the Conte Giovambattista Bentivoglio.7 The Adoration of
the Magi, a cartoon presented by Peruzzi to the latter, is
not the best that the master could have done; but being now in
the National Gallery, it affords a convenient illustration of the
figures seems to have struck the Carracci and Nicholas Poussin. In a letter of
G. B. Vignola to Martino Bassi, the former says in reference to it: " Baldassare . . .
finse un telaio di legname essere attaccato a' gangheri di ferro alia muraglia, talche
chi non sa che sia dipinto nel muro, lo giudica fatto in tela " (BOTTABI, Raccolta,
i. 498).
1 VASABI, iv. 591.
2 He was appointed by Leo X. (VASABI, iv. 599). The date of his appointment
is August 1. The salary 150 ducats.
3 See posted, the authorities for this statement.
4 VASABI, iv. 599 and v. 571.
6 In the garden at Montecavallo a figure of St. Bernard (VASABI, iv. 596), which
no longer exists.
6 GATE, ii. 152, 153; iii. 480, 495.
7 LAMO, Graticcla, u.s., pp. 22, 25, 29, and 35.
i.] CARTOON OF THE ADORATION OF THE MAGI 25
way in which he adopted, without the servility of a copyist, the
conception and the mode of rendering form peculiar to Raphael.1
The cartoon is an echo of that which Sanzio produced for his great
series of tapestries, and was copied, not merely by Girolamo da
Treviso,2 but, with unimportant changes, by others.3 The best-
coloured variety of the subject, and one much in the spirit of
Peruzzi, is that of the Escurial, like a theatrical scene, with the
Colosseum, pillars, temples, and a marble Caesar on a pedestal in
the distance.4
Two contemporaries, in addition to Vasari, testify to the great-
ness of Peruzzi's talents at this time — Lamo, who heard him praise
the compositions of Mazzolini of Ferrara;5 and the architect
Ercole Seccadinari, who described his drawings of S. Petronio as
magnificent.6
The death of Leo X. and the accession of Adrian VI. were so
unfavourable to the prospects of artists that Peruzzi was probably
induced to prolong his absence from Rome ; but at the expiration
of Adrian's short lease of power he returned and was engaged
(1523-24) at the festival in honour of Clement VII.'s coronation.7
Amongst the commissions with which he was now troubled, one
was from Cardinal Hinckworth for Adrian's tomb in S. Maria
dell'Anima, the framework and sculpture of which were carried
out by Michael Angelo of Siena and Tribolo, in a heavy style,
1 No. 167, National Gallery. 2 VASARI, iv. 598 and v. 137.
3 No. 218, National Gallery, is one of these, too timidly handled to be even
by Girolamo da Treviso, Geheimerrath WAAGEN'S opinion (Treasures, i. 326) in
this respect being correct. The piece is by an artist, Ferrarese, or other, of
capacity equal to that, e.g., of Rinaldo of Mantua.
Another example, like No. 218 of the National Gallery, is the feeble, red-toned
Adoration in the collection of Lord Ellesmere (small, wood, No. 85).
A third, still more modern, is that of Dudley House, formerly in the Fesch
Gallery, a feeble and very varnishy production, possibly by Prospero Fontana, as
Geheimerrath WAAGEN states (Treasures, ii., p. 236). jj* Sold at the Dudley
sale, June 25, 1892 (No. 74), to Mr. Saltwell).]
4 The picture is in a place called: " Aposento de Felipe II.," the colour of a
reddish tone (wood). 6 LAMO, u.s., p. 25.
6 His award is in GAYE, Carteggio, u.s., ii. 152-153. The drawings were not
taken because Seccadinari did not see how they could be used in consequence of
the comparative want of strength in the body of S. Petronio. The payment for
the designs was made on July 12, 1522, being the small sum of 18 lire (GAYE,
u.s., ii. 154). 7 VASARI, iv. 601, 641.
26 BALDASSAEE PEEUZZI [CH.
whilst Peruzzi painted the canonization of two saints at its sides,
a fresco which has since been obliterated.1 Of the same period
were the chiaroscuro apostles in the niches behind the tomb of
Sixtus IV. at S. Pietro, one of which is said to be preserved in
the " Grotte " of the Vatican.2 But during the whole of this
time, and until the sack of Eome in 1527, Peruzzi retained the
office of architect to S. Pietro. .
On that memorable occasion it was his misfortune to be captured
and ransomed by the Spaniards, and plundered of all he pos-
sessed.3 On his arrival in Siena, in the very lightest of dresses,
his abject condition naturally excited the compassion of his
countrymen, who drew up an address (June 10, 1527) to the Balia
in his favour. The Government was but too glad to secure such
a man, and Peruzzi was engaged at a salary of five scudi per
month.4 We shall not follow his career during the time when his
chief occupation was that of an architect or the revision and plan-
ning of fortresses. From 1527 to 1535, when he returned to Eorne,
the pictorial works which he executed were few, being mainly con-
1 See VASARI, iv. 600, and notes of com., ib., 591; also VASARI, v. 92 sq. The
Pope lies on the lid of a sarcophagus let into an arched recess, in the lunette of
which are the Virgin and Child between SS. Peter and Paul. Two children at
the angles of the sarcophagus hold torches reversed. Beneath it a bas-relief
represents Adrian's arrival at Rome. In two supports at the sides of the recess
are four niches with statues of Justice, Fortitude, Peace, and Prudence. The
arms of the deceased, supported by infant angels, are on the basements. The
execution is inferior to the conception. The antique is still the model in the
sculptor's mind. But there is a lack of unity, of grace, and of lightness in the
whole. The cornices are too heavy for the columns, and the figures are weak and
short. The best statues are those of the recumbent Adrian, and the angels at
the angles. The bas-relief is better than the single figures. Peruzzi received the
balance due to Him for this work through Pietro d' Andrea at Rome, on July 29,
1529, whilst he resided at Siena.
2 VASARI and annot., iv. 601.
3 There is a record dated October 5, 1533, in which Peruzzi pays to one Girolamo
d' Agnolo at Siena 55 gold scudi, the remnant of a debt contracted for the payment
of the ransom (see Doc. sen., iii. 117). But see also note to VASARI, iv. 601, in
which Baldassare acknowledges (September 28, 1529) his debt of 150 scudi, bor-
rowed to pay " residuum taglie . . . temp, adventus Borbonis ad Urbem."
* The address and reply of the Balia are in Doc. sen., iii. 100, 101. GAYE
(Carteggio, ii. 496, 497) gives extracts from the accounts, including the payment
of the salary in October and December, 1527, and adds that on October 17, 1532.
Peruzzi received a grant for eleven years of the returns of the Marsiliana, valued
at 240 scudi per annum.
i.] SOJOURN AT SIENA 27
fined to the decoration of the Castle of Belcaro,1 and the com-
pletion of a fresco in S. Maria in Fontegiusta of Siena representing
the sybil prophesying to Octavian. For those who admire the
exaggerated classicism of the degenerate Michaelangelesques
this wall-picture is a masterpiece. The masculine attitude and
gesture of the sybil, the bold decision of movements galvanized,
one might say, into sculptural immobility at the moment of
utmost muscular tension, the theatrical terror of Octavian and
the astonishment of his suite cannot but create an impression.
But the obvious arrangement of the whole piece, parading instead
of concealing the man's science and his knowledge of action and
true proportion, are too unnatural to please. After S. Maria
della Pace, Peruzzi would necessarily drop into this slough and
fall into the coarseness of Baccio Bandinelli, if some superhuman
effort did not stop him on the height which he had gained. It
may console us to remember that Michael Angelo is not great in
the Paolina as he is in the Sixtine. The Sybil of Fontegiusta is
not the less of great power, teaching us to reject, as Peruzzi's,
many pieces which his name has made familiar — amongst these,
the Holy Family on the high-altar of the church of Torre di
Bibiano, now supposed to be by one of the Piccinelli, the Brescia-
nini of Siena,2 and other portable pictures. We might except the
1 Three miles from Siena. The frescoes were recently [* i.e., shortly before
1866] freed from whitewash, and have not been seen by the authors, [j* They
are dated 1535 (cf. FRIZZONI, u.s., p. 220 sq.)]
2 The Virgin, with SS. John the Baptist and Jerome at her sides (half-lengths,
and less than life-size). The Infant, seated on a parapet in front, turns from the
breast and looks at the spectator. The execution is careful, the colour hard, but
of a rosy tone, with sharply defined shadows. There is something Raphaelesque in
the Virgin's face, forms, and movement; the Child is like those of Bazzi and
Peruzzi. The handling, however, is not equal to the conception, and unworthy of
Peruzzi. It seems like a production by an artist in possession of a design from
the portfolio of a greater master. DELLA VALLE finds an approach to the style of
Pacchiarotti. This is possible, if he can be supposed to have painted on the out-
lines of Peruzzi or Bazzi. The annotators of VASAEI (vii. 9) declare themselves
in favour of Andrea Piccinelli, the regularity and softness of whose work, though
not exactly his colour, may be found in the picture we are now considering.
[* The name of Andrea may be accepted without hesitation. (See OLCOTT, in
Rassegna d' arte, iv. 56, with reproduction.)] There were two brothers Piccinelli,
sons of a dancing-master at Siena, Andrea, of whose companionship with one
Baptista di Fruosino, in 1507, there is a record (Doc. sen., iii. 32). In 1524, how-
ever, Andrea is in company with his brother Raffaello, and they both paint a
28 BALDASSAEE PEKUZZI [OH.
" Charity " in the Museum of Berlin,1 but Peruzzi may have left
much to his apprentices, when busy in more important under-
takings.2 Of his return to Kpme in 1585, when he gave himself
Baptism of Christ for S. Giovanni of Siena, appraised by Beccafumi and another
(ib., ib., ib.). The brothers came to Florence in 1525, Andrea being registered in
the guild of painters, and Kaffaello being mentioned by VASARI (vii. 9) as in
practice there. The Baptism of Christ still exists in the Pieve of S. Giovanni at
Siena. (j*Now in the Opera del Duomo.] It is reminiscent of the manner of
Beccafumi, with more powerful shadows than those in the Virgin, Child, and saints,
assigned to the same hand, in the Siena Academy (No. 409, with a predella num-
bered 408). There is no lack of regularity in the heads, the forms and movement
being quieter than one finds them amongst Sienese, and in this respect more in the
spirit of the Florentines of the following of Mariotto Albertinelli. The colour,
however, is washy, bringing us back to that of Vincenzo Civerchio's creations (one
of which, with the date of 1525, is at Palazzuolo). [* Cf. CROWE and CAVAL-
CASELLE, History of Painting in North Italy, ed. BORENIUS, ii. 398.] The
annotators of VASARI (vii. 9) register an altarpiece by Andrea, in the Oratorio
della Chiocciola, near Siena. There is a Holy Family by him ;(No. 1,205), at the
Uffizi of Florence. [* We may register the following works by this rather prolific
eclectic :
Attingham Hall (near Shrewsbury}. Lord Berwick. Portrait of a Young Man.
Berlin. Kaiser Friedrich Museum, No. 230. St. Anne, the Virgin and the Infant
Christ (imitated from Leonardo's painting of the same subject in the Louvre).
Milan. Don Ouido Cagnola. Profile of a Young Woman.
Montpettier. Musee Fabre, No. 577. Bust of a Young Man (see BEBENSON,
in Gazette des Beaux- Arts, ser. iii., vol. xxxvii., p. 208 sqq.).
Munich. Old Pinakothek, No. 1,075 (not now shown). The Holy Family.
Settignano. Mr. B. Berenson. Profile of a Young Lady.
Siena. Oratorio di S. Bernardino. The Virgin and Child with two saints.
Fratetti Ugurgieri. The Virgin and Child (reproduced in Rassegna d'arte, iv. 153;
the composition adapted from Raphael's "Madonna della Torre").
Turin. Gallery, No. 118. The Holy Family.!]
1 Berlin Museum, No. 109. Bought of Duke di Cellamare by Waagen for about
300 thai, in 1841 (Kleine Schriften, Berlin, 1875, p. 23). The name of Peruzzi is
justified by the Sienese stamp of the picture, which, however, is also reminiscent
of del Pacchia. There is no trace of Peruzzi's boldness or plasticity, but rather
an Umbrian prettiness, and something suggesting that school in the drawing of
extremities and in the drapery. |j* From various features — such as the facial
types, the shape of the hands, and the landscape — it seems clear that this is a
work by Sodoma. It stands particularly close to the frescoes which Sodoma in
1503-04 executed in the refectory of the convent of S. Anna in Creta, near Pienza.
The Umbrian character, which the authors justly note in the Caritas, is also to be
found in these frescoes, and is undoubtedly due to the influence of Pinturicchio.]
2 Florence, Pitti, No. 345. Holy Family. This is a Sienese work without the
exact stamp of Peruzzi. [* As pointed out by MOBELLT (Die Galerien Borghese
und Doria Panfili, p. 127), this is surely a work by Granacci.] Venice, Seminario:
Penelope spinning. If not by Peruzzi, it is like him, and the name is not inappro-
i.] VARIOUS WOKKS 29
exclusively to architecture, of his sickness and death in January,
1536, Vasari has a correct account.1 Peruzzi died comparatively
young. He was the last of the great artists of Siena ; and if we
could devote a few pages to the career of his contemporary and
friend Beccafumi, it would be merely for the sake of illustrating
the decline which now set in throughout Italy.
priate. [j* The editor agrees with MOBELLI (u.s., p. 172, n. 1) in ascribing this
picture to Beccafumi.] Dublin, National Gallery: formerly No. 48, a Sybil, and
No. 56, an allegory of Sculpture. These are very different from works of Peruzzi,
and date from the seventeenth century. [* The following paintings by Peruzzi
may still be mentioned:
Rome. Oalleria Borghese, No. 92. Venus.
S. Ansano a Dofana (near Siena]. Pieve. The Virgin and Child.
Siena. Palazzo Pottini. Ceiling frescoes. The .Continence of Scipio; the
Adoration of the Magi; the Stoning of the Elders.]
1 VASARI, iv. 605 sq. Tavola alfabetica and FBA'S Notizie intorno Raffaele
Sanzio, 8°, Rome, 1822, p. 19.
CHAPTER II
LORENZO DI CREDI AND PIERO $1 COSIMO
fTlHE review of Umbrian and Sienese art in the fifteenth and
-*- sixteenth centuries has proved how much was due to the
example of Florence. The progress of the Florentines themselves
now courts attention.
We have seen Verrocchio concentrating in his own person all
the gifts of the sculptor, the painter, and the scientific draughts-
man, and conducting the education of Leonardo, Perugino, and
Lorenzo di Credi. Our next step shall be, not to dwell upon the
life of da Vinci, which might lead to digressions on the schools of
Lombardy, but to sketch that of Credi, who was more constantly
connected with the fortunes of his native city.
A diary, curious for its age as well as for the information it
contains respecting the habits of a small landed proprietor of
Florence in the rise of the fifteenth century, is preserved in the
Kiccardiana of Florence. It narrates the squabbles and litigation
of two farmers; it registers the results of an average year in the
purchase of land, the sale of oil and agricultural produce, those of
an unsuccessful season, where the landlord is reduced to pawn his
" silk-lined coat." It gives the prices of various articles in
household use between the years 1405 and 1425. The writer of
the diary is Oderigo,1 the grandfather of Lorenzo di Credi, the
father of the goldsmith Andrea, in whose house at Florence
Lorenzo was born in 1459.2 So long as Andrea di Credi lived, his
son probably learnt the paternal business, in which he is said to
1 The diary of Oderigo di Credi has been published in the Archivio storico,
first series, M.S., vol. iv.
2 Vasari's account of the birth and education of Credi, previous to the entrance
of the latter into Verrocchio's service, is incorrect. See for the proof of the date
of his birth the note postea.
30
CH. ii.] LORENZO DI CREDI AND VERROCCHIO 31
have excelled, studying design at suitable hours in the workshop
and in the Brancacci chapel.1 But when the boy was left in
charge of his mother, Mona Lisa, he became assistant to Verroc-
chio. One might suppose that his occupation in the atelier of so
renowned a sculptor and goldsmith would principally be the
chiselling of metal; but he is described by his mother in a tax
paper of 1480-81 as " employed in painting," with a salary of
twelve florins a year ;2 and this is an additional fact in support of
the statement that Verrocchio indiscriminately practised all the
sister arts together.3
The friendship which Verrocchio contracted for Credi was only
disturbed by his death in 1488. It was testified by the appoint-
ment of Lorenzo to the duties of his executor, the legacy of all
his marbles and artistic properties at Venice and Florence, and
the recommendation of his name to the Doge for the completion
of the Colleoni monument.4 To Credi's great honour, he never
forgot this kindness, and he remembered the niece of his benefactor
in a clause of his will.5
The goodness of the man was not belied in his works, which are
confined to the delineation of religious subjects, or to portraits.
His honesty and steadiness were reflected in pictures of a finish
1 VASARI, ii. 299. He studied later in the Medici Garden (iv. 258).
2 See the tax paper in Tavola alfabetica (u.s. ad litt.), where Credi is further
stated to have been, in 1480, 21 years of age. [* A portrait of a man by Lorenzo
di Credi, now in the collection of Mr. Widener of Philadelphia, bears at the back
the following inscription (in characters stated to be those of the time about 1500):
" Lorenzo di Credi Pittore ecc. te
1488 . aetatis sue 32, VIII."
(see LOESEB, in L'Arte, iv. 135 sqq., with reproduction). The inscription and the
resemblance of the features to those of Vasari's portrait of Lorenzo justify us in
assuming that the picture is the self-portrait of Lorenzo; but, as pointed out by
Dr. GBONATJ, in THIEMB and BECKER, Allgemeines Lexikon, vii. 73, more credit is
undoubtedly to be given to the oldest statement of Credi's age — that of 1480 —
than to that contained in this inscription.]
3 Verrocchio 's Baptism of Christ has been described in a previous volume
(iv. 240 sqq.), in which notice is also taken of a picture which has disappeared from
S. Domenico of Florence. ALBEBTINI also describes three large canvases by Ver-
rocchio containing scenes from the story of Hercules in the " Sala del Consiglio "
at the Palazzo Pubblico of Florence (Memoriale, u.s., p. 15).
4 Verrocchio's will in GAYE, Carteggio, u.s., i. 367.
5 Credi's will in GAYE, Carteggio, i. 372,
32 LOEENZO DI CEEDI [OH.
so elaborate that Vasari could not help exclaiming " such diligence
was not more justifiable than excessive neglect " j1 and his genuine
piety found expression in the tender simplicity and melancholy
air of Virgins and saints.
The companionship of Perugino was calculated to affect his
style, which was not without a shade of Umbrian softness; but
he was cold and formal as compared with Vannucci, whilst in
contrast with Leonardo he was devoid of genius. Under Ver-
rocchio's care he went through a long course of probation, copying
either the sketches of the master or those of Leonardo, and this
with such patience and industry that Vasari says you could not
tell Lorenzo's imitation from da Vinci's original. We have seen
how difficult it is to distinguish the drawings of the three men
from each other,2 and inquired whether panels might not exist
illustrative of this phase in Credi's career. Eepeated examination
only seems to confirm the belief that the Virgin and Child between
two attendant angels, a beautiful tempera assigned to Ghir-
landaio or Antonio Pollaiuolo, in the National Gallery,3 may have
been executed in the shop of Verrocchio when Leonardo and Credi
were employed there ; its tone, its clean precision and staid care-
fulness of handling, the softness of the heads, and the Leonard-
esque character of the angels, the Infant Christ stamped in the
mould of Credi, all tended to strengthen this impression. Lorenzo,
in fact, became completely absorbed in da Vinci, and was but
slightly altered as regards type or cast of drapery by contact with
Perugino.
It was, no doubt, a consequence of Credi's peculiar laboriousness
in the treatment of oil medium that he remained altogether an
easel-painter. He was so anxious to obtain a pure enamel of
colour that he distilled his own oils, ground the earths to an im-
palpable powder with his own hands, and mixed some thirty
shades of various tints on his palette, forbidding his servants to
raise dust in his room for fear of soiling them.4 Proceeding in this
1 VASARI, iv. 571.
2 Vasari preserved, as he tells us, many drawings of Credi from clay models
upon which linen cloth had been wetted to form the draperies (VASARI, iv. 564).
3 National Gallery, No. 296. [* Compare on this picture antea, iv. 246).]
4 VASARI, iv. 571.
ii.] LOEENZO DI CKEDI AND LEONAKDO 33
way, he polished his surface to the smoothness of metal, and
hardly altered it by thin glazing. That in this he only followed
Leonardo's example is capable of proof. A mysterious darkness,
it is true, overhangs this period of da Vinci's history; but taking
him at a later time, and looking at the two portraits commonly
known as those of Lodovico il Moro and Beatrice d' Este, in the
Ambrosiana of Milan, we shall see that they have a smooth bril-
liancy and slight scumbles in shadow, and that they are an appli-
cation by the genius of a great man of the technical system
familiar to Credi. At a later period Leonardo veiled the means
by which he finished his surprising creations with an art that
almost baffles observation, and he perfected a theory of glazes
applied with supreme mastery in the Mona Lisa. But, even were
the portraits of the Ambrosiana to be withdrawn as insufficiently
authenticated with respect to time,1 we should still find means of
showing that the origin of Credi 's method is in Leonardo. The
Luini, whom da Vinci formed, succeed in attaining similar results.
Beltraffio might be named in the same class ; but Andrea of Milan2
makes the nearest approach, in a low and cool yellow-red flesh-
tone, to Credi. Leonardo, who becomes impenetrable because he
is shrouded in the mantle of technical subtlety, is revealed to us
by the uniformity of less distinguished talents in Lorenzo, Bel-
traffio, and Andrea of Milan, who received his tuition.
After the death of Verrocchio, Lorenzo di Credi held a most
respectable position amongst the artists of Florence,3 and on all
public occasions when the opinion of experienced men was required
to elucidate questions of importance, he and Perugino were in-
variably to be found together. They were both present at the
meeting called in 1491 to deliberate on the completion of the front
of S. Maria del Fiore;4 they both took part in the discussion upon
the mode of restoring the lantern of the cathedral in 1498.5 They
* l Even the attribution to Leonardo has, indeed, now been abandoned by
most critics. * 2 I.e., Andrea Solario.
3 He is registered almost immediately after Leonardo in the roll of the Florentine
guild of painters. The date of the entry is, however, illegible (GUALANDI, Memorie,
u.s., ser. vi., p. 185).
4 Com. VASABI, iv. 307.
5 Com. VASARI (ed. Le Monnier), note to vol. viii., p. 209; GUASTI, La cupola,
u.s., p. 119.
34 LORENZO DI CREDI [CH.
were both consulted (1504) as to the place which Michael Angelo's
David should occupy.1 They were in company as appraisers of
mosaics by Monte and Gherardo in 1505.2 But whilst Perugino
varied his labours by frequent journeys to Perugia and to Home,
Credi remained a constant resident in Florence. It would be
difficult, however, to affix a date to any of the pictures which he
produced. The casual mention by Albertini of the Madonna and
saints at S. Maria Maddalena de' Pazzi, now in the Louvre, of a
St. Bartholomew in Orsanmichele, and of the great Nativity of
S. Chiara at the Academy of Arts in Florence, only prove that
they were executed before 1508.3 It is not even advisable to
attempt a guess as to the period of Credi 's portrait of Verrocchio
at the Uffizi, because age and old restoring have given a dull
and heavy tone to the features.4 In Spain, whither copies from
Verrocchio and da Vinci were sent,6 none of the so-called Leonardos
are in Credi's manner; nor is Lorenzo's name correctly applied in
the cathedrals of Burgos or Granada.
The finest and the oldest of his altarpieces is that of the
Cappella del SS. Sacramento in the Duomo of Pistoia, where the
Virgin sits with the Babe in a marble court, attended by St. John
the Baptist and a canonized Bishop.6 As Credi probably finished
it whilst the examples and lessons of his youth were still vivid in
his mind, the figures generally are natural and firm of tread, and
strongly reminiscent of da Vinci, the fresh round face of the Virgin
and the graceful combination of her movement with that of the
Child being an unconscious tribute to the memory of Vannucci.
A landscape, seen through the apertures behind the throne, is full
of pleasing detail. The clean sharpness of metal is given to
minutiae; the drawing is careful, the proportions are fair; relief
and perspective are good, and the colour, of a silver grey, is
polished, harmonious, and greatly fused. The naked Child, turn-
1 GAYB, Carteggio, ii., p. 455.
2 Com. VASARI (ed. Le Monnier), vi. 70, 341-342.
3 ALBERTINI, Memorial^ u.s., pp. 13, 14, 16. See also VASARI, iv. 567 sq. ;
and BICHA, Chiese, ix. 84. [* For the date of the picture now in the Louvre,
see posted, p. 37, n. 2.J
4 Uffizi, No. 1,163. It was long called Martin Luther, but is the original, aged
about 50, engraved by Vasari (reversed) for his Lives (wood, oil, almost life-size).
5 VASARI, iv. 565 sq. * 6 St. Zeno.
THE VIRGIN AND CHILD WITH SAINTS
BY LORENZO DI CREDI
From a picture in the Duomo, Pistoia
Photo, Alinari
VI.— To face page 34
ii.] ALTARPIECES AT PISTOIA 35
ing towards the Baptist, who points out the Virgin to her wor-
shippers, is coarse in the extremities, but not too stout.1 It is
doubtful whether Credi preserved this superiority in the Virgin,
Child, and saints of S. Maria delle Grazie at Pistoia, which now
appears so dim and spotty.2 Had he always remained up to his
first mark, he would have held a higher place in the annals of
Florentine art.
There is, indeed, but one instance in which he was equally suc-
cessful, and that is in the Madonna of the Museum of Mayence,
where a pleasing youthfulness adorns the face of the Virgin, and
unusual beauty marks the Child, as he turns from his Mother's
breast. But the charm is increased by the feeling and truth with
which the form is given, by the able rounding obtained by the
1 Wood, oil, all but life-size. The Virgin is dignified in attitude and mien,
her hands delicately formed. There is a youthful freshness in her face. The
draperies are Leonardesque. Equally so are the pose and type of the bishop,
whose hands are free from Credi's later heaviness; and the dry, bony nude of the
Baptist. The action of the latter, strained, though there is power in the head,
and force in the searched-out anatomy of the frame and limbs, recalls Verrocchio.
The head, with its thin, wavy curls, is also characteristic of the influence exercised
on Credi by da Vinci. The flesh is warm yellow in the lights, and cold in the
shadows. [* The information concerning the authorship of this picture which
is supplied by a contemporary document has already been referred to antea
(iv., 247, n. 1). It was ordered from Verrocchio (at a price of 60 golden ducats)
by the executors of the Bishop Donato dei Medici, who died in 1475. In November,
1485, reference is made to the picture as being, from hearsay, practically finished,
and it is further stated that Verrocchio would have finished it six years earlier if
he had received the whole of his payment. The operai of the Duomo of Pistoia
are asked in the document in question to see that Verrocchio is paid in full before
the end of the following month of October. Although this makes it certain that
the picture was painted in Verrocchio's atelier and under his supervision, it is
equally indubitable that the execution is entirely Credi's. A drawing by him for
the figure of St. John is in the Louvre (see Rassegna d' arte, iv. 98). Credi may
also be supposed to have taken an active part in the execution of the monument
of Cardinal Niccol6 Forteguerri, likewise in the Duomo of Pistoia, for which the
model had been prepared by Verrocchio. A drawing by Credi for one of the
angels supporting the mandorla in the upper part of this monument is in the
British Museum (cf. BERENSON, The Drawings of the Florentine Painters, i. 43 sq.)].
2 In S. Maria delle Grazie or del Letto, formerly al Ceppo (see VASARI, iv. 566).
The Child is in benediction, the saints at the sides, John the Baptist and the kneeling
Magdalen, Jerome and the kneeling Martha (wood, oil, figures life-size). [* Credi
received a rate of payment for this work on December 10, 1510. See MILANESI,
in VASABI, iv. 566, n. 1, referring the document erroneously to the altarpiece in
the Duomo.]
36 LOBENZO DI CEEDI [CH.
fusion of a yellowish flesh-tone into brownish shadows, and by
the tasteful application and high finish of borders and festoons of
flowers.1 In the Holy Family of the Borghese Gallery at Kome,
Credi shows less strength, but he animates the elegant Virgin, the
playful Infant Christ, and the worshipping boy Baptist with a
breath of love and tenderness. He composes the group in the
Leonardesque fashion, and gives to the nude of the children some
of the puffiness which he exaggerated at a later time.2 All these
examples illustrate the character, as well as the style, of Credi.
He was of the class which took the name of " piagnoni " at Flor-
ence, because it agreed with the theory of Savonarola, that every-
thing profane was reprehensible ; and Vasari tells us that when the
reforming Dominican ordered a holocaust of literary, artistic, and
fanciful works at the carnival of 1497 in Florence, Credi was one
of those who sacrificed all that did not savour in his drawings of
the purest religion.3 Yet Credi was not of a temper to surrender
the world altogether as Fra Bartolommeo had done, nor were his
sympathies enlisted in any special manner with the Dominicans ;
and when the convent of S. Marco quarrelled, in 1507, with Ber-
nardo del Bianco about the price of Fra Bartolommeo 's Vision of
St. Bernard, Credi was one of the umpires for the purchaser in
conjunction with Gherardo, the miniaturist.4
1 Mayence Museum, No. 220. (Wood, oil, all but life-size.) On a parapet
behind the group a vase of flowers. Behind the Virgin a red curtain and festoons
of flowers. In the Child's left hand a fruit.
In the same gallery, No. 221. Round of the Holy Family, much repainted,
but with the impress of Lorenzo's school.
Carlsruhe Gallery, No. 409. Bound of the Infant Christ adored by the kneeling
Virgin and young Baptist; the stable to the left; a landscape to the right and left.
Hair and shadow of neck in the Virgin, white cushion on which the Infant rests,
the Baptist's knee, restored (wood, oil). This is an original by Credi, but not
equal to that of Mayence.
2 Rome, Borghese Gallery, No. 433. The slender Virgin is very graceful, sup-
porting the Child on her lap, who leans forward as if to speak with the infant
Baptist. She also encircles his neck with her hand. He looks on in prayer;
and an open book to the right indicates the seventh chapter of Isaiah: " Behold
a Virgin shall conceive and bear a son, and shall call his name Immanuel." The
drawing, forms, and drapery are of Credi's earlier period, when his style was most
redolent of the influence of da Vinci and Verrocchio (wood, oil, round}. To the
left a vase, and through two windows a landscape view.
3 VASARI, iv. 179.
* MARCHESE, Memorie, u.s., vol. ii., pp. 35-39, 360-361.
3.6
THE ADORATION OF THE SHEPHERDS
BY LORENZO DI CREDI
From a picture in the Academy of Arts, Florence
Photo, Alinari
VI. — To face page 36
ii.] VAKIOUS WOKKS 37
As years rolled on, and the impressions of his youth became
weaker in Credi, he lost some of his early strength in excessive
attention to manipulation. The Baptism of Christ of the company
del Scalzo, now in S. Domenico di Fiesole, affords an indication
of this change, being less satisfactory in the nude, stiffer in move-
ments, and more mannered in form than previous specimens of
his skill, though still firmly drawn and highly enamelled, and
redolent to a certain extent of Verrocchio's teaching.1 Still more
polished, but perhaps more affected in its softness, is the wonder-
fully clean and cold Madonna with the Child, between SS. Julian
and Nicholas, at the Louvre, in which excessive daintiness of
attitude and tread, gaudiness of key, and slight chiaroscuro are
symptoms of loss of power.2 But the most important specimen of
Credi in this period of his career is the Nativity at the Academy of
Arts in Florence, of which a reproduction accompanies this page.3
Whereas in the Madonna of the Pistoia Cathedral the nude is
drawn with the anatomical research natural to a fellow-student of
da Vinci, that of the Nativity only reminds us of Leonardo's
pupils. There is something resembling the spirit of Luini in
contours which avoid marking bone and muscle, and in the low
tones of flesh and drapery. Yet the harmony is good, the handling
careful, the drapery well arranged; and the minuteness of the
charming landscape is equalled by that of the foreground of rock
and grasses. Credi has not left a better instance of the striving
in an artist of the sixteenth century to embody religious senti-
ment. He succeeds in rendering a grave and timid melancholy,
and prettily surrounds the Virgin with a guard of angels in whis-
pering converse. A tender and half -sorrowing affection is in the
Virgin, on her knees before the Child, and the action of both seems
1 The colour of the flesh is yellowish and shadowed coolly (mentioned in VASABI,
iv. 568); wood, oil, figures all but life-size. Three angels kneel on the left, and in
the distance of that side is the Baptist's sermon.
2 Louvre, No. 1,263, originally at Santa Maria Maddalena de' Pazzi or Cestello
(VASABI, iv. 567). Wood, oil, figures life-size. [* This picture was placed over
the altar of the Cappella Mascalzoni in the above-mentioned church on February 20,
1494 (GBONAU, u.8., p. 74).]
3 No. 92 (wood, oil, figures almost life-size). See VASABI, iv. 567 sq. (J* A
drawing for the head of the angel, standing with raised hands behind the Virgin,
is in the Albertina at Vienna. See GBONAU, u.s., p. 76 aq.]
VI. — D
38 LORENZO DI CREDI [CH.
inspired from Fra Filippo rather than from any other master.
The shepherds also might presuppose the study of Ghirlandaio by
a later painter of a less rugged fibre. The Baptist is drawn with
the soft outlines of Luini, and the St. Joseph is Peruginesque in
air and pose.
During the later period of his life Lorenzo's productions pre-
served a uniformity which leaves little room for fresh remark.
His frequent employment as a restorer of old pictures is a proof of
the confidence that was placed in his experience.1 The honour-
able station which he held led to his appointment on many occa-
sions as valuer of pictures by other masters.2 He outlived the
terrors of the siege of Florence in 1527, retired into the hospital of
S. Maria Nuova on an annuity in 1531,3 and died on January 12,
1537.4
The following list is a necessary addition :
Florence. Orsanmichele. On a pilaster to the left of the altar
(altare Gregoriano). St. Bartholomew with a knife and a book, very
much clouded by dirt (VASARI, iv. 567; ALBERTINI, Mem., p. 14; and
RICHA, Chiese, i. 26). 5
Florence. S. Maria del Fiore. Sacristy of the canons. Figure of
the Archangel Michael, executed about 1523; feeble and of a reddish
tone (VASARI, iv. 568, 576).
Same church. Chapel in Tribuna della Croce. Figure of St. Joseph;
weak and much injured; wood, oil (VASARI, iv. 567).
Florence. Uffizi, No. 1,313. Magdalen at the feet of Christ.
No. 1,168. Virgin and St. John mourning. Wood, oil. Both genuine.
1 We have seen (vol. iv., p. 88) that he restored, in 1501, an altarpiece by
Angelico in S. Domenico of Fiesole. In 1524 he performed the same operation at
S. Maria del Fiore, on the Hawkwood of Uccello, the Nicholas di Tolentino by
Castagno, six Apostles by an unknown hand, and two sepulchres (of Fra Luigi
Marsili and Cardinal Pietro Corsini). Annot. VASARI, iv. 568.
2 1514 he appraises Ridolfo Ghirlandaio's pictures in the cappella de' Signori at
the Palazzo Vecchio in Florence (VASARI, annot., iv. 575). 1517 he valued a
statue by Baccio Bandinelli (TEMANZA, Life of Sansovino, u.s., p. 7, and annot.
VASARI, iv. 575). In 1508 he coloured a crucifix by Benedetto da Maiano (VASARI,
iv. 568, 575), and was witness to the will of Cronaca.
3 GAYB, Carteggio, i. 374, and annot. VASARI, iv. 569, 576. His will is dated
1531. See antea.
* Tav. alfab., u.s., ad lit.
* 5 A study for this picture is in the Louvre (BBRBNSON, Florentine Drawings,
No. 89).
ii.] VARIOUS WORKS 39
No. 1,217. Bust likeness of a youth, supposed to be Alessandro Braccesi
(?), of an olive tone, but injured by restoring (wood, oil).1 No. 1,287.
Round of the Holy Family, Leonardesque in arrangement, and soft,
but somewhat poor, owing to absence of the requisite relief (wood, oil,
figures half life-size). No. 24. Round of the Virgin adoring the Child,
attended by an angel; rubbed down, but in the character of Credi
(wood, oil, figures half life-size). No. 1,160. Annunciation, with three
subjects in dead colour below — e.g., the Creation of Eve, the Original
Sin, and the Expulsion (wood, oil, small figures); genuine. No. 1,314.
Annunciation (wood, oil); genuine. No. 1,311. The Saviour appears to
the Magdalen as the Gardener (wood, oil, small figures); very pretty
and careful. (See the replica, almost equally good, at the Louvre,
postea.)
Florence. Pitti, No. 354. Holy Family (wood, oil, round), reminis-
cent of Credi in composition and manner, but of a hard, low tinge of
colour. Something in it reminds one of Piero di Cosimo, but it seems
of Credi's school; yet the painter is not Sogliani, nor is it Michele di
Ridolfo, both of whom were Credi's pupils (VASARI, iv. 570; v. 123; and
vi. 543). But we know nothing of other disciples — Tommaso di Stefano,
Gian Jacopo di Castrocaro (registered in 1525 in the Florentine guild,
GUALANDI, Memorie, ser. vi.), Antonio del Ceraiuolo (VASARI, iv. 566,
570; and vi. 543; and GUALANDI, Memorie, ser. vi., 176 and following),
or Giovanni di Benedetto Cianfanini, recorded as part author of the St.
Michael in S. Maria del Fiore (annot. VASARI, iv. 568). A picture of
the same class is that of the Borghese Gallery (postea).
Florence. Academy of Arts, No. 94. Originally in the SS. Annunziata
de' Servi. Nativity. Genuine. (Wood, oil.)
Castiglione Fiorentino. Collegiate church. Chapel to the right of
the choir. Nativity (wood, oil, life-size figures). Vasari speaks of a
tavola that was sent to Castiglione, by Francesco, canon of S. Maria
del Fiore. It may be the piece here noticed (VASARI, iv. 570). The
Virgin kneels to the right before the pent-house, the Child on straw on
the ground, with St. Joseph on his knees to the left. This is genuine,
neatly arranged, pretty, but a little feeble withal.
Rome. GaUeria Borghese, No. 439. Round of the Nativity — i.e., the
Infant on the ground between the kneeling Virgin and St. Joseph
(wood, oil). This suggests the same reflections as the Holy Family
at the Pitti (No. 354).
* l This picture should rather be given to Perugino. Compare MOBBLLI,
Die Oalerien Borghese und Doria Panjtti, p. 127.
40 LORENZO DI CREDI [CH.
Venice. Academy, No. 49. Round of the Holy Family, once in
the Albani collection (wood, oil). See antea, Raffaellino del Garbo.1
Turin. Museum, No. 115. Bequeathed by the Barollo family.
The Virgin offers a bunch of grapes to the Infant, naked on her lap;
on a window-sill a vase of flowers, and through the opening a land-
scape. This is a scene of pleasing maternal affection, by Credi in his
good period; a mixture of the schools of Leonardo, Verrocchio, and
Botticelli — e.g., as regards types (wood, oil, figures half life-size).
Colour, of good impasto. No. 116. Virgin and Child (wood, oil), later
in date than the foregoing, and not so fine, but still graceful. The
Virgin's head scaled.
Forft. Galleria Communale, No. 130. Female portrait, three-
quarters to the right, originally fine, in Florentine dress, Leonardesque,
noble, and high bred, said to be Catherine Sforza (?), greatly injured
by restoring, especially in the flesh parts (wood, oil). In one hand,
a flower, the other resting on a vase.2
Naples. Museum, Sola XV., No. 5. Nativity, the Child on the
ground between the kneeling Virgin and St. Joseph, two angels attend-
ing (wood, oil) ; genuine.
Munich. PinaJcotheJc, No. 1,017. Round of the Nativity, almost a
replica (reversed) of No. 1,287 at the Uffizi (wood, oil, all but life-size);
fine, but somewhat abraded, and consequently cold.
Schleissheim. Gallery, formerly No. 1,144. Virgin and Child in Credi's
manner, but repainted. No. 1,138. Same subject, with Massacre of
the Innocents in distance, by some German painter of the sixteenth
century.
Berlin. Museum, No. 103. Magdalen penitent, once in S. Chiara
of Florence (VASARI, iv. 568) (wood, figure life-size). A good example
of the master. No. 100. (Wood). Nativity. Genuine. Nos. 89,
Nativity,3 and 92, Adoration of the Kings.4 Less attractive and perhaps
school pieces.
Dresden. Gallery, No. 22. The Virgin, with the Infant kissing the
young Baptist (small); not by Credi, but by a third-class follower of
Botticelli and Filippino.
** Antea, iv. 305, the number of the picture is wrongly given as 55, and its
provenance as the Manfrini Gallery.
* 2 It has lately been contended, as it would appear with some reason, that this
is a portrait of Ginevra de' Benci. See COOK, Reviews and Appreciations (London,
1912), p. 42.
* 3 Now on loan to the Gallery of the Hochschule at Charlottenburg.
* 4 Now on loan to the Schlesisches Museum, Breslau.
ii.] VARIOUS WORKS 41
Altenburg. Lindenau Gallery, No. 104. (Wood, tempera, renewed
in oil). Virgin adoring the Child. School of Botticelli.
Louvre. Musee Napoleon III. Ex-Campana, No. 218.1 Christ
appearing to the Magdalen; weaker replica of that of the Uffizi (see
antea). Original, but abraded. No. 219.2 Annunciation; same char-
acter. Nos. 220, 221, 3 of the school.
London. National Gallery, No. 593. Virgin and Child (wood).
No. 648. The Virgin adoring the Infant Christ (wood), formerly in
Northwick Gallery. These are good, genuine, and well preserved
pictures.
London. Late Barker Collection. (1) Virgin and Child in an in-
terior, with a distance seen through windows; the Virgin offers a
pomegranate to the Child. Genuine and good.4 (2) Figure of a saint
with a banner and shield, all but life-size. Authentic, but not of Credi's
best.5 (3) Virgin and Child, the young Baptist kneeling to the left.
Fine and original.6 (4) The Virgin and Child between St. Sebastian
and John the Baptist; life-size, good, and by the master, but a little
rubbed and retouched.7 (5) Round of the Virgin, Child, and Baptist;
one-third life-size, by Credi, but weakened perhaps by cleaning and
retouching.8 All on wood, in oil.
London. Lord Overstone.9 Small altarpiece, arched at top, with
the Coronation of the Virgin in the upper part, two erect and two
kneeling saints in a landscape below, and Christ in the Tomb between
SS. Francis and Anthony. This was formerly in the Rogers collection.
Very delicate and careful (wood).
London. Duke of Westminster. (No. 95 at Manchester). Small
Coronation of the Virgin, by a Florentine following Credi's manner
(wood).
1 No. 1,264 in the current catalogue of the Louvre.
2 No. 1,602 in the current catalogue of the Louvre.
* 3 The former picture (The Holy Family) is now lent to the Gallery at Angers,
and the latter (The Virgin adoring the Child) to the Gallery at Montpellier (No. 654).
4 Sold at the Barker sale, June 6, 1874 (No. 74), to Mr. Rutley.
5 Now in the collection of the Earl of Rosebery.
* 6 Sold at the Barker sale in 1874 (No. 73) to Mr. Octavius E. Coope, of
Rochetts, near Brentwood, and at the Coope sale (May 6, 1910, No. 61) to Mr.
Vicars. Reproduced in the illustrated catalogue of the Coope sale.
* 7 Now in the Dresden Gallery, No. 15. Another Credi at Dresden (No. 14,
The Holy Family) was also in the Barker collection (No. 76 in the 1874 sale),
but is not noticed by the authors.
* 8 Probably identical with No. 471 in the Barker sale, June 21, 1879 (bought
by Mr. Dyer). * 9 Now in the collection of Lady Wantage at Lockinge House.
42 LOKENZO DI CEEDI [CH.
Oxford. Gallery. (Wood). A feeble Virgin and Child ; of the school.
Liverpool, Walker Art Gallery, Roscoe Collection, No. 25. Virgin
suckling the Child in a landscape (wood, small); formerly at-
tributed to Ghirlandaio, but a schoolpiece from Credi's atelier.
Injured.1
The life of Piero di Cosimo, the contemporary of Credi and
Baffaellino, affords Vasari matter for an amusing and perhaps
overdrawn sketch of character.
Piero is said in his youth to have been industrious and clever,
but absent, solitary, and given to castle -building. At a later
1 The following, mentioned by Vasari and others, may in part be comprised
in the foregoing list; they are at all events not traceable at present, or they are
missing: Florence, portraits of Credi, Perugino, and Girolamo Benivieni (VASARI,
iv. 566 sq.). [* The portrait of Credi by himself may be identified with that in the
Widener collection at Philadelphia; see antea, p. 31, n. 2 ; and LOESER, u.s.,
p. 136 sq.'\ Florence, Company of S. Bastiano: Virgin, Child, St. Sebastian and
other saints (VASARI, iv. 567) (?), may be the altarpiece in the late Barker collec-
tion. Montepulciano, S. Agostino: Crucified Redeemer between the Virgin
and Evangelist (Tavola, ib., ib., ib.). [* Still noticed by BROGI (1862-5) as in
situ (Inventario generate degli oggetti d' arte detta Provincia di Siena, p. 287).
Florence, Casa Ottaviano de' Medici: Round of the Virgin (VASARI, iv. 568). S.
Friano, tavola (circa 1525): Virgin, Child, and saints (ib., ib., 568). S. Matteo or
Hospital di Lelmo: Marriage of the Virgin (ib., ib., ib.). Casa Tolomei, via de'
Ginori: Virgin and Child (annot. VASARI, iv. 569). Casa Antonio de' Ricasoli,
Unfinished picture of the Passion (VASARI, iv. 570). S. Pier Maggiore, Cappella
Albizzi: Crucifixion (RiCHA, CTiiese, i. 146). [* We add the following list of extant
pictures by Credi, not noticed by the authors:
Berlin. Kaiser Friedrich Museum, No. 80. Portrait of a Young Woman.
Cambridge. Fitzwilliam Museum, No. 125. St. Sebastian.
Cleveland (U.S.A.). Holden collection. The Virgin and Child (see M. LOGAN -
BERENSON, in Rassegna d'arte, vii. 2, with reproduction).
Dresden. Gattery, No. 13. The Virgin and Child and the little St. John.
Florence. Uffizi, No. 34. Portrait of a Young Man. No. 1,528. The Virgin
and Child with the little St. John and two angels (a sketch for the composition,
differing from the form which it finally received) is in the Biblioteca Marucelliana
at Florence; see FERRI, in Bottettino d' arte, iii. 316, with reproduction).
No. 3,452. Venus.
Hamburg. Late Weber collection, No. 32. The Assumption of St. Louis.
Munich. Pinakothek, No. 1,016A. The Virgin and Child with an angel.
Paris. M. Gustave Dreyfus. The Virgin and Child (reproduced in Les Arts,
January, 1908, p. 7).
Rome. Late Sterbini collection. The Assumption of the Magdalen (see VENTURI,
in L'Arte, viii. 433 sq., with reproduction).
Strassburg. University Gallery, No. 215. The Virgin and Child.
Venice. Gatteria Querini-Stampalia. The Virgin and Child and the infant
St. John.
ii.] PIERO DI COSIMO 43
period he became a misanthrope; would not admit anyone to his
room either to clean it or to see his pictures ; never had a regular
meal, but, if hungry, ate of hard eggs, which he cooked half a
hundred at a time. He was an enemy to all artificial cultivation
of men as well as of plants. His eccentricities increased with age,
so that in his latter days he was querulous and intolerant, subject
to fits of fright if he heard the distant growl of thunder ; impatient
of ordinary noises, such as the crying of children, the coughing of
men, ringing of bells, chanting of friars, and buzzing of flies.
During a paralysis which made his last hours burdensome, he
would inveigh against all doctors, apothecaries, and nurses, sus-
pecting them of starving their patients ; and he was heard to con-
trast the melancholy nature of death by prolonged sickness with
the happy and speedy one of the criminal who goes to his end in
fresh air, surrounded by the sympathy, and comforted by the
prayers, of the people.1
Piero's life, however, has a much higher interest for the his-
torian than that which may be created by the narrative of his
foibles. He was the elder companion of Fra Bartolommeo and
Mariotto Albertinelli, in the atelier of Cosimo Kosselli; and the
master of Andrea del Sarto.
The income-paper of his father, Lorenzo di Piero, drawn up in
1480, enables us to correct Vasari's chronology, and describes
Piero as born in 1462, and as an assistant without pay in the shop
of Cosimo Kosselli.2 Cosimo, having about this time been called
to Kome by orders from Sixtus IV., was accompanied by Piero,
who helped him in the portraits and landscapes of his frescoes.3
1 VASAEI, iv. 131 and following.
2 Portata oL Catasto, in Tav. alfah., u.s., art. Piero. g* The statement in an
earlier portata — of 1470 — agrees with that contained in the portata of 1480. See
E. STEINMANN, Die Sixtinische Kapelle, i. 395, n. 1).] We are indebted to Signer
Gaetano Milanesi for the following, in addition, respecting Piero's family: Antonio
begets Piero. Piero begets Lorenzo Chimenti, painter, born 1436, registered in
Florentine guild (GUALANDI, ser. vi., u.s., p. 180), and Baldo, registered in the
same guild, in 1450 (ib., ib., ib.). Lorenzo begets Piero (di Cosimo), Giovanni,
born 1464; Francesco, born 1474; Raffaello, born 1475; and Bastiano, born 1478.
3 VASARI, iii. 189 and iv. 132. [* Vasari definitely ascribes the landscape in
the Sermon on the Mount to Piero di Cosimo, and for reason of style the Destruction
of Pharaoh may in the main be considered as the work of this artist. On Piero'a
activity in the Sixtine chapel, compare STEINMANN, u.s., i. 392 sqq.)]
44 PIERO DI COSIMO [CH.
In February, 1485, Eosselli had returned to Florence, and was in
the employ of the nuns of S. Ambrogio with the future Fra Bar to -
lommeo, a mere child, as apprentice.1
It is not improbable that Piero was then chief journeyman to
Cosimo, for Vasari leads us to believe that the connection lasted
till Eosselli's death (1506); and Piero, at all events, continued the
art of his teacher.2 He may therefore be considered as partner
in the authorship of several altarpieces in S. Spirito at Florence,
in which the styles of Ghirlandaio and Filippino are mingled with
that of Cosimo Kosselli,3 in a Virgin and saints at S. Ambrogio,4
and in a Virgin and Child at S. Agostino of Lucca, attributed to
Zacchia.6 The last-mentioned picture is, in truth, so like Piero's
own in raw tinge of red colour and in aspect of figures, that little
doubt can be entertained as to its genuineness. With regard to
the period of execution, as in respect of dates connected with the
actions and creations of Piero, the scantiest intelligence exists.
So vague, indeed, is the prospect that a concrete shape can only
be given to Piero's performances by registering a number of them
in succession, the sequence of which may be guessed at, according
as the technical system points to material progress or to the lapse
of intervals of time.
An important, though hitherto unnoticed, production in a
solitary church of the Casentino may, under these circumstances,
1 See, posted, the documents in support of these statements.
2 Piero was one of those who gave opinions as to the place of Michael Angelo's
David in 1503 (GAYE, Carteggio, ii. 455).
3 (1) S. Spirito, 27th chapel in the left transept: Virgin, Child, and two angels
between SS. Thomas and Peter (FANTOZZI, Quida, u.s., p. 687, catalogued this,
in the school of Ghirlandai). In the predella are the Incredulity of St. Thomas,
the Annunciation, and a Miracle. On the step of the throne is the date:
" MCCCCLXXXII." [* In determining the authorship of this picture, it must
be remembered that Piero di Cosimo, at any rate during the greater part of 1482,
was painting in the Sixtine chapel.] (2) Same church, 30th chapel in left transept :
Virgin and Child with two angels between SS. Bartholomew and Nicholas of Bari,
and two kneeling friars (according to FANTOZZI, u.s., by A. Pollaiuolo); pale and
dim in tone. (3) Same church, 25th chapel in left transept: Virgin, Child, and
two angels between SS. Bartholomew and John Evangelist (manner of Botticelli,
says Fantozzij. On the step of the throne a Crucifixion. The two latter not so
good as the first.
* See antea, iv. 367, note 3. The picture is in the sacristy.
5 See antea, iv. 367.
THE VIRGIN AND CHILD WITH SAINTS
BY PIERO DI COSIMO
From a picture in the Spedale degli Innocenti, Florence
Photo, Alinari
VI. — To face page 44
ii.] ALTAEPIECE AT S. PIETRO AL TERRENO 45
repay attention. The subject is the Virgin and Child enthroned
in a landscape between the erect SS. Peter and Paul, and the
kneeling Jerome and Francis. The place is the high-altar of
S. Pietro al Terreno near Figline. Whilst on the one hand we
recognize the influence of Cosimo Rosselli's atelier, and chiefly
the system of Piero di Cosimo in the general appearance of the
panel, we are reminded on the other of Mariotto's or Bartolom-
meo's early efforts by the superior character of the St. Francis,
and the light gay tone and spring-freshness of the landscape. It
is possible that two hands should have been put on to hasten the
completion of the piece, and that one of them should be the future
Dominican; possible, also, that Piero di Cosimo did it unassisted,
having already taken some distinct peculiarities from his younger
school-companions. Be this as it may, the Madonna of S. Pietro
al Terreno is dryly and firmly touched in oil at one painting, with
rawish low flesh-tones shadowed in opaque, olive brown, and
draperies of vitreous and sharp tints. A Leonardesque element is
observable in the air and slender neck of the Virgin, and in the
puffy forms of the Infant. Without absolute lack of feeling
most of the saints are incorrectly drawn, short, bony, and not free
from vulgarity. The dresses are double in stuff, and overladen
with complicated folds. The author, according to local belief, is
Ridolfo Ghirlandaio ; but the stamp and handling are less his than
those of Granacci, albeit the latter is more Michaelangelesque.1
What speaks most in favour of Piero di Cosimo is the likeness be-
tween this and another Virgin amongst saints at the Uffizi,2
described by Vasari at the altar of the Tedaldi in the SS. Annun-
ziata de' Servi. The Madonna on a pedestal looks up to the dove
with a movement in the spirit of Fra Bartolommeo, and true to
the principles of high art. St. John Evangelist, erect on the left,
is a counterpart of the St. Peter at S. Pietro al Terreno. In each
of the dramatis personce curt proportion, heavy bone, and coarse
extremities are noticeable, and the colouring is abruptly con-
* * This picture has not been seen by the editor. Mr. BBBENSON ascribes it
to Bugiardini (Florentine Painters, p. 124).
2 Uffizi, No. 81. Wood, oil. The saints about the Virgin are SS. John Evan-
gelist, Philip (beato), Antonino, and Peter. Margaret and Catherine kneeling in
front. [* The subject of this picture is the Immaculate Conception.]
46 PIERO DI COSIMO [CH.
trasted and unmellow. The execution is related to Credi's, but
has more roughness and strength, and a darker key of shadow. It
would show that Piero tried to rival Credi in the enamel of his
surface, without his patience and by the copious use of more liquid
colours. Hence the crystalline or amber lucidity, e.g., of the
fine bust portrait at the Uffizi, catalogued under Piero 's name,
where the ruddy and smooth impasto is veiled with the thinnest
sort of glaze, and recalls del Sarto, Eidolfo, and Granacci.1 Hence,
also, the polish of his Madonna amongst saints in the sacristy of
the Innocenti at Florence, one of his best altarpieces, yet one in
which his defects are prominent in combination with a certain
imitation, or rather exaggeration, of the types of Filippino.2 We
might follow this vein in Piero further, citing, at Florence, a small
St. Catherine in the Lombardi Gallery,3 a fragment of a Holy
Family in the Pianciatichi collection,4 and at the Louvre,6 a
Coronation of the Virgin of more than usual feebleness. Piero,
however, did not confine himself to holy subjects. He treated
with evident pleasure such portions of classic fable as might
enable him to display the study of animal life in natural or fan-
tastic shapes, or that of recondite costume or ornament.6 He
seldom neglected an occasion of exhibiting himself in this light, as
in the lost predella of the Madonna at the Servi, where St. Mar-
garet was to be seen issuing from the belly of the serpent;7 but
he most frequently dealt with such themes in the decoration of
cars for festivals, in suites of rooms, in single panels, or in the
accessories to mythological incidents,8 his model in this as well as
in the application of novelties in the manipulation of oils and
1 Uffizi, No. 3,413. Bust of a man in a black cap, three-quarters to the left,
with a dark dress and a white frill.
2 Wood, oil, figures almost life-size. Virgin and Child enthroned between
saints, St. Rosa on her knees to the left, offering roses to the Infant, and St. Catherine,
a caricature from Filippino, kneeling to the right. Six angels, with garlands on
their heads, kneel smiling at the sides of the Madonna. Two others hold back
the tapestry above her head. Distance, a fan: landscape (VASABI, iv. 140 sq.}.
[* This picture is now in the Gallery of the Spedale degli Innocenti.]
3 Wood, oil, small and in good preservation.
4 No. 44. Life-size. Virgin, Child, and St. Joseph called Mariotto Albertinelli.
Wood, oil. A piece wanting on the left side, [j* Present whereabouts unknown.]
5 Louvre, No. 1,416. Supposed to have been in S. Friano at Florence (VASAEI,
iv. 141). Figures life-size, in oil, on wood.
6 VASARI, iv. 138. 7 Ib., ib., ib. 8 Ib., ib., 134 sqq.
ii.] MYTHOLOGICAL PICTURES 47
mediums being Leonardo da Vinci, whose genius and versatility
were envied by all his contemporaries, and whose influence was
so extraordinary that it is difficult to treat of any painter of his
time without mentioning his name.
Examples of this phase in Piero are scarce; but his fancy is
fairly illustrated in the Wedding of Perseus disturbed,1 the
Sacrifice to Jove for the safety of Andromeda,2 and the two
rescues of Andromeda3 in the Uffizi, in which the compositions are
rich in episodes and action, in strange dresses, panoplies, and other
naturalistic details, but where also the figures are somewhat
affected, paltry, and pinched. Nor is the technical handling con-
stantly the same. Instead of colour in strata, of strong lucid
impasto, instead of abrupt contrasts of key, with firm lines of
demarcation in dresses, the tones are all fused vaguely into each
other, so that a gaudy and glossy mist overspreads the surfaces.
The landscapes, however, remain rich and precise in minutiae, as
if by a Ferrarese, without atmosphere, though in harmony as
regards tint with the rest of the work. One might suppose that
as Piero grew old he was tempted to follow in the footsteps of his
own pupil Andrea del Sarto, and that his cloudiness of contours
had its origin in that way.
But his mythological pictures have not invariably the character
of those we have been considering. The Death of Procris in the
National Gallery4 is free from exaggeration of fancy. It is a half-
tempera of low key in flesh-tone, done with ease, fairly select in
forms, and chastened in drawing, superior in every respect to the
Venus and Mars,5 or to the earlier " Meeting of Christ and the
Baptist," in the Gallery of Berlin.6
1 Uffizi, No. 84. Perseus is represented petrifying his enemies with the head of
Medusa. Wood, oil.
2 Uffizi, No. 82 (VASARI, iv. 139). Wood, oil
3 Uffizi, No. 83 and No. 1,312 (VASARI, iv. 139). Wood, oil.
4 National Gallery, No. 698, from the Lombardi collection. Wood, figures half
the life-size.
5 Berlin Museum, No. 107. Wood (VASARI, iv. 140).
6 Berlin Museum, No. 93. Wood, small. [* It is difficult to uphold the
name of Piero di Cosimo for this work. It is now officially catalogued under
" Workshop of Andrea del Verrocchio." The list of extant works by Piero may
be considerably extended — e.g. :
Berlin. Kaiser Friedrich Museum, No. 204. The Adoration of the Shepherds.
48 PIERO DI COSIMO [CH.
Borgo San Lorenzo. Chiesa del Crocifisso. The Virgin and Child with SS.
Thomas and John the Baptist (see GAMBA, in JRivista d' Arte, iii. 253 sqq. with
reproduction).
Chantitty, Musee Conde, No. 13. Bust of Cleopatra (mentioned by VASABI,
iv. 144; the inscription, " Simonetta lanuensis Vespuccia," is a later addition.
Compare FBIZZONI, Arte italiana del rinascimento, p. 249 sq. ; HORNS, Botti-
celli, p. 54).
Dresden. Gallery, No. 20. The Holy Family with St. John the Baptist and
angels (cf. antea, v. 114).
Dulwich. Gallery. No. 258. Portrait of a Young Man.
Fiesole. S. Francesco. The Immaculate Conception (bearing a false signature:
" Pier di Cosimo, 1480 "; cf. BEBENSON, The Drawings of the Florentine Painters,
i. 131; CARMICHAEL, Francia's Masterpiece, London, 1909, p. 152 sq.). Mentioned
by VASABI (iv. 141). Two studies for this composition are in the Uffizi (BEBENSON,
u.s., Nos. 1855, 1856; reproduced in KNAPP, Piero di Cosimo, p. 15 sq.).
The Hague. Mauritshuis, No. 254: Portrait of Giuliano da San Gallo.
No. 255 : Portrait of Francesco Giamberti (mentioned by VASABI, iv. 144; see
FBIZZONI, u.s., p. 249 sqq.}.
London. National Gallery, No. 895. Portrait of an Armed Man. Mr. R. H.
Benson. Hylas and the Nymphs. Mr. T. Humphrey Ward (1909). Half-length
of St. John the Evangelist. Earl of Plymouth. Bust of a Young Man (reproduced
in KNAPP, u.s., p. 100). Mr. Charles RicTcetts. Battle of the Centaurs and
Lapithae (see HOBNE, in the Architectural Review, 1902, p. 61 sqq., with reproduc-
tions). Mr. A. E. Street. The Virgin adoring the Child (cf. antea, v. 88).
Mr. H. Oppenheimer. Minerva and the Flute.
Lyons, late Aynard Coll. The Virgin and Child (tondo). Profile of St. John
Baptist (sold at the Aynard sale, Paris, December 1, 1913, Nos. 61 and 60).
Naples, Museum Sola XV., No. 3. The Virgin and Child with St. John the
Baptist (given by the authors, antea, iv. 305, to the school of Raffaellino).
Newbattle Abbey. Marquess of Lothian. Mythological scene.
Newlands Manor (Hampshire). Colonel Cornwattis-West. The Visitation with
SS. Nicholas of Bari and Anthony the Abbot (painted for the chapel of Gino
Capponi in S. Spirito, at Florence; VASABI, iv. 133); reproduced in KNAPP
u.s. (Plate I.). A sketch for the principal group is in the Uffizi (BERENSON, u.s.,
No. 1853; reproduced in KNAPP, u.s., p. 43).
New York. Metropolitan Museum of Art, No. 92 : Hunting scene. No. 93 :
Returning from the Hunt (both reproduced in the Burlington Magazine, x. 333).
Paris. Louvre, No. 1,662. The Virgin and Child.
Philadelphia. Mr. John G. Johnson. The Virgin and Child (fragment of an
altarpiece).
Rome. Gatteria Borghese, No. 329. The Judgment of Solomon. No. 343: The
Virgin and the infant St. John adoring the Child in the presence of two angels.
Gatteria Corsini. The Magdalen reading (from the Baracco collection).
St. Petersburg. Prince Nicholas of Leuchtenberg. The Adoration of the
Infant Christ (cf. antea, v. 116). Princess Eugenie of Oldenburg. The Virgin
and Child.
Stockholm. National Museum, No. 1,788. The Virgin and Child and the infant
St. John. Collection of the King. The Virgin and Child (see SIB^N, Dessins
ii.] VARIOUS WORKS 49
Vasari alone authorizes us to believe that Piero di Cosimo died
in 1521.1
et tableaux de la renaissance italienne dans les collections de Suede [Stockholm,
1902], p. 80 sqq., with reproduction).
Strassburg. Gallery, No. 216A. The Virgin and Child with the infant St. John
(see antea, v. 88, n. 5). No. 216s : The Story of Prometheus.
Vienna. Prince Liechtenstein. The Virgin and Child with the infant St. John
(reproduced in KNAPP, u.s., p. 84).]
1 VASARI, iv. 143. The following, noticed by Vasari, are missing: Florence,
S. Marco, novitiate: A Virgin erect with the Child in her arms, in oil (iv. 133).
S. Spirito, cappella Gino Capponi, panel: Visitation with SS. Nicholas and Anthony,
the latter in spectacles (ib., ib., ib.}. [j* Not missing; cf. antea.} Guardaroba del
Duca Cosimo: A marine monster (ib., ib., 138). Fiesole, S. Francesco: Conception
(ib., ib., 141). RTJMOHR speaks of a picture in the church inscribed: " Pier' di
Cosimo, 1480" (Forsch., ii. 352); but this also is not to be found, especially as
Rumohr does not give the subject. [<?/. antea.] Florence, Casa Gio. Vespucci:
Bacchanals (VASARI, iv. 141). In possession of Francesco da S. Gallo, a Portrait
of Piero, and by Piero a head of Cleopatra, a likeness of Giuliano da S. Gallo, and
another of Francesco Giamberti (ib., ib., 144). (1* The three last-mentioned works
are preserved; cf. antea.] Richa assigns to Piero di Cosimo the following :
Florence, S. Spirito, Cappella Torrigiani: Assumption (RiCHA, Chiese, ix. 20).
Cappella Bini: Transfiguration (ib., ib., 26). Cappella de' Bettoni: Christ risen
from the Dead (ib., ib., 28). These three are by one hand, not by Piero di Cosimo,
but by Pier Francesco di Sandro, named by VASARI (v. 58) a follower -of Ridolfo
Ghirlandaio and Andrea del Sarto, whose painting is pale and washy, and whose
figures are long, lean, and lifeless.
CHAPTER III
FRA BARTOLOMMEO DELLA PORTA
T71KA BAETOLOMMEO, who was called Bartolommeo di
J- Pagholo del Fattorino, before he joined the Dominican
Order, was apprentice to Cosimo Kosselli. His uncles, Jacopo
and Giusto di Jacopo, settled in 1469-70 at Suffignano, a village
near Florence, and lived there as agricultural labourers, his father
Pagholo pursuing the restless calling of a muleteer.1
Towards the close of 1478 Pagholo settled at Florence, having
saved a small competence with which he bought a house and
garden in S. Pier Gattolino.2
The two mules, which had contributed to his fortune, found a
gentle repose in the stables of the new home, whilst their master
improved his condition in the business of a carrier.
1 These facts are made clear from the Portate al Catasto of Giusto in 1469 and
1487, from which, as well as from that of Paolo (1480-81), we take the following
Piero begets Jacopo. Jacopo, by his second wife, Margareta (born 1399),
begets Paolo (born 1418), married to Andrea (born 1448, died 1487) and Giusto,
(born 1433), and Jacopo (born 1435), married Maddalena (born 1445). Paolo,
muleteer, begets: Bartolommeo, born 1475 [* for " 1475 " read probably " 1472 ";
see posted, p. 51, n. 1], died 1517; Piero, afterwards a priest, born 1477; Domenico,
born 1479, died 1486; and Michele, born 1480 (favoured by Signer Gaetano Milanesi).
Vasari is therefore wrong in stating that Fra Bartolommeo was born at Savignano
(iv. 175), in which place no trace of the family can be discovered; and it is more
likely that he was of Suffignano, where his uncles lived.
2 In a " protocollo " drawn up by Ser Jacopo di Bartolommeo de' Camerotti
(Archiv. Gen. de' Contratti di Firenze, 1477-1480), we find the following:
" Anno 1478. die octava Sept. Andreas quondam Gabriellis Vichi, populi S. Petri
in Selva de Castiglia, pro se atque suis heredibus dedit, vendidit, Paulo Jacobi
Pieri vecturali, populi sancti felicis in platea ementi pro se atque suis heredibus,
imam domum cum palchis saliis, cameris, et horto, puteo, trogolo &c. positam
Florentie in populo S. Petri in Gattolino, cum a primo via &c. pro pretio et nomine
pretii florenor. auri centum quinquaginta novem et medium unius floreni "
(favoured by Gaetano Milanesi).
50
CH. in.] BIRTH AND APPRENTICESHIP 51
Bartolommeo, who was to become celebrated in the annals of
Florentine art, was three years old when these events occurred,
and in 1480 was the eldest of four children.1 No doubt the ques-
tion speedily arose, what was to be done with the boys, particu-
larly as Pagholo at the time was of an age above threescore.
Benedetto da Maiano, the sculptor, who was consulted on this
point, suggested that little Baccio — for so the name was shortened
— should be bound to Cosimo Rosselli.2 The suggestion was
1 Arch, di Firenze, Portate al Catasto del 1480-81. Quart, di S. Spirito, Gonfale
Ferza 451.
Pagholo d' Jachopo di Piero, abita in detto quartiere e gonfalone. Non a
avuta piu gravezza, ma perch e a comperato beni pero la do questa iscritta. O
atteso andare co i muli. Sustanze. Una casa per mio abitare posta nel popolo
di S. Piero Ghattolini chon sua vochaboli e chonfini, che da prima via £ Nicholo
di Gherardo Moiaio. 2°. beni di S. Jacopo champo chorbolini, la quale com-
perai da Amadio (read Andrea) de Ghabriello di Vicho per pregio di fiorini cento
cinquanta nove larghi cioe fior. 159 larghi, carta per mano di Ser Jachopo di
Bartolommeo di Giovanni Camerotti. Uno pezzo di terra vignata di staione 4 in
circha, posta nel popolo di Santo Martino a Brozzi, coe S. Maria a Brozzi luogo
detto Pratovecchio, chon sua vochaboli e confini, che da prime el piovano di
Brozzi; 2° rede di Piero Francesco di Verzaia; 3° le monache di S. Domenico; 4° el
priore di S. Pagholo di Firenze, la quale chonperai da Domenico di Piero di Bene-
detto da Brozzi per pregio di fiorini diciotto larghi, cioe fior. 18 larghi; carta per
mano di Ser Jacopo di Bartolommeo di Giovanni Chamerotti. Rende Panno in
parte vino barili 6. Dua Mule disutili e vecchi di valuta di fior. 10.
Bocche. Pagholo sopra detto d'eta d'ann. 62.
Monna Andrea mia donna d'eta d'anni 34.
Bartolommeo mio figliuolo d'eta d'anni sei.
Piero mio figliuolo d'eta d'anni 3.
Domenico mio figliuolo d'eta d'anni 2.
Michele mio figluolo d'eta d'anni 1. (j* Dr. KNAPP (Fra Bartolommeo della
Porta und die Schule von San Marco, Halle a. S., 1903, p. 8 sq.) quotes the following
entry in the baptismal register of Florence: " Bartolomeo et Sancti di Paulo di
Jacopo popolo di San Felice naque a di 28 di marzo 1472 a hore 6, battezzato a
di 28." If, as seems beyond doubt, this refers to Fra Bartolommeo, we must con-
clude that his father's memory was at fault when he prepared the above-quoted
declaration.]
2 Benedetto da Maiano died at Florence, aged 55, in 1497, leaving three sons
and three daughters. Cosimo Rosselli was appointed administrator to his property
by the Magistrate de' Pupilli. Amongst the property left behind by Benedetto,
we find the following list of books, interesting because it tells us what literature
artists usually consulted: The Bible, the Divina Commedia, the Vangdi e Fioretti
of St. Francis, Livy, the Chronicle of Florence, the Life of Alexander of Macedon,
Lives of the Fathers, Boccaccio, S. Antonino, the Book of Vices and Virtues, the
Novettino and Libro de' Laudi (see CESARE GUASTI'S Report of the Societa Colom-
baria for 1861, May 25, 1862, in Archiv. ator., n. 1, vol. xvi., part i., p. 92.
52 ERA BARTOLOMMEO [CH.
favourably received, and the child entered on his duties in
1484.
Rosselli's occupation chiefly took him then to the convent of
S. Ambrogio at Florence, and his assistant was the absent and
eccentric Piero di Cosimo. Without being the best of Florentine
artists, his known integrity and respectability insured to him con-
siderable practice; and his school afforded the same advantages
to beginners as that of a greater man. To grind colours, sweep
the workshop, and run errands, was the course which Baccio
like others was obliged by custom to follow.
Baccio 's honesty soon won him the full confidence of his supe-
rior, and he was often the link of communication between Cosimo
and the nuns of S. Ambrogio, from whom he received the pay
of his master.1 Nor is it unlikely that early familiarity with con-
vents and the solemn silence of churches was of influence in pre-
paring his timid mind2 for the retirement into which he subse-
quently withdrew. Whilst his comrade, Mariotto Albert inelli,
resorted to the garden of the Medici, in which the old sculptor
Bertoldo preserved but scant discipline, and where broken noses
and black eyes were to be had without the asking, Baccio sought
the more carefully guarded stillness of the Carmine,3 and preferred
Masaccio and Filippino to classic bas-reliefs and statues. Yet his
amiable disposition did not repel the friendship of his school-
fellows, and we are assured that Baccio and Mariotto were " one
body and one soul."4 Whatever, indeed, might have been their
difference of humour and of character, the two students were
united to each other by companionship, by a similar age, and by
common pursuits. They had before them the examples of Giotto,
Orcagna, Masaccio, and Ghirlandaio in the past ; those of Michael
Angelo and Leonardo in the present. With those of Eaphael
they were soon to make acquaintance, and these were incentives
to progress too strong to fail of their effect. Baccio, thanks to
1 « 1484-85. A Chosimo dipintore a di VTIII. di Febraio fior. uno largho d'oro
in oro; porto Bartolommeo che sta con esso lui " (ArcJiiv. di stato di Firenze, Corp.
relig. soppresse). Mon. di S. Ambrogio. Entrata e uscita dal 1479 al 1485, p. 167.
" 1485. A Chosimo dipintore a di XVII. di Magio fior. uno largho porto Barto-
lommeo di Pagholo del Fattorino " (ib., ib., ib., p. 171).
2 " Artefice mansueto " (VASAEI, iv. 177.
3 VASARI, ii. 299. * VASARI, iv. 217.
IIL] EARLY ACTIVITY 53
industry and heart, attained to a grandeur nearly approaching
that of Buonarroti. He almost equalled Sanzio in decorous com-
position; Leonardo was his teacher as regards the technica of
colour,1 and if he was not absolutely on the level of any one of
them, he was so close as to be necessarily counted a great genius
by their side.
The first misfortune which befel him was the loss of his brother
Domenico in I4862 — an event melancholy in itself, but perhaps
not seriously felt by the elastic nerves of a child. A more serious
blow was the death of his father, which occurred in the following
year, leaving Baccio in charge of his mother, who was not destined
long to survive.3 Under these altered conditions it is probable
that the family circle grew dearer to him, and that he frequented
it with unwonted assiduity. From that time also he, no doubt,
became known as Baccio della Porta, from the vicinity of the
maternal dwelling to the gate of S. Pier Gattolino;4 and it was
natural that he and Albertinelli should often retire there together
in the evenings after their work, and spend the hours before sleep
in eager and confidential converse.
The produce of their industry in Eosselli's shop was of such a
kind that, if it were to be found at all, it would be under Eos-
selli's name, and display his impress or that of Piero di Cosimo.5
It would be presuming even to base any theory as to Baccio 's
early style on the examination of the Madonna with saints at
S. Pietro al Terreno, to which reference has been made. The
feeling, character, landscape, and handling of the panel are indeed
reminiscent of the manner which we shall have occasion to acknow-
ledge as that of Fra Bartolommeo, but, we have said, Piero di
Cosimo might have painted it either under a lucky momentary
1 " Cominci6 a studiare con grande affezione le cose di Lionardo da Vinci, e in
poco tempo f ece tal frutto e tal progress© nel colorito, che s' acquisto reputazione
e credito d' uno de' miglior giovani dell' arte " (VASABI, iv. 175).
2 See antea, p. 50, n. 1.
3 See antea, p. 50, n. 1.
* VASAEI, iv. 175.
6 We only allude to the Annunciation in the sacristy of S. Marco at Florence
(assigned to Baccio by Father MARCHESE. Mem., ii. 18-19) to say that it appears
done by a pupil of Bidolfo Ghirlandaio (but see postea, Michele di RidolfoJ.
Nor do we know anything of Baccio's portrait by himself in the collection of
the Signori Montecatini at Lucca (LANZI, History of Painting, u.s., i., p. 149).
VI. — E
54 FRA BARTOLOMMEO [CH.
impulse which carried him forward with the art of his time, or
inspired by Era Bartolommeo himself.1
We cannot assume that Baccio and Mariotto were partners
before 1490 in the house of Paolo del Fattorino.2 Both would
then have passed the term imposed upon them by their articles
of apprenticeship, and Baccio would have sufficient means at his
disposal to make him careless of a journeyman's salary. Such,
we believe, were the circumstances under which the friends started
in their profession. But at the very outset the germs of a future
separation might be discerned. Mariotto attracted the attention
of one of the Medici in the *' Garden," 3 and Baccio was soon to be
struck by the reforming fury of Fra Savonarola. The youths were
therefore taking opposite sides without being aware of it. For
the first time, in Lent of 1495, the Dominican friar began to
preach openly in the Duomo in condemnation of the lasciviousness
of the Florentines, and required the burning or destruction of
immodest figures. His eloquence secured him audiences as
numerous as those which of old listened to the public commen-
tators on the " Divina Commedia";4 and as he thundered
anathema from his pulpit against the profane spirit of the age, he
roused the fervour and the sneers of the multitude.
Whilst Baccio admitted the truth of the principles exposed by
Savonarola, Mariotto inveighed against the religious orders in
general, and the Dominicans in particular.6 But in spite of this
divergence they remained on good terms, even after Baccio had
become the devoted adherent of Savonarola. It was not, as some
assert, the opinion of the latter that art should be forbidden alto-
gether. On the contrary, he thought that its exercise was a
profitable occupation for monks, and he was ambitious of intro-
ducing it as far as possible into his monastery for purposes of
revenue. His persuasion induced miniaturists, painters, and
sculptors to join the Dominicans — Fra Filippo Lapaccini (1492),
Fra Benedetto (1495), Fra Eustachio (1496), Fra Agostino di
1 Father MABCHESE (Mem., u.s., ii. 18) quotes Delia Valle's notes as to a " tavola
of 1493 by Porta " in Castel Franco a S. Pietro al Terreno. He does not give
the subject.
2 VASARI, iv. 175, 218. 3 VASARI, iv. 219.
4 MARCHESE, Mem., u.a., i. 378 and following. 5 VASARI, iv. 220 sq.
in.] FRA BAKTOLOMMEO AND SAVONAROLA 55
Paolo, and Fra Ambrogio della Robbia (1495) j1 and he was wont
to say that independence being better than mendicancy for an
Order claiming to preach the truth, it was but foresight to lay
the foundations of a better financial condition.2 His portrait,
taken in an amiable and quiet mood by Baccio, was supposed to
have perished. It had been sent in the first instance to Ferrara,
and then brought back to Florence by Filippo di Averardo Sal-
viati, who afterwards gave it to the Dominican nuns of S. Vincenzo
at Prato. The nuns kept it until the suppression of their convent
in 1810, and after many accidents it was purchased by Signor
Ermolao Rubieri, the present possessor.3 In this, the earliest
extant work of Baccio della Porta, the character and features of
the Dominican are reproduced with a fidelity which proves the
perfect acquaintance of the artist with the friar. The readiness
and decision, the consciousness of power in the face, its bilious
complexion, exactly embody what we know by description to
have been the aspect and temper of Savonarola. What it reveals
besides is Baccio 's cleanness of contour, his able handling of
materials, and force of modelling, with a moderate impasto at one
painting, but, above all, the methods of Cosimo Rosselli, in the
low key and the somewhat clouded transparence of oil-colour.
The significant line, " Hieronymi Ferrariensis a Deo missi pro-
phet ae effigies," is a motto on the panel expressive of Baccio 's
fanatical worship which it became prudent to conceal in the days
of Savonarola's trial.4 When, in after-years and in the retirement
of Pian di Mugnone, Fra Bartolommeo again attempted to revive
this effigy,6 he did so with a touch more masterly and grand than
1 A Nativity in terra cotta by Ambrogio is still in S. Spirito at Siena. See the
record in MARCHESE (ii. 206-207).
2 MARCHESE, u.s., i. 392.
3 VASARI, iv. 179. and annot., ib. Signor Rubieri lives at Florence. [* This
picture is now in the monastery of S. Marco at Florence.]
4 The inscription has been recovered from under superposed painting (see
11 Ritratto di Fra Girolamo, 8°, Florence, 1855, pamphlet of 15 pages, by E. RUBIERI
p. 9). The genuine portrait by Giovanni delle Corniole at the Uffizi, done after
Savonarola's death, is inscribed: " Hieronymus Ferrariensis ord. Pred. propheta
vir(g°). et martyr."
5 Now No. 172 in the Academy of Florence (round, wood, oil), originally in
Pian di Mugnone. The flesh in parts is a little dirty, but there is a marvellous
delicacy in it. The drawing is grandiose, the forms given with extraordinary
skill. The handling in oil recalls Sebastian del Piombo.
56 FRA BARTOLOMMEO [CH.
that of his youth, allegorically representing Savonarola in the
guise of Peter Martyr. But the gain in skill which he then ex-
hibited is compensated by loss of nature and resemblance.
The greatness of Baccio della Porita, however, is not to be sought
in portraits, any number of which would fail to reveal the expan-
sion of his talents as a composer, a draughtsman, or a colourist.
Unfortunately, we are without examples of any other kind until
1498, the date of his Last Judgment, in the cemetery of S. Maria
Nuova at Florence.1 But the void may to some extent be filled
by his drawings, many of which, including a portion of those
made with a view to use in the fresco we have named, are in the
Ufiizi. They are all done carefully with a fine pen, with a seeking
after grace in the movements recalling Filippino, but with a suc-
cessful grasp of the various phases of life in motion. His drapery,
whether in flight or simply falling, is full yet very nobly cast, at
rare intervals festooned, but never betraying forgetfulness of the
under forms. The heads, of elliptic shape, rest on slight long
necks — a reminiscence (with the casual festooning in cloth) of
Rosselli. The tendency to analyze in Baccio goes hand-in-hand with
the effort to give art at last its most dignified reality, and there he
goes shoulder to shoulder with Leonardo and Buonarroti.2 If in
Cosimo's atelier this grand aim was less represented than in that
of Ghirlandaio and Verrocchio, Michael Angelo and da Vinci were
not the less revered there. The latter especially was looked up
to even by the saturnine disposition of Piero di Cosimo; and
Baccio was obviously induced to share that reverence, and study,
as Vasari says, "the things of Leonardo."3 What those things
were it is of little moment to inquire. Enough that Baccio ob-
tained from them something which stuck to him ever after, intro-
ducing him to the most abstruse maxims of composition, lending
high-bred gentleness in air and attitudes to his impersonations,
1 VASABI, iv. 177 sq., 180 sq., and annot., ib., where the records of payments
to Baccio are given. ALBEBTINI, Mem., p. 13.
2 The drawing of the Eternal by Fra Bartolommeo, for an altarpiece at Lucca
(1509), was, if we are not mistaken, some time under the name of Leonardo at
the Uffizi. RUMOHB assigns it to Raphael (F orach., iii. 72). [* On the vast sub-
jects of the drawings of Fra Bartolommeo the reader must be referred to BERENSON^ ,
The Drawings of the Florentine Painters (London, 1903), i. 133-143, and ii. 12-25;
and KNAPP, u.a., passim.] 3 VASABI, iv. 175.
m.] FRA BARTOLOMMEO AND LEONARDO 57
teaching him the modern system of colouring of which da Vinci
had improved the technical use.
We look almost vainly into the darkness of history to ascertain
whether Leonardo might not have been personally instrumental
in directing the yearning diligence of Baccio. Historians generally
have assumed that da Vinci entered the service of the Duke of
Milan in 1483, and that he revisited Florence in 1500 only. But
many passages in Vasari are opposed to that assumption, leading
us, on the contrary, to believe that Leonardo and Baccio might
have been in contact with each other in that interval. After the
second exile of the Medici, in 1494, Savonarola projected a new
form of government for the Republic, advocating a council of
one thousand citizens, from which the supreme magistrates were
to be elected by lot. No hall in Florence at the time was capable
of containing so many. Savonarola therefore consulted Leonardo
da Vinci, Michael Angelo, Giuliano da S. Gallo, Baccio d'Agnolo,
and Cronaca, as to the means of building one; and those artists
agreed to a plan which was placed in Cronaca's hands for execution
about the middle of July, 1495.1 We cannot, therefore, exclude
the probability of an acquaintance between della Porta and da
Vinci in that year. Both were unaware that their services would
be required later for the decoration of the new saloon; that the
first would be asked to furnish an altarpiece which he should
begin and leave unfinished; that the second would be required to
paint its walls, and should only draw the cartoon.
But for Savonarola, we should perhaps enjoy more of della
Porta's earlier studies. The friar had said that nudities were
indecent, and many of his adherents cast the contents of their
portfolios into the fire during the carnivals of 1497 and 1498.
But the first to obey this injunction was Baccio.2 He had become
a personal friend of Savonarola; and when the fatal day arrived
in which the convent of S. Marco was stormed (May 23, 1498), he
was one of the besieged, and realized to his dismay the dangers
of an armed conflict, and the prospect of a violent death. He is
said to have made a vow that if he survived, he would join the
1 VASARI, Lives of Cronaca, of Leonardo, and Baccio d' Agnolo (vols. iv. 41,
448 sqq., and v. 351).
2 VASARI. iv. 178 sq.
58 FRA BARTOLOMMEO [CH.
Dominicans.1 Yet, shortly after the execution of Savonarola, he
accepted from Gerozzo Dini an order for the Last Judgment in
the cloister cemetery of S. Maria Nuova at Florence, and he
worked assiduously to finish it until October, 1499.2 But then it
is supposed that his conscience smote him for neglecting the
promise he had made to heaven, and he began to think of
settling his temporal affairs preparatory to withdrawal from the
world.3
All that we see incompletely in the drawings of Baccio looks down
upon us with increased force from the Last Judgment of S. Maria
Nuova. Within the compass of a few feet the culmination of
efforts made at Florence during upwards of two centuries may be
seen; the solitary link between the successive performances of
bygone times under Giotto, Orcagna, Masaccio, Fra Filippo, and
Domenico Ghirlandaio, and those of the sixteenth century.4 The
Last Judgment, with its Leonardesque impress, illustrates not
only the rise of della Porta, but also the new phase inaugurated
by Leonardo and Michael Angelo, affording a glimpse at an
obscure interval in the history of da Vinci himself. Comparing
it with Eosselli's miracle of the chalice at S. Ambrogio, we measure
the distance which separates Baccio from his master, and notice
the transformation which he underwent without altogether losing
the bias of his first education. We see della Porta the worthy
heir of the great Florentines, the follower of Ghirlandaio, Masaccio,
and Leonardo in their grandest qualities.
The subject of the Last Judgment is not the oldest that was
accepted by Christian painters ; but we have seen it pass through
the hands of the Byzantines of S. Angelo in Formis at Capua, of
the Sienese at the Campo Santo of Pisa; Giotto, Orcagna, and
Angelico. Delia Porta renovated the old theme by a scientific
distribution which owes much of its final development to da
Vinci, and is called modern art since it was raised to sublimity in
1 VASABI, iv. 180. 2 See antea, p. 56, n. 1.
3 VASABI, iv. 180.
4 It is the sole link between the old masters and Raphael. If it were missing,
we should say that Sanzio and not della Porta continued the great art of Giotto
and Ghirlandaio. Raphael did nothing as important as the Last Judgment of
S. Maria Nuova till he undertook the fresco of S. Severe at Perugia.
THE LAST JUDGMENT
BY FRA BARTOLOMMEO
From a fresco in the Uffizi, Florence
Photo, Alinari
VI.— To face page 58
in.] THE LAST JUDGMENT AT S. MAKIA NUOVA 59
the Parnassus of Kaphael. The space may be dissected into
blocks of various shapes — ovals, triangles, polygons, and arcs.
The result of their combination is a unity without interruption
of lines, the principal element being the Greek cross. Above sits
Christ in power and majesty, with charming cherubs about his
glory, one peeping from behind his drapery; beneath him, the
seraph with the symbols of the Passion and Eedemption, and in
the foreground St. Michael, the executor of doom, dividing the
wicked from the blest. As a make-weight to these, the apostles
are seated on clouds in a fine perspective row at each side of the
Messiah. The system of poise and counterpoise is carried out in
the minutest particulars, and with such success that the science
in the conjunction of the parts is hidden by the harmony of the
whole. A new perfection is given to form, a greater freedom and
nobleness to action, a more striking individuality to faces nearer
than of old to the standard of masculine beauty, a more select
detail to extremities. Passion is rendered with simplicity and
measure elevation ; in the mien and regular face of the Kedeemer,
whose gentleness reminds one of da Vinci, in the air and converse
of the apostles, in the gestures of the elect and of the condemned.
In the boy-angels the innocence of childhood accompanies their
flight and gambols, whilst those who sound the trumpets of the
Judgment have a sprightliness almost carried to excess when one
considers the solemnity of their office. A broad cast of drapery
correctly defining and seeking the shape, and cleverly folded about
the feet, is also a distinguishing feature. The general laws of per-
spective and foreshortening are very fairly applied, and judiciously
combined with those of geometric division. But the study of
Leonardo by della Porta is still more conspicuous in the sky and
glory,1 the vapour of which is created by an infinite diversity in
gradations of tints — the forms of the clouds contributing to the
general effect by contrasts of colour as well as by variety of out-
line. But in the figures also the colour is warm, powerful, and
well fused, and if occasionally sharp in the juxtaposition of lights
and shadows in flesh, or of tones in drapery, the cause may be
found in difficulties attending fresco, which della Porta only over-
came later, and which Andrea del Sarto alone finally conquered.
1 And this in spite of the damage caused by time and other causes.
60 FEA BARTOLOMMEO [OH.
The wall-painting of S. Maria Nuova is the masterpiece of a
man who almost succeeds in combining all the excellence of his
predecessors and contemporaries.1 Through the influence of
Leonardo chiefly, he raised the level of Italian art a step higher
than it was before, and left nothing but the very last polish to be
given by Eaphael. With Michael Angelo this combination had a
slighter connection, Buonarroti having more obviously favoured
the style of the vehement Signorelli. But Fra Bartolommeo drew
the great Florentine into the compass of his view in a subsequent
period of his career, and derived something from him for the en-
largement of his manner.
In thus attributing to della Porta a rare merit, we do not forget
that the fresco of the Last Judgment was completed by Mariotto.
But it is as certain as anything can well be that Albertinelli had
no harder task to perform than to fill up the lower outlines left
unfinished by his partner, and add the portraits of the donors,
Gerozzo Dini and his wife.2 We regret only that the ruin of the
latter should prevent a direct comparison between the two men,
and that the portion left undone by Baccio should have been most
seriously damaged by time and want of proper care.3
The resolution of Baccio della Porta to enter the Dominican
1 " In quelgenere," saysVasari very truly, "si puo far poco pit " ( VASABI, iv. 181).
2 VASABI, iv. 180 sq.
3 Florence, S. Maria Nuova. The fresco was removed at the instance of Mr.
Cavalcaselle from the wall of S. Maria Nuova in 1871, and thus rescued from total
loss. It is twelve feet square, arched semi-circularly at the top. There are many
parts scaled — e.g., the shoulder of the apostle, on the extreme life, a piece of the
Virgin's veil, the lower edge of the Redeemer's mantle, the right shoulder of the
friar looking down to the right of the Saviour, justly described by Father MARCHESB
as the portrait of Angelico (it is that engraved by Vasari, and therefore the his-
torian's memory failed him when he spoke of Fra Giovanni as being below amongst
the " beati "; vol. iv. 181); the arm of a figure left from the archangel; the torso of
the latter; the head of the nude tearing his face; that of a man sitting hi the right
foreground, and generally the whole of the lower border of the picture. Other
portions are rubbed and discoloured; the portraits of Dini and his wife are lost.
The fresco, which had been sawn from the wall and placed in the court, near the
hospital, was gradually fading from the effects of damp rising into the lime from
the ground. A roofing, erected after the transfer, was an insufficient protection,
especially in winter, when the room was frequently used as a greenhouse. A poor
but old copy of the fresco is in the cloister of the disused church of S. Apollonia
at Florence. [* The fresco by Fra Bartolommeo is now in the Uffizi, where a
large copy of it, made by Raffaelle Bonaiuti in 1871, is also to be seen.]
in.] BAETOLOMMEO ENTEES THE DOMINICAN OEDEE 61
Order may have been hastened by domestic bereavements. It
is not unlikely that the loss of his youngest brother Michele and
of his mother Andrea placed him in a frame of mind favourable
to suggestions of monastic retirement. The only surviving
member of the family at Florence was his brother Piero, whose lot
he proposed to benefit by surrendering to him the whole of his
father's succession. One moment's hesitation might have been
caused by " doubts as to the selection of a suitable guardian for
Piero." That, however, was soon decided by Santi Pagnini the
Dominican, who expressed his willingness to act in this capacity ;
and the last scruples of the painter being thus removed, he took
the first vows in S. Domenico of Prato on July 26, 1500, and, after
a year's probation, professed under the name of Fra Bartolommeo.1
He never rose higher than to deacon's orders, nor was it intended,
perhaps, that he should do so.2 For some time he was allowed to
lead a contemplative and inactive life, but in his cell of S. Marco
at Florence the busy hum of the external world did not fail to
reach him. Mariotto, whose grief at his voluntary seclusion was
evidently sincere, occasionally came, and no doubt retailed the
gossip of artistic circles. The Frate was thus made acquainted
with the tremendous competition of Michael Angelo and da Vinci,
and was informed of the coming of Kaphael. His own fame had
not been buried under the frock, and we conceive it possible that
Sanzio, finding Buonarroti and Leonardo too much engaged or
too high in station to busy themselves about the fortune of a
youth, sought out the monk in his solitude, and courted his friend-
ship. His inclination for Fra Bartolommeo would be great in
proportion to his admiration for such a grand production as the
Last Judgment of S. Maria Nuova, a fresco embodying all the
principles of high art which Eaphael had as yet to master; and
the friar's partiality for da Vinci's system of composition and
method of colouring would act as an incentive in Eaphael to
make them his own.
But in Fra Bartolommeo himself the thoughts of an altered
condition, the remembrance of Savonarola, and the duties of
religion necessarily had a tendency to chasten and to soften his
1 MABCHESB, Hern., u.a., ii. 27, 28, and 359; VASARI, iv. 180.
2 MARCHESE, u.s,, Doc. IX., ii. 369. " Erat autem diaconus."
62 FKA BARTOLOMMEO [CH.
spirit. It was no longer open to him to follow impulses natural
to a lay artist. Nor did he feel any desire, apparently, to issue
from a sort of dreamy enjoyment of his new life. But if he did, he
concealed the struggle, and, casting about for models, he might
admire in Fra Giovanni, whose masterpieces filled every cell in
S. Marco, an excessive purity and fervour; in Perugino and in
Kaphael, a tenderness and calmness of meditation equally attrac-
tive because new and more within his reach than the intensely
religious mysticism of Angelico. He tempered in this wise, as
we shall see, the weight of his Florentine style with the gentleness
of the Umbrian, giving in exchange the science which he had
learnt either directly or indirectly from Leonardo. Perspective,
we are told, he learnt from Eaphael. Perhaps he then received
lessons in the abstruser problems familiar to the ateliers of Ver-
rocchio and Perugino; but he had already applied more general
rules in the fresco of the Last Judgment with the same success as
Eaphael himself in the later Eoman period.
How long Fra Bartolommeo pondered before he openly confessed
a wish to resume his old occupations cannot be established with
any certainty.1 He was troubled with qualms as to the prospects
of his brother, for whom he had to choose a guardian instead of
Santi Pagnini, elected in 1506 prior of Santo Spirito at Siena.
He desired to see Piero engaged in a business of some kind, and
wanted him to learn painting ; but he felt disinclined to be himself
the teacher, and preferred to vest that duty in Mariotto. He
therefore signed a deed (January 1, 1506, n.s.) by which his
brother became the ward of Albertinelli for a term of six years.2
He had scarcely taken this step, when he returned to his own
easel; whilst Piero, too old to learn a profession, rendered all
previous foresight nugatory by entering the priesthood.3
From that time Fra Bartolommeo ceased to think of anything
else but the pencil, and was acknowledged as the head of the
workshop belonging to S. Marco. With the orders for pictures
he had nothing to do, still less with the remuneration, in which the
entire community had an interest.4 Helping hands there were in
1 VASARI says: " Four years spent in S. Marco " (iv. 182); ergo, till circa 1505.
2 The deed in full is in Father MARCHESE, p. 357 and following.
3 See the genealogy, antea, p. 50, n. 1. * RAZZI, in MAECHESE, Mem., u.s., ii. 61,
in.] FRA BAETOLOMMEO RESUMES PAINTING 63
sufficient numbers; and so he laboured for the sake of a name,
and for the profit of his brethren, with one distinction only — that
of dispensation from attendance in the choir.1
Amongst the early fruits of his new activity we may class a little
treasure of the Uffizi collection, the shutters of Donatello's relief-
triptych of the Madonna, ordered, according to Vasari, by Piero
del Pugliese, and considered a gem by the Duke Cosimo.2 Inside,
the Nativity and Circumcision ; outside, the Virgin and the Angel
Annunciate, in monochrome. Nothing more exquisite than this
miniature had, as far as we know, issued from the hands of Fra
Bartolommeo. In the Nativity, the Child is adored by the kneel-
ing Virgin, whose two attendant angels stand in converse, St.
Joseph to the right resting against a pack-saddle ; the scene, a land-
scape of minute touch and gay clear tones, after the fashion of the
Ferrarese or Flemings, with slightly leaved trees recalling those
of Eaphael's Florentine period. In the spacing and grouping,
which are well managed, the figures are connected with great
judgment, and impressed with the necessary individuality. The
favourite ellipse of Baccio is visible in the Virgin's head in con-
junction with a thin shape and extremities; the form, in her as
well as in the angels, reminiscent of Rosselli, whilst the pretty
smiling child has more the air of those by Sanzio; St. Joseph, of
a masculine cast and broadly draped. The Circumcision is the
exact counterpart of the Nativity as to style and execution; the
Annunciation, a notable instance of the painter's feeling for the
elegance in angels which is to be found in the new art of Florence
at the rise of the sixteenth century. The colour, softly fused and
well modelled, with good contrasts of light and shade, discloses
a different technical process from that of Rosselli, but the same
comparative absence of glazes and similar methods generally to
those in the Vision of St. Bernard at the Academy of Arts in
Florence.3
1 RAZZI, in MABCHESB, Mem., u.s., ii. 61.
2 " Non e possibile a olio poter far meglio " (VASARI, iv. 176). These shutters
are now No. 1,161 at the Uffizi.
3 A Nativity (wood, oil) of small compass, No. 23 in the Rasponi collection at
Ravenna, stands under the name of Raphael. At first sight, one feels inclined to
ascribe it to a Ferrarese imitating Fra Bartolommeo. But on closer examination,
and seeing that the landscapes of the triptych shutters at the Uffizi have some-
64 FRA BARTOLOMMEO [CH.
The first glance at this composition, which was delivered in the
spring of 1507, suggests a doubt as to whether it was ever finished,
so raw is the impasto.1 Prolonged examination shows that this
appearance is due to flaying and restoring. But, however ill-
calculated its present condition may be to please the eye, the dis-
tribution is such as to retrieve in part even that deficiency, and
to excite the highest admiration; whilst the damage done to the
surface lays bare the secrets of Era Bartolommeo's palette. They
are evidently the same as those of da Vinci in the portraits of the
Ambrosiana,2 the flesh being rubbed in and modelled with brown
earth, and then brought up to a cheerful general key of a fluid
semi-transparence. After this the half-tones and shadows were
scumbled to a bluish-grey with more or less depth, according to
the darkness required, and the lights were touched on in a broad
mass over all, the whole being united at last by glazes of the
thinnest texture, which have now in a great measure disappeared.
This was the system of handling which owed its origin and progress
to da Vinci, who carried it to perfection in the Mona Lisa — the
system which Fra Bartolommeo improved as he grew older, and
which Andrea del Sarto at last thoroughly understood. It was
the novel one which Vasari describes as having surpassed that of
Franeia and Perugino, when practised by Leonardo, Giorgione,
the Frate, and Raphael.3 It is, however, but a variety of Peru-
gino's method of strata, with the inevitable rawness produced by
thing of the same peculiarity, which is also remarkable in the Vision of St. Bernard
at the Academy, one may class it amongst the works of Fra Bartolommeo at the
period we are now considering. [* The collection of Count Ferdinando Rasponi
of Ravenna was sold by auction at Brussels on October 25, 1880. A Christ
appearing to the Magdalen, in the Louvre (No. 1,115), may confidently be identified
with a picture for which Fra Bartolommeo received a rate of payment on April 30,
1506. The authors ascribe the painting in the Louvre to Albertinelli; cf. postea,
p. 105 «?.].
1 No. 97, Florence Academy of Arts (VASARI, iv. 183). The Virgin appears
on a cloud supported by cherubs, with boy angels and seraphs. She holds the
infant in her arms ; and He gives the blessing. St. Bernard kneels at a desk in the
middle of the foreground, SS. Benedict and John Evangelist behind him. Left
of the desk is a little arched picture of the Crucifixion between two saints. The
blue mantle, falling from the Virgin's head, is renewed, as are the head and mantle
of the Benedict, the head and red cloak of the Evangelist.
* 2 Cf. antea, p. 33, n. 1.
3 VASARI, iv. 11.
in.] THE VISION OF ST. BERNARD 65
their overlapping, when thin glazes do not cover the edges, and
with casual opacity where repeated labour has, been required to
soften the occasional abruptness of the superpositions. The same
principles in Credi and Piero di Cosimo only yielded less favourable
fruits because their talent was not of the highest class.
No picture more fully embodies the idea evolved in Fra Barto-
lommeo's Vision of St. Bernard than that of Filippino Lippi
whose slender mould of shape is preserved by the Dominican;
but we recognize at once the progress embodied in the Frate's art
by the superior tact shown in conception and distribution. The
apparition of the Virgin, wafted through the air on the clouds,
supported by cherubim, is imposing by the majesty of its ensemble,
as well as by the grace and elegance of its parts. There is motion
in the forms, in the drapery, in the rolling mist. The confidence
of love in the angel on whose shoulder the Virgin steps, as he guides
her foot with his hand, the playfulness of the peeping boy, are
charming. Briskness and sprightliness in the attendant seraphs
are perhaps carried to excess, reminding one still of RosseUi. But
Raphael did not compose better. The types alone are not so pure
and fresh as those of Sanzio; for though Fra Bartolommeo tried
to give them an aspect of chasteness and supreme beauty, he did
not thoroughly succeed, from lack of that delicate fibre which
discerns the very finest shades of thought, and also mainly because
he was the follower of an analyst who sought the ideal scientifically
and irrespective of impulse, and could not with all his subtlety
produce what in Raphael is the result of feeling, without mental
effort.
Opposite to the Virgin, but looking up from his book as she
appears in the sky, and accompanied by St. Benedict and St. John
the Evangelist, kneels the ascetic St. Bernard in ecstacy, nobly
surprised, and well set off by a long train of drapery. A summer
twilight of evening is on a gay and smiling landscape receding from
hill to hill, enlivened with horsemen near a city, and closing on
the horizon.
In this, as well as in the arrangement and execution of the
picture generally, Fra Bartolommeo was not indebted to Leonardo
only, but perhaps also to Perugino, whose meditative tenderness
and gifts as a colourist were calculated to alter the masculine
66 FEA BARTOLOMMEO [CH.
and solid nature of the monk's art, at a moment when convent
discipline, the solemn spirit of religion and past example might
tend to soften his character. It was the more easy for him to
surrender himself to such influences if Eaphael stood by to give
them weight; and we can fancy the style of the Frate being
impressed in this way by Vannucci's Pieta of S. Chiara.
But if, in the Vision of St. Bernard, Fra Bartolommeo reveals
this inward struggle, another masterpiece of the same period
also shows how successfully he could instil into his work the re-
ligious pathos, if not the absolute purity, of Fra Giovanni. In
a lunette above the door leading into the refectory of S. Marco, he
represented the Meeting of Christ and the Apostles at Emmaus j1
and courting direct comparison with Angelico, he gained unusual
sweetness and dignified repose. Kefining upon the theory of
colour applied in the Last Judgment of S. Maria Nuova, he
obtained a richness of tone in fresco reproducing nature in its
best and most favoured appearance ; a form with scarce a blemish,
features both select and breathing, movements elastic and ready,
and drapery of the finest cast.2
In the meantime Bernardo del Bianco, who had ordered the
Vision of St. Bernard for the Badia of Florence, began haggling
about its price. Fra Bartolommeo declared it to be worth 200
ducats. Bernardo offered eighty. Hence great excitement in the
Dominican community. Both parties agreed to accept the
arbitration of the abbot of the Badia, who withdrew from his
office, because he could not bring Bernardo to terms. Mariotto
Albertinelli, Lorenzo di Credi, and others tried in vain to moderate
between the angry disputants, and a suggestion was made at last
that the question should be deferred to the guild of the " Speziali."
But the Dominicans objected to submit their grievances to a
lay tribunal, and only consented after some delay to accept
* * This fresco has now been taken down, and is shown in the cell No. 12 on
the upper floor of the monastery.
2 Much freshness has been taken from the wall-painting. Some fragments of
lime have dropped from the hair of the Saviour and the forehead of the central
saint. The ground also is injured. As it was a tradition at S. Marco, repeated
by VASABI (iv. 197), that one of the saints was a likeness of Fra Niccol6 della Magna,
and it is proved that this Dominican was prior of the convent hi 1506-07, leaving
Florence in the latter year for Rome, the date of the piece is approximatively
deduced.
in.] VISIT TO VENICE 67
Francesco Magalotti, Bernardo's relative, as umpire. By his
mediation the price was fixed at 100 ducats, and a very pro-
tracted quarrel was thus brought to an end on June 17, 1507.1
The annals of S. Marco at this time contain evidence of a close
connection and a constant intercourse between the Dominicans
of Florence and those of Venice.2 Frequent journeys were under-
taken by members of the Florentine community to the convents
of the sister republic, and Fra Bartolommeo took advantage of
one of these opportunities to visit Venice in the spring of 1508.
Failing health might urge him to take this trip ; a desire for change
of air and scene, or a wish to study the masterpieces of a school
justly celebrated throughout Italy. He might have heard from
Baccio da Montelupo, an exile since the persecution of Savonarola,
how marvellously proficient the Venetians had become as colour -
ists; or the monks who travelled occasionally between the two
places had discoursed to him of the wealth and splendour of
the city of canals. It was perhaps his intention, and that of
the Syndic who accompanied him, to engage a journeyman for
the atelier at S. Marco. When the Frate found himself at Venice,
in April, 1508, he was met by Baccio da Montelupo, guided by
whose experience he saw the rarest sights, and admired the works
that filled the palaces and churches. Yet such was the known
pre-eminence of the Florentines as painters, even on the Adriatic,
that when Fra Bartolommeo came to the monastery of S. Pietro
Martire at Murano, he was asked by the Vicar Bartolommeo
Dalzano to give him for a reasonable price a specimen of his skill,
and he was obliged to promise a canvas of the value of 70 to
100 ducats.3 But his time was so amply filled by occupations
of various kinds during his stay, that he postponed the execution
1 The record, with full particulars of this arbitration, is in MAKCHESE, ii.,
pp. 360-363. [* An Assumption of the Virgin in the Kaiser Friedrich Museum at
Berlin (No. 249) is in all probability identical with a picture of that subject which
Fra Bartolommeo in 1508 is recorded as having painted for the Compagnia de'
Contemplanti at Florence (mentioned by VASARI, iv. 196, as in possession of
Ottaviano de' Medici). The picture is, however, not wholly the work of the
master. See KNAPP, u.s., pp. 69-74, 262; and cf. posted, p. 95.]
2 E.g., in the record just quoted.
3 In the record of this transaction between the convents of S. Pietro at Venice
and S. Marco at Florence (in MABCHESE, ii. 52 and 363) the facts in the text are
authenticated.
68 FRA BARTOLOMMEO [OH.
till he returned to Florence, bringing with him an advance of
28 ducats in money and colours, and a prospect of payment for
the remainder out of a sum to be raised by the sale of MS. letters
from St. Catherine of Siena, held by a friend of Father Dalzano,
in Tuscany.
Fra Bartolommeo's first care on resuming his duties in S. Marco
was to reorganize the atelier and introduce new elements into it.
However unwilling the Dominicans might be to acknowledge
that their own Order was unable to provide the necessary assist-
ance, they tacitly admitted it by allowing the Frate to take
Mariotto Albertinelli into partnership. There was nothing new
in the employment of a layman in a monastic workshop, for
Benozzo Gozzoli had been helpmate to Angelico; but there is
no other instance of an association like that into which Alberti-
nelli entered with the convent of S. Marco. It seems to have
been agreed that the Syndic should provide for all current ex-
penses, and that the net profits should be divided with Mariotto.1
We shall presently see that a subdivision of interests also existed.
Some pictures were finished in the essential parts by Fra Bar-
tolommeo, others were more exclusively Mariotto 's; others, again,
were the fruit of their labour with additional aid ; and there was
a monogram to distinguish all but the paintings of the first
The commission which first occupied Fra Bartolommeo after
the reorganization was that which he had accepted from Father
Dalzano, the subject of which is simply the Eternal in heaven,
attended by cherubs and seraphs, and worshipped from below
by St. Mary Magdalen and St. Catherine of Siena. In this most
admirable production for feeling as well as form, a special attrac-
tiveness is created by colouring redolent of Venetian richness
and brilliancy, and by atmosphere successfully attained in
gradations of landscape-tints, and by chiaroscuro after the
method of da Vinci in the Mona Lisa, or of Raphael in the por-
trait of Leo X.2 Without being free from occasional rawness
1 The partnership commenced in 1509, the inventory of the division of profits
in 1512 stating that the association had lasted about three years. See the inven-
tory in MARCHBSB, ii. 144.
2 "Ne meno di costui (Giorgione), diede alle sue pitture forza, rilievo, dolcezza
e grazia ne' colori, Fra Bartolommeo di S. Marco " (VASARI, iv. 11).
f
in.] ALTARPIECES AT LUCCA 69
in the flesh, the picture exhibits increased knowledge of the use
and value of glazes in the figures and distance. The saints
almost touch the ground, but the sense of their elevation above
the rank of mortals is conveyed by their kneeling on light clouds
rolling above the ground on cherubs' heads. The Magdalen,
with eyes cast down, has the beauty of the penitent. The
St. Catherine is more austerely elegant, and shows supreme longing
in her upward gaze; but there is less distinction in the shape and
air of the Eternal in benediction ; and the angels about him, with
their crowns, garlands of flowers, and strings of pearls, if select
in form and true in movement, are a little hard in colour, from
which we gather that Mariotto had a share in carrying out the
arched glory.
Advice having been sent to Venice that the canvas was ready
for delivery, the monks of S. Pietro waited some time before
they replied. They despatched two friars to negotiate, who left
Florence without coming to terms; and they paid no attention
to a protest issued by the convent of S. Marco in January, 1511.
In the end Fra Bartolommeo remained in possession of the piece
at the dissolution of his partnership with Albertinelli, and is
supposed to have presented it to the prior Santi Pagnini.1 It
now hangs on an altar to the left of the portal in S. Eomano of
Lucca,2 vying with a Madonna of the same year and by the same
hand in a neighbouring church.3
In the chapel of the sanctuary at S. Martino of Lucca, an old
and time-honoured subject is invested with new interest. Two
angels suspend the crown and veil above the Virgin's head, their
frame and wings detached with delicate shades of tint from the
lighter tone of the sky. The Virgin herself wears the mantle
about her head and holds the Infant on her knee, a lovely little
being full of fresh life, joyfully looking out as the angel on the
1 MARCHESE, u.s., ii. 52, 246 and 363. See also VASAEI, iv. 192. The follow-
ing may be read on the left side of the foreground: " Orate p. pictore 1509." The
drawing for the Eternal, an exquisite thing, is in the Uffizi under the name of
Leonardo.
* 2 It is at present in the Lucca Gallery (Sala I., No. 12).
3 VASARI, iv. 191. The picture (in oil, on wood) is signed on the step occupied
by the angel: " 1509. Fris barthol. Florentini opus 1509 oris. predicator." The
figures are under life-size.
VI.— F
70 FKA BARTOLOMMEO [CH.
step, with upturned glance, feeds his ear with the harmony of
a little viol. By the two pillars which confine the space, St. John
the Baptist and St. Stephen are relieved in light on the darkness
of the ground. A noble picture this, full of gentle elegance,
Leonardesque in science and in execution, and graced with the
prettiest finesses of the brush, bathed in a warm and airy vapour,
and firm of outline and touch.1
We see in this and in the canvas of S. Komano with what
cheerful activity Fra Bartolommeo had taken to work in company
with his old friend Mariotto. But the fertility of the year 1509
was not exhausted here. It probably yielded two more examples,
the Virgin and Child between four saints in S. Marco at
Florence, so grand in its day as to have been taken by Pietro da
Cortona for a Kaphael,2 and the small Virgin, children, and
St. Joseph, now belonging to Earl Cowper at Panshanger.3
Such a gem as this Holy Family is alone worthy of a pilgrimage,
representing at once the skill of the Frate, Leonardo's maxims
of composition and moulds of face, and Eaphael's feeling. The
eye is fixed at once on the prominent brightness of the flesh in
the Virgin and Christ. The lines are most skilfully concentrated
into a pyramid, and affectionate fondness beams in the features
and expression of the mother in whose eye a smile of delight is
lurking. St. Joseph smiles outright, and is also reminiscent of
da Vinci. The Infant Christ, in thought, all but lives and breathes.
He takes the cross from the little Baptist, whose action is some-
what hard and strained. One can fancy Fra Bartolommeo sitting
before this panel, playing like a master with the innovations in
* l The impulses received by Fra Bartolommeo in studying Venetian painting
were considerable, and reacted through him on Florentine painting generally.
The authors justly notice in the S. Romano altarpiece a Venetian influence in the
colouring; moreover, the whole mise-en-scene is very Venetian. As for the
S. Martino picture, Mr. BEBENSON (u.s., i. 137) has aptly described it as "almost
Giorgionesque," the putto seated on the step of the throne and playing the lute
being besides a direct imitation Bellini's music-making children. The niche which
is henceforth so frequently used as a background by Fra Bartolommeo is also a
motive derived from Bellini's great altarpieces (c/. KNAPP, u.s., passim).
2 VASABI, iv. 186; MABCHESE, ii. 76 and 367 (wood, oil, figures life-size). The
colour blackened by time and injured by restoring. The character of the whole is
Raphaelesque in its gentleness. The picture was given by the monks, in 1534,
to Gio. Maria Benintendi for his chapel in S. Marco.
* 3 At present the property of Lady Desborough.
Photo, the Medici Society, Ltd.
THE HOLY FAMILY
BY FRA BARTOLOMMEO
From a picture in the collection of Lady Desborough, Panshanger
VI. — To face page 70
in.] HOLY FAMILY AT PANSHANGER 71
the technica of his art. One perceives how he rubbed in the
shadows and mezzo-tints, and added the different strata of
colour over each other like sheets of tinted crystal, a cool spot
in the light here and there tempering its monotone, a dark one
varying that of the shadow, the brightest parts of solid impasto
and of a warm yellow, the darker ones of a greenish- grey, and
so usually transparent that the drawing appears beneath, except
in places where a dab or a scumble with the finger strengthens
the texture. When the first preparation required no alteration,
it was left untouched, because, though such bits might look a
little raw on close examination, they kept their harmony at a
distance of a few paces. Finish was obtained at last by subtle
glazings, the subsequent abrasion of which may account for
occasional coldness.
Although Fra Bartolommeo and Mariotto were associates
when this Holy Family was done, its completion was due almost
entirely to the former, and fell to his share on the division of
profits in 1512.1 The purchaser was probably Filippo di Averardo
Salviati, one of whose relations afterwards placed the following
memorandum on the back of the panel: " P). Fra Bartol0 di
S. Marco oggi df° . . } Ant.° Salviati."
During 1510 the labours of Fra Bartolommeo were neither less
important nor less numerous than those of the previous year.
His time was chiefly spent on an order from Giuliano da Gagliano,
from whom large advances were received in November;2 but the
most honourable commission confided to him was that of the
altarpiece, once undertaken and never begun by Filippino Lippi,
for the hall of the great council at Florence.3 Yet we must
1 If the hand of Mariotto be sought in any part, it might be found in the land-
scape to the right, where the Flight into Egypt is depicted, the treatment and
local tone being like those in Albertinelli's Virgin and saints at the Louvre. The
parts where Fra Bartolommeo allows the ground to appear are in the Virgin's
tunic, in the flesh shadows of the hands of the Virgin and Baptist, and in the vein
on the right leg of the latter. The panel is 3 feet 5 by 4 feet 3 inches. It is recorded,
if we rightly judge of the matter, in the memorandum of division between Mariotto
and the Frate (MABCHESE, ii. 144), but see also VASARI, iv. 176.
2 MABCHESE, ii. 69 and 144. The picture not to be found at present. The last
payment was in January, 1512.
3 1510, November 26. Locatio tabule Consilii Maioris. Item dicti domini . .
deliberaverunt &c. quod Tabula altaris sale magne Consilii Majoris que fuerat
72 FRA BARTOLOMMEO [CH.
suppose that some difficulties arose as to price, because after
the figures had been sketched, the panel was put aside and left
for future consideration.
In 1511, the last touches had been given to a small round of
the Nativity, a Christ carrying his cross, a Virgin Annunciate,
sold to the Gonfaloniere of Florence, a subject sent to the Car-
thusians of Pavia, another sold to an English dealer, and a
Marriage of St. Catherine, of all which only one is extant.1
According to Vasari the Marriage of St. Catherine was exhibited
for several months in S. Marco, and was afterwards forwarded
to the King of France.2 The real facts are these. In 1512,
Jacques Hurault, Bishop of Autun, was envoy of Louis XII. at
Florence. The Florentine Government, desirous of securing his
favour, found an ingenious mode of doing so by the gift of Fra
Bartolommeo's picture, which was bought from S. Marco for
300 ducats. Hurault took the present with him, and left it to
the cathedral of his diocese at Autun, from whence it passed at
the Ee volution to the Louvre. The friar's signature and the
date of 1511 are on the Virgin's throne.3
With this masterpiece we enter upon a new phase in Fra
Bartolommeo's career, and we find him partly resign the tender,
in vita olim Filippi fratris Filippi pictoris (see antea, iv. 286, and VASARI
v., note 2 to p. 351) eidem Filippo ad ipsam depingendam locata que propter
subsequentem mortem depingi per eum non potuit; detur et locetur ad ipsam
depingendam et faciendam fratri Bartholomeo pictori qui est in conventu et
Ecclesia Sancti marci de florentia ord. pred. S. Dom1, eo modo et forma et cum
eisdem conditionibus et pactis et mercede cum qua, que et quibus et prout ipsa
fuerat per prius locata dicto Filippo fratris Filippi. Arch, di Firenze. Proto-
cotto delle Deliberazione de' Signori e Cottegi dal 1508 al 1511. Bimestre di Nov.
e Dec. 1510 (13 pages).
1 See the memoranda MS. of the Syndic of S. Marco, and the deed of division
drawn up by Mariotto, in MAECHESE, u.s., ii., pp. 66 and following, 144, and 365.
2 VASARI, iv. 184.
3 The old frame bore the following lines: " Jacobo Huraldo Heduorum Episcopo
Ludovici XII. francorum regis legato fidissimo senatus populusque Florentinus
dono dedit anno MDXII." On the throne are the words: " Orate pro pictore.
MDXI. Bartholome Floree. or. prse." Wood, oil. No. 1,154 at the Louvre (see
MTJNDLER, Essai d'une analyse, etc., 8°, Paris, 1850, p. 87). A note of the sale of
the picture for 300 ducats to the Florentine Government, and of its gift to Mon-
signor di Othon (Autun) is in the memoranda of the Syndic of S. Marco (MS. ap.
MABOHBSB, u.s., ii. 66 and 144).
m.] MARRIAGE OF ST. CATHERINE, LOUVRE 73
the kindly, and the meditative for a broader style more natural
to his spirit and education.
The background is a semi-dome with advancing pillars and a
bold cornice, in the centre of which the Virgin sits on a pedestal
and rests her feet on a stool. Her right hand is on the head of
Christ, who stands at her knee with one leg on the stool, and,
as he turns, giving the ring to the kneeling St. Catherine of
Siena. This charming idea, rendered with Leonardesque ele-
gance of lines, conveys a sense of great affection and veneration
towards Christ on the part of his mother ; not so much, however,
by chosen type as by movements the softness of which emulates
those of Raphael's Bella Giardiniera at the Louvre. The differ-
ence between Fra Bartolommeo and Sanzio now is that the friar
applies the most rigid rules of da Vinci, whilst his friend has
more sentiment and more colour. The saints in the presence
have already a sternness of mien, a gravity of deportment, and
a grandeur in the fall of their drapery which illustrate the ex-
pansion of the master's mind. The Child is no longer of tender
age. Foreshortenings, of which the beginnings are noticeable
in the flying angels of S. Romano at Lucca, become more hardy
and more lifelike in the three boys who support the festoons of
the dais. Perspective generally is used with perfect correctness
in the figures, which stand on their planes with extraordinary
firmness. The tone is of a bright gay key, calculated for a particu-
lar place in S. Marco, though seen to little advantage in a gallery
where one light serves for all; but it is also probable that the
final glazings have been removed by cleaning.
The form which Fra Bartolommeo had thus given to a com-
position of frequent recurrence in past years, so perfectly suited
the taste of the public that the atelier of S. Marco could not
supply repetitions of it with rapidity equal to the demand; nor
did the subalterns of the shop treat it with anything like the
vigour and success of their chief, as is shown by the large example
in the Academy of Arts at Florence.1
1 Florence, Academy of Arts, No. 170. Wood, oil, figures life-size. Originally
in Santa Caterina of Florence. The execution is weak, the colours at one painting,
bricky and opaque, and the hand possibly that of Fra Paolino of Pistoia. T* This
picture is now in the Musco di San Marco at Florence (Anticamera del refettorio
grande, No. 8).]
74 FKA BAKTOLOMMEO [CH.
A more successful combination of the hand of Mariotto with
that of the Frate in 1511 is the Madonna between SS. Peter and
Paul on the altar of the Mastiani family at S. Caterina of Pisa,
where we admire the noble attitude of the Virgin holding the
Child in benediction, as she rests her foot on the broken pediment
of a column, and the grandiose air of the two saints standing
in the full consciousness of solemn reverence on the foreground.1
An inky tone pervading the surface is due to injuries caused by
a fire that broke out in the church in the seventeenth century,
but it is of interest to note upon the pedestal of the throne a
motto and a date headed by a monogram repeated from a panel
of 1510 assigned to Fra Paolino in the Imperial Gallery at Vienna
— a monogram composed of a cross and two rings, which is to
be found on a panel bearing the joint signatures of Fra Bar-
tolommeo and Albertinelli at Geneva,2 and on works hereafter
to be mentioned by Fra Paolino or other assistants in the monas-
tery of S. Marco.
Incomparably the grandest of the creations by the friar in
company of Mariotto is that completed before the close of 1512
for S. Marco with a variation of the old theme, the Marriage of
St. Catherine of Siena. Having been unaccountably given away
to the Bishop " of some diocese " in 1588, it now adorns the Pitti
collection, and bears the inscription: " 1512, orate pro pictore."3
Fra Bartolommeo having reached this point in the treatment of
his favourite subject, may be said to have exhausted it, and set
at defiance all future attempts at improvement. In composition,
1 The upper part of the panel is new, and most of its surface is repainted, except
portions of the Infant Christ and the feet of the standing saints. The figures are
life-size (in oil); and on the pedestal one reads: ** Deposuit potentes de sede et
exaltavit humiles. 1511." Records of payments for the picture to the Frate and
Mariotto are in MABOHBSB, ii. 69, 70, 144. [* This picture hangs now on the right
wall of the first chapel to the right of the choir. Chronologically, the altarpiece
painted by Fra Bartolommeo and Albertinelli for Jean Ferry Carondelet, and now
in the cathedral at Besan?on, should have been noticed hi this connection. The
first payment for it was made in 1511, and a second in 1512 (see posted, p. 97).]
2 In Sainte Madeleine at Geneva are two wings of an altarpiece representing
the Virgin and angel annunciate, with the monogram and the words: " Ffis
Bartho or. p. et Mariotti Florentine? . opus." [* These are now in the Geneva
Museum.]
3 No. 208, at the Pitti. Noted by VASARI (iv. 184 sqq.), ALBEETINI (Mem., p. 12),
and MARCHESB (ii. 75, 148).
THE VIRGIN AND CHILD WITH SAINTS
BY FRA BARTOIOMMEO
From a picture in the Palazzo Pitti, Florence
Photo, Alinari
VL— To face page 1 4
in.] MADONNA AND SAINTS IN THE PALAZZO PITTI 75
drawing, and relief, it was beyond his own power to come nearer
perfection. Great as the charm had been with which he had
invested the group of the Virgin and Child in the altarpiece of
Bishop Hurault, he now infused new elements of beauty into it
by increased grace in the shape and air of the Virgin, and by
contrasting the turn of her head and frame with that of the Infant.
Then, balancing the positions of the kneeling St. Catherines at
the foot of the pedestal, and seating two boy-angels with viol
and guitar on the steps of the throne, he reared the well-known
pyramid of distribution. He placed a fine St. Michael in armour,
and a St. Bartholomew erect in weighty position as mainstays
on the foreground, uniting them by a circular chain of spectators
in converse on the floor of the semi-dome. In rivalry with
Kaphael at times in bold foreshortening, he prodigally wasted
his science in the reproduction of form and drapery, poising four
lovely seraphs in flight under the festoons of the dais. The whole
is thrown upon the panel, as Vasari says, in so gallant a style as
to leave the impression of a living scene. Yet it is more by
truthful transition of neutral light and shade than by colour that
Fra Bartolommeo obtained effect, the tone being reduced almost
to a monochrome by the use of lamp-black; but here again the
gallery is unfavourable to a work intended for a special place in
a church, and the Marriage of the Pitti will not be seen to its
best advantage till a niche is built expressly for it.
On the same principles, and under the same fortunate com-
bination of circumstances it was that the splendid " Conception,"
which now adorns the Gallery of the Uffizi, was composed. With
a versatility denied to all but a few, he formed another pyramidal
arrangement of St. Anna in ecstasy on a plinth behind a beauteous
Virgin watching the play of the Infant Christ and St. John. He
brought down the lines to the extreme foreground by the help of
four standing and kneeling worshippers, giving symmetry to
the distribution by a company of saints at each side, by a choir
of infant angels and cherubs with instruments, or singing from
a book held aloft by their hands, and by two winged children at
the foot of the throne. Had this grandiose creation been finished,
it would have been the chef d'ceuvre of Fra Bartolommeo. Having
been left in its present condition, which is that of a mere rough
76 FRA BAETOLOMMEO [CH
draught on the panel, with the drawing and preparation in
brown. It is but a sketch, yet masterly as one by Buonarroti.
Its interest is great, as revealing the growth of such a piece from
its embryo to the first stage of completion. In certain sheets at
the Uffizi we find the studies of the nudes and their subsequent
repetition in drapery, designed, we believe, from the lay figure
of which Fra Bartolommeo was the first to make use, in prefer-
ence to the models of clay, familiar to Leonardo and Credi. We
can therefore trace each step taken by the artist, from the moment
of planning to that of putting in the contours and shadows. We
mark with what science and depth of thought, with what method
he kept to Leonardo's rules in dividing space, and in combining
groups to advantage at various elevations in a given room, in
order to attain a result by which several intricate problems are
solved. But there is something more than science and method
to be discerned, and that is the inspired air of the St. Anna, the
weight, the dignity, and proud bearing of the saints, the masculine
strength of the art evolved. If, on issuing from his cell, Fra
Bartolommeo was desirous to soften his style, and for that reason
endeavoured to temper it by looking at the works of Angelico
and Perugino, his relations with Mariotto, the reminiscences of
his youth, and the current of the age took him back in 1512 to
the true breadth of the great Florentines.
How it was that this " Conception " was never carried out is
a mystery the more difficult to explain, because in June, 1513, the
Government of Florence advanced 100 ducats to the convent of
S. Marco for it, and the receipt is preserved in the handwriting
of the Syndic.1 There is reason to suppose that the first inter-
1 For the latter see MARCHESE, u.s., ii. 364. The advance is proved by the
following:
" Libro de Stanziamenti de' Signori e collegi dal 1513 al 1521.
" 125. Die 10 Junii 1513. Item stantiarono che el camarlingo del monte
che enterra in uficio a di primo di luglio proximo future del presente anno dia e
pagha a frati, capitulo e convento di Santo Marco di Firenze e per loro al loro. .
Sindicho e procuratore fiorini cento larghi d' oro in oro ; sono per parte dipintura
d' una tavola d' altare che si fa e lavora per frate Bartolommeo dipintore, frate in
dicto convento, secondo 1' allogazione factagli sotto di 26 di Novembre 1510 da
nostri magnifici et excelsi Signori, rogata per Ser Agnolo di Ser Alexandro Cascesi
loro notajo. E la quale tavola finita sara, si mettera in quello loco pubblico dove
sara giudicato da nostri excelsi Signori e savi e amorevoli cictadini de la nostra
in.] PARTING OF THE FRATE AND ALBERTINELLI 77
ruption was caused by the parting of Fra Bartolommeo and
Mariotto which occurred in January, 1512, and that others were
y/jaused by ill health.
In an evil hour for Mariotto, Santi Pagnini had been re-elected
prior of S. Marco, and his instalment had not long taken place
when the association was brought to a close. Albertinelli drew
up the memorandum of dissolution on January 5, dividing the
profits in equitable shares,1 and stipulating at the close that
" the properties hitherto in common should remain in possession
of Fra Bartolommeo till his death, and then pass to Mariotto,"
e.g., a wooden life-size figure, already mentioned, which is
described by Vasari, and is said to be that now in the Guardaroba
of the Florentine Academy;2 another of smaller size with joints
(ganghere, or hinges), a pair of compasses, and a " bambino " of
gesso moulded from one by Desiderio in S. Croce.
The partners having been separated in this manner, Mariotto
surrendered himself to a violent paroxysm of discontent; and
in his spleen declared that he would rather keep an inn than
continue his profession any longer.3 Fra Bartolommeo resumed
his duties without Albert inelli's help, and sickening in July of
citta. E per fare piu facile dicto pagamento si comanda al dicto camarlingo del
monte che dicti danari paghi del mese d' Ottobre proximo futuro del presente e
non prima, in tutto fior. cento.
" Tulit f rater Jeronimus Andrae de Ginis Sindicus et procurator, ut dixit, manu
Ser Filippi Cionis sub die 31 Mai 1513." See also MARCHESE, ii. 67, 68.
1 To the brethren of S. Marco. The altarpiece of S. Romano at Lucca (the
Eternal, SS. Catherine, and Mary Magdalen), a head of Christ given by the convent
to Lionardo Bartolini (? missing), a round of the Nativity (? missing), the altar-
piece (now in an unfinished condition) at the Pitti.
To Mariotto. A round (no subject given), a Christ carrying his cross with the
thieves (? missing), two pictures, subjects not named; an Annunciation, small,
in the hands of the Gonfaloniere. [* Mariotto, moreover, received (see the
memorandum in MARCHESE, ii. 418 sqq.\ of unfinished pictures: a panel designed
by " Pilippo " (no doubt Filippino Lippi) which had been ordered for the Certosa di
Pa via (cf. antea, v. 336, n. 3); a similar panel, designed by Fra Bartolommeo, which
was to be sent to the Certosa ; and ' ' un quadretto bozato di mano di f ra Bartolomeo,
drentovi uno Adamo a sedere e un Eva ritta, circa uno £ braccio." The last-
mentioned picture, still in its unfinished state, is now in the collection of Mr. John
G. Johnson of Philadelphia. See MATHER, in The Burlington Magazine, ix. 352,
with reproduction; HORNE, ib., p. 425 sq.]
2 VASARI, iv. 196, and annot.
3 Father Marchese very judiciously assigns to this time the resolution of Mariotto
to keep an inn.
78 FEA BAKTOLOMMEO [CH.
1514, was sent with his journeymen Fra Paolino and Frate
Agostino to the country hospital of the Dominicans at Pian di
Mugnone. Being allowed to throw some frescoes on the walls
"for his diversion and recreation,"1 he painted a Madonna in the
Cappella del Monte, another in the refectory of the infirmary,2
and, we believe, a third which alone has survived. Whatever
his bodily ailings might have been, they did not affect his powers
as an artist. Not even a momentary weakness affected his brush.
As a " frescante " he stands at Pian di Mugnone on the high
level that had become familiar to Andrea del Sarto ; as a draughts-
man and composer he maintains his old and just celebrity. What
he represents is one of those moments in the life of a mother
when the babe which is her delight and solace, suddenly clinging
to her bosom and crowing with an irrepressible fondness, is
folded as a priceless treasure to her heart. All this is shown in
the cheery and sparkling expression of the Child's round and
regular face, in the action of the Virgin who glues her cheek to
his forehead and wraps her tunic in an agony of love about his
limbs. If to this be added an exquisite taste and transparence
in tones of excessive brightness, and great perfection of modelling
we have an idea of Fra Bartolommeo's gifts at this time. His
forms have none of the mildness of the earlier convent period,
but are conspicuous by their breadth and solidity. In the Child
the glance is that which Eaphael gave to the Christ in the Sixtine
Madonna; but the group is most reminiscent as a whole of the
Virgin of the Seggiola.3
After leaving his forced retreat, Fra Bartolornmeo all but
repeated the Virgin and Child in a fresco of the Cappella del
Giovanato at S. Marco, infusing a more ardent affection than
before into the expression and movement of the mother of Christ ;
a greater life and flexibility into flesh of a true carnation.4 He
1 The record is in MABCHESE, u.s., ii. 367, under date of July 10, 1514.
2 Ib., ib., ib.
3 The fresco is arched at top. The two figures are above life-size; the lower
part of the Virgin's dress abraded. If any reproach can be made, it is that the
forms of the Child are a little puffy. [* This fresco is now in the Museo di San
Marco at Florence (upper floor, cell No. 12J.]
4 This fresco is greatly damaged, the shadows being altered by damp, and the
Virgin's face full of scratches. The Child's head is the best-preserved bit. The
in.] POSSIBLE VISIT TO ROME 79
never, in the many Virgins and bust-pictures of the Kedeemer
and saints which were produced at this time — for instance, in the
panels and frescoes that are his in the Academy of Arts at Florence1
— rose to such genuineness of feeling or to such grave and noble
individuality.2
Whether this boldness or freedom is attributable to a visit
paid to Eome before the retirement of Pian di Mugnone, is a
question likely to remain obscure. Vasari says " that the Prate
was so frequently entertained with rumours of Eaphael's and
Michael Angelo's successes that in order to judge of the matter
personally, he asked leave of the prior and went to Eome where
Fra Mariano del Piombo gave him hospitality. His intention
had been to repay this kindness by a present of a St. Peter and
a St. Paul; but the air of the capital was so unfavourable to him
that he was obliged to leave it, Eaphael meanwhile consenting
to give the last touches to the unfinished panels."3 The sickness
which forced the friar to Pian di Mugnone might, under these
circumstances, be considered a consequence of the malaria of
Eome. There is no doubt that Fra Bartolommeo would have
found Sanzio at the Vatican in the spring of 1514. The death
of Bramante had just occurred, and Fra Mariano had succeeded
to the Piombo.4 Some of the greatest frescoes of the age were
in existence — by Eaphael in the Camera della Segnatura, by
Michael Angelo in the Sixtine chapel. The SS. Peter and Paul
to which Vasari alludes at S. Salvestro, are now at the Quirinal,
one of them evidently repainted, and the intromission of Eaphael
is supposed to be confirmed by a passage of Castiglione's Corti-
giano. But, on the other hand, Vasari tells almost the same
story of Albertinelli as he does of the Frate,5 and contradicts
figures are above the life-size. A piece on the Infant's shoulder has scaled, and
the Virgin's red mantle is altered by moisture. The date is only inferred from
the style. [* This fresco is now also in the cell No. 12 on the upper floor of S.
Marco.]
1 Nos. 171, 173, 168, See also 377, at the Pitti, as described postea.
2 See for these the list at the close of this chapter.
3 VASARI, iv. 187 sq.
4 Fra Mariano got the Piombo in March, 1514, at the death of Bramante (GAYE,
Cart., ii. 135).
6 VASARI, iv. 225.
80 FEA BARTOLOMMEO [CH.
himself in the Life of Kosso by saying that Fra Bartolommeo left
the Eternal city without having done anything.1 The Corligiano
is rather contrary to the theory which assigns two panels of
St. Paul and St. Peter to the monk's stay at Home, because it
describes Eaphael busy in the presence of two cardinals with one
picture in which were a St. Peter and a St. Paul;2 and again, the
memoranda of the Syndic of S. Marco declare that " Two * quadri '
of four braccia by Fra Bartolommeo, a St. Peter, and a St. Paul
were valued at thirty ducats, but reduced in price to twenty-five
in consequence of an imperfection in the St. Peter; and both were
given away to S. Salvestro."3 It is clear that, unless we admit
the existence of replicas of these saints, we must doubt Vasari.
The Apostles of S. Salvestro, now at the Quirinal,4 are obviously
those registered in the Syndic's memoranda, and done from the
cartoons now in the Academy of Arts at Florence.6 They are
grand and stern; the St. Peter with mantle hanging over his right
arm holding the keys, and the book pressed to his breast; the
St. Paul looking out, and his hand on the hilt of a long sword.
The colour of the first is reddish and rather opaque, the shadows
of the head being taken up afresh, and the extremities being by
another painter. The head of the second is corrected so as to
leave the old contour visible; but the tone is transparent, and
the execution exclusively that of Fra Bartolommeo.6 Whoever
may have been employed on the St. Peter, we do not fancy
1 VASARI, v. 162.
2 Bernardo Bibbiena in the Cortigiano relates:
" Di questo modo rispose ancor Rafaello pittore a dui Cardinal! suoi domestic!,
i quali per farlo dire, tassavano in presentia sua una tavola, ch' egli havea fatta,
dove erano San Pietro, & San Paulo: dicendo, che quelle due figure erano troppo
rosse nel Viso. Allhora Rafaello subito disse, Signori non vi maravigliate, che io
questo ho fatto a sommo studio, perche e da credere, che San Pietro & San Paolo
siano, come qui gli vedete, anc6r in cielo cosi rossi, per vergogna, che la Chiesa sua
sia governata da tali huomini, come sete voi " (// Cortigiano, by BALDASSAE
CASTIGLIONE, etc., 4°, London, 1727, book ii., p. 213).
3 Ap. MARCHESB, u.s., ii. 146.
* 4 After the conquest of Rome by the Italians, these pictures were handed over
to the Pope, and after having long been exhibited in the Lateran Gallery, they are
now in the new Pinacoteca Vaticana. The Apostolic Chamber acquired them
from S. Salvestro in 1711. See LOEVINSON, in L'Arte, vii. 168 sqq.
5 These were originally at S. Marco. [* They are now in the Uffizi.]
6 Both panels 5 feet 10 inches in height. Each figure in a niche.
m.] POSSIBLE VISIT TO EOME 81
Eaphael to have been that person; and we assume that if Fra
Bartolommeo went to Kome, he did so for a few weeks of pleasure
or for health, as on a previous occasion he had gone to Venice.
The Virgin of Pian di Mugnone being a reminiscence of Raphael's
Madonna della Seggiola, itself related in style to the Galatea of
the Farnesina; the Virgin of Mercy of 1515 at Lucca, and the
Eesurrection of 1516 at the Pitti, having an imposing air, derived
perhaps from study of Buonarroti, we might suppose that these
results were due to a short but not unfruitful stay on the Quirinal.
Yet to build any statement of fact on such an insecure founda-
tion would be hazardous, and we must remember that examples
of Kaphael and of Michael Angelo were also to be seen in Florence.
There is no doubt in the meanwhile that, whatever the cause
may have been, the Frate had gained a confidence and power
which were the admiration of his contemporaries, and that after
his convalescence, and as if to show certain fault finders how
unfounded their reproaches were, he rapidly produced a succession
of things well calculated to disarm all criticism. One of these,
a naked St. Sebastian, exhibited publicly in S. Marco, is alleged
to have convinced the Dominicans in their confessionals of the
temptations which they had unwittingly thrown in the way of
female penitents. It was therefore withdrawn to a safe privacy,
from whence it only emerged to become lost to the history of the
arts for ever.1 But in 1515 Fra Bartolommeo's industry yielded
no less than three masterpieces, one of which would alone suffice
to give him renown. We allude to the Virgin of Mercy ordered
by the Dominican, Lombardi de' Montecatini, now in S. Komano
of Lucca; to the Madonna of the Hermitage at St. Petersburg,
1 The St. Sebastian, according to Vasari, was sold to a dealer, and sent to France
(VASARI, iv. 188, and annot.). It has been stated to be now in possession of a
gentleman in Toulouse; and truly a picture with this subject does belong to a
person dwelling in that city. But when the authors were at Toulouse, the canvas
had been sent to Paris ; and when they were in Paris, it had been taken away again.
Connoisseurs in Paris, however, are inclined to consider this Toulouse piece beneath
the powers of Fra Bartolommeo. (DABLLI'S Carte Michelangiolesche inedite, of
which there are excerpts in GRIMM'S Uber Kunstler und Kunstwerke, 2nd Jahrgang,
p. 101, give exact information as to the fate of the St. Sebastian. It was bought
by one Tomaso Sartini for 300 ducats, and sold to the King of France.) [* Dr.
KNAPP (u.8., p. 266) notes this picture as in the possession of M. Charles Alaftre
of Pezenas.]
82 FKA BARTOLOMMEO [CH.
and to the Annunciation at the Louvre. With every new effort
of the Frate we are struck by the genius which succeeds in giving
a new form and an unexpected novelty to an old subject. It is
surprising with what abundance fresh poetry and thought are
introduced into a well-worn theme by his high pictorial sense.
The Virgin of the Lucca altarpiece * is in motion, so to say, on
her pedestal, with one arm upstretched, and the other designating
the crowd of her worshippers. Her face, expressing prayer and
inspiring devotion, is turned upwards towards the Kedeemer,
Whom she alone can discern, as He majestically floats forward,
winged in the flying folds of His dress, the fingers of His right
hand in benediction. Between Him and the Virgin an angel
raises a tablet with the aid of two others, whose winding ribbands
are fast to its edges. Two boy-messengers loop up a capacious
mantle, the green lining of which is a favourable background to
the groups of adorers at each side of the foreground. Here you
have people of both sexes, of different ages, thoughtful, tenderly
meditative, eagerly demonstrative. The patron kneels, nobly
gentle, and full of faith, and hears the explanation of a Dominican
pointing to the Madonna. Before them a mother in joyful ecstasy
grasps her babe, whilst a curly Infant peers over her shoulder
shrouded in the cloak of the dame behind. Opposite to these,
a recumbent female describes the scene to her child. The classic
movement of the principal figure, the varied but always elegant
attitudes and action of the remainder, are almost matchless
instances of the mode in which scientific calculation gives nature
as a result. In most of the minutiae unusual power of observation
is revealed. Nothing can be more pleasing than the manner of
dividing the fingers with their play suggesting unconsciousness.
Admirable are the draperies in which the folds are concentrated
on the bends. The Eedeemer is magnificently poised in air, and
kept in place by judicious choice of tone and a circumambient
vapour. Looking at the composition suddenly, its flesh -tints
may be raw, its transitions from light to shade sudden; but as
the eye by degrees takes in the whole, the atmosphere that
permeates the space begins to appear, and the more we gaze,
the more intense becomes our satisfaction; and we see the Frate
* * Now in the Lucca Gallery, gala I,, No. 5.
THE VIRGIN OF MERCY
BY FRA BAETOLOMMEO
From a picture in the Lucca Gallery
Photo, Alinari
VI. — To face page 82
m.] VIRGIN OF MERCY AT LUCCA 83
illustrate an axiom described by Leonardo as essential to per-
fection. One could almost fancy that the words of da Vinci
were intended to apply to the Virgin of Mercy, which is altogether
according to his maxims. We enter into its darkest recesses,
and glance from the lights and shadows to the half-tints that
mottle the groups, as clouds cast a transparent darkness on the
flatness of a landscape and vary its monotony.1
The Madonna of the Hermitage is a variation in oil of the
frescoes of Pian di Mugnone and S. Marco, broad and weighty
in the scantling of the frames, grandiose in movement rather than
enticing by select mould of feature. Four winged children touch
instruments or keep watch around her, as she sits on the ground
and holds the spirited and smiling naked Child to her bosom ; but
full enjoyment is forbidden on account of a pallid opaqueness
imparted to the colours by restoring.2
1 "Certamente mostro Fra Bartolommeo in questa opera possedere molto il
diminuire 1'ombre della pittura e gli scuri di quella, con grandissimo rilievo operando,
dove le difficulta dell'arte mostro con rara ed eccellente maestria e colorito,
disegno ed invenzione" (VASARI, iv. 191).
On the tablet held up by the angels are the words: " Misereor super turbam."
On the Virgin's pedestal: " mf pietatis et mie". FS. OP.," which means: " Frate
Sebastiano de' Montecatini, ord. prasdicatorum," the arms of the family being
in the middle of the letters. That the canvas was ordered for Fra Sebastiano is
also proved by records, for which see MAECHESB, u.s., ii. 109, note, and 144.
On the lowest step of the throne: " MDXV. F. Bartholomeus or. pre. pictor
Florentinus." The outlines in many parts are seen as they were first drawn with
a pen. In other places they are freshened with a bold touch of the brush. The
flesh lights as well as the shadows are in half -body, very broadly treated. Glazes
are chiefly confined to the more distant parts, the light being concentrated on
the front of the picture. Some hardness may be due to cleaning.
There is a small unfinished copy of this masterpiece, miscalled a sketch by Fra
Bartolommeo, really of the seventeenth century, belonging to Signor G. B. Mansi,
at Lucca. Another small modern copy, on copper, is also under the Frate's
name (No. 4) in the Leuchtenberg Gallery at St. Petersburg.
2 On a tablet in the upper part are the words: " Mater Dei. 1515." Below:
" Bart. Flora8 ord. prsedicatorum." Wood, oil, No. 20. Hermitage at St. Peters-
burg, formerly belonging to Crozat. The shadows of the flesh -tints are retouched
with liquid tints, and hence opaque. The pupils of the eyes and some outlines
have also been repainted. There are spots where apparently old scaling was
stopped, and the new stuff has become dark. The blue mantle of the Virgin is
in a great measure repainted, with a certain loss of form resulting from the opera-
tion. It is not possible for this reason to say whether Fra Bartolommeo was alone
or assisted in this piece.
84 FRA BARTOLOMMEO [CH.
The same art in remodelling a familiar incident is exhibited
in the Annunciation at the Louvre as is shown at Lucca. The
Virgin seated under a niche, and attended by standing or kneeling
saints, bends backwards as she sees the messenger who flies
down to her. It is clear that the latter was thrown off on the
background of architecture at the moment when the rest was
finished. The tones are warm and full of air, the execution is
light and masterly, and some of the saints, the females kneeling
in front especially, are Kaphaelesque and feminine in grace and
dignity. Fra Bartolommeo has reached a point where he defies
every sort of difficulty.1 It is the time when he may be supposed
to have done the Isaiah and Job, and the sketch of the Eternal
at the Uffizi.2
In spite of a passage in the memoranda of the Syndic of S.Marco,
from which we learn that the Virgin of Mercy of S. Romano was
sent from Florence,3 Father Marchese is of opinion that Fra
Bartolommeo painted it at Lucca, at the request of Santi Pagnini.4
We may be allowed to doubt the force of his argument, without
denying that the Frate's summer was partly spent in 1515 out-
side the walls of S. Marco. Although it is true that he entered
into an agreement to furnish a Madonna and saints to Jacopo
Panciatichi for a chapel in S. Domenico of Pistoia, on February 15,
there is no evidence in the record itself to show that the friar was
at Pistoia, nor, indeed, is there any proof that he ever performed
the promise that he then made.6 A fresco of the Virgin and Child,
ascribed to della Porta, in S. Domenico, might indeed testify
to his presence, and seems lined from one of his cartoons; but
it is by Fra Paolino or some other disciple.6
1 Louvre, No. 1,153. Small panel inscribed: " F. Barto. Floren. or8, pre. 1515."
2 The Isaiah, No. 1,126, at the Uffizi (VASABI, iv. 190), in grand movement,
life-size, and warmly coloured.
The Job, No. 1,130, in the same gallery, of the same style, though not quite so
fine. Both wood.
The Eternal, round, No. 1,152, a mere sketch, with two angels blowing trumpets,
but the figures hardy in action and refined hi form.
3 MARCHESE, «.*., ii. 144. 4 /&., *'&., ii. 108.
5 See the record in full in MARCHESE, ii. 368.
6 The contours are wiry, and the colour washy. The group is finely outlined,
but the forms and the drapery are not given with Fra Bartolommeo's grand bold-
ness. The fresco has been removed from the convent into the church of S, Pomenjccu
in.] THE ANNUNCIATION AT PIAN DI MUGNONE 85
If Fra Bartolommeo, however, was neither at Lucca nor at
Pistoia, his health again drove him in October, 1515, to Pian
di Mugnone, where he never came without bringing his tools.
In order that time might not hang too heavily on his hands, he
covered a lunette with a fresco of the Annunciation, the treat-
ment of which discloses great breadth and facility. It is delight-
ful to see the angel's eagerness in coming and giving the message,
and the speaking profile of the head with its oblique bend.1 The
Virgin receives the announcement with joy, and gathers herself
well together under the folds of her mantle, her form being per-
haps too square and masculine. But this would be the work of
a leisure hour2 and might lead us to believe that the Frate
remained but a short space at the hospital, preferring perhaps to
wander away in another direction and look for his uncles at
Suffignano whom he had not seen for years. Father Marchese
quotes a contemporary diary, in which a pleasant description is
given of the relatives' meeting and the lucky guess of the grand-
nephew Pagolo di Vito, that the friar must be his grand-uncle
Bartolommeo. When the moment of parting was near, the
Frate said: " And now it may be long before we meet again, for
the King of France has sent for me and wants to give me employ-
ment," from whence we learn that before Leonardo joined
Francis I., an attempt had been made to engage the Dominican
in the same service. Why the negotiation failed, we can now
scarcely tell; but it is not unlikely that an event of the most
painful interest to the Frate prevented him from leaving Florence.
Mariotto, who had resumed the brush, fell sick at the end of
October, 1515. The news of his illness necessarily reached Fra
Bartolommeo, and brought him to his friend's bedside. We can
imagine his grief when AlbertineUi expired on November 5.
The inexhaustible nature of the Frate and his capacity for
Tolomei quotes the name of Fra Bartolommeo, however, in connection with this
Virgin, on the strength of convent records, and says the patrons were the Fiora-
vanti (TOLOMEI, Ouida, u.s., p. 109J. (j* On January 1, 1515, one Francesco di
Filippo of Florence was apprenticed to Fra Bartolommeo (RiDOLFi, in Oiornale
ligustico di archeologia, storia e belle arti, v. 124).]
1 A movement familiar in Andrea del Sarto.
2 This fresco was done by the Frate on October 4, 1515, according to the convent
record in MARCHESE, ii. 119, 368. Figures under life-size.
VI. — G
86 FRA BARTOLOMMEO [CH.
keeping art at its highest level, even when time and circumstances
were combining to give a variety to his manner, are displayed
in the results of his labours during 1516.
Foremost amongst the creations of that year is the Resurrec-
tion at the Pitti, in which he discloses anew his progress towards
the true grandiose. The Saviour, on a pedestal in front of a
classic block of architecture, rests on his left leg, before moving
the right from a step. The sceptre is in one hand, and the other
is raised in benediction. A splendid cast of drapery falls across
the breast, and sweeps round to the hips and limbs. There is
a bold foreshortening in the St. Matthew, who points outwards
towards the spectator. Splendid gravity is in the features and
pose of the St. Mark, on whose shoulder St. Luke rests his arm,
whilst St. John speaks to St. Matthew.
This subject, ordered for Salvadore di Giuliano Billi, was
placed in the SS. Annunziata de' Servi1 in a framework com-
prising, it is said, the two prophets Isaiah and Job, now at the
Uffizi. It may have been completed just after a sketch at Pan-
shanger, in which we believe we see the apotheosis of a Dominican
saint.
St. Antonino was a friar whom we recollect as the contem-
porary of Fra Giovanni, and of whom Vasari relates that Angelico
recommended him to Nicholas V. for the Archbishopric of Florence.
After his death the Order made strenuous efforts to secure his
canonization, but invariably without success. When Leo X.
made his solemn entry into Florence in the winter of 1515, and
on the day of Epiphany, 1516, admitted the brethren of S. Marco
to kiss the foot, he graciously whispered his intention to fulfil
their wish, and left them swelling with pride at being favoured
beyond all the religious communities of the Tuscan capital.
Though Leo did not live to satisfy this pious desire, the brothers
of S. Marco were prepared for a speedy fulfilment of his promise,
and might in the meanwhile have intended to celebrate the
occasion by the exhibition of a picture from the hand of their
best artist. Fra Bartolommeo may thus have been induced to
1 Now No. 159, Pitti Gallery. MARCHESE, ii. 123, 125, 145 ; VASARI. iv. 190 ;
BALDINUCCI, viii. 279.
m.] BURIAL OF ST. ANTONINO, PANSHANGER 87
compose and finish, previous to its transfer to a panel of larger
dimensions, the small one of Panshanger which, had it been so
carried out, would probably have been the finest that he ever
attempted. The body of the archbishop lies in state on a couch
in the centre of a convent-yard, with friars about him, some
on their knees grieving, others stooping over him, or trying to
embrace his sandals; others, again, with tapers or prayer-books.
Laymen at each side have gathered together in haste and great
commotion, the nearest on each side of the foreground boldly
set as pillars to support the framework of the composition; their
weight increased by the architecture, and buildings of the court
massively confined by high walls at each flank, and by lower
ones in the distance, above which an orchard and hills are seen.
In the background, the door of the church is open, with the head
of the funeral procession about to issue from it; whilst amidst
clouds, accompanied by angels bearing the throne, the lily, and
crowns, the canonized saint ascends to heaven to meet the
Eternal. Geometrical symmetry and balance are obtained with
an ease almost unparalleled. Nothing like the truth or anima-
tion of the scene, the readiness and firmness of the movements,
and the nature of the groups. With this, varied character and
individuality of expression, perspective of atmosphere and of
lines, massive transitions of light and shade, and a powerful tone
in the key of a deep and sonorous bass.1
Looking at the excessive skill of Fra Bartolommeo, and con-
sidering the grandeur of his performances in 1516, we should
attribute to that time five lunette portrait -busts of Dominicans
in the lower dormitory of S. Marco at Florence; all of them
superbly modelled and admirable specimens of stern gravity,
though here and there injured by scratches, and not free from
1 In this panel the colour is all half-body, through which the ground gesso
appears, giving the whole its transparence. There are forty figures in all. The
Eternal and the Procession at the church-door are barely sketched. Purchased
at Florence.
There is another panel assigned to Fra Bartolommeo in this precious collection
of Earl Cowper. [* Now belonging to Lady Desborough.] Subject, the Virgin,
Child, St. Joseph, and a female saint in profile and the young Baptist kissing
the Infant Christ — a fine approximation by the Sienese Beccafumi to the manner
of the Frate; sweet in colour and very freely handled.
88 FRA BARTOLOMMEO [CH.
a certain vulgarity.1 We should place in the same class as to
date and merit the St. Mark and St. Vincent at the Pitti2 and
Academy,3 both of which are illustrations of the power with
which a plastic appearance may be given to the human shape by
scientific calculation of light and shade, by select casts of drapery
and vigorous tints.
But, in addition to these, we have the Holy Families of the
Corsini Palace at Eome and of the Pitti at Florence, and the
Presentation in the Temple in the Imperial Gallery at Vienna.
A distant likeness between the first of these Madonnas and
Eaphael's portrait of Maddalena Doni at the Pitti might warrant
the assumption that the Holy Family at the Corsini Palace is
that which Vasari calls a chef-d'oeuvre done for Agnolo Doni.4
The panel is a small jewel,6 with the signature: " F. B. or. pr.8
1516."
The Virgin on a flowery meadow, holds the Child who struggles
to cast his arms round the little Baptist's neck. St. Joseph looks
smiling at this affectionate scene. It is a pyramidal arrange-
ment, with a thorough combination of contours with chiaroscuro
and aerial perspective. If anything, the figures are a little heavy
and unselect. The Virgin, a fine matronly portrait in profile,
with yellow hair in bands, covered by a falling veil, is reminiscent
of Leonardo. Some forms are hard and dryly outlined, such as
1 There are eight of these frescoes in San Marco, Florence. These frescoes are
in that part of the monastery now occupied by the Accademia della Crusca, but
three of them are modern. The first of those by Fra Bartolommeo is a friar
with a star above his cowl and a lily in his left hand; with his right he orders silence.
The second, with a red book and palm, is injured in the face by bayonet thrusts.
The third reads in a red bound book. The fourth is preaching; and there are
marks of an Eternal and angels having been on the background, near his head.
The fifth and sixth are modern. The seventh is bare-headed, with rays diverging
behind. The eighth is of the eighteenth century. We trust these injured master-
pieces will be removed to a place of safety from their present dark recesses.
MARCHESE mentions them (ii. 131).
2 The St. Mark is No. 125, at the Pitti, in oil and on canvas (VASARI, iv. 189).
3 The St. Vincent is No. 58, at the Academy of Arts; wood, oil (VASARI, iv. 189).
Both were originally in S. Marco, the latter now much dimmad.
* VASARI, iv. 183.
5 Rome, Palazzo Corsini, No. 579. Wood, oil, 4 feet 6 by 2 feet 2 inches. A
copy of a later time from this Holy Family is in the Musee Fabre at Montpellier,
No. 624, named Fra Bartolommeo.
ST. MARK
BY FRA BARTOLOMMEO
From a picture in the Palazzo Pitti, Florence
Photo, Alinari
VI. — To face page 88a
THE PRESENTATION IN THE TEMPLE
BY FRA BARTOLOMMEO
From a picture in the Imperial Gallery, Vienna
Photo, Hanfstaengl
VI.— To face page 886
m.] VAKIOUS WORKS 89
the legs and articulations of the Baptist; and the instant action
of the Infant Christ's limbs is incorrect, but the touch is masterly.
The drawing appears generally beneath the colour. In certain
spots there is strong impasto of enamel finish with bituminous
shadows, in which one sees the track of the brush in Bubens'
manner. Elsewhere we have a system like that of Eembrandt
in dark bits struck with speed and decision over the semi-trans-
parent brown preparation. The most charming feature of all,
perhaps, is the landscape, in which a glowing vapour suggests
comparison with the distances of Titian. The Frate has acquired
all the tricks of hand that betoken long experience, tricks un-
happily, too easy to be caught, as they were in the sixteenth
century, by men who had not the necessary ballast of education
to justify their use of them.1
The Holy Family at the Pitti is almost an inverted replica
of that of the Corsini palace. But the central group of the Virgin
and two children is balanced by St. Joseph and St. Elizabeth;
and the background is a green curtain. The composition is
Leonardesque ; the forms to a certain extent conventional.2
The Presentation in the Temple, at Vienna, a magnificent con-
ception, sins by shortness of stature in the personages, and has
been deprived of harmony by the removal of glazes; but there
are few subjects due to Fra Bartolommeo in which there is a
softer gravity or a more melancholy beauty.3
To this long catalogue of masterpieces historians have always
added an " Assumption " at Prato, registered by Vasari, supposed
by some to have disappeared, and by others to be identical with
that which now graces the walls of the Berlin Museum.4 No
1 A slight disharmony between the flesh-tints and landscape may be due to
cleaning. Some holes here and there in the surface of the panel have been stopped-
The boy Baptist is partly unfinished, partly retouched.
2 Pitti, No. 256; not free from cleaning and old restoring. [* Practically the
same composition — minus the figure of St. Joseph — is seen in a fine picture by
Fra Bartolommeo in the collection of Sir Frederick Cook at Richmond (signed
" F. Bart, or: is predic. floren. 1516 "). A picture in the National Gallery (No. 1,694)
repeats the group of the Virgin and the children only, and is probably not by the
master himself.]
3 Vienna, Imperial Gallery, No. 41. Wood, oil, inscribed: " 1516. Orate pro
pictore olim sacelli hujus novitio " (VASARI, iv. 196).
4 VASABI, iv. 193; annot., ib. ; MABCHBSB, ii. 117.
90 FKA BAETOLOMMEO fen.
very diligent search is required to trace the locality in which it
may be found. The Assumption of Prato is not at Berlin, but
in the great Salone of the Naples Museum ; an arched panel with
life-size figures; — of the Virgin ecstatically raising her face and
hands to heaven as she bends prostrate on a cloud, accompanied
by two boy-angels, of SS. John the Baptist and Catherine of
Alexandria kneeling at the foot of her tomb.1 To describe the
quality of this " Assumption " would be but to repeat the praise
given to other works of 1516, the year in which the Frate seems
to have exhausted his strength by over-exertion.
Era Bartolommeo sickened so seriously in the beginning of
1517, it was thought necessary that he should take the baths
of S. Filippo.2 He subsequently proceeded to Ferrara, where
(June, 1517) he had some artistic relations with the Duke Alphonzo,
and delivered a head of Christ to Lucrezia Borgia.3 He finally
tried Pian di Mugnone for the last time, leaving there a Vision
of the Saviour to the Magdalen, which is almost equal in power
to anything previous,4 and then he came back to Florence where,
on August 3, 1517, he died of a malignant fever. His death,
at the early age of forty-two, was an irreparable loss to the
Dominicans, who buried him with great honour in S. Marco.5
His furniture and tools, which would have passed to Mariotto
had he been living, were hoarded as treasures for a long time.
Many of the cartoons were used by Fra Paolino and others, and
1 It is said that the Assumption of Prato bore the date of 1516. The panel at
Naples hangs high up in the Salone, so that the date may be there though unseen
by the authors of these pages. [* This picture — now under No. 4 in the Sala VI.
of the Naples Museum — bears, in fact, the signature: "1516. F. Bart, or : is pr : "]
The colour is altered by flaying. There is an original drawing of the work in the
Pitti Gallery.
2 VASARI, iv. 199.
3 Compare Marchese CAMPORI'S Rdazioni degli Studi fatti ndl' Archivio pala-
tino di Modena presentata nella tornata dd 17 gennaio, 1862, p. 3. Where this
head of Christ came to is unknown.
4 The fresco is in a small chapel near the entrance to the Ospizio of Pian di
Mugnone. The Saviour, holding a hoe, turns away from the longing Magdalen;
his frame is broad and square as compared to hers; her features expressive. The
lines of the landscape are grand; and the scene is impressed with a stamp of un-
usual life and truth. The fresco is a little spotted and eaten away by time.
8 Cujus obitus . . magno fuit omnibus detriment©. . . . Erat autem Dia-
conus (Obituary in MARCHESE, ii. 369). But see also Tav. alfab.
in.] THE PIETA IN THE PALAZZO PITTI 91
Bugiardini even completed some of the unfinished pieces. But
upon this point some errors may have been handed down to us.
It has been usual to follow Vasari in affirming that the Pieta
at the Pitti1 received its last touches from Bugiardini; yet the
evidence of this is not to be found in the execution. It is admitted
that the composition is one of those that Fra Bartolommeo
carried out most completely. The naked corpse of the Messiah
is raised from a recumbent to a half-erect position by St. John
Evangelist, whilst the Virgin, with excessive love, supports his
head and left arm, the Magdalen embracing his legs in an agony
of grief. The group realizes at once all the precepts considered
as final in the sixteenth century. It is a modification and an
advance upon Perugino's, combining all the tenderness of the
Umbrian with greater selection, astonishing individuality, pure
nature, and refined feeling. It is not possible to cite an instance
in which a lifeless form is rendered with more flexibility, or with
more anatomical accuracy. As regards foreshortening, the
Magdalen is unsurpassed. We cannot admit that Bugiardini
should have done any more than the two figures at the sides,
which, by some accident, of which the details have been lost,
were subsequently obliterated.2
In order not to extend these remarks to an unwarrantable
length, we make out a list of Fra Bartolommeo 's remaining works
(genuine and the reverse) in the most convenient order that
presents itself.
1 Pitti Gallery, No. 64.
2 VASARI says (iv. 197) that the Frate began the picture in S. Gallo which was
finished by Bugiardini. He adds in the Life of Bugiardini (vi. 203) a description
of the subject, including two figures at the sides, of SS. Peter and Paul, saying that
the panel was only drawn and shadowed in water-colour. We cannot help fancy-
ing there is an error in this statement; and we think the figures of St. Paul and
St. Peter were removed because they were out of harmony with the beauty of the
principal group. A fine copy of this beautiful picture is in the gallery at Alten-
burg. [* An old copy of the Pieta in its intact condition, including the figures
of SS. Peter and Paul, belongs to Signer Francesco Brusa of Rome. It is interest-
ing to observe how this composition served as a model for Andrea del Sarto's
Deposition of 1524, now in the Pitti (No. 58). Fra Bartolommeo's picture was,
in consequence of the siege of Florence in 1527, brought from S. Gallo to S. Jacopo
tra i fossi; it was still in the latter church in 1591, but no longer so in 1671. See
Fiocco in L'Arte, xvi. 419 sqq.]
92 FRA BAKTOLOMMEO [OH.
Florence. Academy of Arts, Nos. 171, 173. Two rounds, in each a
Virgin and Child (frescoes) ; both rapidly done at one painting without
previous outlining; gay in tone, almost equal to those of Pian' di
Mugnone and S. Marco. No. 168. Ten paintings in one frame. Upper
row: Five frescoes: (1) Figure of Christ, like a Fra Paolino. (2) St.
Peter Martyr (?) imposing silence, a grand apparition of a friar.
(3) A monk of grave mien (a little injured). (4) St. Catherine, in Fra
Bartolommeo's manner, and of a very elegant gentleness. (5) St.
Chiara, less good, and probably by Fra Paolino. Lower row: Five
squares, four of them in fresco, one in oil. The latter — (1) Bust of
Christ carrying his Cross, on canvas, with the line " Orate pro pictore
1514 "; of a thin colour, darkened by time. (2) St. John the Baptist,
original. (3) Profile of a St. Anthony the Abbot, perhaps by a disciple
of Fra Bartolommeo (? Sogliani). (4) A female saint (? the Magdalen),
of soft air; genuine. (5) St. John the Baptist, of the sixteenth cen-
tury.1 (This number is made up of pieces taken from S. Marco, those
by the Frate all dating from 1510 to 1514.) A copy of the Christ carrying
His cross, in the Palazzo Corsini, Lung'Arno, at Florence (No. 239),
is called Francesco Francia,2 but is by a disciple of the Frate.
Florence. Pitti, No. 377. Ecce Homo; bust, fresco. The head of
the same stamp as that in No. 168 at the Academy, but of the Frate's
early Leonardesque time, of mild aspect, delicate, and hatched.
Florence. Ujfizi, No. 1,235. Wood, oil. A small Virgin, kneeling
near a plinth on which the Infant is seated. From a Raphaelesque
composition of the Frate, by an inferior hand imitating him.
Florence. S. Maria Maddalena de' Pazzi. Sacristy. Centre of an
altarpiece, the sides of which are by Sebastian Mainardi (see antea, iv.
339). Subject, a saint, life-size, in a niche; wood, oil, repainted over
an older one. The character, mould, movement, and drapery, are not
unlike those of the SS. Paul and Peter at the Quirinal ; but the condition
under which the colour was laid in makes it a little opaque. The art,
however, is that of Fra Bartolommeo.
Florence. Gallery of the Marchese Pianciatichi* No. 108. Half-
length of the Magdalen; wood, oil; damaged, and reminiscent of
Bugiardini. No. 12. Virgin and Child (life-size), composed in the
Frate's fashion, and the landscape not unlike his; retouched, and of a
milky transparence, and now resembling a Mariano da Pescia (wood,
* * This head is now officially stated to be by the Florentine painter, Alessandro
Gherardini (1655-1723).
* 2 It is now no longer so. * 3 This collection is now dispersed.
m.] PICTURES IN ITALY 93
oil). No. 322. Virgin, Child, St. Anne, St. Joseph, and three angels;
a sketch, an old and fine copy of a picture by Fra Bartolommeo.
Milan. Casa Poldi Pezzoli. In this collection we find a small
tabernacle assigned by Gr. Bossi (Let. pit., vi. 417) to Raphael, by
PASSAVANT (ii. 407) to Fra Bartolommeo. It represents the Virgin
and Child between St. Catherine of Alexandria and St. Catherine of
Hungary, with the angel and Virgin annunciate in monochrome on
the outside of the wings. The ciphers " MD." on the framing beneath
the Madonna indicate the period of execution. This little gem is one
of the most interesting and finished examples of Fra Bartolommeo in
existence. It once belonged to Signer Camillo Fumagalli at Milan.1
Cortona. Signor Passerini. Virgin giving the breast to the Infant
Christ (wood, oil), a subject in which the Frate was not less at home
than Raphael. The Child a little heavy, the period of execution about
that of the Holy Family in the Corsini Palace at Rome. The ground
is injured and renewed, leaving traces of a saint in the left-hand corner.
It is many years since the authors saw this Virgin, which has since been
missing (see postea for a copy of it in the Holford collection).
Siena. Academy. Stanza dei Quadri di diverse Scuole, No. 451.
St. Mary Magdalen (wood, oil, half life-size). No. 564. St. Catherine
of Alexandria. On the latter, the cross and rings, monogram of the
atelier of S. Marco during the partnership of the Frate and Mariotto,
and the date 1512. These two saints were once in S. Spirito of Siena,
where Fra Paolino and Fra Agostino, Dominican assistants to Fra
Bartolommeo, are known to have been. They are graceful and neatly
done, but beneath the powers of the Frate ; a little cold in the shadows,
clean, and wanting in massiveness of light and shade. They look as
if they might be by Fra Paolino, to whom a picture at Vienna with
the same monogram and the date of 1510 is given, or at all events
as if here the Pistoian had a large part in a work belonging to the
association.
Lucca. Villa Saltocchio. Five miles from Lucca is the Villa of
Conte Bernardini, where there is a pretty round of the Nativity, being
probably that registered in the memoranda of the Syndic of S. Marco
at Florence as sold for 20 ducats (circa 1513-16) to " Giovanni Ber-
nardini Lucchese " (MARCHESE, ii. 144). The size of the figures is
* l MORELLI (Die Galerien Borghese und Doria Panftti, p. 156) was no doubt
right in giving this picture to Mariotto Albertinelli. It is, of course, akin to Fra
Bartolommeo ; but the type of the Virgin and the daintiness which marks the style
generally clearly point to Albertinelli as the painter.
94 FRA BARTOLOMMEO [OH.
one-third that of life, their style a mixture of Fra Bartolommeo and
Mariotto.1
Venice. Galkria del Seminario, No. 18. Virgin and Child (wood,
oil, half life-size). Pretty, in its old pilastered frame, softly coloured,
but with more smorphia and carefulness than was proper to the Frate ;
reminiscent of him, however, and suggesting the names of Mariotto,
or even Fra Paolino, but superior to others at the Borghese and Sciarra
collections in Rome, and the Corsini Gallery in Florence, in which the
latter may have had a share. The flesh is somewhat restored. The
distance is a landscape with angels in the upper part.2
Venice. Duchess of Berri.3 Round of the Virgin, Child, infant
Baptist, and St. Bartholomew, in the character of the Brescianini of
Siena.
Turin. Gallery, No. 121. Round, wood, oil. Virgin, Child, and
angels, also in the superficial manner of the Brescianini, and reddish
in tone. No. 118. Holy Family, called Francia Bigio, the counter-
part, as to execution, of No. 121.
Modena. Gallery. Catalogue of 1854, No. 483. Virgin and Child.
No. 465. Ditto. Very different from anything by the Frate.
Rome. Gallery of the Capitol, No. 50. Presentation in the Temple
(12 figures), partly repainted in the seventeenth century; the rest not
unlike Giacomo Francia, particularly in the St. Anna.
Rome. Galkria Borghese, No. 310. Nativity, dated 1511, with the
monogram of S. Marco (see Fra Paolino).
Rome. Palazzo Sciarra Colonna. Room IV., No. 1. Virgin, Child
and young Baptist, with the monogram of S. Marco (see Fra Paolino).
Florence. Gallery of Prince Corsini. Holy Family with the mono-
gram of S. Marco (see Fra Paolino).
Brescia. Galkria Martinengo. Nativity (wood, oil, figures life-size) ;
composition perhaps by the Frate; the tones heavy, flat, and without
relief, probably by Sogliani.
Vienna. Imperial Gallery, No. 34. Virgin and Child (half-length,
wood, oil), placed high up, but seemingly opaque in colour, perhaps by
a pupil of the Frate. The same Virgin and Child, more like a Fra
Bartolommeo than this of Vienna, is in the Pitti (No. 242) under the
name of Puligo.
* * According to Dr. KNAPP (u.s., p. 260), there is a studio replica or rather old
copy of this picture in the Gallery at the Hague (No. 306).
* 2 The name of Mariotto Albertinelli may, indeed, without hesitation be
accepted for this work (cf. MORELLI, u.s., p. 156 sq.).
* 3 Present whereabouts unknown.
in.] PICTURES IN AUSTRIA, GERMANY, AND ENGLAND 95
Vienna. Harrach Gallery. Virgin with her hand on her bare breast,
and the Child on her knee, his hand also on her breast, and holding an
orb. Wood, oil, by a follower of Sogliani, but repainted in the flesh.
The movement of the Christ is reminiscent of Bronzino.
Vienna. Count Czernin. Profile of a friar looking up; of the close
of the sixteenth century.
Berlin. Museum, No. 249. Assumption. Figures life-size, wood,
oil. The distribution and drawing are those of Fra Bartolommeo, of
the time when he and Mariotto were associates, and the lower part
more particularly like Albertinelli. The comparative rawness of the
colour may be due to the abrasion of the final glazes.1
Munich. Pinakothek, No. 1,079. Virgin and Child (canvas), not by
Fra Bartolommeo, but a copy of a Madonna in the Baring Gallery in
London. See antea, Spagna.
Munich. Pinakothek, No. 1,065. Wood, oil. The Infant Christ on
the ground between the kneeling Virgin and St. Joseph. Not by the
Frate, but a feeble and superficial production stamped with the impress
of the school of Granacci.
Munich. No. 1,075. Virgin, Child, and St. Joseph. Wood, oil.
From the collection of Mme. Dubois in Paris, where it was bought by
King Ludwig I. Not genuine. Coloured of a vitreous enamel, with
dark warm shadows reminiscent of the style of Michele di Ridolfo,
Puligo, or the Brescianini of Siena.2
London. Stafford House, No. 88. Wood, oil, life-size. The Virgin
in profile with the Infant Christ holding a reed cross, and the young
Baptist in rear. The composition seems an imitation of those by the
Frate and Raphael ; but the handling is more modern, like that of a
follower of Correggio. Such at least is the aspect of the piece at present,
but whether this is due to the obvious repainting of the panel, or to
other causes, cannot be decided.3
London. Grosvenor House, No. 177. Wood, oil, small. Virgin and
Child under a conical dais, the curtain of which is raised by two angels.
In front, SS. Jerome and Mary Magdalen on their knees. The subject
is arranged in the method of the Frate, and of Mariotto ; it is pleasing
and careful, but betrays an effort by, say, Michele di Ridolfo, to imitate
the masters above named.
* * Of. antea, p. 67, n. 1.
* 2 It may, indeed, without doubt, be assigned to Andrea del Brescianino, as
has now also been done officially.
* 3 Not included in the Stafford House sale, July 11, 1913.
96 FEA BAETOLOMMEO [CH.
London. Holford Collection. Panel altarpiece, oil. Virgin and
Child enthroned, and two angels holding a piece of tapestry above her.
At the sides the kneeling St. Sebastian and a friar. Feeble, washy,
of life-size figures, by an artist later than the Frate and Mariotto.
Same Collection. Life-size Virgin holding the Infant, who lays two
fingers of his hand on her bare breast; a copy of the Virgin once belong-
ing to Signer Passerini of Cortona.
London. Baring Collection.1 Sketch, part outlined, part coloured,
of the Holy Family: traces only of the St. Joseph being in the back-
ground to the left. The hands of the Virgin painted, not done in the
mode of Fra Bartolommeo or his pupils, and seemingly more modern ;
a little mannered and affected, too, as if by Eaphael dal Colle in his
old age.
London. Lord Taunton (Ex-Stoke Park).2 Virgin and Child, the
latter on a parapet, between St. Lawrence and a bearded saint. Wood,
oil, life-size. This is a mixture of Fra Bartolommeo and Andrea del
Sarto, and not improbably by Puligo, the forms exaggerating the system
of drawing of del Sarto, and the Virgin's head being an inspiration from
one of the Frate 's. The colour is somewhat sombre, and not abso-
lutely satisfactory in the transitions from light to shadow.
London. Collection of the late Sir Anthony Stirling. Crucifixion
between the Virgin and Evangelist, a little miniature panel, of most
careful execution, quite with the impress of the Frate's school, in the
character of Albertinelli also, and at the same time like a fresco in
S. Spirito of Siena. The painter may therefore be Fra Paolino. The
intonation warm and the drapery broadly cast.
London. George A. Hoskins, Esq. (No. 210 at Manchester). Virgin,
Child, and saints, not on the level of the powers of Fra Bartolommeo.3
London. Abraham Darby, Esq. (No. 93 at Manchester.) Marriage
of St. Catherine, inscribed: "Orate pro pictore"; superficial, feeble,
by some follower of the Frate and Fra Paolino.
Bristol (near). Sir William Miles, Bart., of Leigh Court. The Virgin
with the naked Child holding on with his right hand to the bosom of
her dress. A fine life-size picture, but without the high qualities of
Fra Bartolommeo. The mixture of della Porta and Andrea del Sarto
might lead one to assign it to Puligo. The tints are gay, almost gaudy.4
* 1 Now in the collection of the Earl of Northbrook.
* 2 Possibly now in the collection of the Hon. Mrs. E. Stanley, of Quantock
Lodge, Bridgewater.
*3 Bought at the Hoskins sale (June 18, 1864, No. 171) by " Wilsson."
* * This picture was bought at the sale of the Leigh Court Gallery (June 28,
in.] VARIOUS PICTURES 97
Cheltenham (near). Late Northwick Collection, No. 95. .Round:
Holy Family; like a Sogliani. No. 101. Holy Family. No. 111. SS.
Bartholomew, Biagio, and Nicholas. No. 899. Holy Family; not by
the Frate.
Glasgow (near). Hamilton Palace. Breakfast Room.1 Holy Family.
The Child on the Virgin's lap, blessing the young Baptist kneeling to
the left, St. Joseph in rear to the right. Behind, a wall and a land-
scape. In front, a cup out of which a finch is drinking (wood, half
life-size). The Virgin and St. Joseph are apparently taken from Fra
Bartolommeo ; the two children are reminiscent of Raphael. The hand-
ling is like that of Bugiardini or Sogliani.
Gosford House. Earl of Wemyss. Virgin enthroned with the Child
holding a cross, under a niche, a graceful, small thing, of a golden tinge,
in the mode of Fra Bartolommeo, but without his weighty and superior
style. We believe the author to be Mariotto Albertinelli.
England. Lord Wenlock. Two friars (exhibited, 1853, at the British
Institution). These are of the Frate 's school.
The following is a list of pieces not seen by the authors :
Geneva. See antea, p. 74.
Besanqon. Cathedral. Assumption by Fra Bartolommeo. It was
first placed by the chancellor of Flanders, Jean Carondelet, Arch-
bishop of Palermo (1469—1544), in his family chapel in S. Etienne of
Besancon. It came later into the cathedral. It represents the Virgin
and Child on a throne, which is carried on clouds by angels. Below
stand (left) SS. John Baptist, Sebastian, and Stephen. Right, kneel-
ing, the patron, Jean Carondelet, with St. Bernard and another saint
behind him. On the foreground are roses. Distance, landscape.
Of the master's best time (PASSAVANT, annot. to SCHORN'S Vasarit in
Kunsiblatt, 1844, No. 28).2
1884, No. 4), by Mr. Dyer. It was subsequently in the collection of the late Sir
William Farrer, and was acquired at the Farrer sale (March 23, 1912, No. 28)
by Mr. Wagner.
* * Bought at the Hamilton Palace sale (July 1, 1882, No.711) by Messrs. Colnaghi.
* 2 This panel was executed by Fra Bartolommeo and Mariotto Albertinelli
jointly. Twenty ducats were received as earnest money for it in 1511, and a
further payment is recorded in 1512 (MARCHESE, ii. 75; cf. ib., p. 160 sq.}. The
upper part of the picture, representing the Coronation of the Virgin, was subse-
quently cut away (probably when the picture, in the eighteenth century, was moved
from one chapel to another); three fragments of it now in the Stuttgart Gallery
(No. 427) are noticed by the authors, postea, p. 110 sq.
98 FRA BARTOLOMMEO [CH.
Foligno. Signor Oregon. Holy Family. Virgin seated with the
Infant on her lap, playing with its hands in the beard of St. Joseph,
who stands by. Below, the little Baptist looks up at the Infant Christ.
PASSAVANT (Raphael, ii. 409) thinks the work (which is assigned to
Raphael) by Fra Bartolommeo.
Paris. Gakrie Abel. Madonna del Cappuccino. Said to be com-
menced by Fra Bartolommeo, finished by Raphael. Subject: Virgin
and Child, St. Francis kneeling between angels, and the young Baptist
giving fruits to the Saviour (see MAECHESE, ii. 47). PASSAVANT (Raphael,
ii. 413) says Raphael, at all events, had nothing to do with this piece.1
Florence. Signor Ricasoli. Head of Christ on a tile (MAECHESE, ii.,
p. 128).
Florence. Cav. Baldelli. A Nativity (MAECHESE, ii. 128).2
Florence. Signor Volpini. Holy Family (VASAEI, annot., iv. 196).
Perugia. Palazzo Penna. Dead Christ, Virgin, and two apostles
(MAECHESE, ii., note to p. 81). 3
The following are missing:
Florence. Madonna, belonging to Pier Maria delle Pozze (VASAEI,
iv. 176). A Nativity for Giovanni Cardinal de' Medici (ib., ib., 183).
Various Madonnas in Casa Medici (ib., ib., 193 sq.). Virgin in Casa
Capponi (ib., ib., 194). Virgin, Child, and two saints in Casa Lelio Torelli
(ib., ib., ib.). St. George and the Dragon, Casa Pier del Pugliese
(ib., ib., ib.).* Compagnia de5 Contemplanti, later in possession of
Ottaviano de' Medici, a panel of which no subject is given (ib., ib.,
196). 5 Palazzo Niccolini. Holy Family (RicHA, Chiese, viii. 48).
* *• It was purchased in 1843 by Sir George Shee, British Minister at Stuttgart
(see C. VON FABRICZY in L'Arte, x. 226).
* 2 This picture is now in the collection of the Marchese Visconti Venosta of Rome.
* 3 The following is a list of extant pictures by Fra Bartolommeo that have
not yet been mentioned :
Cambridge, U.8.A. Fogg Museum. The Sacrifice of Cain and Abel (see BEECK,
in Rassegna d'arte, ix. 171, with reproduction).
Charlecote Park, Warwick. Sir Henry Fairfax-Lucy. The Holy Family with
the Infant St. John and two angels. (A very charming, rather early little picture,
hitherto unpublished.)
London. Mond collection. The Holy Family (small). Same subject (large).
* * A drawing by Fra Bartolommeo in the Grand Ducal Library at Weimar,
representing a young warrior on a careering horse, is probably a study for this
work (BERENSON, No. 514, reproduced in KNAPP, u.s., p. 197).
* 5 This is in all probability the Assumption now at Berlin (cf. antea, p. 67, n. 1).
m.] FRA PAOLINO 99
Badia di Settimo. Virgin giving the breast to the Infant (ib., ib.f
ix. 225).
Arezzo. Badia de' Monad Neri. Monochrome, head of Christ
(VASARI, iv. 196).
Viterbo. S. Maria delta Quercia. Resurrection of Christ and Corona-
tion of the Virgin (VASARI, vi. 247; and MARCHESE, ii. 87).
Before taking leave of S. Marco, in which so many masterpieces
were produced in the course of a century, we pause for a moment
to say a few words of Fra Paolino, who has become inseparable
from his superior Fra Bartolommeo. He was born about 1490
at Pistoia,1 and received the first rudiments from his father
Bernardino d' Antonio del Signoraccio, a local artist of the feeblest
kind, to whom some works are still assigned.2 He became a
novice at a tender age, and is supposed to have taken orders
in S. Domenico of Prato; from whence he was transferred with
della Port a to S, Marco. There he was the helpmate of the
Frate and of Mariotto, assisting them in the execution of pictures
which still bear the monogram of the atelier. Of these, the
earliest and best are: One under his name dated 1510, a Virgin
and Child amidst saints, in the Imperial Gallery at Vienna ; and
two saints in the Academy of Siena (1512), catalogued as by
Fra Bartolommeo.3 Equally early, but of less value, are a
Nativity of 1511 in the Galleria Borghese ; a Virgin, Child, and
youthful Baptist in the Palazzo Sciarra Colonna, at Eome; a
Madonna with the Infant, the Baptist, and St. Joseph (1511)
in the palace of Prince Corsini, and a Virgin and Child in the
Antinori Palace at S. Gaetano, in Florence.4 Such a man as
Fra Paolino would naturally do better or worse, according as
1 The Register of Deaths of S. Domenico at Pistoia contains Fra Paolino's
eulogy, describing him as having died, aged circa 57, in 1547 (TiGRi, in MARCHESE.
ii. 370).
2 Pistoia, S. Lorenzo. Virgin and saints, inscribed: " Bernardinus Ant° Pis-
torien. pis." S. Felice (outside). Virgin and saints with the signature: " Bernar-
dinus Antonii de Pistorio pinsit. 1502." S. Gio. Fuorcivitas, St. Roch, with the
words: "Bernardino Vecchio. 1532. Pistoriensis p. Prete Giuliano d'Antinoro
fecit fieri " (TOLOMEI, Guida, u.s., pp. 79, 102, 198, 199). [* In 1517-18 Bernar-
dino was working at Spezia. See MAZZINI, in Bottettino storico pistojese, vii. 119.]
3 See antea, p. 93.
4 In 1513 Fra Paolino modelled two figures of earth, which were afterwards
placed in S. Maria Maddalena of Pian di Mugnone (MARCHESE, ii., p. 207).
100 FRA PAOLINO [CH.
the person who controlled him paid more or less attention to his
labours. We need not for this reason hesitate to class under
one head productions like those of Vienna, Siena, Home, and
Florence, the last of which are much below the first. For in
spite of the difference in merit apparent in them, they all have
the same general stamp.1 That Fra Paolino was indebted for
instruction chiefly to Fra Bartolommeo is shown by the fact that
the Crucifixion undertaken by him in S. Spirito of Siena (1516)
was till lately considered to have been by della Porta.2 He
had free run of the sketches, drawings or cartoons of the latter,
and by that means frequently concealed his own deficiencies as
a composer and draughtsman. His most successful effort as an
executant is the Madonna of Vienna. Colour, on panel or convas,
is constantly bricky, opaque, and inky in shadow; contours are
wiry and mechanical, faces vulgar, and drapery unnecessarily
cut up with detail. In fresco, his brush is washy and powerless ;
relief by light and shade is scarcely attained at all, and lifeless
stiffness is the consequence.
After Fra Bartolommeo's death, Fra Paolino made copious
use of the great man's heirlooms, finishing what he had begun,
or colouring on his outlines. This is apparent in a Pieta of 1519
at the Academy of Florence ;3 in other subjects of the same collec-
1 One painter who might claim to be mentioned for a share of some of the pieces
named is Sogliani; another is Mariotto. But Sogliani imitated Fra Bartolommeo
at a later period, and the stamp of Mariotto is not that apparent in the works
before us. (It is well to note that the late Otto Miindler was opposed to the notion
that Fra Paolino should have painted the pictures above cited. In an angry
criticism in the Zeitschriftfur bttd. Kunst., ii. 303-304, he takes the authors heavily
to task on this point, without producing any arguments convincingly to rebut the
opinions given in the text.) jj* MOEELLI (u.s., p. 154 sqq.} also contests the theory
that Fra Paolino had any share in the pictures in question, and thinks that they
are mainly the work of Albertinelli. To the editor his arguments seem convincing.
He points out how feeble, by comparison, are the earliest known authenticated
works by Fra Paolino, and dwells upon several points of resemblance between
the pictures under discussion, and such as are known to be by Albertinelli.]
2 The record proving that the Crucifixion of S. Spirito at Siena is by Fra Paolino
is in MAECHBSE, ii. 210-211.
Frescoes done in 1514 at Pian di Mugnone by Fra Paolino have perished
(MABCHBSB, ii. 209).
3 Florence Acad., No. 176. [j* This picture, which originally was in the church
of S. Maria Maddalena at Pian di Mugnone, is now in the Museo di San Marco
(Anticamera del refettorio grande, No. 10).]
too
THE CRUCIFIXION
BY FRA PAOLINO
From a fresco in S. Spirito, Siena
Photo, Anderson
VI.— To face page 100
m.] FEA PAOLINO 101
tion; in a Madonna with saints of 1525,1 at S. Lucia; and another
of 1530 in S. Agostino, at or near S. Gimignano; and equally so
in the later and more ambitious attempts which decorate the altars
of churches in Pistoia. Fra Paolino had retired latterly to his
native place. He died there of the effects of a sun-stroke, in 1547.2
The following register is not to be avoided :
Vienna. Imperial Gallery, No. 38. (Canvas, oil, figures life-size.)
Virgin and Child between the kneeling SS. Chiara and Catherine of
Alexandria, the standing Mary Magdalen and Dominic, Peter Martyr
and Barbara. On the pedestal, beneath the monogram, is the fol-
lowing: " 1510. sub turn presidium confugimus sancta Dei genitrix ";
and on a scroll at the Virgin's feet the lines from St. Dominic's legend
by Theodoric of Apolda, beginning: " Caritatem habete " (MARCHESE,
ii. 208). This is a good imitation of Fra Bartolommeo, but careful
and cold in drawing, and ill-balanced in composition, the effect being
that of a mixture between the styles of the Frate and Andrea del
Sarto, the colour being of a roseate red without massiveness. There is
more grandeur in the Child than elsewhere. The Virgin's type is fine,
and her face, turned towards St. Barbara, has some softness. The
best figure, however, is that of the kneeling St. Catherine, which is
quite reminiscent of the two saints (att. to Fra Bartolommeo, antea,
p. 93) in the Academy of Siena, which for that reason we should place
immediately after the Madonna of Vienna.
Siena. S. Spirito. Crucifixion, fresco, under glass (see annexed
reproduction), proved by records to be not by Fra Bartolommeo, but
by Fra Paolino (MARCHESE, ii. 210-211), assisted by Fra Agostino, of
whom no other notice exists. The head of the Saviour is not without
refinement; but the frame, of regular proportion, is a lifeless and
wooden nude, lame in hands and feet. The outlines and drapery are
in Fra Paolino's character; the colour likewise. Hatching is copious
and regular as in engravings. St. Catherine, in profile, kneeling, is
more like an original of Fra Bartolommeo.
We have spoken of a neat little miniature panel like this fresco in
the collection of the late Sir Anthony Stirling (see antea, p. 96).
1 In 1524 a picture was ordered of Fra Paolino for the Servi of Pistoia, but
was never executed (MARCHESE, ii. 213, 269). An altarpiece done in 1625 for
S. Domenico of Fiesole has disappeared (ib., ib., 214). Other works at Viterbo
are likewise missing (ib., ib., 216).
a See Fra Paolino's long and uninteresting Life in MARCHESE, ii. 204 and follow-
ing, and records in appendix, t'6., ii. 369 and following.
VI. — H
102 FRA PAOLINO [CH.
Florence. Academy of Arts, No. 170. Marriage of St. Catherine of
Siena. Composition by Fra Bartolommeo, to whom the altarpiece is
given in the catalogue, execution apparently by Fra Paolino (see antea,
p. 73). Formerly No. 71. Assumption and Gift of the Girdle, once in
S. Marco, and considered by the authors of the catalogue due to Fra
Paolino; is possibly by Michele di Ridolfo.1
S. Gimignano (six miles from). S. Lucia a Bdbbiano. Virgin and
Child between the kneeling SS. Catherine of Alexandria and Lucy, the
standing SS. Gimignano, Antonio, Jerome, and a friar in a pilaster
ornament (wood, oil, figures life-size). On the lower skirting, three
rounds, including a saint, the Visitation, and the Angel and Tobit.
The date 1525 is on the Virgin's pedestal. The imitation of Fra
Bartolommeo is most visible in the Virgin and kneeling females; the
manner, generally, being that of the Madonna at Vienna, with less
successful handling. The colour as usual.
S. Gimignano. S. Agostino. Virgin and Child on a pedestal, at
the foot of which an angel plays a viol. SS. Nicholas, Vincenzo
Ferrerio, and two others at the sides (wood, oil, figures life-size). This
was delivered, according to Canon PECORI (S. Gimignano, u.s., p. 542),
by Fra Paolino in June, 1530, to S. Domenico of Pistoia; MARCHESE
says to S. Domenico of S. Gimignano (ii. 214). It is done from a draw-
ing by Fra Bartolommeo, the group of the Virgin and Child being a
counterpart of that in the Marriage of St. Catherine (1511) at the Louvre,
and in the same episode at the Academy of Arts in Florence. Reddish,
with inky-grey shadows and violet half-tones.
Pistoia. S. Paolo. Virgin, Child, and saints with angels, under a
conical pavilion (wood, oil, figures life-size). Free adaptation of an
arrangement taken from the Frate, but without his symmetry or
grandeur; the most important of Fra Paolino's performances, but cold
and hard, not equal to the Madonna of Vienna, though superior to
those of S. Gimignano. On the step of the throne the words: " Opus
F. Pauli de Pist. or. prse. MDXXVIII." The yellow mantle of St. Peter
is repainted.
Pistoia. S. Domenico. Adoration of the Magi (wood, oil), much
injured by scaling, dark and opaque in shadow. There is much move-
ment and animation in the composition, which curiously recalls Andrea
da Salerno, or Andrea del Sarto; and some grace is imparted to the
Virgin presenting the Child to the king, who kneels and kisses its foot.
Done, according to Tolomei, in 1539 (TOLOMEI, Guida, p. 111).
* l This picture is now in the Museo di S. Marco at Florence (Anticamera del
refettorio grande, No. 2).
m.] FRA PAOLINO 103
Same church. Choir. Marriage of St. Catherine of Siena (wood,
oil, life-size); retouched throughout. The group of Virgin and Child
is a replica of that in S. Agostino of S. Gimignano. SS. Catherine and
Mary Magdalen kneel as in the Marriage (No. 170) at the Academy of
Florence. Coarse and unsatisfactory.
Same church. Crucified Saviour between the Virgin and Evangelist,
St. Thomas Aquinas at foot; bad and much restored. Wood, oil, life-
size.
Pistoia. S. Giovanni Evangelista Fuorcivitas. Sacristy.* Nude
St. Sebastian in a landscape. Wood, oil. This is a long, lean figure
in Fra Paolino's manner. In part scaled.
Rome. Galleria Borghese, No. 310 (named Fra Bartolommeo).
Wood, oil, with the monogram and date of 1511 . The Child is stretched
on the ground, near Him the little Baptist with the cross. The Virgin
in rear, kneeling, and St. Joseph to the right. One sees that the founda-
tion is by Fra Bartolommeo, but nothing more.
Rome. Palazzo Sciarra Colonna. Room IV., No. 1. Virgin, Child,
and little Baptist (named Fra Bartolommeo), with the monogram.
Wood, oil, half the life-size. In the same class as the Nativity of the
Galleria Borghese.2
Florence. Palace of Prince Corsini, No. 160. Virgin, Child, Baptist,
and St. Joseph (named Fra Bartolommeo), with the monogram and
year 1511. Superficial (wood, oil, half the life-size), rubbed down and
retouched; inferior to, but in the same manner as, that of the Palazzo
Sciarra at Rome. The types are like those of Mariotto. The colour
reminiscent of Andrea del Sarto's pupil Puligo.
Florence. Palazzo Antinori a S. Gaetano (named Mariotto). Virgin
and Child, and Baptist, arched (wood, oil, almost life-size). An angel
on the left is by another hand. This also bears the monogram. It is
like the foregoing, superficial, and lustrous.
Besides the foregoing, we note as of still less importance : an Assump-
tion at S. Maria del Sasso, near Bibbiano; a Virgin and saints in S. Maria
delle Grazie at Pistoia; two panels at Cutigliano; a Virgin between
SS. Francis and Benedict in the Academy, a Madonna and saints in
S. Giovanni and the same subject in the Palazzo del Comune, at
Pistoia; and a Presentation in the Temple, of large size, in the late
Bromley collection.3
* 1 Now in the church on the left wall.
* a This picture is no longer in the Sciarra collection. It is reproduced in
KNAPP, u.8., p. 219.
* 3 Sold at the Davenport Bromley sale, June 13, 1863, No. 142.
104 SUOR PLAUTILLA NELLI [CH. in.
After the death of Fra Paolino, the well-worn designs of Fra
Bartolommeo passed to Suor Plautilla Nelli in S. Caterina of
Florence ; a lady who was born in 1523, and died in 1587 (VASARI, v.
79 sq. , and annot.). We shall only mention one or two of her
works, leaving the reader at his pleasure to go deeper into the
matter in the pages of Vasari and Father Marchese.
Florence. Academy of Arts. Formerly Salle des grands Tableaux,
No. 74. * Originally in Santa Caterina of Florence. The Marys and
other saints wailing over the dead body of the Saviour (wood, oil, eight
life-size figures). The composition is fine, and perhaps an unused one
of Fra Bartolommeo, but the execution is a caricature of that of the
classic school, the females being the least objectionable. The colour
is dull and opaque.
Florence. Palace of Prince Corsini, No. 172. Virgin, Child, in a
landscape, and a figure looking over the Virgin's shoulder (named
Plautilla Nelli); an exaggeration of the forms of the Frate, of a low
reddish and raw tone.
Berlin Museum, No. 250.2 Martha complains in the presence of
Christ, Mary, and Peter. This is falsely assigned to Plautilla Nelli,
being dated 1524, a year after her birth. It is a feeble piece, of which
the cartoon seems nevertheless by Fra Bartolommeo.
* 1 Now in the Museo di San Marco (Anticamera del refettorio grande,
No. 3).
* 2 Now on loan to the Town Museum at Hildesheim.
CHAPTER IV
MARIOTTO ALBERTINELLI AND BUGIARDINI
THE unimpeachable testimony of records has served to impress
with an additional stamp of truth the opinion of Vasari as to
the life and character of Mariotto Albertinelli. Born on Octo-
ber 13, 1474,1 and put by his father Biagio di Bindo to the trade
of gold-beating, he soon tired of the monotony peculiar to this
occupation and exchanged it for that of a painter. His choice
of Cosimo Eosselli as a master threw him into contact with Baccio
della Porta, with whom he speedily entered into cordial friend-
ship; and such was the inclination felt by the two apprentices
towards each other, that their companionship became inseparable,
and Mariotto derived from his style the name of a second Fra
Bartolommeo.2
We shall not dwell anew on the incidents which preceded the
monastic retirement of della Porta, nor is it necessary to do more
than bear in mind that when the Last Judgment of S. Maria
Nuova was left unfinished, Mariotto remained charged with its
completion. What chiefly interests us is to see that during
Baccio's novitiate, Mariotto continued the pursuits which had
hitherto been carried on in common, and gave signs of a talented
and promising manner resembling in principles as well as in
technical methods that of his old partner.
What became of the earlier pictures which fell into the hands
of Cesare Borgia at Borne, or the likeness of Alfonsina de' Medici,
has not been discovered;3 but there is a small Christ appearing
to the Magdalen in the Louvre, in which reminiscences of
Cosimo Bosselli's atelier are discovered.4 It was to be expected
1 Register of Baptisms at Florence in Tav. alfdb. ad lit. et an.
2 VASARI, iv. 217. 3 Ib., iv. 219 sq.
4 Louvre, No. 1,115, for a long time assigned to Perugino.
106
106 MARIOTTO ALBERTINELLI [CH.
that Albertinelli should become acquainted with the mode of
drawing in which Fra Bartolommeo's familiarity with the works
of Leonardo was betrayed, that he should have the same types
and lively action, the same thin shapes and elegant proportion,
and that his landscape should be touched with the Frate's careful
tenderness. His system of painting necessarily had the same
fresh sharpness and minuteness of handling. So natural, indeed,
is this, that the presence of all these features in one panel leaves
no doubt as to its authorship. And if in that of the Louvre we
discover an art less perfect than that of Fra Bartolommeo, it
is only because Mario tto had not all the gifts of his associate.
Both men had the same education, both were alike in their
veneration of the maxims which were known in the shops of
Bosselli and Verrocchio as alone true and unassailable.1
There was a time when Mariotto might almost have hoped
to ascend to the highest honours at Florence — the time when della
Porta, having apparently renounced his profession, varied his
leisure, perhaps, by encouraging and advising his friend. To this
favourable moment we owe the Salutation, reproduced in these
pages, and ordered of Mariotto in 1503 for the Congregation of
S. Martino at Florence.
* * That this is no doubt an early work by Fra Bartolommeo was first pointed
out by MOBELLI (Die Oalerien Borghese und Doria-Panfili, p. 157), who quotes,
in support of his view, the shape of the hands and the resemblance of the landscape
to that in the Vision of St. Bernard hi the Florence Academy. The correctness
of this attribution is further borne out by the fact that there exist drawings by
Fra Bartolommeo for this composition (see BEEENSON, The Drawings of the
Florentine Painters, i. 140), and it should also be noted that the list of paintings
by the Frate drawn up by Bartolommeo Cavalcanti in 1516 (MAECHESE, ii. 158 sqq.)
includes a Noli me tangere sold to Domenico Perini, who is also mentioned in this
list as the purchaser of a Nativity which was to be sent to France. From other
records (published by RIDOLFI, in Giornale ligustico di archeologia, storia e bdle
arti, v. 122) this Perini is known to have made payments on April 30, 1506, for a
picture by Fra Bartolommeo, the subject of which is not mentioned, and on
April 16, 1507, for the Nativity. The former of these two pictures is perhaps
identical with the Noli me tangere in the Louvre.
The earliest dated work by Albertinelli which is extant is an Annunciation
in the Cathedral of Volterra, bearing the date : " MCCCCIIIC." Other early
works by him are the Expulsion from Paradise, in the Strossmayer collection at
Agram (see FBIZZONI, in L'Arte, vii. 435, with reproduction); an altarpiece with
wings, hi the gallery at Chartres, showing the Glorification of the Virgin, the
Crucifixion, the Assumption, and several saints; and the triptych of 1500 in the
Museo Poldi Pezzoli at Milan (cf. antea, p. 93).
THE ANNUNCIATION
BY MARIOTTO ALBERTINELLI
From a picture in the Cathedral, Volterra
Photo, Alinari
VI.— To face page 106a
1C
THE VISITATION
BY MARIOTTO ALBERTINELLI
From a picture in the Uffizi, Florence
Photo, Alinari
VI. — To face page 1066
iv.] THE VISITATION IN THE UFFIZI 107
The scene is laid in a highly decorated portico, looking out
upon a fair sky and pleasant country. The Virgin has stopped
and bends slightly but courteously forward as Elizabeth steps
up and takes her hand, a free expression of joy in her aged face
contrasting with the more staid and noble attention in that of
the Madonna. Both have the mien and bearing becoming their
station. Admirable chastity and composure in the one, a winning
honesty in the other. The action and the drapery are equally
felicitous. In this application of the Leonardesque rules Mariotto
was for this once almost perfect, and but for a little stiffness
would be equal to Fra Bartolommeo. Technically he had not
allowed any of the advantages of the age to escape him. All the
acquirements known to da Vinci after his departure from Milan
he turned to use for the attainment of full harmony and rich
vapour, producing enamel transparence in a low key of tone with
consummate skill by glazes.1
To this grand specimen of a picture of style succeeded a round
of the Nativity now at the Pitti — a brilliant easel-piece charming
for its combination of the qualities of Leonardo and Credi; for
noble seriousness in the face of the Virgin and the pleasing plump-
ness in the shape of the Infant Christ ; the landscape, of Ferrarese
minuteness in detail, like that of Fra Bartolommeo's Vision of
St. Bernard.2
Shortly after this, Fra Bartolommeo appointed Mariotto
guardian of his brother Piero, and resumed his artistic occupa-
tions. Whilst he was occupied with the Nativity and Circum-
cision of the Uffizi, Albertinelli was busy on a Crucifixion
at the Certosa and a Madonna with saints, in S. Trinita of
Florence.
The fresco, a simple form of an old theme, with the Magdalen
at foot, the Virgin and Evangelist at the sides, and angels gather-
ing the blood from the hands, is very much in Fra Bartolommeo's
manner, and tells by comparison what the lower parts of the
1 Florence, Uffizi, No. 1,259. On the pilasters one reads: "Anno MDIII."
The predella — Annunciation, Nativity, and Circumcision — is not less able than
the principal incident, though raw from the abrasion of glazes.
2 Pitti, No. 365. Wood, oil, figures half the life-size. Three angels in the sky
sing from a scroll. To the right behind the Virgin, St. Joseph. The shape of ht
Madonna is a little less noble and more square than in the Salutation.
108 MARIOTTO ALBEKTINELLI [CH.
Last Judgment at S. Maria Nuova must have been.1 The
Madonna, now at the Louvre, stands on a pedestal, the Infant
in her arms giving a blessing to SS. Jerome and Zanobius who
kneel in front. Like that of the Frate in the altarpiece of
S. Marco, the group of the Virgin and Child is fine and full of
feeling. The two saints are well proportioned, and the distance
of hills is varied with episodes.2 We dwell at length upon this
period of Albertinelli's life, because he then achieved his greatest
successes. As he grew older, taking many pupils, such as Giuliano
Bugiardini,3 Francia Bigio,4 Innocenzo da Imola,5 and Pon-
tormo,6 he wasted more than his leisure in a vain attempt to
improve oil mediums.
A Virgin and Child with the Infant Baptist, dated 1509, and
greatly injured, in the Fitzwilliam Museum at Cambridge, serves
less to prove this than to show that Bugiardini was probably
then a journeyman in his shop.7 A better illustration is the
Annunciation of 1510, which passed from the Compagnia di
S. Zanobi to the Academy of Arts at Florence. In order to suit
this subject for its position, he placed the panel on the altar and
studied the perspective as well as the play of light and shade on
the spot ; and as he had some peculiar notions as to the propriety
of combining marked relief with fusion, he tried a number of
experiments with but little satisfaction to himself.8 The result,
1 Inscribed: " Mariotti Florentini opus pro quo patres Deus orandus est.
A. D. M. CCCCCVI mens. Sept."
2 Louvre, No. 1,114. One reads on the base of the pedestal: " Mariocti Deberti-
nellis, Opus A. I). M°DVI." The picture was ordered of Zanobi del Maestro, and
was taken to Paris before 1813. Adam and Eve near the Tree of Knowledge are
on the pedestal as a bas-relief. In the background St. Jerome prays at the foot
of the cross, and St. Zanobius revives the Child. The colour is of good impasto,
but raw from the removal of glazes. [* This picture was originally ordered from
Filippino Lippi, who had just begun it when he died in 1504 (KNAPP, u.s., p. 223).]
3 VASARI, iv. 228, and vi. 202. * /&., iv. 228.
5 76., iv. 228, and v. 185. 6 Ib., vi. 246.
7 No. 162. Wood, oil. The Virgin, erect with a pomegranate in her right
hand, holds the Infant, standing, on a parapet. The latter hangs on to the bosom
of His mother's dress, whilst the young Baptist looks on and carries the reed cross.
A bird pecks food, and a vase of flowers is placed on the wall. In front one reads:
" Mariotti Florentini opus 1509." Through a window, a landscape, the whole
covered over with modern repainting.
8 VASARI, iv. 223 aq.
THE ANNUNCIATION
BY MARIOTTO ALBERTIXBLLI
From a picture in the Academy of Arts, Florence
Photo, Alinari
VI.— To face page 108
iv.] THE ANNUNCIATION IN THE FLORENCE ACADEMY 109
as we now see it, was an excessive lucidity of colour, obtained
by a copious use of strong varnish in the oils, and a substance
at once viscous, flowing, and difficult to model. Time dealt
severely with this example, and what it has spared has suffered
from restoring; but besides, Mariotto gave evidence of an ex-
travagant fancy in the confused arrangement and strange dresses
of the angels surrounding the apparition of the Eternal, thus
casting into the shade the finer points made in the fair types of
the Virgin and angel. The subsequent removal to a gallery
where the effect of a low centre of vision is negatived by hanging
" below the line " combines with other disadvantages to give
Mariotto 's work an unfavourable aspect.1 The circumstances
under which he brought it, after incredible labour, to completion,
were such that a valuation by competent persons became neces-
sary, and Pietro Perugino, Eidolfo Ghirlandaio, and Francesco
Granacci, had to give their opinion before the price was finally
settled.2
In a more quiet and less fanciful mood, Albertinelli had occasion
to furnish to S. Giuliano a Trinity3 on gold ground, and an
enthroned Madonna adored by two kneeling saints, which from
thence have been transferred to the Academy of Florence.4
In the midst of these occupations the friendship of Fra Bar-
tolommeo, whose fame was increasing daily, had not been
1 Florence, Academy of Arts, No. 169. The glory has become quite black, and
disharmony is increased by the flaying and repainting of the lower parts.
2 VASABI, iv. 224.
3 Florence Academy, No. 63. Wood, oil. The gold ground renewed to the
detriment of some outlines. The face of the Eternal is fine, and well preserved;
in type like one of Fra Bartolommeo's in S. Romano at Lucca. Two angels
at his feet are pleasing and reminiscent, as regards action and form, of the Raphael-
esque. The arrangement is on the Frate's principles; the drapery broad; but the
colour is of the same kind as in the Annunciation (VASABI, iv. 222).
In the Berlin Museum, No. 229, a round of the Trinity under Mariotto's name
is very like the above in respect of arrangement, though more like a work of
Granacci in touch and mode of colouring. [* It is now officially ascribed to the
latter.]
4 Florence, Academy of Arts, No. 167. Mentioned by VASARI (iv. 222). Wood,
oil, figures life-size. The Virgin is enthroned with the Infant between SS. John
the Baptist, Julian, Dominic, and Nicholas. A bold handling here reminds us of the
Madonna at the Louvre of 1506, with something akin to Ridolfo Ghirlandaio.
The figures are firm and well proportioned, the chiaroscuro well denned, the colour
a little bold.
110
MAEIOTTO ALBERTINELLI
[CH.
neglected. We have seen how vainly Mariotto tried to mediate
in the summer of 1507 between him and Bernardo del Bianco.
After the return of the Frate from Venice, the want of a skilled
superintendent in the atelier of S. Marco became evident, and
the old partnership, which had been broken up in 1500, was
renewed in 1510. Very few of the pictures undertaken while it
lasted enable us to distinguish the hand of either artist.1 We
barely have a trace of Albertinelli in the glory of the Murano
altarpiece at S. Komano of Lucca. His presence is more
decidedly apparent in the lower part of the Assumption at Berlin,
and is slightly betrayed in the round of the Nativity at Saltocchio
near Lucca.
At the division of profits which took place in January, 1513,
a panel which fell to Mariotto 's share was one of Adam and Eve,
contoured and rubbed in by Fra Bartolommeo.2 After Alber-
tinelli had digested the chagrin caused by the separation from
his friend, and repented of having turned publican, we think that
he took in hand this little piece, which is now at Castle Howard.3
On the left sits Adam in profile, obviously bent on dissuading
Eve, who stands against a tree about to pluck the fruit. She is
tempted by the whispering demon whose body is twined about
the trunk. In the landscape the Creation and Expulsion are
introduced as subordinate episodes. This is an exquisite thing,
correct in the anatomy, proportions, and action of Adam, astonish-
ingly appropriate in the hesitating movement of Eve. In spite
of minute treatment, the touch is firm, and the tone rich, sweet,
and airy.
Nor is this a solitary specimen of Mariotto 's power. Its
counterpart is a beautiful Sacrifice of Abraham, preserved like-
wise in the collection of Castle Howard ;4 and a similar character
* 1 Cf. antea, passim.
2 Memorandum of Mariotto (January 5, 1513, n.s.) in MARCHESE, ii. 366.
* 3 It is difficult to accept this hypothesis after the discovery of what in all
probability is the Adam and Eve begun by Fra Bartolommeo — the still unfinished
little picture in the Johnson collection at Philadelphia (see antea, p. 77, n. 1).
4 Both these little pieces have been successively called by the names of Raphael,
F. Francia, and Lorenzo Costa; and are the finest specimens of Albertinelli when
he strove to rival Fra Bartolommeo. In the Sacrifice, Abraham holds his knife
to Isaac's throat, as the angel stops him and points to the lamb in a distant bush.
The angel's wings are touched in gold.
iv.] VARIOUS WORKS 111
is marked in three fragments of a Coronation of the Virgin at
the Museum of Stuttgart.1
We cannot suppose that Mariotto long remained absent from
his easel. For some months only did he keep a tavern at the
Ponte Vecchio al Drago near the gate of S. Gallo, and congratulate
himself on having entered on a trade " where he should be free
from the taunts of criticism, and hear no more of muscles, of
foreshortening, or perspective."2 The means which had enabled
him to take this strange step were, no doubt, soon exhausted; and
in March, 1513, he was glad to accept a commission for a shield
of arms in the palace of the Medici on the occasion of Leo X.'s
elevation to the Papacy.3
The Annunciation at Munich, though undated, is but a con-
tinuation of the manner illustrative of this period in Albert inelli's
career, combining the elegance and pious spirit of Fra Barto-
lommeo with a sentiment and method of colouring like that of
Andrea del Sarto.4 It shows that Mariotto, in this instance at
least, could succeed in uniting strong contrasts of light and shade
to atmosphere and fusion of colour, and preserve at the same
time true proportions and flexibility in nude.5
At the very last, and when one might think that Albert inelli
must have surrendered all hope of receiving useful inspirations
from the study of great contemporary masterpieces, he was
induced to proceed to Rome, whither, according to Vasari, he
1 Stuttgart, Museum, No. 427. A boy-angel and part of a second with flowers,
with a piece of the dress of the Virgin, the rest of whose form and a piece of the
Redeemer is in the second fragment, whilst the third bit shows an angle of Christ's
dress, and another boy-angel. These were perhaps done during the partnership
with the Frate. These fragments at Stuttgart are under the name of Fra Bartolom-
meo, but the drawing and execution are Mariotto's, the flesh lights being red, the
shadows of a greyish- blue, and the vehicle viscous. [* As already noted (antea,
p. 97, n. 2), these are fragments of the upper part of the altarpiece painted by
Fra Bartolommeo and Mariotto Albertinelli in 1511-12 for Jean Carondelet.]
2 VASARI, iv. 222. 3 /&>> t-&o t-&>
4 E.g., in the Annunciation at the Pitti, No. 124.
5 Munich. Pinakothek, No. 1,057. At the sides of the principal group stand a
fine naked St. Sebastian, with an angel consoling him by presenting the palm of
martyrdom, and St. Ottilia with a dagger in her throat (wood, oil, figures almost
large as life). The picture has been unevenly cleaned, the distance and foreground
(the latter especially) being much abraded. The flesh shadows are slightly rubbed
away, and hence a little cool and grey. Purchased at Florence in 1832.
112 MAEIOTTO ALBERTINELLI [CH.
journeyed by way of Viterbo, after having finished there a picture
begun by Era Bartolommeo in S. Maria della Quercia. He
had scarcely given the final touch to a Marriage of St. Catherine
for Fra Mariano at S. Salvestro, when he was seized with an
illness which so prostrated him that he was brought back on a
litter to Florence, where he died on November 5, 1515.1
Some doubtful classifications in public and private collections
make the following list desirable :
Florence. Uffizi (now withdrawn). The Dead Christ, on the
ground, at the foot of the cross, surrounded by the Evangelist, the
Marys and other females. Unimportant, but suggesting memories of
Raphael's studies for the same subject. Not certainly by Mariotto.
Florence. Palace of Prince Corsini, No. 164. Wood. Painted from
a cartoon assigned to Raphael, in the Academy of Arts at Florence, by
an artist subsequent to Ridolfo Ghirlandaio.
St. Petersburg. Hermitage, No. 21. Named M. Albertinelli.2 Mar-
riage of St. Catherine in the presence of SS. John Evangelist, Nicholas,
Stephen, Francis, Jerome, John Baptist, and two others. Wood, oil,
figures large as life; formerly in the Braschi Palace at Rome. In its
present condition, being much restored, this is a mixture of Sogliani
and Bazzi, the style of the latter especially clear in the Virgin and four
principal saints at her sides, and in the sky with its dark cloud; the
rest more Florentine, the St. Catherine particularly coarse and heavy.
Age and retouching have changed the colour, hence lack of harmony
and transparence.
St. Petersburg. Leuchtenberg Gallery, No. 43. Named Gaudenzio
Ferrari. Wood, oil, figures almost life-size. Virgin and Child between
St. Joseph and the sleeping infant Baptist, in a landscape, with angels
playing instruments in the air to the left. Here the stamp of Mariotto
is more marked than in the foregoing, but the surface has also been
deeply damaged by retouching. The painter seems to be Sogliani
or some other imitator of the same sort.
St. Petersburg. Prince Gortschakoff. Round of the Virgin, Child,
infant Baptist, and two female saints. Wood, oil. The composition
after the fashion of the Frate, the forms and faces reminiscent of
1 VASABI, iv. 225. His death on that day and his burial in S. Piero Maggiore
are proved by the register of deaths ad ann. (see Tav. alfab., u.s.). Of his works
at Rome and Viterbo not a trace remains.
*2 Now catalogued as the work of an unknown Florentine painter of the
fifteenth century.
iv.J VARIOUS WORKS 113
Raphael; the young St. John heavy and grotesque. The want of
feeling and other features here betray Andrea del Sarto's pupil Puligo.
London. National Gallery, No. 645. Virgin and Child, once in
possession of M. Beaucousin in Paris; like a Mariotto, but possibly by
Sogliani when imitating Fra Bartolommeo.
Paris. Ex-Pourtales Gallery. Wood, oil. Virgin, Child, the boy
St. John, and St. Joseph in distance. Named Albertinelli. This is a
rudely executed adaptation of Mariotto and Fra Bartolommeo by
Sogliani.1
ALBERTINI (Memoriale, u.s., p. 14) speaks of pictures by Mariotto
in San Pancrazio of Florence. There are no traces of his work there
now. The building is now the Regio Lotto.
In the number of Mariotto 's pupils Vasari names Visino, whom
elsewhere he has called a disciple of Francia Bigio.2 Amongst
his performances the historian mentions one " of Christ taken
from the Cross together with the thieves, in which there is an
ingenious and intricate arrangement of ladders."3 This descrip-
tion points to a panel now in the Galleria del Seminario at Venice,4
not unlike the joint Descent from the Cross by Filippino
and Perugino, but carried out with a view to emulate Andrea del
Sarto and Michael Angelo. Visino thus proves how an inferior
talent assumes the garb of better ones, with a strange diversity
at various periods.
A Virgin and Child, classed not improperly as Pontormo, in
the Academy of Arts of Bologna, but attributed by many to
Visino or Bugiardini, is another example of the mixture above
noted. There is something of the Michaelangelesque, a little
of Fra Bartolommeo, more of del Sarto, particularly in tone.
* x In addition to the extant pictures by Mariotto Albertinelli hitherto mentioned,
the following are to be noticed:
Bergamo. Accademia Carrara, No. 325. The Crucified Christ and three monks.
No. 534 (Morelli collection). St. John and the Magdalen.
Gloucester (near). Highnam Court. Sir Hubert Parry. The Days of Creation
and the Temptation (reproduced in the Arundel Club Portfolio for 1909, No. 2).
The Nativity (Arundel Club Portfolio, 1910, No. 6).
London. Mr. R. H. Benson. St. Jerome.
New York. Mr. Samuel Untermeyer. A Female Saint (see PERKINS, in Rassegna,
d'arte, ix. 147, with reproduction).
2 VASARI, iv. 228 sq. 3 /&., ib., ib.
* Fourteen figures under the head: " School of Perugino."
114 GIULIANO BUGIARD1NI [CH.
The authorship may therefore be the same as at Venice. But
Visino is not alone in suggesting reflections on the productions
of Mariotto's shop. Bugiardini, Innocenzo da Imola, and Francia
Bigio, having been there, may all more or less have taken a part
in the pictures that issued from it. Malvasia is inclined to doubt
Vasari's assertion as to the connection between Albertinelli and
Innocenzo, and perhaps his Florentine bias may be due to other
causes. But setting him aside and considering such pieces as
raise doubts whether they are by Albertinelli or his journeymen,
we may form a class apart, in which traits of Albertinelli and his
disciples are commingled so that the result is unlike Mariotto
absolutely, and also unlike what the several subordinates were
when they assumed their independence. One of these is a Virgin
and Child in the collection of the Duca Corsini at Florence, a
round to which graceful grouping and beautiful landscape, on
the model of Mariotto and the Frate, give a certain interest, but
in which paltry nude, pinched features, and affected melancholy
are to be observed. These we are taught to consider as pecu-
liarities in the first manner of Giuliano Bugiardini, leading us to
the belief that the Madonna of the Duca Corsini may be his when
under the influence of Albertinelli.1 At Turin, too, is another
specimen of the same kind, a round of the Madonna with a
standing Child, the young Baptist, and St. Joseph leading the
ass.2 The Virgin's face varies little from Mariotto's type, whilst
the aged head and short stature of the Christ, and the vulgar
heaviness of the little St. John disclose the derivation of Bugiar-
dini from a school where he was enabled to assume some-
thing of the air of the great masters without much original
talent. Both at Turin and Florence, the colour is cold and a
little raw.
Giuliano di Piero di Simone Bugiardini, whose earliest period
1 The Virgin sits on a bank in a landscape in which the Nativity and Visitation
are distant episodes. The figures are one-third the size of life (wood, oil). The
forms of the Virgin recall those of a Madonna (No. 213 at the Uffizi) under Bugiar-
dini's name, long under that of da Vinci, in which we find the technical handling
of a scholar of Mariotto conjoined with the type of Leonardo; in which also the
shape of the Infant Christ is heavy and puffy. But see the text posted.
2 Turin Gallery, No. 114. Bound, wood, oil, figures one-quarter of life-size;
called Mariotto (?). [* Now catalogued as a work by Bugiardini.]
PORTRAIT OF A LADY (" LA MONACA ")
BY GlULIANO BUGIARDINI
From a picture in the Palazzo Pitti, Florence
Photo, Alinari
VI.— To face page 114
iv.] GIULIANO BUGIARDINI 115
of artistic development has thus been traced, was younger than
Mariotto, and was born in 1475 in the suburbs of Florence.1
The diligence which he exhibited in the garden of the Medici
endeared him to Michael Angelo, whom he followed into the
shop of Domenico Ghirlandaio.2 He afterwards performed the
duties of assistant to Mariotto at Florence and Gualfonda, and
was one of those whom Buonarroti uselessly employed in Eome
when he first undertook the ceiling of the Sixtine chapel.3 During
a long service in irresponsible capacities, he was admitted to
have been known for assiduity and precision in transferring the
drawings of others to panel. We find him in 1520 associated
with Eidolfo Ghirlandaio in valuing a picture at San Frediano
of Florence by Jacopo del Sellaio.4 When he advanced late in life
to an independent position, his ability in undertaking original
subjects was necessarily slight, and he confined himself to the
handling of the simplest incidents.
The Virgin and Child, alone or accompanied by the little
Baptist, sometimes attended by saints, was his usual theme;
illustrations of which we find in the Madonna at the Uffizi known
for years as by Leonardo ; in a Virgin, Child, and Baptist at the
Museum of Leipzig, a Nativity at Berlin, and a Marriage of
St. Catherine at the Pinacoteca of Bologna.
Bugiardini did not fail occasionally to discern the graceful
and appropriate in his contemporaries. His grouping in the
Madonna of the Uffizi is not without merit. The Virgin's face,
with its broken outlines and wasted, angular features, is cast in
the mould of Leonardo's nun at the Pitti,5 though tinged with
a sickly melancholy. Her action is not without sentiment, her
head being pensively bent, and her hand pointing at the breast
which the Child has just abandoned. There is even a Eaphael-
1 See the income return of his father, Piero di Simone, in Tav. alfdb., u.s., and
a contract (antea) of Jacopo del Sellaio where Bugiardini's name appears.
2 VASABI, vi. 201 sq. 3 VASAKI, vii. 175. Circa 1508.
* VASARI, vi. 203. [* Mr. BERENSON (Florentine Painters, p. 125 sq.) considers
that the Virgin and Child with the infant St. John and angels in the National
Gallery (No. 809) and the Virgin and Child with the infant St. John in the Academy
of Arts at Vienna (No .1,134) have been executed by Bugiardini in accordance with
suggestions of Michael Angelo.]
* 5 This picture (Pitti, No. 140), which is certainly too weak for Leonardo, should,
as a matter of fact, be considered as a Leonardesque production by Bugiardini.
116 GIULIANO BUGIAEDINI [OH.
esque movement in the Boy, heavy and round though his shape
may be. The drapery gives a good account of the frame and
limbs beneath, as it does in Mariotto and the Frate, but is rendered
more after Michael Angelo's fashion. The colour is full of light,
of good impasto, and fused like that of Albertinelli. We mark
in fact, the effect which a constant observation of the best models
produces on Bugiardini.1 In the Leipzig Madonna, greatly as it
has been injured, the same dependence is manifested; and in a
pleasant landscape Giuliano seeks to tint the hill-sides with
natural variety according to their distance, and to give depth
on the principles of da Vinci. But his types are more vulgar
and fleshy, his drawing more incorrect,his drapery more festooned,
than at the Uffizi.2 The Berlin Nativity, of better preservation,
is composed and painted more particularly in the method of
Mariotto and the Frate, in a strong, low key of harmonious tone,
the figures still faulty and short.3 A more effective distribution,
better forms and truer proportions in the " Marriage of St. Cathe-
rine " at Bologna, are insufficient to compensate for the bricky
tinge and rawness of a picture marked by something like the
manner in which Innocenzo da Imola afterwards betrays his
contact with the Florentines.4
Another phase in Bugiardini's character is to be noticed in
genuine works in which the personages, instead of being short or
1 Uffizi, No. 213. Wood, oil, figures all but life-size. The type of the Child
is like that in the Turin Madonna (antea). The colour shadowed in grey, fused
like that in Mariotto's Virgin and saints (1506) at the Louvre. The prevailing
tone is rosy, but some sharpness has been created by old cleaning and the conse-
quent flaying of glazes.
2 Leipzig, Museum, No. 21. Formerly catalogued Giulio Romano, the in-
scription having been altered from " Jul. Flor. f . " to " Jul. Ro. f." The Virgin
holds the Infant in her arms, the Baptist in front pointing to Him, and holding the
reed cross; the drawing heavy, puffy, and incorrect. The nimbuses have been
removed; and many parts — e.g., the shadow on the Virgin's cheek and neck, the
Child's hand, and the foot of the Baptist — are repainted.
3 No. 283. The Infant sits on the ground, adored by the kneeling Virgin;
right, SS. John Evangelist and Philip; left, SS. Jerome and Joseph. In the air is
an angel; distance, landscape. Inscribed: " Jul. Flo. fac." Wood, oil, figures
life-size; well preserved.
4 Bologna Pinacoteca, No. 26. The Virgin has the Child on her knee, who
gives the ring to St. Catherine; St. Anthony with one leg on the step of the throne
at the left side; the little Baptist at the Virgin's feet. Wood, oil, all but life-size^
Inscribed: " Jul. Flo. fac."
iv.] GIULIANO BUGIARDINI 117
puffy are, on the contrary, thin and small. The tendency in
these is to remind us of Leonardo and Kaphael, and, in certain
motions, of Michael Angelo, the resulting cento being highly
finished and far from unpleasant, though without the stamp of
independence and originality. In the gallery of Signor Battista
Mansi at Lucca, a Holy Family, inscribed with Giuliano's name
and the date of 1520,1 shows us the Saviour plucking dates from
a palm and giving them to the Virgin, by whose side the Infant
Baptist kneels. The landscape is the old one of the Frate, but
the composition is a mixture of the Leonardesque and Eaphael's
Madonna del CardeUino, the faces displaying an effort to attain
the gentleness of Sanzio.2 A variation of this, at the Padri
Filippini of Bologna, is equally pretty and soft in colour ; smaller
and more carefully handled.3
Michaelangelesque attitude is observable in the strained grace
of the principal figure in a round at the Zambeccari Gallery in
Bologna, where the Virgin sits on a bank with a book in her hand
near a grove of trees, and turns at the call of the Infant Christ,
who has caught sight of the young Baptist coming.4 The style
is otherwise similar to that of the Virgin at Lucca. It may be
recognized in a round at the Hermitage of St. Petersburg falsely
assigned to Pacchia.5
The number of Bugiardini's panels in Bologna might lead to
the inference that during the troubles of the years previous to
1 This picture was probably done in Florence, as a record of September, 1520,
exists, in which we have seen Bugiardini joined Ridolfo Ghirlandaio in valuing
an altarpiece by Jacopo del Sellaio.
2 Wood, oil, figures life-size. Of a ruddy tone, the young Baptist with his
wooden cup injured by restoring. Inscribed: " Julianus Florentinus faciebat.
1520." In the distance St. Joseph and the ass. [* This picture is now in the
Uffizi (No. 3,451).]
3 Wood, oil, 4 feet 6 inches by 3 feet. Wood, oil, without the St. Joseph.
4 Wood, oil, figures third life-size. Very careful; the lights in the Infant Christ's
hair gilt. [* Now in the Bologna Gallery (No. 745).]
5 St. Petersburg, Hermitage, No. 35. Wood, oil, transferred to canvas. The
Virgin on the ground with the Infant on her knee, to whom she shows a book;
the Baptist asleep on the right. St. Joseph coming up with a bundle of sticks
and a barrel on the right; distance a landscape. The forms are small and thin,
hardly outlined, and with precision, enamelled, and a little raw in colour. Not by
Pacchia, to whom it is ascribed, but by Bugiardini. §* In the current catalogue
this picture is restored to Bugiardini.]
VI. — I
118 GIULIANO BUGIARDINI [CH.
1530 he remained at a safe distance from Florence.1 His stay
at the latter place in 1526 is known to a certainty by the record
of payments for decorating the balustrade of the rostrum in the
palace of the Signori.2 After the peace he was constantly
Michael Angelo's companion at Florence, and was wont to divert
his melancholy by harmless vanity and amusing self-sufficiency.
He had the conceit of a Florentine Boswell, following Buonarroti
like a shadow, and sunning himself in the borrowed light.3 When
the statues of the Medici tombs at S. Lorenzo were finished in
1531, Bugiardini copied the " Night " on the wing of a triptych
with the accompaniment of a lantern in the form used for trapping
birds — an idea as ludicrous, says Vasari, as if he had copied a
nightcap, a pillow, or a bat.4 With some difficulty he once
obtained a sitting from Michael Angelo for his likeness, and
having kept him two hours, produced a portrait in which one
eye seemed awkwardly transposed into one of the temples.
Nothing would induce him to correct the error, for, if error there
be, he said, it is in the original.6 The portrait is supposed
* * As early as 1512 Bugiardini seems to have been active for a Bolognese
patron. The proof of this is a representation of the Birth of St. John the Baptist,
in the gallery of the University at Stockholm (No. 216), which, besides the signa-
ture " Jul. Bugiardini Flore. F.," bears the inscription: " D. Vicentius Sachrista
S. Petroni F. F. MDXII." It may be taken that the church mentioned in this
inscription is S. Petronio of Bologna. See SiRiiN, in Konst, Nos. 11-12, Stockholm,
1913.
2 Archiv. di Stato di Firenze. Stanziamenti de' Signori e collegi fr. 1521 to 1627:
233 tergo.
Die 5. Octobris 1526.
" Item stanziarono che detti massai, — dieno e paghino al d° Camarlingo della
Camera dell' Arme fior. 20 larghi d' oro in oro netti; — sono per dargli e pargare
a Giuliano Bugiardini dipintore per parte del prezzo del cartone che lui fa del
disegno della spalliere della ringhiera del Palazzo, de' nostri Signori, le quali si
anno a fare di nuovo — per essere quelle che di presente si adoprano, consumate,
guaste e disonorevole." Favoured by Gaetano Milanesi.
3 He was a member of the club of the Cazzuola, of which more in the Life of
Andrea del Sarto (VASARI, vi. 612).
4 VASARI, vi. 208 sq.
5 lb., ib., 206. Michael Angelo succeeded in getting for Bugiardini Sebastian
del Piombo's portrait of Clement VII., from which he (Giuliano) made a picture
of that Pope in company of Baccio Valori (see GAYE, ii. 228; and VASARI, v. 581 sq.),
and another of the Pope with Fra Niccolo Schomberg, Archbishop of Capua
(VASARI, ib., ib.). Bugiardini also copied Raphael's Leo X., substituting Cardinal
Cibo for Cardinal de' Rossi (ib., ib., vi. 206); and he took the likeness of the his-
11%
THE BIETH OF ST. JOHN THE BAPTIST
BY GlULIANO BUGIARDINI
From a picture in the University Gallery, Stockholm
VI.— To face page 118a
THE MARTYRDOM OF ST. CATHERINE
BY GlULIANO BUGIARDINI
From a picture in S. Maria Novella, Florence
Photo, Alinari
VI.— To face page 1186
iv.] GIULIANO BUGIAKDINI 119
to be that of the Louvre, which certainly has something of
Bugiardini, though feeble even for him, and of a hard, dull
reddish tone.1
A letter of Giovan Battista di Paolo Mini, dated September
29, 1531, addressed to Baccio Valori, tells of a visit from Michael
Angelo to Mini together with Bugiardini; and a second, inter-
changed between the same persons in the following October,
mentions the Eape of Dinah, which Giuliano was then finishing
from a design by Fra Bartolommeo.2 The picture is now in the
Imperial Gallery at Vienna, and done clearly from the Frate's
sketch, but without style or harmony of colour,3 and far less
successful than the Martyrdom of St. Catherine taken about the
same time from a composition of Michael Angelo 's for the Cappella
Kucellai at S. Maria Novella of Florence. It is a pity, indeed,
that so grand a distribution, one so complete in the relation of the
groups to the architecture, should be marred by the want of
power exhibited by Giuliano.4
Few of Bugiardini's panels or canvases in addition to those
we have mentioned remain to be noticed. We mark one in the
torian Guicciardini (circa 1534 ?) (VASARI, vi. 205). These are all missing [* ex-
cepting the portrait of Leo X.; cf. posted, p. 120, n. 7], as well as the frescoes at
Baccio Valori's country-house, and other things too numerous to mention (VASARI,
vi. 202-207). We have seen that he restored the four battle-pieces of Uccello
at Gualfonda (see antea}.
1 Louvre, No. 1,649. A white handkerchief is on the head, inscribed: " Micha.
Ange. Bonarottanus. Florentinus sculptor, optimus anno JStatis Suae 47 " (ergo
done 1522). The style is that of a man anxious to work in M. Angelo's way,
hard in drawing, dull red in light; inky in shade, surface smooth as in Bronzino
and Pontormo.
2 This correspondnce is in GAYB, Carteggio, ii. 228 and following.
3 Vienna, Imperial Gallery, No. 36. Twenty-eight figures, wood, oil, of glassy
colour, very feeble, and with little of Fra Bartolommeo left.
4 The panel is on the wall to the left of the entrance, the figures large as life.
VASARI (vi. 207) assigns the drawing of the foreground figures to Michael Angelo.
The whole composition seems his. f* The drawing by Michael Angelo for this
composition IB in the Print Room at the Palazzo Corsini in Rome.] The saint
remains magically in air between the wheels in the midst of the court, where the
crowd of people and soldiers lie prostrate. Above a screen balcony the angel
appears; and on the balcony and at the windows of the palace looking on to the
court are frightened spectators. This is the most important of Bugiardini's works.
The figures are slender and full of movement. The surface of colour smooth as
marble, and now of sombre tone.
120 GIULIANO BUGIARDINI [CH. iv.
Casa Susanni at Mantua,1 others in the Colonna Palace at Home,2
in the sacristy at S. Croce of Florence,3 in the Pinacoteca at
Bologna,4 the Baring collection in London,6 and the Berlin
Museum.6
Bugiardini died at a good old age on February 17, 1554.^
1 Virgin, Child, youthful Baptist, and an angel; wood; called Francia. Com-
position like a youthful one of Raphael; the character of the work Bugiardini's.
(j* Mr. BRECK (in Rassegna d' arte, xi. 115) suggests that a picture in the collection
of Mr. Theodore Davis of Newport may be identical with this one.]
2 Virgin, seen to the knees, with the Child on a wall, signed: " Juliani Floren-
tini "; wood, third life-size; much damaged by restoring.
3 Nativity, the Virgin with St. Joseph and two shepherds adoring the Child,
four saints (Anthony the Abbot and Bartholomew, Nicholas of Bari and John the
Baptist) separated from the body of the picture. Formerly in the Cappella
Castellan! The character of the figures here is long, dry and lean, the drawing
somewhat in the style of David and Benedetto Ghirlandaio. Were Bugiardini
proved to be the author, we should take this as an example of his style as he issued
from the school of Domenico. |j* These pictures are now in the Museo dell' Opera
in S. Croce. The panels containing the figures of the Baptist and St. Nicholas
are very much cut down.]
4 Bologna, Pinacoteca, No. 25. St. John in the desert drinking out of a wooden
bowl, a dry and mechanically made- out nude, of raw, bricky, and opaque tone,
inscribed on the stone seat: " Jul. Flor. f." On canvas; all but life-size.
6 Canvas, small. Same figures as No. 25 in the Pinacoteca of Bologna. [* Now
in the collection of the Earl of Northbrook. Yet another picture of this subject
by Bugiardini is in S. Maria delle Grazie at Milan (above the first altar to the
right; signed: "Jul. Bugiar. flo. faci.").]
6 Berlin, Museum, No. 284. Death of Lucretia. Disagreeable figure of un-
pleasant type, of sombre greenish colour, of glassy surface. [* This picture is a
free copy after a picture by Bramantino in the collection of the Conte Sola Busca
of Milan. See STTIDA, in the Vienna Jahrbuch, xxvi. 304 aqq. ; and CROWE and
CAVALOASELLE, History of Painting in North Italy, ed. BORENIUS, ii. 348, n. 1.]
Berlin, Museum, No. 285. Holy Family, very feeble, but still possibly by
Bugiardini. [* Now on loan to the Provinzialmuseum at Bonn.]
7 Tav. alfdb. He was buried in S. Maria Novella. [* We add the following
list of extant pictures by Bugiardini that have not yet been mentioned:
Florence. Museo di San Marco, No. 6. The Virgin and Child with SS. Francis
and Mary Magdalen.
London. Mr. W. Seymour Eastwood. The Virgin and Child.
Rome. Oalleria Borghese, No. 177. The Marriage of St. Catherine. Palazzo
Corsini, No. 584. Copy, with variations, of Raphael's portrait of Leo X.
(mentioned by Vasari; cf. antea, p. 118, n. 5).
Turin. Accademia Albertina. The Virgin and Child with the Infant St. John.]
CHAPTER V
FRANCIA BIGIO AND SOGLIANI
FEANCESCO DI CKISTOFANO, commonly called Francia
Bigio, was a more finished artist, and did more honour to
the teaching of Mariotto Albertinelli than Bugiardini. He was
born in 1482,1 and studied at the Brancacci. But when Michael
Angelo exhibited his cartoon of the " War of Pisa " in the Sala
del Papa at Florence in 1506, Francia Bigio swelled tho
current of the crowd which flocked there with easel and portfolio.
The acquaintance of Andrea del Sarto which he then made subse-
quently ripened into friendship; though circumstances kept the
youths for a time in the workshops of different masters. The first
frequented the atelier of Piero di Cosimo, the second visited that
of Albertinelli, and the result was the infusion of different elements
into their respective styles.2
Francia Bigio is generally known by a manner resembling that
of his friend ; but an extant panel amongst those assigned to his
early period would prove that his original tendency was to
imitate Albertinelli, so as in some respects to resemble Giuliano
Bugiardini. Of two subjects which were once preserved in
S. Piero Maggiore at Florence, one is the Annunication now in
the Museum of Turin,3 in which Vasari admires the ready flight
of the angel, the graceful attitude of the Virgin as she kneels to
receive the salutation, and the ingenious perspective of a block
of houses. He neglects to add that in the sky to the left the
Eternal gives his blessing from a cloud in which pretty cherubs
1 VASABI (v. 198) says Francia Bigio died aged 42. The death is in the register
of Florence sub anno 1525 (January 14) (Tav. alfab., u.s.}.
2 Vasari says that Francia Bigio only learnt for some months from Mariotto.
The effect, at all events, was powerful and lasting.
3 Turin, Museum, No. 112. Figures half the size of life.
121
122 FRANCIA BIGIO [CH.
fly, and sends down the dove with a ray from his glory. In con-
sidering the question of authorship, we note that the ruddy
flesh-tints with their cool shadows are in some measure like those
of Pontormo. But the broad mask of the faces in the Virgin
and angel, the bony shape and small pinched features, the trite
and straightly lined drapery, seem a modification of Bugiardini's
by a man of superior attainments. The sombreness of the colour
is apparently derived from Leonardo through Mariotto, and the
buildings, so justly praised for their perspective, are not dis-
similar from those of del Sarto.1 Everything thus points to
Francia Bigio.
Another contribution to the embellishment of the altars in
S. Piero Maggiore was, according to the historian, the Virgin
with the Saviour grasping her neck, and a boy Baptist playing
with him,2 a panel which has been missing for many years,
though quietly ensconced at the Umzi under the title of Madonna
del Pozzo.3 Passavant very properly expels this from the cata-
logue of Kaphael's works,4 though it is of a period when Sanzio
left a clear impress on Florentine art. The playful clinging of
the Redeemer to his mother's bosom, as if he had sprung there
into charming security at the approach of the Baptist, the
Leonardos que turn of her movement, are quite as characteristic
of Francia Bigio, when his style was not yet very distant from that
of Bugiardini, as are the round head of the Virgin, the forms of
the infants, and the dresses. In these we meet with a cento of
Fra Bartolommeo and Andrea del Sarto, whilst the landscape
is still nearer to one by the Frate, and the surface has the polished
enamel of the Florentines of this time. The type, shape, and
figures are almost as much Francia Bigio 's as are those of the
1 A fresco of St. Bernard, and a St. Catherine of Siena, in S. Pancrazio, of the
same period, are gone (VASAEI, v. 190).
2 VASABI, v. 190.
3 Florence, Uffizi, No. 1,125. Catalogued as Raphael. [*Now as Francia
Bigio.] Otto Miindler was unwilling to accept our belief as to Francia Bigio being
the author of this picture and he assigns it to Bugiardini. He does not convince
us, the more so as his opinion that the Madonna del Pozzo and the Holy Family
by Ridolfo Ghirlandaio (No. 1,224 at the Uffizi) are by one hand is quite untenable.
See Zeitschrift fur bildende Kunst, u.s., ii. 302, 303. [* The prevalent view is now
that the picture No. 1,224 at the Uffizi is by Francia Bigio.]
4 PASSAVANT'S Raphael, u,s., ii, 407.
THE ANNUNCIATION
BY FRANCIA BIGIO
From a picture in the Turin Gallery
Photo, Alinari
VI.— To face page 122
v.] EARLY WORKS 123
Bathsheba at the Dresden Gallery, or the frescoes in the Scalzo.1
Diligence and a cautious attention to the rules of proportion were,
in Vasari's opinion, the qualities of Francia Bigio's oldest crea-
tions.2 They would have been more enticing if hardness and
ungainly heaviness had not disfigured them. But, independently
of their intrinsic value, they interest us by laying open the current
of thought and of study in the master, and by revealing the in-
fluences exerted on him by the teacher from whom he learnt to
admire Fra Bartolommeo, and the friend, towards whom he was
attracted by conformity of taste and inclinations. They cause
us also to remember that Leonardo and Eaphael were the idols
of their fellow-artists, and that they more or less affected most
of the rising men of their age. We shall see that it was to be
Francia Bigio's constant chance to have his best performances
called after Raphael and del Sarto. That they should have
received the last of these names might seem an easy consequence
of the connection between two men who were comrades at school
and kept a joint atelier afterwards. But that the first should have
been still more frequently used, is a distinction of no common kind.
We have no sure grounds for assuming any fixed date for the
association with Andrea del Sarto, Vasari's statements being
too general to permit of any safe deductions on that point, and
Francia Bigio's works being from the beginning affected by the
acquaintance of his future companion. We are inclined, how-
ever, to place before the Sposalizio of 1518, in the court of the
Servi at Florence, the Virgin and Child between SS. John Evan-
gelist and Job, now at the Ufnzi, the two angels at the sides of
Sansovino's St. Nicholas in S. Spirito, and the Calumny of
Apelles in the Pitti. Reminiscent still of the masters we have
mentioned, and extremely smooth in surface, they are, all three,
in a state that almost forbids criticism, but the Calumny is put
together with figures of good though short and fat proportions,
and outlined with a view to reproduce a well-fed and somewhat
puffy, not a finely bred or noble, nature.3
1 The cartoon of this Madonna, once in possession of Mr. Wicar was considered
by him as from the hand of Francia Bigio.
2 VASARI, v. 191 sq.
3 The first of these (No. 1,264, wood, oil, life-size, at the Uffizi) was originally
in S, Giobbe (VASABI, v. 191), and is much dimmed by time and restoring.
124 FRANCIA BIGIO [CH.
That neither del Sarto nor Francia Bigio were asked to paint
the curtains of the altarpiece by Filippino and Perugino at the
Servi, as Vasari pretends,1 is testified by the records of the
convent, which contain the payment of that work to Andrea di
Cosimo.2 That Francia Bigio was employed at the Servi in
1513, is testified by documents. It is credible that about that
time a partnership existed between him and del Sarto, and it
cannot be denied that he had then acquired much more skill than
is shown in the panels of his younger days.
In the court of the Servi, the high priest unites Joseph and
Mary in front of a noble palace, on the walls of which bas-reliefs
represent the Sacrifice of Isaac, Adam and Eve near the tree of
knowledge, and Moses receiving the tables of the law. The joy
of the grey -haired St. Joseph is tempered by the expectation of
the buffet from the best man, who stands behind him. The despair
of the unsuccessful suitors is well depicted in one who wrings his
hands, to the left, as well as in a second, who sits and breaks the
rod that would not blossom. To the right, two youths stand
with their arms interlaced, and a female chides her crying child.
As the fresco was all but finished, a day of great solemnity for
the Servites came on, and some of the monks took upon themselves
to remove the screens which covered it. The wrath of Francia
Bigio was such that he walked straight from his lodging to the
convent, and with a mason's hammer almost struck out the heads
of the Virgin and some males and females. This act of choler
was so much approved by Francia Bigio 's fellow-craftsmen that
none of them would consent to restore the parts he had destroyed,
and though as late as 1515 he was peremptorily ordered to put
It hangs so high that one cannot see the initials " F. B. C." that are said to
be on it.
The two angels likewise noticed by VASARI (v. 191) are half as large as life, one
with a lily, the other with a book; the surface cracked or blackened in the
shadows.
The Calumny (No. 427, at the Pitti), a small piece, has become sombre, and is
excessively retouched, but was originally of the same class as the foregoing. The
initials "F. B." are on the plinths of the distant pillars, and an inscription at the
base runs thus: " Claudite, qui regitis populus his vocibus aures sic manibus lapsus
nostris pinxit Apelles."
1 VASARI, v. 8.
2 BIFFOLI, in annot. VASARI, v. 207-
THE SPOSALIZIO
BY FRANCIA BIGIO
From a fresco in SS. Annunziata, Florence
Photo, Alinari
VI.— To face page 124
v.] THE SPOSALIZIO IN SS. ANNUNZIATA 125
the wall into its original state, he successfully resisted every
threat, and the fresco remains to this day in the condition in
which he left it.1 Enough has been preserved to justify Vasari's
eulogy of the artist's diligence, and the soft contrasts of tints as
well as the vague fusion of colour which rivals that of del Sarto
in rosy airiness and transparent delicacy, is an instance of the
ability he possessed, and the great practice he had attained.
The composition is correct according to the most rigid maxims,
but there is a stilted affectation in some poses which cannot be
commended. The drapery is fair, but has too many straight or
parallel folds. The nude is well proportioned, but the drawing
of the parts might be more careful, and the transitions from light
to shadow should be better denned. Francia Bigio, however,
never did anything better, and the Sposalizio of the Servi is his
masterpiece in fresco.
Whilst he was thus giving evidence of talent in mural decoration,
he strove to gain a reputation as a portrait-painter, and in that
capacity achieved, perhaps, the most flattering of successes.
Every frequenter of the Louvre knows a sombre portrait of a
young man standing, with his elbow on a ledge, at an opening
through which a landscape and two little figures are seen. His
hollow eyes are sunken under a marked, bony brow. His hair,
cap, and dress are black. The forms of the face and hands are
scant in flesh, and broken in contour, the cavities and retreating
parts in deep unfathomable shadow.2 Hundreds of students
have copied this piece, round the melancholy charm of which
a halo has been thrown by the name of Eaphael. Yet critics
have long agreed that that name is not to be sustained; and in
its stead have called that of Francesco Francia, whose technical
system is different, or of Bugiardini, whose powers are too humble.
The most obvious objection to the nomenclature hitherto pre-
ferred is derived from the essentially Florentine character of the
likeness and its accessories. It discloses the studious effort of
a highly accurate draughtsman deeply impressed by the examples
of Leonardo and his mode of handling, and familiar with the
1 VASABI, v. 193; and BIFFOLI'S records in annot., ib.
2 Louvre, No. 1,644. Under the name of Raphael. A piece of dark colour all
round the edges is new.
126 FRANCIA BIGIO [CH.
methods applied in more than one of da Vinci's heads.1 It defines
a skeleton of bone like that in the Virgin of the Turin Annuncia-
tion. Its features, instead of being simplified into grandeur,
as Eaphael would have done, are elaborated to the loss of sim-
plicity, full of research rather than of feeling. One might apply
to the author Vasari's opinion of Francia Bigio: "A man of
slight refinement, because he laboured too much, producing with
a certain hardness, but cautious and diligent in the measure of
proportions."2 The colour is of a low-tinted, hard, and glassy
enamel unknown to Eaphael, its shadows thin and dark, its
execution that of Francia Bigio, and betraying an acquaintance
with that of Andrea del Sarto.
Had not other portraits of the same class presented themselves
for comparison with this of the Louvre, it would have been
becoming to put the question more in the light of an inquiry.
But a whole series of similar ones exists, some of them catalogued
as by Francia Bigio, and bearing his monogram; others with a
similar cognizance, yet classed as by Eaphael or Andrea del Sarto.
The first, known for centuries as Francia Bigio 's, is that in
the Pitti Gallery at Florence, of a youth in cap, tunic, and mantle,
at a window through which we look at a pleasant, but not brightly
lighted, undulating distance. A glove is in his right hand. The
left gesticulates naturally. The pose is free, showing to advan-
tage a handsome and juvenile person; the face is open, and the
eyes beaming with a suppressed smile. A good flow of hair falls
from a black cap to the dark dress that covers the shoulders.3
On the border is the monogram twice repeated and the date:
" A. S. (anno salutis) M.D.XIIIL" Eestorers have seriously
interfered with the beauty of the figure, and the flesh has become
tawny from time and retouching, but the style is here and at
the Louvre perfectly alike, though it betrays a more recent date,
and a more habitual skill in the painter.
Superior to this of the Pitti, in every sense, is the fine portrait
1 E.g., and particularly in the Portrait of a Goldsmith, No. 207, at the Pitti.
[j*This, as we shall see (p. 142, n. 1), is a Leonardesque work by Ridolfo Ghir-
landaio.]
2 VASARI, v. 191 sq.
3 Pitti Gallery, No. 43. The monogram may be found in the Berlin catalogue,
No. 245, or in NAGMCR, Die Monogrammisten, 8°, Munchen, 1861, II. Band, p. 207.
PORTRAIT OF A YOUNG MAN
By FRANOIA BIQIO
From a picture in the National Gallery
VI.— To face page 126
v.] PORTRAIT IN THE NATIONAL GALLERY 127
of Stanstead House, which Mr. Fuller Maitland attributes to
Raphael in spite of Francia Bigio's monogram.1 We cannot
affect to contemn the reasons which induce the owner of such
a masterpiece to cling to the name of Sanzio, when we remember
that that of the Louvre has been for years so called, and the
stamp of art is similar and discloses the same hand in both.
Whilst in the latter Francia Bigio exhibits the diligence, the
precision, and power of a man full of eagerness to excel, as well
as to embody the maxims of Leonardo, the former discloses less
carefulness, but more self-possession, a greater ease in the use
of colours of a solid texture, more elasticity and good breeding
in the pose, beauty in the contour and modelling in form. In
this very progress lies, we admit, an additional ground for the
supposition of Raphael's authorship. But the execution is not
less decisive against Sanzio at Stanstead House than at the
Louvre, and the Leonardesque system as derived from the com-
panion of Fra Bartolommeo, or even from the contemplation of
the Frate's own creations is so clear that, independently of Francia
Bigio's sign-manual, no doubt can be allowed to exist as to his
right to this piece. So perfect, indeed, is the coincidence between
the technical habits of della Porta and those of Francia Bigio
here, that years have caused their works to undergo exactly
similar changes. We have seen the flesh-tints of the Frate gain
a strong low tinge and dark shadows that rob the surface of its
original transparence and softness. This is what time has done
for Francia Bigio in this instance without, however, depriving
him of any essential charm. The undulating landscape behind
the figure is of the pleasing nature observable in all those of Fra
Bartolommeo and Raphael; the slopes neatly cut up by paths,
dotted with trees and houses, and the vale parted by a stream
flowing gently through meadows and crossed by a bridge. Every
detail is touched with taste and accuracy. The person at the
opening seems disinclined to enjoy these beauties. His age may
be from twenty-five to thirty. The dark cap that casts its
shadow on his forehead covers long locks of brown hair, and his
dress, with ample sleeves, is adorned with an order of knighthood.
His regular features and penetrant eyes are slightly contracted
* * This picture is now in the National Gallery (No, 1,035).
128 FKANCIA BIGIO [CH.
by melancholy thoughts, and he gazes at the spectator as he
abstractedly holds a letter in both hands, repeating inwardly,
perhaps, the motto written on the parapet : " Tar ublia. chi. bien
aima." Of the note itself the words are illegible. A date, 1514
(? 1516),1 is on it, but no clue to the identity of the person to
whom it is addressed.2
Next in order to this, and in the same manner, though much
restored, is a half-length of a man at a window, in the collection
of Lord Yarborough in London, supposed to be Antonio Caradosso
of Milan, by Kaphael. Yet here, as at the Pitti, are the inter-
woven ciphers of Francia Bigio at each side of the date "A. S.
MDXVI." The person reproduced is a jeweller, about fifty years
old or more, portly, shaven, and of full flesh ; his cap on, his dress
of a brown coffee-colour. In his left hand he holds a plate of glass
on which he has been tracing lines with a ring to try the genuine-
ness of a diamond. Three other rings are on the window-sill. The
execution is already freer than in the panel of Mr. Fuller Maitland.3
More interesting again, because we stumble on a portrait of
which Vasari has spoken, is the factor of Pier Francesco de'
Medici, ascribed to Andrea del Sarto, in the picture gallery at
Windsor Castle. Though restoring has left blemishes on par-
ticular spots, and the colour has the dinginess of age, especially
in the shadows, there is no mistaking the hand of Francia Bigio,
whose monogram also is clearly outlined on the curved blade of
a chopper hanging with another instrument of the same kind from
a nail in a wall. The man is about fifty, in the usual dress of
the period, with his head covered, writing in a book, a bunch of
* l The correct reading is probably 1515.
2 This portrait (wood, oil, large as life) belonged in 1860 to Mr. Seymour Fitz-
gerald in London, and has been supposed, probably on insufficient grounds, to be
that of Giulio, the natural son of Giuliano de' Medici. It is clear that, after the
drawing of this piece had been done, the flesh parts were rubbed in with a warm,
local colour so as to let the white ground appear through it. Thus we see in the
transitions from light to shadow that the half-tones are transparent, and receive
light from within. More substantial are the superposed lights, with their varied
shades of cool or livid tinge, and the shadows of warm brown laid in over each other.
The portrait is in first-rate preservation.
3 Wood, oil, life-size, much injured and restored. In the distant landscape to
the right two little figures on a road. The monogram is a little imperfect owing
to abrasion, the upper part of the letter F. being taken away The colour, in con-
sequence of damage sustained, is of a heavy yellow in the flesh.
v.] PORTRAITS AT WINDSOR AND BERLIN 129
keys hanging from his wrist; an ink-bottle in his left hand; a
shield in the border of stone upon which he rests, bearing the six
golden balls of the Medici; and an olive-branch denoting the
peaceful nature of his occupation. Originally in the collection
of Charles L, this fine half-length is singularly ready in move-
ment, laid in with a full sweep of strongly consistent colour, in
which we miss too obviously an absence of transparence in tones
merging from fair yellow in flesh light to a cool grey in the half-
tones, and black in the shadows. We thus perceive how Francia
Bigio modifies his style, and gradually disimproves by assuming
bolder and easier habits.1 It is in this phase that he found
himself when he finished a bust of a male in a cap and dark-
laced dress, with falling auburn hair, catalogued as by Sebastian
del Piombo at the Berlin Museum,2 a thoughtful face, well drawn
and modelled, and of substantial impasto.3 The latest example
of the series is the half-length, in the same collection, of a man
almost in full front, with a pen in his right hand, and his left arm
on a desk, done with great freedom, and less pleasing in tone
than successful in the swing of the pose and knack of the handling.
The date of 1522 and the monogram leave no doubt that we see
in this the most advanced and least perfect thing of its kind by
our artist.4
Whilst devoting himself, as occasion required, to portraits,
Francia Bigio did not neglect the more difficult exercise of fresco.
A much- injured " Cena " in S. Giovanni Battista della Calza,5
1 On the back of the panel is the royal mark " R. C.," surmounted by the royal
crown. The portrait is in the catalogue of King Charles's collection (copied in
WAAGEN, Treasures, ii. 478), under A. del Sarto's name. VASABI speaks of it
(v. 197 sq.). The monogram is upside down on the chopper. The figure size of
life. All the flesh shadows darkened, and part of the left cheek, right hand, and
dress, restored. The background is a wall; the writing in the book not legible,
and probably never intended to be so.
* 2 Now officially restored to Francia Bigio.
3 No. 235, Berlin Museum (wood, oil, life-size), of a low grey and opaque tone.
The background plain and of a dark brown.
4 Berlin Museum, No. 245 (wood, oil, life-size). The hands repainted; the rest
of a cold tone, at one painting ; the landscape clear and pleasant. A paper on the
desk contains the monogram of Francia Bigio and the word: " 1522, a di 24
d* ottobre."
5 This fresco is in the refectory, and has been injured by damp. It is mentioned
by VASABI (v. 193*?.).
130 FRANCIA BIGIO [OH.
and another in S. Maria de' Candeli, with the initials of his name,
due, perhaps, to the industry of his assistants as much as to his
own, exhibit his talent in a less favourable light than at the
Servi in 1513; whilst an Annunciation, a symbolic Crucifixion
between St. Thomas of Villanuova and St. Anthony of Padua,
a triad with St. Augustine, and a Nativity, also at S. Maria de'
Candeli, serve to illustrate the carelessness to which men of fair
attainments may occasionally succumb.1 The truth may be
that there was much in the occupations of artists at this time to
favour the growth of slight or scenic painting; and when we find
that Francia Bigio was invariably one of those engaged on public
occasions, whether mournful or the reverse, in which decorations
were required, as on the funeral of Julian de' Medici in 1516,
and the wedding of Lorenzo de' Medici in 1518,2 we seek no
other reasons for the hasty manner which he occasionally assumed.
At the Scalzo in 1518 and 1519, Francia Bigio was employed
to fill the void created by the absenqe of Andrea del Sarto. But
previously to that time, and possibly when still in partnership,
he might have had a share in the Baptism of Christ, which is
framed in one of the compartments next to the allegory of Charity.
It has been usual to give this feeble number of a great series to
Andrea del Sarto,3 though the drawing is loose, defining short
fat forms without any of the vigour which we expect from Andrea ;
and were it even proved that the commission was his, we should
suppose the work to have been done with the help of Francia
Bigio when both men lived in common at their shop in the Piazza
del Grano.4
In the Departure of St. John for the desert, and the Meeting
1 S. Maria de' Candeli is now the Liceo militare in Via de' Pilastri. [i* At present
it is used as a barrack. The room adorned by these frescoes is the Archivio
legionale.] The Last Supper is in the usual form, with Judas alone at the front
side of the table. Near him is the inscription: " Fa B°." The figures are almost
life-size, and rudely reminiscent of Fra Bartolommeo. SS. Nicholas and Monica,
near the Last Supper, are a little better, perhaps; but all the other work in the
refectory is poorer, and probably by pupils, of whom the chief may have been
Sogliani.
2 VASABI, v. 101, 208; vi. 436. 3 /&., v. 9.
* The Baptism is one of the few frescoes of which the date is not positively
proved (see annot. VASARI, v. 67); and if done in 1514, would show a strange dis-
similarity to the work of del Sarto elsewhere.
v.] VARIOUS WORKS 131
of Christ with the Baptist, the figures are designed with neglectful
ease, in proportions far too curt and pinguid to please the eye;
and the absence of breadth and mass in light and shadows which
alone produce a perfect semblance of relief, as well as coarse
features and festooned draperies, place Francia Bigio in unfavour-
able contrast with his rival.1
When both men subsequently competed (1521) at the Medici
Palace in Poggio a Cajano, the same comparison might have been
made, and although Francia Bigio showed that he possessed the
power of animating his personages, and distributing them with
propriety, he not only proclaimed a decline from the standard
erected by himself at the Servi, but he fell into greater coarseness
and heaviness than was consistent with his duty. His Triumph
of Cicero, with all its apparatus of obelisks, rostra and temples,
is coloured without much harmony or transparence ; and the
supernatural proportions of his people are common and square.
But, in spite of this he surpasses Pontormo, and shines by the
side of the later Allori, and the general division of the decoration
which he planned is not altogether amiss.2
Francia Bigio 's endeavour at last was, it is clear, to make a
livelihood by rapidity of hand. On Vasari's own showing, his
first wish had been to lay a strong foundation by the constant
study of nude and anatomy,3 but finally he accepted on principle
every order that was given to him, having come to the conclusion
that he had not the stuff for rivalling men of superior genius.
Still, to the last he kept at a respectable level, especially in small
things, and the Bath of Queen Bathsheba and her nymphs, with
the Royal Feast at the Dresden Museum, which he finished in
1523, secures respectful if not unconditional admiration. We may
object to the short stature and pufiiness of the females, yet praise
the vigour and lucidity of the colour, the freedom of the touch,
1 These two subjects at the Scalzo were begun in 1518, and finished in March,
1519. The ornament in the court, of arabesques, festoons, and cherubs' heads,
where they are not repainted, seem to us to be by Francia Bigio.
2 Andrea del Sarto did his fresco in 1521, as is shown by the inscription, and
VASARI says he and Francia Bigio painted together (v. 195). Pontormo's work
dates 1532, Allori's 1582. The waggon roof, with white relief ornament, on gold
ground, and the Medici arms are Francia Bigio's.
3 VASAKI, v. 196.
132 FRANCIA BIGIO [CH.
the beauty of the composition, and the natural force and truth
of the movements. We observe, as before, a style ingeniously
formed on the models of Fra Bartolommeo and Andrea del Sarto.1
The death of Francia Bigio took place at Florence on Janu-
ary 14, 1525 (n.s.).2
The catalogue of works unnoticed in the foregoing text will
be short :
Florence. Uffizi, No. 1,223. Temple of Hercules. Part of a
" Cassone." Wood, oil. Of Francia Bigio 's late period, broad,
animated, and quickly done, of a strong brownish tone. Some figures
taken apparently from Dtirer.
Florence. Casa Ciacchi. Noli me tangere. Genuine. (VASAEI,
v. 198.)3
Berlin. Museum, No. 105. Marriage of the Virgin. Piece of a
predella, gaudy and slight, and below Francio Bigio.4
St. Petersburg. Hermitage, No. 27. Half-length portrait of a man.
Fine. Not by Francia Bigio, but difficult to class. The handling
and colour are reminiscent of Bronzino, but also of Antonio Moro.5
It seems appropriate to close the list of men who assumed the
manner of Fra Bartolommeo and Mariotto, with Giovanni Antonio
Sogliani, who first learnt the elements from Credi and then sought
to gain the qualities which he did not find in his own master
by looking at the works of most of the great Florentines. Sogliani
1 Dresden Museum, No. 75. The monogram is on the jug carried by a female,
on the right, in the bath. The date " A. S. MDXXIII " on the side of the bath
itself. In the background a shield quartering the arms of the Medici. Wood,
oil, preservation good, figures small.
2 Tav. alfdb. He was buried in San Pancrazio.
* 3 This fresco has now been removed to the Museo di S. Marco (Anticamera del
refettorio grande, No. 1).
* * This may be ascribed with more reason to Girolamo del Pacchia, as suggested
by Mr. BBRENSON (Central Italian Painters, p. 210).
* 5 The following extant pictures by Francia Bigio may still be noticed:
Hamburg. Late Weber collection, No. 119. Bust of a Man.
London. Mr. R. H. Benson. Bust of a man (from the Pianciatichi collection,
Florence). The Story of Narcissus.
Rome. Palazzo Corsini, No. 581. Male portrait.
Vienna. Imperial Gallery, No. 46. The Virgin and Child. Liechtenstein
collection, No. 254. The Virgin and Child and St. John. Portrait of a man
(dated 1517).
v.] SOGLIANI 133
was born in 1492;1 he stayed in Credi's atelier twenty-four years,2
was registered in the guild of Florence in 1522, and must there-
fore have been apprenticed at a very tender age.3 Few of his
pictures have dates, except the Martyrdom of St. Arcadius of 1521
in S. Lorenzo, and St. Dominic's miracle of the bread, a fresco of
1536 in S. Marco, at Florence. But some of his numerous panels
at Pisa are done after the return of Perino del Vaga from Genoa
(circa 1528), and others after the death of Andrea del Sarto in 1531.
We have had occasion to mention his name in connection with
Credi's least successful productions. We see how he could
imitate that artist in the poor copy of his Nativity at Berlin,4
and ape his smoothness of tone in the somewhat empty lucid
colour of a St. Martin, on one of the pilasters of the church of
Orsanmichele.5 In the martyrdom of St. Arcadius on the cross
at S. Lorenzo in Florence, Sogliani has occasion to introduce a
broad exhibition of nude in which he betrays the study of Mariotto,
Francia Bigio, and Andrea del Sarto, preserving at the same time
an exceedingly even and polished surface of reddish tone. It
is in good condition, handled with tolerable judgment, and not
wanting in life, yet without the stamp of originality.6 In the
Assumption7 at S. Giovanni Battista, contiguous to the Spedale
di Bonifacio, there is something incongruous and fantastic in
the arrangement of a glory in which the Eternal floats above the
Virgin, holding up the train of her cloak, whilst his own mantle
is raised by angels. On the foreground, the group of saints and
the prostrate Adam disclose a judicious clinging to nature,
correct outlines of limb and extremity, fair movement, but square
shapes, with a scruple of Fra Bartolommeo's grandeur in air and
drapery. The mask of the Eternal is reminiscent of Mariotto,
and traces of Credi are in the puffy contours of the angels.
1 He died, aged 52, in 1544 (VASABI, v. 132; and Tav. alfab.). 2 VASABI, v. 123.
3 The annot. of VASABI (v. 123, note 1) say 1,522. The register of GUALANDI,
Memorie, ser. vi., p. 182, says 1525. The annotators are likely to be right.
4 Berlin, Museum, No. 99. Copy of Credi's No. 92 in the Florence Academy
of Arts; flat, red in tone, and, to use a French expression, leche.
5 On a pilaster facing the St. Bartholomew of Credi, much dimmed by time.
6 Chapel 21, in S. Lorenzo. Wood, oil, with the inscription in gold letters at
foot of the cross of : " Johannes Antonius Soglianus faciebat 1521."
* 7 The subject of the picture is the Immaculate Conception.
VI.— K
134 SOGLIANI [CH.
In colouring this subject, Sogliani strives also to master the
methods of the Frate and of Albertinelli, combining them with
the excessive smoothness of Lorenzo, his teacher, and a misty
vapour known only by the Italian word sfumato.1
At S. Jacopo sopra Arno, a Trinity, with three saints, illustrates
the same phase in Sogliani, though raw, and feebly done at one
painting.2 But the best example of it is the sacrifice of Noah,
in the choir of the Pisa Duomo, in which the males have a bold
masculine strength, and the females compensate for vulgarity
by feeling.3
Two figures of Cain and Abel in this cathedral, and a Virgin
under a conical dais with numerous saints, are of a later date.4
The last, indeed, had been commenced by Perino del Vaga, and
presents for that reason, perhaps, an unusual slenderness in the
forms, and a composition akin to those of Eosso, but the system
on which the whole is coloured is true to the maxims handed
down through Fra Bartolommeo and Mariotto from da Vinci,
and the deep brown tone has been darkened by the effects of
age.5
Having in this instance taken a subject to finish which a
1 The church is in Via S. Gallo at Florence. The picture on wood, in oil, with
life-size figures. The Virgin is paltry in shape, as are some of the lower saints.
There is atmosphere in the sky, and harmony in the parts. The flesh shadows
tend to green. [* This picture is now in the Uffizi (No. 63).]
2 S. Jacopo sopr' Arno at Florence, sacristy. Wood, arched at top, oil; split
vertically in two places. Above, the Eternal holds the Saviour on the cross.
Below, St. James, the Magdalen, and St. Catherine. Figures life-size. [* This
picture is now in the Museo di S. Marco (No. 13).]
3 The colour of this panel (oil, life-size) is injured — i.e., blackened by time,
retouched, and has in part scaled.
4 Cain advances with an offering of corn. Abel kneels, holding up a lamb.
Both figures are of the size of nature, on panel (oil); the colour low and brown,
and blackened in the shadows.
5 Wood, oil, figures life-size. Two angels supporting the conical dais are a
distant echo of those of the Frate. St. Catherine and St. Barbara seated in the
foreground are of fair proportions and in easy pose. St. Torp6 to the right, with
his shield, is grand enough; St. John the Baptist, opposite to him at the other
side, too slender in contrast. The other saints are five hi number, amongst them
Peter, Francis, and a female. The colour is sombre, but careful, fused and
" sfumato." [* The statement that this picture — which was valued on October 30,
1538 — was begun by Perino del Vaga is unfounded. See SUPINO. in Archivio
atorico dell'arte, ser. i., vol. vi., p. 435 sq.]
THE IMMACULATE CONCEPTION
BY SOGLIANI
From a picture in the Uffizi, Florence
Photo, Alinari
VI.— To face page 134
v.] SOGLIANI 135
EaphaelesqueFlorentine had sketched out, Sogliani next attempted
the Virgin with saints at the altar of the Madonna delle Grazie
in the Duomo of Pisa, a panel which Andrea del Sarto had begun
for the Compagnia di S. Francesco. In most of the figures he
kept the outlines of the original cartoon except, perhaps, in the
kneeling St. Jerome on the foreground, who is colossal and heavy.1
He reverted to his own distinct manner in the Miracle at S. Marco,
where St. Dominic is seated with his brethren whilst the food is
brought in by two angels, and in a Crucifixion with saints in a
lunette above it.2
His friendship for Credi lasted till the death of the latter, in
proof of which it is only necessary to state that Sogliani witnessed
Lorenzo's will in 1531.3 From that time till 1544, when he died,4
he doubtless furnished many pieces of which we can only register
the following :
Anghiari. Chiesa di S. Maria del Fosso. Last supper (not seen).
Described by VASARI (v. 126) and by KEUMONT (Life of del Sarto,
small 8°, Leipzig, 1835, pp. 164, 165) as a panel in oil, on the model
of del Sarto 's Cena in S. Salvi at Florence.5
Fiesole. S. Domenico. Adoration of the Magi, finished, according
to VASARI (v. 124) by Santo di Tito. This bears no trace any longer
of the hand of Sogliani.
Florence. Monache della Crocetta. A Last Supper, in oil (VASARI,
v. 125); much injured.
1 This picture (wood, oil, life-size) was long in the Compagnia di S. Francesco
(VASARI, v. 129, 49 sq.), and was transferred to the Duomo in 1785, the Compagnia
having in the meantime been suppressed (MORRONA, Pisa Ittust., u.s., i. 207).
The Virgin is enthroned in a landscape, with the Child, between the young Baptist
and an angel playing a viol. In front, besides the St. Jerome, are SS. Nicholas
and Bartholomew, erect.
2 Besides the Magdalen and St. John Evangelist, St. Antonino and St. Catherine
of Siena kneel at the sides. The frescoes are inscribed: "A. S. M. DXXXVI,"
the lower parts of which are injured. Sogliani had intended to paint the Miracle
of the Loaves and Fishes, but was prevented by the Fathers of the convent (VASARI,
v. 129 agr.)-
3 GAYE, Carteggio, i. 376.
* He died July 17, 1544, and was buried in S. Maria Novella (Tav. alfab.).
*5 This picture, which is of considerable size (1'95 by 7'25 m.), was ordered
from Sogliani on June 17, 1531. In the same church is another picture by him,
representing Christ washing the feet of the Apostles. See P. L. OOCHINI, Valle
Tiberina (Bergamo, 1910), p. 31 sqq., with reproductions.
136 SOGLIANI [CH.
Florence. Ex-Palazzo Taddeo (now a magazine, via de' Ginori).
Fresco of the Crucifixion, greatly damaged.
Florence. Ujfizi, No. 166. Virgin with the Child blessing the young
Baptist. Wood, oil. The origin of Sogliani's education under Credi
is marked in the puffy forms of the children. The execution is that
of a follower of Mariotto. The panel is the best of the following series,
at Paris, Brescia, and London.
Paris. Ex-Pourtales Gallery. Virgin, Child, and Baptist. Noticed
in Mariotto (p. 113).
Brescia. Galleria Martinengo. Nativity. See antea in Era Barto-
lommeo (p. 94).
London. National Gallery, No. 645. Ex-Beaucousin collection.
Virgin and Child. See antea in Mariotto (p. 113).
Florence. Duca Corsini. Porta al Prato. Virgin with the Child
and the infant Baptist at her knee. A genuine Sogliani, of heavy
aspect and hard, diaphanous tone. Wood, oil, figures half as large as
life.
Brussels. Museum, No. 637. "Unknown."1 Virgin with the Child,
to whom the young Baptist presents a cross; small panel in oil, in
Sogliani's manner when still reminiscent of Credi. The compositiou
is almost similar to the following.
Turin. Museum, No. 139. " Cesare da Sesto." Virgin, Child, and
Baptist, by Sogliani or one of his followers.2
Brussels. Museum, No. 638. Holy Family, with the initials:
" M. A./' suggestive for this of Mariotto, but not unlike a work of
the school which Sogliani cultivated; perhaps by Mariano da Pescia.
Florence. Academy of Arts, No. 177.3 Virgin, Child, Archangel
with Tobit, and St. Augustine. In Sogliani's manner. Same collection,
No. 178. The Virgin gives the girdle to St. Thomas; SS. John Baptist,
Catherine, and Giovanni Gualberto; dated "A. D. MCCCCCXXI."
Originally at S. Maria sul Prato. This is by a follower of Sogliani who
imitated Fra Bartolommeo. His name is Sigismondo Foschi of Faenza,
by whom we possess a Virgin and Child between saints at Milan.
Milan. Brera, No. 465. Signed: " Sigismundus Fuscus Faentinus
faciebat 1527." In this the imitation of Fra Bartolommeo is still more
clear. A glory of angels in the arching is a broad caricature of the
Frate, such as Bacchiacca might have done. The composition is like
* *• Now catalogued as a work by Bugiardini.
* 2 Now officially ascribed to Sogliani.
* 3 Now in the Museo di S. Marco (No. 9).
v.] SOGLIANI 137
that of the Frate's Madonna at S. Marco. The outlines are mannered,
the nude exaggerated in the Michaelangelesque direction; the colour
dull and of thin texture, with an excessive use of bitumen. The follow-
ing is another example of the same kind by Foschi.
Faenza. Academy. Virgin and Child between the erect SS. Paul,
John the Baptist, Benedict, and Sebastian, and the kneeling SS.
Catherine and Apollonia. Here is a still stronger sfumato, and less
truth and vigour than before in style and drapery.
Florence. S. Giovanni Battista. Contiguous to the Spedale di S. Boni-
fazio.1 St. Brigitta, on a pedestal between several nuns and friars, in
prayer, looks up to a vision of the Virgin and Child, and issues the
rules of an order. At her feet is a crown, and on the pedestal the
words: "Orate pro pictore." 1522 (wood, oil, figures life-size). The
composition is in Fra Bartolommeo's fashion, and some of the figures
are carried out with elegance and feeling; but the colour is fluid, and
laid on at one painting with copious vehicle. The names of Fra Barto-
lommeo and Mariotto, which first come into consideration, become
doubtful in respect of the execution, which is more according to the
habits of Sogliani. Yet it is almost too good for him, and something
Bolognese in its appearance might point to Innocenzo da Imola, and
confirm Vasari's assertion that he studied under Mariotto. In the
same place is the Annunciation assigned by Vasari to Soggi, but more
like a Sogliani, as we have already noted (antea, v. 135). 2
* i Now in the Uffizi (No. 62).
* 2 The following pictures by Sogliani may still be mentioned:
Florence. Uffizi, No. 13. Christ meeting the Marys on His way to Golgotha
(from S. Maria Nuova). 8. Niccold al Ceppo. The Visitation.
London. Mr. G. Fairfax Murray (shown at Burlington House, 1908, No. 31).
Half-length of St. Catherine (signed: " Johannes Antonius faciebat ").
Pisa. Duomo. On last pillar of nave, to left. The Virgin and Child. Fragment
of an altarpiece completed by Sogliani for the Duomo of Pisa in 1540, and injured
in the fire which ravaged that building in 1595. Other fragments of the same
picture are in the Museo Civico of Pisa (Sala VII., Nos. 4 and 5: Two Putti, No. 18:
SS. Andrew, Nicholas of Bari, and Anthony the Abbot). See SUPINO, u.s.,
p. 436 sqq.
CHAPTER VI
RIDOLFO GHIRLANDAIO AND FRANCESCO GRANACCI
AT his death, of plague, in 1494, Domenico Ghirlandaio left a
large family to mourn his loss : his wife Antonia, his brothers
Benedetto and David, three sons, and three daughters.1 In
little less than four years, Antonia and Benedetto followed
Domenico to the grave, leaving David guardian of the children.2
Of these, the daughters had the good fortune to marry men of
respectable condition; two sons, Antonio and Bartolommeo,
entered holy orders ; and the third, Eidolfo, was brought up to
the profession of his father.
During the lifetime of Domenico, his brothers had been chiefly
employed on his behalf, and it is related of them both that they
shared with Granacci the honour of finishing, after his decease,
the altarpiece of the Tornabuoni at S. Maria Novella. Of the
five pieces parted from this decoration and carried to Germany,
the Eesurrection, at Berlin, exhibits most imperfection, in the
stiff and strained action of the figures, the unnatural fold of the
drapery, and the dull flatness of the colour. The St. Vincent is
still reminiscent of Domenico, being a tempera of good outline
and proportion; whereas the St. Antonino, in oil, is in most respects
a companion to the least successful parts of the Eesurrection.3
The latter, being distinctly assigned by Vasari to Benedetto,
together with a St. Lucy of the same class in S. Maria
1 See the genealogical table in VASARI, iii. 282 aq.
2 The death of Benedetto took place on July 17, 1497. There must be an error,
therefore, in GAYB'S record (Carteggio, i. 267), in which it is said that Benedetto
becomes guardian in loco patris of Domenico's children, anno 1498. Perhaps 1493
would be the proper date. The year of his birth is 1458 (Tav. alfab.).
3 Berlin Museum. No. 75: The Resurrection. No. 74: St. Vincent. No. 76:
St. Antonino.
138
CH. vi.] BENEDETTO AND DAVID GHIRLANDAIO 139
Novella,1 may thus be considered typical of the man, and justify
the name attached to a Christ on the road to Golgotha in the
gallery of the Louvre.2
In this ill-favoured performance, an executioner threatening
the Eedeemer with his fist betrays an extraordinary absence
of refinement. Not in the action only, which stiffly renders
quick and passionate movement, but in the coarseness of the
face and expression, is vulgarity betrayed. Meanness of station
and want of breed are to be found in most of the other actors in
the scene, but chiefly in a St. Veronica, whose face is altogether
rigid and ignoble. The anatomy of the human frame is in every
instance false, the drapery without style, the outline continuous
and wiry, the colour sombre and without transition. Such a
combination of bad qualities in a man whose chief was remarkable
for the dignity of his conceptions is surprising, but may be ex-
plained by the fact that Benedetto, who had been a miniaturist
and had almost lost his sight, would naturally be unsuccessful
in works of importance and compass.3
David Ghirlandaio was superior in talents to Benedetto and
his elder in years. He was married and fifty-eight years old
when his brother died, and a master in the guild of Florence.4
His chief occupation was the setting of mosaics, of which he
furnished specimens in a Virgin amidst angels (1496) now in the
Cluny Museum in Paris,6 on the front of the Duomo at Orvieto
1 Assigned by guide-books to Ridolfo, but really by Benedetto, and like that
of the Louvre (No. 1,323). The St. Lucy is life-size, with a portrait of
Fra Tommaso Cortesi adoring her (FANTOZZI, Guida, p. 508 ; and VASARI,
vi. 532).
2 No. 1,323, Louvre. Originally in S. Spirito at Florence.
3 VASARI says he resided some time in France (vi. 532). His father says, in a
Portata al Catasto of 1480: " Benedetto was a miniaturist, but left that art because
he has an impediment of sight."
4 Born March 14, 1452 (Tav. alfdb.). Married and living with his wife, Caterina
Mattei, in 1490 (GAYE, i. 268). Registered hi his guild, date unknown (GUALANDI,
ser. vi., p. 180).
5 H6tel de Cluny, No. 1,795. The Virgin and Child between two angels and two
palms, on gold ground, once in a chapel at S. Mery of Paris, inscribed: " D. Jo.
de Ganai. pfsids. parisie. p. atulit IE) Italia, parisiu h © (P) u mus." The words:
" Opus magistri Davidis Florentini MCCCCLXXXXVI," said to have been once
on the frame, are gone. The mosaic is fine, and recalls Domenico Ghirlandaio,
whose design was perhaps used.
140 KIDOLFO GHIRLANDAIO [CH.
(1492),1 in the Cathedral of Siena (1493),2 in the Cappella di
S. Zanobi at S. Maria del Fiore of Florence (1501),3 and at the
SS. Annunziata de' Servi (1 504-1 4) .4 He had previously painted
a Crucifixion in the convent of the Angeli.6 But in no instance
did he display any extraordinary talent, being a mere mechanical
executant, without ability in reproducing life, without feeling
for colour or relief. Yet it was to be his duty to direct the talents
of Eidolfo, who lived with him in the Via del Cocomero and fre-
quented his shop on the Piazza S. Michele Berteldi.6
Kidolfo was born on February 4, 1483, and threatened to be
of a sickly complexion.7 But he grew up strong and hearty,
and had the advantage, after his father's death, of being acquainted
with most artists of promise in Florence, whose rivalry or counsel
might compensate for the deficiencies of his uncle. He went
early to the Brancacci chapel, where most of his contemporaries
copied the frescoes of Masaccio, and later to the Papal Hall,
after the cartoons of Michael Angelo and Leonardo had been
opened to public view;8 but the persons to whom he was most
indebted for guidance and encouragement were Granacci, Piero
di Cosimo, and perhaps Kosselli himself.
Under the combined influence of the examples bequeathed by
his father and uncles, and of the precepts instilled into him during
the course of a careful education, he laboriously perfected a Pro-
cession of Christ and the Marys to Calvary, now in the Palazzo
Antinori a S. Gaetano in Florence.9 Benedetto's idea of this
subject had obviously left a vivid impression on his mind; and
whilst he probably felt how little it was calculated to satisfy the
requirements of the time, he appropriated some of its principal
1 Note to VASARI, vi. 534. The mosaics are missing.
2 Doc. sen., ii. 452. The mosaics are gone.
3 VASARI (ed. LE MONNIER), vi. 167; and (ed. SANSONI), vi. 534. The work also
absent.
4 See the records in annot. VASARI, vi. 540. See also, as to a portable mosaic,
VASARI, vi. 534.
5 VASARI, vi. 533. 6 Portata al Catasto, 1498, in GAYE, i. 268.
7 He was put out to nurse at Prato, where, at two years old, his life was despaired
of. His parents " vowed a taper of three pounds to the Madonna delle Carcere,
and he was saved." See annot. VASARI, vi. 547; and Tav. alfab.
8 VASABI, ii. 299; iv. 321; vi. 534.
* 9 At present in the National Gallery (No. 1,143).
vi.] PEOCESSION TO CALVARY, NATIONAL GALLERY HI
combinations with intuitive tact. We thus see at the Palazzo
Antinori a composition more artfully balanced, richer in details,
and more copious in its filling, than that of the Louvre, and
drawing that reveals more study of models or of Nature; but we
mark also the repetition of unattractive types, like that of the
St. Veronica, with its round, staring eye, or of scowling soldiers
with features gathered into wooden corrugations. The weighty
coarseness peculiar to Granacci contrasts here and there with
more select shapes, such as that of the Redeemer, whose bending
figure recalls Leonardo, the Virgin, who wrings her hands with
dignified grief, or the female in rear of her, whose pleasing and
regular face is replete with soft melancholy. Slightness of build
is usually noticeable, and the tones are laid on with the smooth-
ness of the Leonardos ques, Credi, and Piero di Cosimo.1 How
strongly Ridolfo's young mind could be affected by the constant
observation of masterpieces by da Vinci and Credi may be judged
from the low-tinged but highly finished Annunciation that still
hangs in the sacristy of the Montoliveto Abbey outside Florence
— a panel in which the gently curved contours and pretty mould
of slender and youthful personages, the broken draperies, and
hilly landscape are not less characteristic of this tendency than
the hard enamel and thick substance of the colour.2 There was
1 The landscape is a little cold and yellowish in tone, with trees of a raw green;
the touch crisp, and contrasts marked. The figures are half as large as life. The
panel, partially split vertically in three places, is much injured and repainted in
the lower part, and generally deprived of its glazes, the result being yellow flesh
with earthy shadow. The picture was once in S. Gallo at Florence ( VASARI, vi. 535).
A replica of it, done with the help of Michele di Ridolf o, is in S. Spirito at Florence.
2 This panel (wood, oil, figures one-third life-size) has remained unobserved,
and at first suggests the name of Granacci, but on comparison with the picture
previously described seems more appropriately to come under that of Ridolfo.
The surface has undergone some cleaning, and the head of the Virgin is raw from
that cause. There is some resemblance in her face to that by Domenico Ghirlan-
daio in the panel once at S. Giusto and now at the Uffizi (No. 1,297). [* The Annun-
ciation noticed above is now in the Uffizi (No. 1,288). It is difficult to accept the
name which the authors propose for it. The late Herr von Liphart attributed it to
Leonardo, and although it seems unlikely that the picture is entirely his work,
it cannot be doubted that he had some share in it. There exists, for instance, a
drawing by him for the figure of the angel (at Christ Church, Oxford; see CoLvra,
Drawings of the Old Masters in the University Galleries and in the Library of Christ
Church, Oxford, vol. i. ). In all probability, the picture is a production of Verrocchio's
workshop. See O. Sintx, Leonardo da Vinci, Stockholm. 1911, p. 106 &qq.]
142 RIDOLFO GHIRLANDAIO [CH.
scarcely one amongst the aspirants to fame in Florentine art at
the opening of the sixteenth century who did not feel himself
attracted towards da Vinci, and it probably happened that
Eidolfo, knowing Cosimo Kosselli, and being acquainted with
Baccio della Porta, as well as Mariotto and Piero di Cosimo,
caught their enthusiasm for that master, and devoted particular
attention to his creations.1 Vasari, indeed, affirms that Kidolfo
studied under Fra Bartolommeo, insinuating that this occurred at
the time when Eaphael and the Frate had close intercourse with
each other; but they might — and we think they did — meet in the
shop of Eosselli, whose mode of distribution and thick coating of
sombre reddish tints Bidolfo imitated in 1504 in a Coronation of
the Virgin undertaken for the nuns of the Convent of S. Jacopo
di Eipoli2 at Florence, and since transferred to the Louvre.3
From the comparative imperfection of this work, in which we
trace an approach to Mariotto and Baccio della Porta through
Eosselli and Piero di Cosimo to the more successful mode of de-
lineation, truer proportion, and more plastic relief in four saints
at the same convent, a marked phase of improvement is evident.
Not that the general tone is less strong or of less lustrous impasto,
but that it is richer in the warmth of the yellow lights and brown
shadows; whilst the thin figures are more energetic in play of
limb and muscle, more correct and natural in movement, in cast
of drapery, and in transitions from dark to light.4
* * A very Leonardesque early work by Ridolfo is the half-length of a young man
holding a piece of jewellery, in the Palazzo Pitti (No. 207). This picture was
formerly ascribed to Leonardo himself, but is undoubtedly too weak for him;
while, as pointed out by MOBBLLI (Die Galerie zu Berlin, p. 23), it stands very close
in style to Ridolfo's Christ carrying the Cross, in the National Gallery.
2 Now Conservatory in Ripoli, Via della Scala at Florence.
3 Louvre, No. 1,324. Two angels are at the side of the glory, in which Mary
is crowned by the Redeemer. Below, SS. Peter Martyr, John the Baptist, Jerome,
Magdalen, Francis and Dominic, all kneeling. The figures are more or less dry
and bony (wood, oil), small panel with the date "MDIIII," not 1503, as stated
in the catalogue.
There is something in the Coronation still reminiscent of Benedetto Ghirlandaio's
St. Lucy at S. Maria Novella.
4 These saints hang singly on the entrance wall of S. Jacopo, under the organ-
loft, in painted niches. They represent SS. Sebastian, Cosmo, Damian, and a
hermit with a lion and string of beads (wood, oil). [* These pictures are now in
the Conservatorio La Quiete, near Florence.]
^PORTRAIT OF A YOUNG MAN (" THE GOLDSMITH ")
BY RLDOLFO GHIKLANDAIO
From a picture in the Palazzo Pitti, Florence
Photo, Alinari
VI.— To face page 142
vi.] NATIVITY AT THE HEKMITAGE 143
In a Nativity of this period at the Hermitage of St. Petersburg
we follow Kidolfo in the same track as at Kipoli, yet combining
peculiarities derived from the ateliers of Eosselli, Mariotto, and
Baccio della Porta with those of his old friend Granacci. Gran-
acci's name, indeed, is that under which this piece has been
placed, although it exactly corresponds with Vasari's description
of one in the Life of Kidolfo i1
" Having received an order from the monastery of Cestello for a
Nativity of Christ, he took pains to surpass his rivals by extreme labour
and diligence, depicting the Virgin in adoration before the Infant
Christ, St. Joseph, and two figures of St. Francis and St. Jerome
kneeling, and a beautiful landscape like that of the Sasso della Vernia,
with a choir of angels singing above the pent-house, the whole well
coloured and of fair relief." 2
The full and weighty shape of the St. Jerome, as contrasted
with the more delicate Virgin and St. Francis, and the polished
surface of the fused colour, most remind us of Granacci; whilst
the strong, well-harmonized tints, and vigorous chiaroscuro, and
the atmosphere which pervades the groups, are all characteristic
of Ghirlandaio. But it is of interest to find in a picture like this
the proof that Kidolfo, as Vasari states,3 was still in a position to
accept assistance from a favourite pupil of his father.
There is another feature, meanwhile, deserving of special
remark. The landscape, with its rich and pleasant vegetation,
its distant edifices, its ruins, and episodes, is treated in the manner
of Fra Bartolommeo and Raphael, and introduces us to the time
when they become friends, and might by their interest for Kidolfo
give an additional spur to his exertions. 4
1 Hermitage, No. 22. Wood, oil, life-size. 2 VASARI, vi. 536.
3 " Stando col Grillandaio," says VASARI, v. 341.
4 The picture is in oil, a little out of balance as regards composition, in conse-
quence of the size of the St. Jerome; slightly out of keeping, from abrasion and
retouching of the flesh-tints, in the St. Joseph, St. Francis, and Virgin. The piece
has been transferred with success to canvas.
In the same gallery of the Hermitage we find three pieces under the name of
Ridolfo Ghirlandaio. No. 29, wood, transferred to canvas, is a round of the
Nativity within the pent-house, almost entirely renewed. But from what remains
of the original in the Infant, the young Baptist, and two angels, as well as of the
draperies and bits of unaltered colour, the hand is more likely to be that of Francia
144 RIDOLFO GHIKLANDAIO [CH.
That Eidolfo's art between 1504 and 1508 entered upon this
phase is notorious, and it is pleasant to trace it from this be-
ginning to its subsequent development. The change which was
then produced did not affect his idiosyncracy. He still held to
his usual brown and somewhat hard enamel tones, but he became
a thorough master, not merely of form as derived from Nature,
but of select form in true relief of perfect modelling and outline.
Whilst he felt in this sense the effects of the companionship of
the Frate, he was moved by that of Eaphael to a tender youth-
fulness of type in his impersonations, to a soft fleshiness, especially
in children, and to brightness in minutely touched landscapes.
Of this we have examples in a pretty Eaphaelesque Nativity at
the Berlin Museum,1 and in a bolder, more brilliant, and facile
specimen of the same subject in the Esterhazy collection at Pesth.2
The severer qualities of plasticity, united to breadth of light and
shade, he exhibited in a female portrait of 1509 now at the Pitti,3
where his powers appear undoubtedly superior to those of Gran-
acci and Piero di Cosimo; whilst in a predella at the Oratory of
the Bigallo at Florence his composition and his drawing emulate
the energy, grandeur, and fulness of life distinguishing the works
Bigio, or Bugiardini. No. 30 : Virgin, Child, and Baptist ; round, wood, transferred to
canvas. No. 31 : Virgin and Child; square, wood, transferred; are both by one painter,
a follower of Ridolfo, either Michele di Ridolfo or Mariano da Pescia. The handling
is careful, the colouring raw and there is some want of feeling in the figures. The con-
ception is that of Raphael's carried out by the feebler hand of the men above named.
1 Berlin, Museum, No. 91. Wood, oil, the surface of a crystalline polish like
that peculiar to Granacci.
2 A composition of eleven figures, a little reminiscent, as regards distribution,
of Signorelli. The Child, on the centre of the foreground, between the spectator
and the kneeling Virgin. At her side a shepherd adoring, behind whom a young
pastor points out the Infant to a third carrying a kid. To the right, in front, a
youthful saint is in prayer facing St. James, in similar attitude, on the left. In
rear of the latter stands St. Joseph leaning on his staff. Behind is the pent-
house, with the ox and ass, and in the sky is a choir of three angels. On the border
one reads: " Ridolf us Grillandaius floretinus faciebat." [j* The signature is on
a cartellino, and the authors have omitted to copy the second line of it, which runs:
" instante Johanne Italiano Petri MDX." The picture is now in the gallery at
Budapest (No. 58).]
3 Pitti, No. 224. Female, seen below the waist, with a vest bordered at the neck
and shoulders with white. Sleeves dark green (wood, oil, about large as We.
[* Dr. GRONAU (in Rivista d'arte, viii. 55) has shown that this picture came to Florence
from Urbino with the Delia Rovere inheritance in 1631, and puts forward the hypo-
thesis that it is a portrait of Emilia Pia, a lady of the Court of Elisabetta Gonziga.]
THE NATIVITY
BY RIDOLFO GHIRLANDAIO
From a picture in the Budapest Gallery
Photo, Hanfstaengl
VI. — To face page 144
vi.] KIDOLFO AND RAPHAEL 145
of Mariotto and the Frate, and his colour assumes a new richness
and warmth.1
Baphael's trust in the talent of Eidolfo Ghirlandaio was so full
and complete that we are told he allowed his friend to fill in a
part of the drapery in the Bella Giardiniera which was to be sent
to Siena,2 and when Sanzio reached Kome in 1508 nothing pressed
him more than the desire to get Ghirlandaio to join him. But
Eidolfo, though still living in the house of his uncle David, was
probably married, and encumbered with the cares of property
and children.3 He had a strange aversion to moving out of sight
of the cupola of S. Maria del Fiore, and clung to his native place
with extraordinary tenacity. He therefore refused Raphael's
kindly offers, and stayed quietly at home.4
It was under these circumstances that, continuing to follow
the path of progress into which he had entered, he completed in
1514 the ceiling of the chapel of St. Bernard in the Public Palace
at Florence,5 and the Assumption and Gift of the Girdle, now
in the choir loft of the cathedral at Prato.6
One of the striking features of his earliest productions had been
slenderness of shape in figures. When he began more assiduously
to study Mariotto and Fra Bartolommeo, he fell into the habit
of giving shortness and plumpness to the human frame. He now
corrected even this defect, of which evidence is given in the
Assumption at Prato; whilst in two first-rate representations of
single saints at S. Girolamo sopra la Costa a S. Giorgio in Florence
1 This is a predella of five panels with — (1) The Execution of St. Peter Martyr;
(2) the Nativity; (3) a Virgin of Mercy; (4) the Flight into Egypt; (5) the brethren
of the Bigallo carrying a wounded man (wood, oil). VASAEI truly says of these little
panels that they are magnificent miniatures (vi. 538).
2 VASABI, iv. 328; vi. 534.
3 Ridolfo says in a Portata al Catasto of 1511 that he resides with his wife,
Contessina, in the house of David Ghirlandaio (GATE, Carteggio, i. 268).
* VASABI, vi. 534 sq.
5 This represents the Trinity in the centre with angels holding the emblems of
the Passion, the heads of the twelve apostles, four evangelists, and the Annunciation.
These frescoes were valued in 1514 by Lorenzo di Credi (VASABI, notes to iv. 575;
and vi. 539).
6 The Virgin ascends accompanied by cherubim, between two angels. Below,
at the sides of her tomb, SS. Margaret, Lorenzo, Catherine, Thomas, Stephen, and
a saint in episcopals. The figures are half the size of life, not free from retouching
wood, oil). (See VASABI, vi. 539.)
146 RIDOLFO GHIELANDA10 [CH.
he is perfect in proportional division, and at the same time bold
and easy, as a thorough craftsman might be who still honours
and reveres the pattern of the Prate.1
In 1510 Mariotto Albertinelli had, with incredible labour, as
we have seen, furnished a Virgin and Angel Annunciate to the
Compagnia di S. Zanobi which was valued by Perugino, Granacci,
and Eidolfo Ghirlandaio.2 After a time the brethren resolved to
ask another to do the Miracles of St. Zanobius on two panels at
the sides of the Annunciation, and they gave the commission to
Eidolfo. We shall not describe the composition of the Kaising
of the Child — a reproduction of which will be found annexed to
this page — but merely point out that in this, as in the Burial
of the Saint, Ghirlandaio's skill has reached its highest expan-
sion.3 Extraordinary liveliness and nature stamp the movements
and expression of the eager and wondering crowd which presses
round the kneeling Bishop, as with uplifted arms he restores life
to the fallen boy. Masterly are the drawing, modelling, and
transitions of light and shade; warm, rich, and harmonious, the
strong tone of colour. Grandeur, imposing by its simplicity,
marks the Bishops who carry the corpse of the saint, and there
is a dignity and breadth in action and drapery that almost equal
those of Domenico.4 The system of handling peculiar to Mariotto
and the Frate had never as yet been so successfully applied by
Eidolfo, who, having previously surpassed Granacci and Piero di
Cosimo, now rivalled even Andrea del Sarto. Admirable as the
latter had been in embodying the highest laws of art, unapproach-
able as he then was in the knowledge of fresco, he lacked some-
thing to entitle him to equal praise in the execution of easel
pictures, his tones being too unsubstantial and misty to give
1 St. Francis and St. Catherine (wood, oil, large as life), a little injured, but well
drawn, and in fine, easy pose. [* These, as Dr. Giovanni Poggi kindly informs the
editor, are now in the Museo di S. Marco (Befettorio grande). The female saint
is, however, not Catherine, but Elizabeth of Hungary.] 2 VASARI, iv. 224.
3 Uffizi. No. 1,276: St. Zanobius raising the Dead Boy. No. 1,277: Translation
of the remains of St. Zanobius (wood, oil). [* A sketch for this composition is in
the Print Room at the Palazzo Corsini in Rome (BEBBNSON, 902).]
* Another picture, a round of the Virgin, Child, and sleeping boy Baptist
(No. 1,224 at the Uffizi), has quite the stamp of Ridolfo at this time, though it has
not all the beauties of the " Miracles " described in the text. The colour is sombre,
the forms a little paltry. Still, this is comparative only, the conception being
pretty and essentially Florentine. [* Cf. antea, p. 122, n. 3.]
ST. ZANOBIUS RAISING A DEAD BOY
BY EIDOLFO GHIRLANDAIO
From a picture in the Uffizi, Florence
Photo, Alinari
VI. — To face page 146
vi.] WORKS OF EPHEMERAL CHARACTER 147
unexceptional satisfaction. Ridolfo, as a Florentine and an oil
painter, now stood at the head of his class, in a position exactly
contrasted with that of his father Domenico, who had achieved
fame by the production of unrivalled mural decorations. Nor
was this a fleeting interval in his career. The same nobleness is
to be found in the Madonna and saints of S. Pier Maggiore at
Pistoia as in the Miracles of St. Zanobius, with an additional
touch of Raphaelesque grace,1 and Eidolfo deserved, as, indeed,
he obtained, all the encouragement of his countrymen. He had
inherited from his father a principle which had been held by
many great men before — that an artist, if he kept a shop, should
attend to every order that was brought to him, however small it
might be. He never grumbled for that reason when asked to
make pennons, standards, or banners, or to colour crosses, cur-
tains, or processional properties.2 He preserved by this means
the facility required for carrying out vast scenic canvases, of which
the Florentines were profuse during the first half of the sixteenth
century. The earliest of these with which he was connected were
made for the wedding of Giuliano de' Medici.3 But the most
magnificent were undertaken for the solemn entry of Leo X. into
Florence in November, 1515.4 On that occasion the Republic
and the Medici6 vied with each other in the sumptuous character
of their preparations. Triumphal arches in the principal streets
of the city were raised, and painted by Baccio d' Agnolo, Jacopo
di Sandro, Baccio da Montelupo, Giuliano del Tasso, Granacci,
Aristotile da S. Gallo, and Rosso. Mimic temples, obelisks,
pillars, and statues like those of Rome, were got up by the in-
genuity of Baccio Bandinelli, Antonio da S. Gallo, and others.
Andrea del Sarto and Jacopo Sansovino restored for a day the
front of S. Maria del Fiore. Masquerades and triumphs were
1 The Virgin sits in a semicircle of saints, the nearest of whom to the spectator
are St. Sebastian and St. Gregory on both sides of the foreground, the rest being
St. Anthony, two female saints, and St. James. The figures are life-size (wood,
oil). The panel scaled here and there, and the colour opaque in certain places
from retouching. This work is noticed in VASABI, vi. 536.
2 There are records of payments for various matters of this kind in the archives
of S. Maria del Fiore hi 151S-19. See note to VASABI, vi. 542; vii. 494.
3 VASABI, vi. 541 aq.
4 /&., iv. 541; v. 24, 158 ; 340 sq., 350; vi. 255, 436, 154.
5 " La Signoria e Giuliano de' Medici " (VASABI, vii. 494).
148 RIDOLFO GHIRLANDAIO [CH.
imitated from those of heathen times. The guilds, as they fol-
lowed the procession of Leo, were all gaily dressed in new cos-
tumes, and waved flaunting banners or flags on models invented
by Eidolfo and his journeyman Granacci. Ghirlandaio himself
adorned, with the help of his apprentices, the Papal residence at
S. Maria Novella and the Palace of the Medici, and produced with
Granacci the scenes for the comedies that were given in the evening.
From festive days like these to mournful ones, which also
required the aid of artists, there was but a step; and Eidolfo
arranged the funeral of Giuliano de' Medici, who died in retire-
ment at the Abbey of Fiesole in March, 1516.1
From grave to gay again. In 1518 Lorenzo de' Medici, Duke
of Urbino, held grand court on the day of his wedding at Florence,
the apparato and plays being prepared under the joint superin-
tendence of Kidolfo and Francia Bigio, with the assistance of
Aristotile da S. Gallo and Andrea di Cosimo.2 Equal pomp, but
of a doleful kind, at Lorenzo's death in 1519, when Eidolfo is
more in request than ever.3
The Medici were grateful to him for his success and punctuality
on so many of these occasions of joy or grief. They gave him
special marks of honour as a citizen of Florence, and he was made
" painter " of the Opera of S. Maria del Fiore.4
The property which he had inherited from his father increased,
in spite of the heavy charges that weighed upon him in the shape
of fifteen children; and he was able to number, in his returns to
the " castato," a continual increase in his possessions of land.5
In the midst of prosperity he remained consistently honest and
conscientious in the pursuit of his art, and in spite of the numerous
works which he had carried through he showed no signs of re-
linquishing any of the diligence that had been so conspicuous in
his first manhood. Of this we have a convincing proof in a
Pieta of 1521 at S. Agostino of Colle di Valdelsa, where the Saviour,
supported by the Virgin and Baptist, mourned by the Magdalen,
and adored by SS. Jerome and Nicholas, discloses his talent in
1 " La Signoria e Giuliano de' Medici" (VASABI, vi. 542).
2 /&., v. 195; vi 452, 541. 3 /&., vi. 452.
4 We find him in this capacity in records of 1519. See annot, VASAR^, vi. 542,
5 GAYE, Carteggio, i. 268. The last " Portata " is of 1534.
vi.] VARIOUS WORKS 149
the same path as of old. Composition in the fashion of the Frate
and Mariotto, refined forms, noble nude, and true harmony of
keys, exhibit the unaltered perfection of his style; and the sole
difference that one perceives is in the comparative lightness of
tones, which have lost some of the old richness and fulness.1
With greater bravura, but in the same system, he furnished
the dexterously handled Assumption of the Compagnia de' Bat-
tilani at Florence, now in the Berlin Museum, in which the only
fault that can be found is slight emptiness of colour;2 and we
begin to perceive that Kidolfo is thinking of his ease, and puts
his confidence in the aid of his disciple Michele. We then enter
fully upon a period in which the vigour of the man seems on the
wane, producing the flat and unrelieved St. Jerome Penitent,3
and the loosely executed Annunciation at S. Girolamo,4 closing,
as it were, with the Last Supper of 1543 in the refectory of the
Angeli at Florence, in which del Sarto's Cenacolo at S. Salvi
is copied with unnecessary fidelity.5
In this long interval, however, many incidents of interest are
worthy of notice. We find Eidolfo in 1520 valuing with Bugiar-
dini an altarpiece by Jacopo del Sellaio,6 and in 1524 appraising
frescoes by Guglielmo di Marcilla.7 In 1525 David Ghirlandaio
1 Wood, oil, figures life-size. In a predella are the arms of Mario di Niccol6
Beltramini, for whom the picture was ordered (VASAEI, annot., vi. 545, and the
following subjects: (1) St. Nicholas visiting the three youths in prison; (2) the
decapitation of John the Baptist; (3) the Resurrection; (4) St. Jerome in the
desert; (5) the Communion of the Magdalen.
2 Berlin, Museum, No. 263, with a portrait of Ridolfo which was taken by
Vasari for his Lives (see also VASABI, vi. 540 sq>). The date of this piece may be
fixed just before 1527. After the siege of Florence in that year, Ridolfo repainted
the lower part that had been spoilt. In truth the lower apostles are treated more
frankly than the glory, the latter being nearer in style to the Frate, the former to
Sanzio. The portrait is the head of the saint next to St. John the Baptist.
3 Altar to the left. The colour is flat and yellowish, the surface polished. In
the distance to the left, St. Francis receives the stigmata. To the right, the angel
leads Tobit. The panel has been scaled in part, [j* Now in the Museo di San
Marco at Florence (Refettorio piccolo, No. 3).]
4 Altar to the right. The surface has Bronzino's enamel (VASARI, vi. 539).
[* Now in the Museo di San Marco (No. 4).]
5 This fresco is rapidly losing colour from damp. The St. Bartholomew especially
is much injured, as indeed is the whole upper part.
6 MS. records, but see antea, in Bugiardini and Jacopo del Sellaio.
7 VASABI, iv. 426.
VI. — L
150 RIDOLFO GHIRLANDAIO [CH.
dies in the arms of his nephew, and surrounded by Eidolfo's
children.1 In 1536 the entrance of the Emperor Charles V. into
Florence gives rise to a display equalling, if not surpassing, that
of 1515, in which Kidolfo erects and adorns with great splendour,
hi company of Michele di Eidolfo, a triumphal arch at the Canto
alia Cuculia.2
Similar rejoicings take place at the marriage of Cosimo de'
Medici with Leonora da Toledo in 1539, and at the christening of
his son Francesco in 1541;3 and Kidolfo is constantly busy for
the Grand Duke of Florence in his palace. In the meantime his
children are well educated, and enter into business as merchants
in France and at Ferrara. Eidolfo, without giving up his pro-
fession, becomes almost a sleeping partner in his own business,
suffers from the gout, but lives on for a while, rolled about in an
easy-chair. At last he is taken from the world on January 6,
1561, outliving most of his contemporaries except the immortal
Michael Angelo.4
Of the altarpieces which may be said to have been jointly
done by Eidolfo and his disciple Michele di Eidolfo, we make
the following list :
Florence. S. Felice in Piazza. Virgin, Child, and SS. Bartholomew,
Sebastian, Peter, and another, with the Eternal amongst angels in
benediction (wood, oil, figures life-size); injured by restoring. There
is some affectation in the Madonna. The enamel surface is like
Bronzino's (this is not the " tavola " mentioned by VASAKI, vi. 543 sq.).
Florence. S. Spirito. Originally in the Capella de' Segni, now in
the left transept (VASARI, vi. 544). Virgin and Child, behind whom is
St. Anna. At the sides four standing saints, and SS. Mary Magdalen
and Catherine kneeling (wood, oil, much damaged). Same as above.
Virgin and Child between SS. Bartholomew and Benedict erect,
Giovanni Gualberto and another kneeling (wood, oil, life-size). Christ
carrying his Cross. The first is a soft and rather feeble production,
reminiscent of the Kaphaelesque in the Virgin and Child, of a mild,
1 VASABI, vi. 537.
2 VASABI, vi. 545; and Vasari to Aretino, May, 1536, in BOTTABI, Baccolta,
iii. 43 and following.
3 VASABI, vi. 86 sq., 576; vii. 596.
* VASABI, vi. 547; and Libro de' Morti, in Tav. alf., u.s. The exact date of his
death is January 6, 1561. He was buried in S. Maria Novella.
vi.] VAKIOUS WOKKS 151
rosy tone, with a touch of Credi, from whose school Michele came.
The second is a sort of replica of the altarpiece at the Palazzo Antinori.
Florence. Academy of Arts, No. 182. Virgin and Child between the
kneeling SS. Francis and Chiara, the standing James and Lawrence.
Wood, oil.1 Same Gallery, No. 69. Marriage of St. Catherine. The
first was once in SS. Jacopo e Francesco (VASARi, vi. 544), the second
in S. Catarina at Florence. These are also weak and of a rosy tone.
Same Gallery, No. 184. Martyrdom of the companions of St. Ursula.
Doubtful.2
Florence. Pitti, No. 180. Holy Family, better than the foregoing,
and apparently done by Eidolfo, with little or no help from Michele.
Florence. S. Marco, sacristy. Annunciation, in the same style as
the pictures at the Academy (but see antea, Fra Bartolommeo, p. 53).
Florence. Galleria Torrigiani. Of the same class and character as
the foregoing is a fine copy of a Virgin and Child by Eaphael, now
No. 38 in the Bridgewater Gallery in London.
Florence. S. Jacopo di Ripoli. Two pieces here have been already
noticed. A third, of a different period,3 may be added to them. It
represents the Marriage of St. Catherine ( VASARI, vi. 535), the Virgin
and Child recalling Sanzio, and takes a place in the series here classified
on account of the gentleness of the types, the light rosy tints, and
slight shadows.
Florence. S. Martino dette Monache.* Virgin and Child, on clouds.
Below, St. Sebastian and another saint. Two angels fly above the
head of the Madonna. Distance, landscape (wood, oil, figures large
as life). Similar to the last mentioned.5
* * Now officially ascribed to Francesco Brina, and stated to have been ordered
by Monsignor Bonafede, Abate di Certosa.
* 2 From the church of S. Pancrazio at Florence.
* 3 Now also in the Conservatorio La Quiete, near Florence
* 4 This church is now attached to the Casa di patronato pei minorenni (73 ,
Via della Scala).
5 The following have been either not seen by the authors, or fail altogether.
Not seen: Ripoli. Virgin and saints (VASABI, vi. 644). Florence. Ognissanti.
Virgin, Baptist and S. Romualdo (VASABI, vi. 539). Florence. Chiesa della
Concezione, via de' Servi. Meeting of St. Anna and Joachim, now in Casa Passe-
rim (VASABI and annot., vi. 540). Florence (near}. Giogoli. Pieve. Tabernacle:
Virgin, Child, and angels (VASABI, vi. 541). Florence (near}. Certosa de' Carnal-
doli. Tabernacle frescoes (VASABI, vi. 541). Monte 8. Savino. Madonna de'
Vertigli. Monochromes, scenes from the life of St. Joseph, altarpiece, and fresco
of the Visitation (VASABI, vi. 545, 577 sq.\. Gone: Florence. Cestetto or 8. Maria
Maddalena de' Pazzi. Nativity (VASABI, vi. 536). [*Cf. antea, p. 143.] Florence.
88. Annunziata de' Servi. St. Michael Archangel, copied from Fra Bartolommeo in the
152 RIDOLFO GHIRLANDAIO [CH.
Prato. S. Rocco (seen in 1857). Once in possession of Signor Giov.
Gagliardi of Florence. Virgin, Child, St. Sebastian and St. Eoch
(VASARI, vi. 544).
Florence. Gates of S. Gallo, al Prato and alia Croce. There are rem-
nants, in the first, of a Virgin and Child between SS. John Baptist
and Cosmo; in the second, of a Madonna, with the same saints; in the
third, of the Virgin and Child, between SS. John the Baptist and
Ambrose (VASARI, vi. 547).
Venice. Academy, No. 55. Virgin and Child between two angels
with lilies, SS. Peter Martyr and Lucy (much repainted, the angel
at the side of St. Peter renewed as to the head) ; a work more like
Mainardi than Ridolfo.
Rome. Galkria Borghese, No. 399. Portrait of a man, three-quarters,
to the left, in long hair and cap, assigned to Raphael,1 injured by restoring,
and in the manner of Ridolfo. Engraved in PASSAVANT'S Raphael, iii.
Hampton Court, No. 1,084. Portrait of a man, in very bad condition,
but recalling Ridolfo.2
Of Ridolfo's pupils, we shall at present only mention Mariano
da Pescia, whose pictures may be taken in the following order:
Florence. Uffizi, No. 44. Virgin, Child, and St. Elizabeth presenting
the infant Baptist. Though VASARI says that Mariano was Ridolfo's
pupil, the picture here cited by him (vi. 542) in no wise reminds us of
that master. The composition is fair, but the forms are swollen and
cemetery of S. Maria Nuova (ib., ib., 542). Florence. S. Felicita. Two chapels in
fresco visible in RICHA'S time (Chiese, ix. 303, 308; and VASARI, vi. 544). Florence.
Uompagnia de' Neri. Martyrdom of the Baptist (VASARI, vi. 544). Florence.
Borgo S. Friano alle Monachine. Annunciation (ib., ib., 544). Florence. S. Mar-
'ino alia Palma. Tavola (ib., ib., 545). Cittd di Castetto. S. Fiordo. St. Anna
(ib., ib., ib.). The three feats of Hercules, sent to France (ib., ib., 540).
* 1 Now to the school of Perugino.
* 2 In addition to the extant pictures by Ridolfo Ghirlandaio which have already
been noticed, the following may be enumerated:
Florence. Academy, No. 83. Three angels. No. 87. Three angels (both
panels from the Monastery of S. Baldassare at Maiano). Palazzo Corsini, No. 129.
Male portrait. Palazzo Torrigiani. Portrait of the Notary Ardinghelli.
London. National Gattery, No. 2,491. Portrait of Girolamo Benivieni (from
the Tomgiani collection, Florence). Late collection of Sir W. N. Abdy. The
Virgin and Child with St. John (sold at Christie's, May 5, 1911, No. 106).
New York. Messrs. Ehrich. Portrait of a lady (see PERKINS, in Rassegna
d' arte, x. 100, with reproduction).
Prato. Communal Gallery, No. 10. Portrait of Baldo Magini
Wantage. Lockinge House. Lady Wantage. Portrait of a young man.
vi.] MARIANO DA PESCIA— FRANCESCO GRANACCI 153
the tone bricky. The art revealed is lifeless. In the same character
we have a number of others.
Florence. Casa Torrigiani. Virgin, Child, youthful Baptist, and
St. Joseph. Wood, oil, enamel surface.
Florence. Marchese Pianciatichi, No. 12. Virgin and Child (but
see antea, Era Bartolommeo, p. 92).
Brussels. Museum, No. 638. Holy Family (see antea, Sogliani).
Montpellier. Musee Fabre, No. 753. Portrait of Petrarch (?),
assigned to Ridolfo,1 but more modern.
In Francesco d' Andrea di Marco Granacci, who preserved
through life an intimate connection with the family of the Ghir-
landai, we see how happily a man of respectable attainments can
reach a haven of comfort in his old age, when his ambition does
not exceed his skill, and when he shows in daily intercourse a
kindly and cheerful disposition. Granacci seems to have pos-
sessed in a supreme degree the art of being companionable. He
was quick at discerning talents surpassing his own, and before
these he took off his hat, acknowledging with surprising modesty
the superiority even of those who were by many years his juniors.
Hence the friendship which united him with Michael Angelo, and
his willingness at a later period to act as the assistant of Eidolfo
Ghirlandaio. Hence his inability to fill any of the high places
reserved for the great men of his age. He was born in 1469,2 and
bred in the atelier of Domenico and David Ghirlandaio.3 In the
Brancacci Chapel, where he studied like most candidates for pic-
torial fame, he sat to Filippino Lippi, who took his portrait in the
Resurrection of the King's Son.4 His youth was thus spent
in the company of the best masters of the fifteenth century, and
in the shop where he served he was held to be the most promising
of draughtsmen.5 As Michael Angelo began his time with Do-
menico Ghirlandaio in 1488, Granacci at once observed the lad's
precocious nature, and furnished him abundantly with drawings,
and thus laid the foundation of a lasting intimacy.6 It was about
* * Now no longer so.
2 The portata al Catasto of Granacci's mother, dated 1480 (GAYE, Carteggio,
note to vol. ii., p. 468), states that at that time Francesco was eleven years old.
3 VASARI, ii. 277; v. 340; vi. 532. 4 /&., ii. 299; iii. 462.
5 76.. v. 340. e /&<> ^ 137 st
154 FRANCESCO GRANACCI [CH.
this period that Lorenzo de' Medici, having placed his collection
under the charge of Bertoldo, had determined to try if it were
not possible to bring up some boys as sculptors, in view of restor-
ing to that branch the importance it had lost in consequence of
the great pre-eminence acquired by professors of painting.1 Do-
menico Ghirlandaio, having been consulted upon this subject,
entrusted Granacci and Michael Angelo (1489) to Lorenzo as the
most likely scholars, and thus the companionship which had
begun under favourable circumstances seemed destined to a happy
continuance. Michael Angelo soon did justice to the choice of
Ghirlandaio, and during his rapid progress repaid the kindness of
Granacci by presents of designs and by advice.2 But Granacci
did not for his part take to sculpture, and Lorenzo was only en-
abled to use him as a draughtsman and decorator in the jousts
and triumphs with which he kept the Florentines in good humour
at carnival time. In these, however, according to the testimony
of Vasari, Granacci was admitted to have been highly successful,
and here also Domenico Ghirlandaio approved himself a com-
petent judge of the ability of his pupil.3
If it ever happened to Granacci to take an extensive share in
any of the numerous undertakings in Domenico's atelier, we should
say he may have been principally occupied in the production of
a Madonna amongst saints in the collection of the late Mr. Barker
in London,4 or a Coronation of the Virgin in Santa Cecilia at
Citta di Castello.6 In Ghirlandaio's great frescoes at S. Trinita,
or S. Maria Novella, his help was of too general a character to be
perceptible. But he took part in the altarpieces finished by
Benedetto and David after 1494, and two figures of saints —
St. Anthony, in which his co-operation is proved by Vasari,0 or
1 VASAEI, iv. 258; vii. 141 aq. 2 /&., v. 339 sq.
3 76. , v. 340; vi. 436. * See antea, iv. 338.
* See antea, v. 27. The Virgin kneels to the right, before Christ, in a circular glory
of cherubs' heads, outside of which eight angels play musical instruments. Below,
on clouds, are SS. Francis, Bernardino, and Buenaventura erect (left), Louis,
another, and Anthony erect (right). In the centre, kneeling, SS. Kosa, Mary
Magdalen, Catherine, and Chiara. This altarpiece is called a Piero della Francesca,
but the figures are slenderer than his, and the tempera has the reddish flesh -tints
of Granacci. [* As already stated, this picture is now in the Communal Gallery
at Citta di Castello (No. 78).]
6 VASARI, vi. 532.
vi.] FRANCESCO GRANACCI 155
St. Vincent, upon which, though finer, the Aretine is silent —
disclose a notable superiority over the brothers of Domenico
Ghirlandaio — an approximation, indeed, to the latter in form,
proportions, outline, and drapery.1
We might believe, in consideration of two very clear-toned and
slightly relieved, but much finished, bust-likenesses of a male and
female in the museum of Berlin and in the gallery of Oxford, that
Granacci was frequently engaged in his youth as a portrait
painter.2 His tendency from the beginning to imitate the Michael-
angelesque might be illustrated in a tempera of the Virgin, Child,
and saints at Berlin.3
Another early contribution to the collection of his works is to
be found in the kneeling St. Jerome and St. Francis, part of an
Adoration of the Virgin, in the Berlin Museum. The St. Jerome
especially denotes a masculine and vigorous complexion in the
artist, without the feeling which avoids reproducing the vulgarity
or Herculean nature of a model. For the same reason the anatomy
is correct, whilst the drapery is involved and bundled into heaps.
Unlike the rest of the picture, the two saints are in oil, of a hard,
even brown-red, impasto, with dull shadows sharply contrasting
with the lights, yet of insufficient relief. They are freely handled
in the imperfect system common to Kosselli and Piero di Cosimo.
The art is that apparent in the Madonna and saints at S. Pietro
al Terreno, with the difference that the figures at Berlin are
1 These remarks apply more particularly to the St. Vincent; a tempera which is
numbered No. 74 in the Berlin Museum, the St. Anthony being No. 76 in the same
gallery, and in oil.
2 Berlin Museum, No. 80. Female, three-quarters, to the left, tempera, with
the words " Noli me tangere " on the parapet of the opening at which the bust is
visible. The school of Domenico Ghirlandaio and Mainardi is here plainly revealed;
and the execution is not unlike that of a profile (No. 81, Berlin) attributed to
Sandro Botticelli, jj* The editor is inclined to think, with Dr. MACKOWSKI
(Verrocchio, Bielefeld and Leipzig, 1901, p. 86 sq), that this is a work by Lorenzo
di Credi).]
Oxford Gallery, No. 22. Male, full face, almost life-size, ascribed to Masaccio
(tempera, almost life-size). Same character as the foregoing, fc* Now officially
ascribed to the Florentine school only.]
3 Berlin, Museum, No. 97. We have here the style of Ghirlandaio dwarfed,
but something modern in the marked character of the action and poses. The
execution is careful (wood). [* This picture is now on loan to the Communal
Gallery at Halle.]
156 FRANCESCO GRANACCI [CH
carried out in a more facile and manly spirit, and have a muscular
appearance akin to that with which we are familiar in Michael
Angelo.1
Granacci, therefore, appears to us at the close of the century
as a man who had already surrendered much that he might have
learnt in the atelier of Domenico Ghirlandaio in order to adopt
the energetic hardihood of his friend Buonarroti.
That he should seek at the same time to acquire the technical
improvements taken by Piero di Cosimo from Leonardo and still
more ably applied by Mariotto and Fra Bartolommeo was prob-
ably owing to the fact that Michael Angelo could not assist him
in this respect as he did in the rendering of form.
For a considerable interval Granacci preserved this duplicate
tendency. Without making any progress hi the mode of im-
parting relief by light and shade — now and then giving short pro-
portions to the human frame, as in the four saints of the Munich
Pinakothek,2 occasionally long and slender ones, as in the six
predella scenes from the life of St. Apollonia in the Academy of
Arts at Florence 3 — he made himself known by freedom of move-
ment and by a decisive and broad sweep of touch allied to great
finish and fusion. His colour no longer had its previous mono-
tony of brown-redness nor dulness of shadow, but a transparent
gloss due to copious vehicle, and a gaudy lightness producing the
effect of emptiness. Bravura in carrying out a strong accent
upon action in torso and limb, are the characteristics of a Trinity
very fairly assigned to Granacci, at the Berlin Museum, and
doubtless of this time.4
But the most favourable specimen of his manner under these
1 Berlin, Museum, No. 88. See antea, vol. iv., 336.
2 Munich, Pinakothek, No. 1,063, St. Jerome; No. 1,062, St. Apollonia ; No. 1,064,
St. John the Baptist ; No. 1,061, St. Mary Magdalen. These figures, all in niches,
(wood, oil, all but life-size), are fair and well draped, but somewhat muscular and
coarse. Are they a part of the panel in S. Apollonia of Florence mentioned in
VASARI, v. 344 ?
3 Florence, Academy of Arts, Nos. 285-290. The tall and slender figures are
in lively motion, broadly treated, and Michaelangelesque in the brave mode of
Rosso.
4 Berlin, Museum, No. 229. Round, wood, oil; (?) that noticed by VASARI, as
furnished to Pier Francesco Borgherini (v. 342 sq.}. This round is almost a
repetition of the same subject by Mariotto in the Academy of Arts at Florence.
Photo, Amndel Club
THE ASSUMPTION OF THE VIRGIN
BY FRANCESCO GRANACCI
From a picture in the collection of Mr. H. C. Somers Somerset, The Priory, Reigate.
VI. — To face page 156
vi.j FRANCESCO GRANACCI 157
conditions is the Assumption and gift of the girdle in the Casa
Eucellai at Florence.1 There is soft gravity in the deportment
of the saints conversing by the tomb ; and the drapery is grand
in the breadth of its cast. Two angels supporting the glory of
flaming rays almost embody the grace of Filippino. But the
muscular type and energetically forced motion of the St. Thomas
rising from his knees to take the girdle handed down to him by
the Virgin, as well as the enamelled surface of the panel and its
minute laboriousness, are derived from Michael Angelo, in emula-
tion, perhaps, of the Madonna at the Uffizi, which seems to date
from the first years of the sixteenth century.2
Whilst Granacci thus faithfully followed his great and now
celebrated guide, forgetting, as he proceeded, the atelier out of
which he had originally sprung, there was one quality which he
could not reach, and that was the quality of relief, in which he
was far surpassed by Eidolfo. His method of dealing with
colours was in so far different from that which Leonardo
perfected that he always sought transparence from the white
ground. He tried to get light in the greatest fulness, even to
the sacrifice of shadow, which, when properly used, is a set-off
to light.
Granacci's devotion to Michael Angelo lasted long. He was,
no doubt, one of the firmest supporters of his friend's opinion
when, in 1503, he was asked, with many others, to choose the
place for the gigantic David.3 Though he was affiliated to his
guild in 1505,4 he did not disdain to join Ridolfo, del Sarto,
and the host of their companions, as they copied the rival
cartoons in the Papal Hall.6 Yet he could not remain an
1 Originally in S. Piero Maggiore (VASABI, v. 343). The picture is on wood, in
oil, and the figures are large as life. The saints below, in addition to St. Thomas,
are SS. John, James, Lawrence, and Paul. [* This picture now belongs to Mr.
H. C. Somers Somerset, of the Priory, Reigate.]
2 The Madonna by Michael Angelo, in the Uffizi (No. 1,139).
3 GAYE, Carteggio, ii. 455, 456.
4 The annotators of VASABI (v. 345) say his name is in the books of the guild
in 1504-05. The date of his receipt of the freedom is illegible in the register of
the guild (GTJALANDI, Mem., ser. vi., p. 182).
6 VASABI, \ii. 161. He belonged to the club of the Cazzuola, of which we shall
speak.
158 FKANCESCO GEANACCI [CH.
inattentive spectator of the coming of Eaphael, and there are
pictures, like the Holy Family in the Casa Eucellai,1 in which
we already notice a prettiness and elegance that can only
have been suggested by careful examination of the works of
Sanzio.
This tendency to fall off from his old allegiance may have been
hastened by an incident which could not but cool the relations
between Granacci and Michael Angelo. In 1508 it was proposed
that the vaulting of the Sixtine Chapel should be decorated with
frescoes, and Buonarroti, upon whom this duty devolved, sent to
Florence for assistants, amongst whom Bugiardini and Granacci
were the most prominent. Upon trial, even these were found
very far from the mark by their fastidious employer, who, instead
of dismissing, locked the door of the chapel, as well as of his own
house, against them.2 It was natural that Granacci, after this
rebuff, should feel very greatly angered, and rather inclined to
forget than to remember the lessons of a man to whom he owed
much indeed, but who had treated him too rudely.
Certain it is that the influence of Eaphael now gained the
ascendant with Granacci, and there are two very fine Virgins
in Glory at the Uffizi and Academy of Arts in Florence,
as well as some Holy Families, which fully bear out this
statement.
In the Virgin in Glory at the Uffizi, two angels at the sides
of the glory are Eaphaelesque rather than purely Florentine.
The Virgin's own face is of a gentle softness, which certainly had
not its origin in Buonarroti; whilst the St. Thomas, to whom she
hands the girdle, and the Archangel Michael below, are more in
the Herculean mould.3 The same contrasts are to be seen at the
Academy, where the Virgin looks down from heaven at four
kneeling saints;4 and a Holy Family at the Pitti, though a little
* * The present whereabouts of this picture is not known to the editor.
2 VASABI, vii. 175.
3 Uffizi, No. 1,280. The Virgin and Child between two angels, in a glory of
flaming rays, gives the girdle to St. Thomas, who kneels below with the Archangel
Michael near him. Figures life-size, the archangel grand, but of Herculean
stature.
4 Florence, Academy of Arts, No. 68 (from Spiiito Santo sulla Costa). The
Virgin in prayer, in clouds surrounded by a flaming glory and four angels. Below,
vi.] FRANCESCO GRANACCI 159
low in tone, and reminiscent of Puligo, still seems to have been
composed by Granacci in the same mood.1
Elsewhere we trace in Granacci a bias in the direction of Fra
Bartolommeo, as in two ovals representing St. Anthony and an
Angel in the University Gallery at Oxford ;2 and the same aspect
of his talent is divulged in an Assumption belonging to the Earl
of Warwick, considered hitherto by many as a masterpiece of
Eaphael and the Frate.3
We believe that Granacci surrendered himself to scene painting
chiefly when he joined the atelier of Eidolfo Ghirlandaio, after his
return from Eome and his quarrel with Michael Angelo. As
Eidolfo's partner, probably, he assisted in valuing Mariotto's
Annunciation in 1510,4 and in the same subordinate position he
painted standards, theatrical hangings, and one of the triumphal
arches at Florence, in 1516, at the solemn entrance of Leo X.5
He also furnished cartoons for glass to the Brotherhood of the
Gesuati.6 But he lived for many years after that, making a will
in 1533,7 and died on December 2, 1543,8 without our being able
the kneeling SS. Catherine, Bernard, the Cardinal Giovanni Gualberto, and George.
Thia picture is gaudy, owing to abrasion and restoring. Wood, oil, figures life-
size. Distance, a landscape.
1 Pitti, No. 199. Round, wood, oil. The Virgin caresses the Child, who holds
a book and turns towards the young Baptist, holding the cross. The colour is very
smoothly enamelled, with rubbed glazes in the shadows, and rather cloudy at the
outlines.
In the same manner we have a round of the Virgin and Child, with two adoring
angels, belonging to Mr. Fuller Maitland, and a Holy Family, belonging to G. E. H.
Vernon, Esq., feebler, though still in Granacci' s style, (j* The editor has been
unable to trace these two pictures.!]
2 Small panels. The colour in part fallen out, and more dropping. [* A little
picture of St. Francis, by Granacci, in Christ Church Library, Oxford, evidently
formed part of the same altarpiece as these panels.;]
3 This panel, No. 91 at Manchester, is mentioned by Geheimerrath WAAGEN
(Treasures, iv. 499) and by PASSAVANT (Raphael, i. 130, and ii. 414). The Virgin
looks down from a glory of flaming rays. At the side of her tomb kneel SS. Thomas
and Francis, at whose flanks stand St. Paul and another. We can see, in this
picture, nothing of the Frate or of Raphael, but we perceive that it is the work of a
Florentine under the inspiration of both those masters. The technical handling
is like that of Ridolfo Ghirlandaio and Granacci, the composition essentially that
of the latter. 4 VASABI, iv. 224. 6 VASARI, v. 24, 340 sqq.
6 VASABI, v. 344. 7 GATE, Carteggio, ii. 468.
8 Tav. alfab. ad lit. He was buried in S. Ambrogio at Florence.
160 FRANCESCO GRANACCI [CH. vi.
to ascertain whether he was entrusted in the interval with any
great or independent commissions.1
1 Amongst the missing works of Granacci we note scenes from the life of Joseph
mentioned by VASARI (v. 342 sq.). [* Two, at any rate, of these seem to be pre-
served; cf. posted.] We have not seen the Virgin and two children, SS. Zanobius,
and Francis, once in S. Gallo ( VASARI, v. 343 sq.), and said to belong to the brothers
Govoni at Florence (annot., ib., ib., ib.). [* This picture, which was executed in
1515 (see MORELLI, Die Galerien Borghese und Doria Panfili, p. 127), is now lent
to the Uffizi (No. 1,541) by the Duchessa Maria Covoni-Borghese.
The following pictures should be added to the list of extant works by Granacci :
Budapest. Gallery, No. 54. St. John the Evangelist.
Florence. Uffizi, Nos. 1,249, 1,282. Two scenes from the life of Joseph (probably
identical with those seen by VASARI in the house of Pierfrancesco Borgherini;
cf. antea, and BERENSON, The Drawings of the Florentine Painters, i. 123).
Florence. Palazzo Pitti, No. 345. The Holy Family (cf. antea, p. 28, n. 2).
Milan. Late Crespi collection. The Entry of Charles VIII. into Florence (see
A. VENTURI, La Gatteria Crespi, Milan, 1900, p. 205 sqq., with reproduction).
Rome. Borghese Gallery, No. 371. Portrait of Maddalena Strozzi-Doni &?
St. Catherine (see MORELLI, u.s., 147 sq.).]
CHAPTER VII
ANDREA DEL SARTO
THOUGH Andrea del Sarto was but the son of a tailor, his
pedigree has been traced with ease into the fourteenth
century. His great-grandfather, Luca di Paolo del Migliore, was
an agricultural labourer, his grandfather a linen- weaver. Agnolo,
the tailor, was twenty-seven years old when his wife, Costanza,
gave birth (1487) to Andrea del Sarto. Their usual place of
abode was Gualfonda until 1504, when they lived in the Popolo
di S. Paolo;1 but previous to the latter date the future painter
1 Root of the Family of A. del Sarto.
Piero, b. 1425.
Antonio, b. 1427.
Francesco, b. 1430, weaver; m. Genevra,
b. 1441.
Maria, b. 1442.
Antonia, b. 1445.
Agnolo, tailor, b. 1460; m. Constanza,
b. 1468.
Andrea, priest, b. 1461.
Giovanna, b. 1463.
Domenica, b. 1466.
Agnoletta, b. 1469.
Lucretia, b. 1485.
ANDREA, PAINTER, b. 1487, d. 1531.
(VASABI, in error [v. 6], dates his
birth, 1478).
Veronica, b. 1492.
Francesca, b. 1495.
Domenico. —
Amongst the ancestors of Andrea del Sarto, Luca lived in S. Maria a Buiano
(Catast. 1427, Port. d. Contado Quart. S. (&W, Popolo S. Maria a Buiano, Piviere
.i Fiesole). Luca is then thirty -five years of age. He afterwards went to S. Ilario
161
Luca di Paolo di Migliore, b. 1392,
labourer; m. Agnola, b. 1402; begets
Francesco, begets . . . . . . -
Agnolo, begets . .
162 ANDREA DEL SARTO [OH.
had been apprenticed, and almost before it was possible that he
could read (1494) he was introduced to the shop of a gold-
smith.1
A declared aversion to cold chisels and files was the first sign
that the boy gave of his unfitness for the business he was bound
to. But he showed no such disinclination for the models from
which the journeymen of his master were made to work. His
childish cleverness in drawing from them was watched with in-
terest, if not by the goldsmith, at least by his neighbour, Gian
Barile; and the result was the transfer of Andrea from the one
to the other.
Whatever might have been the chagrin of Agnolo that his son
should be withdrawn from a great guild to be entered into a
lesser one, he was obliged to yield to circumstances, and Gian
Barile kept Andrea till about 1498.
There is no telling how del Sarto would have turned out had
the connection lasted longer. Gian Barile was a man of con-
temptible talents and coarse manners,2 to whom his pupil may
have been indebted for much that was slipshod and common in
his ways; but if he had faults, want of sympathy and generosity
was not one of them, and this he proved by recommending the
youth as a draughtsman and a colourist to Piero di Cosimo. Upon
trial, this eccentric artist fully approved of Barile's judgment.
He kept del Sarto for years, allowing him spare hours for outside
study,3 especially at the cartoons of Michael Angelo and Leonardo,
a Montereggi (Catast. 1455, Port. d. Contado Q. S. G. P. d. Fiesole, Popolo di S.
Ilario a Montereggi, Potesterie di Sesto).
Francesco came to reside near Florence. Piviere di S. Giovanni of Florence
(Catast. d. Contado, 1471, Quart. 8. M. Novella Piv. S. Oiov. ? Pop. S. Lorenzo
di Dentro da S. Gallo, Potesteria di Firenze). Francesco, who makes the return,
is forty years old.
Agnolo in 1487 lived in Gualfonda, and in 1504 in Popolo S. Paolo of Florence
(Catast. d. Contado, 1487, Quart, di 8. M. Novella, Piv. d. S. Oiov. Firenze, Pop.
8. M. Novella dentro). Agnolo, who makes the return, is thirty, and says his son
Andrea is one year old.
It is clear that the family name of Vannucchi never had any foundation in fact.
But see also Tav. alfab. ad lit. (Favoured by Gaetano Milanesi.)
1 VASABI (v. 7) says Andrea was bound to a goldsmith when seven years old.
2 VASARI, v. 7. He must not be confounded with Giovanni Barili of Siena, for
notices of whom see com. in VASABI, iv. 415 and following, and Doc. sen.
3 At the Brancacci (VASABI, ii.
vii.] ANDREA DEL SARTO AND FRANCIA BIGIO 163
and delighted to hear that, amongst all the striplings who copied
there, his gar zone was one of the ablest.1
In the Papal Hall where these famed compositions stood, the
earliest visitors were Ridolfo Ghirlandaio, Eaphael, Granacci,
Baccio Bandinelli, and the Spaniard Berruguete; in Andrea's time
— that is, about 1508-09 — Francia Bigio, Jacopo Sansovino, Rosso,
Maturino, Lorenzetto, and Tribolo.2 It was there that the friendly
intercourse of del Sarto and Francia Bigio commenced, there that
they matured a plan for opening a joint shop of their own.
We shall not pretend to give an exact date to this event, though
we suppose that it occurred before the frescoes illustrative of the
life of the beato Filippo Benizzi were begun in the court of the
SS. Annunziata de' Servi.
Francia Bigio and del Sarto took a lodging together on the
Piazza del Grano in the heart of Florence, and are said to have
worked in common, their maiden undertaking being, perhaps, the
Baptism of Christ at the Scalzo which Vasari classes amongst
the first of Andrea's efforts. We must confess grave doubts as
to whether this episode could have been executed by del Sarto
alone, so different is the neglected drawing or the unrefined
character of the figures from that which is to be found at the
Servi. We might, however, admit that such a production by
two young masters just entering upon their career would be
accepted as an instalment of great promise, and induce many to
give them their patronage. As a cento of Francia Bigio and del
Sarto, in which the impress of Andrea is preponderant, we may
look upon it as a valuable and perhaps unique product of an
association which was soon dissolved. The two men had both
been nurtured at one source — Andrea at the school of Piero di
Cosimo, the imitator of Leonardo, and the companion of Fra
Bartolommeo and Mariotto; Francia Bigio under the tuition of
Mariotto. Francia Bigio had less genius than del Sarto, but he
was the eldest of the two. So the partners probably agreed to
live together, but to paint apart. They often spent their days in
1 VASARI, v. 7 sq. ; vi. 137. The Aretine only alludes to one instance where
Andrea del Sarto had a share in Piero di Cosimo's works, and that is when the
car of death was made for one of the carnivals during the supremacy at Florence
of the Soderini (iv. 134 to 136).
2 /&., vii. 161.
164 ANDREA DEL SARTO [CH.
the same places, but never, as far as we know, divided the labours
of one and the same picture.1 They competed at the Servi, at
the Scalzo, at Poggio a Caiano; but contemporary history con-
tains no reference to anything that they did in companionship.
That the Baptism of Christ was the first of a long series at the
Scalzo, and that it was followed by the scenes from the life of the
beato Filippo Benizzi at the Servi, is as clear from Vasari as from
the evidence of style, the latter being entirely Andrea's, without
assistance from Francia Bigio. But the mere fact of two such
competitors living in constant intercourse led to the inevitable
results that Francia Bigio assumed and kept a reminiscence of del
Sarto, and Andrea, for his part, took something from his friend.
There is a panel in the Duke of Northumberland's Castle of
Alnwick, in which a man of twenty in a black cap covering long
hair sits resting his elbow on a table. The hand thus reposing
holds a scroll with an illegible direction. On the table itself is
an ink-bottle, a pen, and a sheet of paper, on the corner of which
one reads: " Al di . . . Andrea del Sarto pictore . . . entia."2
This is supposed to be Andrea's own portrait, though it might
represent another and unknown person. It is coloured in a soft
and harmonious manner in oil, with well-fused and fatty impasto ;
but it is somewhat empty, feeble in the transitions from light to
shade, and timidly drawn. The technical method is that of
Francia Bigio's teacher Mariotto, the character generally that of
del Sarto in the frescoes of the Servi, but without the breadth to
which he already expands there. In this effort to approximate
to Albertinelli and Fra Bartolommeo, we trace the force of Francia
Bigio's persuasion or precept on Andrea, unless we assume that
Francia Bigio is himself the author, in which case he and del
Sarto would have painted exactly alike. Yet, as Andrea for some
time longer felt a sympathetic leaning towards the Frate and
Albertinelli, we may consider him more likely to have done the
portrait of Alnwick Castle than Francia Bigio.
1 The curtains of the altarpiece at the Servi, by Filippino and Perugino, are now
proved to have been, not by Francia Bigio and Andrea del Sarto, as VASARI says
(v. 8), but by Andrea di Cosimo, who did them in 1510-11. See the record in
VASABI, v. 207, annot.
2 The words immediately following " Al di " are not particularly clear, and
may be omitted.
vu.] FRESCOES IN SS. ANNUNZIATA 165
Since the days of Baldovinetti and Cosimo Eosselli the court
of the convent of the Servi had received no additional decoration.
In one corner Alesso had left a Nativity, carried out in new and
perishable materials; in another, Kosselli had scarcely finished a
Miracle of the sainted Philip. The Brotherhood of the Servi,
though poor, was ambitious of completing these adornments, and
with much tact sought out rising men from whom skill and small
charges were to be expected. Thus it was that from 1509 to 1514
it had in employ three young fellows of great promise — Francia
Bigio, Andrea del Sarto, and Andrea Feltrini. We can scarcely
tell, indeed, whether most to admire the cleverness which could
discern the value of these youths, or the cunning with which
jealousy was sown between Francia Bigio and del Sarto, in order
that the convent might reap the advantage of their rivalry. To
the latter, who had already the reputation of being soft and
malleable, the sacristan Fra Mariano suggested how quickly his
name would become known were he to leave a successful proof
of his talent in a public and much frequented locality, and how
important it would be for lu'm to work rather there than elsewhere,
even for a minimum of wages. It was hinted meanwhile that if
he refused so favourable an offer, Francia Bigio would accept it —
nay, had already consented to do so. This final argument ap-
peared so conclusive to Andrea that he signed a contract for
three frescoes, which he immediately began, and in a few months
he had uncovered St. Philip sharing his Cloak with the Leper,
St. Philip cursing the Gamblers, St. Philip restoring the Girl
possessed of a Devil.1
Age has affected the episode of the saint and the leper, in which
Andrea's ability as a draughtsman and an imitator of easy motion
is divulged in figures of good proportions. The Curse of the
Gamblers is more spirited, and illustrates Andrea's versatility in
thought, as well as the power with which he gives life to every
part of a vast landscape. The rabble of men-at-arms playing
cards under a tree has been overwhelmed or dispersed by a stroke
of lightning at the moment when the saint turned to assure them
of the wrath of God. The two attendant brethren have stopped
because St. Philip halted. The muleteer in the distance hurries
1 VASARI, v. 10 sqq.
VI. — M
166 ANDEEA DEL SARTO [CH.
away as he looks back at the havoc — the whole scene so vivid in
its contrasts, so happily impulsive in their rendering, that little
remains to be desired except, perhaps, some of that higher and
less homely quality, the lack of which makes Andrea take a place
below Fra Bartolommeo. A ready action, variety of position,
appropriate drapery, fine and accurate drawing of frame and limb,
disclose his inborn strength, as well as facility for making the best
features of the great masters his own. Space, divided according
to the rules of the best Florentines, is filled up with a sense of
the undoubted dignity and earnestness of legendary history. In
the groups life, pulsation, and the boldness of Uccello distinguish
every personage. The execution is that of a man already con-
fident in himself, uniting freedom with rapidity in reproduction,
not clinging rigidly to pure science and severe measure, but sub-
stituting for these quickness and spirit.
The same simplicity and tact are preserved in the central
episode of the fresco in which St. Philip drives the demon out of
the female supported in the arms of her relations, the interest of
the spectators in the miracle being well kept up, and made evident
x without coarseness either in attitude or in expression.1
The applause which these three pieces received encouraged
Andrea to proceed, and he at once resumed the brush for the
Death of St. Philip and the Children cured by St. Philip's Garment.
The first of these, arranged in a form that was scarcely to be
avoided, represents a friar behind a couch, leaning over the
prostrate body of the saint, whilst two groups stand on the sides
of the foreground. The clergy in rear to the left suspend their
chant in order to express their surprise at a wonder occurring
before their eyes. A child lies dead on the floor, and revives at
the touch of the bier, the two incidents of the death and resur-
rection being judiciously compressed into one. In this, more than
in any other composition of the series, del Sarto tells of the
study which he devoted to Domenico Ghirlandaio, not only for
the sake of fit distribution, but for the purpose of acquiring a
just partition of the masses of light and shade. Nothing can be
* 1 In the seventeenth century some masons, working in the court of the Servi.
broke through two heads in this fresco. The pieces were picked up and put together
again by Domenico Cresti (il Passignano) (BALDINUCCI, ix. 398 sq.).
ST. PHILIP BENIZZI CURSING THE GAMBLERS
BY ANDREA DEL SARTO
From a fresco in SS. Annunziata, Florence
Photo, Alinari
VI. — To face page 166
vii.] FRESCOES IN SS. ANNUNZIATA 167
more clearly demonstrated than this in the head of the friar who
leans over St. Philip, where the transitions are given with re-
markable force; nor would the fresco as a whole have lost any-
thing had this law of equilibrium been extended with equal im-
partiality to the rest of the dramatis personce. But Andrea seems
never to have been fully penetrated with the necessity for apply-
ing the strict rules of chiaroscuro. Carried away by his feeling
for harmony of colour, and charmed whenever he could realize a
vague and vaporous twilight of tone, he was unable to combine
that appearance with absolute neutral contrasts, especially when
urged onwards by the supreme ease and confidence with which
he was gifted. But whilst he was thus robbed of one quality,
the balance was almost restored by the facility with which he
obtained transparence, gay colours, and smoothness in the melt-
ing of tints into each other. Without hesitation, and, as Vasari
said, senza errori, in a somewhat subdued and quiet key, he over-
came the greatest difficulties of his art, and if not in 1510, cer-
tainly in 1514, deserved to be called the best fresco painter of
Central Italy, not excepting even Sanzio. If his aim principally
was to reach this point, it was natural that he should be unable
to stop at will to attend to the modelling of form or to achieve
that which a more phlegmatic but less able frescante would have
done. For if the latter had failed in this at one sitting, he would
have tried to supply the deficiency at a second by dry touching —
a remedy which del Sarto habitually disdained. •'
The Children cured by the Dress of St. Philip is attractive,
symmetrical, and full of truth. A priest in a doorway lays the
cloth on the head of a child kneeling in front of its mother. Two
persons ascend or stand at the foot of the steps on each hand.
To the left, a cripple receives charity; to the right, an aged man
leaning on his staff is the portrait of del Sarto's friend, Andrea
della Kobbia. Fleshy rounded curves in the contour of females
denotes sensuality in the artist. Males are depicted with a
rougher, coarser grain of flesh. Each party to the action has his
individuality. Avoiding an ideal of perfection to which he might
be obliged to cling, as we see the Frate occasionally doing, Andrea
has no thought for anything but the reality. Yet that reality, if
below the ideal, and not absolutely select, is dignified and genuine.
168 ANDREA DEL SARTO [CH.
The drawing is good in style, and invariably correct. The motions
are without strain, and generally appropriate. There is a con-
scientious attendance to all requirements, such as we are not
always able to find at a subsequent period. The general tone is
powerful, harmonically without discord, tasteful, and pleasing.1
As a whole, we possess in these five frescoes, done, we must
remember, before the close of 1510, a very creditable series, in
which we find no difficulty in tracing how much Andrea del Sarto
was indebted to the works of Leonardo, Fra Bartolommeo, and
— Mariotto. From the first he took a dimpled smile that might
almost be called stereotype, and from the two last certain models
of form and the peculiar seeking after elegance which they derived
-— from da Vinci. To the warm and sympathetic gaiety of colour
^remarkable in the Frate he gave an additional vagueness and
transparency; to the full and swelling forms of female beauty in
~^ della Porta something more of the sensuous. The public justly
applauded his performance, and as he began to feel the position
he had won, he observed to his clients that, greatly as he was
honoured by the patronage of the Servi, he still preferred employ-
ment of a less barren kind.
In order to avoid the fatigues and loss of time consequent upon
a daily walk from the Piazza del Grano to the Servi, Andrea had
taken rooms with Francia Bigio in the Sapienza, a block of
buildings close to the SS. Annunziata, where Jacopo Sansovino
and Eustici already had their lodging,2 and not far from the shop
of Nanni Unghero.3 In Sansovino, del Sarto found a friend with
whom to discuss the most diverse problems of his profession.
He had been at Home, and witnessed the meeting of two genera-
tions of celebrated painters there.4 His experience was already
great, his conversation probably instructive. He was reserved for
a noble career as an architect at Venice, and in the meanwhile was
a student of sculpture at Florence. He and Andrea constantly
exchanged views and opinions, whilst not unfrequently his models
were those from which del Sarto made drawings for his pictures.5
1 On the foreground we read: " A. D. MDX." VASAEI fully describes these five
frescoes (v. 10 sqq.).
2 VASABI, v. 8. 3 /&., vi. 56.
4 VASARI, Life of Sansovino; TEMANZA, do. do.
5 VASARI, vii. 487 #7.
vii.] CLUBS OF THE KETTLE AND THE TROWEL 169
Rustic! was a sculptor, too, but older — a man of independent
means, whose house was the rallying point for artists in general,
and the seat of a club of twelve or dodeka, to which Andrea del
Sarto belonged. This club, which was called the " Company of
the Kettle," was chiefly remarkable for the jollity of its dinners,
to which every member was allowed to invite four strangers. At
these convivial gatherings each brought his own food, and was
fined if his dish happened to be that of his neighbour. But on
grand occasions, concert being required, previous consultation
took place; and ingenuity was exhausted in making temples of
pastry and sausages, and figures carved out of cold beef or suck-
ing-pigs. Yet eating and drinking was not the exclusive business
of the association, and we are told that in 1519, when Francia
Bigio became chairman, or archipaiuolo, he recited a comic epic
called the " Battle of the Mice with the Frogs," which has been
assigned by some to Andrea del Sarto, whilst others believe the
author to have been Ottaviano de' Medici.1
As it often happens when such clubs consist not merely of boon
companions, but of persons known for talent in their business,
the more exclusive circles are moved by curiosity to visit them,
a connecting link is created between persons whose relative rank
would otherwise keep them for ever apart, and a curious mixture
is produced in which the worker has a chance of learning to ape
the polish of the high-bred noble, and, vice versa, the man of
station condescends to a dangerous familiarity with those whom
he has not ceased to regard as his inferiors. After the successful
establishment of the Kettle Club, that of the " Trowel " arose in
1512.2 The associates were ranged in divisions answering to those
of the great and small guilds of Florence, with a third-class ad-
joined, and called " Adherents," of whom del Sarto was one.
Here it became fashionable to read burlesques and to get up
masquerades, the arts, as usual, contributing to the entertain-
ment by quaint decorations or by scenic paintings.3 As the meet-
1 VASABI, vi. 609; and REUMONT'S A. del Sarto, small 8°, Leipzig, 1834, Intr.
p. xvii. The poem was published by the Abbate Fontani in 1788, and is in BIADI'S
Life of Del Sarto, Mor., 1829.
2 For these and the subsequent facts, see VASABI, vi. 611 and following.
3 Tantalus in the lower regions was represented at one of the club dinners
vi. 618).
170 ANDREA DEL SAETO [CH.
ings were not held in one locality, the wealthier subscribers were
able to distinguish themselves by display according to their
means; and some instances are mentioned where great expense
must have been incurred, as when Bernardino di Giordano gave
the " Mandragola " of Niccolo Macchiavelli in 1524, with the
scenes and properties by Andrea del Sarto and Aristotile da
S. Gallo. This comedy was played before Alessandro and Ippo-
lito de' Medici, adolescents at that time under the care of Silvio
Passerini, Cardinal of Cortona; and it was not considered im-
proper to let them listen to dialogues the indecency of which is
said to exceed the utmost stretch of licence.1 In the fifteenth
century Lorenzo de' Medici patronized, as we have seen, with a
judicious measure and a due regard to social positions. He re-
spected men of genius like Domenico Ghirlandaio. He made an
associate of a scholar like Alberti. In the sixteenth century,
artists were drawn into the vortex of dissipation and immorality
which peculiarly characterized the upper classes in Italy, and there
is reason to believe that their decline was the more rapid for that
cause.
The frescoes of St. Philip Benizzi had scarcely been finished by
Andrea del Sarto, than commissions poured in upon him from
many quarters. To accept these whilst he was bound to finish
the court of the Servi was dangerous. The sacristan had a con-
tract, and might have enforced it. But he probably had enough
knowledge of the world to be aware that if he pressed his ad-
vantage too hard del Sarto might escape from his obligation in-
directly. It was therefore arranged that two more frescoes should
be furnished in the SS. Annunziata for a better price than that
which had hitherto been conceded, and their completion was
probably left indefinite as to time. It is hardly to be doubted
that at this juncture, as Vasari says, part of the refectory of the
Vallombrosans at S. Salvi was adorned with figures of saints, that
an Annunciation was done at the corner of Orsanmichele, and
that two or three altarpieces were delivered at the same period.
The first of these are so like the frescoes of St. Philip at the Servi
that they must date immediately after them. They represent
two cardinal saints — SS. Giovanni Gualberto and Benedict — rest-
1 Sec VASABI, vi. 437, and annot., ib.
vii.] VARIOUS WORKS 171
ing on clouds in a blue sky, and they are the ornament of a vaulted
recess in which Andrea many years later placed a Last Supper.1
The Annunciation at the corner of Orsanmichele is all but ob-
literated.2
A fine and fairly preserved Christ appearing as a Gardener to
the Magdalen, ordered by the monks of S. Gallo, is said to exist
in a private church belonging to the Covoni in Casentino,3 finished
contemporarily with an Annunciation in the same monastery,
which is now at the Pitti.4 The angel in the latter seems to have
dropped slowly from heaven on a cloud, and to have surprised
the Virgin at her desk. His mien is calm and composed, and the
mode in which he is presented recalls Fra Bartolommeo in the
altarpiece intended for S. Pietro at Murano. But the move-
ment and lines, though soft and gentle, are unconstrained and
free, as in del Sarto's own creation, the Nativity at the Servi.
The Virgin is most dignified in air and pose. Decorum and grave
beauty are almost as completely combined as in della Porta.
Without the emptiness which grew into a defect with Andrea's
later years, the colour is rich, and in good keeping with a land-
scape full of atmosphere. The lights and shadows are almost as
well defined as in Mariotto and the Frate, and the handling is
surprising for its lightness and ease. All that is wanting to en-
title the painter to an equal rank by the side of the masters we
have named is the scientific correctness of form and chiaroscuro.
We ascertain the exact date of this panel from the fact that the
predella was entrusted to Pontormo, who entered the atelier at
the Sapienza in 1512 and left it in 1513.5
If in 1510 Andrea deserved already to be called one of the best
1 VASABI, v. 14. Figures life-size, in fresco, tastefully coloured, reminiscent
of Fra Bartolommeo, and fairly preserved.
2 There are marks of an Eternal, and of the Virgin's head, and part of angel,
still in existence. The rest is gone. The fragments are like the works at S. Salvi.
See VASABI, v. 14.
* 3 This must be a mistake. The editor is indebted to Dr. Giovanni Poggi
for the information that the picture in question, having in 1527 been trans-
ferred from S. Gallo to S. Jacopo tra i fossi, passed thence in 1849 to the
Academy in Florence, when it in 1875 came to the Uffizi (No. 93).
4 Pitti, No. 124, once transferred from S. Gallo to S. Jacopo fra Fossi (VASABI,
v. 17; vi. 247). The flesh in the Virgin is somewhat injured. The figures are life-
size.
5 VASABI, v. 17; vi. 247. Pontormo's predella is gone,
172 ANDEEA DEL SAETO [CH.
executants in fresco of his day, in 1512 he might fairly be adjudged
excellent in the practice of oil. Nor is there any reason to doubt
but that this excellence was willingly admitted. Amongst the
acquaintances made during the study of the cartoons of Michael
Angelo and Leonardo in the Papal Hall at Florence, Baccio
Bandinelli is to be numbered. His designs had been praised so
highly by his comrades and other judges for their boldness and
decision that his vanity claimed a place abreast of Buonarroti.
Anxious to add to this quality that of a good colourist on panel,
he asked Andrea del Sarto to take his portrait, hoping, in the
event of his consenting, to secure a good likeness and to surprise
the newest tricks of the profession. Vasari amusingly dwells on
the indignation of del Sarto at this mixture of cunning and deceit
in Bandinelli, and affirms that Andrea kept Baccio so long sitting
he could not learn any of the desired secrets.1 The story, apart
from its illustration of Baccio's character, clearly proves the respect
felt by Andrea's contemporaries for his power as an easel-painter.
Towards the end of 1511, and during the two following years,
del Sarto was occasionally busy in finishing a Nativity of the
Virgin and a Procession of the Magi in the court of the Servi,
and two parables in the garden of the same convent. With the
help of Andrea Feltrini and his own pupil, Pontormo, he got up
the cars for a triumph with which the elevation of Leo X. to the
Papacy was celebrated in the early part of 1513. All Florence
was in excitement at the return of the Medici. But neither his
professional occupations nor the vicissitudes of politics were of
interest to del Sarto in comparison with one particular pursuit
to which his attention was most exclusively devoted. He had
long been under the charm of a hatter's lovely wife, whose hus-
band, Carlo Eecanati, had a shop in the Via S. Gallo. The death
of the latter gave del Sarto an opportunity which he is said to
have long desired. He married Lucrezia del Fede, and, according
to Vasari, took a very beautiful but very faithless partner to his
side.2 Lucrezia, it is certain, was of a most overbearing and
1 VASARI, v. 22 sq., and vi. 138 sq.
2 The marriage ceremony was performed on December 26, 1512 (BiADi, in
RETTMONT, u.s., Life of Del Sarto, note to p. 54). [* This is a misunderstanding ;
the date in question is given by Biadi as that of Recanati's death. According
to Milanesi, however (VASARI, v. 19, n. 1), he only died on September 17, 1516.]
THE NATIVITY OF THE VIRGIN
BY ANDREA DEL SARTO
From a fresco in SS. Annunziata, Florence
Photo, Alinari
VI.— To face page 172
vii.] BIRTH OF VIRGIN IN SS. ANNUNZIATA 173
intermeddling temper ; and her treatment of Andrea's apprentices,
Vasari amongst the number, is perhaps the cause why her char-
acter has been depicted in a most unfavourable light. It is not
said, indeed, that Pontormo left his master because Lucrezia
teased him; but there is no doubt that this occurred immediately
after Andrea's marriage in 1513.1
As regards Andrea himself, it cannot be affirmed that his new
state contributed in any sense to impair the talents with which
he had been gifted. On the contrary, there are no examples of
success in his whole lifetime equal to that which his two last
frescoes in the court of the Servi obtained.
A glance at the annexed reproduction of the Nativity will show
that he really possessed the eminence that was conceded to him \/
as a composer. Consistently in the path which had been opened
with the incidents from the legends of St. Philip, the great art
of appropriately disposing figures is applied. Two principal
groups occupy the chief places, and are bound to each other by
the brooding Joachim, who moodily sits, as if carved by Michael i/
Angelo, in the background. St. Anna is the centre of attraction
in the group on the right, the infant Virgin that of the group to
the left. The dimpled faces of the females in attendance, and
the grave dignity in the gait and air of the two visitors, are those
which we admire in Leonardo and Domenico Ghirlandaio. There \S
is an excessive freedom and natural appearance in the move-
ments and full, developed forms, which tell of the progress of the
age and the influence of Fra Bartolommeo. The proportions are
good, the outlines sweeping. The action is varied and expressive,
the draperies are full and excellent in cast. The perfect fusion
and more than usually successful contrast of light and shade
suggest the presence of real flesh and blood,2 the handling being
more than ever faultless, and producing transparence without
objectionable thicknesses of surface. Eichness and relief are
united with finished modelling. What da Vinci produced with
oils in the Mona Lisa seems realized by Andrea del Sarto with
fresco. In the subdued yet gay tones peculiar to himself he gives
sweet chords of harmony with none of the glare of the primaries,
1 See VASARI, vii. 561; v. 19; vi 246, 248: vii S-10
2 Vasari truly says so (v. 15 aq )
174 ANDREA DEL SARTO [CH.
yet without the excessive soberness of tertiaries. There is a
calm depth of atmosphere over all, in the upper mist of which
cherubs disport with charming vivacity.1 In short, the Nativity
is on the highest level ever reached in fresco. There is only
more bravura in the Last Supper of S. Salvi or in the Madonna
del Sacco.
Yet, as every object in life has its unfavourable side, this
masterpiece has also its defects. We miss in its complex the
strong control which is usual in Fra Bartolommeo, Raphael, and
Leonardo. Domenico Ghirlandaio accustoms us to a serene
severity in the presentation of such scenes as these. Leonardo
and Michael Angelo added what was necessary to create modern
art in its technical improvements, its select ideal in elegance of
action, and shape. Fra Bartolommeo had his part in this striving
which was crowned with final success by Raphael. Andrea del
Sarto, who gave the last polish to fresco, introduced the germ of
a licence which soon became very marked. The variegated aspect
of his tints, which is already apparent even in his Nativity, be-
comes offensive by excess. Masaccio, who was the colourist of
his age, and who forestalled it as regards atmosphere and chiaro-
scuro, kept to a stern simplicity of key. Fra Bartolommeo
already shows us how surfaces can be broken, especially in shadow,
by intricate interweaving of tints. This principle was carried out
with still greater frequency by del Sarto, who thus rivalled the
Frate in giving a new feature to Florentine painting. But they
inaugurated a system which was soon to be productive of evil by
substituting artificial effect to the study of nature. This evil
arose in del Sarto probably from the attempt to work on panel
with the same fluid vehicle as on lime, using the underground as
a means for transparence. But in this attempt the speed with
which he laboured placed him at a disadvantage, and for that
and other reasons he remains far below Leonardo. Thus it hap-
pened at Florence that the very reverse occurred from that which
1 The colour in the upper arch of this fresco is somewhat eaten away by time,
or absorbed by the plaster. There is a constant contrast of warm light with cool
shadow. The flesh of a pearly -grey in the darker places. On the mantelshelf
one sees the arms of the Medici held by a child, and on an ornament the words :
"Andreas faciebat." Between the pilasters one reads " A.D. MDXIIII.," and
beneath is the double A interlaced, which is Andrea's usual monogram.
Photo, Hanfstaengl
PORTRAIT OF LUCREZIA DEL FEDE
BY ANDREA DEL SARTO
From a picture in the Kaiser Friedrich Museum, Berlin
VI. — To face page 174
vii.] PORTRAITS OF LUCREZIA DEL FEDE 175
we note in Venice. In Florence, fresco was carried to far greater
excellence than oil-painting, because its use was most common.
The Venetians transferred the technical methods usual to them
from canvas to wall, and failed almost invariably in the trial.
As Jacopo da Empoli sat in the court of the Servi copying the
Nativity of del Sarto (about the year 1570), an old lady who had
evidently come to Mass stopped by his easel and began talking
to him. She pointed out one of the figures in the fresco as a
likeness of Andrea's wife, and, as she warmed over this theme,
revealed herself to Jacopo as Lucrezia del Fede.1 The person
most like del Sarto's spouse is the female in the centre of the
foreground, whose type and face her husband, with or without
intention, repeated from this time forward in almost all his
Madonnas. She was a full, matronly woman of fine proportions,
of whom we have the lineaments in a fine portrait by Andrea at
the Berlin Museum,2 though not perfectly coinciding in every
respect with a second in the Museum of Madrid.3 She must have
had some considerable amount of patience to sit, as she so fre-
quently did, to her better half.
Simultaneously with those of the Nativity of the Virgin, Andrea
had made the cartoons of the Procession of the Magi, intended
as an amplification of the Nativity of Christ by Baldovinetti.
With great activity and ready movements in the crowd of Kings,
accompanied by their Court and suite, with sufficient dignity in
the several parts, this fresco is done with a still more running
hand, but with less chastened sentiment than its companion.
Perhaps the wish to contrast staid and modest bearing in females,
of which the Nativity chiefly consists, with bravery and energy
in males, of which the Procession is exclusively composed, had
something to do with the self-confident swing generally prevalent
in the figures. The result only confirms the impression previously
created. Amongst the King's followers to the left of Sansovino,
who stands with the musician Ajolle on the right foreground, is
1 BALDINTTCCI, Opere, u.s., Life of Jacopo da Empoli.
2 Berlin, Museum, No. 240 (wood, oil, life-size).
3 Madrid, No. 332. This portrait is very fine, dignified, and noble in pose,
but deprived of much transparence by restoring. The form is given with some of
Leonardo's precision. The matronly shape and squareness of Lucrezia is not in
this portrait, which is one of the best by del Sarto.
176 ANDEEA DEL SARTO [CH.
the likeness of Andrea del Sarto by himself, the same in features
as another at the Uffizi which Vasari engraved for his Lives.
The face is regular; it is that of a man of robust constitution,
but far from refined, and in this respect a reflex of del Sarto's
individuality. It neither suggests the elevation of Leonardo, nor
the polish of Kaphael, nor the grand force of Michael Angelo.
Without the feeling for gorgeous tone peculiar to Titian, but
with a sense of vapour akin to Correggio's, he is well described
as almost " divine " in his mode of colouring. Born a painter,
according to Vasari,1 he was versatile as a composer, with a
tendency to conventionalism, because he overlooked the variety
required in the treatment of different objects, such as flesh, cloth,
wood, stones, leaves, and sky. But he was homely even in his
energy, because he had not the breed of his great rivals. We
have spoken of the portrait at the Ufnzi. It is on a tile hastily
but freely laid in at a late period of the master's life.2 There is
a much finer one in possession of the Marquis Campana, who
purchased it from the Capponi family at Florence. Here we have
the same general contour, shape of bone, and character of the
head, as in the Procession of the Magi at the Servi. Though
much restored, it unquestionably resembles that of the Ufnzi,
and is undoubtedly by Andrea himself when aged about thirty.3
The frescoes of the Servi, having been finished in 1514, were
uncovered at the same time as the Sposalizio of Francia Bigio.4
Those of the Servi garden, which have perished, and others of
inferior interest, were no doubt completed at the same period.5
1 VASABI, iv. 12; v. 6 sq.
2 Uffizi, No. 280. The face is vulgar, and the dress neglected; the colour thick,
opaque, and reddish in flesh. Fresco.
3 Mr. Beumont mentions this portrait, which he had seen in the house of the
Marquis Vincenzo Capponi at Florence. On the back of the panel, we are told,
are the words: " p°. 1518." The face is turned three-quarters to the left. The
head adorned with long hair of pleasing curl falling from a black cap, the white
chemisette covered by a dark silk vest with violet sleeves. On the green ground
the double A interlaced. Life-size, oil, wood. The face and hair much repainted.
[* The editor has been unable to trace this picture. 3
4 The whole sum promised to A. del Sarto for the frescoes was 98 florins. He
received a bonus of 42 florins in addition (annot. VASABI, v. 13).
6 There are records of part payment for the Procession of the Magi on Decem-
ber 12, 1511, and for the Nativity on the 25th of the same month. Also an item
for work in the garden in June 25, 1512, and a further notice of the same kind
vii.J FRESCOES IN THE CHIOSTRO DELLO SCALZO 177
We do not know when the head of Christ on the high-altar, which
Vasari praises so much, and which in a great measure deserves
his encomiums, was done.1 It is known that the Assumption for
which he contracted in June (16), 1515, was afterwards carried
out by Pontormo.2 The Brotherhood of the Scalzo had overbid
the brethren of the SS. Annunziata, and del Sarto had been
induced to promise the continuation of the monochromes, of
which a solitary example had been furnished so many years before.
Before November, 1515, he had finished there the allegory of
Justice and the Sermon of St. John in the Desert, in which the
simplicity and repose of the composition distinctly recall Do- ^
menico Ghirlandaio, whilst some of the personages about the *
saint, who preaches from a stump in the centre of the space,
have a wildness and angular drapery that betray a sudden and
passing change in the spirit of the artist. It was the time in S
which the engravings of Diirer's Passion, first published in 1511, V
had found their way to Italy, and received a genuine tribute of
admiration. Del Sarto was tempted to imitate them, and sur-
rendered some of his old Florentine simplicity in order to assume
a broken system of line and an unnatural exhibition of strong
action and muscular force.
As he brought these frescoes to a close, the news of Leo X.'s
coming spread through Florence; and unusual efforts were re-
in June, 1513. The date of 1514 on the Nativity, and the statement of VASARI
(v. 192) that that fresco as well as that of the Magi and the Sposalizio of Francia
Bigio were uncovered at one time, are conclusive as to when this series at the Servi
was finished (see annot. VASARI, v. 16 sg. and 67). There are two panels in the
collection of Mr. Fuller Maitland which seem copies of Andrea's frescoes in the
garden. They are by Nanaccio. [* These were bought at the Fuller -Maitland
sale (May 10, 1879, Nos. 102 and 103) by Mr. Eagle.]
The other frescoes at the Servi were in the Novitiate; one of them, now in the
Academy of Arts (No. 75), is a naked Christ on the Tomb, life-size, very easily
handled, and transparent. The other piece is an interior in monochrome; in a
room used as an infirmary for women (VASARI, v. 34.) |j* The monastery of
SS. Annunziata is now occupied by the Istituto di studi superiori and the Istituto
geografico militare.]
1 The head is of a warm, pleasing tone, of a fine mould for del Sarto. The
hands are crossed on the breast (wood, oil, life-size). Another head of Christ
(? a replica), on canvas, in the same place, is missing, having been sold (VASARI,
v. 39^.)
2 Sec the record in VASARI (annot., v. 67 «g.).
178 ANDREA DEL SARTO [CH.
quired, considering the shortness of the notice, to get ready the
triumphal arches and other decorations with which that event
was celebrated. Del Sarto and his friends — Jacopo Sansovino
and Eustici — concerted measures with extraordinary decision,
and the two first were thus enabled to produce a gigantic model
of the front of S. Maria del Fiore, which Leo only wished he could
have seen carried out in stone with equal readiness.1
Eesuming his duties at the Scalzo immediately after, he laid
the borders round the Baptism of Christ, the Justice, and
the Sermon; and at midsummer, 1517, he gave the final
touches to St. John Baptizing in the Desert and the Cap-
ture, both of them animated scenes, full of exuberant strength,
and well-balanced groups, but slightly mannered in the drawing.2
In the meanwhile, and in order to vary the monotony of labour
at monochromes, he did for S. Francesco of Florence the Virgin
and Child, with St. Francis, St. John Evangelist and two angels,
now in the gallery of the Uffizi.3 In the young and handsome
Virgin standing on a pedestal, the study of a good model is
as evident as that of a coarse one is betrayed in the vulgar
realism of the St. Francis. The Evangelist, on the contrary, is
full of feeling and of a mild character well deserving praise.
Nothing can exceed the harmonious vagueness of the misty tone
which bathes and almost obliterates the outlines. For fusion
and transparent gaiety of colour, del Sarto was never more
remarkable. But the striking feature here is not so much that
the picture is a masterpiece, as that we find the painter adapting
his means to his subject with astonishing versatility. At the very
moment that he surprises us in the Scalzo by strength and energy,
he drops into an excessive softness in the handling and tinting of
a quiet scene on panel.
In order to show at the same time that he was at home in
every mood, he accepted a commission from the monastery of
1 VASABI, v. 25. In the spring of 1516 (March 17), Del Sarto was employed at
the funeral of Giuliano de' Medici (VASABI, v. 208).
2 See the records in annot. VASARI, v. 68, and VASABI himself, ib. 21 sq.
3 Florence, Uffizi, No. 1,112. Wood, life-size, inscribed: "AND. SAB. FLOR. FAB.
AD SVMMV. BEGINA. TBONV. DEFEBTVB IN ALTVM MDXVII." [* This picture IS
popularly known as the Madonna dell' arpie, from the harpies carved in the
pedestal on which the Virgin is standing.]
vii.] ANDREA AND MICHAEL ANGELO 179
S. Gallo, and thought out the noble altarpiece of the Pitti —
The Fathers Disputing on the Doctrine of the Trinity — in
every line of which stern power and boldness are discerned.
Yet, as usual, there is abundance of the atmosphere and vapour
which are now his peculiar characteristics. He seems at this
moment to have been looking at some of Era Bartolommeo's
latest emanations, such as the solitary St. Vincent, now at the
Academy, or some statues of Michael Angelo; for the masks are
expressive and resolute, the attitudes are grandiose, the forms
well proportioned, weighty, and nobly draped.1
Michael Angelo is said to have expressed a high opinion of "
Andrea del Sarto, amongst others to Kaphael, to whom he is -'"'
reported to have observed: " There is a little fellow in Florence "
(meaning Andrea) " who will bring sweat to your brow if ever
he is engaged in great works."2 That they knew each other is
certain, because it was Buonarroti who took young Vasari to • — '
del Sarto's shop in 1524,3 and Andrea for a period was a fanatic i
admirer of his style. We see this not only in the Dispute on - — •
the Trinity, but in a Charity at the Louvre, and a Pieta in
the Imperial Gallery at Vienna, both of which were fruits of
the year 1518, and one of them produced at a distance from
Florence.
Before the close of 1516, Giovambattista Puccini, a dealer, had
bought from Andrea del Sarto a Dead Christ mourned by three
angels, which, with little satisfaction to the author, had been
engraved by Agostino Veneziano.4 This picture having been
sent to the French Court, attracted attention, and created a
demand for others. The subsequent despatch of a Madonna to
Paris, and its sale for a large profit, raised the reputation of del -*""*1
Sarto still higher, and an agent was instructed by Francis I. in
the spring of 1518 to sound the artist as to his inclination for an
engagement in his capital.5 The prospect was too enticing to be
resisted, and Andrea, leaving wife and kith and kin behind,
started about June for France, furnished with ample means for
1 Florence, Pitti, No. 172.
2 BOCCHI, BeUezze di Firenze, in annot. VASARI, v. 66.
3 VASARI, vii. 561 ; vii. 8, 191 sq.
4 VASARI, v. 23 sq., 420. The print is dated 1516. See also RBUMONT'S Life
of Del Sarto, u.s., p. 92. The original panel is missing. 6 VASARI, v. 26, 29.
180 ANDREA DEL SARTO [CH.
his journey, and in company of his assistant Sguazzella.1 His
reception, and the rich presents of money and clothes made to
him on arrival, were well calculated to inflame his zeal, and he
was employed forthwith on a likeness of the babe Dauphin,2 for
which the King gave a purse of three hundred gold pieces.3
Amongst the productions of this time, none is more important,
as showing Andrea's leaning towards Buonarroti, than the
Charity, which now hangs in the collection of the Louvre.4
Though it has lost much beauty of colour, it was evidently done
with Andrea's most consummate art, the style being more seri-
ously considered than that of the Madonna of 1517. The maxims
•of Michael Angelo are applied with a determined purpose, so as
to be obvious not only in the conception, the arrangement, and
action, but in the grandeur of the forms, the way in which motion
is suggested, and the drawing of the parts. We are reminded of
nothing so much as of the Madonna, with the Child at her breast,
left unfinished by Michael Angelo in the Medici chapel at S.
Lorenzo of Florence. There is no other creation of this period
so like this one as the Pieta in the Imperial Gallery in Vienna,
where the Dead Christ lying on the foreground is bewailed by the
Virgin and two angels. The effort made by Andrea in this piece
to realize despairing lamentation is accompanied by no refine-
ment. There is nothing ideally select in the shape of the Re-
deemer or in the face of His Mother, but the naturalism of the
nude, the correctness of the drawing and modelling, and the
intensity given to the expression of grief, are so genuine that,
whilst we miss the instinctive dignity of the period of Giotto and
Angelico, the nobleness of Masaccio and Ghirlandaio, the elegance
of Leonardo and Fra Bartolommeo, and the elevation of Raphael,
we still find much to admire and to praise, the more as the colour
is still brilliant and powerful.5
1 He started after May; for on the 23rd of that month he acknowledges the
receipt of 150 florins from Bartolommeo del Fede as payment of the dowry brought
him by Lucrezia. See annot. VASARI, v. 69, and VASABI himself, v. 29 sq.
2 Born, February 28, 1518. 3 VASARI, v. 30.
4 Louvre, No. 1,518. Wood, transferred to canvas, oil, figures large as life,
inscribed: "Andreas Sartus Florentinus me pinxit MD XVIII." There is an old
copy of this Charity in the Museum of Nantes.
5 Vienna, Imperial Gallery, No. 39. Wood, figures under life-size, inscribed:
" And. Sar. Flo. fac.," a little empty in the shadows, and injured by old cleaning
vii.] RETURN FROM FRANCE TO FLORENCE 181
Whilst del Sarto was thus charming his new patrons with these
and other masterpieces,1 his wife was spending a solitary time at
Florence, and wrote letters urging her husband to return. The
tenderest fibres of Andrea's heart were moved by her prayers,
and he asked for leave, promising a speedy return. Francis
acceded to this application, and even trusted del Sarto with
funds for buying works of art in Italy. But his confidence was
betrayed by Andrea in the most unpardonable manner.
Having squandered his own and the King's money at Florence
in the building of a house, Andrea found himself unable to make
the necessary purchases, and, dreading his patron's anger, he was
forced to remain at home. How he succeeded in escaping punish-
ment for his breach of trust is a mystery unexplained to the
present day, and it is characteristic of the condition of morals in
that age, if we admit the truth of Vasari's history, which was
never impugned, that Andrea suffered little in position or in
purse from an offence that might have been productive to him
of the most serious consequences.
In 1520 del Sarto, no longer thinking of his French connection,
and evidently secure from all pursuit, resumed his business at
Florence, and renewed his old relations with the Brotherhood of
the Scalzo. In 1520 he composed the allegories of Faith and
Charity in that cloister, and would have continued the series, but
that he was called away by more powerful patrons.
Ottaviano de' Medici, having been charged by Cardinal Giulio,
as we have related, to put the country palace of Poggio a Caiano
in order, engaged Francia Bigio, Pontormo, and del Sarto to
paint frescoes there, and Andrea undertook the Caesar receiving
Tribute. The half of that subject which he completed is im-
posing by the variety and richness of episodes, like those with
which we become familiar in the canvases of Paul Veronese. It
is not so much a composition as a lively and picturesque scene,
and retouching. There are two copies of this Pieta in England. One belongs to
Mr. Farrer, the other to Mrs. Butler Johnstone. See postea, the register at the close.
1 For a list of these see postea. [* In this connection may, however, be mentioned
a picture not known to the authors — the portrait of a lady, probably painted by
Andrea in France, as the dress of the sitter would seem to indicate, belonging in
1910 to Messrs. Carfax in London, and reproduced in the Arundel Club Portfolio
for that year, No. 5.]
VI. — N
182 ANDREA DEL SARTO [CH.
in which great difficulties of perspective are overcome in the
representation of circular lines of buildings and steps, and in the
position of figures in various planes. Caesar stands at an arched
gate, to which various personages ascend with their tribute. One
carries a cage full of parrots, another leads a string of Indian sheep,
a third ascends with a monkey, a dwarf comes with a chameleon
in a box. A statue of Abundance is on a pedestal to the right.
A man capable of doing this must be strongly endowed with
the pictorial spirit, specially organized for depicting showy inci-
dents of pomp and wealth, quick in execution, and versatile in
the invention of groups. It is almost needless to mark in addi-
tion that del Sarto's drawing is resolute and free, his knowledge
of the human frame in every aspect solid, his action ready and
suitable, and his transitions of light and shade properly defined.
The gay variety of his colours looks to much advantage at Poggio
a Caiano by the side of the bricky tones with which the feebler
Allori finished the Tribute. Compared with Francia Bigio,
del Sarto is playful, genial, pleasing, and in every sense superior.
h are far above Pontormo.1
V The death of Leo X. having interrupted the laying out of this
country palace, Andrea returned to the decoration of the Scalzo,
where he furnished at successive intervals the Dance of the
Daughter of Herodias, the Martyrdom of John the Baptist, the
Presentation of the Head, the Allegory of Hope, and the Ap-
parition of the Angel to Zachariah, the last of which was un-
covered and paid for on August 22, 1523. Perhaps we owe to
the same period the two pictures illustrative of the life of Joseph,
now at the Pitti. They are assigned to the year 1523 by Mr. von
Reumont, with a better insight than we can obtain into the
history of the Borgherini family, for whose palace in Florence
they were done.2
1 On the base of the fresco: "Anno dm MDXXI Andreas Sartius pingebat, et
A. D. MDLXXXII. Alexander Allorius sequebatur." Some slight abrasions
have been caused by tune, especially in the sky, which is much discoloured. Vasari
had the drawing of the subject by Andrea in his portfolio, and describes it as the
most finished by him that he had ever seen.
2 REUMONT'S Life of Dd Sarto, u.s., 132, 133. Andrea del Sarto competed here
with Granacci, Pontormo, and Bacchiacca. See VASARI, iii. 592; v. 26 sq., 342 sq.;
vi. 261 sq.
vii.] PICTURES IN THE CASA BORGHERINI 183
Pier Francesco Borgherini, namely, was betrothed to Margaret,
daughter of Euberto Acciaiuoli, and his father Salvi had con-
ceived the idea of preparing for the young pair on their wedding-
day a room entirely decorated with panels, and a nuptial bed
painted by the best artists. The taste with which his orders
were carried out was so remarkable that Vasari never lets an
occasion pass without mentioning the masterpieces which the
place contained, and he dwells with complacency on the carved
work of Baccio d'Agnolo and the subjects introduced by del
Sarto, Granacci, Pontormo, and Bacchiacca. But the most
striking testimony to their value is afforded by the fact that
during Pier Francesco's absence at the time of the siege of Florence,
Giovambattista della Palla, an agent of the King of France, per-
suaded the Florentine Government to let him have the spoils of
the palace situated in the Borgo S. Apostolo, his intention being
to strip the walls and send the confiscated pieces to Francis I.
He was met with firm countenance in the precincts themselves
by the wife of Pier Francesco, who loudly addressed him with
the volubility of her sex: " Vile broker," she said, " paltry two-
penny salesman, how dare you come to remove the ornaments
of gentlemen's rooms, and deprive this city of its richest treasures,
that they may embellish the houses of strangers, our enemies !
The bed you have come for was made for my wedding, in
honour of which my husband's father Salvi prepared all this
magnificent and royal furniture, which I am fond of, and intend
to preserve and defend in memory of him with the last drop of
my blood." With this and much more the worthy descendant
of the Acciaiuoli received the dealer of the King of France, and
to such purpose that he retired crestfallen and empty-handed to
his own lodgings.1 Subsequent vicissitudes dispersed the con-
tents of the Borgherini Palace, as we perceive, to public galleries.
Andrea del Sarto's part consists of two pictures, in which the
various incidents of Joseph's dreams, the conspiracy of his brothers,
the captivity in Egypt, the interpretation of the vision of the kine
to Pharaoh, are put together with a copiousness of incident, a
breadth and ease of style, that cause these episodes to be justly
1 See VASABI'S Life of Pontormo (vi. 262 sq.). Giov. Batt. della Palla was after-
wards imprisoned, and lost his life as a traitor.
184 ANDREA DEL SARTO [CH.
considered as extraordinarily worthy of admiration. Nor is it
less remarkable to find in them, in addition to Andrea's usual
atmosphere and perspective, a powerful colour with more than
**-— -common vigour in its relief of light and shade.1
In the midst of these occupations, del Sarto could not but
occasionally remember the bright days which he had spent in
Paris, and he even laboured under the hallucination that he
might be restored to favour if Francis I. could but see something
new from his hand. He therefore proposed to himself to tempt
the French monarch first by a Virgin with the Child and saints,
which an Italian named Zanobi Bracci was to send through
Jacques de Beaune to Paris; next by a figure of St. John the
Baptist in the desert. Yet, he had scarcely finished them than
he was struck by the futility of his purpose, and the figure, at
least, was forwarded to Ottaviano de' Medici. It was this noble-
man who had employed him at Poggio a Caiano, and who, now
that he had no longer the power of spending the money of his
relatives on artists, thought himself bound to lay out his own.
He not only kept the Baptist, which afterwards came into the
Pitti, and is entitled to a high place in that collection,2 but ordered
Madonnas and portraits in considerable numbers. Of the Ma-
donnas the fate is not known,3 any more than is that of the
portrait of Giulio Cardinal de' Medici; but the Naples Museum
still contains the copy, which was done for Ottaviano, of Raphael's
LeoX.
It has been related, and till very lately believed, that Fred-
erick II., Marquis of Mantua, visited the Vatican in 1523, and
induced Clement VII. to make him a present of Raphael's Leo,
which he had seen during a short halt at Florence on his way to
Rome; and that Ottaviano de' Medici received the Pope's orders
to forward the Leo to Frederick, and practised a truly Medician
deceit in sending a copy instead of the original to Mantua. The
fact is that the Marquis of Mantua was prevented from visiting
the Vatican in 1523 by the French invasion, but he asked the
Pope by letter to give him the Leo. Clement instructed Aretino
on December 28, 1524, to write to the Marquis promising to send
1 Pitti, NOB. 87, 88. On the latter the monogram.
2 Pitti, No. 272. See VASABI, v. 37. 3 VASARI, v. 37.
vii.] COPY OF KAPHAEL'S LEO X. 185
the picture as soon as possible after a copy had been taken of it.
At the same time, it is clear Ottaviano de' Medici at Florence was
instructed to get the copy made. On August 6, 1525, Ottaviano's
agent, Giovanni Borromei, wrote to give notice to the Marquis
that the Leo " by Eaphael " was about to leave Florence in two
days, and in due course the panel reached its destination. But
Ottaviano had never dreamt of parting with the original. It
was a copy which imposed on the Marquis and Giulio Romano,
and the copyist was Andrea del Sarto.1
Vasari happened to be visiting the palace of Mantua some time
after 1525, when Giulio Eomano, who showed him round the
palace, began to vaunt the beauty of the Raphael, the only one
there. Vasari, who about this period had been introduced to
del Sarto, and had friendly relations with Ottaviano, was aware
of the deception which had been practised, and said to Giulio:
" It is very fine, but not Raphael." " How so ?" sharply replied
the other. " Do I not know it, who recognize the strokes of my
own work ?" " You have forgotten," urged Vasari ; " this is by
Andrea del Sarto, as you can see from a sign that I shall show
you." Upon this Giulio looked at a mark to which Vasari pointed,2
which, had it been kept, would have prevented a long and weari-
some dispute. The genuineness of the Leo at the Pitti has been
questioned in favour of that in the Museum at Naples, though
on the face of it the latter bears all the evidence of being taken
from the former. No doubt, had Raphael been asked for a
replica, he might have reproduced his own design, and yet have
betrayed to us which of the two was the repetition. But in the
Naples " Leo " the question presents itself more boldly. We miss
in it the perfect keeping, ease, grandeur, modelling, and relief of
form, the peculiar flavour of art which distinguish Sanzio from
del Sarto. The Mantuan double, of less simplicity in the out-
line than Raphael's, has a contour with the twang of Andrea's
accent in it, chiaroscuro of comparatively little massiveness,
shadows of a less mysterious depth, because imperfectly modelled.
The difference lies in the variety of the principles upon which the
two painters laboured. The peculiarity of their schooling pro-
1 See the proofs in records published by CARLO D'ARCO and V. BRAGHIROLLI, in
Archiv. stor., ser. iii., torn, vii., part ii., 1868, pp. 175-193. 2 VASARI, v. 42.
186 ANDREA DEL SAETO [CH.
duces distinct modes of handling. Andrea did not place tones
over each other, and fuse them together by glaze and half-glaze,
according to the process which Raphael had learnt from Leonardo
and Perugino. His is a more immediate and rapid system, which
has frequently the disadvantage of giving an air of emptiness to
his works in oil. That system is applied in the Naples " Leo,"
where the lights are fused and bright enough to be accepted as
a good imitation of Eaphael, but where the shadows, owing to
their viscous consistency, imperfectly fill the outlines ; where the
tints of the drapery generally copy those of Sanzio without their
spotless unison of harmony.
That Giulio Eomano, when doing the honours of Mantua to
Vasari, should not have critical leisure to observe these minutiae,
and that Vasari on his part should prefer to convince him by a
private sign rather than by a dissertation on styles, is quite
natural. The only startling thing is Giulio's assertion " that he
had a share in Raphael's Leo X." — a fact which no one could
have believed, especially at the time of the incident which has
just been related, but which, if admitted, would show how much
better a subordinate can work under the supervision of his superior
than when he is alone.1
Independently of the internal proofs to which our attention
has been devoted, there is testimony of a subordinate kind not
to be undervalued in discussing the comparative genuineness of
the Neapolitan and Florentine pieces. In favour of the former
we usually find a couple of lines quoted which are undoubtedly to
be read on the back of the panel. These lines run: " P. Leon X.
ma di Rafaelo d'Urbino. Gio. battS btoluzzo. A. N. (Agostino
Nerone)." In the Gallery of Naples, however, another picture is
known to have the same inscription, and that is the Madonna
della Gatta by Giulio Romano, which no one except Vasari (once
by an oversight) ever attributed to Raphael.2
The sudden appearance of the plague in Florence and its neigh-
1 D'Arco and Braghirolli believe that the original Raphael is that of the Naples
Museum, and they affirm that Vasari's story was invented to give a fictitious value
to the copy which remained at Florence. But this is a needless aspersion ; and as
the original is at the Pitti, it falls to the ground (Arch, stor., u.s.).
2 VASARI assigns this very Madonna correctly to Giulio (v. 531) and incorrectly
to Raphael (vi. 489).
vii.J PIETA IN THE PALAZZO PITTI 187
bourhood now drove del Sarto, amongst others, out of his usual
place of abode; and his patron, Antonio Brancacci, having got
him a commission from the nuns of S. Piero at Luco in Mugello,
he migrated thither with his wife and a heavy suite of relatives
in the spring and summer of 1524. The fruits of his stay there
were a Pieta, now at the Pitti, a Visitation, and a Head of Christ
like that on the altar of the Servi.1 In the Pieta we have del
Sarto's version of the incident so ably depicted by Perugino and
by Fra Bartolommeo. The dead Kedeemer is raised at the
shoulders by the Evangelist, his arm held up by the Virgin.
The Magdalen bends over the feet, and wrings her hands, whilst
in rear of her St. Catherine looks on. Behind the two latter
St. Peter, his body thrown forward and his arms open, expresses
grief and horror with tragic, if not with noble, action and features.
St. Paul, near the Evangelist, forms a counterpoise to St. Peter.
This is a fine example of del Sarto's versatility, a composition,
according to the correct rules, very dramatic and powerful, in
which even the merit of originality cannot be denied.2 It has
neither the severe grandeur of the Frate, nor the serene calmness
of Perugino. But the Michaelangelesque fibre in it shows strength,
and the cleverness with which Andrea presents a scene, in its
movements forcible, yet human -ind familiar, in its expression
realistic, yet sufficiently elevated, is greatly to be praised.3
On del Sarto's return to Florence in autumn, the Visitation at
the Scalzo, a very fine unit in the number of his monochromes,
was followed by an equally fine Madonna and saints at the Pitti,
the predella of which, containing portraits of his acquaintance,
Beccuccio Biccherai da Gambassi, is missing.4 Then came a
1 The Visitation and the head of Christ are now missing (see VASABI, v. 39).
* 2 As already noted (antea, p. 91, n. 2), it is largely based on the composition of
Fra Bartolommeo's Piet& in its original condition.
3 Pitti, No. 58. On the foreground Andrea's monogram (wood, oil, figures
life-size). The payment for this piece and for the Visitation (80 ducats) is printed
in com. VASABI, v. 71, the date being October 11, 1524. A predella, said to have
remained at Luco, has not been seen by the authors. Vasari relates how the whole
altarpiece narrowly escaped being carried off by the freebooter Armaciotto de'
Ramazzotti (1529-30), who wanted an ornament to his chapel at S. Michele in
Bosco of Bologna.
4 Pitti, No. 307. Wood, oil, figures all but life-size. The Virgin and Child
in th.e clouds are adored by the kneeling SS. John the Baptist and Magdalen, the
188 ANDREA DEL SARTO [CH.
series of five Saints of good type and of elegant and lifelike shapes,
intended for the church of the Madonna di S. Agnese, but at
present in the Cathedral of Pisa — figures of such a misty vague-
ness in their colouring that they remind us instantly of Correggio,
though graver and more contained in mien than those of Antonio
generally.1
In 1525 Andrea was employed with Bugiardini in making car-
toons for the balustrade of the tribune, or ringhiera, of the palace
of the Signori at Florence,2 but his masterpiece in that year was
the lunette fresco in the cloisters of the Servi, known all over the
world as the Madonna del Sacco. Vasari, enraptured, says of it :
" That for drawing, grace, and beauty of colour, for liveliness
and relief, no artist had ever done the like ";3 and no doubt it is
Andrea's best, producing an impression of life which is only
proper to works of the highest order. There is no denying that
a masculine stamp is given to the youthful and thoughtful, yet
inspired, Virgin, as well as to the form of the Child. Yet this in
no wise diminishes their grandiose effect. The centre of vision is
appropriately chosen for the high place in which the subject is
introduced. The grouping is scientific, the attitudes are noble,
the drapery admirably calculated to show off the frames, and the
balance of light and shadow is perfect. The excellence which
del Sarto here attained was never surpassed, and though we have
standing SS. Sebastian, Roch, Lawrence, and another. This is a fine, easily
handled work of the master, of well-fused tones.
1 These five saints are all on wood, and life-size. St. John with the cross, kneel-
ing, and pointing upwards (restored by pointing); St. Catherine with a palm;
St. Margaret with a little cross, both very grand and in good attitudes; St. Peter,
much injured by repainting; St. Agnes in lively action. These were all taken into
the Pisa Duomo in 1618. Four are at the sides of the high -altar; the St. Agnes on
a pilaster in the transept.
2 1525. Libro' de Stanziamenti de' Signori, Collegi e otto di Balia e custodia
dal 1521 al 1527.
1525. October 14.
" Item stantiaverunt .... che i Massai e Cassieri di Camera dieno e paghino
al camarlingo della camera dell' arme fiorini venti larghi d' oro in oro, che sono per
dargli et pagare a maestro Andrea d'Arrigho (? d'Angelo) dipintore per parte del
prezzo del cartone che lui fa del disegno delle spalliere della ringhiera del palazzo
de' notri eccelsi signori, per essere quelle che di presente si adoprano consumate e
guaste, e disonorevole alia nostra citta.
Favoured by Gaetano Milanesi, and see VASARI, v. 49.
3 VASARI, v. 45.
vii.] FRESCOES IN THE CHIOSTRO DELLO SCALZO 189
two noble specimens in the Birth of St. John (1526) at the Scalzo,
and the Last Supper at S. Salvi (1526-27), they are not superior
— if, indeed, they are equal — to the Madonna del Sacco.1
The Birth of St. John was the latest fresco by Andrea in the
cloister where he had competed with Francia Bigio.2 Adding to
the series at intervals only, and finishing the last eleven years
after the first, he gives us leisure to examine in one place the
expansion and the changes of his style. We see in the Sermon
of St. John something that reminds us of the grave Ghirlandaio,
and, simultaneously, traces of the influence of a great foreign
master. The action of Diirer upon Andrea's mind remains ap-
parent in the Baptism of the Proselytes and in St. John
before Herod, inducing him to indulge in energetic and forcible
developments of movement. The Apparition of the Angel to
Zachariah illustrates the return to a simpler and more natural
mood in an Italian, and prepares us for the greater breadth and
boldness of the Madonna del Sacco.3 The two remaining mono-
chromes are good and interesting as compositions.4 At S. Salvi
the Last Supper completes a decoration begun a long time before.
It appropriately adorns the refectory, and is calculated to be seen
at a burst on entering the door. At that distance and from that
spot the reality of the thing is striking, the Saviour and the
Apostles all sitting at a long table in a room, at the middle window
of which two persons converse. On a nearer view the scenic
nature of the handling and the mannered outlines betray the
artist's trick. The effect of nature is produced by the able
complex of distribution, grouping, and diversified attitude. The
1 The colour of the Madonna del Sacco is a little bleached by time. On a piece
of skirting in the right side one reads: " Anno Dom. M V. . .," and in a
similar place at the opposite corner: " Quo genuit adoravit."
2 VASAEI com., v. 71.
3 This fresco is inscribed: "I. A. D.M. . . XXI. . ." There is a canvas replica
of this subject in monochrome, together with another representing the Baptism
of the Crowd, in possession of the Duca Corsini at the Porta al Prato in Florence.
They are boldly done, though we cannot say without further study whether we
consider them to be by del Sarto or not. They were so called when catalogued
Nos. 160 and 168 in the Rinuccini Gallery.
4 The whole series is much discoloured and injured by cleaning ; the lower parts
more especially in bad condition, and the base modern. Some of the tricks played
on them are related in a note to VASABI. v. 9.
190 ANDREA DEL SARTO [CH.
types are characteristic of the age and habit of the men repre-
sented, whose faces all seem portraits. To this are superadded
colour, in every wave of which there is light, plasticity, and air.
It is marvellous how the shadows cast by the figures, and the
parts in them turned away from the light keep their value, how
the variegated tints preserve their harmony. The action is
everywhere true, the drapery of grand and simple cast, but sculp-
tural in the flattened aspect of its relief.1 The Saviour at the
centre of the table puts His hand on that of St. John Evangelist,
towards whom his face is bent. In the right he holds the bread
in the direction of Judas, who sits by him. This is a group in
which all Andrea's faults and qualities are combined. A supreme
ideal of goodness, depth of noble thought, are not to be found
in the Kedeemer, who is a man of no very select form. His
movement is essentially that of an ordinary mortal, and in every
other instance, where we hope for refinement, we fail to discover
it; yet the Apostles at the ends of the table are admirably bound
in questioning converse, and there is decorum in them all, if high
breed be lacking.
In comparing del Sarto with Leonardo, we thus find the
essential difference which exists between the two men, and a key
to their inner organization. We should say, from the contem-
plation of the Cena at Milan, that the painter is high bred. Look-
ing at that of S. Salvi, that he is accustomed to lowly company.
Both in their parts yielded something that was original and great,
but Andrea, knowing his own strength and capacity, chose his
ground accordingly, and for his success under these conditions he
is entitled to thanks.2 If we contrast the magnificent fresco of
S. Salvi with the sketch of it which is now in the gallery at
Oxford, we cannot but be surprised anew at the power of del
Sarto. The panel is a counterpart of the fresco, without the
people at the window, painted in oil with the utmost ease, extra-
ordinarily full of life, but particularly charming for the trans-
parence and harmony of its colour.
The last years of del Sarto were taken up exclusively with the
1 In this a reaction from Era Bartolommeo.
2 One or two heads, that of the fourth apostle to the right side of the picture,
and that of the stooping spectator at the window, aje a little injured by abrasion.
vii.] VAEIOUS WOKKS 191
completion of altarpieces, in all of which we shall trace an un-
mistakable grandeur of style, together with increasing facility of
hand and mannerism in outlines. One of his last public duties
was the representation of certain outlaws on the Piazza del /
Podesta at Florence in 1530.
We shall proceed to register the works of this and earlier
periods which have not found a place in the foregoing text,
premising that the painter's death took place on January 22,
1531 11
Florence. Academy of Arts, No. 76. Four saints, Michael, John the
Baptist, Giovanni Gualberto, and Bernardo degli Uberti, originally
in Vallombrosa (VASARI, v. 46). No. 61. Two children embracing and
holding a scroll. No. 77. Predella, with scenes from the lives of the
saints in No. 76. These three numbers are parts of one altarpiece,
the principal figures, almost of life-size (wood, oil), being grand and
bold in movement, the children sprightly and full of movement, though
a little mannered in outline, the predella episodes lively and forcible
in the fashion of Michael Angelo. (The central Annunciation of the
predella is No. 1,517 at the Louvre.) Inscribed between the legs of
the St. Michael: " Ann. Dom. M.D.XXVIII."
Berlin Museum, No. 246. Of the same year is this fine Virgin and
Child among saints, ruined in 1867 by rubbing down and repaints,2
inscribed on the steps of the throne: " Ann. Dom. MDXXVIII " (wood,
oil, figures life-size) ; the lunette with the Virgin and Angel Annunciate
being in Florence. (Originally done for one Giuliano Scala for some
patron at Sarzana, then at Genoa; bought at last from M. J. Lafitte
in Paris, 1836, for the King of Prussia. See VASARI, v. 46 sq.) 3
Florence. Pitti, No. 163. Annunciation. Lunette of the fore-
going, squared in canvas, and injured by restoring, originally at the
Servi (VASARI, v. 47). A copy of the latter is: Louvre, No. 1,517.
Annunciation.
Florence. UJfizi, No. 1,254. Originally at S. Giacomo Nicchio
1 He had been enrolled on February 2, 1529, a member of the Compagnia di
S. Sebastiano ; and in the registers of that society we find the notice of his death
on the day in question (see Tav. alfab. ). Vasari says that del Sarto visited Rome.
He does not say when. At any rate, this could have been but a short trip, of no
influence on his pictorial career (see VASABI, v. 56).
* 2 A subsequent restoration has removed some of the evils caused by the
restoration of 1867.
* 3 A similar group of the Virgin and Child (with the addition of the figure of
St. John) is seen in a picture by Andrea, belonging to Mr, R. H. Benson,
192 ANDREA DEL SARTO [CH.
(VASARI, v. 48). Of the same date as the above; canvas, with St. James
caressing a child in the dress of a " battuto," a little dim and injured.
Florence. Pitti, No. 62. The Virgin kneels and looks at the Infant
Christ, who smiles at her as He lies on a cloth. The youthful Baptist,
standing, points to the Saviour; and St. Joseph, to the left, leans his
head on his hand. Fine and pleasing, done for Zanobi Bracci, possibly
about 1521 (VASARI, v. 35). Wood, oil. The face of St. Joseph
restored. EEUMONT (Life of Del Sarto, pp. 130-131) speaks of a
replica in the Pommersfelden collection, near Bamberg.
Same Gallery, No. 81. The Saviour, astride on the knee of the
Virgin, who sits on the ground, turns to the young Baptist, supported
by St. Elizabeth. Splendid, beautifully arranged, and pleasing in
types as well as in movements. Perfectly handled in Andrea's fused,
transparent manner. Done circa 1529, for Ottaviano de' Medici (wood,
oil) (VASARI, v. 51 sq.). See postea, a copy at Dulwich.
Same Gallery, No. 476. Half-length Virgin, with the Child, of great
feeling and graceful action, reminiscent a little in style and conception
of Fra Bartolommeo.
Vasari tells in detail how Giovambattista della Palla, having
authority from the King of France to order or to buy works of
art, " commissioned of del Sarto ' Abraham about to Sacrifice
Isaac.' Andrea produced a masterpiece in obedience to this
request. You could see in the face of the old man an expression
of lively faith and constancy, in obedience to which he was ready
to immolate his own son. You saw him turn his head towards
a beautiful boy-angel, who seemed to tell him to arrest the blow.
It is needless to explain the attitude and dress of the father.
Isaac, naked, trembled for fear of death; his neck was tinged by
the heat, the rest of his body of a fair complexion. The sheep
in the thorn seemed to live, and the clothes of Isaac on the ground
were real rather than imitated. Besides, there were naked people
watching a donkey at pasture, and a landscape so true it could
not be better. After the death of Andrea and the imprisonment
of Gio. della Palla, this picture was purchased by Filippo Strozzi,
and given by him to Alfonzo Davalos, Marquis del Vasto, who
placed it in his gallery at Ischia. . . ."1 " Paolo da Terrarossa,
having seen a sketch of the Abraham, asked for a copy of it,
which Andrea did for him in small." 2
1 VASA.RI, v. 50 sq. 2 Ib., ib., 52 sq.
c
vii.] VERSIONS OF ABRAHAM'S SACRIFICE 193
We have thus notice of a large and a small " Sacrifice of Abra-
ham." Intelligence of a third is given in a letter written (Florence,
October 8, 1531) by Gio. Battista Mini to Baccio Valori at Rome,
in which the former announces the sale of a quadro de VAbram by
Andreino del Sarto for one hundred and twenty-five ducats to
James Stuart, Duke of Albany.
The replicas in existence at this time are three in number,
none of them worthy of the praise which Vasari heaps on the
original ordered by della Palla :
Dresden. Museum, No. 77, with the monogram. Vasari's descrip-
tion of the composition is well given, and need not be repeated. The
execution, however, is not first rate, though it seems by del Sarto
(wood, oil, figures life-size). The drawing is free and a little mannered,
and the touch very bold, the colour bright, but empty in the shadows.
There is much expression in the face of Isaac.
Lyons. Museum, No. 55. Carried away from Holland, and given
by the Emperor Napoleon in 1811 to this Museum as a copy from
Andrea del Sarto. The execution is less agreeable than at Dresden,
Andrea's transparency and gaiety of colour being wanting, especially
in the grey shadows; the nude ill rendered. The authorship might be
assigned to Pontormo (see DE Ris, Les Musees de Province, ii. 377).
Wood, oil, figures life-size.
Madrid. Museum, No. 336. Wood, oil, under life-size. This may
be the Terrarossa copy. It is injured, but bears the stamp of del
Sarto's own hand.
Florence. Pitti, No. 191. Assumption (wood, oil, figures life-size).
Left unfinished in 1531, and without the last glazes, having been
ordered by Bartolommeo Pianciatichi (VASARI, v. 33 sq.). A master-
piece for lightness, vapour, and finish, and of a good sfumato.
Same Gallery, No. 225. Same subject as No. 191, and showing
with what versatility del Sarto was gifted. In this, however, there is a
more quiet and orderly distribution, and something more reminiscent
of Fra Bartolommeo. The Virgin is raised up towards heaven most
gracefully, and there is an atmosphere almost like Correggio's in the
glory (wood, oil, figures life-size); according to the annotators of
VASARI (v. 34), originally in the Duomo of Cortona.
Same Galkry, No. 123. Virgin in glory, adored from below by four
saints. Ordered of Andrea in 1529, paid for in 1531, though unfinished,
and completed in 1540 by Vincenzo Bonilli, who wrote the latter date
194 ANDREA DEL SARTO [CH.
on a cartellino at foot. The upper part is del Sarto's, the lower, poor
and by another hand (VASAEI, v. 49; and annot., 72; REUMONT.
pp. 201-202).
The foregoing having been all more or less traced to the last
years of our artist, we proceed to register pieces of which the
history is more obscure, classing them according to the places in
which they are exhibited :
Florence. Uffizi, No. 188. Bust of a woman, genuine. No. 1,176.
Alleged likeness of himself, life-size, youthful and full of bravura in
the execution (canvas). No. 1,169. Bust of a youth, called: "The
Commesso di Vallombrosa " (VASAEI, v. 48), but apparently a person
of higher station. Completely repainted (wood, oil, life-size). No.
1,230. Bust of a female with a basket of spindles, paltry in style, reddish,
and misty in colour, like a Bacchiacca.
Florence. Pitti, No. 97. Annunciation, originally in S. Godenzo
(VASAEI, v. 17). Wood, oil, life-size. St. Michael and a canonized
friar form part of the scene. This injured panel is much repainted,
so that Andrea's hand is hardly discoverable. No. 66. Bust of a
male, alleged portrait of del Sarto (?). No. 184. Do., do., wood, oil,
fine, but robbed of its bloom. No. 118. A male and female (half-
lengths, wood, oil), said to be Andrea and his wife (?), not certainly by
the master.
Florence. Prince Corsini, No. 241. Apollo and Daphne (wood, oil).
Very careful, touched with gold, and fanciful in costumes. We are
reminded of Piero di Cosimo by the general aspect, and of del Sarto
by the execution. The name of the latter is appropriate in so far as
we have here, possibly, an effort of his younger days. No. 159. Virgin,
Child, young Baptist and St. Joseph (wood, oil), raw, positive in tone,
and damaged by restoring, by a pupil rather than by Andrea in person.
VASARI mentions a panel with the same figures as having been done
for Gio. Borgherini (v. 52). No. 175. Virgin, Child, and four angels
(wood, oil), feeble in character and dark in shadow, like a Puligo.
No. 113. Angel and Tobit (on copper), a copy, of which there is a
counterpart in the Pitti (No. 292). No. 121. Virgin seated, with the
Child, behind them the young St. John. This is a modern imitation
(wood, oil, life-size) of a copy from del Sarto's fresco near the Porta
a Pinti (Vasari), now destroyed. The copy is in the third corridor
at the Ufiizi, without a mark (p. 24 of catalogue; see VASAEI,
ed. LE MONNIEE, viii. 273-274). The same composition, not by
del Sarto, to whom it is assigned, is in the collection of the Duke
vii.] PICTURES IN ITALY 195
of Sutherland in London. Another, like that in Stafford House, minus
the young Baptist, belongs to Sir William Miles, Bart., of Leigh Court
Florence. Galkria Ginori. Half-length of St. Sebastian holding a
bundle of arrows, a little exaggerated in drawing and forms, and not
quite certainly by Andrea, having more impasto than is usual to him
(? see VASARI, v. 54). Wood, oil.1
Florence. Galkria Pianciatichi, No. 109. Bust of Baccio Valori (?),
feeble and probably not original.2
Rome. Gatteria Barberini, No. 54. The Virgin, leaning against a tree,
holds the Child, who seems to have just turned away from the breast.
Her face is the usual one of del Sarto ; the Child large, and St. Joseph,
to the left, of stern mien. Done by Andrea or under his supervision,
about the time of the S. Salvi Supper, retouched, especially in the heads
of the Virgin and Child. There is a study of the head of St. Joseph in
the Munich Pinakothek (see posted), wood, oil, life-size. Two copies
of the Barberini Madonna by other hands exist in the Madrid Museum
(No. 335) and in the collection of the Duke of Westminster in London.3
Rome. Palazzo Spada. Visitation, portion of a predella, with six
figures in lively movement, stamped with the impress of Andrea's
manner, and certainly done in his atelier.
Rome. Galleria Borghese. There are no less than seven pieces
claiming to be by del Sarto in this gallery, all of them by his pupils
or imitators.
Rome. Palazzo Corsini, No. 580. Virgin and Child, dated 1509,
reminding of Bugiardini (see anted).41
* * The passage in Vasari referred to by the authors is that in which he speaks
of a half-length of St. Sebastian, painted by Andrea towards the end of his life for
the Brotherhood of St. Sebastian at Florence. In his notes to Vasari, Bottari
states that the original subsequently came to the Palazzo Pitti, but it has dis-
appeared from there long ago. It is, of course, possible that the panel noted by
the authors as being in the Palazzo Ginori is this very picture ; it has not been seen
by the editor. The composition of the Pitti picture is known from an engraving
(reversed) by Cosimo Mogalli. Several versions of this composition are known:
one formerly in the collection of Lord Methuen at Corsham Court (bought by the
Rev. J. Sanford at Florence in 1831, and believed by him to be the original (see
VASAKI, v. 54, n. 2); another in the Cook collection at Richmond; a third in the
Museo Civico of Verona (No. 75), etc.
* 2 Possibly identical with the portrait by Francia Bigio, now in the collection
of Mr. R. H. Benson (cf. antea, p. 132), which, while in the Pianciatichi collection,
was ascribed to Andrea del Sarto.
* 3 Other copies are in the collection of Sir Frederick Cook at Richmond, and in
the Academy of Arts at Vienna (No. 304).
* 4 The authors do not refer to this picture under Bugiardini.
196 ANDREA DEL SARTO [CH.
Naples. Museum, Sola XVI., No. 16. Portrait of Bramante (?),
with one hand on a sheet of paper, the other grasping a pair of compasses.
He shows a plan to a Duke of Urbino (?) ; named Andrea del Sarto, but a
mixture of Pontormo and Bronzino, and of hard outlines and cold tone.1
Modena. Gallery. Virgin, Child, and St. Elizabeth, with the boy
St. John, two angels attending, one of them with a flute. This Holy
Family is not like that of the Pitti done for Ottaviano de' Medici
(No. 81), nor is it the same as that of the National Gallery (No. 17).
It is similar to one at the Imperial Gallery in Vienna (No. 43), under
del Sarto's name, but really by Puligo. The repetition at Modena is
not even by Puligo. Of eight other panels in this gallery attributed
to del Sarto, it is needless to say more than that the nomenclature is false.
Turin. Museum, No. 125. The Virgin, seated, holds the Infant
erect on her lap. He turns towards the young Baptist (wood, half
life-size). Feeble in character as in colour, and of a glossy surface,
yet laid in with a certain ease; a school copy repeating a part of a
Holy Family at the Louvre (the St. Elizabeth excepted). A more
modern repetition of this number, at Turin, is in the Museum at Leipzig ;
another at Windsor Castle.
Rovigo. Galleria Communale, No. 30. Virgin and Child, and infant
Baptist, imitation of Andrea by a later painter.
Vienna. Imperial Gallery, No. 42. Archangel and Tobit attended
by St. Lawrence, and to the right a kneeling donor; Christ with His
cross in the sky (arched, wood, oil, figures under life-size). The colour
is rich, pleasant, and sfumato. The Leonardesque smile is on every
face. No. 43. The Virgin, kneeling, holds the Child; St. Elizabeth to
the right, with the young Baptist, pointing to the sky. To the left
two angels, one of whom plays a flute. This, which recalls Puligo,
is taken from a Holy Family (No. 1,515) at the Louvre, in the same
manner as one at the Munich Pinakothek (No. 1,066). The principal
group is transferred to a panel at Windsor Castle, and to another at
Lord Yarborough's, neither of which is original (see postea). No. 48.
Portrait of a female, inscribed: "an. setat. LXXII." (wood, oil, life-
size). She is seated with a book in her hand, fine, but restored, of a
low tone and apparently a late Pontormo. No. 46. Virgin and Child
in a landscape, with St. Joseph, leaning on a sack (wood, oil, half life-
size), is perhaps by Pontormo, its colour being of a reddish even tinge,
the figures short and fat.2 No. 52. The Virgin, kneeling, holds the
* 1 Now officially ascribed, though with a query, to Bronzino.
* 2 This picture is now, by general consent, given to Francia Bigio; it stands
very near to the Madonna del Pozzo.
vii.] VAKIOUS WOKKS 197
Infant Christ, who plays with the boy St. John. Distance, a landscape
with ruins, a well, and little figures (wood, oil, figures life-size). This
is either by Pontormo or by Kosso, imitating not so much del Sarto
as Francia Bigio.
Vienna. Liechtenstein Gallery. Half-length of St. Sebastian (wood,
oil, life-size, weak), by an imitator of del Sarto. Head of the Baptist
on a plate (wood, oil, life-size), of the close of the sixteenth century.
Vienna. Harrach Gallery , formerly No. 178. Virgin, Child, Baptist,
and St. Joseph (wood, oil), of the decline of the Florentine school.
The head of the Virgin repainted. We forbear to weary the reader
with other pieces of the same kind.
Berlin. Museum, Nos. 236 and 241. Incidents from the legend of
St. Anthony of Padua (wood, oil, small), rather Umbrian than Floren-
tine in stamp, and reminding of the brothers Zaganelli (Cotignola),
particularly in respect of colour.1
Munich. Pinakoihek, No. 1,071. Bust of St. Joseph, life-size, on
paper (oil), same as at the Galleria Barberini, equally bold and charac-
teristic, but extensively retouched. No. 1,066, wood, oil, copy, by a
stranger to his school, of Andrea's Holy Family at the Louvre (No. 1,515),
a very feeble production, inferior to that in the Imperial Gallery at
Vienna (No. 43). No. 1,072. The Virgin sitting on the ground, with
the Infant Christ and young Baptist. Behind the latter two angels, a
piece of a comparatively recent date, very unlike Andrea. Nos. 1,067,
1,068, 1,069, 1,070: Copies in monochrome from the Scalzo frescoes,
without the genuine stamp of the master.
Schleissheim, No. 560. Named A. del Sarto, but not by him. Sub-
ject: the Virgin, Child, and young Baptist.2
Dresden. Museum, No. 76. Marriage of St. Catherine, under a
conical dais, the curtains of which art held up by angels. This is an
example of Andrea imitating Fra Bartolommeo, very rich and sfumato
in colour; the figures short and paltry (wood, oil). The monogram is
on the border. No. 296. The Dead Christ on the lap of the Virgin, by
an artist of the close of the sixteenth century.3 No. 65. Holy Family,
falsely inscribed " Andreas Sartus," by a Venetian of whom we shall
have more to say at a later period. Much restored.4
* * They may, indeed, confidently be ascribed to Francesco Zaganelli.
* 2 Now labelled " Copy after Andrea del Sarto " (?).
* 3 Now no longer ascribed to Andrea del Sarto.
* 4 The inscription has now been removed. The picture is by Vincenzo Catena.
See CROWE and CAVALCASELLE, History of Painting in North Italy, ed. BORENIUS,
i. 261.
VI.
198 ANDREA DEL SARTO [OH.
Brunsioick. Gallery, formerly No. 423. Virgin, Child, and young
St. John. Half life-size, canvas, oil; rough copy, much repainted.
The same composition, not catalogued, poor, but better than this of
Brunswick, is on a wall in the staircase leading to the secretary's
office in the Hermitage of St. Petersburg.1
Stuttgart. Museum, No. 506. Small Holy Family. Imitation.2
No. 450. So-called portrait of Galeazzo Campi, not by a Florentine,
but by a Lombard, one should think.3
Madrid. Museum, No. 334. The Virgin raises her veil. The Child
is erect on her lap. An archangel with a book crouches at the step
of the Madonna's seat to the right. St. Joseph sitting on the ground
to the left, a fine pyramidal composition in a landscape, in the distance
of which St. Elizabeth leads the young Baptist (wood, oil). The mono-
gram is at St. Joseph's feet. Though no longer transparent in shadows
nor soft in outline, because of bad condition, this is still grand and
plastic in the masses, with something in the drawing and colour that
tells Pontormo was still in del Sarto's atelier. The subject in this
form seems to have been prized. There is an injured school copy of it,
done at one painting, and hard of colour, but with the monogram
(wood, oil), in Dudley House. A second, likewise with the monogram,
not so old in appearance as that of Dudley House, but of a more milky
transparence, and by a clever imitator of del Sarto, is in the collection
of Mr. Holford in London. A third, on canvas, of a later time, with-
out signature, at Ince, near Liverpool (see postea). No. 337. Virgin
and Child, all but life-size (wood, oil), quite in Andrea's character, but
more exaggerated in forms and not quite up to his level in power. A
feeble copy of this is in the Dulwich Gallery (postea). No. 335. Virgin,
Child, and St. Joseph (wood, oil, under life-size), reduced from that of
the Barberini Gallery in Rome (antea, p. 195), at one painting, perhaps
by Salviati. There is, we have said, a repetition of the subject at
Madrid in the collection of the Duke of Westminster (postea). No. 333.
(wood, oil). Virgin, Child, two cherubs to the left, and to the right,
in distance, St. Francis in ecstasy at an angel playing a fiddle. This
seems taken by Puligo from an original now in the Wallace collection,
in London, of which there is also an imitation at Longford Castle
(postea). No. 339. Repetition of No. 333, also of the school.
* 1 The original of these copies, known as the Madonna del Fries, is now in the
collection of Mr. Leopold de Rothschild in London.
* 2 Now labelled " Florentine School, sixteenth century."
* 3 This is a copy after the portrait of Galeazzo Campi by Giulio Campi, in tne
Palazzo Pitti (No. 224).
vn.J VARIOUS WORKS 199
Paris. Louvre, No. 1,516 (round, wood, oil). Holy Family, with
the monogram, and inscribed: " Andrea del Sarto Florentine facieatt."
The Virgin kneels in profile, behind her St. Joseph. She holds the
Infant Christ, whilst St. Elizabeth, in front of her, has St. John in her
arms. This is so completely repainted that one cannot judge of its
original condition. The composition, however, is reminiscent of Fra
Bartolommeo. See for replicas, not original, one in Count Sergei
Stroganofi's collection at St. Petersburg, and another belonging to the
Earl of Portarlington (postea, p. 204). No. 1,515. Holy Family (wood,
oil, life-size). The kneeling Virgin supporting the Infant Christ, who
looks at St. Elizabeth, keeping back the boy Baptist. The latter points
towards heaven. Two angels are behind the Virgin. Though, here,
the fullest power of Andrea del Sarto is not exhibited, the panel seems
to be the original of those at Vienna (No. 43, antea), at the Grosvenor
Gallery (Duke of Westminster, postea) and at Ince (postea). No. 1,517.
Annunciation, supposed to be a part of the predella, No. 77, at the
Florence Academy of Arts, and a copy from Andrea's Annunciation at
the Pitti, No. 163.
Montpellier. Musee Fabre, No. 728. Virgin and Child, and St. John
in the distance, by a very tame imitator of del Sarto. No. 7. Sacri-
fice of Isaac, not in Andrea's manner.
Caen. Musee, No. 3. St. Sebastian. No. 4.. St. Sebastian. These
are not only not genuine, but it is doubtful whether they are of the
Florentine school.
Nancy. Musee, No. 2. Arched, wood, oil. The angel and Tobit, recall-
ing Andrea and Fra Bartolommeo, a careful thing, perhaps by Sogliani.
Brussels. Museum, No. 415. Jupiter and Leda, a poor school-
piece (? Bacchiacca).
St. Petersburg. Hermitage, No. 24. Virgin and Child, St. Catherine
to the right, St. Elizabeth with the young St. John to the left (wood,
oil, figures under life-size), originally at the Malmaison, and inscribed:
" Andrea del Sarto Florentino faciebat." This is a replica of a Holy
Family at Windsor Castle. Its bloom has been removed by cleaning,
and the restoration leaves doubts whether we have to deal here with
Andrea or one of his scholars. No. 25. Wood, oil, but transferred to
canvas. Bust of St. Barbara, life-size, retouched (? Bacchiacca).
St. Petersburg. Count Sergei Stroganoff. Round of the Holy Family.
Copy of No. 1,516 at the Louvre, but older in date than a second copy
(No. 26) at the Hermitage.
St. Petersburg. Collection of Princess Kotchoubey. Judith with the
head of Holophernes (wood, with a border added all round, oil); an
200 ANDKEA DEL SARTO [CH.
imitation of del Sarto by Puligo. Also in this collection, a Holy
Family. Virgin and Child between two angels, and the boy Baptist
with the cross to the left of the Virgin. This is much in the style of
the Judith, and reminds one of Puligo when he imitated Raphael and
Fra Bartolommeo, but it is much repainted, the angel to the left com-
pletely so.
Copenhagen. Gallery of Christiansborg, No. 3.i Canvas. Portrait
of a man in a black cap looking at the spectator over his left shoulder,
much injured and so completely renewed as to permit of no certainty
as to whether it is by del Sarto or his pupils.
London. National Gallery, No. 690. Life-size portrait of a man,
looking over his left shoulder, a tablet in his hand; the monogram
on the cool dark ground to the left. This is a very fine work touched
with excessive ease and breadth. The warm lights are pleasantly
tinged with rosy shades; the mass of chiaroscuro well defined. The
right hand is barely sketched. No. 17. Holy Family, without the
vigour of Andrea's own hand, and probably by one of his disciples;
wood, oil, without brilliancy, and dimmed by old varnishes.
London. Wallace Collection, No. 9. Virgin with the Child standing
on her lap; three children — one of them the Baptist — to the left, and
St. Francis listening in ecstasy to the music of an angel in the dis-
tance, with the monogram on the upper left corner; beneath, an in-
scription as follows : " Andrea Del Sarto Florentino faciebat " (wood,
oil, life-size). This is one of A. del Sarto's good productions, slightly
injured by cleaning and retouching — e.g., in the left wrist of the Virgin,
and the shadows of her profile. See for copies, Madrid, No. 333
(antea), Longford Castle (posted).
London. Duke of Westminster, No. 173. Virgin, Child, and St.
Joseph, not genuine, but feebly done after that of the Galleria Bar-
berini, in Rome; like No. 335 at Madrid (antea). Portrait of the
Countess Mattei, not by del Sarto, but reminiscent of Allori, or still
better of Carlo Dolce (wood, oil). No. 88. St. John in the desert.
No. 90. A Child with an orb (both wood, oil) are very different from
works of our master. No. 81 . Holy Family, a late repetition of No. 1 ,515
at the Louvre (antea). See also Ince (postea).
London. Stafford House, No. 46. Wood, oil, life-size. Virgin,
Child, and Baptist, taken from an original of del Sarto, by Salviati,
Nanaccio, or some other disciple of that class; masterly enough in
handling, but of ruddy tone.2
* * Now at Kronborg Castle, near Copenhagen.
* 2 Not included in the Stafford House sale, July 11, 1913.
vii.] PICTUKES IN ENGLAND 201
London. Baring Collection^ The Virgin, seated, with the Child on
her lap, patting his chin. Below A. del Sarto's powers, pleasing, and
probably by Puligo (wood, oil, half life-size), injured and restored. See
for a replica, Alnwick (postea), and Hampton Court, No. 139, Portrait
of a man (half-length, wood, oil, life-size). ? Puligo or Pontormo.
London. Mr. Farrer. Canvas, life-size. Pieta, after that of
Vienna (Imperial Gallery, No. 39), by a follower of del Sarto.2
London. Mrs. Butler Johnstone. Pieta. Canvas, same as that of
Mr. Farrer, careful and pleasing, but not done in the master's style
or according to his habits.3
Panshanger. Seat of Earl Cowper* Life-size portrait of a man in a
cap, writing a letter at a table, supposed — erroneously, we think — to
be del Sarto himself. The letter is legible, and runs so: "... Dicenbre.
Mastro Domenico assai mi chamo sod (?!s.f?t) to verso di voi, a vendo
mostro propinquo ingenio per dimostrarmi qual proprio a ... sono
tanto molto obligate 1523 m. Andr." The person mentioned in these
lines is perhaps Domenico Conti, the friend and pupil to whom Andrea
bequeathed all his drawings (VASABI, v. 59), 5 whose likeness may be
here depicted. The features are those of a man of thirty, too young
for Andrea in 1523 (he was then aged thirty-six), and, besides, unlike
his face as given in Vasari, and observed elsewhere. The painting is
clearly del Sarto's, and finely touched.
Portrait of a female at a table, with a volume of Petrarch in her
hand. On a building to the right are the words: " Meliora latent,"
and on the edge of the table : " In deo, tu presens nostro succurre labori."
This is called the " Laura." It is a fine bright piece, done with great
mastery in del Sarto's later years. The hands are long and of good
breed, the neck delicate, the forehead fair, the eyes grey. The rosy
half-tints are well fused into delicate shadows. The hair chestnut
wood, (oil, life-size).
Portrait of a man in rustic dress, with his right hand in the bosom of
* * Now collection of the Earl of Northbrook.
* 2 Bought at the Farrer sale in 1866 by Mr. Boord, and at the Boord sale in
1876 by Messrs. Agnew.
* 3 Subsequently in the collections of Mr. Munro, of Novar, the Earl of Dudley,
Mr. J. Ruston, and Sir W. Farrer; bought at the Fairer sale, March 23, 1912, by
Mr. Clements.
* 4 Now the property of Lady Desborough.
* 5 On the drawings by Andrea del Sarto, compare BBBBNSON, The Drawings of
the Florentine Painters, i. 268 sqq., and ii. 4 sqq.
202 ANDKEA DEL SAETO [CH.
his vest, smiling, a very fine work in perfect preservation, genuine and
masterly, very bold in the handling, full of gaiety and transparence intone.
Bust of a man (round, wood, oil, life-size), holding a sheet of paper in
his right hand; pleasing, assigned to del Sarto, but probably by Puligo.
Piece of a predella. Scene from the life of Joseph. He sits as a
judge whilst Benjamin is brought before him. The brethren kneel
or stand in front imploring. Nothing can be more animated than this
composition, more energetic and lively than the attitudes, more perfect
and airy than the colour. It is the quick and able production of a
pencil in the full consciousness of its strength.
Two other stories from the life of St. Joseph are here: (1) The baker
taken out to execution, and the butler with Joseph. (2) The sale of
Joseph to Potiphar. Of these panels the colour is reddish and low.
The drawing is mannered, the proportions are faulty, and the attitudes
affected. All this points to Pontormo.
Tunbridge Wells (near). Hon. P. Ashburnham. Charity, with two
children at her breast, and one asleep at her feet (canvas, life-size).
This subject was done by Andrea for G. B. della Palla (VASARI, v. 51).
Here is a shield with two red lions on a yellow field, and above it a
crown of five points (? more modern than the picture). The execu-
tion is much below that of Andrea, the drawing is incorrect, the colour
weak and washy. It is likely that a pupil worked this up from del
Sarto's original; possible that it had been left unfinished at his death,
and was completed by another. (This picture was sold with the rest of
the Ashburnham collection in 1860. It was formerly in the Ottley col-
lection, and was sold at the Ashburnham sale to Mr. Wellson for £525.)
Hamilton Palace, near Glasgow. State Drawng-Room.1 Half-
length, life-size (wood, oil), of a Magdalen, not by del Sarto, but more
truly a slovenly thing by Bacchiacca.
Dalkeith Palace. Seat of the Duke of Buccleuch. Dispute of the
Trinity. SS. Catherine, Francis, and Dominic, Lawrence, Augustine
and Sebastian (canvas, life-size), inscribed: "And. Sar. Flo. Fac.";
a diligent copy, perhaps by Allori, of Andrea's picture at the Pitti,
and of his signature (No. 172).
Longford Castle. Seat of Lord Radnor. Holy Family, almost a
copy (? by Puligo) of that in the Wallace Collection (antea, p. 200) ;
very feeble (wood, life-size).
Alnwick. Seat of ike Duke of Northumberland. Virgin and Child,
properly called Pontormo; a replica of that in the Baring Gallery.
* 4 Subsequently in the possession of Mr. Charles Butler, and bought at the
Butler sale (May 25, 1911, No. 79) by Messrs. Sulley.
vii.] PICTURES IN ENGLAND 203
Windsor Castle. Virgin, Child, and infant Baptist (wood, oil, life-
size; see antea, Turin, and postea, Lord Yarborough. This seems an old
imitation, (?) by Puligo. Portrait of a female, three-quarters to the
right, of olive tone, opaque, and dark in shadows, freely done by
Nanaccio or Salviati. Virgin, Child, St. Elizabeth, and young Baptist,
and on the right St. Catherine, inscribed on the wheel: "Andrea Del
Sarto Florentine faciebat." This is a composition similar to that of the
National Gallery (No. 17), with the addition of the St. Catherine, and
a replica of No. 24 at the Hermitage of St. Petersburg; a careful but
tame imitation of Andrea, by a comparatively modern painter.
London. Lord Yarborough. Virgin, Child, and young Baptist
(wood, oil, all but life-size) ; copy of that in Windsor Castle, to which
it is inferior.
Dulwich Gallery, No. 251. Virgin and Child, St. Joseph, St. Eliza-
beth, and the boy Baptist (wood, oil, life-size). This looks like a
repetition by Salviati of No. 81 at the Pitti, St. Joseph being added.
The latter figure, at Dulwich, is of a different character from the rest
of the picture, in movement, drawing, and features. The colour
is oily and without brightness. No. 228. Virgin, Child, and Baptist
(wood, oil, life-size), a copy of No. 337 at Madrid, with the Baptist
added, much lower in the scale of art than the Holy Family, No. 251.
London. Holford Collection. Virgin, Child, St. Joseph, and an angel
(wood, oil, life-size), with the monogram, a school copy of No. 334 at
Madrid. See also Dudley House.
Leigh Court. Sir W. Miles, Bart. Virgin and Child, of heavy shape,
and dull yellowish colour, but freely handled, similar to one at Stafford
House in which a St. John accompanies the other figures, and by the
same hand — i.e., Salviati or Sguazella.1
London. Eon. C. C. Cavendish. St. John, exhibited at the British
Institution in 1856. Of the school.
London. Hon. W. Warren Vernon. No. 110 at Manchester. Holy
Family, with St. Elizabeth, and the small Baptist, copy from Andrea
by a pupil.
London. Sir Humphrey de Trafford. No. Ill at Manchester. Holy
Family. School piece.
Hampton Court, No. 139. Virgin and Child, like those of the Baring
and Alnwick collections, and an old copy of the former.
* * Sold at the sale of the Leigh Court Gallery (June 28, 1884, No. 64) to Mr.
Dyer; subsequently in the possession of Mr. L. Lesser, and sold at the Lesser sale
(February 10, 1912, No. 50) to Mr. Cohen.
204 ANDREA DEL SARTO [CH. vn-
Dublin. National Gallery, No. 103. The Virgin, with the dead body
of Christ on her lap, between St. Peter and a female saint. Predella
in three parts, not to be assigned with certainty to A. del Sarto, being
mannered in drawing and form, and too variegated in colour.1 No. 112.
Adoration of the Magi (small, wood, oil), by some of the followers of
Andrea.
Dublin. Earl of Portarlington. No. 8 at the International Exhibi-
tion. Holy Family. Round (since squared). Wood, oil. Copy of
No. Ij516 at the Louvre, by a modern.
* * Four panels, originally parts of the same predella, and each containing the
figure of a saint, were added to the Dublin Gallery in 1865. Two more parts of it are
now in the collection of the Earl of Warwick. The predella originally belonged to
the Menichini family of Perugia (see catalogue of the Dublin Gallery).
INDEXES
INDEX OF PLACES
Agram, Strossmayer Collection, 106 n.
Allington Castle, Sir M. Con way, 11
Alnwick Castle, Duke of Northumber-
land, 164, 201, 202, 203
Altenburg, Gallery, 91 n.
Angers, Gallery, 41 n.
Anghiari, S. Maria del Fosso, 135
Arezzo, Badia de' Monaci Neri, 99
Asciano (near), Oratory of S. Sebasti-
ano, 1
Autun, Cathedral, 72, 73, 75
Bamberg (near), Pommersfelden, 192
Bergamo, Accademia Carrara, 113 n.
Berlin, Herr A. von Beckerath, 11 n.
Kaiser Friedrich Museum, 11 n.,
28, 40, 42 n., 47, 48, 67 n.,
89, 95, 98 n., 104, 109 n.,
110, 115, 120, 129, 132, 138,
144, 149, 154, 155, 156, 175,
191, 197
Besan9on, Cathedral, 74 n., 97, 111 n.
S. Etienne, 74 n., 97
Bibbiano (near), S. Maria del Sasso, 103
Bologna, Chiesa dei Filippini, 117
Gallery, 113, 115, 116, 117 n.,
120
S. Petronio, 24, 25
Zambeccari Gallery, 117
Bonn, Provinzialmuseum, 120 n.
Borgo San Lorenzo, Chiesa del Croci-
fisso, 48
Borgo S. Sepolcro, Communal Gallery,
7n.
Brentwood (near), Rochetts, Mr. Octa-
vius E. Coope, 41 n.
Brescia, Galleria Martinengo, 94, 136
Breslau, Schlesisches Museum, 40
Bridgewater (near), Quantock Lodge,
Hon. Mrs. E. Stanley, 96 n.
Bristol (near), Leigh Court, Sir William
Miles, 96, 195, 203
Brunswick, Gallery, 198
Vieweg Collection, 5 n.
Brussels, Museum, 136, 153, 199
Budapest, Prince Esterhazy, 144
Gallery, 144, 160
Buonconvento, Opera di SS. Pietro e
Paolo, 3
S. Sebastiano, 4 n.
Caen, Musee, 199
Cambridge, Fitzwilliam Museum, 42,
108
Cambridge, U.S.A., Fogg Museum, 98 n.
Campiglia d'Orcia, Church, 6
Capua (near), S. Angelo in Formis, 58
Carlsruhe, Gallery, 36 n.
Carpi, Duomo, 21
S. Niccold, 21
Casentino, Private church of Covoni
family, 171
Casole, Town Hall, 6 n.
Castiglione Fiorentino, Collegiate
Church, 39
Castle Howard, Earl of Carlisle, 110
Chantilly, Musee Conde, 48
Charlottenburg, Hochschule, Gallery,
40
Chartres, Gallery, 106 n.
Cheltenham (near), Thirlestane House,
Lord Northwick, 97
Chiusi, Cathedral, 3
Citta di Castello, S. Cecilia, 154
Communal Gallery,
154 n.
S. Fiordo, 152 n.
Cleveland, U.S.A., Holden Collection,
42 n.
Colle di Valdelsa, S. Agostino, 148,
149
Copenhagen, Christiansborg, 200
(near), Kronborg Castle,
200 n.
Corsham Court, Lord Methuen, 195 n.
Gortona, Duomo, 193
Signer Passerini, 93, 96
Gutigliano, 103
207
208
INDEX OF PLACES
Dalkeith Palace, Duke of Buccleuch,
202
Dresden, Gallery, 40, 41 n., 42 n., 48,
78, 123, 131, 132, 193, 197
Dublin, National Gallery, 29 n., 204
Earl of Portarlington, 199, 204
Dulwich, Gallery, 48, 192, 198, 203
England, Sir George Shee, 99
Mr. G. E. H. Vemon, 159 n.
Mr. Wellson, 202
Lord Wenlock, 97
Escurial, 25
Faenza, Gallery, 137
Fiesole, S. Domenico, 37, 38 n., 101 n.,
135
S. Francesco, 48, 49 n.
Figline (near), S. Pietro al Terreno, 44,
45, 53
S. Pietro al Terreno.
Castel Franco, 54 n.,
155
Florence, Academy of Arts (Galleria an-
tica e moderna), 6, 34,
37, 39, 55, 63, 64, 65, 66,
73, 77, 79, 80, 88, 92, 100,
102, 103, 104, 106 n., 107,
108, 109, 112, 113, 136,
146, 151, 152 n., 156, 158,
171 n., 177 n., 179, 191,
199
Accademia della Crusca, 88 n.
S. Ambrogio, 44, 58
SS. Annunziata, 10, 45, 46,
81, 86, 123, 124, 125, 130,
131, 140, 151 n., 163, 164,
165, 166, 167, 168, 170,
171, 172, 173, 174, 175,
176, 177, 187, 188, 189,
191
S. Apollonia, 60 n., 156 n.
Badia, 66
Badia di Settimo, 99
Cav. Baldelli, 98
BigaUo, 144, 145
Giovanni Borgherini, 194
Borgo S. Friano alle Mona-
chine, 152 n.
Brotherhood of the Gesuati,
159
Marchese Vincenzo Capponi,
176
Casa Pier Francesco Borghe-
rini, 156 n., 160 n., 182,
183
Casa Capponi, 98
Casa Ciacchi, 132
Florence, Casa Francesco da San Gallo,
49 n.
Casa Medici, 98
Casa Ottaviano de' Medici,
42 n., 67 n., 95, 98
Casa Passerini, 151 n.
Casa Pier del Pugliese, 98
Casa Antonio de' Ricasoli,
42 n.
Casa Rucellai, 157, 158
Casa Tolomei, 42 n.
Casa Lelio Torelli, 98
Casa Gio. Vespucci, 49 n.
S. Caterina, 73 n., 104, 151
Certosa, 107, 108
S. Chiara, 34, 40, 66
Chiesa della Concezione,151 n.
Chiostro dello Scalzo, 123,
130, 131, 164, 177, 178,
181, 182, 187, 189, 197
Compagnia de' Battilani, 149
Compagnia de' Contemplanti,
67 n., 95, 98
Compagnia de' Neri, 152 n.
Compagnia di S. Bastiano,
42, 195 n.
Compagnia di S. Zanobi, 108,
109, 146
Congregation of S. Martino,
106, 107
Duca Corsini, 114, 136, 189 n.
Duchessa Maria Covoni-Bor-
ghese, 160 n.
S. Croce, 77, 120
S. Domenico, 31 n.
Duomo (S. Maria del Fiore),
33, 38, 39, 140, 147, 178
S. Felice in Piazza, 150
S. Felicita, 152 n.
S. Francesco, 178
S. Frediano, 115
S. Friano, 42 n., 46 n.
Galleria Ginori, 195
Galleria Lombardi, 46, 47 n.
Galleria Pianciatichi, 46, 92,
93, 153, 195
Galleria Torrigiani, 151, 152
n., 153
S. Gallo, 91 n., 141 n., 160 n.,
171, 179
S. Giacomo Nicchio, 191
S. Giobbe, 123 n.
S. Giovanni Battista della
Calza, 129, 130
S. Giovanni Battista (Spedale
di Bonifacio), 133, 134,
137
Sig. Giovanni Gagliardi, 152
INDEX OF PLACES
209
Florence, S. Girolamo sopra la Costa,
145, 146, 149
S. Giuliano, 109
S. Giusto, 141
S. Godenzo, 194
Sigg. Govoni, 160
Guardaroba del Duca Cosimo,
49
S. Jacopo sopra Arno, 134
S. Jacopo tra i fossi, 91 n.,
171 n.
S. Jacopo di Ripoli, 142, 143,
151
SS. Jacopo e Francesco, 151
S. Lorenzo, 118, 133, 180
S. Marco (Church), 53 n., 70,
74, 108, 137, 151
S. Marco (Monastery; now
Museo di S. Marco), 49 n.;
55 n., 66, 73 n., 78, 79,
80 n., 81, 83, 87, 88, 92,
100 n., 102, 103, 104,
120 n., 132 n., 133, 134 n.,
146 n., 149 n.
S. Maria degli Angeli, 140, 149
S. Maria de' Candeli, 130
S. Maria del Carmine, 31,
52 n., 121, 140, 152
S. Maria Maddalena de' Pazzi
(Chiesa del Cestello), 34,
37, 92, 143, 151 n.
S. Maria Novella, 119, 138,
139, 142 n., 148, 154
S. Maria Nuova, 56, 58, 59,
60, 61, 62, 66, 104, 108,
152 n.
S. Maria sul Prato, 136
S. Martino alia Palma, 152 n.
S. Martino delle Monache, 151
S. Matteo (Hospital di Lelmo),
42 n.
Medici, Giovanni Cardinal de',
98
Medici Palace, 148, 150
Monache della Crocetta, 135
S. Niccolo al Ceppo, 137 n.
Ognissanti, 151 n.
Orsanmichele, 34, 38, 170, 171
Palazzo Antinori, 99, 103,
140, 141, 151
Palazzo Corsini (Lungarno),
92, 94, 99, 100, 103, 104,
112, 152, 194
Palazzo Niccolini, 98
Palazzo Pitti, 28 n., 39, 66,
68, 74, 75, 78, 79 n., 81,
86, 88, 89, 90, 91, 92, 94,
107, 111 n., 115, 123,
124 n., 126, 128, 142 n.,
144, 151, 158, 159, 160,
171, 179, 182, 183, 184,
185, 186, 187, 191, 192,
193, 194, 195 n., 198 n.,
199, 202, 203
Florence, Palazzo Taddei, 136
Palazzo Vecchio, 31 n., 38 n.,
71, 118, 121, 140, 145,
57, 762, 163, 172, 188
S. Pancrazio, 113, 122, 151 n.
S. Pier Maggiore, 42 n., 121,
122, 157 n.
Pier Maria delle Pozze, 98
Porta alia Croce, 152
Porta S. Gallo, 152
Porta a Pinti, 194
Porta al Prato, 152
Rinuccini Gallery, 189 n.
Signer Ermolao Rubieri, 55
Signer Ricasoli, 98
S. Salvi, 135, 149, 170, 171,
174, 189, 190, 195
Spedale degli Innocenti, 46
S. Spirito, 44, 48, 49 n., 123,
124 n., 139 n., 141 n.
S. Spirito sulla Costa, 158
S. Trinita, 71 n., 107, 108, 154
Uffizi, 28 n., 34, 38, 39, 40,
41, 42 n., 45, 46, 47, 48,
55 n., 56, 58, 59, 60, 61,
62, 63, 66, 69 n., 75, 76,
80, 84, 86, 92, 105, 106,
107, 108, 112, 114 n.,
115, 116, 117, 122, 123,
132, 134, 136, 137 n.,
141 n., 146, 147, 152,
157, 158, 160 n., 171 n.,
176, 178, 191, 192, 194,
196 n.
Signer Volpini, 98
(near), Certosa de' Camal-
doli, 151 n.
(near), Conservatorio La
Quiete, 142 n., 151 n.
(near), Giogioli, Pieve, 151 n.
(near), Montoliveto, 141
Foligno, Signor Gregori, 98
Forli, Communal Gallery, 40
Geneva, S. Madeleine, 74, 97
Museum, 74, 97
Glasgow (near), Hamilton Palace, 97,
202
Gloucester (near), Highnam Court, Sir
Hubert Parry, 11, 113 n.
Gosford House, Earl of Wemyss, 97
Gualfonda, Casa Bartolini, 119 n.
210
INDEX OF PLACES
Hague, The, Mauritshuis, 48, 94
Halle, Communal Gallery, 155 n.
Hamburg, late Weber Collection, 42 n.,
132 n.
Hampton Court, 152, 201, 203
Hildesheim, Town Museum, 104 n.
Ischia, Alfonzo Davalos, 192
Leipzig, Museum, 115, 116, 196
Liverpool, Walker Art Gallery, 42
(near), Ince, 198, 199, 200
Lockinge House, Lady Wantage, 41 n.,
152 n.
London, Sir W. N. Abdy, 152 n.
Messrs. Agnew, 201 n.
Baring Gallery, 95, 96 n., 120,
201, 202, 203
Mr. Alexander Barker, 41,
42 n., 154
Mr. R. H. Benson, 4R, 113 n.,
132 n., 191 n., 195 n.
Mr. Boord, 201 n.
Bridgewater House, 25 n., 151
British Institution, 4, 97, 203
British Museum, 35 n.
Rev. W. Davenport Bromley,
103
Burlington House, Old Mas-
ters, 137 n.
Mr. Charles Butler, 202 n.
Mrs. Butler Johnstone, 181 n.,
201
Messrs. Carfax, 181 n.
Hon. C. C. Cavendish, 203
Mr. Clements, 201 n.
Mr. Cohen, 203 n.
Earl of Crawford and Balcar-
res, 4 n.
Mr. Abraham Darby, 96
Dorchester House, Sir George
Holford, 93, 96, 198, 203
Dudley House, 25 n., 198,
201 n., 203
Mr. Dyer, 41 n., 97 n., 203 n.
Mr. Eagle, 177 n.
Mr. W. Seymour Eastwood,
120
Mr. Farrer, 181 n., 201
Sir William Farrer, 96 n.,
201 n.
Mr. Seymour Fitzgerald, 128 n.
Grosvenor House (Duke of
Westminster), 11, 41, 95,
195, 198, 199, 200
Mr. George A. Hoskins, 96
Lady Jekyll, 12
Mr. L. Lesser, 203 n.
London, Dr. L. Mond, 98 n.
Mr. C. Fairfax Murray, 137 n.
National Gallery, 4 n., 8 n.,
11, 24, 25, 32, 41, 47, 48,
89 n., 113, 115 n., 127 n.,
128, 136, 140 n., 141,
142 n., 151, 196, 200, 203
Earl of Northbrook, 95, 96,
120 n., 201 n., 202, 203
Mr. H. Oppenheimer, 48
Mr. Ottley, 202
Lord Overstone, 41
The Earl of Plymouth, 48
Mr. Charles Ricketts, 48
Mr. Rogers, 41
Earl of Rosebery, 41 n.
Mr. Leopold de Rothschild,
198
Mr. J. Ruston, 201 n.
Mr. Rutley, 41 n.
Mr. Saltwell, 25 n.
Stafford House (Duke of
Sutherland), 95, 194, 195,
203
Sir Anthony Stirling, 96, 101
Mr. A. E. Street, 48
Messrs. Sulley, 202 n.
Lord Taunton, 96
Sir Humphrey de Trafford, 203
Hon. W. Warren Vernon, 203
Mr. Vicars, 41 n.
Victoria and Albert Museum, 4
Mr. Wagner, 97 n.
Wallace Collection, 198, 200,
202
Mr. T. Humphrey Ward, 48
Lord Yarborough, 128, 196,
203
Longford Castle, Earl of Radnor, 198,
200, 202
Lucca, S. Agostino, 44
Cathedral (S. Martino), 69, 70
Gallery, 56 n., 68, 69, 70, 73, 77,
81, 82, 83, 84, 109, 110, 171
Signer G. B. Mansi, 83 n., 117
Signori Montecatini, 53 n.
S. Romano, 56 n., 68, 69, 70, 73,
77, 81, 82, 83, 84, 109, 110,
171
(near), Villa Saltocchio, Conte
Bernardini, 93, 94, 110
Lucignano, S. Francesco, 5 n.
Luco in Mugello, S. Piero, 187
Lyons, M. Aynard, 48
Museum, 193
Madrid, Prado, 175, 193, 195, 198, 200,
203
INDEX OF PLACES
211
Maiano, Monastery of S. Baldassare, I
152 n.
Manchester, Exhibition, 41, 96, 159,
203
Mantua, Casa Susanni, 120
Palace, 185
Mayence, Museum, 35, 36
Milan, Ambrosiana, 33, 64
Brera, 136, 137
Conte Sola Busca, 120 n.
Don Guido Cagnola, 28 n.
Casa Poldi Pezzoli, 93, 106
Signor B. Crespi, 160 n.
Signor Camillo Fumagalli, 93
S. Maria delle Grazie, 120 n.,
190
Modena, Gallery, 94, 196
Montepulciano, S. Agostino, 42 n.
Monte S. Savino, Madonna de' Vertigli,
151 n.
Montpellier, Musee Fabre, 28 n., 41 n.,
153, 199
Munich, Alte Pinakothek, 11, 28 n., 40,
42 n., 95, 111, 156, 195, 196, 197
Nancy, Musee, 199
Nantes, Museum, 180 n.
Naples, Museum, 40, 48, 89, 90, 184,
185, 186, 196
Newbattle Abbey, Marquess of Lothian,
48
Newlands Manor, Col. Cornwallis-West,
48
Newport, U.S.A., Mr. Theodore Davis,
120 n.
New York, Mr. G. Blumenthal, 5 n.
Messrs. Ehrich, 152 n.
Metropolitan Museum, 48
Mr. Samuel Untermeyer,
113 n.
Novar, Mr. Munro, 201 n.
Ostia, Castle, 21
Orvieto, Duomo, 139
Oxford, Ashmolean Museum, 42, 155,
158, 191
Christ Church, 141 n., 159 n.
Palazzuolo, Duomo, 28 n.
Panshanger, Cowper Collection (prop-
erty of Lady Desborough), 70, 71,
86, 87, 201, 202
Paris, M. Beaucousin, 113
M. Gustave Dreyfus, 42 n.
Hotel Drouot, 5 n.
Mme. Dubois, 95
Galerie Abel, 98
M. J. Lafitte, 191
Paris, Louvre, 34, 35 n., 37, 38 n., 39,
41, 46, 48, 64 n., 68, 71 n.,
72, 73, 75, 82, 84, 102, 103,
104, 107, 108, 109, 116 n.,
119, 125, 126, 127, 139, 141,
142, 145, 173, 179, 180, 191,
196, 197, 199, 200, 204
S. Mery, 139 n.
Musee Cluny, 138
Pourtalds Gallery, 113, 136
Rothschild Collection, 5 n.
Perugia, Palazzo Penna, 98
Pezenas, M. Charles Alaffre, 81 n.
Philadelphia, Mr. John G. Johnson, 48,
77 n., 110
Mr. P. Widener, 31 n.,
42 n.
Pian di Mugnone, Ospizio di S. Maria
Maddalena, 78, 81, 83, 85, 90, 92,
99 n., 100 n.
Pienza (near), Convent of S. Anna in
Greta, 28 n.
Pisa, Campo Santo, 58
S. Caterina, 74
Compagnia di S. Francesco, 135
Duomo, 134, 135, 137 n., 188
Madonna di S. Agnese, 188
Museo Civico, 137 n.
Pistoia, Academy, 103
S. Domenico, 84, 85 n., 102, 103
Duomo, 34, 35, 37
S. Felice, 99 n.
S. Giovanni, 103
S. Giovanni Fuorcivitas, 99 n.,
103
S. Lorenzo, 99 n.
S. Maria delle Grazie, 35, 103
Palazzo del Comune, 103
S. Paolo, 102
S. Pier Maggiore, 147
Poggio a Cajano, Villa Medici, 131, 164,
181, 182, 184
Pontignano, Monastery, 8
Prato, Cathedral, 145
Communal Gallery, 152 n.
S. Maria in Castello, 89, 90
S. Rocco, 152
S. Vincenzo, 55
Ravenna, Rasponi Collection, 63 n.,
64 n.
Reigate, The Priory, Mr. H. C. Somers
Somerset, 157 n.
Richmond, Sir Frederick Cook, 89 n.,
195 n.
Ripoli, 151 n.
Rome, Signor Baracco, 48
Signor Francesco Brusa, 91 n.
212
INDEX OF PLACES
Home, Capitol Gallery, 94
Prince Chigi, 21
S. Croce in Gerusalemme, 13, 14
Farnesina, 14, 15 n., 16-20, 81
Fesch CoUection, 25 n.
Galleria Barberini, 195, 197, 198,
200
Galleria Borghese, 29 n., 36, 39,
48, 94, 99, 100, 103, 120 n.,
152, 160, 195
Galleria Sciarra, 94, 99, 100,
103
Lateran Gallery, 80 n.
S. Maria dell' Anima, 25, 26
S. Maria della Pace, 21, 22, 23,
24 n., 27
S. Maria del Popolo, 21
Marquis Campana, 176
Montecavallo, Garden at, 24
S. Onofrio, 13, 14
Palazzo Braschi, 112
Palazzo Colonna, 120
Palazzo Corsini, 48, 88, 89, 93,
119 n., 120 n., 132, 146 n.,
195
Palazzo dei Conservatori, 21
Palazzo Farnese, 17
Palazzo Rospigliosi, 20
Palazzo Spada, 195
S. Pietro, 21, 24, 26
S. Pietro in Montorio, 13 n.
Quirinal, 79, 80, 92
S. Rocco, 24
S. Salvestro, 79, 80, 92, 112
Signer Sterbini, 42 n.
Trastevere, House in, 20 n.
Vatican, 21
Vatican, Cappella Paolina, 27
Vatican Gallery, 79, 80, 92
Vatican, Sixtine Chapel, 22, 23,
43, 44 n., 79, 115, 158
Vatican, Stanze, 14, 15, 22, 79
Marchese Visconti Venosta, 98 n.
Rovigo, Galleria Communale, 196
S. Gimignano, S. Agostino, 101, 102, 103
S. Gimignano (near), S. Lucia a Bab-
biano, 101, 102
Sarteano, Collegiata, 12
Schleissheim, Gallery, 40, 197
Settignano, Mr. B. Berenson, 28 n.
Shrewsbury (near), Attingham Hall,
Lord Berwick, 28 n.
Siena, Academy, 2, 3, 4, 6, 7, 8 n., 9, 11,
12 n., 28 n., 93, 99, 100, 101
Archivio di Stato, 5 n.
Arciconfraternita della Miseri-
cordia, 8 n., 12 n.
Siena, Baptistery, 11 n.
Sig. Sestilio Barni, 4 n.
Compagnia di S. Catarina, 3
Compagnia dei SS. Crispino e
Crispiniano, 4 n.
Compagnia di S. Giovanni della
Monte, 6 n.
Conservatorio di S. Maria Mad-
dalena, 4 n.
S. Cristoforo, 8, 9
S. Domenico, 3
Duomo, 5 n., 6 n., 8 n., 12, 140
S. Francesco, 5 n., 6 n.
S. Giovanni, 28 n.
S. Girolamo, 5 n., 12 n.
Istituto dei Sordomuti (ex-Con-
vento di S. Margherita), 5 n.
Madonna di Fontegiusta, 3, 9
S. Maria del Carmine, 2, 7, 8
S. Maria in Fontegiusta, 27
S. Maria dei Servi, 2, 5 n.
Opera del Duomo, 28 n.
Oratorio di S. Bernardino, 9, 10,
28 n.
Oratorio dell' Oca in Fontebran-
da, 10
Palazzo Palmieri-Nuti, 8 n.
Palazzo Pollini, 29 n.
Piccolomini Library, 2 n.
Spedale, 6 n.
S. Spirito, 8, 9, 10, 55 n., 93, 96,
100, 101
Fratelli Ugurgieri, 28 n.
(near), S. Ansano a Dofana,
Pieve, 29 n.
(near), Belcaro, 27
(near), Oratorio della Chiocciola,
28 n.
(near), Chiesa dell' Osservanza, 6
Spezia, 99 n.
Stanstead House, Mr. Fuller Maitland,
127, 128, 159 n., 177 n.
Stockholm, Collection of the King, 48
National Museum, 48
University Gallery, 118 n.
St. Petersburg, Prince Gortschakoff,
112, 113
Hermitage, 81, 83,
112, 117, 132,
143, 198, 199, 203
Princess Kotchoubey,
199, 200
Leuchtenberg Gallery,
83 n., 112
Prince Nicholas of
Leuchtenberg, 48
Count Paul Stroga-
noff, 4
INDEX OF PLACES
213
St. Petersburg, Count Sergei Stroga-
noff, 199
Strassburg, University Gallery, 42 n.,
49 n.
Stuttgart, Gallery, 97 n., Ill, 198
Torre di Bibiano, S. Lorenzo, 27
Toulouse, Private collection, 81 n.
Tressa, S. Maria, 6 n.
Tunbridge Wells, Hon. P. Ashburnham,
202
Turin, Accademia Albertina, 120 n.
Gallery, 28 n., 40, 94, 114, 116 n.,
121, 126, 136, 196, 203
Vallombrosa, 191
Venice, Academy, 40, 152
Colleoni monument, 31
Duchess of Berri, 94
Galleria Querini-Stampalia,42 n.
Seminario, 94, 113
Verona, Museo Civico, 195 n.
Vienna, Academy of Arts, 115 n., 195 n.
Albertina, 37 n.
Count Czernin, 95
Harrach Gallery, 95, 197
Imperial Gallery, 74, 88, 89, 93,
94, 99, 100, 101, 102, 119,
132 n., 179, 180, 196, 197,
199, 201
Prince Liechtenstein, 49 n.,
132 n., 197
Viterbo, 101 n.
S. Maria della Quercia, 99, 112
Volterra, Cathedral, 106 n.
Warwick Castle, Earl of Warwick, 159,
204 n.
Warwick (near), Charlecote Park, Sir
Henry Fairfax-Lucy, 98 n.
Weimar, Grand Ducal Library, 98 n.
Windsor Castle, 128, 129, 196, 203
VI.—
INDEX OF PERSONS
Acciaiuoli, Margareta, 182
Acciaiuoli, Ruberto, 183
Adrian VI., 25
Agostino di Paolo, Fra, 54
Agostino, Frate, 78, 93, 101
Agostino Veneziano, 179
Ajolle, 175
Albergati, The, 24
Albert!, L. B., 170
Albertinelli, Mariotto, 9, 11 n., 28 n.,
43, 45, 52, 53, 54, 60, 61, 62, 64 n.,
66, 68, 69, 70, 71, 72 n., 74, 76, 77,
85, 90, 93, 94, 95, 96, 97, 99,
100 n., 103, 105-114, 116, 121, 122,
132, 133, 134, 137, 142, 143, 145,
146, 149, 156, 159, 163, 164, 168,
171
birth, 105
pupil of Cosimo Rosselli, 105
friendship with Fra Bartolommeo,
105
Visitation, Uffizi, 106-107
Annunciation, Florence Academy,
108-109
partnership with Fra Bartolommeo,
110
death, 112
list of various works, 112-113
Albertini, F., 14 n., 31 n., 34, 38, 56 n.,
74 n., 113
Allori, Alessandro, 131, 182, 200, 202
Alunno, 4
Andrea da Salerno, 8, 102
Andrea del Sarto, 1, 10, 18, 43, 46, 47,
49 n., 69, 64, 78, 91 n., 96, 101, 102,
103, 111, 113, 121, 122, 123, 124,
125, 126, 128, 129 n., 130, 131,
132, 133, 135, 146, 147, 149, 157,
161-204
birth and parentage, 161
studies under Gian Barile and Piero
di Cosimo, 162
frescoes, Chiostro dello Scalzo, 163,
176-178, 181-182, 187, 189
214
Andrea del Sarto —
life of St. Philip Benizzi, SS. Annun-
ziata, 165-168
dubs of the Kettle and the Trowel,
169-170
Annunciation, Palazzo Pitti, 171
he marries Lucrezia del Fede, 172
Birth of the Virgin, SS. Annunziata,
173-175
portraits of Lucrezia, 175
Procession of the Magi, SS. Annun-
ziata, 175
self-portraits, 176
Madonna dell' Arpie, Uffizi, 178
sojourn in France, 179-181
return to Florence, 181
frescoes at Poggio a Caiano, 181-182
pictures for the Casa Borgherini, 182-
184
copy of Raphael's Leo X., Naples,
184-186
Pieta, Palazzo Pitti, 187
Madonna del Sacco, SS. Annunziata,
188-189
Last Supper, S. Salvi, 189-190
death, 191
list of various works, 191-204
Andrea di Credi, 30
Andrea di Niccold, 4 n.
Angelico, Fra, 38 n., 58, 60 n., 62, 66,
68, 76, 86, 180
Annibale dell' Aquila, 6 n.
Antoniasso Romano, 13
Antonino, St., 86
Antonio da S. Gallo, 147
Antonio del Ceraiuolo, 39
Arco, Carlo d', 185 n., 186 n.
Aretino, Pietro, 150 n., 184
Aristotile da S. Gallo, 147, 148, 170
Bacchiacca, 136, 182 n., 183, 194, 199,
202
Baccio d'Agnolo, 57, 147, 183
Baccio da Montelupo, 67, 147
INDEX OF PEESONS
215
Baldinucci, F., 86 n., 166 n., 175 n.
Baldovinetti, Alesso, 165, 175
Bandinelli, Baccio, 27, 38 n., 147, 163,
172
Barile, Gian, 162
Barili, Giovanni, 162 n.
Bartolommeo della Gatta, Don, 14
Bartolommeo di David, 5 n.
Bartolommeo, Fra, 9, 11, 36, 43, 45, 50-
104, 105, 106, 107, 108, 109, 110,
111, 112, 113, 114, 116, 117, 119,
122, 123, 127, 130 n., 132, 133, 134,
136, 137, 142, 143, 144, 145, 146,
149, 151 n., 156, 163, 164, 166, 167,
168, 171, 173, 174, 179, 187, 190 n.,
192, 193, 197, 199, 200
birth and parentage, 50-51
apprentice to Cosimo Rosselli, 51
friendship with Albertinelli, 52
he becomes an adherent of Savona-
rola, 54
portrait of Savonarola, 55
his drawings, 56
relations with Leonardo, 57
Last Judgment, S. Maria Nuova, 58-
60
he joins the Dominican Order, 61
he resumes painting, 62
Vision of St. Bernard, Florence
Academy, 63-67
visit to Venice, 67-68
partnership with Albertinelli, 68
altarpieces at Lucca, 68-70, 81-83
Holy Family, Panshanger, 70-71
Marriage 01 St. Catherine, Louvre,
72-73
Madonna and Saints, Palazzo Pitti,
74-75
unfinished altarpiece, Uffizi, 75-76
parting of Fra Bartolommeo and
Albertinelli, 77
work at Pian di Mugnone, 78, 85, 90
did he visit Rome ? 79-81
Burial of St. Antonino, Panshanger,
86-87
death, 90
Pieta, Palazzo Pitti, 91
list of various works, 92-98
list of missing works, 98-99
Bassi, Martino, 24 n.
Bazzi. See Sodoma
Beaune, Jacques de, 184
Beccafumi, 6 n., 9, 10, 19, 28 n., 29, 87
Bellini, Giovanni, 70 n.
Beltraffio, 33
Beltramini, Mario, 149 n.
Benci, Ginevra de', 40 n.
Benedetto, Fra, 54
Benedetto da Maiano, 38 n., 51 n.
Benintendi, G. M., 70 n.
Benivieni, Girolamo, 42 n., 152 n.
Bentivoglio, Giovambattista, 24
Benvenuto di Giovanni, 1, 2
Berenson, Mr. B., 28 n., 35 n., 38 n.,
45 n., 48 n., 56 n., 70 n., 98 n.,
106 n., 115 n., 132 n., 147 n.,
160 n., 201
Berenson, Mrs., 42 n.
Bernardini, Giovanni, 93
Bernardino d'Antonio, 99
Bernardino di Giordano, 170
Bernardo del Bianco, 36, 66, 110
Berruguete, 163
Bertoldo, 52, 154
Biadi, 169, 172 n.
Bibbiena, Cardinal Bernardo, 24, 80 n.
Biccherai, Beccuccio, 187
Biffoli, 125 n.
Billi, Salvadore, 86
Bocchi, 179 n.
Bonafede, Monsignor, 151 n.
Bonaiuti, Raffaelle, 60
Bonilli, Vincenzo, 193
Borgherini, Pier Francesco, 183
Borgherini, Salvi, 182
Borgia, Cesare, 105
Borgia, Lucrezia, 90
Borromei, Giovanni, 185
Bossi, G., 93
Boswell, 118
Bottari, 17 n., 24 n., 150 n., 195 n.
Botticelli, 40, 41, 44 n., 155 n.
Bracci, Zanobi, 184, 192
Braghirolli, V., 185 n., 186 n.
Bramante, 15 n., 16 n., 79 n., 196
Bramantino, 15 n., 120 n.
Brancacci, Antonio, 187
Breck, Mr. Joseph, 98 n., 120 n.
Brescianini, The, 94, 95
Brescianino, Andrea del, 27, 28 n.,
95 n.
Brina, Francesco, 151 n.
Brogi, F., 42 n.
Bronzino, Angelo, 95, 119 n., 132,
149 n., 150, 196
Brunelleschi, 22
Bugiardini, Giuliano, 45 n., 91, 97, 108,
113-120, 121, 122, 125, 144 n., 149,
158, 188, 195
Campi, Galeazzo, 198
Campi, Giulio, 198 n.
Campori, G., 21 n., 90 n.
Capponi, Gino, 48, 49 n.
Caradosso, Antonio, 128
Carmichael, Mr. M., 48
216
INDEX OF PERSONS
Carondelet, Jean, 74 n., 97, 111 n.
Carracci, The, 24 n.
Carvajal, Bernardino, 14
Castiglione, Baldassare, 17 n., 79, 80 n.
Catena, Vincenzo, 197 n.
Cavalcaselle, G. B., 60 n.
CeUamare, Duca di, 28 n.
Cesare da Seato, 21 n., 136
Charles I., 129
Charles V., 6 n., 150
Chigi, Agostino, 16
Cianfanini, Giovanni di Benedetto, 39
Cibo, Cardinal, 118 n.
Civerchio, Vincenzo, 28 n.
Clement VII., 25, 118 n., 184
Colvin, Sir Sidney, 141 n.
Conti, Domenieo, 201
Cook, Mr. Herbert, 40
Correggio, 18, 95, 176, 193
Cortesi, Fra Tommaso, 139 n.
Cosimo, Duke, 63
Costa, Lorenzo, 110 n.
Cresti, Domenieo, 166 n.
Cronaca, 38 n., 57
Crowe and Cavalcaselle, 28 n., 120 n.,
197 n.
Crozat, 83 n.
Daelli, 81 n.
Dalzano, Bartolommeo, 67, 68
Daniele da Volterra, 17
Dauphin, The, 180
Davalos, Alfonzo, 192
Desiderio da Settignano, 77
Dini, Gerozzo, 58, 60
Dolce, Carlo, 200
Donatello, 63
Diirer, 132, 176, 189
Este, Alphonzo d', 90
Este, Beatrice d', 33
Eustachio, Fra, 54
Fabriczy, C. von, 98 n.
Faluschi, 2 n.
Fantozzi, 44 n., 139 n.
Fea, 29 n.
Fede, Bartolommeo del, 180 n.
Fede, Lucrezia del, 172, 173, 175, 179
180 n., 181
Federighi, Antonio, 18
Feltrini, Andrea di Cosimo, 148, 164 n.
165, 172
Ferrari, Gandenzio, 112
Fiocco, Dr. L., 91 n.
Fiorenzo di Lorenzo, 13
Fontana, Prospero, 25 n.
Fontani, Abbate, 169 n.
Forster, Professor R., 16 n., 17 n., 20 n.
Foschi, Sigismondo, 136, 137
Francesco da Citta di Castello, 7 n.
Francesco di Filippo, 85 n.
Francesco di Giorgio, 3
Francia Bigio, 9, 10, 94, 108, 113, 114,
121-132, 143 n., 148, 165, 168, 169,
176, 177 n., 181, 182, 189, 196 n.,
197
birth, 121
pupil of Piero di Cosimo, 121
Annunciation, Turin, 121-122
Madonna del Pozzo, Uffizi, 122-123
Sposalizio, SS. Annunziata, 125
portraits, 125-129
frescoes, Chiostro dello Scalzo, 130
fresco, Poggio a Caiano, 131
list of various works, 132
Francia, Francesco, 64, 92, 110 n.,
120 n., 125
Francia, Giacomo, 94
Francis L, 85, 179, 180, 181, 183, 184,
192
Frederick II., Marquis of Mantua, 184,
185
Frizzoni, Dr. G., 17 n., 21 n., 27, 48,
106 n.
Fungai, 1-5, 7
Gamba, Conte C., 48
Gaye, Dr., 6 n., 24 n., 25 n., 26 n.,
31 n., 34 n., 38 n., 44 n., 79 n.,
118 n., 119 n., 135 n., 140 n., 145 n.,
153 n., 157 n., 159 n.
Gentile da Fabriano, 6 n.
Gerino da Pistoia, 7 n.
Gherardini, Alessandro, 92 n.
Gherardo, 34, 36
Ghiberti, 22
Ghirlandai, The, 153
Ghirlandaio, Benedetto, 120 n., 138,
139, 142 n., 154
Ghirlandaio, David, 120 n., 138, 139,
145, 149, 153, 154
Ghirlandaio, Domenieo, 32, 42, 44, 52,
56, 58, 115, 138, 139 n., 140, 141 n.,
143, 146, 147, 153, 154, 155, 156,
166, 170, 173, 174, 177, 180, 189
Ghirlandaio, Ridolfo, 38 n., 45, 46,
49 n., 53 n., 109, 112, 115, 117 n.,
122 n., 126 n., 138-153, 157, 159, 163
birth, 140
Procession to Calvary, National Gal-
lery, 140-141
Nativity, Hermitage, 143
influenced by Raphael and Fra
Bartolommeo, 144-145
Miracles of St. Zanobius, Uffizi, 146
INDEX OF PERSONS
217
Ghirlandaio, Ridolfo —
works of ephemeral character, 147-
148, 150
death, 150
list of various works, 150-152
list of missing works, 151 n.-152 n.
Giamberti, Francesco, 48, 49 n.
Gian Jacopo di Castrocaro, 39
Giorgione, 64, 68 n.
Giotto, 10 n., 18, 52, 58, 180
Giovanni delle Bombarde, 8
Girolamo da Treviso, 25
Girolamo del Pacchia, 2, 7-12, 28 n.,
117, 132 n.
Girolamo di Benvenuto, 9
Giuliano da Gagliano, 71
Giuliano da San Gallo, 48, 49 n., 57
Giuliano del Tasso, 147
Giulio Romano, 20, 116 n., 185, 186
Gonzaga, Elisabetta, 144 n.
Gozzoli, Benozzo, 68
Granacci, Francesco, 28 n., 45, 46, 95,
109, 138, 140, 141, 143, 144, 146,
147, 148, 153-160, 163, 182 n., 183
birth, 153
assistant to Domenico and David
Ghirlandaio, 153
friendship with Michael Angelo, 153-
154
early activity, 154-156
Assumption, Reigate, 157
fails to satisfy Michael Angelo at the
Sixtine Chapel, 158
death, 159
list of various works, 160 n.
Gronau, Dr. G., 31 n., 37 n., 144 n.
Gualandi, M., 33 n., 39, 43 n., 133 n.,
139 n., 157 n.
Guasti, Cesare, 33 n., 51 n.
Guglielmo di Marcilla, 149
Guicciardini, 119 n.
Harck, Dr. P., 5 n.
Hermanin, Professor P., 13 n.
Hinckworth, Cardinal, 25
Home, Mr. Herbert, 48, 77 n.
Hurault, Jacques, 72
Innocenzo da Imola, 108, 114, 116, 137
Jacopo da Empoli, 175
Jacopo del Sellaio, 115, 117 n., 149
Jacopo di Sandro, 147
Julius II., 14, 15
Knapp, Dr. P., 48, 49 n., 51 n., 56 n.,
70 n., 81 n., 94 n., 98 n., 103 n.,
108 n.
Lamo, P., 24 n., 25
Lanzi, 17 n., 18 n., 53 n.
Lapaccini, Fra Filippo, 54
Leo X., 24, 25, 86, 111, 118 n., 119 n.,
120 n., 147, 148, 159, 172, 177, 178,
182, 184, 185, 186
Leonardo da Vinci, 18, 30, 32, 33, 34,
35 n., 36 n., 37, 40, 47, 52, 53, 56,
57, 58, 59, 60, 61, 62, 64, 65, 68,
70, 76, 83, 85, 88, 106, 107, 114 n.,
115, 116, 123, 125, 127, 134, 140,
141, 142, 156, 157, 163, 164, 168,
172, 173, 174, 175 n., 176, 180, 180
Leonora da Toledo, 150
Liphart, Herr von, 141 n.
Lippi, Filippino, 40, 44, 46, 52, 56, 65,
71, 72 n., 77 n., 108 n., 113, 124,
153, 157, 164 n.
Lippi, Fra Filippo, 38, 58
Lodovico il Moro, 33, 57
Loeser, Mr. C., 31 n., 42 n.
Loevinson, E., 80 n.
Lomazzo, 16 n., 20 n.
Lorenzstti, The, 18
Lorenzetto, 163
Lorenzo di Credi, 30-42, 46, 65, 66, 76,
107, 132, 133, 134, 135, 136, 141,
145 n., 150, 151, 155 n., 163
birth and parentage, 30
assistant to Verrocchio, 31
imitates Leonardo, 32-33
altarpieces at Pistoia, 34-35
Adoration of the Shepherds, Florence
Academy, 37-38
death, 38
list of various works, 38-42
list of lost works, 42 n.
Lorenzo di Piero, 43
Louis XII., 72
Luini, 37, 38
Luini, The, 33
Macchiavelli, Niccold, 170
Mackowsky, Dr. H., 155 n.
Magini, Baldo, 152 n.
Mainardi, Bastiano, 92, 152, 155 n.
Malvasia, 114
Mancini, 13 n.
Marchese, 36 n., 53 n., 54 n., 55 n.,
60 n., 61 n., 62 n., 67 n., 68 n.,
69 n., 70 n., 71 n., 72 n., 74 n.,
76 n., 77 n., 78 n., 80 n., 84, 85,
86 n., 89 n., 90 n., 93, 97 n., 98, 99,
100 n., 101, 102, 104, 106 n., 110 n.
Mariano da Pescia, 92, 136, 144 n., 152,
153
Mariano, Fra (Fra Mariano Fetti del
Piombo), 24, 79
218
INDEX OF PERSONS
Mariano, Fra (Sacristan of SS. Annun-
ziata, Florence), 165, 170
Martini, Simone, 9, 18
Masaccio, 52, 58, 140, 155 n., 174, 180
Mather, Mr. F., 77 n.
Mattei, Countess, 200
Matteo da Siena, 2, 3 n., 4 n., 5 n.
Maturino, 163
Mazzini, 99 n.
Mazzolino, 25
Medici, Alessandro de', 170
Medici, Alfonsina de', 105
Medici, Cardinal Giulio de', 181, 184
Medici, Cosimo de', 150
Medici, Donate dei, 35 n.
Medici, Francesco de', 150
Medici, Giuliano de', 21, 128 n., 130,
147, 148, 178 n.
Medici, Giulio de', 128 n.
Medici, Ippolito de', 170
Medici, Lorenzo de' (Duke of Urbino),
130, 148
Medici, Lorenzo de' (il Magnifico), 154,
170
Medici, Ottaviano de', 169, 181, 184,
185, 192, 196
Medici, Pier Francesco de', 128
Menichini, The, 204 n.
Michael Angelo, 1, 17, 18, 20, 22, 27,
34, 44 n., 52, 53, 56, 57, 58, 60, 61,
76, 79, 81, 113, 115, 116, 117, 118,
119, 120, 140, 150, 153, 154, 156,
157, 158, 159, 162, 172, 174, 176,
179, 180, 191
Michael Angelo of Siena, 25
Michele di Ridolfo, 39, 53 n., 95, 102
141 n., 144 n., 149, 150, 151, 152
Milanesi, Gaetano, 1, 2, 5 n., 8 n., 35 n.,
43 n., 50 n., 118 n., 162 n., 172 n.,
188
Mini, Giovan Battista, 119, 193
Mogalli, Cosimo, 195 n.
Monte, 34
Monte, Panfilio dal, 24
Morelli, Giovanni, 28 n., 29 n., 39 n.,
93 n., 94 n., 100 n., 106 n., 142 n.,
160 n.
Moro, Antonio, 132
Morrona, 135 n.
Miindler, Otto, 100 n., 122 n.
Nagler, 126 n.
Nanaccio, 177 n., 200, 203
Nanni Unghero, 168
Nelli, Suor Plantilla, 104
Niccolo della Magna, Fra, 66 n.
Nicholas V., 86
Nicola, Dr. G. De, 4 n.
Occhini, P. L., 135 n.
Oderigo di Credi, 30
Olcott, Miss Lucy, 27 n.
Orcagna, 52, 58
Pacchiarotti, 1-9, 11, 12, 27
Pagnini, Santi, 61, 62, 69, 77, 84
Palla, Giovambattista della, 183, 192,
193, 202
Panciatichi, Jacopo, 84
Paolino, Fra, 73 n., 74, 78, 84, 90, 92, 93,
94, 96, 99-104
Paolo da Terrarossa, 192, 193
Passavant, 2 n., 93, 97, 98, 122, 152,
159 n.
Passerini, Silvio, 170
Pecori, Canon, 102
Perini, Domenico, 106 n.
Perino del Vaga, 133, 134
Perkins, Mr. F. Mason, 3 n., 5 n., 113 n.,
152 n.
Perugino, 1, 4, 5 n., 7, 15, 30, 32, 34,
39 n., 42 n., 64, 65, 66, 76, 91,
105 n., 109, 113, 124, 146, 152 n.,
164 n., 186, 187
Peruzzi, Baldassare, 12-29
birth, 12
first sojourn in Rome, 12-24
frescoes in S. Onofrio, 13
mosaics in S. Croce in Gerusalemme,
14
fresco in the Vatican, 14-15
frescoes in the Farnesina, 16-20
frescoes in S. Maria della Pace, 21-23
visit to Bologna, 24-25
second stay in Rome, 25
sojourn at Siena, 26-28
return to Rome, 28-29
death, 29
Peruzzi, Giovanni, 12 n.
Petrucci, Pandolfo, 5 n.
Pia, Emilia, 144 n.
Pianciatichi, Bartolommeo, 193
Piccinelli, Andrea. See Andrea del
Brescianino
Piccinelli, Raffaello, 27, 28 n.
Piccolomini, Andrea, 5 n.
Pier Francesco di Sandro, 49 n.
Piero da Volterra, 12, 26
Piero della Francesca, 7, 14, 154
Piero di Cosimo, 39, 42-49, 52, 53, 56,
65, 121, 140, 141, 142, 144, 146,
155, 156, 162, 163, 194
character as depicted by Vasari, 42-43
birth, 43
assistant to Cosimo Rosselli, 43-44
altarpicce at S. Pietro al Terreno, 44-
45
INDEX OF PERSONS
219
Piero di Cosimo —
Immaculate Conception, Uffizi, 45-46
mythological pictures, 46-47
list of various works, 48-49
list of missing works, 49 n.
death, 49
Pietro da Cortona, 70
Pietro di Domenico, 4 n.
Pinturicchio, 1, 2, 3, 7, 10, 12, 13, 14,
15 n., 18, 28 n.
Pio, Cardinal, 21
Pius III. (Francesco Piccolomini), 5 n.,
12
Poggi, Dr. Giovanni, 146 n., 171 n.
Pollaiuolo, Antonio, 19, 32, 44
Pontonno, 108, 113, 119 n., 122, 131,
171, 172, 173, 177, 181, 183, 193,
196, 197, 198, 201, 202
Ponzetti, Fernando, 21 n., 23
Poussin, Nicholas, 24 n.
Puccini, Giovambattista, 179
Puligo, Domenico, 94, 95, 96, 103, 113,
159, 194, 196, 198, 200, 201, 202, 203
Raffaellino del Garbo, 42, 48
Raffaello dal Colle, 96
Ramazzotti, Armaciotto de', 187 n.
Raphael, 1, 8, 11 n., 14, 15, 16 n., 17,
18, 20, 21, 22, 24, 25, 28 n., 52,
53, 56 n., 58 n., 59, 61, 62, 63, 64,
65, 66, 68, 70, 73, 75, 78, 79, 80,
81, 93, 95, 97, 98, 110 n., 112, 117,
118 n., 120 n., 122, 123, 125, 126,
127, 128, 142, 143, 144, 145, 149 n.,
151, 152, 158, 159, 163, 167, 174,
176, 179, 180, 184, 185, 186
Razzi, 62 n., 63 n.
Rembrandt, 89
Reni, Guido, 20
Renzo da Ceri, 6 n.
Reumont, A. von, 135, 169 n., 176 n.,
179 n., 182, 192, 194
Riario, Cardinal, 21
Richa, 34 n., 38, 42 n., 49 n., 98, 99,
152 n.
Ridolfi, E., 85 n., 106
Rinaldo of Mantua, 25 n.
Ris, Clement de, 193
Robbia, Andrea della, 167
Robbia, Fra Ambrogio della, 55
Rosselli, Cosimo, 43, 44, 45, 50, 51, 52,
53, 55, 56, 58, 63, 65, 105, 106, 140,
142, 143, 155, 165
Rossi, Cardinal de1, 118 n.
Rosso, 134, 147, 163, 197
Rubens, 89
Rumohr, Baron von, 2 n., 49 n., 56 n.
Rustici, 168, 169, 178
Salviati, Filippo, 55, 71
Salviati, Francesco, 198, 200, 203
Sanford, Rev. J., 195 n.
Sansovino, Jacopo, 123, 147, 163, 168,
175, 178
Santo di Tito, 135
Sartini, Tomaso, 81 n.
Savonarola, 36, 54, 55, 56, 57, 61,
67
Scala, Giuliano, 191
Schomberg, Fra Niccolo, 118 n.
Sebastian del Piombo, 17, 24, 55 n.,
118 n., 129
Seccadinari, Ercole, 25
Serlio, 16, 20 n.
Sforza, Catherine, 40
Sguazzella, 180, 203
Signorelli, Luca, 1, 7, 14, 60, 144 n.
Siren, Professor 0., 48, 118 n.,
141 n.
Sixtus IV., 26, 43
Soderini, The, 163 n.
Sodoma, 1, 2 n., 7, 9, 10, 12, 13, 15, 18,
19, 23, 27, 28 n., 112
Soggi, Niccold, 137
Sogliani, Giovanni Antonio, 39, 92, 94,
95, 97, 100 n., 112, 113, 130 n., 132-
137, 199
birth, 133
assistant to Lorenzo di Credi, 133
Martyrdom of St. Arcadius, S.
Lorenzo, Florence, 133
Immaculate Conception, Uffizi, 133-
134
works at Pisa, 134-135, 137 n.
death, 135
list of various works, 135-137
Solario, Andrea, 33
Steinmann, Professor E., 43 n.
Strozzi, Filippo, 192
Stuart, James, 193
Suida, Professor W., 120 n.
Supino, 134 n., 137 n.
Taia, 2 n.
Temanza, 38 n., 168 n.
Tigri, 99 n.
Titi, 13 n.
Titian, 17, 18, 89, 176
Tolomei, 85 n., 99 n., 102
Tommaso di Stefano, 39
Tribolo, 25, 163
Uccello, 119 n., 166
Ugurgieri, 8 n.
Valle, Guglielmo della, 2 n., 6 n., 27 n.,
54 n.
220
INDEX OF PERSONS
Valori, Baccio, 118 n., 119, 193, 195
Vasari, 1, 2, 6 n., 12 n., 13 n., 16, 17,
20, 21 n., 24 n., 25, 26 n., 29, 30 n.,
31 n., 32, 34 n., 36, 37 n., 38, 39,
40, 42, 43, 44, 45, 46 n., 47 n., 48,
49, 50 n., 52 n., 53 n., 54 n., 55 n.,
56, 57, 58 n., 60 n., 62 n., 63, 64,
66 n., 67 n., 68 n., 69 n., 70 n.,
71 n., 72, 74 n., 75, 77, 79, 80,
81 n., 83 n., 84 n., 86, 88, 89, 90 n.,
91, 98, 99, 104, 105, 108 n., 109 n.,
Ill, 112 n., 113, 114, 115 n., 118,
119 n., 120 n., 121, 122, 123, 124,
125, 126, 128, 129 n., 130 n., 131,
132, 133 n., 135, 137, 138, 139 n.,
140 n., 141 n., 142, 143, 145, 146 n.,
147 n., 148 n., 149 n., 150 n., 151,
152, 153 n., 154, 155, 156 n., 157 n.,
158 n., 159 n., 160 n., 161 n., 162 n.,
163, 164, 165 n., 167, 168 n., 169 n.,
170, 171 n., 172, 173, 176, 177,
178 n., 179, 180 n., 181, 182 n.,
183, 184 n., 185, 186, 187 n., 188,
189 n., 191, 192, 193, 194, 195, 201
Venturi, Professor A., 160 n.
Veronese, Paul, 181
Verrocchio, Andrea del, 30, 31, 32, 33,
34, 35 n., 36 n., 37, 40, 47 n., 56,
106, 141 n.
Vignola, G. B., 24 n.
Visino, 113, 114
Vitnivius, 16
Vivarini, 4
Waagen, G. F., 25 n., 28 n., 129 n.,
159 n.
Wicar, M., 123 n.
Zacchia, 44
Zaganelli, Francesco, 197 n.
Zaganelli, The, 197
Zanobi del Maestro, 108 n.
L
BILLING AND SONS, LTD., PRINTERS, OUILDFOUD
ND Crowe, (Sir) Joseph Archer
611 A history of painting in Italy
C75
1903
v.6
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