•CM
!O>
iOO
•CD
CO
JACOPO CARUCCI DA PONTORMO
PUBLISHED ON THE FOUNDATION
ESTABLISHED IN MEMORY OF
HENRY WELDON BARNES
or THE CLASS OF 1882, YALE COLLEGE
THE HENRY WELDON BARNES MEMORIAL
PUBLICATION FUND
The present volume is the fifth work published by the
Yale University Press on the Henry Weldon Barnes
Memorial Publication Fund. This Foundation was estab-
lished June 16, 1913, by a gift made to Yale University by
William Henry Barnes, Esq., of Philadelphia, in memory
of his son, a member of the Class of 1882, Yale College, who
died December 3, 1882. While a student at Yale, Henry
Weldon Barnes was greatly interested in the study of litera-
ture and in the literary activities of the college of his day,
contributing articles to some of the undergraduate papers
and serving on the editorial board of the Yale Record. It
had been his hope and expectation that he might in after-
life devote himself to literary work. His untimely death
prevented the realization of his hopes, but by the estab-
lishment of the Henry Weldon Barnes Memorial Publication
Fund his name will nevertheless be forever associated with
the cause of scholarship and letters which he planned to
serve and which he loved so well.
JACOPO CARUCCI
DA PONTORMO
HIS LIFE AND WORK
BY
FREDERICK MORTIMER CLAPP
WITH A FOREWORD BY
FRANK JEWETT MATHER, JR.
• /. \
NEW HAVEN: YALE UNIVERSITY PRESS
LONDON: HUMPHREY MILFORD
OXFORD UNIVERSITY PRESS
MDCCCCXVI
COPYRIGHT, 1916
BY YALE UNIVERSITY PRESS
First published, October, 1916
ND
PIC 5 8
AVAILABLE
;Si vede apertamente che quel cervello
andava sempre investigando"
— Vasari
TO
M. C. C.
FOREWORD
If Mr. Clapp's book, instead of appearing in the century
of Picasso, had appeared in that of Pontormo, there would
have been prefatory sonnets written by friends who believed
in the artist and in the author. Believing in both myself, I offer
a kind of substitute in plain prose, for the author, who is an
accomplished poet and therefore well able to write his own
complimentary verses, evades the task.
It is a significant fact that Mr. Clapp's first considerable
publication on his favorite artist, "Les Dessins de Pontormo,"
was written in French and published in Paris. Nor is it
betraying confidence to tell that the present book in its trial
stages existed in a French version. The fact that Mr. Clapp
has to this extent assimilated the French language is interesting,
but it is far more important to note that he has equally assimi-
lated certain solid merits and enlivening graces of French
scholarship. I shudder when I think what a German or a
Germanized American scholar would have made of the subject
of Pontormo. In his solitary, experimental career, in the now
elegiac, now tragic flavour of his personal poetry, there was
every opportunity and temptation for indulgence in the irre-
sponsible joys of sentimentalism. In the mere physical abun-
dance of new data, there was every incentive to shoot it all into
one of those imposing academic rubbish heaps which in mere
bulk are more impressive than real books, as they are of more
portentous effect upon the benevolent commonalty.
What is remarkable about Mr. Clapp 's book is not that he
has avoided deliberate gush and casual disorder — one trusted
the fine man of letters in him for so much — but rather that he
has lured and compelled into his long task positive qualities of
orderliness, lucidity, and discipline. With a vast and easily
confusing mass of material, he has been content to wait until
XI
FOREWORD
the place appeared where each fact not merely might but must
be taken up into the fabric of the book. This means that, while
the book is thickly set with data, the gentle reader will find an
uncluttered fairway.
Notable too is the way in which narrative and comment
have been knit into one structure. Criticism remains unpre-
tentious and chiefly implicit. The close and logical order of the
exposition builds up a kind of persuasive portrait, which is on
the whole left to the reader's judgment. It is a satisfactory
procedure, indicative of probity in the author, and compli-
mentary withal to the reader's intelligence. Mr. Clapp not
merely keeps a facile subjectivity out of his task of research,
but so conducts the work that, even under that self-denying
ordinance, it eventuates as a contribution to literature. While
re-reading the proof sheets I have had a haunting image of one
of those precise, complete, and austerely attractive portraits
by Philippe de Champaigne, in which the conscience of the eye
and hand constitute the style. Mr. Clapp is fortunate in being
one of the first to naturalize in our scanty literature of art these
sterling traits of the Gallic spirit.
FRANK JEWETT MATHER, JR.
Xll
PREFACE
When early one morning, some years ago, I went into the
church of Santa Felicita in Florence, I did not know that I was
taking the first step in a task that has since then occupied all
my leisure. It was in the autumn, and I imagined — it seems
to come back to me — that on such a sunny day it might be
possible to see an altar-piece at which I had often peered in vain
in the darkness of the Capponi Chapel. I was not mistaken.
The light, slanting through the upper windows of the nave,
was falling even into that dimmest of corners and, in the
fugitive splendour, for the first time I really saw Pontormo's
"Deposition."
The moment was one of unexpected revelation. As I
studied the picture with amazement and delight, I became
conscious not only of its beauty but of the blindness with which
I had accepted the prejudice of those for whom Andrea del Sarto
is the last great Florentine artist and his younger contem-
poraries, one and all, mere facile eclectics whose work Vasari
summed up in the frescoes of the Palazzo Vecchio.
I had discovered Pontormo. Little by little I made my
way through the neglect into which he had fallen, and he became
for me a living person. His solitary aloofness appealed to me,
his disdain of patronage, and the passion with which he
pursued the phantom of a more creative, a more personal
form of expression than the graphic arts are perhaps capable
of affording.
His drawings quickened my sense of his evolution. They
are more numerous than those of any other Tuscan who worked
before 1550. And, as I turned them over through many months,
I experienced, again and again, moments of the intellectual
pleasure that comes from the recognition of rare and significant
things. At that time Mr. Bernhard Berenson's essay in his
"Drawings of the Florentine Painters" was the only attempt
xin
PREFACE
that had been made to estimate the importance of Pontormo's
sketches, and in studying them I found it an unfailing source
of illumination. More recently a splendid folio of facsimiles,
published under the auspices of the Uffizi Gallery, has made a
limited selection of them known to a larger public.
But Pontormo was a greater draughtsman than anyone has
realized. I have, indeed, come to feel that his drawings alone,
with all of which I have dealt exhaustively in my "Dessins de
Pontormo," are enough to give him a place among the greatest
names in Italian art.
The lunette at Poggio a Cajano and his portraits, many of
which have been ascribed to other masters, were my next
enthusiasm. From them it was clear to me that Pontormo
was a decorator, at times unsurpassed in his sense of the
exquisitely appropriate, a subtle reader of the souls of men and,
in more ways than one, the founder of modern portraiture.
The book is divided into eight parts: a critical study of
Pontormo's life; a catalogue raisonne of his authentic works;
a catalogue raisonne of the pictures that have been ascribed
to him; a catalogue of the pictures attributed to him at sales
and in loan exhibitions; a catalogue of paintings and frescoes
that have been destroyed, lost, or are as yet unidentified; an
appendix in which I have discussed his apprenticeship in
greater detail than was advisable in the text itself ; an appendix
in which I have transcribed thirty-six documents relative to
his career, most of which are now printed for the first time;
an appendix that consists of a transcript of his diary, which has
never before been published, and a chronological reconstruction
of its pages followed by analyses of the material it contains.
The Index, which is alphabetical and analytical, refers to
the notes as well as to the text. No bibliography has been added
because, with the exception of the brief notices in the Uffizi
folio of his drawings, Berenson's essay, my " Dessins," and a
few scattered articles devoted chiefly to individual pictures,
nothing that is not a mere repetition of Vasari's narrative has
been written on the subject. A complete running bibliography
of the references to Pontormo that occur here and there in the
XIV
PREFACE
literature of the history of art will be found in the footnotes
and in the bibliographies of the catalogues raisonnes.
In the Catalogue of Authentic Pictures I have studied the
seventy surviving works that I believe to be genuine. After
the text itself this is the most important part of the book. In
the Catalogue of Attributed Pictures I have examined in detail
one hundred and nine pictures which I am persuaded have
been erroneously given to Pontormo. Some of these are still
ascribed to him; others now bear names concerning the fitness
of which I am not always in accord with other critics. In the
case of a few others, notably the "Pieta," in the Academy at
Florence, the "Portrait of a Man," in Stuttgart, the "Portrait
of a Lady," in Turin, and the two portraits in the Jarves
Collection, further study has modified the opinion that I
expressed in my "Dessins." This catalogue, by the strange
diversity of the pictures it contains, reveals the vague impres-
sions and misapprehensions that have prevailed about Pon-
tormo's manner. Since, in a way, it defines by elimination some
of the qualities that distinguish his work, it may serve a purpose
and prevent, in some measure, the repetition of false attribu-
tions. In it will be found three pictures ascribed to Pontormo
by Berenson, which I have not seen and of which I have not
been able to obtain photographs. No attributions could carry
greater weight or deserve more scrupulous attention. I have,
however, not felt that I could stand sponsor for the authenticity
of any picture with which I am personally unacquainted.
In both catalogues all the known material related to each
picture is, for the sake of easy reference, arranged in the
following order: (1) the title preceded by the collection or
gallery number; (2) a detailed description of the composition
and the colour; (3) the "precedes" and the size; (4) a critical
account of the history of the picture, its derivation, iconography,
significance, and influence upon other pictures; (5) its condi-
tion; (6) its date; (7) all preparatory drawings now known to
exist with all photographs or reproductions that have been made
of them; (8) documents; (9) reproductions, including copies
and engravings; (10) bibliography.
XV
PKEFACE
In addition to the pictures cited in the two catalogues just
mentioned, there are thirty-eight others ascribed to Pontormo
in catalogues of sales and loan exhibitions. These and all
details known about them I have placed, as a matter of record,
in a third catalogue, although such attributions are in general
quite arbitrary and have no value for the antiquarian, unless
he has been able to examine the panels or canvases in question,
most of which cannot now be traced. An illustration, however,
has not infrequently been sufficient to convince me that the
picture to which it refers has without reason been thought to
be a Pontormo.
Last, in this part of the book, comes the list of forty-four
works, now lost or unidentified. They are ascribed to Pontormo
by the documents, by Vasari, or by other early writers, and
among them several, with which many drawings that survive
can be identified, are of peculiar interest.
The ideal of absolute completeness that I have kept before
me is, I am fully aware, unattainable in catalogues of this kind.
Pictures and drawings, attributed to Pontormo and as yet
unknown to me, may at any time make their way into the market
or be referred to in articles concerned with more or less obscure
collections.
Except for a few cases where measurements in feet or inches
have been cited, the size of pictures and drawings is given in
metres or centimetres.
The transcriptions of the documents and of Pontormo 's
diary reproduce exactly the form, spelling, and abbreviations
of the originals.
In the course of my researches I have made more than three
hundred photographs. From these I have drawn most of my
illustrations, all of which have been placed in chronological
order, between the text and the Catalogue of Authentic Pictures
to facilitate reference to them from either the former or the
latter. They should not only help the reader to follow Pon-
tormo's development as an artist but enable him to trace the
evolution of some of the more important paintings. To give a
fuller idea of Pontormo 's draughtsmanship I have included
XVI
PREFACE
illustrations of a few drawings which I have discussed so fully
in my "Dessins" that further reference to them in this book
seemed superfluous.
My thanks are especially due to George Pannly Day, Esq.,
without whose generous and sympathetic interest this book
might never have been printed; to Frank Jewett Mather, Jr.,
who has consented to give my work the authority and interpre-
tation of a foreword from his pen ; to H. G. Dwight, Esq., who
has pointed out to me certain pictures ascribed to Pontormo
and who has read the proofs ; to Mrs. Katharine Hooker, for her
constant encouragement and help; to J. V. Alden, Esq., for
information about the pictures known as Pontormos in
America, to the accuracy of which I am now able to testify;
to Porter Garnett, Esq., whose knowledge of typography has
helped me to avoid errors into which I might otherwise have
fallen; to Signor O. H. Giglioli; to L. D. Caskey, Esq.; to
Carleton L. Brownson, Esq.; to E. Byrne Hackett, Esq.; to
Signor Gino Carlo Sensani, for verifying the reading of three
documents, for transcribing the sonnets on Pontormo 's death
and for sending me photographs and descriptions of several
attributed pictures on which my notes were incomplete; to
Dr. Osvald Siren, for suggestions with regard to the pictures
ascribed to Pontormo in the Jarves Collection, the catalogue of
which he has recently written with scholarly acumen ; to William
Clifford, Esq., for access to the shelves of the Library of the
Metropolitan Museum in New York, a courtesy that greatly
facilitated and shortened my work there; to Bernhard Beren-
son, Esq., to whose books I owe the beginning of my interest
in Italian art; to M. Henry Lemonnier, membre de 1'Institut,
M. Emile Bertaux, and M. Emile Male, whose fine sense of
values, clarity of vision and flexible thoroughness of method
have been my touchstone in the pursuit of these studies. I must
also acknowledge my gratitude to the publishers who generously
allowed me to increase the scope of the illustrations when the
book was in course of preparation.
F. M. C.
XVll
TABLE OF CONTENTS
PAGE
Foreword by Frank Jewett Mather, Jr. .... xi
Preface .......... xiii
Chapter
I. 1494-1512 1
II. 1512-1518 7
III. 1518-1520 18
IV. 1520-1522 28
V. 1522-1527 37
VI. 1527-1530 51
VII. 1530 to 1545 and Later 58
VIII. 1545-1557 73
IX. Portraits 82
X. Last Years : His Life from Day to Day ... 89
Paintings and Drawings by Pontormo, following . . 98
Catalogue Raisonne of Authentic Frescoes and Pictures . 101
Catalogue Raisonne of Pictures Attributed to Pontormo . 193
Catalogue of Pictures Attributed to Pontormo in Catalogues
of Sales and Loan Exhibitions ..... 241
Catalogue of Lost Pictures ...... 253
Appendix I: Note on the Apprenticeship of Pontormo . 267
Appendix II : Documents Relative to the Life of Pontormo 271
Appendix III: Diary of Pontormo 295
Index 321
xix
LIST OF ILLUSTRATIONS
Illustrations are grouped between pages 98-99
Fig. 1. "The Hospital of San Matteo," Academy, Florence
/Fig. 2. Madonna and Saints, Chapel of San Luca, SS. Ammnziata,
Florence
Fig. 3. Study for San Luca Madonna and Saints (Print Eoom,
Dresden)
Fig. 4. Study for the San Luca Madonna and Saints (Uffizi 6676
verso, Florence)
l/ Fig. 5. The Visitation, SS. Annunziata, Florence
Fig. 6. Study for the Visitation in SS. Annunziata, Florence
(Uffizi 6603, Florence)
Fig. 7. Study for the Visitation in SS. Annunziata, Florence
(Uffizi 6542, Florence)
Fig. 8. Study for the Baptist of the Carro della Zecca (Uffizi 6581
verso, Florence)
Fig. 9. Study for a Lost Pieta (Uffizi 6690 verso, Florence)
Fig. 10. Portrait of an Engraver of Precious Stones, Louvre 1241,
Paris
Fig. 11. Study for the Lost Santa Cecilia of the Oratory of Santa
Cecilia in Fiesole (Corsini 124161, Rome)
Fig. 12. Sketch for the Lost Santa Cecilia of the Oratory of Santa
Cecilia in Fiesole (Uffizi 6694, Florence)
^ Fig. 13. Madonna and Saints, San Michele Visdomini, Florence
Fig. 14. Sketch for the Madonna and Saints of San Michele Vis-
domini (Corsini 124232, Rome)
Fig. 15. Sketch for the Madonna and Saints of San Michele Vis-
domini (Corsini 124244, Rome)
Fig. 16. Sketches for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6551, Florence)
Fig. 17. Sketch for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6551 verso, Florence)
xx
LIST OF ILLUSTRATIONS
Fig. 18. Sketch for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6545, Florence)
Fig. 19. Sketch for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6744 verso, Florence)
Fig. 20. Study for the Madonna and Saints of San Michele Vis-
domini (Uffizi 654, Florence)
Fig. 21. Study for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6662, Florence)
Fig. 22. Study for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6581, Florence)
Fig. 23. Study jEor the Madonna and Saints of San Michele Vis-
domini (Uffizi 6744, Florence)
Fig. 24. Study for a Lost Madonna and Child (Uffizi 6729,
Florence)
Fig. 25. Study for the Joseph Discovering Himself to His Brethren
in the Collection of Lady Desborough, Panshanger
(Uffizi 6692, Florence)
Fig. 26. Joseph Discovering Himself to His Brethren, Collection
of Lady Desborough, Panshanger
Fig. 27. The Baker Led Out to Execution, Collection of Lady
Desborough, Panshanger
Fig. 28. Study for the Joseph Discovering Himself to His Brethren
(Uffizi 6542 verso, Florence)
Fig. 29. Study for the Baker Led Out to Execution (Uffizi 6690,
Florence)
Fig. 30. Joseph Sold to Potiphar, Collection of Lady Desborough,
Panshanger
Fig. 31. Study for the Joseph Sold to Potiphar (Uffizi 6556,
Florence)
Fig. 32. Study for the Joseph Sold to Potiphar (Uffizi 6692 verso,
Florence)
Fig. 33. The Adoration of the Magi, Palazzo Pitti 379, Florence
Fig. 34. Study for the Adoration of the Magi (Uffizi 6722, Florence)
Fig. 35. St. John the Evangelist, San Michele in Pontormo
Fig. 36. St. Michael, San Michele in Pontormo
Fig. 37. Study for St. John the Evangelist and for the Hands of
St. Michael of San Michele in Pontormo (Uffizi 6571,
Florence)
Fig. 38. Study for a Portrait of a Youth (Uffizi 452, Florence)
XXll
LIST OF ILLUSTRATIONS
Fig. 39. Study for a Lost Pieta (Uffizi 300 F, Florence)
Fig. 40. Study for St. Michael of San Michele in Pontormo (Uffizi
6506, Florence)
Fig. 41. Portrait of a Youth, Palazzo Bianco 6, Genoa
Fig. 42. Portrait of Cosimo il Vecchio, Uffizi, Florence
Fig. 43. Study of Three Nudes (Uffizi 672, Florence)
Fig. 44. Study of Three Nudes (Uffizi 442, Florence)
Fig. 45. Study of a Man (Uffizi 6571 verso, Florence)
Fig. 46. Study of a Nude (Uffizi 6504, Florence)
Fig. 47. Three Sketches of a Nude (Uffizi 6516 verso, Florence)
Fig. 48. Portrait of a Boy, Trivulzio Collection, Milan
Fig. 49. Study of a Youth (Uffizi 6682, Florence)
Fig. 50. Pomona and Vertumnus, Lunette in the Medicean Villa at
Poggio a Cajano
Fig. 51. Right Half of the Lunette, in the Medicean Villa at Poggio
a Cajano
Fig. 52. Left Half of the Lunette, in the Medicean Villa at Poggio
a Cajano
Fig. 53. Sketches for the Lunette at Poggio a Cajano (Uffizi 6660
verso, Florence)
Fig. 54. Sketches for the Lunette at Poggio a Cajano (Uffizi 6557,
Florence)
Fig. 55. Study for the Lunette at Poggio a Cajano (Uffizi 6673,
"Florence)
Fig. 56. Sketch for the Lunette at Poggio a Cajano (Uffizi 6514,
Florence)
Fig. 57. Sketch for the Lunette at Poggio a Cajano (Uffizi 6515
verso, Florence)
Fig. 58. Study for the Lunette at Poggio a Cajano (Uffizi 6673
verso, Florence)
Fig. 59. Study for the Lunette at Poggio a Cajano (Uffizi 6544,
Florence)
Fig. 60. Study for the Lunette at Poggio a Cajano (Uffizi 6555,
Florence)
Fig. 61. Study for the Lunette at Poggio a Cajano (Uffizi 6731,
Florence)
Fig. 62. Sketch for the Lunette at Poggio a Cajano (Uffizi 6662
verso, Florence)
XXlll
LIST OF ILLUSTRATIONS
Fig. 63. Study for the Lunette at Poggio a Cajano (Uffizi 6531,
Florence)
Fig. 64. Study for the Lunette at Poggio a Cajano (Uffizi 6547,
Florence)
Fig. 65. Sketch for the Lunette at Poggio a Cajano (Uffizi 6646,
Florence)
Fig. 66. Sketch for the Lunette at Poggio a Cajano (Uffizi 6661,
Florence)
Fig. 67. Studies for the Lunette at Poggio a Cajano (Uffizi 6669
recto, Florence)
Fig. 68. Studies for the Lunette at Poggio a Cajano (Uffizi 6669
verso, Florence)
Fig. 69. Study for the Lunette at Poggio a Cajano (Uffizi 6651,
Florence)
Fig. 70. Study for the Lunette at Poggio a Cajano (Uffizi 6559,
Florence)
Fig. 71. Study for the Lunette at Poggio a Cajano (Uffizi 6685
recto, Florence)
Fig. 72. Study for the Lunette at Poggio a Cajano (Uffizi 6579,
Florence)
Fig. 73. Study for the Lunette at Poggio a Cajano (Uffizi 454,
Florence)
Fig. 74. Study for the Lunette at Poggio a Cajano (Uffizi 455,
Florence)
Fig. 75. Study of a Nude (Uffizi 6727 recto, Florence)
Fig. 76. Study for a Young Baptist in the Wilderness (Uffizi 6597,
Florence)
Fig. 77. Study of Three Nudes (Stadel Institute 4288, Frankfort)
Fig. 78. Study of Three Nudes (Uffizi 6677 verso, Florence)
Fig. 79. Christ before Pilate, Cloister of the Certosa, near Florence
Fig. 80. The Way to Golgotha, Cloister of the Certosa, near Flor-
ence
Fig. 81. The Risen Christ, Cloister of the Certosa, near Florence
Fig. 82. The Supper at Emmaus, Academy 190, Florence
Fig. 83. Sketch for a Projected Descent from the Cross in the
Cloister of the Certosa, near Florence (Uffizi 6622,
Florence)
Fig. 84. Study for the Supper at Emmaus (Uffizi 6656 verso,
Florence)
XXIV
LIST OF ILLUSTRATIONS
Fig. 85. Sketch for a Projected Nailing to the Cross in the Cloister
of the Certosa, near Florence (Uffizi 6671, Florence)
Fig. 86. Study for a Projected Nailing to the Cross in the Cloister
of the Certosa, near Florence (Uffizi 6665, Florence)
Fig. 87. Study for the Angel of the Annunciation in the Capponi
Chapel of Santa Felicita, Florence (Uffizi 6653,
Florence)
Fig. 88. Study for the Virgin of the Annunciation in the Capponi
Chapel of Santa Felicita, Florence (Uffizi 448, Florence)
Fig. 89. Study for a Projected Nailing to the Cross in the Cloister
of the Certosa, near Florence (Uffizi 447, Florence)
Fig. 90. Detail of the St. Quentin in Borgo San Sepolcro
Fig. 91. Sketch for the Head of the St. Quentin in Borgo San
Sepolcro (Uffizi 6647 verso, Florence)
Fig. 92. The Deposition, Capponi Chapel, Santa Felicita, Florence
Fig. 93. Study for the Deposition of the Capponi Chapel (Uffizi
6666, Florence)
Fig. 94. Study for the Deposition of the Capponi Chapel (Uffizi
6627, Florence)
Fig. 95. Study for the Deposition of the Capponi Chapel (Uffizi
6577, Florence)
Fig. 96. Sketches for the Deposition of the Capponi Chapel
(Corsini 124230, Kome)
Fig. 97. Sltudies for the Deposition of the Capponi Chapel (Uffizi
6730, Florence)
Fig. 98. Sketches for the Deposition of the Capponi Chapel (Uffizi
6613 verso, Florence)
Fig. 99. Study for the Deposition of the Capponi Chapel (Uffizi
6619, Florence)
Fig. 100. Study for the Deposition of the Capponi Chapel (Uffizi
6576 recto, Florence)
Fig. 101. Study for a Portrait of a Young Girl (Uffizi 449, Flor-
ence)
Fig. 102. Studies for a Portrait of a Boy (Uffizi 6667, Florence)
Fig. 103. The Madonna, Child and Little St. John, Palazzo Corsini
/ 141, Florence
104. The Madonna, St. Anne and Four Saints, Louvre 1240,
Paris
xxv
/ LIST OF ILLUSTRATIONS
Fig. 105. Study for the Madonna, St. Anne and Four Saints, in the
Louvre (Uffizi 460, Florence)
Fig. 106. The Martyrdom of St. Maurice, Palazzo Pitti 182, Flor-
ence
Fig. 107. The Martyrdom of St. Maurice, Uffizi 1187, Florence
Fig. 108. Study for a Variant of the Martyrdom of St. Maurice
(Museum 21253, Hamburg)
Fig. 109. Study for a St. Jerome (Uffizi 441, Florence)
Fig. 110. Study of a Nude Woman (Uffizi 441 verso, Florence)
Fig. 111. The Visitation in the Parish Church of Carmignano
Fig. 112. Study for the Visitation in the Parish Church of Car-
mignano (Uffizi 461, Florence)
Fig. 113. Study of a Nude (Uffizi 6723, Florence)
Fig. 114. Birth-plate: The Birth of St. John the Baptist, Uffizi
1198, Florence
Fig. 115. Portrait of a Youth, Pinacoteca 75, Lucca
Fig. 116. Portrait of a Youth, Morelli Collection 59, Bergamo
Fig. 117. Anatomical Study (Uffizi 6718, Florence)
Fig. 118. Portrait of a Man, Uffizi 1220, Florence
Fig. 119. Lucretia, Borghese Gallery 75, Eome
Fig. 120. Study for a Portrait of a Soldier (Uffizi 463 F, Florence)
Fig. 121. Study of a Nude (Uffizi 6561, Florence)
Fig. 122. Study for the Three Graces (Uffizi 6748, Florence)
Fig. 123. Venus and Cupid, Uffizi 1284, Florence
Fig. 124. Portrait of Alessandro de ' Medici, Johnson Collection 83,
Philadelphia
Fig. 125. Portrait of a Man, Palazzo Pitti 249, Florence
Fig. 126. Portrait of Bartolomeo Compagni, Stirling Collection,
Keir, Dunblane, Scotland
Fig. 127. Portrait of a Young Woman, Stadel Institute 14 A, Frank-
fort
Fig. 128. Portrait of a Young Woman, Von Dirksen Collection,
Berlin
Fig. 129. Portrait of a Woman in Green, Augusteum 19, Oldenburg
Fig. 130. Portrait of the Cardinal Spannocchi Cervini, Borghese
Gallery 408, Rome
Fig. 131. Portrait of a Lady with a Volume of Verse, former Yerkes
Collection
xxvi
LIST OF ILLUSTRATIONS
Fig. 132. Probable Study for One of the Lost Allegorical Figures
in the Loggia of the Medicean Villa at Castello (Uffizi
6584, Florence)
Fig. 133. Probable Study for One of the Lost Allegorical Figures in
the Loggia of the Medicean Villa at Castello (Uffizi
6586, Florence)
Fig. 134. Benjamin at the Court of Pharaoh. Tapestry Woven
after a Design by Pontormo, Palazzo del Quirinale,
Rome
Fig. 135. Studies for the Tapestry of Benjamin at the Court of
Pharaoh (Uffizi 6593, Florence)
Fig. 136. Joseph and Potiphar's Wife. Tapestry Woven after a
Design by Pontormo, Palazzo del Quirinale, Rome
Fig. 137. Study for the Lost Expulsion from Paradise in San
Lorenzo, Florence (Uffizi 6715, Florence)
Fig. 138. Study for the Lost Christ in Glory in San Lorenzo, Flor-
ence (Uffizi 6609, Florence)
Fig. 139. Study for the Lost Moses Receiving the Law in San
Lorenzo, Florence (Uffizi 6749, Florence)
Fig. 140. Study for the Lost Four Evangelists in San Lorenzo,
Florence (Uffizi 6750, Florence)
Fig. 141. Study for the Lost Sacrifice of Cain and Death of Abel
in San Lorenzo, Florence (Uffizi 6739, Florence)
Fig. 142. Study for the Lost Death of Abel in San Lorenzo, Flor-
. ence (Uffizi 6746, Florence)
Fig. 143. Study for the Lost Tilling of the Soil in San Lorenzo,
Florence (Uffizi 6535, Florence)
Fig. 144. Study for the Lost Deluge in San Lorenzo, Florence
(Uffizi 6753, Florence)
Fig. 145. Study for the Lost Deluge in San Lorenzo, Florence
(Uffizi 6752, Florence)
Fig. 146. Study for the Lost Deluge in San Lorenzo, Florence
(Uffizi 6528, Florence)
Fig. 147. Study for the Lost Ascent into Heaven in San Lorenzo,
Florence (Academy, Venice)
Fig. 148. Study for a Figure in One of the Lost Frescoes in San
Lorenzo, Florence (Uffizi 6560, Florence)
Fig. 149. Study for a Figure in One of the Lost Frescoes in San
Lorenzo, Florence (Uffizi 6679, Florence)
xxvii
LIST OF ILLUSTRATIONS
Fig. 150. Portrait of an Old Lady, Belvedere 48, Vienna
Fig. 151. Portrait of a Lady, Jacquemart- Andre Collection, Paris
Fig. 152. Page 4 of Pontormo's Diary (Biblioteca Nazionale,
Florence)
Fig. 153. Study for the Figure in the Lost Frescoes of San Lorenzo
Mentioned in the Last Line of Page 4 of Pontormo's
Diary (Uffizi 6760, Florence)
XXVlll
ABBREVIATIONS
A. S. F. — Archivio di Stato di Firenze.
B. F. D. — Berenson, Drawings of the Florentine Painters.
B. F. P. R. — Berenson, Florentine Painters of the Renaissance.
Dessins — Clapp, Dessins de Pontormo.
D. Gr. U. — Disegni della Galleria degli Uffizi — the folio devoted to
Pontormo 's drawings.
On Certain Drawings — Clapp, On Certain Drawings of Pontormo
(pamphlet).
Photo. F. M. C. — photographs taken by the author.
Vasari — Milanesi's edition of the " Lives."
JACOPO CARUCCI DA PONTORMO
JACOPO CARUCCI
DA PONTORMO
CHAPTER I
1494-1512
Vasari says that Jacopo Carucci, called II Pontormo, was
generally believed to be descended from an old Tuscan family
that came originally from Ancisa, the famous "castello" in
Valdarno where Petrarch's ancestors were born.1 From other
sources we know that in the Middle Ages one branch of the
Carucci lived in Monte Pilli and Terzano, castle-towns on the
Poggio di San Martino in the Arno valley,2 and that there were
in Florence" between the thirteenth and the seventeenth century
still other Carucci whose forbears had lived in Colle Val d'Elsa.3
Numerous documents in the Florentine Archives, the
Hospital of the Innocents, the Marucelliana, and the Biccar-
diana, mention Florentines of our painter's name. The earliest
of these references4 known to me states that the family burial-
place was in Santa Croce, under the vaults of the room of
the Compagnia di Loreto, and that there one formerly read:
"Filiorum Carucci 1298." In 1348 a Francesco Carucci,5
1 Vasari, VI, 245.
2 Biblioteea Nazionale, Firenze, Priorista di Monaldi, p. 267 v. See Appendix II,
Doc. 1.
s A. S. F., Consorteria, S. Giovanni, I, 94 v. See Appendix II, Doe. 2.
* Biblioteea Riccardiana, Firenze, Cod. 1894, p. 132. See Appendix II, Doc. 3.
6 Biblioteea Nazionale, Firenze, Codice Araldico, p. 129. See Appendix II, Doc. 6.
PONTORMO
"pianellaio,"6 was buried in San Pancrazio, and it was in the
following year that the first member of the Monte Pilli branch
of the family took up his residence in Florence7 — a certain
Taddeo di Caruccio, two of whose descendants were buried
almost half a century later in the cloister of Santa Croce and
their gravestone marked: "Ruggieri Taddei Carucci et Suor
MCCCLXX. ' ' Soon after this latter date we come upon the earliest
figure among Pontormo's remoter ancestors whose place in
Florentine society is made clear by the documents, a Ruggieri
di Taddeo Carucci8 who on February 28, 1380, was one of the
Ufficiali della Torre and evidently, therefore, a person of some
importance. In 1381 a Rogerius Taddei Carucci,9 ' i pannolini, ' no
is mentioned in the "Squittinio del Gonf alone di Bue," and we
know that five years later, between March, 1386, and April,
1387, a Carucci of the same name,11 but this time called a
"vinaiolo,"12 sat in the Signoria of Florence. The parish
churches of the family were Santa Croce and San Remigio.13
Pontormo's ancestors appear, then, to have been burghers
and free citizens14 of the Republic of Florence. They followed
humble trades like many of their fellow-townsmen, but they also
took part, at an early date, in governing the city. During the
fifteenth century their fortunes do not seem to have risen, and,
although one branch of the family continued to live in Florence,
we know little about them except that in 1460 a Ruggiero
Carucci was buried in Santa Croce,15 and that between 1481
6 Tile or slipper maker.
7 Priorista di Monaldi, p. 267 v.
s Biblioteca Eiccardiana, Cod. 1187. See Appendix II, Doc. 4.
9 Delizie degli Eruditi Toscani, XVI, 139. These last three allusions to a Rogerius
or Ruggieri Carucci may possibly refer to the same person, although in that case he would
seem to have followed different occupations at different times. The inscription on the
tombstone in Santa Croce is drawn from the "Poligrafo Gargane," now in the Biblioteea
Nazionale of Florence.
10 Linen-draper.
11 Biblioteca Marucelliana, Firenze, Cod. C 1, p. 278. See Appendix II, Doc. 5.
12 Wine-merchant.
is Biblioteca Riccardiana, Cod. 1894, p. 132. See Appendix II, Doc. 3.
i* For the arms of the family, see Appendix II, Doc. 1 and 6.
is Codice Araldico, p. 129. See Appendix II, Doe. 6.
HIS LIFE AND WORK
and 1622 the books of the Consorteria16 cite no less than eighteen
Carucci, all of whom were of the Gonfalone del Bue, and lived
in the quarter of Santa Croce.17 In the records of the Hospital
of the Innocents,18 a Lisabetta Carucci, wife of Pagolo, is
mentioned several times in 1528-1530, and it is evident from
other sources that later on the Carucci19 owned a chapel in the
Carmine which passed in 1624 into the possession of the Delia
Moriana family.20
Pontormo's father, Bartolomeo di Jacopo di Martino
Carucci, was — Vasari's testimony in this connection is
precise21 — a Florentine, a painter, "secondo que' tempi
ragionevole, " and a pupil of Ghirlandaio. Of his life and
work nothing is known. I have not been able to find, either in
the Florentine Archives or in those of the Collegiata of Empoli,
even so much as the date of his death. According to Vasari,
he carried on his trade chiefly among the hamlets of the
Valdarno, and it is not impossible that unidentified specimens
of his work may still exist in the frescoes of the churches or
shrines of those villages, or among the paintings that once
belonged to them, but have since been scattered.
Bartolomeo di Jacopo 's wandering life as a provincial
artist brought him finally, sometime about 1490, to Empoli,22
and while he was at work there upon certain pictures he went
to live in the village of Pontormo, which lies, at a distance of
not more than a mile from Empoli, in the direction of Montelupo.
ie A. S. F., Consorteria, S. Croce, I and II, 83; idem, Gonfalone Bue, II, 26 v.
See Appendix II, Doc. 7.
IT The Carucci da Colle lived in the Gonfalone del Chiave. The books of the Con-
sorteria (I, 94 v.) mention two members of this branch of the family. See Appendix II,
Doc. 2.
isEntrata e Uscita D (1527-1528), p. 54; idem, Z, p. 52 (October 10, 1530); for
mention of a Checci Carucci, idem, p. 54. See Appendix II, Doc. 8.
i» For references of a later date to other members of the family, see Bibl. Magliab.,
Cod. 401, Cl. 25, p. 80 — "Buggieri di Taddeo Carucci, 1545, De Notai Nobili"; A. S. F.,
Necrologia della Grascia (1570-1591) — "M. Marietta donna fu di S. Euggieri Carucci in
S. Croee 10 luglio, 1572"; A. S. F., Catasto, Niechio, 1534, G. L., S. Spirito — "Jacopo di
Giovanni Carucci ' ' ; idem, Bue, F. I., S. Croce — ' ' Jacopo di Luca Carucci ' ' ; see also
Ammirato, Stor. Spogl, p. 329; Bibl. Eiccard., Cod. 3107, p. 163.
20 Biblioteca Marucelliana, Cod. B VII. 14, p. 11. See Appendix II, Doc. 9.
21 VI, 245.
22 Ibid.
3
PONTORMO
It is now a diminutive place, although in early days it had at
least three churches. Between it and Empoli a little torrent
runs, which is called the Orme, and from the bridge that crosses
this stream the village takes its name.23 Around it on all sides
the level land, covered with vineyards, stretches away toward
the olive-grey lower slopes of Monte Albano and east, across
broader spaces, to foot-hills rising range behind range to the
Apennines. The landscape is Tuscan with a touch in it of
Pisan breadth and a faint taste of the sea. Its salient features
are the Orme bridge and the Romanesque campanile of San
Michele. Here, according to Vasari, Jacopo's father married
Alessandra, "una molto virtuosa e da bene fanciulla," daughter
of Pasquale di Zanobi and Mona Brigida, and here, on May
24, 1494,24 our master was born. The tradition of art was part
of Pontormo's inheritance.
Jacopo spent his earliest years in his native place, where,
while still a child, he lost in quick succession, father, mother
and grandfather. It was to his grandmother, therefore, that he
owed his bringing-up and early education, and it was at her
instance that he was taught the rudiments of Latin and to read
and write. Later on she took him to Florence and placed him
in the care of a certain Battista, "calzolaio," who was a distant
kinsman of hers.25 This journey must have been made before
23 O. H. Giglioli, Empoli Artistica, p. 192.
24 The sacristy of San Michele at Pontormo contains no baptismal register earlier
than the seventeenth century. Some of the records of this church may, however, be
preserved among the books of the Knights of Santo Stefano in the Archives of Pisa.
They are not to be found in the Collegiata at Empoli. The date that we have given is based
upon the following calculation: The commemorative tablet, placed, it would seem, in the
choir of San Lorenzo in 1558 when the frescoes that Pontormo painted there were at last
finished by Bronzino, bore an inscription which is quoted by Moreni (II, 119). This gave
Pontormo's age, when he died, as 62 years, 7 months and 6 days. From the Libro dei
Morti we know that his death occurred on December 31, 1556, or January 1, 1557 (New
Style). Simple subtraction gives the date of his birth. Vasari (VI, 245) erroneously
states that Pontormo was born in 1493 and that he was sixty-five at the time of his death.
Milanesi (VI, 288) notices these errors and quotes in a note the inscription from San
Lorenzo. We now know that when Pontormo became a "commesso" of the Hospital of
the Innocents, on August 20, 1549, he gave his age as fifty-five — conclusive proof that he
was born in 1494.
25 Vasari, "VT, 246.
HIS LIFE AND WOEK
1503, and we may surmise that, even at that early date, the
orphan boy's future had been decided upon.
Vasari implies that Jacopo's training as a painter did not
begin until 1506-1507,26 although, from a document27 that I have
discovered, it appears to be not unlikely that before April 10,
1503, he had already begun his apprenticeship, for on that day
the monks of Santa Maria Novella, wishing to record the terms
upon which they had sold a house in the GKialf onda to Alberti-
nelli, had a deed drawn up in which mention is made of a Jacopo
Carucci. Since, between 1500 and 1505, no adult of that name
is referred to in either the Catasto or the Consorteria, we are,
it would seem, justified in believing that the Jacopo in question
was none other than our master, although he was, of course,
only a child.28
Did the fact that his father had been a painter influence
his relatives when they thought of choosing a trade for the boy ?
Was Jacopo a painter by chance "? Or did he show an aptitude
that parents in those days were often quick to notice and
appreciate? We do not know. We have, however, reason to
conjecture that he was precocious, for Vasari speaks of a small
" Annunciation," painted while Jacopo was still with Alberti-
nelli,29 which the elder master used proudly to show to all those
who came to his "bottega." Raphael once saw it, and was
amazed that- it was the work of one so young. The little panel
must therefore have been in existence before September 5,
1508, the date of Raphael's departure for Rome.30 Pontormo
was not then fourteen.
We cannot tell how long Jacopo frequented Albertinelli's
workshop, but in 1507 he had perhaps already left it. At any
rate, Albertinelli was not the clever boy's only master. As an
orphan, who had escaped from the bondage of apprenticeship
26 ma.
27 A. S. F., Convento 102, No. 89, Eicordi, pp. 14, 41 f . See Appendix II, Doc. 10.
2« For the early age at which children were sometimes apprenticed, see Vasari 's
statement (VI, 202) that Bugiardini went to work with Ghirlandaio while the latter was
painting the choir of Santa Maria Novella, in other words, when he was only ten years old
29 Vasari, VI, 246.
«o Idem, IV, 329.
PONTORMO
by some happy chance the nature of which we are unable to
define, he was freer than most gifted boys are at his age. No
parent hampered him, for, if we are to believe Vasari, Mona
Brigida soon returned with Jacopo's sister31 to Pontormo, and
from there she could hardly have influenced her grandson.
However that may have been, we now know from a document
that, on January 24, 1508, all that was left of his father's tiny
estate passed into the hands of the Public Guardians.32
Left, then, to work out his own future unaided and undi-
rected Pontormo gave Immediate evidence of his mobility of
spirit. No master satisfied him, and he passed rapidly from
one to another. Before he reached sixteen he had tasted some-
thing of the simplicity of the quattrocento tradition that
lingered in the work of Albertinelli, the fantastic playfulness
of Pier di Cosimo, the enigmatic spirit of Leonardo's recondite
beauty, and the warm naturalism of Andrea. These were,
according to Vasari,83 his masters, and Pontormo 's early work
corroborates his biographer's assertion: it is a curious mixture
of many tendencies. The doll-like figures in trailing robes of
the " Hospital of San Matteo" (fig. 1) owe much to Pier di
Cosimo; the composition of the "San Luca Madonna" (fig. 2)
is well within the canon of Fra Bartolommeo, Albertinelli 's
master and partner; the chiaroscuro of the Visdomini and
Parinola panels is derived from the practice of Leonardo ; the
"putti" of the Santa Veronica fresco and the saints of the
"Visitation" (fig. 5), at the Annunziata, are reminiscent of
Andrea.
The variety of influences that we detect in these pictures
demonstrates that as a youth Pontormo was restless and
impressionable. Vasari represents him as thoughtful, melan-
choly, and taciturn, nursing his plans in silence and not
infrequently an object of ridicule to his fellow-apprentices
most of whom must have been of smaller talent and of coarser
grain. A friendless, bitter childhood marked the sensitive and
precocious boy whose timidity forecast the solitary shyness of
his later life.
si Idem, VI, 246. 32 See Appendix II, Doc. 11. »» VI, 246.
6
CHAPTER II
1512-1518
When Giuliano de' Medici rode into Florence with his
relatives and friends on September 14, 1512,1 Soderini's govern-
ment was at an end, and the city faced a new regime. Vengeance
was visited upon the conspirators Boscoli and Capponi,2
persecutions upon the friends, even upon the dependents of
Soderini,3 and the people applauded. A year later they
publicly rejoiced at the election of Leo X,* and no observer
could have failed to realize that, in the spirit of Florentine
democracy, fundamental changes had taken place. One
curious result of these changes was that, from 1512 on, an
increasing proportion of the orders given to artists came from
the Medici or their satellites. No scantiest fragment of
information concerning the political sympathies of the young
Pontormo has survived, and it is not inconceivable that he was
too much absorbed in his work to care what changes took place
around him. All we can say is that he received, between 1512
and 1515, five commissions from the usurpers or their partisans.6
We do not know to whom Jacopo owed his first important
commission. It was for a fresco which was once in a chapel of
San Ruffillo in Piazza dell 'Olio6 — a work for which we have
no documents.7 Vasari places it after the "Faith and Charity"
1 Guicciardini, Stor. d ' Italia, XI, ii, 5, pp. 15-20.
2 Villari, II, 195.
3 Guicciardini, Op. ined., VI, 146.
* Nardi, VI, ii, 31. Landucci, pp. 336 f.
s The "Faith and Charity" of the portal of the Annunziata, the triumphal cars
for the Compagnia del Broncone and for the Compagnia del Diamante, the triumphal arch
at the head of the Via del Pelagic, the frescoes in the Pope's Chapel.
6 The church was destroyed when the palace of the archbishop was rebuilt ; the
fresco was transferred to the Chapel of San Luca in the Annunziata in 1813.
* The records of the church have disappeared.
PONTORMO
of the facade of the Annunziata.8 We have, however, every
reason to conjecture that it was executed between the autumn of
1512 and the summer of 1513. The upper part of this fresco
terminated in a lunette of "God the Father with Cherubim,"
which has been destroyed. It is interesting to remark that the
same motive had been treated by Albertinelli9 once at least to
our knowledge, and that when Jacopo himself used it, a year or
two later in the Pope's Chapel, he did so quite in the spirit of
his old master. The ruined remains of the San Ruffillo fresco
(fig. 2) are still preserved in the Chapel of San Luca at the
Annunziata and reveal a Madonna standing, the Child in her
arms, and with her two saints that stand and two that kneel.
These figures have in them something of the last flicker of the
quattrocento tradition, which Albertinelli had transmitted to
our master. The composition is reminiscent of Fra Barto-
lommeo, and, though juvenile, it is not without a stately
simplicity and a naive charm. Pontormo was, in all likelihood,
already at work in Andrea's shop when he executed this fresco,10
but he had not yet made his own the larger characteristics of
Andrea's craft. The reason for this was simple: Andrea
developed much more slowly than Jacopo, and, though he was
eight years Pontormo 's senior, his style was still, in 1512-1514,
tentative and immature.
For the San Ruffillo fresco we have two drawings (fig. 3
and 4), which are particularly precious documents, because
they give us an insight into the formation of Pontormo 's
draughtsmanship. One (Dresden, No. 200) " is an angular
variant, scattered in its modelling but searching in its contours,
of the technique that was employed by Andrea between 1510
and 1514, and in it Jacopo 's effort to imitate his master is
unquestionably evident. He tried, crudely but earnestly, to
catch the tricks of Andrea's hand. The other sheet (Uffizi
8 VI, 256. Kicha, IV, 146.
»Cf., for example, the "Holy Trinity" by Albertinelli (Vasari, IV, 222) which
is now No. 63 in the Academy at Florence.
10 Andrea's shop was in the Sapienza, near the Annunziata. He shared it with
Franciabigio.
^Dessins, pp. 83 f.
8
HIS LIFE AND WORK
6676 verso),12 a study from the nude for the Madonna, is more
vigorous, and in its structure recalls the nudes of the "Battle
of the Cascina." Even at so early a date Jacopo was feeling
his way in a new direction.
Late in the summer of 1513 our young painter received a
more important task. The Servites, who were "Palleschi,"
were energetically proceeding with the embellishment of their
convent of the Annunziata in celebration of the election of
Leo X, and in the summer following that event, Andrea,13
Franciabigio and Rosso were all at work in the small cloister
or atrium of their church. Jacopo was chosen, almost by
accident, to do part of the projected work, and in this connection
Vasari tells a story.14 Andrea di Cosimo15 had, it would seem,
been commissioned to paint the arms of Leo above the principal
arch of the fagade and, finding himself unequal to the task,
had called in Pontormo. Payments that I have found in the
Libro del Camarlingo prove that Jacopo worked on this fresco
in the autumn and winter of 1513 and in the spring of 1514."
The last payment was made in June, 1514. From these same
accounts it is also clear that the mechanical part of the
decoration, such as the gilding, was done by the very Andrea
di Cosimo Feltrini,17 who according to Vasari had undertaken
to complete with his own hands the "stemma" and all its
decoration^ Still another story, recorded by Vasari, has it that
12 Hid., p. 226.
!3 1 have found several payments made to him during this period (A. S. F., Convento
119, No. 705, pp. 76, 106, 116).
"VI, 248.
is For the life of Andrea di Cosimo Feltrini, see Vasari, V, 204-210. The records
of the Servites tell us that in 1510-1511 he painted the fa§ade of their church in mono-
chrome (A. S. F., Convento 119, Libro del Camarlingo, 1509-1512, p. 49; Entrata e Uscita,
No. 747, p. 84). From documents that I have discovered we know that he also painted
the arms of Leo X between two doors opening into the church from the small cloister.
For these he received on September 3, 1513, fourteen lire on account (A. S. F., Convento
119, No. 705, p. 103). See also Vasari, V, 207. Feltrini was skilled in gilding and
grotesques. On several occasions he was associated with Pontormo, with Bidolf o Ghirlandaio,
with Franciabigio (at Poggio a Cajano), and still later with Vasari (decorations for the
reception of Charles V at Florence).
i«A. 8. F., Convento 119, No. 705, pp. 113 v., 122 v., 124 r., 127 r., 132 r. See
Appendix II, Doc. 12.
IT Ibid., p. 124 r.
9
PONTORMO
the young Pontormo hid himself in Sant'Agostino alia Porta
a Faenza to make his drawings, and that until they were quite
finished he did not go to the "bottega" to show them to his
master. When Andrea saw them he was stupefied. And from
that day, for reasons known only to himself, he shut the doors
of his shop against Jacopo.18 Such is Vasari's tale, mere
gossip perhaps, but indicative of an attitude of mind not unlike
that of the whimsical and solitary Pontormo.
He now withdrew from the life of the "botteghe," and, says
his biographer, by practising great economy — "comincio a
fare sottilissime spese perche era poverino" — he finished his
part in the decoration of Leo's arms for the Servites. Hardly,
however, had he completed it when he made up his mind to
destroy it, and paint it all over again from a design upon which
he had already begun work when to his great indignation the
fresco was uncovered. Here too, Vasari's narrative is true
to Jacopo 's sensitive, searching, and disinterested nature.
Even as a boy he had a touching eagerness of mind, a thorough-
going contempt for work that he had put behind him.
The fresco, which represented Faith and Charity19 with two
"putti" that supported the papal blazon, is now all but
obliterated, although one still dimly discerns two seated
figures, voluminously draped, and about them, traces of "putti,"
seated or flying. That phase of Andrea's art which is exem-
plified by his "Marriage of St. Catherine" seems to have
presided over the composition, but the work has been too badly
damaged to yield any secrets of form -or modelling. Vasari
devotes to this decoration two pages in which he praises the
beauty of the "putti," "la dolcezza delle teste," and the
refreshing daring of the treatment.20 Throughout the sixteenth
century it was famous.21
With these figures no drawings can be identified. One
faded sketch of a "putto" clinging to a tree (Uffizi 6706) 22 is
is Vasari, VI, 248.
« Ibid.
20 Ibid., p. 250.
21 Ibid., VI, 248 f . Boechi, pp. 415 f . Eicha, V, 52.
p. 249.
10
HIS LIFE AND WORK
perhaps a fragment of Jacopo's preparatory work, but we
hazard this conjecture only because in Bocchi's opinion a
"putto" in that pose was one of the beauties of the composition.23
Two drawings for Medici arms supported by two figures
exist, in the Uffizi, that one is sometimes tempted to connect,
at any rate remotely, with the " Faith and Charity" of the
Annunziata, to which, however, in its final form at least, they
are not related. Neither, in my opinion, can they be identified
with any of the Medici arms surmounted with tiara and keys
and supported by "putti" that one sees in the ceiling of the
Pope's Chapel at Santa Maria Novella, although one of the
drawings (Uffizi 418) may preserve an idea, finally rejected,
for these bearings, in spite of the fact that we find in it no
indication of the papal keys. It is likewise not inconceivable
that the other drawing (Uffizi 417 )24 is a sketch for the arms
of Leo that Pontormo painted for his native town, inside the
castle gate which opened into the main street.25 This ' * stemma, ' '
of which no vestige remains, was executed just after the
" Faith and Charity." At all events, these two sketches are
among the earliest specimens that we have of Pontormo 's
draughtsmanship, and in them his conception of form owes
much to Andrea, but the stroke, hooked and broad at one end,
is an evidence of certain habits of hand that could have been
acquired only in Albertinelli's "bottega."
No documents survive for the frescoes of the Pope's
Chapel. Indirect evidence however indicates clearly enough
the date of this decoration ; it must have been begun during the
summer of 1515. In writing the lives of several other artists,
Vasari speaks of the embellishments of the Pope's apartments
in the convent of Santa Maria Novella.28 Ridolfo Ghirlandaio
received the commission for all these decorations, but the work
had to be finished under pressure for Leo's triumphal return
23 Bocchi, p. 416 : " E ammirato un altro puttino, che da alto guarda in gift, ed
affacciatosi ad una spronda, sembra per 1'altezza grande, di hauer timore di cadere. "
Of. Richa, loc. cit.
2* Dessins, pp. 89 f .
25 Vasari, VI, 250.
26 Ibid., pp. 255 f ., 541.
11
PONTORMO
to his native town, and Bidolfo, unable to finish it, without
assistance in the time given, confided to Pontormo the chapel
which was, in some respects, the most important part of the
undertaking. Leo entered Florence on November 15, 1515.
Pontormo 's decoration must, therefore, have been completed
before that date.
The chapel is on the north side of the convent and is lighted
by a single window. The ceiling, a barrel vaulting, forms with
the end-walls circular lunettes. In the lunette behind the altar
is a "Coronation of the Virgin," perhaps by Ridolfo,27 which
has been disastrously repainted. In the lunette over the door
Pontormo painted in fresco a "Santa Veronica Holding the
Sudario." The saint kneels facing us, a figure of fine sim-
plicity. The sweeping folds of her robe recall Albertinelli's
drapery, but her face, long and oval, suggests a type evolved
by Michelangelo as early as 1505. Right and left, in profile,
kneels a cherub, holding a flaming vase. The composition is
adequate but not inspired. The ceiling and side-walls are
covered with grotesques in the geometrical framework of which
are four small medallions, in each, a flying "putto"; and four
squares, in each, the arms of Leo supported by "putti." In the
middle of the ceiling, in a large "tondo," Pontormo painted
a God the Father descending, arms outspread, a figure altogether
in the tradition of Mariotto. Only the medallions and squares
of this ceiling decoration were executed by Pontormo, and even
these have been so completely repainted as to show now no
trace of his hand. The grotesques were executed by Andrea
di Cosimo Feltrini, who in all probability designed them as well.
The "Madonna of San Ruffillo," the "Faith and Charity"
of the Annunziata, and the decorations of the Pope's Chapel,
are the earliest achievements of Pontormo that now survive.
He was hardly nineteen when he painted them and, although
they do not reveal the talent that his later works might lead
us to expect, they do show clearly certain characteristics of his
maturer years in the gracious strangeness of the heads, the
2* J&td., p. 541, note 3.
12
HIS LIFE AND WORK
supple movement of the figures, and in the love of novelty that
here and there is apparent in them.
The festivities following Leo's elevation to the papacy
brought Pontormo many commissions to which Vasari, writing
about 1560 with a desire to please Cosimo I, devotes more than
six pages.28 In the carnival procession of 1514, the Compagnia
del Diamante, a society led by Giuliano de' Medici, had three
triumphal cars which represented "Youth," "Manhood," and
"Age" — subjects chosen by Andrea Dazzi,29 the latinist. The
woodwork of the cars was by Raffaello delle Viviole and II
Carota, and the decorative motives, by Andrea di Cosimo.30 The
costumes were designed by Giuliano da Vinci and Bernardino
di Giordano, while the songs were written by Antonio Alamanni.
Pontormo painted on these three cars stories of the Trans-
formations of the Gods,31 and so great was their success that
they stirred to emulation a rival society, II Broncone, of which
Lorenzino was the leader. For the carnival of 1515, this
company ordered no less than seven cars, the subjects repre-
sented upon which were chosen by Jacopo Nardi,32 who also
wrote the songs.33 For the first car Pontormo painted on
panels, and probably in chiaroscuro, "Legends of Saturn," for
the second, "Scenes from the Life of Numa Pompilius," for
the third, "Scenes from the Life of Titus Manlius Torquatus,"
for the fourth, "The Deeds of Julius Caesar," for the fifth,
"Episodes from the Life of Augustus," for the sixth, "Scenes
from the Life of Trajan." The seventh car represented "The
Golden Age" and on it were ornamental figures in relief by
Bandinelli,34 among them "The Four Cardinal Virtues." All
we can say of these lost works is that they seem to have
increased Pontormo 's popularity. They were probably not
unlike the decorations prepared for Leo's visit to Florence in
28 Hid., pp. 250-255.
29 1475-1548. See W. Eiidiger, Andreas aus Florens, Halle, 1897.
so Vasari, VI, 251.
si The panels of these cars were once in the possession of Pietro Paulo Galeotti, the
goldsmith.
32 1476-1556.
33 Canti Carnascialeschi, Firenze, 1559, pp. 120-124.
84 Vasari, VI, 254.
13
PONTORMO
the autumn of 1515.88 On that occasion Jacopo painted various
compositions — among which Vasari mentions a " Pallas
Tuning her Instrument to Apollo's Lyre" — on a triumphal
arch of wood erected by Baccio da Montelupo in front of the
Badia, at the head of the Via Pelagio.86 These paintings were
in a ruinous condition even when Vasari wrote, and like the
cars of the Diamante and the Broncone they have long since
perished.
We can, however, form some idea of the character of
such ephemeral decorations from another "carro" which
was decorated by Pontormo, and with which the officials of
the Zecca used to take part in the yearly procession of San
Giovanni.37 It was broken up in 1810, but twenty small panels
from it are still preserved in the Palazzo Vecchio,38 many of
them, it is true, so grossly and so many times repainted as
to leave hardly a vestige of Pontormo 's hand. They are three
long panels: "St. John in the Wilderness, " "The Preach-
ing of St. John," "The Beheading of the Saint";39 six
smaller, vertical panels: "The Baptist," "The Visitation,"
"St. Zenobius," "Zechariah," with two others which represent
an apostle or a prophet; and twelve small, square panels of
"putti" dancing and playing, some of which are delightful.
85 Ibid., p. 255. See also A. S. F., Carteggio di Cosimo I, Cl. 50, No. 239, carta 1,
Relazione dell ' ingresso che fece Leone X in detto giorno nella citta di Firenze, 30 nov.,
1515.
so Ibid., p. 255. Numerous triumphal arches and temporary decorations were erected
for this occasion. Vasari speaks of them a number of times. Pier di Cosimo, Granacci,
Baccio da Montelupo, Rosso, Andrea, Jacopo di Sandro, Giuliano del Tasso, Bandinelli,
Sansovino, Rustici and Pontormo were all employed in preparing them. Vasari states in his
' ' Life of Pontormo ' ' that the arch at the Badia was by Montelupo. In his " Life of Andrea
del Sarto" he says that the arch between the Badia and the Palazzo del Podesta was by
Granacci and Aristotile da San Gallo. In his "Life of Granacci" he speaks of it as
"dirimpetto alia porta di Badia" (V, 342) — a phrase which he repeats in his "Life of
Aristotile" (VI, 436). For Pier di Cosimo 's, Andrea's, Jacopo di Sandro 's, Montelupo 's,
and Granacci 's work in connection with these festivities, see Vasari, V, 24 and note 3.
For Rustici 's decorations, see idem, VI, 602.
" Vasari, "VT, 256. We have no document for this work; the account-books of the
Zecca between 1510 and 1530 have been lost.
as/bid., p. 257, note 1. Milanesi states that eighteen pieces still exist; in reality
we have twenty fragments.
3» The composition of this panel is practically identical with that of a "predella"
picture (Academy, Florence, No. 77) which is attributed to Andrea.
HIS LIFE AND WORK
On two of these the "putti" support Medici arms. The wood-
work of the car, which has disappeared, was by Marco del
Tasso. What the original grouping of these fragments was
cannot now be determined, although a notion of the whole may
be formed from that other car that one sees in the streets of
Florence on the Saturday before Easter — the Carro de' Pazzi.
Vasari places the Carro della Zecca between the "San
Ruffillo Madonna" and the fresco of the "Visitation" in the
cloister of the Annunziata, that is, in 1514-1515. Certainly the
composition of the little "Visitation," which once belonged to
it, is closely derived from Mariotto's "Visitation" of 1503,40 and
is one of the last traces of his old master's instruction left in
Pontormo's art. Ruined as it is, the panel is more vital than
Albertinelli's altar-piece.
For this neglected work of Pontormo's I have discovered
one drawing (fig. 8; Uffizi 6581 verso)41 — a study for "The
Baptist." The draughtsmanship, and especially the modelling
of the forearm, place this sheet about 1515-1516, which is the
date that Vasari gives, by implication, for the undertaking.
The relation between the "Madonna with Saints" that
Pontormo painted for San Ruffillo and his "Visitation" in the
cloister of the Annunziata42 is quite evident: the latter (fig. 5)
is merely an elaboration of the former (fig. 2), and in both the
face of the Virgin is the same. The features of the woman
with a bundle on her head in the "Visitation" recall the Santa
Lucia of the "San Ruffillo Madonna." A similarity of rhythm
in the two compositions makes these resemblances still more
striking; both arrangements are triangular, with a figure on
either side. The "Visitation," however, is strongly influenced
by Andrea, although vestiges, almost imperceptible, of Alberti-
nelli's methods may be discovered in it by attentive study.
But the movement, the power and novelty of the fresco, its
light harmonies, its fresh colour, its crisp execution, reveal a
personality more vivacious than Mariotto's, while the whole
40 Now in the Uffizi.
41 Dessins, pp. 166 f .
42 Vasari, VI, 256 f . Boechi, p. 424. Eicha, VIII, 60.
15
PONTORMO
breathes a poetry compared with which the "Birth of the
Virgin," painted by Andrea in the same cloister between 1511
and 1514,43 is pat and prosaic. Only the grouping of the eight
figures in the background shows a certain inexperience.
It is now possible to supplement the documents relative to
this fresco that are mentioned by Milanesi and incompletely
cited by Colasanti.44 The first payment was made in December,
1514, the last about the middle of June, 1516,45 and the decoration
was, therefore, unfinished when Leo came to Florence. For it
Jacopo received eighty "lire."
The drawings for this work have perished with the
exception of two studies,46 one (fig. 6; Uffizi 6603) light and
facile but tame, for the woman seated on the steps, the other
(fig. 7; Uffizi 6542) for the "putto," seated to her right. Both"
are vaguely reminiscent of an early phase of Andrea's
draughtsmanship, of which we have, in the Louvre,47 an excel-
lent example. Compared with our two studies for the "San
Ruffillo Madonna," they mark a notable advance.
Just after the "Visitation" I am inclined to place a lost
"Pieta" for which several drawings survive. The touch
indicates that these sketches were drawn between 1516 and
1519, and in them Pontormo is master of his early technique.
Five (Uffizi 6670 recto and verso; 6689; 6690 verso; 6691) 48
are studies for the same Dead Christ (fig. 9) and they are of
a relaxation exquisitely felt. Uffizi 6670 verso is unmistakably
for the same undertaking, which was perhaps the "Pieta" that
Vasari49 describes as having existed in a chapel of the garden
of the San Gallo monks, outside the San Gallo gate, and which
was evidently destroyed during the siege in 1529-1530. We
4« Vasari, V, 67. On the cornice of the fire-place one reads : A. D. M. D. X. IIII.
44 Ibid., VI, 258, note 1. Colasanti, Bull. soc. filol. romana, II, 51, note 2.
45 A. 8. F., Convento 119, No. 705, pp. 149 v., 165 v., 192 v., 200 v., 202 v. See
Appendix II, Doc. 13.
4« Dessins, pp. 142, 180. Uffizi 6556 recto and verso are also sketches for this fresco.
Of. ibid., p. 151, and On Certain Drawings, p. 7.
47 No. 45.
4» Dessins, pp. 221 f., 234 f., 237.
4» VI, 260.
16
HIS LIFE AND WORK
cannot cite documents to determine the date of this composition
because the books of the convent have perished.
Sometime in these busy years Jacopo also painted over the
door of the Women's Hospital,60 a lost fresco of " Christ as
Pilgrim." These figures were in chiaroscuro, and it is worthy
of notice that Andrea was employing the same medium at
precisely the same moment in the cloister of the Scalzo51 — a
coincidence that may have a certain bearing on Bocchi's state-
ment52 that, at the end of the sixteenth century, this fresco was
generally thought to be by Andrea. There was probably in it
a strong influence of his work.
To the same period belonged the arms of Giovanni
Salviati, supported by two "putti" and surmounted by a
cardinal's hat, which in Vasari 's time adorned the courtyard
of Filippo Spina's house, opposite its main entrance. These
Vasari53 places after the Visdomini altar-piece, although they
were in all probability executed as early as 1517, in which year
Salviati was made cardinal by Leo X.
The last of the undertakings that immediately followed
the " Visitation" was the lunette frescoed in Fiesole over the
gate of the Compagnia della Cecilia. An early sketch in red
chalk (fig. 12) for this lost work exists in the Uffizi, which was
marked in the seventeenth century: "Per la Sta Cecilia che e
in Fiesole. "-^ I have found the finished study (fig. 11) in the
Corsini Collection, in Rome.54 The composition is admirable
and corresponds precisely to Vasari 's description56 of the
lunette: "una S. Cecilia colorita in fresco con alcune rose in
mano tanto bella e tanto bene in qual luogo accomodata." The
quality of both drawings clearly indicates 1517-1518 as the date
of this decoration.
50 ma., p. 256.
si A. S. F., Compagnia di San Giovanni detta dello Scalzo, Libro maestro, Debitori
e Creditor! B (1514-1535), p. 30.
52 Ed. Cinelli, p. 19.
53 VI, 261.
s* Dessins, pp. 240 f., 333.
55 VI, 257.
17
CHAPTER III
1518-1520
The "Visitation" at the Anmmziata marks the culmination
of Pontormo's first period. From Andrea he had taken
solidity of form, variety of movement, and familiar simplicity
of gesture — qualities which he touched, however, with a
graciousness and a poetry that were unrevealed to his master's
more pedestrian mind. With a fine instinct for decorative
harmonies, he had lightened Andrea's warm but heavy colouring
by eliminating the half-tones, thinning the yellows and the
reds, and with great skill carrying a few, strong, light colours
through a whole composition. But his restless mind found
no repose. New problems of form attracted him, and new
influences swayed his sensitive nature.
In the "Visitation," his figures show a tendency to a heroic
largeness of type. Many sketches, drawn between 1513 and
1518, indicate beyond the possibility of a doubt that the source
of this tendency was Michelangelo's cartoon of the "Battle
of the Cascina." Jacopo was attracted by the easy play of
muscles in new attitudes, which it revealed so abundantly, and
some of the poses he studied many times. It is also quite clear
that he was not unacquainted with certain lost drawings for
the Sixtine. And since touch is more persistent than borrowed
conceptions of type or gesture, these drawings resemble, from
a technical point of view, certain sketches that Andrea made
between 1512 and 1518, although Jacopo 's work is, of course,
not literal.
During these years he studied still another master —
Leonardo da Vinci, whose influence, though infinitely less
potent and lasting than that of Michelangelo, is strikingly
present in the Visdomini altar-piece (fig. 13), which is the most
18
HIS LIFE AND WORK
important picture that Pontormo painted after the "Visitation"
and before the lunette at Poggio. Tentative exploration of new
ground, crossing and recrossing of impulses old and new, are
characteristic, as we have seen, of Jacopo's early work. These
various tendencies meet in the Visdomini altar-piece. The
St. Joseph, the St. James, and the St. John the Evangelist,
recall Andrea, while the gestures of other figures are Leon-
ardesque, as is the pose of the Christ Child and of the little
St. John. Prom Leonardo too is derived the graduated chiaro-
scuro and the mysterious smile that plays upon many of the
faces. It would almost seem that, when he painted certain
parts of this picture, Pontormo had in mind an early work
by Da Vinci, which was known and treasured then, but is now
lost. The composition, on the contrary, is not derivative, but
is based upon a curious attempt to create a new rhythm. One
is tempted to believe that Pontormo meant the personages of
the picture to be united, not by the passage of line into line,
but by their common meditation upon the mystery of the
Divine Mother.1 To our modern taste the general effect is, as
a result, broken and somewhat trivial.
Francesco Pucci ordered the picture for the second altar
to the right in San Michele Visdomini.2 It was famous in its
day, and Vasari merely echoes a prevalent opinion when he
says: "questa e la piu bella tavola che mai facesse questo
rarissimo pittore." Even at a much later date it was highly
prized and Eicha3 tells us that the Archduchess Maria Madda-
lena once tried to buy it, but was unable to do so because it is
an inalienable part of the Pucci heritage. In the Doetsch
Collection,4 which was dispersed some years ago in London, a
copy existed that certain critics believed to be the original.5
The picture in San Michele is badly lighted and can with
difficulty be examined. It would be hazardous to come to a
i Vasari, VI, 258.
s VII, 23.
4 In 1895.
s See Catalogue Kaisonnl under Doetsch Collection and Florence, San Michele
Visdomini.
19
PONTOEMO
definite conclusion in regard to its authenticity. Among those
papers of the Pucci family which are now in the Archives of
Florence I have not been able to find the contract. But if we
had it, it would perhaps add nothing of an essential nature to
our information. The date of the panel is known. On the book
which St. John holds are the letters, M. D. xiij.
We possess many drawings6 for this altar-piece (fig. 14
to 23). With it Berenson has identified thirteen studies, among
them our painter's best jotting in pen and ink (Uffizi 6545),
and to these I have added eight preliminary sketches,7 all of
which are swift, fresh, and masterful.
Between the St. Francis of the Visdomini and the St.
Jerome (reversed) of an unfinished little altar-piece, now in
the Uffizi,8 we detect a distinct resemblance that is made sig-
nificant by another drawing for the St. Francis (Uffizi 6742
verso),9 in which the saint is seen standing, and which, not
improbably, served for the St. Jerome of the smaller picture.
At any rate, the colour, the character of the heads, especially
that of the Madonna, the fall of the drapery, and the rhythm
of the composition make it certain that the Uffizi panel belongs
in date just after the Visdomini picture. From the same year
we have a beautiful black-chalk sketch (fig. 24; Uffizi 6729) 10
for another "Madonna and Child," the fate of which is
unknown, that must have had the same qualities as the Uffizi
picture but greater charm.
From this period, and like the Visdomini panel harking
back to Leonardo's chiaroscuro, though in structure, motive,
and gesture recalling Andrea, is the "Madonna and Little St.
John," now in the possession of the Marchese Farinola. The
picture is not mentioned by Vasari, and for it we have no
documents.
Between the Visdomini and Poggio, and accordingly for a
6 Dessins, p. 67.
7 On Certain Drawings, pp. 6, 20.
s No. 1177.
• Dessins, p. 271.
10 /bid., p. 262 f. Possibly a study for the "Madonna" of the " drappelloni "
painted in 1519 for the funeral of Bartolomeo Ginori.
20
HIS LIFE AND WORK
period which embraces less than two years, Vasari mentions
thirteen pictures — a number so great that it is apparent that
here his chronology needs some correction. Two of his errors
are easily eliminated. The arms of the Lanfredini,11 now
destroyed, which Jacopo painted over a door on the Lungarno
between Ponte Santa Trinita and Ponte alia Carraia, were
placed by Bronzino, according to Vasari himself, among the
earliest undertakings of Pontormo, and the "St. Quentin,"
begun by Giovanmaria Pichi for the Osservanti of Borgo San
Sepolcro and finished by Jacopo,12 is obviously so closely related
to the Certosa frescoes that it can hardly have been painted
earlier than 1522.13
The principal works that belong between the summer of
1518 and the autumn of 1519 are three14 "cassone" pictures16
of "Scenes from the Life of Joseph," a panel16 of "Joseph in
Egypt" (all executed for Pierfrancesco Borgherini), the
"Portrait of Cosimo il Vecchio," of the Uffizi,17 and the
"Portrait of a Youth," now in Genoa.18 No written document
fixes the date of these pictures (fig. 26, 27, 30, 41, 42), but on
internal evidence one may be certain that they were executed
in 1518-1519. Vasari records19 that, in the "Joseph in Egypt,"
Pontormo painted the portrait of the young Bronzino. Angelo,
who is represented as about fifteen years of age, was born
November 17, 1503.20 The date of the panel would, then, be
1518.21 A similar deduction gives us the date of the "Portrait
11 Vasari, pp. 258 f.
12 Ibid.
is Dessins, p. 203.
i* Berenson (Florentine Painters, p. 175) mentions only two of these panels.
is Now in Panshanger. See Catalogue Baisonn4. These small pictures are usually
called "cassone" panels, but they may have formed part of a "lettuccio" or settle, or
they may have been ornaments of a "spalliera" which would be, in our modern usage,
a wainscot.
i« National Gallery, No. 1131 ; now apparently transferred to canvas.
IT Now in the Uffizi.
i8 Palazzo Bianco, No. 6.
i» VI, 261.
20 Eegistro dei Battezzati di S. Giovanni Battista, 1503, p. 33, line 27.
21 Eichter, to whom Bronzino appears here to be but ten years of age, erroneously
places this picture in 1512. It is not necessary to point out that such a date would mean
21
PONTORMO
of Cosimo il Vecchio." It was ordered by Goro Gheri while
he was secretary to Lorenzino de' Medici, and we know that
Lorenzino died on May 4, 1518.
In the composition of the Borgherini panels Jacopo makes
a rather self-conscious effort to escape from old formulas by
distributing his figures and arranging them in little groups,
on planes that are defined by the various parts of an archi-
tectural setting. In this there was nothing new. Quattrocento
pictures, such as Ghirlandaio's "Adoration of the Magi," as
well as numerous mythological subjects by Pier di Cosimo, are
similarly composed, and we also find, at precisely this moment,
Andrea combining naturalistically a similar kind of grouping
with architecture and flights of steps, in his " Scenes from the
Life of Joseph," now in the Pitti.22 But even a cursory com-
parison satisfies us that the younger artist had the more
fantastic spirit. In the Borgherini panels, as in the Visdomini
altar-piece, certain figures are in type, structure, and drapery,
reminiscent of Andrea. The slender legs, the trailing draperies,
the long lines of the folds of other figures, the interrupted
rhythm of the composition are of quite another inspiration, as
is also the light and delicate colour.
These four little pictures were famous; Vasari places the
"Joseph in Egypt" among Jacopo 's finest productions.23 For
us too they have a peculiar interest, for they were part of the
room decorated and furnished for Borgherini by Andrea,
Granacci, Pontormo and other great craftsmen.24 Pontormo's
"Joseph in Egypt" was placed in the corner to the left of the
door. His three "Scenes from the Life of Joseph" either
that Pontormo manifested a masterful individuality of style bordering on exaggeration
while he was still an apprentice in the "bottega" of Andrea.
22 Nos. 87 and 88.
23 VI, 261.
24 Idem, V, 26 f., 342 f.; VI, 261, 455. Pierfrancesco Borgherini married Margherita
Acciaiuoli in 1515, but the decoration of their famous room was not finished, it would seem,
until several years later. Pontormo's panels cannot have been painted before 1517.
Margherita was born in 1495 and was still alive in 1558, in which year Domenicho dedicated
to her his "Life of Santa Brigida." For the courageous way in which she denounced
Delia Palla's attempt to gain possession, during the siege, of the works of art that the
room contained, see Vasari, VI, 263.
22
HIS LIFE AND WOBK
formed part of two "cassoni," or were framed in the decorative
inlaid woodwork of the room, the design and execution of which
was Baccio d'Agnolo's.
For the three "cassone" panels (fig. 26, 27 and 30) I have
discovered five studies. Of these, Uffizi 6690,25 a sketch (fig. 29)
from the nude for one of the figures on the steps to the left in
the " Baker Led out to Execution," is technically near Jacopo's
studies from Michelangelo's cartoon for the " Battle of the
Cascina," and should be compared with Uffizi 442 (fig. 44)
in which there is, however, a greater tension of rhythm. For
one of the figures, in the upper left-hand corner of " Joseph
Sold to Potiphar," we have a scrawl (fig. 31) of delicious
verve,26 and for another, a brilliant but somewhat unsympathetic
drawing (fig. 32), which might have been done by Naldini.
Uffizi 6692 (fig. 25) is a sketch for the youth descending the
steps on the right of " Joseph Discovering Himself to His
Brethren." Its freshness and facility are delightful. Uffizi
6542 verso (fig. 28) " prefigures the boy kneeling to the left
in the same composition, and in it the structure of the nude
recalls Andrea, but the hair is blown out in the way that
Leonardo loved. These last two are important drawings that
no one would think of ascribing to Andrea, although the panel
for which they were drawn is universally held to be by Del
Sarto and until recently all three pictures were ascribed to
him.28
In the grouping of the composition, these "cassone"
decorations resemble the " Adoration of the Magi" (fig. 33 )28
painted for Giovanmaria Benintendi,30 where, however, in his
25 Dessins, p. 236.
26 Ibid., p. 151, where I incorrectly identified this sheet with the saint to the extreme
right of the "Visitation" at the Annunziata.
27 Ibid., p. 142.
28 Catalogue of Exhibition of Old Masters in Aid of the National Art-Collections
Fund, October 4-December 28, 1911, p. 50. Crowe and Cavalcaselle saw that they displayed
qualities characteristic of Pontormo, History of Painting, ed. Borenius, VI, 202. See also
an article by Sir Claude Phillips in the Art Journal, 1906, p. 1.
2» Pitti, No. 379.
so Andrea di Cosimo, Franciabigio and Bacchiacca worked for Benintendi when he
decorated his house (Vasari, V, 196, 209; VI, 455).
23
PONTORMO
use of a dark and rich colour, Pontormo is nearer Andrea than
he will ever be again. The figures are broad-faced, prodigiously
stout, and wear enormous sleeves. Jacopo was, we may surmise,
experimenting with a new form of elegance. Like the Bor-
gherini panels, this picture, which is now in the Pitti, was
painted in competition with other masters. Franciabigio's
"cassone" panel for Benintendi as well as a companion piece
by Bacchiacca, is now in the Dresden Gallery, and in the lower
left corner, one finds the date: A. s. MDXxrn. Pontormo 's
"Adoration" cannot however be later than 1519-1520. For the
horses in the background three vigorous drawings (fig. 34)
exist31 that, by their touch, insistently suggest several studies
for the lunette at Poggio.
The figures of Pharaoh and his retinue in the foreground
and to the left of "Joseph in Egypt" remind one vividly of the
St. Michael and the St. John the Evangelist (fig. 35 and 36),
which Pontormo painted for the citizens of his native town and
which are still in the church of San Michele at Pontormo.
Statuesque, and visibly affected by the work done by Andrea
between 1515 and 1519, they are nevertheless clearly less
naturalistic. The drawings for these figures are of exceptional
interest. We have a finished study (fig. 37), in black chalk, for
the St. John,82 which is manifestly more pictorial than such a
drawing for the panels at Panshanger as Uffizi 6692. The long,
abrupt breaks in the drapery, angular bunches of which are
gathered at the hips, as well as the treatment of the hands, recall
the Corsini study (fig. 11) for the lost "Santa Cecilia." But
not so the studies in red chalk for St. Michael's hands that one
finds on the same sheet, which, like the best drawings of Del
Sarto, catch thrillingly a momentary pulse of life, and record
a moment in which Jacopo sounded the spirit of his master
more profoundly perhaps than he ever had or ever would again.
His study for the legs of St. Michael (fig. 40), on the contrary,
shows a love of elegance, and a whole-hearted preoccupation
with the beautiful and the decorative. It suggests some late
^Dessins, pp. 153 f., 256.
"Ibid., pp. 117, 161.
24
HIS LIFE AND WORK
Greek god, carved in alabaster or ivory, some god, tall and slim
beyond measure, but full of the authentic strangeness of rarest
things. Conte Gamba finds it reminiscent of the quattrocentist
tradition, and its transparent smoothness does, perhaps, recall
Rossellino's somewhat over-modelled surfaces, although struc-
turally it is of a fine sophistication that the Quattrocento
seldom knew.
In 1519 Pontormo executed certain ephemeral works, since
destroyed or lost, among them a series of "drappelloni" for
the funeral of Bartolomeo Ginori for which he painted, accord-
ing to Vasari,33 a " Madonna and Child " on white taffeta with
the arms of the family below on coloured silk. In size and
lightness, these pennons were an innovation and set a new
standard. In the middle of the series there were two banners,
two "braccia" high, on each of which a "St. Bartholomew."
To these years also belong Pontormo 's first known por-
traits, although they can hardly have been his earliest, since
we know, for example, that in his " Joseph in Egypt" he had
already portrayed the young Bronzino among other figures,
many of which seem natural enough to be portraits. The
extraordinarily lifelike figure to the extreme left in the Pitti
" Adoration," has even been considered to be a likeness of
Pontormo himself, although for such a conjecture there is no
foundation. ^The portrait of Giovann' Antonio Lappoli,34 who
came momentarily under Jacopo's instruction35 just after the
"Faith and Charity" of the Servites was finished, as well as
the portrait of Becuccio Bicchieraio's son-in-law with a friend,36
have been lost. But we have some ground, from the sequence
of Vasari 's narrative, for imagining that they belonged to this
period, and were therefore probably not unlike the "Portrait
of Cosimo il Vecchio" (fig. 42),37 the "Portrait of a Youth,"
at Genoa (fig. 41) ,38 or the broad, massive portrait-drawing of
33 VI, 260. Cf. note 10 and fig. 24.
34 Ibid.
35 Ibid., p. 6.
se Ibid., p. 260.
37 Now in the Uffizi. Cf . Vasari, VI, 264.
38 Palazzo Bianco, No. 6.
25
PONTORMO
a youth, alert and conscious, in ample robes, now in the Uffizi
(fig. 38; No. 452), all of which are excellent examples of
Pontormo 's early manner in portraiture.
As a young man Pontormo worked hard, and how creative
his spirit was, how disciplined his hand ! These were perhaps
his happiest years. He was popular, and from all sides orders
came to him, which he met with a power and a versatility that
made him the most conspicuous and promising painter of the
younger generation, and gave him, though he was but five-and-
twenty, an eminent place among the ablest craftsmen then at
work in Florence.
Between 1512 and 1519 his manner had undergone numer-
ous changes of unusual interest, through which we have been
able to follow the drift of his unquiet spirit. The conception
of form that he had inherited from Albertinelli and Pier di
Cosimo mingled, not without hesitations, with the realism that
he had caught from the sturdiest draughtsman Florence ever
had. Now and then, as he developed, he found Leonardo's
types attractive, but most of all, and increasingly, Michel-
angelo's art moved him to a profounder study of the problem
of decorative and yet convincing form.
The first decade of Pontormo 's career gives us a sense of
the forces that outlined his creative individuality, and although
most of the pictures of that period are important rather as
documents than as works of art, one divines in them, neverthe-
less, a constant preoccupation. Jacopo had that rarest of gifts,
the decorative instinct. Not, then, as an eclectic, or as an
imitator, did he pass consecutively, and sometimes even simul-
taneously, through the various traditions that Florence kept
alive. Through all these superficial changes he was struggling
to formulate his vision, for he wanted to treat form, not merely
with mysterious science like Leonardo, not simply with conven-
tionality like Albertinelli, not even with convincing naturalistic
prosiness like Andrea, but for its own sake, joyously, lightly,
and decoratively. To spread, as it Were, a feast of problems
solved with a magnificent, fine facility for the pure distraction
of our pictorial sense — that was his apparent aim. But, as a
26
HIS LIFE AND WORK
youth, he had been commissioned to paint sacred subjects, and
these hardly gave his talent for decoration a sufficient outlet,
chiefly because the effort to establish a new canon for the
favorite themes of religious painting needed a forceful self-
confidence that Jacopo did not have. To express himself freely,
moreover, he seems to have required an equilibrium between his
vision and his environment more delicately adjusted than any
he had found so far. In 1520 such an equilibrium was estab-
lished when, given a fine task and a free hand, he painted one
of the greatest mural paintings of the Renaissance, the lunette
in the Great Hall of the Medicean villa at Poggio a Cajano.
27
CHAPTER IV
1520-1522
No documents exist for the lunette at Poggio. Only a
careful scrutiny of several circumstances will enable us to
conjecture the date at which it was begun. The decision to
undertake the decoration of the Great Hall came from Leo X.1
It was to be a tribute to the memory of his father, and he made
Ottaviano de ' Medici general director of the work.2 We imagine
that this enterprise was intended by the Pope to serve also as
a token of his desire that Lorenzino settle down in Florence
and not in Rome, and that it could hardly have received serious
attention until Lorenzino returned to Florence, on September 7,
1518,3 with his bride, Madeleine de la Tour d'Auvergne. Six
months later Lorenzino died (May 4, 1518), * and it is but
reasonable to suppose that his death may have somewhat
delayed the preliminary arrangements. The painters could, as
a result, hardly have begun work before the early spring of
1519. Franciabigio and Andrea di Cosimo were then com-
missioned to gild the ceiling, but, even when finally undertaken,
the work progressed slowly.
Besides Pontormo, Andrea del Sarto and Franciabigio8
were engaged, and to them the side-walls were entrusted, while
to Pontormo were given the end-walls, the upper part of each
of which is a lunette. His whole task, therefore, was to include
two lunettes and two large frescoes,6 and as the lunettes were
iVasari, V, 195; VI, 265.
2 Ibid., VI, p. 264.
a Anonymous continuator of Landucci, p. 365. Letter of Cardinal Giulio to Antonio
Pucci, August 3, 1518, Catalogo dei Manoscritti Torrigiani, p. 271.
* Cambi, XXII, pp. 144 f . Nerli, VI, p. 132. Ammirato, XXIX, p. 335.
6 Vasari, V, pp. 35, 195. The painters were paid thirty "seudi" a month (V, 196).
« Ibid., VI, 264.
28
HIS LIFE AND WORK
the more difficult part of the undertaking, it was on one (fig. 50,
51 and 52) of them that Jacopo began work. Paolo Giovio,
bishop of Nocera, chose the subject,7 "Pomona and Vertumnus,"
having in mind, it would seem, one of the less well-known
passages8 of the " Metamorphoses. " With a simple lunette
(fig. 11) Pontormo had already dealt, once with great charm9
in the "Santa Cecilia," once with mastery in a drawing for a
lost "Pieta" (fig. 39; Uffizi 300F),10 and he attacked the new
and greater problem of a lunette pierced by a bull's-eye with
the greatest earnestness, devoting to his preparation much time
and thought, feverishly undoing today the work of yesterday —
"sempre facendo nuovi trovati."11
At the same time, ideas apparently came to him for all
four decorations, for I cannot but think that in many drawings
of passionate force, of sparkling rhythm, or of wistful tran-
quillity, which are manifestly of this period, but in no way
related to the lunette, we have first thoughts for one of the other
projected but unexecuted frescoes. What the subjects of these
compositions were to have been we do not know, and it is possible
that he only made tentative plans for them, for in the time that
he took to paint the first lunette, Franciabigio finished only
one fresco,12 while Andrea's "Tribute to Caesar" was left but
half painted13 when the death of Leo (December 1, 1521)
interrupted -the undertaking," and all work upon the Great
Hall was suspended. During the brief reign of Hadrian VI,
the position of the Medici was precarious, and it was evidently
not a moment when they would have spent much on what the
Italians call "muraglia."
1 IUd., V, 195.
s Ovid, Met., xiv, 623-697.
» Dessins, p. 333.
10 Ibid., p. 87.
"Vasari, VI, 2641
12 Ibid., V, 195.
is Ibid., 36. Finished by Alessandro Allori. On a " cartella ' ' one reads : ' ' Anno
Domini 1521 Andreas Sartius pingebat, et Anno Domini 1580 Alexander Allorius seque-
batur. " Andrea was very busy during these years. The "Tabernacle of Porta Pinti"
was finished in 1520. Cf. Vasari, V, 33.
i* Ibid., VI, 264 f .
29
PONTORMO
Many drawings relative to Poggio survive. We can
follow with comparative ease the steps by which Pontormo
advanced from a general idea of the composition to its final
form. The earliest sheet (fig. 53) we possess is perhaps
Uffizi 6660 verso,15 on which the lunette is mapped out and the
pose of several figures indicated, and on which the medallion
under the hull's-eye, the two "putti" over it, the high wall and
the laurel branches also appear. Pontormo, however, had not
decided what figures he would use, nor yet made clear to
himself, where he was to place them. He seems, it is true, to
have contemplated an arrangement that involved two figures
with their backs to the lower part of the bull's-eye, one seated,
one half reclining and, to the right of the right-hand figure, a
simple rustic gaine. So his mind played around the Goddess
of Gardens and her setting.
His next idea for the whole composition is Uffizi 6742
verso. On this sheet, drawn over a preliminary sketch for the
St. Francis of the Visdomini, we can trace outlines of the
lunette, the lower wall, and four seated figures. The peasant-
like figure of Vertumnus to the extreme left, the figure to his
right, the reclining woman who looks over her left shoulder,
occur here, practically as we find them in the finished work.
This sheet is also a curious link between Poggio and the lunette
of " Santa Cecilia," for to the extreme right one descries a
woman crouching in a pose which repeats that of the latter
figure.
We can also follow in some cases the genesis of individual
figures, and in Pontormo 's second mapping-out of the whole
lunette (Uffizi 6742 verso) we find, for example, his first idea
for the woman to the left on the lower right wall. For the
same figure a study from the nude survives. It was made,
however, before the width of the lower parapet had been
determined. In this sketch (fig. 54; Uffizi 6557), which is
strikingly modern in pose and treatment, the figure lies flatter
than it does in the fresco. The final study (fig. 55 ; Uffizi 6673),
16 A detailed discussion of each of these drawings will be found in my Dessins.
30
HIS LIFE AND WORK
the gracile charm of which recalls Fragonard, is except for the
fall of the drapery identical with the finished work.
With even greater precision, we can follow the evolution
of the figure to the extreme right on the lower wall. For it
our earliest idea is a study from the male nude (fig. 56 ; Uffizi
6514) which, apart from its rare plasticity and its beautiful
lightness of touch, is of unusual interest because it shows that
Pontormo at first thought of making the lower parapet twice
as high as it is in the fresco. In Uffizi 6515 verso (fig. 57), we
find the final pose of this figure sketched from life, the model
a young artisan, the movement delightfully indicated. Last
in this series we have Uffizi 6673 verso (fig. 58) , which but for
the drapery is close to the figure in the decoration. In spirit,
however, it is different, for in the sketch the beautiful peasant
girl of the fresco is transfigured by a touch of the superhuman.
Clearly this drawing owes indirectly something of its great,
indwelling life to Michelangelo in spite of the fact that the
draughtsmanship is devoid of any semblance of his manner.
The case is otherwise with two extraordinary sketches (fig. 59
and 60) for the pose of this figure (Uffizi 6544 and 6555).
These represent gigantic male nudes, and they cannot be placed
later than 1521. Yet I know of no drawing by Michelangelo,
earlier than 1528, in which the contour and modelling are
rendered as "Pontormo renders them here. Are we to believe,
as Berenson suggests, that in these studies Pontormo, with
marvellous versatility, outstripped for a moment Michelangelo
himself?
Uffizi 6437 verso is a study of drapery that falls from the
knees of a seated female figure; the legs are bent back at the
knees, and the feet rest on a wall upon which she had just
climbed. This was Jacopo's first idea for the rustic goddess
to the extreme right of the upper parapet, but with it he seems
to have been dissatisfied. For on the recto of this sheet we find
that he made another study of drapery that hangs from the
waist of the same figure, seated this time, facing left astride
of a wall, and wearing a skirt that sweeps down the left leg
and is caught up, at the knees, by the parapet. This pose also
31
PONTORMO
had its difficulties — an awkward bundling-up of drapery before
and behind the figure. It interested Pontormo, however,
and for it he made one more sketch, a fine, small study (fig. 54)
from the nude (Uffizi 6557) that, without the help of 6437 recto,
we would never have thought of identifying with any figure
in the fresco. Uffizi 6519 verso is a little sketch for part of the
same drapery, the final form of the lower part of which,
identical in touch with the fragment just mentioned, is found
in Uffizi 6731 recto (fig. 61). In Uffizi 6632 recto, the pose of
the torse is suggested. This is followed by a curious series
of trial poses. The male nude, studied in Uffizi 6662 verso
(fig. 62), is seated as in the fresco but the position of the legs
and arms is reversed. Technically this drawing, like Uffizi
6544 and 6555, is Michelangelesque, though less noticeably so.
Corsini 124243 verso, a sketch of great spontaneity, is probably
Jacopo's first thought for the pose finally chosen. Uffizi 6728
gives the outline of the right leg precisely as in the fresco;
Uffizi 6531 (fig. 63) and 6530 are finished studies for the whole
figure, draped as in the painting, and Uffizi 6547 (fig. 64), is
a rare but ruined study for the head, enigmatical, enchantingly
felt, dainty and free.
Several drawings survive for the child to the left of this
figure, one of the earliest of which is Uffizi 8976 verso, and
although it is far from the final pose, we can also unreservedly
identify Uffizi 6646 (fig. 65), on which one sees, to the left, the
curve of the bull's-eye, as a first thought for the same infant.
Uffizi 6728 verso is a sketch for the left leg. The recto of
Uffizi 8976 may represent another conception of the figure,
drawn while Pontonno still thought of making his fresco, not
a summer holiday of the rustic gods, but a pastoral "concerto."
For the composition of this proposed " concerto," Uffizi 455
(fig. 74) is a finished study where, however, our figure does
not occur. It is among certain drawings that preserve early
tentative poses of this figure that we find two of Pontonno 's
rarest sketches (fig. 67 and 68; Uffizi 6669 recto and verso).
These drawings, so perfect in structure and yet so prompt, so
transfused with the quickness of lyric beauty, attain to a quality
32
HIS LIFE AND WORK
that we should look for in vain in the work of Del Sarto. In
them Jacopo achieves a spontaneous registry of vision, a tran-
script of the essential, not less magical than Leonardo's own.
The only other sketch we have for a figure on this side of the
lunette is Corsini 124240, a spirited jotting for the "putto"
over the bull's-eye.
For the left half of the lunette, less copious material has
come down to us. The final pose of the youth to the extreme
left, on the upper wall, appears in no study that is known to
me, although the germinal idea is undoubtedly a tiny sketch
on Uffizi 6515 where, however, the movement of the left arm
and of the legs is different. Uffizi 6634 may also be a first
thought for this figure, the pose still far from that which one
sees in the fresco and which obviously owes something to the
"Jonah" of the Sixtine. On Uffizi 6661 (fig. 66) there is a
vibrant sketch for the " putto," to the left, above the bull's-eye.
The child to the right of the youth that we have just
discussed has come down to us in the final study (fig. 69 ; Uffizi
6651) from which the figure was transferred to the wall. It is
exquisitely lovely, of liquid tonality, the movement seized with
masterly definition. The soft but vivacious modelling gives
one a sense of fine silver bronze, and beautiful as this figure
is in the fresco, it has surely lost some of its own original,
delicate vitality.
We cannot trace the loosely dressed youth, seated to the
right on the lower wall, in any known drawing unless, as is
doubtful, Uffizi 6618 preserves an earlier conception of the
figure. For the left arm, however, as it appears in the fresco,
we have a decisive study (fig. 70; Uffizi 6559), while on Uffizi
6515 one finds what is seemingly a sketch for the knees in a
slightly different pose, and a study of the left foot in the pose
finally chosen.
The old peasant-like Vertumnus, to the extreme left, is
traceable in a number of studies. As we have already noted,
the idea of placing a squatting figure in this corner of the fresco
occurred to Pontormo early in his work of preparation, and
one descries such a pose in the first draft of the lower part of
33
PONTOKMO
the fresco (Uffizi 6742 verso). In the beginning, Jacopo seems
to have intended that this figure should shade his eyes with his
right hand — a motive which first appears in a scrawl on Uffizi
6599 recto, and which is studied again from the nude in three
splendid sheets, Uffizi 6515, spirited and immediate, 6685 recto
(fig. 71), ringing and solid, 6599 recto, somewhat arbitrary in
its proportions but of great indwelling energy. For the old
god's head, precisely as it appears in the fresco, Uffizi 6579
(fig. 72) is a fine study, obviously from the life and admirable
in its incisive severity.
Two puzzling designs for the whole lunette remain to be
considered (fig. 73 and 74; Uffizi 454 and 455), both of which
recall the fresco without being definite studies for it. In the
former, there are three figures on either side; around the
bull's-eye is wound a strong young sapling of which each figure
holds a branch, and which without their efforts would straighten
out and spring away. This motive is apparently symbolic of
Pomona's beneficent guardianship of gardens and their trees,
and yet a more felicitous and fitting solution of the mere
problem created by the shape of the space to be frescoed could
hardly be imagined; no figure is otiose, and no gesture mean-
ingless. Pontormo's insight into the secrets of Michelangelo's
art could with difficulty be more admirably illustrated than
by the fine ease with which he gives here a real function to every
figure ; his feeling for the fundamentally significant in compo-
sition finds nowhere more creative expression.
Is our drawing a rejected study for the existing lunette
at Poggio, or is it a project for the second lunette of the Great
Hall, for which Jacopo received a new commission in 1532, but
which he never executed? The swollen contours and the close
packing of the figures into the space prescribed convince
Berenson that our design was drawn in 1531-1532. I believe,
on the contrary, that the exaggerated contours, the rather puffy
modelling, can more easily be explained by the fact that the
drawing is in pen and bistre — a medium for which Pontormo
shows nowhere either aptitude or predilection. Moreover, it
will be noticed that this splendid design contains one figure
34
HIS LIFE AND WORK
closely related to the Pomona of the finished fresco; and so
striking a relation must have its own especial significance. In
a second lunette, in the same Hall, Jacopo would hardly have
repeated a conspicuous figure. But, if our drawing is really
a project for the first lunette, one wonders at first sight how
Pontormo, who must have realized its unusual beauty, could
ever have abandoned it. He had, I think, no choice ; it was the
great size of the lunette at Poggio that forced him to lay it
aside as impracticable, for the figures of the drawing expanded
to the scale of the surface to be decorated would have been
enormous, larger even than the clumsy giants painted by
Alessandro Allori, in 1580, at the other end of the Hall.
Our other study for the whole lunette is also in pen and
bistre. Here too the motive of the bent sapling is used, but
it is held by only two figures, both on the same side of the
bull's-eye. This design must have been drawn just after the
former, and it shows, as we have seen, that for a time Pontormo
thought of painting, not a rustic holiday as an interpretation
of his theme, but a pastoral " concerto." Many drawings16 exist
that are not for any figure of the surviving lunette at Poggio
but that date from the same period. Among these we find a
powerfully realized study (fig. 76; Uffizi 6597) for a " Young
Baptist in the Wilderness," the preliminary sketch for which
(Uffizi 6645 Tecto) represents one of Pontormo 's most inspired
moments ; an intense and enigmatic composition of three nudes,
preserved in the Stadel Institute, at Frankfort (fig. 77) ; a
curious sketch of a melancholy and meditative youth wrapped
in a great mantle (fig. 49; Uffizi 6682). The latter, like many
other studies that date from these years — notably the swift
and energetic drawing, Uffizi 6727 recto (fig. 75) — represents
a figure seated upon a high, stepped block. These, and the
flamelike study (fig. 78; Uffizi 6677 verso) of three nudes, one
of which stretches out a hand with the gesture of the "Adam"
of the .Sixtine, help us to measure the nature and extent of
Michelangelo's influence upon Jacopo between 1519 and 1521.
Either Pontormo had seen the Sixtine ceiling itself, or he had
is Fig. 43, 44, 45, 46, 47, 49, 75, 76, 77, 78.
35
PONTORMO
studied many sketches made by Michelangelo in preparation
for it that have since been lost. Apart from the drawings of
seated figures, which I have just mentioned, the earliest sheet
that we have for Poggio (fig. 53; Ufiizi 6660 verso) contains
three studies of interlaced "putti" that are unmistakably
derived from the Sixtine vault, although the pose differs from
that of any "putti" now to be seen there. More important
still, in this connection, is the right-hand figure of Uffizi 6660
recto, a sketch that distinctly recalls the figure in the space to
the right of and above Michelangelo's "Zerubbabel," and that
represents, I believe, Pontormo's first idea for one of the
"putti" above the bull's-eye. The slope on which the figure
leans excludes all other explanation. This sheet furnishes the
most direct evidence we have that the Sixtine ceiling was present
to our master's mind when he was planning his "Pomona and
Vertumnus," at Poggio.
On the other hand, the lunette, in its final form, owes little
to Michelangelo. Its sunny airiness, its autumnal festivity, the
gay dignity, the unity and charming novelty of the composition,
are all Pontormo's own, and in it his fine instinct for the
decorative expresses itself with a gracious fitness, a perennial
youthfulness, a quiet, delicate joyfulness, without parallel in
any other Italian work of the Renaissance.
36
CHAPTER V
1522-1527
In the fresco at Poggio, one phase of Pontormo 's talent
attains its fulfilment and, upon so great an achievement,
another painter would have formed a permanent manner. To
a less imaginative temperament nothing would have been
easier; he had been so successful that many must have con-
sidered him to be the most prominent painter of the younger
generation. Great things had been expected of him; he had
accomplished great things. But to Jacopo's unworldly mind,
success meant little, and when he had conquered one problem,
he immediately and ardently undertook the solution of another.
Some of his contemporaries felt, nevertheless, that his mobility
of spirit was mere capriciousness, and here and there, in Vasari,
we come upon echoes of their opinion. They failed to under-
stand that his changeableness was partly due to external causes,
the nature of which they did not realize. Five years earlier,
Pontormo had been too exclusively absorbed in his art to notice
or care what social or artistic revolutions were undermining
Florentine life, but now his delicately balanced nature could
hardly have failed to react to the great changes that were taking
place around him. The Medici had passed through troubled
waters, but as the political tide had turned so also was turning
the current of Florentine tradition, and the great, fresh stream
of Tuscan art, once fed and kept pure by so many springs, was
now irrevocably flowing toward a despotism as absurdly cruel
as that which was to submerge Florence itself. The era of
the "Michelangeleschi" had begun.
In his effort to free himself from the limitations imposed
upon him by Andrea's unimaginative naturalism, Pontormo
had sought the stimulus of Michelangelo's early work, and
37
PONTORMO
by that contact, his own style had become more distinctly
personal, even though the deep study that he made, during his
formative years, of the cartoon of the "Battle of the Cascina"
had profoundly modified his ideal of form. Now, however, he
was confronted with the inexorable fascination of Michel-
angelo's maturer manner, that imperious manner which had
already begun to obsess all Florentines. And under such cir-
cumstances it was inevitable that the magnetism of the older
master's superabundant creativeness, the tremendous emphasis
of his vitality, and his turbulent mastery of material, should
cross Pontormo's own ideals with lingering insistence, and warp
the instinctive nature of his rare, unconscious, personal vision.
Had he appreciated his own possibilities, had the Florentine
public remained open-minded to various kinds of artistic
achievement, he might have given to the world other works
as decorative and as appropriate as the lunette at Poggio or as
the " Deposition" at Santa Felicita.
But the moment was unpropitious, and Jacopo's very
power had its roots in his extreme sensibility. Still he was
not without intellectual courage, and he made a supreme effort
to avoid the trap into which all his fellow-painters were falling.
Suddenly we are witnesses of the curious spectacle of an Italian
painter of great attainments seeking to escape from the tyranny
of Michelangelo's canon of form by flying to that of Diirer.1
This choice, the strangest that an Italian ever made, was for
Jacopo the craving of an instinct, and quite apart fromjns^
strangely modern susceptibility to novelty, he was, we may
believe, swayed by an intimate compulsion, for there was_in
Durer's designs an intense metaphysical quality that Pontormo
was born to understand. A curious evidence of how well he
understood, of how far he succeeded in seeing the world with
northern eyes, while the rhythms of the great Florentine were
still beating in his memory, is furnished by such a sheet as
Uffizi 6702 verso.2 For a moment, he had a divided mind. But
iVasari's account of the diffusion of Diirer 'a woodcuts in Italy (V, 22, 405; VI,
266) is full of errors, especially in his "Life of Marcantonio. "
^Dessins, pp. 246-248.
38
HIS LIFE AND WOEK
he was an absolutist and at cross-roads he never lingered. In
the Scalzo frescoes Andrea had been content to eke out his
unimaginativeness with fragments taken from Diirer's inven-
tions.3 Jacopo, on the contrary, after he had studied Diirer's
art, felt impelled to revolutionize, as thoroughly as possible,
his theories of form, contour and composition. And were the
drawings that survive for the frescoes at the Certosa more
numerous, we might, perhaps, be able to demonstrate that for
a time Pontormo attempted to draw with the awkward stress
and jerky pulse of an early Diirer woodcut.4 A sketch we find
on Uffizi 6648,5 furnishes us with a reasonable basis for such
an assumption.
Vasari tells us that Pontormo began the Certosa frescoes
in 1522, and he had reason to know, for in 1524 he had spent
much time in copying them.6 In the books of the monastery
I have discovered a complete record7 of the payments that were
made to Pontormo for this work. In the Quaderno di Cassa F,8
under the date May 26, 1524, we read: "A mro Jacopo di
bartholomeo dapontormo depintore Ducati trenta L dua hebe
dal procuratore in 9 volte per parte da di 4 di Febraio 1522 per
insine adi 10 dapn'lle 1524 supra ala depintura fa nel claustro."
This is the first entry and may, accordingly, be taken as con-
vincing proof that, on February 4, 1522, Pontormo was already
at work in the cloister.
In Vasari 's opinion9 it was the return of the plague to
Florence in 1522 that caused Pontormo to leave the city. But
he is careful to add that Jacopo, being by nature lonely and
meditative, loved the life of the Certosa for its own sake — the
silence and the solitude, in the sheltering peace of which he
s In the ' ' Preaching of St. John, ' ' the man standing to the right and the woman
seated holding an infant. Cf . Vasari, V, 22 ; VI, 266.
* The fact that Italian collectors did not like Pontormo 's ' ' man iera tedesca ' ' may
explain the almost total disappearance of the drawings that he must have made during
this period.
5 Dessins, p. 204.
e Vasari, VII, 605.
T A. S. F., Convento 51, Nos. 16, 40 and 81. See Appendix II, Doc. 14, 15 and 16.
8 lUd., No. 40, p. 26 r.
» VI, 266.
39
PONTOEMO
hoped to accomplish great and novel things in art. Even after
the frescoes were finished and he had returned to the city, he
never ceased, Vasari says,10 to frequent San Lorenzo a Galuzzo,
and of that assertion Pontormo's own diary contains a curious
confirmation. On October 11, 1556,11 less than two months
before he died, he wrote : "domenica andai acertosa."
In the cloister of the monastery five frescoes survive
although in a ruinous state: "The Agony in the Garden,"
" Christ before Pilate" (fig. 79), "The Way to Golgotha"
(fig. 80), a "Pieta," and "The Risen Christ" (fig. 81).
According to Vasari,12 Jacopo intended to add a "Crucifixion"
and a "Deposition," and from a drawing (fig. 85) that I have
identified13 with his work at the Certosa, we know that he also
meant to paint a "Nailing to the Cross."
The difference in style between Poggio and the Certosa
is great. Vasari thought that no one could distinguish the
"Christ before Pilate" from the work of an ultramontane
painter.1* Such a statement is, of course, an exaggeration, and
closer study reveals that Pontormo merely borrowed from
Diirer,15 sometimes actually copying them, certain peculiarities
of dress, attitude, or contour, and the ragged silhouette and
jumbled lineal rhythms of the composition. The draperies,
much as Pontormo may have tried to change them, are still
Florentine, and the touch, the modelling, and the types, quite
Italian. Vasari himself must have noticed Pontormo's vacil-
lation between northern and southern ideals, for he remarks
that, though the most successful fresco, "The Way to Golgotha,"
shows throughout Pontormo's imitation of Diirer, the cup-
bearer of Pilate in the "Christ before Pilate" still retains a
certain something of Jacopo 's earlier manner.16
10 Hid., p. 269.
n For the text of the Diary, see Appendix III.
12 VI, 269.
is Dessins, p. 222.
"VI, 267.
is For the figures that Pontormo borrowed from Diirer, see the Catalogue Eaisonnfi
under Certosa.
, 268.
40
HIS LIFE AND WOBK
The frescoes have been restored, but from the still undam-
aged small copies by Jacopo da Empoli,17 it is evident that the
colouring was close to Poggio and owed its vivacity to light
harmonies on a few tones that were carried through the whole
composition. Undoubtedly they were decorative; even now,
although ruined and repainted, they sing out in the sunshine
as few frescoes later than the Trecento do. They have a soft
vivacity, an unforced gravity, that no transalpine work could
have.
Besides the " Passion " of the great cloister, Jacopo painted
for the Certosini18 a " Supper at Emmaus" (fig. 82), which was
hung in the Foresteria, and which is now in the Academy at
Florence.19 Milanesi and others give 152820 as the date of this
picture but, as I have pointed out elsewhere,21 1525 is the date
which is inscribed on the "cartella." We have also a payment
made on June 4, 1525,22 for the colours and the frame — "per
fare lo cenaculo dela despensa." In this picture, the influence
of Diirer is confined to the composition, which is derived from
the engraving of "Christus und die Jiinger von Emmaus" that
was issued between 1505 and 1511. The canvas is, otherwise,
of a naturalism almost too naive.
In addition to the "Supper at Emmaus, " Vasari23 speaks
of a " Nativity," painted for the prior's room, and apparently
now lost, in which the St. Joseph held a lighted lantern.
Pontormo also executed for the monastery a bust portrait of
a lay-brother who was 120 years old. This fresco, which no
longer exists, was once on the right side of the altar of San
Benedetto. Vasari24 praises it highly, finding it of an excellence
that went far towards excusing the extravagance of manner
that marred, in his estimation, Jacopo 's other works at the
Certosa.
IT Now in the Ufficio delle Belle Arti in the Palazzo Vecchio.
is Vasari, VI, 270.
i» No. 190.
20 Vasari, VI, 270, note 1. Berenson, Florentine Painters, p. 175.
21 On Certain Drawings, p. 12.
22 A. S. F., Convento 51, No. 16, p. 30 r. See Appendix II, Doc. 15.
23 VI, 269.
2* Ibid.
41
PONTOEMO
Most of the drawings25 for his work at the Certosa have
perished, but among the few that survive there are several of
an exceptional interest. One of them (Uffizi 6702), to which
we have already referred, shows that Michelangelo's canon of
form still haunted Pontormo even while he was imitating
Diirer. On it we find a sketch of a figure, unquestionably
derived from a drawing for the "Haman" of the Sixtine,
which Jacopo perhaps thought of using for his " Risen
Christ." When, however, he came to paint that fresco he
followed Diirer closely in type and in composition. The same
sheet also preserves for us a light sketch for the woman seated
to the extreme right in the "Pieta" — a figure that has
no antecedents in Diirer. Lastly, this leaf contains a first
thought for the Christ of the latter fresco in which the pose
recalls the Christ of Diirer 's "Beweinung Christi" of the
"Kleine Passion." In all these studies the quality of the line
is somewhat relaxed and thin. Another drawing (Uffizi 6674),
unfortunately now quite ruined, gives us the Christ in a pose
nearer that which was finally chosen. Uffizi 6643 verso appears
to be a study from the nude for the awkward figure that carries
the end of the cross in the "Way to Golgotha." On Uffizi 6558,
which is chiefly devoted to a nude obviously of the Poggio
period, we also find two draped heads that belong to the period
that we are now discussing. A similarly draped head appears
on Uffizi 6539. These are, in all likelihood, studies for the
women of the "Pieta." Another sketch of the same sort,
Corsini 124242, is certainly for the figure high up to the left
in the same fresco. A study of drapery for a seated figure,
preserved in Uffizi 6648, may very well have been drawn for
the young disciple behind Peter in the " Agony in the Garden."
Much of this fresco, however, is so ruined that identifications
are hazardous. Berenson assigns this sketch to Certosa on
morphological grounds, and it is the only sheet from this epoch
of change that he mentions.
For the monk to the right, in the "Supper at Emmaus,"
we have, in Uffizi 6656 verso (fig. 84), a fine study from which
25 In my Dessins these drawings are discussed in detail.
42
HIS LIFE AND WORK
we can draw definite conclusions about the quality of Pontormo's
draughtsmanship after what was considered by his contem-
poraries mere capricious imitation of an inferior style. The
figure is in red chalk, simple, adequate and of an unaffected
lucidity of vision.
The most interesting drawing (fig. 83; Uffizi 6622) that
we now have related to the frescoes in the Val d'Ema is an
elaboration of the "Kreuzabnahme" that Diirer engraved
between 1509 and 1511. The arched form, the proportions, and
the space left in the lower corner for the top of a rounded door,
make its identification easy. It is a study for the " Deposition"
that, as Vasari records, Pontormo was to have painted in the
great cloister, and which was never executed. Technically our
sketch is of a flower-like delicacy that is altogether lovely.
With his contemporaries Jacopo's work at the Certosa was
not popular. Vasari, to be sure, devotes five pages to this
undertaking. Nevertheless, we read between the lines that
Jacopo's friends found it an aberration, and it is not surprising
that his restless spirit soon passed on to other aims. In one
of the last drawings (fig. 85; Uffizi 6671) that he made at the
Certosa, a study for a " Nailing to the Cross," he is evidently
already making his way towards a new understanding of art.
Here, and in no uncertain manner, is the dispersed composition,
the crowded-arrangement of figures, that was dear to the late
cinquecentist and that, with the cult of the gigantic and the
forceful, finally smothered the last embers of Florentine art.
Pontormo saw that, in Florence, painting could only develop
in one direction, and in this design he had premonitions of ideals
that were not completely evolved by the Florentine School
until twenty years later. Even more interesting, however, is
the fact that the studies (fig. 86 and 89) we possess for indi-
vidual figures of this composition (Uffizi 6652 verso and 6657 ;
Corsini 124161) have still a breezy spring, a solidity that recalls
Poggio, and a wirelike quality of line that anticipates various
sketches for Santa Felicita.
Vasari26 says that Pontormo had with him at the monastery
26 VI, 270; VII, 594.
43
PONTORMO
no one but the young Bronzino and he implies that Pontormo
executed practically with his own hands the entire cloister
''Passion.'* In any case we know not only that the books of
the Certosa contain no payment made to any assistant other
than Bronzino but that Jacopo spent four years in the Val
d'Ema,27 which was more than time enough to have painted,
without help of any kind, all five existing frescoes. If in their
present state these defy any attempt to define in them differ-
ences of touch, we can at least be sure that the "Supper at
Emmaus" shows no trace of a second hand. Pontormo had an
instinctive dislike of collaborators; often he would not even
let his work be seen before it was finished.28 He had, in fact,
so little patience with mediocrity that, far from allowing his
pupils to finish his pictures, he sometimes could not resist the
temptation to transfigure their work with last touches of his
own. This he did, according to Vasari, when Lappoli once
tried, with a mirror, to paint his own portrait with results that
were miserable enough until Pontormo took the brush out of
his pupil's hand and transformed the nondescript likeness into
a masterpiece. While he was at work in the Val d'Ema,
Jacopo also so completely rehandled a "St. Quentin" (fig. 90),
which had been begun by Giovanmaria Pichi,29 that the canvas
now retains hardly a trace of other than the master's touch.
For it we have a wonderful head,30 in pen and bistre, drawn on
a black-chalk ground (fig. 91) that Pontormo seems to have
dashed off to illustrate for his pupil a problem of pose.
Between the autumn of 1525 and the winter of 1527 Jacopo
returned to Florence, although he continued to occupy himself,
from time to time, at the monastery. An entry in the Quaderno
di Cassa of the monks, on December 6, 1526, for flour and
chickens sent to him to Florence, would seem to fortify our
conjecture.31
Soon after he had finished the Passion frescoes, Pontormo
27 See in Appendix II, the documents cited above.
28 Vasari, VI, 271.
2» Ibid., p. 259.
so Dessins, p. 203.
*i A. S. F., Convento 51, No. 40, p. 108. See Appendix II, Doe. 15.
44
painted, on the walls of a large way-side shrine at the cross-
roads of Boldrone, a Christ crucified, Mary, St. John the
Baptist, St. Julian, and St. Augustine in episcopal robes — a
work which, in Vasari's opinion,32 is not unlike the "Passion"
of the Certosa. The Mary, the St. John, and the St. Julian
do recall various figures in the "Christ before Pilate" and in
the "Pieta," but the ingenuous simplicity of the composition —
due doubtless to the shape of the shrine itself — bears no
relation to his work in the Val d'Ema. For the fresco at
Boldrone no document exists, but considerations of style and
circumstance make the date of it practically certain. It cannot
have been painted earlier than 1525 nor later than the summer
of 1529, in the autumn of which year Florence was invested
by the Imperial troops and the country-side was no longer safe.88
Pontormo's imitation of Diirer interrupted, in some
measure, the natural evolution of his talent. Nevertheless,
it was a surface distortion, which did not modify the funda-
mental groundwork of his art. His exploration of northern
formulas had been too consciously intellectual ever to pass
into his larger heritage as a Florentine, and Diirer 's art, once
it had ceased to interest Jacopo, left no lasting mark upon his
later manner. Even before he had completely freed himself
from its influence, Pontormo's genius was such that he could
still express^ himself with a marvellous freedom and add the
"Deposition" of the Capponi Chapel (fig. 92) to the master-
pieces of Italian art. Of that difficult subject this altar-piece
is, perhaps, our rarest rendering, as it is, without doubt,
Jacopo 's highest achievement in religious painting. In it, as
in the lunette at Poggio, he subordinates everything to a fine,
calculated, decorative effect in a way that was unique in an
age of naturalism and the final triumph of representation.
The pale golden colour, enveloped and yet left singing, is
as delicately adequate and soothing as the forms are, in a real
sense of the term, ethereal, and as the composition, with its
strange, torn, gyrating rhythm, its complex cycles of movement,
32 VI, 272.
ss Nerli, IX, 202 f .
PONTORMO
is elusively beautiful. The sense of amber dawn-light playing
on lovely, elemental beings is stronger here than the sense of
death. Among these divinities of lithe limbs and curliest blond
hair, grief and passion are unreal, for death has been among
them for the first time, and in amazement rather than in tears,
they carry to the grave their fairest youth, who lies as if asleep
upon their shoulders, with no indignity done to his beauty,
a tress upon his neck and the first down on his chin. His young
mother seated by the roadside reaches out her hand, uncompre-
hending. On all the faces a look, more of incredulity than of
despair, appeals to us to explain so strange and sudden a
catastrophe.
The ''Deposition" represents but part of the work done
by Pontormo at Santa Felicita.34 He frescoed the entire
Capponi Chapel, painting on the side-wall to the right, an
"Annunciation"; in a "tondo," on each pendentive of the
vaulting, a bust figure of an Evangelist; and in the cupola
itself, "God the Father and Four Patriarchs." The general
effect of the decoration is not perfectly harmonious, and even
Vasari35 noticed a certain difference in style, colour, and
composition, between the "Deposition" and the figures of the
vaulting. The "Evangelists" are, in fact, dull in tone, and the
"Annunciation" is more in harmony with them than with the
altar-piece. We cannot, however, tell what the original effect
was, for the "Annunciation" has lost in successive repaintings
all its distinctive quality, and the figures of the cupola have
been destroyed.36
In all these pictures the influence of Diirer is slight. No
one who has not seen Jacopo's work at the Certosa would ever
think of associating the "Kleine Passion" with the "Deposi-
tion," still less with the "Annunciation" or the "Evangelists"
of Santa Felicita. Vasari" himself felt that in them Jacopo had
again become a Florentine: "parve quasi che fusse tornato alia
s* Vasari, VI, 271 f.
ss Ibid.
so In 1766 when the organ-loft was rebuilt.
37 VI, 271.
46
HIS LIFE AND WORK
sua maniera di prima." Nevertheless, a certain lingering
influence of Diirer's engravings may be traced in the rather
tight, complicated folds and torn, cascading effect of the
draperies in the " Deposition."
"We do not know the exact date at which Pontormo was
commissioned to decorate this chapel. The books of the
monastery of Santa Felicita are silent, and none of the Capponi
papers38 that are now in the Florentine Archives mention the
undertaking. Vasari speaks of it as begun "non molto dopo
la Certosa," and Balocchi, who probably had access to some
document now lost, states39 that Lodovico di Gino di Lodovico
Capponi acquired the chapel in 1525 for two hundred "scudi."
In a Libro di Eicordanze40 of the monastery one gleans the fact
that the chapel was rented, in January, 1490, by the Barbadori
to Antonio di Bernardo Paghanelli, in the margin of which
entry one reads: "Compero il detto Antonio la detta, cappeZZa
da Barbadori e da Bernardo suo figlio fu venduta a Ludovico
Capponi per scudi 200." This note can hardly have been
written later than 1528, and we will not go far wrong, then,
if we suppose that Jacopo began the work late in the autumn
of 1526. He put up a scaffolding and, according to Vasari,41
kept the chapel closed for three years. This, however, does not
imply that Pontormo undertook, during all that time, no other
commissions.
The preparatory work for these decorations may be
followed in a number of drawings.42 For the " Annunciation"
there are two finished studies, one (fig. 88; Uffizi 448) for the
Virgin, a rather dry, meticulous drawing in red chalk, the other
(fig. 87 ; Uffizi 6653) for the angel, a sketch full of freshness
and movement. Pontormo employed in the latter a mixed
technique of pencil washed with bistre, which furnishes us
with a precious criterion of the use that he made of chalk and
wash toward the end of the twenties. Earlier sketches for the
ss A. S. F., Convento 83, No. 130, Scritture diverse di Casa Capponi (1410-1539).
3» Illust. di S. Felicita, p. 35.
w A. S. F., Convento 83, No. 115 (1485-1528), p. 21. See Appendix II, Doe. 17.
*i VI, 271.
42 For a detailed discussion of these drawings, see my Dessins.
47
PONTORMO
angel's neck and shoulders may be found on Uffizi 6570 verso,
and it is not impossible that the draped figure on the recto of
this sheet is an abandoned idea for the pose of the Madonna.
The touch is undoubtedly of this period, but the light drapery,
apparently inappropriate for a Madonna, weakens some-
what our supposition. The figure may, of course, be a study
for the lost "Pomona" that Jacopo painted in fresco near the
door of Filippo del Migliore's house, in Via Larga — a work
that Vasari mentions immediately after the Certosa, and which,
therefore, should be placed just before Jacopo 's frescoes and
altar-piece at Santa Felicita.
For the "Deposition" of the Capponi Chapel we have many
drawings. On Uffizi 6666 (fig. 93), the Madonna's head is
sketched from the male nude, and on Uffizi 6627 (fig. 94), the
head of the woman to her left is studied twice. In the
"Deposition," Pontormo combined these studies, using one for
the features and the other for the arrangement of the head-
dress. Both are evidently drawn from life, as is Uffizi 6577
(fig. 95), a study for the head of the youth who carries the
knees of Christ, in which the features are more troubled and
more realistic than in the altar-piece where so personal a note
would have spoiled the fine serenity of the scene. The diver-
gence between the painting and the drawing is a clear
indication of how profoundly Pontormo 's imagination trans-
figured his material. The youth who carries the shoulders
of Christ may be seen in a number of sheets. Corsini 124229
verso and 124230 (fig. 96) are first thoughts for his head and
shoulders; on Uffizi 6730 (fig. 97) there is a sketch for his legs
and drapery; and on Uffizi 6613 verso (fig. 98) the movement
of his legs is studied from the nude. Here too we find a part
of his drapery, as well as the marvellously prompt strokes with
which Pontormo first sketched the whole figure. A somewhat
mannered study (fig. 99 ; Uffizi 6619) of an unpleasant type of
nude, drawn from the life, is Jacopo 's first idea for the Christ.
The touch has a certain sincerity, but the pose is without charm
of movement, and in the conception of this figure the altar-
piece marks a notable advance. The drapery of the upper part
48
HIS LIFE AND WORK
of the youth in the upper right-hand corner of the picture
appears in Uffizi 6730 (fig. 97), and in Uffizi 6576 recto (fig. 100)
the entire figure is studied from the nude. This is by far the
most interesting sheet we possess for Santa Felicita. It is of
a supple sureness of hand, caressing and delightful.
For the "tondi" of the pendentives48 we have in the British
Museum (Payne Knight Collection, P. p. 2, 102) an idea for
the "Evangelist" to the right above the "Annunciation."
Berenson believes that Uffizi 6647 recto is also a first thought
for one of these medallions, but one should notice in passing
that the pose is far from that of any of the figures in their
final form.
Since the frescoes of the cupola proper no longer exist,
one can hardly pretend to identify drawings with them. It is,
nevertheless, not impossible that Uffizi 6590 and 6613, studies
of male figures seated on a low step, are sketches for the
"Patriarchs." The pose, the head thrown back gazing up,
suggests that they were intended to occupy the lower part of
a circular vaulting. Berenson thinks that they are for the
Vertumnus at Poggio. But the quality of the contour in Uffizi
6590 is precisely that of 6576 recto, one of our best studies
for the "Deposition," and the arms, hands, and head, of 6613
should be compared with similar parts of the latter drawing.
The drawings for the Capponi Chapel have, on the whole,
less vitality of line than those for Poggio. In them the touch
is a little too fine and tight. They have none of that almost
too obvious amplitude of form which distinguishes many
sketches for the earlier masterpiece, and they are certainly
much less magnificently lyrical. The portrait-drawings (fig.
101 and 102) from this period are subtly imaginative, fragile,
and transparent evocations to which the introspective and
restless spirit of the sitter still clings.
While he was still at work in Santa Felicita, Pontormo
43 In his "Life of Pontormo" (VI, 271) Vasari states that one of the Evangelists
was painted by Bronzino who was then working with Jacopo; in his "Life of Bronzino"
(VII, 594) he says that Bronzino painted two Evangelists and certain figures of the
vaulting. It is impossible now to disentangle these inconsistencies.
49
PONTORMO
also painted for Capponi a portrait of his daughter as the
Magdalen,44 which has since been lost, although we still have
a drawing (Uffizi 6546) that may have been made for the work
in question. At all events this sheet appears to date from the
late twenties although, curiously enough, it shows an excess
of sentiment hardly to be found in Florentine art before the
Seicento.
44 Vasari, VI, 272.
50
CHAPTER VI
1527-1530
Between 1527 and 1531 Florence passed through its last
tumultuous crisis. On May 16, 1527, Alessandro, Ippolito, and
their tutor Passerini were expelled from the city, and for the
moment, patriotism ran high in spite of class selfishness and
individual cupidity. Unhappily it was too late ; the end of the
Republic was at hand.1
In the popular enthusiasm of those years, we have, I
believe, indirect evidence of the date of the "Madonna, St. Anne
and Four Saints," now in the Louvre (fig. 104). The picture
was ordered by the Captain and Officials of the Signoria for
the nuns of St. Anne.2 In a medallion under the Madonna's
feet, these officials, accompanied by commanders, mace-bearers,
"tavolaccini," fifes and trumpets, are represented as pro-
ceeding solemnly to the convent beyond the San Frediano gate
where they "rendered homage, on July 26 of every year, to the
nuns' patron saint. The origins of this ceremony went back
to the Trecento when, on St. Anne's Day, 1343, the Duke of
Athens was driven from the city. In his note on our picture
Milanesi3 refers to the historical meaning of the ceremony, and
since his time a vague notion seems to have arisen that this
altar-piece was painted for the two-hundredth anniversary of
the festival. Critics have, accordingly, dated it 1543,4 in other
words, fifteen years too late. It is altogether unlikely that a
iVettori, Sommario, p. 382. Cambi, XXII, pp. 317-319. Varehi, Storia, III, i,
pp. 156-158.
2 Vasari, VI, 273. Eicha, IV, 222.
s Vasari, loc. cit., note 3.
< Berenson, Florentine Painters, p. 176. Lafenestre, MusSe National du Louvre,
4th ed., 1907, p. 102. De Eicci, Peintures du Louvre, p. 40.
51
PONTORMO
painting, so clearly intended to celebrate the deliverance of the
city from a tyrant, should have been ordered at the very
moment when Cosimo I was sternly repressing the last traces
of freedom in Tuscany.5 Such a picture belongs to a very
different moment, and must have been painted between May
16, 1527, the date of the expulsion of the Medici, and August 12,
1530, when the city surrendered. After the exile of Alessandro
and Ippolito, the festival commemorating the deliverance of
Florence from an ancient tyrant took on an added solemnity.
Of this, Pontormo 's altar-piece is, in all probability, a record.
The books of the Signoria have been lost, so that no documents
exist for this picture. It is, however, worthy of notice that
the "gonfaloniere" elected in 1527 was Niccolo Capponi, a
relative of the Lodovico for whom Pontormo was working at
the moment.6
But on closer examination, the panel itself comes magnifi-
cently to our aid. The drapery, although heavier, is not unlike
that of the Virgin of the " Annunciation," or that of the
"Evangelists" at Santa Felicita. The Madonna and St. Anne
wear a head-dress of the kind worn by the Madonna and the
women of the "Deposition," and in both pictures the features
of the Virgin are the same. These are resemblances that cannot
be explained, if our picture really dates from 1543, for at* that
moment Pontormo was more exclusively Michelangelesque than
at any other period. Convincing proof that our chronology
is correct is to be found in the finished drawing (fig. 105;
Uffizi 460) for the whole composition. It is in pen and bistre
and technically close to the study for the Angel at Santa
Felicita.
In the Louvre panel, as in the landscape of a "Madonna
and Child" (fig. 103), dating from 1528-1529 and now in the
Corsini Palace in Florence, that faint influence of Diirer's art
which lingered in the Capponi "Deposition" is still further
attenuated, although the St. Sebastian of the former picture
recalls strangely a "Sebastian" from Diirer's workshop, which
s Capponi, II, 494.
e Varchi, VI, i, pp. 383, 396.
52
HIS LIFE AND WORK
is now in the Archbishop's palace at Ober St. Veit,T near
Vienna. This resemblance, which cannot be fortuitous, may
explain Vasari 's remark that the figures of the St. Anne altar-
piece, like those of the shrine at Boldrone, are not purely
Italian — a comment for which there is no other justification,
for the central group of the Louvre picture certainly owes
something to Leonardo, and the arrangement of the saints in it
suggests early compositions by Fra Bartolommeo.
Leonardo's influence is visible elsewhere in pictures of this
period. A complicated and ingenious composition of the
" Madonna and Little St. John"8 that now hangs in the Uffizi
may have been suggested by some lost drawing of the great
master's,9 although we cannot help remarking that the move-
ment of the Madonna's shoulder, head and arm is repeated in
a drawing (fig. 109) for a "St. Jerome," the archetype of which
is Leonardo's unfinished "St. Jerome," now in the Vatican.
This sketch is of the same date as Santa Felicita.
The frenzied gestures of the charging horsemen in
Pontormo's "Martyrdom of St. Maurice" (fig. 106) ,10 the
frantic, galloping horses, small-nosed, full-necked, round-
haunched and compact, the wild rush of the onslaught, in
that "sanguinoso fango" where every brutal, pitiless passion is
unchained, have their prototype in the "Battle of Anghiari."11
The orgy of nude bodies, on the other hand, and the exaggerated
muscles of the figures, are derived from Michelangelo, although
i Painted for Friedrich der Weise between 1502 and 1504. The drawing for this
picture is now in the Stadel Institute, in Frankfort.
s Uffizi, No. 1578. Gamba (Disegni di Jacopo Carucci, Firenze, 1912) places this
picture about 1525. In my opinion it was painted about 1528.
» It is interesting to note that Eleonora gave to the Duke of Altamira a copy that
Bronzino made of a "Madonna" by Leonardo. Cf. Vasari, VI, 284, note. Gaye, III, 94.
10 Pitti, No. 182.
11 There are reasons to doubt the existence of Leonardo 's work as late as 1528-1530.
We know by documentary evidence that in 1513 it was in a condition so deplorable that a
beam had to be used to prevent its collapse. The cartoon, or pieces of it, may have existed
long after the wall painting had disappeared. Both Cellini and Vasari state that the
cartoon hung for a long time in the Sala del Papa and was studied there by all the young
artists of Florence (Vasari, V, 8). It is not unlikely that in painting the "Martyrdom
of St. Maurice" Pontormo merely used sketches that he had made from the cartoon years
before.
53
PONTORMO
the type of nude is still far from the thick-necked giant of the
latter 's middle period.
For this panel, which Vasari12 says was ordered by the
women of the Innocents, we have no document. Perhaps, in
fact, no document ever existed. We know that the women
occupied, in the hospital, a place apart, which was closed with
a high double gate. If they really ordered the picture, they
probably paid for it themselves, and such a payment would not
have been entered on the books of the institution. It is true
that in 1529 Pontormo had transactions with the authorities
of the hospital, but on grounds so circumstantial we are not
justified in assigning the picture to that year, even though
Vasari does so by implication. Close study, however, of the
draperies of the Judge and of the figure in the foreground
makes clear their likeness to the drapery of the Louvre altar-
piece. But we have still other evidence for the date of the
panel of a more indisputable and intimate nature : the drawing
we possess of an arched variant (fig. 108) of the upper left-
hand quarter of the composition is identical in draughtsman-
ship with the sketch for a "St. Jerome" (fig. 109; Uffizi 441) 1S
of which we have just spoken. In both we find the same fine
hatchings, the same somewhat brittle line, the same violent
contrast in the modelling of the muscles, and in both we have
the same great-shouldered, bottle-armed, round-headed type.
Our drawing of St. Jerome, like the delicate study of a women
on the verso of the same sheet (fig. 110), dates from 1527-1529;
its relation to Santa Felicita proves that. The "Martyrdom
of St. Maurice" cannot be later than 1530.
In the Uffizi14 there is a smaller version (fig. 107) of the
same composition that Jacopo painted for Carlo Neroni,15 in
which we find only the cavalry, the angels, and the baptism
of the martyrs. The vertical axis of the composition has also
been rearranged and the colour-scheme reconsidered, from
12 VI, 275.
is Dessins, pp. 91, 290.
"No. 1187.
is Vasari, VI, 275.
54
HIS LIFE AND WORK
which facts we may conjecture that the Pitti picture is the
earlier by a brief interval of time. Both panels, which were
once quite famous, are a mere patchwork of derived ideas, and
in colouring they are cold and dry. Perhaps the neatness of
their execution, or the mere fact that they are Michelangelesque,
veiled for Pontormo's contemporaries their poverty as art.
Between 1528 and 1530 Pontormo painted the splendid
"Visitation" that once adorned a villa of the Pinadori family,
near Carmignano, and that is now in the village church.16 In
this altar-piece (fig. Ill), the more than human proportions
of the figures, the grand simplicity of their attitude and gesture,
isolates the divine event and intensifies its significance. Here,
then, we have a curious attempt to give, in other terms than
those commonly used by Michelangelo's followers, that sense
of the superhuman which the latter so insistently dwelt upon.
To emphasize the note of grandeur Pontormo, like Andrea in
all his later pictures, employs voluminous draperies but, unlike
Andrea's leaden stuffs, Pontormo's are light and loose in their
amplitude. The same folds may be found again in the Louvre
1 'Madonna and St. Anne," and in the works at Santa Felicita.
The composition is to a certain degree suggestive of Durer's
"Die Vier Nackten Frauen," and the St. Elizabeth recalls his
"Nemesis" reversed. The final study (fig. 112; Uffizi 461)17
for this "Visitation" survives, the touch of which approaches
drawings for the Capponi Chapel. It is, however, drier and,
what is rare with Pontormo, the drawing is inferior to the
picture.
Vasari mentions another work, "The Eaising of Lazarus,"
now lost, that must have been painted in the second half of the
decade of the twenties, and of it he tells a story. Delia Palla,
who acted as a kind of royal antiquarian and art-dealer to
Francis I, tried, while Pierfrancesco Borgherini was absent
i«Bocchi, p. 286: "modello d 'una Visitazione in piccolo del Pontormo, i cui panneg-
giamenti son bellissimi e toccati con franchezza, e stimo che 1 'originate in grande sia in una
Villa de' Pinadori a Carmignano." This sentence occurs in Bocchi's description of the
Carmign
house of Andrea Pitti.
IT Dessins, pp. 104 f.
55
PONTORMO
from Florence, to buy from his wife Pontormo's famous
"cassone" panels, and failing in the attempt, finally persuaded
Jacopo to paint a special picture for the French King.18
Borgherini was a partisan of the Medici, and it was in 1527
that he fled with them to Lucca. The " Lazarus," therefore,
could hardly have been begun before 1528. In 1530 Florence
was invested and all traffic stopped, and in 1531 Delia Palla
was exiled from the city.19 We can hardly err, then, if we
assume that this picture was finished about 1529.20 A beautiful
drawing (fig. 113) exists that may have served for the figure
of Lazarus.21 In it we seem to divine an exquisite ecstasy of
surprise such as one might feel in coming back to life.
During the siege (1528-1530) Pontormo painted the portrait
of Francesco Guardi dressed as a soldier,22 which has since been
lost or is unidentified. Its cover, which Vasari attributes to
Bronzino, is now in the Barberini Gallery23 and represents
* ' Pygmalion and Galatea. ' ' In these figures all serious students
of Pontormo's art see, at a glance, the master's hand. The type
of the cranium is especially noticeable, recalling instantly many
of the heads in the "Martyrdom of St. Maurice." His touch
is less convincingly present in the altar and the accessories, and
in these details his pupil had, perhaps, some trifling part that
Bronzino may have mentioned when he discussed the life of
Jacopo with Vasari. It is permissible to conjecture that
the latter, misinterpreting Bronzino 's remarks, was led to
is Vasari, V, 27; VI, 262 f. For Delia Palla 's activities as a picture-dealer, see
Vasari, V, 27, 50, 51, 55; VI, 61.
i» Varchi, XII, ii, pp. 531-533.
20 It is worthy of remark that the ' ' Sacrifice of Isaac ' ' by Andrea, now in Dresden,
was ordered by Delia Palla for the King of France, but that this panel, which dates from
1528-1530, never came into the possession of Francis I. It was sold to Filippo Strozzi and
was later in the collection of the Marchese del Vasto. In 1529, therefore, Delia Palla had
in all probability ceased to act as agent of the French King. He died, as is well known,
in the fortress of Pisa where he was imprisoned after the siege. The Marchese del Vasto
mentioned is the Alfonso Davolo for whom Pontormo painted his "Noli me tangere. " He
had a house in the island of Isehia to which he took the pictures that he had acquired in
Florence. Cf. Vasari, V, 51.
21 Uffizi 6723. Cf . Dessins, p. 257.
22 Vasari, VI, 275.
23 No. 83.
56
HIS LIFE AND WORK
attribute to Mm the whole work. The " Portrait of a Youth,"
now in Bergamo (fig. 116), the firm but dry "Portrait of 'a
Man," in the Uffizi Gallery (fig. 118), the gracious " Portrait
of a Youth," at Lucca (fig. 115), as well as two birth-plates,
one in the Uffizi (fig. 114) and the other in the Palazzo Davan-
zati, date from these years. Many drawings also testify to his
unceasing curiosity during this epoch and leave a record of
strange excursions into a dim marginal world beyond which
draughtsmanship can hardly penetrate. Of these, one of
ghastly force and incisive promptitude of vision (fig. 117),
another of precise and fastidious dexterity of touch (fig. 120),
and still another (fig. 121) haunted by some wistful uncanni-
ness — unfaltering jotting of a surprised and cringing half-
human, half-spectral thing that was probably drawn a few
years later — will serve us as illuminating examples.
From 1520 to 1530 Pontormo's inspiration was varied and
his activity great. In spite of adverse criticism of the Certosa
frescoes, his position in the artistic world had become steadily
more important. In 1525 his name was inscribed in the book
of the Company of San Luca ;24 on June 5, 1526, he was enrolled
among the painters in the Guild of the Medici e Speziali.25 Up
to this time he had lived in lodgings in the parish of San
Giovanni,26 but, on March 15, 1529, he purchased from the
Hospital of "the Innocents two lots on the Via Laura, now Via
della Colonna,27 on which he proposed to build a house and a
"bottega" for his own use — an intention that he was not to
carry out until about 1534.
24 A. S. F., Aeeademia del Disegno, No. 1, Begistro contenente Capitoli e ordinamenti
della Compagnia di S. Luca e dell'arte, e 1'Elenco del Pittori Ascritti a quella compagnia
(1340-1550), p. 10 v. See Appendix II, Doc. 18.
25 A. S. F., Medici e Speziali, No. 11, Libro Verde, Matricola per la Citta, p. 27 left.
See Appendix II, Doc. 19.
2« A. S. F., Catasto, Estimo del Contado, No. 5, Quartiere S. Giovanni, 1520, Popoli
1-95, No. 128, p. 57 left. See Appendix II, Doc. 20.
27 A. S. F., Catasto, Libro a parte 1534, Cittadini a parte, Q. S. M. N. e S. G.,
1534, No. 11, Qre. Sto. Gni. Chiave, p. 448 left. See Appendix II, Doc. 21. Of. Vasari,
VI, 279.
57
CHAPTER VII
1530 TO 1545 AND LATER
Our study of Pontormo's art encounters more formidable
difficulties of chronology between 1530 and 1540 than at any
other period. After 1530 Pontormo no longer worked for
convents or religious companies, and rarely even for private
persons, but, like many other artists in Florence, he depended
for his commissions almost entirely upon Alessandro or Cosimo
de' Medici. The archives of the first ten years of the ducal
government are hopelessly incomplete, and no written docu-
ments exist for pictures executed during that time. It is also
a curious fact, due apparently to the political disorder following
the siege, that from this period few paintings by Jacopo have
come down to us. Nevertheless, the dates of certain of
his undertakings are delimited by well-known events, so
that by a close study of these we may establish a correct, if
undocumented, chronology for these years.
After the triumph of the Medici, Clement VII wished to
carry out the decoration of the Great Hall at Poggio. Andrea
del Sarto1 and Franciabigio2 were dead, and to Pontormo,
therefore, the whole commission was entrusted. No higher
tribute could have been paid to his ability. He was the greatest
painter in Florence at that moment. The scaffolding was
erected, and all preparations for the work were made, but
Jacopo delayed. Neither Alessandro nor Ottaviano de' Medici
could get him to proceed with decision.3 Vasari would have
us believe that his dilatoriness was due to illness and to the
1 January 22, 1531.
2 January 24, 1525.
s Vasari, VI, 276.
58
HIS LIFE AND WORK
fact that Bronzino was not in Florence to help him.4 The real
causes unquestionably lay deeper. Jacopo had struggled, with
an open mind, through a maze of complex tradition, he had
tried many canons, and with each he had endeavoured, some-
times as at Poggio with wonderful insight, to illustrate the
fundamental laws of decoration. He had seen that to be
beautifully effective a wall-painting should contain no element
that makes a special appeal of its own ; that it should be neither
narrative nor epic nor dramatic, but just pictorial, a rest to
our eye, a subtle stimulation to our sense of harmonious fitness ;
that the figures should be convincing enough to soothe our
unwordable instinct for form, our thoughtless curiosity for the
sensation of substance, but that they should never be insistent ;
that the composition should fit the space available with a kind
of fine levity without calling attention either to the problem
or to its solution ; and that the colour should be pale and light,
a few bright tones carried through the whole, leaving the
surface unified, the expanse of the wall unbroken.
But his very sincerity, his very insight into his art's
underlying principles diminished his self-confidence. He could
not stupidly repeat himself, and a method, a manner once
found, once tried, immediately lost for him its interest. His
keen sense of the vast problems involved in mural painting
forced hinrto try a new and serious solution of at least one
of these problems in each new fresco. One cannot wonder, then,
that before the unfinished spaces of the Great Hall he felt a
terrible hesitation, a hesitation all the more paralysing because
he was ill, and overstrained by the arduous years just passed.
On the other hand, this period of unproductive delay was
not an evidence of diminished creativeness. Intellectually,
Pontormo was hard at work ; he was reconsidering the meaning
of that canon of form which, in the San Lorenzo tombs (1526-
1531), Michelangelo had given to an astonished world. What
* Bronzino was in Pesaro at work on his frescoes in Villa Monte Imperiale and on
other undertakings for Guidobaldo della Eovere, among them the portrait now in the Pitti
(No. 149) and long ascribed to Pontormo. Cf. the Catalogue Baisonn6, under Florence,
Pitti Palace, and Thode, Ein furstlicher Sommeraufenthalt in der Zeit der Hochrenaissancc,
Jahrbuch d. Tconigl. preuss. Kunstsamml., IX (1888), pp. 163, 171, 179.
59
PONTOKMO
his contemporaries imitated superficially, he now strove to
comprehend profoundly. And to do so he put his past again
behind him and with a fresh eye faced the problem. Knowing
his keen intellectual sincerity, we will not be surprised to find
him, now and then, in his next phase, more Michelangelesque
than even Michelangelo himself.8
What arrested Pontormo's natural development, as painter
and draughtsman, was not his apparently great susceptibility
to influence of every kind, but personal contact with Michel-
angelo while the latter was at work in Florence.6 That contact
and the overwhelming wave of Michelangelo 's popularity turned
Jacopo's receptive curiosity and interest in other craftsmen's
ideas — interest and curiosity that he inherited from Florentine
tradition — into downright captivation. We may believe that
he now sought the great master's society and became his friend,
so that to the influence of Michelangelo's art was added the
magnetism of a presence7 to which Jacopo's sensitive nature
instantly responded. From 1530 on, for more than ten years,
we watch him stagger under an ever increasing burden — the
obsession of Michelangelo's types and poses.
The San Lorenzo tombs8 and the Cavalieri drawings9 played
a great part in his temporary undoing. The former he must
have seen only too frequently, both before they were finished,
and after they had been placed in the chapel; the latter he
constantly studied, and they were too magnificently rich in
ideas not to enthrall him.
BVasari, VI, 278.
«!&»&, 277; VII, 273.
' It was on April 11, 1531, that the Archbishop of Capua first asked Michelangelo
to design a "Noli me tangere" for Alfonso Davolo, but it was not until October of the
same year that it was agreed that Pontonno should paint the picture from Michelangelo's
cartoon. Cf. Frey, Dichtungen, 327, 509; Brief e, 309; Thode, Michelangelo, I, 411; III,
554. Figiovanni's letter to Michelangelo from the days immediately following October 27,
1531 (Frey, Dichtungen, 509, Beg. 28) seems to indicate that it was actually in Michel-
angelo's house that Pontonno put into oils the former's cartoon. In a letter to Febo (di
Poggio?) of December, 1534, Michelangelo states that he intended to leave Florence the
next day never to return.
* 1526-1534.
9 1532-1534. Vasari, VII, 271 f. Cf. a letter of Cavalieri 's, dated January 1, 1533,
to Michelangelo thanking him for the drawing of tlie "Tityrus," and another, dated
September 5, 1533, thanking him for the ' ' Phaethon. ' '
60
HIS LIFE AND WORK
At all events, little figures derived from the Medici tombs
are sketched, with increasing frequency, on the sheets belonging
to these years. He even seems to have reconsidered such early
studies for Dead Christs as Uffizi 6687 and 6690,10 drawing
below each, in minute black chalk, more twisted, muscular
versions of the same pose, which have for parent the "Night"
or the "Day," and that are comments upon the work of his
youth, made by a man dazed by a greater vision. In the same
spirit he tried, over and over again, to solve the secret of
Michelangelo's magic, drawing shape after shape reminiscent
of that master's inventions.
Several designs (fig. 121 and 122), mannered but delightful,
survive from this period of renewed research. One of these
(Uffizi 6748) " is a drawing for "The Three Graces," in which
the pose of the left-hand figure has in it something suggestive
still of the woman to the left of the Carmignano "Visitation."
From 1531-1534 we have a magnificent, but ruined, cartoon
(Uffizi 13861) 12 for "Nudes Playing at Calcio," undoubtedly
one of the drawings that Vasari says were made for the second
series of frescoes at Poggio, which were never executed.13 The
composition is splendid, strange in its equilibrium, spacious
and full of movement. In spirit and form this design differs
totally from the lunette at Poggio that Pontormo finished
eleven years earlier, and had it been executed, its strenuous
playfulness of mighty nudes would have made the existing
10 For these drawings, see my Dessins.
11 The composition of this drawing goes back to classic examples of the subject of
which a number, in various materials, survive. Most important of these for its influence
on the Eenaissance is the small marble group, now in the Library of the Cathedral of Siena,
which inspired Eaphael's "The Three Graces" of the Musle de Chantilly, and Marcan-
tonio's engraving; B. 340. — Pass. 188. — Ottl. 262; reproduced, Delaborde, Marc-Antoine
Raimondi, p. 169. It is perhaps to the latter that Pontormo 's drawing owes, in a more
precise sense, its general arrangement, although he has, of course, introduced into his
treatment a subtle, mannered, self-conscious exaggeration of line and gesture. Vasari
shows in his "Three Graces," now in the Museum of Budapest, that he was not
unacquainted with Jacopo's drawing.
12 Vasari, VI, 276: "in uno de' quali cartoni, che sono oggi per la maggior parte
in casa di Lodovico Capponi, e un Ercole che fa scoppiare Anteo; in un altro una Venere
e Adone ; ed in una carta, una storia d ' ignudi che giocano al calcio. ' '
is The project was abandoned after the death of Clement VII, on September 25,
1534 (Vasari, VI, 276, 278).
61
PONTORMO
fresco seem trivial and aimless. It belongs, one might almost
say, to a different world, for by the time it was designed
Pontormo had already read himself deep into the meaning
of Michelangelo's art. He understood not only Michelangelo's
conception of pose and structure but his theory of spacing and
movement as well. Some of the drawings (Uffizi 6616, 6738) 14
for single figures of this composition, are still, in spite of their
mannerism, of considerable vitality.
But close as is Pontormo 's rendering of the Michel-
angelesque canon in the " Nudes Playing at Calcio," the malady
of imitation was to go deeper still, and yet another circumstance
was to contribute to the crushing of Jacopo's personality.
For both the "Noli me tangere," which he was now commis-
sioned to paint for Alfonso Davolo15 and the " Venus and
Cupid," executed for Bartolomeo Bettini, Michelangelo himself
not only furnished the cartoons, but expressed the desire that
Pontormo be chosen as the artist best able to translate into
paint the cartoon of the former picture.16 The address
displayed by Jacopo led to an order from the condottiere
Alessandro Vitelli for a replica of the "Noli me tangere,"17
and to the commission for the "Venus" from Bettini.18 An
artist of Pontormo 's alertness of mind could not, without the
most serious consequences, fulfil tasks such as these at the
moment when of his own accord he was devoting himself to
a profound study of the works of his great contemporary.
These commissions reacted upon Jacopo's style in a way that
was much talked about in Florence, and Vasari condenses for
us the gossip of the time.19
i* On Certain Drawings, p. 15. Cf. also Dessins, pp. 188 f., 267.
is Vasari, VI, 276. Since Michelangelo furnished the cartoon for this picture late
in 1531, Pontormo probably finished it in the spring of 1532.
is Vasari, VI, 277.
i7 The panel for Davolo and its replica have disappeared. The cartoon also has
been lost. We may however form an idea of the composition from a copy, perhaps the
work of Battista Franco, that is now in the store-rooms of the Uffizi. See Carlo Gamba,
Una copia del "Noli Me Tangere" di Michelangelo, Bollettino d'arte, III (1909), fase.
iv, pp. 148-151, and Vasari, VI, 575.
is Vasari, VI, 277.
i» Ibid.
62
HIS LIFE AND WORK
But, even if we did not have Vasari 's testimony, no one
could have the slightest doubt that Jacopo was deeply impressed
by Michelangelo's cartoons. After he had undertaken the
" Venus," he brooded over the conception of that picture,
rehandling the motive twice in little sketches (Uffizi 444, 446),
which are Michelangelesque in arrangement only; once with
magnificent great freedom (Uffizi 6534) beyond even his
master's power at that moment; and once again later (fig. 133;
Uffizi 6586) ,20 with tight distortion and strange exaggeration,
in what is probably a study for one of the allegorical figures
for the Medicean villa at Castello.
The composition of the " Venus and Cupid"21 is well known
(fig. 123). During the sixteenth and seventeenth centuries this
picture enjoyed a great reputation.22 It was copied many
times,23 and we still have several ancient adaptations, by various
hands. In the opinion of many critics, including Berenson,2*
the original is now in the Uffizi, where it was found in 1850 in
the Guardaroba and rescued from a long neglect.25 The panel
has undergone an elaborate restoration and the position in
which it now hangs makes impossible a critical study of the
original touch. Such examination, however, as I have been
able to give it has by no means convinced me that we are not
in the presence of a genuine work of Jacopo 's. The feet are
those we find in the drawing, Uffizi 6586 (fig. 133), and the ear
and the contour of the legs are characteristic, but the hand has
been horribly repainted, as also has the drapery. We need
not be surprised that in the colour little remains that is
suggestive of Pontormo, for Michelangelo was, in all likelihood,
responsible not only for the cartoon but for the original colour-
scheme as well.
One can easily determine the date of the "Venus."
20 For a discussion of these drawings, see my Dessins.
21 Vasari, VI, 277. Thode, Michelangelo, III, 487.
22 Vasari, VI, 277 f. Varchi, Due Lezeioni, p. 104. Borghini, p. 395.
23 For a list of these copies, see the Catalogue Kaisonne', under Florence, Uffizi.
2* Florentine Painters, p. 175.
25 See Milanesi's note, Vasari, VT, 291-295, also the Catalogue Raisonne", loc. tit.
and Appendix II, Doc. 33 and 34.
63
PONTORMO
Vasari's narrative26 is quite exact at this point : " Allora (after
lie had begun the * Venus') conobbe lacopo quanto avesse mal
fatto a lasciarsi uscir di mano 1' opera del Poggio." We know
that the second commission for the frescoes at Poggio was
cancelled by the death of Clement and that Bettini could not,
therefore, have ordered the " Venus" much before 1533. It
was finished, it would seem, about 1535, for Vasari's observa-
tions imply that its execution extended over part of the time
during which Jacopo was at work on his portrait of Alessandro.27
Happily this portrait,28 which I have identified with a
portrait in the Johnson Collection (fig. 124), is fully docu-
mented.29 It was painted while, to the great scandal of Florence,
Alessandro was frequenting the society of Taddea Malespina
and her sister. According to Vasari,30 Pontormo made first,
"per piu commodita," a miniature of the Duke, which has
been lost. The biographer then describes the portrait, adding
that the Duke was represented with a stylus in his hand in the
act of drawing the head of a woman31 — a detail which is one of
the most striking features of the Johnson picture. Moreover,
Vasari's portrait of the Duke,32 painted in 1532-1533, as well
as a portrait from the workshop of Bronzino33 labelled in letter-
ing of the seventeenth century, ALEX • MED • FLOR • DUX •
I • LAURENS • F • , together with the latter 's prototype in
Bergamo,34 and its replica at Heidelberg,35 all reveal the
presence of the same sitter. Further evidence of the authen-
ticity of the Johnson portrait is supplied by a letter that a
certain Costantino Ansaldo wrote to Ferdinand I, in 1571."
2«VT, 277.
2f Ibid., 278.
28 Vasari (VI, 278) says that the commission was given to Pontormo on account
of the success of his now lost portrait of Amerigo Antinori.
29 P. M. Clapp, Un ritratto d' Alessandro de' Medici, Eassegna d'arte, XIII (1913),
pp. 63-66.
so VI, 278.
si Ibid.
32 Uffizi, No. 1281.
83 Now in the corridor between the Uffizi and the Pitti, No. 20.
s* Morelli Collection, No. 65.
35 Thode Collection.
se A. S. F., Carteggio mediceo del Principato, Filza 567, c. 187 and 225. Of. Carlo
Carnesecchi, Sul ritratto d' Alessandro de' Medici dipinto dal Pontormo, Bivista d'arte,
64
HIS LIFE AND WOEK
He describes the portrait, states that the Duke, dressed in
mourning, was seen full face seated at a table, and adds that
the panel was painted in the Pazzi palace "nel tempo che morse
la buona memoria di Papa Clemente," that it was given to him
by the Duke in reward for his faithful service, and that, after
Alessandro 's death, it had been presented by him to Taddea
Malespina, one of the Duke's mistresses.87 Our identification
of this portrait rests, then, on the solidest foundation. There
was no one but Clement, his father, for whom Alessandro would
have put on mourning during the early years of the thirties.
The Pope died, September 25, 1534, and the portrait must
accordingly date from the end of 1534 or the beginning of 1535.
The fact that its date can be determined with such comparative
accuracy helps us to define also, to a certain degree, the date
of other portraits that must have been painted during the ten
years immediately following the siege. These will be discussed,
in some detail, in the chapter devoted entirely to Pontormo's
work in portraiture.
After the " Venus" and the " Portrait of Alessandro" were
finished, the Duke commissioned Pontormo to paint two
"loggie" in the Medicean villa at Careggi, with the help of
assistants, and with the utmost dispatch. Vasari38 writes that
the decoration consisted of six allegorical figures — Fortune,
Justice, Victory, Peace, Fame, and Love39 — which, in one of
the " loggie," occupied the lower part of the vaulting. Jacopo
designed them all, but the execution of the first five was
Bronzino's, and only the last was painted by Pontormo. In
the hollow of the vaulting, there were flying "putti" designed
VI (1909), No. 1, and Gualandi, Baccolta di lettere, III, 62-70, where the number of the
original document is given as: Archivio mediceo: Carteggio Universale, Filza 237, c. 187.
See Appendix II, Doe. 22.
37 For further details contained in this letter, see Catalogue EaisonnS, under
Philadelphia, Johnson Collection.
38 VI, 280.
3» The subjects were characteristic of the time. Annibal Caro, secretary of Cardinal
Alessandro Farnese, selected similar subjects — Eeligion, Virtue, Fame, Charity, Peace,
Abundance, and Justice — for the frescoes executed in the Villa Caprarola, on the flanks
of Monte Cimino, by Taddeo and Federigo Zuccaro and their assistants between 1534 and
1546. Both these and Pontormo's decorations were far-off reflections of the "Arts and
Virtues" of the Middle Ages. The Zuccaro frescoes still survive.
65
PONTORMO
by our master and coloured by Bronzino. The grotesques and
the ornamental part of the work were confided to Jacone,40
Pierfrancesco di Jacopo and others.41 When Yasari wrote,
these paintings were already ruined.
No document for the date of this undertaking survives.
Vasari implies that it was begun soon after the portrait of the
Duke was finished, and he explicitly states that the "loggia"
itself was finished on December 13, 1536.42 Taking into account
the unusual speed with which the work was done, we may
conjecture that it was begun sometime between the summer
of 1535 and the spring of 1536. Alessandro was assassinated
on January 6, 1537 (New Style), and the second "loggia" was
never decorated.
Of the preparatory work only one sheet is known to me —
Uffizi 458,43 on which there are three studies of "putti" flying
upward with birds in their hands, the identification of which
with Careggi is made possible by Vasari 's accurate description
of the figures of the vaulting. The cartouche on the same sheet
represents Pontormo's first idea for the general arrangement
of these figures. They are all of great charm and drawn with
joyous promptitude.
After the battle of Montemurlo (August 2, 1537) had ended
the last flutter of resistance to Medicean domination,44 Cosimo
was in a position to proceed with the embellishment of his
villas.45 Tribolo's plan for the garden and fountain of Castello46
is well known, and the commission given to Pontormo for the
"loggia" to the left of the courtyard47 was only part of a great
scheme of reconstruction, which included the whole property.
40 Vasari, VI, 452.
41 Ibid., p. 281. For Jacone who painted on the facade of the Palazzo Buondelmonti,
in monochrome, "The Life of Pippo Spano" of which no trace remains, see Vasari, V, 58;
VI, 281, 450, 453 f. For Pierfrancesco, see ibid., V, 58.
42 VI, 281.
43 Dessins, p. 101. Bronzino imitated these "putti" in the choir of flying angels
in the "Adoration of the Divine Child," now in Santo Stefano, Pisa.
44 Nardi, X, ii, pp. 358-377.
45 Vasari, VI, 281-283.
"Ibid., 71-85.
47 Ibid., p. 282.
66
HIS LIFE AND WORK
Jacopo seems to have gone to Castello in the spring of 1538.
He designed all the ornaments first and had them executed by
Bronzino and the journeymen who had worked at Careggi.48
Then he shut himself up in the "loggia" with the intention of
painting, entirely with his own hands, the figures of the
decoration. Since he had just had at Careggi his first real
experience with assistants, his desire to work out, in solitude
and without help of any kind, the decorations at Castello
throws a significant sidelight on his innate dislike of collabo-
ration. He received from Cosimo a stipend of eight "scudi" a
month, and he kept the " loggia" closed with a hoarding" for
five years until weary with waiting, Maria Salviati, the mother
of Cosimo, ordered the scaffolding thrown down.50 Jacopo
obtained a brief delay, and then, amid universal expectation,
the work was uncovered. It was not a success. The critics
found in the figures a lack of proportion51 and "certi stravol-
gimenti ed attitudini molto strane." By way of excuse, accord-
ing to Vasari, Pontormo merely said that he had never had his
heart in the work because the place was exposed to the fury of
marauding soldiers. Like the "loggia" of Careggi, the decora-
tion was painted in oil upon dry plaster,52 and in ten years' time
it was a mere ruin of which no trace remains today.
The general arrangement must have resembled that of
the "loggia"" at Careggi. In the pendentives there were alle-
gorical nude figures, which represented Philosophy, Astrology,
Geometry, Music, Arithmetic, and a Ceres; in the medallions,
little stories appropriate to each figure; in the vaulting, a
"Saturn with Sign of Capricorn," a "Mars Hermaphrodite
with Sign of Leo and Virgo," and flying "putti" as at Careggi.58
Little remains of Jacopo 's preparatory studies.5* I believe
** Ibid. Jacone helped Pontormo with the greater part of the "grotteschi" both in
the loggia at Careggi and at Castello (Vasari, VI, 452).
49 Hid.
50 Ibid.
61 Ibid.
62 Ibid.
63 Ibid., p. 283.
64 For these drawings, see my Dessins.
67
PONTORMO
that Uffizi 6584 (fig. 132), a great woman in a pose clearly
derived from the San Lorenzo tombs, gives us, in all likelihood,
a hint of the pose of one of the principal figures. We have, in
Uffizi 6630, almost certainly a design, in itself extremely
interesting, for the "Mars Hermaphrodite." Uffizi 6510 is, it
would seem, a first thought for the "Saturn," while another
design (fig. 133; Uffizi 6586), which is closely related to the
"Venus" painted for Bettini and to which we have already
referred, is perhaps a finished study for the "Astrology" or
the "Geometry." The technique of this drawing manifestly
indicates that it dates from these years, and in it the type of
figure that Michelangelo had evolved — huge thighs and abdo-
men, small head, breasts and arms — is rendered with exag-
geration and distortion. All these drawings are painfully
laboured and over-modelled.
Toward the end of the thirties we must also place, on
Vasari 's evidence,55 a portrait of Maria Salviati, lost or as yet
unidentified, and a lost portrait of the young Cosimo for which,
on the other hand, we have a drawing (Uffizi 6528 verso) and
a first sketch in oils.56
Two details of Pontormo's private life during this decade
are now known. With the hundred ' ' scudi ' ' that he received for
his "Portrait of Alessandro" and the "Venus" Jacopo finished
his house.57 From the Catasto of 1545 it is evident that it was
built sometime before 1536.58 It was small, "non cosa di molta
importanza," as befitted a solitary craftsman, and its chief
peculiarity was a room that Pontormo made his workshop, to
which the sole entrance was by a ladder that he was in the
habit of pulling up after him to fortify himself against all
interruptions.
Travel could have had little attraction for so retiring a
spirit, although certain drawings59 that reflect the glories of
55 VI, 282.
6« Article by Carlo Gamba, Bivista d'arte, 1910, pp. 125-127.
57 Vasari, VI, 279.
68 A. S. F., Catasto, Libro a Parte, No. 11, p. 448 left ; Libro S. Gio. a Parte 1549,
No. 16, p. 349 left. See Appendix II, Doc. 23. Cf. Vasari, VI, 279.
so Benvenuto Cellini brought to Florence from France certain cartoons, drawings and
68
HIS LIFE AND WORK
the Sixtine Chapel tempt one to think that Jacopo had visited
Eome before 1520. But deductions based upon drawings are,
in such a case, inconclusive. Jacopo may have merely seen
in Florence various studies of Michelangelo's for the Sixtine
or fragments of his cartoons that had found their way into
Tuscany. We have no hint of any other journey until long
afterwards, in 1539, in October of which year Milanesi'0
believes — correctly as it happens — that Jacopo was in the
Eternal City. The evidence that Milanesi brings forward is,
nevertheless, completely unconvincing and rests entirely upon
a letter quoted by Visconti in the Giornale arcadico.01 This
letter was written by Annibal Caro to Monsignore Giovanni
Guidiccioni, and may be read in full in the collected edition
of Caro's letters, edited by Tomitano. There the name of the
artist mentioned is Pastermo. An earlier edition by Volpi gives
the same spelling. But in the fragment of the letter that
Visconti printed he arbitrarily changed Pastermo to Pontormo.
What Caro really wrote cannot be determined without refer-
ence to the manuscript of this letter, the whereabouts of which
is unknown to me. We have, however, definite and conclusive
proof that Jacopo did visit Rome between 1535 and 1543. In
the Louvre, among the authentic Pontormo drawings preserved
there, more than eighty-five are consecrated entirely to motives
of architecfure and decoration. They are all in the same
technique — pen and bistre — and all of the same date. On
ten of these one finds notes in Pontormo 's own handwriting
which indicate that the detail in question was to be found in
one of the churches or among the antiquities of Rome or its
environs.62 How long he stayed away from Florence we have
models by Michelangelo. They had been successively in the hands of Antonio Mini and
Giovan Francesco Kustici (Vasari, VI, 620), but in any case they would have reached
Florence too late to account for any influence of Michelangelo upon Pontormo before 1530.
«o Vasari, VI, 274, note.
«iLXXX, 93. For the text of this letter as well as for Visconti 's citation from it,
see Appendix II, Doc. 24.
62 See Dessins, pp. 305-325. Baldinucci, of whose collection these sketches once
formed part, noted on the mount of No. 954 that they were taken "per lo piu da pitture
e Anticaglie di Eoma." The "Portrait of Cardinal Spannocchi Cervini" (Borghese,
No. 408) was probably painted in Eome and it must date from between October, 1540
69
PONTORMO
no means of knowing, but this journey will naturally count for
much in explaining his use of Michelangelesque forms later on
in San Lorenzo.
Last in this period of Pontormo's work I place his cartoons98
for certain tapestries that formed part of the first series of
"arazzi" executed by Flemish workmen of the weaving industry
that was inaugurated in Florence by Cosimo I. They portrayed
"The History of Joseph" and once adorned the Sala de'
Dugento, in the Palazzo Vecchio. To Pontormo Vasari assigns
two cartoons, the subjects of which were "The Lamentation
of Jacob" (Pianto di Jacob) and "Joseph and Potiphar's
Wife" (Fuga di Joseph; fig. 136). These, he says, pleased
neither Cosimo nor the Flemish workmen. To the latter they
seemed strange in composition and unsuitable as designs for
tapestries. The cartoons have perished but the tapestries still
exist in the Palazzo del Quirinale, in Rome, together with others
woven, according to Vasari and the books of the Guardaroba,64
from cartoons by Bronzino and Salviati, among them, a
"Benjamin at the Court of Pharaoh" (fig. 134). I am inclined
to believe, however, that the latter tapestry may well have been
none other than the "Coppa di Joseph" that is given to
Pontormo in the Inventory of July 15, 1549, while the "Cattura
di Benjamin," cited in the same document and ascribed to
Bronzino, would appear to have been in reality the "Cattura
di Simeone," correctly attributed to Bronzino in the complete
list of all the hangings drawn up in 1553. In any case, our
"Benjamin at the Court of Pharaoh" is identical, in size, shape,
and spirit, with the two "arazzi" for which Pontormo is known
to have furnished the designs and the structure and arrange-
ment of the figures are his. The composition too is informed
with qualities quite foreign to those that distinguish the
"Burying of the Bones of Jacob," for which it is certain that
Bronzino drew the cartoon. And I am the more inclined to
and 1545. Cervini was not created cardinal until shortly after the former date and after
the later date he was one of the presidents of the Council of Trent.
as Vasari, VI, 283.
« Guardaroba, F. 15, pp. 91 v., 94 v. Of. Dessins, pp. 172 f.
70
HIS LIFE AND WORK
attribute our "Benjamin" to Jacopo because we still have a
study (fig. 135 ; Uffizi 6593), for the figure to the right and seen
from behind (reversed), which displays all the characteristics
of Pontormo's draughtsmanship about 1545. It is, of course,
not impossible that Jacopo merely gave certain ideas and
suggestions to Bronzino who had actually received the com-
mission for the cartoon. All three compositions are narrow
vertical panels. They resemble in shape the frescoes that
Pontormo executed later in the upper part of the choir of San
Lorenzo — notably the "Sacrifice of Cain" and the "Four
Evangelists" — and between these and the frescoes of the
"loggia" at Castello they form, as it were, a link.
The first important reference to the weaving industry,
fostered by Cosimo I in Florence, is to be found in a letter of
his written, in September, 1545, to Don Francesco da Toledo
who was then residing in Brussels.65 In the passage in question
the Grand Duke speaks of his determination to establish looms
in Tuscany in the hope that the Florentines and their neighbours
might be led to prefer Italian tapestries to those made in
Flanders, and we may conjecture from the form of this state-
ment that the enterprise had already passed the experimental
stage. Payments made to the Flemish weavers, Giovanni Host
and Nicholas Karcher, that one finds recorded in the Libro
Creditor! e" Debitori della Guardaroba (1544-1553) confirm
our surmise. Nevertheless, the exact date at which the
great set of hangings for the Sala de' Dugento was begun
cannot now be determined. A letter of the Maggiordomo to
Cristiano Pagni, in December, 1545, is, I think, the earliest
mention that we have of the project.66 But the "arazzieri,"
Eost and Karcher, did not sign a contract to undertake the work
until October 26, 1546. Pontormo's "Fuga di Joseph" (fig. 136)
is spoken of as finished in the Inventory of August 3, 1549,
while still another document seems to imply that the three
tapestries we have been discussing had been delivered to the
Grand Duke before October 1, 1548. The first was woven by
«B Geisenheimer, Gli arazzi nella sola dei Dugento, Boll, d' arte, III (1909), 137-147.
ee Conti, Eicerche storiche, pp. 12, 48, 97, 99 f. Geisenheimer, loc. cit,
71
PONTORMO
Rost, the other two by Karcher. Pontormo must have worked
upon his cartoons sometime between 1545 and 1547.
These tapestries67 are interesting chiefly as a tentative
prelude to the designs for the San Lorenzo choir. They show
an evident fatigue, and the "Lamentation of Jacob" is little
more than a "rechauffe" of motives taken from the "Doni
Madonna" of Michelangelo, from Jacopo's own "Adoration
of the Magi" and from his "Pieta" of the Capponi Chapel.
The pose of one of the figures recalls the pose of Abel in the
drawing (Uffizi 6739) of the "Death of Abel" for San
Lorenzo — a design that may well have been one of the first that
Pontormo made for the choir frescoes and, therefore, practi-
cally contemporaneous with the first cartoon for the tapestries.
In the "Benjamin at the Court of Pharaoh" the figure of
Joseph seems to be a rehandling of the Maximianus of Jacopo's
"Martyrdom of the Theban Legion," which was painted more
than fifteen years earlier.
A curious glimpse of Jacopo's private life reaches us from
the end of the forties. On August 20, 1549, he became a
"coTrrmesso" of the Hospital of the Innocents.68 He paid to
that pious foundation one hundred florins, and the Hospital
promised to send him every year, for the rest of his life,
twenty-four "staia" of grain, six barrels of wine and one
barrel of oil.
67 See Catalogue Raisonne, under Eome, Quirinal.
68 Archivio degl' Innocenti, Libro di Commessi, B, 1528-1549, p. 319. See Appendix
II, Doc. 25 and 26.
72
CHAPTER VIII
1545-1557
Prom 1535 to 1545 Pontormo was undisguisedly Michel-
angelesque. Nothing but the solution of Michelangelo's formu-
las interested him, and the passionate concentration with which
he worked is visible in the few drawings that survive from these
years. They bear witness to the marvellous penetration of his
spirit, as well as to the perseverance with which he tried to
broaden his understanding of plastic form. By 1540 he
thoroughly comprehended the mechanism, so to speak, of
Michelangelo's art, and had explored the hollow shell to its
last secret recess. The very principle of the master's work,
the life-enhancing accent laid upon restrained but untamed
strength, the implication of elemental grandeur in the forces
against which his giant race struggles in vain, was clear to
Jacopo. But into his cleverly mimicked shapes he was power-
less to strike the colossal pulse which alone could make them
live. He was not so much a creator, in the old poetic sense, as
an artist in the most modern interpretation of the term, a
detached visionary craftsman interested only in the hidden
problems of his art.
For that reason, if for no other — like the manner he had
evolved at the Annunziata, or in the Visdomini panel, at Poggio,
or the Certosa, or Santa Felicita — the allegorical nudes that
he had created at Carregi and Castello no longer satisfied
Pontormo. Mere Michelangelesque form, once achieved, no
longer interested him, mere scientific compactness of compo-
sition no longer attracted. Neither was he to be led away into
by-ways of scholastic formulas, or into the worship, for its own
sake, of the muscular or the heroic. To communicate an
73
PONTORMO
impression of force, of "terribilita" alone, he soon perceived
was not art. To Bronzino, Vasari, Bandinelli, and Tribolo, the
imitation of Michelangelo's canon was an end in itself. To
Pontormo that canon, once thoroughly studied, became what
all other canons had been to him — the crude material of a new
form of decoration.
The final phase, therefore, of his development was the most
misunderstood of his entire career, for he proposed nothing
less than to use Michelangelo's superhuman giant as a mere
element in a new scheme of mural painting, in which he would
audaciously employ that monstrous nude to create a novel and
more fantastic beauty.
The opportunity to express himself in terms of this newly
conquered material came when Cosimo commissioned him to
paint the choir of San Lorenzo.1 The Medici had been the
" padroni" of this chapel for generations and that Pontormo
was chosen for the great task of decorating it was the most
signal tribute that could have been paid, at that moment, to
his genius. The solemnity of the place and the importance
of the undertaking stirred Jacopo to even more than his usual
earnestness.2
We can only imperfectly appreciate to what degree he
succeeded in approaching his ideal. The frescoes were destroyed
in 1742 by a generation quite incompetent to understand them,8
when, because of the sinking of the foundation arches, a com-
plete rebuilding of the choir became imperative.*
We do not wonder that, to men idolatrous of mere repre-
sentation, these frescoes had been from the beginning incom-
prehensible and a failure. Vasari5 gave expression to the trite
criticism of his time, and his last word was: "onde si vede che
chi vuol strafare e quasi sforzare la natura, rovina il buono
che da quella gli era stato largamente donato." This somewhat
smug and academic verdict is stupidly repeated by such writers
1 Vasari, "VT, 284.
2 Ibid., p. 285.
s Domenico Moreni, Continuasione delle memorie, III, 115.
* Ibid., p. 112.
s VI, 287.
74
HIS LIFE AND WORK
as Borghini,6 Moreni7 and Richa.8 Even today, in certain circles,
a judgment quite in the spirit of Vasari's would probably be
passed upon the frescoes, were they still in existence, but the
younger generation of modern painters, who have broken with
a paralysing conservatism, would unquestionably hail Pontormo
as one of their earliest and most gifted forerunners.
The present arrangement of the organ and of the archi-
tectural mouldings of the chapel differs somewhat from that of
the primitive plan. An exhaustive comparison of drawings that
survive with Vasari's and Bocchi's descriptions of the choir
leads me to believe that on entering it one saw: on the upper
left-hand side-wall, to the left, "The Creation of Adam,"
between the windows, "The Temptation, " to the right, "The
Expulsion from Paradise"; on the upper end-wall, to the left,
"Moses Receiving the Law and the Sacrifice of Isaac,"9 in the
centre, "Christ in Glory as Judge," to the right, "The Four
Evangelists"; on the upper right side- wall, beginning with the
space next to the end- wall, "The Tilling of the Soil," between
the windows, "The Sacrifice of Cain and the Death of Abel,"
in the last space to the right, "The Benediction of the Seed of
Noah and the Building of the Ark"; on the lower left wall,
"The Resurrection"; on the lower end-wall, on either side of
the window, "The Ascent into Heaven" and "The Descent of
the Damned"; on the lower right wall, "The Deluge."
The chief difficulty that we encounter with this arrange-
ment is that Vasari10 speaks of two Creations of Adam and Eve,
one in the upper series of frescoes, one at the foot of "Christ
in Glory," of which it formed an integral part. The finished
drawing (fig. 138) for the "Christ in Glory" exists, and it is
evident that here Vasari's description is incorrect, for the lower
part of the composition is a "Creation of Eve." In all likeli-
« 71 Riposo, p. 396.
i Op. cit., p. 115.
8 Op. cit., V, 28. Even the editors of the Milan edition of Vasari (XII, 59, note)
regret that Salviati was not given the commission, although they could never have seen
Pontormo 's frescoes, which were destroyed seventy years before their time.
»Bocchi especially praises these figures (Bellesee, ed. Cinelli, p. 515).
10 VI, 285 f .
75
PONTORMO
hood, then, the first fresco on the upper side-walls dealt with
the Creation of Adam, not as Vasari says with that of Adam
and Eve. To place "The Creation of Eve" at the foot of
" Christ in Glory" seemed to Vasari and to most of Pontormo 's
contemporaries, whose opinion Giorgio perpetuates, a gross
violation of orthodox doctrine.11
The drawings12 for San Lorenzo are very numerous; we
have the finished study (fig. 138) for the " Christ in Glory," the
" Moses Receiving the Law" (fig. 139), the "Four Evangelists"
(fig. 140), the "Sacrifice of Cain and Death of Abel" (fig. 141
and 142), and I have identified sketches for the "Descent of
the Damned," for the "Tilling of the Soil" (fig. 143), for parts
of the "Deluge" (fig. 144, 145 and 146), and for figures in the
"Ascent into Heaven" (fig. 147), and in the "Expulsion from
Paradise" (fig. 137).
In these Pontormo is a creator of simple and majestic
patterns. Here the masses of his composition are deployed in
a new rhythm, and to that end he avoids in his unearthly nudes
realism and any mere anatomical correctness of proportion,
as well as all the scientific solutions of difficulties of pose with
which naturalism had laboured to endow art, and all mathe-
matical analysis of perspective. The gesture and the movement
of these figures have in them no accepted beauty.
But in drawings for the "Deluge" and the "Resurrection"
he goes still further, casting to the winds all canons of artistic
propriety. The poses are extravagantly strange, the contours
distorted, the structure of the nude impossible. Vasari13 felt
that Judgment Day itself would not be more terribly confused
than these last two frescoes. Longer study, however, reveals to
us Pontormo 's intention. We cannot dismiss these drawings as
an aberration, and the eleven years of patient, solitary devotion
that Jacopo gave to this new expression of his artistic vision,
as years of pitiable feebleness. Indeed, we may be sure that in
these studies Pontormo drew no nudes out of all proportion
11 Ibid., p. 286.
12 For these drawings, see my Dessins.
is VI, 286.
76
HIS LIFE AND WORK
because lie could no longer draw correctly. His serious and
searching nature was never more touchingly consecrated to the
problem before him than at San Lorenzo. He had, in all that
he did there, a definite purpose. That purpose was not unlike
the aim of certain painters of today. He perceived, dimly
perhaps, but still more clearly than any Italian of his time,
that in every work of art there is an element of decoration,
source of our pleasure, and an element of representation, source
of our sense of reality — an emotional and a scientific side.
And he also perceived, I think, that the Florentine Renaissance
had been naturalistic, that its best ardour had been spent in
solving problems of representation — anatomy, movement,
perspective, contour, light and shade — in a word, in the
evocation through the figure arts of sensations allied to those
that are awakened by the visible world, and that by 1540 all
the discoveries of the school, from Masaccio to Michelangelo,
had been condensed into elaborate formulas.
Against this tendency he revolted. He tossed and twisted
the vast nudes that he had inherited from Michelangelo to fit
strange combinations of shape that haunted him. Emotional
design, that was his aim — arrangements of lines and masses
that stir our sensation of form without the intervention of the
mind. Obviously, such compositions could give no pleasure to
a generation which had lost, and not yet re-acquired, the art of
looking at pictures for their own sake. On one sheet (fig. 146 ;
Umzi 6528) 14 there is a swaying and falling rhythm of great
sea-waves, which the tremendous nudes of the sketch swing to
and obey. Surely no more fitting drawing for a "Deluge" was
ever made. In it, as in other drawings for San Lorenzo, we
divine a symbolism at once incomprehensible and attractive,
a fascination, a quality untranslatable into terms of intellectual
reflexion. This emotion sometimes permeates studies for
individual figures; it lives in the gesture of the nude that we
find on Uffizi 6679 (fig. 149).
In unskilful hands such a method would naturally be
dangerous. But, by his contact with Andrea and the early
14 Dessins, pp. 132 f.
77
PONTORMO
work of Michelangelo, Pontormo was more thoroughly versed
in the study of form for its own sake than any artist working
in Florence in 1550. He had therefore a right to his experiment,
and we cannot but admire his disregard of adverse criticism.
In these drawings there is no tawdry glitter, no laziness of the
mind; the emphasis of his research is merely carried from
the figure into the design.
Vasari and his friends, who had never sought vitality in
form, were of course the first to find Pontormo 's figures in
the choir of San Lorenzo incorrect. Jacopo sought a broad
decorative effect, and they, perversely enough, found only here
and there bits of torse rendered with great skill.15 They mis-
understood his intention because they had no conception of that
ceaseless renovation of ideals which is the well-spring of an
artist's life.
In no account-book of the Medici for this period (1548-
1556) is there any mention of payments made to Pontormo.16
But the Medici owned the chapel, and Vasari17 definitely states
that it was Cosimo who ordered the frescoes and paid for them.
Neither have I found any payment made to our painter by the
Canons of San Lorenzo, although the books of the Chapter are,
for these years, quite complete. In the Medicean Libro di
Salariati for 1556 there are, however, two entries of eleven
payments made to "Bastiano del gostra pittore con M° Jac°
dapontormo." On March 1, 1554, this Bastiano was given a
salary of two ducats a month,18 and it is curious that we find
payments made to him and none made to Pontormo.
The baffling silence of the documents makes it impossible
to state when the decoration of the choir was undertaken.
Vasari18 says that Jacopo laboured on it eleven years, which
is Vasari, VI, 287.
i« See Catalogue BaisonnS, under Lost Pictures, San Lorenzo. One finds in the books
of the Medici for these years numerous references to Cellini, Bronzino, Salviati, Bacchiacca
and the ' ' Arazzieri. "
« VI, 284.
i«A. S. F., Depositeria Generale, No. 394, Libro di Salariati (1555-1556), pp. 42
and 101 right and left. See Appendix II, Doc. 27.
i»VI, 287. Lapini, in his Diario fiorentino (ed. Corazzini, Firenze, 1900), states
that Jacopo worked ten years on these frescoes.
78
HIS LIFE AND WORK
would mean that he began the work in 1545. That is not incon-
ceivable, for it is evident from his diary that, between 1554 and
1556, he was ill much of the time, and we may surmise that for
some years his health had been failing. In those casual pages
he does not perhaps record all the days that he spent at San
Lorenzo, but even if we add several days in each month, to those
he specifically mentions, we discover that he can hardly have
worked there more than thirteen days out of every thirty. At
that rate eleven years would have been none too long for such
a task. Moreover, he seems to have laboured most of the time
in perfect solitude, and we know that on certain occasions he
even prepared the plaster with his own hands. At his death
parts of the great lower frescoes were still incomplete and in
the following year were finished by Bronzino. The choir was
not uncovered until July 23, 1558.20
Pontormo died, according to Vasari,21 of dropsy brought
on by overwork. He was buried on January 2, 155722 and, since
in Italy burial often takes place the day after death, it is
probable that his death occurred on the first. All the painters,
sculptors, and architects of Florence were present at his
funeral, and he was buried in the courtyard of the Servites
under his fresco of the "Visitation."23 This, however, was only
a temporary interment. His body was afterwards transported
in pomp to" the Chapel of San Luca,24 which was originally the
chapter-house of the Annunziata and which was ceded by the
Servites, sometime not long after 1562, to Montorsoli as
sepulchre of the Compagnia del Disegno. Pontormo was the
first artist to be buried there. On the round stone in the
floor, which covers the vault, is the inscription: FLOREAT
20 Vasari, loc. cit. and VII, 602. Bronzino finished many nudes in the lower part of
the "Deluge," and in the ' ' Kesurrection " a strip about a "braccio" wide for the entire
length of the fresco. Cf. Moreni, op. cit., II, 119; Borghini, op. cit., p. 396; Richa, V, 29;
Bocchi, op. cit., p. 515 ff. See also for the lower part of the "Deluge," a drawing ascribed
to Bronzino, Louvre, No. 1026.
21 VI, 288.
22 A. S. F., Medici e Speziali, No. 251, Libro dei Morti (1544-1560), p. 92 r.; Libro
dei Morti (1506-1560), Serie della Grascia, p. 524 v. See Appendix II, Doc. 28 and 29.
23 Borghini, op. cit., p. 396. Vasari, VI, 288.
2* Vasari, VI, 656.
79
PONTORMO
SEMPER VELIM VITA MORTE. The young poet Cosimo
Gael wrote for Jacopo the following epitaph :
In mille f ronti, a cui die vita e moto
Lo mio nobil color, legger potrai,
Viator, chi son io : qui troverai
Eotto il career terren di spirto voto.23
In the choir of San Lorenzo, a year or two later, a marble slab
was placed which seems to have existed in Moreni's time26 and
on which one read: "lacobus Puntormius Florentinus, qui,
antequam tantum opus absolveret de medio in Coelum sublatus
est, et vixit annos LXII menses VII dies VI. A. S. MDLVI."
After his death, cartoons and models in clay were found in his
house, as well as a fine "Madonna" in his earlier manner, which
his heirs sold to Piero Salviati.27
Pontormo died intestate. The right to his property was
contested by Bronzino and Andrea d' Antonio Chiazzella, the
weaver, and the case was won by Andrea as nearest of kin.28
I believe Milanesi was wrong in identifying this Andrea
Chiazzella,29 distinctly described by Ser Giovanni Giordano as
"tessor drapporum," with the Sguazzella, a pupil of Andrea
del Sarto, who executed between 1516 and 1524, in an unnamed
chateau in France, various pictures that were destroyed during
the Revolution.30
What was perhaps the best likeness of Pontormo has
perished. It was painted by Bronzino in a corner of the choir
of San Lorenzo to the right of a figure of St. Lawrence31 and
disappeared when Jacopo 's frescoes were destroyed. But one
may still see a portrait of Pontormo by his pupil in Bronzino 's
25 Borghini, p. 396. For sonnets on the death of Pontormo by Bronzino and others,
see Appendix II, Doc. 36.
26 Moreni, op. cit., p. 115. Vasari, VI, 288, note.
27 Vasari, VT, 288.
28 A. S. F., Eogiti di Ser Giov. Battista di Lorenzo Giordani, G. 300, p. 399. See
Appendix II, Doc. 30.
2» In a document from the Catasto, which I have discovered, Chiazzella is again
called a weaver. In 1561 he is cited as owner of a house in the Via della Colonna which
was probably the house that Pontonno himself had built. See Appendix II, Doe. 31.
so Vasari, V, 57, note 2; VI, 289, note.
si Vasari, VII, 602.
80
HIS LIFE AND WORK
"Descent into Hell," now in the Uffizi.32 The woodcut that
appears in the second edition of Vasari is of less interest,
although it is evidently not apochryphal, and Baldinucci"
states that Allori painted a portrait of Jacopo in the Montanti
Chapel of the Annunziata. Waetzoldt34 believed the figure to
the extreme left in the Pitti " Adoration of the Magi" to be a
likeness of our painter when he was a young man, and others
have seen, in a Pontormo drawing35 in the Uffizi, Jacopo 's own
features. Both conjectures are without foundation.
32J6td., VI, 289, note; VII, 599. The "Descent into Hell" was painted in 1552
for the Zanchini Chapel in Santa Croce; the portrait of Pontormo is mentioned by Vasari
(VII, 599). Jacopo 's is the face turned slightly to the right and seen just over the
Saviour 's right shoulder, that is to say, immediately to the left of the figure of Christ.
s&Notieie, ed. 1812, IX, 521: "vedesi nella piu alta parte dell' Istoria della disputa,
presso al eapitello della colonna, che fa fronte alia grossezza del muro, in persona d'un
vecchio Jacopo da Pontormo." At the Reiset sale in 1870, a picture was sold which the
catalogue describes as a "Portrait of Carucei by Himself," and a portrait, said to be of
Pontormo by himself, was sent to the Royal Academy Loan Exhibition of 1877 by Lord
Methuen. I am unacquainted with both these pictures. The woodcut from Vasari 's second
edition of the "Lives" was reprinted in the Milan edition of the same (1811, XII, 2),
and by Miintz in his "Renaissance" (III, 499). Cf. also Dezallier d ' Argenville, Vie des
plits fameux peintres (1762), I, 49, eng., and Vasari (1760), pi. 135, eng. The right-hand
figure in the double portrait, Louvre, No. 1508, commonly known as "Raphael et son maitre
d'armes," was believed in the seventeenth century to be a likeness of Pontormo. The
identification is without foundation. The canvas, once given to Raphael himself, is ascribed
to Giulio Romano by Berenson, to Sebastiano del Piombo by Waagen, to Polidoro da
Caravaggio by Cavalcaselle. Cf. Duranty, Gazette des "beaux-arts, XV (1877), pp. 32, 34;
Rosenberg and Gronau, Eaffael, 4th ed., pp. 211, 252; Berenson, Central Italian Painters,
2d ed., p. 185; "Crowe and Cavalcaselle, Baffaello, ed. Le Monnier, III, 414 f.; Passavant,
EaptM'el d'UrUn, II, 355-357, note; 294. For the provenance of the picture, see Engerand,
Inventaire, Paris, 1899, pp. 20 ff.
s* Die Kunst des Portrdts, 1908, p. 345, fig. (photo. Reali).
35 Dessins, p. 244. B. F. D., pi. CLXXIV. D. G. U., pi. XVIII.
81
CHAPTER IX
PORTRAITS
The various influences that reacted upon Pontormo 's
personality and combined, at times strangely, with successive
phases of his creative instinct may also be traced in his por-
traits, for happily portraiture was with him, even in his youth,
a favorite medium of expression. By its limitations and its
possibilities it implied an art admirably suited to his peculiar
temperament. But it would be idle to analyse his portraits
separately, while to establish for them an exact chronology is
practically impossible. In portraiture progressive variations
of touch are always difficult to distinguish, and Pontormo's
fidelity to the character of his sitter complicates the problem.
Moreover, of the forty-seven portraits, paintings or drawings,
that have come down to us only one is documented and dated:
the "Portrait of Alessandro" in the Johnson Collection. And
only this and the " Portrait of Cosimo il Vecchio" have even
been identified.1 To determine whether other portraits, ascribed
or ascribable to Pontormo, are authentic or not requires that
intimate knowledge of his touch and of his development which
alone can help us to make an intelligible pattern out of what
ignorance and the years have jumbled and in part destroyed.
Here his portrait-drawings render an especial service. They
betray their date by disclosing their relationship to other
drawings, the date of which is known, and with their help we
may thread the mazes of a difficult chronology.
The earliest portrait we possess is perhaps the " Engraver
of Precious Stones" (fig. 10), once part of the collection of
i The ' ' Portrait of Bartolommeo di Lorenzo Gualteretti, ' ' in the Johnson Collection,
which is ascribed to Pontormo by Berenson, is dated 1550. I am not, however, of the
opinion that it is an authentic Pontormo. .
82
HIS LIFE AND WORK
Louis XIV and now in the Louvre.2 The drawing of the mouth,
the nose, and the chin, the facial oval, and the heavy colour,
obviously recall Andrea's " Portrait of Himself," which is now
in the Uffizi.3 But Pontormo's portrait is troubled and intro-
spective; from it a personality looks out at us mysteriously,
as from no portrait by Del Sarto. Although, like the "Portrait
of a Man" now in Bonn,4 which appears to have followed it at
a short interval, it cannot have been painted later than in 1516,
it demonstrates that Jacopo had even then the secret of laying
bare his sitter's soul.
Within the next two years he painted the " Portrait of a
Young Man" (fig. 41) of the Palazzo Bianco,5 which catches
so delightfully the self-conscious stiffness of a fashionable
youth, and but a little later, the well-known "Portrait of
Cosimo il Vecchio" (fig. 42 ).6 This I place somewhat before
the summer of 1518. It is an evident masterpiece, of powerful
arrangement, beautiful colour, and intense interpretation.
Iconographically it derived from one of the medals struck not
long after Cosimo 's death, and since it was painted for a
secretary of Lorenzino's, Pontormo had of course to represent
Cosimo in the guise of the great and saintly ancestor of the
Medici. But how intimately and imaginatively Jacopo, with his
subtle incisiveness of spirit, understood the fine craftiness, the
pitiless penetration, and cunning self-satisfaction of the ailing
old banker ! What hands ! How grasping, how alive ! Cosimo
seems to hold them tightly clasped before him for fear some
violent animation in them betray his stealthy calm. He lives
more vividly here than in any portrait painted during his
lifetime.
The treatment of the features and of the spacing in these
last two portraits owes something to such works of Piero di
Cosimo as his "Portrait of a Warrior," of the National Gallery
or his "Francesco Giamberti," now in The Hague.
2 No. 1241.
3 No. 1176.
* Provincial Museum, No. 214.
5 No. 6.
« Now in the Uffizi.
83
PONTORMO
We have one other portrait that was painted before 1520 —
the " Unknown Boy" (fig. 48) of Prince Trivulzio's collection.
There are two portrait-drawings of the same period, a
melancholy youth wrapped in a mantle (fig. 49; Uffizi 6682),
to which we have referred elsewhere, and a strong study of a
young artisan (fig. 38; Uflizi 452 F). The latter recalls the
"Portrait of a Youth," now in Lucca, but was not drawn for
it. To the years 1520-1525 no portrait can be assigned with
certainty. The black-chalk sketch of an old woman in a mantle
(Uffizi 6573) recalls the draped women of the frescoes at the
Certosa but, like Uffizi 451 F, it can hardly be earlier than 1525.
While Jacopo was painting the Capponi Chapel and the
works that immediately followed it (1525-1530), he executed
several portraits that survive, among them the flower-like
portrait-drawing of a young girl (fig. 101 ; Uffizi 449 ),7 in which
the line has qualities that characterize the best studies for Santa
Felicita. One might assign to the same period a wistful drawing
of a young boy (fig. 102; Uffizi 6667), 8 which discloses a rare
understanding of child-life, but in which there is a certain
serene transliteration of fact that sometimes tempts me to place
it nearer to Poggio.
Sometime about 1528 Jacopo painted the beautiful "Por-
trait of a Youth" (fig. 115), now in Lucca.9 This is one of his
most characteristic and charming pictures. The long, upgrow-
ing neck, the delicate oval of the face, the full, fine, bushy hair,
the slightly turned, sidelong glance, the slim body delicately
suggested in its great robe of silk, the simple but striking
adjustment of the figure to the space, the clarity and ring of
the colour, all are but elements of the finer art with which
Pontormo felt the essential character, the sweet frankness of
a fresh, young spirit.
The Bergamo portrait (fig. 116) ,10 falsely called "Baccio
Bandinelli," and the Uffizi11 "Portrait of a Man" (fig. 118),
7 Dessins, pp. 96 f .
s Ibid., p. 218.
oPinacoteca, No. 75 (Sala I, No. 5).
10 Morelli Collection, No. 59.
11 No. 1220.
84
HIS LIFE AND WOEK
though dry in colour, are both of a Holbeinesque purity of
drawing and of a fine severity. Like the exquisite " Portrait of
a Girl as Lucretia" (fig. 119), now in the Borghese,12 they date
from just before 1530. With them belongs the "Portrait of
a Man," in the Corsini13 at Eome, which has completely lost
by retouching its distinction and decision.
From the period of the siege and immediately thereafter,
we have: the portrait-drawing of a young soldier (fig. 120),
of rare economy of touch and of a clarity of interpretation
recalling Ingres (Uffizi 463 F) ; an elaborate but tame three-
quarters portrait-drawing of an artisan (Uffizi 6698) ,14 which
inspired Bronzino's " Portrait of Bartolommeo Panciatichi";
the " Portrait of Alessandro," now in Philadelphia (1534-
1535) ;15 the tense, clean-cut profile16 that is now called "The
Canon Castiglione" (fig. 125).
Between 1534 and 1540 I place a group of fair women,
panels that are among the highest achievements of the Floren-
tine School in portraiture. No other Tuscan attained such rare,
light harmony of tone, such graciously ample arrangement of
space, such dignity and simplicity and ease, together with such
subtlety, breadth, and wealth of suggestion of the sitter's social
sphere, her inheritance, and her intelligence. Most of all no
Florentine, except Leonardo, so drew up the yearning, unquiet
spirit to the eyes and made an unmistakable, but almost unseiz-
able, vibration of personality play about the mouth. These are
women of proud family and of long lineage. Yet, in their
lovely but simple dresses, with their gold chains, their rings,
their embossed books, their little dogs, how human they seem
to us, how frank and secretly confiding ! Here must be placed
such masterpieces as the "Portrait of a Young Woman"
(fig. 128), in the Dirksen Collection, in Berlin, the alert and
speaking "Portrait of a Girl" (fig. 127), in Frankfort,17 the
"No. 75.
is No. 577.
i* Dessins, pp. 106, 244.
is Johnson Collection, No. 83.
ie Pitti, No. 249.
" Stadel Institute, No. 14 a.
85
PONTORMO
"Portrait of a Lady with a Volume of Verse" (fig. 131), once
in the Yerkes Collection and erroneously ascribed to Bronzino.
To these years also belong the "Young Girl with a Carnation
Hung over Her Ear" of the Widener Collection, a portrait
that resembles those just mentioned but which from repainting
has become stiff and blank, as well as two fine portrait-drawings :
the one (Uffizi 17769 ),18 aristocratic, though a trifle hard in its
refinement; the other (Uffizi 414) ,19 which was long ascribed to
Leonardo, big, broad, and full of good-humoured complacency.
These panels and drawings were closely followed by the
oval "Portrait of a Woman in Green" (fig. 129), in the Grand-
ducal Gallery of Oldenburg,20 skilfully arranged, magnificently
large, and of broad spiritual insight. Of the same date are the
dry but firm study, Uffizi 6680 ;21 the badly proportioned
drawing of a bishop (Uffizi 443 verso), perhaps for the now
lost portrait of Ardinghelli; the somewhat dull, though quite
correct, red-chalk study of a boy in a mantle with a flute
(Uffizi 443 ).22 Here one should place the "Portrait of Cardinal
Spannocchi Cervini" (fig. 130), the Sienese prelate who was
afterwards Pope Marcellus — a panel which, before Morelli's
time, was held to be by Raphael.23 And here, too, belongs the
grave and penetrating "Portrait of Bartolomeo Compagni"
(fig. 126), now in the Stirling Collection. In it the accessories
are of an almost painfully scrupulous naturalism. The effect
of the whole, however, with its broad distribution of masses
is of a dignity, a quietness, quite undeniably Pontormo's own.
Even during the last years of his life, while he slaved in
the solitude of the San Lorenzo choir, his mind all preoccupied
with a new idealism, Pontormo had, when he faced a definite
model, an eye unswervingly loyal to the essentially significant
in character. A masterful and uncompromising human docu-
ment, raised above mere stupid transcription into that realm of
is Dessins, pp. 288 f .
i» Ibid., p. 89.
20 No. 19.
21 Dessins, p. 230.
22 Idem, pp. 93 f .
23 Borghese Gallery, No. 408.
86
HIS LIFE AND WORK
intellectual clarity in which the best of Pontormo's art moves,
is the "Portrait of an Old Lady" (fig. 150), now in Vienna.24
Here, as in the severely simple "Portrait of a Lady" (fig. 151),
in the Jacquemart- Andre Collection, Jacopo's study of his
sitter's personality is still indefatigable and searching. Pon-
tormo could never have painted the "Mona Lisa." His
limitations and inequalities become only too obvious when his
achievement, even in portraiture, is compared with a work upon
which a mind as unparalleled in depth and scope as Leonardo's
has left a record of its own unique experience. He had neither
the supreme quality of accumulated vision necessary for such
an understanding, nor the unapproachable cunning of hand.
His was an intuitive intelligence, an instinctive penetration,
which, at its best, leaves upon the faces of his people an inde-
finable and appealing wistfulness that makes Bronzino's
portraits seem hollow and uncommunicative, Andrea's monoto-
nously literal, Ghirlandaio 's wooden, and even the greater
portraits of the Quattrocento lacking in all inner animation.
But quite apart from any limitations that one may feel in
Pontormo's portraits, when one compares them with the
greatest masterpieces, and quite apart too from any artistic
superiority that they may claim when one sets them beside the
works of his predecessors or contemporaries, they have, in the
history of "* this province of painting, an importance that has
been hitherto unrecognized. It cannot, however, be long before
it will be clear to all students of Florentine civilization that one
legacy, in the long inheritance left by those minds that have
re-created the visible world in the plastic arts, one aspect of
our present vision of ourselves, has undoubtedly its source in
him. This contribution to our visual memory passed from
Jacopo to Bronzino and, popularized by him, found its way
through certain Italians who worked in Spain, and through
Flemish artists like Antonio Moro25 who worked in Italy, into
24 Gemaldegalerie, No. 48.
25 For the influence of Pontormo, through Bronzino, upon Antonio Moro, cf. the
"Portrait of William of Orange" (Cassel, No. 37) which Antonio painted in 1555-1556;
the "Portrait of a Youth in Armour," dating from about 3560, lately in the Ehrich
Galleries, New York, and now in the St. Louis Museum; and the "Portrait of a Princess,"
87
PONTOKMO
our general tradition of form. It was Jacopo who first trans-
formed portraiture by seeing it in terms of Michelangelo's
heroic vision and it was Jacopo who, in recording the appear-
ance of his sitters, first sought to combine a massive imaginative
simplicity and dignity of presentation with an intangible
evocation of individual character.
»
painted in 1577, which was once in the collection of the Baron de Beurnonville (1881),
and later in that of la Baronne de H***, for a reproduction of which, see Catalogue de la
Collection de la feue Baronne de H***, Georges Petit, June, 1904, p. 28.
88
CHAPTER X
LAST YEARS: HIS LIFE FEOM DAY TO DAY
Numerous passages1 in Vasari 's "Life of Pontonno" give
us an idea of Ms personal appreciation of Jacopo as an artist
and as a man. The clever Aretine, who was a favourite of
princes and by nature a courtier, was hardly the person to under-
stand Pontormo's shrinking and detached spirit. For all his
kindly sympathy, he could not but deplore Jacopo 's aloofness,
his indifference to the patronage of the great, his waywardness,
and his hesitations. It was a pity, he thought, to let slip heed-
lessly a chance to finish the Great Hall at Poggio.2 Vasari did
not understand Jacopo 's whole-hearted devotion to his art.
Even though he admits it was no lack of ability that made
Pontormo procrastinate,3 and that once decided how a thing
should be done his manner of working showed no vacillation,
it is quite apparent Vasari did not realize that Jacopo never
put his hand to an undertaking without first solving the problem
of its conception and execution.
In a letter to Varchi Pontormo himself gives us a whimsical
account of his attitude towards painting. This letter4 explains
much. Jacopo felt the underlying principle of sculpture and
painting to be design — a term that he uses in its widest sense,
and that for him includes invention, composition, and the
rendering of the figure. Sculpture, he thought, is eternal;
painting, transitory. And he wittily compares the former to
"panno fine," the latter to "panno accotonato delP inferno."
On the other hand, the mere durability of the stuff of sculpture,
1 VI, 249, 271, 285, 287.
2 Ibid., p. 277.
3 Hid., p. 289.
* Bottari, Eaccolta di lettere, Milan, 1822, I, 20-25. See Appendix II, Doc. 32.
89
PONTORMO
the time-resisting bronze or stone, is after all a quality that
even unquarried rocks have, while the eternity to which genius
attains resides in a profound creative impulse and in the
conquest of inert material. He keenly felt the mere physical
difficulties of the practice of sculpture or painting, and from
this point of view, painting is for him the more marvellous art.
Does it not, with slighter means, attempt a larger task ? With
mere colours and a flat surface, does the painter not realize,
by an artifice, nature, its colours, lights, shadows, diversities —
air, cloud, landscape, houses, men, and animals — everything
various, harmonious, and graceful, in the multitudinous appear-
ances of things'? This vying with nature Jacopo felt to be a
fine audacity. Still finer, the daring that, by arranging and
harmonizing images taken from nature, transfigures and makes
them more beautiful than nature is herself !
The playful, philosophic aloofness of this letter manifested
itself in Jacopo 's daily life. He was an unworldly and solitary
spirit. Vasari hints that some of his contemporaries even
found him unsociable and mean. Certainly he cultivated no
luxuries of dress or food or change. His little house was
without extravagance or pretence, and it had, to use Vasari 's5
expression, "cera di casamento da uomo fantastico e solitario."
Like Michelangelo and Leonardo, he never married. His
work he loved, not what it brought him. Poor as he was, he
sought no commissions from the rich.6 And when he had work
to do, he closed his door even to his intimates. This we know
from his diary, for one day he writes: "Domenica fu pichiato
da Bronzino e poi il di da Daniello. Non so quello che si
volessino."
Vasari appreciated his rectitude of spirit and defends him
against the accusation that, in allowing the "Venus" to be sold
to Alessandro, he did not treat Bettini fairly. He protests
against gossip, once current in Florence, that Jacopo was vain
and proud because he had been chosen to paint the choir of
San Lorenzo.7 Vasari knew that nothing was more foreign to
B VI, 279.
e Ibid.
f Ibid., p. 285.
90
HIS LIFE AND WORK
the modest spirit of his friend than insolent words or a high-
handed manner.
We owe much of our knowledge of Pontormo's personality
to Vasari's kindly interest, but for a profounder insight into
his peculiar character we must turn to his diary (fig. 152 ).8
Of this precious document we have only a fragment that begins
with the year 1554, when the entries are few, and continues at
irregular intervals to within a month and a half of his death.
Nothing could be more direct, more completely without
pose, than these pages, which sound as if in them he communed
with his own memory. They evoke an image of his life from
day to solitary day, with its labour, its illnesses, its isolation,
and its simple pleasures — the humble life of an artist and a
workman, "costumato e virtuoso." Here is the naked psy-
chology of the man, parsimoniously traced, naive, concise, and
never distorted even by a desire to define his own states of mind.
As a record it is therefore of unique value. It has no literary
flavour and betrays no preoccupation except that of setting
down for himself, and for their own sake, his daily experiences.
Sometimes he merely names the days as they pass, days
perhaps when he pondered over the frescoes in San Lorenzo,
or mute pointless days of inertia and lassitude. Frequently
he mentions what he accomplished: " Today I worked on the
death's Head with a beard"; or " Today I finished the arm of
the figure that stands like this." And in the margin he draws
a little sketch, the shorthand of the image in his mind. These
marginal sketches (fig. 152) correspond to drawings of his, now
in the Uffizi (fig. 153), and we can state — curious fact in the
life of a painter dead three hundred and fifty years — that on
8 See Appendix III. Cf . Colasanti, Bull. soc. filol. rom., II, 35-59. Fabriczy, Daa
Tagebuch Jacopos da Pontormo, Eepertorium, XXVI (1903), 95 f. Apropos of a letter
from Cosimo I to Bronzino (Pisa, February 11, 1565), in regard to the latter 's frescoes
in San Lorenzo, of which only the "Martyrdom of San Lorenzo" was finished, Gaye
(III, 166-169) quotes a fragment of Pontormo's Diary from an incomplete sixteenth
century copy in the Biblioteca Nazionale, Florence (No. 621 [331-E, 5, 6, 32]). His
excerpt begins: "addi 11 di Marzo 1554," and ends: "Sabato quella testa della figura
che e sotto ch' sta cosi." The original of the Diary is in the same library, Miscellanea
magliabecchiana, Catalogo VIII, 1490.
91
PONTORMO
such and such a day Pontormo frescoed a given figure on the
walls of San Lorenzo.
We see him going to work before dawn ; we see him apply-
ing with his own hands the plaster to the walls; we see him
struggling with the material difficulties of the work. Once he
writes when he comes home tired: "Tonight my back aches
from standing bent backwards all day long. ' ' Or again : i ' Today
I did again the head of the figure below the windows — that
was a piece of work to remember!" Sometimes he speaks of
drawings that he has made or colours that he has prepared.
And in reading we get a strangely lucid image of how day
succeeded day and, bit by bit, the long solitary work went
forward.
He notes his troubles with his "fattore." Too ill to go out
himself, Jacopo sends him for a ' ' fiasco ' ' of wine. The wretched
man tells him that hereafter he can do his own errands ! And
that evening he supped on a bunch of grapes. Again he
remarks: "My Battista has gone off for the day and has not
come back though he knows I am ill and will have to keep him
in mind all the time." Battista was his pupil Naldini, who
was a foundling of the Hospital of the Innocents and who was,
it would seem, adopted by Pontormo sometime late in the
forties. We watch the heartless boy tease the old man for two
long days, saying he will go away and never come back again.
Once Jacopo pathetically remarks: "Thursday, that was the
day when Battista locked himself in his room and refused to
eat." One evening (March, 1556) Bronzino asked his old
master to dinner and he refused to go. They quarrelled, and
that night Jacopo wrote bitter things in his diary, but after-
wards crossed them out.
He notices the changes of the weather — bright days or
bleak rainy days when he suffered from the cold. He speaks
of his dinners and suppers with Bronzino or ' i Daniello. ' ' These
were chiefly on Sundays. Sometimes for long periods he saw
no one. Then again, day in and day out, he took his meals with
one of his friends, and they were, we may believe, kind to the
caprices of the solitary, morose old man. We learn of his rare
92
HIS LIFE AND WORK
days of recreation — holidays when he went to walk with Piero
or Angelo or with all their little circle, at Monte Oliveto or
San Miniato or San Domenico. We learn of still rarer nights
at the tavern or the theatre. We hear of visits to the friars on
business, of the gift of game that he promised to his friends,
the "pane di ramerino" and the fifty figs that they gave him,
the wine that he bottled, the peaches he planted, the chair and
the coverlet he bought.
Frequently we read of his illnesses, particularly of one
long illness during which Bronzino took hi™ in and nursed
him, and of the accident that befell him of being struck by a
cart. When ill he records naively all his symptoms — his colds,
his fevers, his indigestions and nauseas, his frequent fasts. He
sets down rules for right living, especially in the spring, and
promises himself not to overeat.
Most of all he notes what he eats, even the precise number
of ounces of bread, the exact number of figs. His food was of
a touching simplicity, and he prepared it himself. It was the
food of the Italian artisan: eggs, bread, cheese, wine, salad,
fruit, "pesce d' uovo," "pasta." Now and then, he has a little
mutton, once some that Battista buys for him and of which he
remarks, "one wouldn't have given it to the dogs." At long
intervals Jie speaks of rarer things, "ucellini" or "crespelli
mirabili," which he remembers with enjoyment. But generally
he was extraordinarily frugal and abstemious.
These pages are full of the flavour of solitude, simple
living, and arduous labour. To what went on around him
Jacopo pays little attention. Twice he mentions that the Duke
came to San Lorenzo, and that once the Duchess also came.
He speaks of the feast9 of the "Tregua," of the picture Bronzino
sent to Pisa, of a head of Sandrino's that he went to see, visits
from Luca Martini, a sonnet that Varchi sent him.
We know his friends, the little circle of men who spent
their leisure together, Bronzino, Piero, Daniello, Luca Martini,
» The famous truce between the Emperor and the King of France that was published
in Siena, March 26, 1556.
93
PONTORMO
Varchi, Ottaviano,10 and, more rarely, Pucci and Strozzi.
With them we see two women, Alessandra and Maria. Once
too he mentions dining alone with Borghini,11 the "priore
dell'Ospedale."
In so solitary a life, to a nature so intense and lonely as
his,12 the training of pupils was impossible. What was best in
his art was too personal to be easily imitated, too subtle and too
various to become a canon to young artists. On the other hand,
no artist, no matter how talented, could have formed a school
in Florence at a moment when all art had become Michel-
angelesque. As far as their influence on others went, Pon-
tormo's rare gifts were largely wasted. The decadence had
begun. It was almost in vain he gave to the world scores of
drawings, the best of which must finally rank with Michel-
angelo's and Leonardo's, a whole gallery of splendid portraits,
a perfect specimen of decoration at Poggio, a lyric altar-piece
at Santa Felicita. The decorative beauty that these last two
works reveal, their lightness, their freshness, left his contem-
poraries only half convinced. Still less convinced were they
by the heroic and mysterious symbolism of the San Lorenzo
choir.
An artist of his genius could not, of course, even in the
later Renaissance, escape having imitators. To his early work
Rosso owed much in the " Marriage of St. Catherine," in San
Lorenzo (1523), the " Deposition," at Volterra (1521), the
"Doni Altar-piece" (1522), now in the Pitti, the "St. John,"
now at Dijon. Rosso 's draughtsmanship is merely a hard,
extravagant variant of our master's first manner. Andrea also,
to whom Pontormo's debt was great, shows here and there as
10 Not, of course, Ottaviano de ' Medici, the patron of the arts to whom Vasari
frequently alludes and who died in 1546 and was buried in San Lorenzo.
11 Cf . Vasari, VI, 289.
12 Bocchi (op. cit., pp. 18 f.) says that Pontormo was excessively melancholy and
that in order to attain a greater realism for his "Deluge" in San Lorenzo he kept dead
bodies in troughs of water to make them swell, the stench of which troubled the whole
neighbourhood. The latter part of this story is a direct contradiction of Vasari 's state-
ment (VI, 289) that Jacopo was inordinately afraid of death and would not let anyone
mention it in his presence: "fu tan to pauroso della morte, che non voleva, non che altro,
udirne ragionare, e fuggiva 1'avere a incontrare morti. "
94
HIS LIFE AND WORK
in the "putti" of the two "Assumptions" in the Pitti, faint
traces of the counter-influence of Jacopo's art. Granacci
liberally borrowed form and colour from our painter in such
pictures as his "Scenes from the Life of Joseph." Bacchiacca
pieced out his patchwork with many a shape of Jacopo's
invention, and Bugiardini had in mind a Pontormo drawing
(the meaning of which he was too dull to understand), when
he executed the "Young St. John," now in Bologna. Vasari
made drawings of the Certosa frescoes,13 consulted Jacopo14
about his own "Portrait of Alessandro, "15 and had our master
help him with the cartoons16 for the "Battle of Val di Chiana."
In his full-length portraits of Cosimo il Vecchio and Cosimo I,"
he imitated Pontormo so closely that they were long considered
to be the latter 's work. With lesser men, like Lappoli18 and
Pichi,19 Jacopo's pupils for a time, we are hardly concerned.
They were crass imitators of whatever creative instinct they
came in contact with momentarily. Neither is it worth while
to study here Cristofano dell' Altissimo20 who belongs to a later
generation and owed more to Bronzino than to our painter.
The feeble journeyman who painted the "Madonna and Saints,"
in the Municipio at Citta di Castello,21 or the painter of the
"Presentation in the Temple," now in Dijon, we leave in their
obscurity.
Bronzino (1503-1572) 22 was really Pontormo 's only pupil.
And it is one of fate's strange extravagances that for centuries
is VII, 605.
« Ibid., p. 657.
is Uffizi, No. 1281.
i« Vasari, VII, 716.
IT See the Catalogue Kaisonng, under Palazzo Vecchio, Florence. The influence of
Pontormo 's work at San Lorenzo may be seen in the figure of a bald, bearded saint in hia
"Coronation of the Virgin," in Citta di Castello (photo. Alinari).
is Vasari, VI, 7.
i»76td., 5-16, 259. Milanesi mistakes Pichi for Giovanmaria Butteri (1550-1606)
who was a pupil of Bronzino (VI, 6, note). Cf. Baldinucci, X, 144.
20 Vasari says (VII, 608) that Cristofano was a pupil first of Pontormo and then
of Bronzino.
21 Catalogo della pinacoteca comunale di Cittd di Castello, p. 7.
22 Vasari, VI, 6, 289; VII, 593 f. Bronzino was, according to Vasari (IV, 241),
originally a pupil of Eaffaellino del Garbo.
95
PONTORMO
he has been by far the more famous of the two, although he was
infinitely less gifted than his master. But, as court painter he
was much employed by the Medici, and numerous copies of his
portraits of Cosimo I, of Eleonora, and of their children,
produced in his "bottega," and as gifts scattered by the Grand
Duke and his descendants all over Europe, served to give
Jacopo's conscientious disciple a renown out of all proportion
to his merits. His reliable, pedestrian character made him a
favourite with Cosimo and his satellites who preferred to
capricious creativeness, work finished with diligence and dis-
patch. But every fine quality — dignity, repose, spaciousness,
impressiveness, and simplicity — that one finds in the best of
Bronzino 's portraits is derived directly from his master's art.
In the "Portrait of Ugolino Martelli," and in the Panciatichi
portraits, our contention is made clear. These, by their elegance,
by their intense grasp of the sitter's psychology, by the charm
with which they are posed, by the modelling of the cheeks and
the eyes, and by the large- jointed bony character of the hands,
owe their inspiration to Pontormo's work in portraiture
between 1518 and 1534. A glance at Pontormo's "Portrait
of a Lady with a Volume of Verse," once in the Yerkes
Collection, his "Alessandro," in Philadelphia, the "Portrait
of Youth," in Genoa,23 his drawing of an artisan in the Uffizi,24
suffices to prove our point.
After 1540 Bronzino got nothing new from Jacopo. He
merely hardened the formula that he had learned between 1530
and 1540 and chilled its colour. He lost, as he lost touch with
Pontormo's work, the insight into his sitter's character he
had once had. Even in his delightful portraits of the Medici
children, he had already substituted expression for interpre-
23 How closely Bronzino 's early work in portraiture resembled Pontormo 'a is
strikingly exemplified by his portrait, said to represent the Duchess Anna Strozzi (wood,
.73 x .57, with the inscription A|LWI above and to the right), which was once in the
Dollfus Collection (No. 46), and which was sold in 1912 to M. du Bonneval. A repro-
duction of this panel may be seen in the Catalogue des tableaux anciens; Collections de M.
Jean Dollfus, Paris, 1912, p. 58. The same intimate relation between master and pupil
may be observed in Bronzino 's ' ' Portrait of a Young Woman, ' ' sold at the Ehrich Galleries,
New York, on March 21, 1906.
24 Uffizi 6698. Cf . Dessins, pp. 243 f .
96
HIS LIFE AND WORK
tation. These date from the end of the forties and the beginning
of the fifties. By 1555 he had arrived at the unresponsive
stiffness of "Eleonora and Her Son," now in the Uffizi. Out
of the great qualities once reflected upon him he had evolved
for himself a permanent manner.
Bronzino's early religious pictures are rare. Like his early
portraits they owe all their interest to our master. His later
mythological and religious paintings are quite crassly and
confusedly Michelangelesque.
His drawings also are of an extreme rarity. In addition
to those pointed out by Berenson, I have identified two others,
one25 for the " Deluge," in the Chapel of Eleonora, in the Palazzo
Vecchio, the other26 for the Infant Jesus of the Pitti "Holy
Family." Both date from after 1550. They are dry, tame,
uncertain variants of drawings that Jacopo made between 1535
and 1545." Even Vasari realized how poor a draughtsman
Bronzino was.
Quite other was Pontormo's influence upon his adopted
son, Battista Naldini. This brilliant young draughtsman
imitated chiefly, and with extraordinary ease and bravura, his
master's early manner, the manner which sketches for the
Visdomini altar-piece and for the Borgherini panels illustrate
most decisively. It is not surprising, then, that Pontormo's
early drawings have at times28 been confused with Naldini 's,
or that, still more frequently, Naldini 's29 have been catalogued
as Jacopo 's. Other sketches of Battista 's have, as Berenson
has observed, long passed as Andrea's, while some of his
red-chalk studies have borne even Michelangelo's name.
After 1557, when Pontormo was no longer alive to counsel
him, Naldini 's draughtsmanship became hideously academic.
His paintings are painfully feeble, and in them only figures
26 Uffizi 6704. Cf. Dessins, pp. 248 f .
2« Uffizi 6639. Cf . Dessins, p. 199.
27 ma., pp. 49 f .
28 Uffizi 7452. Cf . Dessins, p. 281.
2» Uffizi 6524; 6566; Louvre 1019 (?). Cf. Dessins, pp. 130, 157, 328. Naldini
worked at one time with Vasari on the frescoes of the Great Hall of the Palazzo Vecchio.
Cf . Vasari, VII, 99.
97
PONTORMO
borrowed here and there from Pontormo indicate attenuated
traces of our master's practice.
More than twenty-five years after his death, Pontormo 's
influence was also felt by Empoli. This facile workman made
various copies of Jacopo's pictures, notably of the Certosa
frescoes and of the "Supper at Emmaus." Still later, towards
the end of the century, Cigoli now and then imitated our painter,
and Andrea Boscoli30 drew inspiration from his drawings for
many a sketch of his own.31
so Two drawings (Uffizi 457 and 464) by Boscoli have been falsely attributed to
Pontormo. Cf. Dessins, pp. 101, 106.
31 Giovanni Stradano imitated Pontormo in the ' ' Nativity of the Virgin, ' ' which
he painted in 1583 in the chapel of the Villa Pazzi at Perugiano, near Montemurlo. Cf. a
cut in the Eassegna d' arte, XIV (1914), p. 254. Zacchia of Lucca (d. 1561), although
generally a late imitator of Fra Bartolommeo, shows at times, as in his ' ' Portrait of a
Man, ' ' in the Louvre, that he was not without knowledge of Pontormo 's work in portraiture.
98
PAINTINGS AND DRAWINGS BY
PONTORMO
FIG. 1. "THE HOSPITAL OF SAN MATTEO'
ACADEMY, FLORENCE
FIG. 2. MADONNA AND SAINTS
CHAPEL OF SAN LUCA, SS. ANNUNZIATA. FLORENCE
FIG. 5. THE VISITATION
SS. ANNUNZIATA, FLORENCE
H
fe rt
<? s
^ h
^ §
FIG. 8. STUDY FOR THE BAPTIST OF THE CARRO
DELL A ZECCA
UFFIZI 6581 VERSO, FLORENCE
FIG. 9. STUDY FOR A LOST PIETA
UFFIZI 6690 VERSO, FLORENCE
FIG. 10. PORTRAIT OF AN ENGRAVER OF PRECIOUS STONES
LOUVRE 1241, PARIS
FIG. 11. STUDY FOR THE LOST SANTA CECILIA OF THE ORATORY OF
SANTA CECILIA IN FIESOLE
CORSINI 124161, KOMK
FIG. 12. SKETCH FOR THE LOST SANTA CECILIA OF THE ORATORY OF
SANTA CECILIA IN FIESOLE
UFFIZI 6694, FLORENCE
FIG. 13. MADONNA AND SAINTS
SAN MICHELK VIBDOMINI, FLORENCE
* £
2s
so
§8
^>
S H
W ?J
ffi ffi
^ o
rt s
o
fr 55
M <
A yi
O
b
w
M
.
ii
FIG. 20. STUDY FOR THE MADONNA AND SAINTS OF SAX MICHELE VISDOMIM
UFFIZI 654, FLORENCE
FIG. 21. STUDY FOR THE MADONNA AND SAINTS OF SAN MICHELE VISDOMINI
UFFIZI 6662, FLORENCE
FIG. 22. STUDY FOR THE MADONNA AND SAINTS OF
SAN MICHELE VISDOMINI
UFFIZI 6581, FLORENCE
FIG. 23. STUDY FOR THE MADONNA AND SAINTS OF
SAN MICHELE VISDOMINI
UFFIZI 6744, FLORENCE
FIG. 24. STUDY FOR A LOST MADONNA AND CHILD
UFFIZI 6729, FLORENCE
FIG. 25. STUDY FOR THE JOSEPH DISCOVERING
HIMSELF TO HIS BRETHREN
IN THE COLLECTION OF LADY DESBOROUGH, PANSHANGER
UFFIZI 6692, FLORENCE
FIG. 26. JOSEPH DISCOVERING HIMSELF TO HIS BRETHREN
COLLECTION OF LADY DKSBOROUGH, PANSHANGKR
FIG. 27. THE BAKER LED OUT TO EXECUTION-
COLLECTION OF LADY DESBOROUGH. PANSHANGER
'/_
DC ;-
SS
g
FIG. 30. JOSEPH SOLD TO POT1PHAR
COLLECTION OF LADY DESBOROUGH. PANSHANGER
FIG. 31. STUDY FOR THE JOSEPH SOLD
TO POTIPHAR
FIG. 32. STUDY FOR THE JOSEPH
SOLD TO POTIPHAR
L'FFIZI 6556, FLORENCE
t'HFIZI 6692 VERSO. FLORENCE
FIG 34. STUDY FOR THE ADORATION OF THK MAGI
UFFIZI 6722, FLORENCE
FIG. 35. ST. JOHN THE EVANGELIST
SAN MICHELE IN PONTORMO
FIG. 36. ST. MICHAEL
SAN MICHELE IN PONTORMO
FIG. 39. STUDY FOR A LOST PIETA
I'FFIZI 300 F, FLORENCE
FIG. 40. STUDY FOR ST. MICHAEL OF SAN MICHELE
IN PONTORMO
UFFIZI 6506, FLORENCE
FIG. 41. PORTRAIT OF A YOUTH
PALAZZO BIANCO 6. GENOA
FIG. 42. PORTRAIT OF COSIMO IL VECCHIO
UFFIZI, FLORENCE
FIG. 43. STUDY OF THREE NUDES
UFFIZI 672, FLORENCE
,****
FIG. 46. STUDY OF A NUDE
UFFm 6504. FLORENCE
FIG. 47. THREE SKETCHES OF A NUDE
UFFIZI 6516 VERSO. FLORENCE
FIG. 48. PORTRAIT OF A BOY
TR1VULZIO COLLKCTIOX, MILAN
FIG. 49. STUDY OF A YOUTH
UFFIZI 6682. FLORENCE
FIG. 51. RIGHT HALF OF THE LUNETTE
IN THE MEDICEAN VILLA AT POGGIO A CAJANO
FIG. 52. LEFT HALF OF THE LUNETTE
IN THE MEDICEAN VILLA AT POGGIO A CAJANO
FIG. 53. SKETCHES FOR THE LUNETTE AT POGGIO A CAJANO
UFFIEI 6660 VERSO, FLORENCK
FIG. 54. SKETCHES FOR THE LUNETTE AT POGGIO A CAJANO
UFFIZI 6557, FLORENCE
I i
M
S5
FIG. 56. SKETCH FOR THE LUNETTE AT POGGIO A CAJANO
UFFIZI 6514, FLORENCE
FIG. 57. SKETCH KOR THE LUNETTE AT POGGJO A CAJANO
UFFI7.I 6515 VERSO, FI-ORKNCE
FIG. 59. STUDY FOR THE LUNETTE AT POGGIO A CAJANO
UFFIZI 6544. FLORENCE
; ' u. ~X_
i *r
^^y w }
7
*&Epr-
*
FIG. 60. STUDY FOR THE LUNETTE AT I'OGGIO A CAJANC
UFFIZI 6555, FLORENCE
T! r
FIG. 63. STUDY FOR THE LUNETTE AT POGGIO A CAJANO
UFFIZI 6531. FLORENCE
FIG. 64. STUDY FOR THE LUNETTE AT POGGIO
A CAJANO
UFFIZI 6547, FLORENCE
,<• -%*:.:•
%
;*•**,
< z
^ M
FIG. 69. STUDY FOR THE LUNETTE AT POGGIO A CAJANO
UFFIZI 6651, FLORENCE
FIG. 70. STUDY FOR THE LUNETTE AT POGGIO A CAJANO
UFFIZI 6559, FLORENCE
\v ,
~
FIG. 71. STUDY FOR THE LUNETTE AT I'OGGIO A CAJAXO
ri--FI7.I 6685 RECTO, FLOKKNtK
.•»•.
FIG. 72. STUDY FOR THE LUNETTE AT POGGIO A CAJANO
UFFIZI 6579, FLORENCE
FIG. 75. STUDY OF A NUDE
UFFIZI 6727 RECTO, FLORENCE
FIG. 76. STUDY FOR A YOUNG BAPTIST IN THE WILDERNESS
UFFIZI 6597, FLORENCE
FIG. 77. STUDY OF THREE NUDES
STAEDEL INSTITUTE 4288. FRANKFORT
« E
~ -
S S
FIG. 85. SKETCH FOR A PROJECTED NAILING TO THE CROSS IN THE CLOISTER
OF THE CERTOSA, NEAR FLORENCE
UFFIZI 6671. FLOREXCi:
STUDY FOR A PROJECTED NAILING TO THE CROSS IX THE CLOISTER
OF THE CERTOSA. NEAR FLORENCE
UFFIZI 6665, FLORENCE
FIG. 87. STUDY FOR THE ANGEL OF THE
ANNUNCIATION IN THE CAPPONI CHAPEL
OF SANTA FELICITA, FLORENCE
UFFIZI 6653. FLORENCE
FIG. 92. THE DEPOSITION
CAPPONI CHAPEL, SANTA FELICITA, FLORENCE
O
H
H
H
fo w
0 g
Q N
~ a,
5 ^
" B
S° «
55 1-1 u
^
O t-1
S oo
FIG. 99. STUDY FOR THE DEPOSITION OF THE CAPPONI
CHAPEL
UFFIZI 6619, FLORENCE
FIG. 100. STUDY FOR THE DEPOSITION OF THE
CAPPONI CHAPEL
UFFIZI 6576 RECTO, FLORENCE
; -''
FIG. 101. STUDY FOR A PORTRAIT OF A YOUNG GIRL
UFFIZI 449. FLORENCE
FIG. 102. STUDIES FOR A PORTRAIT OF A BOY
UFFIXI 6667. FLORENCE
FIG. 103. THE MADONNA. CHILD AND LITTLE ST. JOHN
PALAZZO CORSINI 141. FLORENCE
FIG. 104. THE MADONNA, ST. ANNE AND FOUR SAINTS
LOUVRE 1240, PARIS
FIG. 105. STUDY FOR THE MADONNA, ST. ANNE AND FOUR SAINTS, IN THK LOUVRE
UFFI/.I 460, I-'I.ORKNCE
FIG. 106. THE MARTYRDOM OF ST. MAURICE
PALAZZO PITTI 182, FLORENCE
FIG. 107. THE MARTYRDOM OF ST. MAURICE
UFFIZI 1187, FLORENCE
FIG. 108. STUDY FOR A VARIANT OF THE MARTYRDOM OF ST. MAURICE
MUSEUM 21253, HAMBURG
FIG. 109. STUDY FOR A ST. JEROME
UFFIZI 441, FLORENCE
FIG. 110. STUDY OF A NUDE WOMAN
UFFIZI 441 VERSO. FLORENCE
2 o
2 fc
EH O
"« 5
E"1 S
FIG. 115. PORTRAIT OF A YOUTH
PINACOTECA 75, LUCCA
Or
Q
5
6 8
M
N
.
£ D
FIG. 120. STUDY FOR A PORTRAIT OF A SOLDIER
UFFIZI 463 F, FLORENCE
a
Q
p
Z w
< %
i
§ 8
« S
-: fe
M p
FIG. 123. VENUS AND CUPID
UFFIZI 1284, FLORENCK
FIG. 124. PORTRAIT OF ALESSANDRO DE' MEDICI
JOHNSON COLLECTION 83, PHILADELPHIA
FIG. 125. PORTRAIT OF A MAN
PALA7.ZO PITTI 249, FLORENCE
FIG. 126. PORTRAIT OF BARTOLOMEO COMPAGNI
STIRLING COLLECTION, KEIR, DUNBLANE. SCOTLAND
FIG. 127. PORTRAIT OF A YOUNG WOMAN
STAKDEL INSTITUTE 14 A, FRANKFORT
FIG. 128. PORTRAIT OF A YOUNG WOMAN
VON DIKKSKX COLLECTION, BERLIN
FIG. 129. PORTRAIT OF A WOMAN IN GREEN
AUGUSTEUM 19, OLDENBURG
FIG. 130. PORTRAIT OF THE CARDINAL SPANNOCCHI CERVINI
BORGHESE GALLERY 408, ROMIJ
FIG. 131. PORTRAIT OF A LADY WITH A VOLUME OF VERSE
FORMER YERKES COLLECTION
FIG. 132. PROBABLE STUDY FOR ONE OF THE LOST
ALLEGORICAL FIGURES IN THE LOGGIA OF THE
MEDICEAN VILLA AT CASTELLO
UFFIZI 6584, FLORENCE
FIG. 133. PROBABLE STUDY FOR ONE OF THE LOST ALLEGORICAL
FIGURES IN THE LOGGIA OF THE MEDICEAN VILLA AT CASTELLO
UFFIZI 6586, FLORENCE
ft* 03
Q fa O
< £
Z, o
K w a.
FIG. 138. STUDY FOR THE LOST CHRIST IN GLORY IN SAN LORENZO,
FLORENCE
UFFIZI 6609, FLORENCE
FIG. 139. STUDY FOR THE LOST MOSES RECEIV
ING THE LAW IN SAN LORENZO, FLORENCE
UFFIZI 6749, FLORENCE
FIG. 140. STUDY FOR THE LOST FOUR EVAN-
GELISTS IN SAN LORENZO, FLORENCE
UFFIZI 6750, FLORENCE
i
F1G 141. STUDY FOR THE LOST SACRIFICE OF CAIN AND DEATI
OF ABEL IN SAN LORENZO, FLORENCE
UFF1ZI 6739, FLORENCE
FIG. 144. STUDY FOR THE LOST DELUGE IN SAN LORENZO, FLORENCE
UFFIZI 6753, FLORENCE
FIG. 145. STUDY FOR THE LOST DELUGE IN SAN LORENZO, FLORENCE
UFFIZI 6752, FLORENCE
FIG. 146. STUDY FOR THE LOST DELUGE IN SAN LORENZO, FLORENCE
UFFIZI 6528. FLORENCE
FIG. 147. STUDY FOR THE LOST ASCENT INTO
HEAVEN IN SAN LORENZO, FLORENCE
ACADEMY, VENICE
FIG. 149. STUDY FOR A FIGURE IN ONE OF THE LOST FRESCOES IN
SAN LORENZO, FLORENCE
UFFIZI 6679, FLORENCE
FIG. 150. PORTRAIT OF AN OLD LADY
BELVEDERE 48, VIENNA
FIG. 151. PORTRAIT OF A LADY
JACQUEMART-ANDRK COLLECTION. PARIS
FIG. 152. PAGE 4 OF PONTORMO'S DIARY
BIBLIOTECA NAZIONALE. FLORENCE
FIG. 153. STUDY FOR THE FIGURE IN THE LOST FRESCOES OF
SAN LORENZO MENTIONED IN THE LAST LINE OF
PAGE 4 OF PONTORMO'S DIARY
UFFIZI 6760, FLORENCE
CATALOGUE RAISONNE
OF
AUTHENTIC FRESCOES AND PICTURES
CATALOGUE RAISONNE
OF
AUTHENTIC FRESCOES AND PICTURES
ASHBOURNE NEAR PHILADELPHIA
Widener Collection
172. PORTRAIT OF A LADY
Half-length; turned slightly to the left. She has a fair complexion,
dark brown eyes that look at the spectator ; her yellowish brown hair is rolled
up in a black net with pearl ornaments. She wears a bottle-green dress cut
low with puffed sleeves and a muslin fichu. A necklace of black stones and a
gold chain hang round her shoulders; over her left ear she has placed a
carnation ; in her lap sits a small greyish white terrier. The background is a
shallow niche, grey to the left and behind her left shoulder, and black over her
right shoulder and to the extreme right.
Oil on wood (heavily cradled). H. .56, w. 44.
From the collection of the Duke Sigismund Frantz, Castle
Ambras (Austria) ; acquired as a Bronzino ; first correctly
ascribed to Pontormo by Berenson. The modelling of the eye,
the nostrils and the mouth, as well as the very characteristic
shape of the ear, vividly recall the " Portrait of a Lady," in the
Jacquemart-Andre Collection. The little dogs of these two
pictures resemble one another closely. A portrait having
certain affinities with the present panel and ascribed correctly
to Bronzino formed part of the Fischhof Collection (Catalogue
de Tableaux composant la Collection de M. Eugene Fischhof,
Georges Petit, 1913, p. 124; fig., p. 125).
Condition : repainted on the face, neck, and shoulders.
Date: 1534-1545.
101
PONTORMO
Reprod. Photo, for the collector; catalogue cited below, pi. facing p. 172.
Bibl. Catalogue of Paintings Forming the Private Collection of
P. A. B. Widener, Ashbourne, Near Philadelphia, Paris : Manzi, Joyant & Co.,
1900, II, 172.
BERGAMO
Morelli Collection
59. PORTRAIT OF A YOUTH
Bust figure turned three-quarters left. He is beardless and has brown
curly hair, thin arched eyebrows, wide-set hazel eyes, the right slightly smaller
than the left, thickish nose and pouting lips, and a large-lobed ear. He wears
a black velvet cap, doublet and embroidered linen collar. Background,
greenish grey.
Oil on wood. H. .46, w. .37.
Provenance unknown. Morelli believed it to be a portrait
of Baccio Bandinelli because of its resemblance to a print said
to represent the sculptor. His identification seems to be
unfounded. Bandinelli was born, according to the Libro de'
Battezzati, on October 7, 1488, or, according to Libro III
deir Eta, on November 12, 1493. Therefore, if the panel is a
likeness of Bandinelli it must have been executed between 1506
and 1511, since the person it represents can hardly have been
more than eighteen when it was painted. The picture is, how-
ever, a strikingly characteristic example of Jacopo's work in
portraiture between 1528 and 1532. Bandinelli was then at least
thirty-five or at most forty-four years of age.
Condition : excellent ; slightly retouched about the forehead and the hair.
Date: 1528-1532.
Eeprod. Fig. 116; photo. Taramelli 305; photo. Istituto d'Arti
Grafiche; fig., Frizzoni, Gallerie dell' Accademia Carrara, Bergamo, 1907,
p. 67 ; small cut, Reinach, Reper., Ill, 756.
Bibl. B. F. P. R., p. 174; Frizzoni, La Galleria Morelli in Bergamo,
Bergamo, 1892, p. 18 ; idem, catalogue cited above.
102
AUTHENTIC PICTURES
BERLIN
Von Dirksen Collection
PORTRAIT OF A LADY
Three-quarter length. She is seated on a marble seat against a wall;
the torse and legs turned three-quarters left, the head three-quarters right;
the knees crossed. Her left elbow rests on a raised ledge, her left hand
touching the elaborately woven cord of her belt that lies across her lap ; her
right hand rests upon her knees and holds a small book, the index finger
between the leaves. Her hair is parted in the middle and, brushed back
smoothly from the forehead, is wound around the back of the head in a thick
roll covered with a jewelled net ornamented with a small brooch at the centre.
In front of this net a chased gold fillet encircles the head. She wears a gown
cut square at the neck, with large puffed sleeves. These are of velvet from
elbow to wrist, close-fitting and trimmed with two bands of fur ; a little ruche
at the wrist. The bodice is trimmed with velvet bands. The neck and
shoulders are covered by a white chemisette with an embroidered collar tied
with a small black ribbon. Around her neck, a knotted chain from which
hangs a little cross. Around her waist, and falling across her lap, a girdle
with intricate knots and tassel. The book has ribbon clasps. On the lower
ledge of the bench to the right, a pair of gloves decorated with little bows.
The background, a shallow niche with a pilaster on either side.
This portrait is closely related, in general conception,
composition and modelling, to the "Portrait of a Young Woman
with a Dog," in the Stadel Institute, in Frankfort, but in spirit
it is graciously wistful while the latter is robustly frank.
Date : 1534-1545.
Reprod. Fig. 128.
Bibl. B. F. P. R., p. 174.
BOLDRONE
WAY-SIDE SHRINE
In the centre, raised above the other figures, the Christ crucified. His
hair is auburn, his loin-cloth, purple, the cross, bright yellow. To the right
of the cross stands St. John turned three-quarters left, his head nearly full
face, his right arm extended downward at his side, his left slightly raised;
weight on the right leg, the left leg bent. He wears a full purple mantle.
To his right, St. Augustine, torse full face, his head turned three-quarters
left; in his right hand, a red crosier; in his left, a red book. He wears a
voluminous light green vestment with purple tunic. To the left Mary stands,
103
PONTORMO
turned three-quarters right, her hands clasped. Her robe is light purple.
To her left, St. Julian, torse nearly full face, his head in profile looking up
at the Crucified. He holds in his right hand a great sword the point of which
rests on the ground. His hair is brown, his ample mantle, red with yellow
sleeves.
Fresco. The altar wall is 1.70 wide, the side-walls, which meet it at an
angle of about 30°, are 1.18 wide. The Christ, Mary and St. John occupy
the altar wall, the other two saints, a side-wall each.
Near Florence, above Quarto, at the corner of Via dell'Os-
servatorio, Via Andrea del Sarto and Via Domenico Cirillo.
Mentioned by Vasari who implies that this shrine was under-
taken shortly after Pontormo finished the Capponi Chapel. In
the figures he finds a trace of Jacopo's German manner. The
composition is however of a simplicity quite unlike the Passion
frescoes, although the types recall those of the Certosa.
Condition : ruined in Milanesi 's time ; broken open and uncared for now ;
in a few years no trace of it will be left.
Date : 1526-1527.
Drawing: possible sketch (reversed) for the Madonna, Uffizi 459 verso.
Documents : We do not know who paid for this work. It is, of course,
not impossible that the neighbouring Benedictine nuns may have given Jacopo
the commission, but I have examined the following records of their monastery
(San Giovanni Evangelista di Boldrone) without finding any reference to
this fresco : A. S. F., Convento 32, Giornale 2, 1513-1526 ; 3, 1523-1554; 4, 1535-
1542 ; Entrata e Uscita, 20, 1503-1513 ; 21, 1526-1534 ; Debitori e Creditori, 47,
1528-1548; Contratti, 60, 1502-1774; 61, 1529-1665; Ricordi, 76, 1528-1564.
Reprod. Photo. F. M. C. ; the San Giuliano is reproduced in Gold-
schmidt's Pontormo, Rosso und Bronzino.
Bibl. Vasari, VI, 272; Dessins, pp. 35, 70, 103.
BONN
Provinzial Museum
University Collection
214. PORTRAIT OF A YOUNG MAN
A little less than life-size; nearly half-length; turned three-quarters
left. He is beardless with traces of a moustache and wears a four-cornered
brown-black hat and a greyish black coat. Behind him hangs a green curtain
looped up on the right. The background, a warm dark grey.
Oil on wood. H. .61, w. .43 (catalogue, h. .63, w. .44).
104
AUTHENTIC PICTURES
Provenance unknown; bequeathed with the Solly Collec-
tion (1821) to the University; once exhibited in Berlin (No.
239) . The colour should be compared with that of the ' ' Portrait
of a Precious-Stone Engraver," in the Louvre. The present
panel is considered by Berenson and Bryan to be a portrait
of Andrea del Sarto but there is no ground for such an identi-
fication. Andrea's features are well known from his numerous
portraits of himself. This portrait can not have been painted
earlier than 1517 and the personage represented does not appear
to be more than twenty years old. Andrea was twenty in 1506.
Condition : darkened by successive varnishings but otherwise undamaged.
Date: about 1517.
Bibl. B. F. P. R., p. 174 (under Berlin) ; Fuhrer durch das Provin-
zialmuseum in Bonn, Bonn, 1913, II, 71 ; Katalog der Gemaldegalerie, Bonn,
1914, pp. 102 f. ; P. Knapp, Das Florentiner Cinquecento, p. 8; Waagen,
Verzeichnis der Gemalde-Sammlung des koniglichen Museums zu Berlin,
1841, p. 101 ; cf. also the Berlin catalogues of 1883 and 1898.
BORGO SAN SEPOLCRO
Municipio
ST. QUENTIN
Nude figure turned slightly to the left. His arms are raised ; his haloed
head gazes up ; his hands and feet are fixed in a pillory and a long spike is
driven through his body from the right side of the neck; spikes are also
driven under the nails of each hand. His loin-cloth is red. The standards
of the pillory are brown and are locked with hinges to the base. On the
crosspiece that holds his feet is inscribed : S. QVINTINVS. The background
is a landscape of trees and hills. To the extreme right a tiny figure, in red
tights and red hat, climbs a hill. He holds a spear and points at the spectator.
To the left an old man, who leans upon a cross, walks away towards the right.
Oil on coarse canvas. H. 1.63, w. 1.03.
Mentioned by Vasari. This picture, which was begun by
Giovanmaria Pichi for the OsservamM. of Borgo San Sepolcro,
was so completely rehandled by Pontormo that, except in the
painting of the scaffold and the loin-cloth, we can hardly
distinguish any other touch than his. It was originally hung
in the church of San Francesco in Borgo San Sepolcro but,
105
PONTOEMO
when the Osservanza was suppressed in 1880-1882, it was
transported to the Municipio.
Condition: stretched somewhat out of shape; torn across the top and
sewn together; badly cracked under the saint's arm; the surface chipped off
here and there.
Date : about 1526.
Drawing: for the head of the saint, a pen and bistre sketch of great
promptitude of hand, Uffizi 6647 verso (fig. 91; photo. Houghton), which
Berenson thinks was drawn for the Madonna of the "Deposition" at Santa
Felicita.
Documents: The earliest books of the convent, still preserved, date
from 1797.
Reprod. Fig. 90 (detail) ; photo. F. M. C.
Bibl. Vasari, VI, 259; B. F. D., II, 148; B. F. P. R., p. 174; Dessins,
p. 203 ; On Certain Drawings, p. 13.
CARMIGNANO
Parish Church
VISITATION
On the right: Elizabeth, profile to left, in light green dress, orange
mantle verging on pink in the shadow, head-dress cream-colour with green
lights. Next to Elizabeth and to the left : the head of a woman seen facing ;
drapery, olive-green. Facing Elizabeth, and profile to right: the Virgin;
reddish hair, mantle blue-green, head-dress and sleeve light pink passing over
into purple. Behind the Virgin and to the left: a woman facing; light red
hair, pinkish purple mantle, dark green scarf on head and right shoulder,
sleeve a lighter green. Background: a street with palaces; on the right,
slate-colour below, pinkish grey above. On the left : palaces of purplish grey,
on a bench in front of which two tiny figures seated.
Oil on wood. H. 2.02, w. 1.56.
On the second altar, to the right on entering the church.
This panel is not mentioned by Vasari. It was painted in all
probability for the Pinadori who had great estates around
Cannignano and who are frequently cited in the account-books
of the Medici and in those of the Hospital of the Innocents.
It formerly hung, it would seem, in their villa (Bocchi, ed.
Cinelli, p. 286). The composition was perhaps suggested by
Diirer's "Die Vier Nackten Frauen" (1497) ; the St. Eliza-
beth, by his "Nemesis" reversed. The features of the woman
106
AUTHENTIC PICTURES
whose head we see between the Virgin and St. Elizabeth recalls
Pontormo's "Portrait of an Old Lady," now in Vienna (No.
48) — a portrait which is however later than the present panel.
Condition: excellent; practically untouched, although slightly dimmed
with altar-smoke.
Date: 1528-1530.
Drawing: finished study for the whole composition, Uffizi 461 (fig. 112;
photo. Philpots 1391; Alinari 687; F. M. C. ; fig., article cited below, p. 15).
Reprod. Fig. Ill; photo. Reali; fig., article cited below; fig., Gold-
schmidt, op. cit.
Bibl. Bocchi, p. 286; Gamba, Rivista d'arte, II (1904), 13-18; B. F.
P. R., p. 174; Dessins, pp. 1041
CERTOSA
San Lorenzo al Monte
THE AGONY IN THE GARDEN
On the left Christ kneels, seen from behind, dressed in a reddish purple
mantle. To the left and right of him, St. James and St. John; in the fore-
ground, St. Peter. Peter wears a pale blue shirt, John, a yellowish green
shirt and wine-coloured mantle, James, a yellow shirt and Venetian red
mantle. To the right, a group of soldiers led by Judas who has red hair and
wears a Venetian red mantle. The crowd, which is made up of white, red,
and purple helmets and caps, is brought out by touches of the same purple
as Christ's robe. The background is a pale yellow-green hilly country
crowned, on the left by a castle which is yellow catching the light, on the
right by towers, battlements, houses, and walls of a drab-grey colour.
Fresco. Arched, h. 3.00, w. 2.90.
In the large cloister, at the near end (on entering) of the
left side-wall and next to the "Christ before Pilate." Vasari
says that the present fresco was the first that Pontormo painted
at Certosa and that in it he attempted an effect of moonlight
with excellent results. Vasari found, however, that in the
figures Jacopo's earlier manner was obscured by his imitation
of Diirer. Closer study does, in fact, reveal that the composition
is practically identical with that of Diirer 's woodcut "Christus
am Oelberg" (1509-1511). The background is perhaps an
idealized view of the Porta Romana of Florence.
107
PONTORMO
Condition: Even by the beginning of the eighteenth century (Borghini,
ed. 1730, p. 394, n. 2) all of Pontormo's work in the cloister of the Certosa
had already suffered much from the weather. The present composition is
now more deplorably ruined and repainted than any of the other frescoes.
The plaster has fallen in a number of places.
Date : 1522-1523.
Documents : According to Giornale L. payments were made to Pontormo
by the monks of the Certosa on the following dates: February 28, 1524;
April 16, 1524; September 20, 1524; December 3, 1524; October 30, 1525;
June 4, 1525 ; August 12, 1525 ; November 15, 1526 ; January 4, 1526 ; April
15, 1526; July 3, 1526; November 14, 1526; December 5, 1527. These pay-
ments are noted in Debitori e Creditori and in Quaderno F. under other dates.
See Appendix II, Docs. 14, 15 and 16.
Reprod. Small copy (oil on canvas) by Empoli, Ufficio delle Belle Arti,
Florence ; photo. F. M. C.
Bibl. Vasari, VI, 266-269; VII, 594, 605; Moreni, Notizie Istoriche,
parte seconda, p. 153; Borghini, II Riposo, ed. 1730, p. 394; Cruttwell,
Florentine Churches, p. 77 ; Dessins, pp. 20, 33, 35, 38, 50, 52, 69, 91, 96, 97,
105, 134, 135, 140, 145, 154, 165, 187, 192, 198, 201, 204, 207, 209, 210, 216,
223, 246, 247, 328, 333.
CHRIST BEFORE PILATE
In the centre Christ stands almost profile left, his hands bound behind
him. He has red hair and wears a light violet mantle. To the left, Pilate
seated, turned three-quarters right, his right arm on the arm of his chair,
his left hand outstretched towards the Christ; he wears a dark yellow robe,
with a Veronese green band and a white turban ; a red mantle is thrown over
the chair. Behind him, his wife, almost facing, her head almost profile left,
her right hand raised, pointing to Christ ; she wears a Veronese green dress,
a white head-dress and scarf over the shoulders. On her right and behind
Pilate, the head and shoulders of a man dressed in a red jacket and violet
cap. On her left stands a man also pointing to Christ; he is dressed in a
purple mantle with lighter purple collar and linings, red sleeves and red
cap. Behind Christ on the right, a man facing, his right arm stretched out
towards Pilate ; he wears a Veronese green cloak, yellow vest and hat. Farther
to the right, two soldiers in white armour with golden weapons. Behind these,
two men, one to the left wears a pale violet hat, reddish purple cloak and
sleeve with yellow undersleeve, one to the right a red mantle, purple vest
and light violet turban. At the feet of the latter, at the extreme right, a
soldier crouching with a shield. In the foreground, seen from behind and
to the waist, two soldiers in white armour, carrying halberds. The back-
ground is a stone staircase ending in a balustrade; there are parapets on
either side of pale yellowish green. At the top of the stairs a man descends
bearing a golden ewer and basin; he is dressed in a yellow jerkin, violet
breeches, Veronese green cap and white scarf. Behind the balustrade to the
right, a man and woman, the former dressed in a reddish brown cloak and
blue-grey jacket, the latter in a green dress and white head-dress. The sky
is a grey-blue. All the flesh tones, a warm brown.
Fresco. Arched, h. 3.00, w. 2.90.
108
AUTHENTIC PICTUKES
At the extreme left end (on entering) of the entrance wall.
This is the best preserved of the Passion frescoes and it is the
only one mentioned by Berenson. It was, according to Vasari,
the second that Pontormo painted in the cloister. In the cup-
bearer Vasari saw something of Jacopo's old manner. We
might notice that the soldiers at the extreme left are very like
the "St. Quentin" of Borgo San Sepolcro. The following
figures are derived from Diirer : the soldiers in the foreground,
from "Die Badstube" (c. 1496) ; Pilate, from the King in "Die
Marter des Evangelisten Johannes" (1498) ; for the figures on
the steps, cf. "Marias Erster Tempelgang" (1506).
Condition: repainted. The white colour of the armour may be due to
an old scaling of the surface.
Date : 1523-1524.
Documents: cf. the preceding.
Reprod. Fig. 79; small copy (oil on canvas) by Empoli, Ufficio delle
Belle Arti, Florence ; photo. F. M. C. ; fig., Goldschmidt, op. cit.
Bibl. Cf. the preceding.
THE WAY TO GOLGOTHA
In the foreground right, Christ falls under the weight of the cross; he
wears a robe of two shades of wine-colour. In the foreground left, St. Veronica
kneels and bends towards the Christ as she holds out to him the sacred cloth ;
she wears a skirt of dark wine-colour with yellow lights, violet sleeves, a
Veronese green scarf shot with grey, a pink cap and steel-coloured band. In
the lower left corner, the head and shoulders of a figure dressed in a light
wine-coloured bodice and a white and green head-dress. Above St. Veronica,
tfie executioner, who leads Christ by a cord passed around his waist, stands
facing ; he has yellow hair and is dressed in a wine-coloured tunic with yellow
lining and a Veronese green cap turned out with violet. To his left and
bending forward, a soldier in Veronese green hose slashed with blue-white,
a yellow jerkin shot with red, puffed sleeves slashed from the elbows down,
yellow over white. Behind the last named figure, a man, with golden hair
tied with a white band, dressed in a bright red tunic with a violet girdle.
Behind the latter, a youth leaning forward, staff in hand ; his hair is golden,
his cap Veronese green, his jerkin purplish red. Behind the group just
described, the two thieves nude and seen from behind. In front of them, a man
on horseback, his horse light bay, his mantle Veronese green, his cap red and
green, his saddle red. On his right, a man on a white horse who turns towards
the spectator; he wears a violet tunic, light red sleeves and saddle, wine-
coloured mantle, green turban. Behind him to the right, half hidden by a
green mound, a group of women: the Madonna dressed in pale purple with
a white head-dress; to her right, a woman with hand raised to her face who
is blond and wears a green bodice and red skirt; to the left of the Virgin,
a woman weeping, her head bent on her arms ; she is dressed in a red mantle
109
PONTORMO
with red sleeves; behind the latter, other women's heads in white head-
dresses. Behind and to the right of the man who leads Christ, a boy in
white with flying yellow hair, bearing a ladder. Next to him towards the
foreground, a man with a staff in his right hand, his left hand on an arm of
the cross; he wears a purple tunic, white shirt-sleeves rolled back, white
cap; his staff and the cross are reddish yellow. Farther to the right, a
figure wearing a yellow hat, purple shirt and red hose. On his right, a man
in white who carries one of the thieves' crosses. Still farther to the right,
an old man on a white horse riding towards the spectator; he wears a red
mantle turned out with yellow, purple shirt, red hat with yellow ornament;
the horse's harness is red. To the left of the horse's head one sees a blond
head. To the right, another man who bears a cross, dressed in a tunic with
green sleeves lined with white. Below these last named figures, a man nude
to the waist who leans forward to raise the end of Christ's cross; he wears
Veronese green hose with ribbons and a wine-coloured drapery lined with
yellow-red. To the right of the latter, a blond head with green head-dress.
In the extreme right corner, a kneeling figure with golden hair, yellow and
brick-coloured shot dress, pale blue sleeve and cuff and green lower sleeve.
Fresco. Arched, h. 3.00, w. 2.90.
At the extreme right end of the right-hand wall of the
cloister, adjoining the wall of the entrance door. Vasari
considered this to be the best of this cycle of frescoes — "riusci
molto migliore che Paltre" (VI, 268) — and, in certain details,
a return to Jacopo's Italian manner, although in the general
effect he saw an imitation of Diirer. Borghini repeats Vasari 's
opinion, but to us this fresco appears inferior to the "Christ
before Pilate. " It was, it would seem, the fourth that Pontormo
painted in the cloister. In it the following figures are derived
from engravings or woodcuts by the German master: St.
Veronica, from "Die Kreuztragung" (1512) ; the man with a
ladder on his head and the figure that strikes Christ, from "Die
Kreuztragung" (1509) ; the women on the hill, from "Die
Kreuzigung" (1509-1511) ; the old man on horseback, to the
extreme right, from "Christus vor Hannas" (1509-1511).
Condition: ruined and repainted.
Date: 1523-1524.
Drawings: possible sketch for the man carrying the end of the cross,
Uffizi 6529 ; possible sketch for the head of the same, Uffizi 6578 ; sketch for
the same figure from the knees up, Uffizi 6643 verso (photo. F. M. C.) ; possible
sketch for the executioner, Uffizi 6529.
Documents: see above.
Reprod. Fig. 80 ; photo. F. M. C.
Bibl. See above.
110
AUTHENTIC PICTURES
PIETA
In the centre, extended from right to left, the Christ; his hair is red;
across his lap, a white cloth; under him, a pale purple drapery laid over
a green stuff. In the foreground, extreme right, a woman seated; she wears
a dark purplish robe, green head-dress and holds a white handkerchief in her
right hand. In the foreground, extreme left, Magdalen kneels dressed in a
red robe shot with yellow, a green head-dress shot with pink, and green
sleeves shot with yellow. Behind the Christ, the Virgin in pale purple dra-
peries and white head-dress. Above the Magdalen, Joseph of Arimathea, seated
profile right, dressed in a purplish red vest, grey sleeves and purplish yellow
hat around which is wound a green scarf; in his hands, a white cloth. To
the right of the latter figure, a man stooping over a cylindrical box ; he wears
a yellow robe with red sleeves; the box is purplish white with red ribbons.
Next to the latter a woman, her right hand raised to her face; her mantle
is purple dark at the edges and her head-dress white. Next to her, and to
the right of a ladder, the head of a woman draped in white. Next to the
latter, and to the right of the Virgin, a woman standing; she wears a white
tunic and a red mantle which is drawn over her head. Directly below the
latter, a seated woman in a green robe and purplish white head-dress. Next
to her, a man stooping to support the Christ; he wears a green coat, purple
hose and yellow cap. In the background, yellow uprights of crosses and
ladders and light green trees ; to the left, a low hill. The sky is a pale green,
the ground, yellow.
Fresco. Arched, h. 3.00, w. 2.90.
At the extreme right end of the wall opposite the entrance
of the cloister. Instead of painting a " Deposition" for which
we have a drawing and a " Crucifixion" which he had projected
and which were never executed, Pontormo began and finished,
Vasari tells us, this "Pieta" which was the fifth of his frescoes
for the Certosini. Vasari praises the colour, the Magdalen, the
Joseph of Arimathea and the Nicodemus. Jacopo derived the
following figures from Diirer: the Madonna, from "Christus
am Kreuz" (1508) ; the Magdalen from "Die Beweinung
Christi" (1509-1511) ; the Madonna's head, the head of the
woman seated to her right and the woman standing between
them, from "Die Grablegung" (1509-1511). The woman seated
to the extreme right may have been suggested by the Madonna
in "Christus am Kreuz" (1498); the old man seated left
(Joseph of Arimathea) is not unlike the old man in "Die
Kreuzabnahme" (1509-1511) and recalls the Zacharias of
Pontormo 's birth-plate, in the Uffizi. It is also interesting to
111
PONTOEMO
compare this work of Pontormo's with Diirer's pictures of the
same subject, now in Munich and Nuremberg.
Condition: ruined and repainted.
Date : 1524-1525.
Drawings: first thought for the woman above and to the left of the
Madonna, Corsini 124242 (photo. F. M. C.) ; first thoughts for the Christ,
Uffizi 6614 verso (photo. F. M. C.) and 6702 verso (photo. F. M. C.) ; sketch
for the woman seated to the right, Uffizi 6702 verso; possible first ideas for
the drapery of the women's heads may be seen on Uffizi 6558 (photo. F. M. C.).
Documents : see above.
Reprod. Small copy by Empoli (oil on canvas), Ufficio delle Belle Arti,
Florence; photo. F. M. C.
Bibl. See above.
THE RISEN CHRIST
In the centre, the Risen Christ, his hands outstretched and uplifted;
with the right he makes the sign of benediction, in the left he holds the
banner of the Resurrection; his drapery is lavender. Below him and to the
right, a yellow shield with a light blue band on which: S. P. Q. R. Below
him and to the left, a light blue shield with a yellow band on which are stars.
On each side of the Christ, groups of sleeping soldiers. In the group to the
right, the figure farthest from the spectator wears a yellow-brown jerkin and
a lavender cap. Before him and towards the Christ, a sprawling soldier,
holding a shield, dressed in a purple shirt and yellow jerkin; at his knees,
white drapery. On the right of the latter, a soldier in a purple suit, lighter
purple hose, white shirt showing at the elbows, white underclothes showing
at the knees, high shoes and white socks; he holds on his right arm a yellow
shield on which a white band and crescents. In the group to the left, the
soldier nearest Christ wears a red jerkin, light green neck-band, light green
and purple hat. The soldier next to the left has a brown beard and is dressed
in a purple jerkin and a purple hat turned back showing a pale blue lining.
Before the latter and on the left, a soldier with his head resting on his hand ;
he wears a pale green jerkin, white showing at the wrist and through the
slashed sleeve, and a yellow hat. In the foreground left, a soldier wearing
a light purple jerkin, yellow hose, white with red ribbons at the knees, boots
and white socks; his sleeve from elbow to wrist is light red slashed with
white ; at his neck, a red tie ; his hat is lavender with pale blue ribbons and a
yellow chin-stay; his right hand rests on the red hilt of a sword which lies
across his knees and has a golden pommel; beside him to the left, a silver
helmet with purple strap. In the background, pikes and halberds seen against
purple turning to silver towards the centre.
Fresco. Arched, h. 2.32, w. 2.90.
In a recess at the extreme left end of the farther wall of
the cloister. Vasari says that this was the third fresco that
Pontormo painted at the Certosa and that in it he changed his
112
AUTHENTIC PICTURES
colouring — "venne capriccio a Jacopo . . . di mutar colorito"
(VI, 268). The general tone was, it would seem, lighter than
in the other frescoes. The composition is derived from Diirer's
woodcut of the same subject; the soldier to the extreme left,
from "Die Auferstehung" (1509-1511); the figure of the
soldier to the right and the Christ, from "Die Auferstehung"
(1510).
Condition : ruined and repainted.
Date: 1523-1524.
Drawings: possible sketch for the soldier to the extreme right, Uffizi
6638 ; possible first thoughts for the Christ, Uffizi 6702 verso and 6726 verso
(photo. F. M. C.).
Documents : see above.
Reprod. Fig. 81 ; photo. F. M. C.
Bibl. See above.
According to Vasari (VI, 269) Pontormo intended to
execute in the cloister of the Certosa a "Crucifixion" and a
"Deposition." For the former we have, in Uffizi 459 verso
(photo. F. M. C.), a possible first thought for the Madonna, and
for the latter we have, in Uffizi 6622 (fig. 83 ; photo. Houghton) ,
a preliminary sketch for the whole composition. We also know
that he planned to paint a "Nailing to the Cross" for which
we have a drawing of the whole composition (Uffizi 6671 ; fig. 85 ;
photo. Houghton) and several sketches for individual figures
(Uffizi 447; fig. 89; photo. F. M. C.; Uffizi 6652 verso; 6657;
6665 ; fig. 86 ; photo. Houghton) . Bronzino helped Jacopo at the
Certosa, but to what extent we cannot now determine. There
he did his first independent work — a "Pieta with Two Angels"
and a "San Lorenzo," both in fresco (Vasari, VI, 270; VII,
594). From documents that I have discovered (A. S. F.,
Convento 51, No. 16, p. 30) we learn that Bronzino also decorated
for the monks certain service-books which have since been lost.
Vasari in his early youth, just after he came to Florence for
the first time (VII, 651), studied the frescoes of the cloister and
made drawings from them (VII, 605). Pontormo also executed
at the Certosa a "Nativity," and a portrait of a lay brother
that Moreni (Notizie, II, 145) describes as a half-length figure
113
PONTOEMO
in fresco on the right side of the altar of San Benedetto, both
of which have since disappeared. Besides these he painted for
the Certosini the "Supper at Emmaus," now in the Academy
in Florence.
FLORENCE
Academy
190. SUPPER AT EMMAUS
In the centre, Christ, full face, seated at table, in his left hand a loaf,
his right raised in benediction. He has light brown hair and wears a reddish
grey vest and a dark blue mantle. To the right, a monk standing dressed in
a grey-toned purple habit. In the foreground right, a man seated profile
left, legs crossed, his left hand holding a drapery at his knee, his head seen
three-quarters from behind; he wears a yellowish red vest, grey hat, dark
olive-green mantle. In the foreground left, a man seated, turned to the
right and seen three-quarters from behind; he fills a glass from a pitcher
and wears a grey tunic and a red drapery shot with yellow about the hips.
Above the latter and to the left, a monk standing turned three-quarters right,
his hands raised to the level of his breast; he wears a grey habit. In the
background to the right, a monk dressed in grey stands facing. Over his
shoulder one sees the head of another figure turned three-quarters left. The
background is dark grey; around the eye of the Trinity in the upper part
of the picture there is a yellowish light. The table is grey-white, the stools
brownish grey, the plate and pitcher silver-grey, the cat brown, the dog
light grey. On a "cartella," in the lower right corner, is inscribed 1525.
Oil on canvas. H. 2.30, w. 1.73 (catalogue, h. 2.69, w. 1.78).
Mentioned by Vasari. This picture was painted for the
Certosini of San Lorenzo al Monte and placed in the Foresteria,
or Dispensa, of the convent. It was removed, after the suppres-
sion of the monasteries, to the Academy. The composition is
derived from Diirer's woodcut "Christus und die Jiinger von
Emmaus." In type and treatment, however, our canvas is less
Diireresque than the frescoes of the cloister at the Certosa. On
the back one finds the note: "Verif. 7 Giugno 1906."
Condition: somewhat damaged, especially on the left side.
Date : 1525.
Drawings: possible first thought for the figure to the left in the fore-
ground, Uffizi 6656 recto (photo. F. M. C.) ; finished study for the monk in
the background to the right, Uffizi 6656 verso (fig. 84; photo. F. M. C.).
114
AUTHENTIC PICTURES
Document: payment for the colours and the frame, A. S. F., San
Lorenzo al Monte, Giornale L., p. 30 destra. See Appendix II, Doc. 15.
Reprod. Fig. 82; photo. Reali; small copy (oil on canvas), the back-
ground of which is the grey stone frame of a door, painted by Empoli at the
request of the monks of the Certosa, and now in the Ufficio delle Belle Arti,
in Florence.
Bibl. Vasari, VI, 270 ; Borghini, II Riposo, ed. 1730, p. 394 ; Pieraccini,
Guida delta R. Galleria antica e moderna, 7th ed., Prato, p. 75 ; B. F. P. R.,
p. 174 ; Dessins, pp. 33, 35, 38, 52, 55, 69, 128, 209, 223 ; On Certain Drawings,
pp. 12, 21.
"THE HOSPITAL OF SAN MATTEO"
Behind an early Renaissance arcade, on a slightly raised platform, four
women in bed; the bed to the extreme right is canopied and its occupant
wears a halo. Between this bed and the next a woman kneels profile left
before a statue of the Virgin and Child. An attendant sits at the foot of
the first bed to the right. To the extreme right and in front of the platform,
two figures profile left, one carrying a book, the other coming in through a
door. To their left, a child standing full face who seems to address them;
farther to the left, a woman's figure with back turned; to the extreme left,
a group of four women, one seated profile right, while another with a halo
kneels before her and washes her feet; another standing profile left brings
a towel; a fourth, to the extreme left, stands profile right looking on. On
the floor, slippers and a pitcher. The figures are grey on a lavender back-
ground; the beds, light yellow, the floor, grey.
Fresco. H. .91, w. 1.50.
Painted in grisaille on the wall of a room that was once
part of the Hospital of San Matteo. It is now concealed by
Giotto's " Madonna Enthroned" and has long been ascribed
to Andrea del Sarto. Guinness makes the impossible suggestion
that Andrea painted this fresco while he was an inmate of the
hospital. Schaeffer considers it to be an early work of Andrea's.
The attribution to Pontormo, in which I completely concur, is
Berenson's. The haloes worn by several figures in the composi-
tion indicate that the generally accepted explanation of the
subject is incorrect and that, in all probability, we have here
some obscure episode from the "Lives of the Saints."
Condition: fair; somewhat rubbed here and there.
Date: about 1513.
Reprod. Fig. 1; photo. Alinari 1633 (as Andrea) ; Hanfstaengl (also
as Andrea) .
Bibl. Guinness, Andrea del Sarto, London, 1899, p. 85; Schaeffer,
Andrea del Sarto; Lafenestre, Florence, p. 193 ; B. F. P. R., p. 174.
115
PONTORMO
SS. Annunziata
FAITH AND CHARITY
In the centre, a marble relief of the Medici arms surmounted by tiara
and keys. To the left, a voluminously draped female figure holding in her
arms an infant; she is seated nearly profile left, head full face; behind her
on a high step, a "putto" seated profile left, his right hand laid on her
shoulder. Seated to the right, a heavily draped woman's figure turned three-
quarters right, her right arm extended at her side, her left hand laid on the
top of a great book that rests on her knees. Behind her, a "putto" three-
quarters right. Between these draped figures and the shield, at the centre
of the composition, are vestiges of "putti" in various poses.
Fresco over the main portal on the fagade of the "loggia." The space
decorated is enclosed between concentric arcs and two verticals. H. 1.25,
w. 4.60.
This work, which was originally entrusted to Andrea di
Cosimo Feltrini who, however, executed only the ornaments
and the gilding, is described at length and enthusiastically
praised by Vasari. Jacopo, it would seem, prepared his draw-
ings secretly at Sant 'Antonio alia porta a Faenza. The success
of these drawings was, according to Vasari, the cause of
Jacopo 's rupture with Andrea. Michelangelo is said (Vasari)
to have admired this decoration, and it was celebrated through-
out the sixteenth century. Cav. Gabburri (Lettere pittoriche,
II; Vasari, ed. 1811, XII, 9, n. 2) wanted to restore it but
nothing was done ; by 1831 it had become so complete a ruin that
restoration was found to be impracticable.
Condition: ruined; the figures described above can only be dimly
discerned.
Date: September, 1513 — June, 1514.
Drawing: Uffizi 6706, a ruined study of a "putto" clinging to the
branch of a tree, is perhaps a fragment of Pontormo's preparatory work.
Bocchi describes a figure in this pose as one of the beauties of the fresco.
Documents: we have five payments for this work: November, 1513;
March, 1513 (Old Style); March, 1514; April, 1514; June, 1514. See
Appendix II, Doc. 12.
Reprod. Photo, of the facade of the church, Alinari 2028.
Bibl. Vasari, VI, 247-249; Bocchi, ed. Cinelli, p. 416; Richa, VIII, 52;
R. Borghini, II Riposo, ed. 1730, p. 392 ; Del Migliore, p. 269 ; Dessins, pp.
33, 34, 41, 47, 66, 90, 249 ; On Certain Drawings, pp. 5, 19.
116
AUTHENTIC PICTURES
MADONNA AND SAINTS
In the centre the Madonna stands almost facing, the head nearly profile
right, the weight on left foot, the right foot slightly raised; violet drapery
over her blond hair, brick-red mantle, light blue skirt. The female saint
(Agnes?), who kneels facing, in the foreground to the left, and who with her
left hand holds against her lap a white book on which her right hand rests,
wears a purple robe with green sleeves ; she gazes up. In the foreground right
a male saint (Zechariah) kneels profile left; he wears a purple robe shot with
yellow and a red skirt; his hands rest on the top of a tablet that stands on
the ground before him. To the extreme right stands St. Michael nearly
facing, his head profile left; in his right hand he holds a scales; his armour
is purple, his drapery brick-red, his wings brown. To the extreme left St.
Lucy stands profile right, her head three-quarters right ; she holds in her left
hand a palm and in her raised right hand a plate on which her eyes. The
steps are green, the background grey-green; above, draped curtains drawn
back.
Fresco. H. 1.85, w. 1.71.
Once in the first chapel to the right, in the church of San
Ruffillo in Piazza dell' Olio, anciently San Ruffillo del Vescovo.
At the end of the eighteenth century this decoration had already
fallen into decay. When the church was pulled down in the
early part of the nineteenth century, the fresco was transferred
(1823) to the left wall of the Chapel of San Luca, in the Annun-
ziata, where it may now be seen. On that occasion the lunette
of "God the Father" that surmounted this composition was
destroyed.
Condition: ruined and badly restored; the left side and leg of St.
Micfrael, as well as the back of St. Lucy, are quite modern; the "intonaco"
had fallen.
Date : 1513.
Drawings: first sketch for the Madonna, Uffizi 6676 verso (fig. 4;
photo. F. M. C.) ; study for the Zechariah, Dresden, 200 (fig. 3; photo.
Hanstaengel).
Reprod. Fig. 2 ; photo. F. M. C.
Bibl. Vasari, VI, 256; Richa, IV, 146; Borghini, II Riposo, ed. 1730,
p. 392 f . ; Del Migliore, p. 155 ; Dessins, pp. 19, 34, 38, 51, 65, 84, 194, 226,
335 ; On Certain Drawings, pp. 5, 19 ; B. F. P. R., p. 175.
VISITATION
Composition of fifteen figures grouped on steps before a broad round
niche ornamented with pilasters. In the centre, the Virgin standing profile
right, orange head-dress, red robe, blue mantle. To her right and seen profile
117
PONTOEMO
left, Elizabeth who bends the knee to her, white head-dress, light green robe,
orange mantle, lavender under-sleeve. In the background behind Elizabeth,
a man's figure (effaced), dark purple cap, red mantle. To his right, a
woman's figure profile left; still farther right in the background, a woman
three-quarters left, head three-quarters right, red vest, dark purple mantle.
In front of the latter figure and behind Elizabeth, St. Joseph kneeling, in
his left hand a staff, his right pointing to the Virgin, red sleeves and vest,
yellow mantle. To his right, a prophet standing with hand uplifted, green
head-dress and sleeve, red draperies. To the extreme right, Zechariah stand-
ing profile left, head nearly full face ; his left hand holds a book against his
hip, blond hair, white tunic, light yellow draperies, green cover of book.
On the second step and to the right, nude ' ' putto ' ' seated, right arm at side,
left leg extended right, blond hair. On second step to the left, woman seated
profile right, head nearly full face, white head-dress, reddish tunic with
yellow sleeves, purple drapery. Behind her, a woman standing profile right
with a bundle on her head to which her left arm is raised, blond hair, brickish
red drapery, white sleeve, the bundle greenish blue and pink. To the right
of the latter, blond woman standing three-quarters right, lavender vest shot
with gold, red mantje. To her right and behind the Madonna, a woman
standing full face carrying on her right arm a baby, her head profile right,
light green dress with yellow sleeves ; the baby wears a violet loin-cloth ; both
are blond. To the extreme left, an old woman standing full face with a staff
in her right hand, light purple robe, white scarf. The steps are yellow, the
background grey. Above, on the cornice of the niche, the "Sacrifice of
Isaac"; Jacob, dark red mantle with yellow sleeves. On either side of the
latter scene are cherubs holding tablets on which are inscribed, left: NYM|
DEE | EVM; right: NEC| VAN] IVR. On the upper edge of the tablets
are cassolettes. Between the capitals of the middle pilasters of the niche one
reads : ANVE • OPTIME • DEVS.
Fresco in the small cloister that serves as courtyard to the church.
H. 3.92, w. 3.37 ; the upper part of the composition is arched.
Mentioned by Vasari. This is the most important speci-
men we possess of Pontormo's early work. Wolmin finds
that here Jacopo has attempted, and not unsuccessfully, to
imitate the compositions of'Fra Bartolommeo (" Marriage of
St. Catherine," Louvre). He adds: "This fresco not only
produces an imposing effect by the increased size of the figures ;
it is intrinsically a great composition. The central scheme,
according to the design which Andrea had thoroughly tested five
years before, is now for the first time raised to the height of an
architectonic effect." Selwyn Brinton feels that our fresco
"in beauty of colour and refinement of drawing almost rivals
the ' Madonna del Sacco.' Andrea's fresco of course dates
from ten years later. More careful study reveals that, while
the larger elements of the composition are well arranged, the
118
AUTHENTIC PICTURES
accessory figures lack rhythmical coherence and the general
effect is somewhat lame. The colour-scheme, however, is charm-
ing, light, decorative, and harmonious. The " Assumption"
in this cloister, which is erroneously ascribed to Pontormo by
Milanesi (V, 67) followed by Crowe and Cavalcaselle (ed.
Hutton, III, 495), is of course by Eosso (Vasari, V, 157)
although the original commission for the work was given to
Andrea.
Condition: seriously damaged in spots and badly restored; the
"intonaco" has fallen here and there and some of the heads are almost
obliterated ; the upper part of the fresco has suffered from humidity.
Date: December, 1514-June, 1516.
Drawings : sketch for the boy seated on the steps to right, Uffizi 6542
(fig. 7; photo. F. M. C.) ; study for the woman seated on the steps left, Uffizi
6603 (fig. 6 ; photo. Houghton) ; Gamba believes Louvre 461 (photo. Giraudon;
Braun, Louvre 117) to be a study for the Zechariah but the drawing has been
so completely rehandled that its authenticity is somewhat doubtful. Berenson
considers a sketch on Uffizi 6556 verso to be for the hand of the old woman
with a staff; I do not think that the identification is convincing. In my
Dessins I suggested Uffizi 6565 as a first thought for the Zechariah. It now
seems to me to be a sketch for one of the figures of the "Joseph Sold to
Potiphar," in Panshanger. Cf. fig. 31.
Documents : payments, December, 1514 ; April 24, 1515 ; May 28, 1515 ;
March 4, 1516 ; May 13, 1516 ; May 17, 1516. See Appendix II, Doc. 13.
Reprod. Fig. 5; Louvre 1242, modified copy of the late sixteenth
century, recognized as such by Villot, and perhaps the work of Alessandro
Allori (photo. Braun, 11242) ; engraving, Etruria pittrice, pi. XLIV; photo.
Alinari 3815 ; fig., Vasari, trans, de Vere, VII, 154.
_Bibl. Vasari, VI, 257; Bocchi, p. 424; Richa, VIII, 60; Borghini,
II Riposo, ed. 1730, p. 393; Del Migliore, p. 170; Ristretto delle cose piu
notabili delta cittd di Firenze, 1689, p. 29; B. F. D., II, 144; B. F. P. R., p.
175 ; Cruttwell, Florentine Churches, pp. 8 f ., 18 f . ; Wolfflin, The Art of the
Italian Renaissance, New York, 1903, pp. 148, 161, 219 ; Selwyn Brinton, The
Renaissance, Goupil, 1908, p. 187 f . -f Dessins, pp. 19, 33, 34, 38, 66, 142, 151,
152, 180, 220, 221, 301, 350; On Certain Drawings, pp. 7, 19 f.; Rassegna
d'arte, IX, No. 3, p. 39; as well as Vine. Meini, Notizie storiche e religiose
dell' Ordine dei Servi e del tempio della 88. Annunziata, Firenze, Fioretti,
1853 ; Moreni, Descrizione della chiesa della 88. Nunziata di Firenze, Firenze,
1781 (republished in Firenze antica e moderna, Firenze, 1789-1802, III, 287-
365; Pitture a fresco d' Andrea del Sarto e d'altri celebri Autori nel chiostro
della 88. Annunziata disegnate e incise da Aless. Chiari con illust. di Melch.
Misserini, Firenze, 1834; Ant. Zobi, Memorie storico-artistiche sulla cappella
della 88. Annunziata di Firenze, Firenze, 1837.
119
PONTORMO
• •
Santa Felicita
Capponi Chapel
DEPOSITION
Arched composition of eleven figures. The Christ is borne by two
figures : a youth to the extreme left who walks three-quarters right, head full
face, supports his shoulders, with his left hand lifting the Christ 's left hand ;
a youth squatting a little more than profile right, head three-quarters right,
supports Christ's thighs on his left shoulder. To the right in the foreground,
a woman, seen from behind with left hand lifted, approaches the Madonna
who is seated, it would seem, on a bank by the road-side; she is seen nearly
full face, her left arm bent, her right raised and stretched out towards the
Christ. Over the Christ's head one sees the head of a woman, seen from
behind, who with her right hand holds the Saviour's left wrist. Above her
and to the left, a woman who bends down, her head seen three-quarters right,
and with her left hand supports the left side of the Christ's head. Between
the latter figure and the Madonna, the head of a woman who, turned three-
quarters right, looks at the Virgin. Above the latter, at the top of the
composition, a woman who stands full face, head three-quarters left, her
right arm folded across her breastr and looks down at the Christ. To the
right and above the Madonna, a youth who, with arms extended downwards
and at his sides, looks at the Saviour. To the extreme right, head and
shoulders of a man profile right, his head three-quarters right. All the
heads are blond. The colour-scheme is somewhat as follows : Christ, purplish
loin-cloth; drapery of the head just above the Christ, lavender-grey; woman
on the left leaning forward, light blue dress with pink scarf; youth holding
the shoulders of Christ, light blue drapery, red mantle; youth who carries
the legs of Christ, light pink drapery ; woman on the right, seen from behind,
light pink drapery; figure to the extreme right, pink dress; Madonna, blue
mantle; woman next to the left, greenish blue robe; youth leaning forward
at the top of the composition, pink drapery wound around his arm; back-
ground, light green earth and cloudy sky; the whole is bathed in a golden
light.
Oil on wood. H. 3.13, w. 1.92.
As Vasari tells us this altar-piece was painted for Lodovico
Capponi for the chapel where it may still be seen in its magnifi-
cently carved original frame. The chapel belonged to the
Barbadori and was dedicated to the Annunziata. It was
rented by them to Antonio di Bernardo Paghanelli (1487)
who later on bought it. His son Bernardo sold it for two hun-
dred "scudi" to Lodovico di Gino Capponi somewhere about
1525 (A. S. F., Convento 83, No. 115, p. 21; see Appendix II,
Doc. 17). Capponi had the chapel entirely redecorated.
Pontormo was chosen to fresco the walls and vaulting and
120
AUTHENTIC PICTURES
paint the altar-piece. Guglielmo Da Marcillac was given a
commission for a stained-glass window representing the
"Entombment" (Vasari, IV, 428). This window was later in
the possession of the Gesuati of Florence who, being workers
in glass themselves, took it apart to discover the secret of
certain effects. Later it was preserved in Palazzo Capponi
delle Rovinate. According to Milanesi it is now in the Museo
Nazionale of Florence, the catalogue of which does not mention
it. The cupola of the chapel and the holy water font were
traditionally held to be by Brunelleschi and on the memorial
tablet one reads: ". . . ac ne illarum ornamenta at hac Brunel-
leschi structura Pontormi que pictura. . ." In our " Deposi-
tion" the figure to the extreme left is not indispensable to the
composition ; it may be a portrait of Capponi, the donor.
Condition: excellent; Milanesi believes that, with the other decorations
of the chapel, it was badly cleaned in 1723 (Vasari, VI, 272; see also Richa,
IX, 211; Borghini, ed. 1730, pp. XIV and 395). The picture does not seem
to me to show any trace of a drastic cleaning and the documents contain no
specific reference to any such restoration (A. S. F., Santa Felicita, Filza
Ricordi e Scritture, 1456-1734; Restaurazione del Nostro Capitolo fata a
spese di Monache particulari nel 1722).
Date: 1526-1528.
Drawings : probable first idea for the Christ, Uffizi 6619 (fig. 99 ; photo.
F. M. C. ; D. G. U., pi. XV) ; sketch for the legs of same, Uffizi 6527 ; study
for the youth in the upper right corner, Uffizi 6576 recto (fig. 100; photo.
Houghton; F. M. C.) ; sketch for the drapery of the same, Uffizi 6730 (fig. 97;
photo. F. M. C.) ; finished study for the head of the youth who carries the
legs of Christ, Uffizi 6577 (fig. 95 ; photo. Houghton) ; sketches for the head
and shoulders of the youth who carries the shoulders of Christ, Uffizi 6687
(photo. F. M. C.) ; Corsini 124229 verso (photo. F. M. C.) ; Corsini 124230
(fig. 96; photo. F. M. C.) ; sketch for the torse, legs and drapery of the same,
Uffizi 6613 verso (fig. 98; photo. F. M. C.) ; sketch for the drapery of the
same, Uffizi 6730 (fig. 97; photo. F. M. C.) ; possible sketch for the woman
seen from behind who Approaches the Madonna, Uffizi 6735; finished study
for the head of the figure to the extreme right, Uffizi 6587 ; first idea for the
head of the woman to the right of the Virgin, Uffizi 6627 (fig. 94; photo.
Houghton) ; on the same sheet, a finished study for the same; possible sketch
for the head of the Madonna, Uffizi 6519; study for the same, Uffizi 6666
(fig. 93; photo. F. M. C.) ; Berenson considers Oxford 224 to be a first idea
for the whole composition but the resemblance between the drawing and the
picture is remote.
Documents: the following books of the monastery dating from the
period at which this picture was painted are preserved : A. S. F., Convento 83,
No. 6, Giornale, 1528-1558; No. 21, Entrata e Uscita, 1530-1539; No. 74,
121
PONTOBMO
Debitor! e Creditor!, 1527-1528; No. 75, Debitori e Creditori, 1528-1538;
No. 106, Ricordi e Scritture, 1436-1734; No. 115, Ricordanze, 1485-1528.
None of these contain any reference to our altar-piece.
Reprod. Fig. 92; photo. Alinari 4708; fig. Goldschmidt, op. cit.;
Vasari, trans, de Vere, VII, 168.
Bibl. Vasari, II, 350; IV, 428; VI, 271 f.; Bocchi, p. 117; Richa, IX,
252 ff. ; Borghini, II Riposo, ed. 1730, p. 394 ; Follini, Firenze illustrata, VIII,
194 ff. ; Lami, Deliciae Erudit., XIII, 1173 ff. ; Firenze, Bibl. Naz. Magliab.,
XXXV, 411, p. 73; Del Migliore, Zibaldone historico, Vol. C., XVII;
Balocchi, Illust. dell' I. e R. Chiesa parrochiale di S. Felicita, Firenze, 1828,
pp. 34 f.; Ristretto, p. 106; Morelli, Borghese and Doria Pamfili Galleries,
1900, p. 130 ; Cruttwell, Florentine Churches, pp. 12 f. ; Fabriczy, Brunel-
leschi, p. 76 f.; B. F. D., I, 3211; II, 139, 142, 145, 147, 148, 150, 151, 155;
B. F. P. R., p. 175 ; Dessins, pp. 20, 35, 40, 70, 91, 96, 128, 132, 141, 164, 169,
170, 179, 186, 189, 190, 193, 203, 217, 223, 234, 255, 263, 264, 266, 366; On
Certain Drawings, pp. 13, 22.
ANNUNCIATION
The Virgin stands full face beside her lectern, head turned three-
quarters left, her left hand resting on the book she has just been reading,
her right holding the folds of her robe ; red robe, blue mantle, over her head,
a grey scarf. The Angel Gabriel is turned three-quarters right; he holds his
drapery with both hands against his thigh, right leg advanced, head profile
right; red drapery with a blue belt and blue wings.
Fresco. In two parts, each, h. 2.50, w. 1.10.
Part of the decoration of the chapel of which the " Depo-
sition" just described is the altar-piece. The pose of the
Madonna may have been suggested by a drawing of Michel-
angelo's, such as the sketch (British Museum 1900-9-11-1)
which was used by Venusti for his " Annunciation" at the
Lateran.
Condition : ruined and grossly repainted.
Date: 1526-1528.
Drawings: possible first thought for the Virgin, Uffizi 6570 recto
(photo. F. M. C. ; D. G. U., pi. XIX) ; finished study for the Virgin, Uffizi 448
(fig. 88; photo. Pini; F. M. C.; D. G. U., pi. XVI) ; five sketches for the head
and shoulders of the angel, Uffizi 6570 verso (photo. F. M. C.) ; finished study
for the angel, Uffizi 6653 (fig. 87; photo. F. M. C.).
Bibl. See the preceding and B. F. D., II, 138, 149; Dessins, pp. 40,
70, 96, 159, 160, 164, 190, 208, 295.
THE FOUR EVANGELISTS
Bust figures. They cannot be identified with certainty. In the
pendentive left of altar, Evangelist, bearded and bald, turned three-quarters
122
AUTHENTIC PICTURES
right, dressed in reddish robe with green sleeve. Pendentive right of altar,
Evangelist, torse full face, head three-quarters right, blue robe, red mantle,
white sleeve. Pendentive nearest the door of church, Evangelist, full face,
leaning with right forearm on a parapet, head inclined slightly to left, red
drapery, grey sleeve. Pendentive above pillar, Evangelist leaning on a parapet
and turned slightly to right, red drapery.
Oil on wood. Diameter .70.
Like the "Annunciation" just described these "tondi" of
the vaulting are part of the general decoration of the chapel.
Vasari and Borghini state that one of them was painted by
Bronzino. In his "Life of Bronzino" Vasari ascribes two
Evangelists and certain other figures (now destroyed) of the
vaulting to Jacopo's pupil. The chapel is now so dark that
no distinctions of touch can be made although the "tondo" over
the pillar seems to show traces of Bronzino 's hand. The
Evangelist seen nearly in profile may have been suggested by
such a drawing of Michelangelo's as British Museum 1835, 9-
15-495 (B. P. D., 1520; photo. Kensington 2209). The church
was modernized in the first half of the eighteenth century ; the
"God the Father and Patriarchs" that occupied the centre of
the cupola was destroyed in 1766 in remodelling the organ-loft.
Uffizi 6615 (photo. Houghton) may have served as a study for
one of these lost figures.
Condition : darkened by smoke.
Date : 1526-1528.
Drawings : possible first idea for one of these figures, Uffizi 6674 (photo.
F. M. C.) ; finished study for the "tondo" nearest the door, British Museum,
Payne Knight Collection, P. p. 2, 102.
Bibl. See above and Dessins, pp. 36, 40, 70, 186, 203, 225, 295.
Santa Maria Novella
Cappella del Papa
ST. VERONICA
In the centre the saint kneels facing holding out to the left the sacred
cloth, white head-dress, orange robe. To right and left, on a high square
parapet kneels a cherub with purple wings touched with light blue; each
holds a flaming blue cassolette and draws back the purple curtains which
123
PONTORMO
hang from a canopy ornamented with three cherub heads, one (left) with blue
wings, one (centre) with grey-green wings, one (right) with reddish wings.
Under the figure of St. Veronica, the inscription: HECEST[ SALVJVRA;
on the parapet to the left: ECCE| TABER|NACVLV| DEI| SV; on the right
parapet: PRETENDE| DNE| SVP| FAMVLV.
Lunette over the entrance door. Fresco. H. 3.07, w. 4.13.
Condition : completely restored by Conti. There is nothing to show that
the present colour-scheme resembles Pontormo's.
Reprod. Photo. Perazzi; fig. Goldschmidt, op. cit.
The ceiling, which is a barrel vault (L. 6.84, w. 4.12), and the side-walls
down to about a metre from the floor are covered with grotesques subdivided
by a geometrical pattern in which are the following compositions :
In the centre, a medallion : God the Father seen to the knees holding in
his left hand a book on which, A. (i. His right hand is raised in benediction.
He is dressed in a brick-red mantle and brown vest. To his left, bust figure
of a "putto."
Fresco. Diameter, 1.20.
Between the central medallion and the door, a small medallion: "putto"
flying downward with a cross.
Between the central medallion and the window, a small medallion:
"putto" flying downward with the tables of the law.
Between the central medallion and the back wall, a small medallion:
"putto" flying with a blue scroll.
Between the central medallion and the right wall, a small medallion:
"putto" flying with pole and crown of thorns; reddish drapery.
Frescoes. Diameter, .60 ; the backgrounds are purple.
These medallions are surrounded by grotesques consisting of griffons,
cherubs, vases, cartouches, harpies, the diamond ring and ostrich plumes of
Lorenzo with scrolls inscribed: SV|A|VE, etc. These are light purple,
yellowish red and light blue on a black ground. Among these motives are
various "cartelle," on which is inscribed: GLO[VI . . . |S, and four squares
containing Medici arms accompanied by "putti" with various attributes and
surmounted by tiara and keys.
These squares are .75 by .75.
Reprod. Photo, (in part) Perazzi.
Mentioned by Vasari. The commission for these decora-
tions was given to Ridolfo Ghirlandaio who turned the chapel
over to Pontormo. The long oval of the face of St. Veronica
recalls an early drawing of Michelangelo now in the Louvre.
The medallion of "God the Father" is mentioned by Borghini
(Riposo, ed. 1730, p. 392). That the decoration of this chapel,
as far as its character and general effect goes, was suggested,
if not determined by Ridolfo Ghirlandaio, may be inferred
from the decoration of the Cappella della Signoria where we
124
AUTHENTIC PICTURES
find similar grotesques as well as the motive of "putti" used
in the same way. The Cappella della Signoria must have been
painted between the autumn of 1513 and the summer of 1514.
On June 4, 1514, according to a document that still survives,
Lorenzo di Credi and Giovanni Cianfanini gave an estimate of
the value of the decorations (Vasari, IV, 575; VI, 539, n. 2).
Date: 1515.
Bibl. Vasari, VI, 256, 540 ; Borghini, II Riposo, ed. 1730, p. 393 ; On
Certain Drawings, p. 19 (where I erroneously identified Uffizi 6542 verso
with one of the "putti" of the Veronica fresco) ; B. F. P. R., p. 175; Dessins,
pp. 19, 34, 66, 90, 113. For the convent, see Memorie dell' insigne monastero
e chiesa di 8. Maria Novella, Delizie degli Eruditi Toscani, IX, 111 ff. ;
J. Wood Brown, The Dominican Church of 8. Maria Novella at Florence,
Edinburgh, 1902. There are four account books of the convent in the archives
of Florence dating from the period in which these decorations were executed
but none of them contain any reference to our frescoes ( Convento 102, No. 1,
Giornale, 1516-1521, No. 56, Contratti, 1491-1779, No. 87, Ricordi, 1489-1531,
No. 89, Ricordi, 1507-1527).
On the wall opposite the door is a " Crowning of the
Virgin." The Madonna wears a light blue robe with yellow
inner mantle and head-dress; the God the Father, a dark
red mantle and purplish tunic. Light purple background;
above, purple curtains. This composition has been completely
repainted. The original fresco was perhaps by Ridolfo
Ghirlandaio.
San Michele Visdomini
HOLY FAMILY
In the centre, the Madonna enthroned, turned three-quarters right, the
head full face ; her left hand rests on her lap, her right points to St. Joseph ;
she wears a pinkish red robe and blue mantle. In the foreground right,
St. Francis kneels profile left; his hands clasped before him, he gazes at
the Christ Child ; he wears a grey habit. Behind him stands St. James profile
left, head three-quarters left, left arm at his side, right arm extended holding
a staff; darkish pink drapery, grey- white sleeve. In the foreground left,
St. John the Evangelist seated three-quarters right, head three-quarters left
gazing up ; his right arm extended at side, his hand holding a quill pen ; in his
lap an open book on which is written : M D viij, followed by ten lines which
are illegible ; he has a long curly beard and wears a grey tunic and light red
mantle ; on the rock on which he sits is inscribed D. N. Above him St. Joseph
125
PONTORMO
is seated three-quarters right, head nearly full face; he holds on his knees
the Infant Jesus ; Joseph is dressed in a greyish purple robe, a greyish yellow
mantle across his knees. The Christ Child stands on Joseph's left knee,
weight on left leg, right leg drawn back, in his left hand a reed cross, his
head inclined on his right shoulder looks up left. In the middle foreground,
the young St. John seated profile left, his right leg raised; with his right
hand he points to the Christ Child; his head, seen nearly full face, looks at
St. Francis. The background is a dark grey stone niche and wall with dark
purple curtains drawn aside, to the left, by a "putto" who stands profile
right, his right arm raised, a fold of the curtain hanging across his loins.
To the right stands a cherub nearly full face ; his right arm extended across
his body holds back the curtains.
Oil on heavy prepared paper stretched and glued on a wooden panel.
H. 2.14, w. 1.85.
On the second altar to the right. Mentioned by Vasari.
Painted for Francesco di Giovanni Pucci, gonf aloniere of the
Republic, for the altar where it still hangs. Francesco Pucci
was the son of Giovanni d' Antonio Pucci and Bartolommea di
Leonardo Benivieni. He was born in 1437 and held many
important offices: podesta of Bibbiena, 1478; vicario of
Anghiari, 1485; castellano of the fortress of Sarzana, 1493;
captain of Cutigliano, 1494; vicario of Lari, 1500. After the
fall of Soderini he was elected to the balia that reformed the
state for the Medici and he was later gonfaloniere of Justice.
He died in 1518, the year in which Pontormo's altar-piece was
painted. The Archduchess Maria Maddalena offered one thou-
sand "scudi" for this picture (Richa, VII, 23; Del Migliore, p.
366) but it is an unalienable part of the Pucci inheritance as is
established by the "rogato" of Ser Carlo da Firenzuola. This
fact would seem to militate against the assertion made by some
critics and repeated by Goldschmidt that the panel once in the
Doetsch Collection was the original. The Doetsch Catalogue
(Richter), it is true, holds the picture then part of that collec-
tion to be the original and adds that it was replaced in San
Michele by a copy. Berenson too once gave the Doetsch picture
as authentic but in his latest list he is of the opinion that our
panel is Pontormo's. We may, moreover, remark that Milanesi
in his note on this altar-piece (VI, 258, n. 3) states that it was
carefully cleaned and restored in 1823 by Luigi Scotti who
found that over the wooden panel a sheet of paper had been
126
AUTHENTIC PICTURES
stretched upon wMch the picture had been painted. The
Doetsch picture was on canvas, and the catalogue informs us
that the copy substituted in San Michele in the first part of the
last century was painted on paper stretched on a panel. It
seems hardly likely that Scotti would have been asked to restore
a new copy. This combination of facts seems to point to the
present version as the original, and such scrutiny as I have been
able to give it has not led me to doubt its authenticity, although
the church is so badly lighted that a thorough examination is
impossible. The altar was erected in 1518 and restored in
1872. On a marble slab under it one reads: FRANCISCUS
PUCCIUS • IO: ANTONII FIL • SIBI • SUISQUE • POS-
TEEIS| ET VOLENTI • EX • FAMILIA POSUIT.
Condition : cleaned and restored.
Date: 1518.
Drawings: possible first idea for the St. John Evangelist, Uffizi 6742
recto (photo. Pini; F. M. C.) ; first thoughts for the little St. John, Corsini
124232 (fig. 14; photo. F. M. C.) ; Uffizi 6678 (photo. F. M. C.) ; sketches
for the same figure, Corsini 124244 (fig. 15; photo. F. M. C.) ; Uffizi
6545 (fig. 18; photo. F. M. C.) reversed; Uffizi 6554 (photo. Houghton; Pini;
fig., Vita d'arte, No. 57, p. 3) ; study for the same, Uffizi 7452; sketch for
the left leg of same, Uffizi 6551 (fig. 16; photo. F. M. C.) ; finished study for
the head of St. Joseph, Uffizi 6581 recto (fig. 22; photo. Houghton; Pini) ;
studies for the "putto" to the right who draws back the curtains and sketch
for the folds of the curtain, Uffizi 6662 (fig. 21; photo. Houghton); first
thought for the Christ Child, Uffizi 6744 verso (fig. 19; photo. F. M. C.),
which may also represent an idea for the little St. John reversed; study for
the Christ Child, Uffizi 6520 (photo. Pini; F. M. C.) ; study for the head
of the same, Uffizi 654 (fig. 20; photo. Braun, Florence 388; Alinari; Pini;
F. M. C.) ; first thought for the St. Francis, Uffizi 6742 verso (photo. F. M. C.) ;
sketch for the same, Uffizi 6525; study for the same, Uffizi 6744 (fig. 23;
photo. Houghton; Pini; F. M. C.) ; first thought for the Madonna's head,
Uffizi 6551 verso (fig. 17; photo. F. M. C.) ; study for the head-dress of the
same, Uffizi 6520 verso; first idea for the torse and legs of St. James, Uffizi
6579 verso ; first thought for the same figure, Uffizi 7452 verso ; possible first
idea for the whole composition, Corsini 124229 (photo. F. M. C.). In the
Descrizione dei disegni della galleria Gabburri in Firenze (Bibl. Naz. Fir.,
A XVIII, No. 33 ) we find the following mention of a drawing for the present
panel: "No. 13. Altro compagno con quantita di figure di penna e acqua-
relli rappresentante la Vergine che siede in alto col bambino Gesu, S.
Giovambattista piccolo, S. Francesco e altri Santi. Opera singolarissima del
celebre lacopo da Pontormo : ed e lo stesso che si vede in una tavola da altare
nella chiesa di S. Michele Bisdomini in Firenze." The Gabburri Collection
was sold to Kent (1742) who afterwards sold it in London. Mariette had a
127
PONTOEMO
poor opinion of it. We cannot tell, of course, whether the drawing in question
was authentic or merely a copy of the picture, but the chances are that it was
a copy.
Documents : Neither the Libro di Copie di Contratti di Casa Pucci 1479-
1574 (A. S. F., Carte Riccardi, No. 605) nor Strumenti dal 1516 al 1529 dei
Signori Pucci, segnato C. (idem, No. 606) contains any record of the contract
for this picture.
Reprod. Fig. 13; photo. Alinari 20313. Ancient copy in the former
Doetsch Collection sold in London in 1895 for 10,500 frcs., of which the
provenance and fate are unknown (fig., Doetsch Catalogue).
Bibl. Vasari, VI, 258 ; Borghini, II Eiposo, ed, 1730, p. 393 ; Bocchi,
p. 403; Del Migliore, p. 366; Richa, VII, 23; Eistretto, p. 53; B. F. D., I,
314, n. ; II, 139, 140, 142, 143, 145, 149, 150, 153 ; B. F. P. R., p. 175 ; Jacobsen,
Repertorium, XXI, 281; Morelli, Borghese and Doria PamjUi Galleries, p.
130; Catalogue of the Collection of Henry Doetsch, London, 1895, p. 31;
Dessins, pp. 19, 34, 38, 55, 67, 109, 111, 128, 129, 131, 145, 148, 150, 151, 165,
166, 215, 221, 228, 229, 242, 261, 271, 273, 274, 282, 305, 335, 336, 342; On
Certain Drawings, pp. 6, 20.
Palazzo Capponi
Collection of Marchese Farinola
MADONNA AND LITTLE ST. JOHN
The Virgin, full face, seen to the waist, wears a scarlet robe, a dark
violet scarf about her auburn hair. The Christ Child kneels profile right
with his right knee on a cream-coloured sack over which a green drapery is
thrown. To the right of this sack one sees the head and shoulders of the
little St. John, torse profile left, head full face; behind him, his cross of
reeds. Across the foreground runs a parapet of greenish stone-colour. The
background is greyish green.
Oil on wood. H. 1.00, w. .65.
Provenance and history unknown. It would be the merest
conjecture to venture the suggestion that this may be the panel
that Vasari says Pontormo painted for Lodovico Capponi 's own
room (VI, 272; cf. also, Borghini, p. 395). The children's
faces are Leonardesque and recall the Visdomini altar-piece;
the modelling too has the same soft quality, but the colour is
paler.
Condition: excellent.
Date : 1517-1518.
Bibl. Morelli, op. cit., p. 130 ; B. F. P. R., p. 175.
128
AUTHENTIC PICTURES
Palazzo Corsini
141. MADONNA AND LITTLE ST. JOHN
The Madonna, seated three-quarters right, is seen almost to the knees,
her head turned slightly to the left. She wears a light red dress with yellow
sleeves, blue-green mantle and violet head-dress ; her hair is red. She supports
the Christ Child who stands, full face, on her left knee, his right foot forward,
his left hand raised in blessing. He is blond. A narrow drapery crosses his
body. In the lower left corner, the head and shoulders of St. John, seen full
face; he has red hair and draws about him a part of the Madonna's mantle.
The background is a landscape: to the right, hill and trees; to the left, a
round low tower with conical roof, a lofty donjon, a little church with belfry,
and lightly indicated olive-trees ; the sky is a greenish blue.
Oil on wood. H. .87, w. .67.
Attributed to Rosso or Bacchiacca. Berenson ascribes it
correctly to Pontormo. There is something in the composition
that reminds one of Andrea's " Madonna di Borgo Pinti," of
which there is a good copy by Empoli in this collection
(No. 121) ; the little church faintly suggests the background
of Diirer's larger woodcut, the "Kreuztragung"; the little
St. John recalls Michelangelo's "tondo" of the "Holy Family."
Cruttwell inaccurately states that Berenson ascribes this picture
to Bacchiacca.
Condition : excellent ; a slight vertical crack to the left has been repaired.
-Date: 1528-1529.
Reprod. Fig. 103 ; photo. Brogi, 17626.
Bibl. B. F. P. E., p. 175; Uld. Medici, Catalogo della Galleria del
Principi Corsini in Firenze, Firenze: Mariani, 1880; Cruttwell, Florentine
Churches, p. 85.
185. MADONNA AND LITTLE ST. JOHN
The Madonna sits facing, her right foot advanced, her head slightly
inclined on her right shoulder. She has blond hair and wears a light red
robe, a blue mantle, a fold of which is draped across her lap, and a violet and
yellow scarf. She holds to the left the Christ Child, who is also blond and
stands facing, his right hand raised in sign of benediction. He wears a
greenish loin-cloth. On the right, St. John seated, facing; he has red hair;
his head, turned three-quarters left, gazes at the Madonna; a drapery is
wound about his loins and passes over his left arm ; he holds a scroll on which
is written: ECCE| AGNUS] DEI; below him to the right, his cross of reeds.
129
PONTORMO
The background consists of rocks and trees; the foreground of rocks, earth
and little plants.
Oil on wood. H. .52, w. .40.
Condition: excellent.
Date: 1526-1528.
Keprod. Photo. Alinari 4546.
Bibl. See above and Cruttwell, op. cit., p. 81.
Palazzo Davanzati
BIRTH-PLATE: NATIVITY OF ST. JOHN THE BAPTIST
The composition is the same as that of the birth-plate now in the Uffizi
(No. 1198). The robe of the woman to the left is pale yellow; the woman
bending with the child in her arms wears a light yellow tunic and white
turban ; St. Elizabeth, white head-dress ; the coverlet of her bed, dark green ;
Zacharias, red tunic, dark blue mantle, white sleeves. On his tablets he writes :
JOHANNES.
On the back in the midst of tasselled red ribbons, a bearing; to the
right, the arms of the Antinori ; to the left, those of the San Giovanni or of
the Ughi — it is hard to say which because the colours have faded (Priorista
di Monaldi, p. 243 verso).
Oil on wood. Diameter, .52.
Provenance unknown. The colour-scheme differs some-
what from that of the Uffizi birth-plate, though the composition
is identical. There the woman to the left wears a red dress;
the woman in the centre, a reddish violet turban and orange
dress ; Zacharias, a yellow tunic and red mantle. I have been
unable to ascertain whether this is the birth-plate that Berenson
cites in the Butler Collection, which was recently dispersed.
The date of our "piatto" could be accurately determined if
the date of the marriage indicated by the arms was known.
Beside it and purporting to be the original sketch for it, is
exhibited a poor late sixteenth century copy in bistre heightened
with white laid on in strokes on grey paper (h. .41, w. .32).
Condition: practically untouched but faded.
Date: about 1530.
130
AUTHENTIC PICTURES
Palazzo Pitti
182. MARTYRDOM OF ST. MAURICE
Composition of over eighty figures. On the left, on a dais approached
by brownish steps, sits Maximianus as judge; in the extreme left corner, a
man with his back turned who carries a basket ; in the foreground to the left
and to the extreme right, martyrs with their hands tied behind them being
driven away to sacrifice; on the left and farther back, martyrs pursued and
slain by naked horsemen; above the latter, on a mound, an angel baptizing
the souls of the slain ; above them, in the clouds, three angels shooting arrows
at the executioners; on another brown mound to the right, martyrs crucified
or lying on the ground wounded or slain ; at the foot of this mound an angel
who picks up nails. The colour-scheme is as follows : figure in the foreground
right, red hair, red tights to the knees, yellow jacket with sash, blue sleeves,
mole-grey scarf, yellow-brown basket; Maximianus, brown hair, light green
vest, violet-red mantle, under him a grey drapery ; to his right, angel picking
up nails, pale greenish blue drapery ; standard in the centre, red with a blue
stripe; in front of it a figure in yellow on horseback; among the horsemen,
touches of scarlet given by their caps; figure to the extreme left, blue-green
drapery; standard to the extreme left, orange with a blue stripe; draped
figure to the left, blue robe ; angel baptizing, tunic of reddish yellow ; shields,
some red, some yellow; touches here and there among the martyrs of red;
sky, green; landscape, brown; steps and platform, brown; flesh-tones pale
with brown shadows.
Oil on wood. H. .65, w. .70.
Painted for the women of the Hospital of the Innocents
according to Vasari (VI, 275) who praises this panel extrava-
gantly. A variant exists in the Uffizi which was executed for
Carlo Neroni (Vasari, ibid.). The present picture was still in
the Hospital in 1565 and greatly prized by Vincenzo Borghini,
who at that time was prior of the institution. Biscioni in his
notes on Raffaello Borghini states that, when he wrote, it was
no longer at the Innocents. Richa in the late eighteenth century
knew that it still existed, but the editors of the Milan edition
of Vasari (1811) speak of it as lost (XII, 43, n. 1) as also does
the Roman edition of the " Lives." When and under what
circumstances it passed into the Pitti I do not know. The panel
is a curious mixture of nudes inspired by Michelangelo's early
work and horsemen that are reminiscent of the " Battle of
Anghiari." We may measure the extent to which Jacopo was
influenced by the studies that he must have made in his youth
131
PONTORMO
of Leonardo's lost masterpiece by comparing this picture with
fragmentary copies of the " Battle of Anghiari" known to us
in Leonardo's sketches, in London, Venice and Windsor;
Raphael's sketch, in the University Galleries, Oxford; Cesare
da Sesto's drawing, in Windsor; Rubens' drawing in coloured
chalks, in the Louvre, which is a copy of a copy ; a drawing in
the British Museum which is a copy of the right-hand figure of
the central group; an old copy in oils, in the magazine of the
Uffizi (part of central group) ; a smaller painting of part of
the same group, Collection Timbal, Paris ; a large late sixteenth
century copy, in oils on canvas, of an earlier copy, now in the
collection of the late Herbert Home, Florence ; the engraving by
Edelinck; the engraving by Lorenzo Zacchia (1558). Jacopo
is perhaps at his feeblest here and in the Uffizi variant; the
colour is arid, the composition and modelling laboured.
Condition : The panel has been cut down on the left side ; it is otherwise
relatively untouched.
Date : 1528-1529.
Drawings: possible study for the nude to the left of the angel that
baptizes the martyrs, Corsini 124236 (photo. F. M. C.) ; modified variant of
the upper left quarter of the composition, Hamburg 21253 (fig. 108 ; B. F. D.,
pi. CLXXII).
Documents: If the women of the hospital paid for this picture the
transaction would probably not appear in the records of the Institution. At
any rate, in the Archives of the Innocents I have found no trace of this panel.
I have examined the following account-books: Debitori e Creditori, C, 1510-
1526; D, 1526-1533; E, 1533-1539; F, 1539-1544; G, 1545-1551; H, 1551-1554;
Giornale I, 1532-1539; Entrata e Uscita, D, 1527-1528; xx, 1528; y, 1528;
yy, 1529; z, 1530; A, 1531; B, 1532; C, 1533; D, 1534; E, 1535; F, 1536;
G, 1537 ; H, 1538.
Reprod. Fig. 106; variant, Uffizi, No. 1187; old copy in the Jarves
Collection, New Haven, No. 79; photo. Braun 42182; Alinari; Brogi 7892;
fig., Goldschmidt, op. cit.; Vasari, trans, de Vere, VII, 170.
Bibl. Vasari, VI, 275; Borghini, II Riposo, ed. 1730, p. 395; Richa,
VIII, 130 ; Chiavacci, Guida della R. Oalleria del Palazzo Pitti, 3d ed., Firenze,
1864, p. 90; 3d ed. (in French), Prato, p. 164; Miintz, Renaissance, Paris,
1895, III, 499; B. F. D., I, 320; II, 154; B. F. P. R., p. 174; Cruttwell,
Florentine Galleries, p. 215 ; Dessins, pp. 35, 40, 56, 71, 127, 225, 256, 290, 338.
233. ST. ANTHONY
Half-length ; seen three-quarters right, head full face ; in his right hand
a rustic cross, in his left a white scroll which passes to the right across the
132
AUTHENTIC PICTUEES
lower part of the picture and bears the inscription: ES| DEI| ESTO|
LITATE] VICT; he wears a black mantle with a dull grey-purple sleeve;
the flesh-tones are reddish brown ; the background, green-brown.
Oil on canvas. H. .78, w. .66.
Not mentioned by Vasari; provenance unknown. This is
a good example of Pontormo's most mannered period (1540-
1550) . Part of the inscription is covered by the frame.
Condition : darkened with heavy varnish and covered with minute cracks
but otherwise uninjured.
Date : 1540-1545.
Reprod. Small replica in a private collection, in Florence; photo.
Alinari; Brogi 7893.
Bibl. Chiavacci, op. cit., 3d ed., p. 112; idem (in French), p. 167;
Cruttwell, Florentine Galleries, p. 164 ; B. F. P. R., p. 175.
249. PORTRAIT OF A MAN
Bust figure, seen in profile to left. He is clean shaven, has grey hair
and wears a black coat with a small white frill at the neck and a greenish
black cap. The background is a slate-grey.
Oil on wood. H. .50, w. .39.
The traditional title was " Portrait of an Unknown Man."
E. Schaeffer thinks, not without a considerable show of reason,
that we have here a portrait of Francesco da Castiglione,
"canonico fiorentino." And it is true, as Schaeffer points out,
that the same face, seen at a slightly different angle, does appear
in Vasari 's fresco, in the Palazzo Yecchio, "The Entry of Leo X
into Florence," and that Pontormo's portrait would seem to
have served Vasari as a prototype, although in the fresco the
prelate appears "in pontificalibus," that is, in a reddish violet
mantle and carrying, as "suddiacono," the cross of the Pope.
In his "Ragionamenti" (VIII, Rag. Ill, 142) Vasari writes
in describing his fresco: "P. . . . chi e quel prete, vecchio,
magro, rosso, che fa I'uffizzio di suddiacono con quella toga
rossa, portando la croce di papa? Gr. Quello e M. Francesco
da Castiglione, canonico fiorentino, il quale ha accanto a se, e
sopra, tutti i segretari del papa. ' ' This is clear enough identi-
fication. We may, however, notice that Castiglione does not
133
PONTORMO
seem to be definitely mentioned by Paris de Grassis in his "De
ingressu summi pont. Leonis X Florentiam" (ed. Moreni,
Florentiae, MDCCXCIII), and what is more important the
date of his death is not known. Schaeffer, who thinks that he
died rather soon after 1515, conjectures from the yellow tone
of the picture and from the shape of the nostril that it is an
example of the early work of Pontormo — perhaps the earliest
portrait we possess from his hand. Such an opinion shows a
total absence of any sense of quality as well as a complete
misunderstanding of Pontormo 's development as a painter.
The yellow tone — the picture had not yet been cleaned — was
of course due to the thickening and darkening of old varnish
and the shape of the nostril, which may not inconceivably have
been characteristic of the sitter, is certainly not an index of
Pontormo 's early work. In this panel, which Morelli also errs
in placing early, we have one of the most intense and masterly
of Jacopo's portraits of men. The economy of means with
which an effect of rough-hewn strength is given is remarkable
and the modelling, the colour, the severity of the conception,
all point indubitably to Pontormo 's later period, when he had
evolved a personal style quite free from the influence of Andrea
which had predominated in his work between 1514 and 1517.
This may well be a portrait of Castiglione, but in that case he
was still living as late as 1534, and until the date of his
death is determined Schaeffer's identification must remain a
conjecture.
Condition : excellent ; the background has been retouched and the panel
has recently been cleaned.
Date: 1534-1535.
Reprod. Fig. 125; photo. Alinari; Brogi 7894; fig., article cited below
with two figs, of Vasari's fresco; fig., Miintz, Renaissance, Paris, 1895, III, 143.
Bibl. Chiavacci, op. cit., p. 120; 3d ed. (French), p. 163; Morelli, op.
cit., p. 129, n. ; B. F. P. R., p. 175 ; Cruttwell, Florentine Galleries, p. 210 ;
E. Schaeffer, Ein Bildnis Pontormos im Palazzo Pitti, Monatshefte, f.
Kunstwissenschaft, March, 1910, p. 115.
134
AUTHENTIC PICTUEES
379. ADORATION OF THE MAGI
Composition of about ninety figures. To the extreme right, two shep-
herds kneel almost profile left; they have grey hair and are dressed in grey
clothes ; to their left, St. Joseph, seated profile left, wears a pinkish white tunic
and white tights; the Madonna, who stands near by turned three-quarters
left, wears a red dress and blue mantle; Elizabeth, turned three-quarters
left, is dressed in a pale lilac robe, grey mantle and white head-dress ; the first
King, who kneels almost profile right before the Christ Child, wears a dress
of cloth of gold with blue sleeves ; his companion stands profile right, wearing
blue cap, fur collar* large blue sleeves, and he holds a red bundle under his
arm; his second companion stands profile right dressed in yellow; the man
who bends forward behind the latter is clad in green-black and holds in his
left hand a blue hat; the men in the group immediately behind the parapet
wear red jackets and blue hats or blue jackets and red hats ; the second King,
who stands three-quarters right, wears a robe embroidered in gold, red cloak
with pale lavender sleeves and blue turban; the man to his right is dressed
in red; the figure seen over his shoulder in dark blue tunic and dark blue
cap ; the third King is dressed in a dark yellow robe with red sleeves and
red turban ; the man on the left, who presents a vase to him, has brown hair
and wears a yellow tunic and red tights ; the next figure to the left has blue
tights and sleeves and a yellow tunic ; the figure to his right, white tunic and
scarlet tights; behind the parapet, many spectators; in the distance, two
converging processions of horsemen; in their costumes blue and red pre-
dominate; in the background at the left, low knolls covered with delicate
trees; in the centre, a city gate with towers; to the right, three buildings in
the style of the early Renaissance; the foreground, brown; paths, brownish
yellow; fields, greenish brown; penthouse, brown; buildings, various shades
of yellow, white, and brown ; sky, blue and green.
Oil on wood. H. .85, w. 1.91.
Believed to be the panel that Pontormo painted for
Giovanmaria Benintendi (Vasari, VI, 264, note). Francia-
bigio and Bacchiacca also painted for Benintendi pictures of
about the same dimensions and shape (Vasari, V, 196; VI, 455).
These are now in the Dresden Gallery (Nos. 75 and 80), where
Franciabigio's is dated 1523, and in the Kaiser-Friedrich
Museum (No. 267). The decorative woodwork of the room
of which this " Adoration" formed part was by Baccio d' Agnolo
(Vasari, V, 352). Waetzoldt believes, I think without reason,
the figure to the extreme left to be a portrait of Pontormo
himself.
Condition: excellent.
Date : 1518-1519.
Drawings: sketches for one of the horsemen in the middle distance,
135
PONTOBMO
Uffizi 6518 and 6722 (fig. 34; photo. Houghton) ; sketch of the horse of the
same, Uffizi 6558 verso.
Reprod. Fig. 33; engraving, Luigi Bardi, Galleria Pitti, IV; photo.
Braun 42379 ; Alinari ; Brogi 7895 ; fig., Vasari, trans, de Vere, VII, 147.
Bibl. Vasari, V, 196 ; VI, 264 ; Borghini, II Riposo, ed. 1730, p. 393 ;
Chiavacci, op. cit., p. 164; 3d ed. (French), p. 167; B. F. P. R., p. 175;
Cruttwell, Florentine Galleries, p. 217; Waetzoldt, Die Kunst des Portrats,
p. 345 ; Schubring, Cassoni, p. 404 f . ; Dessins, pp. 35, 39, 68, 118, 127, 256,
269 ; On Certain Drawings, p. 21.
Palazzo Vecchio
Ufficio delle Belle Arti
CARRO BELLA ZECCA
Four "putti" with a bird.
Ruined.
Reprod. Photo. F. M. C.
Four "putti" playing with a shield.
Ruined.
Four "putti" playing with arrows and a ribbon.
Ruined.
Six "putti"; to the left one carries another on his head; in the centre
two carry a sphere.
Ruined.
Four "putti" playing together; one holds a shield which rests on the
ground.
Ruined.
Three "putti"; one in the centre rides a lamb which one to the left
leads; another, to the right, carries a bundle.
Ruined.
Two "putti" and two cherubs.
Completely repainted.
Reprod. Photo. F. M. C.
Eight "putti"; two on a table that the others surround; one, to the
right, carries a large bundle.
Ruined.
Reprod. Photo. F. M. C.
The preceding eight pieces are in monochrome, oil on wood. H. .32, w. .44.
136
AUTHENTIC PICTURES
Two "putti" supporting a gilded shield (Medici arms and those of
Florence).
Two "putti" supporting a shield (Medici arms and those of Florence).
The preceding two panels are in monochrome, oil on wood. H. .28, w. .56.
Baptism of Christ.
Hair, blond; drapery, purplish white; background, black.
Oil on wood. H. .69, w. .45.
Grossly repainted.
Reprod. Photo. F. M. C.
Visitation.
The Virgin wears a purple robe, blue mantle, white head-dress; St.
Elizabeth, orange robe, white head-dress.
Oil on wood. H. .69, w. .45.
Completely repainted.
Reprod. Photo. F. M. C.
Prophet.
Full-length ; stands nearly full face holding to the left a book supported
on a lectern in the form of a child; robe, white; background, black; step,
greenish.
Oil on wood. H. .69, w. .45.
Completely repainted.
Reprod. Photo. F. M. C.
St. Zenobius.
Stands nearly full face ; the episcopal glove on his right hand which is
raised in benediction ; white vestments, black background.
Repainted.
-.Reprod. Photo. F. M. C.
The Baptist.
Stands turned three-quarters right; right arm raised, left hand holds
a staff ; purplish grey shirt, black background.
Oil on wood. H. .69, w. .45.
Repainted.
Drawing: sketch for the whole figure, Uffizi 6581 verso. (Fig. 8; photo.
F. M. C.).
Reprod. Photo. F. M. C.
St. Matthew.
Stands turned three-quarters left; in his hands he holds a book; green
vest ; purplish mantle. On the right a cherub flying downward speaks to him.
Oil on wood. H. .69, w. .45.
Repainted.
Reprod. Photo. F. M. C.
137
PONTORMO
The Preaching of St. John.
Composition of sixteen figures. In the centre, St. John stands turned
three-quarters right ; in his left hand a cross, his right raised ; to the left, seven
figures, one of which kneels in the foreground with right arm outstretched;
to the right, eight figures, one of which, a woman, kneels holding a child.
Oil on wood. H. .59, w. 1.28.
Completely ruined.
Reprod. Photo. F. M. C.
Baptism of Christ.
In the centre, St. John baptizing Christ ; to the right, a man seated who
takes off his tunic ; to the left, a man seated seen from behind.
Oil on wood. H. .50, w. 1.28.
Reprod. Photo. F. M. C.
Beheading of John the Baptist.
In the centre John kneels; the executioner, seen from behind, holds a
sword in his right hand and with his left grasps by the hair the saint 's severed
head holding it out to Salome who advances from the left with a plate held
in her extended hands; to the extreme left, a man seen from behind; to the
right, the barred window of the prison and two spectators.
Oil on wood. H. .50, w. 1.28.
Completely ruined.
Reprod. Photo. F. M. C.
St. John in the Wilderness.
To the left, St. John seated on a rock ; to the right, the meeting of John
and Christ.
Oil on wood. H. .50, w. 1.28.
Completely ruined.
These panels once formed part of the Carro della Zecca
painted for the Corporation of the Mint and were exhibited
every year in the procession of the feast of St. John. In 1810,
during the occupation of Florence by the French, the car was
broken up. The fragments enumerated above were once in the
city store-rooms; recently they have been placed in the Ufficio
delle Belle Arti. Milanesi states (VI, 257) that eighteen pieces
survive ; there are in reality twenty. The woodwork of the car,
now lost, was by Marco del Tasso who carved much of the
woodwork of the choir of the Badia and was a well-known
engineer and architect (Vasari, III, 350-353) . The composition
of the "Beheading of John" is a free copy of the "predella"
138
AUTHENTIC PICTURES
panel of the same subject ascribed to Andrea and now in the
Academy at Florence (No. 77).
Date : 1515.
Documents: The records of the Zecca between 1510 and 1530 have
been lost.
Bibl. Vasari, VI, 256 ; Borghini, ed. 1730, p. 393 ; Dessins, pp. 34, 38,
39, 66, 99, 167.
Uffizi
1177. MADONNA ENTHRONED
In the centre, the Madonna seated on a throne facing the spectator;
her hair is brown and she wears a red dress and a blue-green mantle edged
with gold the ample folds of which lie across her knees; her right hand
points downward to the angels at her feet, her left hand supports the Christ
Child who stands on her left knee, his left leg bent, his right hand raised
in benediction. At the foot of the throne on the right of the Virgin, St.
Francis seen in profile to left, his left arm extended at his side, his right
laid upon his breast; his robe is grey. On the left, St. Jerome, profile right
and dressed in a blue-grey tunic and blue-pink drapery, his hands clasping
to his breast a stone. In the centre on the steps of the throne, two little
angels seated, facing, with a lamb between them ; they have auburn hair and
dark wings edged with gold. In the background, which is dark grey, the
outlines of the throne are dimly visible.
Oil on wood. H. .72, w. .60.
Not mentioned by Vasari. Formerly ascribed to Rosso;
correctly given to Pontormo by Berenson. The composition
reminds one somewhat of Andrea's " Marriage of St. Cathe-
rine,'7 now in Dresden.
Condition: unfinished and retouched.
Date : 1517-1518.
Drawing: study (reversed) which may have served for the St. Jerome,
Uffizi 6742 verso (photo. F. M. C.).
Reprod. Photo. F. M. C.
Bibl. B. F. P. R., p. 175; Cruttwell, Florentine Galleries, p. 98;
Dessins, pp. 67, 271.
1187. MARTYRDOM OF ST. MAURICE
This picture may be divided into three planes. In the foreground, the
massacre of the Theban Legion ; nearly all the figures are nude ; the prevailing
139
PONTORMO
flesh-tone is a light brown. Through a defile in the low hills other soldiers
arrive; the standard on the right is a dull red, that on the left, green; the
ground is various shades of brown. In the middle distance, on the left,
raised on a little mound, an angel baptizes the souls of the slain; on the
right, a grove of trees in which other soldiers of the Legion are crucified.
Between these two groups, behind a dip in the landscape, a glimpse of the
domes and spires of Florence (?) ; in the sky, flying out of the clouds, three
angels who hurl arrows at the executioners.
Oil on wood covered with a layer of "gesso." H. .64, w. .43.
Painted according to Vasari for Carlo Neroni. This panel
is a modified replica of the same subject now in the Pitti
(No. 182). When and how our picture entered the Uffizi is
unknown to me.
Condition : chipped here and there but unrestored.
Drawing : variant of the whole composition in which, however, the same
figures appear, Hamburg 21253 (fig. 108).
Eeprod. Fig. 107 ; photo. F. M. C.
Bibl. Vasari, VI, 275; B. F. D., I, 320; II, 142, 152, 154; B. F. P. E.,
p. 175 ; Catalogue de la R. Galerie de Florence, Florence, 1864, p. 138 ; Crutt-
well, Florentine Galleries, p. 92; Dessins, pp. 35, 40, 56, 71, 127, 225, 256,
290, 338.
1198. BIRTH-PLATE
Birth of St. John the Baptist. A group of seven figures and the new-
born child. St. Elizabeth sits upon her couch, head and shoulders facing,
surrounded by her friends and serving-maids; to her left, Zacharias seated
by the couch, profile left, writes on his tablets the name of the child: 10.
St. Elizabeth wears a white scarf over her head and a violet-grey dress. The
bedclothes are a greenish blue. Zacharias is dressed in pinkish red with yellow
jacket and brown stockings. The woman who stands behind him and bends
forward to the left to see the writing wears a blue-green dress and over her
head a white scarf. The woman in the centre of the composition who holds
the child stands nearly profile to the right and is dressed in an orange-yellow
robe with a red scarf on her head. The woman to the extreme left stands
profile right and wears a pinkish red dress with a white scarf on her head.
Next to the last mentioned, a woman with a fan leans forward; she has red
hair and is dressed in green. To her right, in the middle background, the
head and shoulders facing of a figure draped in violet. A green looped-up
curtain forms the background behind St. Elizabeth; the rest -of the back-
ground is black above and brown below. On the back of the plate, a bearing
with above, to left and right, "putti." The blazon is divided vertically.
The arms to the right may be those of the Delia Casa family ; those to the left,
of the Tornaquinci (blue and gold quarterings) ; but the alteration of the
colours makes identification of these "stemmi" problematical.
Oil on wood. Diameter, .54.
140
AUTHENTIC PICTUEES
Provenance unknown. The composition is identical with
that of the birth-plate now in the Palazzo Davanzati, but the
colour-scheme is more varied. There the woman to the left is
dressed in pale yellow, the turban of the woman in the centre
is white, Zacharias' tunic, red and his mantle, blue. I have
not discovered the date of the marriage indicated by the arms.
Cruttwell, who is followed by Goldschmidt, states that this
"piatto" was painted for Elisabetta Tornaquinci, wife of
Paolo Aldighieri. Schubring erroneously gives the arms as
those of the Monte di Pieta. Cf . in this catalogue, under Palazzo
Davanzati, Florence, and in the Catalogue of Attributed Pic-
tures, under Butler Collection.
Condition: excellent; the colours have faded somewhat.
Date : 1529-1530.
Drawing: In the former Lamponi Collection, Florence, there was a
red-chalk study (h. 220, w. 140 mm.) for the head and shoulders of the woman
to the extreme left. I have not seen this drawing and from the poor cut in
the Lamponi Catalogue (Florence, 1902, pi. XX, No. 356) I cannot tell
whether it is an original sketch or a copy.
Reprod. Fig. 114 ; photo. Brogi 14763.
Bibl. Catalogue de la R. Galerie de Florence, p. 140 ; B. F. P. R., p. 175 ;
Cruttwell, Florentine Galleries, p. 98; Schubring, Cassoni, Leipzig, 1915, p.
407, Nos. 834 and 835; Miintz, Les plateaux d'accouchees et la peinture sur
meubles du XIVe au XVIe siecle, Monuments Piot.
1220. PORTRAIT OF A MAN
~Bust figure turned three-quarters left ; he looks at the spectator and has
brown hair and a sparse brown beard ; he wears a black velvet hat and a black
coat with turned down embroidered linen collar. The background is brown.
Oil on wood. H. .65, w. .49.
Provenance unknown. The treatment is faithful but dry.
There is no evidence to support the conjecture that this is the
portrait of Carlo Neroni (Vasari, VI, 275) for whom the
"Martyrdom of St. Maurice," which hangs near by, was
painted.
Condition : excellent ; a small piece has been added at the top of the panel.
Date: 1530-1532.
Reprod. Fig. 118 ; photo. F. M. C.
Bibl. Catalogue cited above, p. 142; B. F. P. R., p. 175; Cruttwell,
op. cit., p. 142.
141
PONTORMO
1284. VENUS AND CUPID
Venus reclines, her head to the right, her feet to the left ; she faces the
spectator, her head profile left, and supports herself on her left elbow which
is raised and rests on a heap of drapery; her right arm is outstretched, the
hand touching one of Cupid's arrows; her golden hair is partially covered by
a head-dress. To the left Cupid stands, his weight on his right foot, his left
leg raised and passed over the right hip of Venus ; his right hand rests on a
sheaf of arrows, his left arm passed under his mother's chin, his face, seen
in profile, resting against hers; his hair is blond and curly, his wings out-
stretched behind him. To the extreme left, a stone altar on which a vase of
flowers, a bundle of arrows and a piece of drapery; across one corner of it
hangs a bow from which two masks are suspended, one of a satyr, the other
of a man ; on the side of the altar, a bas-relief of a fallen figure. In the middle
distance, a rocky hillock ; behind, distant hills and sky.
Oil on wood. H. 1.27, w. 1.91.
Painted for Bartolomeo Bettini from a cartoon drawn by
Michelangelo (Vasari, VI, 277). Bettini planned to place it
in a room of his decorated by Bronzino with portraits of Tuscans
who had written of love : Dante, Petrarch, Boccaccio and others.
Certain interested people, however, took the panel almost by
force from Pontormo and gave it to the Duke Alessandro who
paid him fifty "scudi" for it. As a result of this high-handed
action, for which Jacopo could hardly be held responsible,
Michelangelo was alienated from our master. The painting
was famous throughout the sixteenth century. Varchi (Due
Lezzioni, Florence, 1549, pp. 104, 278 f.) speaks of it in
the following terms: "Non dice egli che gli uomini medesimi
si sono innamorati delle statue di marmo, come awenne alia
Venere di Prassitele, benche questo stesso awiene ancora oggi
tutto il giorno nella Venere che disegno Michelagnolo a M.
Bartolommeo Bettini, colorita di mano di M. Jacopo Pontormo."
It hung in the Salotto della Duchessa in the Palazzo Vecchio
(Inventorio della Guardaroba per M. Giul. del Tovaglia, XXV
oct., 1553, p., 13 verso: "Uno quadro di pittura drentovi una
Venere con Cupido et f ornimento di noce intagliato, et cortina
di taffeta verde di Jac° da Pontolmo"; cf. Conti, Prima reggia,
p. 34). It is also mentioned in the Inventorio generale a capi
(Guardaroba, No. 30, 1553-1560), p. 54. The present panel was
142
AUTHENTIC PICTURES
found in 1850 in the Guardaroba generale.1 The figure of Venus
had been covered in part with a wretchedly painted scarf
(Milanesi, VI, 292). This and other retouches were removed
and in 1861 the picture was hung in the second room of the
Tuscan school in the Uffizi. Berenson, Milanesi, and Thode
believe it to be Pontormo's original and their conviction seems
to be well founded. But owing to the panel's present condition
its authenticity can only be proved by tracing it through the
various inventories of the Guardaroba between 1550 and 1850.
This has not been done. Gamba thinks that it resembles too
closely other known variants of this subject to permit the
definite assertion of its authenticity. The first German edition
of Vasari erroneously states that the original is in the Museum
of Naples. Selwyn Brinton finds the Venus a mere " coarse
imitation (!) of the Michelangelesque. " Concerning the sym-
bolism of the picture, see Thode, III, 486. The following
sonnet inspired by this picture is quoted by Frey (Dichtungen,
p. 271, No. CLXXIX) :
Sopra la miracolosa pittura de la Venere, da Michel' Agnolo
disegnata et da il Pontormo colorita.
Deh, perche '1 bello et il buono, com' io vorrei,
Non posso a pien' di te spiegare in carte !
Che la natura esser' vinta da 1'arte
A chi mai non ti vidde, mosterrai.
Se cosi bella in ciel Venere sei,
Come si vede qui parte per parte,
Ben puossi, et con ragion, felice Marte,
Anzi beato dir fra gli altri i dei.
Non han le rose, le viole et i gigli
Si puro, acceso, vivo, almo colore,
Ne 1'oro ne i rubin si dolce ardore.
Cosa mortal non e che ti somigli,
Et che sia '1 ver ; di te piagato il core,
Si sforza, quant' ci puo, baciarti Amore.
i The editor of the 1832-1838 edition of Vasari was aware of the existence of this
picture in the Guardaroba.
143
PONTORMO
Condition : completely repainted and restored by Ulisse Forni who spent
months on the undertaking.
Date : 1533-1535.
Drawings: Since Michelangelo furnished the cartoon for this picture
we have naturally no study for it from the hand of Pontormo. Variants in
which Jacopo rehandled the motive may be studied in two small sketches,
Uffizi 444 and 446 ; in the masterful black-chalk, Uffizi 6534 ; in Uffizi 6586
(fig. 133), drawn perhaps for the frescoes at Castello ; in Uffizi 6684 (reversed).
The drawings Uffizi 6655 and Louvre 1029 are late copies of the picture.
The Naples cartoon is also a copy. The sketch by Michelangelo in the British
Museum (1859-6-25-553) considered by some critics to be an idea for this
composition is believed by Berenson to be a first thought for a " Samson
and Delilah."
Documents: see above.
Copies: A close copy at Hampton Court thought by Thode to be by
Bronzino or Salviati, and by Law to be by Bronzino, although it is only the
work of the latter 's "bottega"; cf. Handbook to the Public Galleries in and
near London, London, 1842, II, 360 ; Duppa, p. 329 ; Fagan, p. 143 ; a second
altered copy in the same collection; a variant, once the property of Prof,
d' Alton of Bonn who believed it to be a Michelangelo and had an etching
made of it (Kugler, Kunstblatt, 1842, p. 42; Kleine Schriften, II, 358), was
brought to the Berlin Gallery in 1841, was later in the magazine of the
museum and still later was placed in the gallery at Hildesheim (1884) ; a
variant sold in Florence sometime before 1880 ; two copies in the Guardaroba
in Florence ; a small copy once owned by the heirs of Luigi Riccieri in Florence
(according to Milanesi from the end of the sixteenth century) ; the cartoon
(682, XXV) in the Museum of Naples in which the dish and the flowers are
no longer visible and which was once believed to be Michelangelo's original
design for this work; a close early copy in the same museum (No. 22,
VIII, 13), of the same size as the present panel, once ascribed to Bronzino,
by Thode with a query to Salviati, but now with more reason to Alessandro
Allori; a copy once in the possession of Edmond Blanc in Paris which was
perhaps the same as that mentioned by Milanesi as having been sold and
taken out of Tuscany ; a variant in the Stadtisches Museum of Erfurt. Several
copies are mentioned in old inventories: (1) In the inventory of 1635 of
the palace at Turin (Vesme, Le Gall. Naz. Hal., Ill, 52, No. 437) : "Venere
nuda stesa in terra con Amore che la bacia et alcune mascare con arco e
saette, in tavola D. M. A. Buonarroti. Siugolarissimo e de' migliori. A. p.
2.2 1/2. L. p. 3 1/2." Vesme adds that Carlo Emanuele had the picture
burned. (2) In the 1685 Verzeichniss der Gemaldesammlung des Heidel-
berger Schlosses (Thode und Zangemeister, Mitth. des Heidelb. Schlossvereins,
III, 197, No. 230): "Venus et cupido, durch Angeli Bonarota." (3) A
copy in the Galleria Gustiniani in Rome (Vasi, Itin. istrutivo di Roma, p. 429).
(4) There was also in the eighteenth century a wall painting of the same
subject in the Palazzo Barberini in Rome, which was held to be a Michelangelo ;
cf. Titi, Descrizione di Roma, 1763, p. 333: "Una Venere giacente, dipinta
sul muro, pittura antica, che ha molto della maniera del Bonarroti, onde alcuni
la credono di sua mano"; cf. also Crozat, Recueil d'Estampes, Paris, 1720,
I, pi. 1. We may add the following pictures derived more or less directly from
Pontormo 's original: a "Venus and Cupid" ascribed to Alessandro Allori,
144
AUTHENTIC PICTURES
sold in the Sale X, in London, in 1800, for 39,750 francs; a "Venus and
Cupid, ' ' perhaps the same, withdrawn from the Fossart sale in 1838 at 10,000
francs and sold at the Joubert sale in 1841 for 2,000 francs; a "Venus and
Cupid," ascribed to Alessandro Allori, sold by Francillon in 1828 (cf.
Mireur, I, pp. 26 f.). See also the small "Venus and Cupid," ascribed to
Bronzino, which is a free rehandling of the same composition (Uffizi 1173) ;
the ' ' Venus and Cupid, ' ' ascribed to Bronzino, Galleria Colonna, No. 9 ; the
same subject treated twice by Vasari in the same gallery, Nos. 7 and 18, as
well as No. 16 which is ascribed to Salviati. Vasari is known to have painted
two, perhaps three, similar pictures from cartoons of Michelangelo's, one
for Ottaviano de' Medici (VII, 669), another for Bindo Altoviti in 1544
(VII, 673). He took a "Venus" with him to Venice in 1542 and sold it there
to Don Diego de Mendoza (VII, 669 f . ; VIII, 283). For the possible third
"Venus" by Vasari, see his letter of July 21, 1544, to Francesco Lioni in
Venice (VIII, 291). I do not know whether any of these are Nos. 7 and 18
of the Galleria Colonna or still other panels the whereabouts of which is
unknown to me. The composition of the ' ' Venus ' ' can be traced in a number
of pictures too numerous to mention, an example of which is the "Death of
Adonis," ascribed to Sebastiano del Piombo, in the Uffizi.
Reprod. Fig. 123 ; photo. Alinari ; Braun 41284 ; Brogi 11033.
Bibl. Vasari, VI, 277, 291-295 (long note by Milanesi on the present
panel) ; VII, 277; Borghini, ed. 1730, p. 395; Varchi, op. cit., p. 134; 2781;
Catalogue de la R. Galerie de Florence, p. 154 ; Gazette des beaux-arts, XIII,
2e per.; Thode, Michelangelo, Krit. Unters., II, 324-331; Law, The Royal
Gallery of Hampton Court, 1898, p. 110; Catalogue de la Galerie Colonna,
Rome, p. 6 ; Brinton, Renaissance, 1908, p. 187 f . ; B. F. D., I, 325 ; II, 138,
145; B. F. P. R., p. 175; Dessins, pp. 21, 33, 35, 72, 94, 95, 137, 169, 208, 232,
305, 331. See also above.
1578. MADONNA AND LITTLE ST. JOHN
The Madonna, seen to the knees, is seated three-quarters right, her head
almost profile ; her hair is auburn and wound in a thick coil around her head.
On her right knee, slightly raised, sits the Christ Child also turned three-
quarters right, his head slightly bent over towards the left is seen full face;
his right arm is extended left, his left laid on the shoulder of St. John ; his
hair is blond; the Madonna's right hand rests on his breast. To the right,
St. John turned three-quarters right, his hand raised to the Madonna whose
cheek is laid against his forehead; his hair is brown; his right arm is bent
round the Christ Child, his left hand laid on the Christ Child 's left knee ; the
Madonna's left arm encircles St. John, her hand on his left elbow. The
Virgin wears a green skirt, a scarlet bodice and overskirt; a yellowish grey
scarf is passed round her right arm and across the body of the Infant ; behind
her, thrown over a chair, is a mantle of blue-green and red lined with a lighter
green. The background is almost black.
Oil on wood. H. .86, w. .73.
This panel, which was left unfinished by Pontormo,
remained until 1907 in the store-rooms of the Uffizi. It was
145
PONTORMO
in a ruined state and only after an exhaustive restoration could
it be hung in the Gallery. It still retains, however, quite evident
traces of our master's hand. The composition was, it would
seem, derived from or suggested by a lost drawing or picture
of Da Vinci's. It belongs, therefore, to the group of Pontormo 's
Leonardesque pictures although it is later than the San Michele
Visdomini altar-piece or the "Farinola Madonna." The little
St. John owes much to Michelangelo's * Hondo" of the "Holy
Family," now in the Uffizi. The same figure should also be
compared with the St. John in Pontormo 's panel in Palazzo
Corsini, Florence (No. 141).
Condition : completely repainted by Lucarini.
Date: 1526-1528.
Reprod. Photo. Perazzi; fig., article cited below.
Bibl. Gamba, Quadri nuovamente esposti agli Uffizif Bollettino d'arte,
I (1907), 20-22.
PORTRAIT OF THE YOUNG COSIMO I
Bust figure seen in profile to left; he wears a brown coat with white
collar; his hair is brown and curly; the flesh-tints are freshly laid in; the
background is a greenish grey.
Oil on a beechwood panel. H. .47, w. .31.
Not exhibited. This portrait, which is little more than a
"frottis," was discovered by Conte Gamba. It is in all likeli-
hood a sketch for the lost portrait mentioned by Vasari (VI,
282) as executed while Jacopo was at work at Castello. Cosimo,
who was born in 1519, is represented as about eighteen years
of age. The present panel would seem to date, then, from about
1537-1538 — precisely the years in which Jacopo began his
work at Castello. Vasari used this sketch, or the finished por-
trait made from it, for his likeness of Cosimo in the following
frescoes of the Sala di Cosimo I, in the Palazzo Vecchio:
(1) allegorical subjects to left and right of "Cosimo in Elba"
(photo. Alinari 4458) ; (2) "The Captives at Montemurlo"
(Alinari 4463); (3) allegories to left and right of "Cosimo
among His Architects and Engineers" (Alinari 4462) ; (4) alle-
gories to left and right of "Cosimo Sending Succour to Serra-
146
AUTHENTIC PICTURES
valle" (Alinari 4460) ; (5) "Cosimo Elected Duke of Florence"
and in the allegories to the left and right of the same. For a
copy of another portrait of the first Grand Duke by Pontormo,
see Catalogue of Attributed Pictures, Jarves Collection, No.
78 (100).
Condition: unfinished and damaged.
Date: 1538-1543.
Drawing: sketch, Uffizi 6528 verso (photo. Perazzi; fig., article cited
below ;D. G. U., pi. XXV).
Reprod. Photo. Perazzi ; fig., article cited below.
Bibl. Vasari, VI, 282; Borghini, ed. 1730, p. 396; Gamba, Rivista
d'arte, 1910, pp. 125-127; Dessins, pp. 11, 35, 40, 74, 133.
PORTRAIT OF COSIMO IL VECCHIO
Seated; seen to the knees, the torse turned three-quarters left, the head
profile left. He is clean shaven and wears a red cloak edged with fine brown
fur and a cap of lighter red ; his hands are clasped in his lap ; the flesh-tints
are pale and cadaverous. The chair is a warm brown, the background a dark
greenish grey. A small laurel grows on the left side, the leaves of which are
a brown-green. Wound round the stem of this tree is a narrow scroll bearing
the inscription: VNO AVVJLSO • NO • DEFIC|IT ALITER;1 behind the
head and shoulders, on the back of the chair : COSM • MED | ICES • P • P • P •
Oil on wood. H. .86, w. .65.
One of the great imaginative creations of Florentine
portraiture; the modelling of the face and hands is exquisite.
Here Cosimo has all the dignity of a noble and revered
ancestor (cf. Bartolomeo Scala, Carmina illustrium Poetarum
Italorum, VIII, 489). The prototype of this portrait was
undoubtedly a medal, but it is difficult to say whether Pontormo
worked from a medal of which an example survives or from
a variant of which we do not possess a specimen. There are
four known medals that represent Cosimo :
I. A medal with the inscription: COSMUS MEDICES
DECEETO PUBLIC. P. P. Reverse: PAX. LIBER-
TASQUE. PUBLICA; a seated figure of a woman with the
word, FLORENTIA.
II. A similar medal with PUBLICO instead of PUBLIC.
(engrav. Litta, fasc. 22; Supino, II medagliere mediceo, p. 22,
id, VI, 143.
147
PONTORMO
No. 20 ; Fabriczy, Medaillen d. italienischen Renaissance, p. 55,
fig. 87 ; idem, Repertorium, XXIV, 313 ; Armand, Medailleurs
italiens, 2e ed., 1, 10 ; Bode, Florentiner Bildhauer, p. 257) . An
example in the Kaiser-Friedrich Museum, the Bargello, and the
Dreyfus Collection, Paris.
III. A small replica of No. II. Cf. J. Friedlander,
Italienischen Scliaumunzen, Jalirb. d. k. preuss. Kunstsamml.,
II (1881), 239-241, pi. XXVII, No. 3; Trapesnikoff, Die Por-
trdtdarstellungen der Mediceer des XV Jahrhunderts, pi. II, 3 ;
Supino, p. 22; Armand, II, 23. Examples in the Kaiser-
Friedrich Museum, and in the Bargello in gold, silver, and
bronze. This is perhaps the gold medal mentioned in the
Medicean inventories of the fifteenth century (Miintz, Les coll.
d. Medicis au XVe siecle, p. 74) .
IV. The same with MAGNUS. COSMUS. MEDICES.
P. P. P. and the same reverse as the preceding. Cf . Museum
Mazz., I, xx, 4; Tresor de numismatique: Med. ital., I, xx, 1;
Friedlander, pi. XXVII, No. 4; Miintz, Precurseurs de la
Renaissance, p. 135 ; Supino, p. 22, No. 21 ; Heiss, Medailleurs
de la Renaissance, II, 9 ; I, pi. i, 2 ; Armand, II, 23. An example
in the Kaiser-Friedrich Museum and in the Bargello where it
is ascribed to Michelozzo.1
Goethe and Heinrich Meyer (Jenaische Allgemeine
Literatur-Zeitung, 1810, Vol. I) ascribed No. I without reason
to Donatello, No. II equally without reason, to Michelozzo.
Supino and Armand ascribe No. Ill also to Michelozzo. Fried-
lander believes that all four were made for Lorenzo de' Medici
by Nicolaus Florentinus whose real name was perhaps Niccolo
di Forzore Spinelli (1430-1514). It was in all likelihood No.
III that was reproduced, not long after it was struck, in three
manuscripts that are now in the Laurenziana: 1. Aristotelis
Logica, loanne Argyropylos interprete (Bandinius, Catalogus
Codicum latinorum, III, 3; D'Ancona, La miniatura fiorentina,
II, 394, No. 796) in which the effigy of Cosimo, profile right,
appears in a medallion of a gold-coloured monochrome in the
1 There is another medal dating from the end of the sixteenth century with the same
obverse as No. IV; on the reverse, three interlaced rings and the word SEMPER.
148
AUTHENTIC PICTURES
middle of the right side of the title-page. On the same page,
which has been reproduced by Miintz (Les Precurseurs, p. 158),
there is a similar medallion of Piero. 2. Aristotelis Opera
quaedam, loanne Argyropylos interprete (Bandinius, III, 225 ;
D'Ancona, II, 395). This work is dedicated to Piero. The
medallion of Cosimo represents him in a red mantle and red
biretta. 3. IOHANNIS NESII, De moribus ad Petrum
Laurentii f. Dialogi IV (Bandinius, III, 144; D'Ancona, II,
454 f.). In the initial "C" Cosimo is represented in profile
in a violet vest and red cap. Medal No. Ill could not have been
struck before March 16, 1465, the date of Cosimo 's death, since
the title " Pater Patriae" was a posthumous honour. The
miniature of manuscript No. 3 must have been executed before
1469 in which year Piero died. We see, therefore, that the
medals, the first three of which are practically of the same date,
are themselves derived from an earlier representation of Cosimo
that has since been lost. They are in turn the source of a
number of portraits of Cosimo other than the three miniatures
we have just mentioned. Medal No. IV itself dates, in the
opinion of some critics, from the end of the fifteenth century
and is derived from medal No. III. A fourth immediate
derivative of these medals is the medallion in gilded bronze on
the cover of a late fifteenth century manuscript, FR. TOMMASO
SARDI, L'Anima pellegrina, poema in terza rima, Rome,
Bibl. Corsini, Cod. 55. K. 1. A fifth derivative, and earlier than
the last, is the medal in relief in " gesso" and gilt that one sees in
Botticelli's "Portrait of a Man," now in the Uffizi (No. 1154).
It is derived in all probability from medal No. I. Friedlander
even goes so far as to believe that Botticelli's portrait, which
is a work of his earliest period, represents Nicolaus Florentinus
himself holding his medal of Cosimo. A sixth derivative is the
late fifteenth century marble relief ascribed to Verrocchio, now
in the Kaiser-Friedrich Museum (No. 104; Trapesnikoff, pi.
Ill), which comes from the Orlandini Collection (Bode,
Italienische Portrdtskulpturen des 15 Jahrhunderts, p. 38;
Bode und Tschudi, Beschreibung der Bildwerke, pi. VII). A
seventh derivative is the sixteenth century terra-cotta relief in
149
PONTORMO
the Old Sacristy of San Lorenzo, Florence, where the face is
turned to the right (Trapesnikoff, pi. IV, 1) and of which the
poor and empty bust portrait of Cosimo ascribed to Bronzino
in the Uffizi is an exact copy even to the colouring. This latter
portrait miniature (photo. Alinari 459 ; Trapesnikoff, pi. IV, 2 ;
Young, The Medici, pi. Ill) dates from about 1553 and is
labelled COSMUS MEDICES P. P. P. It differs from
Pontormo's portrait in structure and modelling as well as in
many small details. An eighth derivative is the cameo, Uffizi
No. 1083, which was copied from medal No. III. A ninth
derivative is the porphyry relief by Francesco del Tadda
(H. 19, w. 14 in.; Wood Brown, p. 113, fig., p. 39), mounted
on an oval slab of green serpentine of Prato and bearing on the
chamfer of the bust: OPA DI FRANC0 DA FIESOLE, which
was once in the Uffizi and is now in the magazine of the Bargello.
Pontormo's portrait is then by no means the first work
of art derived from these medals. It is most closely related to
medal No. Ill ; and since Goro Gheri, for whom it was painted,
was secretary to Lorenzino, it is not inconceivable that he
obtained for Pontormo access to a fine cast of that medal,
perhaps in precious metal, such as was undoubtedly preserved
in the collections of the Medici. It should be noted, however,
that our portrait differs from all surviving medals in the shape
of the ear, the way in which the cap touches the same, the tilt
of the head and the contour of the eye. These differences may
have arisen, quite naturally, in idealizing and elaborating the
features merely suggested in the prototype.
In Vasari's time our panel was in the house of Ottaviano
de' Medici in the possession of his son Messer Alessandro.
Later it was in the Uffizi, and in the eighteenth century it was
removed to Cosimo 's cell at San Marco where, in 1912, Ales-
sandro Pieroni's modified copy (purplish brown cloak, red cap ;
h. 1.30, w. 1.10) was substituted and the original again placed
in the Uffizi.
The present panel is the prototype of most of the later
representations of Cosimo among which the following are
known to me. (a) Vasari's full-length portrait of Cosimo, in
150
AUTHENTIC PICTUEES
the Chapel of Leo X, in the Palazzo Vecchio. (b) The portraits
of Cosimo in Vasari's frescoes in the Camera di Cosimo il
Vecchio, Palazzo Vecchio: " Cosimo Going into Exile" (Alinari
4407) ; " Cosimo 's Return from Exile," " Cosimo with Brunel-
leschi and Ghiberti" (Alinari 4413); " Cosimo with Santi
Bentivogli Poppi"; " Cosimo with Philosophers and Artists."
Cf. Vasari, "Ragionamenti"; Filippo Moise, Illustrazione del
Palazzo de' Priori, Firenze, 1843; Giuseppe Conti, II palagio
del Comune in Firenze, 1905; Cosimo Conti, La prima reggia
di Cosimo 1, 1893, p. 140. (c) Altissimo's bust portrait (profile
left in red cap and mantle) in the corridor between the Pitti
and the Uffizi. (d) Paggi'sC?) portrait in the same corridor
(modifications in the chair and length, inscription omitted),
(e) The portraits used as decorative motives in the ceiling of
the Long Gallery of the Uffizi by Cosimo Ulivelli, Angiolo Gori,
Jacopo Chiavistelli, Bernardino Pocetti and others, (f) The
portrait in the possession of the Societa Colombaria, Florence,
(g) The portrait in the collection of the Erzherzog Ferdinand
von Tirol, Hofmuseum, Vienna, which belonged to a gallery
of portraits of famous men similar to that collected by Paolo
Giovio at Como (Kenner, Die Portratsammlung des Erzherzogs
Ferdinand v. Tirol, Jahrb. kunsthist. Samml. d. Allerh.
Kaiserhauses, Vienna, XVIII (1897), 145. (h) The late
sixteenth century copy bearing the inscription COSIMO •
MEDICI -P-P-, now in the Thaw Collection, New York,
(i) The miniature once in the Colworth Collection (No. 41)
and sold at Christie's in 1892. (j) Allegrini's engraving in
Eegiae familiae, which is a modified form of Pontormo's por-
trait with the inscription: "Cosmus cognomento Pater Patriae
Joannis Medic, et Piccardae Bueriae F. Ex Coenobio Divi
Marci Florentinae. " (k) The poor engraving in Allegrini's
Serie di Eitratti di uomini illustri, Florence, 1768-1770, III,
tav. 52, which bears the inscription: "Preso da un Quadro in
tavola esistente nella Spezeria del Convento di S. Marco di
Firen6. Tommaso Gentili del. F. Allegrini inci. 1769." (1) The
poor woodcut (bust figure) in Paolo Giovio 's Elogia Virorum
bellica virtute illustrium, Basel, 1575, p. 131 (Cf. Miintz, Le
151
PONTORMO
Musee de Portraits de Paul Jove, Paris, 1900, Memoires de
rinstitut de France, XXXVI, Paris, 1901) . (m) The modified
engraving by Antonio Perfetti 1819 (drawing by Pietro
Ernimi) printed in Florence by Luigi Bardi e Compagno,
Galleria di Firenze, II, pi. XLVIIL (n) The engraving in
Rosini's Pittura italiana, V, 77. (o) The line-engraving (bust
figure) in Inghirami's Storia della Toscana, XVII, tav. CIII,
No. 4, as well as a number of later engravings. To this list may
be added, although only on conjecture, the portrait mentioned
in the Guardaroba of the Palazzo Vecchio, in the Inventory of
1553 (C. Conti, La prima reggia, p. 138 f). For engravings of
other portraits of Cosimo, see Vine. Follini, Iconografia
universale, Florence, XT, 3.
Condition: excellent; there are a few worm-holes in the panel which
has split somewhat along the right side ; a small piece has been added at the
top ; the old varnish has been removed recently by skilful restoration.
Date : 1518-1519.
Reprod. Fig. 42. See above. A poor engraving by Borde in Litta,
fasc. 22; photo. Brogi 14817; Alinari; Anderson; Trapesnikoff, pi. IX;
University Prints, No. 99, series C.
Bibl. Vasari, VI, 264 ; Molini, Galleria di Firenze, Vol. II, S. I, p. 5 ;
Cruttwell, Florentine Churches, p. 168; B. F. P. R., p. 175; Catalogue de la
R. Galerie de Florence, Florence, 1864, p. 150; Waetzoldt, Die Kunst des
Portrats, Leipzig, 1908, p. 65. See also above.
FRANKFORT
Stadel Institute
14A. PORTRAIT OF A YOUNG WOMAN WITH A DOG
She is seated in a Savonarola chair, and turned three-quarters left, the
head almost full face; she looks at the spectator. Her hair is brown, neatly
parted, a thick roll of it held in an ornamental net that encircles her head;
eyebrows finely pencilled ; eyes brown, the right smaller than the left ; nostrils
wide ; ears high and pointed ; chin full ; neck column-like. She wears a scarlet
cloth dress cut square at the neck, large puffs at the shoulders, dark green
velvet sleeves, full white chemisette with high embroidered collar made of
two pieces, small frills at the wrists. In her hair, a gold circle with a filigree
star in the centre ; around her neck a gold chain of heavy ornamental links ;
around her waist a narrow black and gold woven band ; on the upper joint of
the ring finger of the right hand, a high diamond ring ; on the little finger of
152
AUTHENTIC PICTURES
the left hand, a ruby ring; around her right wrist and lying across her lap,
a dark bead chaplet ending in a large tassel enclosed in gold filigree ; in the
bend of her right arm, a little brown and white dog sits facing the spectator.
The chair on which she sits is seen in profile and is ornamented with a bronze
mask, a handle, two large nails and a green fringe. The background forming
a shallow niche is dark grey on the left, light grey on the right ; flat pilasters
on either side; behind the sitter, a low table on which two books bound in
parchment with dark ribbon-fastenings.
Oil on poplar wood. H. .89, w. .70.
From the Riccardi, Fesch, Le Brun and Mailand Collec-
tions; bought in 1882 (Frankfurter Kunstverein) . Once
thought to be a lady of the family of the dukes of Urbino.
On the back of the panel, in pencil, an illegible inscription:
"Anton . . . rato| . . . o," and a round branded seal on which the
following letters: DO OGA| LOGDI| TOME(<?) which
Weizsacker reads: MA| LOD.III| IM . . . Ascribed to Bron-
zino by the author of the Mailand Catalogue who compares it
with a " Portrait of the Duke of Urbino," once in the Pourtales
Collection (No. 114), which he also considers to be a Bronzino,
but which was anciently attributed to Sebastiano del Piombo
and, by the author of the Pourtales Catalogue, to Andrea del
Sarto. The attribution of the present panel to Bronzino was
retained in the earlier Frankfort catalogues and by various
critics. The portrait was first correctly attributed to Pontormo
by Berenson who is followed by Waetzoldt and the latest
catalogue of the gallery. This is one of the most charming and
characteristic portraits that our master has left us. It is
dignified and gracious, of a large simplicity and penetrating
intellectuality. The pose and spacing were perhaps suggested
by a lost drawing of Michelangelo's; cf. the sheet in the British
Museum (Frey, 184).
Condition: excellent; slightly retouched and judiciously varnished.
Date: 1534-1545.
Drawings: Uffizi 414 and 17769 bear a superficial resemblance to this
portrait with which, however, they have no connection.
Reprod. Fig. 127; poor engraving by Monzies, Mailand Catalogue,
facing page 14 ; photo. Bruckmann ; Braun.
Bibl. Catalogue de tableaux anciens composant la collection de feu
M. Mailand, Salle Drouot, May, 1881, p. 14, No. 16; Weizsacker, Catalog der
153
PONTORMO
Gemalde-galerie des Stadelschen Kunstinstituts in Frankfurt am Main,
Frankfurt, 1900, pp. 53 f. ; Stadelsches Kunstinstitut, Verzeichnis der
Gemdlde, Frankfurt, 1910, p. 5 ; idem, ed. 1914, ibid.; Waetzoldt, Die Kunst
des Portrait, Leipzig, 1908, p. 219; B. F. D., I, 323; II, 154; B. F. P. R.,
p. 176 ; Schulze, Bronzino, p. Ixi ; Dessins, pp. 89, 288.
GENOA
Palazzo Bianco
6. PORTRAIT OF A YOUTH
Seen to just below the waist, turned three-quarters left. He has brown
eyes that look left; longish brown hair. He is beardless and wears a pink
doublet, finished at the throat with a small white frill, at the wrists with large
cuffs turned back and lined with fur ; a silk mantle of brighter pink than the
doublet is thrown in rich folds over the left shoulder; at the waist, a cord
in the form of a belt from which a black velvet bag with a dark silver mount
hangs open showing an embroidered handkerchief. The left hand rests on
the hip, the two middle fingers touching ; in the right hand, a pair of gloves ;
on the head, a small round scarlet cap. Background, green-black.
Oil on wood. H. .86, w. .63.
Formerly No. 24 ; left to the gallery in the Galliera bequest ;
ulterior provenance unknown; not mentioned by Vasari. The
right eye slightly smaller than the left is characteristic of
Pontormo's draughtsmanship; cf. among others the Frankfort
" Portrait of a Young Woman," the portrait-drawing of a girl,
in Chantilly, the " Portrait of a Woman," in Turin, the " Por-
trait of a Girl," in the Widener Collection. The hands in the
present portrait recall those of the ruined "Portrait of a
Magistrate" (Borghese, No. 74) ; the drapery is close to that
of the man kneeling in the foreground of Andrea's " Assump-
tion" (Pitti, No. 191) and that of the man to the extreme left
of Andrea's panel of the "Life of Joseph" (Pitti, No. 87) ;
the pink shot with yellow of the mantle is not unlike that of
the dress of the Magdalen in Andrea's "Disputa" (Pitti,
No. 172), the drapery of the two saints in the foreground of
Andrea's "Assumption" (Pitti, No. 191) and the robes of
certain figures in Andrea's "Deposition" (Pitti, No. 58). The
same colour was also used by Rosso for the drapery of the saint
154
AUTHENTIC PICTURES
in the foreground of his " Madonna and Saints" (Pitti, No.
237).
Condition : excellent ; cracked slightly by the warping of the boards.
Date: 1516-1521.
Reprod. Fig. 41 ; photo. Brogi 11502 ; F. M. C.
Bibl. Jacobsen, Le Gallerie Brignole-Sale-Defferrari in Genova,
Archivio storico dell' arte, II (1896), p. 120; Catalogo di Palazzo Bianco e
Rosso, Genova, 1909, p. 34 ; idem, 2d ed., p. 59 ; idem, Orlando Grosso, Milan,
p. 47 ; Suida, Genua, 1906, p. 142 ; B. F. P. R., p. 176.
KEIR, DUNBLANE, SCOTLAND
Stirling Collection
PORTRAIT OF BARTOLOMEO COMPAGNI
Half-length ; seated, three-quarters left, in an arm chair before a table ;
the head turned a little less than three-quarters left; the eyes look at the
spectator. The right hand, lightly holding a quill-pen, rests on the table, the
left upon his left thigh; on the third finger, a jewelled ring. He wears a
long beard and moustache and is dressed in a dark coat with large sleeves
and embroidered collar; at his wrists, embroidered white frills; on his head,
a black cap ; in his lap, a handkerchief. The arm of the chair ends in a winged
cupid's head; on the table are: seal-ring, sealing-wax, paper-cutter, open
quill-case, ink-pot and two folded letters, the seal of the uppermost of which
is broken ; on it one reads : A1 Magr°ap° bartolomeo Compagni . . . o
Honerariusj In Firenze; beside these lie sheets of paper on which he has just
written : I»c meo os . . . mo| Per lamore uoleua ... | ho meso quanto quella . . ,|
comanda ei sono . . . The background is a flat niche, on the left, a pilaster,
on the right, an engaged column on the base of which : 49 AT AT ; at the base
of the pilaster, a shelf on which lie official seals, a packet of papers, a document
with a large seal of a bust seen in profile left; to this seal two ribbons are
affixed.
Oil.
Condition: excellent.
Date: 1534-1545.
Provenance unknown; bought in Italy, sometime before
1825, by Charles Stirling in whose catalogue of 1826 it appears
as "Portrait of a Consul." The person addressed as Jacopo
in the letter that the sitter is engaged in writing is evidently
Pontormo himself.
Reprod. Fig. 126; photo, for Capt. Archibald Stirling.
Bibl. B. F. P. R., p. 177.
155
PONTORMO
LONDON
Mond Collection
A CONVERSATION
To the left, a man, dressed in a crimson robe, scarlet leggings, buff shoes
and pale sea-green mantle and cap, seated profile right; to the right another
man, similarly dressed in a robe of grass-green with a mantle of pale rose and
a scarlet cap, seated in an arm-chair profile left, his left hand on the arm of
the chair, his right raised ; behind, two figures facing of which one sees little
more than the heads. The figure to the right is dressed in olive-green; the
figure to the left, in orange-crimson. The man in the middle background is
dressed in dark grey. The woodwork is orange-brown, the foreground, warm
yellow-brown, the background, which is made up of the intersection of a
groined roof and a wall, is grey.
Oil on canvas. H. .35, w. .24.
Provenance unknown; discovered and attributed to Pon-
tormo by Costa. The stout, thick-set figures should be compared
with the same type of figure in the Pitti ''Adoration of the
Magi." The colour and the touch recall the Uffizi " Birth-
plate," which is of the same date.
Condition: slightly damaged.
Date : 1516-1521.
Reprod. A replica in the Methuen Collection ; J. P. Richter, Catalogue
of the Mond Collection, London, 1910, II, pi. 19.
Bibl. Catalogue cited above, II, 449 ; B. F. P. R., p. 176.
National Gallery
1131. JOSEPH IN EGYPT
The composition is complicated. To the left, a palace at the door of
which Pharaoh appears surrounded by his attendants. In the foreground
left, a flight of eight steps with two landings on which Joseph and his people
in attitudes of supplication. To the right, seated on a triumphal car drawn
by naked children, Joseph is again represented stooping toward a man who
kneels beside the car and presents a petition. Farther to the right, part of
a circular edifice up the front of which runs a bracketed stair. Toward the
top of this staircase Joseph again appears leading one of his sons. Another
child is received by his mother on the landing above. The upper part of the
circular building is open disclosing a hall or porch in which Joseph is repre-
sented at the bedside of his dying father to whom he presents the children,
156
AUTHENTIC PICTURES
Ephraim and Manasseh. In the second plane, at the middle of the picture,
a dense group of figures ; behind these, a smaller group around a little mound ;
in the background, trees and two gable-roofed houses. There are three statues
on high pedestals in the picture. They represent Mars, Venus, and Cupid.
The colour-composition is somewhat as follows : Foreground, beginning
on the extreme right ; man kneeling, light violet breeches, yellow jerkin, white
sleeves; blond boy standing with back turned and legs wide apart, red legs,
violet skirt, yellow jerkin; boy (Bronzino) seated on steps, dark brown cloak;
three "putti," white drapery with violet lights; old man kneeling, light blue;
man to the extreme left, darker blue of the same tone with dark brown drapery
about the waist, dark red cap in hand. Second plane, beginning on the
extreme left ; man, bright red ; old man in front of latter, light yellow-brown,
white sleeves and turban; old man whose head and shoulders show between
the last two figures, light blue ; young man who faces the old man with turban,
dark violet-brown mantle, yellow tunic ; old woman with clasped hands, deep
pink, white scarf and head-dress. In the little group in the second plane
at the middle of the picture, reds and light violets predominate. The figure
seated on the base of the column to the right, violet drapery, yellow jerkin,
red cap ; man on lowest step of stairs to the right, red robe and cap ; second
figure mounting the stairs leading a child, violet cloak, dull red stockings,
red turban; child, light green dress; woman at top of stairs, red; child who
advances to meet her, green; woman half-hidden by column, red. In the
group on the platform of the circular building the same tones are distributed.
The group in third plane at the middle of picture: pale green, violet and
white. The figures in the background are red or red and white. The land-
scape, light brown; the architecture, pale lavender-grey; the pillar and
pedestal in the foreground right, pale brown. Marked in lower left corner:
JACOMO DAPONTORMO — inscription which probably dates from the last
half of the sixteenth century. On the scroll held by the man kneeling in
lower right corner, a legend which I have not been able to read in its
entirety : . . . ci dj fiso sej i ispeto . . . nel . . . nella da una . . .
Oil on canvas. H. .44, w. .49.
This picture, on which Vasari lavishes the highest praise,
was painted for the famous room, in Casa Borgherini in Borgo
SS. Apostoli, presented to Pierfrancesco Borgherini by his
father on the occasion of the former's marriage to Margherita,
daughter of Roberto Acciaiuoli. It was originally placed in
a corner to the left of the entrance and formed part of a general
scheme of decoration which involved other pictures and "cas-
soni" by Pontormo, Andrea, Franciabigio, Bacchiacca and
Granacci (Vasari, V, 342 f.). The house afterwards passed
into the hands of the Rosselli (once Del Turco) family
(Baldinucci, IV, 209 ; Vasari, IV, 531, n.). Milanesi states that
the pictures painted by Jacopo for Borgherini were sold in 1584
to the Grand Duke Francesco by Niccolo di Giovanni Borgherini
157
PONTOKMO
for ninety ducats (Archivio di Stato, Depositeria Generale,
Eecapiti di cassa, filza 995). He identifies, however, the pic-
tures in question with two panels, now in the Uffizi, which were
long ascribed to Pontormo but are really by Granacci. Our
picture was once in the possession of Giovan Gherardo de'
Eossi, was exhibited at the Royal Academy (No. 194) in 1873
and was bought by the National Gallery at the Duke of
Hamilton's sale at Christie's, June, 1882, as an " Allegory"
for £315 out of the interest of the " Clarke Bequest." The
little boy seated on the steps in the foreground is Bronzino
(Vasari, VI, 261). Even at an early date the iconographic
explanation of this picture seems to have become confused.
Vasari himself mistook the group to the left for Joseph
receiving Jacob and his brethren. It was Richter who first
correctly interpreted the subject; cf. Genesis, xlvii, 1-6, 13-26;
xlviii, 1-14. The meaning of the group of men huddled in the
middle distance is found in the verse: "Wherefore shall we
die before thine eyes, both we and our land?" Buildings in
classic style were generally considered in the Middle Ages and
the Renaissance to be characteristic of Egypt from which
country the art of Greece was supposed to be derived (Richter,
39 f.). The statues that adorn the buildings furnish further
proof that the scene is meant for Egypt, in as much as legends
current in the Middle Ages (Tischendorf, Evang. Pseudo-
Matth., Chaps. XXII, XXIII) had induced artists to use them
as a symbol of that country. Richter believed that the portrait
of the young Bronzino made him appear to be about ten years
of age. He therefore placed this canvas in 1512, at the very
beginning of Pontormo 's career — at least six years too early.
His error is repeated by Jacobsen who also considered the
signature to be genuine. Schubring seems to continue Vasari 's
mistaken explanation of the subject and he identifies the
picture with a "lettuccio" representing "Giuseppe che serve
Faraone" which, however, Vasari distinctly states was painted
for Borgherini by Granacci. Schubring turns this difficulty
with ease by remarking that Vasari frequently confuses these
two painters. We might notice in passing that two panels by
158
AUTHENTIC PICTURES
Bacchiacca representing the "Life of Joseph," and painted for
Borgherini, are in the National Gallery (Nos. 1218 and 1219).
For the other pictures executed by Pontormo for Borgherini,
see under Panshanger.
Condition: excellent.
Date: 1518-1519.
Drawing : Berenson thinks that Uffizi 6537 is a study for the drapery of
the right arm of the figure to the extreme left. I do not feel that the identifi-
cation is convincing. In the Louvre there is a poor pen and ink drawing
(No. 1725), ascribed to Andrea but really dating from about 1575, which
is a copy by an unknown hand of the present composition.
Document: see above.
Reprod. Photo. Hanfstaengl, National Gallery, 220; fig., Poynter,
National Gallery, II, 99; fig., Vasari, trans, de Vere, VII, 158.
Bibl. Vasari, V, 26, 343 ; VI, 261, 455 ; Borghini, II Riposo, ed. 1730,
p. 393; Richter, Art of the National Gallery, pp. 36 f. ; Catalogue of the
Collection of the Duke of Hamilton, London, 1882, p. 101 ; Hamilton Palace
Collection, Illustrated Priced Catalogue, London, 1882, pp. 52, 100 ; Poynter,
op. cit., II, 98 ; Cook, Handbook, I, 32 ; Descriptive Catalogue of the National
Gallery, 1906, p. 457 ; idem, 81st ed., 1913, pp. 554 f. ; Graves, Loan Exhibi-
tions, II, 942 ; Art Sales, 1888, II ; Muntz, Renaissance, Paris, 1895, III, 499 ;
Jacobsen, Italienische Gem'dlde in der National-galerie zu London, Reperto-
rium, XXIV (1901), p. 365; Frizzoni, Arte italiana del rinascimento, 1891,
pp. 255 f.; B. F. D., II, 142; B. F. P. R., p. 176; Dessins, 34, 68, 139, 331.
LUCCA
Pinacoteca
75. PORTRAIT OF A YOUTH
Half-length ; full face ; the head turned slightly right. He stands beside
a greyish table placed to the left on which his right hand rests, his left hand
on his hip. He is beardless and has bushy auburn hair and brown eyes. He
wears a dark green coat with sleeves of the same colour over which is thrown
an ample light red mantle ; at his neck a white shirt and collar show ; his hat
is a dark bluish green; the background, dark green.
Oil on wood. H. .85, w. .61.
Provenance unknown ; once at Poggio Imperiale ; now the
property of the Istituto di Belle Arti. Erroneously believed to
be a portrait of Giuliano de' Medici. On the back of the
panel one reads: "Dalla guardaroba genle 2485."
159
PONTORMO
Condition: excellent.
Date: 1529-1530.
Drawing: Berenson thinks that Uffizi 452 (fig. 38) is probably a study
for this portrait, but the drawing seems to me to date from ten years earlier.
Reprod. Fig. 115; photo. Alinari 8459.
Bibl. Trapesnikoff, Die Portrdtdarstellungen der Mediceer, Strassburg,
1909, p. 77; B. F. D., I, 324; II, 138; B. F. P. R., p. 176.
MILAN
Collection of Prince Trivulzio
PORTRAIT OF A BOY WITH A BOOK
Three-quarter length. He stands turned three-quarters left leaning
against a narrow low wooden shelf; his eyes look at the spectator. He has
dark curly hair, dark wide-set eyes, broad flat nose, thin eyebrows. His left
hand rests on the edge of the shelf, his right holds against his hip a large open
book. He wears a black cap and a dark costume of stuff with a knotted sur-
face; the sleeves have large puffs at the shoulders; the lower sleeve is very
long and of dark velvet; the front of the jacket is fastened with laces the ends
of which are encased in metal tips ; about the waist, a tight, narrow belt tied
with a bow in front ; about the hips a broad, black, buckled sword-belt which
hangs lower on his left side. Light background.
Oil on wood.
A fine example of Pontormo's work in portraiture during
the first part of the decade of the twenties, which I regret to say
that I know only from a photograph, in spite of a written
application for permission to see the original and a special
journey made to Milan for that purpose.
On the book I have made out in a fragmentary manner the
following verses :
Famosi Frondi de' Cra . . . santi
Per non so qual del Ciel f ero Pia . . .
Rado hoggi s ' orna Cesare o Poeta
Merce del guasto Hondo & pien derrori
Chi sara mai . . . segnamente honesi
H od . . . che in Voi si dolcemente aqueta
I vianj & le tempeste 'e 'n . . . lieta
Ogni anima gentil del Volgo fuori!
160
AUTHENTIC PICTURES
Et chi sia poi . . . degnamente ancora
Adorar possa & quanto si conuiene
Lalta vertu ch' e nel bel nostro inuolta
lo da che prima nasce 1' Aurore
Fin che di naduo al' oriente uiene,
V adoro e 'inchino humil solo Vna uolta.
Ed...
Ama gentil dal f ante cag . . .
0 sol gis a honestate in ...
Torre in alto . . . fo og
0 fiamma mai
Ti ama neve io mi
Opiacer onde 1'ali al bel uer ergo
Che luce soura quanti il sol ne . . .
Del vostro nome se mie rime
Fassin si si 1 ... ge haurei pien Io
La sana . . . tiade . . . poc . . .
Per che portar nel posto . . .
Parti del mondo ....
Ch . . . pennin . . . e'l . . . cerco.
Date: 1521-1522.
Reprod. Fig. 48 ; photo. Anderson 12840.
OLDENBURG
Augusteum
19. PORTRAIT OF A LADY
Three-quarter length. She is seated, almost facing, in an arm chair of
reddish wood, her hazel eyes looking straight at the spectator; her auburn
hair is enclosed in a net. She wears a green velvet dress cut low at the neck,
the sleeves tied to the bodice with little bows the ends of which are encased
in gold work; a decolletee chemisette of embroidered white linen with an
open turned down collar; white ruffles at the wrists. In her hair, a circlet
of chased beads of gold, a pearl necklace at her throat, a gold chain hanging
from her shoulders; around her waist, a heavy gold chain ending in a tassel
which she holds with the first and little fingers of her left hand ; on the third
finger of the same hand, a ring with a green stone. Her right elbow rests
on a light reddish yellow octagonal table ornamented with black arabesques;
the fingers of her right hand keep her place in a small book which lies on the
table; it is bound in red leather, tooled in gold with two red ribbons instead
of clasps. Background, a brown curtain with green fringe; a fold of the
161
PONTOEMO
same, seen in shadow, is draped across the upper right-hand corner of the
picture.
Oil on wood. Oval; h. 1.12, w. .83.
Acquired through Miindel from the Blaesel Collection in
Paris in 1870. Once ascribed to Bronzino and erroneously held
to be a portrait of a member of the Medici family. The identity
of the sitter and the ulterior provenance are unknown.
Condition: heavily varnished; the boards, which are three centimetres
thick, are badly warped ; between them are vertical cracks.
Date: 1535-1545.
Reprod. Fig. 129; photo. Oncken; Bredius und Schmidt-Degener, Die
Grossherzogliche Gemdlde-galerie im Augusteum zu Oldenburg, Oldenburg,
1906, pi. VIII.
Bibl. Catalogue cited above, p. 8 ; Kurzes Verzeichnis, p. 3 ; B. F. P. R.,
p. 176.
PANSHANGER
Collection of Lady Desborough
32. JOSEPH DISCOVERING HIMSELF TO HIS BRETHREN
Composition of more than twenty-five figures. To the left, a dais on
which Joseph sits; his brethren kneel before him. To the right, a raised
circular space enclosed with a marble balustrade ; in the centre of the space,
a square pedestal on which a seated statue. The background, trees and rolling
hills.
The colour-scheme is somewhat as follows : figure standing to the extreme
left, dark yellowish pink; blond figure behind the latter, darkest red; figure
on the left kneeling profile right, red shirt, light blue sleeves, purplish yellow
skirt; figure on dais (Joseph), dark reddish pink, grey sleeves, blue skirt.
In the group before Joseph, beginning with figure farthest back and farthest
to the left : dark blue and red ; figure to the latter 's right, white sleeves, dark
yellow mantle; blond figure bowed low in front of last mentioned figure,
blue mantle; figure kneeling nearly profile left with hands crossed on breast,
white sleeves, sage-green skirt; two little figures farther back seen over the
latter 's shoulders, dark yellow and dark red; blond figure in foreground
seen three-quarters from behind, blue shirt, white sleeves, reddish pink
mantle; old man behind him, green tunic, purplish red mantle; bowed figure
with hands covering his eyes, yellow mantle, greyish purple tunic; blond
youth seen just above the latter and standing profile left, purplish mantle,
white sleeves; three men to the right of the latter figure, yellow and white,
purplish grey and dark pink ; figure next to right in background, dark pink ;
162
AUTHENTIC PICTURES
statue, grey-green; figure with sack seated on the steps, yellow, pink tunic;
sack, white-yellow; blond figure descending steps with a sack on shoulder,
grey- white tunic ; boy walking left in front of steps, light blue ; figure seated
on the parapet above him and seen from behind, dark green, pinkish red, light
red cap; figure next to right, dark pinkish red; figure with an ass beside
him, dark yellowish pink ; the banner, grey. The foreground is dark yellowish
brown, the stone grey-green and yellowish purple, the landscape and sky,
dark grey-green and blue-green. On the dais: ECCE| SALUS| MUD; on
the pedestal to the right: VNITIO) RI . . . TI TI; on the banner: ECCE|
SALVATORI MUNDI.
Oil on wood. H. .35, w. .42.
Exhibited (No. 163) in Manchester in 1857. Ascribed to
Andrea by most critics including Crowe and Cavalcaselle and
their editors. They remark that " 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 full consciousness of its
strength." It is, however, an authentic Pontormo for which
I have had the good fortune to discover two drawings. Like
the two following pictures of this collection it is a "cassone"
panel and formed part of the decoration of Pierfrancesco
Borgherini's bridal chamber in his house in Borgo SS. Apostoli,
although one cannot say whether it was originally the front
of a coffer or an ornament of the bed or of the wainscoting of
the walls. Pierfrancesco 's marriage took place in 1515 but
Pontormo 's pictures cannot have been finished before 1517.
During the siege of Florence, while Borgherini was in Lucca,
Giovambattista della Palla, wishing to get possession of the
furnishings of the room in question in order to sell them to the
King of France, obtained permission from the Signoria to
acquire them but was prevented from so doing by the energetic
defence that Borgherini's wife made of her most cherished
possessions. The note of Milanesi (V, 26) to the effect that
in 1584 Niccolo di Giovanni Borgherini sold the Pontormo
panels to the Grand Duke Francesco for ninety ducats may
very well refer to this and the following two pictures as well
as to the "Joseph in Egypt" of the National Gallery, although
Milanesi erroneously supposed that his document referred to
the panels of the "Life of Joseph," in the Uffizi, which he
163
PONTOKMO
believed to be by Pontormo but which are really by Granacci.
See " Joseph in Egypt," under National Gallery, London.
Condition : good, although darkened with old varnish.
Date : 1517-1518.
Drawings : for the figure kneeling to the extreme left, a study from the
nude, Uffizi 6542 verso (fig. 28; photo. F. M. C.) ; for the figure descending
the steps to the right, Uffizi 6692 (fig. 25; photo. F. M. C.).
Document: Archivio di Stato, Depositeria Generale: Recapiti di cassa,
filza 995.
Eeprod. Fig. 26.
Bibl. Vasari, V, 26, 343 ; VI, 261, 455 ; Borghini, II Riposo, ed. 1730,
p. 393; Crowe and Cavalcaselle, ed. Dent, III, 513; ed. Murray, VI, 202;
Graves, Century of Loan Exhibitions, III, 1197 ; Exhibition of Old Masters,
Graf ton Galleries, 1911, p. 50 ; Fry and Brockwell, Catalogue of an Exhibition
of Old Masters, 1911, p. 36 ; Phillips, Art Journal, 1906, p. 1 ; Dessins, 34, 39,
67, 142, 329.
33. THE BAKER LED OUT TO EXECUTION
Composition of fifteen figures. In the background, the wall of a house
with, to the left, a statue at the foot of a flight of steps leading up to a room
on the right.
The colour-composition is somewhat as follows: in the foreground left,
three figures about a table ; of these the figure kneeling with his back turned
wears a light blue mantle, yellow stockings and cap, in his left hand, a large
reddish purse; the woman facing him, who raises a saucer to her lips, has
a dark green sleeve, white head-dress and scarf; the old man seated profile
left wears a light blue turban, yellowish pink mantle and reddish pink
drapery. The table-cloth is grey-white, the column and statue, purplish grey.
In the group, second plane to right: blond figure to extreme right, bluish
white sleeves and shirt, pinkish stockings ; the baker, faded pink shirt, greyish
white sleeves and stockings ; the tall prominent figure behind the latter, yellow
shirt, yellowish stockings with pinkish lights in them. In the group on the
steps: the first figure to the left (kneeling), light pink mantle, white sleeves
and waist-band, yellowish white vest, pink stockings; the figure that seizes
the latter, green sleeves; the lower of the two figures descending the steps,
dark violet mantle, greyish white legs; uppermost figure on the steps is
blond and wears yellowish white shirt and pinkish tights. Figures in the
door of the room above : figure on the left, blue vest and red legs ; figure lying
down, dark greyish pink; figure to the right, reddish yellow shirt, reddish
stockings. The walls are grey-green, the stairs a lighter tone of the same
colour, the pilasters, purplish grey, the ground, grey-green.
Oil on wood. H. .58, w. .50.
Exhibited (No. 221) at Burlington House in 1881 ; a second
time with the following ; a third time with the following at the
Grafton Galleries (Nos. 33 and 35) in 1911. Originally
164
AUTHENTIC PICTURES
ascribed to Andrea; by Crowe and Cavalcaselle (III, 585),
followed by Hutton, Phillips, Berenson and others, correctly
to Pontormo. Waagen thought that the subject was perhaps
" Saint Roch Distributing Alms," but the episode that the
picture really illustrates is to be found in Genesis, xxxvii, 36.
Phillips considers this and the following panel to be in " a style
of portentous exaggeration ... an energetic, arrogant, self-
conscious manner/' and adds that "they are identical in style
with 'Joseph in Egypt' of the National Gallery and may well
belong to the same series." It is, of course, perfectly clear that,
like No. 32 of this collection, they are "cassone" decorations
and were painted at the same time as the National Gallery
picture for Pierfrancesco Borgherini. See the preceding and
the following and under London, National Gallery.
Condition: excellent.
Date: 1517-1518.
Drawing : for one of the figures descending the stairs, a study from the
nude, Uffizi 6690 (fig. 29; photo. Houghton).
Reprod. Fig. 27.
Bibl. Vasari, V, 343 ; VI, 261 ; Waagen, Treasures of Art, 1854, III, 12 ;
Graves, op. cit., II, 942; Crowe and Cavalcaselle, 1864-1866, III, 585; Fry
and Brockwell, catalogue cited, p. 36 ; Phillips, Daily Telegraph, October 18,
1911 ; B. F. P. R., p. 176 ; Dessins, 34, 39, 67, 237, 256.
35. JOSEPH SOLD TO POTIPHAR
Composition of twenty-eight figures. The scene takes place before a
palace with high arched vestibule, the entrance of which has columns on
either side ; in front of this entrance, a terrace on which, to the right, a statue
of "Charity."
The colour-composition is somewhat as follows: youth on horseback to
left, pinkish red robe and cap ; man behind him on horseback, red shirt, blue
mantle, grey-blue cap; youth in foreground left, with his back turned,
blond hair, light yellow jacket, pink stockings; figure beside him bending
down, yellow shirt, violet stockings; man behind the latter figure, red shirt,
blue mantle, grey-blue cap; boy in foreground profile right, yellow-grey
tunic; youth whose head and shoulders show above the latter, yellowish
orange tunic ; figure in second plane behind the latter, dark violet tunic ; old
man in foreground right, facing left, yellow shirt, pinkish mantle, white
head-dress; child to his right, pinkish red drapery; figure above the latter,
blue, with violet-grey cap. In the background: figure to extreme left, dark
violet; figure seen through the left window, red and brown; two figures on
horseback, palest blue and violet-brown; figure in the portal, violet-brown;
old man walking to right, pale blue tunic, light violet cap; man descending
165
PONTORMO
steps, green ; statue, grey- white ; old man descending steps in front of statue,
pinkish red vest, green drapery, violet stockings ; boy walking away to right
behind the parapet, yellow-grey cloak. The foreground and background,
grey-green with here and there purplish lights.
Oil on wood. H. .58, w. .50.
See the preceding.
Condition: excellent.
Date : 1517-1518.
Drawings : sketch of the lower part of the figure descending the upper
stairs to the right, Uffizi 6556 (fig. 31 ; photo. F. M. C.) ; study for the youth
who walks away to the right on the marble terrace to the right, Uffizi 6692
verso (fig. 32; photo. F. M. C.).
Eeprod. Fig. 30.
Bibl. See preceding and Catalogue of an Exhibition of Old Masters,
Graf ton Galleries, p. 38 f . ; Dessins, 34, 39, 67, 83, 239, 256.
"IL FATTORE DI SAN MARCO"
Three-quarter length, standing ; nearly life-size ; the torse turned three-
quarters left; the head nearly full face and inclined slightly to the left; the
eyes look at the spectator. He wears a large black hat and a green-black
robe, with large sleeves, open at the front showing a pinkish red lining and
a white shirt; the right arm is bent, the hand thrust into the opening of the
mantle ; the left arm extended at side, the thumb thrust in a low belt. Back-
ground, grey-green with a shadow to the right.
Oil on wood. H. .94, w. .71.
Ascribed to Andrea — ascription confirmed by Crowe and
Cavalcaselle who found it " masterly and bold in handling."
Gamba, who erroneously gives the title as "Pastore di San
Marco," believes it to be a Puligo, although it is quite obviously
a rather early and striking Pontormo. Exhibited at Burlington
House (No. 153) in 1881 as an Andrea, and at the Grafton
Galleries (No. 64) in 1909-1910. There is an old replica in the
Palazzo Ricasoli in Florence.
Condition: excellent.
Date: 1525-1530.
Reprod. Photo. Braun 37398 ; fig., article by Gamba cited below.
Bibl. Waagen, Treasures of Art, 1854, III, 11 ; Crowe and Cavalcaselle,
1864-1866, III, 585; idem, ed. Dent, III, 513; idem, ed. Murray, VI, 201;
Catalogue of the National Loan Exhibition, London, 1910, p. 96; Catalogue
of the National Loan Exhibition, Ballantyne & Co., p. 64 ; Gamba, Di alcuni
ritratti di Puligo, Rivista d'arte, VI (1909), 280; B. F. P. R., p. 176.
166
AUTHENTIC PICTUBES
PARIS
Jacquemart- Andre Collection
PORTRAIT OF A LADY
Half-length; turned three-quarters left; she looks at spectator. In
her left hand, a book which lies on a table to the left, her second finger between
the leaves; her right hand half closed, the index finger pointing towards the
spectator. She wears a dark dress; over her head and shoulders, a double
white veil. On the violet-brown table, a handkerchief ; to the extreme left one
sees the head and forepaws of a little brown and white dog. Dark olive-green
background.
Oil on wood prepared with a layer of ' ' gesso. ' '
Provenance unknown; acquired as a Bronzino; now cor-
rectly ascribed to Pontormo of whose later work it is an
excellent specimen.
Condition : slightly damaged but practically unrestored ; cracked on the
right side and along the top; along the left side the paint has peeled for
a distance of about two centimetres.
Date : 1540-1550.
Reprod. Fig. 151 ; photo. Bulloz.
Louvre
1240. HOLY FAMILY
In the centre, the Virgin seated, three-quarters to right, her head three-
quarters left, in the lap of St. Anne who is seen full face. The Madonna
holds against her right shoulder the Infant Jesus who stands full face on
her knee. His head is turned three-quarters right; he looks at the Madonna.
Under this central group, clouds. On either side, standing figures: to the
left and above, St. Sebastian, his head profile right, his neck pierced by an
arrow; he holds a palm; below in the foreground, St. Peter, three-quarters
right, holding in his right hand the keys; to the right, above, the penitent
thief, profile left, holding a large cross ; in the foreground below, St. Benedict,
profile left, who points with his left hand to the Christ Child. Below the
clouds at the Madonna's feet, a medallion of small figures — the Signoria of
Florence proceeding with trumpeters, mace-bearers, and " tavolaccini " to the
convent of St. Anne.
The Madonna wears a red tunic and mauve head-dress; a green-blue
mantle falls about her knees. St. Anne's head-dress is white of a violet tone,
her mantle a grey-lavender. St. Sebastian has light brown hair and wears
a dark mauve mantle. St. Peter is dressed in a blue-green shirt and light
167
PONTORMO
red mantle ; the penitent thief in a red mantle ; St. Benedict in a grey mantle.
In the medallion, reds, blues and mauves predominate under a green-blue
sky. The cloud under the Virgin's feet is mauve. The background, a very
dark grey.
Oil on wood. H. 2.28, w. 1.76.
Vasari (VI, 272 f.) states that the officers of the Signoria
ordered this altar-piece for the nuns of St. Anne in Verzaia,
whose convent (founded in 1318) was once outside the San
Frediano gate. His statement explains the medallion at the
feet of the Virgin. The members of the Signoria went
annually (Richa, IV, 222) in solemn procession to this convent
on the 26th of July in commemoration of the successful rebellion
of the people against the tyrant Gualtieri of Brienne, Duke of
Athens. The revolt began on the 26th of July, 1343. Milanesi
refers to this fact. A misinterpretation of his note on our
panel would seem to have led certain critics to give its date as
1543 (Berenson, F. P. R., p. 176 ; Seymour de Ricci, Description,
p. 43; Goldschmidt, op. cit., p. 47). Conte Gamba erroneously
places it in 1524 (D. ,G. U., p. 3). It was painted, however, in
the years immediately preceding the downfall of the Republic,
probably in 1528. After leaving their original convent the nuns
occupied successively several buildings (Cronica di Buonac-
corso Pitti, p. 4, note) among them those of the hospital of
Sant' Eusebio de' lebbrosi sul Prato where Richa saw our
picture on the main altar of the church called then Sant' Anna
sul Prato. It was brought to the Louvre by Napoleon. The
composition, which Gamba finds "ammucchiata," recalls, in
the central group, Leonardo's " Madonna and St. Anne" of the
Louvre and, in the standing saints, many of Fra Bartolommeo's
larger pictures. The St. Sebastian resembles the Sebastian
from Diirer's workshop, now in the archbishop's palace at Ober
St. Veit near Vienna.
Condition : badly cleaned but not seriously injured.
Date : about 1528.
Drawings: a finished, squared study, in pen and bistre, for the whole
composition, Uffizi 460 (fig. 105 ; photo. Braun, Florence 133 and F. M. C. ;
B. F. D., pi. CLXXI). In the same collection (No. 13890, photo. Pini 1322)
there is a late sixteenth century copy (h. .271, w. .197) of this drawing. It
168
AUTHENTIC PICTURES
is also in pen and bistre. Berenson (B. F. D., I, 320; II, 150) considers
Uffizi 6681 to be a study for the Madonna's head. In my opinion this latter
drawing is a sketch by Bronzino after a lost picture by Pontormo for which
Uffizi 6729 is perhaps the original study.
Documents : The books of the Signoria for the period from which this
panel dates have perished.
Keprod. Fig. 104 ; photo. Braun 11240 ; Landon, VI, pi. XX.
Bibl. Vasari,VI, 272 1; Richa, IV, 220 ff.; Borghini, II Riposo, ed.
1730, p. 484; Notice des tableaux des ecoles primitives, 1814, No. 96, p. 81;
Filhol, XVI, 21-24; Catalogue Villot, No. 157, p. 92; Catalogue Tauzia, No.
142 ; Notice des tableaux exposes dans la galerie du Musee royal, Paris, 1826,
pp. 218 f. ; Jacobsen, Repertorium, XXV (1902), pp. 185 f. ; Pietro Passerini,
Storia degli stabilimenti di beneficenza di Firenze, Firenze, 1853, 125 ff. ;
Passerini, Curiositd storico-artistiche fiorentine, art. Degli Orti Oricellari}
Firenze, 1866, p. 3 ff. ; Miintz, Renaissance, Paris, 1895, III, 499; Guido
Carocci, III. fior., 1906, p. 96 f . ; Seymour de Ricci, Description, p. 40 ; B. F. D.,
I, 320 ; II, 338 ; B. F. P. R., 176 ; Gamba, D. G. U., 1912 ; Dessins, pp. 21, 22,
35, 40, 56, 71, 97, 103, 104, 115, 160, 163, 230, 284, 342.
1241. PORTRAIT OF AN ENGRAVER OF PRECIOUS STONES
Half-length; turned three-quarters to the right; the head turned a
little to left; eyes look three-quarters to left. He is clean shaven; his long
dark hair falls about his ears. He wears a four-cornered black hat with raised
lappets, a dark coat with full sleeves and fur collar; at his throat, a small
embroidered ruche. In his right hand he holds a burin. In front of him
and to the right, the handle of a dagger (?) in which is set a jewel. Dark
background.
Oil on wood. H. .69, w. .50.
From the collection of Louis XIV (Catal. Le Bran, 1683,
No. 285) ; once at Versailles (Catal. Paillet, 1695), in the Petite
Valerie du Roi (Catal. du ler nov. 1695; Catal. Bailly, 1709) ;
then at the Surintendance, in the Salon du Directeur des
Batiments (Catal. Jeaurat, 1760) ; described by Lepicie (1752).
Villot conjectured without foundation that the person repre-
sented is Giovanni delle Corniole (1470-1516). This is
probably the earliest known portrait by Pontormo. The
influence of Andrea is manifest, but already the touch of intro-
spection in the eyes could only be Jacopo's. Miintz finds the
colouring "pousse au noir" — a quality we of course owe, not
to Pontormo, but to the discoloration of old varnish. Salle VI.
A. Nord.
Condition : good but much darkened.
Date : about 1516.
169
PONTOKMO
Reprod. Fig. 10 ; engraved by Potrel ; photo. Braun 11241 ; Filhol, II,
pi. 83; Landon, VI, pi. 21; Vasari, trans, de Vere, VII, 174 (in colour).
Bibl. Filhol, Galerie du Musee Napoleon, XVI, 21-24 ; Catalogue Villot,
No. 158, p. 93; Catalogue Tauzia, No. 143; Lepicie, I, 47; Engerand, Inven-
taire, I, 37 ; Notice des tableaux du Musee royal, pp. 218 f . ; Miintz, Renais-
sance, p. 499, Laf enestre, No. 1241 ; B. F. P. R., p. 176 ; Seymour de Ricci,
op. cit., pp. 40 f.
PHILADELPHIA
Johnson Collection
83. PORTRAIT OF ALESSANDRO DE' MEDICI
Half-length seated figure turned three-quarters left. In his left hand
he holds a sheet of paper on the corner of a table, in his right hand a stylus
with which he draws, on the paper just mentioned, the head of a woman. He
is beardless and has a swarthy complexion ; he wears a black cloak and a biretta
with lappets. The background is a wall and door ajar; to the extreme left
it is a rich brown melting into dark grey, behind the head dark red and,
where the door stands open, light grey.
Oil on wood. H. .97, w. .79.
Mentioned and described by Vasari (VI, 278) who states
that Pontormo first made a miniature of the Duke "per piu
commodita" and then the portrait. The former, once in the
Guardaroba of Cosimo I, has disappeared. The latter, of which
all trace was lost for more than three hundred years, I have
had the good fortune to identify with the present panel. In
the middle of the sixteenth century even the Medici family did
not know what had become of this portrait, and sometime
before 1568 the Grand Duke offered a reward for information
as to its whereabouts. Several years later his offer brought
the Eegent Ferdinando a letter (November 23, 1571) from a
certain Costantino Ansoldi, a former servant of Alessandro's,
to whom the latter had entrusted the bringing-up of his natural
son, Giulio de' Medici. This interesting document is still
preserved in the Florentine Archives and was first printed by
Gualandi who did not connect it with Pontormo because in
his transcription the painter's name appears as Jacopo da
Ponte. Carnasecchi, who perceived its relation to Vasari 's
170
AUTHENTIC PICTURES
description of Pontormo's portrait of Alessandro, reprinted it
in the Rivista d' arte, although he was unaware that the portrait
still survives. From it we learn several new facts. Our por-
trait was painted, it would seem, in Palazzo Pazzi just after
the death of Clement VII, Alessandro 's father, for whom he
is represented in mourning attire. Later on Alessandro gave
Costantino the portrait as a reward for good service, and he
in turn gave it, after the Duke's death, to Taddea Malespina.
Such, at least, is the old courtier's story, in regard to which we
should add by way of comment, that, according to Vasari, it
was Alessandro himself who gave the picture to Taddea.
Costantino goes on to say that, by making inquiries of Giulia
Malespina, a daughter of Taddea 's who lived in Ferrara, he
found that, at the death of Taddea, the panel had passed into
the hands of Alberico Cybo, lord of Massa and husband of
Ricciarda Malespina, Taddea 's sister. With this information
he forthwith went to Pisa and laid his case before Giulio,
Alessandro 's son, who promised to help him and who was
actually able to induce the Lord of Massa to hand over the
picture. But instead of giving it in turn to Costantino so that
he might present it to the Grand Duke and claim the reward
offered for finding it, Giulio had a wretched copy made which
was begun by Vincenzo, painter to Giulio, and finished by
Salvio, painter to Cavalier Somo. This copy Costantino
indignantly refused to accept. The identification of our panel
with Pontormo's long lost portrait rests not only upon the fact
that it corresponds exactly to the descriptions of the work given
by Costantino and Vasari but also upon the striking resemblance
it bears to other known portraits of Alessandro. We may
compare it with Vasari 's portrait of the Duke, now in the
Umzi (No. 1281), which Pontormo himself criticized at the
young Vasari 's request (VII, 657) and which the latter
describes in a letter to Ottaviano de' Medici; with Bronzino's
portrait of Alessandro, now in Bergamo; with the modified
replica of the latter, until recently in the Thode Collection,
at Heidelberg; with a "bottega" copy of the Bergamo panel,
now in the corridor between the Umzi and the Pitti and labelled
171
PONTOKMO
in lettering of the sixteenth century ALEX • MED • FLOR •
DUX • I • LAURENS • F - Bronzino's portrait of the Duke, its
replicas and its copy are all derived from the present panel
which is also the prototype of Vasari's likeness of Alessandro
in the fresco of "Clement Crowning Charles V," Sala di
Clemente VII, in the Palazzo Vecchio (photo. Alinari 4429).
The date of our portrait falls in the interval between the death
of Clement and the assassination of Alessandro. But these
terminal dates are brought nearer together by two additional
facts: the Duke is represented in mourning and Vasari dis-
tinctly states that the panel was contemporaneous with the
"Venus and Cupid." It can, therefore, only have been painted
in the autumn of 1534 or in the spring of 1535. From an
iconographical point of view it is an important document and
will serve as a criterion with which we may compare other
likenesses of the Duke. These are not very numerous. A
portrait (No. 96) described as "Alexandre de Medicis" (h. 17,
w. 13 in.), ascribed to Bronzino and once in the Nesselrode
Collection, was sold at the Fifth Avenue Art Galleries on April
6, 1911. It had formed part of the Brandus Galleries and passed
into the hands of Mr. Walter Armann. Another portrait of
Alessandro, "bust figure, wearing armour partly covered by a
cloak" (panel, 25| by 13 in.) went at the Doetsch sale (No. 156)
for thirteen guineas. It came from the Orleans Gallery, was
ascribed to Bronzino, although seemingly only a poor "bottega"
copy of a lost original, and bore the inscription : ALE SANDER •
MED • FLOR • D • I • (Catalogue of the Doetsch Collection, p.
45). There was, according to Frizzoni, a poor copy of the
Bergamo copy in the collection of Lord Dudley, in London.
Kenner mentions a bust portrait, turned slightly to the left,
in the collection of Ferdinand von Tirol (No. 385) inscribed
on the back: ALEXANDER • MEDICI • FLORENTIE •
(SCIL • DUX) ; cf. Jahrbuch d. kunsthis. Samml. d. Allerhoch.
Kaiserhauses, XVIII (1897), 153. The medal of the Duke
ascribed to Domenico di Polo in the Lanna Collection is
derived from Vasari's portrait of Alessandro, now in the
Uffizi or from a similar lost portrait. Cf . also Vasari, V, 384.
172
AUTHENTIC PICTURES
Four medals of the Duke by Cellini are known and two others
have been ascribed to him. We also have three with the mark
$ which Fabriczy attributes to Domenico di Polo; one by an
unknown artist of the second quarter of the sixteenth century ;
one by Francesco da San Gallo bearing the date MDLXX ; one
from the end of the century bearing on the reverse a rhinoceros,
which Cicognara thought to be the work of Francesco dal
Prato. These last are, of course, of no iconographical signi-
ficance. Francesco dal Prato 's ' * medaglia ' ' was really a circular
bas-relief that with others was part of the ornamentation of
the Fortezza da Basso, in Florence (Vasari, VII, 43). Cf.
Catalogue de la collection Spitzer, Paris, 1893, p. 233 ; Armand,
Medailleurs italiens, 2e ed., I, 141, 147, 151, 157; II, 150, 151;
Litta, Famiglie italiane, No. 17; Catalogue von Lanna, p. 13,
15, 153, 154.
Condition: recently restored; several vertical furrows have formed
where the panel has shrunk but the paint has not been seriously broken,
although cracked here and there.
Date: 1534-1535.
Document: A. S. F., Carteggio mediceo del Principato, filza 567, c. 187
and 225.
Reprod. Fig. 124. Battista Franco made a copy of this portrait which
has been lost (VI, 575) ; fig., Johnson Catalogue, p. 283; fig., Eassegna d'arte,
article cited below.
Bibl. Vasari, VI, 278, 575; VII, 657; Gualandi, Nuova raccolta di
letter ef III (1856), 62 f.; Carnasecchi, Rivista d'arte, V (1909), No. 1;
F. M. Clapp, Rassegna d'arte, XIII (1913), 63-66; Frizzoni, La Galleria
Morelli in Bergamo, Bergamo, 1892, p. 19; Archivio storico, V (1893), 222;
Johnson Catalogue, p. 45.
POGGIO A CAJANO
The Great Hall in the Royal Villa
LUNETTE: VERTUMNUS AND POMONA
The composition is pierced in the centre by a bull's-eye window and the
figures are arranged on two parapets.
Right half of the lunette, lower parapet : to the left, a woman reclining
from right to left, her back turned; her complexion is pale; she wears a
light blue head-dress, a grey-violet dress, a red drapery across her arms,
173
PONTORMO
her white under-sleeves rolled up at the elbows. To the right, a woman
reclining from right to left facing; she has an olive complexion and light
brown hair in which a violet bow and she wears an olive-green dress with
white scarf and violet sleeves; her left elbow rests on an orange drapery.
Right half of the lunette, upper parapet : to the left, a nude child with blond
hair seated facing, his right foot on the parapet, his left leg hanging down;
he holds up, by a light blue ribbon, the great garland of green leaves and
golden fruit which passes under the bull's-eye and of which the other end
is held up by the nude boy, on the same parapet, on the other side of the
lunette. To the extreme right, on the upper parapet, a woman seated astride
of the wall, her right arm extended downward at her side, her hand upon
the parapet, her left arm raised, her hand grasping a laurel branch; she is
fair and wears a red dress with light blue sleeves, a white kerchief and white
head-dress.
Left half of the lunette, lower parapet: a youth seated facing on an
orange drapery, his legs extended to the right; he supports himself on his
right hand, his left hand grasping the handle of a basket; he is dressed in
a light mauve tunic with white under-sleeves and green leggings ; at his waist
a grey wallet; to his left, a light orange-coloured dog. To the extreme left,
an old peasant seated nearly full face, his legs drawn up in front of him,
his left hand on his right knee, his right hand on a basket which is placed
to his right; he is dark complexioned and wears a yellow jacket and white
under-shirt that falls between his knees. Left half of the lunette, upper
parapet: a nude blond boy turned slightly to the left and seated astride of
the parapet; his right hand rests on the top of the wall beside him, his left,
extended downward, holds the pale blue ribbon of the garland that passes
under the bull's-eye. To the left, a nude youth seated on the parapet against
a green bush; his legs are spread apart and his body bent back to the left;
his right elbow rests on top of the wall beside him, his left hand is raised
to a laurel branch above his head ; he has brown curly hair ; under him there
is a violet drapery, one end of which he holds up in his left hand. At the
top of the bull's-eye to right and left, a "putto" seated on laurel branches
that spring from the upper circumference of the window. The "putto," to
the left, holds an ensign on which, letters now illegible; the "putto," to the
right, holds a standard on which : I • V • P • P. On a decorative cartouche
over the centre of the bull's-eye: STVDIV) QVIBVS ARVA| TVERI; on
a round cartouche under the bull's-eye: GLO|V:S; on the lower parapet to
the extreme left : I • F • P • The parapets are yellow-grey ; the background,
dim mountains and clouds seen through a pale blue-violet summer haze.
Fresco. Lunette, h. 4.61, w. 9.90. The bull's-eye with its decorative
frame is 3.20 in diameter. p
Pontormo's masterpiece in mural painting. The decora-
tion of the Great Hall was undertaken at the instance of Leo X
in memory of his father, Lorenzo. Paolo Giovio, who in 1519-
1521 was in Florence in the train of Cardinal Giulio de' Medici,
selected the subjects to be treated (V, 195). He evidently
suggested to Jacopo the somewhat unusual one of Vertumnus
174
AUTHENTIC PICTURES
and Pomona. Earlier representations of the myth do exist in
Italian art as, for example, in the "Hypnerotomachia Poli-
phili" of Frate Francesco Colonna, written in "italiano
maccheronico" in 1467 and printed in Venice, "decembri MID
aedibus," by Manutius with woodcuts ascribed to Giovanni
Bellini and Sandro Botticelli, in which the deities are repre-
sented in triumphal cars. The story is found in Ovid (Met. B.
14, 623-697) and no divinity more fitting than Pomona — "qua
nulla Latinas, Inter Hamadryadas coluit sollertius hortos" —
could have been chosen to preside over a villa and its gardens.
It will be noticed that, in certain details, Pontormo follows
Ovid closely. In the fresco there is a wall that separates her
garden from the world — "pomaria claudit intus." And
Vertumnus, who went through a thousand changes to win
Pomona, is represented here as a reaper and has a basket at
his side :
1 l 0 quoties habitu duri messoris aristas
Corbe tulit, verique fuit messoris imago !"
In Pontormo 's work the types and costumes are, of course,
unaffected by any mere archeological accuracy. He followed
his fancy with a free hand.
Ottaviano de' Medici was appointed superintendent of
the work at Poggio, and Andrea di Cosimo and Franciabigio
decorated and gilded the ceiling (V, 195). The latter painted
on one of the side-walls "The Triumph of Cicero," and Andrea
del Sarto painted on the other "Ca3sar Receiving Tribute"
(V, 36), which was finished by Alessandro Allori in 1580. To
Pontormo was assigned the decoration of the end-walls, the
upper parts of which are in the form of lunettes. He began
with the lunette of the interior wall. Just after it was finished
Leo X died and the work was suspended. Crowe and Caval-
caselle expressed the quite amazing opinion that both Andrea's
and Franciabigio 's work at Poggio is far above Pontormo 's.
After the siege of the city Clement VII wished to complete
the decoration of the Hall and gave Pontormo a commission
for the entire undertaking (VI, 275 f.). But Jacopo never got
175
PONTOEMO
beyond preparing his cartoons, which later passed in part
into the possession of Lodovico Capponi. These represented
' 'Hercules and Anteus," "Venus and Adonis," and "Nudes
Playing at Calcio." A large drawing (completely ruined) for
the latter cartoon is now in the Uffizi (No. 13861). The
decoration of the Hall was finally finished by Alessandro Allori
to whom in great part its present appearance is due.
Condition: Although thoroughly cleaned and restored by Alessandro
Allori, and retouched on several later occasions, it is comparatively uninjured.
Allori speaks of his restoration in his "Ricordi" (Supino, Biblioteca delta
rivista d'arte, Firenze, 1908, pp. 28 f.) : "1582. Ricordo questo di 18 di
settembre come e restata finita la sala del Palazzo del Poggio a Caiano detto
il Salone, luogo di S. A. S. doue ho lavorato piu mesi in diuersi tempi auendo
rif atto molte braccia e lauato e netto tutto quello che ui era f atto sino a tempo
di papa Leone X; e ui lauoro Andrea del Sarto, Jacopo da Puntormo, e
Francesco Bigio ; ... La pittura che f ece m° Jacopo da Puntormo fu uno
arco sopra la porta e finestre che guardano verso Firenze, il quale ho rinetto
e lauato e rif atto 1' aria."
Date: 1519-1521.
Drawings: possible first thoughts for the whole composition, Uffizi 454
(fig. 73; photo. Pini; Alinari; B. F. D., pi. CLXX; fig., Vita d'arte, 57,
p. 5; Goldschmidt, op. cit.) ; Uffizi 455 (fig. 74; photo. F. M. C.) ; first ideas
for the same, Uffizi 6660 verso (fig. 53; photo. Houghton; fig., Vita d'arte, 57,
p. 6) ; Uffizi 6742 verso (photo. F. M. C.).
For individual figures; right half of the lunette, lower parapet: first
idea for the woman to the left, Uffizi 6557 (fig. 54 ; photo. Houghton ; F. M. C. ;
D. G. U., pi. IX) ; finished study for the same, Uffizi 6673 recto (fig. 55 ;
photo. Houghton) ; for the woman to the right, sketches for the whole figure,
Uffizi 6515 verso (fig. 57; photo. F. M. C.) ; Uffizi 6514 (fig. 56; photo.
Houghton; F. M. C.) ; Uffizi 6544 (fig. 59; photo. Houghton); Uffizi 6555
(fig. 60; photo. Houghton) ; finished study, Uffizi 6673 verso (fig. 58; photo.
F. M. C.) ; first ideas for the boy to the left, upper parapet, Uffizi 6512;
Uffizi 6646 (fig. 65 ; photo. Houghton) ; Uffizi 6669 recto and verso (figs. 67
and 68; photo. Houghton; F. M. C.) ; Uffizi 8976 recto (fig. Vita d'arte, 57,
pi. II) ; 8976 verso (idem, pi. VIII) ; first ideas for the woman to the right,
upper parapet, Corsini 124243 verso (photo. F. M. C.) ; Uffizi 6557 (photo.
Houghton ; F. M. C. ; D. G. U., pi. IX) ; first thought for the head and shoulders
of the same, Uffizi 6632 (photo. Houghton; Pini; D. G. U., pi. II) ; possible
first idea for the drapery of the same, Uffizi 6667 verso ; first thought for the
drapery, Uffizi 6437 recto and verso; study for the folds of the drapery,
Uffizi 6519 verso; finished study for the drapery, Uffizi 6530 (photo. Hough-
ton) ; sketch for the right leg, Uffizi 6728 verso; first thought for the whole
figure, Uffizi 6662 verso (fig. 62; photo. F. M. C.) ; finished study for the
upper part of the figure, Uffizi 6531 (fig. 63; photo. Houghton); finished
study for the head, Uffizi 6547 (fig. 64; photo. F. M. C.) ; first ideas for the
"putto" to the right above the bull's-eye, Corsini 124240 (photo. F. M. C.) ;
176
AUTHENTIC PICTURES
Uffizi 6660 (photo. Houghton; F. M. C.; fig., Vita d'arte, 57, p. 9) ; jotting
for the head of same, Uffizi 6728 verso.
Left half of the lunette, lower parapet : study for the arm of the youth
to the right, Uffizi 6559 recto (fig. 70; photo. F. M. C.) ; possible first thoughts
for the peasant (Vertumnus) to the left, Uffizi 6515 (photo. Houghton;
F. M. C.) ; Uffizi 6599 (photo. Houghton) ; Uffizi 6685 recto (fig. 71 ; photo.
Houghton) ; Uffizi 6685 verso; first thoughts for the same, Uffizi 6530 verso
(photo. F. M. C.) ; Uffizi 6590 (photo. Houghton) ; finished study for the
head, Uffizi 6579 (fig. 72 ; photo. Houghton) ; finished study for the boy to
the right, upper parapet, Uffizi 6651 (fig. 69 ; photo. Houghton) ; possible
first thoughts for the youth to the left, upper parapet, Uffizi 6632 (photo.
Houghton; Pini; D. G. U., pi. II) ; Uffizi 6634 (photo. Pini) ; first idea for
the "putto" to the left over the bull's-eye, Uffizi 6660 (photo. Houghton;
F. M. C. ; fig., Vita d'arte, 57, p. 9) ; sketches for the same, Uffizi 6511 and
6559 verso; study for the same, Uffizi 6661 (fig. 66; photo. Houghton).
Reprod. Fig. 50 ; fig. 51, right half of the lunette ; fig. 52, left half of
the lunette; photo. Perazzi; Alinari 29442, 29443, 29444; fig., Vita d'arte, 57.
Bibl. Vasari, V, 36, 195 ; VI, 265 ; Borghini, II Biposo, ed. 1730, p. 393 ;
Allegrini, Pitture, Firenze, 1751 ; B. F. D., I, 310-312, 314, n., 316, 317 ; II,
138, 139, 140, 141, 142, 143, 144, 145, 146, 148, 149, 150, 153 ; B. F. P. R., p.
175 ; Alessandro Allori, Ricordi, 28 f . ; Dessins, 20, 34, 39, 55, 56, 68, 98, 99, 100,
101, 114, 118, 121, 122, 123, 124, 125, 128, 131, 135, 136, 138, 141, 142, 144,
146, 147, 151, 152, 153, 154, 155, 165, 171, 173, 175, 176, 177, 180, 181, 185,
186, 195, 196, 197, 203, 206, 207, 212, 213, 214, 215, 218, 220, 221, 224, 227,
232, 233, 236, 261, 262, 264, 270, 271, 272, 273, 278, 282, 283, 292, 307, 328,
329 ; On Certain Drawings, 8 f ., 20 f . ; Jacobsen, Repertorium, XXI, 282 ; Di
Pietro, Due disegni di Jacopo da Pontormo, Vita d'arte, 57, 1912; D. G. U.,
p. 2.
PONTORMO
San Michele
ST. MICHAEL
Full-length; turned three-quarters right; head three-quarters left; the
eyes look at the spectator; weight on left leg, the right leg bent, the foot
resting on the shoulder of a "putto" seated on the ground. In the saint's
left hand, a pair of balances ; in his raised right hand, a broad sword ; behind
him one dimly sees his great grey-white wings. He wears a greenish silvery
cuirass, cubitiere, grey purplish chausses, orange-yellow greaves, and a purplish
grey drapery which passes over the left shoulder and across the waist; his
white tunic puffed at the shoulder is visible on the right arm. He has dark
brown, curly hair. The "putto" seated between his feet is turned three-
quarters right ; his right arm extended at his side, his left hand extended up
and to the right holding a globe; his right leg bent, his left extended right;
his head inclined on his left shoulder, the eyes looking up. Dark background.
Oil on wood covered with a thin layer of "gesso." H. 1.80, w. (at
bottom) .55; (at top) .70.
177
PONTORMO
Mentioned by Vasari (VI, 259). This panel which
occupies the space to the right of the shrine is a pendant to
the following which occupies the space to the left. Originally
on the altar of the Madonna.
Condition: darkened and chipped here and there but practically
unharmed. The panel was cut in the seventeenth century to fit the gilded
frame of the altar-shrine. This reduction of the picture sacrificed part of the
scales, the left forearm, part of the left wing, right forearm and hand of
St. Michael as well as the back of the "putto."
Date: 1518-1519.
Drawings: finished study for the legs of the saint, Uffizi 6506 (fig. 40;
photo. Pini; Houghton; Perazzi; F. M. C. ; fig., Rivista d'arte, III, 149);
the right foot is studied again on the same sheet; the hands of the saint are
sketched on Uffizi 6571 (fig. 37; photo. F. M. C.) for which, see the following.
Documents: The earliest books of this parish that now remain in the
church date from 1664; the earliest in the Florentine Archives, from 1533.
The church belonged to Santo Stefano dei Cavalieri di Pisa. Perhaps among
the records of the latter church, some of which are in the Archives of Pisa,
documentary evidence about this picture might be found.
Reprod. Fig. 36; photo. Perazzi; fig., article cited below.
Bibl. Vasari, VI, 259; Odoardo H. Giglioli, II San Giovanni Evange-
lista ed il San Michele dipinti da Pontormo per la chiesa di San Michele a
Pontormo presso Empoli, Rivista d'arte, III, 146; B. F. D., I, 314; II, 141;
B. F. P. R., p. 176 ; Dessins, pp. 11, 34, 39, 47, 68, 118, 161.
ST. JOHN THE EVANGELIST
Full-length ; nearly profile right ; the head nearly full face and inclined
on the right shoulder ; the eyes gaze up and left ; weight on right leg, the left
crossed over the right, the toes only of the foot resting on the ground; the
right arm bent and raised to a large tablet on which he writes with a quill.
He is bald and wears a long white beard. He is dressed in a tunic and
voluminous dark green mantle gathered in great folds about the hips; the
lining of this mantle is red; a white tunic shows at the wrists. Background,
grey-green.
Oil on wood covered with a thin layer of "gesso." H. 1.80, w. (at
bottom) .55, (at top) .70.
Mentioned by Vasari; pendant to the preceding. Origi-
nally on the altar of the Madonna.
Condition: chipped here and there along the edges and on the robe
and feet; darkened with varnish and smoke. The panel has been cut down
to fit the space to the left of a seventeenth century carved and gilded frame
of the altar-shrine ; part of the tablet, right hand and left side of the figure
were sacrificed on that occasion.
178
AUTHENTIC PICTURES
Date : 1518-1519.
Drawing : finished study for the whole figure, Uffizi 6571 (fig. 37 ; photo.
F. M. C.; fig., Rivista d'arte, III, 148; D. G. U., pi. I). On the same sheet
one finds a study that Berenson believes to be for the left hand of our St.
John. It is, however, for the left hand of St. Michael ; ef . the preceding.
Documents : see the preceding.
Reprod. Pig. 35 ; photo. Perazzi ; fig., article cited above.
Bibl. See above and B. F. D., II, 144; D. G. U., p. 1; Dessins, pp.
11, 34, 39, 47, 68, 107, 161.
ROME
Galleria Borghese
75. LUCRETIA
Bust figure, the shoulders almost full face, the head turned three-
quarters right. She has an olive complexion, dark auburn hair with golden
lights, almost black eyes, lips delicately tinted. A dull green drapery is
thrown over her left shoulder. She wears an elaborate head-dress of gilded
bronze with golden lights. On the left side of this ornament one can trace
a pattern of black enamel or inlaid steel; at the top two "putti" support a
medallion on which is a little pyramid. In her left hand she holds upright a
damascened dagger with a bronze handle and a steel blade. The background
is greenish black. In the lower right corner, the inventory number 420.
Oil on slate. H. .56, w. .43.
From the original Borghese Collection. Ascribed to
Bronzino in the catalogue and by Morelli, Schulze and
-Lafenestre. Berenson gives it tentatively to Pontormo,
although there seems to be no reason to question its authen-
ticity. It should be compared with Bronzino 's " Cleopatra"
that hangs in the same collection — a picture which seems to
have been suggested by a drawing of Michelangelo's, now in
Casa Buonarotti (BB. 1655; Thode, Krit. Unters., II, 342) and
in which the influence of Pontormo is hardly discernible.
Condition: damaged here and there; on the hand some of the "impasto"
has fallen.
Date : 1529-1530.
Reprod. Fig. 119 ; photo. Moseioni ; Brogi 15881 (as Bronzino) ; Gowan's
Art Books, Masterpieces of Bronzino, No. 18.
Bibl. Lafenestre, Rome, p. 14; Venturi, Galleria Borghese, 1893;
Morelli, op. cit., p. 130 ; B. F. P. R., p. 176.
179
PONTORMO
408. PORTRAIT OF CARDINAL SPANNOCCHI CERVINI
Three-quarter length. He is seated in a Dante chair and is turned
three-quarters left; he has curly dark brown hair and beard and is growing
bald ; he wears a scarlet watered silk robe and cape, his purple cassock showing
at neck and wrists, embroidered white sleeves and white collar; on his head
a scarlet biretta. In front of him, a table covered with a carpet of black and
yellow arabesques on a red ground and bordered with a black and white
pattern picked out in yellow, red, and green; in his hands, resting on the
table before him, he holds a book on which is inscribed at the top of the page
and half hidden by his thumb: JP°| ...MO; farther down the page one
perceives a large K and VNA . . . M, but the rest is illegible. On the upper
part of the opposite page one reads: MARIO ( ?). To the right of the book
a silver bell with figures — a Charity and a Pelican — in relief and a red
woven handle ending in three tassels. Behind the sitter, to the left, the wall
of the room is made up of small black panels, framed in light wood, with a
small pattern in "tarsia" or in Spanish stamped leather on which is repeated
three times the arms of the Spannocchi of Siena and of the Cervini. Above
these panels, the grey-green stone cornice of the room. On the right in the
background, a Renaissance cupboard with pediment, ionic pilasters surmounted
by masques, four drawers and two doors.
Oil on wood. H. 1.03, w. .84.
Provenance unknown; not mentioned by Vasari; long
ascribed to Raphael. Morelli was the first to notice that this
portrait is clearly a Pontormo, although strangely enough he
compared it with the unauthentic full-length portraits of Cosimo
Vecchio and Cosimo I (once Uffizi 1267 and 1270, and really
by Vasari), which are now in the Palazzo Vecchio. The pose
he thought was inspired by Raphael's " Portrait of Leo X,"
now in the Pitti. We might note in passing that the red of
the robe and the table-cloth is characteristic of our master.
Venturi identified the personage represented by determining
the ownership of the arms on the wall to the left. The only
cardinal between 1480 and 1550 who had a right to the arms
of the Spannocchi and Cervini families was Marcello Cervini
degli Spannocchi afterwards Pope Marcellus. He was born at
Montepulciano in 1501 and educated in Casa Spannocchi. He
went to Rome in 1523 and in 1539 he accompanied Alessandro
Farnese on a diplomatic mission to France and the Low
Countries. On his return to Rome he was made cardinal. He
administered the dioceses of Nicastro, Reggio, and Gubbio, and
in 1545 he was made one of the presidents of the Council of
180
AUTHENTIC PICTUBES
Trent — a position that he seems to have held until 1547. He
was elected pope on April 9, 1555. This portrait was probably
painted in Rome between 1540, when Cervini returned from his
diplomatic missions, and 1545 when he left Rome for Trent.
That Pontormo was in Rome during these years we know from
various drawings of Roman antiquities which bear his hand-
writing and are now in the Louvre. The realism of the back-
ground indicates the interior of a Spannocchi or a Cervini
palace. Yenturi correctly places this panel about 1540. He
notes that Passavant, recalling La descrizione di Roma moderna,
1727, p. 497, thought it to be a portrait of a Cardinal Borgia,
although he was in doubt whether it represented Pietro
Ludovico, cardinal of Santa Maria in Via Lata, or Francesco
Borgia. Both were created cardinals in 1500 by Alessandro VI.
But the technique of the portrait makes Passavant 's supposition
quite untenable, since the former died in 1512 and the latter
in 1511. Moreover, the church did not allow its functionaries
to wear beards until 1527. Passavant drew attention to the
Turkish carpet which covers the table, finding it similar to the
table-cover that one sees in Raphael's " Portrait of Inghirami."
This carpet has also been more recently identified, and not too
convincingly, with a Turkish rug in the collection of von Tucker,
once Bavarian minister to the Quirinal. Crowe and Cavalcaselle
felt that the head and hands recall Raphael, but they found that
the colouring, especially the red, was not his. They gave the
picture to Pierin del Vaga.
Condition : retouched here and there.
Date : 1540-1545.
Reprod. Fig. 130; photo. Anderson; Alinari 7990; Braun 43018; fig.,
Klassicher Bilderschatz, No. 976; Lafenestre, Rome, p. 44; Rusconi, La Villa,
il Museo e la Galleria Borghese, p. 118 ; Die Galerien Europas, I, No. 88 (in
colour) ; Tappeti de' dipinti dei secoli XV e XVI, L'Arte, IV (1901),
Appendix 3, p. 3, fig. 3 ; Kunstgeschichte in Bildern, III, 94, 4 ; small woodcut,
Reinach, Reper., I, 661.
Bibl. Morelli, op. cit., pp. 128-130; Venturi, catalogue cited above;
Miintz, Renaissance, III, p. 499, Passavant, Raphael, II, 350; Lafenestre,
Rome, p. 45; Frizzoni, Giovanni Morelli e la critica moderna, Arch. stor.
d'arte, 1897, p. 87; Rusconi, op. cit.. B. F. P. R., p. 176. For Marcellus, see
Polydorus, De vita, gestis et moribus Marcelli II Papae, Rome, 1744.
181
PONTORMO
Galleria Corsini
577. PORTRAIT OF A MAN
Bust figure; shoulders turned slightly left, head three-quarters right.
He has a pale complexion and dark eyes, scant brown beard and darker hair ;
he wears a black coat with a soft linen collar embroidered in yellow. The
background, dark olive-grey across the upper left corner of which the folds
of a curtain sweep.
Oil on wood. H. .63, w. .46.
From the original Corsini Collection. The identity of the
sitter has not been determined. Ascribed in the catalogue to
the "Scuola del Pontormo." It is, however, by the master
himself, though in its present ruined state it is the feeblest of
the authentic portraits.
Condition: disastrously cleaned and completely restored; numerous
small vertical cracks.
Reprod. Photo. Moscioni 21533.
Palazzo Barberini
83. PYGMALION AND GALATEA
To the left Galatea stands on a block of stone; she is turned three-
quarters right, her right hand raised to her shoulder, her left holding up the
deep pink drapery that hangs from her hips ; her hair is dark ; she looks at
the spectator. On the right Pygmalion kneels profile left, his hands raised
and clasped before him; his hair is dark; he looks in adoration at Galatea.
He wears a blue jerkin, a yellow scarf round his hips, dark pink hose, dark
stockings and shoes. On the brown ground beside him lie hammer and
sculptor's tools. In the centre of the picture, a three-sided altar of greyish
purple stone which bears the inscription: NIHILV) VT| VEN|VS, and on
which a grey bull is sacrificed. The altar is ornamented on the right side
with a scroll supported by two hermae as caryatids, on the left side by two
larger gaines, the nearer of which represents Venus holding an apple, the
farther, Paris who gazes at her, his arm resting on her shoulders. On the
right of the altar, an urn of "rosso antico" ornamented with lions' heads. To
the left of Galatea, a stool on which sculptor's tools. The background is a
hilly landscape with, on the left, a winding river, two small figures and a
house, on the right, a small bare tree; the general tone of the distance is
greenish brown. The sky is green, the horizon red. Red flames and grey
182
DESIGNS FOR TAPESTEIES
smoke rise from the altar. On the lower left side of the panel : F. 16. On the
back, an illegible note in ink.
Oil on wood. H. .79, w. .62.
Mentioned by Vasari as painted by Bronzino and as once
forming the cover of the portrait, now lost, that Pontormo
painted of Francesco GKiardi during the siege of Florence.
Only the altar and certain accessories suggest the hand of
Bronzino. Vasari, to whom the latter probably told the story
of the painting of this panel, misinterpreted Bronzino 's part
in it and gave him credit for the whole composition, the greater
part of which is indubitably by Pontormo. The picture
belonged to the original Barberini Collection, as is shown by
the mark F. 16, and was long ascribed to Baldassare Peruzzi.
Morelli was the first to recognize here the hand of Jacopo;
Berenson follows Morelli 's attribution. Goldschmidt, who
incorrectly gives the number as 16, repeats Vasari 's error in
ascribing the whole composition to Bronzino.
Condition: excellent.
Date : 1530-1531.
Reprod. Photo. F. M. C.
Bibl. Vasari, VI, 275 ; Laf enestre, Rome, p. 150 ; Morelli, Borghese and
Doria Pamfili Galleries, 1900, p. 30 ; Goldschmidt, op. cit., p. 55 ; B. F. P. R.,
p. 176 ; Dessins, pp. 35, 71, 118, 340.
Palazzo Quirinale
TAPESTRY: LAMENTATION OF JACOB
In the foreground, Jacob dressed in a loose tunic kneels three-quarters
right, his shoulders turned three-quarters left, his head profile left, his hands
clasped before his face. Behind him a figure in a tunic that falls from the
shoulders stands full face, his head profile left, his right arm extended down-
ward at his side, and displays the bloody cloth; his raised left hand points
to the right. To the left and above, a woman's figure, full face, her head
profile left ; she is dressed in a dark robe and wears a scarf on her hair ; with
her two hands extended on either side she holds up the bloody cloth. In
the background, a hillock over which the heads of various spectators are
visible. To the right, a tree; in the middle ground, above and to the left, a
smaller tree ; in the extreme foreground, various plants. The border consists,
at the top, of fruit, with masks at either upper corner ; on either side, bunches
183
PONTORMO
of fruit and leaves with two "putti" who gather them, seated astride of
terms; below these, masks and flowers; along the bottom of the border, a
garland of fruit.
Designed by Pontormo and woven by Giovanni Rost;
mentioned by Vasari (VI, 283) who states that the composition
pleased neither the Grand Duke nor the Flemish weavers.
Vasari states elsewhere (VII, 599) that the commission for the
first designs for the tapestries which were to adorn the Sala
de' Dugento was given to Pontormo. This statement is denied
by Conti (Ricerche storiche) who thinks that Bronzino began
work on designs for the weavers in 1545, Salviati in 1547,
Pontormo in 1548, and Bacchiacca in the same year. Geisen-
heimer (Bollettino d'arte, II (1909), 137-147), quoting a letter
of the Maggiordomo to Cristiano Pagni (Cart. Med. 375, p. 58;
December 18, 1545; Milanesi, Spoglie dell' archivio mediceo,
p. 94) that accompanied what he believes to have been the first
tapestry, woven according to the communication in question
from a design of Bronzino 's, places the completion of the first
tapestry of the series about October 20, 1546, which is the date
of the first definite contract between the ducal government and
Rost and Kracher, the weavers (A. S. P., Rogati di Ser Giov.
Batt. Giordani, G 299, 127 t., 132 r.). Irrefutable evidence,
nevertheless, exists that Rost began work somewhat earlier
than has been generally supposed. In the books of the
Guardaroba (Debitori e Creditori, No. 10, 1544-1553) under the
date of September 11, 1545, we read : "M° Janni reost fiamigho
tappeziere A 642"; and a little farther on we find another entry
of the same 642 ducats. Moreover, there is in the contract made
with the weavers in October, 1546, a reference, afterwards
cancelled, to two tapestries then on the looms and almost
finished. These were delivered in August and September, 1547,
and the subjects represented show that they were not woven
from cartoons by Pontormo. The documents make it clear that
both Bronzino and Salviati were in the employ of the Medici
in 1544 and 1545 (Guardaroba, No. 10, pp. 10, 29, 29 v., 33, 35, 37,
60, 65), although it is important to remember that, at that
moment, Salviati was at work on the "sala della cappella del
184
DESIGNS FOR TAPESTRIES
palagio ducale." If Bronzino furnished the first cartoons for
the projected series of tapestries he did so before going to Rome,
for a letter of his to Cosimo, dated April 30, 1548 (Filza 273;
Gaye, II, 368), makes it evident that he did not earnestly turn
his attention to designing the remainder of the tapestries
included in his commission until after that date. On May 15
he wrote to the Grand Duke another letter which leads one to
believe that he had been paid in part for his cartoons before
he left Florence. All things considered, I am inclined to think
that Vasari's story (VI, 283 f.; VII, 28, 599), in regard to the
sequence of the various cartoons, is fairly consistent. It is,
in all likelihood, more trustworthy than some of the "elenchi,"
especially those that date from the administration of Tanay de'
Medici which only began in 1555. The present subject does
not appear in the first lists of tapestries delivered, but I am
led to conjecture from the marked similarity of Pontormo's
and Bronzino 's earliest designs for the weavers that Pontormo's
cartoons dated from the very beginning of the enterprise,
although they were not woven until after several of Bronzino 's
had been carried to completion on the looms. This tapestry
with a number of others belonging to the same series was sent
to Rome from Palazzo Pitti in 1887. The composition is in part
made up of motives derived from Michelangelo's Doni "Holy
Family," Pontormo's own "Adoration of the Magi," now in
~the Pitti, his "Deposition" of the Capponi Chapel, and his
design for the "Death of Abel" of the choir of San Lorenzo
which is now known to us only in his preparatory study
(Uffizi6739).
Date of cartoon : 1545-1546.
Documents : A. S. F., Guardaroba F. 15, pp. 91 t., 94 t. See also above.
Reprod. Fig., Bollettino d'arte, III (1909), 140; Keuller, op. cit. infra,
pi. XXVI.
Bibl. Vasari, see above; Geisenheimer, article quoted above; Conti,
Ricerche storiche sull' arte degli arazzi a Firenze, Firenze, 1875, pp. 48, 97,
99 f. ; idem, Prima reggia, Firenze, 1893, pp. 94, 206 ; Miintz, Collections des
Medicis; idem, Histoire generale de la tapisserie, p. 63 ; Gaye, loc. cit.; Lensi,
Palazzo Vecchio, Firenze, 1911, p. 129; Rigoni, Catalogo della R. Galleria
d' Arazzi, Firenze, 1884, pp. IX, 74 f. ; Keuller, Tapisseries historiees a
I' exposition nationale beige de 1880.
185
PONTOKMO
TAPESTRY: JOSEPH AND POTIPHAR'S WIFE
In the foreground right Potiphar's wife stands draped in a light tunic
and a large mantle, her left arm extended at her side, her right hand grasping
the folds of Joseph's mantle; her head is turned three-quarters left, a tress
hangs over her right shoulder and crosses her breast. To the left stands
Joseph, nearly full face, wrapped in a voluminous mantle. Behind Potiphar's
wife, the head and shoulders, turned three-quarters left, of a negress. Behind
Joseph, the upper part of the face of a servant. In the background, the canopy
of a bed, hung from a Renaissance ceiling, behind which to the right the head
and shoulders of a servant are visible. The border corresponds to that of the
preceding with certain modifications; at the bottom the garland is made up
of different kinds of fruit.
Mentioned by Vasari; woven by Karcher. First cited in
the list of July 15, 1549, again on August 3, 1549, and again
on October 27, 1553 (A. S. F., Guardaroba, No. 27) : "Nota de
tutte 1'arrazzerie condotte in guardaroba di S. eca da mro
Niccholas carchra dal di che comincio di lauorare per S. Eca
sino adesso. n° 6. U° panno della fuga di iosef dalla donna di
phutifar." Of. the remarks on the preceding.
Date of the cartoon : 1545-1546.
Reprod. Fig. 136; fig., article in the Bollettino d'arte cited above.
Bibl. See above.
TAPESTRY: BENJAMIN AT THE COURT OF PHARAOH
In the centre Joseph seated on a dais and turned three-quarters left,
his head full face, his left arm extended to the right. Before him and to the
left, Benjamin seen nearly full face, his right leg bent, his arms raised to
the left above his head, his right hand held by the right hand of Joseph. In
the foreground right Judah kneels seen from behind, his arms lifted in sup-
plication. To the right of Joseph, a servant seen from behind who looks
down and to the right. To the left of Joseph, a servant seen full face, his
head profile right, his left arm reached out to the cup of Benjamin which
is held by another servant who occupies the upper part of the composition
and who is turned profile right, her head full face. The background is the
wall of a room in a palace. The border is practically identical with that of
the preceding.
Vasari mentions (VI, 284; VII, 599) only two cartoons
for tapestries furnished by Pontormo. But in the list of the
seven tapestries which had been delivered up to July 15, 1549
(Guardaroba, F. 15, pp. 91 v. and 94 v.) another tapestry of the
same dimensions as the present composition is mentioned and
186
DESIGNS FOR TAPESTRIES
given to Pontormo: "Panno simile disegno di Pont'olmo
detto la coppa di Josef — lungo 8. L. 4. " This might well be
our tapestry which displays, even to the minutest details, all
the characteristics of the other two tapestries woven from
cartoons by Jacopo and none of the qualities exhibited by those
known to have been woven from designs by Bronzino, such as
the " Family of Jacob in Egypt" (Quirinal) or those still
preserved in the Palazzo Vecchio. We must, however, note that
the list mentioned above speaks of a "Cattura di Beniamino" —
a title that fits the present design even better than "Coppa di
Josef." But this second tapestry is ascribed to Bronzino, and
I am inclined to believe that the entry in question really refers
to Bronzino 's "Cattura di Simeone." In any case, the present
subject might easily have been described by a careless clerk as
a "Coppa di Josef" and the cartoon of our tapestry, if not
actually by Jacopo, was directly inspired by him. Of this we
have abundant proof in a drawing (Uffizi 6593), for the figure
(reversed) to the extreme right, which is undoubtedly a Pon-
tormo (Dessins, pp. 172 f.). There is, of course, another
explanation that might be advanced: the preparation of the
numerous cartoons included in the commission given to Bronzino
was a great burden and his letters show that he was compelled
to hand over the manual part of it to Raffaello da Colle (VII,
599). May it not be possible that the subject of this tapestry
was among those assigned to Bronzino, but that he utilized for
it drawings already made by Jacopo before the dissatisfaction
of the Duke and the weavers caused the latter to forego further
participation in this enterprise ?
Date : 1546-1553.
Drawing : for the figure seen from behind to the extreme right (reversed),
Uffizi 6593 (fig. 135; photo. F. M. C.).
Documents. See above and the preceding two numbers.
Eeprod. Fig. 134 ; fig., article cited above.
Bibl. See above and the preceding; also Dessins, pp. 35, 74, 172, 173.
187
PONTORMO
VIENNA :
Belvedere
48. PORTRAIT OF AN OLD LADY
Three-quarter length; turned slightly left; seated in a chair the arms
of which are carved. She holds in her left hand a book, the index-finger
between the leaves ; her right hand rests on the arm of the chair. She wears
a dark fur-lined dress with fur collar open at the throat between the lapels
of which a white chemisette, also open at the throat, is visible; on head and
brow, a transparent veil. Dark background, in the upper right corner of
which the inscription : AN • AET • LXXIL
Oil on poplar wood. H. 1.09, w. .92.
Provenance unknown; first mentioned in Rosa's catalogue
of 1804 (III, 13, No. 15) as "Unknown." Albrecht Krafft
(1837) believed it to be by an unidentified Dutch artist.
Erasmus Engerth gave it to Andrea del Sarto. Hermann Voss
has recently suggested that it is the work of some one associated
with Vasari. Crowe and Cavalcaselle and Berenson ascribe it
to Pontormo of whose later manner in portraiture it is an
admirable example full of penetration and dignity.
Condition : good ; a vertical crack between the boards on the right side ;
a small piece added on the right and at the bottom; slightly restored here
and there.
Date: 1550-1556.
Reprod. Fig. 150; photo. Bruckmann, 1905.
Bibl. Catalogues of 1895 and 1896, p. 21; of 1907, p. 16; Engerth,
Verzeichnis, p. 294 ; Voss, Zeitschrift f. bildende Kunst, 1912, p. 44, n. ; Crowe
and Cavalcaselle, ed. Hutton, III, 509; ed. Borenius, VI, 196; B. F. P. R.,
p. 177.
YERKES COLLECTION
PORTRAIT OF A YOUNG WOMAN
Half-length ; seated in an arm chair before a table, she is turned three-
quarters to the left and looks at the spectator. Her hair is bound in an
ornamental gold net and she wears a crimson gown cut low with large puffed
sleeves, a white lace chemisette open at the throat and, at her wrists, frills.
She has a ring on the ring-finger of her left hand and on the forefinger of
188
AUTHENTIC PICTURES
her right hand, and round her neck, a small gold chain. The table is covered
with a red cloth on which lies an open book in which one reads : CANTO at
the head of two pages of illegible verse printed in two columns of four stanzas
each to the page, each stanza consisting of eight lines ; at the further end of
the table lies a bunch of carnations ( ?). Her right hand rests on the right-
hand page, her left on the corner of the table. Behind her, a looped-up
curtain.
Oil on wood. H. 1.40, w. .67. (Catalogue gives h. 35£ in., w. 26£ in.)
Falsely ascribed to Bronzino. Provenance and present
whereabouts unknown. As Berenson noted as long ago as 1906,
this is a fine and characteristic work of our master's.
Condition: slightly damaged; a small piece has been added at the top.
Date: 1534-1545.
Reprod. Fig. 131 ; fig., catalogue de luxe cited below.
Bibl. Catalogue from Collection of Charles T. Yerkes, Chicago, Chicago,
1893 ; Catalogue of Paintings and Sculpture in the Collection of Charles T.
Yerkes, Boston, 1904; Catalogue de Luxe of Ancient and Modern Paintings
Belonging to the Estate of the Late Charles T. Yerkes, New York, 1910;
Berenson, Le pitture italiane nella raccolta Yerkes, Rassegna d'arte, VI
(1906), 35.
189
CATALOGUE RAISONNE
OF
PICTURES ATTRIBUTED TO PONTORMO
CATALOGUE RAISONNE
OF
PICTURES ATTRIBUTED TO PONTORMO
ALNWICK CASTLE
Collection of the Duke of Northumberland
VIRGIN AND CHILD
A replica of pictures in the collection of the Earl of Northbrook and at
Hampton Court. Ascribed to Andrea; believed to be a Pontormo by Crowe
and Cavalcaselle. I have not seen this picture.
Bibl. Crowe and Cavalcaselle, ed. "Button, 1911, III, 514; ed. Borenius, VI, 202
ASSISI
ST. AGATHA
Medallion; bust figure, turned three-quarters to right; she looks at the spectator;
robe open at neck and trimmed with white frilling; scarf thrown over hair, a plait of
which falls over left shoulder; in her left hand, the pincers of her martyrdom.
Ascribed to Pontormo but not authentic; once in the Constantini
Collection, Florence; later in that of Mr. Perkins, at Assisi. Companion
piece to the following; its present whereabouts is unknown to me.
Photo. Eeali.
ST. LUCIA
Medallion; bust figure, turned three-quarters to the left; she looks at spectator;
robe open at neck and edged with white; sleeve of lighter stuff; hair elaborately arranged
and bound with a ribbon; a plait falls over right shoulder; in her left hand, on a plate,
she holds her eyes.
Same remarks as for preceding.
Photo. Eeali.
193
PONTORMO
AVIGNON
Musee Calvet
516. YOUNG WOMAN DRESSING
OU on wood. H. .75, w. .81.
Attributed to Pontormo; not mentioned by Berenson; bought in 1836
at Lyons from M. Peyre. I have not seen this picture.
Bibl. Catalogue des tableaux exposes dans les galeries du Musee-Calvet d' Avignon,
Joseph Girard, Francois Seguin, Avignon, 1909, p. 114; Theodore Gue"dy, Musses de France,
Paris, Boulevard Saint Germain, 168, p. 61.
BALTIMORE
Walters Collection
596. PORTRAIT OF A LADY
A little less than half-length; over the head and most of the forehead, and hanging
down on the shoulders, a veil of white gauze. She wears a decollete'e black dress, the square
opening edged with the same gauze. The eyebrows are arched and thin. Her hands rest
on a table in the lower left-hand corner of the picture, her right hand hanging over the
edge; her left hand rests on the wrist of the right hand at the base of the bent little finger.
Between the thumb and the long curved, full, but slim, forefinger she holds a dark oval
object that might be a large "intaglio." The neck is full and long. The background is
dark green at the top shading down into the same colour as the dress.
Oil on wood. H. 34J in, w. 27f in.
Bibl. The Walters Collection, p. 126.
BERGAMO
Pinacoteca Lochis
145. PORTRAIT OF A MAN HOLDING A ROLL OF PAPER
Oil on wood. H. .27, w. .19.
Bibl. La Pinacoteca e la Villa Lochis alia Crocetta di Moszo, presso Bergamo, 2d ed.,
Bergamo, 1858, pp. 247 f.
BERLIN
A Private Collection
MADONNA AND CHILD
Copy of the picture ascribed to Pontormo in the Alte Pinakothek, Munich.
See also Boston Museum; Castello; Cenacolo di Foligno, Florence; Cook
Collection, London; Hampton Court; Collection of Mr. Vernon Watney,
Cornbury Park, Oxford.
194
ATTRIBUTED PICTURES
BOLOGNA
Accademia
MADONNA AND CHILD
The Madonna, seen to the knees, stands behind a wall; she is turned slightly to the
right and holds the Christ Child about the waist with both hands and gazes down at him;
she wears an elaborate head-dress. The Child stands on the parapet and is seen from
behind, the head profile left. In the background, a landscape with, left and right, a slim
tree.
Once ascribed to Pontormo. The first edition of the Cicerone preserved
the traditional attribution to Jacopo, but von Zahn in the second edition gave
this picture to Bugiardini of whose work it seems to me to be an authentic
specimen. The long narrow ear, the carefully modelled nostril, the fulness
about the eye, the hard meagre folds of the drapery, speak eloquently for
Giuliano. This seems to be the picture that, in this collection, Berenson
ascribes to Franciabigio. Still other critics have suggested, it would seem,
that it was painted by Visino, the pupil of Albertinelli (Vasari, IV, 228).
Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 444; Cicerone, 2d ed., Leipzig, 1874,
III, 981.
BOSTON
Museum of Fine Arts
«
MADONNA AND CHILD
Oil on wood. H. 1.26, w. 1.03.
Copy of a late composition by Pontormo, now lost, from which we have
~ various derivatives. Cf. in this catalogue under Berlin, Castello, Florence,
Hampton Court, London, Munich. This picture was given to the Museum
by Mrs. S. D. "Warren. Once attributed to Bronzino; later to Bernardino
Lanini with a query. It is probably the work of Battista Naldini. The date
1561 appears on the paper which is held by St. Elizabeth.
BUDAPEST
Museum of Fine Arts
181 (491). HOLY FAMILY
In the centre: the Madonna seated on the ground, turned three-quarters left, her
head full face, her eyes looking down, her right hand laid beside her, her left arm extended
at her side, the hand holding a swaddling-cloth against her left thigh. Her dress is open
at the neck, the sleeves turned back at the elbows; on her head, a scarf an end of which
hangs down on her right shoulder. Over her right shoulder a voluminous mantle is thrown
195
PONTORMO
which passes behind her back and falls to the ground in the right foreground. The Christ
Child is seated in her lap turned three-quarters to left; he holds in his lap a vase of
flowers; he looks down, his head bent forward; curly blond hair. In front of him to the
left, the little St. John seen from behind, turned three-quarters right; he kneels before
the Infant Jesus, his arms outstretched, having just presented to him the vase of flowers;
he has curly dark hair; a large scarf passes over his left shoulder and is tied in a large
knot on the right side, an end of it falling on the ground; in the foreground lie his bowl
and cross of reeds. To the left of the Virgin one sees the head and shoulders of St. Anne.
She is voluminously draped and turned three-quarters to right; she looks at the Madonna,
her right arm folded across her breast under her mantle. To the right of the Virgin, the
head and shoulders of Joseph, turned three-quarters left; he looks over the Madonna's
left shoulder at the little St. John; he is slightly bald and wears a beard. All the figures
except St. Joseph have haloes.
This altar-piece is ascribed to Pontormo but it is not by his hand,
although in many details it betrays his influence. It comes from the
Eszterhazy bequest and belongs to a small group of unauthentic pictures the
authorship of which presents a problem as yet unsolved.
Eeprod. Photo. Hanfstaengl 268.
Oil on canvas. H. 1.26$, w. 1.01.
Bibl. Az Orssagos Jceptdr mutdrgyainak, leird lajstroma, Budapest, 1904, p. 258;
Gabriel de T6rey, Tableaux anciens du Musee des Beaux-Arts de Budapest, Budapest, 1906,
p. 39; idem, ed. 1910, p. 49.
CASSEL
Royal Gallery
PORTRAIT OF A MAN
He stands almost full face beside a table on which his right arm and hand rest
holding his gloves; his head is turned three-quarters left, his eyes look at the spectator;
his left arm slightly bent hangs at his side, his thumb in his low belt; brown eyes, thick
short brown beard and moustache. His doublet of velvet (f) is covered with a light net-
like pattern; at the shoulders, small puffs; the collar high and edged with a white ruff;
sleeves, white. Around his waist, a narrow belt with a gold clasp; on his hip one sees
an elaborately chased sword-hilt. He wears a small black cap with a white feather at the
back. Background: lighter behind the figure than to the left.
Oil on canvas. H. 1.05, w. .78.
Formerly erroneously attributed to the Florentine School of the sixteenth
century. Some critics have ascribed this portrait to Pontormo (Aubel,
Verzeichnis, p. 4) of whose manner and touch it shows no trace. It has also
been attributed, without reason, by Frizzoni to a Dutch master, by Bode to
a Spanish painter, by other critics to Antonio Moro, and by still others to a
French follower of Clouet. The most probable suggestion as to its authorship
is due to Mary F. S. Hervey (art. cited below) who considers it to be a
genuine example of the work of the Tudor painter, Gerlach Flicke. This
attribution is followed by Lionel Gust who believes that it was painted after
Flicke came under the influence of Clouet. The identity of the sitter has
also been the subject of considerable discussion. Justi thinks that it is a
196
ATTKIBUTED PICTURES
portrait of Garcilaso de la Vega. He finds that it resembles a portrait of the
soldier-poet in Valentin Carderera's Iconografia espanola (Madrid, 1855 and
1864, pi. 73) which has for its prototype an oil painting once in the possession
of the Onate and later in that of Count de Valencia de Don Juan. Garcilaso
was a knight of the Alcantara Order, the insignia of which is worn by the
personage represented in both portraits. He was the second son of Garcilaso
de la Vega, Comendador of Leon, Lord of los Arcos and Cuerva. Born in
Toledo in 1503, he visited Italy, was present at the siege of Florence, was
killed in battle in 1536 and buried in S. Pedro Martir at Toledo.
Eeprod. Photo. Hanfstaengl; fig., Burlington Magazine, XIX, 238; Die MeisterwerTce
der konigl. Gemalde-galerie su Cassel, p. 43; article by Justi cited below.
Bibl. Kurses Verzeichnis der Gemdlde in der koniglichen Galerie zu Cassel, 21st ed.,
Cassel, 1911, p. 38; Katalog der konigl. Gemalde-galerie zu Cassel, p. 64; Mary P. S.
Hervey, Notes on a Tudor Painter: Gerlach Flicke, Burlington Magazine, XVII (1910),
71-79; Lionel Gust, On Two Portraits Attributed to Gerlach Flicke, Burlington Magazine,
XIX (1911), 239; Justi, Ein Bildnis des Dichters Garcilaso de la Vega, Jahrbuch d.
konigl. preuss. Kunstsamml., XIV (1893), 177-190.
CITTA DI CASTELLO
Pinacoteca Comunale
68. VIRGIN AND CHILD WITH TWO SAINTS
Bibl. Catalogo della Pinacoteca comunale di Cittd di Castello, Citta di Castello, 1912,
p. 7.
DIJON
Musee
PRESENTATION IN THE TEMPLE
Composition of nineteen figures. To the right, the Virgin with crossed hands climbs
the temple stairs. Five steps lead to a stone terrace whence to the right other steps lead
back to a slate-coloured arcade, decorated with arabesques and garlands, where the High
Priest, his hands uplifted, stands. He is accompanied by four men; to his right, a draped
man leans out of an arch; to the left of the arcade under another arch, three more men;
below these, a slab inscribed: M Vc XXI. To the left and following the Virgin, three
women, four men and a little dog. In the foreground right, two men who gaze at the
Virgin; to the left, a crenelated gateway with towers through which we catch a glimpse
of the country-side; further to the left, tower and arches of a smaller arcade.
Oil on wood. H. .96, w. .81.
In general conception and in certain details such as the form of the
Virgin 's hand and foot, the round flattish face of St. Elizabeth, the treatment
of the group around the High Priest, the purplish grey colour of the arcade
and the touch of landscape in the background, this picture reminds one of
197
PONTORMO
Pontormo. It is however the work of a feeble and unknown imitator. Given
to the Museum in 1822 by M. de Saint-Mesmin, the curator.
Condition: thoroughly repainted.
Date: 1521.
Bibl. Catalogue du Musee de Dijon, Collection Trimolet, Dijon, Dijon, 1883, p. 8.
DZIKOW
GALICIA
Tarnowski Collection
PORTRAIT OF AN ELDERLY LADY
Half-length; the torse nearly full face, the head turned three-quarters left, the
eyes look at the spectator; her arm is bent at the elbow and one sees part of the ruff
at the wrist. She wears a dark bodice cut square at the neck, revealing an open white
lace chemisette with turned down collar; the sleeves have a puff at the shoulder. Around
her neck, a string of pearls; her hair, parted in the middle, is brushed down smoothly on
either side; she wears a close-fitting embroidered cap over which, at the top of the head,
passes a string of pearls. Dark background.
Oil on wood. H. .25, w. .20.
Provenance unknown. Exhibited as a Bronzino in the Portrait Exhi-
bition at the Hague in 1903 (No. lOa). Attributed by certain critics to an
unknown Dutch master of the early seventeenth century; by others to Bron-
zino. Berenson believes it to be an example of Pontormo 's later work in
portraiture. The ear, eyes, and mouth are undoubtedly suggestive of certain
characteristics of Jacopo's draughtsmanship, but the modelling of the face
is unconvincing and seems to indicate a late restoration of so drastic a nature
as to preclude the possibility of giving a final verdict on the authenticity of
this panel.
Condition: much repainted; the panel seems to have been somewhat cut down.
Date: 1534-1545.
Eeprod. Photo. Bruckmann 1904.
Bibl. Schulze, Bronzino, p. LXI; B. F. P. E., p. 174; C. Hofstede de Groot, Meister-
voerke der Portrdtmalerei auf der Ausstellung im Haag, Miinchen, 1903, p. 5.
ENGLEWOOD
NEW JERSEY
Platt Collection
PORTRAIT OF A MAN
Head only; turned three-quarters right. He wears a dark hat and looks at the
spectator. The colour is a misty grey with a suggestion in it of a subdued olive-green.
Oil on canvas.
198
ATTRIBUTED PICTURES
Unfinished but very lightly and firmly painted. Originally attributed to
Pontormo. The insistence on minor passages in the modelling and the obvious
naturalism of the intention speak for Salviati to whom both Berenson and
Mason Perkins have recently attributed this picture.
Condition: slightly rubbed and scratched but practically unharmed.
Eeprod. Frontispiece, Eassegna d'arte, XI (1911).
Bibl. Mason Perkins, Dipinti italiani nella raccolta Platt, Eassegna d'arte, XI
(1911), 3.
ERFURT
Stadtisches Museum
32. VENUS AND CUPID
Bibl. Katalog der Gemalde des stddtischen Museums, Erfurt, 1909, p. 8.
FLORENCE
Academy
183. PIETA
The Christ is seated on the ground profile right, the head and shoulders thrown back
three-quarters right, his right arm extended at his side. Behind him, the Madonna seated
full face, head turned three-quarters left; she looks at the Christ; her right hand supports
his shoulders, her left is laid upon his left forearm. To the right the Magdalen kneels
facing; her head turned three-quarters left looks at the Christ; her right hand is laid on
his right knee, her left raised to her breast. In the background to the extreme left, the
hill of Calvary with crosses and trees; to the right, a little town in a valley and a wooded
hill; in the foreground, little plants. The drapery under Christ is a dark greyish green.
The Madonna wears a red tunic of which one sees the sleeves and, over her head, a brown
mantle at the edge of which there is a thread of gold. The Magdalen has light brown
hair; her bodice is dark yellow, her skirt brown, her mantle bright red. The landscape is
green and the distance dark blue.
Oil on wood. H. 1.15, w. 1.00.
Formerly, and in the catalogue of the gallery, ascribed to Bronzino.
Vasari mentions (VII, 594) that "in Santa Trinita, pur di Firenze, si vede,
di mano del medesimo (Bronzino), in un quadro a olio al primo pilastro a
man ritta, un Cristo morto, la Nostra Donna, San Giovanni, et Santa Maria
Madalena, condotti con bella maniera e molta diligenza." Richa (Chiese
fiorentine, Lezione XI, p. 163) also speaks of a "Pieta" by Bronzino in the
same church but he seems to imply that it was in fresco and near the sacristy.
Milanesi states that the picture referred to by Vasari was removed to the
Academy, and some critics, as well as the catalogue cited below, have identified
it with the present panel, although to dispose of such a supposition, which is
repeated by Cruttwell, we have only to notice that in our "Pieta" St. John
does not appear. Berenson feels that we have here a Pontormo for which the
199
PONTORMO
drawing Uffizi 6611 is, in his opinion, a study (B. F. D., I, 321; II, 147), but
I am not convinced that any relation exists between the drawing and the
picture. The latter does not, in fact, seem to me to be either by Pontormo or
by Bronzino. The composition is clearly inspired by the "Pieta" ascribed to
Andrea, in Vienna, although there the Madonna is attended by two angels and
the Magdalen does not appear.
Condition: slightly damaged, especially in the upper right corner; darkened with old
varnishes; retouched here and there; a vertical crack down the centre of the panel.
Date: probably not earlier than 1534 nor later than 1545.
Documents: A. S. F., Archivio mediceo, Classe 22, Vol. 33, c. 13 and 78 (February
11, 1564) ; idem, c. 13 and 76 (January 27, 1564). I cite these documents on the authority
of Signor Giglioli who assures me that they refer to the present picture; I have been
unable to examine them.
Eeprod. Photo. Alinari 1418; Braun 42573.
Bibl. B. F. D., I, 321; II, 147; B. F. P. B., p. 174; Pieraccini, Guida della B.
Galleria, p. 75; Cruttwell, Florentine Galleries, p. 264; Dessins, pp. 73, 185; Schulze,
op. cit., p. LXI.
Annunziata
ASSUMPTION
Milanesi in his chronological table of Andrea's work (V, 67) erroneously
states that Pontormo finished this composition for the painting of which
Andrea signed a contract on June 16, 1515. His error is repeated by Borenius
(Crowe and Cavalcaselle, Murray: London, 1914, VI, 177). The fresco is
of course by Rosso.
Cappella di San Luca
HOLY TRINITY
Fresco.
Bocchi records that this work was designed by Pontormo and executed
by Bronzino. He probably preserves in this statement some early tradition
in regard to this fresco which does not, however, show any trace either of
Pontormo 's design or of Bronzino 's touch.
Bibl. Bocchi, op. cit., p. 464.
Baciocchi Collection
JOSEPH MADE OVERSEER IN EGYPT
Ascribed to Pontormo but showing no trace of his hand. This panel is
a modified copy of part of Andrea's panel of "Joseph in Egypt," now in
the Pitti.
200
ATTRIBUTED PICTURES
Casa Buonarotti
60. PORTRAIT OF VITTORIA COLONNA
Bust figure turned three-quarters left; the eyes look down; golden hair bound with
a reddish violet ribbon; grey-green dress; black background.
Oil on tile. H. .49, w. .31.
Schulze considers this to be an idealized likeness of Michelangelo 's famous
friend and an authentic Pontormo. It is, however, erroneously described as
a portrait of Vittoria Colonna and falsely ascribed to Jacopo, whose modelling
and colour it in no way suggests. Of it D ' Achiardi says : ' ' Non ha nessun
carattere di seria attendibilita iconografica. " Cf. the portrait by Muziano,
Galleria Colonna, Rome (D' Achiardi, op. cit. infra, fig. 39) ; that noticed by
Campanari (Ritratto di Vittoria Colonna dipinto da Michelangelo, Londra,
Molini, 1853) which is probably a Venusti; and that in the Uffizi (photo.
Alinari), perhaps a copy of a more celebrated original. Another portrait,
said to be of Vittoria Colonna and ascribed to Pontormo, was sold at the
De Beurnonville sale in 1881. Its whereabouts is unknown to me.
Condition: surface badly cracked and entirely repainted.
Reprod. Photo. Alinari 4565; fig., article by Schulze cited below; article by
Neoustroieff cited below, pi. 54, fig. 4.
Bibl. Vasari, ed. Gronau, V, 114; Frey, Dichtungen, p. 385; Thode, Michelangelo, II,
364; D' Achiardi, Sebastiano del Piombo, pp. 200-204; Steinmann, Sixtinische Kapelle, II,
506; Schulze, Die Bildnisse der Vittoria Colonna, Monatshefte f. Kunstwissenschaft, 1910,
pp. 239-241; Cruttwell, Florentine Churches, p. 61; Neoustroieff, Quadri italiani nella
colleeione von Leuchtenberg, L' Arte, VI (1903), pp. 330-332.
Cenacolo di Foligno
117. MADONNA AND CHILD
H. 1.20, w. 1.00.
Formerly in the Galleria Ferroni. This is a poor copy of the lost
"Madonna" by Pontormo of which the picture in the Alte Pinakothek, in
Munich, is the best known replica. The background in the present copy has
been slightly modified. Cf. in this catalogue, under Berlin, Boston, Castello,
Hampton Court, London, Munich and Oxford.
Eeprod. Photo. Brogi 17571 (as a Pontormo).
Chiesa delle Stigmate
PIETA
The Christ lies on a white cloth, his feet to the right. The Virgin wears a deep blue
mantle and, about her head, a yellow scarf. At the feet of Christ, two weeping angels,
in the background to the right, the hill of Calvary and two small figures.
201
PONTORMO
Tentatively ascribed to Pontormo. This picture really dates from the
very end of the sixteenth century.
Keprod. Photo. Alinari 31039 (as Pontonno?).
Loeser Collection
PORTRAIT OF THE POET LUDOVICO MARTELLI
Three-quarters length, seated. His right arm rests on a table and in his right hand
he holds a sheet of paper. In his left hand, which rests on his knee, he holds a pair of
gloves. On the table, an ink-pot, papers, and sprigs of laurel.
Oil on wood. H. .87, w. .73.
Ascribed to Pontormo. A replica, the whereabouts of which is unknown,
is said to have existed in the Palazzo Strozzi.
Condition: excellent.
A SIBYL
Bust figure; her shoulders nearly profile right. Her head, seen nearly full face, looks
at the spectator. In her hand, an open roll of parchment.
Oil on wood. H. .66, w. .52$.
I saw this and the preceding picture somewhat fugitively some years ago
before I felt that I could say definitely whether the attribution to Pontormo
seemed to me justified. Unfortunately I have been unable to re-examine
them. I owe the details that I give to the courtesy of the owner and of
Signor Gino Sensani.
Condition: good.
Palazzo Corsini
17. PORTRAIT OF A MAN
Half -length; seated at a table and turned three-quarters left; looks at spectator.
He has a reddish brown beard, brown hair and eyes. He wears a black hat, black doublet
with slashed sleeves. An account-book lies on the table before him, the middle fingers of
his left hand between the leaves. On the little finger of the same hand he wears a ring.
In his right hand he holds a quill pen with which he has just been writing. On the open
pages of the book one sees writing which is indecipherable. The flesh-tones are brickish
red, the background, greenish grey.
Oil on wood. H. .94, w. .74.
Ascribed to Pontormo, but neither the colouring, the modelling, nor the
morphology of the figure are his. A copy of this portrait, identical in size,
passed from the Lanfranconi Collection, which was sold in Cologne in 1895,
202
ATTRIBUTED PICTURES
into the Sedelmeyer Collection. See in this catalogue, under the collections
in question.
Condition : darkened with successive varnishings ; a crack down the centre of the panel
between the boards.
Keprod. Photo. Alinari 4198.
Bibl. Uld. Medici, Catalogo della Galleria dei Principi Corsini in Firenze, Firenze,
Mariani, 1880.
163. MADONNA AND LITTLE ST. JOHN
The Madonna kneels profile right, the Christ Child between her knees; St. John
stands to her right, seen three-quarters from behind. The Virgin is dressed in a purplish
pink robe with white drapery on the shoulder and yellow foresleeves. St. John wears a
brown loin-cloth. All three have light brown hair. The background is a grey-green piece
of furniture.
Oil on canvas. H. 1.32, w. 1.06.
Erroneously ascribed to Jacopo; not cited by Berenson. The heavy
colour suggests Empoli. The composition is perhaps derived from a lost
original of Pontormo's.
Bibl. See above.
Palazzo Pitti
113. THE THREE FATES
This panel, which was originally attributed to Michelangelo, has been
ascribed to Pontormo by Jacobsen and by Fabriczy. It is, of course, by Rosso.
Bibl. Jaeobsen, Zeitschrift fur bildende Kunst, 1898, fasc. 5; L' Arte, 1899, p. 228;
B. F. P. E., p. 180.
149. PORTRAIT OF GUIDOBALDO DELLA ROVERE, DUKE OF
URBINO
Three-quarter length; he stands turned three-quarters left, his head nearly full face,
his right hand rests on a helmet placed on a table to the left, his left on the neck of a
large white dog of which one sees the head in the lower right corner. He has black hair
and beard and wears a suit of steel armour elaborately inlaid with silver, red hose
embroidered with gold, a black sword-belt and sword of which one sees the chased gold
hilt ; at his wrists, white ruches embroidered with black. The background is a green curtain.
Oil on wood. H. 1.14, w. .86.
The colour is cold and the drawing somewhat stiff. Long believed to be
Pontormo's portrait of Ippolito de' Medici with his dog Rodon, which Vasari
(VI, 273) mentions as the companion piece to Jacopo 's lost portrait of
Alessandro. Cruttwell follows the traditional attribution as does Berenson,
although he places after it, in his later editions, a point of interrogation.
203
PONTORMO
Milanesi (VI, 274) indicated some of the difficulties involved in the inscription
that one reads on the red cloth that covers the table: ANNUM AGEBAT
DECIMUM OCTAVVM. Ippolito was born on April 19, 1511, and the
portrait would, therefore, date from 1529, if we assume that it represents
Ippolito and the inscription refers to the sitter's age. But Ippolito fled from
Florence in 1527. The picture must, accordingly, have been painted in Rome
in spite of the fact that we have every reason to believe that Pontormo was
in Florence between 1527 and 1530. Justi has written at length about this
panel. He believes it to be Bronzino's portrait of Guidobaldo, Duke of
Urbino, and his argument is as follows: The person represented does not
resemble Titian's well-known and perfectly authenticated portrait of
Ippolito, which was painted in Bologna in 1532 (Pitti, No. 201). Ippolito
cannot have been in Florence after the flight of Passerini in 1527 ; it is
unlikely that Pontormo would have gone to Rome between 1527 and 1530
when all artists had fled from the city to escape the fury of pillaging soldiers.
Guidobaldo of Urbino was born in 1514, became duke in 1538, died in 1574.
Bronzino left Florence for Pesaro on August 2, 1530, and while in the latter
place he painted, for the Duke of Urbino, a portrait of the daughter of Matteo
Sofferoni, a harpsichord and, in the Villa Imperiale, certain figures in a vault-
ing, the success of which induced Guidobaldo to order his own portrait. The
Duke was eighteen between April 2, 1531, and 1532 — a fact that coincides
with the inscription on our panel: Annum agebat decimum octavvm. Such
armour as the Duke wears could have been made only in Milan, and it is
interesting to note that Vasari claims that Bronzino spent a long time over
the portrait because Guidobaldo wished to pose in a suit of armour that he
had ordered in Lombardy, the arrival of which was constantly delayed
(VI, 276). On the back of the panel, painted in oil, we find the letters
D. G. B., which may stand for Duca Guido Baldo. The smooth cold flesh-
tints recall Bronzino 's other work in portraiture ; the hands are not Jacopo 's.
Vasari says that Pontormo 's portrait of Ippolito was in "sua maniera
tedesca," and the present panel shows no trace of the influence of Diirer.
Signor Giglioli has pointed out to me that since the portrait has been cleaned
the chill shade of green so much used by Bronzino has been revealed and
that, moreover, this portrait seems to have come from the Urbino Collection.
In the list of the pictures now in the Pitti having that provenance is: "II
Duca armato con mano sopra la testa di un cane di mano di Zuccaro" — a
description that corresponds to our portrait. The attribution to Zuccaro
may be explained by the fact that he was well known in Pesaro for he came
from the neighbouring town of Sant' Angelo in Vado and had worked in Pesaro
for fifteen years, while Bronzino was there only a few months. Federigo
Badoer (1547) states that Guido was strong, thick-set, and melancholy — a
description that might well be applied to the personage represented in our
portrait. Guido understood Greek. On the helmet is inscribed :
204
ATTEIBUTED PICTURES
'QAE2TAIAH©
O2AIAONTO
BOVAHMA
(wS' eerrai 817$' is e'Xov TO /3ov\.r]fjui)
Later in life he was governatore generale delle armi venete in Verona. Signer
Giglioli notes that another half-length portrait of Guidobaldo is preserved
in the Palazzo Albani at Urbino in which he wears a beard and places his
hand on the head of a dog. On an envelope that he holds : "All' Illmo et Eccmo
Sigre II Signore Guidobaldo duca d 'Urbino." The portrait ascribed to
Pontormo, once in the collection of the Rev. E. H. Dawkins, Morhanger
House, near Surrey, Bedfordshire, and sold at Christie's on February 28,
1913, for £23 2s., would seem to have been a copy of our portrait with which
it was identical in size. Cf. in Catalogue of Sales, under Dawkins.
Condition: recently cleaned and restored.
Date: 1531-1532.
Document. See above.
Eeprod. Copy(?) once in the Dawkins Collection; engraving, Luigi Bardi, Galleria
Pitti, VI, 273; photo. Braun 42149; Alinari; Brogi 6004; fig., article by Justi cited below;
woodcut, Heiss, Les Medailleurs de la Renaissance, 2e partie, Paris, 1892, p. 201.
Bibl. Vasari, VI, 276 ; VII, 595 ; Chiavacci, Guida della E. Galleria del Palazzo Pitti,
3d ed., Firenze, 1864, p. 74; idem, French ed., p. 190; B. F. P. E., p. 174; Justi, Zeitschrift
f. bildende Kunst, Leipzig, 1897, pp. 34-40; Fabriczy, L'Arte, I (1898), 475; Cruttwell,
Florentine Galleries, p. 182; Giglioli, Eivista d' arte, 1909, p. 339-340; Thode, Jahrbuch
d. Tconigl. preuss. Kunstsamml., 1888; Schulze, Sromino, XII.
Palazzo Vecchio
Cappella Leone X
PORTRAIT OF COSIMO IL VECCHIO AS ST. COSMAS
Full-length, turned three-quarters left, head profile left. He holds a richly bound
green leather folio tooled with gold, from between the leaves of which a little palm of
martyrdom stands up; he wears a scarlet cap, deep pink mantle lined with a lighter pink,
and red slippers; his legs are bare. The background is a dark greenish grey decorated
with a pattern of leaves; the floor is brownish green.
Oil on wood. H. 1.72, w. .59.
Brought from the Guardaroba in 1861; formerly in the Uffizi (No. 1267)
and ascribed to Pontormo — attribution retained by Morelli, Berenson, Crutt-
well, Trapesnikoff and De Vere. This panel and the following were however,
according to his own testimony (VII, 699), executed by Vasari for the Chapel
of Leo X, in the Palazzo Vecchio, on the altar of which Raphael's "Madonna
dell' Impannata" formerly stood. The head of the present portrait is a copy
of Pontormo 's ' ' Portrait of Cosimo, ' ' once at San Marco and now in the Uffizi.
205
PONTORMO
The Chapel of Leo has been reconstructed and this panel and its companion
piece have found their original places again beside a copy of the ' ' Impannata. ' '
Condition: darkened and retouched here and there.
Date: about 1560.
Eeprod. Photo. Braun 41267; Brogi 11032.
Bibl. Vasari, IV, 351; VII, 699; Catalogue de la E. Galerie de Florence, Florence,
1864, p. 150; Eivista d'arte, VI (1909), 263 f.; B. F. P. E., p. 175; Cruttwell, Florentine
Galleries, p. 84; Morelli, Doria Pamfili Galleries, p. 130; Trapesnikoff, Die Portrdtdarstel-
lungen, p. 21; Lensi, Palazso Vecchio, p. 172.
PORTRAIT OF COSIMO I AS ST. DAMIAN
Full -length, turned three-quarters right; weight on the right leg; the head turned
nearly three-quarters left. His hair and beard are almost black; with his left hand he
holds, against his side, a richly bound book from between the leaves of which a little palm
of martyrdom stands up; his right arm is bent at the elbow; his forefinger points in front
of him; he wears a deep pink mantle which reaches to the ground, a doublet of dimmer red,
red stockings and dark red shoes. The background is greyish green, the floor brownish green.
Oil on wood. H. 1.72, w. .59.
Cf. the preceding of which the present panel is a pendant. Once Uffizi,
No. 1270.
Condition: practically untouched though darkened with varnish.
Date: about 1560.
Eeprod. Photo. Braun 41270; Brogi 11031; fig., Vasari, trans, de Vere, VII, 152.
Bibl. See the preceding.
Ufficio delle Belle Arti
MADONNA AND LITTLE ST. JOHN
Oil on wood. H. .38, w. .39.
This panel, which is preserved as having once formed part of the decora-
tion of the Carro della Zecca, is entirely foreign to the work of Pontormo.
Condition: disastrously repainted.
Eeprod. Photo. F. M. C.
Santa Croce
MADONNA AND CHILD WITH TWO FRANCISCAN SAINTS
The Virgin wears a red robe and blue mantle; the saint that holds an open book, a
red mantle; the friar, a brown robe.
Lunette in fresco.
This lunette has not the slightest connection with the work of Pontormo.
Eeprod. Photo. Alinari 3880 (as Pontormo).
206
ATTRIBUTED PICTURES
San Lorenzo
ASSUMPTION OF THE VIRGIN
The Virgin is dressed in a pink robe and blue mantle. The kneeling figure in the
foreground wears a green robe and red mantle; St. Peter, a green robe and yellow mantle.
Erroneously ascribed to Pontormo. This is the work of an exceedingly
mediocre imitator of Andrea del Sarto of whose "Assumption" in the Pitti
the composition is a travesty.
Eeprod. Photo. Alinari 31074 (as Pontormo).
San Proculo
MADONNA AND CHILD
On one side of the Virgin, St. Anthony, on the other, Santa Barbara.
Once in the chapel of the Niccolini, next to the third altar on the right
side of the church. Falsely ascribed to Pontormo by Richa (I, 238). Of.
Bocchi, ed. Cinelli, p. 388.
Santa Maria Maddalena de' Pazzi
MADONNA AND CHILD WITH ST. JOHN, ST. BERNARD AND OTHER
SAINTS
In the chapel of the Da Romena family. Cinelli erroneously attributes
this work to Pontormo. It was painted by Puligo in 1525 (Vasari, IV, 466).
Keprod. Photo. Alinari 31089 (as Pontormo).
Bibl. Bocchi, ed. Cinelli, p. 486; Eicha, I, 323; Fantozzi, p. 293; Fabriezy, Memorie
sulla chiesa di S. M. Maddalena de' Pazzi in Firense, L' Arte, IX (1906), p. 258, notes
10, 11 and 14.
Uffizi
1196. EXPULSION FROM PARADISE
In the centre, Adam and Eve, their legs turned three-quarters left, their torses seen
in profile, their heads thrown back and seen three-quarters left; behind them on the right,
the serpent with a human head coiled around a bare tree trunk; to the left, the trunks of
two other trees; above them an angel, in a mist of light and seen from behind, brandishes
with his right hand a naked sword. The general tone is olive-green, the flesh-tints deepen
to pink on faces, hands, knees, and feet.
Oil on wood. H. .41, w. .29.
207
PONTOEMO
Ascribed to Pontormo ; not mentioned by Vasari ; not cited by Berenson.
This panel is not authentic, although the Adam has a certain resemblance
to various horsemen of the central group of the ' ' Martyrdom of St. Maurice, ' '
Pitti, No. 182.
Condition: fair; rubbed here and there.
Eeprod. Photo. F. M. C.
Bibl. Catalogue de la R. Galerie de Florence, Florence, 1864, p. 139; Goldschmidt,
op. cit., p. 46.
1249. JOSEPH LED AWAY TO PRISON
In the foreground, Joseph escorted by five soldiers; to the right, three figures one
of which has his back turned; in the background, a palace with steps, "loggia," and terrace
on which many soldiers are visible; to the left, a pillar surmounted by a statue beyond
which a city and far-off hills; to the extreme left, a building partly ruined.
Oil on wood. H. 1.30, w. .93.
This panel and the following were long ascribed to Pontormo. They
were painted for the bridal chamber of Pierfrancesco Borgherini. Miintz
repeats the attribution to Jacopo as does the second edition of the Cicerone.
Ulmann was the first to point out that they are characteristic works of
Granacci, and Berenson has showed that in the drawings mentioned below
we have part of the preparatory material for these panels.
Condition: good.
Date: about 1518.
Drawings: Uffizi 347 F. and 349 F.
Document: A. S. F., Depositeria Generale, filza 995.
Eeprod. Photo. Braun 41249; Brogi 11034; Galleria di Firense illustrata, II, pi. L;
fig., Miintz, Renaissance, p. 105; Schubring, Cassoni, pi. CLXXIV.
Bibl. Vasari, V, 343; VI, 262, n.; B. F. P. B., p. 144; B. F. D., I, 123; II, 53;
catalogue cited above, p. 146; Molini, Galleria di Firenze, 1819, II, 5; Cicerone, 2d ed.,
Ill, 981; Miintz, Renaissance, III, 499; Ulmann, Piero di Cosimo, Jahrbuch d. konigl.
preuss. Samml., XVII (1896), 51; Dessins, p. 51, n. 2; Cruttwell, Florentine Galleries,
pp. 20 f.; Sehubring, Cassoni, p. 403.
1282. JOSEPH PRESENTING JACOB TO PHARAOH
The scene takes place in a great open piazza; to the left, a Florentine palace; to
the right, the end of a "loggia"; in the background, an octagonal building. To the left,
Pharaoh with his retinue and soldiers, Joseph and Jacob kneeling with his sons; to the
right, a group of five spectators; to the extreme right, two men with their backs turned
and a boy who is seen profile left. In the middle distance and beyond, many groups of
little figures.
Oil on wood. H. 1.22, w. .93.
Cf. the preceding.
Condition : excellent.
Eeprod. Photo. Braun 41282; Brogi 6220; Galleria di Firense illustrata, II, pi. LII;
Schubring, op. cit., pi. CLXXII.
Bibl. See above and Molini, op. cit., II, 11; catalogue cited above, p. 153.
208
ATTRIBUTED PICTURES
LEDA AND THE SWAN
Leda stands facing in the middle of the picture, her arms outspread, her right hand
on the swan's wing, her head three-quarters left; from her left shoulder a ribbon-like
scarf hangs across her body, the end in her right hand; behind her the swan turned three-
quarters left, wings outspread, head raised gazing at Leda. To the left, a child lies on
the ground, a great broken egg for its pillow; behind it, another child carrying a drapery.
To the right two children stand embraced; before them on the ground, a broken egg. In
the background to the left, a hill crowned with a grove; to the right, a rugged peak seen
beyond broken hills.
Oil on wood.
Once in the granducal collection at Lucca. Ascribed to Pontormo; not
mentioned by Vasari; not cited by Berenson. This little panel does not
reveal Jacopo 's touch, although it shows traces of his influence. Goldschmidt
erroneously considers it to be an early work. Leonardo's "Leda" from which
this picture is derived has been lost. It probably existed only as a cartoon
and perhaps in two versions, one of which may have represented Leda alone
and the other, the two children. The "Anonimo Fiorentino" merely mentions
the "Leda," but Lomazzo in his Idea del Tempio states that it existed at
Fontainebleau (1591) and describes it as one of Leonardo's few finished works.
Cassiano del Pozzo also saw a "Leda" ascribed to Leonardo at Fontainebleau
in 1625 and mentions the twins as part of the composition, although there
is nothing to show that the picture of which he speaks was not a pupil's copy
executed at Milan under Leonardo's supervision from his original cartoon.
The following are well known studies for or copies of the original composition :
Leonardo's sketch in Codice Atlantico; his study for the hair, in Windsor;
Raphael's sketch, also in "Windsor; the picture in the Borghese (No. 434) ;
that once in the Hastings and later in the Doetsch Collection ; that at Wilton
House ; that in the Johnson Collection ; in the Ruble Collection ; in the Oppler
Collection; that by Franciabigio, in the Museum of Brussels (No. 415), which
~ is a free paraphrase and seems to have been executed before 1518. Similar
pictures have existed and, in some cases, still exist in the collections of the
Prince of Lichtenstein, M. de Rothschild, Queen Christina of Sweden, the
Due d 'Orleans and in the Uffizi, Somzee, and Schweitzer Collections.
Condition: fair; cracked across the centre vertically and horizontally and repaired.
Date: 1515-1525.
Reprod. Photo. Brogi 14762; Eug. Lasinio, B. Galleria di Firenze illust., Firenze,
1828, III, 46.
Bibl. Catalogue cited above, p. 132; Molini, op. tit., Ill, 46; Galleria di Firenze,
Societa Editrice, 1839; Cicerone, 2d ed., Leipzig, 1874; III, 981; Goldschmidt, op. cit.,
p. 46. For existing copies of Leonardo's work, see Kunstkritische Studien, Die Galerie
Borghese, Leipzig, 1890, p. 196; Miiller-Walde, Jahrbuch d. konigl. preuss. Samml., XVII
(1897), 137; Miintz, The Leda of Leonardo da Vinci, Athenaeum, II (1898), 393 and
Leonard de Vinci, Paris, 1899, p. 424; La chronique des arts, October 2, 1897; August 20,
and September 3, 1898; Frizzoni, Arch, storico dell' arte, 1896, p. 400.
209
PONTOEMO
FONTAINEBLEAU
GASTON DE FOIX
An early inventory of Fontainebleau mentions ' ' dans la Salle des Bains :
un Gaston de Foix du Pontormo." Nothing further is known of this work.
Bibl. Dimier, Primatice, p. 282.
FUCECCHIO
Arcipretura di San Giovanni Battista
MADONNA AND FOUR SAINTS. ABOVE: THE BAPTISM AND TWO
ANGELS
Erroneously ascribed to Pontormo. This altar-piece seems to have been
patched together from two unrelated pictures. It is the work of some
provincial artist, perhaps of Umbrian origin, who had studied Perugino,
Michelangelo and Andrea del Sarto.
Beprod. Photo. Alinari 19283 (as Pontormo).
GENOA
Palazzo Brignole-Sale
PORTRAIT OF A MAN IN RED WITH A SWORD
Ascribed to Pontormo by Berenson. I do not know of any collection in
a Palazzo Brignole-Sale in Genoa other than the collections of Palazzo Bianco
and of Palazzo Rosso. In neither of these galleries have I been able to find
this portrait.
Bibl. B. F. P. E., p. 175.
HAMPTON COURT
139 (282). MADONNA AND CHILD
Figures less than life-size. The Virgin is seen full-length facing and slightly inclined
to the left; her left hand supports the back of the Child, her right turns his face to her
own; she wears a turban-shaped head-dress.
Oil on wood. H. 1 ft. 10 in., w. 1 ft. 5 in,
210
ATTRIBUTED PICTURES
Ascribed to Andrea; by certain critics to Pontormo. This picture is
apparently an old copy of the panel in the collection of the Earl of North-
brook, which is ascribed to Andrea by Crowe and Cavalcaselle, but has
recently been given to Puligo. Another replica, falsely ascribed to Pontormo,
may be seen at Alnwick Castle. The present panel may be the "Mary and
Child by Andrew del Sarto," valued by the Commonwealth at £40 and, on
December 3, 1649, sold to Mr. Rhemy van Leemput for £50 (Commonwealth
Inventory, fol. 212).
Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 514.
193 (249). MADONNA AND CHILD
Erroneously ascribed to Bronzino. This is a late Florentine partial copy
of the composition, probably derived from an original by Pontormo, which
is known in numerous renderings of various dates. See in this division of
the Catalogue Raisonne, under Berlin; Boston; Castello; Florence, Cenacolo
di Foligno; London, Cook Collection; Munich; Oxford. The present panel
was painted, it would seem, in the "bottega" of Allori.
Oil on wood. H. 4 ft., w. 3 ft.
Bibl. Catalogue of the Collection of Hampton Court, p. 93 ; Law, New Authorized
Historical Catalogue of the Pictures and Tapestries at Hampton Court, London, 1911, p. 64.
300 (463). VENUS AND CUPID
A copy of Pontormo 's "Venus and Cupid" of which the Uffizi panel is probably
his original.
Oil on wood. H. 4 ft., 3 in., w. 6 ft., 5 in.
Hard, cold and dry. Although thought by Law to be a Bronzino, it is
more probably only a product of his ' ' bottega. ' ' Brought to England in 1734
and exhibited at Essex House, Essex St., Strand. It was then advertised to
be disposed of in a raffle, the tickets of which were to be ten guineas each.
The raffle did not take place, but the King bought it for Queen Charlotte for
£1000. The engraved tickets of the exhibition contained an elaborate
description of the picture and an attestation of its genuineness as a work of
Michelangelo signed by three connoisseurs; at the bottom of the tickets there
was an etching of the picture (cf. Mrs. Jameson's Royal Galleries). Duppa
engraved it in his Life of Michael Angelo (1806) and states that it came from
the collection of the Bettini family. Thode conjectures, apparently without
evidence, that it is the same picture as that mentioned in the Heidelberg
Inventory. Exhibited in Manchester (Art Treasures, No. 170) in 1857 in
connection with which exhibition "W. Burger (Tresors d' art en Angleterre,
Bruxelles, 1860, p. 43) speaks of it as a masterpiece and one of the finest
211
PONTORMO
paintings (!) in Hampton Court. Hogarth satirized it in his Analysis of
Beauty. Law gives the number of this picture as 420.
Bibl. Law, Royal Gallery of Hampton Court, London, p. 110; Graves, Loan Exhibi-
tions, II, 942; Law, New Authorised Historical Catalogue of Hampton Court, p. 99.
740. VENUS AND CUPID
Venus lies on a white drapery. There are two doves, two roses and an apple in the
lower right corner.
Oil on wood. H. 5 ft. 2 in., w. 7 ft. 3 in.
A late and inferior variant of the same composition as No. 300 of this
collection. Once in the collection of James II (No. 996). Law gives the
number of this picture as 707.
Bibl. Law, catalogue cited above, p. 180; idem, New Authorized Historical Catalogue,
p. 129.
HILDESHEIM
Museum
VENUS AND CUPID
A copy of the composition best known by the example, probably by
Pontormo himself, now in the Uffizi (No. 1284). This picture was brought,
in 1884, from the Berlin Gallery to which it had been taken in 1841. It is
the same "Venus" that was once in the collection of Professor d' Alton of
Bonn, where it was erroneously ascribed to Pontormo by Kugler.
Bibl. Verseichniss der abgegebenen Gemdlde, 1886, No. 233; A. W. von Schlegel,
Verseichniss von d' Altons Gemdldesammlung, 1840; Kugler, Kunstblatt, 1842, p. 42; Kleine
Schriften, II, 358.
LONDON
Collection of Sir Frederick Cook
42. MADONNA AND CHILD
The Virgin, in green tunic with green sleeves, pink robe, blue mantle and head-
dress, is seated on the ground. Her right hand rests on an open book, her left clasps the
naked Infant Christ who kneels clinging to her. Behind and to the right, St. Joseph at
work, speaking to the little St. John and St. Elizabeth. Buildings in the background.
Canvas. H. 1.268, w. 1.016.
At St. Paul's Churchyard. This is a copy of the composition best known
in the version now in the Pinakothek at Munich (No. 1090) . Other renderings
212
ATTRIBUTED PICTURES
by various hands may be seen in the Boston Museum; in the Royal Villa at
Castello, near Florence; in the Cenacolo di Foligno, Ferroni Collection,
Florence (No. 117) ; at Hampton Court (No. 193-249) ; in the collection of
Mr. Vernon Watney at Cornbury Park, Oxford; in a private collection in
Berlin.
Keprod. Photo. Gray 31563.
Bibl. A Catalogue of the Paintings at Doughty House, Eichmond, and elsewhere in
the Collection of Sir Frederick Cook, 1913, I, p. 47.
Collection of the Earl of Northbrook
i
211 (39). PORTRAIT OF A MAN
Bust figure turned three-quarters left. He has long hair and dark eyes and wears a
three-cornered hat and a black coat lined with fur. Green background.
Oil on wood. H. 19$ in., w. 15J in.
Originally in Palazzo Riccardi at Florence; later in the Le Brun and
Baring Collections. Exhibited at the British Institution, 1824, No. 21 ; 1840,
No. 68. Once supposed to be a member of the Medici family and by Raphael.
Ascribed by Frizzoni and by Waagen to Andrea, by Crowe and Cavalcaselle
to Pontormo or Puligo. It is not by Jacopo and it seems too hard for Puligo.
Eeprod. Catalogue cited below facing page 158.
Bibl. Buchanan, II, 254; Waagen, Art Treasures, II, 176; idem, Arts and Artists,
III, 35; Crowe and Cavalcaselle, ed. Hutton, III, 512; ed. Borenius, VI, 201; Descriptive
Catalogue of the Collection of the Earl of Northbrook, London, 1889, p. 158.
MADONNA AND CHILD
The Virgin, dressed in crimson with a pink kerchief, stands, a half-length figure.
The Christ Child is seated on a white cushion on a balustrade. She raises his face with
her left hand.
Oil on wood. H. 24 in., w. 18i in.
From the Gray, Buchanan and Baring Collections. Ascribed to Andrea;
by certain critics to Pontormo ; by Crowe and Cavalcaselle to Puligo, but none
of these attributions is satisfactory. Replicas at Alnwick Castle and, with
modified colouring, at Hampton Court (No. 282).
Bibl. Catalogue cited above, p. 157; Waagen, op. cit., II, 175; Crowe and Caval-
caselle, ed. 1864-1866, III, 584; ed. Borenius, VI, 201.
Collection of the Earl of Plymouth
PORTRAIT OF A YOUTH
Bibl. B. T. P. E., p. 176.
213
PONTORMO
National Gallery
649. PORTRAIT OF A BOY
Full-length; he stands turned slightly to the right, the weight on left leg, the right
knee slightly bent, the head turned three-quarters right; he looks at the spectator; his
right hand rests on his hip, his left holds lightly the pommel of his sword. He is dressed
in doublet, trunk-hose gaged and puffed, a broad, richly ornamented belt, stockings and
slippers; he also wears a short velvet coat embroidered at the edges on the sleeves and
around the cuffs; at the throat and wrists, lace ruffs. The sleeve is slashed and ornamented
with embroidered triangles. He wears a dark Florentine cap trimmed, on the left and in
front, with jewelled ornaments and, on the right, with a large puffy feather. The back
ground is a striped curtain, dark in the centre with two light vertical bands at either side
and dark edges; it has many horizontal creases; the fringe is short and alternately black
and light.
Oil on wood. H. 4 ft. 2$ in., w. 2 ft.
Formerly in the collection of the Duke of Brunswick ; purchased in Paris
in 1860 from M. Edmond Beaucousin. Once erroneously believed to be a
Pontormo — an attribution that Miintz repeats. Ascribed to Bronzino by
Frizzoni and Berenson; by others, including Richter, to Salviati, neither of
which ascriptions is justified or satisfactory.
Eeprod. Photo. Bruckmann; Braun 30649; fig., Poynter, National Gallery, p. 70;
Leman Hare, National Gallery in Colour, London, 1909, XIX, p. 72.
Bibl. Wornum, Descriptive Catalogue of the Pictures in the National Gallery, London,
1875, p. 223; Fmzoni, Arte italiana del rinascimento, 1891, pp. 266 f. ; Poynter, National
Gallery, p. 70; Cook, Handbook, I, 22; Descriptive Catalogue of National Gallery, 1906,
p. 87; Eichter, Art of the National Gallery, p. 45; Miintz, Eenaissance, III, 499.
790. ENTOMBMENT
Ascribed by most critics, including Frizzoni and Berenson, to Michel-
angelo; by others, to Bugiardini; by Symonds and still others, to Pontormo
with whose work it has no connection. This picture was once in the Fesch
Collection and its subsequent history is well known.
Bibl. Thode, Krit. Unters., II, 483-488; Frizzoni, op. cit., pp. 263 f.; Poynter, op. cit.,
I, 72; Cook, op. cit., I, 14-16; Eichter, op. cit., p. 44.
1048. PORTRAIT OF A CARDINAL
Three-quarter length. -He is seated facing and wears a rose-coloured silk hood with
a white collar and a scarlet hat.
Copper. H. .95, w. .71.
Purchased in Florence from Mr. Campbell Spence in 1879. Once
erroneously attributed to Pontormo but now ascribed to Scipione Pulzone.
214
ATTRIBUTED PICTURES
Two other portraits of the same personage survive, one in the Corsini Gallery,
Rome, one in Chantilly.
Keprod. Woodcut, Reinach, Repertoire, III, 370.
Bibl. Catalogue of the National Gallery, 1913, p. 569. Of. F.-A. Gruyer, La peinture a
Chantilly, ficoles etrangeres, p. 125.
1150. PORTRAIT OF A MAN
Bust figure turned three-quarters right; dark brown hair that falls over his ears,
a short moustache and short thick beard; flesh-tones, a reddish brown; black coat with
white ruche at neck and white frill at wrist of left hand which is raised; black gown;
black cap; in his right hand, a purse or document; on the little finger of left hand, a
small ring; on first finger of right hand, another; background, light brown.
Oil on wood. H. 25 in., w. 19$ in.
Falsely ascribed to Pontormo. Purchased at Florence, of Mr. C. Fairfax
Murray, in 1883.
Eeprod. Poynter, op. cit., II, p. 99.
Bibl. Poynter, loc. cit., p. 98; Descriptive Catalogue, 1906, p. 457; idem, ed. 1913,
pp. 554 f.
LYONS
Musee
161. SACRIFICE OF ISAAC
Oil on wood; life-size.
A replica of Andrea's picture, now in Dresden. The present panel was
carried away from Holland by Napoleon and given, in 1811, to the Lyons
Museum. Crowe and Cavalcaselle found the execution less agreeable than
that of Andrea's altar-piece, the nude poorly rendered, the colour lacking in
transparency. They believed, I think without reason, that the author may
have been Pontormo.
Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 507; De Eis, Les Musees de Province,
II, 377.
MADRID
Museo National
340. HOLY FAMILY
The Virgin looks down at the Christ Child who lies asleep in a fold of her mantle.
To the right, St. John; beside the Virgin, St. Joseph also asleep.
Oil on wood. H. 1.30, w. 1.00.
215
PONTORMO
Once in the collection of Dona Isabel Farnesio, Palacio de San Ildef.
Attributed to Pontormo but, as Morelli recognized long ago, it shows no trace
of the master's hand.
Eeprod. Photo. Braun 50340.
Bibl. Catdlogo de los cuadros del Museo national de pintura y escultura, Don Pedro
de Madrazo, ampliado por D. Salvador Viniegra, novena edicion, Madrid, 1904, p. 48;
idem, 10th ed., 1910, p. 54; French ed., 1913, p. 61; Appunti del senator e Giov. Morelli a
proposito della Galleria del Prado, Archivio storico dell' arte, VII (1894), 65.
385. MADONNA AND CHILD
The Child stands erect on the lap of the Madonna who raises her veil. To the left,
an archangel holding a book crouches on the steps of the Virgin's seat; to the right
St. Joseph seated on the ground; in the middle ground, St. Elizabeth leads the young
St. John; the background, a landscape. At St. Joseph's feet, Andrea's monogram.
- Oil on wood.
Ascribed to Andrea; believed by Crowe and Cavalcaselle to show in the
drawing and colour the hand of Pontormo. Not mentioned by Berenson.
I have not seen this picture. Hutton mentions several replicas: a damaged
school copy (oil on wood), at Dudley House; a later copy by a clever imitator
of Del Sarto in the collection of Mr. Holford in London; another of later
date on canvas, without signature, at Ince, near Liverpool.
Condition: damaged.
Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 510.
MILAN
Collection of Prince Trivulzio
PORTRAIT OF A RINUCCINI LADY
Bibl. B. F. P. E., p. 176.
MONTPELLIER
Musee Fabre
PORTRAIT OF A YOUNG MAN
Bust figure turned three-quarters left, the head nearly full face; he holds his mantle
with his right hand; his hair falls almost to his shoulders; he wears a white shirt and a
black vest.
Oil. H. .61, w. .51.
216
ATTRIBUTED PICTURES
Originally attributed by Fabre and Canova to Raphael ; by certain critics
to Ridolfo Ghirlandaio ; by others to Francia. Others have thought that they
could detect here the hand of Pontormo. Their opinion need no longer
complicate the problem of the authorship of this portrait which, as Berenson
has clearly demonstrated, is a Brescianino.
Keprod. Engraving by Dimier, article by Gonse cited below; fig., article by Berenson
cited below.
Bibl. Inventaire general des richesses d 'art de la France, Province, Monuments civils,
Paris, 1878, I, 247; Gonse, Le portrait d'homme du Musee de Montpellier, Gazette des
beaux-arts, 2e s6rie, XII, 114 ff. ; Benouvier, Musee de Montpellier, Gazette des beaux-
arts, V, 8; Passavant, Eaphael, trad, fran., 1860, 88, 367; Berenson, Le portrait
Eaphaelesque de Montpellier, Gazette des beaux-arts, XLIX (1907), 208 ff.
MUNICH
Alte Pinakothek
1090. MADONNA AND CHILD
The Virgin is seated on the ground full face, her knees turned to the left; she wears
a bright red tunic with dark green sleeves, a purplish scarf over her hair and a dark blue
mantle. Her right hand is laid on the top of an open book on which one reads in the
midst of indecipherable lines: IACOPO] DAPUN| NO. In the margin we distinguish
the capitals Q|N|O. With her left hand the Virgin holds the naked Christ Child who
nestles in her lap, his left hand laid upon her knee. He is turned three-quarters left and
gazes up at his mother. In the background, to the right, there are little figures of St.
Joseph in pale blue, St. Elizabeth in purple skirt, bodice with red sleeves and white head-
dress, and the little St. John who is nude except for a scarf tied over his right shoulder.
He holds a basket for St. Joseph who is in the act of stepping on to a stool. St. Elizabeth,
turned three-quarters to the right, stands in an archway reading. Above her, over a
parapet, a woman's figure leans. Behind the Virgin's head and shoulders, houses and to
the left, the pyramidal tops of two campaniles.
Oil on wood. H. 1.20, w. 1.01.
From the King's private collection. Attributed to Pontormo and con-
sidered to be genuine by Morelli; not mentioned by Vasari; not cited by
Berenson. Goldschmidt calls it a "signiertes Spatwerk," although the
inscription is a late addition. This panel is a copy of a lost original by
Pontormo which must have dated from about 1540-1550. The smooth and
dry flesh-painting, the feeble and heavy feeling for form give but little hint
of the quality of the original. The composition, however, was famous. A
number of other copies are known: one, a mere ruin, in the Royal Villa at
Castello, near Florence; another (modified) in the office of Sir Frederick
Cook, St. Paul's Churchyard, London; others in the former Galleria Ferroni,
now in the Cenacolo di Foligno, Via Faenza, Florence, in a private collection
in Berlin, at Hampton Court, No. 193 (249), and in the collection of
Mr. Vernon Watney, at Cornbury Park, Oxford. A good copy, once ascribed
to Bronzino but really by Naldini and bearing the date 1561, has recently
217
PONTORMO
been taken from the store-rooms of the Boston Museum and placed on
exhibition there. The composition also appears in a poor black-chalk drawing,
in the Uffizi (No. 6629), that dates in all probability from the eighteenth
century. See in this catalogue, under the collections cited.
Condition: heavily repainted on the Virgin's mantle and head-dress and on the
drapery of the figures of the background.
Reprod. Photo. Bruckmann, Munich, 1897; for other copies, see above.
Bibl. Von Eeber, Katalog der Gemalde- Sammlung d. Tconigl. dlteren Pinakothelc in
Miinchen, Miinchen, 3908, p. 233; Morelli, Munich and Dresden Galleries, 1893, p. 101;
ed. 1904, p. 240; English ed., p. 220; Catalogue of the Paintings at Doughty House, Bich-
mond, ed. by Herbert Cook, London, 1913, p. 47.
Rohrer Collection
PORTRAIT OF A YOUNG MAN
Bust figure, life-size. Dark hair, large ears, and eyes that look at the spectator.
Dressed in a black silk coat, slashed on the arms and simply embroidered about the neck
and down the front, a simple, white collar embroidered at the edge and a black cap. He
is just taking a sheet of paper from an inside pocket. On this sheet the notes and words
of the beginning of a madrigal are written and in the lower left corner, the date 1547.
Oil on poplar wood. H. .584, w. .498.
Ascribed to Pontormo by Schmidt ; but the heavy, glossy colour, the fussy
modelling, the uneasy naturalism, and the absence of any amplitude of
conception show that this panel has obvious affinities with the later manner
of Salviati to whom it is ascribed by Voss, but of whose work I do not consider
it to be an authentic example.
Eeprod. Schmidt, article cited below, pi. 29, No. 2; Voss, article cited below, fig. 4.
Bibl. Wilhelm Schmidt, Gemalde aus der Sammlung Bohrer, Monatshefte fur Kunst-
wissenschaft, 1910, p. 141; Hermann Voss, Italienische Gemalde des 16 und 17 Jahrhunderts
in der Galerie des Kunsthistorischen Hofmuseums zu Wien, Zeitschrift fur bildende Kunst,
1912, pp. 41-43; Gamba, Alcuni ritratti di Cecchino Salviati, Bassegna d' arte, IX (1909), 4.
NAPLES
Museo Nazionale
14. CARDINAL KNEELING AT THE FEET OF CHRIST
Oil on wood.
Ascribed to Pontormo by Monaco. The panel has however no connection
with Jacopo's work. It is not now exhibited.
Bibl. Monaco, Handbook to the National Museum of Naples, trans. Eolfe, 1883, p.
196; Aldo de Einaldis, Guide illustrata del Museo Nazionale di Napoli, Napoli, 1911, 560;
Crowe and Cavalcaselle, ed. Borenius, London, 1914, VI, 196.
218
ATTRIBUTED PICTUEES
17 X, 10. MADONNA AND CHILD WITH ANGELS
Oil on wood. H. 1.15, w. .86.
Originally ascribed to Andrea del Sarto. In inventory S. 84163 it is
attributed to Pontormo with whose work it has no connection. The original
of this picture is in the Prado ; a replica of the Naples copy, and like it falsely
ascribed to Andrea, hangs in the Borghese Gallery. The present panel comes
from the Palazzo del Giardino, Parma (inv. 1680), and Naples, Capodimonte
(inv. A. 101 — Andrea del Sarto ; inv. S. G. 275 — copy of Andrea del Sarto) .
Bibl. De Einaldis, catalogue cited above, p. 40.
18 XIV, 16. PORTRAIT OF TWO ARCHITECTS
Dated M.D.LVI.
Oil on wood. H. 1.20, w. .90.
Anciently ascribed to Andrea del Sarto; by De Rinaldis to a follower
of Bronzino and Pontormo. Borenius thinks it a "mixture of Bronzino and
Pontormo." The picture shows little direct influence of Jacopo.
Eeprod. Photo. Anderson 5494 ; Brogi 6760.
Bibl. De Einaldis, catalogue cited above, p. 41 ff. ; Crowe and Cavalcaselle, ed.
Borenius, London, 1914, p. 196.
20 XIV, 4. PORTRAIT OF A WOMAN
Bust figure. She is blond and wears a large necklace wound twice around her neck,
a bodice with large sleeves, and holds in her hand an open book bound in red. She looks
at the spectator.
Oil on wood. H. .68, w. .49.
This portrait, which came originally from the Palazzo Farnese in Rome
(inv. 1697, No. 151), was later at Capodimonte, Naples (inv. A. 11009) and
was there ascribed to the ' ' School of Leonardo. ' ' In the inventory S. G. 309,
it is attributed to Bronzino. De Rinaldis ascribes it to the "School of
Pontormo." It would seem to be from the "bottega" of Allori. The hands
are well drawn but the colouring is crude and the modelling feeble.
Eeprod. Photo. Anderson 5496.
Bibl. De Einaldis, catalogue cited above, p. 43.
22, VIII, 13. VENUS AND CUPID
Oil on wood. H. 1.34, w. 1.95.
Once ascribed to Bronzino. It is however a copy with slight modifications
of the "Venus and Cupid" of the TJffizi. The same long, bony forefinger
occurs here. De Rinaldis gives it to Alessandro Allori. Provenance : Parma,
219
PONTORMO
Palazzo del Giardino (inv. 1680) where it was ascribed to Giovanni Bellini;
Naples, Capodimonte, and later Palazzo Reale (inv. A. 11656 — Agnolo
Bronzino ; inv. S. 84068 — idem) .
Eeprod. Photo. Brogi 6772; Thode, Michelangelo, III, 487.
Bibl. De Einaldis, catalogue cited above, p. 46; Thode, op. tit., Ill, 485.
682, XXV. VENUS AND CUPID
Cartoon. H. 1.30, w. 2.12.
Once held to be Michelangelo's original cartoon for the "Venus and
Cupid" painted for Bettini by Pontormo. Thode preserves the traditional
attribution, although it is quite evident that this is merely a late and mediocre
copy of Jacopo's picture. Provenance : Palazzo Farnese in Rome (inv. 86654) .
Bibl. De Rinaldis, catalogue cited below, p. 554.
NEW HAVEN
Jarves Collection
Yale University
78 (100). PORTRAIT OF COSIMO I
Bust figure nearly full face. His hair and beard are dark brown, his complexion
bronzed and his blue eyes look at the spectator. He wears a dark velvet coat with
embroidered fastenings, a broad turned-down plain white collar, a heavy flat gold chain
with links of elaborate design alternating with others smaller, in each of which a pearl.
The background is dark, ripe-olive green. On the upper left corner of the back of the
panel, a seal.
Oil on wood (the panel is made up of three pieces). H. .61, w. .48.
Originally ascribed to Pontormo and considered to be authentic by
Berenson. This is however a weak copy from the "bottega" of Alessandro
Allori of a portrait painted by Pontormo at the very end of his career. Under
the somewhat dejected air of the copy we still catch a hint of the severity
of vision of the original. The chain is identical with that which one sees
in the former Sedelmeyer portrait cited below, except that in the present
panel the pendant is not visible. It is, of course, the insignia of the Golden
Fleece which was given to Cosimo by the Emperor in 1546. The original
must, therefore, have been painted after that date. Many portraits exist
related either to the prototype of our portrait or to a similar and contempo-
raneous portrait by Bronzino which Vasari (VII, 601) mentions that Agnolo
painted when the Duke was forty years of age, namely in 1549-1550. In all
of these the head is seen in exactly the same pose, but the dress or the pose
of the body is different. Among them we may point out the following, citing
220
ATTRIBUTED PICTURES
them according to the apparent age at which Cosimo is represented: (1) The
bust portrait, in Vienna, with shoulders turned slightly to the right, ascribed
to Bronzino but really a "bottega" copy. (2) Vasari's full-length portrait,
once ascribed to Pontormo and now in the Chapel of Leo X, in the Palazzo
Vecchio. (3) The bust portrait ascribed to Bronzino in the Pitti, in which
the Duke wears the same collar as in No. 1, but over a doublet trimmed with
fur. (4) The half-length portrait, which was once in the Sedelmeyer
Collection (No. 99), in which Cosimo, with shoulders turned threes-quarters
left, wears a lace collar and the Order of the Golden Fleece. (5) A similar
portrait, once in the same collection and ascribed to Bronzino (No. 101), in
which the shoulders are turned the other way. Dr. Siren informs me that a
portrait of the same description exists in the collection of the Principe del
Drago.
Condition: fair; cracked where the boards of the panel join.
Date of the original: 1546-1556.
Eeprod. Photo. Bandall, 11 Pratt Street, Hartford, Conn.
Bibl. Descriptive Catalogue of ' ' Old Masters ' ' Collected by James J. Jarves,
Cambridge, 1860; Manual of the Jarves Collection, Russell Sturgis, Jr., New Haven, 1868,
p. 84; Catalogue Sedelmeyer, pp. 88, 112; Siren, Catalogue of the Jarves Collection, New
Haven, 1916.
79 (99). MARTYRDOM OF ST. MAURICE
Oil on wood. H. .28, w. .28.
A poor and modified copy, made, it would seem, in Florence at the end
of the sixteenth century, of Pontormo 's picture, now in the Pitti (No. 182).
The 1860 catalogue of the collection considered the present panel to be
authentic but weak. It has been drastically cleaned and the general tone is
now a misty grey. The size is slightly larger than the original which has
been cut down. The copy reveals, therefore, a trifle more of the figures on
both sides of the composition.
Condition: seriously injured, especially the hand of the judge; the panel is warped
and the colours, except the orange, completely faded.
Eeprod. Photo. Eandall.
Bibl. Descriptive Catalogue, p. 57; Manual, p. 84; Sir6n, op. cit.
98 (104). PORTRAIT OF A LADY
Half -length, seen facing, her left hand resting on a table (?), her index finger keeps
her place between the leaves of a book. She has dark brown hair parted in the middle,
grey-blue eyes and wears a black dress cut square and low at the neck and edged with a
fine embroidery of gold, a white chemisette open in V-form at the throat, and a white
cap with a veil over it. Around her neck, a gold chain knotted in front from which hangs
a gold medallion of a man's head profile left; on her forefinger, a gold ring. The book is
bound in reddish leather ornamented with three parallel gold lines. The background is a
grey-green landscape — valley, hills and trees ; the sky, dark grey-blue.
Oil on wood (the original part of the panel is made up of five pieces). H. .64, w. .48.
221
PONTOKMO
Attributed to Sebastiano del Piombo by the author of the catalogue of
1860, an attribution for which there is not the slightest foundation, as there
is none for identifying the person represented as Vittoria Colonna. The
same writer feels that this somewhat stiff and inexpressive picture unites
"the warm, rich, grave tones of the Venetian School to the strength and
boldness of design of Michelangelo." Russell Sturgis in his Manual follows
this early attribution. Berenson ascribes the picture to Pontormo. It is
however, according to Dr. Siren, with whose opinion I completely concur,
a Ferrarese work and has probably a certain connection with the art of
Dosso Dossi. This portrait is really only a fragment, has suffered not a little,
and has lately been thoroughly cleaned in connection with which restoration
it became clear that the lower part of the panel, from just above the medallion
downwards, is a late addition. For the iconography of Vittoria Colonna, see
under "Portrait of Vittoria Colonna," Casa Buonarotti.
Condition: injured, rubbed, and repainted about the face; recently restored; a
vertical crack across the face; the lower part of the composition is spurious.
Eeprod. Photo. Eandall.
Bibl. Catalogues cited above; Manual, p. 84 f.
NEW YORK
Ehrich Galleries
PORTRAIT OF A MAN
Half-length, seated three-quarters left, the head almost full face. He looks at the
spectator. His left hand rests on the arm of his chair, his right is raised and holds a
small open book on which one distinguishes the letters X. A.| F. V. P.| . . . 558. He wears
a beard and is dressed in a dark coat with white collar and cuffs, and a large black hat.
Behind him, a dark brownish green curtain and, to the left, sky, clouds, and a little land-
scape of river, ruins, tower and hill. The flesh-tints are brownish.
Oil on wood. H. 32$ in., w. 28£ in.
Ascribed to Pontormo, with whose work it shows no relation. The
colouring, the modelling, the drawing of the eye, as well as many other
details, make it certain that this is a Cremonese picture, and probably the
work of Giulio Campi.
Eeprod. Photo. The Ehrich Galleries.
Wildenstein Collection
PORTRAIT OF A MAN
Bust figure, profile left, the head three-quarters left. He looks at the spectator. In
his right hand he holds a little book. He has a thin square beard and wears a dark cap
and coat with a narrow white collar.
Oil on wood.
222
ATTRIBUTED PICTURES
In 1905 this portrait was, if I am not mistaken, in the Constantini
Collection in Florence where it was quite arbitrarily ascribed to Pontormo.
It was originally attributed to Andrea — an attribution which Perkins and,
it would appear, Berenson believe to be correct.
Condition: retouched.
Reprod. Photo. Eeali; fig., Rassegna d' arte, article cited below.
Bibl. F. Mason Perkins, Miscellanea, Eassegna d' arte, XV (1915), 122.
OXFORD
Cornbury Park
Collection of Mr. Vernon Watney
MADONNA AND CHILD
Copy of the picture ascribed to Pontormo in the Alte Pinakothek, Munich
(No. 1090). For other copies, see in this division of the catalogue, under
Berlin; Boston; Florence, Cenacolo di Foligno, Collection Ferroni; Hampton
Court; London, Cook Collection; Munich, Alte Pinakothek.
PALERMO
Museo Nazionale
406. JUDITH
Believed by Berenson to be an example of Jacopo's later manner. It is
however, according to Gamba, a replica of the " Judith" by Jacopo Ligozzi
of Verona, now in the Pitti Palace.
Bibl. B. F. P. E., p. 177.
PANSHANGER
Collection of Lady Desborough
PORTRAIT OF A YOUTH
Three-quarter length; dressed in black with velvet bands about the jerkin, a white
shirt showing on the breast; three-cornered black hat. He writes at a table covered with
a striped cloth of red, yellow, yellow-green, and slate colour. Background, dark grey.
Oil on wood. H. .92, w. .67.
223
PONTOKMO
Exhibited Manchester, 1857; Burlington House, 1881. Ascribed to
Andrea. This portrait, which has a superficial resemblance to the work of
Pontormo, has been given to him by certain critics, but it is, of course, not
authentic. The colouring clearly recalls that of the "Portrait of a Youth
with a Lute," in the Jacquemart- Andre Collection in Paris, which is also
unauthentic. The present panel bears an inscription: "8 Dicenbre. Mastro
Domenico assai mi chamo sod ... to verso di voi avendo strato ( ?) propinquo
ingenio per dimostrarmi qual proprio a ... sono . . . tanto . . . molto obrigato
1523 . . . Andr ..." Crowe and Cavalcaselle believed the portrait to be a
genuine Andrea and of fine quality. Neither Hutton nor Borenius dissents
from their opinion. On considerations of style and modelling Gamba ascribes
it to Puligo, assuming that the ' ' Domenico ' ' of the picture is none other than
the artist himself.
Keprod. Photo. Braun; fig., article cited below, pp. 278-279.
Bibl. Gamba, Di alcuni ritratti del Puligo, Eivista d' arte. VI (1909), 280; Crowe
and Cavalcaselle, ed. Hutton, III, 513; ed. Borenius, VI, 201; Waagen, Treasures of Art,
III, 11.
PORTRAIT OF A LADY
Dressed in red; half-length. In front of her, a parapet covered with a green cloth
on which lies a book of music, the "Canzoniere del Petrarca," and, to the left, a third
book closed. On the parapet: TV DBA TV PRESES NOSTRO SVCCVRE; LABORI;
and on one of the capitals: MELIORA LATENT. Background: on one side, pilasters;
on the other, a landscape.
Oil on wood. H. .96, w. .79.
Exhibited Burlington House, 1881; at the Grafton Galleries (No. 49)
in 1909-1910. Falsely ascribed to Andrea of whose later work Waagen and
Crowe and Cavalcaselle believed it to be an example. Neither Hutton nor
Borenius dissents from the traditional opinion. Some critics have suggested
that it is a Pontormo but it shows no trace of his hand. Gamba believes it
to be a Puligo and proposes that it be identified with the latter 's lost ' ' Portrait
of Barbara Cortegiana, " which is mentioned by Vasari and which Berenson,
on the contrary, identifies with the ' ' Santa Barbara, ' ' now in the Hermitage.
The panel has, I think, been rather unhappily cleaned, but there is something
in the modelling, the type of the face, the hands, and the colour, which makes
me practically certain that it is by Granacci. It should be compared with his
' ' Assumption of the Virgin, ' ' now in the Academy, at Florence.
Reprod. Photo. Gray; Braun 37397; fig., Gamba, article cited below; catalogue
published by Heinemann cited below.
Bibl. Waagen, op. cit., Ill, 11; Crowe and Cavalcaselle, ed. 1864-1866, III, 585;
ed. Hutton, III, 513; ed. Borenius, VI, 201; Catalogue of the National Loan Exhibition,
London: Heinemann, 1910, p. 69; Catalogue of the National Loan Exhibition, Ballantyne
and Co., p. 49; Gamba, Di alcuni ritratti del Puligo, Eivista d' arte, VI (1909), 281.
224
ATTRIBUTED PICTURES
PARIS
Jacquemart- Andre Collection
PORTRAIT OF A YOUTH WITH A LUTE
Half -length; turned three-quarters right and seated in an arm-chair before a table.
His grey -blue eyes look at the spectator. In his lap he holds a large six (double) string
light brown lute, on which he plays; before him on the table a book of music lies open.
He wears a coat of dark violet-brown stuff with large slashed sleeves trimmed with bands
of black velvet and a black velvet hat ; through the slashings a lining of dark red is visible ;
at the neck, a small white ruche. The table-cloth is striped — dark red, black, dark grey,
dark olive-grey, light red and yellow. In the background to the right, the brown cornice
and pilasters of a massive cupboard on which a small brown statue of Cupid and three
large books bound in dark violet leather, and tied with green ribbons; to the left, a
looped-up dark green curtain.
Oil on wood.
Provenance unknown ; attributed to Pontormo but, close as is this portrait
to the work of our master, the clumsy treatment of the hands, the hard
inorganic folds, the somewhat vacant modelling of the face convince me that
it is not his. It also lacks a certain largeness and calm in the composition
that we have a right to expect from Jacopo. On the other hand the drawing
of the ear, eye, and mouth do not suggest Salviati, and we do not find here
his restless insistence on minor passages in the modelling. The colour recalls
vividly a portrait of a youth writing at a table covered with a striped cloth,
in Lady Desborough's collection, at Panshanger. Both may well be by the
same hand. It would, of course, be pure conjecture to suggest that that hand
was Giovann' Antonio Lappoli's and that the person represented in our
portrait is Antonio da Lucca. But the present picture was certainly painted
under the direct inspiration of Pontormo 's work, and it cannot date from
before 1515 nor from after 1525. Jacopo had, as is well known, few pupils.
Those directly in contact with the master, during this period, were Bronzino,
Pichi, and Lappoli. Our panel cannot be by Bronzino whose earliest work
in portraiture is based upon the manner Jacopo used after 1530. Of this
the portraits of Panciatichi, Martelli, and Giannettino Doria furnish every
proof. Of Pichi practically nothing is known. Lappoli, on the other hand,
precisely during the years in which our portrait was painted, was busy
copying the works of Pontormo and even, so Vasari affirms, helping him with
others. We learn too from Vasari, who was an intimate friend of Lappoli's
(both were Aretines) and who was in Florence during the years in question,
that Lappoli, instead of working diligently at his art, gave himself up to
various amusements in the house of Ser Raffaello di Sandro Zoppo, Cappellano
in San Lorenzo. There he met and made a friend of Antonio da Lucca,
"musico e senator di liuto eccellentissimo che allora era giovinetto" (VI, 7).
Antonio taught Lappoli to play the lute, and Giovann' Antonio, as might
225
PONTORMO
have been expected, painted Antonio's portrait — "ritratti di naturale fra
quali fu quello di detto messer Antonio da Lucca e quello di ser Raffaello, che
sono molto buoni" (VI, 8). The personage represented in our portrait is not
only ' ' sonator di liuto ' ' but ' ' giovinetto ' ' as well. Vasari tells us that Lappoli
returned to Arezzo in 1523.
Condition: good; repainted here and there, especially on the face, the left hand and
parts of the robe.
Date: 1518-1523.
Reprod. Photo. Bulloz.
Louvre
1242. VISITATION
Composition of thirteen figures on steps in front of a Eenaissance door flanked by
two engaged columns. On next to the lowest step, a woman seated nearly profile right,
the head three-quarters right; behind her, a woman standing, profile right, with a bundle
on her head; behind the latter figure, an old woman with a staff, the head turned three-
quarters left; behind and above these figures, a woman holding an infant in her arms, her
head profile right. In the centre of the composition, the Madonna standing profile right
receives St. Elizabeth who, standing profile left on the step below, bends her knee to the
Virgin. To the right on the next lowest step, Zechariah, profile left, holding with his left
arm against his hip a large book, his head three-quarters left; behind him, Joseph, his
head three-quarters right, his left hand raised pointing to the Virgin. Behind Zechariah
and above, a woman standing nearly full face; to the extreme right, an old man's head
profile right. Inside the door to the right, two women. On the architrave, the inscription:
W.HOC.MI.VT.VE.
Oil on wood. H. 2.75, w. 1.68.
Brought from Italy by Napoleon. Anciently attributed to Rosso. Villot
was the first to notice that it is an old free copy of Pontormo's fresco of the
"Visitation," in the courtyard of the Annunziata at Florence. The back-
ground has been completely altered, the composition narrowed and heightened,
the drapery and the colouring modified, the figures rearranged. Two figures,
a woman to the left and the "putto" on the steps to the right, have been
eliminated as well as the "Sacrifice of Isaac" which occupies the upper part
of Pontormo's original fresco. The inscription also is different. It seems
to me probable that this copy was made toward the end of the sixteenth
century. Salle IV.
Condition: excellent.
Date: 1560-1570.
Eeprod. Photo. Braun 11242; Landon, VII, pi. 33.
Bibl. Filhol, XVI, 21-24; Catalogue Villot, No. 159, p. 93; Catalogue Tauzia, No.
144; Notice des tableaux du Musee royal, pp. 218-219; Seymour De Eicci, Description, p. 41.
226
ATTEIBUTED PICTURES
PHILADELPHIA
Johnson Collection
84. PORTRAIT OF BARTOLOMMEO DI LORENZO GUALTERETTI
Half-length; he leans forward with his hands crossed on a brown parapet; he wears
a black cap and black coat with embroidered collar and cuffs, one link of a gold chain
appearing. In his jewelled fingers he holds a paper on which the motto: "Comporta
et astiente. ' ' To the left, the base of a column on which the inscription : BAET • DILOB •
GVALTEROTTT) D^Ti DANNI XLII| L'ANNO M-D-L-
Oil on wood. H. .76, w. .58.
Provenance unknown. Attributed to Pontormo by Berenson who con-
siders it a typical work of our painter's last years. I do not however, after
careful study, believe that it is authentic.
Date: 1550.
Bibl. Catalogue of a Collection of Paintings and some Art Objects : Italian Paintings,
Berenson (Philadelphia: John G. Johnson, 1913), I, 46.
Mclhlenny Collection
PORTRAIT OF GIULIANO DE' GONDI
Bust figure; the shoulders profile right, the head three-quarters right. He looks at
the spectator, wears a long beard, has dark hair and eyes, and is dressed in a dark coat
with a white collar. The background is olive-green.
Oil on wood.
Once in the Cernuschi Collection. Acquired in Milan and ascribed to
Pontormo. This portrait might easily be mistaken for an authentic specimen
of his portraiture were it not for the modelling of the eyes and nose and
the brush-work of the hair and beard. On the back of the panel we find
fhe following inscription in a handwriting of the second half of the sixteenth
century: "Giuliano| di Lionardo pater] di Giuliano auus| de Lionardo pro
auus| di Lionardo abauus| di Simone atauus| di Bart, tritauus) dj Casa de
ghondj] Annos natur. xxxviij."
Eeprod. The Chappel Studio, Philadelphia.
Wanamaker Collection
230. HOLY FAMILY
Oil on wood. H. 45$ in., w. 37$ in.
Ascribed to Pontormo without reason. It is a slightly modified copy
of the well-known and signed "Holy Family" by Bronzino, now in Vienna
(No. 49). Another ancient copy exists in the Louvre.
Eeprod. Catalogue cited below, pi. 180.
227
PONTOKMO
Bibl. Siter, Catalogue of the Wanamalcer Collection, p. 105. Cf. also Guiffrey, L' Arte,
V (1902), 259; De Chennevieres, Gazette des beaux-arts, XXX (1903), 494; Nicolle, Eevue
de I' art ancien et moderne, XVIII (1905), 190; Schulze, Bronzino, p. XXV.
POGGIO A CAJANO
The Great Hall in the Royal Villa
LUNETTE: THE APPLES OF THE HESPERIDES
Composition of ten figures.
Fresco.
This lunette, which faces Pontormo's fresco, has often and quite incor-
rectly been attributed to Pontormo. The initial error was apparently due
to Eaffaello Borghini 's somewhat misleading description of Jacopo 's ' ' Pomona
and Vertumnus. ' ' The present lunette is, of course, by Alessandro Allori and
dates from 1580-1582. Allori refers to it in his Ricordi: "... doue ho fatto
dirimpetto all' arco di Jacopo da Puntormo tutto con gran (certa) inuentione
del Revdo Priore delli Innocenti di Firenze Don Vincentio Borghini, Dio
1 ' habbi in gloria, dove come ho detto nell ' arco di contro al detto di m° Jacopo
e figurato i pomi degli orti Esperidi guardati dalle Nimfe, da Ercole e dalla
Fortuna..."
Eeprod. Photo. Alinari 29441 (as Pontormo).
Bibl. Bicordi di Alessandro Allori, Biblioteca della rivista d'arte, 1908, p. 29.
ST. PETERSBURG
Hermitage
85. HOLY FAMILY
The Virgin seated on the steps of an edifice holds on her knees the Christ Child and
draws to her the little St. John whom the Infant Jesus takes by the hand; to the left,
St. Elizabeth and St. Joseph seated.
Oil on slate. H. .44, w. .31.
Once in the Crozat Collection; anciently attributed to 'Parmigianino ;
given to Pontormo by Bruiningk and Somof and by Goldschmidt; not
mentioned by Berenson. I have not seen this picture.
Bibl. Bruiningk and Somof, catalogue cited below, p. 57. Goldschmidt, op. cit.
(dissertation), p. 47.
25. SANTA BARBARA
Half-length figure. She is dressed in a red mantle with a gilded belt and a sable
cap; she wears a pearl necklace from which hangs a medallion on which one sees a cross.
She holds in her hand a model of the tower in which she lived. Background, a drapery.
Oil on wood. H. .92, w. .69.
228
ATTRIBUTED PICTURES
This panel was originally a portrait of a young woman; the tower she
holds was added later, thus changing the picture into a "Santa Barbara."
Acquired from the Crozat Collection by Catherine II. Anciently, and by
Waagen, attributed to Andrea del Sarto; by Crowe and Cavalcaselle to
Bacchiacca ; by Berenson to Puligo. The later compares it with a ' ' Madonna
and Boy Saint" (photo. Anderson 5268) in the collection of Miss Hertz.
Briiiningk and Somof suggest Jacopo as the author, and Guiness also finds
it more akin to Pontormo than to Andrea. A careful comparison with
Pontormo's "Portrait of a Young Girl," once in the Yerkes Collection adds
to the plausibility of their suggestion. The panel, however, seems to have
been so seriously altered by restoration and rehandling that any attribution
must now be considered conjectural. Vasari mentions (IV, 465) that Puligo
painted a portrait of Barbara, ' ' cortegiana fiorentina, ' ' which Borghini states
was later in the possession of Giovambattista Deti who, to please his wife, had
the music that Barbara held painted out and the symbols of Santa Lucia
substituted (Riposo, ed. 1807, libro III, pp. 190 f.). If we assume, as Berenson
does, that we have here the Puligo portrait mentioned by Vasari, we must
also assume that Borghini wrote Santa Lucia when he meant Santa Barbara.
But the picture does not seem to me to be by Puligo and I do not think that
his "Barbara" should be identified with it. Gamba (Rivista d' arte, VI, 280)
believes that the Puligo portrait in question is the "Portrait of a Woman
with a Book of Music, ' ' in Panshanger, and that the attributes of Santa Lucia
were removed in a cleaning which that panel underwent at an unknown date.
This latter portrait, however, seems to be a Granacci.
Condition: seriously rehandled; transferred from wood to canvas in 1817.
Date: 1515-3535.
Eeprod. Photo. Braun; fig., Hermitage Gallery, 1912, p. 197.
Bibl. Catalogues de ventes et livrets de salons: Catalogue de la Collection Crozat
fl755), Paris, 1909; Ermitage imperial, Catalogue de la galerie des tableaux, 2d ed., St.
Petersbourg, 1869; Briiiningk et Somof, Ermitage imperial, St. Petersbourg, 1891, p. 158;
Somof, Catalogue de la galerie des tableaux, 1909, p. 44; Waagen, Die Gemdldesammlung
in der Tcaiserlichen Eremitage zu St. Petersburg, St. Petersburg, 1870, p. 40; Guiness,
Andrea del Sarto, London, 1899, p. 97; Hermitage Gallery (in Russian), 1912, p. 197;
B. F. D., I, 298 f.
ROME
Borghese Gallery
74. PORTRAIT OF A MAGISTRATE
Three-quarter length; badly seated or standing turned three-quarters left; his right
hand rests on the table beside him, his left on the arm of a chair. His complexion and
eyes are dark, his hair grey, curly and scant on the top of the head. He wears a sleeveless
deep red velvet robe and brown undergarment with white at the throat and wrists. The
table-cover is light green, the background dark grey-green, to the left a grey-brown column,
to the right, a pilaster of the same stone-colour. In his right hand, a folded letter. On it
229
an address almost illegible which seems to read: A hon^ Me Fala . . . Canezini . . . Jacimo]
oraf o . . . Jn firenz. On the flap of the letter : Lui.
Oil on wood. H. .97, w. .75.
From the original Borghese Collection ; anciently attributed to Bronzino.
A work of Pontormo's seems once to have existed on this panel, but in its
present state only shadowy traces of his hand show here and there.
Condition: ruined and completely repainted.
Date: 1538-1543.
Eeprod. Photo. Moscioni 21172.
Bibl. Venturi, Galleria Borghese, 1893, p. 72 ; Laf enestre, Borne, p. 44.
79. PORTRAIT OF A WOMAN
Oil on slate. H. 1.12, w. .79.
Once ascribed to Pontormo; it is probably a product of the workshop
of Bronzino. Cf. the following.
Bibl. Schulze, Bronzino, p. XXVIII; Laf enestre, op. cit., p. 14.
100. PORTRAIT OF A WOMAN
Oil on slate. H. 1.12, w. .79.
Cf. the preceding.
173. TOBIAS AND THE ANGEL
The angel stands facing, his head turned three-quarters right looking down at
Tobias; he is thick-set, has curly light brown hair and dark brown eyes, a long oval face
and halo and wears a scarlet mantle edged with gold and knotted on the left shoulder, a
violet tunic shot with green, white undersleeves with violet-pink shadows, and purple wings
catching a yellow light. His hands are short with thick large palms; in the right he holds
a golden bowl with spoon and cover half open; in his left hand, the right hand of Tobias.
To the right Tobias stands facing, his head seen in profile to the left, his eyes raised to
the angel's are dark brown, his hair curly and brown with an aureole of golden spikes;
he wears a violet grey tunic edged with gold, showing white lace at the neck and trimmed
with a collar of yellow fur and a blue waist -band, light grey undersleeves, green hose, grey
boots, grey hat hung on his left shoulder and a brown cloak that falls behind him from
his right shoulder and is caught up in front by his left arm; this cloak is yellow where
it catches the light; the fish which is green is held against his left hip. To the left of the
angel, a little white dog. The sky is a greenish blue with white clouds, the horizon violet-
pink fading to white; the distant landscape is pale green, the foreground, brown. On
the back of the panel: "Iscrizione fide commissaria| del di 3 Giugno 1834| Nota 2a letta
B| Baffaellino da Reggio| Largo pol 2 oni 4 alto pol 3 oni 4."
Oil on wood. H. .75, w. .53.
Provenance unknown; not mentioned by Vasari; anciently ascribed to
Andrea; by the catalogue to the Tuscan School of the sixteenth century;
by Venturi to a feeble imitator of Andrea. The attribution to Pontormo is
Berenson's. The hands are broad, the fingers short, the feet badly drawn.
The finish is here and there that of a miniature. Other variants of this
composition, scattered through the galleries of Europe, indicate an archetype,
230
ATTRIBUTED PICTURES
now lost, which was perhaps by Andrea. One of these variants is in the
Pitti (No. 292). There is another in the Corsini Gallery, Florence (No. 113),
which is ascribed to Andrea but which is in colour reminiscent of Bacchiacca
(oil on copper, h. .35, w. .26). Another and later derivative exists in the
New York Public Library. The present panel is probably a Eidolfo Ghir-
landaio, although repainting, especially on the hands, has obscured the
original touch. It should be compared with Eidolfo 's ''Nativity," which
was painted for the Cestello and which is now in the Museum of Budapest.
Condition: repainted.
Date: 1534-1535.
Beprod. Photo. Moscioni 21212 (as Andrea).
Bibl. Venturi, catalogue cited above.
"PORTRAIT OF C.ZESAR BORGIA"
Half-length turned three-quarters left; his hands upon his hips, in his right, a
dagger. He has a light beard and moustache and wears a dark doublet with light slashed
sleeves over a dark lining, embroidered ruffs at the wrists, dark cap with small gold
ornaments on it and, to the right, a large drooping feather.
Once in the Borghese Gallery from which it was stolen some years ago.
The original attribution gave this panel to Raphael. Recently some have
suggested that it is a Pontormo. I have seen it only in photograph, and it
seems to me to show not the slightest trace of his hand. Bode places it about
1525-1530; Morelli ascribes it to Bronzino; Crowe describes it as a mixture
of Raphael, Parmigianino, Bronzino and Giulio Romano; Bruckhardt gives
it to Giorgio Perez, Miindler to Parmigianino. The personage represented
is not Caesar Borgia.
-> Condition: a piece added on all sides.
Eeprod. Photo. Anderson 1085 (as Eaphael) ; fig., Archivio storico dell' arte, V, 3.
Bibl. Yriarte, Les portraits de Cesare Borgia, Gazette des beaux-arts, 2* pgr., XXXVI
(1887), 200; Archivio storico dell' arte, V (1892), 3; Frizzoni, Giovanni Morelli, idem,
1897, p. 87.
Barbier de Montault (Musees et galeries de Home, Borne, 1870) ascribes quite arbi-
trarily the following pictures in the Borghese Gallery to Pontormo : ' ' Madonna and Child, ' '
No. 70 of the first room, p. 347; " Besurrection of Jairus' Daughter," No. 73 of the
thirteenth room, p. 367 ; ' ' Circumcision, ' ' No. 76 and ' ' The Burial of St. Thomas Aquinas, ' '
No. 80 of the same room, p. 387. The numbering has since been changed.
Palazzo Giraud-Torlonia
STORIES FROM THE LIFE OF JOSEPH
Oil on wood. H. 1.65, w. .60.
Two "cassone" panels ascribed by certain critics to Pontormo, by others
231
PONTORMO
to Franciabigio. They are really by Granacci and their present whereabouts
is unknown.
Bibl. Lafenestre, Some, pp. 261 ff. ; Ulmann, Piero di Cosimo, Jahrbuch d. Tconigl.
preuss. Samml., XVII (1896), 52.
Palazzo Spada
16. VISITATION
The composition is a slightly modified replica of the "Visitation" by Andrea del
Sarto, in the cloister of the Scalzo. Andrea's fresco is in monochrome; the present panel
has the following colour-scheme: Zacharias wears a light green cap, mantle and shoes,
yellow sleeves and dark yellow stockings; under his arm, a greyish green bag; Joseph, a
greenish white mantle; Mary, whose hair is red and is tied with a light green ribbon, a
dark greenish blue mantle with yellow sleeves, a scarlet tunic and grey-green slippers;
Elizabeth, a dark blue-green robe, yellow mantle, and over her head, a white scarf; the
serving-maid, a pink dress, in her hands a bundle of linen in a blue-green cloth, on her
head, a white scarf; the serving-man, a blue-green doublet, garter and shoes, pink hose and
belt ; on his head a yellow bundle, in his right hand a white basin ; all the saints have haloes
of fine gold; the steps are grey-green, the foreground, pinkish brown.
Oil on wood. H. .65, w. .88.
This panel, once ascribed to Andrea, is a small copy of the fresco in the
Scalzo that Del Sarto finished, according to the documents, (A. S. F., Scalzo,
Debitori e Creditor! B., 1514-1535, p. 106), in November, 1524. The touch
recalls to a certain degree Jacopo 's early work, but after 1524 his feeling for
form was quite other than that which is revealed by the present panel. It
is conceivable that our copy was made by Lappoli or by Pierfrancesco
di Jacopo who are known to have copied some of the frescoes of the Scalzo
(Vasari, VI, 8). Crowe and Cavalcaselle consider that it was executed in
the "bottega" of Andrea.
Condition: excellent.
Date: after 1524.
Eeprod. Photo. Anderson 5680 (as Pontormo).
Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 509; ed. Borenius, VI, 195.
PORTRAIT OF CARDINAL FABRIZIO SPADA AND HIS SECRETARY
The cardinal is seated, turned three-quarters right, in a Savonarola chair, his head
three-quarters left. He wears a light red cap and scarlet watered silk cape over a white
embroidered cassock. He holds in his right hand a book that he has just been reading,
his index finger between the leaves. To the right stands his secretary, turned three-quarters
left. He wears a dark soutane with a white linen collar. He is partially bald and has
a pointed beard. In his hands, a book from which he has just ceased to read.
Once ascribed to Pontormo; it is quite evidently by Pulzone, and was
exhibited under the latter name in the Exhibition of Portraits in the Palazzo
Vecchio, in 1911.
Eeprod. Photo. Anderson 5684.
232
ATTRIBUTED PICTURES
PORTRAIT OF A MAN
Seated in a Dante chair by a table and turned three-quarters left. He has a brown
beard that is turning grey and dark hair. He is dressed in a black coat with long frog
fastenings, white collar edged with embroidery and white cuffs. On the table, an oriental
table-cloth and a black inkstand with a quill pen in it. The table-cloth recalls that of the
"Portrait of Cardinal Cervini, " in the Borghese, but it is more thinly painted and has
a border of a different design. In his right hand he holds a letter on which : " Al M . . . "
The rest of the inscription is illegible. His left hand rests on the arm of the chair. In
the upper right corner, a curtain with a light fringe.
This portrait, which is falsely ascribed to Pontormo, dates from the second
half of the sixteenth century.
Eeprod. Photo. Anderson 5679 (as Pontormo).
Rospigliosi Collection
PORTRAIT OF FRANCESCO DE' MEDICI
Half-length turned three-quarters left. He has dark short hair and wears a dark
doublet with trimming of embroidered bands and a white embroidered collar; over his right
shoulder, a drapery of lighter stuff. His left hand is laid on a very large and elaborate
helmet, the lower part of which forms a monster's head, and the crest, a winged buck. It
is crowned with black and white ostrich plumes.
Oil on wood. H. about .90, w. about .70.
Once ascribed to Pontormo, attribution followed by Berenson in his first
edition of Florentine Painters. This portrait, with another on the back of
which was written "Leonardo de' Ginori," the authorship of which is
unknown, passed in 1899 into the possession of an American doctor. Both
were held by certain critics to be copies and both came originally from the
Ginori Collection in Florence. I have not seen this picture, but, even from
a photograph, it is evident that it shows no trace of Pontormo 's hand.
Moreover in it Francesco, who appears as a youth of sixteen, is too old to
have been painted by Pontormo. The modelling suggests that this picture
or its original was executed in the workshop of a pupil of Bronzino's.
Eeprod. Photo. Anderson 4742.
Bibl. Venturi, Tesori d' arte inediti di Eoma, 1896.
SCOTLAND
New Battle Abbey, Dalkeith
Collection of the Marquis of Lothian
PORTRAIT OF A YOUTH
Bibl. B. F. P. E., p. 177.
233
PONTORMO
STUTTGART
Staatsgalerie
449. PORTRAIT OF A MAN
Half-length; seated, three-quarters right, in a Savonarola chair, the head turned
slightly left, the eyes look at the spectator; the left hand clasps the right arm of the chair,
the right hand rests on the back of the left hand; to the right, the corner of a table. He
has a thin beard and moustache and wears a black cap and coat; the table and chair are
light yellow-brown. Background, a dark brown pilaster left and a light green curtain right.
Oil on wood. H. .78, w. .62.
Once in the collection of the archbishop of Bamberg, later in that of
the Oberkriegsrat Landauer. Anciently attributed to Sebastiano del Piombo,
by Bayersdorfer to Alessandro Allori, by Rieffel and Schulze to Bronzino.
Other critics have, in connection with this picture, suggested the name of our
master although quite without reason.
Condition: repainted.
Date: about 1540-1560.
Eeprod. Photo. Hoefle.
Bibl. Schulze, Bronzino, 1911, p. XXIX; Lange-Tiibingen, Verseichnis der Gemalde-
sammlung eu Stuttgart, 1907, p. 169.
508 Me. PORTRAIT OF A MAN
Half figure in a red mantle.
Oil on wood. H. .93, w. .77.
Once ascribed to Masaccio, later to Andrea del Sarto and called
"Portrait of a Roman Prelate." On the back, in a handwriting of the early
nineteenth century: "Franciseus Conterenus D* Nicolai De Marie Canarensis
Legatus in Etruria. MCCCCLIIII." Either this inscription is without
foundation or the portrait is apochryphal for it seems to have been painted
after 1560. It has been attributed to Pontormo by some critics and by others
to Bronzino. Neither attribution deserves serious consideration.
Eeprod. Photo. Hoefle; small cut, Eernach, Eeper., Ill, 411.
Bibl. Verseichnis, p. 185; Crowe and Cavalcaselle, ed. Douglas, IV, 63.
TURIN
Regia Pinacoteca
122. PORTRAIT OF A LADY
Three-quarter length; seated, turned three-quarters left, in a Dante chair richly
carved and ornamented with grotesque heads; her hands rest on the arms of the chair;
she looks at the spectator. Her hair is light auburn and is bound up in a net; her eyes are
234
ATTRIBUTED PICTURES
light brown. She wears a gold-coloured satin gown open at the throat — the bodice trimmed
with darker velvet bands — a lace collar, an ample red brocaded mantle trimmed with
velvet. Her ornaments are: a string of pearls as edging to the net over her hair, pearl
necklace, gold chain, bracelets, a ring on the index finger of the right hand, another on
the ring-finger of the left hand; around her waist, and hanging down the front of her skirt,
an enamelled gold chain set with rubies and sapphires and fastened at the waist with a
clasp set with a cameo. In her left hand she holds a small book bound in black, tooled
and mounted in silver and closed with a silver clasp. Background: grey-green; from the
upper left corner an ample drapery of oriental gauze — white striped with black and
finished with a black fringe — is drawn behind the chair and piled up on the right side
of the picture.
Oil on wood. H. 1.09, w. .85.
Acquired in Genoa in 1824 when the Marchese Durazzo sold his palace
and collection to the King of Sardinia. The traditional attribution of this
portrait to Bronzino is retained in the catalogue of the gallery and by
Jacobsen and Schulze. Berenson has suggested that it is a Pontormo and
I am inclined to believe that his conjecture may be well founded, although
a severe rehandling seems to have effaced much of the quality that we
naturally expect from Jacopo and so diminished the possibility of deciding
definitely in regard to the authenticity of this panel. The person represented,
who reminds one of the lady of the Oldenburg portrait grown older, is
generally believed to be Eleonora da Toledo and the identification, although
iconographically without foundation, is accepted by Jacobsen. And in this
connection it is interesting to note that the picture was not originally believed
to be a likeness of Eleonora. It was D'Azeglio who first imagined that he
could recognize here the features of the consort of Cosimo I — an impression
which led him to believe that the panel is a companion piece to No. 123 of
this gallery, a ' ' Portrait of Cosimo I, ' ' ascribed to Bronzino, which the Grand
Duke himself gave to Emmanuel Filiberto and which, therefore, has long
been in the possession of the House of Savoy.
Condition: repainted, especially about the hands and face.
Date: 1534-1545.
Eeprod. Lithograph by Pozzioli, inc. di Giov. Ballero in Robert! d ' Azeglio '&, La Eeale
Galleria di Torino, Torino, 1836, pi. XXXIV; Schulze, Bronsino, pi. XVI; photo. Brogi
2304.
Bibl. Jacobsen, La Regia Pinacoteca di Torino, Archivio storico dell' arte, serie sec.,
Ill (1897), p. 130; Schulze, Die WerTce von Bronzinos, p. 30; D'Azeglio, op. cit., I, 219;
Catalogo illust. della B. Pinacoteca di Torino, Vincenzo Bona, Torino, ed. 1909, p. 46,
B. F. P. R., p. 177.
130. HOLY FAMILY
The Virgin is seated against a cliff overgrown with trees and shrubs; in her right
hand, a book; in her left, a fold of drapery; her head is turned nearly profile left. She
wears a turban and a pale red robe, a green scarf about her breast, a blue mantle across
her lap. The Child, seated in her lap, holds in both hands a black bird. St. Anne is seated
behind the Virgin to the left; she is draped in yellow with a white cloth over her head
and neck. St. John sits astride of a red cloth in the foreground and plays with a lamb.
Background, a wooded hill, and, on the right, a landscape.
Oil on wood. H. 1.12, w. .81.
235
PONTORMO
Formerly No. 109; provenance unknown; given to the Gallery by the
Baron Ettore Garriod. Not mentioned by Vasari; not cited by Berenson.
Though now ascribed to Pontormo, an attribution in which Jacobsen concurs,
this panel is probably a late Naldini. It is certainly quite unworthy of Jacopo.
Condition: badly repainted.
Eeprod. Photo. Alinari 31399.
Bibl. Catalogue cited in the preceding, p. 57 ; Jaeobsen, article cited in the preceding,
p. 130.
VENICE
Museo Correr
LEDA
A copy of Michelangelo 's well-known composition. Once in the possession
of the antiquarian, Cavaliere Favenza. Jacobsen believes it to be by a
follower of Correggio. Thode without reason finds that it suggests Pontormo.
Bibl. Thode, Krit. Unters., II, 319; Jacobsen, Bepertorium, XXII (1899), p. 28.
VIENNA
Belvedere
45. PORTRAIT OF AN ELDERLY LADY
Bust figure; turned three-quarters left; the eyes look three-quarters left. She has
dark hair and eyes and wears a dark bodice with yellow-white chemisette open at the neck
and a light yellow scarf over her hair. Dark background.
Oil on poplar wood. H. .52, w. .42.
This portrait entered the Gallery before 1824; provenance unknown;
originally ascribed to the Florentine School; now attributed to Pontormo
by the catalogue and by Berenson. Voss thinks that it is unauthentic, and,
although I cite it in the "tableau chronologique " of my Dessins, I am now
persuaded that it is in no way connected with the work of our master.
Eeprod. Photo. Bruckmann, Munich, 1905.
Bibl. Engerth, Kunsthistorische Sammlungen der allerhochsten Kaiserhauses, Wien,
1881, I, 254; Fiihrer durch die Gemdlde-galerie, Alte Meister, Wien, 1895, p. 20; idem,
1907, p. 15; Voss, Zeitschrift /. bildende Kunst, 1912, p. 44, n.
46. HOLY FAMILY
OH on wood. H. 1.09, w. .87.
From the collection of Charles I of England. Once ascribed to Andrea;
given by Waagen, Miindler, and Morelli to Bugiardini; by Engerth to
236
ATTRIBUTED PICTURES
Bugiardini or Franciabigio ; by Crowe and Cavalcaselle to Pontormo. The
picture is an evident Franciabigio to whom it is now generally attributed.
Bibl. Engerth, I, 294; Crowe and Cavalcaselle, ed. Hutton, III, 509; ed. Borenius,
VI, 196; Katalog, 1907, p. 15.
50. PORTRAIT OF A YOUTH
Half-length; turned three-quarters left. He is dressed in a dark jacket with
embroidered white collar and slashed sleeves; at the wrists, a white ruche; on his head, a
black cap. His hair is light brown and extends down in front of the ear. He holds in his
hands a letter on the back of which his age is inscribed: "«f«Anj diciassetti Mesi| sej edj
V. I firez. ' ' The four lines of writing of the letter itself are illegible. Background : the
dark wooden panelling of a room with a cornice and, on either side, flat pilasters.
Oil on poplar wood. H. .72, w. .58.
Ultimate provenance unknown; once in the collection of the Archduke
Ferdinand of the Tyrol ; cited in the Inventory of the Ambraser Collection in
1719; brought to Vienna in 1773 (Uebergabs-Verzeichniss, No. 8). Mechel
does not mention it. In Rosa's catalogue of 1804 (III, 93, No. 18), it appears
as "School of Titian." In 1809 it was taken to Paris and returned in 1815.
Krafft ascribes it to "Florentine School, perhaps Francesco Salviati."
Wickoff attributes it erroneously to Santi di Tito ; Crowe and Cavalcaselle to
Bronzino (early work) ; Berenson tentatively to Pontormo. It is, however,
obviously a Salviati and should be compared with his "Portrait of Himself"
and his "Portrait of a Youth" (No. 1256; photo. Brogi), both now in the
Uffizi; with his fine "Portrait of a Man," now in the Corsini Collection, in
Florence (No. 127) ; with the portrait, also by Salviati, which is ascribed to
Girolamo da Treviso and identified as Poggio Bracciolini (photo. Alinari),
now in the Colonna Gallery, in Rome, as well as with the so-called ' ' Tibaldeo ' '
of the Museo Nazionale of Naples. It is worthy of note that the background
in the "Portrait of a Man," in the Uffizi, is identical with that of the present
portrait, as is the treatment of the hair, the composition and the lace collar.
The ear, the mouth, and the modelling of the cheek, recall Salviati 's ' ' Portrait
of a Boy" (photo. Alinari), in the Poldi-Pezzoli.
Condition: slightly damaged and repainted on the face and the hands.
Date: 1530-1545.
Eeprod. Photo. Braun 34029; Lowy, 354; fig. 6, article by Voss cited below.
Bibl. Engerth, Gemalde, p. 253; catalogues of 1895 and 3896 cited above; B. F. P. E.,
p. 177; Voss, Italienische Gemalde des 16 und 17 Jahrhunderts in der Galerie des
Kunsthistorischen Hof museums zu Wien, Zeitschrift f. "bildende Kunst, 1912, pp. 41-43;
Gamba, Alcuni ritratti di Cecchino Salviati, Rassegna d' arte, IX (1909), pp. 4 f. Cf. also
for the Poldi-Pezzoli portrait, idem, 1911, p. 9.
52. MADONNA AND LITTLE ST. JOHN
Oil on wood. H. 1.14, w. .88.
Bought in 1780 from Major Sturione. Originally ascribed to Andrea.
Engerth thought that it recalls Bugiardini. Crowe and Cavalcaselle remark,
237
PONTORMO
without a shadow of reason, that this picture is "by Pontormo or Rosso
imitating not so much Andrea as Franciabigio. "
Bibl. Eosa, I, 122, No. 7; Engerth, I, 292; Crowe and Cavalcaselle, ed. Borenius,
VI, 197.
367. PORTRAIT OF A MAN
Once in the possession of Karl VI ; ascribed to Perugino in the inventory
of 1628; to Pontormo by Engerth (Gemalde, pp. 253 f.). According to
Wickhoff it is a much repainted portrait of himself by Lomazzo for the medal
of Prospero Fontana.
Bibl. Wickhoff, Die Gemaldegalerie, Wien, 1907, p. 87.
VOLTERRA
Municipio
DESCENT FROM THE CROSS
Once in the cathedral. Erroneously ascribed to Pontormo in the edition
of the Cicerone edited by Bode and Fabriczy. The picture is by Rosso.
Keprod. Photo. Brogi 15339.
Bibl. Der Cicerone, ed. 1904, III, 788.
238
CATALOGUE OF PICTURES ATTRIBUTED
TO PONTORMO IN CATALOGUES OF
SALES AND LOAN EXHIBITIONS
CATALOGUE OF PICTURES ATTRIBUTED
TO PONTORMO IN CATALOGUES OF
SALES AND LOAN EXHIBITIONS
Andros de la Rue Collection
PORTRAIT OF THE DUKE OF URBINO WHEN A BOY
He is dressed in black and holds a bird and a rattle.
Oil on wood. H. 37i in., w. 22i in.
Sold at Christie's, June 16, 1911, to Buttery for £105.
Art Prices Current (1910-1911), p. 555; Auction Sale Prices, XIII (1911), p. 377.
De Beurnonville Collection
686. A SAINT
She wears a pink robe and orange mantle and stands in a desert holding a palm and
a stone. In the background, St. Anthony (?).
Oil on copper. H. .21^, w. .16.
Sold in 1881 for 90 francs.
Mireur, Dictionnaire des ventes, II, 101; Catalogue des tableaux de M. le Baron de
Beurnonville, Paris, 1881, p. 423.
687. PORTRAIT OF VITTORIA COLONNA
She wears a black robe, a yellow cape, a hood, and about her waist, a cord.
Oil on wood. H.« .30, w. .23.
Sold for 200 francs.
Mireur, loc. cit.; catalogue cited above, p. 424.
241
PONTORMO
Brandus Galleries
139. PORTRAIT OF A MAN
H. 24$ in., w. 19$ in.
Sold at the American Art Association to S. Jackson for $55, April 6-7,
1911.
Collection of John Watkins Brett
825. MADONNA AND CHILD
Sold at Christie's, April 5, 1864.
Catalogue of Pictures of John Watkins Brett, London, 1864, p. 61.
Collection of the Late Charles Butler
34. THE NAMING OF JOHN THE BAPTIST
The infant St. John is presented by a serving-maid to St. Elizabeth and to Zacharias.
The latter writes the child's name on a scroll. In the background, other figures.
Oil on wood. Diameter: 19$ in.
Ascribed to the Florentine School. Painted on what is called in the
catalogue a "mazer bowl," with a coat of arms on the back. This, in all
likelihood, is the "piatto da parto" that Berenson ascribed to Pontormo in
this collection. It would appear to be a replica of the composition of the
birth-plate, now in the Uffizi (No. 1198), and it is perhaps identical with the
plate now in the Palazzo Davanzati, in Florence, and therefore an authentic
work of Pontormo 's. Sold at Christie's in 1911 to Agnew for £78 15s.
Catalogue of Pictures by Old Masters, the Property of the Late Charles Butler, p. 12.
111. PORTRAIT OF A GENTLEMAN
Dressed in dark clothes and cap. In his right hand he holds his gloves; in his left,
the hilt of his sword.
Oil on wood. H. 40 in., w. 26 in.
Sold at Christie's, July 7, 1911, to Gooden and Fox for £73 10s.
Art Prices Current (1910-1911), p. 615; Auction Sale Prices, XIII (1911), p. 377.
Catalogue of the Butler Sale, p. 21.
242
LOAN EXHIBITIONS AND SALES
AN ECCLESIASTIC
Exhibited (No. 187) at the Loan Exhibition of the Royal Academy in
1883.
Graves, Loan Exhibitions, II, 942.
Collection of Marquis Cerbone Pucci
HOLY FAMILY
Ascribed to Pontormo by Lanzi. Its present whereabouts is unknown.
Lanzi, History of Painting, trans. Roseoe, London, 1828, I, 203 f.
Collection of John Clark
129. HOLY FAMILY
Synopsis of Collection of Old Italian Paintings of Mr. John ClarTc, New York, 1839,
p. 10.
133. HOLY FAMILY
Catalogue cited above, p. 11.
187. CIRCUMCISION
Catalogue cited above, p. 11.
Colworth Collection
41. COSIMO DE' MEDICI
Bust figure, dressed in a cardinal's cloak (?) and hat. Inscription: "Cosmua
Medices Pater Patriae. "
H. 6i in., w. 5 in.
Sold at Christie's, July, 1892, to Macquoid for £20.
Catalogue of the Collection of Hollingworth Magniac, London, 1892, p. 15.
Collection of the Grand Duke Constantine of Russia
THE PENITENT MAGDALEN
Bust figure, profile left, head turned three-quarters left. In her raised hand she
holds a handkerchief to her face.
243
PONTORMO
Ascribed to Luini; by Liphart to Pontormo with whose work, however,
it has no connection.
Beprod. Catalogue cited below, p. 30.
Les anciennes ecoles de peinture dans les palais et collections privees russes, Exposition
"Starye Gody," St. PStersbourg, 1909, Van Oest: Bruxelles, 1910, p. 28; L' Arte, 1909,
p. 122.
Collection of Rev. E. H. Dawkins
65. GENTLEMAN IN ARMOUR WITH A DOG BY HIS SIDE
H. 43 in., w. 31$ in.
Sold at Christie's, February 28, 1913, to Parsons for £23 2s.
Art Prices Current (1912-1913), p. 158; Auction Sale Prices, XV (1913), p. 53;
Sale Catalogue, p. 16.
Dellafaille Collection
76. "PORTRAIT OF GODEFROY DE BOUILLON"
Bust figure in red jerkin and brown hood. He looks slightly to the left.
Oil on wood. H. .70, w. .55.
Sold in Cologne, March 4, 1913.
Katalog von Gemalden meist alteren Meister aus dem Nachlasse Dellafaille, Koln,
1913, p. 11.
Doetsch Collection
107. MADONNA AND SAINTS
Canvas. H. 86 in., w. 73$ in.
A copy of the San Michele Visdomini altar-piece. The catalogue claims
that the present picture is Pontormo 's original. It differs in no wise from
the panel now in San Michele except that one sees, in the illustration given
in the catalogue, no writing on the book held by St. John and no letters on
the rock on which he is seated. Sold, at the Doetsch sale, June 22-25, 1895.
Its present whereabouts is unknown to me. For a discussion of the probable
authenticity of the panel now in San Michele, see the Catalogue Raisonne of
Authentic Pictures, under Florence, San Michele Visdomini.
Beprod. Catalogue cited below, p. 31; small cut, Beinach, Bepertoire, II, 138.
Catalogue of the Collection of Henry Doetsch, London, 1895, p. 31.
244
LOAN EXHIBITIONS AND SALES
Collection of J. S. W. S. Erie Drax
43. MADONNA AND CHILD WITH ST. JOHN
H. 30 in., w. 21 in.
Sold at Christie's, February 19, 1910, to Glen for £21.
Art Prices Current (1909-1910), p. 86; Auction Sale Prices, XII (1910), p. 86.
' • /
Collection of the Comte D'Espagnac
PORTRAIT OF A MAN
Sold for 474 francs in 1868.
Mireur, loc. cit.
Eszterhazy de Galantha Collection
MADONNA AND FEMALE SAINT
Ascribed to Pontormo. Its present whereabouts is unknown to me.
Catalogue de la galerie des tableaux, Essterhasy de Galantha, Vienna, 1844, p. 41.
Collection of William Graham
418. MADONNA AND CHILD
Sold at Christie's in April, 1886.
Guggenheim Collection
956. MADONNA AND CHILD WITH ST. JOHN
The Virgin is seated in a chair and wears a cherry-coloured robe and blue mantle.
She holds in her arms the Christ Child, who stretches out his hand towards a bird that
the little St. John presents to him.
Oil on wood. H. .89, w. .72.
Sold in Venice, September 30-October 4, 1913.
Catalogue de la collection de M. le Comm. M. Guggenheim, Venice, 1913, p. 54.
245
I
PONTORMO
Alexandra K. Collection
HOLY FAMILY
Sold in 1897 for 295 francs.
Mireur, loc. cit.
Lanfranconi Gallery
27. PORTRAIT OF A MAN
Life-size, half-length portrait of a middle-aged man, turned three-quarters to the
left, the head turned towards the spectator. He has a short, reddish beard and wears a
black robe and cap. In his right hand he holds a quill as he turns the leaves of a folio
which lies on the table before him. On the table, a green cover. Dark background.
Oil on wood. H. .95, w. .80.
The catalogue speaks of this panel as "a characteristic work, nobly
conceived — the head and hands, superbly modelled, are uncommonly plastic
and stand out from the dark background of the whole." It is really a late
sixteenth century copy of the portrait falsely ascribed to Pontormo in the
Corsini Collection, in Florence. Sold, October 21-23, 1895. It was later in
the Sedelmeyer Collection (No. 111).
Eeprod. Sedelmeyer Catalogue, p. 127.
Katalog der Gemdlde-Galerie Lanfranconi, Koln, 1895, p. 8; Catalogue of the
Sedelmeyer Collection, p. 127.
Lasalle Collection
HOLY FAMILY
Withdrawn from the Lasalle sale in Vienna, 1827, at 210 francs.
Mireur, loc. cit.
Collection of the Earl of Leicester
PART OF THE CARTOON OF THE "BATTLE OF THE CASCINA"
Attributed to Pontormo and exhibited (No. 74) at the British Institution,
in 1854. This is of course the famous grisaille by an unknown hand of a part
of Michelangelo's "Battle of the Cascina. "
Graves, loc. cit.
246
LOAN EXHIBITIONS AND SALES
Collection of Sir John Leslie
IPPOLITO DE' MEDICI
-
Exhibited (No. 257) in the Loan Exhibition of the Royal Academy in
1877.
Graves, loc. cit.
Collection of Lord Methuen
PORTRAIT OF THE PAINTER
Exhibited (No. 119) in the Loan Exhibition of the Royal Academy in
1877.
Graves, loc. cit.
Collection of R. P. Nichols
STUDY OF A HEAD
Exhibited (No. 155<») at Leeds in 1868.
Graves, loc. cit.
Collection of the Duke of Northumberland
BIRTH OF ST. JOHN
VIRGIN AND CHILD
Exhibited at the British Institution, in 1857, where they were numbered
38 and 53 respectively.
Graves, loc. cit.
Collection of the Marquis Ferdinando Panciatichi Ximenes
d' Aragona
BUST OF A WOMAN
Oil on wood. Oval: h. .85, w. .63.
Sold in Florence, April 3, 1902.
Catalogue des tableaux de la galerie de feu le Marquis Ferdinand PanciaticM
Ximenes d' Aragona, Florence, Borgo Pinti 68, 1902, p. 8.
247
PONTOKMO
Reiset Collection
PORTRAIT OF CARUCCI BY HIMSELF
Sold in 1870 for 580 francs.
Mireur, loc. cit.
Rezzonico Collection
PORTRAIT OF GUICCIARDINI
Not a portrait of Guicciardini and not by Pontormo. Sold in Milan in
1898.
Reprod. Catalogue cited below, pi. 4. Eeinach, Eeper., I, 520.
Catalogue of the Eessonico Sale, 1898.
Schevitch Collection
14. MARRIAGE OF ST. CATHERINE
The Christ Child seated on the knees of his mother passes the ring over the finger
of St. Catherine, who leans upon her wheel. The Virgin is dressed in a red robe with
yellow sleeves; on her head, a green veil. St. Joseph, his hands upon a staff, contemplates
the scene.
Oil on wood. H. .66, w. .52.
Once in the Castellani Collection. Sold at Georges Petit 's, April, 1906.
Catalogue des objets d' art composant la collection de M. D. Schevitch, Paris, 1906,
p. 55; Catalogue de la succession Alessandro Castellani, Vente, Hotel Drouot, mai 12-16,
1884, No. 1098, p. 290.
Collection of Richard Smith
ADORATION OF THE SHEPHERDS
H. 24$ in., w. 17J in.
Sold for £4 15s. 6d.
Art Prices Current (1907-1908), p. 195.
Collection of the Earl of Wemyss
PORTRAIT OF A MAN
Exhibited (No. 108) in the Loan Exhibition of the Royal Academy in
1886.
Graves, loc. cit.
248
LOAN EXHIBITIONS AND SALES
Collection of Henry Willett
76. PORTRAIT OF A LADY IN A PINK DRESS
Oil on wood. H. 9$ in., w. 6£ in.
Sold at Christie's, April 10, 1905.
Catalogue of the Collection of Pictures by Old Masters of Henry Willett, London.
1905, p. 13.
Two pieces of a "predella" representing various saints and six small pictures repre-
senting saints and angels and ascribed to the "School of Pontormo" were sold by the
Hospital of the Innocents in 1853 to the Baron Vagnonville for 150 "lire." Cf. Archivio
degl ' Innocenti, Firenze, Filza No. 73.
249
CATALOGUE OF LOST PICTURES
CATALOGUE OF LOST PICTURES
ANNUNCIATION
Painted while Jacopo was still with Albertinelli and praised by Raphael,
according to Vasari (VI, 246). Fate unknown.
DEAD CHRIST
With two angels holding torches and, at the sides in two "tondi," two prophets.
Date: about 1513.
This was the "predella" to Andrea's "Annunciation" for the monks
of San Gallo, which is now in the Pitti. Rosso is also said to have worked
on this panel (Vasari, VI, 247). Fate unknown.
THREE TRIUMPHAL CARS
Painted for the Compagnia del Diamante, a society of which Giuliano
de' Medici was chief. These cars represented "Youth," "Manhood," and
"Old Age." Jacopo decorated them with various scenes, in monochrome,
from the Transformations of the Gods. Andrea Dazzi chose the subjects. The
general design of the cars was due to Raffaello delle Vivuole, II Carota, Andrea
diCosimo Feltrini and Andrea del Sarto. At the time Vasari wrote (1565)
these paintings were in the possession of Pietro Paulo Galeotti, the goldsmith
(VI, 250-252). They have since disappeared. By a typographical error the
number of these cars is given as five in my Dessins, p. 35.
f
SEVEN TRIUMPHAL CARS
Painted for the Compagnia del Broncone of which Lorenzino was chief.
These cars formed part of a pageant which was planned by Jacopo Nardi and
which represented : ' ' The Age of Saturn, " " The Reign of Numa Pompilius, ' '
"The Consulate of Titus Manlius Torquatus," "The Triumph of Caesar,"
"The Empire of Augustus," "The Time of Trajan," "The Golden Age."
On the first car Pontormo painted "Legends of Saturn." Vasari does not
give any details about the paintings on the second and third cars, on which
we may infer that there were scenes from the lives of Numa and Torquatus.
On the fourth car Jacopo painted "The Triumph of Caesar." "We have no
253
PONTORMO
details about the decorations of the fifth and sixth cars which must, however,
have represented scenes from the lives of Augustus and Trajan. On the
seventh car there were figures in relief by Bandinelli, among them "The
Cardinal Virtues." All these panels have been lost.
Date: 1515.
Vasari, VI, 252-255; cf. G. Pelagi, Capitoli della Compagnia del Broncone, Firenze,
1872, the original manuscript of which is in the Biblioteca Moreniana.
TRIUMPHAL ARCH
Mythological subjects among which a "Pallas and Apollo." This arch
was raised at the head of the Via del Pelagio. The woodwork was by Baccio
da Montelupo. Ruined in Vasari 's time.
Date: 1515.
Vasari, VI, 255.
LUNETTE OF GOD THE FATHER
This formed the upper part of the fresco of the "Madonna and Saints,"
once in San Ruffillo. The lunette was destroyed when the fresco was
transferred to the Chapel of San Luea, in the Annunziata.
Fresco.
Date: 1512-1513.
Vasari, VI, 256.
CHRIST AS PILGRIM
Painted over the entrance of the Women's Hospital between Piazza San Marco and
Via San Gallo, opposite the nuns of St. Catherine.
Fresco: monochrome.
The convent of St. Catherine of Siena was in the Via degli Arazzieri
and is now the Comando Militare. Borghini states that this fresco occupied
the space over the door of the Priests' Hospital. Pontormo's figures were
thought in later times to be by Andrea del Sarto (Cinelli). They were
destroyed in rebuilding in 1688.
Date: 1513-1514.
Vasari, VI, 256; Bocchi, ed. Cinelli, p. 19; Borghini, ed. 1730, p. 393.
ARMS OF THE LANFREDINI
These were painted for Bartolomeo Lanfredini over a doorway in a passage between
Ponte Santa Trinita and Ponte alia Carraia. They were supported by two "putti. "
Bronzino placed this work among the earliest enterprises of Pontormo
(VI, 259). Ganmrrini mentions a Bartolomeo di Jacopo Lanfredini as living
254
LOST PICTUKES
about 1500 (Istoria genealogica, Florence, 1685, IV, 273-275). He also
mentions a Bartolomeo di Lanfredini who was alive about 1530 and who
seems to have been the Lanfredini who wrote two letters to Cosimo I under
the dates of April 21 and May 9, 1541 (Indice mediceo, Classe 26, Vol. 20,
c. 13; Vol. 21, c. 25). Of Jacopo's decoration no trace remains. Cf. Borghini,
op. cit., p. 392. It is interesting to note that Feltrini, with whom Jacopo was
often associated in his earlier years, decorated the facade of the houses of
Lanfredino Lanfredini (Vasari, V, 207).
Date: 1512-1513.
SANTA CECILIA
Lunette over the door of the Compagnia di Santa Cecilia, in Fiesole.
Fresco.
Destroyed before 1730 in opening a new door.
Drawings: first sketch for the figure of the saint, Uffizi 6694 (fig. 12; photo. F. M. C.) ;
study for the whole composition, Corsini 124161 (fig. 11; photo. Anderson, Borne, 2823;
fig., Emporium, 1907, p. 270).
Date: 1517-1518.
Vasari, VI, 257; Borghini, op. cit., p. 393.
PORTRAIT OF GIOVANN' ANTONIO LAPPOLI
Begun by Lappoli himself and finished by Pontormo. When Vasari
wrote this panel was in the possession of the heirs of Lappoli. In Bottari's
time it had disappeared.
Vasari, VI, 260.
THE SON-IN-LAW OF BECUCCIO BICCHIERAIO AND A FRIEND
The fate of this portrait is unknown. By a typographical error it is
called in my Dessins, "Portrait de Becuccio Bicchieraio avec un ami" (p. 36).
Becuccio himself was a friend of Andrea del Sarto's. It was for him that
Andrea painted his "Madonna and Six Saints," now in the Pitti (No. 307).
Vasari, VI, 260.
FUNERAL BANNERS OF BARTOLOMEO GINORI
Painted during the lifetime of Ginori ; a series of twenty-two with the ' ' Virgin and
Child ' ' above, and below, the arms of the family. Two others from the middle of the series
represented St. Bartholomew.
Oil on white taffeta; the arms on a coloured "balzana. "
These, for their style, size, and lightness, set a new fashion. Their fate
is unknown.
Date: 1517-1518.
Vasari, VI, 260.
255
PONTOEMO
PIETA
With the Virgin weeping and in the air two "putti," one holding the chalice of the
Passion, the other the head of Christ. On one side of the composition, St. John with arms
outspread, on the other, St. Augustine in episcopal robes; in his left hand, a crosier.
Fresco.
Painted in a chapel near the entrance of the garden of the monks of
San Gallo, outside the San Gallo gate. This fresco was destroyed when the
convent and church were pulled down.
Vasari, VI, 260 and note.
ARMS OF GIOVANNI SALVIATI
Painted for Filippo Spina in the courtyard of his house opposite the main entrance.
The escutcheon was supported by two standing ' ' putti ' ' and surmounted by a heraldic
cardinal's hat.
Salviati was born in 1490 and made cardinal by Leo X on July 1, 1517.
Date: 1517-1518.
Vasari, VI, 261 and note.
SANT" AGOSTINO
Seated in the act of blessing; above him two "putti" flying.
Painted for the little church of the Sisters of San Clemente, in Via San
Gallo. In Borghini 's time it was believed to be still in the convent. Accord-
ing to Milanesi, it was later in the refectory of the nuns who were, it should
be noted, of the Order of St. Augustine. Lost after the suppression of the
convent. Cinelli (p. 7) calls this picture by mistake a "San Giorgio." His
error was corrected in the Milan edition of Vasari (XII, 30, n.).
Date: 1521-1523.
Vasari, VI, 265 and note; Borghini, op. cit., p. 394; Bicha, Chiese fiorentine, V, 262.
PIETA
With nude angels, the landscape drawn in part from an engraving of Diirer's.
Date: 1521-1523.
Painted for certain mercha'nts of Ragusa. Its fate is unknown.
Vasari, VI, 265.
MADONNA AND CHILD
In Vasari 's time this picture was in the house of Alessandro Neroni.
Borghini mentions that certain children formed part of the composition.
Its fate is unknown.
Vasari, VI, 265; Borghini, op. cit., p. 394.
256
LOST PICTURES
MADONNA AND CHILD
Painted for certain Spaniards. Many years later this picture, which was
about to be sold to a second-hand dealer, was bought at the instance of
Bronzino by Bartolommeo Panciatichi. When Raffaello Borghini wrote it was
in the house of Carlo Panciatichi. It has since been lost or is unidentified.
Date: 1521-1523.
Vasari, VI, 265; Borghini, op. cit., p. 394.
NATIVITY
In the darkness Joseph was represented holding a lantern.
Painted for the Prior's room at the Certosa. Its fate is unknown.
Vasari, VI, 269.
PORTRAIT OF A LAY BROTHER OF THE CERTOSA
Half -figure; painted in fresco in the church of the monastery on the
right side of the altar of San Benedetto. This lay brother was said to be one
hundred and twenty years old.
Date: about 1525.
Vasari, VI, 269; Moreni, Notieie, II, 145.
GOD THE FATHER AND FOUR PATRIARCHS
In the vaulting of the Capponi Chapel, Santa Felicita.
Fresco.
Destroyed in rebuilding the organ-loft in 1766.
Date: 1525-1528.
Vasari, VI, 271 and note; Borghini, op. cit., p. 394.
MADONNA
Painted for Lodovico Capponi and hung in his bedroom. Vasari says it
resembled in style the decorations of the Capponi Chapel. Its fate is unknown.
Date: 1526-1528.
Vasari, VI, 272; Borghini, op. cit., p. 395.
PORTRAIT OF LODOVICO CAPPONI'S DAUGHTER
Bust figure with the attributes of the Magdalen. "We have no trace of
this picture.
Date: 1526-1528.
Vasari, VI, 272; Borghini, loc. cit.
257
PONTORMO
PORTRAIT OF ALESSANDRO DE' MEDICI
Vasari felt that in this portrait Jacopo was still under the influence of
Diirer. The terminal dates for this work are 1524, the date of Alessandro's
arrival in Florence, and 1527, the date of his flight to Rome. Its fate is
unknown. For Pontormo's later "Portrait of Alessandro," see, in the
Catalogue of Authentic Pictures, Johnson Collection, Philadelphia.
Date: 1524-1527.
Vasari, VI, 273.
PORTRAIT OF IPPOLITO DE' MEDICI
Represented with his dog Rodon; an excellent likeness according to
Vasari. Long identified erroneously with the "Portrait of Guidobaldo of
Urbino" by Bronzino, in the Pitti (No. 149). See the preceding. Its fate
is unknown.
Date: 1524-1527.
Vasari, VI, 273.
PORTRAIT OF NICCOLO ARDINGHELLI
Niceolo di Pietro Ardinghelli was born in 1503. He was cameriere of
Leo X, canon of Santa Maria del Fiore, bishop, secretary to Cardinal
Alessandro Farnese, and he was created cardinal in 1543. He died on August
24, 1547, and was buried in Santa Maria sopra Minerva (Guasti, Manoscritti
Torrigiani, Firenze, 1878, p. XII; Lami, Sanctae Ecclesiae Florentinae
Memorabilia, I, 303-308, note by Salvino Salvini). The fate of this portrait
is unknown. In Palazzo Torrigiani, in Florence, there is a "Portrait of
Ardinghelli," ascribed by Berenson to Ridolfo Ghirlandaio.
Drawing: possible sketch, Uffizi 443 verso (photo. F. M. C.).
Date: 1538-1543.
Vasari, VI, 273.
POMONA
In a niche opposite the portal of the house of Filippo del Migliore in
Via Larga. Vasari felt that in this work Jacopo had begun to free himself
from his imitation of Diirer. No trace of the figure now remains.
Date: about 1526.
Drawing: possible study, Uffizi 6570 (photo. F. M. C.; D. G. U., pi. XIX).
Vasari, VI, 274.
RAISING OF LAZARUS
Vasari narrates that, unable to buy the Pontormos in Borgherini's
famous room while the latter was in exile in Lucca, Giovambattista della
258
LOST PICTURES
Palla gave Jacopo a commission for a "Lazarus" to be sent to the King of
France for whom Delia Palla acted as agent. Giovambattista's career as a
picture dealer was ended in 1530 and he died in prison at Pisa not long after.
Vasari praises highly the realism of this picture. It probably never reached
France and its fate is unknown.
Date: 1529-1530.
Drawing: possible study for the figure of Lazarus, Uffizi 6723 (fig. 113; photo.
F. M. C.).
Vasari, VI, 274; Borghini, op. cit., p. 395.
PORTRAIT OF GIOVANNI GUIDICCIONI
Milanesi, basing his opinion on a letter of Annibal Caro to Guidiccioni
on October 12, 1539 (quoted by P. E. Visconti in the Giornale arcadico,
LXXX, p. 93), states that Pontormo was in Rome at work on a portrait of
the former on the date of the letter. But the artist mentioned by Caro
(Letter e del Commendatore Caro, Venezia, 1791, No. 6) was Pastermo which
was turned by Visconti into Pontormo. I have been unable to determine
what Caro really wrote; the whereabouts of the manuscript of this letter is
unknown to me. We have no further evidence that the portrait in question
was by Jacopo. In any case, its fate is unknown. Cf. Appendix II, Doc. 24.
Vasari, VI, 274.
PORTRAIT OF CARLO NERONI
Painted, according to Vasari, just after the smaller version of the
"Martyrdom of St. Maurice." The conjectural identification of this lost
portrait with the "Portrait of a Man," in the Uffizi (No. 1220), is without
foundation.
r Vasari, VI, 275.
PORTRAIT OF FRANCESCO GUARDI
Painted according to Vasari during the siege of Florence. Guardi was
represented in soldier's costume. The cover of this portrait, which represents
"Pygmalion and Galatea," is now in the Barberini Gallery in Rome
(No. 83). Vasari ascribes it erroneously to Bronzino. The portrait itself
has disappeared.
Date: 1530-1531.
Drawing: possible study, Uffizi 463 P. (fig. 120; photo. Houghton; D. G. U., pi. XX).
Vasari, VI, 275 ; Dessins, pp. 36, 71, 106.
NOLI ME TANGERE
Painted for Alfonso Davolo, Marchese del "Guasto, " from a cartoon of
Michelangelo's. The latter recommended Jacopo as the painter best able
259
PONTORMO
to execute the picture and Pontormo made so great a success of his work that
he received a commission for a replica from Alessandro Vitelli, the condottiere.
Fra Niccolo da Magna (Nicolaus von Schomberg), Governor of Florence and
Bishop of Capua, acted as intermediary in the negotiations for the cartoon.
In regard to these we have three letters of Figiovanni, the first to Michel-
angelo in Florence, dated April 11, 1531 (Frey, Dichtungen, p. 508, Reg. 25
and 27) ; the second, in the autumn of 1531 ( ?) ; the third, just after October
27, 1531 (Frey, p. 509, Reg. 28), in which the phrase — "The Archbishop
of Capua is very glad the master is to carry out your cartoon in your house ' ' —
seems to indicate that Pontormo actually painted this picture under Michel-
angelo's supervision. The cartoon itself passed later into the possession
of Cosimo I. Its fate like that of this panel is unknown.
Date: 1531-1532.
Drawing: Thode believes, I think without reason, that the drawing No. 367 of the
Clough Collection (Frey, 77 and 78) is Michelangelo's sketch.
Documents: for the letters that place this picture about 1531, see Frey, Brief e an
Michelangiolo, p. 309 f.; idem, Dichtungen, pp. 327, 509; B. F. D., II, 93.
Eeprod. Two copies exist in the store-rooms of the Uffizi, one attributable to Battista
Franco who made, about 1540, a cartoon from the cartoon of Michelangelo (VI, 575) which
passed into the Guardaroba of Cosimo I. Franco 's cartoon was on a larger . scale than
Michelangelo's, as also was the picture that he painted from it. Cf. fig. in Gamba's
article cited below. Bronzino's "Noli me tangere," in the Louvre, is also derived from
Michelangelo's design.
Vasari, VI, 276, 575, VII, 277; Gamba, Una copia del "Noli me Tangere" di
Michelangelo, Bollettino d'arte, III (1909), p. 148 ff.
NOLI ME TANGERE
Replica of the preceding for Alessandro Vitelli who had it placed in his
house in Citta di Castello. Cf. the foregoing. This replica has been lost.
Vasari, VI, 277.
PORTRAIT OF AMERIGO ANTINORI
The beauty of this portrait won for Jacopo the commission to paint the
"Portrait of Alessandro de' Medici," now in the Johnson Collection. The
Antinori portrait has disappeared or is unidentified.
Vasari, VI, 278.
MADONNA
Given by Pontormo to Rossino, the mason who helped him build his
house. When Vasari wrote it was in the possession of Alessandro, son of
Ottaviano de' Medici. It has disappeared or has not yet been identified.
Vasari, VI, 280.
260
LOST PICTURES
PORTRAIT OF CARDINAL GIULIO DE' MEDICI
This was a copy of part of Raphael 's ' ' Portrait of Leo X with Giulio de '
Medici and Cardinal de' Kossi," painted in 1517-1518 and now in the Pitti.
Pontormo gave his copy to Rossino and later on it passed into the hands of
Alessandro d'Ottaviano de' Medici. Its fate is unknown. Andrea del Sarto
also made a copy, now lost, of the head of Giulio for Ottaviano de' Medici,
who gave it to the Bishop de' Marzi, as well as a complete copy which was
long supposed to be the picture in the Museum of Naples. De Rinaldis in
his catalogue of that collection gives this latter copy to Giulio Romano.
Bugiardini too painted a modified copy of Raphael's portrait for the cardinal
Innocenzio Cibo (VI, 206 f.).
Vasari, VI, 280.
PORTRAIT OF MARIA SALVIATI
Painted while Pontormo was at work at Castello. This portrait must
have been executed after August 2, 1537, the date of the battle of Montemurlo,
and December 12, 1543. On the latter date Maria Salviati died in the Villa
of Castello (Anguillesi, p. 215). It has been lost or is unidentified. Several
portraits of Maria Salviati are known. A bust portrait with the inscription :
MARIA SALLVIATTI, the face turned three-quarters right, the shoulders
and head draped in white, in the collection of the Erzherzog Ferdinand von
Tirol (Catalogue, No. 392; Kenner, Die Portratsammlung des Erzherzogs
Ferdinand von Tirol, Jahrbuch d. kunsthis. Savnml. d. Allerhock. Kaiser-
hauses, XVIII (1897), 160; pi. XXVII, fig. 22); the portrait painted by
Vasari towards 1557 in one of the medallions of the fresco in the Palazzo
Vecchio, "Cosimo Proclaimed Duke in 1537" (fig., Conti, La prima reggia,
p. 43), which is derived from the same original; a portrait mentioned by
Allegrini (Regiae familiae Mediceorum), "ex due. Salviati." But what
relation they bear to Pontormo 's portrait has not yet been determined. The
portrait most likely to be related to Jacopo's lost original is to be seen among
Vasari 's frescoes of the Quartiere di Leone X, in the Palazzo Vecchio (photo.
Alinari 4446).
Vasari, VI, 282.
MADONNA
According to Vasari the picture was given by Cosimo I to a Spaniard.
Milanesi conjectures that this Spaniard was the Duke of Altamira. It is
also not impossible that this is the picture referred to, in the Inventorio
generale a capi della Guardaroba, No. 30, 1553-1560, p. 58, as having been
given by the duchess to Don Giovanni di Figana. Cf. Appendix II, Doc. 33
and 34.
Vasari, VI, 284 and the document cited above.
261
PONTORMO
MADONNA
Found in Jacopo's house after his death and sold by his heirs to Piero
Salviati. The fate of this picture is unknown.
Vasari, VI, 288.
DECORATIONS IN THE MEDICEAN VILLA OF CAREGGI
A "loggia" in the courtyard. At the foot of each division of the vaulting, an
allegorical figure: "Fortune," "Justice," "Victory," "Peace," "Fame" and "Love."
In the vaulting were flying ' ' putti ' ' with various animals in their hands.
Oil on plaster.
These decorations were rapidly executed at the command of Alessandro
de' Medici. Pontormo designed the figures and the ornaments, but Bronzino
executed all the figures except the "Love," and the ornaments were painted
by Jacone, Pierfrancesco di Jacopo and others. In his "Life of Bronzino"
Vasari mentions a "Prudence" instead of a. "Victory." These decorations
have vanished. The second "loggia" that Pontormo was to have painted
was never undertaken on account of the death of Alessandro. Cf. the
following.
Date: finished December 13, 1536.
Drawings: sketches for the "putti" of the vaulting, Uffizi 458 (photo. F. M. C.).
Bibl. Vasari, VI, 281; VII, 596; Moreni, Notizie istoriche dei contorni di Firenee,
Firenze, 1792, I, 59; La villa medicea di Careggi, Memorie e ricordi, Firenze, 1888; Dessins,
pp. 21, 37, 41, 50, 56, 73, 74, 102, 134, 169.
DECORATIONS IN THE MEDICEAN VILLA OF CASTELLO
The ' ' loggia ' ' of the courtyard to the left on entering. In the middle of the vaulting,
flying ' ' putti, " " Saturn with the Sign of Capricorn, ' ' and ' ' Mars Hermaphrodite with
the Sign of Leo and the Virgin." In the lunettes of the vaulting, Pontormo painted nude
allegorical female figures of ' ' Philosophy, " " Astrology, " " Geometry, " " Music, ' '
"Arithmetic" and a "Ceres." In certain medallions one saw stories appropriate to each
figure. These were framed in decorative designs.
Oil on plaster.
The ornaments were by Bronzino, Jacone, Pierfrancesco di Jacopo and
others after designs by Pontormo ; the figures were by the master 's own hand.
Eight years after Pontormo died this "loggia" was already ruined by
humidity. When Biscioni wrote, only the contours of the figures remained.
All trace of them has now disappeared.
Date: 1538-1543.
Drawings: possible sketch for the "Saturn," Uffizi 6510; possible study for one of
the allegorical figures, Uffizi 6584 (fig. 132; photo. F. M. C.) ; possible study for the
"Astrology" or the "Geometry," Uffizi 6586 (fig. 133; photo. Pini) ; possible study for
the "putti," Uffizi 6592; study for the "Mars Hermaphrodite," Uffizi 6630 (D. G. U.,
pi. XXII) ; possible sketches for various motives, Uffizi 6644.
Bibl. Vasari, VI, 282, 452 ; VII, 596 ; Borghini, op. cit ., p. 395 ; Varchi, Due Lezzioni,
p. 109; Moreni, Notizie, Firenze, 1792, I, 103; Dessins, pp. 21, 37, 41, 50, 56, 74, 90, 121,
262
LOST PICTURES
168, 169, 172, 194, 201. For the villa, cf. Vedute delle ville e d' altri luoghi della Toscana,
Firenze, 1757; De Benedetti, Palassi e ville reali d' Italia, Alinari, 1911; Anguillesi,
Notizie storiche dei palazzi e ville appartenenti alia I. et E. Corona della Toscana, Pisa,
1815.
FRESCOES IN THE CHOIR OF SAN LORENZO IN FLORENCE
They represented: "The Creation of Adam," "The Disobedience of Adam and Eve,"
"The Expulsion from Paradise," "Moses Eeceiving the Tables of the Law," "Christ in
Glory," "The Four Evangelists," "The Tilling of the Soil," "The Sacrifice of Cain
and the Death of Abel, " " The Benediction of the Sons of Noah and the Building of the
Ark, " " The Ascension of the Blessed, " " The Fall of the Damned, " " The Resurrection, ' '
and "The Deluge."
Fresco.
These paintings occupied Pontormo during the last ten or eleven years
of his life. The lower part of the ''Deluge" and the "Resurrection" were
finished by Bronzino after his master's death (Vasari, VI, 288, n. ; VII, 602;
Moreni, op. cit., II, 119). They were never popular and in 1742 they were
destroyed in rehandling the choir (Manni, I Carri di San Giovanni, gives the
date as 1738). For the general arrangement, see p. 75. Pontormo, in his
Diary, refers repeatedly to his work on these frescoes; see Appendix III.
For the number of days he mentions having worked in the choir, see the
Synopsis of the Diary.
Date: 1546-1556.
Drawings: study for the Eve of the "Expulsion," Uffizi 6715 (fig. 137; photo.
Houghton) ; first thought for the "Moses Eeceiving the Tables of the Law," Uffizi 6508;
study for the same, Uffizi 6749 (fig. 139; photo. Pini; F. M. C.) ; finished study for the
"Christ in Glory," Uffizi 6607 (fig. 138; photo. Houghton; fig., Goldschmidt, op. cit.);
sketch for the Adam of the same, Uffizi 6733; finished study for the "Four Evangelists,"
Uffizi 6750 (fig. 140; photo. F. M. C.) ; sketch for the "Tilling of the Soil," Uffizi 6535
(fig. 143; photo. F. M. C.) ; sketch for the Adam of the same, Uffizi 6615; finished study
for the "Sacrifice of Cain and the Death of Abel," Uffizi 6739 (fig. 141; photo. Houghton) ;
first thought (reversed) for the Abel of the same, Uffizi 15665; study for the Cain of
the -same, Uffizi 6746 (fig. 142; photo. F. M. C.) ; sketch for the "Fall of the Damned,"
Uffizi 6568 (photo. F. M. C.) ; first thought for the same, Uffizi 15666; sketch for certain
figures in the "Ascension of the Blessed," a drawing in the Academy at Venice (fig. 147;
photo. Braun, Venice 78029); sketches for certain figures in the " Eesurrection, " Uffizi
462 (photo. F. M. C.) and Uffizi 6684 (photo. F. M. C.) ; sketch for a single figure in
the same, Uffizi 17410; sketches for certain figures in the "Deluge," Uffizi 6528 (fig. 146;
photo. F. M. C.), Uffizi 6752 (fig. 145; photo. F. M. C.), Uffizi 6753 (fig. 144; photo.
F. M. C.), Uffizi 6754 (photo. F. M. C.; Dessins, pi. VIII), Uffizi 17411 (photo. Houghton;
D. G. U., pi. XXIIIB), Louvre 947 (photo. Braun 63207) ; sketches for single figures
in the same, Uffizi 6560 (fig. 148; photo. Houghton; F. M. C.), Uffizi 6640 (photo.
F. M. C.), Uffizi 6650, Uffizi 6679 (fig. 149; photo. F. M. C.), Uffizi 6714. In Pontormo '*
Diary there are many diminutive sketches (cf. fig. 152) relative to these frescoes, but we
cannot tell to what subject they refer. With them correspond the following sketches in
the Uffizi: Nos. 6528, 6560, 6580, 6724, 6745, 6753, 6760 (fig. 153; photo. F. M. C.),
15666. Borghini (p. 396) mentions that M. Baccio had a drawing of the San Lorenzo
frescoes but of which he does not say. Bocehi (p. 361) speaks of it with great enthusiasm
and at great length and from him we learn that it was a ' ' Last Judgment ' ' and a
"Martyrdom of San Lorenzo," which he preferred to the fresco of the same subject.
From him we also learn that M. Baccio was Baccio Valori. In the Louvre there are two
large drawings, ascribed to Bronzino, which are undoubtedly copies of parts of the
"Deluge." In the Archives of the Innocents (Filza 17, p. 345) mention is made of a
large drawing of many nudes in black chalk which was once in the possession of the
Hospital and which may have had some relation to these frescoes.
263
PONTORMO
Documents: I have examined the following accounts without, however, finding any
reference to Pontormo's work in the choir: Archivio di San Lorenzo, Capitolo di San
Lorenzo, Annadio F; Debitori e Creditor! E., 1542-1549, F. 1549-1557, G. 1555-1560;
Archivio di Stato, Firenze, Depositeria Generate, Nos. 391, 392, 393, 394, 522, 523, 573, 583,
770, 771, 943, 948, 949, 950, 951, 952, 953, 954, 1653, 1654. We find in No. 394, p. 101,
reference to the salary of a helper, Bastiano del Gostra. See Appendix II, Doc. 27.
BibL Vasari, VI, 284-287; VII, 602; Bocchi, ed. 1677, pp. 515-517; Eicha, V, 29;
Borghini, p. 396; II Milizia, II, 135; Del Migliore, p. 166; Moreni, II, 112-115; Lapini,
Diario fiorentino; Ciangogni, Memorie istoriche; Lanzi, I, 164; Carocci, La Basilica
Laurensiana, Arte e storia, IV (1885); Eosini, V, 59, 62; Eeiset, Notice des dessins au
Louvre, Paris, 1879, p. 60, No. 190, note; B. F. D., I, 327; II, 141, 142, 144, 147, 148,
149, 152, 153, 154; Gamba, I disegni di Jacopo Carucci, 1912; Dessins, pp. 21, 26, 30, 37,
41, 56, 75, 86, 106, 107, 117, 119, 121, 132, 133, 138, 140, 155, 158, 166, 167, 172, 183,
188, 199, 206, 231, 232, 250, 251, 253, 258, 265, 267, 268, 274, 276, 277, 278, 279, 281,
286, 287, 294, 298, 299, 302, 331, 349; On Certain Drawings, pp. 17, 18, 22, 23.
MADONNA AND CHILD
The Inventario generate a capi della Guardaroba, 1553-1560 (p. 58)
mentions that on August 24, 1557, a large picture representing the Virgin by
Pontormo was given by the Duchess to Don Giovanni di Figana who took
it to Milan. See Appendix II, Doc. 34. The same picture is mentioned in
the inventory made by Giuliano del Touaglia in 1553. See Doc. 33. This is
perhaps the "Madonna" mentioned above which Vasari says Cosimo I gave
to a Spaniard. Its fate is unknown.
MADONNA
Once in the possession of Carlo Panciatichi but now lost.
Borghini, II Biposo, ed. 1730, p. 394.
264
APPENDICES
APPENDIX I
Note on the Apprenticeship of Pontormo
Vasari's story of Pontormo 's youth is full of inconsistencies and contra-
dictions. He begins by saying1 that, after the death of Jacopo's grandfather
in 1506 (his father having died in 1499 and his mother in 1504), the boy
remained several years in his native town with his grandmother who had him
taught reading, writing and the elements of Latin. It was his grandmother,
according to Vasari, who brought him to Florence when he was thirteen to
put him in charge of the Pupilli. But, since Jacopo was born in 1494, this
journey would have occurred, on Vasari 's own showing,2 in 1507, that is, only
a year after his grandfather's death. We know now from a document that
I have discovered that, as a matter of fact, Jacopo was placed in the care of
the Pupilli on January 24, 1508 (Old Style: 1507), so that it is evident that,
in regard to that event at any rate, Vasari 's chronology is practically correct.
Vasari, however, goes on to say that a few months later Bernardo Vettori3
put the boy under Leonardo's instruction. But we know by documentary
evidence that Leonardo left Florence late in the spring of 1508. It is therefore
apparent that, if Jacopo studied with him at all in 1508, he was either sent
to Leonardo's workshop immediately after being placed with the Pupilli or,
if we take Vasari 's expresssion ' ' a few months later ' ' literally, he could have
remained with Da Vinci hardly more than eight or ten weeks in all.
After Leonardo, Jacopo had for master — so Vasari's story runs —
Albertinelli, Pier di Cosimo and finally, in 1512, 4 Andrea del Sarto. On the
next page Vasari remarks that Jacopo went to study in Andrea's "bottega"
of his own accord immediately after the latter had finished the San Filippo
Benizzi frescoes which we know was in 1510. Vasari also says that Raphael
praised a little "Annunciation" painted by Jacopo while he was still with
Albertinelli. Raphael left Florence on September 5, 1508. Vasari's state-
ment, therefore, implies that between the end of January, 1508 (Old Style:
1507), when he was placed with the Pupilli, and September of the same year,
Pontormo had spent several months unemployed, was apprenticed to Leonardo,
passed from his care into the "bottega" of Albertinelli and had made sufficient
progress there (though only fourteen in May, 1508) to be able to paint an
interesting little picture with his own hand, an achievement which would
have in it, we may remark in passing, no element of the incredible, if Pontormo
really began his apprenticeship with Albertinelli in 1503, as we have been led
to conjecture on the basis of the citation of a Jacopo Carucci in a document
relative to the purchase of a house in the Gualfonda by Albertinelli.5
Vasari is even more inconsistent in regard to the length of time that
Jacopo spent with Albertinelli. He states that Pontormo was left without
VI, 246. 2 lUd. a IUd. * Ibid. B Appendix II, Doe. X.
267
PONTORMO
a master when Mariotto went to Viterbo to finish a picture begun there by
Fra Bartolommeo. According to the books of the Order, this picture, a
"Madonna with Dominican Saints," was finished, not by Albertinelli, but as
late as 1543 by Fra Paolino da Pistoia.0 Colasanti7 was led to assume, on
account of the discrepancy between the documents and Vasari's narrative,
that the latter 's story of Albertinelli 's journey to Viterbo had no claims
to critical consideration. Vasari, however, not only says that Mariotto began
a picture of his own there, then went to Rome and returned to Viterbo, but
he goes out of his way to record gossip to the effect that Mariotto died8 soon
after his return to Florence as a result of loose living in the South. Such
gossip, usually a reflection of much repeated tales, is often more convincing
in the "Lives" than details given by Vasari about pictures which he had
sometimes never seen. "We know that Albertinelli died on November 5, 1515 ;•
we also know that he was in Florence on January 5, 1513, when his contract
with Fra Bartolommeo was dissolved.10 More than that, Vasari himself tells
us that for Leo X's elevation to the Papacy (March 11, 1513) Mariotto received
a commission to paint the new Pope 's arms for the Medici Palace in Via Larga.
The journey to Viterbo, therefore, was not later than 1515 nor earlier than
March, 1513. But before the latter date Pontormo was already fairly launched
in his career as an independent painter. One is tempted to make Pontormo 's
release from Albertinelli 's ' ' bottega ' ' coincide with the moment when Mariotto
decided to give up painting and become an innkeeper.11 But on inferential
grounds, Knapp, Gruyer, and Crowe and Cavalcaselle, all place that adventure
in 1512 or 1513 at which date Jacopo had already passed through his last
experience as an apprentice and had left the workshop of Andrea. We may,
however, remark that, whatever the date at which Albertinelli opened his
public house, his apprentices were probably released at that moment from
further legal obligations to him. We also cannot help noticing that
among the surviving works of Albertinelli, many of which are dated, there
is no picture now extant, so far as I know, that bears a date falling between
1507 and 1510. Moreover, before we accept the date suggested by the critics
whom we have mentioned, it might be well to recall that Vasari mentions that
Mariotto received certain commissions for pictures in the spring of 1513.
In any case the determining of the date at which Pontormo left Mariotto is
of less importance to our study than the obvious fact that, when after a time
Mariotto did reopen his "bottega," Pontormo continued to follow with interest
the work done there. Of this the "San Luca Madonna" is sufficient indirect
evidence.
Leonardo was in Florence from 1503 to May 30, 1506, from August, 1507
to the late spring of 1508 and again, it would appear, in the spring of 1509
and towards the end of 1510. His longest stay in his native city, after his first
visit to Milan, was between 1503 and May, 1506. If, as is highly probable,
Pontormo was still in Albertinelli 's care during those earlier years, he could
have worked with Leonardo only during one of Da Vinci's later visits to
Florence. Vasari's story implies, as we have seen, that Jacopo was appren-
ticed to Leonardo between the end of January, 1508, and the late spring of
e Marchese, M emorie, II, 96 f . ; Vasari, IV, 225.
7 Diario di Jacopo Carucci, Bull. d. soc. filol. romana, II, 49.
s Vasari, IV, 225.
»Idem, 226, n.
10 Marchese, II, 17, 22, 65, 77, 488.
11 Vasari, IV, 222.
268
HIS APPRENTICESHIP
the same year. We have no evidence, however, that Leonardo kept a
"bottega" during any of his later visits to Florence. It is accordingly not
unlikely that Pontormo never actually became a pupil of the great master
but merely studied, on his own account, like the young Raphael, works of
Leonardo 's then in Florence, among them the unfinished ' ' Battle of Anghiari. ' '
The influence of that masterpiece is visible in Pontormo 's "Martyrdom of
the Theban Legion" which was painted many years later. "We should also
note that in some of Pontormo 's earliest drawings the hair is blown out like
a flame — a peculiarity of sketches by Leonardo dating from the years 1505-
1510.
The exact date at which Pontormo studied with his third master cannot
be determined. We may conjecture that he passed through the "bottega"
of Pier di Cosimo sometime between 1508 and 1510 but the only foundation
we have for such an opinion is the fact that Vasari's statement in regard
to Pontormo 's interest in Piero 's art is corroborated by certain characteristics
of Jacopo's early portraits and religious pictures which recall definite
tendencies of Piero 's later work.
Pontormo Js contact with Andrea del Sarto closes his experience as an
apprentice. Vasari states, as we have seen, that he went of his own accord to
stay with Andrea because he greatly admired the San Filippo Benizzi frescoes
which the latter had just finished.12 These frescoes were completed in the
autumn of 1510 and dated by Andrea himself A. D. MDX.13 Elsewhere
Vasari says that it was in 1512 that Pontormo was first associated with
Andrea.1* We must choose between these two dates and the following are some
of the considerations that will influence our choice. For Pontormo 's fresco
over the portal of the Annunziata I have found payments that were made
as early as November, 1513,15 which prove that he must have begun the work
in the late summer of that year. News of the election of Leo X reached
Florence in the second week of March,16 1513, and the Servites, who were
' ' Palleschi/ ' began decorating their church in honour of the great event
without delay. Vasari implies that after Pontormo had finished the cartoons
for the fresco in question Andrea refused to have him in his workshop any
longer. If Pontormo became Andrea's pupil in 1512 we must suppose that it
took Jacopo only a year and a half, at the most, to make Andrea's manner his
own, and we could desire no more forcible evidence of Jacopo's masterly
insight into Andrea's conception of form than is furnished by his manner
of drawing during the next six years. To the evidence that his drawings
furnish we must add Vasari's own statement that Jacopo helped Andrea
with "molti quadri ed opere,"17 although no picture of Andrea's dating
from this period, and among them we count the "San Gallo Annunciation,"
the "San Godenzo Annunciation," the Dresden "Marriage of St. Cathe-
12 Idem, VI, 247.
is Idem, V, 66 f .
i* Idem, VI, 246.
is A. S. F., Convento 119, No. 705, 113 verso. Appendix II, Doc. 12.
i« On the evening of the day of the election; cf. Landucci, p. 336; (J. Capponi, II, 316.
In the Libro del Camarlingo just referred to I have found, under the dates of March 11
and 12, 1513, the following entries: "spese straordinarie p di decto lire sei soldi sei sono p
tagj et pouere p fare festa della creatizione del papa de' Medici porto — 6 — 6; p. 81
verso: spese straordinarie a di decto lire 13. soldi 10 sono p dipignere 1'arme del papa de
Medici e duna bandiera posta incupola porto Ant° dipintore — 13 — 10. "
IT VI, 247.
269
PONTOKMO
rine,"18 the "Adoration of the Magi,"19 in the courtyard of the Annunziata,
and the "Madonna with the Infant St. John," in the Borghese, shows the
slightest trace of Pontormo 's touch. Vasari20 definitely names but one picture
painted by Jacopo for Andrea: the lost "predella" of the "San Gallo Annun-
ciation." And he adds that Bronzino had heard Pontormo himself say that
Rosso also worked on this "gradino. " Evidently we must not take too
literally Vasari 's "molti quadri ed opere." On the same page Vasari says
that Jacopo had not been much time with Andrea before his progress was
such that one would have thought that he had practised art for many years.21
In all probability he had. For, if he was a mere child when he entered
Albertinelli 's workshop, he already had behind him in 1512 more than nine
years of apprenticeship. The groundwork of his sense of form had been laid
with Mariotto and, to an infinitely less degree, with Pier di Cosimo. The
''God the Father" and the "Santa Veronica" of the Pope's Chapel are
Albertinellian with a hint in them of the study that Jacopo had given to
figures sketched by Michelangelo during the years that were chiefly given
to the "Battle of the Cascina." The "San Luca Madonna" carries on the
tradition of Mariotto. Indirect evidence, then, would lead one to conjecture
that Jacopo entered Andrea's "bottega" in the autumn of 1510 or in the
spring of 1511.
In his "Life of Masaccio" Vasari states that Pontormo, like all
Florentines of his generation, studied the frescoes of the Brancacci Chapel.
18 Goldschmidt (Pontormo, Eosso und Bronzino, Leipzig, 1911 [Dissertation], p. 43)
sees without reason evidence of Pontormo 's hand in this picture.
isLibro del Camarlingo (1509-1512), p. 106, v., 108, 111 v. (November 5, 1511;
November 21, 1511; December 12, 1511.)
20 VI, 247.
21 Colasanti (article cited above, p. 47) states without sufficient evidence that Pontormo
entered Andrea's workshop in 1510.
270
APPENDIX II
Documents Relative to the Life of Pontormo
Doc. I. Firenze: Biblioteca Nazionale. Priorista di Monaldi,
p. 267 verso.
La f amiglia de Carucci gia di Monte Pilli e di Terzano castella che furono
nel poggio di San Martino in Valdarno le quali nel 1340 cederono ai fiorentini
sendo fatti cittadini e di loro fu Giorgio di Benci nel 1365 Gonfaloniere e di
questi il p° nel 1349 fu Taddeo di Caruccio e 1' ultimo nel 1529 fu Bonifazio
di Donato Carucci o Chiarucci. L'arme loro e una banda celeste intraverso
sghembo dentrovi tre rose bianche in campo d' oro.
Doc. II. Firenze: Archivio di Stato. Consorteria. San
Giovanni ; Gonf alone Chiave, I, 94 verso.
Carucci da Colle. Giov. Battista di Mario di Bartolomeo 19 Nov. 1614.
Mario Alberto di Giov. Battista di Mario 22 Aple, 1662.
Doc. III. Firenze: Biblioteca Nazionale. Codice Riccardiano
- 1894, p. 132.
S. Croce sotto le volte nella stanza che fu gia Compagnia di Loreto:
"Filiorum Carucci 1298."
Doc. IV. Firenze: Biblioteca Nazionale. Codice Riccardiano
1187.
Ruggieri di Taddeo Carucci uno degli Ufficiali di Torre, 28 feb. 1380.
Doc. V. Firenze : Biblioteca Marucelliana. Codice C 1, p. 278.
Ruggieri di Taddeo Marucci (sic) vinaiuolo nel Marzo 1386 e Aprile
1387 della Signoria di Firenze. The " Priorista del Calamai" mentions the
same person : Ruggieri di Taddeo Carucci vinaiolo in Firenze, Marzo- Aprile,
1386-7.
271
PONTORMO
Doc. VI. Firenze: Biblioteca Nazionale. Codice Araldico, p.
129.
Camcci, Francesco Pianellaio a 1348 Sep° in S. Pancrazio.
Carucci, Ruggiero a 1460 Sep° in S. Croce e S. Remigi Linaiolo.
On the same page the arms of Francesco and Ruggiero are displayed as
in figs. I and II respectively.
FIG. I FIG. II
Codice B VII of the Biblioteca Marucelliana gives (p. 14) the arms of the
Carucci as: "stelle gialle in campo azzurro sotto sei listre a sghembo rosse e
bianche. ' ' Cf . Doc. I where the arms of the family are given as in fig. II, but
with a different arrangement of the tinctures.
Doc. VII. Firenze: Archivio di Stato. Consorteria: Santa
Croce, Vols. I and II. Gonf alone Bue : Vol. I, p. 83.
Charucci
•P Charuccio di Stefano di ruggieri adi 2 di maggio 1481.
•P Giovanj di Taddeo di ruggieri adi 9 di febbraio 1481.
*P S Ruggierj di Taddeo adi p° di genaio 1495.
Jacopo di 8 Lucha di Ruggieri adi p° di Giugnio 1513.
•P Alex0 di Gni di Alexadro adi . . .
Zanobi adi 7 di marzo 1505.
»P Taddeo ) A> nr.-. •,. m -, -, n adi . . .
Barto f dl Gm dl Taddeo adi ...
Taddeo ) di 8 Ruggierj di Taddeo adi 17 di Dicembre 1531.
Piero [ adi 12 di Aprile 1535.
Idem, Vol. II, p. 26 verso.
Carucci
•P Jacopo di S Luca di Ruggieri po giug° 1513.
•P Zanobi di Giovanni di Alessadro 7 marzo 1505.
Taddeo et ) di 8 Ruggieri di Taddeo 17 xbre 1531.
Piero I 12Ap'lel535.
Oratio ) di Pieri di Ruggieri
Ruggieri >
Grazia )
272
DOCUMENTS
Doc. VIII. Firenze : Archivio degl 'Innocent!. Entrata e Uscita
D. 1527-1528, p. 54.
A ma lisabecta fu di paglo Carucci 1. sept, s. sei.
Entrata e Uscita Z, 1530, p. 52. X doetobre 1530. A ma lisabetta dona
fu dipaglo Carucci D. dua, come allibro Rosso.
Idem, p. 54. A m° Ant° distefano lombardo 1. vetocto sono p lui a
Checci Carucci da avere p condisse p spesi di bestiame stetti in valdimevole.
Doc. IX. Firenze: Biblioteca Marucelliana, Codice, B VII.
14, p. 11.
Cappella dei Carucci nel Carmine donata ai Delia Moriana da Lionardo
e Jacopo di Giovanni Carucci nel 1624.
Doc. X. Firenze: Archivio di Stato. Santa Maria Novella;
Convento 102, No. 89: Ricordi, p. 14.
M°. ccccc.viiij0
Ricordo Come oggi g,° di 26 dimaggio 1509, si fece uno sinda|chato nel
caplo del nost° coto Rogato p mano di 8 lorenzo di tho di| lorenzo pogginj
notj° alpalagio delpodesta: en alpnte sta nella bojctegho di S Lorenzo violj.
nel qual sindacato furno elect j & Crejati sindachi M° Alexandro dibartholomeo
dipiero luchini et M°| Ant° dimichele dulino et fre Lorenzo dibernardo
alpnte spp'ore| del coto. apotere liberamete vendere & Itrafacto finire Vna
nosta| Casa posta nella via digualfonda co suo vocablj &
Vendita di cofini. Laqual| gia fu venduta dal nost° coto, adi 10.
una casa in dap'le 1503 auita di M° Alexa|dro & auita di Jacopo
Gualfonda carucci. Come appe Carta p mano di 8 pieroj daulcj
libera a li notj alpodesta. Et qa vendita libera si fe: pen elnost0
bro Pagonazo c5ue|to / era strecto da molti debiti / & altre necessita.
Sto G a 3 et maxle ppotere| pagare uno restante didebito / en elmost0
et in Gle a 42 coto haueua Colmunistero| delpadiso / p ilpodere en daloro
sicopo / posto atubiana Comune di| prato. Et p vigore
dideo sindachato. Noi MO Alexadro dibartho|lomeo / & MO Ant° dimichele /
& fre Lorenzo dibernardo / sindachi pdcj : vendemo libere & Itrafacto / sotto
di 26 dimaggio sopa dco| la sopa dca Casa posta Jngualfonda / Amariotto
dipinctore & figli|uolo dibiagio battiloro / p se & p sua heredi / p pgio di ff
octata larghi| do° Io° et no piu alt0 et p° pche dco Mariotto doueua aspecta|
re tucto elrestante del tpo della vita di dco M° Alexadro: et pche| Anchora
dco mariotto haueua gia Compato da dco M° Alexadroj lujafructo di dca
Casa en segli potessi puenire durate lasua vita] Intato cli Jnfra quello che
el nost° coto nebbe p la vendita fra auita | di M° Alexadro et di Jacopo caruccj.
en nebbe ff quarata larghi doro| 10° et ff octata larghi doro I o° en alpnte ne
pagha dco mariotto | alnost0 coto viene el nost° coto hauerla ueduta preggio
giusto & ragio|neuole ptuche sia veduta libera & Itrafacto: et p° maxle:
prispecto) dellume tolto dalla Compa delpellegrino alle finestr6 didrieto.
273
PONTORMO
E qualj| if octata larghi dco mariotto gli de pagare jn q° modo cioe. ff 30 1
larghi do0 10° depaghare I suauna scripta p'uata fea di mano[ di m° Ant°
dimichele sindacho pdco di Consentimeto de dua altrj | sindachi copagnj adca
vedita: sotto scripta diloro mano & sotto | scripta di mano didco mariotto
dipictore. ratificado ciaschu dinoi] sotto scrip tj / atato qto lessa scripta si
contiene. Laquale scripta e appsso
se facta: pen prima: en sene faccia
didco mariotto: et qsta scripta p'uata
publeco strumto / si de daroma trarre
anosta spesa una licetia & c6fir|matioe didca vendita: et hauuta & obtenuta
la dca licetia: sidefare) lauedita publica asua gab" b" la p publicho strumto / &
pmano di publicoj notj° et Insullo strumto fco & publecato. dco Mariotto:
de darej & finire dipagare elrestante de dcj ff octanta larghi doro I o° chej
sono ff cinqta do° I o°. Et noi sindachi pdcj promettiamo p dco coto| di Sa
ma* nolla adco Mariocto copatore la difesa gnale di dca Casa| aluj venduta /
obligado tuctj nostrj benj / psentj & futurj p la difesa di| dicta Casa venduta
solamte. Et spetalmte promettiamo. pla dca di|fesa elpodre copato dalle
monache delpadiso posto iquel diprato] p gli oblighi & debit j del quale:
spetialmete & Ipte se venduta la| decta Casa: et q, disotto simettera lordine
del cotracto colpagmto.
Doc. XI. Firenze: Archivio di Stato. Official! dei Pupilli:
Deliberationes et Partitiones, 1507-1508, No. 119, c. 114.
M c c c c c vi j
Pro her*e Bartholomei Jacobj Pictoris de putormo
Die 24 Januarij
Licetia vendendi mobilia
Prefati officiales tutores dicte hereditatis seruatis &c. dederut et con-
cesserut licetiam Bart0 aionis actori dicte hereditatis | vendendi mobilia dicte
hereditatis.
Die xxiiij Maij 1508
Bedditio rationu
Prefati officiales simul cohadunati et prestito jurameto seruatis &c.| viso
quod libro temp to pdictum Bartholomeu angeli dellajione actorem Sigto
A tempto p dicta heredit et suscriptionej facta indicto libro 8 manu Petri
zenobij demarignollis et omnibus] ineo cotentis dictu libru et oratione ineo
descripte appbaverut| et declarauerut dictu Bartholomeu remississe coputu
sue | admtrationis et omnia alia fecisse inptibus oportuna.
Die xvj Junij
Fideiuxio
Guido ormannogii dedetis civis Flor preseti et ementi dicti Bartho|lomei
dangeli dellaione prese et fide . . . penes dictos off et pmi . . .| dictis offs licet
absentibus ei et mihi eoru not8 peis recipientibj se facturu et pdictis
Bartholomeus tegerunt peum hinc adunu| ann pxe futuru redder bonum
coputum et de omia alia facere adq| tenetur secu ofdi flort alias desuo pp°
attendere obseruarej promisit, rogans &c. Actuubisopa presetib Benedicte
bart° depuccinis et| Ant° lusti famulo.
Die xxi Junii
Appbatio
Prefati off simul cohadunati &c. seruatis &c. dictu guidone fideiuxorej
appbauerunt.
274
DOCUMENTS
Doc. XII. Firenze: Archivio di Stato. Convento del P.P.
Serviti della Ilma Anmmziata di Servi di Maria : Convento
119, No. 705, p. 113 verso.
Novembre 1513
A muraglia adi dto ff uno doro p° Jacopo di Bt° dipintore p parte di
dipintura sopra larcho dela porta L — 7 s
Marzo 1513
Idem, p. 122 verso.
A muraglia adi dto L sette suo p dipignare larrae di deimedici sopra
a larcho dela porta p° Jacopo di Bt° L — 7 s
Marzo 1514
Idem, p. 124 recto.
A spesse de muraglia adi dto ff quatro doro inoro ff tre p° andrea dagnolo
dipintore p oro p inorare e capitolli de sua quadri adipinto ff uno doro p°
Jacopo dipintore sopra alarcho delauolta sopra ala porta di sono p inorare
qlle figure L — 28 s
Aprile 1514
Idem, p. 127 recto.
A spesse di muraglia adi dto ff dua doro suo p parte di dipintura sopra
alarcho dela porta p° Jacopo dipintore L — 4 s
Giugno 1514
Idem, p. 132 recto.
A muraglia adi decto lire cinquata sei sono p resto della di pintura sopra
larcho della porta della ciesa porto iachopo dipintore e adrea en mese aoro
cotati L — 56 s
Doc. XIII. Firenze: Archivio di Stato. Convento dei P.P.
" Serviti della Ilma Annunziata di Servi di Maria : Convento
119, No. 705, p. 149 verso.
•f-dicebre 1514
A p spese dimuraglia iochopino dipintore adi decto lire ueti una sono
en tati gneue ha dare el coveto p il quadro fa nel ciostricino e resto pago fra
mariano porto el p. priore cotati L — 21 s
Aprile 1515
Idem, p. 161 verso.
A Jachopino dipintore adi decto lire quatordici, sono per parte di
dipintura del quadro del chiostricino porto el p. priore contanti lire
quatordici L — 14 s
Maggio 1515
Idem, p. 165.
A Jacopino dipintore a di decto lire secte; sono per parte di dipintura
del quadro del chiostricino porto contanti lire 7
275
PONTORMO
Marzo 1516
Idem, p. 192 verso.
A Jachopino dipintore adi decto lire tre soldi 10, sono per parte di suo
conto porto contanti lire 3 soldi 10
Maggio 1516
Idem, p. 200 verso.
A Jachopino a di detto lire diciasette dipintore, sono per parte di suo
conto porto contanti lire 17
Giugno 1516
Idem, p. 202 verso.
A Jachopino dipintore a di detto lire dicia sette soldi 10 sono per loro
per e chapitegli del quadro porto contanti lire 17 soldi 10
Doc. XIV. Firenze : Archivio di Stato. San Lorenzo al Monte :
Debitor! e Creditor! : 1524-1532. Convento 51, No. 81, p.
xlviij.
M. D. xxiiij
Mr° Jacopo da pontormo depintore Di Dare p insino adi 15 di apUle 1524
Duct xxxa L ija.
p cassa in g° a 49 como si vede in gle Biancho sto L a 3 Duct 30 L 2 s —
20 septembre Duct xx° p cassa ing° a 49 chome si vede in gle Biancho
sto L a 8. Duct 20 L — s —
30 octobre Duct xx° p cassa in g° a 58 chome si vede in gle Bianeho s*0
L a 23 Duct 20 L — s —
1526 Marzo adi xxviiij0 Duct vij° p cassa in g° a 79 chome si vede in gle
Biancho st° L a 30 Duct 7 — L — s
Octobre adi v Duct ija L — s — p cassa in g° a 79 chome si vede in gle
Biancho St° L a 34 Duct 2 L — s —
Decembre adi xv Duct iiij° L — s — p cassa in g° a 79 si vede in gle
Biancho St° L a 40 Duct — 4 L — s — d
Marzo adi xviii Duct vj L — p cassa in g° a 79 chome si vede in gle
Biancho Sto L — a 45 Duct 6 L —
Apille adi 5 Duct v — L — p cassa in g° a 88 chome si vede in gle Biancho
S*o L a 47 Duct 5 — 1— s
1527 decembre adi 5 Duct v° L v. s xiiij0 p cassa in g° chome si vede in
gle Biancho sto L a 55 Duct 1 — L 5 s 14
febraio adi xxviiij0 Duct vj° L — s xv p entrata in g° a 90 chome si
vede in gle Biancho Sto L a 58 Duct 6 L — s 15 — d.
Doc. XV. Firenze : Archivio di Stato. San Lorenzo al Monte :
Giornale L. Convento 51, No. 16, p. 3 verso.
1524 adi 16 apHe
Mr° Jacopo di bartholomeo da pontormo dipinctore de dare p cassa
Duct ff trenta L dua hebe dato p avf I noue volte como I quad0 f a 65 Duct
30L2s — d.
276
DOCUMENTS
MDxxiiij adi xx d. setemb
Idem, p. 8 verso.
Mr° Jacopo da pontormo dipentore di dare p cassa Duct dieci ebe de
contanti dal p. priore como se vede I q° di cassa sto f a 68 Duct 10 L — s — d.
e piu adi 3 di dicembre Duct, dieci ebe dal p. piore como inq° sto f a
69 Duct 10 L — s — d.
fa Duct 20 L — s.
M D xxv adi 30 doctobre
Idem, p. 23 destra.
Mr° Giacopo da pontormo dipintore di dare p cassa Duct, x porto lui
di contanti p parte como si vede in quad0 di cassa a 78 Duct. 10 L — s — d.
E piu adi 20 di dicembre Duct x porto lui ebe dal pcur p parte como si
vede in quad0 di cassa sto f . a 81 Duct 10 L — s — d.
fa Duct 20 L — s.
M D. xxv
Idem, p. 30 destra.
E piu Duct uno L sei pagamo a mro Jac° dipintore p tanti colori e la
cornice p fare lo cenaculo de la despensa como in q° a 86 Duct. 1 L 6 s — d.
mr° Jacopo inpentore di dare p cassa Duct sette ebe dal pcur e fu adi
4 di Junio como in q° d cassa a 86 Duct 7 L — s —
Idem, p. 34 sinistra.
mr° Giac°po dipintore di dare p cassa Duct dua ebe dal p cur e fu adi
12 de agosto eomo sivede in q° di cassa a 89 Duct. — 2 L — s.
Idem, p. 40 destra.
mr° Giacopo impentore di dare p cassa Duct quatro ebe dal pcuratore e
fu adi 15 di nouembre 1526 come ing° de cassa Sto f a 94 Duct 4 L — s.
Idem, p. 45 destra.
mr° Jae° dipintore di dare p cassa Duct sei e fu adi 4 di genaio ebe dal
pcur como si vede ing° di cassa Sto f a 96 Duct 6 L — s.
Idem, p. 47 verso.
mr° Jacopo dipintore di dare p cassa Duct, cinqu ebe dal pcur como in
q° di cassa Sto f e f u adi 15 daple a 101 Duct 5 L.
M xxvij (sic) adi 5 decembre
Idem, p. 55 recto.
mro Giacopo da pontormo dipintore di dare p cassa Duct uno L v s 14
P Sta 6 difarina e paia 2 di galloni pago lo pcur a fra Jer° et a fra franc0
como ing° di cassa sto f a 108 Duct 1 L 5 s 14.
M D. xxvij
Idem, p. 58 recto.
Mr° Jac° da pontormo dipintore di dare p entrata dadi 28 di febraio 1524
Duct dua L quat° s dieci sono p la valuta di some 8 di flasconi ebe in piu volte
e p una meza catasta di legno p L 8 £ eli flasconi a s 25 la soma posta in
firenze a Duct. 2 L — 4 s 10.
277
PONTORMO
E piu adi 3 dilugio 1526 L tre s x sono p la valuta di uno Bar di vino di
gtto de la montagna beuealo queto anze vectura e gabella Duct — L 3 s 10.
E piu da di 14 di nouembre 1526 p sino adi 17 decto Duct dua L vi s
gindici sono p la valuta di una cattasta di legne ebe in dua volta e some 3 di
flasconi posti in firenze anza victura e gabella Duct. 2 L 6 s 15.
fa Duct 6 L — s 15.
Doc. XVI. Firenze : Archivio di Stato. San Lorenzo al Monte :
Quaderno di Cassa F. Convento 51, No. 40, p. 65 destra.
M. D. xxiiij
26 deto (Maggio)
A mr° Jacopo di btholomeo dapontormo depintore Duct trenta L dua
hebe dal pcuratore in 9 volte p parte da di 4 di Febraio 1522 p insine adi
10 dapUle 1524 supra ala depintura fa nel claustro Duct — 30 L 2 s — s.
M. D. xxiiij0 adi 16 dagosto
Idem, p. 68 destra.
Amr° Jacopo dipintore duct porto lui Duct. 10 L — s — d.
M D. xxiiij0 adi 29 doctobr
Idem, p. 69 destra.
adi deto Amro Jacopo di pintore duct deci hebe lui cotanti dal p priore p
parte Duct. 10 L s — d.
Idem, p. 78 destra.
Capsa cotrassta di hau p sino adi 30 de oct-1525 duct dieci pagami a
Mr° Jacobo depintore porto lui p parte Duct 10 L — s — d.
M D xx (sic)
Idem, p. 81 destra.
20 decto A mro Jac° dipintore Duct dieci ebe dal p cur fu adi 19 d. decebr
Duct 10 L — s — d.
M. D. xxvj adi 29 d. marzo
Idem, p. 86 destra.
A mr° Jacopo dipintore Duct sette ebe dal pcuf a fu adi 4 de Junio Duct
7L — s — d.
adi 25 de agosto 1526
Idem, p. 89 destra.
A mr° Jacopo depentore Duct Dua hebe dal pcurator et fu adi 12 dagosto
Duct 2 L — s — d.
adi pmo di Decembrio 1526
Idem, p. 94.
L tre s quatordeci d sei p gabella de legne et fraseoni mandati a mr° Jac°
depitore e pto de la casa sua Duct — L 3 s 14 d 6.
278
DOCUMENTS
Idem, p. 94.
a mr° Jac° Dapontormo depetore Duct quat° hebe dal pcuratore et fu
adi 15 Novebrio 1526 a suo coto Duct 4.
adi 10 di febraio 1526
Idem, p. 96 destra.
A mr° Jac° Depentore dapontormo Duct sei et fu adi 4 Digenaio hebe
dal pcuratore Duct — 6 L — s — d.
adi 5 dap 'le 1527
Idem, p. 101.
A mr° Jac° Depetore Duct cinqu e fu adi 15 apUe hebe Dal p curatore
porto lui Duct 5.
adi 27 di Nouebrio 1527
Idem, p. 108.
Decebrio 6 A mr<> Jac° Depetore : Duct uno L cinqu s xiiij hebe Sta 6 de
farina et paia. 2. degaline pago el p curatore
Duct — 1 L — 5 s. 14 d.
Doc. XVII. Firenze: ArcMvio di Stato. Monastero di Santa
Felicita di Firenze. Convento 83, No. 115: Libro Ricor-
danze 1485-1528, p. 21.
Rdo come oggi questo di digenaio 1490 Ant° di Bnado paghanelli a dato
a affitare la capella della nutiata posta nella chiesa di Seta Felicita p ladrieto
della casa de ' barbadori alpute di deto ant° a f buono di . . . busini pte fioretino
p di. L lano.
Marginal note :
Compero il d° Antonio la da Cappa da Barbadori e da Bernardo suo figlio
fu venduta a Ludovico Capponi p scudi 200.
Doc. XVIII. Firenze: Archivio di Stato. Accademia del
Disegno, No. I, Registro : Elenco dei Pittori, p. 10 verso.
*J* Jachopo d. Btolomeo dapuntormo dipre 1525.
Doc. XIX. Firenze : Archivio di Stato. Medici e Speziali, No.
11 : Libro Verde ; Matricola per la Citta, p. 27 sinistra.
Die V mesis iunij 1526
332
Jacobus bartei Jacobi de putormo pictor in| civitate florentiae uolens
uenire ad magistrate | dicte artis et describi inter al matriculates ppea pmisit
et iuravit et obligavit renumpsians et rogans, &c.
Nil debet soluere benefitio dicti Jacobi bartei eius patris matriculati in
libro pagonazo a 181.
279
PONTORMO
Doc. XX. Firenze: Archivio di Stato. Catasto: Estimo del
Contado, No. 5. Quartiere San Giovanni, 1520; Popoli
1-95, No. 128, p. 57 sinistra.
Jachopo di btlomeo d. Jacopo da puntonno a dua siti da fare possi I ditto
popolo invia Laura e ce da p° via Se° zanoby orafo 3° spedale dinocieti copo
dallo spe dalle di iiocieti p ff 100 dr° rt° % franc Sasoly adi 15 de marzo 1529 :
et di poij a murato una p suo abitare. p fare la bottega et di poy ivero
itutto p fare il suo abitare.
Andati a Jac° detto p uso
Doc. XXI. Firenze: Archivio di Stato. Catasto: Libro a
Parte 1534. Cittadini a parte: Quartiere Santa Maria
Novella e San Giovanni 1534, No. 11. Quartiere San
Giovanni: Gonf alone Chiave, p. 448 sinistra.
Jac° di btolomeo di Jac° dipitore daputormo. Sustanzie.
po alibro No. 349. Una chasa nelpp0 dis° pro maggiore] in via laura a
p° via 2° zanobi di| ghabiello orafo 3° gino scharpellino da| settigniano 4°
orbatello p suo uso — e leuata dasobb. Sto G1 No 5 (56) dallui detto cne
murata dinuovo.
Doc. XXII. Firenze: Archivio di Stato. Archivio mediceo
del Principato : Carteggio Universale, filza 567, c. 187 e 225.
Letter of Costantino Ansoldi to Francesco de' Medici1
germo Principe
Supplico sua Alteza come gia molti anni Intesi che Soa Alteza, overo
il gran Duca fece publicare una crida in Fiorenza per sapere ove si trovasse
II ritratto della bona memoria del Duca Alessandro, promettendo bona
remuneratione, et perch 'io sono statto creatura del Detto Duca Alessandro
mio Signore et ancho sempre desideroso di farme conoscer alia soa Alteza
per suo amorevolissimo servitor, subito mi mossi a pensare nella mente mia
se potessi In qualche modo uenir in cognitione di detto retratto, venendome
In memoria ch' II detto Duca mio Signore me lo dono mentre era vivo, et
doppo la sua morte m'e venuto In memoria ch'io lo donai a una Signora
Thadea Malaspina, qual f u sorella dell ' Illma Marcha di Massa che f u Madre
dell ' Eccmo Principe hoggidi di Massa, et con qsto mi partei da Casalmaggiore
i Gualandi (III, 62-70) published this letter from a copy made by F. MoisS in 1851
in which the latter falsely transcribed the name of the artist as Jaeopo da Ponte. Gualandi,
unable to make a satisfactory hypothetical contact between the lives of Bassano and
Alessandro de' Medici, concluded that Ansoldi was guilty of gross misrepresentation.
Carnasecchi reprinted the document somewhat more accurately (Eivista d' arte, VI [1909]
34-36) and indicated its connection with Pontormo. Both versions are in varying degrees
inexact. It was Cosimo I who had advertised for the lost portrait of his ancestor but, since
Ansoldi writes (1571) after the retirement of Cosimo (1564), he addresses himself to the
"principe reggente" Francesco de' Medici.
280
DOCUMENTS
patria mia neH'anno del Sre 1568. adi. 10. di 915re che fu la vigilia di Sto
Martino. per andar a camino di trovar tal ritratto, desiderando presentarlo
alia soa Alteza, parte per raffarmare la mia antica servitu, parte per haver
qualch'aiuto dalla mane di soa Alteza per soccorrere alii bisogni di cinque
mie figliole femine, quali sono da marito et senza roba et senza madre, feci
capo a Ferrara a una Sra lulia Malaspina figliola della detta Sra Thedea,
dalla Intesi che detto ritratto si trovava nella guarda robba del Principe
di Massa, per eh'essa Sra Thadea era morta in casa del detto Principe, nella
qual'erano restate tutte le sue spolie. lo inteso questo feci ricapito in
Fiorenza persuadendomi che la servitu ch'io teneva con II Sr lulio de Medici
qual io ho alevato et fu consignato et raccto nelle mie mani dal detto Duca
Alessro havesse ad operare con rillm<> Principe di Massa per essersi alevati
loro insiema che con il suo meggio detto ritratto pervenesse nelle mie mani,
ma Intendendo che II Sr lulio era in Pisa mi transfer! da Fiorenza a Pisa,
et havendoli narrato la causa della mia venuta pregandolo volessi recuperare
detto ritratto et farmene un dono in ricompensa della mia fedel servitu fatta
alia bona memoria del Duca Alessro suo Padre et anche a S.S. ; mi rispose
ch' a tutte sua forze 1'haverebbe ricuperato, et eh' il ritratto saria statto il
mio, et di piu che lui haveva obligatione di far tutto quello ch' io gli chiedessi
per che haveva nel suo corpo Panima di detto Duca, et con questa speranza
restai in Fiorenza et Pisa cinque mesi con mio grandissimo interesse, et
grandissima infermita, per la qual fu forzato partirme per venir a casa,
havendo pero prima hauta licenza da esso Sre lulio, et prowisione sopra
lasua parola di non mancarmi nel detto servitio et hebbe soccorso di denari
per il mio viaggio dal gran Duca per mano del Sr Thomaso di Medici, gionsi
a casa et ricuperai la sanita quando piaque al Sr Iddio, et alcuni mesi doppo
il Sr lulio mi scrisse ch'io andassi a Fiorenza, perche haveva ricuperato con
gran difficulta il ritratto, et era per darmi tutto il mio intento, come posso
justificare per sue lettere per il che mi partei per Fiorenza a di 5 maggio 1570
et subito che fu gionto da S.S. mi prese per la mano et mi mostro il ritratto, et
perch 'io instava che non volesse mancare di quanto mi haveva promesso, mi
disse che lui non mi voleva ar modo alcuno dare quel primo et autentico, ma che
me ne haverebbe datto una copia, sopra ch'io gli feci contrasto, tenendo che
matfchasse della sua parola atteso che questo retratto era sta sepulto 33 Anni,
et per meggio mio era stato scoperto, ma non potei ottenere altro da S.S. per
che mai volse concedermi 1' original di detto ritratto, anci ne fece fare una
copia, qual fu principiata da Vincenzo suo pittore, et poi finita da Salvio
pittore del Cavalier somo, ma detta copia riusci sborgna, et io recusai'
d'accettarla, et gli dissi al meno S.S. ne doveva far fare una copia per man
di qualche valent'homo, ma lui mi rispose Constantino non lo posso fare,
per ch'il gran Duca subito lo sapria et me ne privaria. Onde, io, vedendo
la sua ferma risolutione contraria alia speranza ch'io teneva et alia parola
dattami da S.S. non volsi a patto alcuno aecettarne copia, ma mi resolsi
venirmene a casa, et cosi venni in effetto senza fame motto ad esso Sr lulio
con mio grandissimo interesse di borsa, et mala satisfation d'animo, non
havendo possuto adempire 1' intento mio, pero ringratio sempre la M** Divina;
germo Principe questo retratto e il vero et lusto qual fu fatto nel tempo che
morse la bona memoria di Papa Clemente in Fiorenza in casa di Pazi, per
man di Jacobo da pontor famoso homo, in habito da corrotto, in tavola a
tutta facia et sin 'alia Cintura, al qual non gli manca altro che la favella;
cosi ho voluto darne noticia alia Alteza sua, per ch'io non glielo posso dare
281
PONTOEMO
con le mie mani, come desiderava, aceio almeno soa Alteza possi con le mie
ragioni, queli io gli renuntio in tutto ricuperare detto ritratto. et far quanto
gli pare; Suppla solamente vogli tener memoria di me Fidmo et antico
servitore del Duca Alessro dignandosi darme qualche soccorso per me qual
mi ritrovo povero senza faculta di sorte alcuna et d'eta de' 69 anno, et con
cinque figliole femine da marito, che riconoscero il tutto dalla man di S. Alteza
et il Sr Iddio gli ne rendera il guiderdone mantenendo et augumentando il
suo felice stato come fa; et quando S. Alteza si dignara saper quel ch'io son,
et sono stato, pigliara informatione dal Cavalier Carlo da Spello, da m. lulio
da Pistoia, da maestro augustino sarto, da m Stephano Romano camerier
del gran Duca, et di piu dal Sermo gran Duca, da' quali credo soa Alteza
havera bonissimo ragualio delle mie actioni; et se soa Alteza volesse valersi
di me in cosa alcuna sara servita indrizare la Ira in Parma, in casa del Sr
Scipion Banzola, per che havro bon ricapito et io non mancaro di far quanto
mi comandara soa Alteza, alia qual serviro sempre con fede et con la verita,
et se la M<& di Dio mi eoncedesse che io havesse il modo di poter venire alii
Piedi di S. Alteza come sarebbe 1'animo mio, gli farei conoscere che prima
ch' hora ho desiderato far cosa grata a Soa Alteza, et 1'havrei fatto in effetto
se il Sr lulio non me havesse ingannato et non fosse proceduto con me con
tanta malignita com' ha fatto, ma non voglio passare piu oltra, in scritto
accio soa Alteza non mi tenesse uno Aretino, com' in effetto io non son, ne
mi movo se non con gran ragione; Et con questo fine humilte baxio li piedi
di soa Alteza, alia qual N. S. Iddio doni ogni felicita insieme con tutti li soi
descendenti. Da Casalmaggre il di 23 9bre M.D.LXXI.
Di S. A.
Humiliss0 Servitore
Costantino Ansoldi.
(a tergo)
Al Serm° Principe di Fiorenza
overo in sua absentia al Serm°
gran Duca, mei Sri
In Fiorenza.
Doc. XXIII. Firenze: Archivio di Stato. Catasto: Cittadini
a parte : Quartiere San Giovanni : Gonf alone Chiave, 1549,
No. 16, p. 349 sinistra.
Jac° di btmo di Jac° dipintore ttj° dalibro apte 36 (448) una casa nelp°
di S° pre magiore invia laura a p° via 2« Zanobi di Gabrello orafo 3° bino
scarpno 4° orbatello p Xa p uso
Doc. XXIV. Lettere CXXVII del Commendatore Annibal
Caro raccolte dal Conte Giulio Bernardino Tomitano opiter-
gino ed ora per la prima volta pubblicate in Venezia per
Antonio Zatta, 1791.
A Mon. Giov. Guidiccioni a Fossombruno.
Lettera VI.
282
DOCUMENTS
... A quest' ora il ritratto di V. S. e finite del tutto ed oggi gli si da la
vernice. II Pastermo si e portato da un uomo grande ed la migliorato assai,
ma io non me ne soddisfaccio interamente perche V. S. e degna de' Michelangeli
e de' Bastiani.
Volea fare intarciare le lettere nell' ornamento ma perche sconficcandosi
si disordina ogni cosa, mi sono risoluto di farvele dipingere. V. S. m'ordini
quel ehe n'ho da fare e intanto me lo vagheggiero in vece di Lei.
Di Eoma alii 12 d'Ottobre 1539.
Idem, Lettera VII. To the Same
... II ritratto si portera questa sera al Bernardi.
19 Ottobre 1539.
Some of the letters printed in this volume were in the eighteenth century
in the private collections of Duca Mancciucca di Napoli and of Don Francesco
Daniele, Segretario dell ' Accademia Ercolanese. Others were in the Biblioteca
Borghese and in the Biblioteca privata del Regnante Pontefice. Their present
whereabouts is unknown to me.
Cav. Visconti printed in the Giornale arcadico, Tomo LXXX, p. 93, with
certain changes of spelling among which Pastermo to Pontormo, the excerpt
given above of letter No. VI. In Seghezzi's edition of Caro's letters (Milano,
1807, I, 117) the painter's name is still given as Pastermo.
Doc. XXV. Firenze: ArcMvio degl' Innocent!. Libro Nero:
Debitor! e Creditor! G. 1545-1551, p. 446.
1549
Jacopo di bt° di contto di dare adi xx dagosto ff cento p una comessa
nel n« spedale comapare al giornle R (157) a p patti b (419) a liro comess*
(72) ff 100.
Idem, p. ccccxlvi.
Jacopo d bt° dapuntormo dipintore di aver adi xxiii di marzo ff cento
di m* . . . dal q<> di cassa b (210) e ent*a S (36) dare cassa (444) ff 100.
Doc. XXVI. Firenze: ArcMvio degl' Innocent!. Libro di
Commessi B. 1528-1549, p. ccccxviiii.
Jacopo di btolomeo da puntormo dipintore di auer ogni ano durante sua
vita naturale che deta dani 55 sta xxiiii0 di grano b* vi° di vino et b° 1°
d'olio posto in fre alia casa di sua abitazione atempi solid et q° p auer
comesso nel n° spedale ff cento di ma comapare algiornale R (157) et albro
No p (446) e provata da sri consoli et operai di nostra arte addi xx dagosto
1549. posto al 1° giallo (177)
Doc. XXVII. Firenze: ArcMvio di Stato. Depositeria Vec-
cMa, No. 394, p. 101 destra.
Bastiano del gostra pittore con m° Jac° dapontormo conprouisione de
duca dua al mese cominciando add pmo dimarzo 1554 et di havere adi 28 di
283
PONTORMO
febbraio 1556 p tanti messoli auscita Fissatasalariati p sua prouisione di
marzo aprile et magio 1555 pagatoli di conto ff 36.
Idem, p. 101 sinistra.
Bastiano del gestra pittore diet0 dedare addi xxvii di feb° 1556 ff dua
porto lui p sua provisione di marzo 1555.
Resta da havere ff ventidua p sua provisione di mesi 11 di p° anno 1555
p tutto febbraio fatto creditore alibro desalariati p 1557 di ff ventidua.
Duet. 22.
Doc. XXVIII. Firenze : ArcMvio di Stato. Medici e Speziali
No. 251. Libro dei Morti 1544-1560, p. 92 recto.
Genaio 1556
Mr° Jac° di Lorenzo dapontormo di pntore mri Adi 2 spito nella nutiata.
Doc. XXIX. Firenze: Archivio di Stato. Medici e Speziali:
Libro dei Morti 1506-1560 : Serie della Grascia, p. 524 verso.
Gennaio 1556
M° Jac° diLz° da puntornio sep° nella nunziata adi 2.
Doc. XXX. Firenze: ArcMvio di Stato. Notari: G 300.
Protocollo di Ser Giovanni Battista di Lorenzo Giordani
(1555-1556), c. 399 r.
3 febbraio 1557
Item posta dictis anno 1556 Indicne 15 etdie] 3° mensis februarij. Actu
Flor6 In populo sfi\ stephani abbatia Florne presentibus testib| & Priore S Ghei
de Gharadinis et| Luca ant1 de balieaccis testore draper.
Publicer pateat quatr Andreas oli Ant1] Bart1 als mei testor drapporu
costitutusj I psentia mei et testium pmissoru| Asserens egregiu magm Jacm q.
Bat* micupatum| de Potormo pictore mortuu esse et decessisse
aditio jam est mesis vel circa nullo p eu codito testameto qd sciatur
here nullis relictis liberis sed relicto post se| dicto Andrea eius attinete
ditatis et coniucto| I gnto gradu et pximiori ipsi mag° Jacobo] ex latere
matris scilicet] nato ex Dona marghta Giachi calzolarij| de potormo
sorore patrueli dicti Andree| et nullis aliis post se relictis subcessoribus| dictu
Andrea excludere ab hereditate) dicti mag1 Jac1 seu cu eo i aliqa pte| cocurrere
et putans hereditate pdicta| potius utilem q inutile. Idest meliori, &c.
Doc. XXXI. Firenze: Archivio di Stato. Decima: Ricerca
delle Case di Firenze 1561. Quartiere San Giovanni, p. 128.
Pergola via o via della Colonna
1983 Andrea di . . . detto il Chiarrella| tessitore una casa contigua alia
dtta cha| Antonio di Gino lorenzi — |
Habita apigione Franco di Goro pittore p ff | 14 sta ff 24 B 4 — ff 14. 2. 2.
Antonio come al quaderno.
284
DOCUMENTS
Doc. XXXII. Due Lezzioni di messer Benedetto Varchi,
Fiorenza: Torrentino, MDXLIX, Appendix.1
II diletto ch io so che voi, mag. M. Benedetto, pigliate di qualche bella
pittura o scultura, e in oltre lamore che voi agli huomini di dette profession!
portate, mi fa credere chel sottilissimo intelletto vostro si muova aricercare
le nobilita e ragioni di ciascuna di queste due arti, disputa certo bella
edifficilissima, e ornameto proprio del vostro si raro ingegno, & per esser
ricerco con tanta benignita da una vostra de' di passati di dette ragioni,
non sapero o potero forse con parole e enchiostro esprimere interamente le
fatiche di chi opera, pure per qualche ragione e essempio semplicemente
(senza conclusione non dimanco) ve ne diro quello chi mi occorre. La cosa
in se e tanto difficile, che la non si puo disputare e manco risolvere, perche
una cosa sola ce, che e nobile che el suo fondamento e questo sie el disegno,
e tutte quante laltre ragioni sono debole, rispetto a questo (vedetelo, che
chiunque ha questo fa 1'una e 1'altra bene) & se tutte 1'altre arguitioni sono
debole e meschine rispetto a questo come si puo ella disputare co questo solo,
se non lassare stare questo da parte, non hauendo simile a se & produrre
altre ragioni piu debole senza fine, o conclusione? Come dire una figura di
scultura fabricata atorno, e da tutte le bande tode, e finita per tutto, con
scarpelli, e altri strumenti faticosi, ritrovata in certi luoghi da non potere
pensare in che modo si possa co' ferri entrarui o finirui essendo pietra o cosa
dura; che a fatica alia tenera terra sarebbe fattibile, oltre alle difficulta
d'un braccio in aria co qualche cosa in mano, difficile, e sottile a condurla
che non si rompa, oltre di questo non potere rimediare quando e leuato un
poco troppo (questo e ben vero, oltre a questo hauerla accord ato benissimo
per un verso) & poi per gli altri no ve 1'ha a ritrouare, quando per macamento
di pietra in qualche lato, per la difficulta grande che e in accordare propor-
zionate tutte le parti insieme a tondo, non potendo ben mai vedere come
1'ha a stare, se non fatta che 1'e, e se le non sono cose minime e non va
rimedio; ma e non hara non ha rimedio. Ma chi non avra fondamento di
disegno, incorrera in errori, o in auertenze troppo euidente, che le cose minime
si possono male fugire nelluna e nell'altra, ecci ancora e vari modi di fare,
come di marmo, di bronzo, e tate varie sorte di pietra, di stucho, di legno,
di terra e molte altre cose, che in tutte bisogna gran praticha, oltre alia
fatica della persona, che non e piccola; ma questa tiene 1'uomo piu sano,
e fargli megliore complessione ; doue che el Pittore e el contrario, male
disposto del coropo per le fatiche dell'arte, piu tosto fastidi di mente che
aumeto di vita; (troppo ardito), e volenteroso di imitare tutte le cose che
ha fatto la natura,- co colori, perche le paino esse (e ancora migliorarle)
per fare i sua lauori ricchi, e pieni di cose varie, faccendo, doue accade come
dire, splendori, notte con fuochi, e altri lumi simili, aria, nugoli, paesi
lontani e dappresso, casamenti con tante varie osseruanze di prospettiua,
animali di tanta sorti, di tanti vari colori e tante altre cose; che e possibile
i Eeprinted with many changes of spelling and punctuation and with certain omissions
that obscure the sense of several passages, as well as with the erroneous remark that it
was originally addressed to M. Benedetto Cellini, in Bottari's Raccolta di Lettere sulla
Pittura, Scultura ed Architettura, scritte da' piu celebri personaggi dei Secolo XV, XVI
e XVII (edizione Ticozzi, Milano, 1822, I, 20-25). This letter was really written by
Pontormo at Varchi 's request and formed part of the symposium appended to his lecture
on sculpture and painting in which he published various opinions expressed by famous
artists on the relative merits of the two arts.
285
PONTORMO
che in una storia che facci vi s'interuenga cio che fe' mai la natura, oltre a
come io dissi disopra, migliorarle, e col arte dare loro grazia, a accomodarle,
e comporle doue le stanno meglio; oltre a questo e varii modi di lauorare, in
fresco, a olio, a tempera, a colla, che in tutto bisogna gran pratica a maneg-
giare tanti vari colori, sapere conoscere i loro effetti, mesticati in tanti varii
modi, chiari, scuri, ombre, e lumi, reflessi, e molte altre appartenenze infinite
che io dissi troppo ardito, che la importaza sie superare la natura in volere
dare spirito a una figura, e f aria parere viua, e farla in piano ; che se almeno
egli hauesse considerate, che quando Dio creo 1'huomo, Io fece di rilieuo,
come cosa piu facile a farlo viuo, et no si harebbe preso uno soggetto si
artifitioso, e piu tosto miracoloso e diuino.
Dico ancora, per gli essempi che se ne puo dare, Michelagnolo non hauer
potuto mostrare la profondita del disegno, e la grandezza dell' ingegno suo
diuino nelle stupende figure di rilievo fatte da lui, ma nelle miracolose opere
di tante varie figure, e atti begli essorsi di pittura si, hauendo questa sempre
piu amata, come cosa piu difficile, e piu atta allo ingegno suo sopranaturale,
non gia per questo ei non conosca la sua grandezza, e eternita dependere da
la Scultura, cosi si degna e si eterna, ma di questa eternita ne participa piu
le caue de marmi di carrara che la virtu dello artefice, perche e in migliore
soggetto, e questi soggetto cioe rilieuo appresso di gran maestri e cagione
di grandissimi premii, e molta fama, e altre degnita in ricompenso di si
degna virtu, pesomi dunche, che sia come del vestire che questa sia panno
fine, perche dura piu e di piu spesa ; e la pittura panno acotonato dello inferno
che dura poco e di manca spesa perche leuato che gl ' ha quello riccolino non
se ne tiene piu conto, ma hauendo ogni cosa hauer fine, non sono eglino
eterne a un modo, e ci sarei che dire in' bondato, ma habbiatemi per scusato,
che no mi dare el cuore far' scriuer piu a questa penna, altro che la impor-
tanza di tutta questa lettera ilche e farui noto che vi sono ossequente e a'
piaceri vostri paratissimo, Sommi aueduto che la ripreso vigore, e non le
basterebbe isto quaderno di fogli, non che tutto questo perche le ora nella
beva sua, ma io perche le non vi paressino cerimonie troppo stuchevoli per
non vi infastidire non la intignero piu nello inchiostro, pure che la mi serua
cosi tanto che io noti i di del mese, che sono XVIII di Febraio. Vostro lacomo
in casa.
Doc. XXXIII. Firenze: Archivio di Stato. Guardaroba No.
28. Inventario della Guardaroba per M. Giuliano del
Touaglia, M. Giovanni Ricci, M. Mariotto Cecchi: XXV
d'Ottobre 1553, p. 6 verso.
Nelle Camere del Duca al Piano della sala de 200 nella Camera Terza.
Quadro di nf a dna con ornamento dorato di mano del Pontolmo.
Idem, p. 13 verso.
Salotto della Duchessa.
U° quadro di pittura drentui una uenere con Cupido, et fornimento di
noce intagliato, et cortina di taffeta uerde di mano di Jac° da potolmo.
286
DOCUMENTS
Doc. XXXIV. Firenze: ArcMvio di Stato. Guardaroba No.
30, 1553-1560. Inventario generale a capi della Guardaroba,
p. 54.
Entrata
Uno quadro di Nfa Donna co ornamento dorati del Pont'olmo.
Uno quadro cola Venere e cupido del Pontolmo co ornamento di noce e
cortina di sta uerde.
Uscita
Idem, p. 58.
A S Ea addi 24 d'agosto (1557) Uno quadro grande di una Dona di mano
del Pont'olmo co ornamento dorato et per lei dato di com6 della Due* a Don
giovani di figana p portare a milano al giorle a 100.
Doc. XXXV. Firenze : Archivio di Stato. Guardaroba No. 34 :
Giornale della Guardaroba di Sua Eccellenza 1555-1558,
p. 100 verso.
M.D.LVII.
Addi 29 d'agosto. Uno quadro di nfa Donna dimano del Pont'olmo co
ornameto dorato di bra 2£ dato in dono a Don giovani figana p ordine della
Sigra Duca.
Doc. XXXVI. Rime Inedite di Raffaello BorgMni e di Angiolo
Allori detto il Bronzino, a cura del canonico Domenico
Moreni, Firenze, nella stamperia Magheri, 1822, pp. XXX-
XL.
SONNETS ON THE DEATH OF PONTORMO
Benedetto Varehi al Bronzino
Bronzin, dove poss'io fuggir, s'ancora
In questa si remota, e si ronita
Profonda valle il duol sempre m'addita,
Sol perch 'io pianga, e mi lamenti ognora?
Lo gran Pittor, che dianzi in si poc ' ora
Impensata da noi fece partita,
E me lascio, perch 'io morissi, in vita
Con voi, cui sorte, e danno eguale accora ?
Ohime dunque il chiaro vostro, e mio
Puntormo ha spento morte anzi '1 suo giorno ;
E voi vivete, e '1 Martin vive, ed io ?
Pur ne consoli, ch ' ei non lunge a Dio
Lieto il rimira, e vedrallo al gran giorno
Quale il dipinse a noi tra f ero, e pio.
287
PONTORMO
Di Bronzino
lo sono oinai si di me stesso fuora,
Saggio, e buon Varchi, e 'n si misera vita,
Ch'ogni conforto, ogni pietosa aita
Dello sgravarmi il duol, piii m ' addolora.
Lasso, e che piu dolor d'uopo mi fora?
Non basta a far da me 1 ' alma partita
Quel ch'io sento? o si dee per infinita
Doglia morte allungar piii d'ora in ora !
Anzi pur questo e de ' miseri il rio
Sentiero, 'n morte per piu danno, e scorno
Fa di se lungo," ardente, e van desio.
Ma che rispondo ! Anzi perche travio
Dal pensier giusto, e saldo ! Ecco ch ' io torno
A trar dagli ocehi amaro eterno rio.
Se mai sara, che dall ' interna doglia,
Che si m' ingombra 1' intelletto, e '1 core
Onde cade da lor possa, e valore,
Come per verno rio tenera foglia,
Gia non dich'io poter pari alia voglia,
Ma concesso mi sia, ehe no '1 dolore
Sempre mi tenga a guisa d ' uom, che muore,
Legati i sensi, e mai non gli apra, o scioglia,
Forse potrebbe un di pietosa mente
Da questa lingua, e quest ' indotte carte
Udendo la cagion del mio gran pianto,
Meco dolersi, e meco reverente
Ammirar la bonta, 1' ingegno, e 1'arte
Del gran Puntormo virtuoso, e santo.
Quando nell ' alto mar, che non ha riva
Delle tue lodi, arnica alma beata,
Entro, e mi veggio in frale, e disarmata
Barca, d ' ajuto, e di governo priva,
Pavento, e tremo, e nel pensier m ' arriva
Se mai fu audace impresa invan tentata,
Ond'io calo la vela al vento data
Con mente offesa, a se medesma schiva.
Ma gli onor tuoi, le virtu care, e tante
Tornan si viva in me la giusta voglia
Di fame ricco il nostro almo paese,
Che pur convien, che dal lito mi scioglia,
"E guidandomi amor trapassi avante
Di speme acceso, e di desir cortese.
Ben fu presagio di piu grave danno,
Orme, del passo tuo 1' empia ruina
Poiche partir dovea la pellegrina
Alma del tuo gran lume anz ' il quart ' anno.
288
DOCUMENTS
Quella, che amo si '1 vero, odio 1 ' inganno
D ' arte eccellente, e di bonta divina,
Che 1'Arno altero a par teco cammina
Colmo di gloria, e di pietoso affano.
Dolce, vago, gentil chiaro ruscello
Piangi con meco, e da quest' occhi prendi
Piu che dal fonte tuo forza, e vigore.
Tu perso hai '1 figlio, io 1 ' amico, e '1 f ratello,
Anzi '1 padre, '1 maestro : or meco rendi
Debito officio a cosi giusto amore.
Amico spirto al ciel tomato, d'onde
Partisti quasi accorto pellegrino
Fornito il voto, e quest ' aspro cammino
D ' oliva ornato, e di laurea f ronde,
Com' hai sofferto, ohime, lasciarmi all' onde
Nemiche in mezzo ? e senza me divino
Goderti albergo ? Al sommo Sol vicino
Pur vedi il tutto, e nulla ti s ' asconde ;
Chiaro t ' e il cor con quanto ardore, e f ede
T'ama, e che senza te perdendo vassi,
Poiche del Varco tuo 1 ' Orme non vede,
Ne suol pieta soffrir, ch ' amico lassi
L'altro nei lacci, ond' ha ritratto il piede
Potendo aitarlo, e sol libero passi.
Se quell ' ardor pien d ' amorosa f ede
D ' onesta carita provata, e salda
Piu che mai per te m ' arde, e non pur scalda,
Come vera amicizia ama, e richiede,
Arnica luce or, che chiaro si vede
Da te '1 mio core, e la sincera, e calda
Voglia, che quasi al sol mi strugge, e sfalda
Tenera neve, e non piu spera, o crede.
Gli occhi, che per mia doglia in terra chiusi
Nel cielo apristi, ond' ei s'allegra, e schiara,
Kivolgi al tuo fedel, negletto, e solo,
Che quaggiu vive oscura vita amara
Soccorril, prego, e '1 troppo amor lo scusi,
Se la tua pace in ciel turba il suo duolo.
Dalla sublime sua stellante soglia
Jj ' unica luce mia ver me riguarda,
Perch' io la segua, e parle ogni ora tarda,
Ch ' altro non ha nel cielo, onde si doglia ;
Ond' io,,ch' al cor non ho piu calda voglia,
Quanto a lassu volar preme, e ritarda
Disgombro, e scarce, accio leve, e gagliarda
L'alma sormonte, e di quaggiu si scioglia;
E con piu cura all ' opre sante, e belle
Di lei mi specchio, e sforzomi esser tale,
289
PONTORMO
Che quale in terra in ciel m'accoglia, ed ame:
0 felice quel di, ch' aperte 1'ale
Per acquetar le pari oneste brame
Volaro seco alle sue pari stelle.
Se virtu qui f ra noi pregiar si deve,
E se bontade il eiel gradisce, ed ama,
Sacro seggio or esalta, orna e riceve
Mia luce, e 'n terra avra perpetua f ama ;
Che quanto d'arte, ingegno, o studio brama
In lei rilusse, e ne die saggio in breve,
Che nei tre lustri a quei, che il secol chiama
Piu chiari, a par sen gio secura, e leve.
Crebbe col tempo in lei bontade, ed arte,
Felici amiche ; a quanto saggia umile,
Mai sempre aggiunse al dotto il santo stile.
Or in ciel premio a'suoi merti simile
Si gode, e '1 mondo a' suoi pregi comparte
Onor supremi, e meco piange in parte.
Pioche la luce mia da mille chiare
Opre ritrasse 1'onorata mano,
Dato allo stile, ed ai color sovrano
Loco, e dimostro quanto arte puo fare.
In nuova illustre, e magna opra, ch' ornare
Dovesse il tempio del gran Re Toscano
La pose, ove cerco sopr' ogni umano
Poter se stessa, e tutti altri avanzare ;
Ma quando, ohime, non molto lungi al fine
Seguiva intenta il vago, alto lavoro,
D ' orror, di meraviglia, e d 'Arte pieno,
Soverchi studj a sue voglie divine
Fermaro il corso, e dal terreno coro
Void al celeste, al vero lume in seno.
Di Messer Tommaso Porcacchi.
Chiusa col padre suo sotto atra terra
Col capo alquanto in fuor, col viso chino
La maestra di voi, chiaro Bronzino,
Cos! la voce al dir mesta disserra.
Che fo? Chisono? Or chi mi sbrana, e atterra?
Dov 'el' arte ? il color ? 1 ' ingegno ? il fino
Pronto disegno ? Ohime, spento il divino
Pontormo, acerba morte or mi sotterra \
Gia vive, e lo so ben, de ' suoi colori
Dell' onne sue nuovo Pontormo eletto,
A questo eguale, Apelle oggi a' migliori
Dunque nel mio Bronzino i tristi umori
Rasciugo, in lui mi poso ; cosi detto
S ' ascose, e solo oggi per voi vien f uori.
290
DOCUMENTS
Bronzino a Madonna Laura Battiferra degli Ammannati
Donna, che '1 secol nostro oscuro, e vile
Rendete sovr' ogni altro illustre, e caro
Primo di Febo onor, primo, e phi chiaro
Di cortese onesta lume gentile,
Troppo sete ver me dolce, ed umile
Per medicar 1'altiero colpo amaro,
Che morte diemmi, e che non ha riparo,
Se non col farmi a chi mel die simile.
Morte mel diede, e sola puo far morte
A me sol grata, a tutti altri molesta,
Che 1'alta piaga all' alma, e al cor si chiuda.
Ben rallenta il dolor, che non men forte
M'e duopo vostra man soave, e presta,
Ma phi s ' allunga, onde pieta m 'e cruda.
Alia Medesima
La notte, ch' al mio duol principio diede,
Ch' altro, che morte omai finir rion puote,
E che lascio le mie speranze vote
Di si 'intera amicizia, e chiara fede,
Con si grave dolor nel cor mi riede,
Anzi e pur sempre, che da lui remote
Gioia, e quiete ogni altra cura scuote,
Che pianger lasso, e sospirar non chiede :
Onde s'avvien, che mano, o voce porga
Donna, ond' io scriva, e la ragion discopra
Del comun danno, e di mie doglie acerbe,
Tal dal petto sospir, dagli occhi sgorga
Pianto, che f orza m ' e, lasciata ogni opra,
Mostrar, ch' a sol tormento il ciel mi serba.
Alia Medesima
Mentre sepolto, e di me stesso in bando
Mi sto com' uom, che phi non veggia, e senta
Che tenebre, e martir, poiche m ' ha spenta
Morte ogni gioia, ohime, si tosto, e quando !
Si dolce udir mi par 1 ' aura vi destando
Le vive gemme, e si bel raggio intenta
Far la mia vista, che ridurmi tenta
L ' alma, u ' si vive, i suoi danni obliando ;
O vitale armonia, celeste lume,
S'al destin si potea tor Tanne, vostra
Era la gloria, e ben temer si vide.
Ma ch' io sol la sua voce ode, e mi guide
Lo buon Pittor, che fu dell 'eta nostra
Specchio, e gia termo, e 'n doglia mi consume.
291
PONTORMO
Di Madonna Laura Risposta
Se fermo e nel destin, che lacrimando
L'alma vostra gentil viver eonsenta
Per quella, ch' oggi in ciel lieta, e contenta
Gode del vostro gir si lamentando ;
lo, che fuor (mal mio grado) talor mando
Qual roco angel, voce imperfetta, e lenta,
E se pur luce scopro, ella diventa
Oscura nube in cieca parte errando.
Vi prego umil, che 1 ' onorate piume
Seguiate, e '1 dolce suon, che si vi mostra
Quel, che dal volgo vil parte, e divide ;
Che forse un di, se morte non recide
Anzi tempo il mio stame, all ' alta chiostra
Con voi saro fuor d ' ogni mio costume.
A Madonna Laura
S ' al vostro alto valor f amosa pianta
Ai chiari merti del mio Duce, o al mio
Grave dolore, o a quel caldo desio,
Che d'onorarlo il cor mi strugge, e schianta,
Pari avess' io '1 poter, qual piu si vanta
Securo nome, dal futuro oblio
Vincerei, credo, a dal piu crudo al pio
Saria sua f ama reverita, e pianta :
Ma poiche '1 vostro ogni valore avanza,
Ne piu pud meritar 1'ottimo, e saggio,
E mia doglia, e voler passa ogni segno.
Al vostro sol valor ricorro, al degno
Merto, e a mia voglia, e duol pari, e quindi aggio
Speme d'alzarlo, ov' io non ho possanza.
Di Madonna Laura in Risposta
Al gran merto dell 'alma eletta, e santa,
Che ritornando al cielo in grembo a Dio,
Lasso voi, lasso, in tenebroso, e rio
Stato, e noi privi di ricchezza tanta ;
Qual tromba suona, o pur qual Musa canta
Tanto altamente, e cosi chiara, ch' io
Bassa, a scura non veggia? che desio
La vostra udir, cui grave doglia ammanta.
Ella puo sola, ond' io certa ho speranza
Vedere anzi '1 fornir del mio viaggio
Dare algi alti suoi pregj onor condegno.
Allor quanto alzar puossi umile ingegno,
Sebbene a ciascun passo in terra caggio
Pur di seguirvi prenderei baldanza.
292
DOCUMENTS
A Madonna Laura
L'Aura vostr' Alma, or che '1 fier Borea ammorza
Alle campagne i piu vaghi colori,
E '1 corso impetra ai vivi argenti, e fuori
Vedova, e attrista ogni terrena scorza ;
Col suo dolce spirar, di nuova forza
Par, ch ' aer nraova, e nuova terra irrori,
Nuovo Sol n ' apra, e piante, acque, erbe, e fiori
Ne renda, e ta', ch' a rallegrar ne sforza.
Ond ' io quel f ronda al piu nemico verno
Dentro agghiacciato, e fuori, atro, e negletto,
Orbo del caro mio buon padre, e duce,
Vigor riprendo, e '1 giel distruggo interno,
Degli onor suoi mi vesto, e '1 suo diletto
Seren m'innalza, e scuopre la mia luce.
Di Madonna Laura in Risposta
Bronzino in ciel 1 ' alma beata luce
Quant ' altro vago, e luminoso aspetto
Atto a produr f ra noi piu degno effetto
Come f u gia del mondo onore, e luce ;
Talche 1'erto sentier, ch' a Dio conduce
Fuor di questo mortal breve ricetto,
Mostra si piano al vostr' alto intelletto,
Ch ' uopo non ha di miglior guida, o duce.
Et io, che 'n alto mar senza governo
Quando e piu nudo il ciel de ' suoi, splendori,
Erro sempre alternando or poggia, or orza,
Gia fatta preda al gran Nettuno, e scherno,
Sorgo non lunge i suoi lucenti albori
Si che la stanca nave si rinforza.
293
APPENDIX III
Diary of Pontormo1
Doc. XXXVII. Firenze: Biblioteca Nazionale. Miscellanea
magliabecchiana, catalogo VIII, 1490.
I
Carte 5
adi 30 digenaio 1555 comicioqelle rene di quella figura en piagne quello
babino| adi 31 feci quelpoco delpanno cnlacigne en fucattiuo tepo eemj doluto
j 2 dj| lostomaco e lebudella laluna afatto lap 'ma quarta| adi 2 dj febraio I
sabato sera euenerdi magai 1° cauolo etuctadue qe sere| cenai 6 16 dipane epno
hauere patito fredo alauorare no me forse doluto | eleorpo elostomaco eltepo
emolle epiouosoj adj 1° difebraio feci dalpanno igiu eadi 5 lafinii eadi 16 feci
quelle gabe diquella) babino en le sotto en fu isabato eluenerdi. comlcio a ee
beltepo ecosj elsabato detto efre|ddo — eprima era durato apiouere tucta
uia seza puto difredo eadi 21 en fu berligaccio| cenai co brozino lalepre eueddi
lebagattelle elasera dicarnouale ui cenaj| adj 24 I domenica lunedi emartedi
i The order in which the pages of the original manuscript follow one another has
been preserved in transcribing the Diary, but a blank page has been ignored with the result
that the last page is numbered 23 and not 24. This is not the order in which Pontormo
made these notes, but their true sequence will be found in the chronological analysis of
the Diary which immediately follows the text. In the margins of many of the pages one
finds-Jittle sketches drawn by Pontormo to indicate the figure in the choir of San Lorenzo
upon which he was at work on the day in question. The reduced facsimile of page 4, which
forms part of the illustration of this volume, gives an idea of the disposition of these
sketches some of which correspond, as I have pointed out elsewhere, to drawings by Jacopo
that are preserved in the Print Koom of the Uffizi.
The authenticity of this fragment is indisputable; the handwriting is identical with
that which appears on a number of Pontormo 's drawings (Dessins, p. 42 f.). We have, it
is true, no trace of it earlier than 1625 at which date it came into the possession of the
Strozzi, probably among the numerous acquisitions made by Carlo di Tommaso Strozzi.
In 1786 Alessandro, the last descendant of Carlo, sold his collection to the Grand Duke
Leopoldo. Pontormo 's Diary is not mentioned in the first catalogue of the codices that
once belonged to the Strozzi Library (Florence, Biblioteca Nazionale, Catalogo dei codici
della libreria strozziana), but the second catalogue of the same collection mentions it and
its provenance.
A copy (h. 266, w. 198 mm.) of eight pages of the Diary, including the sketches that
appear in the margins, was made early in the seventeenth century. It is now No. 621
(33-E, 5, 6, 32) of the Biblioteca Nazionale of Florence. It is labelled "Diario del
Pontormo, pittor fiorentino" and once belonged to Gaetano Poggiali and of it Gaye
(Carteggio, III, 166-169) quotes a few pages. The identification of the original is due
to Colasanti (Diario di Jacopo Carrucci, Bullettino della societa filologica romana, II [1902],
35-59) whose article was reviewed by Fabriczy (Das Tagebuch Jacopos da Pontormo,
Repertorium, XXVI [1903], 95 f.). Colasanti transcribed only a few lines. He attempted
to determine the chronological sequence of the pages, but his arrangement is inexact.
295
PONTORMO
emercoledi en fuelp'mo di di guaresima duro tepo come dap'le e bello
giouedipoi eomicioueto secco epiutosto freddo| eh fu hitimo di difebraio
eio feci eldj latesta diquella figura en e sopa quelle cnsta cosij domenica
mattina desinai cobr° epareuami ee moltopieno I modo cn| lasera ionocenai|
adi 4 dimarzo feci queltorso eh e sotto a quellatesta detta eleuami la bora
lanzj dj| domenica fumo adi 10 detto desinai c5b° elasera a bore 23 cenamo
quello pesce grosso eparechj picholifrittj en spesi soldi 12 en ueraattauiano
elunedi feci quello braccio diquella figura ditesta en alza
elasera D elasciala) isino quiui come mostra q° scizo| martedj emerco ledi
comicio feci quel uechio elbracci suo en stacosi| adi 15 dimarzo comiciaj
eltepo quello braccio en tiene lacoregia itesta en f u I uenerdjj elasera
aguas cenaj 1° pesce duouo cacio ficbi enoce eo 11 dipane| mercoledi
tarsi adi 20 fornj elbraccio diuenerdj elunedi lanzj haueuo fatto|
enera du quello busto elmartedj fecj latesta diquello braccio cnio dieo
rato pa giouedimattina] mileuaj abuonora et uidi simaltepo eueto efredo
rechi di en ionolauoraj e mj| stettj I casa uenerdj feci quello alt0 br°
bello en sta atrauerso esabato upoco di| capo azurro en fumo adi 23
seza elasera eenj ii o dipane dua huoua espinacj| en fu ladom lunedi
piouere adi 25 desinai cobr° elasera cenai icasamia 1° pesce duouo |
martedj feci quellatesta delputto en china eeenai 5 10 dipane
eebi 1° sonetto1 daluarcbi| mercoledi feci quelloresto delputto eebj disagio a
quello stare chinato tucto di|
II
Imodo en mi dolse giouedj lerene (euenerdi oltre aldolermj ebimala]
dispositione enomiseti bene elasera nocenaj elamattina en fumo a di (frac°
I giu . . .) 29 1555 1 feci lamano emezo ebraccio diquella figura grade elginochio
ed 1° pezodigaba] doue eposa lamano en fu eluenerdj detto e la detta sera
nocenai estettj. D.| isinalsabato sera emagiai 10 6 dipane eduahuoua e ia
I salata di Fiorj diborana| 31 dimar zo ladomenica mattina desinai I casa
danjello pesce ecastrone elasera nocenai | elunedi mattina misismosse elcorpo
codolore leuamj epoi p ee fredo eueto | ritornai neleto estettjuj Isino a bore
18 eltucto dipoi no miseti bene pure lasera| cenaj upoco digota lessa co delle
bietole e burro esto cosi seza sapere quello cn| a ee dime peso en mi nocessj
assaj quello ritornare neletto pure ora en sono| bore 4 mipare stare asaj bene|
adi 3 dap'le feci quella gaba dalginochio igiu eco gra fatica dibuioediveto
e ditonico| elasera cenai o 14 dipane radicbio e duoua[ giouedi cenai 6 10
i This was in all probability the following sonnet which one finds in De' Sonetti di
M. Benedetto Varchi, Fiorenza, 1555, p. 248, and which is quoted by Colasanti (Bull. d.
soc. filol. romana, II, 41, n. 2).
MENTEE io con penna oscura, e basso inchiostro
Tanti anni, e tanti un uiuo LAVRO f ormo,
Voi con chiaro pennello alto PVNTOEMO
Fate pari all ' antico il secol nostro :
Anzi mentre io col uolgo inerte dormo,
Voi nuouo pregio alia cerussa, e all ' ostro
Giugnete tal, che fuor del uile stormo,
A dito sete, e per essempio mostro.
Felice uoi, che per secreto calle,
Oue orma ancor non 6 segnata, solo
Ven gite a gloria non piS uista mai.
Onde la donna piti ueloce assai
Che strale, o uento, e ch ' 6 sempre alle spalle,
Inuan darauui homai lultimo uolo.
296
HIS DIARY
dipane dua huoua afretlle radichio| uenerdi comlciaj ia hora I anzj di quelle
schiene ch sono sotto aquella) cenai ia liba dipane sparagi ehuoua efu 1° bello
dj| sabato cenaj | domenica ch fu luliuo desinai I casa br° certi crespellj
mirabili| lunedj damattina ebj 1° nelorto en lego eacocio lorto lauaga] martedj
feci quella gaba co lacoscia sotto aquelle schiene dette di sopa cioe| elasera
cenai la meza testa dicauretto| mercoledi dua huoua. elasera casco lagociola
a cecho fornaio| giouedi laltera meza fritta| uenerdi ch fueldj sco cenaj 1°
pesce duouo solo co zucnro e 5 8 dipane. | sabato lauorai quelmasso. euenne
el duca asco lorezo cioe aluficio. lasera poi nocenaj| pajsqua domenica fui°
grafredo egraueto eaqua desinai co br° 6 6 dipane elasera nocenaj] lunedi
piu fredo e ueto eaqua elasera cenai Icasa daniello 6 6 dipane | martedi fuasaj
bello elasera cenai o 10 dipane | mercoledi mattina fu fredo estettimi Icasa
cenai 6 9 dipane agnello elpiu bello en sipossa] giouedi lauoraj. quelle dua
braccia. ecenai 6 9 dipane earne ecacio efu frediccio| uenerdi feci latesta
coquel masso en le sotto eenaj 6 9 dipane 1° pesce duouo eia Isalata| e ho elcapo
en mi gira u bud dato.| sabato feci broeone e masso elamano ecenai 6 10
dipane | domenica cenai 6 10 dipane estettj tucto eldi stracho debole efastidioso
fubellisimo dj efe laluna| lundedj adi 22 dap'le stettj bene ogni male eraito
uia magiai 6 8 dipane no haueuo piu| capogirli enoero debole. e ho buona
speraza. |
III
adi 23 lasera cenai copiero1 magiai o 9 dipane en uera eluillanoj adi 24
lasera cenai copiero. sparagi e huoua| adi 25 cenai Icasa 1° armoncino dagnello
lasera disamarco| adi 26 cenai copiero. | adi 27 cenai copiero eldi fini quella
gaba sola ch sta cosi adi 28 idomenica mattina desinaj cobrozo elasera no
cenai | lunedj cenai copiero ubuodato e cosacce o 12 dipane | martedj cenaj
6 12 dipane cacio enoce| mercoledj adj p° dimagio cenai o 12 dipane la £
testieuola cacio ebacelli| giouedj lalta meza acena| uenerdj sera cenai copiero
1° pesce duouo Isalata fichj sechj. lasera di sea croce] sabato 1° pesce duouo
cosugo dibietole zuchro eminestra dibietole eo 10 dipane [ domenica cenai dua
huoua | lunedi 1° fegato fritto dagnello | martedi sera cenai 1° cuore dagnello
carne secha lessa e o 10 djpane| ecomiciai quel br° di quella figura ch sta cosi|
mori eltasso|2 mercoledj egiouedi lafinj. elasera adai acena co daniello cauretto
arosto epesce| uenerdj sera 1° pesce duouo ela Isalata 5 10 dipane uino macho
ch mezetta] sabato sera cenai co piero pesce darno ricatta huoua ecarciofi
emagiai] troppo emaxime della ricotta elamattina desinai co br° elasera no
cenai | en fulauetura mia ch haueuo magiato tropoj lunedisera magiai carne
delgiouedj cota eno mi fa bene. 5 10 di pane) 3 martedi comlciai afare
queltorso ch tiene elcapo alogiu cosij cenai la Isalata e 1° pesce duouo 6 10
dipane mercoledj ebi 1° itonico si faticoso ch io no pesoch glabia a far bene
ch sono | tucte le poppe come siuede la comettitura ecenai huoua e 6 10 dipane |
giouedi feci 1° bra| uenerdi lalt° bra| sabato quella coscia diquella figura ch
sta cosi | 19 dim | agio | domenica desinai ecenai cobro. elamatina posi quegli
peschi lunedi comlcai quel braccio di detta figura ch stacosi elasera cenai |
6 10 dipane huoua episegli| martedi quello al° bra| 22 mercoledi eltorso
1 This cannot be Pierino da Vinci, the sculptor, who died, it would seem (Vasari, VI,
131), in 1554.
2 Battista del Tasso, the son of Marco del Tasso, and himself a great craftsman.
He was an intimate friend of Bronzino, Cellini and Luca Martini, and died, as Pontormo
records, on May 7, 1555. Cf. Vasari, III, 350-353. Pontormo mentions him again on
page XVII.
297
PONTORMO
egiouedi ch fu lasesione desinai cobro elasera co danjello] uenerdj quella
coscia. 6 dieej dipane 1° pesce duouo efini lafigura|
IV
sabato sera cenai i° isalata edua huoua eldi feci certe leterej domenica
mattjna adai asafrac0 epoi desinai I casa danjello elasera no cen . . . | lunedj
martedj | mercoledj feci quel capo ch sta sottoaquella figfa cosij . . . di 30
ma|(g)io| giouedi lacoscia[ uenerdi quelle schiene| sabato finj lafigura cenai
6 10 dipane ciriege e 1° pesce duouo j domenica sera desinai cobro. en fula
sera dello spirito scoj lunedi mattina codaniello elasera cenai icasa mia|
martedi sera codaiello cogloni efegato el° quarto arosto] mercoledi sera icasa
mia 1° pezo dipane diramerino e huoua e feci quelle spall . . .( diquella figura|
ch sta cosi| giouedi feci elbraccio emagiai upoco dicarne arosto | uenerdi
lafornj emagiai 1° pesce duouo eadormetamj uestito| sabato mileuaj molto
male disposto cenai copiero poco e| seza uoglia elanocte ebi lafebre co gra
fuoco adosso eno dormj mai| domenica cnsiamo adi 9 di gugno 1555 cenai
copiero | lunedi gra dogle dicorpo] martedi gra dogle dicorpo | mercoledi quel
medesimo ne mai lasera ho passato upane ouero agiuto] adj 13 1 giouedi mattina
desinaicobro en fu elcorp' donj elasera acora uicenaj] uenerdi. lauorai] sabato
cenai copiero elauoraj] domenica desinai cobr° ecenai| lunedi cenai I casa
mia 6 10 dipane came e isalata] martedi) mercoledi feci quellatesta dimorto
co labarba. en e sopa qa figura giouedi feci quella testa e braccio diquella
figura ch stacosi| uenerdi feci el torso) sabato legabe e lafinj ecenaj 6 9 dipane
huoua e susine en fu adj 23 — | digugno domenica | lunedi | martedj sidisfece
elpote mercoledi sirimuro lebueli. giouedi feci quelcn uaismo al c . . . | sabato
fu sapiero) domenica desinai codaniello en fu 1° gra caldo erauj brozo elasera
cenai copiero | giouedi adi 4 diluglo comiciai quella figura ch sta cosi|
elasera stettj adisagio aspettare lacarne en batista era zoppo eelporta
ua| eh gla berogato fuora. eqdo suo padre staua male no uistaua e q° e| en gla
hauto eletto dadormire datrotella| uenerdi sabato feci I sino alegabe.
ladomenica desinaj co brozo | adi 8 lunedi. feci no so ch lettere ecomlciomi
luscita] martedi feci ia coscia. crebemi luscita. co dimolta colera sagu|igna
ebiacha mercoledi stetti pegio ch forse io uo tre opiu ch a| ogni hora bizognaua
talch io mistettj I casa ecenai upoco dj| minestraccia elmio batista ando
difuora lasera e sapeua ch io mi| setiuo male e no torno talch io laro tienere
amete sepre| giouedi feci quella alta gaba edelle idispositionj delcorpo sto
upoco | meglo ch sono 4 uolte ho cenato I sa L° ebeuto upoco digreco| noch
mipaia stare bene pch ogni tre hore mi uiene lostringimeto| adi 12 uenerdj
sera cenai copiero. ecredo sia passata luscita cioe q1 dolor j| sabato sera cenai
icasa pesce marinato e br uera eldj lauorai quello doccone| lungo rasete
lassito elasera feci quistione colfattore. elui dise chio miprouedessi| domenica
mattina desinai cobro elasera aspettai elfattore ch ado alegnaia. e mi| disse
io tornero a buonotta e no torno. cenai 1° grapolo duua e no alt°[ lunedj | adi
16 martedj comiciai quella figura e la sera cenai upoco di carnaccia) ch mi
fece pocopro ch batista disse ch io miprouedessi pch era stato| gridato da
nocetj| mercoledi magiai dua huoua neltegame.] giouedi mattina cacai dua
strozoli no liquid j edreto nusciua ch se fu-|sino lucignoli lughi di babagia
cioe grasso biancho easai bene| cenai I saL° upoco dj lesso asaj buono efinj
lafigura | uenerdj. pesce e 1° huouo| sabato batista euenuto p tucti e colori
298
HIS DIARY
macinati epenegli e olio[ elasera cenai dua huoua pere e la mezetta diuino uue
e cacio| domenica cenai co bro. elamatina batista ado alegnaia etorno lasera|
adi 22 lunedi desinai codaniello elasera cenai co br°. eho difetto I sulagola
en io| ndposso ighiottire. ebatista notorno: eldi aputai quello cartone en bata
portoj martedi stetti diguno enoeenai duolmj 1° dete e feci 1° pezodipanno|
VI
mercoledi sera cenai zucha lessa 6 16 dipane edeluua| giouedi desinai
co br° elasera nocenaj] uenerdj feci quella testa en guarda I qua cioe di
quello foglo en io portai] en sta cosi| sabato[ domenica | lunedj | 30 martedj
comiciai lafigura| mercoledi isino alagaba| adj p°| dagosto] giouedj feci
lagaba. elasera cenai copiero upaio dipipionj lessj| uenerdi feci el bracio en
sapogiaj sabato quella testa de la figura en le sotto en sta cosi| domenica cenai
icasa daniello cobro en fu alle polpette] lunedj | martedi [ mercoledj quella
testa en lafigura gliposa lamano I capo] giovedj cenai upoeo di buonacarne
efeci quelcapo co laloro| uenerdj. lauoraj estetti diguno en fulauilia disa L°|
sabato eldi prouai ateso — e alterami lostomaco| domenica mattina stetti subito
leuato en io fui euestito nelorto en era fresco, ubuodato auedere certi disegni
en mi mostro fuscellino| epati fredo enoso pen misi sdegiio lostomaco lasera
cenai cobro0
auer lafebre
popone e 1° pipione elamattj dipoi mi setiuo male epareuami
lunedi matti haueuo efebre e lostomaco sdegnato cenai en no
mi piaque| nulla neluino magiai o 7 dipane carne e poca epoco bere 6 la
dimador . . . | martedi sera la curatella ia pesca o 12 dipane e o miglore gusto]
ecomiciaj latesta diquella figura en sta cosj| mercoledi ebraccio) 15 —
giouedi: | uenerdj elcorpo | sabato lecosce] domenica | lunedi martedj —
comiciaj quelle rene sotto alia testa | mercoledi. lafinj.| giouedi uenerdi sabato
domenica desinai co br° enoudi messa| adj 2 lunedi comiciaj afare sopa la
cornice martedi feci latesta di qa figura | ebi 1° barile dolio|
VII
mercoledi isino afiachj elasera comicio apiouerej giouedj lecosce e fiachj|
uenerdj elbraccio| sabato quella testa dimorto en gle alato] Domenjca en fu
ladonna desinaj co bro elaseracenaj co gra dogla dideti| lunedi ebi sturbo e
I ba§° eno lauoraj eisino asabato stetti icasa| adisegnare domenica desinai
co br° elasera nocenaj| lunedi disegnai| martedi comiciaj quellafigura sotto
alia testa | mercoledj elcorpo sotto a le poppe g| giouedi tutta la gaba| uenerdi
piouej sabato fu sco matteo| domenica | domenica adj 5 dottob. batista ado
alpogio elasera | cenaj tucte cosacce e diuogla erestomj el duolo de detj| lunedi
magiai castrone isalata uue e cacio e 6 15 dipane | efeci quellatesta en e sotto
aquella figura disegnata di sopa[ martedi feci quella alta testa en gle alato
emercoledi elresto| sabato vi fecj quelcorpo] domenica desinaj co br°
uermicegli| lunedj quello elmo| martedi quella testa cosi| mercoledj. quel
busto elasera no cenaj | giovedi quel braccio elasera cenai 1° pesce duouo|
uenerdi elcorpo en fu sea luca cenai uoue e 6 14 dipane e 1° cauolo] sabato
elbraccio e doue e siede cenai huoua e 6 9 dipane e 2 fichi sech . . . | domenica
desjnaj co bro uermicegli elasera cenaujj lunedi martedi mercoledi giovedi
uenerdj lauorai sotto a detta figura diseg0 isino alcornicione sabato ordinaj
elcartone en ghera alato cenaj 1° ca| uolobuono cotto dimia| mano elanotte mi
leuaj| ia scegia du dete e magio| u poeo meglo| Domenica elunedi cossi dame
upoco diuitella] en mi copo baa estetti queduo di icasa adisegnaf| e cenai
quelle 3 sere dame solo|
299
PONTORMO
VIII
martedi adi 29 dottob| mercoledi 30) noueb" adi p° uenerdi mattina desinai
cobro aguilla copesci darno| sabato domenica elunedi. fu fredo.| adi 9 feci
quella testa en e sotto aquella| figura en sta cosi| adi 16 uenequello cartone
eportossi quellalt0 easettalo pcomiciare| alauorare eldi dinazj fu 1° bellissimo
di saza nugolj esaza fredo) adi 12 rifeci quella testa en e cosa daricordarsj
quale / cioe I martedj | adj 17 desinaj co br° e cenaj esetti tuctodi I casa
elamattina pagai| 1° miglacio elasera cenauj efuel di en b°a mi uene adire de
fratj| adi 18 nolauoraj e adai aparlare afratj) adi 19 lauoraj que 2 testi
dimortj eh sono sotto alculo dicolej| adi 20 sibollj elbucato) adj 24 desinai co
br° en uera la madre dela maria en mi pmise] 1° pane] diramejrino] bello | adj
27 comicaj sotto aquelle figure en stano cosi adi 28] adi 29 1 adi 30 fusca andrea
en cenai copiero e donomj 50 fichi sechj| domenica mattina desinaj co br°
elasera co daniello la lepre e en uenne luca martin j i fireze) lunedi martedj
mercoledj giouedj uenerdj fu sea nicolo en fu 1° bello | di e edurato I si aogi en
siano adi 9 de diceb| adi 8 cenaj lasera co br° pollastrinj mortj dalla faina
erecane delpane diramerino] lunedi cenai quella ligua diporco] martedj cenaj
icasa daniello co m luca martinj eluarchi] mercoledj cenaj dua huoua ia Isalata
dluidia 6 14 dipane efichj sechj euino| giouedi cenaj carne dicastrone en fu
lasera delle diuisionej adj 13 uenerdi cenaj dame ecomiciaj afare dame
ebatista siserro I camera | sabato cenaj co bro em luca 1° pesce| domenica adi
22 desinai co br° ep'ma adi 20 en fueluenerdj delle digune| comicio eltepo
arisehiarare coueto buono e acociarsi eedurato otto di iterj | ep ' ma era stato
timese tuctauia o poco a asaj ogni di apiouere co certo] i grassameto dusci e
dumido dimura quato io miricordj a gra pezo| talcn glagenerato aq° beltepo
scesi rouino en presto amazano
IX
1556
pagolo1 daterra rossa morj lauilia dipasqua| cioe adi 24 cenaj I casa br<>
luca martinj etucti dicasa daniello | lamattina dipasqua desinaj ecenaj quiuj|
adi 26 adamo asa frac° etornamo adesinare en uera lalexadra] co mona
lucretia estemouj lasera etornamo tuctj a le 6 hore| adi 27 adamo br° eio
amote oliueto estemo tuctamattina co giouabatista] strozj2 tornamo tardj eio
stetti Isino alasera digiuno ecenaj icasa mia| adj 28 adamo auolsaminiato
edesinamo aloste espedemo s 20 p 1<> erauamo 5| elasera no cenaj | adj 29
domenica mattina adamo Isino asadomenico tornamo tardj I modo en io|
nouollj desinare edugaj alasera icasa danjello| lunedj cenaj i casa| martedj
cenaj I casa| adj p°| genai| 1556| mercoledj desinaj co br° ecenaj atauiano
eio 1° germano) giouedj sera cenai porco lesso e 1° farciglo ebatista no uolle
cenare] uenerdj eenai co br° 1° pesce en midette elpadouano 1° limone e
deluoua] sabato mattina comicio apiovere eaguastarsi eltepo cnra durato bello |
dieci di en maj no fu 1° nugolo elasera tornaj co 1° pitocho en migosto] lire
12 eriscotraj ba° en porto quatro scudj afrati dellapigione] domenica desinaj
co bro| la befania lunedj. adamo aspasso emagiorno pane di miglio poi lasera
cenaj codanielo] martedj [ mercoledj | giouedj sera cenai colp'ore denoceti lui
eio solj agelatina e huoua| uenerdi adi 10 ahore 24 1° carro mistrise leginochia
rasete 1° muriciuolo| e ba° uenne acasa p hauere danarj dalattazioj sabato
ebe A dua eportogli a frati p lapigione] domenica piove e fu gra ueto efreddo
1 This was perhaps Pagolo il Eosso, Varchi 's friend.
2 The celebrated poet.
300
HIS DIARY
tucto eldi eio comiciajj amagiare su dame. 1° pezo darista ecosi martedi uene
abotega del gello mercoledj| adj 15 sera bro uene acasa p me co ottauiano
pch io adassi acenaseco eio dalospetiale] delcapello la lasaj en5 miruede|
giouedj sera cenaj giu colfattore huoua | sea atoi|nio| uenerdi sera huoua I
1° tegamino] sabato sera huoua I 1° tegamino|
domenica sera cenaj c5piero tordi lissj earosto en glelo auea pmesso]
lamattina dasapiero e lasera altardj br° eatauiano passorno] efui apto loro
luscio dalfattore seza fermarsj solo disse en di fac°| poi I su le 2 hore attauiano
uene apichiare domadado dime| didedo en lalesadra miuoleua dice elfattore
adi 20 1 sc° ba°| lunedj pioue tucto eldj. scosse rouinose egratuonj ebalenj
elasera eenai 1° resto ditingolo edarista auazata digiouedi borana| cotta 5
9 dipane e 6 4 di pane diramerino| adi 21 pioue tuctoeldj cenaj dua huoua
1* libra dipane la isalata) adj 22 cenai porco lesso e 1° poco dicauolo epane
diramerino 6 9 dipane | adj 23 giouedi eenaj castrone ebiadare cobatista
abelochio ereeane) ecenamo isieme e ucelomj duo dj dicedo en no netrouaua|
adi 24 cenai 6 10 dipane borana ecacio e dua huoua | adi 25 ba° micopo 20
mele 10 qi ecenai dua huoua eia isalataj adi 26 tornado acasa ahore 24 fui
sopa guto da atauiano daniello| elalezadra e altre donne ch ueniuano p me
ch io adassi acasa br°| adamo efecesi ueglia Isino ahore 12 1 adi 27 cenai icasa
12 6 dipane emele cotte| adi 28 desinai cobr° colobascj| adi 29 cenai dua
huoua| adi 30 castrone ch copo batista 9 q*| adi 31 huoua| febraio adi 5 huoua|
adi 2 desinaj co br<> ecenaj Icasa daniello lasera | adi 3 cenai ia torta co lacarne
di mia mano| adi 4 cenaj 1° pesce duoua colcacio| adi 5 upoco dicastrone.| adi
6 comlciai alauorare ecenaj porcho arosto] adi 7 uenerdi cenaj upesce duouo
colcacio| adi 8 cenai 1° pesce duouo elamattina ebi 12 staia di brace) el fattore
fece delpane cioe menacilia edisse pch| io laueuo madato p 1° fiascho di uino
ch io no gli co|madassj piu o ch io facessj dame o io toglessj chj i| facessi
elasera lasaj fenita quella figura disegnata]
XI
difebraio 1556
domenica adj 16 desinaj co br° elasera cenaj icasa | daniello br° e attauiano
eio aspettado daniello I sino alle 5 hr6] lunedj sera magiaj upoco di buech
ba° micopo | ch no arebe magiato ecanj come quello ch no emeglo| ch glatri
toglendo pse elbuono latp / e luj sanio| martedi. cenai di quello bue|
mercoledj ba° micopo 28 q1 darista. cenaj dua huoua o 10 djpane| berllga|ccio
giouedi cenaj acasa br° e fecj queltorso diqella figa ch sta cosi] uenerdj cenaj
2 huoua cacio efichi sechj| sabato ia torta neltegamuzo eba° mireco s 15
diuitella egraso| domenica desinai ecenai co br° elasera sifece laueghia ch
uera| eluarchi) lunedi sera icasa daniello ch zando auedere lacomedia I uia
magic] martedi fu 1° grafredo eneuico lanocte eio cenai i° cauolo icasamia
mercoledi| adi 20 giouedj feci quella testa ch grida ecenai lasera uitella
esino 1 29 lascaj finite tucto Isino iterra quel ch sotto adettatesta] marzo adi
3 feci latesta di quellafigura disegnata qui| adj 4 dimarzo fecj i° pezo ditorso
I sino alepope e pati fredo eueto| tale ch lanocte io afiocaj elalt0 dipoi nd
potei lauorare) adi 6 fecitucto eltorso] adi 7 fornj legabe) adi 8 adai
auedere 1° hercole coelrotella| lunedj 9 feci la testa sottole) martedi adaj
auedere latauola di br° cioe quello sabartolomeo] mercoledi la testa sottole|
301
PONTORMO
giouedi leuaj le bullette cfterano cofitte lasu altoj uenerdj ia testa sottole] I
tonicai dame ia testa ebi della pigione lire 4| sabato 14 lasera adai auedere
quella testa di sadrino eh mapse lales|adra eft senadoj uia e italsera| cenai
co piero| eft uera| 15 domenica fupichiato dabr° epoi eldi dadanjello no
so quello eft siuolessino| 18 fecj quello itonico dimacigno sotto alefinestre |
XII
5 la finita| giouedi 19 riscotraj daniello e attauiano eft mi uoleuano
dare desinare epoi scrotraj br° da salorezo eft madaua] lasua tauola apisa
uenerdi| sabato | domenica uene br° daniello e atauiano acasa eio eopai
canne| esalci p lorto e br° miuoleua adesinare eturdadosi midisse] epare eft
uoj uegnate acasa 1° uro nimjco e lasciomi ire| elunedj sera cenai Icasa daniello
1° capretto di s 34 molto| buono eft uera br° sadrino e gulio eio eitaldi
lalesadra si| rupe elcapo co certj ebricjj martedi sera madai p 1° fiasco dibiacho
a gaddj soldi ii| adi 25 mercoledi laluna opositjone| adi 26 comlciai quello
braccio di quel babino eft gle sotto | uenerdi mileuai ia hora I anzj di efeci
quel torso dalbraccio I giu| sabato feci ia coscia efecesi la festa dellatregua
elasera cossi 1° riso| decauretto] adi 29 domenica delluliuo desinai co br°[
lunedj feci latesta diquelputto. | martedi feci icasa no so cft| adi 1° da|p'le
mercoledi feei questa altra coscia co tucta lagaba elpie| giouedi sco uenerdi
mileuaj abuonora e feci quel torso dibabino| giouedi feci le gabe adi 9 uenerdj
1° capo azurro eadai acena copiero| sabato fecj sotto alefinestre diuerso la -S-
uechia quellapietraj ejtorno aquella figura eft uiua emandaj gli sparagi e
nouj| cenaj acasa piero| domenica ebi 1° berlingozo damena ugenia eadai acena
co bro.| lunedi lauorai quelgli docioni sotto alefinestre | pier frac° / martedj
mercoledi sasetto elpalco. da poter lauorare)
XIII
13 giouedi mileuaj ia hora I azj di ecomiciai quella figura] sotto alatesta
eft sta cosi| uenerdi eltorso| 18 dap'le sabato legabe| lunedi sottole isino
isulcoro) adi 6 dimagio uedei 20 sta digrano e ebi ia poliza delmonte 6 [scudi] |
adi p° dimagio uenerdj sabato | domenica desinaj co br° eft fu sea "f1! lunedi
comlciai quella figura eft sta cosi| martedi feci latestaj mercoledi eltorso
6 [scudi] | giouedi legabe] uenerdi esabato sotto le . . .| domenica desinai ecenai
cobr0 — eadamo aspasso dalla porta alprato] martedi comlciai quel braccio
di quella figa eft sta cosi| mercoledi lalt° braccio elagaba eft fu la uilia
dellascesionej 14 giouedi cenai edesinai co br°| uenerdi esabato fini lafigura|
domeniea desinaj c5 br° elasera no cenaj ecomiciaj anomisetire bene| lunedi
sera I sule 2 hore uenne 1° tepo cotuonj ebalenj eaqua efreddo| eacordura eft
siano amercoledj apiouere ogni di eft p' maerastato[ 2 mesj beltepo| 28 giouedi
comicia quella figura eft sta cosj sotto alia testa | uenerdi la fini — sabato feci
quello libro| domenica no desinai e lasera cenai cdpiero 1° paio dipipionj]
lunedi adi p° digugno feci quello moretto] adi 7 desinai ecenai cobr° elasera
siseti| male | adi 9 comiciaj quella figura eft sta cosi j 10 I mercoledi |
giouedi | uenerdi sabato feci quello poco del braccio elasala finita cft|
XIV
eft e tucta finita difigure itere ia storia| domenica sera cenai copiero torta
di latte| lunedi adi 15] lacioltre daelrotella) uenerdi adi 19 comiciaj quella
figura eft sta cosi| sabato feci lebraccia| domenica 2i fui trouato da br° isca
302
HIS DIARY
maria delfiore| epromessj dadare adesinare seco chi haueuano poi aire]
auedere eltoro elasera erorimasto dicenaruj e madaj] p 1° fiasco diuino apiero
eft uera lalesadra etornamocene isiene] dispiaquemj ubuSdato lacena tale eft
io stetti diguno I sino amarte dj sera eft beui diqueltrebiano eft di uinegia
e 2 huoua| eaueuo fatto amazare quello galletto eft si gitto uia| adj 24 mercoledj
sera eeenaj codaniello eft uera elmarignolle1 e br°| giouedj feci quelle 2 teste
segnate disopa efui° tepo edipiouere| edituoni edifredo straordinario] uenerdi
sirimuro tucte quelle bucft di sul coro dj quella p'ma stor| sabato feci quelle
dua braecia e no cenaj | domenica 28 desinai co br° elasera cenai eft fuqdo e
copo certi pesjci ecft noj adamo alprato ognisatj eft uera sadrino ebernardo]
lunedi. feci qellateretta. martedi quellaltra teretta| adj p° di luglio mercoledi
giouedi uenerdi sabato la sera no cenaj djsegnaj] 5 domenica. desinai cobr°
eft fu quella mattina eft io lotrouaj| da sea maria delfiore cftera coatauiano
e parlaua co m| lorezo puccj cftero auiato copare lalattuga pratese| elasera
cenauj eft fuqdo io madaj apiero peluino a s 9| 12 domenica | 14 martedi
comicciai eltorso diquella figura grade mero quel poco di bra°| giouedisirimuro
le dua bucft sabato quelle schiene eft glisono sotto di quaj 19 domenica mattina
desinai cobr° elasera copiero torta diper|rogie elsabato inazi cenaj quel pezo
diticha cioe lasera iaz|
XV
(15) 20 lunedi sera luglo cenai estetti diguno I sino amercoledj sera| feci
quello pezo dibra0 e 1° pezo digaba diquelle schie|ne dette martedi ehiesi eft
bta cocessi.| 22 mercoledi feci quella testa equello poco della spalla cenai
co | daniello| giouedi feci I quelcato I sulcoro della storia finita] uenerdi feci
quella gaba diquella figura grade itera] adi 20 detto lasera. lamattina ebi
1° mogio digrano lasera mj| lauaj epiedi. e pcossj ne luscio co 1° calcio tale
cftio mi | feci male e duolmj isino aogi eft siano adi 25 cioe| — 5 sabato feci
quella coscia grade] domenica desinai copiero uitella e lasera nocenai] lunedi
mileuaj abuonora e feci quellotorso eft e sotto | mercoledi feci quello stico
della coscia grade] uenerdi seracenai copiero pesce abatista lascio lapoli cosi]
eft deceua eft notornaua eft fu qdo egli acatto el giachio] cercha alauoro da
di detto disopa cioe 29 di luglo | isino adj 26 dagosto ioho fatto quella figura
no uestita] ditesta co quelpoco dellaria e ordinato el sco lorezo | circa elmagiare
portai ia gallina ecenai c6bro| elasera uiceno danjello e attauiano espeseno
3 lire] eftmitocha soldi 20 e 1° giouedi sera ui cenai cfte brozo| copo pmio coto
1° poco dj castrone] adj 27 detto portai el cartone del sco lorezo eapicossi
dapoterlauorare| adj 10 disetteb" fece ma adia delpane 1° quarto)
XVI
1556
adi 11 disetteb ibottaj 3 b1 e 2 / 1 diuino dacalezano] elasera eenaj copiero |
sabato feci quella testa diquel babino cfttiene lacorona] 13 domenica cenai
icasa dajello eft uera br° ia testa diuitella] eft spesi 2 barilj] lunedj lacorona
mercoledi eft fuledigune feci quel braccio] giouedj uenerdj feci eltorso elasera
nocenaj (d 48) | sabato legabe cenai ia liba dipane] 20 domenica lunedi cftfusc0
matteo tuctauia ia lib dipane j emartedi eft no lauoraj] mercoledi comleiaj
quello babino del calice eeenaj 6 8 di pan(e)| adj 26 Isabato sera adamo alia
tauerna attauiano e brozoeio) cenamo pescj ehuoua euino ueehio e tocho s
i Probably Lorenzo Marignolli, the sculptor.
303
PONTOBMO
17 p 1°| domenica. desinai co br° / elasera uicenaj cnuera attauiano] lunedi
I casa| martedi en fu sco mjchle uidesinaj elasera uicenai en] cera uenuto
luca martin j : (mercoledj acasa | giouedi sera uicenaj eft uera eluarchj e m
luca elamattin(a) senado apisa en fu luenerdj] sabato piove tucta nocte e
mezo el dj edesinaj zucn fritte co| bro° erecane 1° fischo di colore| 4 domenica
adaj a safrac0 estettj tucto eldi tornaj ecenaj 1° lesso | di castrone e ebi 1°
fiasco diuino uechio dal busino] lunedj feci quelcapo di quel babino I capegli
cenaj 2 ucellin(i) martedi mileuaj ia bora I azj dj efeci queltorso del putto
en ha | elcalice elasera cenaj castrone buono maio bo male alla| gola cioe
noposso sputare ia cosa apicata en io soglo auere| adi ii domenica adai acertosa
elasera cenaj (daniello gulio alpiouano| anguilla arosto en toco s 15 J adi 18
domenica desinaj copiero castrone elasera cenai I casa br°| fegato fritto
[uenerdi comicio aee fredo elasera cenamo alia tauernaj
XVII
(17) 0 elunedi sera cobrozo en ui uenne luca martinj e tasso polio
elepre e 6 8 dipane| martedi sera cenai upoco dicastrone co 10 dipane
ecomiciomj ari piacere| eluino dipiero dormedo bene lanoctej mercoledi sera
en sono ledigune no cenai eancora ho quella bocaccia asetata) giouedj sera
en fu lauilia di sco tomaso cenaj borrana cocta edua huoua ecosij uenerdi
sera tato en I dua sere io magiai 27 6 dipane | esabato sera D. I sino alia
domenica sera ch cenai upoco dicarne arosto | lunedi en fu lauilia della pasqua
cenai I casa brozo e Isino alasera stettj[ ecenaj seco ia acegia la secoda festa
lamattina a lasera magiai quiui| e lasera di sco giouannj cenai co daniello
bene diquegli farciglonj e o 8 dipane | uenerdj e sabato magiai Icasa o 30
dipane huoua burro e altre cose| domenica sera cenai porco arosto e o 16
dipane | lunedj : ia isalata diborana e 1° pesce duouo e o 19 dipane | genaio
marte. en fu Kaledj cenaj cobrozo 6 10 dipane | mercole. cenai 6 14 dipane
arista. ia isalata diuidia e cacio e fichi sechi| giouedj cenai o 15 dipane |
uenerdi 6 14 dipane sabato no cenai | domenica matina desinai e cenai co
brozo miglacj efegategi (elporco) | lunedi sera cenai 6 14 dipane arista uue e
caeio e isalata diuidia) martedi sera cenai ia isalata diuidia 5 ii dipane 1°
rochio e mele cocte itigolo
magiai porco lesso neluino
mercoledj sera e giouedj sera 6 24 dipane en
adi 11 digenaio I uenerdj dasera o 11 dipane
luidia 1° pesce duouo | adi 12 cenai 1° pesce duouo isalata dmidia 6 12 dipane
e I talsera epici la botte delujno dipiero en ne leuaj 17 fiaschi eaepierla seruj
13 fiaschj I tucto restomene quatro fiaschi e prima naueuo autj Isino adi
detto fiaschi 6| I modo en itucto sono fiaschj 23 el detto di na auto dame 1°
barile diuino delmio| domenica desinai ecenai Icasa br° adi 13 digenaio 1555 1
lunedi adai a saminiato cenai 1° rochio disalsicia 6 10 dipane | martedi 1°
lobo midia e la libra dipane gelatina e fichi sechi e cacio | adi 20 cenai I casa
daniello ia gallina didia en uera attauiano ch f u I domenica sera| adj 27 dj
genaio desinai ecenai icasa b° eueneui dopo desinare lalesadra e stette Isino
asera epoi senado efuquella sera en b° eio uenimo acasa auedere elpetrarcha
cioe fiachi stomach j ec epagai quello ch sera gucato| (. . . .alta daso . . . ne 5)
XVIII
(18) disorte en setitroua disordinato dexercitio / dipannj| odicoito o di
supfluita dimagiare puo elpochi giornj spaciartj o fartimale p ho edausare
laprudetia| gugno luglo eagosto e meza settebr esudori teperatj esopa tucto
304
HIS DIARY
alueto qdo hai fatto exercitio hai hauere cura| eancora del magiare ebere
qdo se caldo dipoj tiprepara| damezo setteb Ila allo autunno ch p ee edi picolj
eltepoj coxniciare humido elumidita del here supfluo ch hai fatto | nella state
tibisogna co diguni epoco bere elughe uigilie e exercitio p parartj ch efredj
deluerno noti nuochino| no titrouado bene disposto eno frequetare tropo
lacarne] emaxime delporcho edamezo genaio Ila no ne magiare | pen e molto
febricosa ecattiua euiui dogni cosa teperato| p en le sachate deglomorj edelle
scese siscuoprano alfebraio] almarzo e allo ap'le p en neluerno elf redo
glicogela] e abi cura challeuolte secodo chome achade nella luna ee 1° fredo|
epoi subito Ihumidire ogni cosa cogelata ediqui nasce]
XIX
(19) scese moltorouinose egociole o alt1 mali picolosj] en tucto precede
qdo e que fredj magiato ebeuto] supfluo pen elf redo telo coporta erapiglia
masubito| altepo dolcie ehumj do loriscalda ericresce erigofia] e po chome io
dissj disopa .i. nelprlcipio qdo se aq°| modo carico habi cura allo exercitio
delrafreddare] pch uccide o subito o Ipochj giornj sich se haj[ humor j supfluj
aquistatj lauernata tienj lordine| ch io djssj dsopa e sopa tucto sta I ceruello
elmarzoj emaxime nella luna 10 di p' ma e 10 poi cioe alcomiciare della luna
nuoua dimarzo esia Isino a| passata la qulta dicima en tucte le lune ch sepiono
sono nociue se 1° e ripieno e iporta riguardarsi p ' ma| Ricordo adj 5 dinoueb
1555 ch mipare ch ebi sognj ch io comuch| io ho qualch ipedimeto o distomaco
o dicapo o didogle pe fianchj | o alle gabe o bracca o didetj : ch siano cotinouj
eno bisogna ch io feccj| come p ladreto mach subito io uirimedj colmagiare
poco ocolostare) diguno e igegnarsj pie 4 tepora oseruare edigiunj comadatj
pch | e dipiu auiene aleuolte setirsj pieno delmagiare agrauato dal| somo e
dalcibo ch pare chiosia gofiato alora e da riguardarsj | pch e sanita superflua|
nelanno 1555 p la luna chcomicio dimarzo e duro Isino adi 25 dap ' le
itucto quella luna| naqai ifermjta pest jf ere ch ama-
io conosco zorno dimolti huominj regalatj ebuonj e forse| seza
ch no Io face disordinj e atuctj sicuaua sague credo ch gla uenissi
do io me ne peto ch elf redo no| fu digenaio esfogossi I qa luna dimarzo
ch si setiua 1° fredo uelenoso]
XX
20 I domenica sera
adj 7 digenaio 1554 caddj epcossj laspalla elb° estettj male] e stettj acasa
br° sei di poi mene tornaj acasa estettj male Isino | acarnauale ch fu adi 6
difebraio 1554 1
sordo cobattere colaria rifocolata dalastagione degiornj gradi] chera come
setire frigere elfuoco nelaqua talchio sono stato eogra| paura eluatagio e stare
preparato mazj ch etri la luna dimarzo | ch la titruouj sobrio dicibo dexercitio
eco gra riguardo delsudore] enosisbigottire ch passata ch le dipochj giornj
luomo no sa chome | lasistia o dode siuegha ch dimaldjsposto subito luomo sisete
bene | come iteruiene ame ogi q° dj 22 dap'le delp° giorno della luna nuoua |
setirmj bene e p adreto mai ee mj mai setito bene tucto dee procedere| da 1°
certo fredo ch no era acora smaltito ehauea durato Isino adi 21 1 ma ogi q°
di sopa detto mefatto caldo esetomj bene pch eltepo ha forse la| stagione sua.|
305
PONTORMO
XXI
Ins
21
adj ii dimarzo 1554 I domenjca mattina desinaj co brozino | polio euitella
esetimj bene [ueroe eh uenedo p'me acasa ioero| neletto era asaj be tardj
eleuadomj mi setiuo gofiato epieno era| asaj beldj] lasera cenaj upoco di carne
secha arosto en haueuo sete| elunedj sera cenaj 1° cauolo e 1° pesce duouo|
elmartedj sera cenai la meza testa dicauretto e laminestra| elmercoledi sera lalta
meza fritta edelzibibo 1° buo data e 5 qi dipane e eaperj I insalata] giouedi sera
la minestra dibuono castrone e Isalata dibarbe | uenerdj
giouedi matti sera isalata dibarbe e dua huoua I pesce duouo | sabato
na miuene D, domenica sera eft fu lasera delluliuo cenaj 1° poco
el capo girlo dicastrone ne lesso emagiai 1° poco disalata| e douetti
cB mi duro tucto magiare da tre quatrinj dipane | lunedj sera dopocena
dj e dapoi sono misetj molto gagliardo ebedisposto magiai | Isalata
stato tuctauia dilattuga ia minestrina dibuono castrone e 4 qi dipane |
maldisposto martedj sera magiai ia isalata dilattuga e 1° pesce
e del capo debole duouo | mercoledj sco sera 2 qi dimadorle e 1° pesce duouo
giouedj
uenerdj
e noce efeci quella figura| en e sopa la zucha
uene la D asco sera ia isalata dilattuga edelcauiale e e 1° huouo
16 el duca sera 1° pesce duouo della f aua e 1° poco dicauiale e 4
uene anco qi dipane sabato sera magiai dua huoua| ela donna
domenica en fu lamattina dipascua adai adesinare co
bro elasera cenauj| lunedi sera magiai ia isalata cnera diborana e 1° mezo
limone e 2 huo|ua ipesce duouo. | Martedisera erotucto afiocato e magiai
i° pane diramereno e 1° pe duouo | eia isalata e defichj sechj| mercoledi D
giouedi sera 1° pane dir° 1° pe duno huouo e la isalata e 4 qi dipane itucto
uenerdi sera isalata minestra dipisegli e 1° pesce duouo e 5 qi dipane | sabato
burro isalata zucnro epesce duouo [ adi i dap'le domenica desinaj co br°
elasera no cenaj |
XXII
lunedi sera cenai i° pane bollito col burro e 1° pesce duouo e 21 5 ditorta|
martedj | mercoledi | giouedj | uenerdj | sabato adai alatauerna asalata epesce
duouj ecacio esetimj bene| domenica desinai ecenaj co brozino | lunedi 1°
armoncino lesso dagnello buono| martedj dua huoua afrettelate eia Isalata |
mercoledj | giouedj sera 4 qi dipane la isalata dello agnello lesso malcotto) adj
13 — uenerdj sera cenai radichio cotto 1° pane di 4 qi e 1° pesce duouo | sabato
sera | domenica sera cenai carne dagnello lesso e Isalata cocta ecacio | mercoledi
adj 23 dimagio cenaj dellacarne| giouedi en fuel corp° dnj desinaj cobrozino
ebi delgreco carne | epesci elasera ia oca ditorta eopoca carne epoca uogla
dimagiare| adj 2 digugno sabato sera ebi lasegiola cB miuiene Ijre 16
9 digugno 1554 comlcio marco moro amurare elcoro eturare i sco lorezo :
adj
* adi 18 lasera discoluca comlciai adormire giu col coltrone nuouo| adj
19 dottob" misetiuo male cioe Ifredato e dipoi no poteuo riauere| lospurgho
e cogra fatica duro parechj sere uscire djquella cosa] sotto dellagola come
alle uolte io ho hauto distate no so se se stato | p ee durato ubuondato bellissimj
tepi emagiato tuttauia bene| eadi detto comlciaj ariguar darmj upoco
eduromj 3 di 30 oce dipane | cioe 10 oce apasto cioe la uolta eldj eco poco
bere ep'ma adj 16 1 didetto ibottaj barili 6 djuino daradda]
306
HIS DIARY
XXIII
1554
23
adj 22 detto tornai estettj icasa solo aspettare elfattore Isino alle 4| hore
edipoi magiai i° pesce duouo 8 oce dipane ia noce e 1° fieo secho| e dua meluze
cotte adj 23 la sera magiai minestra dicastrone lesso e dua mele cotte e 10
oce dipane | e 1° meza mezetta diuino ecomlciato amanomettere la botte.
307
Reconstruction of the Sequence of the
of Pontormo's Diary
1554
Sunday, January 7 to Tuesday, February 6,
Sunday, March 11 to Sunday, April 1,
Monday, April 2 to Sunday, April 15,
"Wednesday, May 23 to Thursday, May 24,
Saturday, June 2, .
Saturday, June 9, .
October 16, 18 and 19, .
Monday, December 17 to Monday, December 31,
1555
Tuesday, January 1 to Tuesday, January 15, .
Sunday, January 20, .....
Sunday, January 27, .....
Wednesday, January 30 to Saturday, February 2,
Saturday, February 16, .
Thursday, February 21, .
Wednesday, February 27 to Thursday, 28,
Sunday, March 3 to Monday, March 4,
Sunday, March 10 to Tuesday, March 12, .
Friday, March 15 to Saturday, March 16, .
Monday, March 18 to Saturday, March 23,
Monday, March 25 to Wednesday, March 27, .
Thursday, March 28 to Monday, April 22,
For April 21 and 22, see also page 21
Tuesday, April 23 to Friday, May 24,
Saturday, May 25 to Sunday, June 30,
Thursday, July 4 to Tuesday, July 23,
Wednesday, July 24 to Sunday, August 25,
Monday, September 2 to Wednesday, September 4,
Wednesday, September 4 to Sunday, September 21,
Sunday, October 6 to Wednesday, October 9, .
Saturday, October 12 to Monday, October 28, „
Tuesday, October 29 to Monday, November 4, .
Tuesday, November 5, .
Saturday, November 9, .
Tuesday, November 12, .....
Friday, November 15 to Wednesday, November 20,
Sunday, November 24, .
Wednesday, November 27 to Saturday, December 14,
Friday, December 20,
Sunday, December 22, .
Tuesday, December 24 to Tuesday, December 31,
Pages
page 20
page 21
page 22
page 22
page 22
page 22
page 23
page 17
page 17
page 17
page 17
page
page
page
page
page
page
page
page
page
page
page
page
page
page
page
page
page
page
page
page 20
page 8
page
page
page
page
page
page
page
308
HIS DIARY
1556
Wednesday, January 1 to Saturday, January 18,
Sunday, January 19 to Saturday, February 8, .
Sunday, February 16 to Saturday, February 29,
Tuesday, March 3 to Wednesday, March 18,
Thursday, March 19 to Friday, April 3, .
Thursday, April 9 to Wednesday, April 15,
Thursday, April 16 to Saturday, April 18,
Monday, April 20, ...
Friday, May 1 to Sunday, May 10, .
Tuesday, May 12 to Monday, June 1,
Sunday, June 7, .
Tuesday, June 9, .
Friday, June 12 to Saturday, June 13,
Sunday, June 14 to Monday, June 15,
Friday, June 19 to Sunday, July 5, .
Tuesday, July 14, .
Friday, July 16, .
Saturday, July 18 to Sunday, July 19,
Sunday, July 19 to Monday, July 27,
Wednesday, July 29,
Friday, July 31 to Thursday, August 27,
Thursday, September 10,
Friday, September 11 to Monday, September 14,
Wednesday, September 16 to Wednesday, September
Saturday, September 26 to Tuesday, October 6,
Sunday, October 11, .....
Friday, October 16,
Sunday, October 18, .....
23,
page 9
page 10
page 11
page 11
page 12
page 12
page 13
page 13
page 13
page 13
page 13
page 13
page 13
page 14
page 14
page 14
page 14
page 14
page 15
page 15
page 15
page 15
page 16
page 16
page 16
page 16
page 16
page 16
309
Analysis of Pontormo's Diary
1554
Sunday, January 7, he falls, hurts himself and remains six days with Bronzino
who nurses him; he is ill until Tuesday, February 6 (Carnival).
Sunday, March 11, lunches with Bronzino; the food; his health; the
weather; in the evening sups at home; his food; his thirst. Monday, 12th,
his food. Tuesday, the 13th, idem. Wednesday, 14th, idem. Thursday,
15th, idem; he is ill. Friday, 16th, his food. Saturday, 17th, fasts. Sunday,
18th (Palm Sunday), his food; its cost. Monday, 19th, he feels well; his
food. Tuesday, 20th, his food. Wednesday, 21st (Ash Wednesday), San
Lorenzo; his food. Thursday, 22d, his food; the Duke comes to San Lorenzo
with the Duchess. Friday, 23d, his food. Saturday, 24th, his food. Sunday,
25th (Easter) lunches and sups with Bronzino (Annunciation). Monday,
26th, his food. Tuesday, 27th, he feels hoarse; his food. Wednesday, 28th,
fasts. Thursday, 29th, his food. Friday, 30th, idem. Saturday, 31st, his food.
Sunday, April 1, lunches with Bronzino; in the evening, fasts. Monday, 2d,
his food. Saturday, 7th, he goes to the tavern; he feels well; his food.
Monday, 9th, his food. Tuesday, 10th, idem. Thursday, 12th, idem. Friday,
13th, idem. Sunday, 15th, idem.
Tuesday, May 22. Wednesday, 23d, his food. Thursday, 24th (Corpus
Christi), lunches with Bronzino; his food; ill.
June 2, buys a chair for 16 lire. Saturday, 9th, Marco Moro begins working
on the walls and scaffolding of San Lorenzo.
October 16, bottles six barrels of wine. 18th (St. Luke), begins to sleep
downstairs with a new coverlet. 19th, ill with cold; suffers; the weather;
his food; fasts.
Monday, December 17, spends evening at Bronzino 's; Luca Martini;
Tasso; his food. Tuesday, 18th, his food; he begins to feel and sleep better.
Wednesday, 19th, fast day; fasts; feels ill. Thursday, 20th (Eve of St.
Thomas), his food. Friday, 21st, his food. Saturday, 22d, fasts. Sunday,
23d, fasts; his food. Monday, 24th, sups with Bronzino; passes the evening
there. Tuesday, 25th, lunches and sups at Bronzino 's. Thursday, 27th
(St. John's Day), sups at Bronzino 's; his food. Friday, 28th, sups alone;
his food. Saturday, 29th, sups alone; his food. Sunday, 30th, his food.
Monday, 31st, idem.
1555
Tuesday, January 1, sups at Bronzino 's; his food. Wednesday, 2d, his food.
Thursday, 3d, idem. Friday, 4th, idem. Saturday, 5th, fasts. Sunday, 6th,
lunches and sups at Bronzino 's; his food. Monday, 7th, his food. Tuesday,
8th, idem. Wednesday, 9th, idem. Thursday, 10th, idem. Friday, llth,
310
HIS DIARY
idem. Saturday, 12th, idem; puts his wine into "fiaschi"; notes how much
wine he has. Sunday, 13th, lunches and sups at Bronzino's. Monday, 14th,
goes to San Miniato; his food. Tuesday, 15th, his food. Sunday, 20th, sups
at Danielle's; his food; Ottaviano. Sunday, 27th, lunches and sups at
Bronzino's; Alessandra; Petrarcha. Wednesday, 30th, San Lorenzo.
Thursday, 31st, San Lorenzo; ill.
Friday, February 1, San Lorenzo. Saturday, 2d, his food; his health;
the weather. Saturday, 16th, San Lorenzo; the weather. Thursday, 21st
(Berlingaccio), sups at Bronzino's; his food. Wednesday, 27th (Ash
Wednesday), the weather. Thursday, 28th, San Lorenzo.
Sunday, March 3, lunches at Bronzino's; his health; fasts. Monday, 4th,
San Lorenzo. Sunday, 10th, lunches and sups with Bronzino; food; Otta-
viano; the weather. Monday, llth, San Lorenzo. Tuesday, 12th, San
Lorenzo. Friday, 15th, San Lorenzo ; his food. Saturday, 16th, San Lorenzo.
Monday, 18th, San Lorenzo. Tuesday, 19th, San Lorenzo. Wednesday, 20th,
San Lorenzo. Thursday, 21st, remains at home; bad weather. Friday, 22d,
San Lorenzo. Saturday, 23d, San Lorenzo ; his food. Monday, 25th, lunches
at Bronzino's; sups at home; his food. Tuesday, 26th, San Lorenzo; his
food; sonnet of Varchi's. Wednesday, 27th, San Lorenzo; his health.
Thursday, 28th, his health. Friday, 29th, his health; fasts; San Lorenzo.
Saturday, 30th, his food. Sunday, 31st, lunches at Daniello's; fasts in the
evening.
Monday, April 1, his health; his food; ill. Wednesday, 3d, San Lorenzo;
difficulties of the work; his food. Thursday, 4th, his food. Friday, 5th,
San Lorenzo ; his food ; the weather. Saturday, 6th, sups at home. Sunday,
7th (Palm Sunday), lunches with Bronzino; food. Monday, 8th, his garden.
Tuesday, 9th, San Lorenzo; his food. Wednesday, 10th, Ceccho fornaio;
food. Thursday, llth, food. Friday, 12th (Good Friday), his food.
Saturday, 13th, San Lorenzo ; the Duke comes to mass at San Lorenzo ; fasts
in the evening. Sunday, 14th (Easter), the weather; lunches at Bronzino's;
foodr; fasts in the evening. Monday, 15th, the weather; sups at Daniello's;
his food. Tuesday, 16th, the weather; food. Wednesday, 17th, the weather;
stays at home; his food. Thursday, 18th, San Lorenzo; food; the weather.
Friday, 19th, San Lorenzo; food; his health. Saturday, 20th, San Lorenzo;
his food. Sunday, 21st, his food ; his health ; the weather ; the moon. Monday,
22d, he feels well; food. Tuesday, 23d, sups at Piero's; food. Wednesday,
24th, he sups at Piero's; food. Thursday, 25th (St. Mark), sups at home.
Friday, 26th, sups at Piero's. Saturday, 27th, sups at Piero's; San Lorenzo.
Sunday, 28th, lunches at Bronzino's; fasts in the evening. Monday, 29th,
sups at Piero's; food. Tuesday, 30th, his food.
Wednesday, May 1, food. Thursday, 2d, food. Friday, 3d (Holy Cross),
sups at Piero's; food. Saturday, 4th, food. Sunday, 5th, food. Monday,
6th, idem; sells grain and buys a policy in the "Monte." Tuesday, 7th,
idem; San Lorenzo; Tasso dies. Wednesday, 8th, San Lorenzo. Thursday,
9th, San Lorenzo; sups at Daniello's; food. Friday, 10th, food. Saturday,
llth, sups at Piero's; food; he eats too much. Sunday, 12th, lunches at
Bronzino's; fasts in the evening. Monday, 13th, food. Tuesday, 14th, San
Lorenzo ; food. Wednesday, 15th, San Lorenzo ; his fatigue ; food. Thursday,
311
PONTORMO
16th, San Lorenzo. Friday, 17th, San Lorenzo. Saturday, 18th, San
Lorenzo. Sunday, 19th, lunches and sups at Bronzino's; his peach-trees.
Monday, 20th, San Lorenzo ; food. Tuesday, 21st, San Lorenzo. Wednesday,
22d, San Lorenzo. Thursday, 23d (Ascension), lunches at Bronzino's; sups
at Danielle's. Friday, 24th, San Lorenzo; food. Saturday, 25th, food; he
writes letters. Sunday, 26th, goes to San Francesco; lunches with Danielle;
fasts in the evening. Wednesday, 29th, San Lorenzo. Thursday, 30th, San
Lorenzo. Friday, 31st, San Lorenzo.
Saturday, June 1, San Lorenzo; his food. Sunday, 2d (Pentecost),
lunches at Bronzino's. Monday, 3d, spends the morning at Danielle's; the
evening at home. Tuesday, 4th, spends the evening at Danielle's; food.
Wednesday, 5th, stays at home; food; San Lorenzo. Thursday, 6th, San
Lorenzo; food. Friday, 7th, San Lorenzo; food; fatigue. Saturday, 8th,
ill; sups at Piero's; fever; sleeplessness. Sunday, 9th, sups at Piero's.
Monday, 10th, ill. Tuesday, llth, ill. Wednesday, 12th, ill. Thursday, 13th
(Corpus Christi), lunches at Bronzino's; fasts in the evening. Friday, 14th,
San Lorenzo. Saturday, 15th, sups at Piero's; San Lorenzo. Sunday, 16th,
lunches at Bronzino 's and sups with him also. Monday, 17th, sups at home ;
food. Wednesday, 19th, San Lorenzo. Thursday, 20th, San Lorenzo.
Friday, 21st, San Lorenzo. Saturday, 22d (Jacopo mistakes the day of the
month), San Lorenzo; food. Tuesday, 25th, San Lorenzo; scaffolding.
Wednesday, 26th, San Lorenzo; holes made in the walls there. Thursday,
27th, San Lorenzo. Saturday, 29th (St. Peter). Sunday, 30th, lunches at
Daniello 's ; the weather ; Bronzino ; sups at Piero 's.
Thursday, July 4, San Lorenzo; ill; Naldini; food. Friday, 5th, San
Lorenzo. Saturday, 6th, San Lorenzo. Sunday, 7th, lunches at Bronzino's.
Monday, 8th, letters; ill. Tuesday, 9th, San Lorenzo; ill. Wednesday, 10th,
ill at home; food; Naldini unkind to him. Thursday, llth, San Lorenzo;
his health. Friday, 12th, sups at Piero's; his health. Saturday, 13th, sups
at home; visit from Bronzino; San Lorenzo; his "fattore." Sunday, 14th,
lunches at Bronzino's; quarrels with the "fattore"; sups at home; food.
Tuesday, 16th, San Lorenzo ; food ; quarrels with Naldini. Wednesday, 17th,
food. Thursday, 18th, his health ; sups at San Lorenzo ; work. Friday, 19th,
food. Saturday, 20th, Naldini; food. Sunday, 21st, sups at Bronzino's;
Naldini goes to Legnaia. Monday, 22d, lunches at Daniello 's ; sups at Bron-
zino's; ill; Naldini; works on a cartoon. Tuesday, 23d, fasts; San Lorenzo;
ill. Wednesday, 24th, food. Thursday, 25th, lunches at Bronzino's; fasts
in the evening. Friday, 26th, San Lorenzo; a cartoon. Tuesday, 30th, San
Lorenzo. Wednesday, 31st, San Lorenzo.
Thursday, August 1, San Lorenzo ; sups at Piero 's. Friday, 2d, San Lorenzo.
Saturday, 3d, San Lorenzo. Sunday, 4th, sups at Danielle's; Bronzino.
Wednesday, 7th, San Lorenzo. Thursday, 8th, San Lorenzo; food. Friday,
9th (Eve of St. Lawrence), work; fasts. Saturday, 10th, ill. Sunday, llth,
his garden; drawings shown him by Fuscellino; ill; sups at Bronzino's.
Monday, 12th, ill; fever; food. Tuesday, 13th, food; San Lorenzo.
Wednesday, 14th, San Lorenzo. Friday, 16th, San Lorenzo. Saturday,
17th, San Lorenzo. Monday, 19th, San Lorenzo. Tuesday, 20th, San
Lorenzo. Wednesday, 21st, San Lorenzo. Sunday, 25th, lunches at Bron-
zino's; goes to Mass.
312
HIS DIARY
Monday, September 2d, San Lorenzo. Tuesday, 3d, San Lorenzo; barrel
of oil. Wednesday, 4th, San Lorenzo; the weather. Thursday, 5th, San
Lorenzo. Friday, 6th, San Lorenzo. Saturday, 7th, San Lorenzo. Sunday,
8th (Birth of the Virgin), lunches at Bronzino's; has a toothache in the
evening. Monday, 9th, ill. Tuesday, 10th, idem; stays at home and draws.
Wednesday, llth, idem. Thursday, 12th, idem. Friday, 13th, idem.
Saturday, 14th, idem. Sunday, 15th, lunches at Bronzino's; fasts in the
evening. Monday, 16th, makes drawings. Tuesday, 17th, San Lorenzo.
Wednesday, 18th, San Lorenzo. Thursday, 19th, San Lorenzo. Friday, 20th,
the weather. Sunday, 21st (St. Matthew).
Sunday, October 6th (Pontormo mistakes the day of the month), Naldini
goes to Poggio; food; toothache. Monday, 7th, his food; San Lorenzo.
Tuesday, 8th, San Lorenzo. Wednesday, 9th, San Lorenzo. Saturday, 12th,
San Lorenzo. Sunday, 13th, lunches at Bronzino's; food. Monday, 14th,
San Lorenzo. Tuesday, 15th, San Lorenzo. Wednesday, 16th, San Lorenzo;
fasts in the evening. Thursday, 17th, his food. Friday, 18th (St. Luke),
his food; San Lorenzo. Saturday, 19th, San Lorenzo; food. Sunday, 20th,
lunches at Bronzino 's ; sups there too. Monday, 21st, San Lorenzo. Tuesday,
22d, San Lorenzo. Wednesday, 23d, San Lorenzo. Thursday, 24th, San
Lorenzo. Friday, 25th, San Lorenzo. Saturday, 26th, San Lorenzo; a
cartoon; sups at home; food; toothache. Sunday, 27th, stays at home to
draw; sups at home. Monday, 28th, stays at home to draw; sups alone.
Friday, November 1, lunches at Bronzino's; food. Saturday, 2d, the
weather. Sunday, 3d, idem. Monday, 4th, idem. Tuesday, 5th, his health.
Saturday, 9th, San Lorenzo. Tuesday, 12th, San Lorenzo; fatigue. Friday,
15th, the weather. Saturday, 16th, a cartoon; San Lorenzo. Sunday, 17th,
lunches at Bronzino's; sups at home; Naldini; the monks. Monday, 18th,
he goes to see the monks. Tuesday, 19th, San Lorenzo. Wednesday, 20th,
the washing. Sunday, 24th, lunches at Bronzino's; Maria's mother.
Wednesday, 27th, San Lorenzo. Saturday, 30th (St. Andrew), sups at
Piero's.
Sunday, December 1, lunches at Bronzino's; sups with Daniello; food;
Luca Martini. Friday, 6th (St. Nicholas), the weather. Sunday, 8th, sups
at Bronzino's; food. Monday, 9th, food. Tuesday, 10th, sups at Danielle's;
Martini; Varchi. Wednesday, llth, food. Thursday, 12th, the ' ' Divisione. "
Friday, 13th, sups at home; he begins to do his own housework; Naldini.
Saturday, 14th, sups with Bronzino and Martini. Friday, 20th (fast day),
the weather. Sunday, 22d, lunches with Bronzino. Tuesday, 24th, the death
of Pagolo; lunches at Bronzino's; Martini; Daniello and his family.
Wednesday, 25th, lunches and sups with Bronzino. Thursday, 26th, goes
to San Francesco; lunches with Alessandra; Lucretia. Friday, 27th, goes
with Bronzino to Monte Oliveto; Strozzi; fasts; sups at home. Saturday,
28th, goes to San Miniato; lunches at the tavern; fasts in the evening.
Sunday, 29th, goes to San Domenico; fasts; goes to see Daniello. Monday,
30th, stays at home. Tuesday, 31st, idem.
1556
Wednesday, January 1, lunches at Bronzino's; sups at home with Otta-
viano. Thursday, 2d, sups at home; food; Naldini. Friday, 3d, sups with
313
PONTORMO
Bronzino ; food. Saturday, 4th, the weather ; buys a cloak ; Naldini ; business.
Sunday, 5th, lunches at Bronzino 's. Monday, 6th (Epiphany), he takes a
walk; sups with Daniello. Thursday, 9th, sups with the Prior of the Inno-
cents ; food. Friday, 10th, an accident ; Naldini. Saturday, llth, two ' ' scudi ' '
to Naldini. Sunday, 12th, the weather; he eats at home; food. Tuesday,
14th, goes to the "bottega." Wednesday, 15th, the weather; a visit from
Bronzino and Ottaviano. Thursday, 16th, sups with the porter ; food. Friday,
17th (St. Anthony), food. Saturday, 18th, food. Sunday, 19th, sups with
Piero; food; at San Piero; in the evening a visit from Bronzino and Otta-
viano. Monday, 20th (San Sebastiano), the weather; food. Tuesday, 21st,
the weather; food. Wednesday, 22d, food. Thursday, 23d, food; Naldini.
Friday, 24th, food. Saturday, 25th, food; Naldini. Sunday, 26th, spends
the day at Bronzino 's with Ottaviano, Daniello, Alessandra, and others.
Monday, 27th, sups at home; food. Tuesday, 28th, sups at Bronzino 's.
Wednesday, 29th, food. Thursday, 30th, food; Naldini. Friday, 31st, food.
Saturday, February 1, food. Sunday, 2d, lunches at Bronzino 's; sups at
Daniello 's. Monday, 3d, cooks for himself. Tuesday, 4th, food. Wednesday,
5th, food. Thursday, 6th, San Lorenzo; food. Friday, 7th, food. Saturday,
8th, food; charcoal; the porter; San Lorenzo. Sunday, 16th, lunches at
Bronzino 's; sups at home with Bronzino and Ottaviano. Monday, 17th,
food; Naldini. Tuesday, 18th, food. Wednesday, 19th, food; Naldini.
Thursday, 20th, sups at Bronzino 's; San Lorenzo. Friday, 21st, food.
Saturday, 22d, food; Naldini. Sunday, 23d, lunches and sups at Bronzino 's;
passes the evening there; Varchi. Monday, 24th, sups with Daniello; goes
to a comedy in Via Maggio. Tuesday, 25th, the weather; sups at home.
Thursday, 27th, San Lorenzo; food. Friday, 28th, San Lorenzo. Saturday,
29th, San Lorenzo.
Tuesday, March 3, San Lorenzo. Wednesday, 4th, San Lorenzo; he takes
cold. Thursday, 5th, ill. Friday, 6th, San Lorenzo. Saturday, 7th, San
Lorenzo. Sunday, 8th, he goes to see a Hercules. Monday, 9th, San Lorenzo.
Tuesday, 10th, he goes to see a picture of St. Bartholomew by Bronzino.
Wednesday, llth, San Lorenzo. Thursday, 12th, San Lorenzo. Friday, 13th,
San Lorenzo; has four "lire" from rent. Saturday, 14th, he goes to see a
head of Sandrino's; sups with Piero. Sunday, 15th, a visit from Bronzino
to whom he does not open the door; another from Daniello to whom he does
not open. Wednesday, 18th, San Lorenzo. Thursday, 19th, lunches at
Daniello 's with Ottaviano; meets Bronzino who is just sending a picture to
Pisa.1 Sunday, 22d, visit from Daniello and Ottaviano; quarrels with
Bronzino. Monday, 23d, sups with Daniello; food; Bronzino, Sandrino,
Giulio, Alessandra. Tuesday, 24th, buys a "fiasco" of wine. Wednesday,
25th, the moon. Thursday, 26th, San Lorenzo. Friday, 27th, San Lorenzo.
Saturday, 28th, San Lorenzo ; feast2 of the "Tregua" ; sups at home. Sunday,
29th (Palm Sunday), lunches with Bronzino. Monday, 30th, San Lorenzo.
Tuesday, 31st, stays at home.
Wednesday, April 1, San Lorenzo. Thursday, 2d (Holy Thursday). Friday,
3d, San Lorenzo. Thursday, 9th, San Lorenzo. Friday, 10th, San Lorenzo;
i ' ' Christ and Saints ' ' for the Cathedral of Pisa. For the documents, see Centof anti,
Not. di art. tratto dai doc. pis., Pisa, 1898; also Supino, Arch. stor. dell' arte, VI, 448.
2 The famous truce between the Emperor and the King of France published in Siena,
March, 27, 1556.
314
HIS DIARY
sups at Piero's. Saturday, llth, San Lorenzo ; food ; sups at Piero's. Sunday,
12th, receives a ' ' berlingozo " from Mona Ugenia; sups with Bronzino.
Monday, 13th, San Lorenzo. Tuesday, 14th, San Lorenzo. Wednesday, 15th,
San Lorenzo; scaffolding; Pier Francesco. Thursday, 16th, San Lorenzo.
Friday, 17th, San Lorenzo. Saturday, 18th, San Lorenzo. Monday, 20th,
San Lorenzo.
Sunday, May 3 (Holy Cross), lunches at Bronzino 's. Monday, 4th, San
Lorenzo. Tuesday, 5th, San Lorenzo. Wednesday, 6th, San Lorenzo.
Thursday, 7th, San Lorenzo. Friday, 8th, San Lorenzo. Saturday, 9th,
San Lorenzo. Sunday, 10th, lunches and sups with Bronzino; they go out
for a walk. Tuesday, 12th, San Lorenzo. Wednesday, 13th (Eve of Ascen-
sion), San Lorenzo. Thursday, 14th, lunches and sups with Bronzino.
Friday, 15th, San Lorenzo. Saturday, 16th, San Lorenzo. Sunday, 17th,
lunches at Bronzino 's; fasts in the evening; his health. Monday, 18th, the
weather. Thursday, 28th, San Lorenzo. Friday, 29th, San Lorenzo.
Saturday, 30th, San Lorenzo. Sunday, 31st, fasts; sups with Piero; food.
Monday, June 1, San Lorenzo. Sunday, 7th, lunches and sups with
Bronzino; ill. Tuesday, 9th, San Lorenzo. Friday, 12th, San Lorenzo.
Saturday, 13th, San Lorenzo. Sunday, 14th, sups with Piero. Friday, 19th,
San Lorenzo. Saturday, 20th, San Lorenzo. Sunday, 21st, meets Bronzino
at Santa Maria del Fiore; goes to see a bull; lunches with Bronzino; wine
from Piero; Alessandra; his health; fasts. Tuesday, 23d, his food; kills one
of his chickens. Wednesday, 24th, sups with Danielle; Marignolle; Bron-
zino. Thursday, 25th, San Lorenzo ; the weather. Friday, 26th, San Lorenzo ;
the holes in the walls of the choir. Saturday, 27th, San Lorenzo; fasts in
the evening. Sunday, 28th, lunches with Bronzino; they go to Prato
Ognissanti and there meet Sandrino and Bernardo. Monday, 29th, prepares
paints. Tuesday, 30th, prepares paints.
Saturday, July 4, fasts in the evening; makes a drawing. Sunday, 5th,
lunches at Bronzino 's, whom he met at Santa Maria; Lorenzo Pucci; Otta-
viano; sups with Bronzino; wine from Piero. Tuesday, 14th, San Lorenzo.
Thursday, 16th, San Lorenzo. Saturday, 18th, food. Sunday, 19th, lunches
with Bronzino ; sups with Piero. Monday, 20th, San Lorenzo ; hurts himself ;
receives a "mogio" of grain; washes his feet. Tuesday, 21st, fasts; San
Lorenzo; Naldini. Wednesday, 22d, fasts; San Lorenzo; sups with Danielle.
Thursday, 23d, San Lorenzo. Friday, 24th, San Lorenzo. Saturday, 25th,
San Lorenzo. Sunday, 26th, lunches with Piero; food; fasts in the evening.
Monday, 27th, San Lorenzo. Wednesday, 29th, San Lorenzo. Friday, 31st,
sups with Piero; Naldini quits Lappoli.
Wednesday, August 26th, sups with Bronzino, Ottaviano and Daniello.
Thursday, 27th, sups with Bronzino; prepares a cartoon. From the end of
July to the 20th of August he mentions in an indefinite way that he worked
on one figure at San Lorenzo.
Thursday, September 10, Mona Adia makes bread. Friday, llth, he bottles
three barrels of wine; sups with Piero. Saturday, 12th, San Lorenzo.
Sunday, 13th, sups with Daniello; Bronzino; food. Monday, 14th, San
Lorenzo. Wednesday, 16th (fast day), San Lorenzo. Friday, 18th, San
Lorenzo ; fasts in the evening. Saturday, 19th, San Lorenzo ; food. Monday,
315
PONTOKMO
21st (St. Matthew), food. Tuesday, 22d, takes a holiday. Wednesday, 23d,
San Lorenzo; food. Saturday, 26th, evening at the tavern; Ottaviano;
Bronzino; food. Sunday, 27th, lunches with Bronzino; sups with Bronzino
and Ottaviano. Monday, 28th, stays at home. Tuesday, 29th (St. Michael),
lunches and sups with Bronzino; Martini. Wednesday, 30th, stays at home.
Thursday, October 1, sups at Bronzino 's; Varchi; Martini. Friday, 2d,
Martini goes to Pisa. Saturday, 3d, the weather; lunches with Bronzino;
a ' ' fiasco ' ' of colour. Sunday, 4th, goes to San Francesco for the day ; food.
Mondayr 5th, San Lorenzo. Tuesday, 6th, San Lorenzo; food; ill. Sunday,
llth, goes to Certosa ; sups at Piovano with Danielle and Giulio ; food ; small
expenses. Friday, 16th, he begins to feel the cold; sups with friends at the
tavern. Sunday, 18th, lunches with Piero; food; sups with Bronzino; food.
316
Topical Analysis of Pontormo's Diary
The days on which Pontormo mentions working at San Lorenzo.
1554 March 21, 22 ; June 9.
1555 January 30, 31 ; February 1, 16, 28 ; March 4, 11, 12, 15, 16, 18, 19,
20, 22, 23, 26, 27, 28; April 3, 5, 9, 13, 18, 19, 20, 27; May 7, 8, 9, 14,
15, 16, 17, 18, 20, 21, 22, 24, 27, 30, 31 ; June 1, 5, 6, 7, 14, 15, 19, 20,
21, 22, 25, 26, 27 ; July 4, 5, 6, 9, 11, 13, 16, 18, 23, 26, 30, 31 ; August 1,
2, 3, 7, 8, 9, 13, 14, 16, 17, 19, 20, 21 ; September 2, 3, 4, 5, 6, 7, 17, 18,
19; October 7, 8, 9, 12, 14, 15, 16, 17, 18, 19, 21, 22, 23, 24, 25, 26;
November 9, 12, 19, 27.
1556 February 6, 8, 20, 27, 28, 29 ; March 3, 4, 6, 7, 9, 11, 12, 13, 18, 26, 27,
28, 30; April 1, 3, 9, 10, 11, 13, 14, 15, 16, 17, 18, 20; May 4, 5, 6, 7,
8, 9, 12, 13, 15, 16, 28, 29, 30; June 1, 9, 12, 13, 19, 20, 25, 26, 27;
July 14, 16, 20, 21, 22, 23, 24, 25, 27, 29; August 1, 3, 4, 5, 6, 7, 8,
10, 11, 12, 13, 14, 15, 17, 18, 19, 20, 21, 22, 24, 25 ; September 12, 14,
16, 18, 19, 23 ; October 5, 6.
The days on which Pontormo mentions that he was ill.
1554 January 7 to February 6 ; March 11, 15, 27 ; April 1 ; May 24 ; October
19; December 19.
1555 January 31 ; February 2 ; March 3, 28 ; April 1, 19 ; May 11, 26 ; June
8, 10, 11, 12, 13 ; July 4, 8, 9, 10, 11, 18, 22, 23 ; August 10, 11, 12 ;
September 8, 9, 10, 11, 12, 13, 14; October 6, 26; November 5.
1556 January 10 ; March 5 ; May 17 ; June 7 ; July 20 ; October 6, 16.
He mentions Bronzino : 1554, March 11, 25 ; April 1, 8 ; May 24 ; December
17, 24, 25 ; 1555, January 1, 6, 13, 27 ; February 21 ; March 3, 10, 25 ; April 7,
14, 28 ; May 12, 19, 23 ; June 2, 13, 16 ; July 7, 14, 21, 25 ; August 11, 25 ;
September 8 ; October 13, 20 ; November 1, 17, 24 ; December 1, 8, 14, 22, 25 ;
1556, January 1, 3, 5, 28 ; February 2, 16, 20, 23 ; March 29 ; April 12 ; May
3, 10, 14, 17 ; June 7, 21, 28 ; July 5, 19 ; August 26, 27 ; September 27, 29 ;
October 1, 3, 18. Daniello : 1554, December 27 ; 1555, January 20 ; March 31 ;
April 15 ; May 9, 23, 26 ; June 3, 4, 30 ; July 22 ; August 4 ; December 10, 29 ;
1556, January 6 ; February 2, 24 ; March 19, 23 ; June 24 ; July 22 ; September
13. Piero : 1555, April 23, 24, 26, 27, 29 ; May 3, 11 ; June 8, 9, 15, 30 ; July
12 ; November 30 ; 1556, January 19 ; April 10, 11 ; May 31 ; June 14; July 19,
26, 31 ; September 11. Naldini : 1555, July 4, 10, 21, 22 ; October 6 ; November
17; December 13; 1556, January 2, 4, 10, 11, 23, 25, 30; February 17, 19;
1556, February 22; July 31. Ottaviano: 1555, January 20; March 10; 1556,
January 2, 15 ; February 16 ; March 22 ; July 5 ; September 27. Varchi : 1554,
March 26; 1555, December 10, 23; 1556, October 1. Luca Martini: 1554,
December 17; 1555, December 1, 10, 14; 1556, September 29; October 1, 2.
Tasso: 1554, December 17; 1555, December 24. Strozzi: 1555, December 27.
317
PONTOKMO
Borghini: 1556, January 9. Sandrino: 1556, March 14; June 28. Giulio:
1556, March 23; October 11. Lorenzo Pucci: 1556, July 5. Lappoli:
1556, July 31. Marignolle: 1556, June 24. "II fattore": 1555, July 13, 14;
1556, January 16; February 8. Pier Francesco: 1556, April 15. Pagolo:
1555, December 24. Marco Moro : 1554, June 9. Ceccho fornaio : 1555, April
10. The monks: 1555, November 17, 18. Petrarcha: 1554, January 27.
Alessandra : 1554, January 27 ; 1555, December 26 ; 1556, January 26, March
23, June 22. Lucretia: 1555, December 26. Mona Ugenia: 1556, April 12.
The mother of Maria: 1555, November 24. Fuscellino: 1555, August 11.
Bernardo: 1556, June 28. Mona Adia: 1556, September 10. The "Monte":
1555, May 6. Gaddi, March 24, 1556.
318
INDEX
INDEX
Academy of Florence: ''Assumption
of the Virgin," Granacci, 224;
"Beheading of St. John," as-
cribed to Andrea, 14, 138-139;
"Holy Trinity," Albertinelli, 8;
"Hospital of San Matteo," 115;
"Pieta," ascribed to Pontormo,
199-200; "Supper at Emmaus,"
41, 114, 115.
Acciaiuoli, Margherita, 22, 157.
— , Roberto, 157.
Achiardi, d', 201.
Adia, Mona, 303.
"Adoration of the Magi," Pitti, 23,
25, 72, 81, 135-136; date of, 24,
135; drawings for, 24, 135-136;
mentioned by Vasari, 135, 136.
Agnew, 242.
"Agony in the Garden," Certosa, 42,
.,107-108; date of, 108; mentioned
by Vasari, 107.
Alamanni, Antonio, 13.
Albertinelli, 6, 11, 253, 267, 268;
death of, 268; document con-
cerning house of, 273-274; "God
the Father," 8; "Holy Trinity,"
8; Pontormo 's apprenticeship to,
5, 6, 8, 11, 12, 15, 26, 267, 268;
"Visitation," 15.
Aldighieri, Paolo, 141.
Alessandra, mentioned in Pontormo 's
diary, 94, 300, 301, 302, 303, 304.
Alessandra, Pontormo 's mother, 4.
Alessandro VI, Pope, 181.
Alexandre K. Collection, 246.
Alinari. See Photographs.
Allegrini, 151, 177, 261.
Allori, Alessandro, 119, 144, 219,
234; portrait of Pontormo, 81;
Eicordi, 177, 228; work at Pog-
gio, 29, 35, 175, 176.
Alnwick Castle, 193, 211.
Altamira, Duke of, 261.
Altissimo, Cristofano dell', 95, 151.
Alton, Collection d', 144.
Altoviti, Bindo, 145.
Ambras Castle, 101, 237.
American Art Association, 242.
Ammirato, 3, 28.
Ancisa, 1.
Ancona d', 148, 149.
Anderson. See Photographs.
Andrea d' Antonio di Bartolommeo,
284.
Andrea del Sarto, 8, 10, 14, 33, 55,
58, 105, 115, 119, 139, 153, 154,
159, 165, 166, 200, 210, 219, 223,
224, 229, 231, 234, 236, 253, 254,
261, 269; "Adoration of the
Magi, " 270 ; " Assumption, ' '
Pitti, 95, 154, 207; "Birth of
the Virgin," 16; "Caesar Re-
ceiving Tribute," 29, 175;
"Deposition," Pitti, 154; "Dis-
puta, ' ' 154 ; draughtsmanship,
8; imitation of Diirer, 39; in-
fluence on Pontormo, 6, 8, 11,
15, 17, 18, 20, 22, 23, 24, 26, 37,
77, 94, 95, 118, 169, 267; "Life of
Joseph, ' ' 22, 154, 200 ;" Madonna
and Little St. John," Borghese,
321
INDEX
270; "Madonna and Saints,"
Pitti, 255; "Madonna del
Saeco," 118; "Madonna di
Porta Pinti," 29, 129; "Mar-
riage of St. Catherine," 10, 139,
269-270; panels for Borgherini,
22, 157; "Pieta," Vienna, 200;
Pontormo's drawings compared
with those of, 33; Pontormo's
portraits compared with those of,
87; "Sacrifice of Isaac," 56;
San Filippo Benizzi frescoes, 16,
267, 269; "San Gallo Annuncia-
tion," 253, 269; "San Godenzo
Annunciation, ' ' 269 ; Scalzo fres-
coes, 17, 39, 232 ; work at Poggio
a Cajano, 28, 175, 176; work in
the Annunziata, 9; work on
triumphal arches, 14.
Andros de la Rue Collection, 241.
Anguillesi, 261, 263.
"Annunciation" (lost), 253.
"Annunciation," Santa Felicita, 52,
122; date of, 122; drawings for,
48, 122.
Annunziata, 9, 79, 81, 119, 200;
"Faith and Charity" at the, 7,
11, 116; "Visitation" at the, 15,
117-119.
— , Chapel of San Luca, 7, 79 ;
"Madonna and Saints" in, 6, 8,
12, 15, 117, 254; "Holy Trinity"
in, 200.
"Anonimo fiorentino," 209.
Ansoldi, Costantino, 64, 65, 170, 171,
280-282.
Antinori, arms of the, 130.
— , lost portrait of Amerigo, 64.
Antonio da Lucca, 225, 226.
Appendices, 267-318.
Arazzieri, 78.
Archbishop of Capua. See Nicolaus
von Schomberg.
Archives of Florence, 1, 3 ; Accademia
del Disegno, 57, 279; Annun-
ziata, 9, 16, 116, 119, 269, 270,
275-276; Carteggio di Cosimo I,
14; Carteggio mediceo del Prin-
cipato, 64, 65, 173, 184, 200,
280-282; Carte Pucci, 20; Carte
Riccardi, 128; Catasto, 3, 5, 57,
68, 80, 280, 282; Consorteria, 1,
271, 272; Decima, 284; Deposi-
teria Generale, 78, 158, 164, 208,
264; Depositeria Vecchia, 78,
283-284; Filza, No. 273, 185;
Guardaroba, 70, 71, 142, 184,
185, 186, 261, 286, 287; Indice
mediceo, 255; Libro dei Battez-
zati, 102 ; Libro dei Morti, 4, 79,
284; Libro dei Morti, Serie della
Grascia, 79, 284; Libro dell' Eta,
102; Medici e Speziali, 57, 279;
Pupilli, 274; Rogiti di Giovanni
Giordani, 80, 184, 284; Santa
Felicita, 47, 120, 121, 279; San
Giovanni di Boldrone, 104; San
Lorenzo al Monte, 39, 41, 44, 78,
108, 113, 115, 276-279; Santa
Maria Novella, 5, 125, 273-274;
Scalzo, 17, 232; Scritture Cap-
poni, 47; Strumenti Pucci, 128.
— of Hospital of the Innocents, 1, 72,
106, 132, 249, 263, 273, 283.
— of Pisa, 4, 178.
— of San Lorenzo, 264.
Archivio storico, 173.
Archivio storico dell' arte, 155, 181,
209, 216, 231, 235.
Ardinghelli, lost portrait of Niccolo,
86, 258.
Argenville, Dezallier d', 81.
Argyropylos, loanne, 148, 149.
Armand, 148, 173.
Armann, "Walter, 172.
Arms of Giovanni Salviati (lost), 256,
INDEX
Arms of Leo X, 11, 12, 15.
— of the Lanfredini (lost), 21, 254-
255.
Arte e Storia, 264.
Arte, I', 181, 201, 203, 205, 207, 228,
244.
Art Journal, 23, 164.
Art Prices, 241, 242, 244, 245, 248.
Art Sales, 159.
"Ascension of the Blessed," drawing
for, 263.
Ashbourne. See Widener Collection.
Assisi, 193.
"Assumption," Ammnziata, 119.
Athenceum, 209.
Auction Sale Prices, 241, 242, 244,
245.
Avignon. See Musee Calvet.
Azeglio d', 235.
B
Bacchiacea, 78, 95, 129, 229, 231;
designs for tapestries, 184 ; ' ' Life
of Joseph," 159; work for Ben-
intendi, 23, 24, 135; work for
Borgherini, 157.
Baccio d' Agnolo, 23, 135.
Baciocchi Collection, 200.
Badia, Florence, 14, 138.
Badoer, Federigo, 204.
"Baker Led out to Execution," 23,
164-165.
Baldinucci, 81, 95, 157.
— Collection, 69.
Balocchi, 47, 122.
Baltimore. See Walters Collection.
Bamberg, Collection of the Arch-
bishop of, 234.
Bandinelli, Baccio, 13, 14, 74, 84, 102,
254.
Bandinius, 148, 149.
Banzola, Scipione, 282.
"Baptism of Christ," Carro della
Zecca, 137, 138.
' ' Baptist in Wilderness, ' ' Carro della
Zecca, 35, 137.
Barbadori, 47, 120.
Barberini Gallery, Rome, 56, 259.
Bardi, Luigi, 136, 152, 205.
Bargello, Florence, 121, 148, 150.
Bartolommeo, Fra. See Porta.
Battiferra, Laura, 290-293.
"Battle of Anghiari," 53, 131, 132,
269.
"Battle of the Cascina," 9, 18, 23,
38, 246.
Bayersdorfer, 234.
Beaucousin, Edmond, 213.
"Beheading of John," Carro della
Zecca, 138-139.
Bellini, Giovanni, 175.
Benedetti, de, 263.
Benintendi, Giovanmaria, 23, 135.
Benivieni, Bartolommea, 126.
' ' Benjamin at the Court of Pharaoh, ' '
tapestry, 70, 71, 72, 186-187.
Berenson, Bernhard, 41, 81, 102, 103,
105, 106, 107, 115, 119, 122, 123,
125, 128, 129, 132, 133, 134, 136,
139, 140, 141, 145, 152, 154, 155,
156, 159, 160, 162, 165, 166, 168,
169, 170, 176, 177, 178, 179, 181,
183, 188, 189, 198, 200, 203, 205,
206, 208, 217, 229, 233, 235, 237,
264; on "Baker Led out to Exe-
cution," 165; on "Birth-plate,"
Butler Collection, 242; on Bron-
zino, 97; on "Christ before
Pilate," 109; on Doetsch "Holy
Family," 126; on drawing by
Michelangelo, 144; on drawing
for Certosa, 42; on drawing for
"St. Quentin," 106; on drawings
for Poggio, 31, 34, 49; on "En-
tombment," National Gallery,
323
INDEX
213; on Giulio Romano, 81; on
Granacci, 208; on "Holy Fam-
ily," San Michele Visdomini, 20;
on "Hospital of San Matteo,"
115 ; on "Judith, ' ' Palermo, 223 ;
on "Life of Joseph," 21; on
"Lucretia," Borghese, 179; on
"Madonna and Little St. John,"
Palazzo Corsini, Florence, 129;
on "Madonna and Saints,"
Louvre, 51, 168, 169; on "Ma-
donna Enthroned," 139; on
Naldini, 97; on "Pieta," Acad-
emy, 200; on "Portrait of a
Boy," National Gallery, 213; on
' ' Portrait of a Lady, ' ' Tarnowski
Collection, 198; on "Portrait of
a Lady," Trivulzio Collection,
216; on "Portrait of a Lady,"
Turin, 235; on "Portrait of a
Lady," Vienna, No. 45, 236; on
"Portrait of a Lady," Widener
Collection, 101; on "Portrait of
a Man," Bonn, 105; on "Por-
trait of a Man, ' ' Genoa, 210 ; on
"Portrait of a Man," Montpel-
lier, 217; on "Portrait of a
Man," Platt Collection, 199; on
"Portrait of a Man," Wilden-
stein Collection, 223; on "Por-
trait of Ardinghelli, " Palazzo
Torrigiani, 258; on "Portrait of
a Woman," Jarves Collection,
222; on "Portrait of a Young
"Woman," Stadel Institute, 153;
on "Portrait of a Youth," Lo-
thian Collection, 233; on "Por-
trait of a Youth," Lucca, 160;
on "Portrait of a Youth,"
Plymouth Collection, 215; on
"Portrait of a Youth," Vienna,
237; on "Portrait of Cosimo I,"
New Haven, 220 ; on "Portrait of
Cosimo il Vecchio," 205; on
"Portrait of Gualteretti, " 82,
227; on "Santa Barbara," St.
Petersburg, 224, 229; on Santo
Felicita, 49, 121; on "Tobias and
the Angel," Borghese, 230; on
"Venus and Cupid," Uffizi, 63,
143.
Bergamo, 57, 64, 84, 102, 171, 194.
Berlin, 85, 103, 105, 144, 194.
Bernardino di Giordano, 13.
Bernardo, mentioned in Pontormo's
diary, 303.
Bettini, Bartolomeo, 62, 64, 68, 90,
142.
Beurnonville, Collection de, 87-88,
201, 241.
Biblioteca Borghese, Rome, 283.
— Corsini, Rome, 149.
— Laurenziana, Florence, 148.
— Magliabecchiana, Florence, 91.
— Marucelliana, Florence, 1, 2, 3, 271,
272, 273.
— Moreniana, Florence, 254.
— Nazionale, Florence, 1, 2, 91, 127,
271, 272, 295.
— Riccardiana, Florence, 1, 2, 3.
Bicchieraio, Becuccio, 25, 255.
"Birth-plate," Butler Collection, 130,
141.
— , Palazzo Davanzati, 57, 130, 141.
— , Uffizi, 57, 111, 140-141, 156.
Biscioni, 131, 262.
Blanc, Edmond, 144.
Boccaccio, lost portrait of, 142.
Bocchi, 10, 11, 15, 17, 55, 75, 79, 94,
106, 107, 116, 119, 122, 128, 200,
207, 254, 263, 264.
Bode, 148, 149, 196, 231, 238.
Bode und Tschudi, 149.
Boldrone, Way-side shrine at, 45, 103-
104; date of, 45, 104; mentioned
324
INDEX
by Vasari, 45, 53, 104; possible
drawing for, 104.
Bollettino d' arte, 62, 71, 146, 184,
185, 186, 260.
Bologna, 95, 195.
Bonn, 83, 104, 105.
Borde, 152.
Borenius, 23, 200.
Borgherini, Casa, 157.
— , Niccolo di Giovanni, 157, 163.
— , Pierfrancesco, 22, 23, 55, 56, 157,
163, 208, 258 ; panels for, 21, 22,
24, 55-56, 97, 163, 164, 165, 208.
Borghese Gallery, 69, 85, 86, 209,
229-231; "Lucretia" in, 85, 179;
"Portrait of a Magistrate" in,
154, 229-230; "Portrait of Car-
dinal Spannocchi Cervini" in,
69, 86, 180-181; "Tobias and
Angel' 'in, 230-231.
Borghini, Raffaello, 63, 75, 79, 80,
108, 110, 115, 116, 117, 119, 121,
122, 123, 124, 125, 128, 131, 132,
136, 139, 145, 147, 159, 164, 169,
177, 228, 229, 254, 255, 256, 257,
259, 262, 263, 264, 287,
— , Vincenzo, 94, 131 ; mentioned in
- Pontormo 's diary, 300.
Borgia, Francesco, 181.
— , Pietro Ludovico, 181.
Borgo San Sepolcro, 21, 105-106, 109.
Boscoli, Andrea, 98.
Boston, 195, 217-218.
Bottari, 89, 255, 285.
Botticelli, Sandro, 149, 175.
Bracciolini, Poggio, 237.
Brandus Galleries, 242.
Braun. See Photographs.
Bredius und Schmidt-Degener, 162.
Brett Collection, 242.
Brigida, Mona, 4.
Brinton, Selwyn, 118, 119, 143, 145.
British Institute, 214, 247.
British Museum, 49, 122, 123, 132,
144, 153.
Brogi. See Photographs.
Broncone, Compagnia del, 13, 253-
254.
Bronzino, Angelo, 21, 56, 78, 80, 86,
87, 95, 96, 97, 101, 144, 145,
150, 153, 162, 167, 169, 172, 195,
200, 211, 213, 219, 221, 227, 228,
233, 234, 235, 254, 259, 287;
"Adoration of the Divine
Child, " 66 ; birth, 21 ;" bottega, ' '
96; "Cleopatra," 179; copies
a "Madonna" of Leonardo's,
53 ; copies of his portraits of the
Medici, 96; "Descent into Hell,"
81 ; designs for tapestries, 70, 71,
184, 185, 187; discusses Pon-
tormo's life with Vasari, 56;
drawings, 97; finishes Pontor-
mo's San Lorenzo frescoes, 4, 79,
263; frescoes in San Lorenzo,
91; helps Pontormo at Certosa,
43-44, 113; helps Pontormo at
Santa Felicita, 49, 123; imitates
Michelangelo, 74; imitates Pon-
tormo, 66, 96, 97; journey to
Rome, 185; lost portraits of
Dante, Petrarch and Boccaccio,
142; mentioned in Pontormo 's
diary, 90, 92, 93, 295, 296, 297,
298, 299, 300, 301, 302, 303, 304,
305, 306; "Pieta," Certosa, 113;
Pontormo 's portrait of the young,
25; Pontormo 's portraits com-
pared with those of, 87; "Por-
trait of a Lady," Fischhof Col-
lection, 101; "Portrait of Ales-
sandro de' Medici," 64, 171, 172;
' ' Portrait of Anna Strozzi, " 96 ;
' ' Portrait of Cosimo il Vecchio, ' '
150; "Portrait of Eleonora,"
Uffizi, 97; "Portrait of Giannet-
325
INDEX
tino Doria," 225; "Portrait of
Guidobaldo della Rovere," 59,
203, 205, 258; "Portrait of Ugo-
lino Martelli," 96, 225; portraits
of Cosimo I, 220, 221, 235;
portraits of Medici children, 96 ;
portraits of Pontormo, 80; por-
traits of the Panciatichi, 85, 96,
225; "San Lorenzo," at Certosa,
113 ; ' ' San Lorenzo, ' ' in San Lo-
renzo, Florence, 80 ; sonnets, 288-
293; work at Careggi, 66, 262;
work at Castello, 67, 262; work
at Pesaro, 59, 204 ; work for Bet-
tini, 142; work for the Medici,
184.
Bruckhardt, 231.
Bruckmann. See Photographs.
Briiiningk et Somof, 228, 229.
Brunelleschi, Filippo, 121.
Brussels, 71, 209.
Bryan, 105.
Buchanan, 214.
Budapest, 61, 195-196.
Bugiardini, Giuliano, 5, 95, 195, 236,
237, 261.
Bullettino della societa filologica ro-
mana, 16, 91, 268, 295, 296.
Bulloz. See Photographs.
Burger, W., 211.
Burlington House, 164, 166, 224.
Burlington Magazine, 197.
Butler Collection, 141, 242-243.
"Burying of the Bones of Jacob,"
Bronzino, 70.
Butteri, Giovanmaria, 95.
Buttery, 241.
Calvet. See Musee Calvet.
Cambi, 28, 51.
Campanari, 201.
Campi, Giulio, 222.
Canova, 217.
Capodimonte, 219, 220.
Cappella del Papa. See Santa Maria
Novella.
Capponi Chapel, Santa Felicita, 46,
47, 72, 104, 120, 123, 185.
Capponi, Gino, 52, 269.
— ,Lodovico, 47, 52, 120, 128, 176,
257.
— , lost portrait of the daughter of,
50.
— , Niccolo, 52.
Caravaggio, Polidoro da, 81.
Carderera, Valentin, 197.
Careggi, lost paintings in the villa of,
65-66, 67, 73, 262.
Carlo da Spello, 282.
Carmignano. See "Visitation," Car-
mignano.
Carmine, Florence, 3, 273.
Carnasecchi, Carlo, 64, 170-171, 173,
280.
Caro, Annibal, 65, 69, 259, 282, 283.
Carocci, Guido, 169, 264.
Carota, II, 13, 253.
Carraia, Ponte alia, Florence, 254.
Carro de' Pazzi, 15.
Carro della Zecca, 14, 15, 136-139;
date of, 15, 139 ; drawing for, 15,
139 ; mentioned by Vasari, 139.
Cars for the Broncone, 7, 13, 14, 253-
254.
— for the Diamante, 7, 13, 14, 253.
Cartoons for tapestries. See Designs.
Carucci, arms of, 271, 272.
— , Bartolomeo di Jacopo, 3.
— Chapel in the Carmine, 3, 273.
— , Checci, 3, 273.
— da Colle, 3, 271.
— , document concerning a Jacopo, 5,
267, 273.
— family, 1, 3, 271, 273.
326
INDEX
Carueci, Francesco, 1, 272.
— , Jacopo di Giovanni, 3.
— , Jacopo di Luca, 3, 272.
— , Jacopo. See Pontormo.
— , Lisabetta, 3, 273.
— , Marietta, 3.
— , Pagolo, 3, 273.
— , Ruggieri di Taddeo, 2, 3, 271, 272.
— , Ruggiero, 2, 271.
— , Taddeo di, 2, 272.
Casa, arms of the della, 140.
Casa Buonarotti, 201, 222.
Cassel, 87, 196-197.
Castellani Collection, 248.
Castello, lost paintings in the villa of,
63, 66-67, 68, 71, 73, 146, 262-
263; date of, 67, 262; drawings
for, 67-68, 262.
Castiglione, Francesco da, 85, 133,
134.
Catalogue: Academy, Florence, 115,
200.
— Attributed Pictures, 193-249.
— Authentic Pictures, 101-189.
— Avignon, 194.
— Berlin, 105, 212.
— Bonn, 105.
— r-Borghese Gallery, Rome, 179, 181,
230, 231.
— Brett Collection, 242.
— Budapest Museum, 196.
— Butler Collection, 242.
— Cassel, 197.
— Castellani Collection, 248.
— Chantilly, 214.
— Citta di Castello, 95, 197.
— Clark Collection, 243.
— Codicum Latinorum, 148.
— Colonna Gallery, Rome, 145.
— Colworth Collection, 243.
— Cook Collection, 213, 218.
— Corsini Gallery, Florence, 129, 203.
— Crozat Collection, 229.
— D' Alton Collection, 212.
— Dawkins Collection, 244.
— De Beurnonville Collection, 241.
— DeH***, 88.
— Dellafaille Collection, 244.
— Dijon, 198.
— Doetsch Collection, 126, 128, 172,
244.
— Dollfus Collection, 96.
— Erfurt, 199.
— Eszterhazy de Galantha Collection,
245.
— Exposition "Starye Gody," 244.
— Ferdinand von Tirol Collection,
261.
— Fischhof Collection, 101.
— Gabburri Collection, 127.
— Galleria d ' Arazzi, 185.
— Grafton Galleries, 23, 164, 165,
166, 224.
— Guggenheim Collection, 245.
— Hague Portrait Exhibition, 198.
— Hamilton Collection, 159.
— Hampton Court, 145, 211, 212.
— Hermitage, 229.
— Inventaire des richesses d' art de
la France, 217.
— Jarves Collection, 221, 222.
— Johnson Collection, 173, 227.
— Lamponi Collection, 141.
— Lanfranconi Collection, 246.
— Lanna Collection, 173.
— Lochis Collection, 194.
— Lost Pictures, 253-264.
— Louvre, 169, 170, 226.
— Madrid, 216.
— Mailand Collection, 153.
— Manoscritti Torrigiani, 28.
— Mond Collection, 156.
— Morelli Collection, 102, 173.
— Munich, Alte Pinakothek, 218.
— Musee de Province, 215.
— Museo Nazionale, Florence, 121.
327
INDEX
Catalogue: Museo Nazionale, Naples,
218, 219, 220.
— National Gallery, London, 159, 213,
214.
— National Loan Exhibition, 166,
224.
— Northbrook Collection, 214, 215.
— Oldenburg, 162.
— Palazzo Bianco, Genoa, 155.
— Palazzo Pitti, Florence, 132, 133,
134, 136, 205.
— Rezzonico Collection, 248.
— Rome, 231.
— Sale and Loan Exhibitions, 241-
249.
— Schevitch Collection, 248.
— Sedelmeyer Collection, 221, 246.
— Spitzer Collection, 173.
— Stadel Institute, Frankfort, 153-
154.
— Stuttgart, 234.
— Turin, Regia Pinacoteca, 235, 236.
— Uffizi, Florence, 140, 141, 145, 152,
206, 208, 209.
— Versailles, 169.
— Vienna, 188, 236, 237.
— Walters Collection, 194.
— Wanamaker Collection, 228.
— Widener Collection, 102.
— Willett Collection, 249.
— Ximenes d'Aragona Collection,
247.
— Yerkes Collection, 189.
Catasto, 3, 5, 57, 68, 80, 280, 282.
"Cattura di Benjamin," tapestry, 70,
187.
"Cattura di Simeone, " tapestry, 70.
Cavaliere Tommaso, 60.
Ceccho fornaio, mentioned in Pon-
tormo's diary, 297.
CeUini, Benvenuto, 53, 68, 78, 173,
297.
Cenacolo di Foligno, Florence, 201.
Cerbone Pucci Collection, 243.
Certosa, near Florence, 21, 39-44, 45,
46, 57, 73, 104, 107-114; "Agony
in the Garden," 40, 107-108;
"Christ before Pilate," 40, 107,
108-109 ; ' ' Crucifixion, ' ' pro-
jected for, 40; date of frescoes
at, 39; "Deposition," projected
for, 40; documents for frescoes
at, 39, 44, 108; drawings for
frescoes at, 39, 40, 42, 43, 110,
112, 113; lost "Nativity" at, 41,
257; lost "Portrait of a Lay
Brother" at, 41, 257; mentioned
in Pontormo 's diary, 304 ; ' ' Nail-
ing to the Cross," projected for,
40; "Pieta," 40, 111-112; Pon-
tormo's relations with monks of,
39, 44, 277-279; "Risen Christ,"
40, 112-113; "Supper at Em-
maus" for, 41, 42, 114-115, 277;
Vasari mentions frescoes at, 39,
40, 43, 44, 107, 108, 109, 110,
111, 112, 113; "Way to Gol-
gotha," 40, 109-110.
Chantilly, 61, 154, 214.
Chappel Studio. See Photographs.
Charles I, Collection of, 236.
Charles V, 9.
Chennevieres, de, 228.
Chiari, Alessandro, 119.
Chiavacci, 132, 133, 134, 136, 205.
Chiavistelli, Jacopo, 151.
Chiazzella, Andrea, 80, 284.
Chiesa delle Stigmate, Florence, 201-
202.
"Christ as Pilgrim," lost fresco of,
17, 108, 109, 254.
Christie's, 158, 241, 242, 243, 244,
245, 249.
Christina, Collection of Queen, 209.
"Christ in Glory," drawing for, 75,
76, 263.
328
INDEX
Chronique des arts, 209.
Cianfanini, Giovanni, 125.
Ciangogni, 264.
Cibo, Innocenzio, 261.
Cicerone, 195, 208, 209.
Cicognara, 173.
Cigoli, 98.
Cinelli, 17, 207, 254, 256.
Citta di Castello, 95, 197, 260.
Clapp, F. M., 64.
— , article on ' ' Portrait of Alessandro
de' Medici," 64, 173.
— , Dessins, 8, 10, 11, 15, 16, 17, 20,
21, 23, 24, 29, 30, 38, 39, 40, 42,
44, 47, 54, 55, 56, 61, 62, 63, 66,
67, 69, 70, 76, 77, 81, 84, 85, 86,
96, 97, 98, 104, 106, 107, 108,
115, 116, 117, 119, 122, 123, 125,
128, 132, 136, 139, 140, 145, 147,
154, 159, 164, 165, 166, 169, 177,
178, 179, 183, 187, 200, 208, 236,
253, 255, 259, 262, 263, 264, 295.
— , On Certain Drawings, 16, 20, 41,
62, 106, 115, 116, 117, 119, 122,
125, 128, 136, 177, 264.
— See Photographs.
Clark Collection, 243.
Clement VII, Pope, 58, 61, 64, 175,
281.
Clouet, follower of, 196.
Clough Collection, 260.
Codice Araldieo, 1, 2, 272.
— Atlantico, 209.
Colasanti, 16, 91, 268, 270, 295, 296.
Colle, Vald'Elsa, 1.
Cologne. See Dellafaille Collection.
Colonna, Francesco, 175.
— Gallery, Rome, 145, 201, 237.
— , Vittoria, 201, 241.
Colworth Collection, 151, 243.
Comando Militare, 254.
Commonwealth Inventory, 211.
Como, 151.
Compagnia del Broncone, 7, 13, 14,
253-254.
— del Diamante, 7, 13, 14, 253.
— del Disegno, 79.
— della Cecilia, 17, 255.
— di Loreto, 1, 271.
Company of San Luca, 57.
Consorteria, 1, 3, 5, 271, 272.
Constantine, Collection of Grand
Duke, 243-244.
Constantini Collection, 196.
Conti, Cosimo, 71, 142, 151, 152, 184,
185, 261.
— , G., 151.
' ' Conversation, ' ' Mond Collection,
156.
Cook, 159.
— Collection, 212-213.
"Coppa di Joseph," tapestry, 70, 187.
"Coronation of the Virgin," Ridolfo
Ghirlandaio, 12.
Correggio, 236.
Corsini Gallery, Florence, 52, 129,
231.
— , Rome, 85, 182, 214 ; drawings in,
17, 32, 33, 42, 43, 48, 112, 121,
127, 132, 176, 255.
Costa, 156.
Council of Trent, 70.
Cristofano dell' Altissimo. See Al-
tissimo.
Crowe and Cavalcaselle, 23, 81, 119,
163, 164, 165, 166, 175, 181, 188,
193, 195, 211, 214, 215, 216, 218,
219, 224, 229, 231, 232, 234, 237-
238, 268.
Crozat, 144.
— Collection, 229.
"Crucifixion," projected at Certosa,
40, 111, 113.
Cruttwell, 108, 119, 122, 129, 130,
132, 133, 134, 136, 139, 140, 141,
329
INDEX
152, 199, 200, 201, 203, 205, 206,
208.
Gust, Lionel, 196, 197.
Cybo, Alberico, 171.
D
Daily Telegraph, 165.
Dalkeith. See Lothian Collection.
Daniello, mentioned in Pontormo's
diary, 90, 92, 93, 283, 296, 297,
298, 299, 300, 301, 302, 303, 304.
Dante, Bronzino's lost portrait of,
142.
Davolo, Alfonso, 56, 60, 62, 259.
Dawkins Collection, 205, 244.
Dazzi, Andrea, 13, 253.
''Dead Christ" (lost), 253.
"Death of Abel," drawing for, 72.
"Death of Adonis," Sebastiano del
Piombo, 145.
Delaborde, 61.
Delizie degli eruditi toscani, 2, 125.
Dellafaille Collection, 244.
"Deluge," drawing copied from the
San Lorenzo, 263.
— , drawings for the San Lorenzo,
263.
"Deposition," in Santa Felicita, 38,
43, 45, 46, 47, 72, 120-122; date
of, 121 ; drawings for, 48-49, 121 ;
mentioned by Vasari, 120.
— , projected at the Certosa, 43, 111,
113.
Desborough, Collection of Lady, 162.
Designs for tapestries, 70, 71, 183-
187.
Dessins. See Clapp.
Deti, Giovambattista, 229.
Diamante. See Cars.
Diary of Pontormo, 90-94, 295-307.
Dijon, 94, 95, 197-198.
Dimier, 210.
Dirksen Collection, 85, 103.
Disegni delta Galleria degli Uffizi, 53,
81, 121, 122, 168, 169, 176, 177,
179, 258, 259, 262, 263, 264.
Documents: for Albertinelli 's house,
273; for Andrea's Scalzo
frescoes, 17; for Borgherini
panels, 158 ; for Bronzino 's
birth, 21; for Capponi Chapel,
120, 279; for Certosa frescoes,
39, 44, 113, 276-279; for Chiaz-
zella's house, 284; for "Coppa
di Joseph," 186-187; for Del
Gostra, 283-284; for "Deposi-
tion," Santa Felicita, 121; for
"Faith and Charity," 9, 116,
275; for Feltrini, 9; for "Joseph
and Potiphar's "Wife," 186; for
"Joseph Discovering Himself to
His Brethren," 164; for "Lam-
entation of Jacob, ' ' 185 ; for lost
Madonnas, 261, 286-287 ; for lost
"Noli me tangere," 260; for
"Pieta," Academy, 200; for
Pontormo's ancestors, 271-273;
for Pontormo's death, 284; for
Pontormo's house, 280, 282; for
Pontormo 's life annuity, 283 ; for
Pontormo's matriculation in the
Medici e Speziali, 279; for Pon-
tormo's membership of the Ac-
cademia del Disegno, 279; for
Pontormo's property, 284; for
Pontormo's relations with the
Certosa, 44, 277-278; for Pon-
tormo's relations with the Pu-
pilli, 274; for "Portrait of Ales-
sandro," 64, 173, 280-282; for
"Portrait of Guidiccioni, " 259;
for "Portrait of Guidobaldo
della Rovere," 205; for "Supper
at Emmaus, ' ' 41, 115 ; for tapes-
tries, 184, 185, 186, 187; for
330
INDEX
"Venus and Cupid," 63, 142,
287; for "Visitation," Annun-
ziata, 16, 119, 275-276; possibly
for Granacci's "Joseph Led
away to Prison," 208.
Doetsch Collection, 19, 126, 128, 172,
209, 244.
Dollfus Collection, 96.
Domenicho, 22.
Domenico di Polo, 172, 173.
Donatello, 148.
Dossi, Dosso, 222.
Drawing, by Michelangelo, 123.
Drawings, copies: of "Battle of the
Cascina," 18; of "Deluge," of
San Lorenzo, 263 ; of Louvre
"Madonna and Saints," 168; of
"Venus and Cupid," 144.
Drawings for: "Adoration of the
Magi," 24, 135-136; "Annuncia-
tion," Santa Felicita, 47, 48, 122 ;
"Baker Led out to Execution,"
23, 165; "Benjamin at the Court
of Pharaoh," 187; Carro della
Zecca, 15, 137; Certosa, 42, 110,
112, 113; "Concerto," projected
for Poggio, 32, 35; "Cruci-
> fixion," projected at Certosa,
113; "Deposition," projected at
the Certosa, 43, 113; "Deposi-
tion," Santa Felicita, 48-49, 121;
Diirer's altar-piece, Ober St.
Veit, 53; "Faith and Charity,"
10, 11, 116; "Four Evangelists,"
Santa Felicita, 49, 123; frescoes
at the Certosa, 42, 110, 112, 113 ;
Granacci's "Joseph Led away to
Prison," 208; "Holy Family,"
Visdomini, 20, 30, 127; "Joseph
Discovering Himself to His
Brethren," 23, 163, 164; "Jo-
seph Sold to Potiphar," 23,
119, 166; lost frescoes at San
Lorenzo, 75, 76, 77, 185, 263;
lost "Madonna and Child," 20;
lost paintings at Careggi, 66,
262; lost paintings at Castello,
68, 262; lost "Pieta," 16; lost
"Santa Cecilia," 17, 29, 30, 255;
lost "Raising of Lazarus," 56,
259; lunette at Poggio, 30-36,
176; "Madonna and Saints,"
Ammnziata, 8, 117; "Madonna
and Saints," Louvre, 52, 168;
"Madonna Enthroned," Uffizi,
20, 139; "Magdalen," 50; "Mars
Hermaphrodite, ' ' Castello, 68 ;
"Martyrdom of St. Maurice,"
54, 132, 140; Medici arms, 11;
"Pieta," Certosa, 42; "Portrait
of Young Cosimo," 147; pro-
jected "Nailing to the Cross,"
Certosa, 40, 43, 113; Roman an-
tiquities, 69, 181; "St. Jerome,"
53, 54; "St. John Evangelist,"
Pontormo, 24, 179; "St. Mi-
chael," Pontormo, 24, 178; "St.
Quentin," 44, 106; Santa Fe-
licita, 43, 47, 49, 121, 122, 123;
"Saturn," Castello, 68, 262;
second series of frescoes, pro-
jected at Poggio, 61, 62, 176;
"Supper at Emmaus," 42, 43,
114; "Three Graces," 61; "Visi-
tation," Annunziata, 16, 119;
' ' Visitation, ' ' Carmignano, 55,
107; "Way to Golgotha," 42,
110; woman, 54; "Young Bap-
tist," 35, 137.
Drawings possibly for: "Agony in
the Garden," 42; "Birth-plate,"
Uffizi, 141; "God the Father and
Patriarchs, ' ' Santa Felicita, 123 ;
"Joseph in Egypt," 159; lost
"Noli me tangere," 260; lost
"Pomona," 258; lost "Portrait
331
INDEX
of Francesco Guardi," 259; lu-
nette at Poggio, 29 ; " Portrait of
a Young Woman," Frankfort,
153.
Drax Collection, 245.
Dresden, 8, 24, 56, 117, 135, 139.
Dreyfus Collection, 148.
Dudley House, 216.
Duke of Altamira. See Altamira.
Duppa, 144, 211.
Duranty, 81.
Durazzo Collection, 235.
Durer, "Auferstehung," 113; "Bad-
stube, ' ' 109 ; ' ' Beweinung
Christi," 42, 111; "Christus am
Kreuz," 111; "Christus am Oel-
berg," 107; "Christus und die
Jiinger von Emmaus," 41, 114;
"Christus vor Hannas," 110;
engravings, 38, 47; figures bor-
rowed by Pontormo from, 40,
107, 109, 110, 111, 113; "Grable-
gung," 111; his influence on
Pontormo, 38, 39, 40, 41, 42, 43,
45, 46, 47, 52, 55, 106, 107, 109,
110, 111, 113, 114, 129, 168, 256,
258; "Kleine Passion," 42, 46;
' ' Kreuzabnahme, ' ' 43, 111 ;
' ' Kreuzigung, " 110 ; " Kreuz-
tragung," 110, 129; "Marias
Erster Tempelgang," 109;
"Marter des Evangelisten Jo-
hannes," 109; "Nemesis," 55,
106 ; Pietas, Munich and Nurem-
berg, 112; "Sebastian," from
the workshop of, 52, 168; "Vier
Nackten Frauen," 55, 106.
Dzikow. See Tarnowski Collection.
E .
Edelinck, 132.
Ehrich Galleries, 87, 96.
— See Photographs.
Eleonora da Toledo, 53, 93, 96, 97,
235, 306.
Empoli, 3, 4.
— , Collegiata of, 3, 4.
— , Jacopo da, 98, 108, 109, 112, 115,
129, 203; influenced by Pon-
tormo, 98.
Emporium, 255.
Engerand, 81, 170.
Engerth, Erasmus, 188, 236, 237, 238.
Englewood. See Platt Collection.
"Entombment," window in Santa
Felicita, 121.
Erfurt, 144, 199.
Espagnac, Collection d', 245.
Eszterhazy de Galantha Collection,
245.
Etruria pittrice, 119.
"Evangelists," Santa Felicita, 49,
122-123 ; drawings for, 263 ; men-
tioned by Vasari, 123.
"Expulsion from Paradise," draw-
ing for, 263.
Fabre, 217.
Fabriczy, 91, 122, 148, 173, 203, 205,
207, 238, 295.
Fagan, 144.
"Faith and Charity," Annunziata,
7-8, 10, 12, 25, 116; date of, 116;
documents for, 116; mentioned
by Vasari, 7; possible drawings
for, 10, 116.
"Fall of the Damned," drawing for,
263.
Fantozzi, 207.
Farinola Collection, 6, 20, 128.
Farnese, Alessandro, 65, 180, 258.
"Fattore di San Marco," Panshanger,
166.
Febo, 60.
332
INDEX
Feltrini, Andrea di Cosimo, 9, 12, 13,
23, 28, 116, 175, 253, 255.
Ferdinand von Tirol Collection, 151,
237.
Fesch Collection, 153, 213.
Fiesole, lost fresco of "Santa Cecilia"
in, 17, 255.
Figana, Don Giovanni di, 261, 264.
Figiovanni, 60, 260.
Filhol, 170, 226.
Firenze antica e moderna, 119.
Firenzuola, Ser Carlo da, 126.
Fischhof Collection, 101.
Florence, Signoria of, 52.
Follini, 122, 152.
Fontainebleau, 209, 210.
Fontana, Prospero, 238.
Forni, Ulisse, 144.
Fortezza da Basso, Florence, 173.
Fossart Sale, 145.
Fragonard, 31.
Francesco da Toledo, 71.
Francesco di Goro, 284.
Franciabigio, 8, 9, 23, 24, 28, 29, 58,
135, 157, 173, 175, 176, 209.
Francillon Sale, 145.
Francis I, 55, 56, 163, 259.
Franco, Battista, 62, 173, 260.
Frankfort. See Stadel Institute.
Frantz Collection, 101.
Frey, 60, 143, 153, 201, 260.
Friedlander, J., 148, 149.
Friedrich der "Weise, 53.
Frizzoni, 102, 159, 172, 173, 181, 196,
209, 213, 214, 231.
Fucecchio, 210.
Fuscellino, 299.
Fry and Brockwell, 164, 165.
Funeral banners for Ginori, 25, 255.
G
Gabburri, Cavaliere, 116, 127.
Gaci, Cosimo, 80.
Gaddi, mentioned in Pontormo's
diary, 302.
Galeotti, Pietro Paulo, 13, 253.
Galerien Europas, 181.
Galicia. See Tarnowski Collection.
Gallerie Nazionali Italiane, 144.
Galliera Collection, 154.
Gamba, 62, 68, 143, 146, 147, 166,
169, 218, 223, 224, 237, 260, 264;
ascribes ' ' Fattore di San Marco ' '
to Puligo, 166; ascribes "Por-
trait of a Youth," Panshanger,
to Puligo, 224; believes a draw-
ing in Louvre for "Visitation,"
in Annunziata, 119; believes
"Portrait of a Lady," Pans-
hanger, to be Puligo 's "Barbara
Cortegiana," 224, 229; his ar-
ticle on Carmignano "Visita-
tion," 107; his opinion of draw-
ing of "St. Michael," 25; his
opinion of "Madonna and Little
St. John," Uffizi, 146; his opin-
ion of "Madonna and Saints,"
Louvre, 53, 168; his opinion of
the "Venus and Cupid," Uffizi,
143.
— See Disegni delle Gallerie degli
Uffizi.
Gamurrini, 254.
Gaye, Giovanni, 53, 91, 185, 295.
Gazette des beaux-arts, 81, 145, 217,
228, 231.
Geisenheimer, 71, 184, 185.
Genoa, Durazzo Collection, 235;
Palazzo Bianco, 21, 25, 83, 154;
Palazzo Brignole-Sale, 210.
Gesuati, Order of, 121.
Gheri, Goro, 22, 150.
Ghirlandaio, Domenico, 3, 5, 22, 87.
— ,Ridolfo, 9, 11, 12, 124, 125, 231,
258.
Giglioli, O. H., 4, 178, 200, 205.
333
INDEX
Ginori, banners for the funeral of
Bartolomeo, 20, 25, 255.
— Collection, 233.
— , Portrait of Leonardo de ', 233.
Giordani, Ser Giovanni Battista, 80,
284.
Giornale arcadico, 69, 259, 283.
Giotto, 115.
Giovanni delle Corniole, 169.
Giovio, Paolo, 29, 151, 174.
Girard, Joseph, 194.
Giraudon. See Photographs.
Giulio da Pistoia, 282.
Giulio, mentioned in Pontormo's
diary, 302, 304.
Giulio Romano, 81, 231, 261.
Giustiniani Gallery, 144.
Glen, 245.
"God the Father and Patriarchs"
(lost), Santa Felicita, 123, 257.
"God the Father" (lost), San
Ruffillo, 8, 117, 254.
"God the Father," Pope's Chapel,
Santa Maria Novella, 8, 12, 124.
Goethe, 148.
Goldschmidt, 104, 107, 109, 122, 124,
126, 132, 141, 168, 176, 183, 208,
209, 217, 228, 263, 270.
Gonfalone Bue, 2, 3, 272.
— Chiave, 3, 57.
— Nicchio, 3.
Gonse, 217.
Gooden and Fox, 242.
Gori, Angelo, 151.
Gostra, Bastiano del, 78, 264.
Gowan's Art Books, 179.
Grafton Galleries, 164, 166, 224.
Graham Collection, 245.
Granacci, Francesco, "Assumption
of the Virgin," Academy, Flor-
ence, 224; "Joseph Led away to
Prison," 208; "Joseph Pre-
senting Jacob to Pharaoh," 208;
"Life of Joseph," Palazzo
Giraud-Torlonia, Rome, 232 ;
"Life of Joseph," Uffizi 95, 158,
163-164; panels for Borgherini,
22, 157 ; Pontormo 's influence on,
95; "Portrait of a Woman,"
Panshanger, 229; work on tri-
umphal arches, 14.
Grassis, Paris de, 134.
Graves, 159, 164, 165, 212, 243, 246,
247, 248.
Gray. See Photographs.
Gronau, 81.
Grotesques, Santa Maria Novella, 124.
Gruyer, F.-A., 214, 268.
Gualandi, 65, 170, 173, 280.
Gualfonda, Florence, 5.
Gualteretti, Portrait of Bartolommeo,
82, 227.
Gualtieri. See Walter of Brienne.
Guardaroba, Florence, 63, 144, 152.
Guardi, lost Portrait of Francesco,
56, 259.
Guasti, 258.
Guedy, Theodore, 194.
Guggenheim Collection, 245.
Guicciardini, 7, 248.
Guidiccioni, Giovanni, 69, 259.
Guidobaldo della Rovere, 203.
— See Portraits.
Guiffrey, Jean, 228.
Guiness, 115, 229.
H
Hadrian VI, Pope, 29.
Hague, The, 83.
Hamburg Museum, 132, 140.
Hampton Court, 210-212; copies of
"Venus and Cupid," at, 144,
211-212; "Madonna and Child,"
at, 210-211.
Hanfstaengl. See Photographs.
334
INDEX
H***, Collection de, 88.
Hare, Leman, 213.
Heidelberg, 64, 144, 171, 211.
Heiss, A., 148, 205.
"Hercules and Anteus," projected
fresco at Poggio, 61, 176.
Hermitage. See St. Petersburg.
Hertz Collection, 229.
Hervey, Mary F. S., 196, 197.
Hildesheim, 144, 212.
Hoefle. See Photographs.
Hofstede de Groot, 198.
Hogarth, 212.
Holbein, 85.
Holford Collection, 216.
"Holy Family/' Budapest, 195-196.
— , Santa Maria Visdomini, 17, 18-20,
22, 73, 97, 125-128; copy in
Doetsch Collection of, 128, 244;
date of, 20, 126 ; drawing for, 20,
30, 127; mentioned by Vasari,
126 ; painted for Francesco Pucci,
126 ; Pontormo 's original of, 127 ;
shows influence of Leonardo, 18-
19, 146.
Home Collection, 132.
Hospital, lost fresco in the Women's,
17, 254.
' ' Hospital of San Matteo, ' ' Academy,
Florence, 6, 115.
Hospital of the Innocents, Florence,
3, 4, 54, 92, 94.
Houghton. See Photographs.
Hutton, 165.
Ince, near Liverpool, 216.
Inghirami, 152.
Ingres, 85.
Inventories, copies of "Venus and
Cupid" mentioned in, 144.
Jackson, S., 242.
Jacobsen, 128, 155, 158, 159, 169, 177,
203, 235, 236.
Jacone, 66, 67, 262.
Jacopo di Sandro, 14.
Jacopo da Empoli. See Empoli.
Jacopo da Ponte. See Ponte.
Jacquemart- Andre Collection, 87, 101,
167, 224, 225-226.
Jahrbuch der koniglich preussischen
Kunstsammlungen, 59, 148, 197,
205, 208, 209, 232.
Jahrbuch der kunsthistorischen
Sammlungen des Allerhochten
Kaiserhauses, 151, 172, 261.
Jameson, 211.
Jarves Collection, 132, 147, 220-222.
Jenaische Allgemeine Literatur-
Zeitung, 148.
Johnson Collection, 64, 65, 82, 85, 96,
170-173, 209, 227, 260.
"Joseph and Potiphar's Wife," tap-
estry, 70, 186 ; date of, 186 ; docu-
ments for, 186 ; mentioned by
Vasari, 186; woven by Karcher,
186.
"Joseph Discovering Himself to His
Brethren," Panshanger, 23, 24,
162-164; date of, 163, 164; draw-
ings for, 23, 163, 164; painted
for Borgherini, 163.
"Joseph in Egypt," 21, 22, 156, 159,
163; date of, 21, 159; drawing
supposed for, 159; iconography
of, 158; mentioned by Vasari,
157, 159 ; painted for Borgherini,
157 ; portrait of Bronzino in, 25,
158; portraits in, 125; significa-
tion of architecture in, 158.
"Joseph Sold to Potiphar," Pans-
hanger, 23, 165-166 ; date of, 166 ;
drawings for, 23, 119, 166.
335
INDEX
Joubert Sale, 145.
Justi, 196-197, 204, 205.
Kaiser-Friedrich Museum, 135, 148,
149.
Karcher, Nicholas, 71, 72, 184.
Keir, Scotland. See Stirling Collec-
tion.
Kenner, 151, 172, 261.
Kensington. See Photographs.
Kent, 127.
Keuller, 185.
Klassischer Bilderschatz, 181.
Knapp, 105, 268.
Krafft, Albrecht, 188, 237.
Kugler, 144, 212.
Kunstblatt, 144, 212.
Kunstgeschichte in Bildern, 181.
Kunstkritische Studien, 209.
Lafenestre, 51, 115, 117, 179, 181, 183,
230, 231.
"Lamentation of Jacob," tapestry,
70, 183.-185; borrowed motives
in, 72, 185; date of, 185; docu-
ment for, 185; mentioned by
Vasari, 184 ; woven by Host, 184.
Lami, 122, 258.
Lamponi Collection, 141.
Landauer Collection, 234.
Landon, 169, 170, 226.
Landucci, 7, 28, 269.
Lanfranconi Collection, 202, 246.
Lanfredini, Arms of Bartolomeo, 21,
254.
— , Lanfredino, 255.
— , letters written by a Bartolomeo,
255.
Lange-Tiibingen, 234.
Lanini, Bernardino, 195.
Lanna Collection, 172.
Lanzi, 243, 264.
Lapini, 78, 264.
Lappoli, Giovann' Antonio, 25, 95,
225, 303; paints portrait of An.
tonio da Lucca, 225-226; Pon-
tormo's lost portrait of, 25,
44, 255; "Visitation," Palazzo
Spada, perhaps by, 232.
Lasalle, Collection, 246.
Lasinio, 209.
Lateran, 122.
Law, 144, 145, 211, 212.
Le Brun Collection, 153.
"Leda," Museo Correr, Venice, 236.
Leicester Collection, 246.
Lensi, 185, 206.
Leo X, Pope, 175, 256, 258; commis-
sions decorations at Poggio, 28,
174; elevation of, 7, 9, 13, 268,
269 ; his death, 29 ; his entry into
Florence, 11, 12, 13, 14, 16, 134.
Leonardo da Vinci, 90; "Battle of
Anghiari," 53, 131, 132, 269;
Bronzino copies a "Madonna"
of, 53; cartoon of "Battle of
Anghiari" studied by Pontormo,
53; copies of his "Leda," 209;
drawings compared with Pon-
tormo's, 33; influence on Pon-
tormo, 6, 18, 20, 23, 26, 53, 128,
131, 146, 168, 268-269; "Ma-
donna and St. Anne," Louvre,
168; "Mona Lisa," 87; Pon-
tormo's drawings compared with
those of, 94; Pontormo 's por-
traits compared with those of,
85; portrait-drawing in Uffizi,
once ascribed to, 86; "St. Je-
rome," 53; sketches in London,
Venice, and Windsor, 132 ; sketch
f or a " Leda, " 209 ; study for the
336
INDEX
"Leda," 209; visits to Florence,
267, 268.
Leslie Collection, 247.
Libraries. See Biblioteca.
Lichtenstein Collection, 209.
"Life of Joseph," Andrea del Sarto,
154.
— , Bacchiacca, 159.
— , Pontormo. See National Gallery ;
Panshanger; Quirinal.
Ligozzi, Jacopo, 223.
Liphart, 244.
Litta, 147, 152, 173.
Loan Exhibitions, 81, 158, 163, 164,
166, 211, 214, 224, 232, 243, 244,
247, 248.
Lochis. See Pinacoteca Lochis.
Loeser Collection, 202.
Lomazzo, 209, 238.
London. See Cook Collection; Mond
Collection ; National Gallery ;
Northbrook Collection ; Plymouth
Collection.
Lorenzo di Credi, 125.
Lost Pictures, Catalogue of, 253-264.
Lothian Collection, 233.
Louis XIV, Collection of, 83.
Louvre, copy of "Joseph in Egypt,"
159; copy of "Visitation," An-
nunziata, 119, 226; drawing by
Andrea, 16; drawing by Michel-
angelo, 134; drawings by Pon-
tormo, 69; "Madonna and
Saints," 51-53, 54, 55, 167-169;
date of same, 51-52, 168; draw-
ing for same, 52, 168-169; "Mar-
riage of St. Catherine," Fra
Bartolommeo, 118; "Portrait of
a Man," Zacchia, 98; "Portrait
of Precious-Stone Engraver," 83,
105, 169-170; Rubens' drawing
of "Battle of Anghiari," 132.
Lb'wy. See Photographs.
Lucarini, 146.
Lucca, 56; "Portrait of a Youth" in,
57, 84, 159-160.
"Lucretia," Borghese, 85, 179; date
of, 179.
Lucretia, mentioned in Pontormo 's
diary, 300.
Lyons, Musee, 215.
M
Mclhlenny Collection, 227.
Macquoid, 243.
"Madonna": drawing for a, 20; for
funeral banners of Ginori, 20,
25, 255; (lost), found in Pon-
tormo's house after his death,
262; (lost), given by Cosimo I
to a Spaniard, 261; (lost), given
to Rossino, 260; (lost), men-
tioned in Inventory of Guarda-
roba, 264; (lost), once owned
by Alessandro d'Ottaviano de'
Medici, 260; (lost), once owned
by Carlo Panciatichi, 264; (lost),
painted for Alessandro Neroni,
256; (lost), painted for Capponi,
128, 257; (lost), painted for
certain Spaniards, 257.
"Madonna and Little St. John,"
Corsini Gallery, No. 141, Flor-
ence, 52, 129.
— , Corsini Gallery, No. 185, Florence,
129, 130.
— , Farinola Collection, 20, 128, 146.
— , Uffizi, 53, 145-146 ; date of, 146.
"Madonna and Saints," Citta di Cas-
tello, 95.
— , Louvre, 52, 53, 54, 55, 167-169;
date of, 51, 53, 168 ; drawing for,
52, 168; meaning of medallion
in, 51, 168 ; mentioned by Vasari,
51, 168, 169.
337
INDEX
"Madonna and Saints," San Luca
Chapel, Annunziata, 6, 7, 8, 12,
15, 117; date of, 117; drawings
for, 8, 117; "God the Father,"
once part of, 254; mentioned by
Vasari, 7, 117.
"Madonna Enthroned," Uffizi, 20,
139; date of, 20, 129; drawings
for, 20, 139.
Madrid, Prado, "Holy Family," as-
cribed to Pontormo, 215-216;
"Madonna," ascribed to Pon-
tormo, 216.
"Magdalen," drawing for a, 50.
Mailand Collection, 153.
Malespina, Giulia, 171, 281.
— , Ricciarda, 171.
— , Taddea, 64, 65, 171, 280-281.
Mancciucca Collection, 283.
Manchester, 163, 211, 222.
Manni, 263.
Manuscripts containing miniatures
of Cosimo il Vecchio, 148.
Manutius, 175.
Marcantonio Raimondi, 38, 61.
Marcellus II, Pope. See "Portrait
of Spannocchi Cervini."
Marchese, 268.
Marchese del Vasto. See Davolo.
Mareillac, Guglielmo da, 121.
Maria Maddalena, Archduchess, 19,
126.
Maria, mentioned in Pontormo 's
diary, 94, 300.
Mariette, 127, 128.
Marignolle, mentioned in Pontormo 's
diary, 303.
"Marriage of St. Catherine," Dres-
den, 139.
Martini, Luca, mentioned in Pon-
tormo's diary, 93, 297, 300, 304.
"Martyrdom of St. Maurice," Pitti,
53, 54, 55, 56, 72, 131-132, 208;
copy in Jarves Collection, 132,
221; date of, 54, 132; drawing
for, 132; drawing for a variant
of, 54, 140; influenced by Leon-
ardo, 53, 269; influenced by
Michelangelo, 53, 55; mentioned
by Vasari, 54, 131; painted for
the women of the Innocents,
131; variant in the Uffizi, 131.
— , Uffizi, 54, 55, 132, 139-140, 141;
mentioned by Vasari, 54, 140;
painted for Carlo Neroni, 140,
141, 259; variant in the Pitti,
54-55, 140.
"Martyrdom of San Lorenzo," lost
drawing for, 263.
"Martyrdom of the Theban Legion."
See Martyrdom of St. Maurice.
Masaccio, 77, 270.
Mason Perkins, 199, 223.
Mechel, 237.
Medals of Alessandro de ' Medici, 172,
173.
— of Cosimo il Vecchio, 147, 148, 149.
Medici, 29, 37, 56, 137, 162, 214;
account-books of, 78; chapel in
San Lorenzo, 78.
— , Alessandro de', 51, 52, 58, 64, 65,
66, 172, 173, 258, 262, 280-282;
portraits of, 64, 65, 68, 82, 85, 96,
170-173, 203, 258, 260, 280-282.
— , Alessandro d'Ottaviano de', 150,
260, 261.
— , Cosimo I de', 13, 52, 58, 66, 67,
74, 146, 147, 170, 220, 255, 261,
280; Bronzino's portrait of, 96;
Bronzino's portrait of the chil-
dren of, 96; fosters tapestry
weaving in Florence, 70, 71;
Jarves copy of Pontormo 's por-
trait of, 147; letter to Bronzino,
91; mentioned in Pontormo 's
diary, 93, 297, 306; orders San
338
INDEX
Lorenzo frescoes, 78 ; Pontormo 's ,
portraits of, 146.
Medici, Cosimo il Vecchio de', 147, ]
149, 205-206, 260 ; cameo-portrait :
of, 150; Colworth portrait of,
243; medals of, 147-148, 149;
miniatures of, 149 ; Pontormo 's
portrait of, 25, 82, 83, 147-152;
portrait-relief by Del Tadda of,
150; portraits of, 149-151, 152;
terra-cotta portrait-relief of, 150.
—, Ferdinando I de', 64, 170.
— , Francesco de', 157, 163, 233, 280.
— , Giuliano de', 7, 13, 159, 253.
— , Giulio d'Alessandro de', 170, 171,
281.
— , Giulio de' (Clement VII), 28, 58,
61, 64, 65, 171, 174.
— , Ippolito de', 51, 52, 204; Bron-
zino's "Guidobaldo della Ro-
vere" confused with Pontormo 's
portrait of, 203 ; lost portrait of,
247, 258; Titian's portrait of,
204.
— , Leopoldo de', 295.
— , Lorenzino de', 13, 22, 28, 148, 150,
253.
— ;0ttaviano de', 28, 58, 145, 171,
175, 261.
— , Pierode', 149.
— , Tanay de', 185.
• — , Tommaso de', 281.
Medici, Uld., 129, 203.
Medici e Speziali, 57, 284.
Meini, Vincenzo, 119.
Mendoza, Don Diego de, 145.
Methuen Collection, 81, 247.
Meyer, Heinrich, 148.
Michelangelo Buonarotti, 90, 210;
''Battle of the Cascina," 18, 23,
38, 246; cartoon for lost "Noli
me tangere," 60, 62, 259; car-
toon for "Venus and Cupid,"
62, 142 ; drawings by, 36, 60, 69,
122, 123, 144, 153, 179, 270;
"Entombment," 213; "Holy
Family," 72, 129; influence on:
Bronzino, 97; Florentine School,
37, 94; Pontormo, 12, 18, 26, 31,
32, 35, 36, 37, 38, 42, 52, 53-54,
55, 59, 60, 61, 62, 68, 69, 70, 72,
73, 74, 77, 78, 88, 131; "Leda,"
236; Naldini's drawings con-
fused with those of, 97 ; personal
contact with Pontormo, 60, 142;
' ' Phgethon, " 60 ; Pontormo 's
drawings compared with those
of, 94 ; praises ' ' Faith and Char-
ity," 116; San Lorenzo Tombs,
60, 61, 68 ; selects Pontormo to
paint "Noli me tangere," 259-
260; selects Pontormo to paint
"Venus and Cupid," 62; Sixtine
ceiling, 33, 35, 36, 42, 69; "Tity-
rus," 60; "Venus and Cupid,"
once ascribed to, 211.
Michelozzo, 148.
Migliore, Filippo del, 48, 116, 117,
119, 122, 126, 128, 258, 264.
Milan. See Trivulzio Collection.
Milanesi, 104, 143, 144, 184, 261;
ascribes "Assumption," Annun-
ziata, to Pontormo, 119, 200;
believes Capponi ' ' Deposition ' '
has been cleaned, 121; confuses
Granacci's "Life of Joseph"
with Pontormo 's, 163; copies of
"Venus and Cupid" mentioned
by, 144; identifies Chiazzella
with Sguazzella, 80; mentions
stained glass window, Capponi
Chapel, 121; on Borgherini
panels, 157, 163; on Bronzino 's
copy of a "Madonna" by Leon-
ardo, 53; on Carro della Zecca,
14, 138; on contest for Pon-
339
INDEX
tormo's property, 80; on date of
"Supper at Emmaus," 41; on
' ' Holy Family, ' ' Visdomini, 126 ;
on inscription in San Lorenzo,
4; on lost ' ' Sant ' Agostino, "
256 ; on ' ' Madonna and Saints, ' '
Louvre, 51, 168; on "Pieta,"
Academy, 199; on Pontormo's
journey to Rome, 69; on "Por-
trait of Guidiccioni, " 259; on
supposed portrait of Ippolito, in
Pitti, 204; on "Venus and
Cupid," 63, 145; on "Visita-
tion," Annunziata, 16.
Milizia, II, 264.
Mini, Antonio, 69.
Mireur, 145, 241, 245, 246, 248.
Moise, F., 151, 280.
Molini, 152, 208, 209.
Monaco, 218.
"Mona Lisa," Pontormo's portraits
compared with, 87.
Monatshefte fur Kunstwissenschaft,
134, 201, 218.
Mond Collection, 156.
Montanti Chapel, Annunziata, 81.
Montault, Barbier de, 231.
Monte Cimino, 65.
Monte di Pieta, 141; mentioned in
Pontormo's diary, 302.
Monte Imperiale, villa of, 59.
Montelupo, 3.
— , Baccio da, 14, 254.
Montemurlo, battle of, 66, 98, 261.
Monte Oliveto, mentioned in Pon-
tormo's diary, 93, 300.
Monte Pilli, 1, 2, 271.
Montorsoli, 79.
Montpellier, Musee, 216-217.
Monzies, 153.
Morelli, 102, 122, 128, 134, 179, 180,
181, 183, 206, 216, 218 ; ascribes :
"Holy Family," Vienna, to
Bugiardini, 236; "Lucretia,"
Borghese, to Bronzino, 179; at-
tributes to Pontormo: Munich
"Madonna and Child," 217;
"Portrait of Cardinal Span-
nocchi Cervini," 86, 180; "Por-
trait of Cesare Borgia," 231;
"Portrait of Cosimo il Vecchio,"
Palazzo Vecchio, 205.
— Collection. See Bergamo.
Moreni, Domenico, 4, 74, 75, 79, 80,
108, 113, 119, 134, 257, 262, 263,
264, 287.
Moriana, family of the della, 3, 273.
Moro, Antonio, 87, 196.
Moscioni. See Photographs.
"Moses Receiving the Tables of the
Law," 75, 76, 263.
Muller-Walde, 209.
Munich, 112; copy of a lost "Ma-
donna" at, 217-218, 223.
— See Rohrer Collection.
Miintz, 81, 132, 134, 141, 148, 149,
151, 159, 169, 170, 181, 185, 208,
209, 213.
Murray, C. Fairfax, 214.
Musee Calvet, Avignon, 194.
Museo Nazionale. See Bargello.
Museum Mazzuchelli, 148.
Muziano, 201.
N
"Nailing to Cross," projected at
Certosa, 43, 113.
Naldini, Battista : draughtsmanship,
23, 97; drawings confused with
Andrea's, 97; with Michelan-
gelo's, 97; with Pontormo's, 97;
helps Vasari, 97; imitates Pon-
tormo, 97, 98; life with Pon-
tormo, 92; "Madonna," in Bos-
ton, 195; mentioned in Pontor-
340
INDEX
mo's diary, 298, 299, 300, 301,
303 ; pupil of Pontormo, 97.
Naples, Museo Nazionale, "A Cardi-
nal," 218; copies of ''Venus and
Cupid," 143, 144, 219, 220;
copy of Raphael's "Portrait of
Leo X," 261; "Madonna and
Angels," 219; "Portrait of a
Woman," 219; "Portrait of
Two Architects," 219; "Tibal-
deo," 237.
Napoleon, 168.
Nardi, Jacopo, 7, 13, 66, 253.
National Gallery, London, 83, 213-
214; Bacchiacca's "Life of Jo-
seph," 159; "Joseph in Egypt,"
21, 156-159; Michelangelo's "En-
tombment," 213; "Portrait of
a Boy," 213; "Portrait of a
Cardinal," 214; "Portrait of a
Man, "214.
"Nativity" (lost), painted for Cer-
tosa, 41, 113, 257.
Necrologia della Grascia, 3.
Neoustroieff, 201.
Nerli, 28, 45.
Neroni, Alessandro, 256.
— , Carlo, 54, 131, 259.
Nesius, lohann, 149.
Nesselrode Collection, 172.
New Haven. See Jarves Collection.
New Jersey. See Platt Collection,
Englewood.
New York, 151, 222, 223, 231.
Niccolini Chapel, San Proculo, Flor-
ence, 207.
Niceolo da Magna. See Schomberg.
Nichols Collection, 247.
Nicolaus Florentinus, 148, 149.
Nicolle, 228.
"Noli me tangere" (lost), for Ales-
sandro Vitelli, 62, 260.
— (lost) for Davolo, 56, 60, 259-260;
copies of, 260; date of, 260;
documents for, 260; Michel-
angelo's cartoon for, 62, 259.
— See Michelangelo.
Notai Nobili, de, 3.
Northbrook Collection, 196, 211, 214-
215.
Northumberland Collection, 193, 247.
"Nudes Playing at Calcio, " pro-
jected for Poggio, 61, 62, 173,
176.
Nuremberg, 112.
O
Ober St. Veit, near Vienna, 53, 168.
Oldenburg, 86, 161-162, 235.
On Certain Drawings. See Clapp.
Onken. See Photographs.
Oppler Collection, 209.
Orlandini Collection, 149.
Orleans, Collection d', 172, 209.
Osservanti, Borgo San Sepolcro, 21,
105, 106.
Ottaviano, mentioned in Pontormo 's
diary, 94, 296, 300, 301, 302, 303,
304.
Ovid, 29, 175.
Oxford, Christ Church, 121.
— , University Galleries, 132.
— , Watney Collection, 223.
Paggi, 151.
Paghanelli, Antonio, 47, 120.
— , Bernardo, 47, 120.
Pagni, Cristiano, 71, 184.
Pagolo, il Rosso, mentioned in Pon-
tormo's diary, 300.
Palazzo Albani, Urbino, 205.
— Barberini, Rome, 144, 182-183.
— Bianco, Genoa, 21, 25, 83, 96, 154-
155.
— Capponi delle Rovinate, 121.
341
INDEX
Palazzo Capponi, Farinola Collection,
128.
— Corsini, Florence, 129-130, 202-
203, 246.
— Corsini, Rome, 17, 32, 33, 42, 43,
48, 85, 112, 121, 127, 132, 176,
182, 214, 255.
— Davanzati, Florence, 57, 130, 242.
— del Podesta, Florence, 14.
— del Quirinale. See Quirinal.
— Farnese, Rome, 219, 220.
— Giraud-Torlonia, Rome, 231-232.
— Pazzi, Florence, 65, 171.
— Pitti, 22, 23, 25, 53, 59, 81, 95, 97,
132-136, 180, 207; "Adoration
of the Magi," 23-24, 135-136;
Andrea's ' ' Madonna and
Saints," 255; "Martyrdom of
St. Maurice," 53, 54, 55, 56, 72,
131-132, 208; "Portrait of a
Man," 85, 133-134; "Portrait of
Cosimo I," ascribed to Bron-
zino, 221; "Portrait of Guido-
baldo della Rovere," 203-205,
258; Rosso 's altar-piece, 94; "St.
Anthony," 132-133; "The Three
Fates," Rosso, 203; "Tobias and
Angel," 232.
— Ricasoli, Florence, 166.
— Rospigliosi, Rome, 233.
— Spada, Rome, 232-233.
— Strozzi, Florence, 202.
— Torrigiani, Florence, 258.
— Vecchio, Florence, 95, 232 ; Camera
di Cosimo il Vecchio, 151; Cap-
pella della Signoria, 124, 125;
Carro della Zecca, 14, 136-139;
Chapel of Eleonora, 97; Chapel
of Leo X, 151, 205-206, 221;
"Portrait of Cosimo I," 206;
' ' Portrait of Cosimo il Vecchio, ' '
205-206; Quartiere di Leone X,
261; Sala de' Dugento, 70, 71,
184; Sala di Clemente VII, 172;
Sala di Cosimo I, 146; Salotto
della Duchessa, 142 ; Ufficio delle
BeUe Arti, 41, 108, 109, 112, 115,
136-139, 206; Vasari's frescoes,
97, 133, 261.
Palermo, Museo Nazionale, 223.
Palla, Giovambattista della, 22, 55-
56, 163, 258, 259.
"Pallas Tuning Her Instrument,"
14.
Panciatichi, Bartolomeo, 257; Bron-
zino's portrait of, 85.
— , Carlo, 257.
Panshanger, Collection of Lady Des-
borough, 21, 24, 223-224; "Baker
Led out to Execution," 23, 164-
165; "Fattore di San Marco,"
166; "Joseph Discovering Him-
self to His Brethren," 23, 162-
164; "Joseph Sold to Potiphar,"
23, 119, 165-166; "Portrait of a
Lady," 224, 229; "Portrait of a
Youth," 223, 224.
Paolino da Pistoia, Fra, 268.
Paris. See Jacquemart-Andre Col-
lection; Louvre.
Parma, Palazzo del Giardino, 219,
220.
Parsons, 244.
Pasquale di Zenobi, 4.
Passavant, 81, 181, 217.
Passerini, 51, 169, 204.
Pastermo, 69, 259, 283.
Pelagi, G., 254.
Perazzi. See Photographs.
Perfetti, Antonio, 152.
Perkins. See Mason Perkins.
Perugino, 210, 238.
Pesaro, 59.
Petit, Georges, 248.
Petrarca, mentioned in Pontormo's
diary, 304.
342
INDEX
Petrarch, 1, 142.
Philadelphia. See Johnson Collec-
tion ; Mclhlenny Collection ;
Wanamaker Collection; "Widener
Collection.
Phillips, Sir Claude, 23, 164, 165.
Philpots. See Photographs.
Photographs. Alinari, 95, 107, 115,
116, 119, 122, 127, 128, 130, 132,
133, 134, 136, 145, 146, 147, 150,
151, 152, 160, 172, 176, 177, 181,
200, 201, 202, 203, 205, 206, 207,
210, 228, 236, 237, 261, 263.
— Anderson, 152, 161, 181, 219, 229,
231, 232, 233, 255.
— Braun, 119, 127, 132, 136, 145, 153,
166, 168, 169, 170, 181, 200, 205,
206, 208, 213, 216, 224, 226, 229,
237, 263.
— Brogi, 129, 132, 133, 134, 136, 141,
145, 152, 155, 179, 201, 205, 206,
208, 209, 219, 220, 235, 237, 238.
— Bruckmann, 153, 188, 198, 213,
218, 236.
— Bulloz, 167, 226.
— Chappel Studio, 227.
— Clapp, 104, 106, 107, 108, 109, 110,
-, 112, 113, 114, 117, 119, 121, 122,
123, 127, 132, 136, 137, 138, 139,
140, 141, 155, 164, 166, 168, 176,
177, 178, 179, 183, 187, 206, 208,
255, 258, 259, 262, 263.
— Ehrich Galleries, 222.
— Giraudon, 119.
— Gray, 213, 224.
— Hanfstaengl, 115, 117, 159, 196,
197.
— Hoefle, 234.
— Houghton, 106, 113, 119, 121, 123,
127, 136, 165, 176, 177, 178, 259,
263.
— Istituto d'Arti Grafiche, 102.
— Kensington, 123.
— Lowy, 237.
— Moscioni, 179, 182, 230, 231.
— Onken, 162.
— Perazzi, 124, 146, 147, 178, 179.
— Philpots, 107.
— Pini, 122, 127, 168, 176, 178, 262,
263.
— Randall, 221, 222.
— Reali, 81, 107, 115, 193, 223.
— Taramelli, 102.
— University Prints, 152.
Piazza dell' Olio, Florence, 7.
Pichi, Giovamnaria, 21, 44, 95, 105,
225.
Pieraccini, 115, 200.
Pier di Cosimo, 6, 14, 22, 26, 83, 232,
267, 269.
Pierfrancesco di Jacopo, 66, 232, 262.
Pierin del Vaga, 181.
Piero, mentioned in Pontormo's
diary, 93, 297, 298, 300, 301, 302,
303, 304.
Pieroni, Alessandro, 150.
"Pieta," Academy, Florence, as-
cribed to Pontormo, 199-200.
— , Certosa, Florence, 111-112 ; date
of, 112; drawings for, 42, 112;
mentioned by Vasari, 111.
— , drawing for a lost, 16, 29.
— for merchants of Ragusa (lost),
256.
— for the monks of San Gallo (lost),
16-17, 256.
Pietro, Filippo di, 177.'
Pinacoteca Lochis, 194.
Pinadori, family of the, 55, 106.
Pini. See Photographs.
Piombo, Sebastiano del, 81, 145, 153,
201, 234.
Pippo Spano, frescoes of the life of,
66.
Pisa, 56, 66, 93.
Pitti, Andrea, 55.
343
INDEX
Pitti, Buonaccorso, 168.
— See Palazzo Pitti.
Platt Collection, 198-199.
Plymouth, Collection of the Earl of,
215.
Poccetti, Bernardino, 151.
Poggiali, Gaetano, 295.
Poggio a Cajano, frescoes projected
for, 34, 58-59, 61, 62, 64, 89, 175-
176, 237.
— , lunette in the villa of, 27, 28-36,
37, 38, 41, 45, 59, 61, 73, 94, 173-
177, 228 ; date of, 176 ; drawings
for, 30-36, 43, 176 ; mentioned by
Vasari, 28, 29, 177.
Polydorus, 181.
"Pomona" (lost), for Filippo del
Migliore, 48, 258; possible draw-
ing for, 48, 258.
"Pomona and Vertumnus." See
Poggio a Cajano (lunette).
Ponte alia Carraia, 21.
— Santa Trinita, 21.
Ponte, Jacopo da, 170.
Pontormo, Jacopo da: "Adoration
of the Magi," 72, 81, 135-136,
185 ; age, 4, 80 ; " Annunciation, ' '
Capponi Chapel, 46, 122; ap-
prenticeship, 5, 6, 8, 267-270;
"Arms of Leo X," 10, 11;
"Arms of the Lanfredini," 21,
254-255 ; "Baker Led out to Exe-
cution," 23, 164-165; birth, 4;
' ' Birth-plate, ' ' Palazzo Davan-
zati, 130; "Birth-plate," Uffizi,
140-141; Carro della Zecca, 14,
136-139 ; Certosa frescoes, 39, 41,
44, 46, 98, 107-114; character,
6, 38, 89, 91; childhood, 4, 6;
contribution to portraiture, 87;
death, 4, 79; decorations of the
Capponi Chapel, 46, 47, 48, 49,
120-123; decorative gift, 26;
' ' Deposition, ' ' Capponi Chapel,
45, 72, 120-122; designs for tap-
estries, 71, 183-187; diary, 40,
91, 92, 268, 295-318; dislike of
collaborators, 44, 67; drawings,
23, 33, 34, 61, 63, 81, 85, 97, 169,
295 ; enrolled in the Company of
San Luca, 57, 279; enrolled in
the Medici e Speziali, 57, 279;
"Evangelists," Santa Felicita,
46, 122-123; "Faith and Char-
ity," Annunziata, 10, 116, 269;
family, 1-2, 267; "Fattore di
San Marco," 166; food, 93;
forerunner of the Seicento, 50;
friends, 93; funeral, 79; German
manner, 39, 104; "God the
Father," Santa Maria Novella,
124, 270; "Holy Family," San
Michele Visdomini, 17, 18-20, 22,
73, 97, 125-128; "Hospital of
San Matteo," 6, 115; house, 57,
68, 90; illnesses, 93; imitators
of, 94, 95 ; influence : on Andrea,
95; on Andrea Boscoli, 98; on
art, 94; on Bacchiaeca, 95; on
Bronzino, 96, 97; on Bugiardini,
95 ; on Cigoli, 98 ; on Empoli, 98 ;
on Granacci, 95; on Naldini, 97-
98; on portraiture, 87, 88; on
Rosso, 94; on Stradano, 98; on
Vasari, 95, 205; on Zacchia, 98;
influenced : by Albertinelli, 8, 11,
12, 15, 26, 268 ; by Andrea, 8, 11,
15, 17, 18, 19, 20, 22, 23, 24,
26, 37, 77, 94-95, 118, 169; by
Diirer, 38, 39, 40, 41, 42, 43, 45,
46, 47, 52, 55, 106, 107, 109, 110,
111, 113, 114, 129, 168, 258; by
Fra Bartolommeo, 8, 53, 168;
by Leonardo, 18, 19, 20, 23, 26,
53, 128, 168, 268-269 ; by Michel-
angelo, 12, 18, 26, 31, 32, 35, 36,
344
INDEX
37, 38, 42, 52, 53-54, 55, 59, 60,
61, 62, 68, 69, 70, 72, 73, 74, 77,
78, 131; by Pier di Cosimo, 26,
83; "Joseph Discovering Him-
self to His Brethren," 23, 24,
162-164; "Joseph in Egypt," 21,
22, 166-169; "Joseph Sold to
Potiphar," 23, 165-166; journey
to Rome, 69, 181; letter to
Varchi, 89, 285-286; lost "An-
nunciation," 267; lost frescoes
at Careggi, 65-66, 67, 263; lost
frescoes at Castello, 67-68, 262-
263; lost frescoes in San Lo-
renzo, 70, 71, 74, 75, 76, 77, 78, 79,
86, 90, 94, 95, 263-264, 295, 296,
297, 298, 299, 300, 301, 302, 303,
304, 306; lost "God the Father,"
San Ruffillo, 117; lost "God the
Father," Santa Felicita, 46, 123;
lost "Nativity," 113; lost "Noli
me tangere," 56, 60, 259-260;
lost "predella" for "San Gallo
Annunciation," 270; lost "Rais-
ing of Lazarus," 55, 56, 258-259;
"Lucretia," Borghese, 85, 179;
"Madonna and Saints," Louvre,
51, 53, 55, 167-169; "Madonna
and Saints," San Luca, Annun-
ziata, 117, 268, 270; "Madonna
Enthroned," Uffizi, 20, 139;
"Madonna," Farinola Collection,
20, 128, 146; "Madonna," Pal-
azzo Corsini, Florence, 129-130,
145-146; manner of life, 57, 73,
90, 92, 93, 94; "Martyrdom of
St. Maurice," 53, 55, 131-132,
139-140, 269 ; opinions on art, 37,
43, 59, 77, 89, 90, 285-286; por-
traits, 25, 41, 44, 57, 64, 68, 69,
80-81, 82-88, 94, 96, 101, 102,
103, 104-105, 107, 113, 133-134,
141, 146-155, 159-162, 167, 169-
173, 180-181, 182, 188-189, 198,
205, 229-230; property, 80;
pupils, 94-95, 225; "Pygmalion
and Galatea," 56, 182-183; re-
lations: with Andrea, 269; with
Certosa, 39, 40, 44 ; with Hospital
of Innocents, 72; with Michel-
angelo, 259-260; with Naldini,
92; with Vasari, 95, 171; "St.
Anthony," Pitti, 132-133; "St.
John Evangelist," Pontormo, 24,
178-179; "St. Michael," Pon-
tormo, 24, 177-178; "St. Quen-
tin," 22, 44, 105, 106, 109;
"Santa Veronica," 6, 12, 123-
125, 270; sonnets on his death,
80, 287-293; studies "Battle of
the Cascina," 18, 23; studies
Masaccio, 270; studies Pier di
Cosimo, 269 ; studies Sixtine ceil-
ing, 35-36; "Supper at Em-
maus," 41, 98, 114-115; tribute
to Michelangelo, 286; under-
standing of Michelangelo's art,
34, 62, 73; "Venus and Cupid,"
142-145, 286; "Visitation," An-
nunziata, 15-16, 117-119; "Visi-
tation," Carmignano, 55, 106-
107; way-side shrine, Boldrone,
45, 103-104 ; work at Poggio, 28,
31, 32, 33, 35, 36, 37, 38, 41, 45,
58, 173-177; work on cars of
Broncone, 13, 253-254; work on
cars of Diamante, 13, 253 ; works
found in his house at his death,
80.
Pontormo, memorial tablet to, 80.
— , portraits of, 81, 247, 248.
— , village of, 3, 6, 11, 177.
Pope's Chapel. See Santa Maria
Novella.
Porcacchi, Tommaso, 290.
Porta a Faenza, Florence, 10, 116.
345
INDEX
Porta, Fra Bartolommeo della, 6, 8,
53, 98, 118, 168, 268.
Porta Prato, Florence, 302.
— Romana, Florence, 107.
— San Frediano, Florence, 51, 168.
— San Gallo, Florence, 16, 256.
Portrait-drawings, 25-26, 49, 82, 84,
85, 86, 96, 154.
Portraits : of a boy, National Gallery,
ascribed to Pontormo, 213; of
a boy, Trivulzio Collection, 84,
160-161; of a lady, Jacquemart-
Andre Collection, 87, 101, 167;
of a lady, Oldenburg, 86, 161-
162; of a lady, Tamowski Col-
lection, ascribed to Pontormo,
198; of a lady, Turin, ascribed
to Pontormo, 235; of a lay
brother (lost), 113, 257; of
Alessandro de' Medici, 64, 65,
68, 82, 85, 96, 170-173, 203, 258,
260, 280-282; of a man, Palazzo
Corsini, Rome, 85, 182; of a
man, Pitti, 133-134; of a man,
Platt Collection, ascribed to
Pontormo, 199; of a man, Uffizi,
57, 84, 141, 259; of Amerigo
Antinori (lost), 64, 260; of an
engraver of precious stones,
Louvre, 82, 105, 169-170; of
Anna Strozzi, by Bronzino, 96;
of an old lady, Vienna, 87, 107,
188; of Ardinghelli (lost), 258;
of a woman, Panshanger, by
Granacci, 229; of a young
woman, Dirksen Collection, 85,
103; of a young woman, Stadel
Institute, 85, 103, 152-154; of a
young woman, Widener Collec-
tion, 86, 101 ; of a young woman,
Yerkes Collection, 86, 96, 188-
189; of a youth, Bergamo, 57,
84, 102; of a youth, Bonn, 83,
104-105 ; of a youth, Jacquemart-
Andre Collection, ascribed to
Pontormo, 225-226; of a youth,
Lucca, 57, 84, 159-160; of a
youth, Palazzo Bianco, Genoa,
21, 25, 83, 96, 154-155; of Bar-
bara Cortegiana, St. Petersburg,
ascribed to Pontormo, 224, 229;
of Bartolomeo Compagni, 86,
155; of Becuccio Biccheraio's
son-in-law (lost), 25, 255; of
Capponi's daughter (lost), 50,
257; of Cardinal Spannocchi
Cervini, 69, 86, 180-181; of Carlo
Neroni (lost), 259; of Cosimo I,
68, 180, 220-221; of Cosimo il
Vecchio, 21-22, 25, 82, 83, 147-
152, 173, 205; of Francesco
Guardi (lost), 259; of Giulio de'
Medici (lost), 261; of Gualte-
retti ascribed to Pontormo, 227;
of Guidiccioni (lost), 259; of
Guidobaldo della Rovere, by
Bronzino, 203-205; of Ippolito
de' Medici (lost), 258; of Lap-
poli (lost), 255; of Maria Sal-
viati (lost), 68, 261; of the Fat-
tore di San Marco, Panshanger,
166; of Vittoria Colonna as-
cribed to Pontormo, 201; of
Young Cosimo I, 146-147.
Pourtales Collection, 153.
Poynter, 159, 213, 214.
Pozzo, Cassiano del, 209.
Prato Ognissanti, mentioned in Pon-
tormo 's diary, 303.
' ' Presentation in the Temple, ' ' Dijon,
95.
Priorista di Monaldi, 1, 2, 130, 271.
Provinzial Museum. See Bonn.
Public Guardians. See Pupilli.
Pucci, Antonio, 28.
Pucci family, 126.
346
INDEX
Pucci, Francesco, 19, 126.
— , Giovanni d' Antonio, 126.
— , Lorenzo, mentioned in Pontormo 's
diary, 94, 303.
Puligo, Domenico, 166, 207, 215, 224,
229.
Pulzone, Scipione, 214, 232.
Pupilli, 6, 274.
" Pygmalion and Galatea," Palazzo
Barberini, Rome, 56, 182-183.
Q
Quarto, 104.
Quattrocento, 87.
Quirinal, Rome, 70, 72, 183-185, 186-
187.
R
Raffaellino del Garbo, 95.
Raffaello da Colle, 187.
''Raising of Lazarus" (lost), 55, 56,
258-259; date of, 56, 259; men-
tioned by Vasari, 55; possible
drawing for, 56, 259.
Randall. See Photographs.
Raphael, 5, 61, 81, 86, 132, 180, 181,
205, 209, 253, 261, 267.
Rassegna d' arte, 64, 98, 119, 173, 189,
199, 218, 223, 237.
Reali. See Photographs.
Reber, von, 218.
Regia Pinacoteca. See Turin.
Registro dei Battezzati, 21.
Reinach, Salomon, 102, 181, 214, 234,
244, 248.
Reiset, 264.
— Collection, 81, 248.
Renouvier, 217.
Repertoire. See Reinach.
Repertorium, 91, 128, 148, 159, 169,
177, 236, 295.
"Resurrection," drawings for, 76,
263.
Revue de I' art ancien et moderne,
228.
Rezzonico Collection, 248.
Riccardi Collection, 153.
Ricci, Seymour de, 51, 168, 169, 170,
226.
Richa, 8, 10, 15, 19, 51, 75, 79, 116,
117, 119, 121, 122, 126, 128, 131,
132, 168, 169, 199, 207, 256, 264.
Richter, J. P., 21, 126, 156, 158, 159,
213.
Rieffel, 234.
Rigoni, 185.
Rinaldis, Aldo de, 218, 219, 220, 261.
Riposo. See Borghini (Raffaello).
Ris, de, 215.
"Risen Christ," Certosa, 42, 112-113.
Ristretto, 119, 122, 128.
Rivista d'arte, 64, 68, 107, 147, 166,
171, 173, 176, 178, 179, 205, 206,
224, 228, 229, 280.
Rohrer Collection, 218.
Rome, Pontormo 's drawings of an-
tiquities of, 69.
— See Borghese Gallery ; Corsini Gal-
lery; Palazzo Farnese; Palazzo
Giraud-Torlonia ; Palazzo Ros-
pigliosi; Palazzo Spada; Quiri-
nal.
Romena, chapel of the da, Santa
Maria Maddalena de' Pazzi, 207.
Roselli family, 157.
Rosenberg, 81.
Rosini, 152, 264.
Rospigliosi. See Palazzo Rospigliosi.
Rossellino, 25.
Rossi, Giovan Gherardo de', 158.
Rossino, 260.
Rosso, 9, 14, 94, 129, 139, 238, 253,
270 ; altar-piece in Pitti, 94, 154-
155 ; ' ' Assumption, ' ' Annun-
ziata, 119, 200; "Deposition,"
Volterra, 94, 238; influenced by
347
INDEX
Pontormo, 94; "Marriage of St.
Catherine," San Lorenzo, Flor-
ence, 94; "The Three Fates,"
Pitti, 203.
Host, Giovanni, 71, 72, 184.
Rothschild Collection, 209.
Rovere, Portrait of Guidobaldo della,
59, 203, 205, 258.
Royal Academy, Loan Exhibitions,
81, 243, 247, 248.
Rubens, 132.
Ruble Collection, 209.
Rudiger, W., 13.
Rusconi, 181.
Rustici, Giovan Francesco, 14, 69.
"Sacrifice of Cain and Death of
Abel," drawing of, 75, 263.
St. Anne, convent of, 51, 168.
"St. Anthony," Pitti, 132-133; date
of, 133.
"St. Bartholomew" for Ginori's
funeral banners, 25, 255.
St. Catherine of Siena, convent of,
254.
"St. Jerome," drawing of, 53.
"St. John," Carro della Zecca, 138.
"St. John Evangelist," Pontormo, 24,
178-179; date of, 179; drawing
for, 24, 178; mentioned by Va-
sari, 178.
St. Louis, Museum, 87.
"St. Matthew," Carro della Zecca,
137.
"St. Michael," Pontormo, 24, 177-
178; date of, 178; drawings for,
24-25, 178 ; mentioned by Vasari,
178.
St. Petersburg, Hermitage, "Santa
Barbara," 228-229; "Holy Fam-
ily," 228.
"St. Quentin," Borgo San Sepolcro,
21, 44, 105, 106, 109; date of,
21, 106; drawing for, 44, 106;
mentioned by Vasari, 105-106.
"St. Zenobius," Carro della Zecca,
137.
Sala del Papa, 53.
Sale X., 145.
Salviati, Francesco, 75, 78, 144, 145,
184-185, 213, 218; cartoons for
tapestries, 70, 184; "Portrait of
a Boy," Poldi-Pezzoli, 237;
"Portrait of a Man," Colonna
Gallery, Rome, 237; "Portrait
of a Man," Corsini Gallery,
Florence, 237; "Portrait of a
Man," Platt Collection, 199;
"Portrait of a Youth," Uffizi,
237; "Portrait of a Youth,"
Vienna, 237; "Portrait of Him-
self," Uffizi, 237; "Tibaldeo,"
Naples, 237.
— , lost Arms of Giovanni, 17, 256.
— , Maria, 67 ; lost portrait of, 68, 261.
— , Piero, 80, 262.
Salvini, Salvino, 258.
Salvio, painter to Cavalier Somo, 171,
281.
San Domenico, mentioned in Pon-
tormo's diary, 93, 300.
Sandrino, mentioned in Pontormo 's
diary, 93, 302, 303.
San Francesco, Borgo San Sepolcro,
105.
— , Florence, mentioned in Pontor-
mo's diary, 298, 304.
San Gallo, Aristotile da, 14.
San Giovanni, arms of the, 130.
San Lorenzo, Florence, Archives of,
78.
— /'Assumption of the Virgin" in,
207.
348
INDEX
San Lorenzo, Bronzino finishes Pon-
tormo's frescoes in, 79, 263.
— , drawing by Bronzino for the
" Deluge" in, 79.
— , lost frescoes in : 70, 71, 74, 75, 76,
77, 78, 79, 86, 90, 94, 95, 263-264;
date of, 78-79, 263 ; drawings for,
71, 72, 75, 76, 77, 185, 263 ; men-
tioned by Vasari, 74, 78, 79, 264 ;
mentioned in Pontormo's diary,
79, 91, 92, 263, 295, 296, 297, 298,
299, 300, 301, 302, 303, 304, 306 ;
no documents for, 78, 264; sym-
bolism of, 77, 94.
— , memorial tablet in, 4, 80 ; Michel-
angelo 's tombs in, 59 ; Ottaviano
de' Medici buried in, 94; relief
of Cosimo il Vecchio in, 150;
Rosso 's " Marriage of St. Cathe-
rine" in, 94.
San Lorenzo a Galuzzo. See Certosa.
San Lorenzo al Monte. See Certosa.
San Luca Chapel, Annunziata, in-
scription on the vault of, 79.
— See ' ' Madonna and Saints. ' '
San Marco, Florence, 150.
— , Piazza di, Florence, 254.
San Michele, Pontormo, 4, 24, 177-
179.
San Michele Visdomini, Florence,
"Holy Family" in, 6, 17, 18-20,
22, 73, 125-128, 146.
San Miniato, mentioned in Pontor-
mo's diary, 93, 300, 304.
San Pancrazio, Florence, 2, 272.
San Proeulo, Florence, 207.
San Remigio, Florence, 2, 272.
San Ruffillo. See "Madonna and
Saints," San Luca Chapel, An-
nunziata.
Sansovino, Jacopo, 14.
"Santa Barbara." See St. Peters-
burg.
Santa Cecilia, Compagnia di, 255.
— , lost lunette of, 17, 29, 30, 255;
date of, 255; drawings for, 17,
255; mentioned by Vasari, 17.
Santa Croce, Florence, 1, 2, 3, 271;
' ' Madonna and Saints, ' ' ascribed
to Pontormo in, 206; Zanchini
Chapel in, 81.
Santa Felicita, Capponi Chapel, 46,
47, 48, 49, 53, 54, 55, 73, 84;
drawings for decoration of, 43;
"Annunciation" in, 46, 122;
drawings for, 47-48; "Deposi-
tion" in, 38, 45-49, 94, 120-122;
date of, 47, 121; drawings for,
47-49, 121 ; mentioned by Vasari,
47, 120; "Evangelists" in, 46,
122-123; drawing for, 49, 123;
lost "God the Father and Pa-
triarchs" in, 46, 257; possible
drawings for, 49.
Santa Maria del Fiore, mentioned in
Pontormo's diary, 302-303.
Santa Maria Maddalena de' Pazzi,
207.
Santa Maria Novella, Florence, 5, 11,
124; "Santa Veronica" in, 12,
123-125; "God the Father" in,
12, 124.
Santa Maria sopra Minerva, Rome,
258.
Santa Trinita, Florence, 199.
Santa Trinita. See Ponte.
"Santa Veronica," Santa Maria
Novella, Florence, 6, 12, 123-
125, 270 ; date of, 125 ; mentioned
by Vasari, 124.
Santi di Tito, 237.
SS. Annunziata. See "Madonna and
Saints"; "Visitation."
"Sant'Agostino" (lost), 10, 256.
Sant' Angelo in Vado, Rome, 204.
Sant' Antonio, Florence, 116.
349
INDEX
Sant' Eusebio, Florence, 168.
Santo Stefano, Pisa, 4.
Sardi, Tommaso, 149.
Sardinia, King of, 235.
Sarto Agostino, 282.
— , Andrea del. See Andrea del
Sarto.
Savoy, House of, 235.
Scala, Bartolomeo, 147.
Sealzo, Florence, 17.
Schaeffer, 115, 133, 134.
Schevitch Collection, 248.
Schlegel, A. W. von, 212.
Schmidt, W., 218.
Schomberg, Nicolaus von, 260.
Schubring, 136, 141, 158, 208.
Schulze, 154, 179, 198, 200, 201, 205,
228, 234, 235.
Schweitzer Collection, 209.
Scotland. See Lothian Collection;
Stirling Collection.
Scotti, Luigi, 126.
Sedelmeyer Collection, 203, 221, 246.
Servites, 9, 10, 79, 269.
Sesto, Cesare da, 132.
Sguazzella, 80.
Siena, Library of the Cathedral of,
61.
Signoria of Florence, 2, 51.
Siren, Osvald, 221, 222.
Sixtine Ceiling. See Michelangelo.
Smith Collection, 248.
Societa Colombaria, Florence, 151.
Soderini, 7, 126.
Solly Collection, 105.
Somo, Cavalier, 281.
Somzee Collection, 209.
Sonnet on "Venus and Cupid," 143.
Sonnets on the death of Pontormo,
287-293.
Spannocchi Cervini. See "Portrait
of Cardinal Spannocchi Cer-
vini."
Spence, Campbell, 214.
Spinelli, Niccolo di Forzore, 148.
Spini Filippo, 17.
Stadel Institute, Frankfort, drawings
in, 35, 53, 153; "Portrait of a
Young Woman" in, 85, 103, 152-
154.
Steinmann, 201.
Stephano Romano, 282.
Stirling Collection, 86, 155.
Stradano, Giovanni, 98.
Strozzi, Alessandro, 295.
— , Carlo di Tommaso, 295.
— , Filippo, 56.
— , Giovambattista, mentioned in Pon-
tormo's diary, 94, 300.
— , Pontormo 's diary once in the
library of the, 295.
— See Palazzo Strozzi.
Sturgis, Russell, 222.
Stuttgart, Staatsgalerie, 234.
Suida, 155.
Supino, 147, 148, 176.
"Supper at Bmmaus, " Academy,
Florence, 41, 114-115; date of,
41, 114; drawing for, 42, 114;
document for, 41, 115, 277.
Tadda, Francesco del, 150.
Tapestries, Pontormo 's designs for,
70-72, 183, 187.
Taramelli. See Photographs.
Tarnowski Collection, 198.
Tasso, Battista, mentioned in Pon-
tormo's diary, 297, 304.
— , Giuliano del, 14.
— , Marco del, 15, 138, 297.
Terey, Gabriel de, 196.
Terzano, 1, 271.
Thaw CoUection, 151.
Thode, 59, 60, 63, 143, 144, 145, 171,
350
INDEX
179, 201, 205, 211, 213, 220, 236,
260.
Thode Collection, 64.
"Three Graces," drawing for, 61.
— , marble group of, 61.
"Tilling of the Soil," drawing for,
76, 263.
Timbal Collection, 132.
Tischendorf, 158.
Titi, 144.
Titian, 204, 237.
"Tobias and the Angel," Borghese
Gallery, 230-231.
Tomitano, 69.
Tornaquinci, arms of the, 140.
— , Elisabetta, 141.
Touaglia, Giuliano del, 264.
Tour d'Auvergne, Madeleine de la,
28.
Trapesnikoff, 148, 149, 150, 152, 160,
205, 206.
Tregua, feast of the, 93, 302.
Tresor de numismatique, 148.
Treviso, Girolamo da, 237.
Tribolo, 66, 74.
Triumphal arch for Leo X, 7, 14, 254.
Trivulzio Collection, 84, 160-161, 216.
Tschudi, 149.
Tucker, von, 181.
Tureo, family of the del, 157.
Turin, 154, 234-236.
U
Ufficio delle Belle Arti. See Palazzo
Vecchio.
Uffizi, 15, 139-152, 169; "Birth-
plate" in, 57, 140-141; copy of
Leonardo's "Battle of Anghi-
ari," 132; "Expulsion from
Paradise," ascribed to Pontormo,
207-208; "Leda and the Swan,"
ascribed to Pontormo, 209 ; ' ' Life
of Joseph," Granacci, 208; "Ma-
donna and Little St. John," 53,
145-146 ; ' ' Madonna Enthroned, ' '
139; "Martyrdom of St. Mau-
rice," 54, 139-140; portrait-
drawing: of an artisan, 85; of
a bishop, 86, of a boy, 86, of a
soldier, 85 ; "Portrait of a Man,"
57, 84, 141 ; "Portrait of a Man,"
by Botticelli, 149; "Portrait of
a Youth," by Salviati, 237;
' ' Portrait of Cosimo il Vecchio, ' '
21-22, 25, 82, 83, 147-152, 173,
205; "Portrait of Eleonora," by
Bronzino, 97; "Portrait of Him-
self," by Andrea, 83; "Portrait
of Himself," by Salviati, 237;
"Portrait of Young Cosimo,"
146-147; "Venus and Cupid,"
63, 142-145.
— , drawings in, 10, 11, 16, 17, 20, 23,
24, 25, 26, 29, 30, 31, 32, 33, 34,
35, 36, 38, 39, 42, 43, 44, 47, 48,
49, 50, 52, 54, 55, 56, 57, 61, 62,
63, 64, 66, 68, 71, 72, 77, 81, 84,
85, 86, 91, 96, 97, 98, 104, 106,
110, 112, 113, 114, 116, 117, 119,
121, 122, 123, 125, 127, 136, 137,
139, 144, 147, 153, 159, 160, 164,
165, 166, 168, 176, 177, 178, 179,
187, 200, 218, 255, 258, 259, 262,
263.
— , paintings mentioned in, 15, 20, 21,
53, 54, 62, 68, 81, 83, 95, 97, 111,
132, 149, 151, 156, 163, 171-172,
180, 201, 207-209, 237.
Ughi, arms of the, 130.
Ulivelli, Cosimo, 151.
Ulmann, 208.
University Prints. See Photographs.
Urbino, Palazzo Albani, 205.
351
INDEX
Vagnonville, Baron de, 249.
Val d'Ema. See Certosa.
Valori, Baccio, 268.
Varchi, 51, 52, 56, 63, 94, 142, 145,
262, 285; mentioned in Pon-
tormo's diary, 300, 304; Pontor-
mo's letter to, 89, 285-286; son-
net to Bronzino, 287, 296; son-
net to Pontormo, 93.
Vasari, 78, 95, 106, 116, 145, 201;
"Battle of Val di Chiana," 95;
copies Pontormo 's "Portrait of
Cosimo il Vecchio," 150, 151;
copies Pontormo 's "Portrait of
Young Cosimo I, " 146 ; " Corona-
tion of the Virgin," Citta di
Castello, 95; decorations for the
reception of Charles V, 9 ; draw-
ings from Pontormo 's Certosa
frescoes, 39, 95, 113; frescoes in
Palazzo Vecehio, 97, 133, 146-
147, 261; letter to Francesco
Lioni, 145; letter to Ottaviano
de' Medici, 171; "Life of Bron-
zino," 49, 95, 262; "Life of
Cristofano dell' Altissimo," 95;
"Life of Feltrini," 9; "Life of
Lappoli," 225; "Life of Mar-
cantonio," 38; "Life of Pon-
tormo," 89; Michelangelo's in-
fluence on, 74, 144; personal
appreciation of Pontormo, 37,
89, 90, 91; Pontormo 's influence
on, 95, 133, 205; "Portrait of
Alessandro de' Medici," Uffizi,
64, 95, 171, 172; "Portrait of
Cosimo I," Palazzo Vecchio, 95,
180, 206, 221; "Portrait of
Cosimo il Vecchio," Palazzo
Veechio, 95, 180, 205, 206;
"Portrait of Maria Salviati,"
Palazzo Vecchio, 261; "Ragiona-
menti," 133, 151; "The Three
Graces," Budapest, 61; "Venus
and Cupid," Galleria Colonna,
145.
— , Lives of : edition of 1760, 81 ; edi-
tion of 1832-1838, 143 ; first Ger-
man edition, 143; Milan edition,
75, 131, 256; Milanesi edition.
See Milanesi; Roman edition,
131; translation De Vere, 119,
122, 132, 136, 159, 170, 206.
— mentions : Albertinelli 's ' ' Holy
Family," 8; Andrea's "Birth
of Virgin," 16; Bacchiacca's
panels for Benintendi, 135;
Bronzino 's draughtsmanship, 97 ;
"Pieta," 199; "Portrait of
Guidobaldo," 204, 205; work at
Certosa, 113; Bugiardini's ap-
prenticeship, 5; Dal Prato's
medallions, 171; Delia Palla,
56 ; Diirer 's woodcuts, 38 ; Fran-
ciabigio's panels for Benintendi,
23; Granacci's "Life of Jo-
seph," 158; Lappoli 's copies of
Scalzo frescoes, 232; Leonardo's
cartoon of the "Battle of An-
ghiari," 53; Marco del Tasso,
138; Michelangelo's influence on
Pontormo, 62 ; Michelangelo 's
San Lorenzo tombs and Cavalieri
drawings, 60; Ottaviano de'
Medici, 94; Puligo's "Barbara
Cortegiana," 224, 229; Puligo's
"Madonna and Saints," Santa
Maria Maddalena de ' Pazzi, 207 ;
Ridolfo Ghirlandaio 's frescoes in
the Cappella della Signoria, 125.
— mentions: Pontormo 's "Adoration
of the Magi," Pitti, 23, 135, 136;
apprenticeship, 5, 6, 267-268, 270 ;
birth, 4; Carro della Zecca, 15,
352
INDEX
139; cartoons for tapestries, 70,
184, 185, 186; Certosa frescoes,
39, 40, 43, 44, 107, 108, 109, 110,
111, 112, 113, death, 79; "Depo-
sition," Santa Felicita, 120,
122; "Evangelists," 46-47, 123;
"Faith and Charity," 7, 9, 10,
116; family, 1, 3, 4, 6; frescoes
in the Pope's Chapel, 11 ; funeral,
79 ; " Holy Family, ' ' San Michele
Visdomini, 19, 126; house, 57,
68; "Joseph in Egypt," 21, 22,
157, 159; lost "Annunciation,"
5, 253; lost "Arms of the Lan-
fredini," 21, 254; lost "Arms
of Giovanni Salviati," 17, 256;
lost cars for the Broncone, 13,
14, 253; lost cars for the Dia-
mante, 13, 14, 253; lost "Dead
Christ," 253; lost frescoes at
Careggi, 65, 66, 262; lost fres-
coes at Castello, 66, 67, 262 ; lost
frescoes in San Lorenzo, 74, 75,
76, 78, 79, 263, 264; lost fresco
of "Christ as Pilgrim," 17, 254;
lost funeral banners for Ginori,
25, 255; lost "God the Father,"
Capponi Chapel, 257; lost "God
the Father," San Euffillo, 254;
lost "Madonna" for Capponi,
128, 257; lost "Madonna" found
in his house, 262; lost "Ma-
donna" given to a Spaniard,
261; lost "Madonna" given to
Rossino, 260; lost "Madonna,"
in the house of Alessandro
Neroni, 256; lost "Madonna"
painted for Spaniards, 257; lost
"Madonna" sold to Piero Sal-
viati, 80; lost "Nativity" for
Certosa, 41, 257; lost "Noli me
tangere," 260; lost "Pieta" for
merchants of Ragusa, 256; lost
"Pieta" for the monks of San
Gallo, 16, 256; lost "Pomona"
for Del Migliore, 48, 258; lost
"Portrait of a Lay Brother," 41,
257; lost "Portrait of Amerigo
Antinori," 260; lost "Portrait
of Ardinghelli," 258; lost "Por-
trait of Bicchieraio 's Son-in-
law," 255; lost portrait of Cap-
poni's daughter, 257; lost "Por-
trait of Carlo Neroni," 141, 259;
lost "Portrait of Cosimo I," 68;
lost "Portrait of Francesco
Guardi," 56, 259; lost "Portrait
of Ippolito de' Medici," 203,
258; lost "Portrait of Lappoli,"
25, 44, 255; lost "Portrait of
Maria Salviati," 68, 261; lost
"Santa Cecilia," 17, 255; lost
"Sant'Agostino," 256; lost
"Raising of Lazarus," 55, 258;
lunette at Poggio, 28, 29, 177;
"Madonna and Saints," Louvre,
51, 168, 169; "Madonna and
Saints," San Luca Chapel, 117;
"Martyrdom of St. Maurice,"
Pitti, 54, 131, 132; "Martyrdom
of St. Maurice," Uffizi, 54, 140;
panels for Borgherini, 22, 56,
157, 164, 165, 208; "Portrait of
Alessandro de' Medici," 64, 170,
171, 173, 258; "Portrait of Co-
simo il Vecchio," 21, 25, 152;
"Portrait of Young Cosimo I,"
146, 147; "Pygmalion and Gala-
tea," 56, 183; "St. John Evan-
gelist," 178; "St. Michael,"
178; "St. Quentin," 105-106;
Santa Felicita decorations, 46, 47,
49; "Santa Veronica," 124;
"Scenes from the Life of
Joseph," 21; second series of
decorations projected at Poggio,
353
INDEX
58-59, 61, 64, 89; shrine at Bol-
drone, 45, 53, 104; "Supper at
Emmaus," 114; triumphal arch,
14, 254; "Venus and Cupid,"
62, 63, 90, 142, 145; "Visita-
tion," Annunziata, 15, 118.
Vasi, 144.
Vatican, 53.
Vega, Garcilaso de la, 197.
Venice, Museo Correr, 132, 236.
Venturi, 179, 180, 181, 230, 233.
"Venus and Adonis," projected for
Poggio, 61, 176.
"Venus and Cupid," 62, 63, 64, 65,
68, 90, 142-145 ; copies and repli-
cas of, 63, 144, 199, 220 ; date of,
63, 144; documents concerning,
63, 142; mentioned by Vasari,
62, 63, 142, 145; symbolism of,
143.
Venusti, ' ' Annunciation, ' ' Lateran,
122; "Portrait of Vittoria Co-
lonna," ascribed to, 201.
Vere, de, translation of Vasari, 119,
122, 132, 136, 159, 170, 205, 206.
Verrocchio, 149.
Vertumnus and Pomona, Ovid's story
of, 175.
— See Poggio a Cajano (lunette).
Vesme, 144.
Vettori, 51.
— , Bernardo, 267.
Via Andrea del Sarto, Florence, 104.
— degli Arazzieri, Florence, 254.
— della Colonna, Florence, 57, 284.
— dell ' Osservatorio, Florence, 104.
— del Pelagio, Florence, 7, 14, 254.
— Domenico Cirillo, Florence, 104.
— Larga, Florence, 48, 258.
— Laura, Florence, 57.
— San Gallo, Florence, 254, 256.
Vienna, Belvedere, 188, 236-238;
"Holy Family," ascribed to
Pontormo, 236-237; "Madonna
and Little St. John," once as-
cribed to Pontormo, 237-238;
"Pieta," by Andrea, 200; "Por-
trait of a Lady," ascribed to
Pontormo, 236; "Portrait of a
Man," ascribed to Pontormo,
238; "Portrait of an Old Lady,"
87, 107, 188; "Portrait of a
Youth," ascribed to Pontormo,
237; "Portrait of Cosimo I,"
ascribed to Bronzino, 221.
Villa Caprarola, 65.
— Imperiale, 204.
Villano, mentioned in Pontormo 's
diary, 297.
Villari, 7.
Villot, 119, 169, 226.
Vincenzo, painter to Giulio de' Med-
ici, 171, 281.
Vinci, Giuliano da, 13.
— , Pierino da, 297.
— See Leonardo da Vinci.
Virgil, 147.
Visconti, P. E., 69, 259, 283.
Visino, pupil of Albertinelli, 195.
"Visitation," Annunziata, 15, 16, 18,
23, 55, 73, 117-119; copy in
the Louvre of, 119, 226 ; date of,
119; drawings for, 16, 119;
documents for, 16, 119; men-
tioned by Vasari, 118 ; Pontormo
buried under, 79.
— , Carmignano, 55, 61, 106-107 ; date
of, 55, 107; drawing for, 107.
— , Carro della Zecca, 15, 137.
— , Palazzo Spada, ascribed to Pon-
tormo, 232.
Vita d'arte, 127, 176, 177.
Vitelli, Alessandro, 62, 260.
Vittoria Colonna, 222.
Viviole, Raffaello delle, 13, 253.
Volpi, 69.
354
INDEX
Volterra, 94, 238.
Voss, Hermann, 188, 218, 236, 237.
W
Waagen, 81, 105, 165, 166, 214, 215,
224, 229.
Waetzoldt, 81, 135, 136, 152, 153, 154.
Walter of Brienne, Duke of Athens,
51.
"Walters Collection, 164.
Wanamaker Collection, 227-228.
Way-side shrine, Boldrone, 44-45,
103-104.
"Way to Golgotha," 40, 109-110;
date of, 110; drawings for, 42,
110; mentioned by Vasari, 110.
Weizsacker, 153.
Wemyss Collection, 248.
Wickoff, 237, 238.
Widener Collection, 86, 101, 154.
Willett Collection, 249.
Wilton House, 209.
Windsor, 132.
Wolfflin, 118, 119.
Wood Brown, 125, 150.
Wornum, 213.
X
Ximenes d'Aragona Collection, 247.
Yale University. See Jarves Collec-
tion.
Yerkes Collection, 86, 96, 188-189,
229.
Young, 150.
Yriarte, 231.
Zacchia, Lorenzo, 132.
— , Paolo, 98.
Zanchini Chapel, Santa Croce, Flor-
ence, 81.
Zecca, 139.
— , Carro della, 14, 136-139.
Zeitschrift fur bildende Kunst, 188,
203, 205, 218, 236, 237.
Zobi, Antonio, 119.
Zuccaro, Federigo, 65, 204.
— , Taddeo, 65.
355
ND
623
P7C58
Glapp, Frederick Mortimer
Jacopo Carucci da Pontormo
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET
UNIVERSITY OF TORONTO LIBRARY
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11