K. ^. ?4C GIOVANNI ANTONIO BAZZI R. H. HOBART CUST REESE LIBRARY OF THE UNIVERSITY OF CALIFORNIA. Class 1 I \ GIOVANNI ANTONIO BAZZI HITHERTO USUALLY STYLED "SODOM A" THE MAN AND THE PAINTER 1 477- 1 549 '7/ ''/" f i> y//)- . yi//rn:t/ 7iti . /{////I- GIOVANNI ANTONIO BAZZI HITHERTO USUALLY STYLED "SODOMA" THE MAN AND THE PAINTER 1477-1549 . A STUDY BY ROBERT H. HOBART CUST M.A. MAGDALEN COLLEGE, OXFORD LONDON JOHN MURRAY, ALBEMARLE STREET, W. 1906 !'"'? J> 100 22. Charitas. Bobrinsky Collection, Rome ,, 102 23. Ceiling of the Camera della Segnatura. Vatican, Rome. Photograph by Alinari . . . . . . . .,,110 24. Head of a Youth. Pencil Sketch. Malcolm Collection, British Museum, London ,,113 25. Head of a Youth with Long Hair. (Portrait of Raphael?). Pencil Sketch. Christ Church, Oxford ,,114 26. Risen Christ. Statuette, Bandini Piccolomini Tomb, Duomo, Siena. Photograph by Lombardi . . . . , . ,, 126 27. Christ at the Column. Siena Academy. Photograph by Lombardi ..4 ....... 128 28. The Marriage of Alexander and Roxana. Farnesina, Rome. Photograph by Braun, Clement &' Cie, Paris . . ,, 134 29. St. George and the Dragon. Sir Frederick Cook's Collection, Richmond ,, 165 30. LUCRETIA. Kestner Museum, Hanover. Photograph bv Bruck- mann ............. 166 31. Madonna and Child. Ginoulhiac Collection, Milan. Photo- graph by Marcozzi, Milan . . . . . . . ,, 170 32. S. Sebastian. Uffizi, Florence. Photograph by Anderson . . ,, 174 LIST OF ILLUSTRATIONS xvii PAGE 33. The Swoon of S. Catherine. (Lo Svenimento.) Church of S. Domenico, Siena. Photograph by A linari . . . Facing 1"]% 34. Study for the Same. Uffizi (Santarelli Collection), Florence. Photograph by Brogi ,, 178 35. Head of a Young Centurion. Detail from the " Execution OF Niccol6 Tuldo." S. Domenico, Siena. Photograph by Lombardi ,, 180 36. Head of a Sleeping Apostle. Detail from the "Agony in the Garden." Siena Academy. Photograph by Alinari . 185 37. Adam and Eve. Detail from the " Descent into Limbo." Siena Academy. Photograph by Alinari . . . . . ,, 186 38. S. ViTTORlo. :^alazzo Pubblico, Siena. Photograph by Alinari . ,, 194 39. Head of the Madonna. Detail. Chapel of the Palazzo Pubblico, Siena. Photograph by Lombardi . . . Photogravure ,, 195 40. S. Sebastian. Detail. Spanish Chapel, Church of S. Spirito, Siena. Photograph by Alinari. ....... 197 41. Choir of Putti. Detail from the "Assumption of the Virgin." Oratorio di S. Bernardino, Siena. Photograph by Lombardi Photogravure ,, 200 42. Head of an Angel. Detail. Porta Pispini, Siena. Photograph by Mr. Edmund Houghton, Florence . . . . . . 202 43. Choir of Angels. Detail from the same fresco. Photograph by Alinari ............ 202 44. Eagle and Putti. Palazzo Pubblico, Siena. Photograph by Lombardi. ........... 215 45. Madonna and Child. Detail from the " Adoration of the Magi." Piccolomini Chapel, Church of S. Agostino, Siena. Photograph by Lombardi . . . . , . . . ,,216 46. Head of the Young King. Detail from the same. Photo- graph by Lombardi ........... 216 47. The Nativity of the Virgin. Church of the Carmine, Siena. Photograph by Alinari . . . . . . . . ,, 219 48. Head of Eve. Detail from the " Descent into Limbo." Siena Academy. Photograph by Alinari . . Photogravure ,, 246 49. Head of Leda. Drawing. Castello Sforzesco, Milan. Photo- graph by Monteboni, Milan ........ 246 xviii LIST OF ILLUSTRATIONS PAGS 50. Head of a Madonna. Detail. Casino Borghese, Rome . Photo- graph by Anderson Facing 24,^ 51. Portraits of Giovanni Antonio Bazzi : (a) By himself. Monte Oliveto Maggiore. Photograph by Alinari 252 (b) Ditto. Drawing. Uffizi, Florence. Photograph by E. Houghton , 252 (<-) Ditto. Uffizi, Florence. Photograph by Alinari . . ,, 252 () ,, ,, Mond Collection, London. Photo- graph by Dixon ,, 359 54. Head of the Moorish King. Study for the " Adoration of the Magi." S. Agostino, Siena. Photograph by Mr. H. Burton ,, 362 55. Head of a Youth crowned with Laurel. Drawing. Uffizi, 1 Florence. Photograph by Brogi ,, 364 56. The Holy Trinity. Drawing. Uffizi, Florence. Photograph by Mr. Edmund Houghton ,, 364 *,K* The illustrations for this work have been selected rather with a view to assist the student to form an opinion of Bazzi's methods and artistic development ; and not merely to reproduce well-known works that are within general reach and cognizance. CHAPTER I GIOVANNI ANTONIO BAZZI Giovanni Antonio Bazzi, or de Bazis, was born at Vercelli, in Piedmont, in the year 1477. This proposition sounds simple enough ; but the state- ment alone raises issues that have been deliber- ately misstated over and over again by various authors, principally Sienese, in the course of the last three centuries. The researches undertaken in the Archives at Vercelli by the learned Barna- bite, Padre Luigi Bruzza,^ have, however, thrown considerable light on these points,-and have settled some of them once and for ever. In the first place, authority after authority, from Padre Ugurgieri onwards ^ down to the present time, has called him Razzi, while in divers cata- logues of the galleries of Europe, both public and private, he still passes under that name.^ Pre- sumably this error arose from the misreading of ^ Padre Luigi Bruzza, B., Notizie intorno alia patria e at priini studi del pittore Giovan Antonio Bazzi detto il Sodoma. Miscellanea di Storia lialiana, vol. i. : Torino, 1862. ^ Padre Isidoro Ugurgieri-Azzolini, Le Pompe Sanesi, vol. ii. cap. xliv. P* 353- Pistoia, 1649. This author commences his sketch of our hero by categorically contradicting Vasari as to his birthplace. ^ The Times continues to perpetuate this error. In Redford's Picture Sales of the Century no pictures by either Bazzi or Sodoma are chronicled as such ; all the works there assigned to the subject of this monograph being catalogued under Razzi. I 2 GIOVANNI ANTONIO BAZZI some document by an ignorant copyist, for no possible doubt remains now that his father's name was Giacomo de Basis, more commonly written Bazzi. This name with variants seems to have been, and is still, a fairly common one in Piedmont and Lombardy. We find Bozis and Bozzi, Bosis and Bassi among Piedmontese artists at work at the end of the fifteenth and the commencement of the sixteenth century.^ It has been indeed sug- gested by Sig. G. Milanesi,^ in commenting upon the fact that in a document, dated 1518,^ in the Ecclesiastical Archives of Siena, our artist is de- scribed as Messer Giovannantonio de Tizoni, detto il Sodoma, pittore da Verz^, that consequently Giacomo de Bazis actually belonged to the noble Vercellese family of " de Tizoni " ; but having been reduced by untoward circumstances to exer- cise the trade of a shoemaker, he exchanged his real name for an humbler appellation ; and that his son, on becoming a famous painter, and re- ceiving the honour of knighthood, wished to resume his family surname. Sig. Milanesi goes on to propound the theory that, when in later years Giovanni Antonio had become impoverished,^ and was constrained to ^ Padre Giuseppe Colombo, B., Documenti e Notizie intorno agli Artisti Vercellesi. Vercelli : Francesco Guidetti, 1883. We may notice later that Niccolb Bazzi, our artist's younger brother, married a daughter of one Giovanni Battista Bossi. ^ Giorgio Vasari, Le Vite dei piu Eccellenti Fittori, etc. Sansoni : Firenze, 1881, vol. vi. {Commentary by Sig. G. Milanesi), pp. 403-4. ^ Archivio di Stato di Siena. Archivio de' Resti del Patrimonio Ecclesiastico : Compagnia di S. Bernardino. Libra d^Entrata ed Uscita, segnato C. iii. a. c. 42. 1518. * Vasari, Op. cit., p. 387, "Cavaliere senza entrate." NAME OF TIZONI 3 work hard for his living, he once more dropped his aristocratic surname. Subsequent researches by Sig. L. Tanfani Centofanti^ prove this conjecture to be ill-founded : since Bazzi appears, in his dealings with the Pisans, not only to have given himself that surname, but to have even described his father as Jacopo Tisoni or Tissoni. This circumstance might perhaps give colour to Sig. Milanesi's first proposition, but not to the last ; since at the time when the artist was working at Pisa he was already advanced in years, although there is no evidence to show that at the time of his death he was so poor as has been stated. A recent critic^ goes still further, and, on the strength of Sig. Centofanti's discoveries, dropping the name of Bazzi altogether, calls the painter Tisoni, and asserts that " At any rate for the last thirty years of his life Sodoma is almost always spoken of as * de Tizioni ' or 'Jacopo Tizioni ' (sic)." We would in the first place remark that there is absolutely no authority for this mode of spelling (viz. Tizioni) ; and next, that the first record of the name Tizoni occurs in 15 18, and then but once only among a number of entries in which Bazzi is alluded to by his sobriquet. And no later mention of it in any form is to be found until we come to the notices in the books of the Opera del Duomo at Pisa, which cover several years. Concurrently be it stated, that in a deed, dated ^ L. Tanfani Centofanti, Notizie de' Artisti. Tratte dei Documenti Fisani, pp. 270-4. Pisa, 1898. 2 R. Langton Douglas, History of Siena, p. 397. John Murray : London, 1902. 4 GIOVANNI ANTONIO BAZZI October 23rd, 1534/ which sets forth the purchase by the artist of a house in the Vallerozzi quarter, he is styled, '' Magnifico et generoso equiti Domino Joanni Antonio J acomi de Basis, pictorj de Verzt, alias el Sogdoma " / showing that officially, at any rate, Bazzi then went by his earlier patronymic, and that that name had been superseded neither by Tizoni nor by the sobriquet. Neither does the fact that he is described as " Sodoma " only, or its variants, in official commissions, entries in account-books, etc., and in the correspondence with the Prince of Piombino, support Mr. Douglas' very sweeping assertion. Mr. Douglas further 2 argues that the version Tisoni in the Pisan docu- ments is due, not to the error of a careless scribe, but to the fact that in Piedmont the double "z" is softened into " s." This would be a plausible plea had the documents in question been registered in the archives of a Piedmont ese town. In Vercelli itself it has yet to be discovered whether in written evidence the Tizzoni family-name ever appears thus softened; and the Bazzi family certainly always figure therein as '' de Basis'' and not '' Basis'' But the contention, such as it is, falls to the ground, since the records, in which these readings occur, are both Ttiscan i.e. drawn up in a district where this suggested modification does not hold good. Padre Bruzza asserts that the artist only assumed the patronymic out of sheer vanity and 1 Archivio Notarile Provinciale di Siena. Rogiti di Ser Corti Baldassare di Pienza. Gestioni Notarili anteriori all' anno 1585. Reparto A, Busta 988, No. 192. 2 The Burlington Magazine, May 1902, vol. i., No. 3. FRANCESCO DE' TIZONI 5 caprice : but whatever may have been the reason for his assuming this surname, Francesco de'Tizoni {Francexio de TicionibusY v^diS one of the witnesses to the Articles of Apprenticeship,^ entered into by the young artist's father on his son's behalf with Martino Spanzotto, at that time one of the leaders of the Vercellese School. This circumstance proves that a friendship existed between the shoe- maker and his noble fellow-townsman. It is therefore neither improbable nor impossible that Giovanni Antonio assumed the name of the family friend from motives of deference to his earliest patron and artistic sponsor. ' This cannot have been Francesco Tizzone, Lord of Desana, who resigned his fief to his brother Ludovico in 1483, since he died in 1485. Nor can it be Ludovico's youngest son Francesco, a Franciscan monlc, who being the youngest of the seven sons of a father himself only born in 1456, would scarcely have been as old as the young Giovanni Antonio Bazzi. It probably was another Francesco, a cadet cousin of the house. Other younger branches of the De' Tizzoni were {a) Counts of Rive, and {b) Counts (afterwards Marquises) of Crescentino. The elder branch were first of all Lords, then Counts of Desana, and Imperial Vicars with the right of coinage. Desana is a district in the diocese of Vercelli, which includes Tricero, Aziliano, Lignana, and Ronsecco. This family also owned large properties in the States of Monferrato, Trino, Crescentino, and Ponsano. They were strong Ghibellines, and supporters of the Gonzaga family. Count Giovanni Bartolommeo Tizzone was ambassador in 15 16 from the Emperor Maximilian to King Henry VIII. of England. (For further information as to this family see Costanzo Gazzera, Meviorie Storiche dei Tizzoni, Conti di Desana : Turin, 1842.) It is perhaps worth noting that Bertoletti (A. Bertoletti, Ariisti Loinbardi a Roma net Secoli XV., XVI. &' XVII. Hoepli: Milano, 1881, pp. 53, 54, and 338-9) quotes records from the Archives in Rome of two Francesco Tizzoni of Caravaggio, architects and cabinet- makers, residing in Rome about 1547-56, whose shop was near the church of S. Ambrogio. The younger of these, on November 28th, 1548, erected scaffolding for Daniele da Volterra in the Sala del Re of Castel S. Angelo. ^ See Appendix No. 2. 6 GIOVANNI ANTONIO BAZZI Apart from conjecture and whatever inference may be drawn from these incidents, the fact re- mains, that the name under which he was generally known throughout his life was Bazzi. Of his nickname we shall speak later at present let us confine our endeavours to elucidating the remain- ing points involved in our first sentence. Giovanni Antonio Bazzi's birthplace was un- doubtedly Vercelli, in Piedmont, as Vasari rightly states. The reasons adduced below will, we have no doubt, set this point beyond the pale of conten- tion. The artist, however, having come to Siena at the age of twenty-three or thereabouts, having married there, having made that town his home, having done most of his best work there and in the immediate neighbourhood, for the greater honour and glory of Siena, and lastly, having died there, the patriotic people of that city wished to claim him as one of her sons by birth as well as by adoption. In spite of the denial of authors of such eminence as Tizio,^ Giovio,^ Armenini,^ Landi,^ and ^ Sigismondo Tizio, Historiaruin Senensium, MS., Biblioteca Comu- nale, Siena, vol. vii. p. 460. ^^Johannis Antonii Vercellensis.'^ ^ Paolo Giovio, in his short Vita o Elogio di Raffaello de Urbino, which is to be found in his Fragmentum Triw7i Dialogorum, published by Tiraboschi (Storia della Letteratura Italiana, vol. vii. part iv. p. 1723: Modena, 1792, in-4) says : *^ Sodoitias Vercellensis praepostero, instabilique iudicio usque ad insaniae affedationem Sefiarum urbe notis- siinus, quum itnpetuosum aniitium ad artem revocat admiranda perfecit et adeo concitata manu, ut nihilo secius, quod mirum est, neminem eo prudentius, et tranquilliiis pinxisse appareat" ^ Giovanni Battista Armenini da Faenza, Dei Veri Precetti della Fittura, lib. i. cap. iii. Ravenna : Tebaldini, 1587. * Alfonso Landi, Racconto di Fitture, di Statue e d^altre Opere Eccel- lenti, che si ritrovano nl TempiJ e negli altri Luoghi Fubblici della Cittd, di Siena con i Noini Cognomi e Fatrie degV Artefici d' esse per quanto pero s'e potuto trovare. 1655. "^^^ MSS. Biblioteca Comunale, Siena. VERGELLE 7 finally of Padre della Valle,^ several Sienese writers of lives of their celebrated citizens have insisted upon arguing that Vergelle, a tiny hamlet in the ''Senese^'di few miles from Torrenieri, was his actual birthplace. Romagnoli in his MS.^ even goes so far as to identify the landscape in the so-called Portrait of Sodoma in the Uffizi, Florence (said to have been painted by himself), as a view of the village of Vergelle, including the Casa Savini, called // Pozzo, in which house he states that our painter was born.^ Further misapprehension, too, has been created by a footnote in the Siena edition of Borghini's II Rtposo,^ which avers that Giovann- antonio's baptismal certificate exists in the Episcopal Archives of the city of Pienza. Padre della Valle, in his Lett ere Sanesi, and Romagnoli in his MS. History above mentioned, spent much ^ Padre Guglielmo della Valle, Lettere Sanesi: Roma, 1736, tomo iii. p. 238 ^ seg. ^ Ettore Romagnoli, Biographia Cronologica de Bellartisti Senesi dal Secolo XII. a tutto il XVIII. MS. Biblioteca Comunale, Siena, vol. v. PP- 519746. ^ By the courtesy of Sig. Ing. G. Mori, the present owner, the author was enabled to visit Vergelle on December 12th, 1898. The founda- tions of, and a well belonging to a house, traditionally called ^^11 Fozzo," are certainly still to be seen there. * Raffaello Borghini, II Riposo, vol. iii. p. 37. Siena: Pazzini, 1787. '^ NelV Archivio Vescovile della Citta di Pienza nello stato di Siena, in un libro dei Battezzali della Cura di Vergelle, esiste la Fede del Battesimo di Giovannantonio Soddoma " (sic). It was in this edition of Borghini's work that the note first appears, from whence it was copied in the subsequent editions. The various editions of his work are as follows : Firenze: Marescotti, 1582, 1584; P'irenze : Moucke, 1730; Firenze: Nestenus, 1738; Siena: Pazzini, 1787; Milano, 1807; Reggio : Fracadori, 1827. It may be observed that Borghini in his text gives our artist no patronymic at all, simply designating him as Giovannantonio da Vergelle, villa distante da Siena 15 miglia, detto il Soddoma. 8 GIOVANNI ANTONIO BAZZI time and patience arguing the probability or other- wise of this statement ; but the discoveries at Vercelli prove the utter falsity of Borghini's as- severations, and establish a fact that should have been unmistakable. The evidence afforded by the painter's own compositions, in which the Lombard influence of his early years are, as Vasari points out, so clearly traceable, should have sufficed without the corroboration of original documents. The third point at issue has still to be dealt with i.e., the date of his birth. Padre della Valle, agreeing with the opinion of Baldinucci^ before him, argues that the event occurred in 1479 ; while Milanesi, writing in 1856, would at first have placed it as far back as 1474,^ but corrects his view in a note to Vasari's Life of Bazzi? Vasari confuses us still further by stating that Bazzi died in 1554, aged seventy-five, whereas we know from a letter^ from Alessandro Buoninsegni to his brother Ber- nardino, Sienese Ambassador to the Court of Naples, that the demise actually took place during the night of February 14th- 15th, 1549. The fruits of Padre Bruzza's researches enable us to ascertain the real date with a greater approach to accuracy. In the first place, we know that Giacomo Bazzi, ^ Filippo Baldinucci, Fiorentino, Notizie dei Prqfessori del Disegno. Torino, 1770. Book vi. p. 500, note. ^ Gaetano Milanesi, Documenti per la Storia dell' Arte Senese. Siena, 1856. Tom. iii. p. 182. ^ Vasari, Ojt>. cit., p. 399, note 4. * Archivio di Stato di Siena. Lettere di Ser Alessaftdro Buoninsegni a Bernardino suo fratello (now filed among Lettere agli Ambasciatori di particolari persone 1547-8. Files 2447-9). GIACOMO DE* BAZZI g the father of our hero, was the son of one Antonio de Bazis/ whose death must have occurred prior to the year 1494. Whether, having completed his apprenticeship in Biandrate,Giacomocame straight from thence to Vercelli or not, we can but guess. In any case we know that on January 26th, 1475, by agreement with one Lorenzo Furione, he leased a shop with dwelling-rooms attached, in the parish of S. Michele, at Vercelli.^ We gather furthermore although the marriage contract is no longer to be found, that he married in 1476 Angelina da Per- gamo (or Bergamo), and had by her three children, Giovanni Antonio, Niccold, and Amedea. Herr Jansen, in his picturesque study of the life of our artist,^ argues but without giving valid grounds for his opinion that Giovanni Antonio was the younger of the two sons. Dr. Frizzoni,* with more reason, concludes that, as in his father's Will,^ dated August 13th, 1497, Giovanni Antonio is mentioned y^r^/, he probably was the eldest child. This argument is likewise supported by two Deeds of Transfer and Sale, dated January 31st, 1502, and August 3rd, 1503, respectively. From the ^ Archivio Civico di Vercelli. Rogito di Enrico de Balbis, Not. 9, fol. 61, and Prot. 3, fol. 2. Bruzza, Op. cit., p. 37. See Appendix No. I, Pedigree of the Family of Bazzi. 2 Archivio detto, 26 Gennaio, 1475. Rogito di Guidetio de Pelli- pariis, Not. 4, fol. 334. ' Albert Jansen, Leben und Werke des Malers Giovanni Antonio Bazzi von Vercelli genannt Sodoma. Als Beitrag zur Geschichte der Italien- ischen Renaissance, zum ersten Male beschrieben. Stuttgart: Ebner & Seubert, 1870. * Gustavo Frizzoni, U Arte Italiana del Rinascimento. Giovanni Antonio de^ Bazzi detto il Sodoma. Milano : Fratelli Dumolard, 1891. * Archivio detto, 13 Agosto, 1497. Rogito di Enrico de Balbis, Prot. 4, fol. 231. See Appendix No. 3. lo GIOVANNI ANTONIO BAZZI former^ we learn that, at the time of the execution of the instrument, all three children were under twenty-five years of age the period fixed by their father's Will for their minority their mother being therein described as tutrix and curatrix of their persons and estates. The latter,^ however, which deals with Niccol6 alone, tells us that he had attained his majority at the date of its execution. We may not unreasonably presume from this, that Giovanni Antonio had reached the age of twenty- five some time between these two dates, and can therefore fix his birth as having occurred in 1477.^ Having thus explained in detail the issues raised by our first sentence, and before proceeding with the life of the artist, let us deal as briefly as may be with the facts that can be ascertained concerning his evil-sounding sobriquet. It would be idle to deny the immense debt of gratitude that the modern world owes to the labours of Giorgio Vasari, painter, historian and critic. His pages teem with information of the utmost value. But it should be in these days super- ^ Archivio detto, 31 Gennaio, 1502. Rogito di Enrico de Balbis, B. 4, Not. 3, fol. 146-8, where Angelina Bazzi is described as: ^^ tutrix et curatrix ac tutorio et curatorio nomine Nichole, Joanne Antoni et Amedee, filiorum ipsius Angeline et dicti quondam magri Jacobi^^ ecc. See post, p. 54, note I. 2 Archivio detto, 3 Agosto, 1503. Rogito di Guglielmo de Lonate, L. 6, Not. 29, fol. III. " 1503. 3 Augustiin vicinia Beate Marie Majoris et in domo habitat, infrarscr. venditor presentibus . . . ibique Nicola fq. Magri Jacobi de baziis et Caterina ejus uxor cum consensu dicti Nicole ejus mariti presentis . . . faciunt venditionem, etc." Cf. Colonello Cesare Faccio. Giovanni Antonio Bazzi (il Sodoma). Pittore Vercellese del secolo XVI. Gallardi e Ugo. Vercelli, 1902, p. 221. ^ Niccolb may then perhaps have been a year younger i.e., born in 1478. VASARI'S METHODS ii fluous to point out how completely the charm of these volumes has blinded many of his readers to his obvious errors and wilful misrepresentations of fact. The list of statements recorded by him re- garding the private lives of artists, that one by one have been disproved absolutely, is a very long one, and his gratuitous insinuations are even more profuse. If a painter or sculptor happens to be a friend of the author, or comes up to his artistic standard, at once everything unpleasant in his life and character is nicely slurred over. But woe betide the unlucky wight who may be set down in Messer Giorgio's bad books ! For centuries, nevertheless, the quaint scraps of gossip, agreeable or ill-natured as they may chance to be, have caught the fancy and embedded themselves in the memory of the dilettante and the sentimental journalist, instead of the more serious and im- portant portions of an artist's history : the names, provenance, and so forth, of his work. Many a craftsman's fame has thus sunk under the waves of obloquy. Seduced by the glamour of Vasari's picturesque style, few have taken the trouble to sift dubious innuendoes, or to trace the sources of information whence his facts were drawn. State- ments in his pages too often gain their force from his mode of expression, or from their place often totally unwarranted by actual fact in the sequence of his narrative. Phrases, capable of double interpretation taken by themselves, are thrust in without explanation or comment beside other sets of definite and undoubted incidents ; thereby leading the reader to most erroneous conclusions. 12 GIOVANNI ANTONIO BAZZI There is no question but that the evil memory overshadowing Bazzi's life and name is mainly due to the animus shown towards him by Vasari : so cleverly masked, so deftly suggested, as to leave an impression far more damaging than the most virulent abuse. Few except the historians and art critics of our day have probably ever heard of the other really more weighty accusations against him, of which we shall have occasion to speak later on. We would desire, however, to lay some stress here upon one or two circumstances which, although they turn the scale but little in favour of this particular artist, yet tell against an unquestioning belief in the veracity of his traducer's insinuations. To no student of Renaissance History can it be a matter of surprise to find himself brought con- stantly face to face with prominent characters of extremely depraved temperament. Immorality in its most revolting forms not merely existed, but W2is far from uncommon in every rank of life, and conspicuously so amongst the most distinguished figures of the period. Although both Ecclesiastical and Civil Law promulgated severest penalties against offenders, their terrors were unheeded. Not only craftsmen, literary or artistic, but Popes and Princes, great soldiers and eminent statesmen, were guilty of the most shameless actions whenever lust or passion held unbridled sway. The most notice- able point, however, is not that such grave moral backslidings occurred, but that the attitude of mind, of so many of the most pious and law-abiding, was in practice so mildly and leniently disposed towards them. Ladies of the highest rank and most stainless THEIR MISCHIEVOUS RESULTS 13 reputation appear to have remained quite unmoved, though brought into close contact in almost every relation of life with turpitude such as at the present day is scarcely even hinted at. Contemporary chronicles abound with gossip of the most scan- dalous kind, and autobiographers openly boast of their sins, without any idea, apparently, that the reader would show more than ordinary interest ; certainly without any expectation of administering a shock provoking disapproval. Now, Messer Giorgio was a true representative of his time, and we cannot suppose him to have been really more squeamish than his contemporaries. Yet his Life of Sodoma is written as though he had the gift of prophecy and could have foreseen the verdict of posterity : the nicer judgment of a later epoch ; or even the mental attitude of that very numerous class whose intellect seems powerless to distinguish truth from fiction in the vagaries of the artistic temperament, a class lacking in what we would call the sense of historical perspective; to whom ''Roma locuta est, causa finita est'' in respect of Vasari's authority is an all-sufficient reason for abhorrence. It is doubtful whether in his own day this species of condemnation could have had the strong penal or degrading force that it would bear at the present time ; and in judging our artist as an individual, we should in common fairness start with our minds free from any bias formed by our Vasarian studies. We can, indeed, sympathize with Messer Giorgio on artistic grounds. To the industrious student, brought up in almost slavish 14 GIOVANNI ANTONIO BAZZI reverence for the correctness and formalism of the rules and regulations of classic Art, dear to the soul of Michelangelo's immediate followers, the wild, careless, erratic genius of Bazzi, the inequalities of his work, which are the despair even of his warmest admirers, must have been a standing cause of vexation and anger. Nevertheless no reasonable indignation can justify the cruelty of the attack outside the realm of Art. We must, therefore, look round, and endeavour to discover a just cause : a cause not far to seek if we trace to their sources the facts and information on which our gossip based his Memoir. It should be noticed that this particular ''Life'' was not included in the first edition of Lives of the Painters (1550), but was reserved for publication until 1568, nineteen years after the artisfs death} Both Bazzi's children, and presumably his wife also, were then dead. His favourite pupil and son-in-law had married again, and was living in Lucca,^ a martyr to the gout, of which he died in June 1570.^ Of his granddaughters : one, Parsenia, was the wife of Scipione Rinaldi, and the other, Beatrice, had become a nun. Moreover, Bazzi had left behind him no school of devoted pupils ; so that it was unlikely that any one would arise to confute false statements and scandalous suggestions. The sources of Vasari's information were un- questionably tainted, inasmuch as they sprang ^ We have observed above (p. 8) that, according to Vasari, Bazzi lived until 1554 ; a statement which shows plainly how little trouble the biographer must have taken to verify his facts. 2 Vasari, Op. cit., p. 399, " si sta oggi in Lucca," etc. ' Vasari, Op. cit., Commentary, p. 415. THE SOURCES OF HIS INFORMATION i5 from Domenico del Pace (Beccafumi), the whilom pupil, afterwards the rival and bitter enemy of Bazzi ; and from Giuliano Morelli/ the goldsmith, whose granddaughter, Batista, was, by her marriages, the mother of two younger competitors for public favour : Francesco Vanni and Ventura Salimbeni. Nothing can be more strongly marked than the manner in which Vasari contrasts the work of Del Pace with that of Bazzi to the detriment of the latter. No doubt the plodding draughtsman, who worked along the correct lines so dear to the heart of the Aretine, must have appealed to his artistic perceptions with greater power than the erratic genius, who declined to be bound by any rule, and defied all recognised canons. Once we grasp this fact, we can better understand Vasari's standpoint, and reckon the bitterness of his con- clusions at their just value. Several of his points of view will come before us in the course of this essay ; but two at least must be especially noted here with reference to the name Sodoma. This name he professes to explain, in the most 1 Giuliano di Niccolo Morelli, who bore the nickname ofBarba, seems to have been the friend of several eminent artists, and both connoisseur and craftsman himself. He is mentioned by Vasari (vol. i. p. 644) as possessing the MS. of Cennino Cennini's Trattato della Pittura, and (vol. iv. p. 608, vol. V. p. 654) as extremely friendly with Baldassare Peruzzi and Beccafumi. He married Savina di Francesco, by whom he had a daughter, Maddalena, who in her turn married Vittorio Focari, becoming by him the mother of the Batista mentioned in the text. In 1537 he made certain silver vases for the Consistoro, and a year after had a lawsuit with that body over a metal figure of S. Paul. On December 29th, 1547, he valued {Mil. Doc. cit., vol. iii. p. 175) some figures in stucco, made by Riccio for the Compagnia di S. Giovanni della Morte. He made his Will in 1570, in which year he seems to have died. He is referred to in the letter from Niccolo Trappolini to Alessandro Corvini quoted in Appendix No. 32. i6 GIOVANNI ANTONIO BAZZI damaging sentence in his entire narrative, occurring as it does almost at the outset. Oddly enough, the phrase appears in close sequence to some of the highest praise that the spiteful biographer could have passed upon his subject. A statement intended, be it observed, as a depreciation, but which gives us thus early the keynote to Bazzi's genuine artistic sense viz., that he neglected all that, according to Vasari, he should have studied, in order to make copies and sketches frorn the work of Giacomo delta Querela} He continues : *' Era oltre cio uomo allegro, licenzioso, e teneva altrui in piacere e spasso con vivere poco onesta- mente : nel che fare, pero che aveva sempre attorno fanciulli e giovani sbarbati, i quali amava fuor di modo, si acquisto il sopranome di Soddoma ; del quale non che si prendesse noia o sdegno, se ne gloriava, facendo sopra esso stanze e capitoli, e cantandogli in sul liuto assai commodamente."^ To any one who has studied the life of so great an artist as Leonardo da Vinci, or the Sonnets of Michelangelo, which so plainly speak for them- selves, a sentence such as this loses practically all value. No one in Art-History was perhaps so prone to seek the companionship, both for pupils and models, of beardless youths, as the amiable and lovable Leonardo ; whilst Michelangelo with his own lips suggests views and opinions to which we can find no parallel in any authentic record of ^ Vasari, Op. cit., vol. vi. p. 380. "Fu solamente in disegnare le cose di Jacopo dalla Fonte, che erano in pregio, e poco altro." 2 Vasari, Op. cit., vol. vi., p. 380. An equally bitter attack, though differently worded, occurs in the Life of Beccafumi, where Vasari {Op. cit.^ vol. V. p. 635) contrasts the characters of the two men. THE "PALIO" OF S. BARNABAS 17 Bazzi's life. Yet theywere both fortunate enough to escape the rancour of Vasari, that self-elected censor of morals. We may notice that the biographer places these statements at the very commencement of his Memoir, as though the artist had acquired this opprobrious name almost immediately on his arrival in Siena ; prior even to his visit to Monte Oliveto. Whereas we have no documentary or traditional evidence to show that he bore any nick- name, but that of il Mattaccio (Matazd) given him by the Olivetan friars, earlier than 15 12-13. We can thus once more appreciate how much reliance should be placed upon so inaccurate a form of special pleading. The other circumstance is iht Palio in Florence, a story which we had better at once briefly relate. The year 1515^ found Bazzi in Florence, at work for the Prior of the Convent of Monte Oliveto, outside Porta S. Frediano, a member of the Brandolini family. At that time certain horse-races took place to celebrate the festival of S. Barnabas. Giovanni Antonio, always fond of animals, had a fine Barbary horse, and entered him for the contest. This horse won the race, whereupon the judges asked for the name of the owner in order to announce it publicly. Bazzi in reply exclaimed ''Sodoma, Sodoina''^ Upon ^ Vasari, Op. cii., vol. vi. p. 389. For this purpose we have adopted here the usually recognised date. We shall have further observations to make later on. See post, p. 122 ^. seg. 2 That the exclamation may also have implied a covert sneer at the acknowledged laxity of morals then prevailing in Florence, is just possible. The Sienese were ever jealous of the Florentines ; and to mark the victory by casting obloquy in their teeth may have been a not inconceivable contingency. Sensitiveness on this score, and a suspicion that they were being mocked, might well have provoked the i8 GIOVANNI ANTONIO BAZZI this " certain worthy elders " (says Vasari) were much shocked and offended, and appear to have incited the mob to stone the unfortunate foreigner. Here we must observe that the name Sodoma first occurs in a list of owners of racehorses that ran at a Palio in Siena, on the occasion of the festival of the Blessed Ambrogio Sansedoni in March 151 2 (Old Style). The artist appears there in excellent company, with several members of the patriciate of Siena and other cities. In the following year we find him again under this same appellation in similar lists at several more Sienese Palii, com- peting with such august personages as the Marquess of Mantua and Cardinal Petrucci. Furthermore, a document still extant in the Medicean Archives, dated June i8th, 1515,^ shows that he was specially recommended by his lifelong friend, Jacomo V. d' Appiano, Prince of Piombino, to Lorenzo de' Medici (the Younger) for assistance in entering his horses for the races in Florence. It is not impos- sible that this may have been the occasion to which Vasari alludes. But if, as seems most probable, anger of the unthinking rabble, thus producing the results related by Vasari. Any one who has witnessed the hostility excited against the winner by his rivals and their supporters at a Sienese Palio of to-day will quite understand this ; and should he add Florentine and Sienese mutual jealousy, fury against the successful foreigner can be plainly accounted for. An Italian friend has suggested that the racing name itself was originally a dipt sentence, " So doma" " I am the trainer " (of this horse) a sentence to which jest or malevolence afterwards attached a sinister meaning. Though not inherently improbable, the suggestion is put forward for what it is worth. ^ Archivio di Stato di Firenze. Carteggio Mediceo privato. Filza No. 114, fol. 191. Lettera del Duca di Piombino a Lorenzo de^ Medici. 15 15, 18 Giugno. BAZZrS WIFE 19 SodomawdiS his usual racing appellation, it appears hardly likely that the public authorities and persons of rank and eminence present at the race would have remained in ignorance of the designation. If, again, the name were intended to be either opprobrious, or, as Milanesi erroneously suggests,^ coined for the occasion, with disastrous results for the unlucky inventor, how can we account for the fact that on June 22nd of this same year (the Feast of S. Barnabas being the i ith of that month) we find the first official notices of work allotted to him in Siena under this very name ?^ Again, contrary to Vasari's statement, no docu- mentary evidence exists to prove that Bazzi's wife ever actually left him. That she maintained a separate establishment would also seem most improbable, since notices in the Registers of the Contrada of S. Donato a Montanini at Siena the quarter where he resided between the years of 1 53 1 and 1 54 1 show that they had then^ at any rate a joint household. Even after his death his widow is not ashamed to be set down as *' M""- Beatrice di Luc ha Galli dona gia del Sodoma'^ in the same records, and is described in the Inventory made subsequent to his decease as '' relict a domini Johannis Antonii Sodone " ;^ whilst her mother, ^ Vasari, Op. cit., p. 389, note 2. 2 Archivio dell' Opera del Duomo di Siena. Libro di Memorie segnato E. 9, a. c. 28 tergo. 1515, 22 Giugno. Archivio detto. Libro Verde, Carte 287. 1515, u Ottobre. ' Archivio di Stato di Siena. Libro della Lira, No. 125, fol. 64. ^ Archivio detto. Libro detto (K.) 1549, fol. 37. S. Donato in Montanini (Camollia). ^ Arch. Not. Prov. Siena. Rogiti di Ser Luca di Mariano Salvini d'Asciano. 1548-49, 14 Febbraio, No. 2386. Rep. A., Busta 941. 20 GIOVANNI ANTONIO BAZZl Caterinadei Galli, in her Will, describes her daughter as ''Beatrice (eius dilectafilia) moglie di Giovanni Antonio . . . alias Sobdoma pittoreT'^ Surely this is strong evidence against the assumption that the name arose out of practices which certainly would not conduce to harmony with a wife and a mother- in-law. Bazzi's long absence in the Emilia and Lombardy (1519-27), and his protracted visits to the Prince of Piombino, though they may have given colour to the gossip repeated to Vasari, hardly suffice to reaffirm the truth of so very daring an assertion as that made by the prejudiced bio- grapher. The suggestions concerning the alleged neglect of her husband in sickness, etc., are, as we shall see, equally flimsy if approached with an impartial mind. Indeed, it is difficult to see how Vasari's state- ments and insinuations in regard to Bazzi's private life can be reconciled with the undoubted fact that a Pope^and an Emperor, neither of them, it is true, especially saintly, yet both at least above all sus- picion of publicly rewardinga notorious evil-liver, should have given him, the one the title of Cavalier of Christ, and the other the rank of a Count of the Holy Roman Empire^ with it is well to note with ^ Archivio detto. Filza di Ser Ventura di Cionne Ciogni da Lucignano in Val di Chiana. Dal 1523-27, No. 48, Reparto A, Busta 604. ^ A Florentine Pope too a Medici and but three years after the race at Florence, where t/ie sober-minded citizens were so scandalised at the sound of his name. ^ Here, again, we must for the moment be content to accept traditional statements ; since this latter title rests on the slenderest of evidence. But even supposing that the gift of the title is but a tradition, the fact that such a tradition exists proves the high honour in which Bazzi was known to have been held. See post, p. 211 e seg. PROBABLE ORIGIN OF SOBRIQUET 21 emphasis this ill-sounding name attached. One may well argue that Vasari's suggestion of infamy- defeats itself: for if he, on the one hand, seeks to defame Bazzi's character in this particular direction, how can he, on the other, account for the honours conferred on the man by Pope and Emperor, ennobling the very name he asperses ? No similar case is extant of a title attached to a nickname ; and it seems impossible to conceive that, even in a state of society such as that of the Italian Renaissance, a similar combination could have been devised as a piece of mere bravado. It may be noted, too, that on the many subsequent occasions whereon Bazzi is described, or describes himself by this surname, it is spelt indifferently in a variety of ways.^ Nay ! this pseudonym may possibly yet be discovered to be, after all, only a place-name, taken by the artist himself for some reason yet unknown to us ; or, as has been suggested, and is more probable, a nom de guerre given him without special evil meaning by some club or society of which he was a member. This we know was a very general custom among the Sienese of that period,^ and is far from un- common even to this day. ^ Thus Sodofna, Soddoma, Sodona, Soddona, Sodone, Sogdoma, Sogdona, Sobdoma may be cited as a few of these. The student need only glance at the various documents printed in the Appendix to be aware of this. 2 Stordtto, " stunned, stupefied " ; Scacciato, " expelled, banished " ; Sodo, "firm, compact," "strong," "hard, solid, thick''; Arsicdo, "scorched," "thirsty"; Deserto, "abandoned, forsaken," are a few of these. Cf. also, on this point, Mgr. Giulio Mancini, " Alcune Considerazwni," etc. {Benvoglienti Miscellanea), pp. 252-6. Biblioteca Comunale di Siena. Cod. 231 (Libreria Capponi), p. 37 ; also L. V, 12. P- 73- 22 GIOVANNI ANTONIO BAZZI The only remaining arguments brought forward to support the opprobrious meaning of the nickname are found in the burlesque catalogue of Bazzi's possessions, alleged to have been drawn up by himself in 1531^ and the epigrammaticlines written by Eurialo Morani d' Ascoli, published in Siena in 1516.^ Both squibs appear to have been unknown to Vasari, and the authenticity of the first is open to grave suspicion, owing to the fact that no first- hand proof of its existence is to be found prior to the publication of Padre Ugurgieri's Pompe Sanesi at Pistoia in 1649,^ one hundred years after Bazzt s death. And although, some six years later (1655), Alfonso Landi quotes this *' Denunzia " in his Racconti dei Pitttire, etc.,^ he admits that he had not seen the original, but had taken his copies^ "from the collections of those who in our times have had knowledge of ancient writings."^ In any case the document, if genuine, is so obviously only a coarse play upon the name, ^ Denunzia di Giovanni Antonio Bazzi detto il Sodoma Pittore. Nuovi Documenti, per la Storia delP Arte Senese. S. Borghesi and L. Banchi. Siena: Torrini, 1898, p. 456. No. 228. See Appendix No, 4. ^ Euriali Morani Asculani, Epigrammatu Libri duo Cu Gra 7/Privi. (Dedicated to Francesco Sozini). Impresso in Siena per Semione de Nicolo Cartolaio anno Domini MDXVI. Die IX. de Feraio (1516-17). See Appendix No. 5, ' Ugurgieri, Op. cit., torn. ii. p. 356. ^ Two copies of Landi's work exist in the Communal Library, Siena ; but a careful comparison between them will show that even his versions of this document vary considerably. * " Questa Denunzia ha di molte Lacune ; to fho tolta da raccolti di coloro, che a tempi nostri hanno {h)avuta intelligenza de caratteri antichi." Cf. also Delia Valle, Op. cit., torn. iii. pp. 328-30. ^ The compilers of the Nuovi Documenti, in printing this document, admit their inability to find the original draft. The arguments as to its genuineness will be found in the notes to the version quoted in Appendi^ No. 4. .... SUMMARY OF BAZZI'S CHARACTER 23 that it carries little weight, as evidence in support of the suggested reason for its composition. The other is a similar jest, the point of which turns upon the existence of a nickname coarse enough in all conscience but not on that account surprising in a city where no man, however distinguished his position, could altogether escape the arrows of public wit.^ Neither of these documents can in justice and fairness be taken 2,s proof of conduct . The reader nevertheless should clearly under- stand that no complete whitewashing of the character of Gio. Antonio Bazzi is here attempted. As we shall have good reason to note in the course of this narrative, his was a curious, eccentric temperament a strange mixture of good and evil. But he was not, as Vasari would have us believe, that awful example of exceptional depravity where- with to point a moral or adorn a tale. Such a hold, however, has this picture had upon the public mind for the last two centuries, that lovers of art have hardly dared avow their admiration for the works of so shameless an offender. It was not until Morelli and his followers commenced to point out the merits of many a picture and drawing unquestion- ably his work, attributed, seemingly to save its reputation, to greater or lesser artists, that they were restored to their proper author. A recent ^ So celebrated a man as Cecco Angiolieri, though twice Prior , and the holder of some of the highest offices in the Sienese Republic, Treasurer to the Pope and a celebrated poet, stands pilloried to all time in an inscription over his residence in Via del Re in Siena by a nickname quite as coarse and even more significant. See A. D'Ancona, Studij di Critica e Storia Letteraria. Bologna : Zanichelli, 1880, p. 112, and A. F. Massera, Bulletino Senese di Sforia Patria^ Anqo VIII. fasc, iii. Siena, 1 90 1, pp. 443-44, 24 GIOVANNI ANTONIO BAZZI writer^ lays stress with considerable force upon the fact that nicknames are not evidence ; and adds the following words, which seem to me most pertinent in this case : . . . Memoirs are not to be relied upon even in these days of rapid transmission of news and wide publicity. An historian who should essay to compile the biography of a public man of to-day, even from the daily and weekly journals, which are filled with personal gossip about those upon whom the attention of the public is fixed, would find such a mass of contradictions to deal with that he would abandon his task in despair ; and yet the matter thus afforded to his inspection is day by day subject to correc- tions. Memoirs written by an irresponsible person in his private study are even more likely to contain perversions of fact, to omit, to exaggerate, ^to represent exclusively the personal bias of the writer. It is hardly necessary to add that loose anecdotes and buffooneries ... do not constitute evidence. Our object is to raise this cloud of obloquy from the man, to point out the weaknesses of the hitherto blindly accepted arguments, and to place the artist in a fair and just light ; so that readers may judge for themselves how far the castigation meted out to him is merited. For this purpose no stone has been left unturned and no original document unexamined. It is sufficient here to emphasize the point, that whatever may have been the real origin of the appellation, and in spite of the ribald pleasantries which not unnaturally resulted from the sound, there exists at any rate no authentic document or ^ J. C. Tarver, Tiberius the Tyrant. Constable & Co. ; London, 1902, pp. 293-4. SUMMARY OF BAZZI'S CHARACTER 25 proved fact to justify the statement that the name was derived from his habits ; while the general tenour of the artist's life, as far as it can be ^/5- /(^/'/Vi^://)/ ascertained, if wildly eccentric, is certainly not that of a loose or prurient-minded man. On the contrary, we shall have reason to notice that when the most alluring opportunities were offered him to indulge in any taste that he might have for pictorial scurrility, instead of launching forth into lewdness, as so many of his contemporaries did, he has left for us one of the purest Love-idylls of all time.^ There is not one picture of his, though many are sensuous in the extreme, that suggests any but the most chaste and noble thoughts. This fact is undeniable ; and while allowing for all errors of artistic taste, speaks volumes against the calumny of the worthy Aretine. Siena may justly claim Bazzi as one of her children by adoption and long residence, and to his influence on her school of painting at the time of his advent fast narrowing down into rigidity and byzantinism she owes a heavy debt of gratitude. But local patriotism, try as it may, cannot efface the Lombard traces from his style and methods, were there nothing else to prove his origin. The honours showered upon him, the commissions given to him on all sides by clergy and laity alike, and the recognition of his sobriquet in official documents by the Sienese authorities, render the imputation of profligacy, wherewith he has been branded, unwarrantably severe. ^ The frescoes of \he. Marriage of Alexander and Roxana in the Villa Famesina, Rome, 26 GIOVANNI ANTONIO BAZZI In closing this chapter, we cannot do better than quote the persuasive and eloquent words of M. Albert Rio/ who puts the whole matter very completely and tersely. He takes up, it is true, another line of defence, which, if not so strong, is at least worthy of serious consideration, side by side with the points that we have already put forward. La depravation precoce que Vasari a I'air d'imputer si legerement au peintre Razzi est incompatible, je ne dis pas seulement avec le caractere de ses premieres oeuvres, mais avec I'estime et I'emploi qu'obtenait son talent parmi les religieux des ordres les plus severes, chez les Carmes, chez les Dominicains, chez les Olivetains, chez les Fran- ciscains de I'Observance ; elle est surtout incompatible avec la popularite inouie dont il jouissait, de I'aveu meme de Vasari, aupres du peuple de Sienne, plus leger peut- etre dans ses goiits, mais moins perverti que celui de Florence. A I'exception du banquier Chigi, dont le malheur des temps avait fait une puissance, il n'y avait peut-etre pas un seul membre de la noblesse Siennoise, dont I'art eut a redouter un patronage en disaccord avec ce qu'on appellerait aujourd'hui les prejuges de la multi- tude. Les traditions du moyen age conservaient tout leur empire, et, au plus fort des troubles civils, Sienne demeurait toujours la cit^ de la Vierge. Comment le privilege de tracer son image dans les cloitres et sur les autels, dans les oratoires publics et priv^s, dans les taber- nacles des carrefours et j usque sur les bannieres des processions, aurait-il pu etre octroy^, pendant pres d'un demi-siecle, a un artiste notd d'infamie, et d'un genre d'infamie, pour la repression duquel, la colere du peuple n'attend pas toujours la lente intervention des lois ? Comment aurait on confie de preference a une imagination ^ Albert F. Rio, De VArt Chretien, vol, iii. pp. 219-34. Paris : Hachette et Cie, 1861. - M. RIO'S JUDGMENT 27 souillee par le vice le soin de reproduire sur les murs des chapelles et des confreries les legendesd'un saint Bernardin et d'une sainte Catherine, dont la memoire etait chere a tous, mais dont I'intercession etait plus particulierement invoquee par les ames pures, ou par celles qui sentaient vivement le besoin de le devenir? La devotion populaire a aussi ses exigences et ses instincts qui sont plus infaillibles qu'on ne pense. Note. While this work was going through the press our attention was called to the following passage, which, we believe, is satisfactorily answered in the foregoing chapter : Algernon Charles Swinburne. Essays and Studies: Notes on Designs of the Old Masters at Florence. 2nd edition. London : Chatto and Windus, 1876, p. 350, note. " Bazzi, as the last Sienese guide- book will needs have him called ; Razzi or Bazzi, Sodoma or Sodona, the name of St. Catherine's great painter seems doomed to remain a riddle. Happily the beauty of his work is no such open question, so that the name matters little enough." CHAPTER II EARLY YEARS AND APPRENTICESHIP Having now prepared the reader's mind to form an unbiassed judgment, we would turn back and relate such facts as can be accurately ascertained with regard to the artist's early life. For many years, as we have already had occasion to point out, a cloud of mystery obscured his origin, and many were the controversies that arose in consequence. The im- portant work of the learned antiquary, Padre Luigi Bruzza,^ published in 1862, has finally set at rest all conjectures on that score. Although it cannot be said that even with his aid we learn very much, yet certain leading and important facts, supple- mented by researches since made by Padre Giuseppe Colombo,^ enable us to reconstruct a fairly complete picture of Bazzi's early surroundings. Colonel Faccio ^ mentions the existence in the Communal Archives at Vercelli of no fewer than thirty-two documents relating to the Bazzi family. Of these, fifteen merely contain the names of Giacomo Bazzi or his second son Niccolo as witnesses, etc., in matters other than their own affairs ; four concern the dwelling-place of Giacomo Bazzi in Via San Michele, Vercelli ; three more deal with Niccol6's marriage ; but nine only have reference directly or indirectly to our artist. ^ Bruzza, Op. cit, ^ Colombo, Op. cit. ^ Faccio, Op. cit., p. i6. -MAESTRO" GIAC0;M0 DE BAZIS 29 The custom frequently obtains among negligent writers, when the subject of their pen happens to be the son of an artizan, to speak of him as though he were ipso facto of the lowliest origin, and had been brought up in ^\xq,'^\, poverty . To instance a parallel case : a cheap rhetorical effect is we know constantly sought by speaking of the Apostles as "poor" fishermen, when a very cursory glance at the Gospel narrative shows that, considering time, place, and surroundings, Peter, Andrew, and the sons of Zebedee at least, were in all likelihood men of com- fortable, if not affluent, circumstances. Likewise to speak of Giovanni Antonio Bazzi as the son of a ''humble cobbler^' exhibits a misconception with set purpose of the customs of the period. Maestro^ Giacomo de Bazis himself had been apprenticed to his calling, and rose to be a master-member of his Guild or ''Art'' ; which in those days ranked with any of the trades now designated as the Fine Arts. The fact that Martino Spanzotto, at that time ad- mittedly one of the principal craftsmen among the painters of his native town, allied, moreover, with a patrician family, accepted the shoemaker's son as his apprentice, shows that he, at any rate, held Master Giacomo to hthis social equal.^ Further- ^ Frizzoni {Op. ciL, p. loi) justly makes merry over Herr Jansen's mistake in reading Magro, i.e. Magister, as Magro = kafi. That he was a man of some substance, according to the standards of his day, is shown by the relatively large sums of money assigned in various ways, by Giacomo Bazzi for the benefit of his wife and children. ^ That Giacomo de Bazis was not the only shoemaker in these parts who apprenticed his son to a painter, we have evidence from the docu- ments collected by Padre Colombo {Op. cit., p. 393). " 1496, 6. Luglio. Magister ambroxius blaxio de Vighvano siobbliga di ammaestrare nelP arte delta pittura, per lo spazio di cinque anni^ 30 EARLY YEARS AND APPRENTICESHIP more, the presence, as witnesses to this deed, of Master Francesco, the embroiderer,^ and the noble- man, Francesco de Tizzoni,^ together with the sum paid (50 Milanese florins), all lead to the same inference : i.e., that Giacomo de Bazis was neither the pariah nor the pauper he is commonly asserted to have been. The number and rank of the wit- nesses to the Will, by which he left considerable property, etc., including some arable land adjoining the ViaPelosa, a fact noticed in several subsequent documents, to his family, all tend to bear out the same argument. So much has thus been conclusively established : that Giacomo Bazzi came from Biandrate, his pro- bable birthplace, to Vercelli ; where, on January 25th, 1475, he took on lease, from one Lorenzo Furione, at a rent of 16 florins, a shop with a house adjoining, in the Via San Michele.^ House and shop stood on the borders of the adjacent parishes of S. Michele and Sta. Maria Maggiore ; but, while repeated efforts have been made to trace the exact Amedeo, figlio di Agostifio di Masserano, calzolaio." Rogito di Francesco de Lonate. Not. 2, fol. 220. ^ Faccio {Op. cit., p. 217, note) points out that Bruzza has read bor- dorerii, a word which cannot be found in the dictionaries ; but that a careful examination of the text shows it to be borduarii or bordarii, meaning " a trimming maker," " an embroiderer " (cf. Du Cange). There exists a Broiderers' Company in the City of London at the present day. 2 Jansen {Op. cit., p. 10) creates some confusion here between Tizzoni and Trissoni. He speaks of Giovanni Antonio's patron as Francesco dei Trissoni in the same paragraph in which he has just been discussing the Trissoni family of painters. As a matter of fact the name of the latter family was Trissini or Tresseni. Cf. Colombo, Op. cit., pass. ; and post, pp. 33, 35. ^ Archivio Civico di Vercelli. Rogito di Guidetto de Pellipariis, Not. 4, fol. 334. THE BAZZI FAMILY 31 spot, the changes that have successively taken place within this area render all attempts at identification nugatory. Padre Bruzza is probably correct in supposing the site to have lain in the street now known as Via della Torre; and it is not impossible that, as Faccio further suggests, the modern Casa Leone stands on the spot where Giovanni Antonio Bazzi was born, and spent the years of his child- hood and early youth. Hither in 1476, Giacomo Bazzi brought his bride, Angelina, daughter of one Niccolo da Pergamo (Bergamo)^ ; and here theirthreechildren, Giovanni Antonio, Niccolo, and Amedea were born. Some eighteen years afterwards they removed to another house near by, belonging to the Sarrata family,^ where the widow and her second son continued to reside after Maestro Giacomo's death. That the latter dwelling lay within the parish of Sta. Maria Maggiore admits of no doubt, since Niccol6 Bazzi's three children were all baptized in that church. The reasons for joining issue with Herr Jansen's^ contention respecting the order of their children's birth, and our opinion that Giovanni Antonio was Giacomo and Angelina Bazzi's eldest child, have already been stated. ^ Bruzza suggests that the shop was in the former and the house in the latter parish. Archivio detto. Rogito di Guidetto de Felliparits, Not. 4, fol. 334 ; Not. 19, fol. 307. Di Enrico de Balbis, Prot. 3, fol. 2 e 218 ; Prot. 4, fol. 231 ; Not. 8, fol. 139. Di Gio. Giacomo de Riciis, Not. 6, fol. I. Op. cit., p. 16, note 40. ^ Archivio detto. Rogito di Guidetto de' Fellipariis, Not. 9, fol. 307. Bruzza, Op. cit. ^ Bruzza, Op. cit.y p. cit. Faccio, Op. cit., p. 18. * Jansen, Op. cit. Cf. p. 9. 32 EARLYYEARS AND APPRENTICESHIP On November 28th, 1490, Giovanni Antonio, having reached the age of twelve or thirteen, was apprenticed^ to Maestro MartinoSpanzotto, painter, of Casale Monferrato. The conditions of service exhibit an interesting analogy with a similar agreement,^ whereby one Matteo di Giuliano Balducci, of Citt^ della Pieve, was, in 15 16-17, articled in the same way to Bazzi himself. The term, of seven years, commenced on Christmas Day, and the father covenanted to furnish the son, on entering the school, with two smock frocks (diploydes) and three pairs of buskins (caligae) ; and each year a suit of clothes **of a suitable size," be- sides walking-shoes (5<9/^/^r^5"), shirts and necessary linen : all additions and repairs needed to his ward- robe over and above these, being supplied by the master. The premium of 50 Milanese florins (= 160 francs approximately) was divided into seven portions, payable in annual instalments at the commencement of each year. Maestro Giacomo covenants furthermore, on behalf of his son, that the said son shall be a useful and obedient servant to his teacher and master. In return for all this, Spanzotto bound himself to feed and lodge the boy *' as became his station " {condeceiitem justa condicione), and to teach him all the various forms of painting, with the rules, etc., and the secrets of the trade " as far as he knew them himself" : i.e., arteni pinctorie toto suo ^ Archivio detto, 28 November, 1490. Notulario di Guidetto de Pellipariis, n. 18, fol. 592. See Appendix No. 2. 2 Arch. Not. Prov. Siena. Rogitidi Ser Alessandro di Ser Francesco Umani, ad annum. 1516-17, 11 di Gennaio. Cf. post^ p. 156, and Appendix No. 14. MARTINO SPANZOTTO 33 posse et vidriatarum ^ et aliarimique sit \scif\ idem M. Martiniis. Certain clauses follow in usual form, stipulating compensation in the event of a breach of the contract, and ensuring the validity thereof, as regarded the apprentice, since the lad was under age. As until a comparatively recent date little or nothing was known about Martino Spanzotto ; and the belief prevailed that his entire work had been lost, it may be as well here to record in a few words, the fruits of modern inquiry concerning the remarkable family, of which he was the most conspicuous member. So far no trace has been found of the work undertaken by him, conjointly with Giovanni Trissino da Lodi, in the church of S. Paolo at Vercelli, for the patrician family of Ajazza, concerning which corroborative docu- ments still exist in the Communal Archives of that city.^ But the publication of P.P. Bruzza ^ Many writers have thought fit, from the introduction of this word in the articles, to describe Martino Spanzotto as a ^^ painter on glass ^^ only, and to ignore the fact that glass-painting was merely one of the numerous branches of the craft, taught in an Italian artist's " bottega,'" where the curriculum included frame-making, carving, gilding, and many other cognate subjects of art, besides the fashioning of pictures. This was especially the case in those schools most in touch with the Cisalpine Art-centres. In connection with the art of glass-painting, Bruzza {Op. cit., p. 39) tells us that existing examples of ancient glass in the district of VerceHi are extremely rare, though some pieces are to be found in the Val Sesia of a slightly later date. Records of a glass factory are also extant in the parish of S. Salvatore in Vercelli, of which a certain Giovanni Maria Massara, from Altare near Savona, was principal in 1570. ^ Archivio Civico di Vercelli. 3 Gennaio, 1490. Rogito di Guidetto de PellipariiSy Not. 19, fol. 17. u Gennaio, 1492, di Antonio de Pessinis, Not. 3, fol. 3 and 66. Cf. also Bruzza, Op. cit., Documents E and F, pp. 40, 41 ; Colombo, Op. cit., pp. 393, 475, 477 ; and Conte A. Baudi di Vesme, Archivio Storico dell' Arte, Anno II. (1889), fasc. ii. pp. 421-23. See Appendix No. 6. Action of time has brought about so many alterations in the church 34 EARLYYEARSAND APPRENTICESHIP and Colombo's researches, followed by those of Conte Alessandro Baudi di Vesme, and Cav. Aw. Francesco Negri of Casale Monferrato ;^ and finally, the discovery of at least one signed work by this master, have promoted the obscure '' painter on glass'' ^ to an important position in the field of Piedmontese Art. Inasmuch as he was the first teacher, not only of so great an artist as the subject of this essay, but also of another painter, Defendente Deferrari of Chivasso, the knowledge of whose merits has as yet scarcely spread beyond the districts wherein he lived and worked, Martino Spanzotto's claim to a distinct place in the evolution of Italian Art cannot properly be ignored. The earliest member of the Spanzotto family mentioned by Bruzza and Colombo is one Pietro, of S. Paolo, that the chapel, said to be that specified in these documents, is now a dark lobby leading to the sacristy. The walls of this lobby are covered with whitewash ; and, although traces of frescoes have, it is true, been found there, as yet no thorough examination has taken place. It is worthy of note that Franz Rieffel {Siudien aus der Maimer Gemdlde-Galerie : Eusebio Ferrari und die Schule von Vercelli Repertorium fiir Kunstwissenschaft, Anno XIV. pp. 275-92) identifies the beautiful triptych (Nos. 217, 218, 219) in the Public Gallery at Mayence (once attributed to Bazzi, but now generally ascribed with more reason to Eusebio Ferrari) with a similar painting by that artist described by Cav. Gaspare Antonio De Gregory {Storia della Vercellese Litteratura edArti: Torino, Chirio e Mina, 1820), and by Carlo Amedeo Bellini and Giovanni Antonio Ranza {Serie degli Uomini Grandi di Vercelli, MS. with marginal notes, 1652, Archivio Civico di Vercelli) as adorning this very church of S. Paolo in Vercelli. ^ Francesco Negri, Una Famiglia di Artisti Casalesi dei Secoli XV. e XVI. Estratto dalla Rivista di Storia, Arte e Archeologia della Provincia di Alessandria, Anno I. fasc. ii., Luglio Dicembre 1892. Jacquemod : Alessandria, 1892. ^ Giovanni Morelli, Italian Masters in German Galleries : Berlin. Trans, by L. M. Richter. George Bell : London, 1883. THE SPANZOTTI 35 referred to in a document^ dated November 5th, 1 48 1 , in which Martino di Casale civis et habitator Vercellarimi is described as filius niagri petri. We should notice further that Martino, though spoken of here as '* of Casale," was then apparently domiciled in Vercelli ; and the terms ''civis et habi- tator'' would seem, by the implication of some sort of civic right, to substantiate the probability of his having attained the full legal majority of twenty- five years. Martino Spanzotto had doubtless been attracted thither by the advantages held out by the School of Art in that city, then almost a close cor- poration in the hands of the great painter families of Oldoni, Giovenoni and Trissini of Lodi ; at that period also, one of the most important and flourishing centres of artistic activity in Northern Italy. Bruzza^ suggests that Pietro may have been an artist,^ and shows that he had another son, Francesco, probably a painter, of whom notices are extant in 1494* and 1528.^ The learned Padre, ^ Archivio detto. 5 Novembre, 1481. Agostino de Mondello M.-8, Not. 20, fol. 97. Bruzza, Op. cit., p. 20. Colombo, Op. cit., p. 391. 2 Bruzza, Op. cit., p. 20. ' Cav. Negri, in private letters to the author, dated October 21st, 1902, and November i6th, 1903, states that researches made in Casale by Conte di Vesme have elicited the fact that Pietro was called de Capanigo, and was a native of Varese, but was domiciled in Casale as early as 1470. He further quotes in his work "// Santuario di Crea in Monferrato" (Piccione : Alessandria, 1902), p. 22, the following documents : Archivio Civico di Casale. 16 Novembre, 1479. Notaio Carena. " Pietro Spanzotto da Canipanigo (sic) e teste." 29 Aprile, 1480. Notaio Musso. '^Martino Spanzotto, figlio di Pietro I teste." * Archivio Civico di Vercelli. 7 Maggio, 1494. Agostino di Ghislareiigo, G.-5, Prot. 5, fol. 155. * Archivio detto. 11 Giugno, 1528. Gio. Ambrogio Bulgaro,'^o\.. 11, fol. 210. 36 EARLY YEARS AND APPRENTICE SHIP on the authority of the document of 1528, further records one Pier Francesco^ a grandson of Pietro Spanzotto. Cav. Negri ^ has discovered two more Spanzotti, both of them priests, who he suggests may also have been brothers to Martino and Francesco namely, Gabriele, a Canon of the Cathedral of Casale (1502) and Vicar-General of the Diocese (1525) until his death on October 28th, 1531 ; and Vincenzo, a monk, likewise an artist. In discovering Gabriele this diligent searcher also unearthed the name of the mother of these four, and wife to Pietro, Orsolina de Spanzotis, who died in August, 1489.-'^ He adds that a painting formerly in the possession of the Counts D'Arco of Mantua, but now lost, the portrait of the notorious ^ This, however, Conte di Vesme believes to be incorrect, having failed to identify the individual above mentioned in the deed in question. ^ Negri {Una Fainiglia cit., p. 15), admits his indebtedness to a MS. work by Canonico Giuseppe Deconti, describing the works of art existing in Casale up to the year 1700, from which his nephew Vincenzo Deconti also drew his Notizie Storiche di Casale e Monferrato. The same writer, however, ih the letters before referred to, admits that Deconti's chronicle, though very valuable as an indicator of works once existing, is most unreliable as to dates, details, and attributions. He adds, further, that a quantity of original documents, collected by the said Vincenzo and removed to his house in Turin for use in preparing his Notizie, were destroyed in a fire during the bombardment of 1799 (during which Deconti's father also lost his life). Nicomede Bianchi {Le Carte degli Archivi Fiemontesi, 1881, p. 369) says that these documents were not all destroyed, but that Baron Giorgio Rivetta, Mayor of Casale during the French occupation, mentions in his Memoirs having seen many of them exposed for sale in Turin at the beginning of the last century. 3 In the Necrologium Beati Evasi Casalensis, quoted in the Monu- menta Historiae Patriae Scriptorum, vol iii. pp. 485-6. ^^ Augustus : Obiit Doniina Ursolina De Spanzotis, 1489, pro cuius aniversario, et Magistri Petri eius Mariti, Dominus Gabriel eorum filius assignavit proprietateni unatn" THE SPANZOTTI 37 Bianca Maria Gaspardone^ (Madame du Challant) in bridal attire, was generally attributed to Gabriele, but that this picture was probably painted by Martino Spanzotto. Vincenzo Spanzotto appears to have decorated the sacristy presses in S. Maria delle Grazie in Milan in 1498.2 Another Spanzotto i.e. Pier Antonio is recorded as working from January 6th, 1548, to the end of December, 1549, at Castello Sant' Angelo in Rome.^ This same Pier Antonio is also mentioned in a deed of June ist, 1561, among the earliest members of the Academy of S. Luke, which proves him to have been a painter of some note. Bertoletti believes Pier Antonio to have been a son of Martino, and adds two further documents : the marriage contracts of his two daughters, Costantina and Albina ; from which we learn that his wife, Faustina by name, was a native of Parma. Of these said daughters, ^ Blanche Marie Scapardone, or Gaspardone, born 1491 (?), married first Ermes Visconti, and secondly Baron du Challant. She was executed for her crimes in 1526. See Manuel de B ibliographie Biographique et d'' Iconographie des Feinmes cellbres . . . par tin vieux bibliophile. Turin : L. Roux & Co., Imprimeurs Editeurs ; Paris : Librairie Nilsson, 338, Kue S. Honore, 1892. Cf. also Matteo Bandello, Novella 4, Grumello Cronica : Milano, G. Miiller, 1856; Pier Ambrogio Curti, Madama di Celan-. Milano, 1875; L. G. Vallardi, La Contessa di Cellant: Milano, 1891. 2 Giuseppe Mongeri, Arte in Milano. Milano, 1872, p. 212. ^ Antonio Bertoletti, Artisti Subalpini a Roma. Mantova, 1884, p. 77 eseg. Archivio di Stato di Roma. Libro dei Conti della fabbrica e monizione di Castel San f Angelo. 1545-9, fol. 129 et seq. Conte di Vesme, in referring to these discoveries {Op. cit.), suggests that Pietro Spanzotto may have visited his father's former pupil, the aged Bazzi, in Siena on his way to Rome. Of course this is not impossible, but there is no recorded authority for the supposition. 38 EARLY YEARS AND APPRENTICESHIP Costantina^ married in 1567 a barber named Pietro Rignoni of Vogogna, near Novara, whilst Albina^ married a Florentine wood-carver, called Giuliano di Cazerini.^ Last of all, recorded byAngiolo Salomoni,^ comes Giovanni A7nbrogio Spanzotto, who accompanied Camillo Castiglioni in 1560 on an embassy from Milan to Philip IL This Giovanni Ambrogio is mentioned by Puccinelli^ among the Causidici Collegiati (enrolled attorneys or members of the Guild of Notaries) in 1532, and is said to have been the son of a certain Pietro Martino Spanzotto, Cancelliere delle Fortificazioni. Negri ^ concludes from the coincidences of name, date, and profession, that this Giovanni Ambrogio was another son of Martino, and that, just as Pier Antonio was attracted to Rome, so he was drawn to Milan to exercise the profession of the law. Why the additional name of Pietro and the title of Cancelliere delle Fortificazioni are inserted is not clear. Returning to Martino himself, we find that on ^ Archivio detto. 23 Ottobre, 1567. Not. Francesco Graziano, 1567-8, fol. 68. It is to be noticed that in this deed Pier Antonio is described as Petrus Antonius de Panzocchis Casalensis. 2 Archivio detto. 10 Maggio, 1572. Not. Graziano, 1559-72, fol. 403. ^ The late Big. Gaetano Milanesi, in his own annotated copy of Bertoletti's work quoted above (now preserved in the Communal Library, Siena), spells this name Zazerini and suggests that it should be Particini. * Angiolo Salomoni, Memorie Storico-diplomatiche degli Ambasciatori incaricati d'affari che la Citta di Milano invih a diversi principi, chap. xl. p. 156. Milano, 1806. * Placido Puccinelli, Nobiltci. del Notaio, p. 276. Milano : Malevolti, 1654. ^ Negri, Op. cit., p. 19. See Appendix No. 6a : Pedigree of Spanzotto Family. SPANZOTTO AT VERCELLI 39 August I ith, 1 49 1, ten years, be it observed, after his first appearance in the Vercellese Archives, he took on lease^ from Giovanni Bartolommeo of Conflentia a house, comprising a shop, a parlour, two bedrooms, and a cellar, close to Sta. Maria Maggiore in Vercelli, for a term of four years (** or five, if so it pleased Maestro Martino "), at a yearly rent of twenty Milanese florins. He thus became a neighbour of Giacomo Bazzi, whose son had, the year before, been articled to him as apprentice. The painting commissioned by Niccolo Ajazza, to which we have referred above, although not completed until 1492,^ when the artist acknow- ledged the receipt of the sum due to him in payment for his work, was in process of execution during this period. On May yth, 1494/^ Martino's wife, Costantina daughterto Antonio Pianta,*anobleman of Lauriano, in the district of Chivasso, appointed, we find, certain proctors, including her husband and her brother-in-law, Francesco Spanzotto, to act for her in a lawsuit with a kinsman, Niccol6 Pianta ; perhaps, Conti di Vesme remarks,^ in connection with a legacy of a hundred florins, to which she was entitled under the will of her uncle, Spagnolio ^ Archivio Civico di Vercelli. ii Agosto, 1491. Guidetto de Pellipariis, P. 5, Not. 13, fol. 346. Colombo {jOp. cit., p. 392), who reads canepa where Baudi de Vesme {Op. cit.) reads canova. ^ Archivio detto, 11 Gennaio, 1492. Antonio de Pessinis, Not. 3, fol. 3. ^ Archivio detto, 7 Maggio, 1494. Agostino Ghislarengo, G. 5, Prot. 5, fol. 155. * It would appear that the Pianta also bore the name of Spagnoli, were joint Lords {consignori) of I^auriano and one of the principal families of the Chivasso district. ^ Baudi di Vesme, Op. cit. 40 EARLY YEARS AND APPRENTICE SHIP Pianta, concerning which matter several documents exist. Not long after this we learn that, his lease having expired, Maestro Martino, returning to Casale, relinquished his domicile in Vercelli ; for we read that, on December 21st, 1498,^ he chose four proctors to represent him in certain dealings with Cavalier Giovanni Antonio di Marino. Negri suggests, as another reason for Spanzotto's removal to his native city, the revival of Art in that town under the Paleologi (Guglielmo VII. and Bonifacio V.), Marquesses of Monferrato, during whose rule Casale also became the seat of a bishopric. This circumstance attracted many artists thither, foreign as well as native-born ; and no doubt Maestro Martino was glad to return once more to his early home. On July 3rd, 151 1, and on February 4th and August 12th, 15 12, we find the painter acting sponsor to certain children ; and since this is precisely the period when Defendente Deferrari makes his first appearance in Casale, coming from the province of Chivasso, where also the birthplace of Martino's wife is situated, Conte di Vesme submits the very reasonable plea that he likewise was Martino's pupil. Vincenzo Deconti^ informs us that, on September 23rd, 151 1, Martino Spanzotto was commissioned, on behalf of the town of Casale, to paint an ancona for the high altar of the Church of Sta. Maria di Piazza ; but original agreement, church and picture have all disappeared. ^ Archivio detto. 21 Decembre, 1498. Guglielmo de Lonate, Not. 16, fol. 673. 2 Vincenzo Deconti, Op. cit., vol. v. p. 43. Photo : Anderson. MADONNA AND CHILD. BY MARTINO SPANZOTTO. ROYAL PICTURE GALLERY, TURIN. ROOM 2. NO. 30A. To /ace p. 41. HIS PAINTINGS 41 Our latest notice concerning this artist is a receipt^ dated June 13th, 1524, for sixty-five gold scudi paid to him by Dorothea, widow of Sigismondo Asinari, for a painting of kS. Francis receiving the Stigmata, executed for the Franciscan Church at Casale. But from a deed dated November 2nd, 1528,^ in which Costantina de Spanzotis effects the transfer of her property at Chivasso, the conclusion is borne in upon us that Martino must have died at some time the exact date of which we cannot specify between June 13th, 1524, and the date above-mentioned in the year 1528. The few existing paintings by this artist either hitherto unknown or masquerading under other attributions are at length being brought to light under the auspices of modern research. The one uncontested work, a Madonna and Child, preserved in the Royal Pinacoteca at Turin (Room 2, No. 30^), was acquired by the Museum authorities in 1899. The Virgin is seated on a high-backed Renaissance throne, the dais raised upon three round feet, while on the ground beneath lie strewn scattered blossoms of the blue periwinkle. A pensive maiden, depicted with eyes cast down, the Madonna wears a very sweet and tender expression, and her fair wavy hair, parted simply on the forehead, flows over her shoulders. She is attired in a ^ Archivio del Conte Asinari di Camerano. Not. Francesco de Bazanis. Found by Baron Vernazza, who gave the original document to the Library of the University of Turin. 2 Archivio CoMUNALE di Chivasso. 2 Novembre, 1528. Rute 1526, fol. 80. " JVobtlts Costantina de Spanzotis pictoris . . . consignat omnia bonta sua immobilia que habet et tenet in loco et finibus clavaxii, . . . etcr 42 EARLYYEARSAND APPRENTICESHIP red robe and a green mantle adorned with narrow gold edging. In her lap lies the Child, clothed only with a little grey jacket scarcely reaching to His waist. He grasps a green book and gazes up into His Mother's face. A conventionally-patterned background in gold, combined with the wealth of decoration lavished upon the throne, serves to accentuate the simplicity of the Virgin's mien and attire. The picture is painted on panel, and the remnants of a much-damaged Gothic frame show that it probably formed part of a polyptych of some sort. The dais of the throne bears the words : Ho-Pus. JoHis Martini Casalen.^ The com- position as a whole breathes ingenuous charm, the weakest part being thefigure of theChild ; ill-drawn, with a head so misshapen as to suggest deformity, while the matted curls of fair hair resemble nothing so much as a badly-adjusted wig. Another picture in the Albertina Collection in Turin (Room IV., No. 150), attributed to the Antica Scuola Piemontese, is, notwithstanding the nefarious consequences of repeated restoration, almost certainly by the same hand. Here the Madonna is represented as a somewhat older woman and of more majestic bearing. The mantle bordered with delicate tracery covers her head, concealing the hair. The Child, nude save for a diaphanous strip of muslin round the body, stands upright on His Mother's knee. Though better drawn in this instance, the close resemblance to the Infant in the picture just described is remark- * This inscription would indicate that he also bore the name of Giovanni. HIS WORK AT CHIERI 43 able. The expression of the Madonna is likewise benign, while the lids are raised so that her eyes are visible. The details, which recall those of the picture in the Pinacoteca, are throughout more ornate : the throne is handsomer, and is decorated with clusters of fruit. There is no conventional background ; but seated on the high back of the throne are two winged ////// of the same somewhat large-headed type, playing on musical instruments. Two other pictures are ascribed to Spanzotto's brush by various authorities, and, since each in- volves certain special points of interest, we will proceed to describe them separately. Antonio Bosio,^ and following in his steps Conte di Vesme,^ record the existence of, and fully describe, a painting in several panels containing, inter alia, portraits of various members of the Tana family. Lords of Santena, placed by them in their chapel in the Church of the Madonna delle Grazie at Chieri. This picture was transferred about the year 1536 to the church of S. Agostino in the same city, and since the demolition of the latter in the early years of the nineteenth century the fate of the painting is shrouded in obscurity. An inscription painted upon it, and copied by Bosio^ from a MS. account by Padre Tomaso Verani {pbiit 1803), after setting forth at considerable length the names of the Family (the Founder of the Chapel and his four ^ C. T. Antonio Bosio, Memorie Storico-Religiose e di Belle Arti del Duomo e delle altre chiese di Chieri. Torino : Collegio degli Artigianelli. 1885, p. 133. ^ Baudi di Vesme, Op. cit. ^ Bosio, Op. cit., p. 133 e seg. This painstaking writer also adds a number of interesting details concerning the Tana family. 44 EARLY YEAR SAND APPRENTICESHIP sons), reads as follows : Qui hanctabulam ipsorum impetisa per Joannem Martmum Simazotum (sic) alias de Capanigo 1 488 ad laudeni ornnipotentis Dei inviolateque Marie Virginis dedicarmit. Conte di Vesme, drawing attention to the fact that the date 1488 is clearly a mistake (probably made by Padre Verani), points out that this Simazoto de Capanigo is no separate artist, as many of the earlier writers had imagined,^ but that the name is merely an erro- neous rendering of Spa7izotto de Capanigo. Both writers go on to observe, that while the fate of the S. Agostino picture is unknown, a votive polyptych still exists in the octagonal Baptistery of the Duomo at Chieri, dedicated, as may be seen from the in- scription thereon, to the memory of their brother Tomaso, by Ludovico and Tomeno Tana : pro uno legato facto de quondam suo fratello magnifico cavaliero Hierosolimitano /rate Thomaso morto in Rodo 1503} ^ Cf. also G. B. Spotorno, Storia Letteraria della Liguria. Geneva : Ponthenier, 1826, Vol. iv. chap. ix. " Simazzoti Simazoto Martino. 1488." " Per Martinum Simazotmn alias de Capanigo. 1488." ^ Cf. Barone Francesco Gamba, Abbadia di S. Antonio di Ranverso e Defendente De Ferrari da Chivasso. Torino ; G. B. Paravia & Co., 1876, p. 40. The inscription as quoted by this author runs as follows : On the left panel : Questa anchona e stata facta fare per i NOBILI AC GENEROSI DOMINO LUDOVICO ET PHILOMENO A TANIS, ET CONDOMINIS SANTINAE PRO UNO LEGATO DE QUONDAM SUO FRATELLO MASTRO CAVALIERO JEROSOLIMITANO FRATE THOMASO MORTO IN RODO. i''03 (1503)- On the right panel : Comandato per lo reverendissimo Grande MAESTRO IN RODO CAN GALEE Q^ TURCHI IN DEFENSIONE DEL LA FEDE CATHOLICA IL QUALE RESt6 IN LA DICTA BATTAGLIA PER MANTENERE LA FEDE CATHOLICA CON ALTRI MOLTl CAVALIERI CHE RESTARONO CON MOLTISSIMO HONORE DE LA REVERENDISSIMA RELIGIONE CON UNA GRANDISSIMA VITTORIA, CON GRANDISSIMO HONORE. It will be observed that the quotation in the text varies considerably POLYPTYCH AT CHIERI 45 The painting consists of six panels, the figures displayed in two rows, with a predella running beneath the whole. In the centre the Nativity with SS. John the Baptist and Thomas in the lateral panels, and above the Madonna and Child flanked by 55". Jerome and Michael. The predella exhibits a figure of Christ {Salvator Mundi) with His Twelve apostles, six on either side. Barone Gamba attributes this picture to Defendente De- ferrari, but certain characteristics notably the treatment of the Madonna and Child in the centre panel of the upper row strongly recall the manner of Martino Spanzotto. From facts gained in con- nection with these two votive pictures we apprehend that they must both have been painted subsequent to 1503, since it was on August loth of that year that Tomaso Tana died of wounds received on the previous day in a naval engagement against the Turks at the siege of Rhodes. The weight of evidence then doubtless favours the presumption that, if not actually the work of Martino Spanzotto, the painting must at least have issued from his bottega} from that in the note. The former is Bosio's version {Op. cit., p. 127). The Baron has certainly erred in reading Philomeno for Tomeno. Cf. also Col. Angelucci, SulV Esposizione d^ Arte Antica: Torino, 1880; and cf Giuseppe Cesare Barbavara, Breve Notizie su due Antichi Pittori Piemontesi. Extract from " Arte Sacra." Torino : Roux, Frassati & Co., 1898. ^ Bosio further informs us (p. 128) that this polyptych was closed by doors, and that these doors were painted on both sides ; one of the inside panels represented the Holy Family with S. Anne, etc., and the other the Baptistn of Christ. The outside of one of the wings showed a Holy Bishop in full Pontificals censing an altar ; whilst the corresponding panel bore the inscription Exaudita est oratio tua. The following signatures Francisc. Bergladi. et Gomar. Davers Faciebat 46 EARLY YEARS AND APPRENTICESHIP The other work, a picture in the Church of S. Antonio at Casale Monferrato, is cruelly injured by smoke and nail-marks. It hangs in the Callori Pico family chapel (now belonging to the Marchesa Massel). It is also a polyptych in six divisions : a central portion with two panels of unequal size on either hand, and a predella : varying greatly in merit. The principal composition is remarkable in many ways. First and foremost on account of its subject, an extremely infrequent one on this side of the Alps : namely, the Genealogy of the Madonna} An ornate Renaissance Hall forms an appropriate setting for the following personages. In the centre .S. Anne, an elderly woman in a white veil, is seen holding an open book in her left hand, while with the other she supports the Madonna, seated on her right knee. The Child, nude save appeared below. The learned writer endeavours to argue that these were two otherwise unknown Flemish painters. About the middle of the eighteenth century these panels had become so dilapidated that they threatened to fall to pieces. D. Peirone, Rector of San Giovanni ad Pontes (the Baptistery), therefore removed them, and they had disappeared at the time when Bosio wrote. ^ We have only been able to discover five Italian examples of this subject. They are as follows : (a) In the Sacristy of the Duomo at Turin. A very poor specimen. {b ) In the Duomo at Asti ; painted by Gandolfino di Roretis. Part of a polyptych, now divided and half buried in a huge Renaissance altar- piece ; this, the centre portion, being hung very high up. It is signed and dated 1501, and is fully described by Diego di S. Ambrogio {Arte e Storia : Firenze, August 31st, 1 901) and by Giuseppe Cesare Barbavara {Op. at., pp. 279-84). (c ) In the CoUegiata at Grignasco, Val Sesia. Fine colour and in good condition. Attributed to and signed (?) by Gaudenzio Ferrari. An impossible attribution. {d) The picture described in the text at Casale Monferrato. , (e) By Lorenzo di Pavia (Fasoli) ; now in the Louvre. From a Photo : Cav. Francesco Negri. THE GENEALOGY OF THE MADONNA. (SCHOOL OF SPANZOTTO.) CHURCH OF ST. AGOSTINO, CASALE MONFERRATO. To /ace p. 46. Oj>, Of- ' 'FORH^ GENEALOGY OF THE MADONNA 47 for a delicate piece of muslin round His loins, stands on the Virgin's left knee. He clings to His Mother with His right hand, while with His left He turns over the pages of the book held by His grandmother. Around this group and in their rear, six men in Oriental attire, standing in varied attitudes, represent respectively Joachim, Cleophas and Salomd (the three husbands given by tradition in succession to 5. Anne), and S, Joseph, Orpheus (sic, i.e. Alpheus), and Zebedee, the hus- bands of her three daughters, all named Mary. Seated on steps, below the group just mentioned are the other two Marys: Mary Zebedee, with her two sons ^55. James the Great and John the Evangelist ; and Mary Alpheus, with her four sons vS^. James the Less, Joseph Justus, Simeon, and Thaddeus. The colour is pleasing, and the aureoles, edges of robes, etc., are set off with gold. A label bearing the following church at Savona. This is the largest and perhaps the finest of the series. Though varying in detail, all five resemble each other in general arrangement of the figures, being evidently drawn from one traditional composition, which probably came from Germany, where the subject is very common. It is, in fact, to be found all over Northern Europe in painting, glass, sculpture (wood, stone, and plaster), enamel, miniature and tapestry ; but very rare in Italy, and even unknown in the central or southern schools of that country. In b, c, d, e the names of the various personages are either written near them or on labels in their hands, and on b, c, and d is painted the inscription quoted in the text, which, with slight variations, is the same in every case. Two incomplete Italian versions of this subject are to be found in the celebrated painting by Perugino in the Picture Gallery at Marseilles, and in a composition by Parmigiano mentioned by Mrs. Jameson (Legends of the Madonna. Boston: Houghton, Mifflin & Co., p. 395). In both of these the connecting links in the shape of the husbands of S. Anne are omitted. 48 EARLYYEARSANDAPPRENTICESHIP inscription fills the space at the foot of the central panel : Anna so let did tres concepisse Marias quas genuere viri loachni Cleophas Solome Has duxere viri Joseph Orpheus et Zebedeus prima parit X P M : Jacobil secunda minorem et Joseph iustum peperit et Simone Juda Tertia majorem Jacobum genuit atque loannem} Two of Mary Alpheus' offspring, who stand and sit on her right and left knees respectively, are nude ; and the little S. John wears only a thin white shirt, while the other children are fully clad. It is a very notable characteristic that the mean- derings of the gold tracery in the decoration create just those lines that the leading would follow if the composition were produced in painted glass. The most remarkable and, we venture to think, the most interesting points, however, are the two children in the centre below and the head of Mary Zebedee. All three are much more carefully drawn, more easily and gracefully posed, and possess a greater air of distinction and realism than any of ' From the Textus Sacramentarum a sort of rhyming creed first printed in 1523, but traditionally dating as far back as 1098 adopted by Renaissance writers and artists. See B. de Montault, who gives the entire text thus : Anna solet did tres concepisse Marias. Has genuere viri loachim Cleopkasque, Salome, quas duxere viri Joseph, Alpheus, Zebedeus. Prima parit Xtum, Jacobumque secunda minorem. Atque Joseph Justu77i peperit cum Symone Judam ; Tertio majorem Jacobum volucremque Johannem Unius mater, hec quatuor, ilia quorum. CEuvres Complies de Mgr. Xavier Barbier de Montault, Prelat de la Maison de Sa Sainteti, vol. xvi. : Rome. VI. Hagiographie. Huitibme Partie, p. 379. (Poitiers : Imprim. Blais et Roy., 1902.) POLYPTYCH, CASALE-MONFERRATO 49 the remaining figures ; and whilst the head of Mary Zebedee recalls the school of Leonardo, the two children bear a very strong resemblance to those in Bazzi's beautiful Charitas in the Royal Picture Gallery at Berlin (No. 109). Canonico Deconti, ^ attributing the work to Pietro Spanzotto, gives 1500 as the date of its execution ; but, as we have already said, the worthy Canon's dates are not altogether trustworthy. No undue freedom in conjecture is necessary, however, if we remember that Martino Spanzotto would appear to have returned to Casale about 1496, at the conclusion of the lease of hishouse in Vercelli, and that Bazzi's articles did not expire until December 1497. The surmise, then, is not un- justified that this was a picture in which several brains and hands had their part; and we may further submit the proposition, that in these children and the head of Mary Zebedee we might discern the handiwork of the young pupiP whose term of apprenticeship was just then drawing to a close. The side panels call for little remark. They con- tain the figures oiSS. Anthony Abbas and Prancis. The latter, a very inferior work painted in an altogether different manner, is possibly a late inser- tion intended to replace a damaged or destroyed ^ G. Deconti, Oj>. at. Cf. afite, p. 36, note 2. ^ This view is supported by Negri, though Conte di Vesme, we under- stand, holds to the Pietro Spanzotto authorship. But what more hkely than that Pietro, the son, was also one of his father's pupils and helpers, which would easily give rise to this tradition ? Negri adds that other works by the Spanzotti were known to have existed in Casale and the neighbourhood ; but they perished in the various sieges of the city : notably that in 1645, when General Covonges conveyed away to Carrate in France many art treasures that have long since disappeared. 50 EARLY YEARS AND APPRENTICESHIP original. The upper panels, with the Virgin and the Archangel Gabriel, both reveal, the Madonna especially, distinct traces of the manner of Martino himself, such as we observe it in his single known work. The predella comprises three small tondi of inferior merit, representing the Ecce Homo, the Virgo Gloriosa, and the Archangel Michael respectively. The painting is 2 '20 metres high by r6o metres wide, and robbed of the original frame, the several parts are now divided by shabby headings. One more painting may possibly have come from the same source : a Pietii, part of a much-restored polyptych in the church of the Gesu at Casale. It bears many of the same characteristics, and the angels have the same large heads. The Attnimcialion painted in two lunettes^ is all that remains of a number of windows destroyed in a storm at the end of the eighteenth century. The fragments were at one time kept in the Sacristy of the votive church of the Santuario at Crea, near Casale, Monferrato, and are still, it is believed, housed there. All things considered, we believe that Negri proposes no unreasonable theory in suggesting them to be the work of the '' unknown painter on glass!' Who Maestro Martino's teacher was, we know not, but it is clear that his training in the tradi- tions of the ''Arte'' of painting, as understood at that day, was thorough and complete ; and it is, moreover, most probable that a desire for further improvement brought him to Vercelli. It is a ^ Negri, Op. ctt, p. 14. SPANZOTTO'S INFLUENCE 51 somewhat remarkable fact that this small town should, in those days, have attracted so many artists of merit ; for that the Vercellese School was also in close touch with those of Lombardy and Venetia is evident from the many records of painters from those parts who worked there, and at Casale. That Martino's influence on his pupils was a marked one is clear from the close affinity (first observed by Mr. Berenson) between Bazzi and Defendente Deferrari ; artists whose aims and achievements at first sight appear so widely dif- ferent. We have therefore deemed it imperative to dwell at some length upon Spanzotto's history and work. The resemblance is more readily felt than defined in the few pictures so far traced to the master ; but the dignified simplicity so character- istic of his Madonnas is perhaps recalled in some of Bazzi's more soberly conceived female heads. Whatever may have been the pupil's artistic in- equalities and defects in after years, his taste and eye had clearly been correctly trained at the outset ; and he owed a large debt of gratitude to Maestro Martino for developing in him that intense feeling for beauty which is so vividly reflected in all his work.^ ^ We would here draw attention to a curious remark made by a recent writer (Pietro Rossi, " II Sodoma " nelV Arte Senese. Estratto dal Bullet- tino Senese di Storia Fatria, Anno X. fasc. ii. : Siena, 1903, p. 7). He states that Bazzi was ^^educato per lunghi anni da un maestro lom- bardo delta scuola di Foppa." Now there is nothing whatever to show that Martino Spanzotto himself ever belonged to the School of Foppa. But, as Morelli {Op. cit., pp. 411-12, note 2) remarks, Gian Giacomo de AUadio (commonly known as " Macrino d'Alba "), a well-known pupil of Vincenzo Foppa, was working for some length of time in Vercelli during the last decade of the fifteenth century, and unquestionably impressed 52 EARLYYEARS AND APPRENTICESHIP Thepowerful influence of Leonardo (then working in Milan)wasdoubtIessalsofeIt in the neighbouring Art-centre of Vercelli, and perhaps his drawings may even have reached that town. But whether Bazzi ever actually was Da Vinci's pupil is quite uncertain. We know that the great Florentine's example exercised strong effect upon artists like Bernardino Luini, who certainly never came under his direct training ; and the same may therefore have been the case with the young Bazzi. Just as a few years later in Siena, Bazzi set himself to make copies from the sculptures of that greatest of the Sienese Masters, Giacomo della Quercia, so also may he have previously studied the works of Leon- ardo da Vinci. We also know that, when he came to Siena under the auspices of the Spannocchi, he had already acquired a distinct style of his own, which enabled him at once to obtain employment and speedily achieve considerable repute. In spite of Marchese d'Azeglio's statement to the contrary,^ Bazzi left no incontrovertible traces of work in his native city.^ It has been certain marked characteristics of his master's teaching on the painters of that school : one of the most noticeable of these being " the canopy," so frequently introduced by Bazzi into his compositions, and still more frequently employed by the later Vercellese masters. ^ Marchese Roberto d' Azeglio, Za i?, Galleria di Torino Illusfrata, vol. iv. : '''' Ivarii di lui dipintia olio e a fresco, che adornano i teittpli ed i palazzi della Provincia Vercellese, danno /' ultimo compimento alia dimo- strazione, provando, essere gia giunto questo pittore a maturita d^ ingegno quando condiiceasi a Siena." 2 In November 1895, at the sale in Milan of the Scarpa Gallery of Paintings, from Motta di Livenza, Cav. Aw. Antonio Borgogna of Vercelli purchased a most interesting tondo panel by Bazzi, till then attributed to Cesare da Sesto, and placed it in his private collection. Thus one picture by the master now hangs in his native town. Cf. post. p. 69, note 3. >^ ^ OFTH ^'r' OF -F0RT4Vj> ANGELINA BAZZI 53 suggested^ that the ceiling of the ground-floor saloon in the Palazzo Tizzoni at Vercelli, behind S. Giuliano (now the small but rapidly growing Istituto di Belle Arti), may be due to his brush, but the inferiorityof the workmanship and the stamp of a later epoch, set unmistakably upon the work in question, deprive the proposition of more than anecdotic interest. All we know is, that after his father's death in 1497, Bazzi left his native city ; and we have no proof that he ever returned thither, even when, as is probable, he did revisit Northern Italy between 15 19 and 1525. We know that Angelina Bazzi survived her husband many years ; that their only daughter Amedea had, previous to her father's death, married one Giovanni Pietro (surname unknown), taking with her a marriage portion of 100 Milanese florins (= 320 francs approximately); and that the extravagance of Niccol6 who did not come of age until after January 31st, 1502 made serious inroads upon his mother's estate. From the time, however, of Giacomo Bazzi's death in 1497, there are but two allusions extant to their elder son Giovanni Antonio. In the former of these,^ he is spoken of 1 Conte Carlo Emanuele Arborio Mella, Allocuzione (Nella solenne prima distribuzione dei premi alii alunni della scuola gratuita di disegno nella sala del Palazzo Civico di Vercelli li 8 Novembre, 1842. Vercelli, Tip. Ceretti), p. 28. For a description of these frescoes, cf. Bruzza, Op. cit., p. 42 e seg. 2 Archivio detto. 7 Decembris, 1501. Giovan Giacomo de Riciis^ R. 8, Not. 6, fol. 66. Prot., n, 3, fol. 54. "... quos florenos (triginta) prefata Angelina exposuit in utilitatem et comodum Nichole ejus filii . . . conveniunt . . . quod si contingerit ipsum Nicholam succedere in bonis Johannis Antonii ejus fratris absentis, (aut aliter dicta bona habere seu possidere) eo casu voluit et vult et ita Qonyenit . . , ideii^ Nichola prefate ejus matri presenti et acceptant^ 54 EARLY YEARS AND APPRENTICESHIP as being absent ; and Angelina, in contemplation of the contingency (for which she must have had some good reason) of his absence becoming perma- nent, through any cause whatsoever, consents, subject to certain charges for her own benefit, to her son Niccol6 dealing with his brother's pro- spective share of their patrimony. The second deed bears date less than two months later,^ and therein Angelina de Bazis, after reciting the names of all her three children (putting however ^\zzo\b first), expressly states that the conveyance in question is made with the consent of Niccolo and Amedea only. These deeds would seem to infer that for some unknown reason Giovanni Antonio, though still quod ipsa mater possit et voleat ejus propria auctoritate ac sine licentia alicuius judicis vel rectoris et absque aliquarum penarum incursu appre- hendere possessionem ac tenutam, tot de bonis predictis, usque ad concurrentem summam praedictorum florenorum iriginta. . . ." Cf. Faccio, Op. cii., p. 220. ^ Archivio detto. Notar. Enrico De Balbis. Prot. B. 4, n. 3, fol. 146-8. " 1502 ultimo mensis januari in vicinia ecclesie Sancte Marie Majoris. . . . Angelina uxor quondam magriyar. 6 STATUE OF ACCA LAURENTIA. BY GIACOMO DELLA QUERCIA FROM THE FONTE GAIA, SIENA. To face p. 66. '4-^ STUDIES FROM THE FOREGOING STATUES. BY BAZZI. UFFIZI, FLORENXE. P. 66. UNIVERSITY 'i\:> THE FONTE GAIA 67 and the well-known '' Charitas'' in the Royal Gallery at Berlin ; and she has, moreover, drawn attention to a drawing in the Uffizi collection (Case 243, No. 43) attributed to that master. This drawing is so evidently the reproduction of an already existing work, and not a first sketch, that the conviction of actually holding in our hands one of the counts of Vasari's indictment is borne in upon us ; and that this very drawing is one of those studies, in connection with which our young friend is so severely taken to task. Contessa Priuli Bon ^ also suggests, with some show of reason, that the collection of casts, etc., known to have been in our artist's possession,^ may also have included copies of portions of this famous work of art. Of the pictures known to have been painted at this period, two recorded by Delia Valle^ have, alas ! disappeared. In his account of the work of Antonio Barili, quoting Alfonso Landi,"* he ^ Contessa Priuli-Bon, Sodoma (Great Masters Series). London; George Bell & Sons, 1900, pp. 10-11. ^ Monsignore Giovanni Bottari, Lettere Pittoriche, vol. v., No. 42 : P. Trappolini a Messer Alessandro Corvini : Milano, Giovanni Silvestri, 1822 ; also Lettere Facete, etc., collected by Francesco Turchi : Venezia, 1 601. Cf. also Nuovi Documenti cit., p. 526, No. 273. Appendix No. 32. ^ Delia Valle, Op. cit., vol. iii. pp. 328-30. ^ Delia Valle and Landi, Op. cit. : " Del medesimo artifice nella Gallerik del Signor Pandolfo Savini vi e un ornamento lavorato in noce fatto ad un quadro di Gio. Antonio detto il Sodoma, alto piii di tre braccia e largo braccia uno e mezzo, nel quale e rappresentata la Vergine con idea, e volto maestosissinio, col suo Bambino tutto nudo in grembo, sopra modo delicato, e tenero, con S. Gio. Baitista, parimente putto assai vezzoso, eabbracciato dalla Vergine col braccio destro, e con S. Giuseppe nella parte di sopra, del quale apparisce la testa con una mano con essa tenente un vaso. Questo quadro, per 1' eccellenza sua e di valore grandissimo, ha un ornamento intorno lavorato da Antonio Barili, e in forma rotonda di sopra, e di sotto, e in piano." 68 EARLY WORK IN SIENA describes fully two pictures painted to the order of the Savini, for which Barili carved sumptuous frames. The first of these paintings was 3 braccia high by i^ wide, and " represented the Virgin with a most majestic mien and countenance ; her Child nude on her lap,delicateand tender beyond measure, with S. John the Baptist, an equally charming child encircled by the Virgin's right arm, and with S. Joseph above, whose head and one hand holding a vase, alone are visible." Milanesi^ tells us that the frame was made in 1501. The painting would therefore be one of the very earliest of Bazzi's Sienese performances. We read in this chronicle that it remained for a long time in the Palazzo Savini, but was sold out of the country by the widow of Guido Savini, the last of his name, for 120 scudi (60 zecchini). The other picture painted for the same family, with a frame carved by the same skilful craftsman,^ was 2 braccia high by if wide. Here "the Virgin is also seated with her nude Infant in her lap; theChild is receiving the adoration of the juvenile S. John the Baptist, with a cross clasped to his breast. ^ Vasari, Op. cit., p. 396, note 3. 2 Delia Valle & Landi, Op. cit. : *' Nella medesima galleria v'e un altra pittura del medesirao Sodoma in quadro, alto braccia due, largo braccia uno, e tre quarti. In essa si rappresenta la Vergine sedente col Bambino nudo in braccio, il quale sedente mostra di voler ricever ossequio da S. Gio. Battista, parimente fanciullo, che mostra di riverire Cristo Bambino, stante con le mani in croce appoggiate al petto. Sopra a 8. Gio. Battista apparisce Santa Caterina da Siena in busto, e con le mani gionte, tra le quali ha un giglio, & a rincontro comparisce una testa di S. Giuseppe. L' ornamento di questo quadro e fattura del medesimo Barili. . . ." Vasari {Op cit., p. 396) refers to one of these pictures as having been painted for Messer Enea Savini dalla Costerella, and adds that it was inolto lodato. Which of the two he means we cannot now say. pA^^. ''TONDO" FROM LECCETTO 69 Above are seen the bust of S. Catherine of Siena, with hands folded holding a lily, and on the opposite side S. Joseph." This picture has also disappeared. Critics likewise place certain other panels within this period ; but before proceeding with our his- torical narrative, we would here draw attention to two paintings, both now preserved in the Accademia delle Belle Arti at Siena, and both almost certainly painted before 1503. One of these (No. 512), a tondo, once in the Hermitage at Leccetto, three miles outside the Porta S. Marco of the city, represents the Nativity. The Magi are approaching from a distance, while the shepherds are seen through an opening in the wall behind. The point most worthy of remark in this picture is, that, pace the veryLeonardesque head of the angel supporting the Infant S. John, which in this respect strikes a discordant note,^ the whole work is curiously Tuscan in sentiment and feeling. The composition and certain details, such as the broken wall behind the kneeling Virgin, so vividly recall the work of Lorenzo di Credi, that Jansen^ even goes so far as to attribute to Bazzi a picture (No. 439) in the Villa Borghese in Rome, which, in spite of superficial points of similarity, is obviously not by our artist, but by Di Credi himself, or one of his disciples.^ The adoption of ^ Padre Luigi de Angelis in his Ragguaglio del Nuovo Istituto delle Belle Arti (Siena, i8i6) suggests that he sees in the angel's head a portrait of Bazzi himself as a youth. 2 Jansen, Op. cit., p. 45. ^ Two other Nativities by Bazzi do, in their composition as well as in their form, directly recall this very painting. They are : {a) A Nativity with two angels, once in the Palazzo Chigi- 70 EARLY WORK IN SIENA the tondo or circular form of painting, common in Tuscany and Umbria, is also worth observing. The other picture is i\it Descent froin the Cross, which even forced the admiration of Vasari himself; who, nevertheless, it may be observed, chronicles it at the wrong epoch of Bazzi's life, i.e., subsequent to his return from Rome, and even after the award of the title of Cavalier. Some critics^ for this reason would wish to set the date of this picture in 15 13; but Milanesi^ very rightly points out that the somewhat more restrained (castigata) manner of the painting altogether defeats this contention. The picture, removed to the Academy in 1862, was painted for the altar of the Cinuzzi family chapel in S. Francesco, and narrowly escaped destruction in the greatconflagration which occurred in that church on August 24th, 1655; when works by Raphael, Perugino, Pinturicchio and Bazzi himself perished. References to this painting recur frequently. Sigismondo Tizio^ in 15 13 writes as follows : " Tabulam nihilominus loannis Antonii Vercellensis, quern Leo Pontifex equitem creaverat in S. Francesco Zondadari, Siena, but now in the possession of Capt. Holford, Dorchester House, Park Lane, London. (J)) A Nativity with one angel, once in the Galleria Scarpa at Motta di Livenza, and there attributed to Cesare da Sesto. Now in the possession of Cav. Aw. Antonio Borgogna of Vercelli. See ante, p. 52. ^ Herr Karl Schuchhardt, Jahrbuch der Koniglichen Freussischen Kunstsammlungen, vol. xviii., 1897, and Prof. Pietro Rossi, Op. cit., p. 10. 2 Vasari, Op. cit., p. 388, note i : " Vogliono alcuni che fosse dipinta nel 15 13 : ma a noi pare, dalla maniera piii minuta e piu castigata, e dall' ordine stesso della composizione, che si debba riportare innanzi al tempo delle pitture di Mont' Oliveto." ' Tizio, Op. cit., 15 1 3. Cf. also Vittorio Lusini, La Storia della Basilica diS. Francesco in Siena: Siena, Tip. S. Bernardino, 1894, p. 174 ; and Luigi De Angelis, La Vita delB. Fietro Fettinaio: Siena, 1802, p. 128. THE "DESCENT FROM THE CROSS" 71 post Bernardini {il Pinturicchio) et Petri {il Perugino) tabulam, in qua Christus de Cruce depositus, aiunt cum propinquis decertare posset, cum placeat multis. ..." Mancini ^ says : " . . . il Sig. Annibale Caracci avendo visto in Siena, le cose di questo nostro, ed in particolare nel duomo 1' altare della Madonna a man destra, e quel deposto di Croce in S. Francesco, mi disse esser grandissimo maestro, e di buonissimo gusto, e che di simili se ne vederno poche, dolendosi appresso di non essere andato a Chiusure, dove aveva di poi inteso esser molte cose di quest' uomo ; e del suo tempo migliore. Solo aggiungo, che il Vasari ha ' preso r invenzione del deposto di S. Agnolino da quel del Sodoma, in S. Francesco. . . ." In a report of a pastoral visitation conducted by Monsignore Francesco Bossio, Apostolic Visitor, in 1575, it is thus described : " Icona vero erat multum magnifica cum misterio depo- sitionis a Cruce D. N. Jesu Christi, et ornatis columnis marmoreis auro elaboratis." Can. Lusini, having consulted the original docu- ment preserved in the Archivio della Curia Arcivescovile, writes as follows : " But beyond this, we come to a new wonder over the altar of the Cinuzzi, covered with a frontal of white silk (brocade ?), the panel of the Deposition of Christ from the Cross, painted with all the force of sentiment and ^ Mancini, Op. cit., p. 37 ; cf. also L.V. 12, p, 73, and Benvoglienti Miscellanea cit., pp. 252-6. Cf. De Angelis, Op. cit., p. cit., who caustically adds the following words to his quotation of this passage : " Non fe dunque maraviglia, che si degni il Sig. Vasari nelle sue Vite dopo avergli fatto tal furto ec. chiamarlo il Mattaccio." 75 EARLY WORK IN SIENA mastery of art possessed by that great artist Giovanni Antonio Bazzi. . . . That architectural decoration raised upon graceful and elegant columns touched up with gilded tracery, worthily frames Sodoma's great work."^ From the same writer^ we learn that the owner of the chapel was one Giugurta Cinuzzi. The altar was the fifth in a row of nine on the right- hand side on entering the church ; and it stood between that dedicated to S. Girolamo de' Vieri, over which hung a painting by Perugino, and the Sergardi family altar, whereon stood a work by Pinturicchio, with a predella by Raphael. Exactly opposite, on the other side of the church, was another work by Bazzi. All these treasures perished in the fire. As a piece of painting this Deposition is mag- nificent in colour and power. We cannot fail to admire the separate groups, especially that of the Virgin and the holy women around her. Even Vasari is pleased to commend this group, which may be profitably studied side by side with a much later composition by Bazzi i.e. the Swooning of S. Catherine, where a similar attitude of a fainting woman supported by her companions is reproduced once more. But he is perhaps more impressed by the somewhat meretricious trick of making mirrors ^ Lusini, Op. cit., p. 124. "Ma piii oltre si, che v'ha una nuova meraviglia sull' altare dei Cinuzzi, coperto di davanzale bianco di seta bertina. C'b la tavola della Deposizione di Gesii dalla Croce, dipinta con tutta la forza del sentimento, e la maestria dell' arte da quel grande che fu Giovanni Antonio Bazzi. . . . Quell' ornato architettonico levato su gentili ed eleganti colonne, ravvivavate dalle lumeggiature d' oro, incornicia degnamente il gran lavoro del Sodoma." * Lusini, Op. cit., pp. 175-88. Photo: Lombardi. THE SWOONING VIRGIN. DETAIL FROM THE "DEPOSITION: SIENA ACADEMY. To /ace p. 72. Photo : LombarJi. TWO LEGIONARIES. DETAIL FROM THE SAME. To /ace ^.72. BAZZrS INDUSTRY 73 of the soldier s armour.^ The two legionaries are exceedingly fine and powerfully drawn. The figure with his back turned to the spectator has been said to be Bazzi's own portrait,^ but if we are correct as to the date of the picture, this is obviously impossible. The landscape is charming and thoroughly consonant with our artist's Lombard training ; and the most careful attention to detail is a prominent characteristic, proving once more that Bazzi could take pains if he pleased. The small paintings on the predella Scenes frorn the Passion are inferior productions, probably by another hand. Now, if we reckon in our minds all the pictures of which we have here alluded to the most im- portant only that may reasonably beassigned to the years between our artist's arrival in Siena (be that 1500 or 1 501) and the date at which he betook himself to S. Anna in Creta, i.e. during the month of July 1503, we can scarcely agree with Vasari that his time was spent in idleness. Up to this time we hear of no pupils or assistants, and Vasari himself expressly states that he worked alone. Bd.zzi could not, therefore, have found such an ^ The compiler of the Raccolta delle piil celebri Pitture esistenti nella Citt^ di Siena, disegnate ed incise da valenti artisti (Firenze : Niccolo Pagni, 1825), notices the following reflections in the armour of the soldier : (i) The figure of himself in the helmet on the ground. (2) That of his companion talking to him. (3) The group of holy women mirrored in his cuirass under his left arm. Delia Valle indicates as the Magdalen the woman with the fillet across her forehead, leaning over the Madonna; not the woman who stands beside the cross. ^ Schuchhardt, Op. cit. 74 EARLY WORK IN SIENA extraordinary amount of leisure in which to amuse himself, if he managed in this brief space of his life to execute all the work with which contemporary authorities and the discoveries of modern research have, with considerable show of reason, credited him. A^C^V' Ir* > rr '-r ... */ SPECIMEN OF G. A. JL J* f X J^*'' '^ ' 1"^ / V'^^ dl ZZrS HANDWRITING. P/irto: H.Rurtou. CHAPTER IV EARLY FRESCOES AND PAINTINGS The year 1503 is marked by a covenant entered into by Bazzi, with Fra Andrea Cossa (or Coscia), a Neapolitan monk, '' cellerario'' or steward of the small Olivetan community of S. Anna in Camprena (or Creta), to decorate the walls of the refectory.^ Vasari, with his habitual disregard of chrono- logy, sets this work posterior in order of date to the great achievement at Monte Oliveto Maggiore^; and, moreover, mentions one only among the frescoes executed here.^ The learned Olivetan Father, Don Placido Lugano,'' has discovered and printed in extenso the original document from the Archives of the Convent ^ ; which, indeed, not only lays the question of priority finally to rest, but also '^ The late M. Eugene Miintz says {Histoire de PArt pendant la Renaissance: Paris, Hachette et Cie, 1895, vol. iii. p. 518) that Bazzi was invited to S. Anna in Creta by the Abbot, Tommaso Pallavicini. ^ It is difificult to understand this, since, although it is possible that Vasari never went to Monte Oliveto Maggiore at all, he certainly stayed some months at S. Anna in Creta in 1530-31 with his friend, Don Miniato Pitti. ^ It is to be observed that Vasari, in speaking of Bazzi's Farnesina work, also only recalls twooi the frescoes, i.e. The Marriage of Alexander and Roxana and Vulcan at his Forge, * Placido Lugano, // " Sodo/na " e i suoi affreschi a Sanf Anna in Camprena presso Pienza. {Bullettino Senese di Storia Patria, Anno IX., fasc. ii., 1902.) ^ R. Archivio di Stato di Firenze. Archivio del Patrimonio Ecclesiastico, Pienza, A. CCCIX., vols, i.-ii. (461), fol. 18 bis. Appendix No. 7. 75 76 EARLY FRESCOES AND PAINTINGS casts doubts upon another of Vasari's statements. The biographer would have us believe that Bazzi's introduction to the Olivetan Monks, an Order for whom he laboured at various epochs of his life, and in more than one monastery, was due to the favour or partiality of their General, Fra Domenico da Lecco (a Lombard, and in a sense his fellow-countryman) ; and that it was persuasion and flattery brought to bear upon this ecclesiastic, which acted as an inducement to him to engage our artist for the completion of the work commenced, but afterwards abandoned, by Luca Signorelli.^ This document, however, shows that, of the three friars, witnesses to the agreement, one was a native of Milan, and another, Fra Bartolommeo, had actually come from the town of Vercelli. Far more probable that these monks were the channel through which the introduction was obtained ; and success at S. Anna almost certainly acted as a spur for the more important commission at the Mother House. The Convent of S. Anna in Camprena, after many vicissitudes now the summer residence of the Bishops of Chiusi and Pienza, lies somewhat remote from the highway, about five miles from the latter city. The monastery, founded in 1324 by Donna Ugucia, wife of Ramezio Ragnoni, a Sienese patrician, was at first neither an imposing nor an extensive pile. Time, however, added im- portance to the edifice, and a large chapel, now ^ Scenes from the Life of S. Benedict in the great cloister. That Vasari, if he ever visited Monte Oliveto Maggiore, could have had but a hazy recollection of what he saw, is proved by his statement {Op. cit., vol. iii. p. 689) that Signorelli painted elevefi of these ; whereas, as a matter of fact, he only executed teri. S. ANNA IN CRETA 77 the parish church, was built. To this structure a cloister was added at the end of the fifteenth and beginning of the sixteenth centuries, from the designs of Fra Paolo da Recco, an Olivetan of Genoese origin, whose multifarious labours at the Mother Abbey were much esteemed ; and included magnificent intarsia panelling and carved wood stalls (since destoyed) for the refectory, which Bazzi's frescoes subsequently adorned. Padre Luganor not only brought to light the original instrument commissioning this work, dated July loth, 1503 ; ^ but also a notice of the same in a Summary,^ prefixed to a volume of the Convent Records, obviously compiled many years (perhaps centuries) later ; and last, but not least, the entry of a payment of 21 ducat (=147 lire or thereabouts) on June 25th, 1504; thus affording evidence that the artist spent nearly a year at work upon these frescoes. These paintings depict Scenes from the Gospels, the Life of the Virgin, and the History of the Olivetan Order. They cover six large divisions : three at either end of a long room. These are connected by a frieze running along the side walls at a certain height, beneath which the stalls mentioned above were originally placed. The frieze on the right-hand wall under the windows is entirely ^ This document, though much injured and torn across, is still very legible. 2 Archivi detti, etc., Soinmario, Lettera F (Fitfura),\)^. 51-2. It is to be noticed that in this summary the painter is styled Maestro Giovan Antonio da Vergelle, showing that it must have been written long after, by some one who favoured the Sienese rather than the Lombard origin of the artist. 78 EARLY FRESCOES AND PAINTINGS obliterated : not a surprising circumstance, since the refectory floor lies several feet below the level of the garden outside. Moreover, since this room at one time served the purposes of the peasant-custodian, as a woodshed and tool-house, it is wonderful indeed that any portion of the work should have survived. The frieze opposite the windows is cruelly injured and partially defaced in places. Damaged though it be, the work cannot fail to interest the student, as the earliest example of that fanciful arabesque work, in which Bazzi delighted, and achieved so great a measure of distinction. The scenes from the Life of the Virgin, painted in monochrome panels, alternate with portrait-busts of Benedictine Saints. Three of these portraits are still in a tolerable state of preservation, and it is well worth the student's while to compare that of .S. Scholastica with a very similar presentment of this saint by Boltrafiio, to be found in the gallery of the Nuns' Choir at S. Maurizio (Monastero Maggiore) at Milan. The wall at the upper end of the room is filled by a single vast composition in three divisions, depicting the Miracle of the Loaves and Fishes : the one fresco, be it noted, mentioned by Vasari. This large painting, though not altogether satis- factory, nevertheless abounds in charming details. The injuries due to damp especially in the left- hand corner of the composition doubtless tend in a not inconsiderable degree to diminish our appreciation of the fresco. The Saviour's mien, though of a tender cast, is very impressive ; but in some of the other figures Bazzi already exhibits at this early period of his art that inclination DRAUGHTSMANSHIP AND TYPES 79 towards the somewhat sensuous types of beauty, which marks his later development. We may observe with interest that, in spite of the too- apparent traces of careless painting throughout, the limbs of the principal figures are all drawn underneath their robes with great precision. This is one of the most notable characteristics of our painter's methods, showing how solidly the foundations of his artistic training had been laid. The forms appear as though they were clothed in one garment only ; every detail of the anatomy being visible to a degree almost bordering on the grotesque. A stripling in the left-hand panel pre- sents an oft-recurring type, and his wreath of roses suggests Tuscan influences ; whilst the peculiar swathed head-band of the woman in the cor- responding lateral panel reappears at frequent intervals in Bazzi's later compositions. We may also notice the quaint baskets ; in shape and size identical with those still in use at the present day. Here for the first time we find the artist im- porting into his landscape the well-known ruins of Ancient Rome : the Arch of Constantme, for instance, behind the central group, and in the right-hand panel, the Colosseum. Don Placido observes that MM. G. B. de Rossi^ and A. Geffroy ^ have drawn particular attention to this noteworthy ^ G. B. de Rossi, Di un affresco del Sodoma nel chiostro di Monte Oliveto Maggiore rappresentante u?ia prospettiva del foro romatio {Bullet- tino deir Istituto della Corrispondenza, 1887, p. 150). ^ A. Geffroy, Une vue inedite de Rome en 14S9 '> ^- ^" ^^ Rossi, SuppUment aux M'elanges d' Archiol. et d^Histoire, torn, xii., Rome, T892, p. 380. SoEARLY FRESCOES AND PAINTINGS fact ; and that the former recalls theexistenceofanow rare work, tniiiXtd^ntiquarieprospetticheRomane, which enjoyed an extensive circulation in artistic circles at the end of the fifteenth century. Since at that time Bazzi had not as yet visited Rome, it is clear that he must somehow have become acquainted with this work, perhaps in the studio of Leonardo da Vinci, and through such means the interest and attention of the "idle apprentice" were evidently awakened in an unusual degree to the study of antique remains, rendering him henceforth the willing slave of classical influences. This tendency may be discerned in the frequent recurrence of similar buildings throughout his work. The fresco exhibits strongly marked traces of the two influences, Tuscan and Lombard, then dominant in the young artist's mind ; and there is no doubt that the conflict between these two is responsible for the unsatisfying preliminary impres- sion, that so disturbs the spectator's appreciation and judgment. The entrance occupies the centre of the wall at the lower end of the room, and a very beautiful, though somewhat archaic Head of Christ adorns the inside of its arched lintel. A Pietciy surmounting this doorway, is so Umbrian in sentiment, design and expression, that several of the figures notably that of S. John might well, we would fancy, have been delineated by a scholar of Perugino. A group, representing S. Anne, enthroned on a high chair, with the Madonna seated below, sup- porting the Holy Child on her knee, fills the lateral H O a; p!-l fa ^ FRESCO OF "S. BENEDICT'^ 81 panel to the left. Two Olivetan monks, to one of whom the Child is offering a small bird, kneel on either side. The scene is enacted under a pillared portico, whence we behold a view of the open country beyond. The face of the Infant Christ has been entirely obliterated ; although the delightfully ingenuous sentiment of the picture has survived. The treatment of the subject is reminiscent of the Sacred Genealogies, of which we have already spoken at some length. In the panel to the right, a Bishop, attended by six Olivetan brethren, is seen seated under a some- what similar loggia, with a handsome coffered ceiling. Several opinions have been put forward concerning this personage. Milanesi ^ calls him S. Bernard; Brogi^ and Frizzoni^ describe him as " un santo Vescovo'' ; whilst the author of the Cento Citta d' Italia^ avers that the figure stands for Guido Tarlatti, the Warrior-Bishop of Arezzo, approving the Olivetan Rule. A single glance, however, at the text of the agreement commission- ing this work proves beyond question that the painting represents '' our father S. Benedict " with his Brethren ; some of whom are evidently portrayed from living models. We desire to lay particular stress here upon the care that this instrument evinces in defining the artist's duties ; and we would emphasize the con- dition that he was ordered to ^2i\ni portraits from ^ Vasari, Op. cit., p. 384, note 2. ^ F. Brogi, Inventario Generale degli Oggetti d'Arte delta Provincia di Siena. Siena: C. Naya, 1897, p. 18. ^ Frizzoni, Op. cit., p. 112. * Cento Citta d' Italia. Milano : Sonzogno, 31 Ottobre, 1899. 82 EARLY FRESCOES AND PAINTINGS life. This ability^ upon the painter's part may have formed one of his special quaHfications for employment ; and, having been so successful on the present occasion, he doubtless continued the practice in subsequent commissions, thereby in- vesting the creatures of his fancy with a semblance of reality otherwise unattainable. The agreement likewise stipulates for an assistant {garzone), but the records of S. Anna afford no clue regarding the pupil or pupils employed there. A curious observation would here not be out of place : namely, how authors follow one another, like sheep, without reflection, and spring lightly to conclusions that not unfrequently prove totally unwarranted. Padre della Valle^ suggests that Bazzi in this instance derived his architectural inspiration from the Pinturicchio frescoes in the Libreria of Siena Cathedral : a statement which proved a snare for successive experts until Dr. Julius Meyer -"^ pointed out the fallacy of this theory. Messrs. Crowe and Cavalcaselle ^ have shown that, despite Pinturicchio's commission bearing date June 29th, 1502, and the commence- ment of the work in 1503, when the ceiling was completed the death of Pius III., on October 19th of that year, caused the total cessation, and divers untoward circumstances prevented the renewal of operations, until 1506. By that date the Monte ^ Vasari, Op. cit., vol. v. p. 635 : " particolarmente in fare ritratti di naturale." 2 Della Valle, Op. cit, p. 257. ' Dr. Julius Meyer, Allgemeines Kiinstler- Lexicon. Berlin, 1885. * J. A. Crowe and G. B. Cavalcaselle, History of Painting in Italy, vol. iii. pp. 281-3. London : John Murray, 1866. INFLUENCE OF BRAMANTE 83 Oliveto frescoes, begun in 1505, were well on their way towards completion ; while those at S. Anna were commenced two years earlier still. Unless therefore Bazzi had seen Pinturicchio's cartoons, a mere suggestion unsupported by proof, his work can in nowise have been influenced by that of the elder artist. The cause for the resemblance is, as Dr. Meyer points out, not far to seek. Both artists had been trained to work from the same architectural models : both had been brought into direct contact with the same influence : namely, that of Bramante, whose decorative effects are designed precisely in the same style, and whose action upon most of his contemporaries, be they painters or sculptors, is clearly perceptible. The work of the Piedmontese and Lombard painters abound in these loggie, these coffered ceilings, and these galleries from which children {putti) hang garlands of flowers ; and Bazzi, before journeying south, must have been well acquainted with what may almost be described as the *' sealed pattern " in sacred architecture. In this reference we need only compare the background of Luini's fresco of the Presentation in the Temple, in the Votive Church (Santuario) of the Madonna delle Grazie at Saronno, with that of ^S. Benedict here; while any number of similar examples could easily be produced from other places.^ Nevertheless, the Umbrian element, so apparent in much of Bazzi's early work, can only have been acquired from an older master, ^ The great ancona at Turin, by Macrino d'Alba, is a good example both of the Bramantesque architecture and of the scalloped canopy to which we have already referred. 84 EARLY FRESCOES AND PAINTINGS for whom he probably entertained both considerable regard and respectful friendship. The possibility therefore that he may have seen the cartoons designed by Pinturicchio for his Libreria work is by no means excluded ; but it appears unnecessary to promote such a suggestion to the rank of a working hypothesis, when the solution of the problem can be so much more logically found elsewhere. None of the authorities on Bazzi have so far ac- corded adequate consideration to the circumstance that one year at least separated our artist's com-> missions at the two Monasteries of S. Anna and Monte Oliveto Maggiore. The date of the last payment, presumably for completed work at the former, isjune25th,^i504, whilst the first entry in the books of the Mother- Abbey does not occur until August loth, 1505. This renders the conjecture almost a certainty, that some at least of the work hitherto assigned to the period prior to 1503 was actually executed during this hitherto unnoticed space of fourteen months. We would therefore deem this the most fitting occasion to speak of a group of paintings, concerning which a vast amount of speculation has been rife ; and which from their resemblance, justly pointed out by Herr Karl Schuchhardt,^ were probably all three ^ Archivi detti, etc., vol. xxiv. (31) fol. 49, An. 1504. (Entrata ed Uscita.) j "//izzoni, Op. cit., pp. 1 13, 1 14. Cf. also " Guida Artistica della Cittd e contorni di Siena." Siena: Tip, Sordo-Muti, 1883, p. 184. O s W ~Q . w Q '^ 3 >: fa 3 fa !3 S Ci > O a; o ^ H w ^ ^ i ?i^ E t> MONTE OLIVETO MAGGIORE 89 ititercapedine et peamiartim coimnoditate . . . incoeptum, ut sapientis est, tandem opus complere decrevit. Et orientalem tneridionalemque claiistri partem, etsi diver so pictore, hand tamen inferiore pictitra, decoravit. Et nisi pictoris incuria ad- f ids set, nniversum, ut optabat, jam jam perfect um esset opus. This passage can only be construed as an allusion to Bazzi's dilatory methods. It would seem to infer also that the delay in completing the decoration of the cloister arose in part from want of money, and in part from the fact that Fra Domenico was not occupying the abbatial chair between the years 1501 and 1505. Legends innumerable in connection with this undertaking have sprung up and flourished in luxuriant growth around Bazzi's doubtless some- what exuberant personality and conduct. The most absurd, perhaps, is that recorded in all seriousness by Delia Valle,^ to the effect that the figure of a youth beside the painter's portrait in the scene of The Broken Cribble, whose semblance recurs continually throughout the series, is the presentment of his own wife, Beatrice de' Galli, '' ves tit a, ''sdiys the excellent father, '' alia Spart ana T Dom Gregoire Thomas, in his work, LAbbaye de Mont-Olivet-Majeur,^ strays even farther along the path of unbridled fancy, and calls the boy, whom ^ Delia Valle, Op. cit., p. 258. He adds the quotation : " Nudo genu, nodoque sinus collectejluentes." Virgil, ^neid, Lib. I., line 324. He also states that a Madonna depicted in the General's apartments is another portrait of the same lady. ^ Dom Gregoire Thomas, VAbbaye de Mont- Olivet-Majeur. Florence : Le Monnier, 1881. (This mistake is repeated, we regret to be compelled to state, by the writer of the latest Guide to the Convent.) 90 EARLY FRESCOES AND PAINTINGS the youth is leading by the hand, Bazzis daughter Faustina ''who married master RiccioT These worthy clerics exhibit a fine disdain for chronology and the sequence of events ; for whereas this fresco must have been completed between 1505 and 1508, ^ Bazzi was not married before June 15 10, and Faustina was not born till August 151 2. Another tale runs as follows : Bazzi, who told the General, (as Messer Giorgio asserts), that "his brush would only dance to the jingling of coin," while engaged upon the Te^nptation of the Monks, so exasperated his employer by his procrastination in completing and exhibiting the work, that at length, out of all patience, the General ordered the covering to be withdrawn forthwith. This unexpected action revealed all the principal figures in a state of nudity; and great was the horror and scandal of the monks at such ' lewdness." Vasari relates this incident in terms of real or feigned indignation, condemning Bazzi's conduct as an act of the grossest indecency, devised with malice prepense. Now, a few moments' reflection should suffice to show that, far from constituting a breach of decorum, worthy of the strongest reprobation, the nude figures were in reality greatly to the painter's credit, and would entitle him to special encomium. They showed all beholders the care with which the artist, in ^ It is on May 5th, 1505, that the entry occurs in the books recording the gift to the painter of the handsome garments, in which he has repre- sented himself ; and which had belonged to the newly-received brother, Fra Giovanni Ambrogio da Milano. Probably the fresco was executed about that date. Most authorities speak of these garments as a gift^ whereas the entries in the ledgers prove that they were debited to his account^ and thus constituted into 2^ purchase. Cf. p. ()^, post. "THE TEMPTATION OF THE MONKS" 91 obedience no doubt to his early training, had first drawn all the figures in this great composition undraped. This view is further supported by the circumstance, pointed out by Don Luigi Perego,^ that, had the figures been completed nud^, and were their clothing an afterthought, as Vasari avers, the action of time would long ere this have removed the overlaying coat of paint, and the figures in their original condition would have reappeared to our view. In support of the above proposition. Padre Perego instances how in another fresco of the series a beard, painted on to the clean-shaven chin of one of the monks represented, is, through the action of the weather, coming away piecemeal, disclosing the earlier drawing underneath. The learned father suggests, as an explanation, that the artist effaced and repainted the entire dexter portion of the composition. We prefer to believe that Bazzi's procrastination and the General's impetuous haste revealed work actually incomplete, but sufficiently advanced to offend the scruples of holy men un- acquainted with technical demands. Just a shade of credibility attaches to the theory that the painter may have desired to mark, by the very nudity of these lovely figures, the exceeding profligate intent of the wicked monk Fiorenzo ; a lesson, in monkish opinion, apparently of too strong a flavour. Be it observed, .S. Gregory s own words in describing the event in wS. Benedicfs Life would bear out this argument and uphold our reading of the painter's ideal conception. The learned ^ Don Luigi Perego, Guida Illustrate di Monte Oliveto Maggiore. Siena, 1903, pp. 113-14. 92 EARLY FRESCOES AND PAINTINGS Saint says (cap. viii.) : *' Fiorenzo, not being able to kill the body" (as he had tried to do by poison, etc.), ''endeavoured to destroy the so^l. He sent therefore seven girls, who danced naked before the monks, and excited in their minds lewd thoughts." But, whatever the facts and the construction put upon them, the bare suggestion does not justify a reckless accusation of indecent proclivities upon the artist's part ; whilst at all events we may rest assured that the consternation produced by the General's precipitancy would have afforded our lively friend unlimited scope for unholy mirth. The historical character of our narrative does not admit of our giving a full description of the entire series of thirty-one paintings executed here by Bazzi in the three years from August 1505 to August 1508; but we may glean many interesting and even entertaining facts and hints from the study of the entries set down to his account in the Monastery ledgers. We note, to commence with, many items con- cerning the animals he kept at the convent. Disbursements for stabling, oats, harness, shoeing, and even veterinary charges for his horse occur frequently. We mark besides two special notices of a contract entered into with the Abbot, to date from October 1506, for forage and the housing of this animal. We are told that this horse, a dark bay (a favour te colour with our hero), was called " the little dragon " [el Draghettd). We hear like- wise of hens kept in the cloister by his ''gar zone' Mcirchionne; of purchases of barley; and of ''millet THE CONVENT ACCOUNTS 93 for the birdsT In the fresco containing his portrait we make acquaintance with that most cherished of his possessions, the celebrated talking raven ; besides a badger, some guinea-pigs, and one swan at least. There are numerous items of clothing supplied to him and his assistants : payments for black Florentine hose, material for shirts and doublets, the making and mending of shoes, and even a razor ; whilst three separate entries refer to specially magnificent wearing apparel. Two of these concern the fine collection of garments belonging to the Milanese novice mentioned by Vasari,^ in which we behold Giovan Antonio resplendent in fresco to this day;^ attire for which he is debited with 35 gold ducats (= 245 lire) in the Monastery accounts. It is round entries of this kind that many piquant tales of our artist's extravagancies have no doubt been woven. On the other hand proofs of his industry are not lackingeither. Items such as terraverde, giallolino, and other materials for his work recur frequently; and more than once there appear entries of pay- ment for three hundred sheets of gold leaf, gold paint, and for "round panels of wood" (tondi di ^ Vasari, Op cit., p. 383. 2 Archivio di Stato di Siena. Libro (T Amministrazione deW Archicenobio di Monte Oliveto Maggiore presso Chiusurri. Segnato LP. Item, a d\ cinque di magio hebbe una cappa, uno giubone di velluto, uno burrico di velluto negro. Item, uno paio di calze di pavonazo chiaro, una birretta negra, un cappello con la benda di seta, uno feltro da cavalcare, cioe uno gabbano, uno paio di scarpe di velluto, una spada, due camise lavorate, quali erano di fra Giovanni Ambrogio nostro frate et eranno rimasti di accordo di prezzo di sapra dette cose et abia a pagare ducati d'oro trenta cinque, quali luy confessb havere havuti da me frate Evangelista da Viterbo celleraio. Ciol lire ducenth quarantacinque . . . Cio^ L. 245. Cf. also Appendix No. 8. 94 EARLY FRESCOES AND PAINTINGS legno), and the carriage thereof from Siena, showing that his work during his sojourn at Monte Oliv^to was not confijted solely to the painting of the frescoes. We notice, too, that meat is bought, and once we read of ''thrushes" purchased ''per li garzoni, et infermi et depentoriy or per infermi, depentori e famiglie " : proof that, if the monks' fare was often of the plainest, their sick, their dependants, and their guests were not neglected. It is, however, worthy of remark in respect of these entries, that throughouttheentire series of accounts, which arebothprolixandsomewhatconfusing, owing to frequent reiteration of the same item, the name Matazo (presumably intended for J/<3!//)occurs but once, and that in the first entry. Should no weightier authority exist for Vasari's assumption,^ that Bazzi went generally by that name, we can only place the statement upon the same plane with his other far-fetched, and as time has shown unwar- ranted conclusions. Yet, while Vasari's lead, unless corroborative evidence be forthcoming, is not one to be followed uncritically, we are bound to admit that, since at some time in 1530-31, according to that writer's autobiography, he was the guest of Don Miniato Pitti (for that year '' Vicario'' of S. Anna in Camprena), he must at least be credited with the gift of picturesque representation of the celebrated artist's "ploys" at the Mother House twenty-five years earlier. These had no doubt remained, and continued for many years subse- quently, to be the solace and talk of conventual leisure hours. It is strange, though, that, having seen ^ Vasari, Op. cit., p. 399. VASARI'S FICTIONS 95 the frescoes at S. Anna, he should set down these works, and the more important cycle at Monte Oliveto Maggiore, in their wrong chronological order. It might be that most of the facts concerning them had reached him in garbled form even then, and were not cast into shape until many years had elapsed ; when he added his own store of anecdote acquired on this occasion to the information drawn from the several tainted sources we have referred to earlier in this work. Whether Vasari ever visited the Mother House seems uncertain. The erroneous sequence of his chronology renders this a moot point. But there is no doubt that his opinions were highly coloured by second and third hand reminiscences, in which some grains of truth lie concealed amid a deal of imaginative gossip. Excepting in the single instance above men- tioned, our artist is always described in the Monastery ledgers as Giov mini Antonio depentore, and once even da Verzelli is added ; a geographical suffix that might have enlightened had they cared the writers of the seventeenth and eighteenth centuries, with regard to his real origin.^ The names of the garzoni in Bazzi's employ at this time raise a number of particularly interesting points. Melchion we know nothing about. He would seem to have left Bazzi's service in the spring of 1506, perhaps to abandon painting altogether, ^ An entry occurs in the accounts on August 28th, 1507, of a gift of ten soldi to quello da Verzelli che andava ad Roma. If not himself, this was perhaps one of the friends of his youth, who may have visited him on his way south. 96 EARLY FRESCOES AND PAINTINGS for no records concerning him exist subsequent to his employment at Monte Oliveto.^ The nD\T\.e Marcionne might be traced to one of those inferior imitators, who are responsible for several of the indifferent paintings scattered about the Sienese district, so often attributed to the master himself. ** Vincentio^' however, can be no other than Vincenzo Tainagni of San Gimignano, an artist endowed with a certain degree of talent, best known through his work in his native city, and the document^ which records his imprisonment at Montalcino for a debt of 25 ducats to his former teacher, Bazzi.^ During his sojourn in that city in 1 5 ID he painted a number of interesting frescoes in the church of S. Francesco,'' and in the chapel of the prison itself. Portions of these still exist, in which his master's style is so distinctly perceptible, as ^ It is just possible that Melchion and Marcionne may be the same person. ^ Archivio Notarile Provinciale di Siena. 151 i, 7 di Giugno. Atti anterior! 1585. Filza di Eogiti di Ser Niccolh di Poso di Giovanni Posi da Monf Alcifio. 1505 al 1512, Rep. A. {Atti Notarile) Busta 358. Tamagni is here described as Vincentius Betinardi (sic) Chelis de Sancto Gimignano. The Note to the copy of this document {Mil. Doc, vol. iii. p. 50) draws attention to the mistake in the earlier annotated editions of Vasari, wherein Tamagni is said to be the son of one Bartolommeo de Chele. But again the heading of the copy of this document describes him as Vincenzo di Benedetto Toinagni. (See Appendix No. ii.) Such information as is attainable regarding the subsequent history of Tamagni may be found in Vasari {Op. cit., vol. iv. p. 489 e seg.). It is perhaps worth noting that, since he was born on April loth, 1492, he would only have been about thirteen or fourteen years of age when at work with Bazzi at Monte Olive to. ^ He appears to have left Bazzi's service in November 1506, for we find duplicate entries in the convent accounts on the 3rd of that month of seven soldi, disbursed to Marchionne to give to Vincenzo, quando parti. * In a chapel belonging to Ser Niccolb Posi, who, it may be observed, was the notary who filed the deed referred to above. MICHEL ANGELO ANSELMI 97 to have engendered an erroneous idea of their authorship. 1 We are not aware that any writer has hitherto drawn attention to the identity of this pupil, but the frequent mention of Vmcentio, besides a record of his journey to San Gimignano on September 3rd, 1506,^ and furthermore the entry of a payment on March 15th of the previous year of g carlini a uno fratello del suo garzone di Santo Gemignano in the Monastery accounts furnishes clear proof of our contention. Another disciple whom we know that Bazzi had under his tuition about this period, is Michel Angela A nselmi\^ but we do not find any reference to him by name in the books of either convent. Anselmi's parents people of respectability and good repute from Parma returned to their native town in 1505, leaving their son under Bazzi's artistic tutelage ; and he appears to have dwelt with him ^ There is also a fine fresco a life-size Madonna and Child with the Archangels Michael and Raphael and the young Tobias in the Collegiata at Asciano that may almost certainly be assigned to this painter. 2 Apparently on a visit, because we find him again buying pipkins {pignatti) at the Michaelmas Fair at Chiusuri, presumably for his master. ^ Very many writers, especially in guide-books, call this artist scolaro or discipolo di Riccio; but this is absolutely impossible, since he was born in 1491. If, as Milanesi (Vasari, Op. cit.. Commentary^ p. 412) states, Riccio was in his first youth when he married Bazzi's daughter Faustina in 1543, he could not possibly have been more than an infant when Michael Angelo Anselmi left Siena for good. Cf. post^ p. 166. Antonio Anselmi, banished from Parma, took refuge at Lucca, where he found a wife. There his son, Michel Angelo, was born, and thence the parents moved to Siena, where they stayed until 1505. For further information concerning this master the student may be referred to E. Scarabelli Zunti, Documenti e Memorie di Belle Arti Parmigiane (1505-50) and Romualdo Baistrocchi : MSB. in the Com- munal Library at Parma. 98 EARLY FRESCOES AND PAINTINGS until 1 516 or thereabouts. Why, therefore, his name does not occur at all in the accounts, it is somewhat hard to understand, unless it be that he was generally known, both to the monks and to his companions, under some other designation. He might perchance be identified with either of the two first-mentioned lads. The most interesting and important paintings in the series are those occupying the corners of the cloister: {a) The Saint leaving his Home; {b) The Broken Cribble; if) The Temptation of the Monks ; (d) The Reception of the Novices, Maitrns and Placidiis ; and (e) The Destruction of Monte Cassino} In the first-named, there appear the types we so often meet with throughout the cycle. The figure of the young S. Benedict is typical of all the young men (even the so-called portrait of Bazzi's wife) that follow in succession. The original model was probably one of his ov^n garsoni', whilst the monks are evidently portraits, and no doubt speaking likenesses, of members of the community. Bazzi, we are told by Vasari, having been ordered to paint the portraits of the Generals of the Order^ two and two under each "Act," certainly did avail himself of the features of the brethren for his purpose. Where the artist ob- tained his beautiful female models it is not easy to say, more especially since the types vary so considerably : in the Temptation, for example, ^ It is to be observed that Eugene Miintz {Op. cit, p. 519) thinks that this fresco was in point of time the first of the series. 2 Vasari, Op. cit., p. 383. These pseudo-likenesses seem to have offerde but a feeble resistance to the hand of time, since Fra Antonio Bentivoglio (apparently Vasari's contemporary) ordered their obliteration. Photo: Lombardi, CHOIR OF SINGERS. DETAIL FROM SCENE 23 OF THE LIFE OF S. BENEDICT. MONTE OLWETO MAGGIOKE. To /ace p. '/. cit^ would place at this period of our hero's career, certain frescoes in the Lady Chapel of the Church of S. Francesco at Subiaco. They represent Scenes from the Life of the Virgin, and the learned Professor displays considerable ingenuity in support of his con- tention. We have not been able to examine the original work, but the photos published by the Kunsthistorische Gesellschaft fUr Photographische Publicationen are not convincing. * William Heywood, A Pictorial Chronicle of Siena. Siena : Torrini, 1902, p. 97. That this citizen was one of the leading innkeepers in the Siena of that day is evident from the fact that, in May 1498, the orator of Charles VIII. of France was lodged in the Crown Inn at the city's expense. ii6 FIRST VISIT TO ROME Inns, by his wife Caterina de' Peri. This lady brought with her a dowry of 450 florins of 4 lire each/ and subsequently inherited under her mother's Will ^ two houses in the Via Vallerozzi in Siena. The issue of the marriage were two children: Apelles, born in August 151 1, and Faustina in 1512.^ Among the godparents of the first child who died an infant we find the artist Girolamo Genga, whose eclectic and im- personal style at that time so far echoed Bazzi's, that the painting of a curtain to adorn the organ of the Cathedral of Siena, representing the Transfiguration (now in the Museum of the Opera del Duomo), was long attributed to the more cele- brated master.^ On June 7th, 151 1, as we have already had occasion to note, Bazzi sued his whilom pupil, Vincenzo di Bernardo Chelis (Tamagni), ^ Arch. Not. Prov. Siena. Rogiti di Ser Alessandro di Niccolh delta Grammatica; Atti Anteriori al 1585, Filza dal 1507-15, No. 61. Reparto A, Busta 193. 15 10, 28 Ottobre. ^ Archivio detto. Hogiti di Ser Ventura di Ciofine Ciogni da Lucig- nano Vat di Chiana; Filza del 1523-27, No. 48; Rep. A, Busta 604. 1524, 19 Maggio. ^ Archivio di Stato di Siena, Libro de^ Battezzati, 151 1 : ^' Apetle f. di Barzi (sic) da Verge tie dipentore si baptezo addl xxviiii. d^ Agosto. Compare M. Gismondo Acharigi, e M- Giovan-Baptista Nini, e Gentile da Caparbio, e Girolamo da Urbino (il Genga) e Sinolfo Saracini.^' Archivio detto, Libro detto, 1512 ; ^^ Faustina, figlia di M"- Giovananf dipentore si baptizo addi xvj d' Agosto. Compare elchiga (Chigi)." Vasari I^Op. cit, p. 398) makes another slip here. He states that Giovanni Antonio and Beatrice Bazzi had a daughter during their first year of wedlock, and separated immediately afterwards. * Painted in 15 10, Genga received for it 100 scudi. Cf. Vasari, Op. cit., vol. vi. p. 316, note i. There is also a drawing of Diafta and her Nymphs, Fol. 109, No. 2514, in the old Pinacotek at Munich, attributed by Morelli to our artist, which seems much more like the work of Genga. To this painter Schuchhardt {Op. cit.) seems inclined to attribute the fine Charitas at Berlin already alluded to. SIENESE " PALU" 117 then lying in prison at Montalcino, to recover from him a sum of 25 ducats.^ No records exist concerning the circumstances of this debt, or the reason for Tamagni's imprisonment ; but since we have already submitted the theory that the master received his first commission at S. Gimignano directly or indirectly through the Tamagni family, the relations between them may have been those of reciprocal obligation ; hence the debt. The reader should take special note that it is precisely during these years, marked as they were by intimate domestic events, and spent amid his family and personal friends, that the nickname of Sodoma first appears. On March loth, 151 2,^ we find Bazzi running two horses in the Palio held in honour of the Blessed Ambrogio Sansedoni;^ and his name occurs again in the same lists probably for the identical /^^j/^ two years later (1514).'^ One of his horses would appear to have been entered for the Palio of "Our Lady of August" in 1513;^ but some offence seems ^ Arch. Not. Prov. Siena. Rogiti di Ser Niccotb di Poso di Giovanni Posi da Montalcino dal 1505 al 1512 ; Rep. A {Atti Notarili), Busta No. 358. 2 Archivio detto {Atti di Ordinamento Civile e Politico), Bastardello dei Quattro Provveditori di Biccherna. Nelle Carte di Ser Alessandro della Grammatica\ p. 28'- Rep. E, Busta 21. ^ For an elaborate account of this Saint and the races run in his honour, cf. William Heywood, Palio and Ponte (London : Methuen & Co., 1904), pp. 68-81. As to the place and management of the Sienese Palii of those days, cf. also p. 212. They were not promoted by the Contrade, as at present, but under the exclusive control of the Commune, and entries for the various events were open to owners and riders from all parts of Italy. * Arch, di Stato di Siena, Biccherna 883. Dal i Luglio 15 13 al 30 Giugno 15 14. * Archivio detto, Biccherna detto. ii8 FIRST VISIT TO ROME to have been committed on the recurrence of this festival in the following year,^ since three entries in the books of the Biccherna, dated respectively August 19th and 23rd, and October 6th, 15 14, record the levying of a fine of " 25 denari',' besides the menace of arrest. This may account for his absence from the list of competitors in that race. It is upon these occasions that Bazzi may be said to have first become officially known as ''Sodoma " ; and it may thence reasonably be presumed that the officials of the Biccherna recognized the name as a racing sobriquet, and no more. In the text of one of the last-named entries the culprit is designated as lo Batista,^ while the nickname is appended on the margin. These racing records, of which copious extracts will be found in the Appendix, are somewhat intricate, and have been made none the more intel- ligible by incomplete and incorrect copying ; ^ while the difficulties of reference are increased by their separation, for no apparent reason, in two different Record Offices. Their interest is considerable. Let us therefore pause awhile, and consider the light they may throw on certain obscure points. The races recorded (five in all), together with the competitors, are as follows : March loth, 1512 . Feast of B. Ambrogio Sansedoni. ^ Archivio detto, Biccherna 884. Dal 4 Luglio 15 14 al Xmbre 22, 1514- 2 It is even possible, since we find that Batista was the name of one of his jockeys in the earher Palio of the same year, that the servant was the culprit, though the owner bore the brunt of the offence. ^ Nuovi Documenti, etc., p. 408, No. 207. See Appendix No. 13. SIENESE "PALU" 119 March 30th, 15 13 (?). Feast of B. Ambrogio Sansedoni. ,, ,, ,, . Feast of S. Mary Magdalen. August 1 6th, 1 5 13 . Feast of S. Mary of August (The Assumption). March 30th, 1514 . Feast of B. Ambrogio Sansedoni. We would first beg our readers to observe that the earliest entry is taken from a volume preserved in the Archivio Notarile ; while the remainder are to be found in the Archivio diStato, although both profess to form part of the same set of records : namely, those of the Quattro Provedditori di Biccherna. We may note next, that the second of these lists is written on a loose sheet of paper (a leaf from a book of accounts) pasted into the volume of records. It bears no authori- tative date, but some latter-day archivist has written /5/J Marzo in blue pencil underneath. This date therefore is only conjectural. From the names of the persons and the details concerning the horses mentioned, we are inclined to hold this list merely as an incomplete repetition or a mis- dated copy of the record for the August Palio of the following year (perhaps even a preliminary schedule for that race).^ Since the name of our artist is not mentioned on either of these two occasions, the matter is so far one of minor ^ It may be remarked that none of these records bear the stamp of finaHty, for erasures and alterations occur more than once in all of them. For example, for the S. Mary Magdalen Palio in 15 13 the first entry of the name of the Duke of Urbino is struck out ; as if there had been some mistake in the ownership of the horse mejitioned, I20 FIRST VISIT TO ROME importance. Neither does his name occur in the next list. Our interest, therefore, in these two races centres rather in those of the other individuals mentioned, the names of whose horses and jockeys seem to recur again and again at all the race- meetings. Some of these personages are men of the highest rank and commanding influence. Among them stands foremost the Marquis of Mantua, whose acquaintance the artist perhaps made on some one of these occasions, the Duke of Urbino, the Cardinal Alfonso Petrucci,^ the Marchese della Sassetta, and last, but not least, Messer Agostino Bardi, in rivalry with whom we notice the painter enters two horses for the first Palio in which his own name occurs {March loth, 757^). A single horse, the ''Equus leardus',' seems to have run for him on all occasions, including the August Palio of 15 13; whilst two appear in March 15 14, one of which animals is described as " Equus morellusy ^ This steed was perhaps that purchased from Agostino Bardi. Of his jockeys, one, Betto of Viterbo, seems to have ridden several times for him ; but the queer nicknames of these gentry do not assist us much towards their iden- tification in connexion with their masters. From ^ Who, as we know, owed his scarlet hat to the good ofifices of Agostino Chigi in 1511. 2 Morellus = black ; Ital. Morello. G. L. Pulci, Morgante Maggiore, xii. 42 : "Cavalcava un' alfana smisurata, Di pel morello e Stella aveva in fronte," Leardus = white ; Ital. Lear do, a word especially used for the hide of a horse. G. F. Berni, Orlando Innamorato, ii. 23, 48 : " Larbin di Portogallo, ancor garzone, ^avalca seco un gran destrier leardo." FRANCESCO GONZAGA 121 the shifting of the names in the lists, it would seem that these lads were not always employed by the same owner. They probably belonged to a sort of guild or corporation, not confined to anyparticular locality, and rode for the highest bidder or first comer, as chance led them.^ Francesco Gonzaga, Marquis of Mantua, was notoriously an enthusiastic patron of racing. His animals were famous throughout Europe ; several even finding their way to England in the form of presents to Henry VI H.^ His term of imprison- ment in Rome in 1510"^ does not seem to have precluded his name from appearing in the lists of owners at race-meetings all over Italy ; and the circumstance of Bazzi's acquaintance with this Prince resulted some years afterwards in the offer of a specimen of his artistic handiwork. We have already referred incidentally to our artist's purchase of a horse, with furniture complete, for the sum of 30 diicati larghi, from Agostino Bardi. The document recording this transaction is dated November 9th, 1513.^ The painter is there described 2iS Johannes Antonius J acobi de Verzbde Savoia^ which crushes once and for all the Vergelle myth. Bazzi was to be permitted to extinguish ^ The student may read these details with some interest in the copies of the entries above referred to, ^ Julia Cartwright, Isabella d^ Este, Marchioness of Mantua^ ^474 1539- ^ Study of the Renaissance. London : John Murray. 1903, vol. ii. pp. 173-4. ^ Idem, vol. ii. pp. 43-4. * Arch. Not. Prov. Siena. Ro^iti di Ser Mariano d' Antonio Benucci, Filza 7a, No. 62 ; Rep. A {Gestioni Notarili), Busta 534. ^ A point worthy of note, since it records the fact that Vercelli at thi^ date belonged to the Principality of Savoy. 122 FIRST VISIT TO ROME the debt either by painting, within eight months, the facade of Bardi's house in the Piazza Postierla, or by completing an altar panel instead. We learn from Vasari that he actually executed the fresco in competition with Beccafumi, who was then first coming to the fore as an artist, and was engaged in decorating the neighbouring Palazzo Borghese. All trace of both paintings has long since vanished. The year 15 13 is the date that Meyer ^ would fix for the notorious Florentine Palio, an account of which is given in the first chapter. Several strong arguments, however, militate against this suggestion. In the first place no member of the Brandolini family was Prior of the Convent in that year.^ Francesco Brandolini, who presumably is the personage alluded to by Vasari, held office from May 1504 to May 1506, May 1509 to May 15 10, May 1515 to May 1517, May 1520 to May 1522, and May 1535 to May 1540. If, therefore, the biographer's statement is correct : that our artist's visit was induced by a commission to paint frescoes for this ecclesiastic, we must endeavour to place these two incidents within one or other of these periods. The first two terms are clearly out of the question : wherefore most critics, following Milanesi,^ fix upon 15 15 as the correct date ; which is supported by a letter (already referred to), written by Jacopo V. d'Appiano, * Meyer, Op. cit. This author skilfully gathers up the threads of his predecessor's arguments, but falls into a trap himself when speaking of the race as having taken place on the occasion of the Feast of S. Amdrogio, which was quite another occasion and in another city. ^ Cf. Familiarum tabulce Conventi Montis Olivetarum. '^ Vasari, Op. cit., p. 407. Prospetto Cronologico. d. post, p. i8 eseg. THE FLORENTINE "PALIO" 123 Prince of Piombino, the artist's staunch friend and patron, commending both him and his horses to the notice and protection of the ruler of Florence, Lorenzo de' Medici the Younger. It is important to bear in mind that when Milanesi published his valuable work, the paint- ings at this convent were supposed to have been entirely destroyed. Not until theearlynineties^ and then only by a mere accident did any portion come to light once more. This fragment comprises a portion of a Cenacolo^ the style of which is singularly mature ; and with no other corroborative data, it is somewhat hard to believe that these frescoes were executed at such an early period of the artist's career. This view would assist a proposition, which we put forward with some diffidence, though it seems to us with a strong show of reason: viz., that the Aretine biographer has once more confused his facts and dates. It is more than probable nay, most likely that Bazzi and his horses competed in Florentine races on a number of occasions ; one of which no doubt occurred in 15 15. It is scarcely conceivable that a well-known character, in the heyday of his popularity as man and artist, and enjoying the powerful protection of nobles and princes, especially of the ruler of ^ Diego di S. Ambrogio, VAffresco del Sodoina a Montoliveto fuori Porta San Frediano. {Arte e Storia. 25 Gennaio, 1895, Anno XIV., No. 2.) 2 They consist of figures of the seated Saviour with hand raised in blessing, S. John, S. Peter and Judas, grouped in the usual somewhat stereotyped order common to representations of this scene. The heads of the last two are unusually strikingly characterise^. Ci. post^ p. 186, 124 FIRST VISIT TO ROME Florence himself, could have been either unknown to the people by his regular racing appellation, or have been subject to the violence of the mob on that account. Far more probable, indeed, that later in life, recklessly trading on past successes, he should have essayed as an older man, and in a changed Florence, to try his luck once more, and have met then with some sort of misadventure such as Vasari describes. The actual date of this Palio is still further thrown into uncertainty by the circumstance that, whereas Vasari states that the race was run on the occasion of the Feast of S. Barnabas,^ which falls on June nth, the letter of introduction is dated June 1 8th. It was probably in consequence of this letter that Milanesi fixed upon S. John the Baptist's day (June 24th) for the race; but even then the time would have been too short to admit of the entry of Bazzi's horses to run on that day. More- over, we find in the books of the Opera del Duomo of Siena records of commissions to be carried out by the artist, such as would scarcely have been given him in his absence. The fact that the work ordered on this occasion no longer exists has no bearing upon our argument ; for the salient point of interest to us rests upon the evidence that his nickname was already officially recognised as such ; thus effectually removing the sting from Vasari's story. While we may agree, therefore, that in 1515 Bazzi ^ This Palio was run to commemorate the Battle of Campaldino, fought on June nth, 1289. Cf. William Heywood {Palio and Ponte cit, p. g), as regards certain buffooneries indulged in by the Florentine rabble in connection with this race. Cf. also p. 10 of the same work. STATUE OF AN APOSTLE 125 came to Florence under distinguished patronage, and entered horses for a Palio, the theory that this was the occasion whereon he acquired his surname may with justice be finally abandoned. We are aware that on June 22nd he received from the Siena Duomo authorities a commission to fashion a bronze statue of an Apostle ^ for the decoration of that noble church ; and to under- take besides, the artistic tuition of four of the apprentices employed in the bottega of the Opera. What has become of this Apostle? Did he ever take tangible shape? We cannot tell, since no trace of the image now remains ; but a later notice,^ dated October i ith of the same year, informs us that the ^ Arch, dell' Opera del Duomo, Libro di Memorie, segnato E 9. a c. 28*. 1515, 22 di Giugno. ^^ Deliberaverunt locare Magistro Johanni Antonio alias Sodoma pictori, ad faciendum unain figuram unius apostoli briinzii in Ecclesia cathedrali cum illis conditionibus prout fuit locata Jacopo Cozzarelli. Item modis et pactis et locaverunt etiam aliam figuram, et hoc ad beneplacitum operariorum, si ipsis videbitur. Et quod ipse Johannes Antonius teneatur docere quatuor pueros dicti Operis gratis, et sine ullo premio ad pingendujn." We learn (Vasari, Op. cit., p. 405, Mil. Doc. vol. ii. pp. 463-6 ; vol. iii. pp. 29 & 305), that these figures had been first allotted to Francesco di Giorgio and then to Giacomo Cozzarelli. We also learn from the same sources that contracts for training their young material had been entered into at different times by the Rectors of the Duomo, with Antonio Federighi (the sculptor), Ventura di Ser Giuliano, Turi de' Pilli (the carver and architect), and Giacomo Cozzarelli above- mentioned. In reference to these bronze figures, the student may be interested to note the accounts of the sums of money paid by the Opera del Duomo to Francesco di Giorgio for the two bronze angels also made for the choir. Archivio di Stato, di Siena. Scritture Consistoriali, Filza No. 24. 1497. Cf. Mil. Doc, vol. iii. p. 305. ^ Arch, dell' Opera del Duomo. Libro verde di due Angeli, Carte 287. 15 15. 11 d' Ottobre. Giovantonio ^^///V Hochzeit des Alexander tend der Roxana in der Renaissance.^^ 132 SECOND VISIT TO ROME Vatican. The able critic, in his enthusiasm for his subject and principal arguments : viz., the dates of the building of the Villa, and the work therein by Raphael and Sebastiano del Piombo : has, neverthe- less, failed to give due consideration to those well- authenticated dates in Bazzi's life, which seem to entirely exclude any acceptance of his hypothesis, or of an earlier date for these important frescoes. Let us therefore carefully examine the dates, and fix them as far as we approximately can. Foerster, after marshalling a variety of facts, principally drawn from Cugnoni,^ in support of his contention, reaches the conclusion that, com- menced in 1509, the Villa itself was completed in 1511.^ About 1509, or soon after, two metrical descriptions of the house appeared in print ; ^ in the second of which occur the lines : '' Ast e porticibus primis sese atria pandunt Prima, dehinc alio super his stant altera versu : Haec circtim hand mho stant picta cubilia cidttt^' upon which the German critic founds his argument and lays so much stress. It seems scarcely likely, however, that so enthusiastic a panegyrist as ^ Cugnoni, Op. cit. ^ It is a curious fact, and one worthy of note in a " Life^^ of one of her most distinguished sons, how workmen from Vercelli are found among those employed at the Farnesina. We read of a certain Giovanantonio Invercellini of Vercelli, a smith, who in 1510 contracted to supply Chigi with hinges for the doors of his new villa. ^ Suburbanum Augustini Chisii opus per Blasium Palladium impressum Romae per Jacobum Mazochiuw, Romance AccademicB bibliopolam anno salutis MDXII. De Viridario Augustini Chigii Patritii Senen, vera libellus Galli Egidii Romani poe. laur. impressum Romae per Stephanum Guillireti et Herculem nani consocios anno Domi. 1511. THE VILLA FARNESINA 133 Palladio would have dismissed so important an undertaking as these frescoes with a curt phrase \\\it picta CMbilia. It is possible, nay, even pro- bable, judging from the rest of the evidence, that other rooms, or some paintings since destroyed or superseded, are indicated by these words. Or it may even be that the poet being aware that Chigi did intend to paint his sleeping apartments, spoke of them beforehand as an accomplished fact. Foerster^ would determine the date of Bazzi's Farnesina labours in accordance with the literal reading of Vasari ; i.e., immediately after the abrupt termination by Julius IL of the painter's contract at the Vatican (1509). Now, although it is more than likely that Bazzi did not at once abandon the city on that occasion, still his marriage in Siena in October 15 10 furnishes irrefragable proof that he had left Rome in the course of the autumn of that year. The births of his children, together with the other documentarily proven events, render his alleged departure from Siena in 151 1 exceedingly doubtful. Moreover Chigi himself was, as Foerster tells us, absent from Rome during the early months of 1 5 10. Going first to Bologna in company with Pope Julius IL, from whom, on March loth, 151 1, he obtained a cardinal's hat for the Sienese patrician Alfonso Petrucci,^ he proceeded to ^ Foerster's statement {^Die Hochzeit^ etc., note 2) that Albertini {Op. cit.) records the Farnesina among the sights of Rome as early as June 3rd, 1509, and that therefore the frescoes themselves should be placed before 15 1 2 rather than later, seems scarcely to accord with his earlier propo- sition that the fabric was not commenced until 1509, nor finished until 1511. ^ Whose horses, it will be remembered, contested with those of our artist at several Sienese Palii. 134 SECOND VISIT TO ROME Venice, whence he returned with the beautiful Francesca Andreazza (or Ordeasca), his mistress, subsequently his wife, bringing with him also Sebastiano del Piombo. His return to Rome with this lady, whom he did not however marry until August 1 5 19, may have fired him with the desire to decorate his nuptial chamber in her honour. While a second visit to Rome on Bazzi's part earlier than 15 14 does not lie outside the range of possibility, yet the task before him was not one that could be accomplished in a few days ; and to set him to work there immediately on the completion of the villa in 151 1, so as to have completed the undertaking by the end of 15 12, is a theory mani- festly untenable in view of ascertained dates of the artist's life. Stilcritik, moreover, suggests in this work a more advanced style and power than Bazzi exhibits at the date proposed by Dr. Foerster. Although venturing to disagree with that able writer in matter of dates, we are cordially at one with his description and enthusiastic criticism of the frescoes themselves, and cannot do better than quote largely from his writings, strongly recom- mending the reader to study his interesting essays on the Villa, which form a fund of most valuable information, embracing everything connected with the building and its celebrated founder. The principal portions of the work are dis- played on the north, east, and west walls of the bridal chamber. The south wall, broken by the window, is undecorated ; and the ceiling, upon which are represented a number of minor scenes '^ OF THE ^r UNIVERSITY THE MARRIAGE OF ALEXANDER 135 from classical mythology, has never, we believe, been attributed to Bazzi. The centre of interest is unquestionably the northern wall, whereon is depicted The Marriage of Alexander and Roxana} The bridal chamber, of oblong shape, at once transports the spectator to the realms of fancy, where imagination rather than reality holds sway. Access is open from all sides ; be it through a colonnade from the rear or by other openings right and left. The centre of the apartment the back wall of which is adorned with medallions is occupied by the bridal couch, in the form of a small highly ornamented temple. Along the frieze, engaging groups of mermaids, centaurs, and sea-horses gaily disport them- selves. The marriage rite is nowhere concealed. The bride, clothed only in some transparent drapery, is seated on the side of a wide couch. Ablutions have been con- cluded, for two handmaidens are seen to the left bearing aloft the needful vessels. The attendant nearest to the bride, and turning her back to the spectator, carries a marble vase on her head, supporting it with her left arm ; while the other hand holds up the long peplum draping her form. This garment, leaving both arms free, exposes the left shoulder and a portion of the back. The activity of her ministrations is shown by the disorder of her head- dress ; and locks of hair stray over forehead, cheek, and right shoulder. She gazes upon her mistress with an expression of faithful devotion. The second attendant, similar to the first in clothing, but with her tresses altogether unbound, bears a vessel and a napkin, and moving away, glances backwards to cast a cold look at the central group. The third attendant exhibits a sharp contrast to both her companions : she is a negress, and wears a white turban. She gazes shyly at the bridal pair from ^ The translations which follow must not be taken as literal; but they convey, we believe, the sense of Foerster's admirable original. 136 SECOND VISIT TO ROME behind one of the columns of the canopy, the while she draws back with her left hand the curtain concealing them from view. Roxana is seated, her right leg crossed over the left. Her right arm rests on a cushion, and her glance is bent to the ground. Her left hand raises her garment slightly over the right ankle ; whilst a Cupid, stooping on the ground, attempts, with sly looks and more zeal than success, to loosen the cords of her sandals. Her hair is decorated with ornaments fastened on the forehead by means of a ribbon, but the ends of the tresses are loosened and fall in ringlets, one curl to the right, and the remainder to the left, over her bosom. The single diaphanous veil, which leaves both arms bare, and fails to conceal the outline of bust and torso, has fallen from her left shoulder on to the arm. Aputto, poised on her left foot and caressing her cheek, his fingers playing with a lock of hair, uncovers her left side. His expression might be translated thus : Look upon such beauty and die ivith longing. This figure, clothed in a short kirtle and fluttering sash, would verily appear to enact the part of a handmaiden to the bride, Trapdvvixcjio^ or vvixKJievTpia. A second putto, looking up from under her right leg, caresses the left foot, displaying unmistakable admiration by his upturned glances directed at the attendants. Alexander, a fair youth with flowing locks, wears a cloak, armour, and leggings, and his helmet stands upon the ground before him. Advancing with an engaging smile towards the couch, he tenders Roxana an Eastern crown. A third Cupid precedes him, and, having wound a scarf or girdle round Alexander's right leg and left shoulder, is drawing him as it were towards felicity. A fourth crouches under Alexander's greaves, which he holds with both hands ; apparently either to ease his shoulder from the burden, or more probably because he is playing at hide-and-seek with a comrade. A fifth conceals himself behind the figure of Hymen. THE MARRIAGE OF ALEXANDER 137 A little way behind Alexander, in a very fine group, stand Hymen and Hephaestion, who appear rapt in admiring wonder at Roxana's beauty. Hymen is represented as a beautifijl youth with hyacinthine curls, and a countenance in which the feelings of admiration and desire are consum- mately mingled. Raising his right arm, he gathers upon his hip, with the left, the folds of the long mantle that leave the larger portion of his body exposed. Hephaestion, resting his hand on Hymen's right shoulder, likewise directs his glance at the central group. Garbed like Alexander in cloak, armour, etc., he holds as groomsman, a lighted torch in his right hand : viz. Trapo^o?, vvyif^ayioyo^t Trdpavvfi(f)o<;. His features are broad, somewhat coarse, and the coun- tenance naturally expresses greater realism than his companion's. A sixth Cupid, crouching behind Hymen, beside the pilaster by the entrance to the chamber, leans upon his right hand, and, holding Alexander's lance in his left, rests the weapon against his right shoulder. He has wound Alexander's scarf round his body, and his glance is turned towards the fourth Cupid. Two more Loves follow bearing a third, the smallest of their number, on Alexander's shield ; or rather they are letting both fall in their fi-ight on perceiving the fourth member of their group, who has blackened his face to resemble a negro, and having crept inside Alexander's cuirass, which stands at the extreme right of the picture, darts up suddenly while the shield-bearers march past in triumph. The tiniest of the Loves borne upon the shield starting backwards, clutches the ground with his left hand. The pu^ft in this group seem to be wingless. Their leader and the blackamoor wear fillets round their heads, while No. 2 is clothed in a short garment or kirtle. The expression of all three is most attractive. The open country beyond forms the background ; a landscape where horsemen are seen riding past. Some cross a bridge, and are galloping along the road leading in the contrary direction. A steep hill on the opposite 138 SECOND VISIT TO ROME river-bank rises, crowned by a castle, at the foot of which nestles a group of houses. Amorini swarm everywhere in the bridal chamber. At the entrance we meet two, flying downwards with Alex- ander's sword, bow and quiver. A third, poised above Hephaestion's head, bow and shaft in hand, points with his right hand at the bridal pair, whom Love's bolt has just struck. Next to him a fourth hands an arrow to a fifth, who advances from behind the curtain over the canopy to receive the gift. Three other Cupids shoot their arrows right and left. Two more stand on the side of the canopy facing the entrance ; one of whom has drawn the curtain around his body, so that only the eager little face, the legs, and part of the figure are visible. His companion crouches behind him. Two more Loves stand behind the canopy : one in the centre peeps through the curtain ; the other at the left corner, intent upon extricating himself from the drapery, looks downwards at the female attendants. Yet another Cupid, flying above the head of the latter, dis- charges his arrows at Alexander. The action of this band o{ Amorini r^c\\i\r^s> no explanation. The scene enacted before our eyes breathes an atmosphere of intense reality, allied with exquisite refinement in the infinite variety of their attitudes ; and induces in the beholder a sense of deep and consummate harmony. This wonderful composition was clearly inspired by Lucian's description of a picture by Action,^ and Lucian writes : tcrnv r] cJkwv iv 'IraXia Kayw elSov, wcrre kol croi iciv ciTrciv cxpi/XL. OdXa/Jio? ecrri TrcptKaW'^s kol kXivt] vu/x^ik^, kol rj Poi^dvrj KaOtfai, irdyKokov Tt )(prj[Jia trapOevov, e? yyjv bpStcra alSovfJLevrj kuTdra tov ' AXi^avhpov' "EpwTcs 8e tives /xetSioJVTCs 6 fjikv kotottlv i(f)(TT(iyav6v Ttva opeycL Tg TraiSt, Trdpo^os Se kol vu/x.<^aya)yos 'H^aicTTtW (TVfXTrdpiCTTL Baoa Kaio/xfvrjv e;(0)v />ieipaKta> Trdw wpato) eTrepeiSoju.o'os, 'Y/Aevaios oTfiaC ka-Tiv' ov yap CTTiycypaTTTai Tovvofj.a. eripwdi St t^s ci/covos aAXoi "EptoTts irai^ovtrw DRAWINGS 139 it may be advantageously studied in connection with the numerous drawings, in the various public and private collections throughout Europe, so long attributed to Raphael, and also with the frescoes by one of the master's pupils (possibly Perino del Vaga), painted in the so-called Villa of Raphael on the Pincian Hill, now preserved in the Casino Borghese in Rome. It should be observed that two contemporary writers ^ agree in recording a drawing by Raphael representing this very sub- ject, which was, according to Vasari,^ engraved by Agostino Veneziano. How far this drawing may have influenced Bazzi, or whether he even saw it before executing his work, must ever remain a matter of conjecture ; but it would seem that the sketch for the principal figures, in the Ufifizi Collec- tion (Case 343, No. 1479), generally accepted {pace Foerster) as the work of Bazzi, may very well have been a rough copy by him, from some drawing originally sketched by his friend Raphael, and in- iv TOis OTrXots Tov 'AXe$dv8poVy 8vo fx-ev ttjv \dy;(r/v airov 6pov<;, oirore Sokov (f)povTe<; (3apolvTo, aAAot 8k 8vo va nva ctti r^5 aarTrC8o<; KaraKet/xcvov, /SacrtXia 8rj6ev kol aurov, avpovai twv o^^avwv ttjs cto-TTtSo? 7rttX7//it/xevot, CIS 8k 8r] e? tov dwpaKa icreXOoiV vtttlov KCLfievov Xo^wvTi eOLKev, o)S (fiofirjcreuv avrou?, ottotc Kar airov yevoivro oT^povTcs. Cf. Adolfo Venturi, Tke Farnesina, pp. 67 e seg. : Rome (Edelweiss Series), 1891. Foerster remarks that it is not evident how Bazzi became acquainted with Lucian's description, but it was probably through a I^tin trans- lation ; since the Greek word o-rc^avos = a wreath, becoming corona = a crown, has been represented by the painter as an actual diadem. ^ Lodovico Dolce, Dialogo della Pittura : "L'Arefi'no." Venezia, 1557 {French and Italian) ; Firenze, 1735 ; Milano (Biblioteca Rara), vol. x. 1863. Gio. Paolo Lomazzo, Trattato delP Arte della Pittura e della Scultura. Milano, 1584. ^ Vasari, Op. cit., vol. v. p. 415, note. It is now generally agreed that Jacopo Caraglio, and not Agostino Veneziano, was the author of this engraving. I40 SECOND VISIT TO ROME tended as a note for his own proposed composition. The words " di rafel da Urbin " below, which seem to be contemporary with the drawing, and have led to so much discussion, are, we believe, in Bazzi's own handwriting,^ and would indicate the likeli- hood of the drawing being a copy, made by an artist not too proud to accept a suggestion, in the form of a fragmentary conception that pleased his fancy. That Bazzi did not actually adopt that very grouping of the figures, we know ; and that the painter of the inferior frescoes did, would suggest the conclusion, that this particular mode of illustrating Lucian's text was Raphael's. An exhaustive examination of all these drawings would require a volume to itself, and a digression here would occasion a serious break in the sequence of our narrative. We would therefore postpone the task, referring the student instead to Foerster's painstaking studies.^ "Sodoma's fresco" (he continues), "in my opinion, ranks among the finest productions of the Classical Revival of Renaissance art. If inferior to the School of Athens ^ A comparison with his known handwriting certainly lends colour to this supposition. 2 The drawing mentioned by Foerster on p. 12 of his essay in the Jahrbiicher {Hochzeit, etc.) and numbered 3, which he believes to be lost, may perhaps be traced in a design belonging to Mr. J. P. Hesel- tine (196, Queen's Gate, London). This sketch answers to Foerster's description exactly. It was bought by its present owner at Sotheby's (Mr. Tiffin's sale), June 20th, 1891, where it was marked Lot 206. It had been in the possession successively of Timoteo Viti, Crozat, the Marquis de Legoy, Dimsdale, and Sir T. Lawrence in whose collection it was numbered 63 and marked " T. L." It is signed " Raffael da Urbino." Another interesting drawing is recorded by Frizzoni {Op. cit., p. 142) : A design for Roxana^s Red, No. 177 (formerly attributed to Baccio Bandinelli) in the Taylorian Museum at Oxford. FOERSTER'S VIEWS 141 only in depth of grandeur of conception, this is due to the subject depicted, rather than to any inherent shortcoming in the execution ; and I deem it one of Sodoma's best paintings, if not actually his masterpiece. The beneficent influence exercised over the artist by Leonardo da Vinci is clearly manifest. Sodoma's nature could not have reached those summits unaided, nor was his character capable of the sustained energy that sinks all other considerations in the work before him. Industry and the careful attention to details, without which no work can be perfected, are not everywhere equally evident. For instance, Alexander's and Hephaestion's garb are some- what sketchily treated. Yet Leonardo's good genius or Sodoma's good fortune have piloted the undertaking to a triumphant conclusion. Roxana herself, and all acces- sories pertaining to her, are perfect : whether we admire most her form, attitude, colouring, expression, or drapery. Her head may well be considered the climax of creative fancy. Thus, too. Hymen, the attendants, and the Cupids ; than all of whom, nothing finer and more subtly emotional can be conceived or drawn. The harmonious construction and beauty of the composition, the attraction of its inward meaning are unequalled anywhere ; and I know of no painting by Sodoma to which Paolo Giovio's judgment applies in so marked a degree : Sodomas . . . quum impetuosum animum ad artem revocat admiranda perficit et adeo concitata manu, ut nihilo secius, quod mirum est, neminem eoprudentius atquetranquilliuspinxisseappareat} Foerster rejects the statement of various critics ^ that Bazzi went to classical antiquity for his single figures. But although we may admit, comparing our artist's studies from the antique with those of Raphael, that in this respect he may ^ Giovio, Op. cit. ^ Jansen, Op. cit., p. 102. Conze, Heroen und Gottergestalten, p. 32. 142 SECOND VISIT TO ROME be said to have fallen behind his rival, it is never- theless unquestionable that Bazzi did study the sculpture of his predecessors and contemporaries with more than common care and interest. The frescoes on the east wall, though not without considerable and even unusual merit of their own, are decidedly inferior to the wonderful work just described. Above the chimneypiece Bazzi painted the Family of Darius before Alexander: a composition which cannot be more adequately described than by quoting once more from Foerster s admirable essay : The principal wall-decoration of this side of the room is Darius tent ; or, to speak more accurately, Darius family before Alexander. A curtain, fastened to some tree trunks, drapes the background ; whilst ornamental hangings, suspended to the branches, form the tent roof A landscape extends to the right and left of the tent. In the centre are grouped the principal personages, and in their midst we remark the most successful achievement in the whole composition : a fully-draped female figure, her hair bound with a fillet, her head and part of her form wrapped in a shawl, kneeling before Alexander with arms outstretched, and her countenance slightly upturned, imploring mercy. Although no signs of age are visible in her aspect, this is evidently intended for Sisigambis, the mother of Darius. Her three grandchildren stand behind her the two girls draped and the boy nude. The first of these, with eyes downcast, clings in evident despair to the left arm of her companion, who looks up beseechingly at the king. A striking contrast is here afforded by the action of the bold, fearless-looking boy, who, clasping her right hand with both of his, draws forward the female figure behind him. The latter is a THE FAMILY OF DARIUS 143 mere girl ; her drapery discloses her arm and bust. She holds her left arm across her bosom, the classic attitude of Venus, and turns her head away from Alexander. The circumstance that, amid her surroundings, this is the most striking figure, justifies the conjecture that she may be Darius' wife, and the mother of the boy. The artist himself bears a share of the responsibility of our uncertainty, for he has given her no special attribute, and her mien does not appear more distinguished than that of any of the other personages. Five females surround her ; their attitudes betokening the status of onlookers. Their glances are turned, some to the right and some to the left ; whilst the fourth and fifth are represented holding each other's hands. The first three, grouped right and left of Darius' wife, are seen only down to the waist. A most pleasing impression is produced by the fifth figure, already mentioned, whom we see in profile to the right, evidently gratified at the king's clemency. The two elder women, standing behind the girls, are probably their duennas. One of these, with downcast eyes, her head draped in a shawl, lays her left hand upon the left shoulder of the girl beside her ; whilst the other with her right hand caresses the cheek of her charge. Alexander and his followers occupy the right side of the picture. Here again he is depicted as a youth with flowing locks, wearing a helmet and a full suit of armour, cloak, kilt, hose, leggings fastenedat the knees, and buskins. Turning a genial countenance towards Darius' mother, with an encouraging gesture of his left hand, he extends his right towards her to assist her to rise. Beside him stands a youth, similar to himself in appearance and garb, Hephaestion, who, with left hand resting upon his sword, directs a kindly glance upon Sisigambis. The suite consists of warriors armed with lances, led by a standard-bearer. The workmanship of this part of the composition is very defective ; but Sodoma could not fail to seize the opportunity of displaying his love for animals ; 144 SECOND VISIT TO ROME and he introduces into the picture, behind Hephaestion, a barking dog. A bridge in the background gives access to a body of troops ; and a steep hill, topped by a castle, towers above. There is a tent on the nearer side of the bridge ; before which groups of warriors are seen engaged in combat. The foreground is filled by horse and foot soldiers. Mention must be made of the male figure with bowed head, standing behind Sisigambis, who points with the finger of his right hand at Alexander ; evidently indicating him rather than Hephaestion, as the king.^ Below, divided into two portions by the fireplace, is Vulcans Forge, concerning which Foerster writes as follows : To the left Vulcan in his Smithy, and to the right Cupids bring their arrows to Vulcan to be sharpened. Vulcan presents a short, thick-set and ungainly appear- ance. With his uncouth features almost hidden under an unkempt beard, bushy hair and shaggy eyebrows, he is as Alberius styles him a typical blacksmith. The pro- portions of the right leg are somewhat curtailed, only the toe touching the ground. The left knee rests on a wooden block, while the uplifted right arm swings the hammer, and the left hand grasps the pincers, with which he holds an arrow, head downwards, on to the anvil. A Cupid with fillet-bound hair leans on his quiver behind Vulcan's right shoulder, and, smiling the while, draws out his arrows. The painting fully merits the praise dealt out to it by Vasari. Vulcan is well designed and carefully painted. The Loves to the right of the fireplace are three in number. The first carries his arrows on his left shoulder, holding them with his right hand, the second steadies them on his left shoulder with both hands, whilst a third 1 Foerster gives the following authorities as sources of inspiration for this painting: Curtius, iii. 12, 15 seg.\ Diodorus, xvii. 37 seg.; and Arrian, Anabasis, ii. 12, 6 seg. ALEXANDER AND BUCEPHALUS 145 stoops to pick up a few that have fallen. The first- mentioned is the best of the three figures. The remaining frescoes are briefly described as follows : Alexander, on a prancing white charger, is observed galloping across the scene to the right, scattering his attendants before him. Others, among whom we notice a man wearing an Eastern crown, perhaps King Philip, watch the action with eagerly expectant mien. The latter stands with his left foot resting on a barrier running along the entire foreground, his right hand on the hilt of his sword. Another figure stands beside him, resting his folded arms upon an Ionic capital ; a third leans upon his comrade's shoulder. The very unsatisfactory effect of this painting is due to the ugly and distorted countenances of the several personages, Alexander even included ; while the architectural portion is undoubtedly the most notable feature of the work. A temple rises behind Alexander, in close proximity to a structure somewhat resembling the Colosseum ; and further back we discern parts of Constantine's Basilica, exactly as it stands to this day. The pilasters on either side of the central vaulting alone are visible. In the foreground lies the wolf, suckling Romulus and Remus; and two camels look upon the scene from behind. The picture has been so cruelly restored as to blot out all traces of Bazzi's original work. Doubt, indeed, has arisen, whether the painting was executed by him at all, and such is the irony of fate it has even been attributed to the spiteful Vasari himself.^ The primary conception is fine, ^ Foerster, with reason, points out that a rather ambiguous expression in Crowe and Cavalcaselle {^History of Painting in Italy ^ vol. iii. p. 392) can in no wise convey the idea that this painting was in their opinion the work of Beccafumi. 10 146 SECOND VISIT TO ROME and the composition as a whole has been paralleled with Raphael's Expulsion of Heliodorus in the Vatican ; to which it does indeed bear certain super- ficial resemblance. It is unquestionably, however, a vastly inferior work, and stands in unpleasant contrast with the fine paintings which adorn the adjacent walls. It was during this visit to Rome, no doubt, that Bazzi met and formed a warm friendship with Pietro Aretino. This remarkable personality, a true offspring of the Italian Renaissance,^ born in 1492, out of wedlock, left Arezzo, his native city, at an early age for Perugia, where he followed the trade of a bookbinder. A passionate thirst for knowledge led him to study attentively the works that passed through his hands in the course of his daily labours; and at the age of twenty, ambitious for higher things, he started for Rome on foot, with no clothes in his possession but those he actually wore. Here he became acquainted with Agostino Chigi, whose patronage procured for him the honour of a presentation to Pope Leo X. If, therefore, as we have endeavoured to prove, Bazzi's work at the Farnesina was executed in 15 14, the friendship between scholar and painter, so touch- ingly alluded to in the charming letter, written to the latter in August 1545,^ must have struck root at this time. . ^ For a most just and able estimate of the character of this remarkable man, the reader may be referred to a thoughtful essay by Arturo Graf, entitled, Un Processo a Pietro Aretino {Attraverso il Cinquecento). Torino : Loescher, 1888. 2 Pietro Aretino, Lettere : Parigi, 1609, lib. iii. p. 163; of also Mil. Doc, vol. iii. p. 155, No. 92. Appendix No. 30. THE "ROXANA" IDYLL 147 We may fairly submit, without fear of impu- tation of partiality, that these Farnesina frescoes give the lie to many of Vasari's insinuations. Where in the Alexander and Roxana Idyll do we detect a trace of lewdness ? The splendid young conqueror, with his two handsome attendants, advances with a bridegroom's ardour, hallowed by respect towards his lovely bride. Roxana, her eyes modestly cast down, receives him with demure yet conscious grace ; whilst her maidens look on with affectionate solicitude. The swarm of Cupid attendants all express the purest and noblest emotions. No coarse or suggestive antics mar the exquisitely harmonious charm of the composition. Here, if ever, was an opportunity for indulgence if not in absolute obscenity at least in licence bordering thereon.^ Chigi was a man of easy, even dissolute habits. He had but just returned from Venice with his beautiful mistress, to whom he only consented to be united later, after eight years' co- habitation, under urgent pressure from the Holy Feather himself; and Bazzi would hardly have been rebuked had he chosen to indulge in ribald plea- santries. These compositions speak volumes to the painter's credit ; and even J. Richardson the Younger,^ in his violent abuse of these paintings ^ We have only to compare these works with those of Raphael's pupils elsewhere : all contemporaries, be it remarked, of Bazzi. Notably in the palaces at Mantua in the days of Isabella d'Este. ^ Trait'e de la peinture et de la sculpture, tom iii. p. 194. Amsterdam : Herman Utwerf, 1728. "Except^ un certain air g^n^ral de I'Ecole Romaine, les Peintures de cette Chambre sont bien le plus execrable ouvrage que I'Art ait produit dans cet Age d'or, II n'y a pas un seul bon Air de Tete, pas une bonne Attitude, pas un Membre bien dessine, ni aucune Pensee qui se fasse remarquer par sa beauts. La Description de 148 SECOND VISIT TO ROME as works of art, can find nothing to say against their ideal conception.^ During this same sojourn in Rome, Ba.zzi, it is probable, once more entered the orbit and came under the influence of his good genius, Leonardo da Vinci. The Master, we are aware, journeyed to Rome early in 15 13 in the train of Giuliano de' Medici, to attend the coronation of Leo X., and remained there until 15 15. His whilom admirer, if not disciple, could thus scarcely fail to have again sought his company. The asso- nance between the drawings and paintings of these two artists is so extraordinary, and has been so fruitful in controversy and argument between critics past and present, as to show conclusively that their intimacy at some time in their lives must have been close, and the influence of the elder painter overthe younger, something altogether surpassing the ordinary. The number of draw- ings once attributed to Leonardo, which are now generally (following Morelli) given to Bazzi, con- Lucien vaut bien la peine qu'on la lise ; quand ce ne servit que pour se consoler un peu de satisfaction qu'on a eu a voir cette mauvaise Peinture. II est impossible que le Tableau ait surpass^ en beaute la Description que cet auteur en fait." 'I'his writer also states that the smaller guide-books to Rome in his day attributed these frescoes to two Mantuan artists, Giovanni Battista Bertano, and Rinaldo. ^ For further discussion and informatioa the student may also refer to Hermann Grimm, Ku77St und Kunstgeschichte, June 1880. Alfred Woltmann und Karl Woermann, vol. ii. pp. 662-94, Part IV., div. iii. G. Leipzig : Seemann, 1882. Richard Graul, Die graphischen Kiinste, xvi. Jahrgang., ii. Heft, p. 33 ff., 1893. A. Venturi, Op. cit., pp. 11 ^ seg. J. A. Crowe and G. B. Cavalcaselle, Raphael, his Life and Works. London: John Murray, 1885, vol. ii. pp. 545-7. Steinmann, Op. cit., p. 186. Frizzoni, Intorno alia Diviora del Sodoma a Roma nel 1314.: \Giornale di Erudizione Artistica, vol. i. pp. 208-13, ^^.sc. vii., Luglio 1872) ; and L'Arte del Rinascimento, cit. p. 138 Bonfrancisco i68 MIDDLE PERIOD deavoured to show, Bazzi was still living in Siena on the last day of December 1518, it is not possible that he and the Giovannantonio de Baziis can be one and the same person. Again, in spite of the tricks he so often plays with his name and place of residence, it seems difficult to believe that such a freedom as a false attestation of domicile would have been permitted in a document of this nature, either by the authorities, or by the parties to the deeds : apparently persons of some repute in their dis- trict. We are not aware of any motive that should prompt him to conceal his identity ; and it is scarcely conceivable that, had any deception been attempted, countenance would have been given to so puerile a falsehood. De Basis, de Baziis, or Bazzi^ are, after all, not such very uncommon names, and a far more logical and likely hypothesis would sug- gest the existence of two painters both Giovanni Antonio by name rather than to force them, in defiance of perplexing dates, into one entity. Although Marchese Campori's discoveries do not point conclusively to Bazzi's residence in Parma, it is more than reasonable to suppose that quondam de Pachionibus, Give Regii, Testibus, etc. Copied from the Compendio delle Discendenze de' Fratelli Giovanni, Bonifazio e Farigio de' Taccoli, ecc. Vedrotti, Reggio, 1741, p. 77. ^ Campori himself, quoting Pezzana {Storia di Parma, tom. iii., Appendix, p. 5) in note 3, on the page above mentioned, records a certain Christoferus de Baziis (Baxijs in the Text, Bazi in the Index), who was among the Parmesan citizens who swore fealty to Francesco Sforza on March 7th, 1449 ; thus showing that the name was not unknown there. Malaspina {Nuova Guida di Parma, 1869), in his Indice Alfabetico di tutti gli artisti Parmensi, speaks of a painter named Giovanni Bazi, who lived from 1494 to 1533. The family of Bazzi's own pupil, Lorenzo Brazzi (il Rustico) were of those parts. See p. 241 post. Cf. also Meyer, Op. cit. BAZZI IN LOMBARDY 169 during those years our artist did travel in Northern Italy, and sojourned there once more. Whether he revisited his early home or relatives we are at a loss to say, and such vague indications as may be obtained, tend rather to a negative con- clusion ; but a number of works by him, still extant, most of which have been discovered in churches and palaces in Lombardy and Piedmont, would seem to point to a renewal of early im- pressions, matured and broadened. It is hardly necessary to repeat that paintings on panel and canvas may be moved about ; but it seems un- likely on the face of it that all the pictures assigned with good reason to this period could have been carried in a finished state from Tuscany to the North. They possess, moreover, a marked style of their own, differing entirely both from the earlier and later Sienese work ; and are more reminiscent of his great leader, Leonardo, into the society of whose pupils and followers he would have been once more thrown. Morelli and his school would assign to him, and place within this period of artistic activity, the great fresco of the Madonna and Child (Madon- none) in the Villa Melzi at Vaprio d' Adda. So far, however, we cannot follow them. The fresco is a very fine work ; but although it can hardly be attributed to Leonardo himself,^ the composition lacks the sweetness and tender grace of Bazzi. We are tempted rather to assign the painting to that talented, but as yet not fully understood, dilettante, ^ Cf, Edward McCurdy, Leonardo da Vinci. (Great Masters Series.) George Bell & Sons, London, 1904. I70 MIDDLE PERIOD Francesco Melzi, who is much more likely to have thus closely copied his friend's style for the adorn- ment of his family villa. To bring Bazzi thither appears not unlike forcing probabilities. The most noticeable work of this period, how- ever, is the exquisite Madonna and Child ( ?) be- longing to the Ginoulhiac family. A strangely beautiful production, it stands so much apart among the paintings of the master, that doubts have been cast upon its authenticity. But if we endeavour to comprehend the obvious circum- stance, that the Mother and Child are likenesses, and are intended to be viewed as such, we are able to perceive the subtle and lifelike charm that pervades the composition. The picture, more- over, bears a strong resemblance^ to the famous Frankfurt portrait to which we have alluded earlier in these pages ; and abundantly proves our artist's claim to rank as a most able painter of portraits. ^ The following pictures bear also a close affinity to this work : A Madonna and Child (No. 60) in the Morelli Gallery at Bergamo, and another representation of the same subject in the Palazzo Bianco at Genoa. The long slim hand and the sleeve with the frill at the wrist are favourite characteristics of Bazzi in these and several other paintings of this period. Photo: Marcozzi. MADONNA AND CHILD. GINOULHIAC COLLECTION, MILAN, To face J>. 170. CHAPTER VIII FAME AND FORTUNE The year 1525 witnessed Bazzi's return to Siena once more. And now commences that extensive series of paintings for the several churches and public buildings, through which he is best known to fame. Scant information is available concerning his private life ; but such indications as have come down to us point to his having occupied in spite of differences with his employers over work done or left undone a position in the city of his adop- tion, of considerable honour and respect. A wave of unrest had swept over Siena ; and our artist returned thither at the moment when the NovE and the Libertini^ were at the height of their intestine struggles. Civic discord did not, however, act as a check to artistic commissions. Milanesi^ states that the painted bier mentioned by Vasari for the Compagnia della SS. Trinity was commenced in this year ; but from certain memoranda among his MS.^ it would seem that ^ Langton Douglas, Op. cit., p. 216 ^ seg. ^ Vasari, Op. cit., p. 393, note 3. 2 Milanesi MSS., Biblioteca Comunale, Siena, P. III. 49, p. 170*- " Nella sagrestia di S. Donato i il cataletto che gid, fu della Confraternita della SS. Trinitd'' {Beccafumi). p. 197. " II cataletto della SS. Trinitd, era finito di dipingere nel Maggio del 1528." (Archivio di Stato DI Siena. Archivio del Patrimonio Ecclesiastico. Compagnia della SS. Trinity. Reg. T. No. 15, a. c. 73.) 171 172 FAME AND FORTUNE the work was not finished until May 1528; and was then, in fact, completed by Beccafumi. The four panels are now preserved in the sacristy of the church of S. Michele (formerly S. Donato : the Abbadia Nuovd)\ and the authorship of the several portions is clearly evident. The Madonna delle Mercede^ and the Pietci are, it is true, not fine specimens of Bazzi's craft, but there can be no doubt that they are his handiwork ; whereas the two panels representing the Trinity (one of which is however better drawn than the other) are inferior, and may be profitably compared with another example of the same subject by Beccafumi, in the Siena Academy (Room IX. No. 384). It was on May 3rd of this year that Bazzi covenanted to paint what is perhaps, all things considered, his masterpiece, the Banner destined for the Compagnia di S. Sebastiano in Camollia. References to various sums of money paid on account for this work are frequent in the Books of the Confraternity;^ but the entries are extremely ^ A drawing for this subject is to be found in the Imperial Collection in Vienna. Bazzi, like Raphael before him, seems to have employed male models, perhaps his own garzone, for female figures. * Archivio detto. Libro d' Entrata e Uscita della Compagnia di S. Sebastiano. Reg. C. I. a. c. 38'- Archivio detto. Archivio del Fatrimonio dei Resti. S. Sebastiano in Camollia, No. 1626, f. 65. " A di 20 di mago 1525 raunatti e fratelli ne la compagnia i' numero di 32 col priore, si levb u' de fratelli coe prima el priore e dise, al nome di Dio e di San Bastiano di Sa Gusmondo e Rocho e dise che uno de' nostri fratelli arebe disidero si facesi u' ghonfalone per adare a procisione e darebe tre ducatti e de' licenza a ognuno cosegliasi, si levo Quirico deto el Picino e dise, al nome di Dio e di sa' Bastiano e Rocho e Gismondo deti era Antognio barbiere quelo vol dare e tre ducatti e no' pottendo stasera qua venire ed a sua parte eferischo e deti 3 ducati, ando a partitto se si doveva fare e' deto ghonfalone, furo tutto bianchi, furo chiamati nuove operai avesero a fare el deto ghonfalone e THE -S. SEBASTIAN" BANNER 173 confusing, and apparently overlap in more than one instance. The painter was evidently in no hurry, since the final payments were not made until November 6th, 1531 ; and even then, we are told by Romagnoli,^ the banner was at last com- pleted by Beccafumi. What share Beccafumi actually had in this collaboration we know not ; at all events it was an inconsiderable one. The figure of the patron Saint (one of the best known and most beautiful creations of Renaissance Art), the landscape background, and some portions at least of the reverse side, are most characteristic of our painter's genius. A well-known writer^ has described the work admirably as follows : Gifted with an exquisite feeling for the beauty of the human body, Sodoma excelled himself when he was deti nove ne remanghi tre n' avesse per piu lupini Antognio di . . . barbiere e Quiricho deto Picino bechaio e Bernardino di Piero Marcini che facesino deto ghonfalone e pesi bene e se ne sera buo' coto reso per ordine si perda una polissa dove erano scritte per ordine fu tolta." ^ Romagnoli, Op. cit. " Prima di fame una piii dettagliata descrizione voglio far note al mio lettore, che per un documento da me ritrovato neir Archivio del Patrimonio de' resti apprendo, che questo stendardo fii incominciato dal Kazzi (V), e terminate dal Beccafumi. Nel citato archivio ove stanno i libri attinenti ai locaU aboliti dal G. D. Pietro Leopold, lessi tralle deliberazioni della compagnia di S. Sebastiano in CauioUia, che questo Gonfalone nel 1525 : non essendo intieramente terminate dal Razzi, furono proposti varij artisti per finirlo giach^ 1' autore non voile piu porvi la mano. Lessi in una cartapecora " [a search for this document has proved fruitless] " la deliberazione nella quale si eleggono tre deputati in Girolamo di Tomasso, Lorenzo di Francesco Corti, e Pierantonio detto lo Sbada, aflSnche facciano terminare quest' opera al Beccafumi come fecero." The following note from Milanesi's MSB. before mentioned seems to refer to the same thing, but no corroborative evidence is to be found elsewhere (p. 169*) : Nel 1523 ^'' terniino il Beccafumi lo stendardo di S. Bastiano lasciato ijnperfetto dal Beccafumi " (sic). ^ John Addington Symonds, The Renaissance in Italy : The Fine Arts. London, 1877. PP- Soo'Soi- 174 FAME AND FORTUNE contented with a single figure. His 5. Sebastian, not- withstanding its wan and faded colouring, is still the very best that has been painted. Suffering, refined and spiritual, without contortion or spasm, could not be pre- sented with more pathos in a form of more surpassing loveliness. This is a truly demonic picture in the fascina- tion it exercises and the memory it leaves upon the mind. Part of its unanalysable charm may be due to the bold thought of combining the beauty of a Greek Hylas with the Christian sentiment of martyrdom. Only the Renais- sance could have produced a hybrid so successful, because so deeply felt. To US the *' wan and faded colouring " is one of the great charms of the composition ; but the awkwardly posed angel bearing the Martyr's crown is a distinct blot.^ On the reverse of the standard the Madonna and Child dst poised in the air above a kneeling group : SS. Roch and Sigismund, together with several members of the Confraternity of Flagellants. The worshippers below are well grouped, though another hand has touched the clouds upon which the Madonna is seated ; whilst her effigy ^ and that of her Divine Son are inferior to the rest of the work. This may in fact be the portion compleledhy Beccafumi, the recluse; whose artistic temperament and training would have paralysed any endeavour or desire to rival the achievement of his great competitor. We read that ^ Berenson {Drawings of the Florentine Painters cit., p. 163) states that Bazzi, in creating his S. Sebastian, must have known a drawing for this same subject by Leonardo, now belonging to M. Leon Bonnat, of Paris ; since both present the same action and expression. 2 It is curious that Mr. Langton Douglas {Op. cit., pp. 403-4) should perceive a resemblance between the features of this Madonna and those of one of Bazzi's most beautiful presentments of the Holy Mother : viz. that over the altar of the chapel in the Palazzo Pubblico in Siena. Photo: Anderson. S. SEBASTIAN. UFFIZI, FLORENCE. To /ace p. 174. THE CHAPEL OF S. CATHERINE 175 the sum agreed upon to be paid to the artist for this work was 20 ducats, of 7 lire to the ducat ; but that this sum not being found sufficient, another 10 ducats were added. We are, moreover, told by Vasari himself, that a number of merchants from Lucca there and then offered 300 gold scudi for the banner ; despite which the Confraternity refused to part with their highly prized possession. The standard was, however, eventually purchased from them in 1786 ^ for 200 zecchini by the Grand Duke of Tuscany for his collection at the Uffizi, where it is exhibited to this day (Smaller Tuscan Room, on an easel). The following year was marked by the inception of a scarcely less celebrated undertaking this time in fresco i.e., the decoration of the Chapel of S. Catherine in the Church of S. Domenico at Siena. In spite of the admiration bestowed upon this work from the earliest times onwards, little or no record remains concerning its origin. The history of the Chapel is an interesting one, and a few words concerning it may not be out of place here. In the vault below lie the bodies of the two celebrated physicians,^ Marco, son of Giovanni ^ Delia Valle {Op. cit., p. 266) tells us that the Sienese and Florentines were unable to come to terms as to the price of this picture, and there- fore submitted it for arbitration to the Academy of Bologna. ^ Faluschi MSS. Bib. Com. Siena, Cod. E.V. 16, Chiese Senesi, A-F, pp. 148'- and 154'- Cf. also R. H. Hobart Cust, The Pavement Masters of Siena, G. Bell & Son, London, 1901, p. 147 ; and ^^ Some Overlooked Masterpieces.^' Burlington Magazine, vol. iv. p. 256. It should be noted that in previous writings concerning this chapel an unfortunate confusion has arisen between uncle and nephew. Sozzini Benzi, another physician, belonging to this family, is also buried here. 176 FAME AND FORTUNE Benzi and Nicola di Serfucci, who died January 23rd, 1429; and his uncle Ugo, son of Andrea Benzi and Minoccia Pagni, who, after lecturing for a time in Paris, served Niccolo, Marchese d'Este, as his physician, and died in Ferrara in 1 439. His body was brought to Siena and interred here in 1448, and the following inscription ''Deo immortali max. Ugoni Bencio Senensi Philosophorum hominum ac medicorum sue etatis facile Prmcipi parenti opt . Ob. excellente doctrina de Muiverso hominum genere B.M. filii pot. XL Kal. decembris anno domini 1448'' marks his last resting-place. In 1488 Niccol6 Buonsignori Benzi erected the present building ; and the altar- shrine, containing the skull of S. Catherine, is generally supposed to be the work of Giovanni di Stefano di Giovanni.^ The following inscription, BEZi sCa. tvi nicolai svscipe. cvram okterina. records its erection. About 1525-26 Bazzi entered into a contract with the Dominican friars of this convent for a scheme of decoration to embrace the entire chapel. Despite Vasari's strictures with regard to the artist's culpable neglect to prepare preliminary sketches, it is abundantly evident that he ap- proached this theme with a comprehensive idea, and no little thought as to the general effect. The virtually complete condition of the decorative ^ W. Heywood & L. Olcott, Guide to Siena : Siena, Torrini, 1903, p. 311. It was once attributed to Lorenzo di Fietro (il Vecchietta). Gio. di Stefano was son of the celebrated artist Sassetta. He was also commissioned to design a silver head to contain the saint's skull afterwards executed by Francesco di Antonio. Cf. Cust, Pavement Masters cit.^ p. 123- DRAWINGS 177 portion goes a long way towards proving this. Four arches pierced with openings, amid which flights oi piitti, carrying garlands, disport them- selves, frame the chapel walls. These are un- mistakably the work of Bazzi himself, and exhibit undoubted unity of conception. The pilasters at the corners are decorated with his favourite '* Rabeschi',' likewise painted with much care and skill. The inside of the arch over the entrance from the church displays figures of a Prophet and an Evangelist, symbolizing the Old and New Dis- pensations. These are attended by some of the most charming examples oi putti known to Italian Art.i Besides the frescoes still extant, there was also a vaulted ceiling,^ upon which was painted the figure of God the Father. This, however, fell in during the earthquake of 1798, and is now replaced by a glass cupola. Having reached this stage, our artist set himself to prepare designs for the adornment of the wall- spaces on either side of the Shrine. This task would seem to have exercised his mind a great deal more than is generally supposed. Two designs at least for the entire scheme exist (Uffizi, Case 343, No. 564, and Case 346, No. 1943^), and there are several other sketches extant, probably * The two putti above the Evangelist may be well compared with the celebrated infants at the foot of the Madonna di S. Sisto of Raphael. Romagnoli, Op. cit., states that all these figures were retouched in 1806 by Francesco Mazzuoli of Siena. 2 Vasari {Op. cit., p. 394) is forced (his prejudices notwithstanding) into grudging praise of these works ; even quoting Baldassare Peruzzi's encomium on them, and he calls the vault an arco. 12 178 FAME AND FORTUNE conceived in connection with groups and single figures. Of these latter, the finest is a large pencil sketch preserved among the unexhibited drawings in the Uf!izi (Santarelli Coll., Sheet 4, No. 268) ; which, though reversed as regards the present composition, and notwithstanding certain dis- crepancies in minor detail, doubtless represents an idea for the whole.^ It is probable also that many of the Veiled Heads to be found in various collections of drawings throughout Europe, are sketches for this important work. The shape of the two panels admittedly produces a disturbing effect. The Ecstasy of S. Catherine, in spite of certain beauties of detail, is unsatisfying. The presentment of God the Father, though recalling in attitude certain works of Michelangelo, is distinctly infeli- citous. Two conspicuous faults mar the other and more celebrated work : the Stigmata, better though perhaps not quite appropriately known as lo Svenimento : namely, the awkwardly poised figure of the Saviour overhead, and the unsightly pilaster, which divides the composition, narrow enough already, into two halves. Nothing can, however, excel the beauty of the group below. The swooning Saint, supported by her two companions, Alessia and Francesca,^ sinks down in complete ^ Another sketch for this composition, a pen-and-ink drawing, is also preserved in the same portfolio (No. 1942) ; but it looks like a late copy. It bears, however, the date on the pilaster behind the principal group ; no longer to be read on the original work. Vasari speaks en- thusiastically of a drawing for this subject in his own possession ; thus in a measure contradicting himself as to the artist's methods of work. 2 A useful comparison may be made between this more matured group and that nearly as lovely : the Swooning Virgin, in the Deposition fro7n the Cross ; painted nearly twenty years earlier. Photo: Alinari. THE SWOON OF S. CATHERINE. {LO SVENIMENTO.) CHURCH OF S. DOMENICO, SIENA. To face f. 178. ^9-^ OF THE r Ur41VERSlTY "LO SVENIMENTO" 179 powerlessness before the Divine influences wafted over her ; and in this very expression of spiritual self-abandonment the artist has caught with con- summate skill that indefinable spirit which, domi- nating the earthly element, was the secret of the power which SS. Catherine, Francis and Bernardino wielded over the souls of their contemporaries. It was the Spirit of God, filling the whole being of the Dyer's daughter, which made her the heroine and saint she became; and it is this wonderful expression of the Divine Essence to say nothing of the technical excellencies of the picture that arrests and holds our attention so completely. The beauty of the Saint's countenance and mien is most impressive ; whilst masterly draughtsmanship pro- duces upon us, in that somewhat ill-lighted chapel corner, the effect of a fine piece of statuary. This is, however, not all ; or the very deficiencies of the composition would affect us more than they actu- ally do. We are conscious of, and are desirous of condemning them, but something akin to awe ties our tongues, and we forbear.^ ' The student will no doubt recall the lines of Mr. Algernon Charles Swinburne {Songs before Sunrise : " Siena.'' London : Chatto & Windus, 1874, p. 196.) "There on the dim side-chapel wall Thy mighty touch memorial Razzi (V), raised up, for ages dead And fixed for us her heavenly head " The same poet, it may be observed, is most enthusiastic also (p. 198 and note) over our artist's Christ at the Column. We greatly regret to find so able a writer as Mr. Maurice Hewlett, for whose enchanting Mediaeval Novelle we are fain to express unqualified admiration, committing himself to such phrases with regard to this fresco as {Earthwork out of Tuscany: Dent, London, 1895, P- ^67) "Sodoma who betrayed her " (St. Catherine), and " Sodoma who painted her i8o FAME AND FORTUNE Here, too, we see remains of Ancient Rome (the Temple of the Sibyl at Tivoli) introduced into the landscape ; a decorative subject which appears to have been one of Bazzi's favourite devices. The huge fresco on the left wall, The Execution of Niccold Tuldo, shows our artist, we confess, almost at his worst. Despite the splendid young soldier in the centre, recalling the Alexander of the Farnesina, and certain exquisite single heads, such confusion of ideas and careless crowding of the composition prevails, as might well provoke the unimaginative Aretine to fury.^ Anything more revolting, or unlike nature, than Tuldo's headless corpse, it is hard to imagine. Yet a glamour of like a Danae with love-glazed eyes fainting before the apparition of the Crucified Seraph." But we apprehend, from such remarks by the same writer as " the emptiest pupil that Leonardo ever tried to fill" {Quarterly Review, July 1903), and other similar reflections in a more recent work \The Road in Tuscany : London, Macmillan, 1904, pp. 254-5) upon our artist's Mont' Oliveto Cycle, that he has not troubled to ascertain the real facts concerning Bazzi's life and artistic origin, and has failed to grasp the true secret of the painter's unquestion- able talent and charm. To admire or not to admire the work of Bazzi is a matter of individual opinion ; but it is impossible to deny his genius; and "boys, baggages and spiritual exotics" is scarcely fair or just criticism. Even Mr. Berenson, who is not given to exaggerated praise in this quarter, speaks of him thus {The Drawings of the Florentine Painters cit., vol. i. p. 34): "Sodoma his (Leonardo's) most gifted follower." To further suggest that some of his work is bad {sic) enough for Pinturicchio is still more beside the mark as an artistic appreciation. ^ Vasari, Op. cit., pp. 394-5 : " Nella quale storia, dico, h un molto gran numero di figure, le quali niuno dee maravigliarsi se non sono d' intera perfezione ; imperoche ho inteso per cosa carta, che Giovan Antonio si era rid otto a tale, per infingardaggine e pigrizia, che non faceva ne disegni n^ cartoni, quando aveva alcuna cosa simile a lavorare, ma si riduceva in sulF opera a disegnare col pennello sopra la calcina (che era cosa strana) ; nel qual modo si vede essere stata da lui fatta questa storia." It is worth observing that Vasari seems to have got this bit of information from some one who had actually seen Bazzi at work. 1 ^"^ J- Prtf iiiriMfl V|k * _^^-^^ J'Si^UlJ^ N^^I^B H^E^'^^r^^^ WE^^-^.''' ' ' >>' ' ' ^^^^vhite. In it the Eternal Father bears the dead Christ upon His knee, the Dove hovers above them, and S. Catherine of Siena and several other saints are grouped around." We need only refer readers to the text to show how entirely misleading these two passages are. The picture as described by Contessa Priuli Bon does not exist ; and the fine drawing has no connection whatever with the painting recorded by Vasari. ^ The author of Siena e il suo Territorio, p. 267, speak? of this ancient work as a " tabernacolo '' by Berna, S. GIOV. BATTISTA DELLA MORTE 183 Life of Our Lord, set in three rows and forming a sort of predella. The large picture, though blackened, injured, and hung in a bad light, is undoubtedly by Bazzi ; but the predella paintings are, we should say, the work of imitators. A much injured and repainted processional banner, on silk, belonging to the same church, is also by our artist. The Virgin, with hands folded in prayer and supported by a flight oiptitti scatter- ing roses, is borne to heaven ; whilst below, behind her vacant tomb, may be seen the city of Siena. Bazzi's talents at this period of his career seem to have been much in request for the decoration of the biers belonging to the various City Con- fraternities,^ and the elaborate accounts of the Compagnia di S. Giovanni Battista della Morte for 1526-7,^ showthe interest taken by the various Guild Members in the work ; and also their somewhat primitive business methods. The payments seem to have been made in kind, materials, etc., besides cash advances ; for the Confraternity appears to have provided the panels, woodwork, and nails for the commission. We also read of a quintevfto di fogli reali (a quire of royal folio sheets of paper), three pigs, and a staio (bushel) of salt. The total sum paid amounted to 98 lire, and the critical Vasari is even moved to praise these somewhat insufficient works; as much, it would seem, for their ^ In the Siena Academy there are four panels (Room VIII. , Nos. 326, 327, 360, 361), for a bier for the Compagnia di Fontegiusta, which, if not by the master himself, clearly came from his bottega. 2 Archivio di Stato di Siena. Archivio del Fatrifnonio dei Resti Ecdesiastici. Compagnia di S. Giovanni Battista della Morte. Reg. E, HI., 816 f. 84, t. and Reg C. I. See Appendix, No. 17. i84 FAME AND FORTUNE intrinsic worth as for the ''diligence and money rarely expended on such things."^ They may still be seen, hung high up in the chapel of SS. Giovannino and Gennaro : a small building in an unfrequented street to the right of the Siena Baptistery, too un- pretending in appearance to attract general notice. Before proceeding to the next stage of our painter's career, we must draw attention to another series of frescoes by himself, his pupils, and his assistants, to which no definite date can be assigned ; works not mentioned by Vasari, but which in all probability owe their inception to this period of his life. These originally adorned the vast church, built half-underground, once belonging to the Com- pagnia di S. Croce. The best of them were removed in 1842 from this edifice, now used as a Public Gymnasium, through the instrumentality of Conti Silvio Griccioli and Marcantonio Bandinelli to places of greater security. Three subjects only from the series call for special notice. They are the Way of the Cross, the Agony in the Garden, and the Descent into Limbo ; the two last of which are worthy of a place among Bazzi's most successful compositions. Upon the dismantlingof the church, the first named, together with other less important fragments,^ was removed to the chapel of the sup- pressed Monastery of S. Eugenio, outside Porta S. Marco : at that time already the Villa Griccioli. ^ Vasari, Op. cit., p. 393 : ^^ perch.}, oltre aW essere veramente molto da lodare, rade volte sifannofare simili cose conspesa molta diligenzaP ^ One of these inferior fragments, a Finding of the Cross, has an incidental interest, inasmuch as the Empress Helena and her attendants are said to be portrait^ gf the female mernbers of the family of Pandolfg Petrucci. UNIVERSITY Photo: Alinari. HEAD OF A SLEEPING APOSTLE. DETAIL FROM " THE AGONY IN THE GARDEN: SIENA ACADEMY. To /ace p. 185. "THE DESCENT INTO LIMBO" 185 This " IVay of the Cross,'' although obviously by the master's own hand, is but an indifferent piece of work, and, apart even from the- mischief of the restorers craft, does not redound much to his credit. The other two, on the contrary, are remarkable for exceptional beauty.^ The composition of the Agony in the Garden may be faulty as a whole ; but the fine heads of the three sleeping Apostles, especially ^. John, compel even unwilling admiration, and would redeem any work from the stigma of commonplace. The Descent into Limbo is justly celebrated ; containing as it does one of the most exquisite nude figures ever produced by Art. The grace of Eve her modesty, instinct with the knowledge of her power is absolutely unsurpassed and unsurpassable. She stands before us, the epitome of all that Art in its loftiest sense has ever expressed in female loveliness ; and a painter who could so conceive and devise our First Mother, would deserve, for this work alone, to fill one of the highest places in the Temple of Fame. It is not mere beauty ; it is far more. It is the absolute embodiment of all that man ever dreamt or thought of IVoman, in her noblest and truest essence. Bending towards Adam, her glance rests wistfully upon the Saviour of Mankind, who, with gracious gesture, raises her son Abel from the tomb. The informing sentiment of the work is sublime in its very simplicity; and the creator of two such perfect works, as the Marriage of Alexander and the ^ It is to be noted that all these three frescoes, and that of the Descent from the Cross by Pacchia, which, by the way, is evidently from 9, Bazzi design, are painted inside niches. i86 FAME AND FORTUNE Descent into Limbo, must, in spite of all his many weaknesses, take a foremost rank amid artists in all ages. General opinion fixes the date of this Passion Series in the year 1525. In our judgment they strongly recall, both in style and idea, the fragment of the Last Supper in the Olivetan Convent at Florence, and might perhaps be more or less contemporary with that work. On August 31st of this year (1527) we find the Opera del Duomo setting our artist to work once more : this time upon a design for the famous Pavement.^ We cannot trace any further record of this work ; neither are we able to identify the same with any degree of certainty. A figure of Rve, however, among the series on the south side of the high altar, bears distinct testimony to Bazzi's influence, and may well have been executed later, after one of his cartoons.^ Again in this same year we see him in company with another artist, one Giovanni di Lorenzo,^ seconding a demand made by Beccafumi ^ to the ^ Archivio dell' Opera del Duomo. Libra di tre Angeli dal 152 1 al 1529 a.c. 465. 1527. 31 Agosto, ChristoMDXXVII. "Misser Giovant. detto el Sodoma dipetore de dare a di xxxj d' agosto lire quatordici di denari ebe per prezo del disegnio aveva fatto per la storia di domo e percio de Tomasso di Gabriello nostro camerlengo sono a sua uscita a f. 38 . . . Lire xiiij." ^ Cust, Pavement Masters cit., p. 90. ^ Of this painter nothing but the name is known ; but a certain Lorenzo di Giovanni, likewise a painter, and also otherwise unknown, is recorded in a document dated October 23rd, 1525 (Archivio DI Stato di Siena : Arch, del Patrimonio Ecclesiastico, Compagnia di S. Antonio Abate. Bilancio del 1524. Reg. C. I., a. c. 91'- Mil. Doc, vol. iii. p. 83), as one of the workmen employed by the Confraternita di S. Antonio Abate. * Arch, Not. Prov. Siena. 1527. 4 di Settembre? Rogiti di Photo: Aliiiar ADAM AND EVE. DETAIL FROM " THE DESCENT INTO LIMBO.' sib;na academy. To /ace p. i86. ILLNESS IN FLORENCE 187 Signoria of Siena, for payment of the balance of a sum due to him by Francesco di Camillo Petrucci, then in exile, with all his goods escheated to the State. The original document concerning this transaction was printed in full by Milanesi in 1850, but is no longer to be found. ^ Frizzoni calls attention^ to two other events, noted in Milanesi's Chronological List,^ and placed within this year. The unfortunate loss of the last- mentioned deed, and still more that of another very important petition to the authorities by our artist himself, has given rise to much speculation. We learn from this document that our hero, falling sick in Florence, lay during a certain period in the Hospital of S. Maria Nuova, in Bed 42. During his illness, his pupil, Girolamo di Francesco Magagni Giomo del Sodomd), accompanied by Gianni Scric- ciolo, son of one Palachino of Volterra, entered his master's studio on a variety of occasions, and " by order " (di commessione), as the copied document sets forth, conveyed^ thence a large number of articles ; many of which appear to have been con- Ser Girolamo Ottaviani. Filza degli Atti della Mercanzia. Mil. Doc, vol. iii. No. 50. p. loi. Of this picture by Beccafumi for Francesco Petrucci, no trace can be found. The exact locality of the Petrucci residence is not known. Perhaps their home was the palace once belonging to the Agostini, and now the property of the Bindi-Sergardi family. ^ The attestation clause was photographed and published in La Scrittura di Artisti Italiani {vfith notes and explanations by G. Milanesi : Firenze, Carlo Pini, 1876, vol. ii. p. 144). See Appendix No. 19. It should be noted that Milanesi gives Settembre as the date of this petition, whereas the photograph reads Dicembre. 2 PYizzoni, Op. cit., p. 165. ^ Vasari, Op. cit., p. 407. * Arch, detto. Processi deX 1529. ^S"^^ Appendix No. 20. P " Convey the wise it call." Merry Wives of Windsor, Act I. so. iii, i88 FAME AND FORTUNE cealed in a fowl-house, situated between Giomo's house and that of a neighbour. On July 20th, 1529 (if the date of the version published in Milanesi's Documenti, vol. iii. p. no, be correct), Bazzi ap- pealed to the Sienese magistrates for restitution of the property (as far as may be gathered) un- lawfully retained : briefly detailing the facts and adding a long list of the missing articles. The bare circumstance that Bazzi lay sick in Florence about this time, affords but a narrow basis for the constructive criticism so freely in- dulged in by his detractors; and far too much stress has been laid on the mere accident of his sojourn in a public hospital rather than a private house. A mishap, followed by consequences to the sufferer requiring prompt medical or surgical attention, may well result in the stay, more or less prolonged, of the most respectable in a public institution ; and since we have no means of ascer- taining the nature or duration of his malady, the spiteful innuendoes with regard to the conduct of his family or friends on this, and on a subsequent occasion, are unfounded and unworthy of notice. Contessa Priuli Bon's ^ conclusions are still more beside the mark. If we will bear in mind that during this period the Medici name was in extreme * Priuli Bon, Op. cit., pp. 67-8. "The master was at Florence, whether on business or pleasure we do not know, and, falling ill, was nursed at the hospital of S. Maria Nuova. That the popular painter, a welcome guest at many palaces, and known to most of the monastic communities, should be so entirely without friends in the city of the Medici as to be sent to a public ward of the great hospital, is a matter of some surprise. But we have abundant evidence that Sodoma was not liked in Florence, and this may largely accoi;int for Vasari's biassed prejudice." THE FLORENTINE "PALIO" 189 ill-odour in Florence, the family having been ex- pelled from the city on May 17th, 1527 ; and if we recall the fact that Bazzi was well known to have enjoyed their special patronage^ we can more easily make allowance for his friendless condition, if deserted he was. But should we not rather prefer a theory of our own to explain two statements by our Aretine biographer, which would '^^tv^v prima facie to defy proved testimony? Could the Palio of S. Barnabas that incident so graphically described by Vasari not have brought about the S. Maria Nuova episode, with its concomitant results? In view of Vasari's admittedly fantastic chronology, the suggestion that the notorious Palio and the S. Maria Nuova illness are coincident, certainly bears the air of extreme likelihood. Bazzi's horses are known ^ to have competed, and Vasari says as much, in Florence and elsewhere, on more than one occasion. It does sound improbable that he should have been assaulted, suffering grievous bodily hurt, at a date (15 15-17) when he enjoyed favour at court, and had virtually reached the zenith of his social fame. On the other hand, a citizen of hated Siena, and a friend of the exiled Medici to boot, would conceivably receive short shrift, especially as a victor, at the hands of a Floren- tine mob at any time between May 1527 and November 1529. Still more would such be the case had he been suspected of a desire to jeer at his public. In addition to this, could it be that the authentic fact of our artist's illness in a public ^ Cf. p. 122 ^ seg. ante. I90 FAME AND FORTUNE hospital in Florence gave rise years afterwards to the erroneous assertion that he actually died in one in Siena? To suggest, however, as Mme Priuli Bon does, that he was personally unpopular in Florence in the ordinary sense of the term, is, we would submit, reading into history what is not written there. There are no recorded facts to diametrically oppose or preclude the placing of the Palio incident and the sequel at S. Maria Nuova in 1^27^', and since the original document is no longer to be found, and the late Sig. Milanesi himself is respon- sible for correcting, in his Cojmnentary on Vasari, the date given in his Docunienti, we are perforce left in considerable uncertainty.^ That Bazzi, trusting to Medicean influence, may have entered hisyf;/^ Barb, to run in the Palio before the sudden tumult drove his patron from the city ; and that, unluckily for him, he may in all ignorance, or even in bravado still have come to fulfil his engagement, whilst the popular fury had not sub- sided, is quite possible. The injuries received on this S. Barnabas' day (June nth), though severe enough to require treatment in hospital during a ^ A careful examination of the records of the Hospital of S. Maria Nuova has unfortunately not brought anything to light. 2 The reason of Milanesi's correction might be sought for in the fact that the year 1528 was marked in Florence by a serious visitation of the plague ; whilst the great siege and the political disturbances preceding it covered the following twelvemonth. A legitimate doubt would therefore arise whether any public diversions could have taken place during these years. Although we are bound to remember the celebrated Giuoco di Calcio, played on February 14th, 1529, and immortalized by Francesco Domenico Guerazzi in cap. xxvii. of his work on the Siege of Florence. See Hey wood, Palio and Ponte at., p. 174. GIOMO DEL SODOMA'S THEFT 191 part of the month of July, might not have pre- vented his return to Siena by the 20th of that month. ^ Giomo and his companion were justified in removing certain articles from the studio " by order" ; and the suit for restitution was doubtless due to their tardiness in restoring the property ; for the custody of which they had selected so unusual a receptacle as ** a lean-to " fowl-house with a roof made of rubble. That Bazzi had neither been absent long, nor had intended, when he left home, to be gone for any lengthy period, is evident from the circumstance that his pupil was entrusted with the keys of the workshops, etc. The list of things removed is a curious one, and possesses special interest, since it affords renewed evidence of our artist's taste for sculpture ; and again points indirectly to the early influences and example of Leonardo da Vinci. Similar herein to that versa- tile artist and thinker, Bazzi preserved among his treasures a work on Necrornancy, and likewise a manuscript Treatise on Painting, comprisingadvice, notes, recipes for painting materials, etc., such as all Renaissance craftsmen took pains to compile, and preserve with particular care.^ On August 6th in that same year, the question at issue between master and man seems to have been settled, and Bazzi acknowledged the return of the bulk of the articles claimed. ^ His Duomo commission bears date August 31st of that year. ^ The names of two other not uninteresting personages occur in this document. One is Madonna {^Beatrice) donna di decto chavalliere, to whose house in Vallerozzi certain things are said to have been taken ; and the other is Niccolb spadaio suo cognato (Bonelh), the second husband of Giomo's sister Elisabetta. ^&t, post, p. 240. 192 FAME AND FORTUNE In the absence of the document, setting the point of date finally at rest, the events above described may just as well have occurred in i^zj as in i^sg ; but we possess no record of work done in 1528, and it is not until the year 1529 is drawing to a close, that we stand once more on the firm ground of written testimony. On August 20th and September 2nd of this year (1529)^ we find the Sienese authorities sentencing six butchers, whose names are set forth at length, to pay certain amounts in fines as the penalty for their ill-doing ; which sums are to be set apart for the decoration of the Sala delle Balestre in the Palazzo Comunale. The work of the most celebrated Early painters of the Sienese school had long decorated the walls of this great Hall known also by the name of '' II Mappamondo''\ but a considerable period had elapsed since the completion of the last frescoes. We can only hazard a guess at the motives which induced the Sienese authorities, after a lengthy interval, to decree the renewal and completion of their palace decoration ; and no certain dates are available until April 5th, when Beccafumi was commissioned to decorate the Council Chamber (Sala del Concistoro), with a ceiling still to be seen there, which pleased Vasari exceedingly.^ ^ Archivio di Stato di Siena. Scritture Concistorialt, ad annum : 3oAgosto, and 2 Settembre, 1529. ^ Archivio detto. 1529, 5 Aprile. Rogiti di Ser Sigismondo Trecerchi, Filza i, No. 221. ^ Vasari, Oj>. cit., vol. v. p. 640. Milanesi observes here (note 2) that this work was not completed until 1535, so that even Beccafumi did not hurry his labours. PALAZZO PUBBLICO 193 The volumes of the Corporation Contracts and Resolutions (Scritture and Deliberazioni Concis- toriali) contain a number of entries concerning Bazzi's work: notices of payments made on account, and directions of various sorts.^ Although con- tinual reference is made to the San Vittorio fresco,^ two notices only record San Ansano. As the first of these two is of no slight importance, it is advis- able to quote the entry, dated August 31st, in extenso^ translated as follows : 1529. Item. A commencement has been made in the Hall of the Balestre for the painting of two beautiful figures that is to say, one of S. Vittorio, and the other of S. Ansano, by the hand of Sodoma ; and for such work he has been given already nine scudi that is to say, sixty- three lire. It will be well to carry the work to its end. If, then, we should place Bazzi's illness in this year, these paintings must have been commenced 1 It is amusing to note that on one occasion (Oct. 29th, 1529) the treasurer, the Magnificus Lapus, not having any ready money, pawned the silver necklace of " // Capitaneus Cuiciis " in order to pay the artist 70 lire. 2 Langton Douglas (History of Siena a'f., p. 404) suggests that this Saint was chosen to commemorate the battle of Camollia. The connection, however, is scarcely "obvious" for nearly three years had elapsed before this work was even contemplated. Nevertheless the reader may be recommended to study Mr. Douglas' graphic and stirring account of the events of this period. But his suggestions, both as regards this painting and the Madonna di S. Caiisto, though worth consideration, are not final. See Giovanni Antonio Pecci, Raccolta Universale di tutte P iscrizioni arme e altri Monumenti esistenti nel 3" de S. Martino fino a questo presente anno, 1730. Libro secondo. MS. Biblioteca Comunale, Siena. Pecci, Op. cit., p. 140'-, calls the figure S. Galgano. ^ Archivio detto. Scritture Concistoriali, Filza 41. Not. ai Succes- sori della Signoria del detto anno. " 1529. Item se e dato principio nella Sala delle Balestre far dipingere due belle figure ciob una di Sancto Vectorio, e 1' altra di Sancto Ansano per le mani del Sodoma, e per tale opera si li e dato gik scudi nove, ciob lire sesanta tre. Sara bene mandarla a fine." 13 194 FAME AND FORTUNE at some date in the spring. That vS. Vittorio was nearing completion in August is shown by the fact that on September 21st Beccafumi and Bartolommeo di David ^ are summoned to value the work.^ The estimates both of Beccafumi and his colleague seem to have failed to satisfy the parties ; and Baldassare Peruzzi was called in on September 26th to arbitrate.^ The Signoria, however, in spite of differences, did not with- hold their patronage from the artist, for in that selfsame September entry we find the Corporation acting apparently at the instance of Francesco Tolomei, then " Operaio'' (Director of the Fabric of the Duomo) commissioning another painting for the same room : i.e. a figure oi i\iQ Blessed Bernardo Tolomei, his famous ancestor.* The 5". Ansano fresco meanwhile appears to have remained un- completed so late as the following February.^ No greater diligence marked the progress of the B. Bernardo painting, which, were it owing to delay in the payments on account, or to wilful procrasti- nation on the artist's part, was not finally concluded ^ Concerning Bartolommeo di David, Milanesi quotes a number of entries. He appears to have been the founder of a family of painters who, while none were artists of first-rate distinction, yet all enjoyed a certain measure of public recognition. His daughters, Medea and Giulia, married respectively the painters Michelangelo d' Antonio called lo Scala- brino and Antonio di Michelangelo Passalacqua. This master was summoned on another occasion to value work by Bazzi in the Cappella di Piazza. 2 Archivio detto. Scritture Concistoriali, 21 e 23 Settembre, 1529. Cf. also Concistoro Deliberazioni, vol. 978, fol. 13, 21 Settembre, 1529. Mil. Doc, vol. iii. p. 112. ^ AKcnwio deiio. Scritture e Deliberazioni dettiioX. 15,26 Settembre, 1529. (Three entries.) Nuovi Documenti cit. i p. 447. '* Not S. Benedict, as Vasari {Op. cit., p. 391) states. '' Archivio detto. Scritture detti, 28 Febbraio, 1529-30. Photo : Aliuayi. S. VITTORIO. PALAZZO PUBBLICO, SIENA. To/accp, 194. .Ji^rnAatyA,. ybA,^/?'. BAZZrS FRESCOES 195 until 1533.^ These paintings, like all Bazzi's single figures and simpler compositions, are very fine. Especially is this the case with the S. Vittorio, whose head is one of the most virile and forcible types he ever conceived ; while in the Blessed Ber- nardo, with his long white beard, we have the most spiritually impressive presentment of a venerable saintly personage. The attendant //^///^ are alive with that innocent charm and infantine playfulness that Giovan-Antonio so well knew how to create. But the weak point in these frescoes a fault to which attention has been drawn by several writers is that our artist, in straining after realism, has sacrificed that restraint so essential to wall decora- tion. He was not called upon to suggest that vS. Vittorio is stepping down in person from his niche; or that the catechumen, whom vS. Ansano is bap- tizing, is a live penitent kneeling before the Saint. Somewhere about this period, probably,^ Bazzi executed one of the loveliest among his numerous Holy Fmnilies painted for the altar of S. Calixtus in the Duomo ; now set up in the Chapel of the Palazzo Pubblico, close beside the frescoes just described. Alfonso Landi in his Racconto, etc.,* ^ Or even owing to political disturbances ; for it was in 1530 that the inroads of the Spanish troops into Sienese territory commenced. Cf. Langton Douglas, Op. cii., p. 219. ^ Those above the Blessed Bernardo are represented with the Sienese wolf, and may be paralleled with those above Roxana's couch in the Farnesina, and over the altar of the chapel of the Contrada del Oca, in S. Catherine's House, Siena. ^ Meyer {Op. at.) would, however, place it much earlier in 1516-17. Here we cannot agree with that able critic. The work is too matured for so early a date, and the landscape and composition resemble closely other work of this period. * Landi, Op. /., L. IV. 13, p. 24: L. IV. 14, p. 138. 196 FAME AND FORTUNE gives a full account of this beautiful work, which in his day still filled the place for which it was painted; and it should be especially noted in this connexion, since many writers including even Frizzoni have here gone astray, that he dis- tinctly describes the saint, represented holding the fetters, as wS. Leonard} and not S. Calixtus. This picture, together with its beautifully carved frame, was removed from the Duomo to the Palazzo in i68i,^ to replace a painting by Simone Memmi, that, (according to Pecci,^) formerly hung there. Siena had by this time fallen under Spanish control, and an Imperial Vicar ruled the town in the name of the Emperor Charles V. The invaders appear to have had their national chapel * in the Dominican Church of S. Spirito; and our artist was occupied theresimultaneously with thecompletionof the frescoes in the Palazzo Pubblico. The S. Spirito workconsistsof agreat tympanum painted in fresco, in which the patron saint of Spain, S. James, on horseback, slaughters the infidel Saracen. Two shields on either side display the arms of Spain and the Empire ; while below these stand the figures ^ This same Saint is to be met with elsewhere in paintings by Bazzi and his School. 2 Milanesi (Vasari, Op. cit., p. 393, note 2) says that, according to some authorities, this removal took place in 1704 ; but no reason has yet been discovered for the change. ^ Pecci., Op. cit., p. 148. He does not, however, tell us what was the subject or whither it went. ^ An epitaph, supported by two angels, on the wall of this chapel, quoted by Pecci, (Op. cit., p. 70,) runs as follows: "D.O.M. Ferdinando Alvarez de Soto Mayor, nobili Hispano in Jura Clariss. Licentiato, eximiae continentiae Viro Senis Justitige Prefecto decessit An. Sal. 1556, 7 Kal. Octob. Amicorum eximia pietas posuit." Of ^ Photo : Aliiiari. S. SEBASTIAN. DETAIL. SPANISH CHAPEL, CHURCH OF S. SPIRITO, SIENA. To face f>. 197. THE SPANISH CHAPEL 197 of SS. Sebastian and Anthony Abbas. Framed within this larger composition, and immediately over the altar, are the following paintings on panel: S. Nicholas of Tolentino and S. Michael (on either side of an indifferent modern picture of S. Rosa) ; whilst above, in another lunette, the Madonna, attended by SS. Lucy and Cecilia, is investing S. Alfonso (Ildefonso) with a Bishop's robes. We g^ather from the records^ that the SS. Sebastian and Anthony were painted by Jan. 20th, 1529-30, and the panel lunette by the following April i6th. No record has been traced concerning the other works ; but we learn that our artist was paid four florins {picholi) for S. Anthony, and six for S. Sebastian ; the latter having been painted apparently at the express wish of the Prior, Fra Timotheo de Ricci. A pen-and-ink sketch for this figure which may profitably be compared with the more celebrated presentment of that saint in the Uffizi is preserved in the Beckerath Coll. in the Royal Museum at Berlin. Likewise, 2i first idea for the S. James' tympanum is to be found in the Uffizi portfolios (No. 1937). It is but a faint outline sketch, in red chalk ; but in a certain ^ Archivio detto. Archivio del Patrimonio de^ Resti. Carte del Convento di S. Spirito, Reg. H. vii. Quinterno di Ricordi della Sagrestia e della Chiesa di S. Spirt to cominciato nel 1517, p. 332*- 1529. Ricorddo chome addi xx di gennaio 1529 more ordinario el pre- decto sagrestano face fare alia chappella degli Spagniuoli uno S*' Ant- dipingelo el chavalieri al quale dicte R. (fior.) : 4 plj. (picholi) laus deo. Ricorddo come addi decto el padre priore fra Timotheo de Ricci fece dipignere uno Santo Sebastiano nella cappella degli Spagnuoli e dipinge lo e sopra dicto laus deo e costb R. (fior.) : 6 di picoli. Ricordo come addi xvj d'aprile 1530 simisse alia chappella degli Spagnuoli uno mexo tonddo drentovj la vergine, S*- Alfonso, Sta. Cecilia e Sta. Lucia et 2 angeli dipissegli et sopra decto cavalieri laus deo. 198 FAME AND FORTUNE sense the patron saint, depicted standing, is a more restrained and imposing figure than the galloping warrior now shown in the finished work.^ Delia Valle^ tells us that this boldly conceived horseman gave great satisfaction at the time ; and so pleased the Emperor, when he visited Siena six years later, that he said he w^ould be "willing to exchange all his cavalry for that one horse." This expression of admiration on the Emperor's part appears to have given birth to the tradition of a spontaneous Imperial grant of the title oi Count Palatine to Bazzi. In connexion with the Spanish invaders and their chapel, we should here quote the story as told by Armenini,^ without which no Life of Bazzi would be complete. Milanesi'' abridges the anecdote as follows : Giovannantonio had one day been grossly insulted by a Spanish soldier belonging to the garrison of the city, and being unable to revenge himself because of the number of his companions around him, looked at him attentively, and then returning home drew his portrait from memory with lifelike features and colouring. Then ^ The chapel was restored in 1800 by Liborio Guerrini. 2 Delia Valle, Op. cit, p. 273 : " Vogliono alcuni Sanesi, che capitatO in Siena Carlo V., e condotto a vedere questa pittura, dicesse che egli volentieri avrebbe cambiata in quel cavallo tutta la sua cavallerizza. Tanto egli h ben disegnato ed ^ bello e fiero." ^ Armenini, Oj>. cit., p. 27. This story adds one more proof of Bazzi's skill in portraiture. A further value is conferred upon it, inasmuch as Armenini here tells us that he himself was intimately acquainted with a personal friend of the artist, who spoke of the high honour that he enjoyed in his lifetime among the best society in Siena. Armenini's work appeared in 1578 oxA^ thirty years after Bazzi's decease whilst the Pompe Sanesi and the notorious Dennunzia did not see the light until 1649 : seventy years later. * Vasari, Op. cit., p. 393, note i. See Appendix No. 22. ''THE ASSUMPTION" 199 presenting himself to the Spanish Governor/ he laid before him the circumstances and demanded justice. The Governor asked who the offender was, and he then pro- duced the portrait from under his cloak, saying, as he presented it, " Sir, here is his face : I cannot tell you any more. The Governor and those around him- at once recognised the soldier who had deserved punishment. Such an event pleased the painter, since it was the occa- sion of gaining him favour with the Governor and the other gentlemen, from whom he secured help, favour, and support. Armenini assures us that he had heard this tale related by an old Sienese who had been a very intimate friend of the celebrated artist. In 1532 Bazzi completed the work commenced many years before for the Compagnia di S. Bernar- dino ; designing for them an A ssumption of the Virgin. A comparison of this beautiful fresco with the rest of the series painted in 1518^ marks at once the advance the artist had made in force of composition, and when he chose of restraint in design. In spite of the awkward shape of the panels a circumstance which had already seriously hampered him he succeeded in producing a most graceful, and yet impressive, re-enactment of this passage in the Life of the Madonna. A large number of nearly lifesize figures necessarily fill the stage; but the appearance of crowding, so irritatingly prominent in his earlier work, is here * Romagnoli states that the Governor at this period was Giovanni di Luna (?). ^ Archivio di Stato. Carta della Compagnia di S. Bernardino, 1532, 1 6 Giugno. It may be observed that the last payment recorded is only two ducats ; so that it is to be presumed that other sums had been paid to the master previously, of which no record now exists. Cf. Appendix No. 15. 200 FAME AND FORTUNE successfully avoided. The Mother of God, a con- ception of ideal loveliness, is borne aloft on light clouds swarming with joyous cherubs ; whose glee, instinct with naive grace, is wholly free from the street-arab mirth that disfigures the putti in the earlier Coronation. Beneath the Celestial Vision the awestruck Apostles are grouped with great judgment and effect, and the types chosen for each are suitable and expressive of their special individu- ality. This is in a sense, perhaps, one of the most pleasing and satisfactory among all Bazzi's com- positions, but scarcely obtains the notice it deserves. The subdued tone of the colouring has deadened somewhat a condition, however, that scarcely detracts from the general beauty.^ In the autumn of 1526, the Signoria of Siena with a more plausible motive for their act than in an instance referred to above determined to signalize their victory over their enemies, by adorning all the gates of the city, which so far had remained un- decorated, with representations of the Virgin Mary, their Heavenly Guardian and Mistress. To this end they passed a resolution on October 25th,^ empowering a number of their body to carry out this votive work; and certain taxes and fines due to ^ It is at about this period that, venturing to differ from Dr. Frizzoni, who, by the way, has mistaken the subject {Op. cit., p. i68, note), we should date the very beautiful, but sadly injured, fresco of the Ascension in the Sozzini (now Fieri) chapel of the Collegiata at Trequanda. The easy grace of the Saviour ascending to heaven, and many of the leading characteristics expressed by the group below, strongly recall this Assumption. It therefore may reasonably be con- sidered contemporary with the more famous work. ' Archivio detto. Deliberazioni di Balia^ vol. Ixxi. fol. i6. 25 Ott. 1526. Cf. Appendix No. 23. %>! 'yfyH.!^Ar&^ra. '.;Z}?r^y> d/^ Q)..yfJY^^a^i/^. Uyiz^ C).ce/iM- PORTA PISPINI 20I the Commune were set apart to defray the expenses. It is, however, not until September 12th, 1528,^ that the first reference to the Porta S. Viene occurs ; and then only in connexion with repairs to the gate in prevision of the impending decoration. A notice in 1530^ records a sum of 125 florins entrusted to the hands of Giovanni Palmieri, Ber- nardino di Filippo Buoninsegni, and Girolamo Paccinelli, Commissioners of the Office of Works, towards defraying the cost of the paintings : seem- ingly an inadequate amount, since another decision, dated June 13th, 1531,^ proves that the work was then still far from completion. A resolution of April 3rd, 1 532, '^ at last records the final settlement ; through the payment of 10 scudi to the painter, Giovanni Antonio Bazzi who (says Milanesi) had commenced his work in 1530. The foregoing reso- lution also provides money for the construction of a pent-house to protect the painting from wind and weather : a precaution which has, alas ! not availed to save the lower portion of the composition. This circumstance is the more unfortunate, since thereby another of the portraits of the painter, noted by Vasari, as ''an elderly 7nan with a beard,'' is lost to us, together with a long votive inscription.^ ^ Archivio detto. Deliberazioni di Balia^ vol. Ixxviii. fol. 85*- 12 Sett., 1528. 2 Archivio detto. Concistoro Scritture, 1530. Notula. ^ Archivio detto. Deliberazioni di Balia, vol. Ixxxiv. fol. 131. 13 Giugno, 1 53 1. ^ Archivio detto. Deliberazioni di JBalia, vol. Ixxxvii. fol. 122. 3 Aprile, 1532. ^ Vasari, Op. cit., p. 395 and note. According to Vasari's reckoning, Bazzi would have been 52 at this date, which seems scarcely gid, vecchio. As a matter of fact he was about two years older. 202 FAME AND FORTUNE The painter held a brush in his hand, together with a label, bearing not the word feci, as Vasari states, hwi fac tu {''Match this if you can''). The inscription, however, quoted from Pecci by Milanesi, runs as follows: Deiparae Virgini pro victoria, libertate et salute hujus urbis, populus senensis ejus nomini devotus, a.d. MDXXXI. The composition is a large and striking repre- sentation of the Nativity, and the remains which time has spared are extremely beautiful. They serve only to enhance the sense of our loss. The attendant choir of angels, poised in the air with indescribable lightness and grace, bearing aloft a ribbon scroll with the words Gloria in Excelsis Deo, is peculiarly felicitous both in grouping and effect. In the centre of the arch, in the best preserved part of the composition, we notice under the pent-house a small putto ; on either side of which are groups of exceedingly beautiful angels, whose faces for pure loveliness equal anything hitherto painted by our artist. The beautiful fragment of a putto, underneath the right-hand group, is unsurpassed even by Raphael himself; whose work it distinctly recalls. Barely a quarter of a century ago, the greater portion of the lower half of this fresco, together with the inscription and several figures, were still visible. Alas ! timely protective measures,^ which might to some extent 1 According to Delia Valle(6>/. V., p. 2 78), the Grand Duke Cosimo III. desired to remove this fresco to a place of safety, but was deterred therefrom by the size and thickness of the wall. He also records on the same page that, among the collection of drawings belonging to Abate Ciaccheri, there was a sketch for one of the angels. This sketch has unfortunately disappeared. I'lioto : lid>iin7id Houghton. HEAD OF AN ANGEL. DETAIL. POUTA PISI'INI, SIENA. To /ace f: 202. o g < H W Q -MADONNA DE' CALZOLARI" 203 have saved for us this priceless work of art, were not devised until 1899.^ Before concluding this chapter, one more paint- ing must be mentioned ; the existence, or rather the memory of which is marked only by a patch on a wall. This fresco, in a side street off the Piazza Tolomei, near the church of S. Cristoforo, is a work that the weather, the smoke of a forge, and the recent deliberate scraping of the wall at the hands of the ruthless landlord (under pretence of restoration), have reduced to an unsightly wreck, more than half concealed under a wire netting. This ghost of the Madonna de CalzolarP is de- scribed as follows : " The Madonna with her Son in her arms, SS.John, Francis, Roch, and Crispin, patron of the men of this trade, with a shoe in ^ Since the asseverations made by recent writers concerning the name of this gate and its origin are so contradictory, a note on its history will not be out of place here. Called originally Porta Sta. Eugenia, from the little chapel dedicated to that saint not very far beyond it, it is so denominated in some of the documents quoted here. When, however, in 1 1 07 the body of the martyred Ansano was brought to the city from Dofana, the populace of Siena, awaiting the procession at this gate, cried out '* il santo vtene " {the saint comes). Hence the name of Porta del Santo Vtene, or Porta San Viene, which it is, as often as not, still officially styled. On June 23rd, 1534, however, the Contrada dell' Abbadia Nuova, wherein the gate is situated, asked leave from the Signoria (Archivio detto: Balia, Deliberazioni, vol. xci. f. 149'', 150) ; to beautify the main street by the erection of a fountain, which was vulgarly called Fonte Pispini. This name was soon applied to the street leading from thence to the gate, and subsequently to the gate itself. Cf. also Pecci {Op. cit.), who differs from the usual derivation of the name San Viene, and adds that above the fresco was the word Libertas, and on either side the Balzana and the Lion Rampant. By a fortunate chance the author was able, in January 1899, to examine the work at close quarters, and was much struck by the peculiar cross-hatching, designed to produce the effect of shadow on the angels' faces. ^ Vasari, Op. cit., pp. 390-1, and note i. 204 FAME AND FORTUNE his handy It was ordered on May 3rd, 1530/ and Vasari adds that '* as much the heads as the whole work was very good."^ ** Remembrance of what has been unreal likenesses of lovely shapes, that were and are not " is now all that remains to us of this painting. ^ Arch. Not. Prov. Siena. Maggio 3, 1530. Rogiti di Ser Galgano Faleri. It is to be noted that, although this document records the decisions of the Guild with regard to the ordering of this work, there is no allusion whatsoever to the painter chosen to execute it. 2 Vasari, Op. cit., p. 391 : " nelle teste delle guaii figure e nel resto, si porto Giovann' Antonio bejiissijno" Delia Valle also praises this fresco ; but Romagnoli {Op. cit.), in whose day much of it was still to be seen, says that it was by no means fine and beautiful. Perhaps even then it had been already injured and repainted. CHAPTER IX FINAL PERIOD The Signoria of Siena, elated, it would seem, by their victory over the armies of the Pope and the Florentine Republic at the Battle of Camollia, now proceeded to plan a number of ambitious projects incommemorationof their success: projects rendered nugatory in almost every case, through lack of means ; and many of which appear to have lain idle during a decade at least. On November 25th, 1527, we find among the '' Deliberasioni della Balia ^ a resolution decreeing that the ancient Chapel at the foot of the Torre del Mangia of the Palazzo Pub- blico be restored and adorned with a new fresco ; and the subject chosen was the Virgin and Child with SS. Ansano, Vittorio, Agostino and Jacopo ; with God the Father above surrounded by a glory of Angels. Work had been carried on here at intervals extending over a century. The chronicle of Andrea Dei^ relates, that the chapel was commenced ^ Cf. Appendix No. 24. ^ Cronaca di Andrea Dei continuata da Agnolo di Tura. Muratori, Rerum Italicorum Scripia, vol. xv. Milanesi MS., P. iii. 53, p. 346. Cappella di Piazza, 1 348. " Et in quest' anno per certo miracolo che la Nostra Donna Vergine Maria fece, si comincio la Cappella del Campo sotto la torre," etc. Pecci {Op. cit., p. 118') states that it was dedicated in honour of the Nativity of the Madonna ; was designed by Duccio, and the frieze and arch were added by Francesco di Giorgio, He tells us further that it was adorned with the three shields of the city, and that 205 2o6 FINAL PERIOD together with a number of other churches and places of worship in 1348, to commemorate a miracle performed by the Virgin during the Great Plague of that year. Neri di Donato/ however, tells us that the construction was not actually begun until June 1352 ; and, according to Sig. F. Donati, the building^ was probably designed by Domenico d' Agostino, stone-mason and architect, who at that date was Clerk of the Works to the Opera del Duomo.^ On June i8th, 1369, the Consiglio della Campana directed that the Rector of the Opera should expend from the funds of that Institution 100 gold florins annually, from July ist onwards until the building be completed. We learn also that between July 1352 and April 1376 the walls had been pulled down no less than four times. ^ the inscription " In honorem B. Marice Virginis Jo. Antonius cognomento Sodoma Eques cotnesqiie Palatiniis faciebat MDXXXVIII''^ was painted beneath Bazzi's fresco. We may learn from these statements how far Pecci valuable though his researches are may be relied upon as a final authority. 1 Annali Senesi o Cronica di Neri di Donato^ dal 1352 al 1381. Muratori, Op. cif., vol. cit. Cappella di Piazza. " 1352. La Cappella del Campo a pie la torre si comincioro e' fondamenti del mese di luglio, e li Signori Nove missero fiorini due d' oro ne' fondamenti, e quando si fondb, stbrovi accesi li doppieri, e fu titolata a Madonna S. Maria di Settembre. 1376. Le more della Cappella a pie' della torre del Campo di Siena si cominciorno a murare, che prima erano state guaste quattro volte in 24 anni che si erano cominciate in piu modi di marmo, e questo fu d' Aprile." 2 F. Donati, // Palazzo del Comune di Siena (Arte Antica Senese. Published by the Commissione di Storia Patria. Siena : Sordomuti, 1904). ^ Arch, dell' Opera del Duomo. Pergamene^ No. 874. That the Chapel already existed in 1354 is proved by the Will of a certain Tofo del fu Maghinardi Salimbeni, who devised among other legacies quod residuum convertatur in Cappella noviter facta iuxta palatium in quo moratur d. Potestas civitatis sen. * Cf. also Pecci, Op. cit., p. cit. CAPPELLA DI PIAZZA 207 New walls of Carrara marble were erected in 1376, from designs by Giovanni di Cecco, a stone- mason, with niches for the statues of the Twelve Apostles. The structure was not at first intended to attain the height of the first floor of the Palazzo, in order that the view from the windows might be un- obstructed ; but in 1465 the '' SavV of the Opera resolved,^ that the building should be completed in the worthiest possible manner. In 1468, therefore, the further decoration and raising of the facade, which thus covered the first and part of the second window of the first floor, was commenced. It was, however, not completed until 1470,^ under the direction of Antonio Federighi, who, according to Tizio,^ was then ''Rector'' of the Opera. The interior adornment of the chapel meanwhile had not been neglected. We know that, in 1392, the painters Cristoforo di Maestro Bindoccio and Meo painted jointly a figure of the Saviour ; and in the ^ Archivio detto. Deliberazioni E. ix., c. 20. " Con quello degno modo li parra." 2 Archivio detto. Libra delle due Rose, cc. 117 and 135. In August 1470 lo lire were paid to Guidoccio Cozzarelli, le quali sonno per set armidipense alia Cappella del Campo e al davanzale rifece a delta cappella ; and 14 lire were paid to Maestro Giusto da Foiano per carratura di una pietra rechh, misesi alia Cappella del Campo in uno dei fianchi dove sono intagliate le ghirlande. ^ Tizio, Op. cit., vol. v., p. 61. 1467-8 {Spring; before March) : "hujus Savini primordio Cappella publico in Foro et plumbeo tecto, ac caeteris ad earn iam destinatis penitus absoluta est, et sub jeditui dispositione, ac regimine constituta. Cappellse enim hujus architectus Antonius Federighius Senensis Vir in arte sculptoria, et in omni architecturse genere peritissimus, qui hac tempestate operse publicae Templi Senensis Magister preficiebatur." This is further confirmed by Allegretti in his Diario (Muratori, xxiii., p. 763), under date 1468 : "/ questo tempo si scoperse, e levossi il tetto della Cappella del Campo per fare le volte su le more o vero colonne di mar mo, che vi si sonfatte." 2o8 FAME AND FORTUNE same year Cristoforo also executed an altar-panel for the sum of i8 florins. The restoration and votive embellishment being now agreed upon, as stated above, it was decided to raise 30 ducats from the taxes on corn ; and a Com- mittee of three Giovanni Battista Piccolomini, Conte di Buonsignori and Niccolo Campana were elected to superintend the undertaking.^ In spite, however, of the determination ofttimes ex- pressed, nothing seems to have been done^ beyond the passing of further resolutions, providing for up- keep and general repairs, until March 6th,^ 1536-37, when Bazzi was formally entrusted with the work of painting in fresco the wall behind the altar. A new Committee had been formed meanwhile, con- sisting of the following persons : Camillo Ascarelli, Belisario di Guido Bandinelli, Fabio di Girolamo Garghi, Alfonso di Francesco Acharigi, and Fran- cesco Tolomei, Rector of the Cathedral works. These Commissioners covenanted to pay Bazzi 60 scudi in four instalments ; whilst he undertook to complete the order by the Feast of the Assump- tion in the same year. This circumstance is fur- thermore confirmed by an entry in the '' Scritture Concisforiali" ordering the payment of the first instalment.'' Nevertheless the painter's heart does ^ Archivio di Stato. Deliberazioni della Balia, November 25th, 1527, a. c. 205. Nuovi Documenti dt.^ p. 471. 2 Archivio detto. Concistoro Scritture, 1530-32, and 1536. NotulcB. ^ Arch. Not. Prov. Siena. 1536-7, 6 Marzo. Rogiti di Ser Stgisrnondo Trecerchi. Cf. Appendix No. 24. ^ Archivio di Stato. Concistoro Scritture ad annum 1536-7, Filza 51. "Per parte deli spettabilissimi Quattro cittadini operari e commessarii dell' lUustrissimo Concistoro dei Magnifici Signori e Capitano del popolo del inclita cittk di Siena a far dipignere 1' altare VISIT TO PIOMBINO 209 not seem to have been in his work this time. Former experiences had perhaps taught him the difficulties attending the raising of money and the settlement of debt. Maybe the lavish expenditure on the Emperor's visit in the previous April had emptied the Public Treasury, and thus no cash was forthcoming. He would seem, however, to have actually set to work before the end of 1537; since on September 17th of that year, a sum of 3 lire were paid to *' our Camerlengo Ugo Berti to be given to Pier Giovanni," the stone-cutter, for encasing the shell of the arch, inside which the fresco was painted ; ^ showing that some degree of preparation had been reached by the autumn of that year. Very soon afterwards, however, the artist ap- pears to have departed to the Court of his patron, Jacomo v., Prince of Piombino; where, in spite of the adjurations of the Sienese authorities, he seems to have stayed until the end of 1538. During this della cappella de la piazza publica deputati con ampla auttorita. Voi magnifico Crescentio Turamini banchiere di Siena depositario deli denari dela detta pittura date e pagate d' essi denari che havete in deposito al generoso cavaliere missere Giovannantonio Soddoma pittore deputato a dipengere 1' altare, scudi quindici, cioe scudi 15 quali se li denno a buon conto e per dar principio alia detta opera, secondo le convention! fatte con detti operai per una scritta et che cosi facciate senza vostro preiuditio e danno, hanno li detti operari deliberate e ordinato ad 14 di Marzo, 1536." Cf. Mil. Doc, p. 185. ^ Archivio dell' Opera del Duomo. Lib. Giallo detto deir Assunta, <" 369, " Christo MDXXXVII. " Spese si faranno e facionsi a la capella di piazza per dipegnerla de dare a di XVII di Settembre lire tre che se li fan buoni a Ugo Berti nostro camarlengo, che li pago a Pier Giovanni scarpelino per ropare {sic) el archo del nichio, sono a uscita del detto Ugo, f. 116 .. . lire iij." 14 210 FINAL PERIOD time, a lengthy correspondence continued between the Signoria of Siena, the painter, and the Prince.^ The Signoria on April i6th, 1538, requested Bazzi to return at once and finish the painting. But on May 2nd, at the Prince's request, permission was granted to the artist to prolong his visit through- out that month. More letters followed on June 1 7th, addressed both to painter and Prince, seemingly without effect. On July 3rd the exasperated Sig- noria wrote once more to Jacomo V. ; but the truant did not apparently return to Siena until the end of the year.^ Several notices ^ among the resolutions of the Concistoro during this period refer to the work ; one of which records the ordering of a curtain adorned with the Communal Arms, to hang before the fresco. On February 21st and 29th and March 19th,'' 1539 (st. sen.), we find the Signoria and Bazzi agreeing to the appointment of experts to value the work ; and once more, Bartolomeo di David and Domenico Beccafumi (styled here Mecuccid) are chosen arbitrators. On April 2nd the final pay- ^ Archivio di Stato di Siena, Copia Lettere, 1538, vol. 1748. See Appendix No. 25. Cf. Mil. Doc.^ vol. iii. pp. 130-134. Gaye, Op cit.^ vol. ii. pp. 266-9, 274-5. 2 An original letter dated August x^th, i539> from the Prince, taking upon himself the whole blame for Bazzi's delay, is still in existence. (Arch. detto. Balia, Lettere, 1539, vol. 168, No. 49.) It will be observed that an interval of five months separates the completion of the transaction and the Prince's apology. ^ Archivio detto. Concistoro Deliberazioni., vol. T034. 1538 (st. sen,), 5 Gennaio, f. 4*-; 26 Gennaio, f. 17 ; 2 Febbraio, f. 25*-26; 5 Febbraio, f. 28. * Archivio detto. Concistoro Deliberazioni, vol. 1034, 21 e 29 Febbraio, f. 43* -44; vol. J035, 19 Marzo f, 6' COUNT PALATINE(?) 211 ment is recorded ^ in the books of the Opera del Duomo.^ We can no longer form an opinion with regard to the merits or defects of this painting ; for the weather first; next "improvement" at the hands of Liborio Guerrini in 1800;^ and lastly the weather once more, have left little of the original work discernible at the present day. The building and decoration of the Cappella di Piazza leads naturally to the open question con- cerning the tradition that reports Bazzi to have received the title of Count Palatine from the Emperor Charles V., whose visit to Siena in 1536 the year prior to the commission for the painting had aroused such unbounded enthusiasm in the breasts of the Sienese populace. The crux of the evidence in favour of this tradition rests upon the accuracy, or conversely, of the inscription given below. Delia Valle ^ quotes the version of one of Monsignor Bottari's correspondents as follows : In honor em Beatae Mariae Virginis lo : Antonius cognomento Sodoma Senensis eques, et Comes ^ Archivio dell' Opera del Duomo. Libro Giallo detto delV Assunta^ f. 369. "Christo MDXXXVII. " E a dl ij d' aprile 1539 lire cinquantasei se li fan buoni a Ugo Berti, camarlengo che li pagb a missere Giovantonio Sodoma dipetore, per resto de la dipegnitura de la cappella di piaza, sono a sua uscita, f. 146. . . . lire Ivj." ^ A red chalk drawing for this work is preserved in the Library of the Academy in Siena. ^ Romagnoli {Op. cit.) tells us that this was done at the expense of the market folk ; and that after such restoration little trace of Bazzi's original work was discernible. He also adds that it was badly injured before the earthquake of 1798; and that the figures of Saints at the sides were by Ansel mi, which is obviously impossible. ^ Delia Valle, Op. cit., p. 251. 212 FINAL PERIOD Palatums faciebat MDXXXVIIL, and then pointing out that the work is a fresco, not a panel as this writer asserts, proceeds to correct the reading thus : Ad honoreni Virginis Mariae lo : Antonius . . . Sodona eques et Comes Pala- tinus faciebat MDXXXVIII. We would observe that all these versions^ differ from each other considerably in detail ; and, since the inscription was doubtless already more than half obliterated in Pecci's day, and has vanished altogether now, grave doubt may well arise, whether all these excellent folk have not built their house upon very insecure foundations. Not a single contemporary writer, or document, corroborates the story. Indeed, evidence of a negative kind is strong, in view of the regular and persistent use of the title Cavaliere only, in notices, agreements, deeds, the Piombino correspondence,^ etc.; a circumstance which would certainly be unusual had Bazzi been really honoured with a higher distinction and more exalted rank.^ In ^ Romagnoli {Op. cit.) copies Bottari's version, but states that he read the inscription before Guerrini's restoration of the painting, and found therein the word Senensis, which he complains that Delia Valle has omitted in his corrected version. But we should also note that this said correspondent commences his information thus: ^^ Fu Gio. Antonio figlio di Giacomo Razzi da Vergelle, villa distante 15 miglia da Siena, non da Vercelli di Fiimonte," which shows how far his accuracy may be trusted. ^ The varied spelling of this name throughout these documents is worthy of note. In all the letters, except the last from the Prince (wherein he is called Sogdona), Sodone or Sodona seems to have been the favourite variant. ^ An accidental discovery communicated by the finder, Signor Alfredo Liberati of Siena brought to light the following piece of evidence, which certainly supports our contention : Archivio di Stato DI Siena. Libro dei Battezzatti delP anno 1538. Biccherna No. 10235. FURTHER COMMISSIONS 213 the Buoninsegni letter likewise, recording the painter's death where, surely, the title, had it existed, would have found place Bazzi is merely styled // Cavalier e Sodoma} We may as well, before proceeding further in the narrative, examine the remaining transactions between our painter and the authorities, concluded within this period. In January 1536-37 two entries should be noted ;^ one in the Deliberazioni della Balia, and the other in ih^Archivio deir Opera del Duomo\ both of which refer to the ** writing off on account of his high merits'' (attentis virtutibus) of certain sums of money owed by Bazzi to the *' Comune' of Siena. The first entry also records a somewhat remarkable permission : viz., to fashion at his own expense a lath-and-plaster model of a horse to be set up in the city, wherever the authorities " Camilla Maria Romola, figlia di Giovanbattista di Girolamo legrittiere si battezzo a li xj di Novembre, compari Ferrando di Valentia, Hispano, et il Sodoma cavaliere et dipentore" This proves that so late as the nth November in 1538 our artist was still known as Cavaliere zxixon^ his friends and acquaintances. 1 Cf. post, p. 237. 2 Archivio di Stato di Siena. Deliberazioni della Balia, 1536-37, p. 12'- 5 di Gennaio. " Et attentis virtutibus domini ]oa.xm\s Aniomx . . . alias Soddoma, pidoris, deliberaverunt soleuiniter quod ei relaxetur debitum quod habet cum Comimi Senensi occasione prestantiarum usque ad sumviam librarum XXV. denariorum et mandavimus preditis exactori- bus pr. 216. m:. OF Photo: Lombardi. HEAD OF THE YOUNG KING. DETAIL FROM THE SAME. To /ace p. 2ij5. ^^ OF THE r MVERSITY LiFOR^ PHYLOLAURO DA CAVE 217 one Phylolauro da Cave^ to show that, at that date at all events, the picture was well known in Siena, and much admired. The contention, based upon a mere ex-parte statement, hardly supports the suggestion that the work dates so far back as 15 18. Bazzi, as we have seen, left Siena at the commence- ment of 1 5 19, and reappeared there in 1525. Ample time would be available for the execution of this painting, between that date and 1533. There are, moreover, as Frizzoni candidly points out, distinct Leonardesque features in the work, for example, in the countenances of the old kneeling king and of the handsome young one behind him : elements which might reasonably point to a recent renewal of earlier influences. As regards the so-called portrait of the artist himself, to be found in this painting, Vasari^ merely describes the figure (indicated by so many authorities) as a ^ This writer of vers de societe does not appear to have been a native of Siena ; but from his long sojourn there, and his numerous poems written on Sienese personages of eminence, he is included by De Angelis in his work Biografia degli Scrittori Sanesi (Siena : Giovanni Rossi, 1824, vol. i.). That author gives a lengthy description of a copy of his Dialogo Amoroso, which includes the Lode above mentioned, and was dedicated to the Duke of Malfi. Whether this Filolauro is identical with one Gio. Battista Filauro, a native of Aquila, who, according to Niccolb Toppi {Biblioteca Napolitana, p. 132, col. 2), wrote poetry that had great vogue in his day, is a moot point. Filauro, it appears, studied law and letters with great profit in Siena for the space of three years, but through legitivii impedimenti was unable to complete his University course. That this student must have been virtually con- temporary with Bazzi (and also with Filolauro) is evident from the fact that his poem on the Mysteries of the Passion was published as early as 1578, some time, perhaps, after his decease. He appears also to have composed canzone, sonnets and pastorals that were much admired, and a poem in fifteen cantos, entitled Orlando Saggio, to rival Ariosto. See Appendix No. 26A. 2 Vasari, Op. cit., p. 395. 2i8 FINAL PERIOD '' pastore^' {2. shepherd) ; and it is purely tradition, that Bazzi himself is here portrayed. That a portrait of some particular person was intended, would account for the lifelike appearance of this figure, which is the special element noted byVasari; but Bazzi need not necessarily himself have been the model; and as the late Herr H. Ulman^ remarks the features bear little or no resemblance to the authentic Monte Oliveto portrait.^ Thus, with all due deference to so distinguished an art-critic as Dr. Frizzoni, we cannot but hold the view, that no absolutely incontrovertible reason exists, to date this picture so early as 1 5 18. Indeed, the evidence would rather tend to favour a later date: perhaps 1530-32. That the Arduini quarrelled with the painter, and brought an action against him, is proved fact ; but it is not impossible that this lawsuit may have extended over five or six years ; or proceedings may not have been instituted until the plaintiffs had lost all patience with the defendants. The rights of the parties were eventually adjusted ; and it was decided that the Arduini brothers, on receipt of a sum of seven scudi, were to restore to the painter a tondo repre- senting " Our Lady, SS. Elizabeth and Joseph','^ ^ MS. notes in the late H. Ulman's copy of Frizzoni's Z' Arte del Rinascimento, preserved at the Kiinsthistorisches Institut in Florence. Even Delia Valle makes a similar comment. 2 It is worth noting that if Bazzi wore long hair and a clean-shaven face, and portrayed himself thus (Vasari, Op. cit., p. 388) in the fresco of Christ at the Column in 1514, why should he have altered so much by 1518? ^ Can this be the tondo in the Collection of the late Colonel Legh, at High Legh, Cheshire? The mention of a tondo so late in our artist's life is rather remarkable ; but there is nothing to prove that this particular work had not been painted long before this date THE NATIVITY OF THE VIRGIN. CHURCir OF THE CAKMINE, SIENA. To face p. 219. -THE NATIVITY OF THE VIRGIN" 219 which they seem to have held as some sort of security; together with its frame, eic.{con tuttiisuoi fornamenti dot el f est one dorato, nel essere che si frova). The picture now adorns the Piccolomini chapel in the Church of S. Agostino in Siena, and bears an inscription added by the owners of that chapel : Ascanius Piccolomineus Archiep. Senarum Quintus: with their coat-of-arms at either end. A red chalk drawing for the Moorish king beardless is preserved in the Library of the Sienese Academy of Fine Arts ; and other sketches in the same medium are to be found among the drawings in the Spannocchi Collection, shown at the Exhibition of Sacred Art at Siena in 1904. Vasari^ makes mention of another painting in Siena, to which passing notice should here be ac- corded: v\z.2i Nativity of the Virgin, in the Chapel of the Sacrament at the church of the Carmine. For some unaccountable motive, the authorship of this unequal and awkwardly composed work was taken by the Committee of the above-mentioned Exhibition from Bazzi, and given to his pupil, Giomo del Sodoma. The remarkably beautiful and char- acteristic female head, recalling Roxana, in the very centre of the composition, should, through its unmistakable characteristics, have precluded, we would fancy, even without Vasari's express state- ment, the possibility of such a mistake. No one but Bazzi himself could have created such an exquisite head ; which alone would rescue any composition, however poor, from insignificance. Delia Valle^ mentions, in addition, another 1 Vasari, Oj). cit., p. 390. ^ Delia Valle, Op. cit, p. 269. 220 FINAL PERIOD Nativity of the Madonna, in the Chapel of the Villa Bandinelli (now Nerucci) : // Monistero. This interesting picture, however, though strongly recalling in certain elements our artist's manner, alike in conception and treatment, has either been so over-painted as to efface the essential impress of the master's hand ; or is but the copy of a lost original. The circumstance of a thorough restoration, (?) in 1820, by Giuseppe Collignon, would account, perhaps, for the present unfortunate condition of the painting. The date 1540 is probably spurious. Vestiges of yet another fresco, a *' Pieta',' recorded by our biographer, still remain on the walls of the Casa Bambagini Galletti in Via Stalloreggi. " A Dead Christ',' says Vasari, "of wondrous divinity and grace." ^ Tradition varies concerning the usual appellation of this work : viz. " la Madonna del Corvo : " given, it is asserted by some, on account of a crow that once figured in the composition ; and by others, in memory of a vow registered during one of those fearful visitations of the Plague, which so frequently overtook Siena. However this may be, the sadly damaged painting exhibits great dignity and force of style. A draw- ing for the composition is -preserved in the Uffizi Collection (Case 343, No. 563).^ To this phase of our artist's career two more fine large panels also appertain. One of these remains in situ, over the altar in the north transept of the ^ Vasari, Op. cit., p. 396. " Un Crista morto . . . ha una grazia e divinita maravigliosa,^^ 2 Delia Valle {Op. cit., p. 278) records that this drawing once belonged to Abate Galgano Ciaccheri, librarian of the Communal Library in Siena, SINALUNGA 221 Collegiate Church at Sinalunga ; whilst the other, formerly in one of the churches at Colle di Val d' Elsa, passed about the year 1840 from the posses- sion of Cav. Rosselli del Turco,into the Royal Pina- coteca at Turin for the sum of 1200 scudi. The Sinalunga pdiinting, 3. Madonna enthroned with her C>^//. 246. SUMMARY 247 tells us, these fair damsels were originally designed nude or not. It is in the grace of their bearing and the naiveU of their personal charm that tempta- tion to the monks would have had to reside, rather than in any evil suggestion intentionally aroused by the artist himself. Let us take even a stronger instance. When the painter, in the zenith of his artistic and social fame, and in the primeof his manhood, is summoned by one of the wealthiest and most dissolute men of the time, living in, maybe, the most dissolute age of history the ornament and envy of, perhaps, the most dissolute court in Europe, to decorate his bedchamber, a subject The Marriage of Alexander and Roxana is chosen, exalted and beautiful indeed, but capable of the most suggestive treatment. Howdoesour artist, amid surroundings and among companions of a character sufficient to turn the head of the purest-minded (as it undoubtedly did turn that of the " Divine Raphael"), treat this opportunity ? Does he indulge in the pruriency of Giulio Romano and other scholars of the Prince of Painters?^ Nothing of the kind. Heembroiders on Lucian's canvas one of the purest and most idyllic conceptions of the Renaissance : a compo- sition that, in an age where Classical Myth and Ecclesiastical Symbolism were so frequently inter- mingled, might truly almost pass for an illustration of the Mystic Marriage described in the Canticles, and applied by the Church to Herself. ^ As an example the reader need only be referred to the work of these artists in the Reception-rooms of the Corte Reale and the Palazzo del Tfe at Mantua. 248 SCHOLARS Bazzi's composition may often be faulty, whilst time and the hand of man have laid a destructive stigma upon this great work; but where in pictorial art can there be found a lovelier and, at the same time, more ideal type of the Classic '' Pudicitia' than Roxana? The entire composition is fraught with graceful fancy and penetrating charm, yet not a breath of course suggestion sullies our thoughts ; whilst the religion of ideal beauty overwhelms the senses, and no disturbing shadows arise to break the spell. Well might Rosini^ exclaim, "If Raphael had only chosen Bazzi as his helper instead of Giulio Pippi, what might he not have become ? " Bazzi's Madonnas perhaps tell us little more than that they are lovely. They exhibit scarcely anything of that appearance of aloofness from ordinary life above and beyond so characteristic in the Art of his predecessors ; nor, likewise, do they present us with the handsome peasant or fascinating courtezan type adopted by his suc- cessors. His ideal was clearly a noble one ; his figures of either sex and of all ages are fine, well chosen, and generally carefully characterized. The special point about them during his best period is, that they breathe a sentiment of natural ease, as though the artist had obtained from his model all he desired to express at once ; without effort or strain to secure effects. There is an un- affected simplicity in their mien ; no second thought or mental reservation ; so much so, indeed, that all that they tell us about themselves may be summed 1 Rosini, Op. cit.^ vol. v. p. 48, ^'.Ai^^^^t^ J/^hffip^'rtuHi^f^ ff".u^^-/Jru^fL . ^yly^a^ (Tf^^y^TXy^l'Uidofin.ay . ua^ Tara n^A^ ^^fufme^. SUMMARY 249 up in two words, Purity and Refinement. In this gift lies the artist's supreme charm. From the foregoing conclusions, indeed, we may surely take it for granted that Bazzi's was a character of impulse and passion, upon which he perhaps too often acted without thought for the consequences. The spontaneity of his technique, leading to the careless composition and slovenly execution of so much of his work faults which were, and remain yet, the despair of the Art-critic, who knows not how to hold the balance true between the painter's merits and defects was paralleled, no doubt, in his daily life by acts of similar thought- lessness. All the traditions and tales about him, good and bad alike, show him to us as the play- thing of chance and sudden emotion : a true child of his age, born when the Renaissance had reached its zenith, and dying with its knell sounding in his ears. His age failed in comprehension of his " artistic temperament " ; and whilst heaping praise upon his vagaries, sought revenge by condemning his morals. Men like Vasari, with their sense of proportion obscured in the exclusive admiration of giants such as Michelangelo, and with their critical judgment wrapped in the aesthetic cere- clothes of the Schools of Art founded by that great leader and by Raphael, could not justify to them- selves the raison d'etre of a man who although willing to be influenced by splendid example yet rebelled at confinement within the straitened lines and imitative tendencies of any coefiaculum what- ever. It is instructive to followtheevolution of those artists who, commencing under his instruction. 250 SCHOLARS drifted away into other schools. Instances of such are Daniele da Volterra and Michel Angelo Anselmi. In both these painters, incipient grace almost attaining to originality imbibed from their earlier master, is too soon submerged in eclectic mannerism. The first masquerades in the grand style of Michelangelo; the latter imitates tolerably well the prettiness, exaggerated tenderness and washed-out colouring of Correggio's Parmesan period. The result in both cases is a verdict of mediocrity. Hence Bazzi in his day could only win for himself the well-deserved commendation of those capable of discernment, the few who could see the light of genius shining through his errors ; and modern taste has done justice at last in restoring him to that place among the painters of the Renaissance, which he so fully deserves. No worse fate could befall our hero than to be branded with the stamp of precursorship of the " Eclectic School"; and if this essay has succeeded even remotely in ''giving the Devil his due," the seed sown in these pages will not have fallen on barren ground. APPENDIX NOTE ON THE VARIOUS PORTRAITS OF BAZZI BY HIMSELF AND OTHERS. There are a large number of portrait-heads, chiefly introduced into frescoes and compositions of large dimensions, which tradition more or less authenticated states to be presentments of Bazzi. With one exception they are all painted by the artist himself. A comparison between them not only raises a number of interesting questions, but tends to show that many of these so-called portraits cannot possibly be the person whom they are said to represent The single portrait which must ever form the basis of any inquiry on this point is the youthful likeness at Monte Oliveto, painted in May 1506, and recorded by Vasari,^ This has been described so often, and is so well authenticated, that we may take it for granted that it is a speaking effigy of our painter as he then stood before the world. Although the features are sufficiently striking and marked to provide us with indications whereby we should identify the likeness elsewhere, it is nevertheless no easy matter to recognize these lineaments in the portrait coming next in order of date, the authority for which is no less important a critic than Morelli himself. The figure of a man standing beside Raphael in the large fresco ^ Vasari, Op. cit., p, 383. Padre de Angelis, as we have said {supra, p. 69 note ') in his Ragguaglio, etc., sees a portrait of Bazzi as a youth in the angel of the Leccetto Nativity (Siena Academy, Room XL No. 512.) 252 APPENDIX of the School of Athens at the Vatican, was long supposed to be the portrait of Perugino, and maudlin sentiment ran riot over the alleged attachment between Master and Pupil, that secured its introduction into this important compo- sition. Morelli, however, asserted that the personage represented was Bazzi, and again a flood of more or less vapid talk burst forth : this time concerning the friendship not improbable, indeed, even on other grounds existing between these two artists. We hear, likewise, of two more actual portraits, both recorded by Vasari ; neither of which have come down to us. These were introduced into the frescoes of Christ at the Column (in the Cloister of S. Francesco), and the Nativity (over the Porta Pispini) respectively. In the first he was represented, we are told, beardless, but with flowing hair ; ^ and in the other as an old man with a beard.^ It is most unfortunate that both of these portraits have disappeared ; since from them we might have derived the necessary landmarks to assist us in identifying the other traditional likenesses. The chief of these are as follows : The Soldier in Armour. Descent from the Cross. (Siena Academy.) No. 413. S. Roch in the group on the reverse face of the S. Sebastian Banner. (Uffizi.) The shepherd looking on between two trees. Adoration of the Magi. (S. Agostino, Siena.) One of the sleeping soldiers in the Resurrection. (Pal. Pubblico, Siena.) 1 Vasari, Op. cit., p. 388. 2 Vasari, Op. cit., p. 396. It is perhaps worth noting that in an edition of Vasari which appeared in t8ii, with portraits of the painters attached to each Life, that given to Bazzi is of an elderly man with a beard, and resembles no likeness of him at present existing. At that date the lower part of the Porta Pispini fresco was still tolerably preserved ; and it is just possible that this engraving may have been taken from the lost portrait. MONTE OLIVETO MAGGIORE. Pholo: A till DRAWING. UFKIZI, FI.OKENXE. Photo : H. Housrhton. Ul'FIZI, Kl.OKENCE. Photo: Alih PORTRAITS OF GIOVANNI ANTONIO BAZZI BY HIMSELF. PORIRAIT OF A BEARDED MAN. PASTEL. liRITISH MUSEUM, LONDON. Photo : Braiin Clement &* Cie. PORTRAIT OF A iMILANESE NOBLEMAN (?). DRAWING. AI.BERTINA, VIENNA. OTHER PORTRAITS BY THE SAME MASTER. To face p. 252. ''<^" OF THE 4LIFbR3i^ PORTRAITS OF BAZZI 253 To this number Frizzoni would add the S. Joseph in the large painting {Madonna and Saints) in the Pisa Gallery/ Whether these figures be one and all really portraits is a matter of great uncertainty. It is probable, though, that the very bold masculine type, which recurs so frequently in his work notably the figure in the fore- ground of the Resurrection at Naples is, if not an exact likeness of himself, at least fashioned after his own cast of countenance. Besides these we have two oil paintings in Florence in the Uffizi and Pitti Galleries respectively, both said to be likenesses of the painter. The finer of the two, preserved in the Collection of Artists' Portraits (No. 282) in the Uffizi, represents a powerfully built, handsome man in early middle life. Although we are pertinently assured that Bazzi himself stands before us, it is not easy to trace here the features of the gallant of Monte Oliveto days.^ The other portrait, in the Pitti Gallery (Room XI.), in spite of the high thin nose, which at first sight seems so unlike our painter, offers on closer inspection a much greater resemblance to him as he may have looked later on, a sadder and perhaps a wiser man. This painting is by no means so fine, and the panel appears to have been lengthened at the bottom and repainted by a later hand.^ A small picture with Gio. Ant. Razzi, P.S., written upon the face, and Razzi detto il Sodoma Pittore Senese Giovanni Antonio di Jacomo on the back, is to be found ^ See above, p. 233. ^ Romagnoli, building on the Vergelle tradition, makes out that the scenery behind actually represents Vergelle with the Casa Savini in the distance, in which house he states that Bazzi was born. ^ Delia Valle {Op. cit.^ p. 255) speaks of two portraits in the Florence collection as follows : " Finalniente in galleria a Firenze nella Stanza de' rittratti, due ve n'ha di Gio. Antonio, dipinti dalui medesimo il primo lo dimostra in eta, di 45 in 50 anni, e sotto si legge : Gio Antonio da Vercelli. Nella seconda stanza ritrasse se stesso di maggiore eta, e in un' aria di un vecchio robusto, e pieno di energia. In esso dichiara 1' onore, a cui fu assunto dai Sanesi, con ammetterlo alia Citta- dinanza," but it is not easy to identify them with those in the text. 254 APPENDIX among the pictures left by the late Sig. Giuseppe Porri to the Communal Library at Siena. A very poor work, it might, however, be a copy of a lost original, and as such is of some value. There is, besides, an unfinished sketch of a man (Case 344, No, 1934) in the Uffizi Collection, which, from its likeness to our foundation portrait, is almost certainly a real effigy of Bazzi. It is also not improbable that the fine Pastel Portrait of a Man in the British Museum (No. 96) (variously attributed to Timoteo Viti and to Raphael, but given to our painter by Morelli) may also be not only by him but of him. NOTE ON THE CURRENCY. The task of reconciling the value of money paid to Bazzi and others for their work during the period of which we are writing, either with its present value, or con- temporary currencies during the different epochs spoken of, is practically impossible. The value of the current coins, whether florin, ducat, or scudo, varied so constantly and so widely from time to time and place to place, that the difficulty of fixing any standard is greatly increased. A few notes, however, may aid the student in forming some idea of the sums of money dealt with. In the Milanesi MSS. (Bib. Com. Siena, P. III. 53, P- 157) we find the following: Scritture Consistoriali, La Balia, Filza 47. 1529. Scudo d'oro di Sole- also in same year 1530. Scudo d'oro di Sole 1529. ,, Senese (April) 1530. ,, d'oro di Sole (February) 1529. ( .. 17) 1529- ( 2) 1529. -Lire 1 2.10 soldi, >> II. >> 14. >) 7- >> 14. >> II. 15 >) >> 12.7 II. >> THE CURRENCY 255 Again, the Milanese florin, as we read of it in the Vercellese documents, was worth 3 lire and 4 soldi terzuoli. In Siena the ducat seems to have been generally reckoned at 7 lire, th& florin at ^. The following note is also of interest in this connection : "The florin was first coined in Florence in 1252 in memory of the victories of that year; it weighed 72 grains of gold. It was imitated in Venice under the name of Ducat, later Zecchino ; and in Rome as Ducato Papale. At first it was worth 3*02 libre, but as gold gradually appreciated, its value, as measured by silver, increased, and in Perugia it went up to 4J to 5 libre. Early in the 15th century the florin was reduced to 69 grains. Thus roughly the florin was equal to 11/. Twelve denari went to a soldo, and 20 soldi went to a libra ; thus the denaro as measured by gold standard was worth from one-sixth to one-ninth of a penny." Chronicles of the City of Perugia, I4<)2 /50J, by Francesco Matarazzo. Translated by Edward Strachan Morgan. London, J. M. Dent & Co., 1905, p. 66, note. 256 APPENDIX o u5 S H ^ N o "=^ K Oq o ;5 tt^ ^S c:) z >- fe O H 2 >^ ;' ^3 ^ Ph &S o 5d p< w 3-^ o a c p 5 <^ i_) _aj T3 ' V- W5 d -d ^ .E'-r' . o C-c "" rh U -- g-C OS o Ih- o <-"' ^^ M IJ o < z T) S- _N N 4- z 1) C M ^i Sir --3 1:3 =" 3 O C t*^ Ih- . 3 .^ O ~ i ^ tolomm Neroni robably ainter a d. Jun 5 (^^ ll_ Ir >-^ g^6S^ P.a^.-^:?; Ul " . w S fe cpE B 5 ^3 > m*^ u o ^ M ^ '^S 3 ^ OK i? s a -o d .r 5^ o o ^ S^ >: * .8 ITX^ oq-s 'i CO 5: S55: US a o - in i-S in *7 3 C ~* 5 C Sx ^ B M w 9 . c ou u o^- E-a> CO (0 m2 O 2 " "< . t; o2 s^ lu Jt- S. " 0.0 o K Q. u ^>] be S ., 5 ' C5 s* cic ov(/) If ?.HTo 5 1-1 ? ! 3^ 01 .Qu > : 1^ C r^ , rj ^ o 3 '^S^ rt K s w S a " s s " w fuuusu .u U.2 u rsdi5 SSI's: '"-2 > J! Ss s 0) w DOCUMENTS 257 No. 2. ARTICLES OF APPRENTICESHIP OF G. A. BAZZI. Archivio Civico DI Vercelli. Notulario di Guidetto de Pellipariis, n. 18, fogl. 592. MCCCCLXXXX. die xxviii. mensis novembris hora mediarum terciarum vel circha actum Vercellis in vicinia sancti Juliani in appoteca infrascripti magistri francexii borduarii ^ presentibus no. francexio de Ticionibus f.q.d. Augustini et francexio bordererio et bernardino filio qd. mafeoli dorerii testibus. Ibique magister Jacobus de bazis de blandrate caliga- rius vercellarum possuit et firmavit Jokanem Antoniunt eius filium presentem et se firmantem ad standum cum magistro Martino de Spanzotis de Casale pinctore pro annis septem proxime Venturis incipientibus in festo nati- vitatis d. nri. Jesu Christi proxime futuro usque ad quod empus idem m. Jacobus promisit quod stabit et famularit promisit secum per dictum tempus et laborare et quod erit legalis ac fidelis et non comitet dolum nee fraudem et ea que pervenient ad manus consignabit et faciet ea omnia que facere tenetur bonus et legalis ac fidelis famulus et cetera et idem magister Martinus promisit tradere artem pinctorie toto suo posse et vidriatarum et aliarum que sit (^scit) idem m. Martinus. Item convenit et promisit idem m. Jacobus dicto m. Martino presenti et acceptanti dare et traddere pro expensis tantum premis- sorum annorum florenos quinquaginta mediolani vide- licet in principio quorumlibet septem annorum septimam partem ita quod in ipso principio teneatur idem m. Jacobus facere suis sumptibus unam vestem in bona longitudine, item duos diploydos et tria paria caligarum semel tantum in ipso principio, reliqua disiuncta faciat per ^ Bruzza reads bordererii. The above is the reading of Faccio, supported by Aw. Francesco Marocchino, keeper of the Archives at VerceUi. Cf. Faccio, Op. cit., p. 217. 17 258 APPENDIX dictum tempus idem magister Martinus. Item quod idem magister Jacobus toto tempore dictorum septem annorum det sotulares, camisias et panixellos et aliam totam blan- chariam ipsius Jacobi expensis. Item quod idem m. Martinus teneatur dare alimento cibi et potus et habita- tionem condecentem justa condicionem . . . que omnia promisserunt attendere et hinc inde restituentes dampna et expensas ubi non attenderint de quibus expensis credantur iuri etiam (?) lite non contestata et possint in solidum ubique arrestari et incarcerari. . . . Constituentes procu- r a.torQs />roda^os{?) in forma Camere renunciando beneficio minoris etatis jurantes omnes tres precipientes etc. No. 3. THE WILL OF GIACOMO DI BAZZL Arch, detto. Protocollo di Enrico de Balbis, n. 4, fogl. 231'- In nomine domini nostri Jesu Christi amen. Anno a nativitate eiusdem currente millesimo quadringentesimo nonagesimo septimo inditione decima quinta sive ultima die tertia decima mensis augusti. Actum Vercellis in vicinia Ecclesiae Sanctae Mariae Majoris in domo habitationis infrascripti testatoris pre- sentibus spectabilibus iuris utriusque doctore domino Mathia de Scazoxiis de Blandrate nobili Johanne Andrea de Guidalardis de Verono Francisco de Pichono Marco de Lignana caligario Petro Bocio de Blandrate bechario Bernardino de Novaria filio magistri Dominici caligarii Jacobo de Camarano de Blandrate Gabrielle de Roaxio Filippo filio magistri Francisci de Rodobio et magistro Antonio de Blandrate marescalco omnibus habitantibus Vercellarum testibus ad infrascripta per infrascriptum testatorem meque notarium infrascriptum vocatis rogatis ac notis. y\.di^\^\jtx Jacohis de Bazis de Blandrate caligarius et habitator Vercellarum sanus dei gratia mente et intellectu DOCUMENTS 259 licet corpus suum quandam patiatur infirmitatem . . , sepe- liri ordinavit in cemeterio ecclesie S. Marie majoris . . . instituit heredem particularem Angelinam ejus uxorem in florenos centum mediolani pro dote sua cui legavit ultra dictos florenos centum ejus vestes baltea et alia bona mobilia tam lanea quam linea a suo portare et cappas duas et quam Angelinam ejus uxorem constituit dominam et usufructuariam quorumcumque bonorum suorum mobilium et immobilium ipsa ducente vitam vidualem et honestam ac timorate cum infrascriptis ejus filiis et quam liberavit a ratione reddenda et ab inventarii confectione ipsam omologistam constituens si dicta Angelina non transeat ad secunda vota. Et casu quo transeat ad secunda vota tunc et eo casu habeat dictam ejus dotem cum bonis suprascriptis et non ultra. Item legavit societate discipli- natorum Sancte Katerine ducatum unum dando semel tantum. Instituit heredem particularem Amedeam ejus filiam legitimam et naturalem in florenos centum mediol. quos dictus testator asserit dictam Amedeam et Johem Petrum ejus maritum habuisse et recepisse et ultra dictam ejus dotem in ducato uno dando et solvendo per dictos ejus Alios et heredes universales. In omnibus autem bonis suis mobilibus et immobilibus instituit heredes universales Johannem Antonium et Nicholam ejus Alios legitimos et naturales ipsos ore proprio nominans equali- bus porcionibus quibus constituit dictam Angelinam ejus uxorem et matrem dictorum Jo. Antonii et Nichole curatricem et gubernatricem ita et taliter quod dicti ejus filii et heredes quicumque de bonis ipsius testatoris disponere non possint sine consensu dicte Angeline usque non fuerint etatis annorum vigintiquinque et ultra et aliter et alio modo quidquid actum fuerit per dictos ejus Alios et heredes non valeat nee teneat quia ipse testator de ipsa Angelina multum confidit. Item iste testator dicit et protestat se dare debere nobili Henrioto filio nob. Justiniani de Advocatis Valdengi libra septuaginta octo imperialium. Item Paulino bechario libras viginti 26o APPENDIX quattuor imperialium. Item Jo. Petro de Arena Hbras decern septem et solidos duodecim. Item Marchioni de Badaloco libras novem. Item fr. Laurentio de Tomis de Palestro libras decem. Item Francisco de Pichono libras viginti tres imperialium, etc. No. 4. The Denunzia or Inventory of the Worldly Goods of GIOVANNI Antonio Bazzi. 1531 (?). Dinanzi a voi cittadini sopra a fare la Lira vi si dice per me maestro Giov. Antonio Sodoma di Bucaturo. E prima (ho) un orto a Fontenuova, ch' io lavoro e gli altri ricogliono. Una casa in litigio con Niccolo de' Libri per mio abitare in Vallerozzi. Trovomi al presente otto cavalli ; sopranome son chiamati caprette et io sono un castrone a governali. Trovomi un scimmia e un corvo che favella e Io tengo che insegni a parlare a un asino teologo in gabbia. Uno gufo per farpauraa matti e un barbagianni. Del Locco non vi dico niente per la scimmia di sopra. Trovomi due pavoni, due cani, due gatti, un terzuolo, uno sparviero, sei galline con diciotto pollastrine. E due galline moresche e molti uccelli che per Io scrivare saria confusione. Trovomi tre bestiacce cattive, che sono tre donne. Trovomi poi da trenta figliuoli grandi, e per traino ain {sic). V. E.^ permetteranno bene, che hone havere di grosso, oltre che, secondo li statuti chi ha dodoci figliuoli non e tenuto a gravezza di Comune. Per tanto a voi mi raccomando. Bene valete, Sodoma, Sodoma derivatum mihi Sodoma. ^ V. E.=Vostre Eccellenze. DOCUMENTS 261 Translation of the Denunzia. The Inventory and Declaration of GIOVAN. Ant. Bazzi, styled il Sodoma, Painter. Before you citizens in making [i.e. drawing up] the Lira, maketh known in person Maestro Giov. Antonio Sodoma, of Bucaturo. In the first place, I have a garden [orchard] at Fonte- nuova that I plant [labour] and others garner [the fruit]. A house in process [of litigation] with Niccolo de Libri for my abode in Vallerozzi. I am possessed at the present time, of eight horses ; they are surnamed kids, and I am a ram [castrone = " a ram " ; colloquial Italian for dolt or clown] at handling them [my team]. Item : I have an ape, and a talking raven, which I keep in a cage that he may teach a theological ass to talk [dispute]. A screech-owl to scare fools with, and likewise a horned owl. Of the booby [Locco, colloquial Italian for an imbecile] I do not make further mention to you, on account of the monkey aforesaid. I am in possession of two peacocks, two dogs, two cats, and a tassel [a kind of falcon], one sparrow-hawk, six hens with eighteen chicks. Two guinea-fowl and many birds that to name were confusion. I am possessed of three mischievous animals which are three women-folk. I have besides more than thirty big children for an encumbrance : indeed it is one (ain). Your worships will allow that I have of them verily {Jiavere davvero) a quiverful [di grosso = s. number]; moreover that according to the Statute, he that hath twelve children is not liable to impost of the Commune. Wherefore I commend myself to your Worships. Fare ye well, Sodoma, Sodoma my style Sodoma. 262 APPENDIX This Denunzia or Inventory, which does not appear in the original volume of theZzV^ Records, was first published by P. Isidoro Ugurgieri Azzolini in his Pompe Sanese, vol. ii. p. 356 (Pistoia, 1649). Bazzi's name is, however, entered in the Register for 1531 among the inhabitants of the district of S. Donato a Montanini, thus : Messer Giovanni Antonio dipentore alias el Sodoma lire cento. Arch, di Stato, Siena, Lib. della Lira. N. 125, C. 84. The. Racconto di(sic) Pitture, etc., compiled by Alfonso Landi in 1655, and of which two copies are preserved in the Communal Library of Siena, contains two MS. versions of this travesty. The compiler admits that the Denunzia in question is full o{ lacuncB, and that his readings are drawn, '' not from the original document'' but from " copies in the possession of those who at that time had skill in deciphering ancient characters!' Why any one should have expected to find a document of this nature among the Lira records is a mystery. Had Bazzi even admittedly been the author of the skit, he would scarcely have ventured in all seriousness to submit this figment of his brain to the authorities, without incurring the risk, not only of severe public censure, but of condign punishment as well. The composition, if genuine, is obviously intended for a pasquinade ; and none of his contemporaries would have been so far misled as to think differently. Indeed, that latter-day authors and critics should have attached any historical value to the Denunzia is a matter of no little surprise. In 1 53 1, the date when the Denunzia is supposed to have been compiled, Bazzi was no longer a rollicking youth, but a staid and elderly citizen, fifty-seven years of age, married, and the father of a family. That a man with a reputation for respectability to uphold should have lent his name to such a farrago of scurrilous jocularity witty though it be is scarcely credible ; although so many serious writers refer to the document, and assume its authenticity without question. DOCUMENTS 263 The inquiring student would be diverted at the ingeni- ous attempts of Padre Delia Valle, Monsignor Mancini, and other champions of our artist's character, to minimise, by means of various readings and interpretations, the force of doubtful expressions. Strong in their desire to make the best case possible for the artist, it seems never to have occurred to them that neither had they ever seen the original, nor had they made inquiries concerning the same ; nor traced Padre Ugurgieri's authority for printing it as a genuine production. They were, of course, in ignorance of all the valuable data that we have obtained since, through the researches of Padre Bruzza and others ; but even Signori Borghesi and Banchi express astonishment at not finding the Denunzia among the Sienese Public Archives. If the matter is weighed dispassionately, it becomes obvious that these gentlemen could scarcely expect to find it in a Record Office ; except by chance among the old Diaries, Memorie, or miscellaneous papers from the muniment-room of some family ; or in the portfolios of some collector of literary curiosities, such as sometimes find their way into public collections. These two gentle- men, for all their erudition, stand convicted of lacking sadly a sense of humour. The document has, however, succeeded in deceiving most writers ; more indeed from want of thought than from intentional misrepresentation. With Messer Giorgio's thirst for tales, fact or fiction mattered not to him nor to his informants, such an addi- tion to his store of ill-natured anecdote would have proved a most gratifying stick wherewith to beat his dog.^ The absence of all reference to this Denunzia, both from Vasari's great work and from all contemporary records, goes very far to prove that the Declaration or Inventory ^ It is as well to observe also that the supposititious date of this composition is contemporary with Vasari's visit to his friend Don Miniato Pitti at S. Anna in Creta ; on which occasion he not only heard, but endeavoured to collect all the facts he could obtain concerning Bazzi. 264 APPENDIX of Giovanni Antonio Bazzi^ styled " il Sodoma" Painter, had not at that time the credit of a public document ; nor had any MS. copy circulated from hand to hand or become general property. The obvious conclusion would be that we are in the presence once more of one of those clever literary forgeries so common both in the middle ages and the present day, composed many years after the death of the hero, or victim ; and upon which the memoirs and biographies of former days were so largely founded. No. 5. The Epigrams of EURIALO MORANI D'ASCOLI. Printed in Siena for Semione DI Nicol6, Stationer. A.D. 1516, (st Sen.) \2th February. {Dedicated to FRANCESCO SoziNI.) EURIALI MORANI ASCULANI EPIGRAMMATU. Librt duo. Ca Grd 7 Privi. hnpresso in Siena per Semione DI NICOL6. Cartolaio. Anno Domini MDXVI. (15 16). Die 12 de Feraio . Book I. c. ii. Pro Statua Lucretie Sodome Si tunc lacteolis vidisset dextra papillas(is)^ Ipsam non stygiis dextra dedisset aqu(is) is^ Pro eadem Nota erat antique sublata potentia Rome Reddita pars Rome est major ab artifice Pro eade7n Dial Cur te non duro penetras Lucretia ferro ? Quod tenet hinc consors q^ tenet inde pater In eandem Crudelis pictor crudelis dextera per quam Ecce iterum Tyberis bella novantur aquis ^ Misprint (?). ^ Omitted. ^ Perhaps quod (?). DOCUMENTS 265 In eandem Hyppolitum ad superos Diana reduxit ab Oreo Me pictor campo duxit ab Elysio In eandem Me pictor fingens oravit numina : vivam Redderet : ut fierem verier historia In eandem Est picta & duro confodit pectora ferro O mirum est artem viva per artificis In eandem Nunc mihi pulchra Venus Tenui dat vescier aura Ut revocem a teneris sodoma te pueris In eandem. Dial Sodoma pedico est : cur te Lucretia vivam Fecit : habet nostras pro Ganimede nates This poem is undoubtedly genuine and contemporary with Bazzi ; but it may after all, judging from the date (15 16) of its publication, have been but an allusion to the picture, painted for Leo X. in reward for which Bazzi obtained his title and at the same time a coarse joke upon his racing name a species of pleasantry (whatever we may think of its good taste) not out of keeping with the manners and customs of the period. No. 6. Martino Spanzotto contracts to paint a picture for the patrician N1CCOL6 d' A]azza. (Arch. Civico di Vercelli. Guidetto de Pelliparis. Notul. 19. fo. 17.) MCCCCLXXXX. primo indictione nona die tertio mensis ianuarii, hora xviiii. vel circha actum Vercellis 266 APPENDIX in vicinia scti Michaelis In domo infrascripti d. Nicolai videlicet in sala presentibus nob. d. Bartolomeo de Scutariis Antonio de Rubeis Jo. guideto de sustegno et ibleto de cazamis fq. no. thome testibus. Ibique magister Martinus Spanzotus pinctor sponte etc. convenit et promisit solempni stipulatione inter- veniente spectabili iuris doctori dno Nicolao de Agaciis facere unam anchonam ponendam ad altare capelle scti Thome de Aquino constructe in ecclesia scti Pauli de Vercellis cum immagine scte Marie sctorum Thome de Aquino Johis Baptiste scti Jeronimi scti Johis Appostoli et evangeliste scte Caterine et scte Lucie et cum imagine prefati dni Nicolai et d. Linorie eius consortis et ipsam anchonam dare videlicet pinctam ordinatam ad exti- macionem duorum pinctorum expertorum elligendorum per ipsas partes ita tamen quod non excedat summam quinquaginta ducatorum et quam anchonam promisit pingere in hac civitate Vercellarum facere intaglare in Casale et exinde pingere in civitate Vercellar. et dare perfectam et laudatam hinc ad festum Nativitatis dni. nri. Jesu Xpi prox. vent, et incipere laborare infra pasca resurrectionis d. nri. Xpi. prox. vent, et dare perfectam et laudatam ut supra infra festum Natale vent, ut supra et ex nunc confitetur idem magister Martinus habuisse et habuit numeratos in presentia mei notarii infrascripti et testium suprascriptorum ducatos decem et grossos tres mediolani pro parte solucionis predicti operis dicte anchone re- nunciando etc. Item idem d. Nicolaus promisit solvere ducatos viginti infra festum pentecostes vent . . . usque ad integralem solucionem premissorum promisit solvere id. d. Nicolas promisit solvere dicto m. Martino perfecto et laudato ac extimato ut supra opere etc. obligantes etc. renunciando etc. iurantes attendere ut supra et non contra- venire etc. precipientes instrumentum. DOCUMENTS 267 V M > X i^ U fl N < "^ J3 N 2 H 1 ". z .5 10 t^ M T3 a ^P^ " ^^ K r> - 1 ^^ Ph a ^ > m 3 X S-3 M ** 13 P^^ S -s Ot3 a s en 1 ViNCENZ (Cleric an Painter) 1498. 1 a S a 3 1 1 s < tn < to 5 -S < 11- J-Bo 2o i 1 1 ^ en . i HH ,11 11 d '5 'S ';^ a pa 1^ Ph to 6 J. J? 00 -S "^ s 1 Costantxna, = Piet m. 1567. of e fact can 1 other recoj oubts the 1 >< H m tJ u -o 3 1-1 < Gabriel non) 1502 ; d. Oc Vicar-General Diocese of Casal Since so little defin ! of the documents ) Conte di Vesme cit., pp. 20 and 40). < A S ^ H 1 t 268 APPENDIX No. 7. Contract between GIOVANNI Antonio DE Vercelli and Fra Andrea Cossa, Steward of tJu Convent (?/S. Anna in Creta. loth July, 1503. R. Archivio di Stato di Firenze. Archivio del Patrivionio Ecclesiastico. Pienza. A. CCCIX., vols, i.-ii. (461), fol. 18 bis. Apparera per la presente, come oge che sono 10 de luglio, maestro Joan Ant. de Vercelli depintor e restate daccordo con mi frate Andrea Cossa cellerario del monastero de Sancta Anna de Camprena, de pengere lo refectorio del predicto monastero : e deve pegner doe fazato del dicto refectorio ; videlicet, tre lunecte nel frontespicio de la porta ; zoe, sopra la mensa del abbate ce depegnera lo miraculo che fe Xsto nostro Signor nel deserto de la multiplicatione de cinque pane in societk de 5000 homini, et che la pegnera bella, ponendoce omne sua diligentia et studio. Et sopra la porta del dicto refectorio, da la parte de dentro, depegnera tre altri lunecte, con una penta in menzo, zoe la deposicione de la croce con le figure condecente ad ipso misterio : et a le altre lunecte depegnera, ad la una, nostro patre sancto Benedicto con alcuni frati retracti del proprio, et a 1' altra lunecta depegnera sancta Anna, puro con alcuni frati del medesimo modo, con li payse et prospectivi belli et laudabili infra alcuna storia, como a I'altra condecente. Et piu deve pegnere le spallere intorno del refectorio, sopra le spallere de legname in tanta alteza, quanto resta lo muro, socto le finestre, con li tituli del monastero, de I'ordini, tanti quanti ce ne andranno, belli et laudabili, como de sopra e dicto. Et nui ne obligamo, zoe, Jo frate Andrea sopra- dicto, come cellerario del dicto monastero, darli ducati vinti d'oro larghi ad omni sua requisitione, facto il lavoro : Et piu, me obligo darli tucti li coluri necessarii ad dicta pictura : et tutto loro ce serr^ necessario, de manero che il dicto maestro Joan Ant. non a da ponere si non la manufactura DOCUMENTS 269 soa et de uno garzone : Et anco nui simo tenuti fare le spese al dicto maestro et al garzone : Et de questo simo restati de accordo, et perche questa e la verita. Jo frate Andrea sopredicto 6 facto la presente scripta de mia propria mano, ipso presente et sopto scrivendose de sua mano propria, presente frate Stefano de Milano et frate Bernardo da Siena et frate Bartholomeo de Vercelli, in questo di 10 de luglio 1503. (The receipt in Bazzi's handwriting follows : "Jo maestro Antonio che questo e la verita confermo (tucto) quello se sopre scritto, de mia propria mano, promecto oservalo.") No. 8. Extracts from the Ledgers of the Convent of MONTE Oliveto Maggiore, near Chiusure. Records of payments ^ materials, etc., supplied to GIOVANNI ANTONIO Bazzi. Archivio di Stato di Siena. Libro d' Amministra- zione di detto Monastero, segnato LP. 1505 (p. 46'). Item a di 5 da Agosto de' dare carlini 3 prestay al depentore . . . . L. i, sol. i, den. o. (P-47^) El R.'P. Abbate Generale de dare, a dl 10 d' Agosto, carlini cinque, qualli hebe el depentore ditto Matazo} L. 2, s. I, den. o. 1 505 Settembre (p. 48 ') Item, dare, a di 24 ditto, carlini vinti qualli hebe el depentore per fornito pagamento de la sua prima istoria. ^ It is worthy of note that the Matazo of this entry becomes Giovanni Antonio, and later Maestro Giovanni Antonio (once even da Verzellt), as the accounts go on. That the monks did have amusing names for their employes is evident from certain entries on pp. 11 6*' and 117 regarding a person designated as " // Stravaganfe," who seems to have been employed in the store-rooms. 270 APPENDIX 1505 Settembre 29 (p. 48*) Item, die dare, a di dicto Ducati uno, hebe el depentore, apare in questo a c. 53. 1 505 Ottobre (p. 49 * ^) El R. P. Abbate infrascritto de' dare a di 18 de octobre, Ducati uno qualle hebe el p. priore luy lo haveva dacto al depentore, apare in questo a c. 53 in debito al depentore. Item, a di 19 dicto, hebe el garzone del dicto depentore di volonta sua Lire cinque, zoe carlini 10, presente f. lo. Baptista da Verona, in nel monasterio de Sena ; in questo a c. 53. 1505 (P- 52'- e. seg.) lo, Antonio depentore de' el claustro di Monte Oliveto de' dare, a di 29 de Septembre, ducati uno qualle hebe da me Cellerario, apare in questo a c. 49^ in debito al padre Abbate ..... Lire 7. Item, a di 18 d'octobre de' da ducati uno qualle rese lo. al p. priore nostro per luy apare al debito al p. Abbate in questo a c. 49 . . . . L. 7. Item, de'dare, a di 19 dicto, Lire cinque; zioe carlini dieci ; hebe da me el suo garzone nel monasterio de Sena, apare in questo a c. 49 . . L. 5, den. o. Item, de'dare, a di 2 di novembre, carlini tre, apare in questo a c a la partita del p. Abbate. L. i, s. i. Item, de' dare, a di 12 di novembre, sol. tredece qualli spesi per luy a Sena in uno quinterno di carta reale et una oncia di senapo . . . s. 13. Item, de' dare, a di 26 di novembre, carlini undece qualli hebe per dare a Melchion suo garzone quando lo mando a casa sua, zioe . . L. 5, sol. 10. Item, de' dare, a di 6 di dicembre, carlini sey, qualli hebe da el Celleraio minore . L. 3. ^ The pages are numbered wrong, and there are two pages 49. This entry is on the first. ^ Perhaps this is the same item as that recorded above on August 5th. DOCUMENTS 271 Item, a dl 18 dicto, de'dare uno ducato, quallo hebe el suo garzone a Sena de suo consentimento L. 7, sol. I. Item, de'dare, a di 25 dicto, carlini tre quelli hebe el Celleraio minore . . . L. i. Item, de' dare, a di 2 di zenaro, s. vinti, qualli dete il Celleraio minore . . . L. i. Item, de' dare, a di 22 di zenaro, L. tredece, s. sedece, qualli spesi in folie 300 d' oro L. 13, sol. 16, den. o. Item, a di 28 dicto, de' dare L. quatro, sol. quatro. L. 4, sol. 4. Item, a di 15 de febraro detto, carlini tre, qualli hebe presente el portinaro . . L. i, sol. 10. Item, a di 20 dicto, de' dare carlini 4 de li qualli n'ebe duy luy et duy me ne feze dare al suo garzone. L. 2, lo, Antonio depentore infrascritto de' dare, a dl 25 dicto, ducati mezo qualli feze boni al Priore di Sena, qualle li haveva datto al suo garzoe di suo consentimento L. 3, sol. 10, den. o. Item, a di 29 dicto, pagay a Sena per braza 10 di tella per fare camise Ducati uno et per uno paro di calze L. ottos, duy en tutto . . L. 15, s. 2, d. o. Item, de' dare carlini quatro, qualli o facti boni al infrascritto nostro garzone per suo dicto, et carlini tre hebe contati . . . . L. 3, sol, 10. Item, a dl 15 di Marzo, de' dare carlini novi qualli me fece dare a uno fratello del suo garzone di Santo Geminiano et al dicto garzone feze fare uno par di calzoni de tella che costorno s. 37 che sono in tutto L. sey sol. sette, zoe L. 6, sol. 7, den. o. Item, de' dare soldi tredece qualli hebe Vincenti suo garzone per compire uno ducato gli s' apresti. L. 6, sol. 7. Item, a di 25 di Marzo 1506. De' dare carlini tre ie li porto Vincenti per andare a Siena. L. I, sol 10. 272 APPENDIX Item, de' dare, a di 5 de Aprile 1506, ducati dece qualli hebe presente el p. Priore da comprare colori a FoHgno, 2oe due. 10. . . . . L. 70. Item, de' dare, a dl 8 dicto, hebe Vincenti per suo conto sol. venti, presente f. Augustino converse. L. I. Item, a dl dicto a Melchion sol. sedece per comprarsse uno par di scharpe . . . sol. 16. Item, de' dare, due. deci quelli hebe dal p. Abbate per compito pagamento de \di prima istoria. L. 70, sol. o. Item, a dl cinque di magio hebbeunacappa,uno giubone di velluto, uno burrico divelluto negro. Item, uno paio di calze di pavonazo ckiaro, una birretta negra, un cappello con la benda di seta, uno feltro da cavalcare, ciod uno gabbano, uno paio di scarpe di velluto, una spada, due camise lavorate, quali erano di fra Giovanni Ambrogio nostro frate et eranno rimasti di accordo di prezzo di sapra dette cose et abia a pagare ducati d oro trenta cinque, quali luy confesso kavere havuti da me frate Evangelista da Viterbo celleraio. Cioe Lire due cento quaranta cinque ..... Cioe L. 245.^ Item, hebe ducati duy d' oro quali spese el R.P. Abbate ad Milano per luy per tanta tela, cioe br. 20 di Milano sonno circa L. 14. Sonno in tutto lire quattrocento novanta due Soldi s. uno, portati ad questo innanzi a f. 92 dove e el credito suo ..... L. 492, s. I. 1505 (p. 62). Item, a dl 20 septembre, per libre 6 di came compro Andrea nostro garzone a Buonconvento per li infermi e per li depentori . . . s. 1 6 These last two entries are on p. 53*- and in a different handwriting. DOCUMENTS 273 1505. Settembre 25 (p. 62). Item, a dl dicto per libre 14 di came per li garzoni et infermi et depentori soldi 1 4 e soldi 7 spese Valentino. L. I, s. I. 1505. Novembre 16 (p. 63*). Item, a di dicto per carne per li depentori et infermi. sol. 8. Item a di dicto me assegna el p. priore nostro speso L. 5 per la pitanza del pesso per el convento et per una somma di carbone et carne per infermi, etc. Lire 5. (p. 64). Item, a di 24 dicto per la pitanza del pesso pel con- vento lire 2 Sol. 18 den. 4, et per carne per li infermi et depentori: sol. 8. et 4 manichi di vanghe sol. 7 sono in tucti ..... Lire 3, sol 13, den. 4. Item, a di 28 dicto per la pitanza del pesso pel con- vento lire 2 e soldi 18 den. 4. et soldi vinti di carne per infermi, dipentori e famegli sono in tutto. L. 3, sol. 18, den. 4. 1505. dicembre 7 (p. 64*). Item, a di di dicto, per libre 4 di carne per li infermi et depentori sol. 8 . . . sol. 8. 1505. Januarii 11 (p. 65*). Item, a di dicto, per tordi per li infermi et depentori. sol. 12. 1506 (p. 66). Item a di primo Y ^x2iXO per carne per li infermi et depentori sol. 1 2 et al fornaro sol. 30. Lire 2. sol 2. 18 274 APPENDIX 1506 (p. 69)/ Item a di 16 di magio soldi dieci al depentore per came come appare al libro R. ad conto del P. abbate ad carte 217 . . . . sol. 10.^ Item a di 23 per came al dipentore a libro R. a. c. 217 . . . . . sol. 10. Item a di 24 ad Vincentio per commissione del dipentore Suo portione a libro R. a c. 217. Come appare ad carte 92 di questo .... lire i.^ 1506. Maggio 26 (p. 69*). Item, per colla e magliette al dipentore appare al conto del debito del R. P. Abbate a libro segnato R. 216 L. o, sol. 4, den 8. (do.) Item, a di 29 di maggio per came per el dipentore, &c. . . . . . L. I, sol. 2. (do.) (On June 3rd there is a notice of meat ''for the sick and the painters^' from which the latter are struck out.) Item, per pagare el pintore al suo giubone a di di detto Lire 2. (?) 1506. Maggio (p. 91*). Giovanni Antonio dipentore del nostro claustro per uno soldo facto insieme de li danari quali ha havuti dal Celle- lario passato, cioe fra Benedetto da Milano, come appare posta per posta ad questo a c. 52/2/53 deve dare Lire duecento trentatre soldi uno : el saldo fu facto a di 1 7 di Magio millesimo detto di sopra, cioe L. 233, sol. I. * Observation. On this page (69) there are two entries of expenses ^^ quando venne Fandolfo." Is this Pandolfo Petrucci? ^ This notice has been cancelled. 3 This has also been cancelled. DOCUMENTS 275 Item, deve dare a di 10 di Magio lire quattordici, quale hebbe per tanto panno di lino li compro el R. P. Abbate ad Milano . . . . L. 14, sol. o, den. o. Item, deve dare per panni e vestiti di velluto et altre cose havute, come appare cosa per cosa in questo a c. 53, e rimasto d' accordo di tutte di lire ducento quaranta cinque, e lire ducento quaranta cinque (sic) cioe L. 245, sol. o, den. o. Item, deve dare lire una, datacontanti ad Vincentio suo garzone per sua commissione a di xxiiij. di magio presente fra Paulo converso da Faenza lire i, sol. o, den. o, come appare ad uscito scritto ad questo a c. 67 L. I, sol. o. Item, deve dare per colla e magliette da giubone a dl 27 di Magio . . . . L. o, sol. 4. Item, dare per panico per gli ucelli. Item, deve dare lire due, quali li dette contanti presente Baptista Ciacci e Marchionne in cella per pagare la factura del giubone . . . . L. 2, sol. o. Item, a dl 11 di Giugno \\^^ Marchionne s,\io garzone per comprare un paio di scarpe quando meno un cavallo ad Sena , . . . . L. o, sol. 16, den. o. Item a di 29 di Giugno, hebe lire due presente Guerrieree Francesco Britij, disse li voliva per pagare le scarpe e lo sarto ad Buonconvento a i. R. a. c. 217 L. 2, sol. o, den. o. Item, deve dare lira una quale detti ad Vincentio suo garzone per sua commissione a di 23 di luglio, presente fra Olivierij . . . . L. i, sol. o. Item, deve dare a di 5 di agosto, soldi quindici presente Nicolo converso e fra Oliviero. L. o, sol. 15, den o. Item, deve dare soldi 12 quali hebe Marchionne dal P. Priore a di 8 per comprare uno paro di scarpe de Maso di Mariano del Vechia . . L. o, sol. 12. Item, a di 17 d' agosto hebe dal P. Priore ad Sena con- tanti per pagare scarpe, presente me cellerario lire due sol. 10 . . . . . L. 2, sol. 10, den. o. 276 APPENDIX Item, a di 3 di septembre hebe lire quatordici per dare ad Vincentio quando ando ad San Gimignano li de' el R.P.P. fra Constantino da Milano come appare a la scripta facta ad detto Vincentio a 1. R. c. 225 L. 14, sol. o. Item, a di, hebe soldi 6 quali li spendei per luy a di 19 di septembre in libra una di verde terre e oncie i di gomma draganti dal nostro spetiale e da Giorgio Vieri L. o, sol. 6. Item, deve dare lire una quali hebe a di 27 di septembre in celleraria presente el Charavita e lo fiorentino L. I, sol. o. Item, a di 27 sol. 12 quali fe' dare Marchionne per suo debito ad Mariano del Vechia presente el Voltolina e fra Benedetto sta la badia Rofeno. L. o, sol. 1 2. Item, a di penultimo di septembre, hebe Vincentio suo dipentore per comprare pignatti el didimercato di Chiusure lira una . . . . . L. i, sol. o. Item, a di 27 di ottobre per comprar biada ad Antonio nostro per lui ad Asciano . Lire 7, sol. o. E piu fe' dare el P. Priore lire due per biada ad luj contanti a di 29 di ottobre lire cinque, sonno in tutto lire septe in celleraria . . . L. 7, sol. o. L. 516, sol. 16, den. (8). (P- 75.) Et piu sol. quattro ad fantone per fare bianchi panni al dipentore per lenzole e tovaglie ad 8 di Novembre ^n1 A (p. 92.) Item, dare havere lire vintuna gli date ad me fra Xristoforo da Viterbo che mi serba stanti cioe^ L. 21. * This item has been also cancelled. DOCUMENTS 277 (p. 92.) Giovanni Antonio contrascripto deve havere per una historia quale ha facta ne la faccia verso 1' uscio del Refec- torio, cioe la prima dove sonno le donne che ballano, ducati dece d' accordo cosi cioe lire settanta L. 70, sol. o. Item, deve havere per septe altre historie ne la medesima facciata ad rasone di ducati septe la historia, lire 343 Lire 343. 1506 (p. 92*). Giovanni Antonio dipintore deve dare lire cinquscento ventisei, soldi sedici, den. otto, come appare in nel foglio indicto a c. 92 . . . L. 526 : 16:8. Item, deve dare lire una data ad Marchionne a di 5 di ottobre per la biada ad Asciano L. i . Item, a di 10 di novembre per pagare la portatura de la biada d' Asciano . . L. o, sol. 9. Item, deve dare lire quindici e soldi diece, dei quali ho dati ad Vincentio per lui a di 12 di novembre millesimo soprascripto per el salario di detto Vincentio L. 15, sol. 10. E piii a di 1 3 di novembre soldi 7. -aA Marchionne quando Vincentio si parti che ando a Sena appare a 1. R. c. 235 L. o, sol. 7. Item, deve havere lire 21 dati ad me in deposito. Posto in questo dinnanzi a c. 94. L. 434. Portata in questo a c. 200. 526 : 16 : 8. 434 : o : o. Posto tnnanzidiC. 94. . L. 092 : 16 : 8. (P- 93-) Giovanni Antonio contrascripto deve havere come appare in questo indicto al foglio imediato a c. 92, lire quattrocento trenta quattro . L. 434, sol. o, den. o 278 APPENDIX 1506. Exitus Pic tori s (p. 93*). Giovanni Antonio dipentore deve dare lire novanta due, sol. sedici, den. 8, come appare in questo indicto a c. 92 L. 92, sol. 16, den. 8. Item, deve dare lire una data ad Marchionne suo a di 5 di ottobre per biada che compro ad Asciano L. o. E piu, a di 10 di novembre, per pagare la portatura d' una soma di biada d' Asciano sol. 9 L. o, sol, 9. Et piu deve dare lire quindici soldi dieci, quale detti per sua commissione ad Vincentio quando fece conto con lui a di 1 2 di novembre, per salario di detto Vincentio L. 15 : 10 : o A di 13 novembre, et piu soldi sette 2lA Marchionne per dare a dicto Vincentio quando parti, a di dicto L. o, sol. 7. Et piu, adi 27 di novembre, lira una hebe da me Celler- ario contanti per dare ad uno d' uno tondo di legno L. I. o. o. Et piu a di 29 di novembre per una groppiera e testiera e pettorale pagai al Sellario nostro per el suo cavallo ad Sena presente Antonio nostro de la stalla, Lira sei, soldi quindici . . . . . L. 6, sol. 15. Item, deve dare soldi 18 fatti boni ad Biasio Malandrini per lui d' una vittura de li tondi fece venire da Sena a di 28 di novembre . . . L. o, sol. 18. Item, a di 21 soldi 7 per pagare li panni imbiancati L. o, sol. 7. Item, a di 22 di decembre soldi vinti ad Marchionne per lui presente fra Hieronimo cappellano a la Abbadia disse voleva comprare scarpe . L. 1, sol. o. Item, a di 23 di dicembre, hebe ditto Giovanni Antonio lire cinque contanti in cellereria quando ando ad Sena per li denari de li tondi . . . L. 5. o. o. DOCUMENTS 279 Item, a di 6 di Febbraio soldi 30 ad Marchionne per lui disse voleva comprare galline quando acconciava le reti de lo chiostro . . . . L. i, sol. 10. A di 24 di febraio soldi 4 per oncie due di giallolino L. o, sol. 4. A di 2 di marzo lire due quando ando per lo cunto pure del R. P. Priore nostro . . L. 2, sol. o. A di detto, per comprare uno quinterno di carta reale sol. 12, lo compro lo padre priore di Sena L. o, sol. 12. A di 1 1 di marzo lire septe ad Marchionne le hebe da fra Olivieri per comprare biada L. 7, sol. o. E piu per libre 12 di colla a di 13 di marzo L. o, sol. 4. E piu a di 30 di Marzo lira una ad Marchionne per lui per la via di Sena . . . L. i , sol. o. E piu a di . . . di . . . lire septe dal R. P. Abbate per pagare uno paio di calze negre de Fiorenza L. 7, sol. o. L. 144, sol. 12, den. 8. 1507 (p. 94)- Et piu deve dare lire due facti boni per lui a M" Nicole maniscalco d' Asciano per medicatura del suo cavallo, appare a libro R. a c. 162 . Lire 2, sol. o. E piu a di 16 d' aprile lire due dati per comprare la biada ad fra Andrea Cossa^ per lui L. 2, sol. o. Et piu deve dare a di ditto lire 2 1 per panni hebe da fra Ambrosio da Cremona cioe uno giubone di damasco negro, uno pugnale indorato ed uno paio di cortellim d argento d' accordo cosi dal R. P. Abbate L. 21, sol. o. ^ Cf. S. Anna in Creta document. 28o APPENDIX Et piu deve dare lire due soldi quindici, de li quali ne ho dati soldi 30 al P. Abate di San Miniato, per tanti colori per sua commissione e soldi 25 ad Antonio de la stalla per sua commissione sono messi a libro R. a c. 229 L. 2 : 15. Et piu deve dare lire septe date ad Marchionne per sua commissione a di 1 5 di magio, date di quelli del deposito L. 7, sol. o. Et piu deve dare soldi 10 a di 30 di magio per uno quinterno di charta reale per fare il disegno de la istoria dela porta . . . . L. o, sol. 10. Et piu a di 15 di giugno deve dare lire quattordici con- tanti da me del deposito . . L. 14, sol. o. Et piu a di 18 di detto deve dare lire quarantadue quali hebe contanti dal R. P. Abbate in ducati sei d' oro in cellereria presente el R. P. Priore L. 42, sol. o. Et piu deve dare a di 1 5 di luglio 1 507 lire quattordici soldi nove dati per comprare stara 22 J d' orzo ad ragione di soldi 13 lo staro ad Asciano . L. 14, sol. 9 Et piu soldi 4 per la vittura d' una soma di detto orzo a quello di Piochi e piu per ferrare el cavallo alio Spenna ad Asciano, sol. due den. otto sono L. o, sol, 6 : 8. Et piu deve dare a di 6 d' agosto lire ventiuna soldi 7 quali detti presente Senzo Ciacci, disse volere comprare biada ad Asciano in cellereria nostra e furo tre ducati d' oro. L. 21, sol. 7. Et piu a di 10 d' agosto deve dare lire 4 soldi 13 quali hebe dal R. P. Priore nostro per pagare uno contadino, li porto fra Giovanni Delfinale converso nel claustro dipinto. L. 4, sol. 13. Seguita questa escita a V altra banda di questa a c. g^f. 1507 (p. 94*) A di 28 di agosto deve dare soldi dieci li dette el R. P. Priore per me per dare ad quello da Verzelli che andava ad Roma , , . . L. o, sol. 10, DOCUMENTS 281 A di 29 di septembre lira una soldi uno, per la fiera di Chiusure . . . . L. i, sol. i, A dl detto soldi 7 hebe parte per uno rasoio compro ad Chiusure da Giuliano nostro soldi sei et soldi uno per verde terra al Padre cellerario di S. Anna. L. o, sol. 7. A di 6 di ottobre lira una soldi dieci, presente el R. P. Priore, disse per comprare tondi L. i, sol. 10. A dl 1 1 di ottobre hebe dal R. P. Priore nostro ducati uno d' oro per andare ad S, Gemignano, e ducati uno di camera ad Francesco per comprare smalto ad Agobio, per lire 13, sol. 16 . . . L. 13, sol. 16. A dl ultimo di ottobre deve dare lire due contanti pre- sente el portinaio e Betto Ciacci, disse per dare ad Nicco Senzi per le scarpe et altre cose ad Buonconvento. L. 2, sol. o. A dl 13 di novembre soldi due per meza libra di verde terra compro Biasio ad Sena per lui. L. o, sol. 2. A di 14 di novembre lire una soldi dieci disse per dare parte a Ton Calapa et parte al beccaio. L. I, sol. ro. A di 24 di novembre deve dare lire septe pagai per lui a M Lorenzo calzettaro in Sena scontro ad Antonio Piccolomini, presente fra Jo. Andrea Canobino. L. 7 : o : o. A di 1 3 di dicembre soldi 2 per libre meza di terra verde. L. o, sol. 2. A di 24 di decembre lire dieci, sol. dieci, hebe presente el Pisano per pagare nove carlini la paglia de' Machetti e per dare la mancia al Pisano Lippi Topi. L. 10, sol. 10. A di 6 di gennaio deve dare lire vintuna contanti pre- sente frate Giovanni Andrea Canobino et fra Pietro da Ponte Tremoli converso . L. 2 i , sol. o. A di 28 di gennaio soldi undici ad Simone Ciacci per uno cappone compro da lui , L. o, sol, ii, 282 APPENDIX A di i") di Marzo lire due sol. sedicj quali dettj ad Jaco- mino da' riozo per carne havuta da lui in piu volte per sua commissione, presente Pasquo di Goro e lo portinaio. L. 2, sol. i6. L. 62 : 15 : o. (P- 95.) A di 6 di Aprile sol. sei in oncie 3 giallolino et soldi 3 den. 4 in pani dieci di gesso e soldi 3 den. 4 in libre 10 di colla di carniccio, quali gli mandai per Bartholomeo famiglio . . . . . L. o, sol. 12, den. 8. A di 1 5 di Aprile lire due, soldi cinque pagai uno centolo a la bottica di M Giovanni Spagniolo per lui presente M Lorenzo, com par suo calzettaro. L. 2, sol. 5. A di 28 di aprile lire cinquanta ottocontanti per dare ad Giulio Landucci, presente el R. P. Priore. L. 58, sol. o. A di 16 di magio 1508 lire ventiuna presente el R. P. Priore nostro et el P. Cellerario di S. Gemignano, per comprare oro ad Sena . . L. 21, sol. o. L. 81, sol. 17, den. 8. Somma in tutto quello ha havuto da nuj come appare in questo a c. 92 e c. 94, lire et qui di sopra lire ottocento trentaquatro soldi sei den. otto : cioe L. 834 : 6 : 4. Posto in questo a c. 106. 1508 (p. 105*). Giovanni Antonio infrascritto deve dare, a di 22 di magio, lire ottocento trenta quattro sol. sei den. 8 per uno conto levato in queste a c. 95. L. 834 : 6 : 8 {sic) E de' dare a di 1 1 di giugnio 1508, L. sette contate a lui presente Benedetto e Francesco nostro comessi apare a la scripta . . . . . L. 7. E de' dare, a di 25 dicto, ducati quatro contati a lui funo tanti carlini, presente lo P. Visitatore e fra Thomaxo da Peruxa apare a la scripta . L. 28 : o : o DOCUMENTS 283 A di 8 di luio carlini sei contanti a lui ne la stalla, disse volere cambiare in carlini tuxi per lui che aveva a Sciano. L. I, sol. 10. A di 19 ditto carlini sette contanti a lui per mandare a tore oro et altre sue cossette presente fra Bernardo da Siena L. 3, sol. 10. A di 20, carlini sette la quali gli detti contanti suxo lo murello de la stalla, disse voleva mandare a pagare Ciacca a Sciano, presente frate Christofuletto. L. 3, sol, 10. A di 24, carlini quatro e mezo a lui contanti per com- prare oro, fanno tanti quatrini . L. 2, sol. 5. A di 5 di agosto duchati venticinque d' oro larghi li quali li detti presente lo P. Priore in cellereria presente fra Joanni di Lodi cellerario minore, sono in moneda. L. 175, sol. o. A di dieci, dughati venti d' oro in oro larghi che sono per uno cavallo domandato el Draghetto di pello baio oschuro lo quale hebe dal Reverendo p. Abate fino a di 6 di marzo proximo passato d' achordo insieme sono a monede . . . . . L. 140, sol. o. A di di 13 detto dughati venti d' oro in oro larghi con- tanti a lui in cella, le quali gidette lo P. Priore presente me cellerario e lo cellerario minore, sono in monede. L. 140, sol. o. A di, dughati dexe dotto (diciotto ?) d' oro in oro larghi contanti a lui presente lo P. Priore e fra Agostino di Biscaria . . . . . L. 126. 1508 (p. 106). Giovanni Antonio dipentore deve havere lire quattro- centotrentaquattro come appare in questo a c. 92 in tre partite . . . . . L. 434, sol. o, den. o. Et piu deve havere ducati septantasepte per undici historie quali ha facte nel claustro verso el dormitorio de' vechi, che sonno , , \.. 539, sol. o, den. o, 284 APPENDIX Et piu de havere ducati otanta quatro d' oro che sono per dodici storie che lui a fato nel claustro supra scripto che sono .... L.588 : o : o Somma . . L. 1561 : o : o (p. 106*). M Giovanni Antonio infra scripto de' dare, a di 22 di agosto 1508, dugati tre d' oro larghi H quali gli detti pre- sente lo padre Priore in cella del R. P. Abbate presente Agostino da Mulazo sono . L. 21, sol. o. Et de' dare Lire settantaotto sol. 18 den. 4, li quali sono per molte spexe extraordinarie et ordinarie, fatone raxone insieme d' accordo presente lo m Agostino nostro da Biscaria da Paviae e Paulo de Giovanni goro fabro di Buonconvento questo di 13 di agosto. L. 78, sol. 18, den. 4. Nota che n' apare quietanza de mano del sopra detto M Giovanni Antonio posta ne la cassa del R. P. Abate. Maestro Giovanni Antonio da Verzelli depentore de havere lire novanta nove sol. 18, den. 4 di monede senesi sono per resto de una sua ragione levade en aprovade in questo a c. 106 . . . L. 99, sol. 18, den. 4. 1506. Memoria (^. 125). Pacto facto con M. Giovanni Antonio dipentore per causa del cavallo quale tene in casa a le spese nostre del fieno solo : cioe che si deve vedere quanto fieno mangia fra il di et la notte e computare quanto vale, et cosi deve pagare cominciando a di primo di ottobre 1506 per fino ad capitulo proximo futuro, presente Marchione suo ragazo in cellereria, etc. Et piu poi ha tenuto il cavallo passato capitolo del 1 507 per fino ad questo di che si partir^ di qua e che mandar^ via detto cavallo. 1506. Memoria {^. 126). Memoria de li pacti havemo facti con M Giovanni Antonio pictore per causa de la spesa del suo cavallo che DOCUMENTS 285 tene in casa circa al fieno che nuj li diamo, cominciando questo di 1 9 di ottobre, cioe che deva dare lire . . . ogni mese per el detto fieno che mangia el suo cavallo per fino ad tanto che ce lo terr^ et cosi luj e contanto et unj similmente ; presente Antonio da Cremona, Marchione suo, in celleria nostra. Porta al Memoriale D. a c. 139. No. 9. Marriage Contract of GIOVANNI ANTONIO, son of GlACOMO Bazzi, ^ giovane antonio sopradetto so' contento a quanto di sopra si contiene, e per fede 6 schrito de mano propria.^ Ckristo 1525. (fo. 39.) Misere Giovantognio deto Sodoma dipetore di ricontra, de' dare a di 3 di Mago lire vintotto sol : dieci, sono i due schudi e u'dopione bologniese d' oro ungharo, lire 28 sol : 10, e sono a sie la'scita so'scriti di sua ma' de quali ne dete maestro Antongnio . . . barbiere.unoschudoe u'dopione e una schudo 6 dato io Bernardino di Pietro Macini, oparaio de quali de la conpagnia e sono a mia uscitta a f. 33 e questo maestro Antongnio el dedisuo lire 28. sol: 10. % ^ % % ^ % ^ E die dare a di 20 di gienaio lire quatordici sol o, dati a Bernardino di Pietro Macini che li dese al detto misere Giovianatognio per parte di detto gonfalone e sono a mia escita di me Domenicho di Simone, camarlengo a f. . . lire 14. sol : . . E a dl 25 di Marzo 1526 lire sette sol : . . contanti a maestro Antonio Barbieri uno de li oparai, dise per dare a maestro Giovanant dipentore per conto deso gonfalone, sono a me Camarlengo Gerolamo di M Mariano a mio conto affo : 37. . . . . . lire 7. sol : . . Ckristo 1 53 1, (fo. 51') Missere Giovant" chavaliere alias Sodoma alinchontra die dare addi vj di novembre ducati quindici di 1. 7. per ducato quali denari ha hauti ni piu volte de la chon- pagnia, chome di tutto ce ne una scritta di mano di detto missere Giovanant", quale anulliamo per essare messi detti denari qui lire 105. sol : . . J These receipts are in Bazzi's autograph. DOCUMENTS 303 E die dare addi detto, ducati quattro di 1. 7 per ducato, quali denari ce li fa buoni per Quiricho, detto Piccino bechaio, per charne auta da lui piu tempo fa, e so'a Qui- richo, che debbi aver in questoafo : . . lire 28, sol : . . E die dare a di detto lire vintotto sol : . . chontanti al sopradetto misser Giovantonio, quali denari glie li chonto Chornelio di Giovanni camarlengo, allui in questo, a fo. 66 . . . . . . lire 28, sol : . . E io miser Giovane Antonio o receuto li sopra deti denari, come di sopra. ^ E pagato in tutto no se ne parlli piu. No. 19. The Affidavits of "GIOVANNI ANTONIO DiPENTORE " and Giovanni di Lorenzo appended to a petition made by DOMENICO BECCAFUMI. Arch. Not. Prov. Siena. Rogiti di Ser Girolamo Ottaviani. Filza degli Atti della Mercanzia. 1527. \ di Settembre {Dicembre ?) Extract. * Io Miser Giovane Antonio depentore e omo e albitro chiamato dali Signori Oficiali Quatro de Bicerna a stimare e vedere e lavori fati da Domenico dipentore a miser Francesco Petrucci, li quali insieme con Giovanidi Lorenzo dipentore omo de deto maestro Domenico ; li quali veduti stimamo doverseni meritare ducati cento setanta cinque cioe due : 1 75 e per fede o fato questo de mia propria mano questo di quatro di settembre 1527." The following version of the above is given to illustrate the photograph of the artist's handwriting in La Scrittura di Artisti Italiani (edited by Carlo Pini, with notes and explanations by G. Milanesi, vol. ii. p. 1 40 : Firenze, 1876). " Io Miser Giovane Antonio depentore e omo e albitro chiamato dali Signior oficiali quatro de bicerna a stimare e vedere e lavori fati da domenico depentore a miser fran- cesco petruci : li quali insieme con giovani di lorenzo 304 APPENDIX dipentore omo de deto maestro domenico : li quali veduti, stimiamo doverseni meritare ducati cento setanta cinque, cioe ducati 175, e per fede o fato questode mia propia mano, qesto di quatro di disenbre 1527.^ " lo giovanni di lorenzo dipentore sopradetto fo fede chome odinanzi ali S. offitiali quatro di bicerna demo el nostro lodo sopra e lavori fatti da maestro domenicho sopradetto a ditto misser Francesco petrucci ; li quali stimamo ducati cento settantacinque. Cioe ducati clxxv de lire 7 per ciaschuno, a tutte spese di maestro domenico sopradetto e questo facemo al tenpo di iacomo borghesi priore di detti offitiali ; e per tan to 6 fatto questa di mia mano, questo di detto." Of this picture by Beccafumi for Francesco Petrucci nothing further can be found. Nor do we know exactly where the Petrucci residence was. Perhaps it was the palace once belonging to the Agostini family and now to the Bindi-Sergardi. This palace is believed to have once belonged to a branch of the Petrucci. No. 20. Statement of property removed from, the studio of " MesSER Giovanni Antonio detto el Sodoma" dy Girolamo Francesco Magagni. Arch. Not. Prov. Siena. Processi del \<^2<^. 20 di Luglio. Anno Domini 1529. Indictione II. die vero xx. Julii. Girolamo di Francesco barbiere constituito, etc. dixe, che de comessione di Messer Giovanni Antonio decto el Sodoma dipentore, del presente mese in diversi giorni et volte insieme con Gianni Scricciolo figluolo del Palachino da Vulterra e intrato e stato in casa di decto Soddoma, et di casa di decto et de la camara de la quale esso Giomo 1 It should be noted that Sig. Milanesi in his Documenti has appa- rently mistaken the month, and since the original document has unaccountably disappeared, there is no means of verification but by the photograph. DOCUMENTS 305 dixe havere havuto la chiave, et elsi (sic) le chiavi de' gofifani del prefato chavaliere, amalato in Firenze in S. Maria Ntwva al 42 lecto ; et di esse ne ha tratte le infrascritte robbe, e quelle ha asportate di giorno in casa sua parte, et parte in casa del suo cognato, etc. Imprima le cose portate in casa di esso Girolamo. Uno Appolline di bronzo di gitto. Tre scatole longhe piene di bronzi tragittati in diverse figure et animali. Una cassettina piena di lavori di bosso, et altri legnami facti al torno. Una scatola piena di medaglie di bronzo in cassettini al torno. Uno gruppo di carte dentrovi piu medaglie di bronzo. Uno cassettino a guisadi bossoletto, pieno fra medaglie di argento di piu sorte, una granocchina di litropia et una fava d' I ndia ; et altre cose de la quali dixe non ricordarsi. Una tegolacon impressioni di due animali senza gambe, di terra. Uno pie di femina intero, di marmo. Un mezo pie di femina intero, dove sonno le dita. Una testuccia di vechio senza naso, di marmo. Una testa di Hone ch'a manco una mascella. Una testa col busto di donna sanza naso, di marmo. Una testa di gesso di donna. Una scatola con uno nichio di matreperla. Uno corpo di marmo senza braccia et gambe. Uno corpo di cera con le coscie senza altri membri. Uno pezo di marmo drentovi un mezo angelo con una maza in mano. Una testa di puttino di terra in profilo. Uno pie di marmo rial to che si posa con la puncta de le dita. Un altro pie di marmo, qual posa tucto. Due pezzi di vasi di terra cotta uno, et uno di gesso formati a I'antiquo. 20 3o6 APPENDIX Due macinelli da macinare colori di porfido. Due saccucce da pelle di balestro, dentrovi delle sopradette scatole. Uno scatolone con uno Hbro stampato, et uno libro scripto a mano eke tracta di pictura, Uno libro di nigromatia con piu lettere et scripture, tucte drento in decto scatolone. Una scatola con piu sorte di colori, et con uno cavallo di bronzo. Uno puttino di piombo. Uno ignudo di terra cotta senza testa antiquo con una coscia sola. Quali tucte robbe com piu altre figure, et altre cose da pictori noscose in uno chiasseto da tenere polli ft'a esso la casa sua et Tommaso del Vaia coperti con rochioni. Una tegola di terra antiqua drentovi uno mercole con uno toro et una donna con polli in uno bastone, quale dixe haverla portata in casa di Madonna (Beatrice) donna di decto chavalliere in Vallerozi, Le infrascritte robbe sonno in casa di Niccolo spadaio suo cognato. Una carpita nuova. Una spera di quadro col telaio. Uno quadro di braccio incirca con una Nostra Donna con el figliuolo in collo che sposa Santa Caterina, con uno Santo Hieronimo non finito. Una testa di Santo Giovanni in uno quadro di legno. Una coperta di sclamito, azurro, et giallo, quale dixe haverla impegnata al iudeo sold : 2 1 in nome suo. lo miser Giovane Antonio 6 riceuto questo di sei de Agosto 1529 le sopra dete chose. Item dixe havere in casa sua una spada fornita d' argento et uno pugnale. Item dixe havere in casa di decto cavaliere piu disegni e ritratti in una cassetta de la quale esso Girolamo ha la chiave. Una balestra da pallozole di acciaio fornita di osso. DOCUMENTS 307 Note, In March April 1903 the author made a most elaborate search for this document, for the above quoted Supplica of Beccafumi, and for Riccio's Will (a reference to which is given in Milanesi's MS. Notes), but with no result. It is suggested that they either have disappeared in the various vicissitudes that since Milanesi's day have occurred to the Sienese Archives, or, as was formerly permitted, been borrowed by some student for private examination, and either never restored, or returned to some place in which they are now hidden, and may lie for years yet to come. For the present, however, further search is fruitless. No. 21. Entries of payments^ etc., in various registers of the Commune of Siena as to the work executed by GIOVANNI ANTONIO Bazzi in the Sala del Mappafnondo in the Palazzo Pubblico. [The student will observe that these notices, being taken from different official registers, should be read contemporaneously. The Deliberazioni indeed appear to have been kept in a quasi-duplicate form. Some of the entries have been already extracted and published ; whilst others are here printed for the first time.] Arch. DI Stato Siena. Concistoro Deliberazioni ad annum. 1529. Die xij septembris. Ill"" D. D. Priores, Capitaneus populi etc. convocati etc. Simili modo mandaverunt solvi per Camerarium Consistorii Domino. lo Antonio Sobdoma lib. 42 den. pro parte eius salarii picture Sancti Victorii in sala de le balestre. Die xxj septembris, Martis. Et Audito Domino lo. Antonio alias Sobdoma pictore petente sibi satis fieri salarium pro pictura Sancti Victorii per eum facta, servatis etc. voluerunt eidem solvi quicquid per duos pictores, eligendos unum per Consistorium et alterum per eum, judicatum fuerit ; de quo detrahatur id quod huiusque sibi solutum est. Et statim eligit Con- sistorium per plures voces. Magistrum Dominicum . . . alias Mecuccium. 3o8 APPENDIX Die 26 septembris, So lis. Et visa extimatione data per Magistrum Mecuccium et magistrum Davit pictores supra pictura Sancti Victorii ac suis ornamentis factis per Sobdomam quia nimis excedere iudicis eorum honestum pretium visa est eis servatis etc., voluerunt per Magnificum Priorem et Capitaneum populi intelligi et informationem haberi a magistro Baldassarre architectore et pictore de valore et extimatione eiusdem. Et casu quo in parva quantitate discrepet extimationem ipsius a predictis, solvatur dicto Sobdome iuxta extimationem prefatorum 2 pictorum, que est ducata 27 auri, si autem in magna, nova provisio fiat. Die prima octubris, Veneris. Ill"', ac Ex^'. domini domini Priores etc. et Capitaneus populi etc. convocati etc. mandaverunt solvi domino lo Antonio Sobdome pictori lib. 50 den. pro parte eius salarij pro pictura sancti Victorii ad bonum computum et decretum fieri Camerario Consistorii. Die viiij octubris. Mandaverunt etiam solvi Domino lo. Antonio alias Sobdome pictori lib. septuaginta den. sen. pro parte eius salarij picture Sancti Victorij ad bonum computum et fiat decretum Camerario Consistorii, et actento quod non habet in presentiarum denarius Magnificus Lapus solvat et in cautionem suam detur ei collana argentea Capitanei Cuicii etc. Die xxvij octubris, Mercurij. Ill\ ac Ex^'. domini domini Priores et Capitaneus populi etc. convocati mandaverunt solvi domino lo. Antonio Sobdome lib. sexaginta octo den. pro omni reslduo ducata 27 auri solis, eius salario picture Sancti Victorii in sala de le balestre, et decreverunt, etc.^ ^ Cf. Nuovi Documenti cit., p. 446, No. 222. DOCUMENTS 309 Arch. DI Stato. Scritture Concistoriali, Filza 41. Notula at successori della Signoria del 1529. 30 Agosto 1529. Item si sonno condennati li infrascritti beccarii per loro trasgressioni ne le sottoscrisste pene sara bene di risquo- tarle, le quali sonno attribuite a la pictura de la sala de le balestre,cavatone la parte nepervenisse alHQuattro Maestri del Sale. Li nomi de' quali sono questi, cioe Arcangiolo detto il Manzo . Baldassare detto il Guercio ,, ,, il Belloso . Bernardino detto el Possa . Carlo. .... Pietro Serumtino 31 Agosto 1529. Item si e dato principio nella Sala delle Balestre fa dipingere due belle figure cioe una die Sancto Vectorio, e r altra di Sancto Ansano per le mani del Sodoma, e per tale opera si li e dato gia scudi nove, cioe lire sesantatre. Sara bene mandarla a fine.^ 2 Settembre 1529. Che sieno citati li infrascritti macellari et comparsi, subito se li facci precepto, che non partino di palazo se non pagate per loro le condannagioni facte per li precessori come di sotto, cioe : Arcangiolo detto Manzo . . . lire 8. : lire 8. 40- ,. 40- 40- M 40. 40. Baldassare Bernardino Carlo . Pietro Serumtino Guercio il Belloso el Possa 40. 40. 40. 40. 40. ^ilanesi, Documenti cit., torn. iii. p. 185 3IO APPENDIX Belloso et Pietro conparendo furo liberati promettendo r uno per 1' altro di presentarsi lunedi o pagare testimoni Pamiale et Jacomo donzelli. 21 Settembre. Che'l Consistoro chiami uno pictore et uno altro il Sobdoma che stimino la pictura di Sancto Victorio facta per decto Sodoma et tanto se H dia et quello da chiamarsi per il Consistorio faccisi per le piu voci. Maestro MecarinoI p. Maestro Bartolomeo di David | ^^ ^^^' Valuation made by DOMENICO DI Pace (Beccafumi) and Bartolommeo di David, of the fresco of S. Victor. In Dei nomine questo dl it, di Settembre, 1529. Noi Domenicho di Pacie et Bartolomeo di Davit, dipen- tori, omini elletti aiudichare una opera fatta per Misser Giovanni Ant" dipentore i'nel Palazzo della magnificha Signoria, cioe uno Santo Vittorio dipento a chapo la porta i ne la Sala del Mapa-Mondo chol suo ornamento intorno aquello fatto : Per la qual chosa io Domenicho sopradetto per li Magnifici Signori eletto, e per el sopradetto misser Giovanni Antonio, Bartolomeo di Davitti sopradetto, in- sieme ristetti i^sic) ; avendo ben chonsiderato dicta opera, gudichiamo {sic) di quella meritarsi schudi vinti sete d' oro larghi. E per fede io Domenicho sopradetto offatta questa di mia mano : el qual Bartolommeo di Davitti sotto- scrivarra, afifermando. Intendendosi ditto prezo essere pachamento di detta opera a tutte spese di detto Misser Giovant", cioe d' oro cholori aricimento (arricciamento), scialbo e calcina e ponti ec. E io Bartolome de Davitti sopradetto afermo a quanto di sopra si chontiene.^ J Cf. Milanesi, Documenti, cit., torn. iii. p, 112. No. 57. DOCUMENTS 311 26 Settentbre. Che'l magnifico Priore et magnifico Capitano mandino per maestro Baldassarre architettore, al quale faccino stimare la figura del Sobdoma di Sancto Victorio, facta in la sala de le balestre et discrepando pocho de la sua extima et quella de li 2 altri pictori se li dia quelle tanto che el detti 2 hanno facto caso che assai si pigli nuovo partito. 30 Settembre. Illustrissimi, etc., excelsi Domini Domini Priores et Capitaneus populi ecc. convocati ecc. Soddome audito detur et solvatur ei usque ad summam librarum 50 denariorum per Camerarium Consistori predicti. Die prima Octubris. Sobdome solvantur usque ad summam librarum 50 denariorium. 28 Febbraio 1529. Essi pagato per el Camarlengo nostro al cavaliere Soddoma, scudi sei d' oro larghi oltra di denari havuti da precessori, come a uscita di esso Camarlengo in f : 43, quali se li son dati a buon conto per la pictura di Santo Sano che anco non e finito.^ Si ha da seguire la pictura di Santo Bernardo per la quale ha havuto gia denaro come di tutto ne e' informato lo oparaio del duomo.^ 1532. II Sogdoma dipentore ha hauti certi denari per dipegnare nella Sala del nappamondo un san Bernardo chome di tutto e informato al magnifico operario del duomo et di gia chome si vede e principiato lornamento, sera bene procurare si finischa. * In the margin, Sogdoma pictori. ^ Jn the margin, Pictura di San Bernardo, 312 APPENDIX (On the next page.) Misser Gio. Battista (sic) dicto il Soddoma ha hauti certi denari per dipegniare nela Sala del nappamondo uno sancto Bernardo come di tutto e informato il magnifico operaro del duomo, sara bene sollecitare si facci dicta pittura.^ Filza^i. 1533-34- Ultimamente per havere ancora noi procurato che la pittura del beato Bernardo ne la Sala dele nappamondo fusse finita dal Soddoma dipentore de la quale ne ha gia hauto scudi otto si come da precessori nostri ne era stato lassato in notula et havendo esso Soddoma a essere satis- fatto del restante di detta opera quale ne ha condotta a perfettione, piacera a V.S. magnifiche fare che detto Soddoma ha fatto satisfare de la lodevole opera da missere Francesco Tholomei, dignissimo operaio de la Chiesa Cathedrale, si come esso a noi et al detto Soddoma ne ha largamente promesso, il che facendo V.S. Magnifiche ne escitaranno a imprese maggiori di simili ornamenti.^ Concistoro Deliberazioni. Vol. 978. 1529. Die xii. Septembris. fol. 6'' Simili modo mandaverunt solvi domini Joanni Antonio cognomine Sobdoma pictori libras quatraginta duos de- nariorum videlicet libra 42 pro parte salarii figure et picture Sancti Victorii in Sala de le Balestre, etc.^ Die xxi. Septembris. fol. 13. Audito etc. domino Johanne Antonio alias Sobdoma pictore petente sibi satisfieri salarium pro pictura Sancti Victorii per eum confecta servatis etc voluerunt eidem ^ In the margin, Soddoma. 2 Cf. Milanesi, Documenti cit., torn. cit. p. 185. ' In the margin of each of these, " Soddoma.^' DOCUMENTS 313 solvi quicquid per duos pictores fuerit extimatam, quorum unus pro Consistoro eligatur alter ab ipso et statim eligerunt. Mecucium . . . pictorem.^ Die 26 Septembris. fol. 15. Et visa et audita extimatione data per 2 pictores electos unum pro parte Consistori alterum pro parte Sobdome infrascriptos super valorem picture Sancti Victorii cum suis ornamentis factis per prefatum Sobdomam, que visa est eis excedere nimis honestum pretium servatis etc. in bene esse palatii et etiam justitie satisfactum declarave- runt commictere Priori et Capitaneo magnifici qualiter informati accipiant a magistro Baldassarre architeptore et pictore de pretio et valore ipsius picture et referant decla- rando quod casus quod extimatio dicti 2 et prefati magistri Baldassaris parum dififerant solvatur dicte Sobdome iuxta extimationem dicti 2 sin satis denuo provideatur omni modo etc.^ Die prima octobris, fol. 18. Illustrissimi et Excelsi Domini Domini Priores etc. et Capitaneus populi etc., convocati etc. mandaverunt solvi domino Joanni Antonio alias Sobdome pictori libras quinquaginta denariorum pro parte ejus salarii picture Sancti Victorii ad bonum compotum et decretum etc.^ Die viiij. octubris, fol. 21. Jusserunt etiam solvi domino Joanni Antonio Sobdome pictori libras 70 denariorum pro parte salarii picture Sancti Victori ad bonum compotum omni modo etc.^ Die xxvii. octubris, fol. 28. Illustrissimi etc. excelsi Domini Domini Priores guber- natores et Capitaneus populi etc. convocati etc. mandave- runt solvi domino Joanni Antonio alias Sobdome pictori ^ In the margin of each of these, " Soddoma*' 314 APPENDIX libras sexaginta octo denariorum per omni residue scuto- rum 27 auri solis, salarii ipsius, pro pictura Sancti Victorii cum suis ornamentis in Sala de le balestre quo extimatum fuit et decretum etc/ No. 22. Extract from Gio, Battista Armenini di Faenza. Dei VerI Precetti DELLA Pittura. Ravenna : Francesco Tebaldini, 1587, p. 27. . . . ragionevole e meraviglioso . . . fu 1' accidente ed il valore insieme di Giovan' Antonio da Vercelli Pittor pratico, et molto ingegnoso il quale fu per cio fatto cavaliere honorato dalla felice memoria di Papa Leon decimo. Costui in Siena dimorandosi, come in sua patria incontrandosi un giorno in uno insolente soldato Spagnuolo ; che era della guardia della Citta, perche molto numero di quella gente vi dimorava tuttavia in quel tempo, egli fu dal detto soldato fortemente, e villanescamente oltraggiato, del quale egli non sapendo il nome, ne meno potendo accostarseli per la loro gran turba, a vendicarsi, et perche egli era possente, et di gran core, si stava ivi con animo di risponderli tosto, perche egli si era al tutto disposto per nessun modo voler patire che la ingiuria ricevuta si dovesse lasciare impunita con poco honor suo, considerate adunque piu vie, alfin si risolse dover cio fare col mezo di quella virtu, con la quale egli era miglior maestro, e piu sicuro, e per cio egli messosi di apiatto, incomincio minutamente a riguardare, et a considerare tutto quello, ch' era in quella effigie di quel Spagnuolo, e tanto fe che per tal via li rimase impresso nella idea 1' istesso naturala di quel volto. Dopoi itosone tacitamente a casa si dispose di farlo, onde si mise sopra un suo picciol quadretto, che vi era rimaso, con pennelli, et colori, con molto affetto a formarlo, si che in breve spatio ogni minuta tinta del natural di quella faccia, con le sue linee, li parve, che gli riuscisse tanto bene, che egli si rimase cosi contento senza farli altra 1 In the margin of each of these *^Soddomq'' DOCUMENTS 315 fatica intorno : onde per non voler perder tempo a con- seguire il suo desiderio, si mise quel ritratto sotto la cappa, e senza fa motto k nessuno, egli solo se ne ando la dove habitava il Prencipe di quei Spagnuoli, e trovatolo gli espose al meglio che seppe il tutto, dolendosi seco forte deir ingiurie, ch' egli havea ricevute dalle Spagnuolo predetto, al quale il Prencipe rispose benignamente, che per esservene molti, egli cercasse di farglielo conoscere, che esso acerbamente lo punirebbe, et egli allhora aperto un lembo della cappa, e scoperto il ritratto glie lo present in mano, e disseli, Signore, cosl e la sua faccia, io non vi posso di lui mostrar piia oltre. II Prencipe allhora pigliato quello con maraviglia, di subito gli venne in mente chi egli era, di modo ch' egli fu conosciuto e da lui, e da tutti quelli, ch' egli havea intorno senza pensarvi punto, e per cio fatto pigliar quel reo egli volse che fusse castigato con quelle pene che piu piacesse a quel valenthuomo : laonde vendicatosi per tal via, li venne poi questa cosa a esserli giovevole, perche li fu cagione, ch' egli divenisse strettissimo amico di quel Signore, e di altri Gentilhuomini, da' quali ne ricevesse aiuto et favori et fosse da essi sempre stimato, et ammirato per huomo d' un' ingegno mirabile. Questo cosi ingegnoso tratto, mi fu narrato in Siena, quand' io giovanetto vi dimorai qualche tempo, da un vecchio, che diceva di questo eccellente huomo esser stato strettissimo amico, da! quale io volentieri era menato per Siena a veder tutte le cose notabili che vi erano dentro. No. 23. Documents regarding the Porta San Viene (Pispini) and the fresco painted there by GlONKl^l!il ANTONIO Bazzi. Arch, di Stato di Siena. Balia Deliberazioni. Vol. 78, fol. 85'- Die xii. Septembris (1528). Et quoniam pro honore eorum civitatis provisum et deliberatum est cjuod ad portam Sancti Vieni pingi debeat 3i6 APPENDIX figura intemerate matris et quoniam murus suptilis est ingrossari debet servatis servandis deliberaverunt quod pro dicto muro ingrossando illi cives super negoziis depu- tati teneantur et debeant concedere muratoribus calcem lastras pro predictum faciendum, ponant ad compimentum ad e pensas magnifici Comunis Senarum, comiserunt frueri decima oportuna in quantum expedit.^ Vol. 84. fol. 131. Martis Die xn./unu (i^2)^)- Auditis operariis picture porte sancti Vieni super de- fectu pecunie pro finimento dicte picture, deliberaverunt quod duo eligendi videant denarios qui deposito sunt apud Biringuccios pro Domino Camillie porte et cum quo in procintu non debeant pro ea expendi habeant auctoritate solvere eos faciendi dictis operariis Sancti Vieni, habeant etiam auctoritate inveniendi usque ad summam ducatorum 30 pro residuo dicte picture et circa hoc rifereant et fiant in proprio casu opportune scripture etc. [deliberaverunt fieri decretum dictis Biringucciis quod sol- vant dictis operariis libras 218 sol. 28 et at fuit factum decre- tum prout in registro apotixa- fuerunt electi Hieronimus Spannocchius rum.^ Vol. 87. fol. 122. Die tertia aprilis (1532). AuditoinsuperspectatissimoviroHieronimoserJohannis de Paccinellis servatis etc. voluerunt quod dicto Jeronimo solvantur scuti viginti auri et libr : 2 sol : 2 republica di quibus solvat Sobdome pictori scutos 10 pro premio, augu- mento seu donativo ultra salarium ordinatum pro opere et pictura janue Sancti Eugenii nuper conpletis et residuum sit suum et pro se retineat pro totidem quos rogavit de proprio in reaptandum locum supra dictum opus in amo vendo cursum aque que devastabat dictas picturas et ^ In the margin of both these, " Madonna delta Porta S" Viene" DOCUMENTS 317 faciendum calcestruzium et duo de Collegio a Priore eligantur provideant dicti duo in plena auctoritate salvis fidibus undecumque etc. solvi facient etc. omni modo etc.^ Vol. 91, fol. I49'', 150. Die xxiii. Junii 1534. Magnifici Domini Officiales Balie etc. convocati etc. Et auditis pluribus deputatis a congregatione contrate Abbatie Nove civitatis et eorum petitione, verbo et in scriptis tenoris infrascripti, volentes quod honori et decori Civitatis consuleter aliisque justis causis moti, servatis etc. dictam infra notatam petitionem approbaverunt in omnibus ut iacet et ita dicta congregation i dari et concedi voluerunt prout in ea, creantes depositarium denariorum prestantie veteris exigende prout in ipsa, Marinus de Cacciaguerris et erogentur in negocio de quo in petitione de ordine deputatorum seu deputandorum ab ea et duo de collegio infrascripti faveant negocio adhibendo operam publicam honeste sunt poterunt pro effectuatione ipsius cum plena auctoritate et fiant apotissam et scripturam opportunam etc. omni meliori modo videlicet. Jacomus Ugolini et dominus Bernardus Bonius et mio Nicolaus Campanus. Tenor dicte Petitionis est infrascrittus videt. Illmi. et eccellmi. Signori di Balia, Signori etc. Davanti a vostra Illustrissima et eccellente Signoria hanno ardito con ogni debita reverentia gl'ottimi et fidelissimi Servidori di quella congregatione et contrada de la Abbadia Nuova esporre essere di loro animo et mente con ogni studio ornare la decta Contrada et particolar- mente d'un raro et bellissimo fonte come alcuni de le medesime el disegno ban visto sperando che non solo e'luogo istesso, ma la citt^ non meno de honorare se n'habbia et perche al buono animo loro et a lo integro de le spese, che pensano arrivare a scudi 200 in circa, le proprie forze come deboli corrispondare non possano, sono stati con fermi et accesi nelle intenzioni loro da la molta ^ In the margin, " Giro : Paccinelli. Sobdoma." 3i8 APPENDIX cortesia benignita di V.S.I, promettendosi non habbino di mancare di favorire la impresa et auitare questi lor fidelissimi Servitori con auito massime che al publico in picciol pregiuditio ritornar possa et percio desidererieno et ne le supplicano che si degnassero conceder loro le preste vecchie de la abbadia nuova di sotto e di sopra da riscuotarle et depositarle in dove parr^ a V.S.I, a causa si rendino certe et veder possino s' habbino a spendar solo a questa effetto et cosi ordinare potranno che le habbia chiaramente a vedere, la quale cosa ottenendo come sperano oltra 1' esecutione di si lodevole opra restaranno et gli successori loro insieme in eterna memoria et servitio perpetuo con quelle quale nostro Signore Iddio in stato felicissimo conservi.^ Concistoro Scritture. 1530. Notula. Item diamo notitia qual mente ad honore de la gloriosa vergina Maria si fa dipengere la madonna a la porta a Sancto Vieno et sonno operari fuor del collegio e maestro Giovanni Palmieri et conpagni di nove di guardie et del collegio misser Bernardino di PhilippoBuoninsegni et Giro- lamo Paccinelli et hanno in le mani fiorini 125 et autorita di risquotar le condannagioni de la guardia da poterne diminuir la terza parte, sar^ bene V. S. M . procurino si finisca.^ No. 24. Contract and documents regarding the Cappella di Piazza, Official Commission to GlO. ANTONIO, detto it SODOMA, to decorate the Cappella di Piazza. Arch. Not. Prov. Siena. Atti d'Ordinamento Civile. Fra i Rogiti di Ser Sigismondo Trecerchi, Rep. E, Busta 55. 1536-37, 6 di Marza. Al nome di Dio, e della sua imaculatissima madre Maria Vergine, a di . . . del mese di Marzo MDXXXVI. Apparr^ manifesto a qualunche persona vedra, e leggiara ^ In the margin, " Contrada della Abbadia JVuova." 2 In the margin, " Porto ad Santo Vieno." DOCUMENTS 319 la presente scritta, come li prestantissimi Camillo Ascarelli, Belisario Bandinelli, Fabio di Girolamo Garghi, e Alfonso Accarigi cittadini senesi, et operari deputati dal magnifico Concistorio integro de li eccelsi Signori, e Capitano del Popolo de r inclita citta di Siena, ad esseguire le cose sotto scritte con plena, et ampla auttorita, come ne appare di manodi me Lattantio Girolami notaro in quel tempo d'esso Concistoro ; et il magnifico et generoso cavaliere messer Francesco Talomei degnissimo operaro de la chiesa cathe- drale de la detta citta, alluogano a dipegnare 1' altare de la cappella de la Piazza pubblica di Siena, nel ritratto, e modo che sta al presente, al generoso cavaliere misser Giovann- antonio Soddoma, pittore eccellentissimo ; el quale sia tenuto e obligato dipegnarvi una Nostra Donna in mezzo, e da' lati li quattro Advocati de la Citta, e da Capo dove e il frontespitio, uno Dio Padre, e tutte bellissime fighure, con perfetti colori da provedersi a spese d' esso Misser Giovannantonio ; el quale promette e s obliga di dare finito il detto altare con dette figure a Santa Maria d' Agosto prossimo anno MDXXXVII., per prezodi scudi sessanta, da pagarseli per ordine d' essi oparai in questo modo, cioe : al presente scudi quindici, e altri scudi quindici, quando havera amezzato la detta opera, e scudi quindici di poi presso alia fine ; e scudi quindici, finita che sara al detto tempo ; con questo patto, e conditione, che la detta opera, e pittura s' habbia stimare per duo homini comuni ; e caso che ella fijsse stimata piu prezzo de li detti 60 scudi, detto messer Giovannantonio per suo cortesia relassa quel piu, e chiamasi contento d' havere solamente li 60 scudi : e se fusse stimata meno di 60 scudi, e contento d' havere sola- mente quello che fusse stimata : con questo patto, che detto Messer Giovannantonio sia obligato d' haver finita la detta opera perfettamente al detto tempo ; altrimenti caschi in pena di scudi . . . non essendo pero impedito da legittimo impedimento : il che Dio cessi. Per la osservantia de le cose predette li prenominati operai, e commissari obbligano il suo magnifico Comune di Siena, e suoi beni ; et il detto 320 APPENDIX Messer Giovannantonio se medeslmo, e suoi beni, et herede. A preghiera de' quali io Lattantio Girolami detto, notaio, come privata persona, ho fatto la presente di mia propria mano, la quale sara soscritta da le parti predette d' esser contente a quanto di sopra si contiene, et e scritto. E io miser Giovane Antonio sopradeto aferme et obli- gome quanto di sopra questo di sei de Marzo. E io Francesco Tholomej sopra detto afermo et so' comtemto {sic) a quanto di sopra si contiene, e pero 6 fatti questi di mano propria. Io Bellissario di Ghuido Bandinelli sopradetto so' con- temto {sic) a quanto di sopra. Io Alfonso Acharigi sopradetto afermo quanto di sopra. Io Camillo Ascharelli scrissi. Io Fabio di Girolamo Garghi sopradetto so' contento quanto di sopra, etc. Note. It may be remarked that, although this document is at present filed, as stated, under the Rogiti di Ser Sigismondo di Giovanni Trecerchi, it apparently should (and may hereafter) be filed under those of Lattanzio di Girolamo Girolami^ Arch, di Stato. Deliberazioni delta Balia, ad annum, a c. 205 t. 25 Novembre, 1527. Magnifici Domini Officiales Balie, etc. Item, ad honorem et gloriam intemerate et gloriosissime Virginis Marie unanimiter deliberaverunt reactare, et quod reactetur figure ipsius Virginis Marie della Cappella di Piazza. Et utsupradicta exequatur, deliberaverunt daresummam potestatem tribus per Priorem eligendis, actare faciendi dictam figuram et immaginem Marie Virginis cum auctori- tate expendendi usque ad ducata triginta auri de sole, et pro predictis fieri faciendi decretum officio Bladi, quod ^ Cf. Milanesi, Docutnenii cit., torn. cit. p. 127. No. 66. DOCUMENTS 321 solvatur dictos ducata xxx. super modiis 300 grani recepti a Collegio per manus Antonii de Belantibus et Domini Alexandri Paccinelli. Et fuerunt electi : Johannes Bapt* Piccolomineus Contes de Buonsignoribus Nicolaus Campana. Arch, detto. Concistoro Scritture^ Notula. 1530. Item diamo notitia a V. S. qualmente a laude de la intemerata Vergine Maria habiamo deputati tre operari videlicet Conte Buonsignori et i compagni a fare tornar et rinfrescar la figura di nostra Signora de la cappella di piaza quali hanno hauto per tale contio scudi 30 d' oro di sole per principio di tale opera. Arch, detto. Con. ScriL, Not. 1531- In prima atteso vana essere la cura di quelli che sonno preposti al governo et guardia de la citta se Dio non inter- viene con ausilio suo. Accio la citta vostra in pace et liberta si conservi con ogni diligentia procurarete 1' honor di Dio et de la immacolata Vergine Maria, padrona et advocata nostra sia osservato et sia dato finimento al tempio principiato ad honor de la immacolata Concettion, dove sono fatti li operari et ancora la pittura de la cappella vostra di piaza si rinfreschi et si eseguischa per li operai, quella della porta Sancto Viene. Arch, detto. Con. Scrit., Not. fol. 3. 1532. Sara cosa molto convenevole ancora, che per honor di dio e di nostra Signora prima, e di poi dela citta loro le faccino rinfrescar la pittura de la cappella de la piazza loro. ^ These are a number of loose papers collected in a portfolio. 21 322 APPENDIX Arch, detto. Con. Scrit. ad annum. 1537-38, Marzo e Aprile. Gia piu mese sono che per li precessori fu allogato a dipegnare la Cappella di Piaza al Soddoma dipentore, et di gia ha ricevuti ducati 30. Alii giorni passati se li e scritto per ordine delli operari, per essere in Piombino, che venghi ad finire la opera sua secondo che sta lo obbligo quale e apresso de li medesimi ; non per ancho si tiene risposta, non mancheranno V. S. per honore publico farci dare fine. Li operarij sonno questi : Camillo Ascharelli, Bellisario Bandinelli, Fabio di Girolamo Garghi et Alfonso Acharigi. Arch, detto. Concistoro Deliberazioni, vol. 1029. 1537-38, Martis. Die xvi. Aprilis. 30. Ac etiam mandaverunt literas Domino Johanni Antonio Sodona pictore in dicto qui redeat Senas. Arch, detto. Con. Scrit. ad annum. 1537, Giugno 30. Si e allogato al Soddoma pittore la pittura della Cappella di piaza per ordine de' nostri precessori et di gia ha ricevuto al tempo de' nostri precessori scudi quindici d'oro et furno deputati operari li sottoscritti sara bene el sollecitarli accioche tal opera habbi executione Camillo di maestro Jacomo Ascarelli. Belisario di Guido Bandinelli. Fabio di Girolamo Gharghi. Alfonso di Francesco Accharigi. Arch, detto. Concistoro Deliberazioni, vol. 1034, fol. 4*. 1538, Die V . Januarii {st. Sen.) Super pictura capelle platee mittatur per operarios per dominum Franciscum Tolemeum et per Sogdoniam pictorem et intelligant diligenter et perficere faciant et referant in eo quod ipsi agere non possent. DOCUMENTS 323 Arch, detto. Con. Delib., vol. detto, fol. 17. Die xxvi. Januarii. Et deliberaverunt una cum dictis Vexilliferis quod sacrista palatii fieri facial unam tendam cum armis comunis Senarum ante picturam noviter factam in cappella campi fori ad hoc ut dicta pictura conservatur et fiat decretum et ponat ad eius exitum de denariis palatii et bullectino etc. Arch, detto. Con. Delib., vol. 103 1, fol. 12. Die nona Julii. Et quoniam dominus Johannes Antoni Sodonus pictor egregius qui cepit pingere cappellam platea turris tenetur perfecisse illud opus infra certum tempus et sub quadam pena inscripta locationis expressa et illustrissimus dominus Plumbini mensibus elapsis supplicavit per licteras licentiam ut dicto domino Johanne Antonio concederetur ut possit toto mense maij esse in terra Plumbini et fuit ei concessa et adhuc non revertitur, licet alias quod ejius reditu procurando misse fuerunt alie lictere ad dictum illustris- simum dominum servatis etc. concesserunt auctoritatem infrascriptis duobus possint si eis videbitur de novo super dicta causa eumdem scribendi Domino Hieronimo Tantuccio Domino Camillo Peccio. Arch, detto. Con. Delib., vol. detto, fol. 25*-, 26. Die \\. februarii. Illustrissimi Domini Capitaneus Vexilliferi, Consiliarii Balia, Guardia et alii de Ordinibus ponipose facta cere- monia candelarum in cappella palatii se contulerunt in cappellam campi fori et ibi magnificus eques dominus Franciscus operarius catredalis ecclesie constitutus etc. promixit eisdem et michi notario stipulantem etc. dictam cappellam tenuisse et tenore pro magnifico Comuni 324 APPENDIX Senarum et promissit et convenit nullam ius patronatis acquirere sed illud et illam tenere pro magnifico Comune Senarum et ab aliquo non recognoscere sub pena duca- torum mille auri in auro. Pro quibus obligavit, etc. renuntiavit etc. juravit etc. cum guarentigia etc. rogatis etc. Actum in dicta cappella coram Ugone de Bertis et Johanne Baptista Rubeo testibus etc. Et post predicta se contulerunt ad ecclesiam catredra- lem more solito etc. fol. 28. Die quinta Februarii. Et super pictura platea videlicet cappelle deliberaverunt quod magnificus Capitaneus et dominus Petrus habeant circa eam et cum Sodoma amplissimam auctoritatem commissionem terminandi et ultimandi, etc. fol. 43*", 44. Die xxi Februarii. Illustrissimi Domini etc. et Capitaneus populi etc alias audito domino Joanneantonio equite pictore aliter el Soddomo dicente qualiter pictura per eum facta in cappella campi fori sive conventionem sue locationis debet extimari per duos homines communiter eligendos et offerente se paratum hominem pro parte sua eligere et ex tunc elegit ad dictam extimationem faciendam pro parte sua magis- trum Bartalum Davit pictorem ; ideo servatis etc. pro parte Consistorl eligerunt ad dictam extimationem cum dicto magistro Bartolo, magistrum Johannem Laurentii pictorem in Salicotto et predicta omni modo, etc. Die dicta dictus magister Bartolus acceptavit. Die xxiiij februarii acceptavit dictus magister Joannes. 1538 (vol. 1035, fol. 6*.) Die xviiij Marzo. Magnifici Domini et Capitaneus populi ante dicti etc. servatis servandis deputaverunt per plures voces in tertium DOCUMENTS 325 ad extimationem faciendam opere cappelle seu picture ipsius una cum arbitris iam electis magistrum Dominicum alias Mecuccium pictorem. Arch, dell' Opera del Duomo. Libro Giallo detto deir Assunta, fo. 369. 1539. E a di ij d'aprile 1539 lire cinquantasei se li fan buoni a Ugo Berti, camarlengo che li pago a missere Giovantonio Sodoma dipetore per resto de la dipegnitura de la cappella di piaza, sono a sua uscita fo, 146* . .lire Ivj No. 25. Correspondence between the Signoria of Siena, " Cavaliere GlOVANNANTONIO SODONE," and Jacomo v.. Prince of Pioinbino. La Signoria di Sietta a GlOV. ANTONIO Bazzi detto il Sodoma da Siena. Arch, di Stato di Siena. Copia lettere. Filza 194. vol. 1748. II dl xvi d' Aprile 1538, a Ms. Giovannant" Sodone Pittor* si scrisse : Generoso Cavaliere, Sai che si conviene a buo' pittore, a cio che la virtu sua si manifesti parimenti a ogniuno, non incominciar solo una bella opera, ma tirarla con talprestezza e in tal modo a fine, che ciascuno habbi giusta cagione di maravigliarsi di questo. Perche addunque, come sai, desti principio a la cappella nostra di Piazza, qual grandemente ci spiace vederla cosi imperfetta, poiche el tempo e comodo, non mancarai, vista la presente, di venir subbito a finir r incomminciato lavoro ; il che facendo farai il debito tuo imperoche di tanto ubbligato ti sei, et fino a questa hora secondo le conventioni dovrebbe esar fornita ; e a noi farai cosa grata, altrimenti procedaremo secondo ch' il giusto comportasse, ec, ec. 326 APPENDIX La medesima a GlACOMO V., PRINCIPE Dl PlOMBINO. Arch, detto. Filza detto, etc. 2 di Maggio 1538, al Iir SiGNOR DI PlOMBINO JACOMO QUINTO, etc., etc. Non potiamo in alcun modo mancare al giusto desiderio dela S.V., non essendo men desiderosi del' utile e del honor di quella che del nostro medesimo : servisi adunque comodamente L'ecc'' V. del Cavalier Sodone per il mese di Maggio, come ci ricercha, rimandandocelo infatto poiche costihariafinito I'incominciato Lavoro,accio che noi ancora restiamo in breve di quel che gia piu mesi sono ci doveva, satisfatti ; che mancando el sopradecto cavalier' del debito suo.haremogiustacagionedi dolerci diquello,eprocedargli, contra come' il giusto et il ragionevole comportasse. Ne altro diremo ala S.V., a la quale ci offeriamo ; che dio la contenti. La medesima al GlO. ANTONIO detto il Sodoma. Arch, detto. Filza detto, etc} A Ms Giovanni Ant Sodone Pittor 'si scrisse ; Noi non ci estendaremo in piu parole' a ricordarti 1' obligo che hai con esso noi del opera dela Cappella ch'hai lassata inper- fetta ; e come di gia molti giorni sia passato il tempo, che per accommodare cotesto Signor ti demo licenza di restare con esso infino tutto il mese di Maggio, ti diremo solamente che senza fame altra giustificatione seguiremo quanto il giusto richiede secondo i patti che sono tra noi. Procura adunque il caso tuo, e vogli piu presto che noi habbiamo a lodarci di te : che dolera a fame appresso dimostratione. II che seguendo sar^ solamente per colpa tua. Ne altro ci accade. La medesima al PRINCIPE DI PlOMBINO. Arch, detto. Filza detto. xvii Giugno, 1538. Al 111. SiGNORE DI PlOMBINO si scrisse : Ricordisi la S.V. che ricercandone gia piu giorni sono ^ This letter is not dated, but is probably of the same date as the following one to the Prince of Piombino i.e. June 17th, 1538. DOCUMENTS 327 di volersi valer per qualche suo bisogno del opera del Cavalier' Sodone, noi per farle cosa grata non dubitammo scommodarci, e darli licentia che restasse infino tutto il mese di Maggio, come essa desiderava, doppo il qual tempo ci prometteva liberamente di rimandarlo, dove, essendo gia di longo passato, e parendo pure conveniente di tirar' a fine r opera che fu da esso incominciata, stavano aspettando che la S.V. lo rimandasse ; Hora non venendo ad effetto, habbiamo pensato farle intendare intornoa questo I'animo nostro, e replicarle come saremo forzati a procedere contra di lui secondo che richiede il dovere, per virtu dele con- ventioni fatte co'esso. Ci rendiamo ben certi che dala S.V. non restara rendarci il cambio di non fare manco suo comodo il nostro, che ci facessemo noi allhora (sic), il suo proprio, come ancora saremo per fare in ogni altra occorrenza. Et il nostro Signore Dio la S.V. contenti. La medesima al PRINCIPE DI PlOMBINO. Arch, detto. Filza detto, etc. 1538, 3 di Luglio. Air Illmo. SiGNORE DI PlOMBINO JACOMO QUINTO. Piu giorni sono che si scrisse a V.S. che si contentasse di rimandarci, poiche per tutto Maggio glien'havevam fatta commodity, el Cavaliere Sodone, accio che tirasse a fine una cappella nostra, qual partendo imperfetta lassa ma non solo non e tornato il sopradetto cavaliere ma non habbiamo havuto risposta di cosa alcuna di V.S. di che veramente ci saremo maravigliati, se in tutto fussimo stati certi che le nostre fussero venute alle mani di quella ; maggior- mente cognoscendola persona cortese ea Noi amicissima : Maperche teniam per fermo che non 1' abbi la S. V. ricevuta, gli habbiamo ancora con questa a voluto ricordare, che di molto e passato il tempo i'nel quale ella ci promisse di rimandarcelo. La quale se fara che subito a Noi ritorni, fara quello che se li conviene, e noi non potremo lamentarci di quella, alia quale c'offeriamo che nostro Signore Dio contenti. 328 APPENDIX GiACOMO QuiNTO Principe di Piombino alia Signoria di Siena da Piombino. Arch, detto^ Balia Lettere, 1539. Originate. Magnifici et eccelsi Signori Signorl come patroni osser- vandissimi. Dubio non h ch'l modo desiderio del cavalier Sogdona nel far piacere a me, et la satisfactione mia vedendo tirare a perfettione la tavola nostra gia di tanto tempo promessa, hanno causato che non tanto del cavaliero, ma di me, come prencipio {sic) del commesso fallo. Vostre E ccellente S. ban presa qualche ammiratione ; dove io, insieme seco pensando et recognosciutomi dell' errore in qualche modo partecipare, massime che questa colpa sua della dilatione a tutto mio comodo fia reduntata, confesso ingenuamente che di tal caso 1' obligatione e carco debbi esser mio verso di quella, et tanto piu lo confermo che dala banda del Cavaliere par che si defenda ill falo dalla professione del pittore, quale (si come a poeti spesso avvenir suole) da furore e tirato e sforzato di modo, che volendo dalla presa opera desistere, facilmente non possi. Anchora io per la verita quasi allucinato et fatto vago nel operar suo, ho presa troppa confidenza di Vostre Eccelse Signorie per non haverlo al venir sollecltato, come sarea stato bisogno. Ma ben le fo certe che con tanto piu fervore al servitio loro si presenta, che ogni tardita usata col valore et eccel- lenza dell' opera, ch'egli fara, lia compensato. Per tanto ed oltre per amor mio Vostre Signorie saran contente (remosso qual vi fusse nato sdegno) con grata fronte riceverlo, del che degna e la sua virtu et servitu tiene con le medesime fidelissima. Siche io meritamente et come persona da me molto diletta, di tutto buon cuore lo recco- mando. Alle quali da buon figlio et servitore sempre m'offro e raccomando. Di Piombino a' XII I. d' Agosto ^539- II Principe di Piombino. DOCUMENTS 329 No. 26. Award made by VannoccIO DI PaOLO Biringucci in a suit between the brothers, GIOVANNI and Arduino Arduini, and Cavaliere Giovannantonio, alias SODOMA, as to the value of the painting of the ''Adoration of the Magi,'' now in the Church of S. Agostino in Siena. Arch. Not. Prov. Siena. Filza 5 dei Lodi di Ser Francesco Figliucci. {Atti Notarile.) Rep. A, Busta 580. 1536, 13 d'Ottobre. Noi Vannoccio di Pauol Biringucci arbitro et arbitra- tore, e terzo eletto e chiamato da li spectabili Giovanni et Arduino Arduini Cittadini senesi da una parte, e'l magnifico cavaliere Misser Giovannanf, alias Sodona, dipentore, da 1' altra, a decidare et mozare certe loro liti et differentie in fra decte parti vertenti per causa, come nel compromesso in noi facto in la corte de la Mercantia, rogato ser Francesco Figliucci notaio di decta corte, ad pare ; onde visto el decto compromesso in noi facto, et viste le ragioni de le parti, et intesole piu volte tanto insieme, quanto di per se ; per por fine a le decte lor liti, tale in fra decte parti lodo et arbitramento diamo, cioe : Christi nomine invocato ; imprima giudichiamo, per haver decto cavalier facta una tavola in Sancto Agustino per li decti Arduini, li decti Arduini per la mercede et factura di decta tavola havere integramente pagato, et li absolviamo di decta factura di decta tavola in tutto et per tutto, et di tutto che havesse facto in la cappella. Item, condanniamo li decti Arduini a restituire al decto cavaliere un tondo di mano di decto cavaliere, dove e dentro una Nostra Donna, una santa Lisabetta, et un santo Giuseppe, tutt'hora e quando el decto cavaliere dar^ a li decti Arduini scudi sette : el quale tondo se intenda doversi restituire con tutti li suoi fornamenti, cio^ el festone dorato, nel essere che si trova. Item, di tutte le altre cose vertenti infra loro, le decte parti liberiamo et absolviamo I'una parte e 1' altra, el' altra e r una : et questo giudichiamo, lodiamo, et arbitriamo 330 APPENDIX non solo come di sopra, ma in ogni miglior modo che lodare et giudicare si puo. 10 Vannoccio Biringucci albitro sopradetto giudico et lodo come di sopra e scritto, et in fede questo xiii. d'Ottobre ho fatto questi versi di mia mano propria. Anno Domini 1536. Indictione X, die xiii. Octobris. Latum fuit dictum laudum etc.^ No. 26 a. Extract from Phylolauro DA Cave, Lode delle Donne Senese. (Siena. Calistro Dubbioso di Simone di Niccolo. Dec. Sth, I533-) Canto X. Chaterina Rincontri, donna di Marcello Petrucci. Stanze 14, 20, 21. Sel Sodoma, sel Riccio e Mattheo tosto Ch'el mio Castello e la mia Patria honora, Se Mecarino al colorir disposto O chiunque ai nostri di sculpe e colora 11 volto (ove con 1' arco amor s' e posto), Havessen visto over vedessen ora Di questa che ciascun 1' adora e brama, Saria piu chiara (ch' or non e) lor fama. Ne Sodoma quel volto almo e divino (Quantunque bello) co' tre Magi avanti Dentro nel sacro tempio d' Augustino Haria dipinto, co' molti altri Santi Su r altar (ch' e alia porta piu vicino), Ne Mattheo tosto fatti altri sembianti Harebbe in Cave dentro al sacro tempio Di quel di cui le pietre fer gran scempio. Ne Bastiano haria Venetia plena Ne di piu volti e piu figure ombrata Ne Sodoma, ne Riccio harebben Siena Ne Mecarin d' altre figure ornata ^ Usual legal forms and recognitions of the signatures follow. DOCUMENTS 331 Se di costei la fronte alta e serena Gli occhi e 1' effigge di belta dotata Tenuta havessen sempremai davante Ma del suo rara anzi divin sembiante. [Were Sodoma, Riccio, and Matteo eke, Whom my city and my country honour, Were Mecarino to paint inclined ; Or those in our day, who carve or paint, The brow (where Love's archer crouches) Could have seen, or yet should study now That face whom each of us adores, or yearns, Their fame (which now 'tis not) would more resplend- ent shine. Nor Sodoma had, that brow, dearest and divine (Gracious though it be) with the Magi three before her Within Augustine's sacred fane So painted with Saints unnumbered, O'er the altar, set nearest to the gate ; Nor e'en Matteo would those forms create In Cave within the hallowed shrine Of him to whom the stone did such grievous hurt.^ Nor Bastiano would all Venice fill Nor with more faces and more forms o'ershadow. Nor Sodoma have, nor Riccio would Siena Nor Mecarino, with other shapes adorn. Had they, her brow so lofty and serene, Those eyes and form with beauty dowered. Held evermore before their minds. E'en that semblance rare, that form almost divine.] In the Siena Library there is a charming little copy of this book, minus the frontispiece and colophon. It is bound in brown leather with the following inscriptions : O FALLAX AMOR CUR TUA FAX URIT (on the face) : ESTO GUSTOS CORDIS MEi ; ROGO (on the back). ^ St. Stephen. 332 APPENDIX No. 27. Purchase by "GIOVANNI Antonio di Giacomo de Bazis, PiCTOR, DE Verz" of a house in the Via Vallerozzi. (Arch. Not, Prov. Siena. Rogiti di Ser Corti Bal- dassare da Pienza \Gestioni Notarili Anteriori aWanno 1585]. Rep. A, Busta 988. Atto No. 192.) Cessio jurum et locatio facta Sogdome Pictorj. Anno domini 1534. Indictione viij die vero xxiij Ottobris Paulo Tertio summo Pontifice et Carulo quinto romanorum Imperatore. Ex serie presentis publici instrumenti omnibus evidenter appareat et sit notum. Qualiter Sebastianus olim Andree calzectarius de Senis per se etc. et eius filios masculos et durante eius linea maschulina dedit cessit etc. magnifico et generoso equiti domino Johanni Antonio Jacomi de Bazis pictorj de Verze alias el Sogdoma presenti etc. omnia iura et actiones etc. quas et que dictus Sebbasti- anus habet etc. in et super quadam domo sita in civitate Senensi in Terzerio Kamollie et in Contrada Vallerozi et populo Sancti Donati, cui ex uno Luce (Posse?) {sic) ex alio domine Caterine relicte Luce de Gallis, ex alio via comunis etc. et si qui sunt etc. quam dictus Sebbastianus habet tenet et possidet et durante eius linea maschulina ad pensionem perpetuam recepit pro florenis sex pro quolibet anno a fratribus capituli et convenctus Sancti Francisci de Senis prout de tali perpetua pensione latius constat et apparet per publicum instrumentum manu ser Melchioris magistri Pretiani notarj publici, quod instru- mentum in publicam formam redactum eidem magnifico equiti idem Sebbastianus dedit et consignavit in presentia mei notari et testium infrascriptorum et omnia eius jura et actiones de quibus supra eidem dedit cessit et concessit, et quas et que idem Sebbastianus habuit vigore dicti instrumenti in et super dicta domo. Ad habendum etc. DOCUMENTS 333 cum juribus omnibus et cum accessibus etc. et cum omnibus etc. pretio et nomine veri et justi pretij flore- norum quatraginta de libris quatuor etc. de quo pretio dictus Sebbastianus fuit confessus et recognovit eidem magnifico equiti se ab eo habuisse et recepisse libras septuaginta denariorum in brachiis 22 et ^ panni accor- dellati ispani per manum Hieronimi de Goris camerari montis et salis magnifici comunis et libras quinquaginta duos solidos quatuor denariorum in pecunia sibi in pluribus vicibus a dicto magnifico equiti numerata et libras triginta otto solidos 15, denarios 4 pro residuo dicte summe flore- norum quatraginta dictus magnificus eques dedit solvit et numeravit dicto Sebbastiano presenti etc. in pecunia numerata in presentia mei notari et testium infrascriptorum et non sub spe etc. et illud quid plus valerent dicta eius iura etc. dedit et donavit etc. et dedit et donavit etc. et dedit licentiam etc. quam tenutam etc. et nichilominus etc. et promixit dictam domum et jura ipsius Sebbastiani supradicti per se et eius lineam maschulinam non tollere etc. sed ipsam et ipsa pro suo dicto et facto tantum defendere a dicta eius linea masculina prout supra et statim mota lite etc. et ex dictis titulo etc. dedit cessit etc. costituens etc. asserens etc. quod si contrafactum fuerit etc. cum pacto tamen in principio medio et fine presentis instrumenti apposito et solemni stipulatione vallata inter dictas partes quod dictus magnificus eques durante linea maschulina dicti Sebbastiani et ipso Sebbas- tiano vincte teneatur et obligatus et ita per se etc. promisit et se obligavit eidem Sebbastiano presenti etc. eidem Sebbastiano et eius filiis maschulis et linea maschulina predicta dare solvere et numerare pro pensione et nomine pensionis dicte domus florenos sex pro quolibet anno durante vita ipsius Sebbastiani et eiusdem Sebbastiani linea maschulina durante prout sicut et quemadmodum dictus Sebbastianus teneatur solvere dictis fratribus capituli et conventus. Et ita in dicta annua pensione dictus magnificus eques fecit et constituit se principalem 334 APPENDIX debitorem et pagatorem dicto Sebbastiano, Et ipsam annuam pensionem promixit et se obligavit solvere eidem Sebbastiano et eius Hnee maschuline de tribus mensibus in tres menses absque aliqua exceptione juris vel facti, et ab inde in antea etc. quarum solutionum etc. cum refec- tione etc. Et cum pacto etiam predictus magnificus eques non possit aliquo modo deminuere stantias dicte domus videlicet de duobus stantiis unam et facere aliquam fracturam in dicta domo vel aliqua bonificamenta absque expressa licentia dictorum fratrum capituli et conventus, que omnia et singula supra et infrascripta dicte partes ad invicem promixerunt attendere etc. sub pena duppli etc. quam penam etc. et dicta pena etc. pro quibus etc. obligaverunt etc. renuntiarunt etc. iuraverunt etc, cum guarantigia etc. Rogantes etc. Actum in Civitate Senarum in palatio domini Potestatis in Residentia dominorum 9 et 5, coram et presentibus Angelo Francisci de Ranconibus cive senensi et Hiero- nimo Sanctis notarii curie dictorum dominorum 9 et 5, testibus etc. Ego Baldassar Curtus not. subscripsi una cum supra- scriptis apostillis. No. 28. Extract from NOTA DELLE FIXTURE DI Tavole, che ha fatto in Duomo alii altari, et altrove M"- Giovanf- Sogliani, pittore fiorentino, et loro stima. (Arch, del Capitolo, Pisa, Filza Z., p. 357.) La tavola della Pieta titulo di San Barto- lomeo in sagrestia, stimata a di 5 di maggio 1541 . . . . . . scudi 80 SoDOMA \ II quadro in tela, che e la storia d'Abramo scudi 42 Tanto fu stimato d'accordo a di 23 di luglio 1542. DOCUMENTS 335 No. 29. Extract from NOTIZIE INEDITE DI S. MARIA DEL PONTINOVO. Leopoldo Tanfani^ Pisa. Nistri, 1871. P. 114. Niuno e che ignori come uno degli altari di Santa Maria della Spina avesse 1' adornamento di una tela colorita daGiovannantonio Bazzi da Vercelli, sopran- nominato il Sodoma, e anche il Cavaliere, il quale vi dipinse la Nostradonna con molti Santi. Apparisce dai documenti da noi rinvenuti che questa opera di pittura, la quale ora si conserva nella Accademia pisana di belle arti fu eseguita dal Sodoma nel 1542, e che egli ne ebbe li prezzo di 526 lire e 10 soldi. Peraltro non resto com- preso in questa somma il valore dell' azzurro oltramarino da lui usato nel quadro, colore che avea molto pregio, siccome e noto, perche si traeva dai lapislazzuli ; che anzi il Sodoma venne in discordia con I'operaio della Spina intorno al prezzo di esso, e si tenne mal sodisfatto de' sei ducati d' oro che n' ebbe/ 1 Doc. XXX. XXXI. Dal seguente ricordo dell' operaio del Duomo si vede come fosse caro il prezzo dell' azzuro nel secolo XIV.: " Maestro Antone di Franciescho dipintore da Fiorensa, lo quale dipingie in Chanposanto la storia di Santo Ranieri, de' dare a di 7 di dicienbre 1385 soprascritto fiorini dodici d' oro, li quali diei per lui ad Aldobrandino spesiale per uncie vij d' azurro, portoleli ser Giovanni fattore dell' opra a bottegha sua." Archivio dell' Opera del Duomo, Memorie delV operaio, I. c. i8. Di un allievo del Sodoma, non ricordato dagli eruditi commentatori delle Vite del Vasari, trovasi memoria nella Entrata e Uscita dell' opera dell' Spina del 1543; e questi ^ maestro Giammaria pittore, il quale dipinse quattro candelieri, e fece altri lavori per quella chiesa. Archivio degli Spedali Riuniti., filza 1762, c. 5, e6. P. 217. XXX. Z' operaio di S. Maria della Spina paga 33 scudi d' oro al Sodoma in conto di un quadro per delta chiesa. 1543, maggio 16. (A. S. R. Entr. e Use. dell' opera della Spina ad annum.) Et piii lire dugentoquarantanove date al Cavalieri ditto il Soddoma 336 APPENDIX No. 30. Letter from PlETRO Aretino to " SODONA." (Lettere. Parigi, 1609, lib. iii. p. 163.) 1545. dAgosto. Al Sodona. lo nelloaprirde la lettera mandatami, leggendociinsieme il vostro nome col mio, cosi me ne risenti sin'nelle viscere, come se noi ci fossimo 1' un con 1' altro di presente abbrac- ciati con quel' cordiale affetto d' amore, con che ci solevano abbracciare ; quando Roma, et la casa d' Agostin' Chisi cotanto ci piacque ; che ci saremmo cruciati con chi ci havesse detto, che pure una hora non rimarremo senza. Ma ne gli aggiramenti del mondo anco le genti si aggirano. Onde costui, e colui, quelli, e questi, costoro, e coloro sono trasportati da le sorte de i casi in alcune parti ad habitare, che non mai pensarono di vedere. Che il mio cavaliere mille volte caro, mille volte da bene, e mille volte galante. Certo che sete non risuscitato, nella memoria mia ; che in vero non ci moriste mai ; ma ringiovanito nel modo che vorrei, che ringiovanissimo noi. Ma a che proposito il dico, se nello invecchiar nostro nella etade haviamo sempre fanciulli i pensieri ? che cosa hanno a fare le virtu de le richezze, se ad altro non son' buone, che a consumare le menti di chi le possiede con la miseria de 1' ansia, che meno ne gode quanto piu ne ripone? io per me ho speso in questa in scudi trentatre d'oro per parte della taula, come apare riceuta di sua mano. P. 218. XXXI. Altri pagamenti che fa detto operaio al viedesimo pittore in saldo della tavola predetta 1543, gennaio 8 febbraio i. (A. S. R. ivi, ad annum.) E a di ditto lire dugentosetantasette, soldi dieci, date al Cavalieri ditto il Soddoma per resto della taula senza 1' asurro intramerino, che r abbiamo rimissa in Messer Antonio Benucello. E a di primo di ferraio ditto messer Antonio giudicb che li dovessi dare lire quarantacinque in scudi sei d'oro, che non li voleva, et tenevasi mai pagato. ^ DOCUMENTS 337 citta un* thesoro si fatto, che non e principe, che ritrovando- selo, non gli paresse haverne assai. E se bene alcuno me ne riprende, a me piu rallegra 1' animo 1* esserne suto libe- rale ; che non fa il nome, che spero lasciar' di me a i secoli, che verran dopo di noi. Si che viviamo il termine da Dio stabilitoci ; ringratiandolo in tanto del dono concessoci da la piet^ del suo conservarci in vita ; mentre piu de i conos- centi nostri ne sono iti sotterra, che voi non havete mosso colpi di pennello e io tratti di penna, da che siam' diventati famosi nell' arte del pingere, e dello scrivere ; ma ben'ci dara Christo di rivederci anco un' giorno. Del che sup- plico la bonta di lui, che cio sia tosto. In questo mezzo attendiamo a visitarci con la presentia de le carte e se avviene, che ve n' andiate, qual mi dite, a Piombino, basciate la mano al Signor' suo in mia vece. Di Agosto in Venetia MDXLV. No. 31. Inventory of Goods left on his Decease by GIOVANNI ANTONIO Bazzi. Arch. Not. Prov. Siena. Rogiti di Ser Luca di Mariano Salvini d' Asciano. No. 2386. Rep. A, Busta 941.^ 1548-49. 14 di Febbraio. Anno Domini 1548. Indict : 7, die vero Jovis xiiij. Februarij. Inventarium bonorum acceptorum in testamento a domina Beatrice olim filia Luce de Gallis sive Corona, et relicta domini Johannis Antonii Sodone, pro parte suarum dotium, et vigore sui instrumenti dotalis. Una vigna in Curia Archiepiscopatus in Comuni Murli cum domo, casalone, et cellario cum omnibus massaritiis, et juribus, Piu teste et antichaglie et cose da pitori existenti in una ^ In the margin is written, Inventario bonorum di /' Ant'- Sodone. 22 338 APPENDIX stanzetta di suo (sic) casa : 6 cassette con colori et altre cose; una credentia, tre sedie di legno ; 6 altre casse ; 3 altre sedie, due 2 di legno, et una di stiancia (sala) nuove ; 2 spade. I quadro di Leda ; una Lucretia : i tavoli con Chisto (sic) che porta la croce ; uno quadro con S. Tomme ; 1 Christo in resurrectione : i quadro con Christo in appari- tione a la Nostra Donna ; un ritracto di Pandolfo Petrucci, I tela abbozata con Christo morto, 2 cabbie con filo di rame, e schannello con 2 porfidi con quadri di pietre miste ; 3 pezzi di marmi ; i teladi paesetti ; la Nocte, o vero fornace da bichieri ; i tavola, 4 intarsiate, i scannello vechio ; 3 tele di paesi ; i Christo alia Colonna ; i quadro di Nostra Donna in tela ; i quadro di S. Caterina, di legno ; 3 ritracti ; I quadro con cornice intagliata : i quadro abozato del Archivescovo ; i predella d' altare missa a oro ; i pila di macigno ; 1 quadro di S. Michelangelo ; i tela longa di tre bracia principiata ; 2 ritractati (sic) la Saracina, e la Toscana ; i altra credentia ; el papagallo con cabbia ; i tavola grande di bracia 6 in 7 d' altare con ornamento, di Nicolo di Bogino ; 5 deschi ; 4 pezzi di cornicioni di nocie ; I matarazo ; i lecto ; 4 lenzuola ; 2 cuperte ; 3 cucciette ; la madia ; i stanzetta con piu legnami, e altre bagaglie di poca valuta ; i tavola d' altare grande; 2 colonne di pietra; 1 botte nuova, ferri da fuocho, e tavoletta da mangiare ; 2 tovaglie ; i sciugamano ; piu vasa ; 30 pezi fra teste e piei ne lo studio ; 31 vasi picoli e grandi ; 1 istoria di marmo murata. I quadretto di Christo ; piu cose turchesche. I tondo di terra con istoria ; 4 pezi di mistio. Actum Senis in Terzerio Kamollie, populo Abbatie S. Donati in domo dicti dom'im yo/iannzs A n^onn Sodone coram, etc., etc., et presentibus Julio Andree Cereario e Mag" Augustino Tome Pometti Muratore Ego Lucas Salvinus notarius rogavit et suscripsit. DOCUMENTS 559 No. 32. Letter from P. TrAP?OLINO to MESSER ALESSANDRO CORVINI. Lettere PittoricJie del Mgr. Giovanni Bottari, vol. v., Lettera 42/ p. 177. (Mitano : Giovanni Silvestri, 1822.) A Messer Alessandro Corvini.^ Ho scritto un ahra volta a Roma, e non- ho scritto a V. S. Questo procede che non aveva ancor fatto niente, e ancor perche 1' agente del Papa mi diede troppa prescia.^ Sono stato da mastro Riccio il quale e ammalato, e mostra d' esser un gentil par suo. Ho visto le tegole, che in vero sono belle; ma piu quella del Milone, che mi par che sia un Ercole, perche nello spoglio del leone e fessa de sommo ad imo, ed ha guasto un capo del toro. Ho- visto la testa dal S. Giovanni, la quale e bellissima, ma tarlata assai. Ho parlato del prezzo. Mi disse che il Sodoma suo suocero compro la testa dal S. Giovanni per 10 scudi. Credo che si avrebbe per la meta. Delle tegole mi ha detto che sono della dote della moglie che fu figlia de SodoTna e pero sta un' po' sulle sua. Son ben informato che e una persona da benissimo, e che si puo sperar da lui ogni cortesia e ogni discreto partito. Mastro Pierantonio Barbiero e vivo, ma non gli ho parlato. Conferiro ogni cosa con lui. II detto Mastro Riccio non ha il Satiro, che non si trovo alia morte del Sodoma. Ne ho parlato al Mastro Giuliano orefice, il quale al presente si trova a Siena. Non man- chero di far cio che m' ha comandato in ogni cosa, ec. Essendo andato a vedere le cose del Pastorino, mi sono '^ This letter is also to be found in Lettere Facete, ec, di diversi uomini grandi, ec, raccolte da M. Francesco Turchi, Vinegia, 1601, lib. 2, lettera 14. ^ In a letter written by Cardinal Bembo from Padua dated Jan. 28th, i533> to M. Flaminio Tomarazzo, then living in Bologna, he mentions a certain Messer Niccolb Trappolino, calls him an ancient and learned personage {^persona dotta e antica), and addresses a letter to him which he encloses with the one written to Tomarozzo. ^ Prescia is a Roman word and means hurry. 340 APPENDIX tanto innamorato di un ritratto di piombo d' una Tullia Tolomei, che e troppo gran cosa, in fe di gentiluomo. Or pensate come staro quando veda le vive, se quelle che sono senza spirito mi fan questo ? Vi dico ben che non ho visto il piu bel profilo, ne altro ritratto di donna di Siena, ne quel della Valle, ne di una Perugina, che era innamorata del ... la quale invero e bellissima, ec, ma questa pero avanza tutti gli altri. Oh vedete, se io son dolce di cuore. State sani, ec. Di Siena, il di . . . del 51. Servitor. P. Trappolino. PICTURES BY GIOVANNI ANTONIO BAZZI, CALLED " SODOMA." Note. The student should observe that the author, in compiling these lists of Paintings and Drawings, has in great part allowed himself to be guided in his selection by the consensus of opinion among his more able predecessors. He therefore invites attention to the Notes appended to each picture, since he has there endeavoured to state briefly the sources of his information. Such attention is specially important in the case of the Lists of Attributed Pictures atid Drawings, in which many works are included which are certainly not by Bazzi. Moreover, it should be further remarked that in certain of the older sources of information examined when preparing this study, such as, for example, the MSS. of Romagnoli, a yet larger number of paintings, etc., are attributed to Bazzi, which have either totally disappeared, cannot be identified, or, in a few cases, are so obviously incorrectly christened, that to admit them would needlessly lengthen this work. This has been done to forestall criticism in view of the absence from the text of all comment on, and consideration of, these works. ITALY SIENA. Palazzo Pubblico (Sala delle Balestre). 5". Victor. Fresco. S. Ansano. Fresco. The Blessed Bernardo Tolomei. Fresco. (Chapel.) The Holy Family with S. Leonard. Panel. Formerly the altarpiece of the Chapel of S. Calixtus in the Duomo. Removed thence in 1681. (Sala del Sindaco.) The Resurrection. Fresco. One of the soldiers is said to be a portrait of the artist himself. Moved here in 1842. 341 342 APPENDIX (Sala del Matrimonio.) Madonna and Child with SS. Ansano and Galgano. Fresco. Painted in 1537. (See Frizzoni, Arte del Rinasci- mento, etc., p. 103.) (Sala dei Registri.) An Eagle with two Putti supporting Shields. Fresco. Charmingly executed and in excellent condition. Formerly part of the Resurrection. (See above, and Siena e il suo Territorio, p. 240.) Moved in 1842. Chapel in the Piazza del Campo. Madonna and Child with Saints. Fresco. Very badly injured, and much restored by Liborio Guerrini in 1800. Perhaps by others since. Oratory of S. Bernardino. The Presentation of the Virgin. Fresco. 1518. The Salutation . . The Assumption . . ,, 1532. The Coronation . . - . ,, 15 18. S. Anthony of Padua S. Francis of Assisi. S. Louis of Toulouse Church of S. Francesco. Putto and angels over the Piscina in the Sacristy. Fresco. Church of S. Domenico (Chapel of S. Catherine of Siena). The Swoon of S. Catherine. Fresco. Her Ecstasy . . . ,, S. Catherine prays for the Soul of a Crhninal. Fresco. Figures of a Pi'ophet and an Evangelist ,, (On the vault of the chapel arch.) J^he decoration of the arches. GENUINE PICTURES 343 (Chapel of the Rosary.) God the Father, with Cherubim, and Saints Catherine, Sigismund, Dominick, and Sebastian. Canvas. View of the town of Siena below. In the centre is set an ancient painting of the Madonna. (See Vasari, Op. cit., p. 395 ; Frizzoni, Op. cit., p. 163, note.) (Sacristy.) The Assumption. Banner. Charming colour. View of Siena below. Much repainted. Exhibited at La Nostra dell' Arte Sacra, Siena, 1904. House of S. Catherine (Lower Chapel). Frieze of Putti. Fresco. Over the altar ; below a painting by Pacchiarotto of S. Catherine receiving the Stigmata. Accademia delle Belle Arti. Room VIII. 360. Madonna and Child with two Angels. Panel. ,, ,, 361. Pieta. Panel. , ,, 326. Madonna and Child with two Angels. Panel. ,, 327. Two Guild Brothers kneeling before the Cross. Panel. Portions of a bier, formerly belong- ing to the Compagnia di Fontegiusta. ,, 352. Christ bound to the Column. Fresco. Portion of a larger composition. Brought from the Cloister of the Con- vent of S. Francesco in Siena in 1841. ,, ,, 354. Judith. Panel. Probably part of a set of pictures painted for the Palace of Pandolfo Petrucci. (See Karl Schuchhardt, Jahrbuch der Konig. Preuss. Sam., vol. 18, 1897.) 344 APPENDIX Room VIII. 358. The Adoration of the Magi. Small panel. Possibly a sketch for the larger picture in S. Agostino. M X. 401. The Agony in the Garden. Fresco. > ,,443. The Descent into Limbo. ,, These two frescoes, with a third, now at S. Eugenia, Monistero ( ViUa Griccioli\ were removed in 1842 from the Chapel of the suppressed Com- pagnia della Croce. They were painted in side niches. Fragments of work by the artist's pupils still remain in the desecrated church (now the Palestra Comunale). I* ,,413. The Descent from the Cross. Panel. On the predella 5 Scenes from the Passion. Formerly the altarpiece in the Cinuzzi Chapel at S. Francesco in Siena. Removed after the fire in August 1655, it was taken to the Picture Gallery in 1862. Restored by Giuseppe Collignon, 1829. (See Romagnoli, Biografia etc., MS) The smaller scenes are by a pupil : perhaps Vincenzo Tamagni or Michel Angelo Anselmi. ,, XI. 512. The Nativity. Tondo, panel. Removed from the Eremo at Lec- cetto. Padre de Angelis in his Raggu- aglio del nuovo Istituto delle Belle Arti (18 16) suggests that he sees in the angel here a portrait of Bazzi himself, as a youth. Church of S. Agostino (Piccolomini Chapel). The Adoration of the Magi. Panel. The head between the trees, praised by Vasari, ig GENUINE PICTURES 345 said to be a portrait of the painter himself. Painted for the Arduini family, and paid for in 1536. (See Frizzoni, Op. cit., p. 152 ; Langton Douglas, History of Siena, p. 404.) Church of the Carmine (Chapel of the Sacrament). The Nativity of the Virgin. Panel. Genuine but much darkened. Exhibited as above. Attributed then to Giomnio (sic) del Sodoma. Church of S. Spirito (Spanish Chapel). The Virgin, accompanied by SS. Lucy and Cecilia and two angels, is placing the habit of a bishop over the head of S. Alfonso. Below are ^vS*. Michael and Nicholas of Tolentino. On either side of these SS. Sebastian and Anthony the Abbot. Above, S. James on horseback tramples on the Saracens. Painted 1 530. The lower lunette and 6"5'. Michael and Nicholas are on panel. The rest is in fresco. The horse of S. James greatly pleased the Emperor Charles V., who is said to have bestowed the title of Count Palatine on the artist in consequence. This fresco was injured in the earthquake of 1798 and restored in 1800 by Liborio Guerrini. (See Romag- noli. Op. cit.) Original designs for this chapel are to be found in the Uffizi, Florence, and in the Becke- rath Coll., Berlin. Church of S. Giacomo (Contrada della Torre). Christ bearing His Cross. Panel. Fifteen life-size figures. Formerly an altarpiece in the church of the Compagnia della Croce. Removed in 1842. Much darkened. Supposed to have been his last work. (See Frizzoni, Op. cit., p. 1 80.) Exhibited as above, 1904, as '' Maniera del Sodoma.'' Church of S. Maria sotto le Volte dello Spedale. The Holy Family. Panel. Fine painting, but restored. Given to the 346 APPENDIX Confraternity on November 27th, 1672, by Fedro Cinuzzi. (See Romagnoli, Op. cit.) Exhibited as above, 1904. Porta Pispini. Tke Adoration of the Shepherds. Fresco. Magnificent work, but dreadfully injured. Partially restored in 1899. Casa Bambagini Galletti (Via di Stalloreggi). Pieta. Fresco. Commonly called the Madonna del Corvo. Much injured. Glass washed and repaired February 1900. Design for this in the Uffizi. Piazza Tolomei. The Holy Family with SS. John, Francis, Roch, and Crispin. Fresco. Commonly called Madonna de Calzolari. Com- pletely ruined by smoke and time. Church of S. Michele (formerly L'Abbadia Nuova or St. Donato). Two paintings of the Holy Trinity. Pieta. La Madonna Protettrice. Four panels for a bier. Fine, but unequal. The two first probably the work of pupils or assistants. Exhibited as above, 1904. Confraternity of SS. Giovannino and Gennaro. Madonna. S. John the Baptist. Pieta. S. Bernardino. Panels for a bier. (See Frizzoni, Op. cit., p. 164.) Villa Griccioli, Monistero (Chapel). The Way of the Cross. Much restored. (See above, p. 344.) GENUINE PICTURES 347 Villa Nerucci, Monistero (Chapel). The Nativity of the Virgin. Panel. Dated 1 540. Resembles in details the Marriage of Alexander and Roxana (Villa Farnesina, Rome). Much restored, and cruelly over-painted and var- nished. Restored by Giuseppe Collignon in 1820. (See Romagnoli, Op.cit. ; Delia Valle, Z^//^r^ Sanest, vol. iii. p. 269; and Frizzoni, Op. cit., p. 175.) IN THE SIENESE DISTRICT. SiNALUNGA, COLLEGIATA. Madonna and Child enthroned ivith SS. Sebastian, Roch, and Anthony the Abbot. Panel. A very large painting. Much restored. (See Frizzoni, Op. cit., p. 168.) MONTEPULCIANO, PiCTURE GaLLERY. The Holy Family. Panel. Beautiful picture, but injured. Montalcino. The Banner of the Republic. Exhibited as above, 1904. Terribly injured and added to later by an inferior hand. Convent of S. Anna in Creta, Pienza (Refectory). The Miracle of the Loaves and Fishes. Fresco. (End wall.) In three parts. Centre part in good condition. Right-hand portion much injured by damp ; left-hand by restoration. Circular portraits of male and female Saints of the Olivetan Order. Fresco. (Wall on the left.) Divided by scenes from the Life of the Virgin in monochrome. Much injured in parts. Two or three of the portraits and some of the scenes are still in fair condition. (Wall on right.) Similar frieze, practically destroyed. 348 APPENDIX Pieta. Fresco. (Entrance wall. Over the door.) In good con- dition. Note Umbrian characteristics. Madonna and Child with S. Anne and two Olive tan Monks. Fresco. (On the left hand of door.) Very much damaged by damp. The Holy Child's face quite obliterated. There is a free copy of this work in the church by an inferior hand. A Bishop with six Olivetan Monks. Fresco. (On the right.) Fair condition. Head of Christ. Fresco. (In the arch over the door.) In good condition, but the surrounding decoration has almost entirely disappeared. Convent of Monte Oliveto Maggiore, near Chiu- suRi (Cloister). Frescoes. 1 . S. Benedict leaves home for school in Rome. 2. S. Benedict abandons the school. 3. S. Benedict mends the Broken Cribble. 4. S. Benedict receives the Hermit's Habit. 5. The devil breaks the Bell attached to a basket^ which a hermit is letting down to S. Benedict. 6. A priest inspired by God takes his Easter meal to S. Benedict. 7. S. Benedict preaches the Gospel to the Shepherds} 8. The Temptation of S. Benedict. 9. Some hermits invite S. Benedict to become their Superior. 10. The attempt to poison S. Benedict. 11. 5. Benedict completes the building of twelve monasteries. 12. S. Benedict receives the two Roman youths^ Maurus and Placidus. 1 A drawing for this (formerly attributed to Timoteo Viti) is in the UffiziColl., No. 1357. ~ GENUINE PICTURES 349 1 3. S. Benedict exorcises a devil from a monk. 14. S. Benedict produces water from a rock. 15. The Miracle of the Hatchet. 16. S. Maurus saves the life of S. Placidus. 17. The Theft of Bread and Wine. 18. The wicked m^onk Fiorenzo makes another attempt to poison S. Benedict. 1 9. Fiorenzo introduces loose women into the convent. 20. 5". Benedict foretells the destruction of Monte Cassino. 21. S. Benedict obtains flour in abundance and restores the Monks. 22. S. Benedict appears to two monks when away from home a^id gives them directions as to the construction of a monastery. 23. S. Benedict having excommuiticated two ituns, absolves thetn after their death. 24. S. Benedict carries the Host to the body of a sinful monk, whom the earth refused to receive. 25. 5". Benedict pardons a monk, who, wishing to escape from the convent, finds a serpent in his path. 26. 5". Benedict sets free a peasant who had been bound by marauders. S. Benedict founding his Order. (Cut in half and very much injured by the insertion of a door leading into the church.) Christ at the Column. Christ bearing His Cross. (These two are on either side of an arch leading from the cloister.) (On the stairs) The Coronation of the Virgin. Much restored. (In the Superior's reception-room. Near the ceiling) Head of the Madonna. Charming fragment. 350 APPENDIX Castello di Trequanda (Church of Collegiata). The Ascension. Fresco. Cruelly injured. (See Frizzoni, 6^.V.,pp. 168-9, note 2.) San Gimignano (Loggia of the Palazzo del PodestA). Madonna with Saints. Fresco. Little remains except the cherubs supporting a curtain at the top of the picture. (See Frizzoni, Op. cit., p. 136.) Palazzo Comunale (Cappella del Pretore). S. Ivo doing justice. Fresco. Monochrome. Arabesque border decoration. Injured. ROME. Vatican (Camera della Segnatura). Ceiling decoration. Surrounding tondi by Raphael. Villa Farnesina (Bedroom). The Marriage of Alexander and Roxana. Fresco. The Family of Darius before Alexander. ,, The Forge of Vulcan. ,, Alexander and Bucephalus. ,, This last painting has been so much repainted that it no longer shows any trace of Bazzi's work. Has been attributed to Vasari. Palazzo Spada. 5*. Christopher. Panel. (On the back.) 5". Luke, in monochrome. (See Frizzoni, Op. cit., p. 144.) Palazzo Chigi. The Rape of the Sabines, or the Punishment of Rhea Silvia {?). Panel. Undoubtedly by Bazzi, though attributed to B. GENUINE PICTURES 351 Peruzzi. (See Frizzoni, Archivio Storico del Arte, p. 30; also Op. cit., p. 144.) [This is most probably the picture mentioned in no less than seven copies of a list of pictures once belonging to the father of Abate Galgano Ciaccheri and valued at 100 scudi. Bib. Com. Siena, D. VII. 21, pp. 305-18.] Villa Malta, Coll. of Count Bobrinsky. Allegorical Group ; perhaps a Char it as. Tondo, with a beautiful border of arabesques. Formerly in the Palazzo Chigi-Zondadari in Siena. Attributed by some authorities to B. Peruzzi. Palazzo Borghese. No. 459. The Holy Family. Very beautiful. No. 462. Pietd. Darkened by time. FLORENCE. Uffizi Gallery. No. 1279. S. Sebastian. (On the back). Madonna with SS. Roch and Sigis- mund and Guild Brethren {Flagellants^. Canvas. Formerly a banner of the Confraternity of S. Sebastiano in Camollia at Siena. Painted in 1525. Finished by Beccafumi. (See Romagnoli, Op. cit., and Milanesi MSS.) No. 282. Portrait of the Painter himself. No. 156. Ecce Homo. This picture and that of a similar subject in the Palazzo Pitti are practically replicas. Palazzo Pitti. Room XI. Portrait of a man. Ecce Homo. 352 APPENDIX Convent of Monte Oliveto. (Former Refectory.) The Last Supper. Fresco. Much damaged fragment Fine heads. PISA. Cathedral. The Sacrifice of Abraham. Canvas. The Entombment. ,, These pictures were restored in February and March, 1893. {SeQ Archivio Storico del f Arte, 1893.) MusEo Civico. (Suppressed Convent of S. Fran- cesco.) Room VII. No. 28. Madonna and Saints. Canvas. 1542. Formerly in the church of S. Maria della Spina. (As to this picture and suggested portrait of the artist therein, see Frizzoni, Op. cit., p. 177.) VOLTERRA. Palazzo Ricciarelli. The Marriage of S. Catherine. Attributed by its owners to Daniele da Vol terra, but said by Frizzoni to be of Bazzi's best period. NAPLES. Museum. Room II. No. 5. (Tuscan School.) The Resurrec- tion. Panel. 9 ft. 3 in. X 6 ft. 8 in. On label below " lo. Ant. Eques. Ve. Auct. F. A. 1535-" (See Gio. Batt. Pacichelli, // Regno di Napoli in Prospettiva, vol. i., p. 52.) VENICE. Palazzo Cappello (Layard). The Holy Family. Poor. (See Frizzoni, Op. cit., p. 158, note.) GENUINE PICTURES 353 BERGAMO. Galleria Morelli. No. 60. Madonna. Poor picture. No. 83. Fantastic portrait of a man. Canvas. Has been likened by Morelli to the work of Franz Hals {^Della Pittura Italiana, p. r52). REGGIO D'EMILIA. Church of S. Prospero. S. Homobonus giving alms. Panel 2*20 m. by 170 m. (See Frizzoni, Archivio Storico dell' Arte , 1895, p. 224, and Op. cit., p. 152, note. Attributed to Ber- nardino Zacchetti by Venturi. L'Arte, September October, 1901, fasc. ix., x.) BOLOGNA. Coll. of Contessa Zucchini Solimei. Christ appearing to His Mother after His Resur- rection. Panel 22 x 35 in. Much repainted, but probably genuine. (It should be observed that among the paintings recorded in the Inventory of goods left at Bazzi's death, mention is made of a picture of this subject.) TURIN. Picture Gallery. No. 50. The Holy Family. Resembles similar subject in the Pinakothek at Munich. [Se^post, p. 356.) No. 55. Madonna and Saints. Once the altarpiece in a church at Colle di Val d' Elsa. No. 376. Lucretia. Formerly (until i860) attributed to Giampetrino. (See Morelli, Op. cit., p. 155, note.) 23 354 APPENDIX VERCELLI. Coll. of Cav. Aw. Antonio Borgogna. The Holy Family, little S. John and an Angel. Tondo. Formerly in the Palazzo Scarpa at Motta di Livenza, and there attributed to Cesare da Sesto. Bought for 1 1, GOO fr. at the Scarpa Sale in Milan, November 1895. MILAN. Brera Gallery. Room XIV. No. 299. Madonna and Child with a Lamb. Bought in Cologne at the Sale of Baron van der Ropp, by Herr Habich of Cassel. Said to have been once in the Borghese Collection in Rome. It was formerly attributed to Leonardo, but was recognised by Morelli as by Bazzi from a poor photograph. Sold by Herr Habich to the Brera in 1891 for 8500 frs. Coll. of Dr. G. Frizzonl Penitent Magdalen. Fragment of a Madonna and Child. Coll. of M'''' Ginhouliac. Madonna and Child. Very beautiful, but unusual. Coll. of Sig. Silvestri. The Holy Family. Good picture, but injured. MusEo Civico (Castello Sforzesco). S. Michael. Panel 4 ft. i in. x 2 ft. 9 in. Legacy from Count Bolognini. (SeeC. J. Ffoulkes, Archivio Storico dellArte, 1894, p. 255.) GENUINE PICTURES 355 MUSEO POLDI PeZZOLI. The Virgin and Child with SS. John the Baptist and Catherine of Siena. Tondo. Exhibited (No. 171, ist Room) at the Mostra dell'Arte Sacra at Pistoia in 1899, under the attribu- tion of " Scuola Toscana del Secolo XVI." Early work. Attributed to Bazzi by Frizzoni and Jacobsen, but to Riccio by Berenson. Much injured. (See L! Arte, Sept., Oct., 1901, fasc. ix., x., p. 353.) Church of S. Tomaso. Dead Christ supported by the Virgin and adored by the Magdalen. Very much darkened, and hung in a corner of the Sacristy. Large picture. ARCORE, NEAR Milan. ViTTADiNi Coll. The Holy Family. Late Sienese manner. GENOA. Palazzo Bianco. Madonna and Child with S. John. Much injured by restoration. Resembles Gin- houliac picture above. Legacy of Prince Oddo of Savoy. OTHER CONTINENTAL COLLECTIONS VIENNA. Picture Gallery. No. 51. The Holy Family with little S. John. Small half-figures. Formerly in the Collection of Prince Eugene of Savoy. 356 APPENDIX MUNICH. Alt Pinakothek. No. 282. The Holy Family. Almost identical with a painting in the Royal Picture Gallery, Turin. (See above, p. 353.) BERLIN. Royal Museum. No. 109. Charitas. Attributed by some critics to B. Peruzzi. FRANKFORT-AM-MAIN. Stadel Art Institute. No. 42. Portrait of a Lady. Attributed variously to Paris Bordone and Sebastian del Piombo ; by Dr. Bode to Jan Scorel {Repertortum fur Kunstwissenschafty 1889, Band xii., Heft i., p. 76); by Burckhardt {Cicerone) to Dosso Dossi; now attributed by Dr. H. Weizsacker to Parmigianino. (See Frizzoni, Op. cit., p. 123, Morelli, Op.cit., p. 155 and note, and Cat. of Stadel Gallery.) Bought in Frankfort from the Coll. of King William II. of Holland. Very beautiful, and undoubtedly by Bazzi. Possibly a portrait of one of the Spannocchi. HANOVER. Public Gallery (Kestner Coll.). No. 35. Lucretia Romana. (See Frizzoni, Op. cit., and Schuchhardt, Op. cit.) Cumberland Gallery. No, 19. The Holy Fainily with SS. Joseph and Bernardino of Siena. Much repainted. Probably a late work. GENUINE PICTURES 357 HAMBURG. Weber Gallery. No. 99. Lucretia with bearded man and youth stand- ing behind her. Panel 71 J X 61 cms. Acquired in 1885 from the Habich Coll. at Cassel. (See Fritz Harck, Archivio Storico dell' Arte, 1891, iv. p. 84.) STRASBURG. Picture Gallery. The Holy Family seated under a tree. Badly retouched. (See C. Loeser, Archivio Storico deir Arte, 1896, p. 283.) TRIER. Madonna Enthroned. (See Allgemeines Kunstlerlexicon, vol. iii. p. 327. Frankfurt a/M. : Rutten & Loening, 1882.) BUDA-PESTH. Academy. No. 1230. The Kiss of Judas. No. 1 23 1. The Way of the Cross. The Flagellation. (Not exhibited.) Parts of a predella. CHAM BE RY (Chateau de Beauregard). Coll. of Count Costa de Beauregard. Christ bearing His Cross. Panel. Fragment. Early manner. (See Bruzza, Notizie, etc., p. 27 et seg.) STOCKHOLM. Royal Picture Gallery. Pieta. Panel 35 x 24 in. Repainted and discoloured. Resembles the Frizzoni Magdalen. Bought from Count Enrico Costa, Florence, 1904. 358 APPENDIX BRUSSELS. Coll. of M. le Baron Leon de Somzee. (Dispersed 1904.) Pietct. Dark in colour. Signed, '' Ex pietate Ber.'' Bought in 1876 from the Coll. Marcille (Paris) for 5200 frs. Engraved by Chapon. Bought by Due d'Aremberg for ^300. Sale Catalogue, No. 446. Leda and the Swan. (Not included in the Sale.) Bought from the same collection as the above for 500 frs. GREAT BRITAIN BERKSHIRE. LocKiNGE Park, Coll. of Lady Wantage. Madonna and Child with Infant S. John. Tondo. Grey tones. BuscoT Park, Coll. of Alexander Henderson, Esq., M.P. The Virgin and Child, SS. John the Baptist and Francis, Tobias and the Angel Raphael. 2 ft. x 2 ft. 6 in. Bought from Messrs. Agnew, who obtained it from Florence. CHESHIRE. High Legh, Coll. of the late Col. H. Cornwall Legh. The Holy Family, S. Elizabeth, and S. John. Tondo. Early work. Exhibited Burlington Fine Arts Club, 1898. LONDON. Dorchester House, Coll. of Captain Holford. The Nativity. Tondo. 42 in. diam. Formerly in the Palazzo Chigi-Zondadari in Siena. Exhibited at Burlington House (Old Masters), 1886, and Burlington Fine Arts Club, 1898. GENUINE PICTURES 359 Grosvenor House, Coll. of Duke of Westminster. The Holy Family. Pleasing composition. Much darkened and over- varnished. (Not catalogued.) Mentioned by Woltmann and Woermann, vol. ii. book iv. part ii. p. 684. Melbury Road, Coll. of W. Holman Hunt, Esq. The Holy Family. Cartoon washed with oils. Surrey House, Coll. of Lord Battersea. Madonna and Child. Attributed to Leonardo da Vinci. The original drawing by Leonardo for this composition is in the Uffizi, and replicas of the same subject abound. Cf. Palazzo Borghese, Rome ; Palazzo Borromeo, Milan ; Montagu House, Whitehall ; and Christ Church, Oxford, Collections. 65, Great Portland Street, Coll. of Mr. J. R. Saunders. S. Jerome in the Desert. A fine picture. Best period. (See Cust, Rassegna dArte, July 1905.) Coll. of Dr. J. P. Richter. Dead Christ supported by Two Angels. Bought in Venice by its present owner. Exhibited at the Exhibition of Italian Art, New Gallery, London, 1894, No. 167. (See Archivio Storico deW Arte, 1894. p. 255-) Madonna suckling her Infant. 26J x \g,\ in. Most probably the long-lost picture from S. Francesco at Siena. (See Delia Valle, Op. cit.y vol. iii. p. 255.) Exhibited at Burlington Housq ^Old Masters), 1904, No. 39. 36o APPENDIX 20, Avenue Road, Regent's Park, Coll. of Dr. L. MOND. S. Jerome in the Desert. Panel, 55 x 44111. This picture was bought at the Monte di Pieta in Rome by Morelli, from whose Collection it came into the hands of the present owner. (See Archivio Storico deir Arte, 1894, p. 255.) Exhibited at Burlington House (Old Masters) in 1891, and at the New Gallery, 1893-4, No. 201. Madonna and Child. Oval panel, 2 7-J x 21 in. Exhibited at the New Gallery, as above, No. 225. National Gallery. No. 1 144. Madonna with Saints. Panel i ft. 7 in. X I ft. 2 J in. Formerly in the Rosini Collection at Pisa. Pur- chased in Florence in 1883 by Mr. C. Fairfax Murray. Minor work. No. 1337. Head of our Lord. Canvas i ft. 2|- in. X I ijin. Purchased in 1891 from Herr Habich, of Cassel. The Figure of the Holy Child (in The Circumcision, of Luca Signorelli, No. 11 28). Painted for the Convent of S. Francesco at Volterra. Bought at the Hamilton Palace Sale, in 1882, for ^3150. Exhibited at Burlington House (Old Masters), 1873. MONMOUTHSHIRE. Hardw^ick Court, Chepstow, Coll. of E. Hartland, Esq. The Nativity. Panel 38 x 46 J in. Bought in Florence in 1875 from Mr. Jarvis, who procured it from a private chapel at S. Sepolcro, near Arezzo. In fine condition, GENUINE PICTURES 361 SURREY. Doughty House, Richmond, Coll. of Sir Frederick Cook. S. George and the Dragon. Bought from the late Earl of Shrewsbury, who purchased it from the Public Gallery in Siena (?). Exquisite colour. Exhibited at the Burlington Fine Arts Club, 1898. WILTSHIRE. CoRSHAM Court, Chippenham, Coll. of Lord Methuen. Ecce Homo. Panel 26 x i8f in. Figure nearly life-size. From the Rev. J. Sanford's Coll. SCOTLAND. GosFORD House, Coll. of Earl of Wemyss. The Holy Family. Tondo. 33 in. diam. Exhibited at Burlington House, 1886. No. 207. DRAWINGS BY GIOVANNI ANTONIO BAZZI, CALLED * SODOMA " SIENA. ACCADEMIA DELLE BeLLE ArTI. No. 81. Sketch for the Head of the Moor in the Adoration of the Magi (S. Agostino, Siena). Red chalk, iif X 9 in. Large sketch, much injured by worms. The Moor here has no beard as in finished picture. Upon the back is written Comite Faustino E.G. Spagnuolo mio Cniato (perhaps cognato). The paper has been folded like a letter. Exhibited Mostra dell' Arte Antica, Siena, 1904. No. 84. Study for the Cappella di Piazza fresco. Red chalk. 94 X 7 in. Good drawing in fair condition. Formerly in the Coll. of Abate Ciaccheri. (See Romagnoli.) Ex- hibited as above, Siena, 1904. No, 91. Study for the upper portion of the Descent from the Cross. Pen and ink washed with sepia. 9f x 7-J in. Spirited drawing. Variation in figure behind the Cross. Drawings from the Spannocchi Collection ex- hibited AS ABOVE, 1904. No. 94. Head of a Saint. Pencil. 28 X 20 in, Called in Catalogue "^ Christ.'' Photo : H. Burton, HEAD OF THE MOORISH KING. STUDV FOR "THE ADORATION OF THE MAGI.' S. AGOSTINO, SIENA. To/dce f> 362, GENUINE DRAWINGS 363 No. 63. Madonna and Childy Moors head, and two designs for hand with cup. Red chalk. 28 X 20 in. Studies for S. Agostino altar-piece (see above). No. 90. ^twAy {ox S. Jerome. Pencil. 28 X 20 in. No. 91. Study for S.Jerome. Pencil. 28 x 20 in. FLORENCE. Uffizi. Case 243. No. 43. Two studies from the statues of Rhea Silvia and Acca Laurentia by Giacomo della Quercia on the Fonte Gaia at Siena. Pen, ink, and wash. Attributed to Quercia, but much more probably by Bazzi. Case 344. No. 1934^. Portrait of a man. Pencil. Possibly himself Case 344. No. 1939^. Study for 5". Vittorio, Palazzo Comunale, Siena. Pencil. Case 343. No. 1479. Study for Marriage of Alex- ander and Roxana. Pen and ink. Formerly attributed to Raphael. Case 343. No. 1506. Miscellaneous fragments. Pen and ink. Case 343. No, 1935^. Two men in armour asleep. Red chalk. Perhaps sleeping guards for a Resurrection. Case 343. No. 564. Small Architectural Design. For the decoration of a chapel. Case 343. No. 562. Figure of a nun. Pen and ink. Small. Case 343. No. 565, 1507, 1508. A struggling woman, with other figures. Pen and ink. Three studies for the same subject. The latter two are signed "// Soddoma." 364 APPENDIX Case 343. No. 563. Study for Madonna del Corvo. Pen and ink. Case 345. No. 1644. Design for a ceiling, The Fall of Pha'ethon. Sepia. Once attributed to B. Peruzzi. Case 346, No. 1943. Architectural Design. Pen and ink. Perhaps for S. Catherine Chapel, S. Domenico, Siena. Signed " KS^^(7m." Case 347. No. 1743. Risen Christ. Red chalk. Case 347. No. 1936 r. S. Christopher. Red chalk. Study for the picture in Palazzo Spada, Rome. Case 347. No. 566. Head of a youth crowned with laurel. Pencil and water colour. Very beautiful. Probably a portrait. (Cf. Brit. Mus. and Albertina below. Cf A. C. Swinburne, Essays and Studies, 2nd edit,, p. 350.) In Portfolios not Exhibited. Sheet 324. No. 1357. Study for fresco at Monte Oliveto of iS. Benedict preaching to the shepherds. Sepia and brown ink. Attributed formerly to Timoteo Viti, but given to Bazzi by Morelli. ( German Galleries cit.,^. 309, note. ) No. 1937. Study for upper part of fresco decoration. Spanish Chapel, S. Spirito, Siena. Red chalk. 9-J X 6|- in. Variation. No. 1938. Group of struggling figures. Red chalk. 8 X \6^ in. No. 1945. The Trinity with Madonna and Saints. Wash and pencil. i7i X 12J in. Labelled '' Maniera del Sodoma'' but probably genuine. No. 10780. Kneeling monk. Pencil touched with white, 12J X 9 in, Photo: Eroztw HEAD OF A YOUTH CROWNED WITH LAUREL. DRAWING. UFFizi, flori;nce. To/ace />. 364. Photo : Ediiutnd Hoii/rhtou. THE HOLY TRINITY. DRAWING. UFFIZr. FLORENCE. To face fi. 364. GENUINE DRAWINGS 365 No. 1 078 1. Kneeling monk. Pencil touched with white. 1 2 J X 94 in. On the back of each of these are other sketches. On the former, a seated nude figure ; on the latter, more studies for the same monk. No. 10778. Kneeling figure. Red chalk. 8^ x sjin. Slight sketch, genuine. Perhaps S. John or a Shepherd. Santarelli Collection. T.30. 268. 5. Catherine fainting, supported by a nun. Pencil. 12J x 14 in. Fine large drawing. Reversed position of figures to those in the fresco at Siena. Genuine. T.31. 270. Large Descent from the Cross, with many figures. Sepia. (Formerly exposed in Case 438.) T.32. 271. A Similar Study, Pencil. TURIN. Royal Library. No. 1 5589. Female saint carrying the palm of martyr- dom, attended by two cherubs. Pencil on grey paper, i sj X 8f in. Large drawing, round at the top. From the Lagoy Coll. Once attributed to B. Fungai. (Cf painting by Gio. Batt. Crespi in the Royal Picture Gallery, Turin, No. 464.) MILAN. Mused Civico (Castello Sforzesco). No. 15. Z^fl'<3; (head). Red chalk. No. (?). Risen Christ. Red chalk. Once in the Uffizi and afterwards in the Morelli Collections. Resta Coll. (Biblioteca Ambrosiana). 5. Mary Magdalen at the foot of the Cross. Morelli. {Delia Pittura Italiana cit., p. 155, note.) 366 APPENDIX BUDA-PESTH. ESTERHAZY COLL. Standing figure of Roxana. VIENNA. Albertina. Head of a young bearded man. Black chalk. Life size. Called " A Milanese Nobleman." Sketch. For- merly attributed to Raphael. (Cf. Uffizi and Brit. Mus.) Head of Christ crowned with thorns. Attributed to Andrea Solario by Wickhoff {/ Disegni Italiane de IP Albertina, vol. ii.) (See Her- mann Dollmayr in Archivio Storico dell' Arte, 1893, p. 68.) Nude standing figure . Called " A design for a Madonna Protettrice.'' MUNICH. Alt Pinakothek. Fol. 109. No. 3124. The Apotheosis of S. Mary of Egypt. No. 12873, Large head of a woman. Pencil. Brown paper. Signed ''Sodoma!' Very beautiful. No. 32470. Madonna and Child, who is kissing S. Francis. Very small pen-and-ink drawing. On the back is written " Originale da Sodoma " : but note at the side, " Niederlandische Schule, v. Dyck (?) " WEIMAR. Grand Ducal Palace. Leda kneeling towards the swan. Pen and ink. Attributed to Leonardo. (See Morelli, Op. cit.) Technique of Bazzi. GENUINE DRAWINGS 367 BERLIN. Old Museum, Beckerath Coll. Monks on crosses; seated figures ; S. Sebastian ; a child with a cat. A sheet of sketches of figures. Pen and ink. LILLE. MUS^E WiCAR. No. 50. Two designs for a drawing of the Eternal Father. Pen on white paper. No. 51. Veiled head of tJie Virgin. Black and red chalk. PARIS. Louvre. No. 9168 (1242). Head. Chalk and wash. Grey paper. From the Mariette Coll. No. 9169. Woman and Child. Pencil. Perhaps sketch for one of the S. Bernardino frescoes. From the Baldinucci Coll. No. 9175. S. Michael. Pen, ink, and s^pia. 12 X 21 in. Large drawing. Signed '' del Sodoma." No. 9178. Large woman s head, veiled and looking down. Crayon and pencil. Charming sketch for a Madonna. From the Baldi- nucci Coll. (tom. i. p. 151). ACADEMIE DES BeAUX ArTS. Woman s head. Finedrawing. {S&^'E.Muniz, Revue EncyclopMique Larousse, No. 238, March 26th, 1898, p. 264.) LONDON. British Museum. No. 41. Large head of a youth. Black chalk slightly touched with white. 368 APPENDIX At one time attributed to Raphael, and at another to Leonardo. From the Lely, Wellesley and Malcolm Collections. (See Uffizi and Albertina above.) Cf. also A. C. Swinburne, Essays and Studies (2nd edition), p. 350. No. 317. 5*. Catherine fainting, supported by three angels. Pencil, Chinese white. 12^ x lof in. Grey paper. Probably an original sketch for the S. Catherine Chapel in S. Domenico, Siena. From the Lawrence, Lagoy, and Woodburn Collections. No. 96. Portrait of a man with a beard, in a black velvet cap. Pastel. \o\ x 7i in. Attributed to Timoteo Viti, and said to be his own portrait. A slight replica in chalk of this drawing is now in possession of the heirs of Sir Thomas Phillips at Cheltenham. From the Holditch, Antaldi, Lawrence, King of Holland, and Woodburn Collec- tions. Exhibited (No. 261) Grosvenor Gallery (Winter 1877-78), as by Raphael. Coll. of Dr. J. P. Richter. Pieta. Pen and ink. From the Cosway, Robinson and Heseltine Collections. OXFORD. Taylorian Institution. Sketch for Roxands bed. Pen and ink. Once attributed to Baccio Bandinelli. No. 177. Robinson's Catalogue. Fromthe Arundel, Cosway, and Lawrence Coll. (See Frizzoni, Op. cit., p. 142, and Foerster, Jahrbuch, etc., 15 Band, 1894, pp. 187-202.) Madonna and Child with SS. Joseph and Francis. Large cartoon from the Chambers Hall Coll. GENUINE DRAWINGS 369 Christ Church. Head of a youth with long hair. Suggested by Sidney Colvin {^Selected Drawings at Oxford, Part I., 1904) and by Frizzoni {L'Arte, 1904, Fasc. iv.-v.) to be a portrait of Raphael for the School of Athens. Formerly attributed to Leonardo. CHATSWORTH. Coll. of the Duke of Devonshire. Leda on her knees embracing the swan. Attributed to Raphael. (See Morelli, Op. cit., p. cit. Also S. A. Strong, Critical Studies, etc. : London, 1905, p. 129.) WILTON HOUSE. Coll. of the Earl of Pembroke. Sketch for a group in the Presentation at the Oratory of S. Bernardino in Siena. WINDSOR CASTLE. Royal Library. There are no admitted drawings by Bazzi in this Collection ; but two sketches there have been attributed to him by some of the best art critics, as follows : Four studies for the dressing of the hair of Leda. Red and black chalk. These are generally attributed to Leonardo, and are very elaborate. (Grosvenor Gallery Publications, No. 50.) Exhibited at the Grosvenor Gallery, (Winter 1877-78, No. 710), and at the New Gallery (Early Italian Art, 1893-94. No. 1520.) Nude standing figure of Leda, with her arms round the swans neck. Attributed to Raphael. (For both these and other Leda drawings consult Morelli, Op. cit., p. cit.') 24 PICTURES ATTRIBUTED TO GIOVANNI ANTONIO BAZZI. CALLED "SODOMA." SIENA. Opera del Duomo. The Transfiguration. Decoration for an organ. On cloth. Once attributed to Bazzi, but now proved to have been painted by Girolamo Genga under his influence, in 1 510, for the sum of 100 scudi. (See Frizzoni, L' Arte del Rinascimento, etc., p. 130, note i ; and Vasari, vol. vi., p. 316, note i.) Oratory of S. Bernardino (Sacristy). Madonna. Banner, very much dilapidated. Exhibited Mostra deir Arte Sacra, Siena, 1904. S. Domenico (Chapel of the Rosary). Predella Panels. (See Genuine List.) Fifteen small scenes from the Life of Christ, illustrative of \}ci^Joys, Sorrows, and Glories of the Rosary. Probably by pupils. (Cappella delle Volte.) The Charities of S. Catherine. Panels (2). Authority for attribution A. J. C. Hare. Probably by Giomo del Sodoma. House of S. Catherine. S. Jerome and S. Dominick. Fresco. Two Prophets. Fresco. 370 ATTRIBUTED PICTURES 371 God the Father. Fresco. In so dark a position as to be almost invisible. Certainly by Riccio. (See Milanesi, Documenti, etc., vol. iii. p. 239.) Church of Monagnese. Frescoes. Attributed to Bazzi and Riccio. (See Corrections by Ercole Squarci to Pecci's Relazione, etc., p. 40. Benvogl. Miscell. Bib. Com. C.V. 3, p 325'.) ACCADEMIA DELLE BeLLE ArTI. Room VIII. No. 357. 5. Catherine. Panel. Gift of the Spannocchi family. No. 347. Ecce Homo. Panel. School work. No. 356. Madonna adoring the Infant Christy with S. Joseph and little S. John. School work. (School of Design.) Five decorative pieces. Fragments of a fresco decoration brought from a Chapel at S. Francesco. S. Maria di Concezione dei Servi. (First altar on the right.) Two panels. S. Rochy and S. Catherine or B. Elisabetta Vieri. Probably by Giomo del Sodoma. Palestra Tolomei. (Suppressed Compagnia della S. Croce.) Four Evangelists. Fresco. A Cross surrounded by Angels carrying the instru- ments of the Passion. Fresco. A Cross with two kneeling figures. Fresco. A seated Prophet. Fresco. God the Father amid Angels playing musical instru- ments. Designed by Bazzi. School work. 372 APPENDIX Palazzo Saracini (Picture Gallery). Christ bearing His Cross. If genuine ruined by repainting. The Resurrection. Large and fine. By Riccio. Formerly over the high altar in the Church of the Servi. (See Notes by Cav. E. Squarci on Gigli's Diario Senese, December 6th. Benvogl. Miscell. Bib. Com. Siena, C.V. 3, pp. 319-29. (The Chapel.) Figures of Madonna, Saints and Holy Women. Life-size figures, surrounding a large carved wooden crucifix. Composition good, but much damaged. Resembles paintings of Descent from the Cross by Pacchia at Sinalunga and at Monistero ; also a similar subject at Montalcino. Some figures recall Bazzi's Deposition in the Picture Gallery. Most probably Riccio. Removed hither from the suppressed Confraternita di S. Giovanni Battista della Morte. Palazzo Bernardi. The Holy Family with S. Catherine of Siena. Round picture. Exhib. Siena, 1904. S. Sebastiano in Camollia. Four bier heads {testate di bar a). Attributed by some authorities to Bazzi (see Romagnoli) ; by others to Bigio. Probably painted by Girolamo del Pacchia for the Compagnia di S. Rocco. (Cf. Mil., Doc. iii. 60 ; and see Guida Artistica della Citta di Siena, p. 159.) Chapel of the Old Communal Prison. The Crucifixion with Saints. Originally good picture. Certainly not by Bazzi. Much injured ; partly built up and much discoloured. {Guida Artistica cit., p. 100.) ATTRIBUTED PICTURES 373 Via Giovanni Dupre. The Epiphany. Probably by Riccio. Very much defaced. (Guida Artistic a cit., p. 81.) S. CaTERINA BELLA NoTTE. Replica of part of the Adoration of the Magi. Perhaps a good copy. Hung in so dark a position as to be almost invisible. (Guida Artistica cit., p. 5 1.) Casa Bargagli, Porta Tufi. Truth. Classical figure of nude woman, holding a hand mirror. Good condition. Small picture. Riccio. Exhib. Siena, 1904. Casa Nastasi, Via del Casato. The Labours of Hercules. Frescoes on facade. Romagnoli attributes this chiaroscuro frieze to Bazzi, but it is much more probably by Capanna. Much injured by time and weather. {Guida Artistica cit.y p. 80.) IN THE SIENESE DISTRICT. SiNALUNGA, Church of S. Lucia. S. Roch, robed in red as a Pilgrim. Bier head. Well painted. Dead Christ supported by Angels. Bier head. Poor, careless, and badly repainted. 5'. Bernardino di Siena. Fair. Bier head. S. Caterina di Siena. Fair. Bier head. All four in very bad preservation. (Cf. Inven- tario Generate degli Oggetti d Arte, compiled by F. Brogi, p. 559.) 374 ^ APPENDIX Street Corner. Resurrection. Very badly injured, and doubtful. Inventario cit., p. 573. TORRITA. Prepositura di SS. Flora e Lucilla. Madonna and Child seated upon clouds surrounded by Cherubs. Below, SS. John the Evangelist, Francis, Mary Magdalen, Bartholomew, Flora > and a Holy Martyr. Colour much faded. Retouched in oil. Inventario cit., p. 598. School work. Madonna della Pace. Angels and Saints. Large canvas. Surrounding a picture of the Madonna by another artist. Much injured. A tolerable school work. S. QUIRICO D'ORCIA. Church of the Misericordia. The Holy Family with SS. Leonard and Sebastian. Large picture in bad condition. According to Frizzoni [Op. cit., p. 185), and others, by Riccio. (Cf. also Delia Valle, Op. cit. ; Inventario cit., p. 537.) 5'5'. Dominick and Paul. Bier heads. Oil. Madonna and Child. Bier heads. Oil. SS. Leonard and Sebastian. Bier heads. Oil. Two Holy Martyrs. Bier heads. Oil. Very doubtful. {^Inventario cit., p. cit?) MONTALCINO. Church of S. Antonio Abate. Banner ; and decoration of a side chapel. Most doubtful. {^Inventario cit., pp. 257-8.) ATTRIBUTED PICTURES 375 Church of S. Lorenzo in S. Pietro. The Crucifixion. Most doubtful. [Inventario cit., p. 245.) Church of the Osservanza. Pietd. Probably school .work. Resembles pictures by Pacchia at Monistero and Sinalunga. {Inventario cit., p. 264.) S. Antimo, near Montalcino (Crypt). Dead Christ with Angels ; and decoration of Sacristy altar. Extremely doubtful. Much restored. {Inventario cit., p. 273.) ARGIANO, NEAR Montalcino. Church of S. Pancrazio. The Holy Family with S. Francis. Panel 1*82 x 1*42 cm. Exhibited Siena, 1904. Attributed to Beccafumi. {Inventario cit.y p. 268.) CONVENT OF MONTE OLIVETO MAGGIORE. On a Staircase. Pietd. Fresco. Attributed to Bazzi by Frizzoni and others, but so over-painted as to be ruined. Frizzoni {Op. cit., p. 116) speaks of a Christ bearing His Cross. Either he has forgotten what there really is, or has mistaken Riccio's large Way of the Cross on another staircase. The Annunciation. Fresco. S. Michael driving the devils from Heaven. Fresco. S. Peter. Fresco. (Fragments in the General's apartments, probably by pupils. They are certainly not by Bazzi himself) 376 APPENDIX Church. S. Jerome. Attributed to Bazzi. Brescianino (?) (See Notes by Cav. E. Square! on Gigll's Diario, 4th March. Benvogl. MiscelL, Bib. Com., Siena, C.V. 3.) ASCIANO. COLLEGIATA. Dead Christ supported by three Disciples. Fresco. Tondo. Diameter 0*90 cm. Probably by Riccio. Three-quarter-length figures. (See Frizzoni, Op. cit., p. 185. Inventario cit., p. 11.) S. GIMIGNANO. Cappella del Pretore. Truth, Prudence, and Falsehood. Fresco. Mono- chrome. Very poor and doubtful work. Much damaged. MONTEGUIDI. Church of the Compagnia della Visitazione. The Visitation. Canvas. {Inventario cit., p. 58.) Most doubtful. SUBIACO. Chapel of S. Francesco. Scenes from the Life of the Virgin. Frescoes. Attributed by Schmarzow. (See Der Fresken- schmtick einer Madonnenkapelle in Subiaco, Berichte liber die Verhandlungen der Koniglich Sachsischen, etc.) Cf Text, p. 115. ROME. Capitol, Sala dei Conservatorl Scenes from the Punic Wars. Frescoes. Probably by Baldassare Peruzzi. (Wickhoff.) ATTRIBUTED PICTURES 377 Villa Borghese. No. 434. Leda and the Swan. Formerly attributed to Leonardo. Probably a copy of a lost Bazzi. Perhaps by Pacchia. (See Morelli, Delia Pittura Italiana, etc., p. 150.) No. 439. The Holy Family. Attributed to Bazzi by Albert Jansen {Leben und Werke, etc., p. 45), but much more likely by L. di Credi or one of his school. Palazzo Barberini. No. 59. Madonna. Most doubtful. Much more probably by Lodi. Hard in execution. (Morelli, Op. cit., p. 152, note.) Palazzo Chigi. Holy Family with SS. Catherine of Siena, Catherine of Alexandria, and Bernardino of Siena. Very doubtful. (See Burckhardt's Cicerone, French edition, p. 706. G.) Hard in outline and drawing. CoRsiNi Gallery (from the Monte di PietA). No. 655. Madonna and Child with SS. Nicholas and Catherine of Alexandria. Tondo. Very Sodomesque. Not a very good picture. No. 719. The Deposition. Two Grey Friars to left, two Female Saints to right. Large fresco. Signed Jacobus . . . Jacopo (?) Figures well drawn and well grouped. (Given by the Minister of Public Instruction.) Centurione Scotti Sale. April 27th, 28th, 29th 1903. (Sangiorgi.) Lot No. 42. Madonna and Child. 073 by 0*54 cm. Doubtful. Coll. of Donna Laura Minghetti. Madonna. Second Lombard period. (See Frizzoni, Op. cit. p. 158, note.) 378 APPENDIX FLORENCE. BiGALLO. Christ bearing His Cross. Attributed by Corrado Ricci. (See Rassegna d'Arte, July 1904; Rivista d' Arte, Anno II. Nos. lo-ii. 1904.) Terribly repainted and ex- tremely doubtful. Coll. of Cav. Kennedy Laurie. Madonna with Saints. More than doubtful. Settignano, Coll. of B. Berenson, Esq. Holy Family with the Magdalen and Infant S. John. Very doubtful. Madonna and Child} LUCCA. Palazzo Provinciale. Room I. No. 12. Christ bearing His Cross. Retouched. Feeble and over-sweet. VOLTERRA. DuoMo (Chapel of S. Carlo). Deposition from the Cross. Very doubtful. Probably a copy. Small sketch in oils. (See Frizzoni, Op. cit., p. 175.) S. Francesco (Chapel of the ConfraternitA della Croce di Giorno). The Crucifixion. Very much over-painted. Perhaps Riccio. (See Frizzoni, Op. cit., p. 186.) ^ This painting was found by its present owner whilst this work was in the press. Consequently we have been unable to see and form any opinion upon it. Mr. Berenson dates it about 1507. ATTRIBUTED PICTURES 379 BERGAMO. Galleria Lochis. No. 136. Madonna. Attributed to Leonardo. Second Lombard period. Small, poor, and very dark. (See Frizzoni, Op. cit., p. 158, note ; also Morelli, Op. ciL, p. 153.) VAPRIO D'ADDA. Villa Melzl Madonnone. A vast fresco. Formerly attributed by some to Leonardo, by others to Francesco Melzi. Assigned to Bazzi by Morelli {Op.cit., p. 152), and Frizzoni (C^.aV., p. 159). Formerly in an open loggia, but now enclosed into a gallery by a modern flooring. VERCELLI. Coll. of Aw. L. Bozino. Pietd. (See Faccio, Giovan Antonio Bazzt, etc., p. 193. Cf. also note from L'Arte., May 1899.) Palazzo Tizzoni. (Teatro Mariani, now Accademia DELLE Belle Artl) A Feast of the Gods. Ceiling fresco. The Holy Family. (On the staircase.) Doubtful. Frizzoni doubts these being the work of Bazzi. ARCORE, near MILAN. Coll. of the late Sig. B. Vittadinl Christ bound between two gaolers. Unpleasant picture. Life-size figures, J-length, MILAN. Mused Borromeo. No. 51. Madonna. Framed in a rich frame with " Umiltas " inscribed upon it. Attributed to Leonardo. Perhaps an old copy of a Bazzi, (See Frizzoni, Archivio Storico deir Arte, 1890, p. 358.) 38o APPENDIX MUNICH. Alt Pinakothek. No. 562. Head of the Archangel Michael. Bought at Bologna as a Raphael. Attributed to Timoteo Viti or Costa. BERLIN. Note. At the end of the Catalogue of the Berlin Museum appear the following entries of pictures stored away or on loan : No. 244. Christ bearing His Cross. 0*59 x 0*55 cm. Doubtful. On loan at Emden. No. 292. Ecce Homo. 076 x 0*62 cm. Doubtful. On loan at Bonn University. No. 293. Pietd. too x 175 cm. Large cartoon. In one of the offices in the Berlin Museum. Wesendonck Gallery. No. 4^. Madonna and Child. Panel, 0*48 x 0*39 cm. Attributed to Bazzi, but doubtful. (Herr F. Harck, Archivio Storico de IV Arte, 1889, p. 213.) NEUWIED. Royal Palace. Leda. Sometimes called Charity. (See Layard's Kttgler, vol. ii. p. 409 : ed. 1900.) Once at Malmaison, then at Cassel, and afterwards in the Collection of Prince Frederick of Holland at The Hague. (See also Morelli, Op. cit., p. 148.) MAYENCE. Royal Gallery. No. 108. S. Jerome in the Desert. No. 109, The Holy Family. No. 110. The Archangel Raphael and Tobias. Triptych by Eusebio Ferrari. From the Metzler Collection. Attributed to Gaudenzio Ferrari and ATTRIBUTED PICTURES 381 to Bazzi. (See Franz Rieffel, " Eusebio Ferrari und die Schule von Vercelli," Repertorium filr Kunstwissenschaft, Anno xiv. pp. 275, 292.) BRUNSWICK. Coll. of Herr H. Vieweg. Madonna and Child. One of his latest works, according to Fritz Harck {Archivio Storico dell' Arte, 1890, p. 171). THE HAGUE. Public Gallery. No> 349 (162). Venus (?). Extremely doubtful. More like the work of one of Raphael's pupils. From the Rainier Coll. BUDA-PESTH. Academy. Madonna and Child, with SS. Francis and Catherine. Doubtful. VIENNA. Liechtenstein Gallery. Christ bearing His Cross. Attributed by Rumohr, Meyer and Liibke. Pro- bably School of Leonardo. MONTPELLIER. Musee Fabre. No. 454. The Virgin and Child with Infant S. John. Panel. 0'20 X 0*17 cm. Part of Baron F. X. Fabre's first gift to the town on April 2nd, 1825. 382 APPENDIX PARIS. Coll. of M. De la Rogiere. Allegorical representation of the City of Siena. Nude woman reclining in a landscape with a serpent biting her foot. Exhibited at the Exhibition in the Palais Bourbon in aid of the poor of Alsace and Lorraine. We can find out nothing about this picture, or even exactly where it is. Doubtful. BRUSSELS. Coll. of Baron Leon de Somzee. (Now dispersed.) The Holy Family. No. 449. Sale Catalogue, bought by M. von Mallenant (Boheme). Doubtful. The Catalogue of the Somzee Sale also included Madonna and Saints. No. 447. Holy Family. No. 448. A Seated Saint. No. 450. Described as ''School of Sodoma." ST. PETERSBURG. The Hermitage. No. 21. T/ie Marriage of S. Catherine, with SS. John Evan, and Bapt., Nicholas, Stephen, Francis, Jerome, and two others. (See Crowe and Cavalcaselle, History of Painting, ed. 1866 vol. iii. p. 491. Called there Mariotto Albertinelli.) Private Apartments of the Imperial Family. The Adoration of the Magi. 91 x 75 in. Bought by M. Vivant-Denon for Alexander I. between 1808-12. (See Catalogue pub. by E. Pratz. St. Petersburg, 1838.) Certainly not by Sodoma. ATTRIBUTED PICTURES 383 NEWHAVEN, U.S.A. Jarvis Collection. The Holy Family with SS. Catherine, Bernardino, and John Bapt. Fine work ; but attributed by Mr. Berenson to School of Bazzi. PHILADELPHIA, U.S.A. Coll. of John E. Johnson, Esq. Salvator Mundi. Authority Mrs. Bernhard Berenson. BALTIMORE, U.S,A. Coll. of Henry Walters, Esq. Holy Family. Authority Mrs. B. Berenson. From the Mas- sarenti Collection. LONDON. Coll. of Dr. L. Mond. Ecce Homo. Unfinished. Doubtful. Coll. of Wayne, Esq. Madonna and Child. 18 x 14 in. Extremely doubtful. Bridgewater House, Coll. of the Earl of Ellesmere. No. 39. Procession of Nymphs. Attributed to Francesco Primaticcio, but given to Bazzi by Waagen. Small narrow oblong picture, bought by the first Earl of Ellesmere in Rome from the collection of a surgeon. Coll. of Lady Pirbright. Madonna and Child with SS. Joseph and John Bapt. 23I X 18 in. Probably Riccio. Exhibited at Burlington House (Old Masters), 1904. No. 18. MISSING PICTURES PAINTED BY GIOVANNI ANTONIO BAZZI, CALLED "SODOM A." SIENA. Church of S. Francesco. Invention of the Cross. Destroyed in the fire in 1655. School of Design. (Accademia). Decoration for a cupboard. Water-colour copy only, by Sig. Bandini. It was formerly in the Casa Venturi Gallerani, but has been sold and has since disappeared. House of Agostino Bardi, Piazza Postierla. Facade. Subject unknown. Destroyed by time and weather. House of Sigismondo Chigi, Via del Casato. Scenes from Ovid and other Classical Subjects. Frescoes. Now disappeared. Palazzo Savin i. Madonna and Child with SS. Joseph and John Bapt. 3 X I j^ braccie. Frame by Antonio Barili. Painted for yEnea Savini della Costarella. Sold to a foreigner by the widow of the last Savini for 120 scudi. (See Vasari, Op. cit.y p. 396 ; Della Valle, Alfonso Landi, etc.) Madonna and Child with SS. Joseph, John Baptist, S. Catherine of Siena. 2 x if braccie. Frame also by Antonio Barili. (See Delia Valle, Landi, etc.) 384 MISSING PICTURES 385 Church of S. Gismondo alle Volte, near Siena. The Holy Family. Panel. Fine picture. Disappeared in the War of 1553. (See Dionisotti, Notizie Biografiche de Vercellese lUustri, p. 199. Cf. also Mancini, 1697.) Oratorio of S. Gherardo, Piccolomini Chapel. The Holy Family. Cannot be found. Mentioned only by Mr. Bevir in his Guide to Siena. GUBBIO. Palazzo Ranghiasci Brancaleoni. No. 90. H Presepio. Mentioned in the Guida Storica di Gubbio of Oderigi Lucarelli, p. 32. In a note on p. 29 the author states that some time subsequent to 1882 more than a hundred of these pictures were sold, and the rest divided among the four heirs of the Marchese Francesco Ranghiasci. Perhaps the painting now owned by Ernest Hartland, Esq., Hardwick Court, Chepstow. (See above, p. 360.) CHIUSURI. Parish Church. The Baptism, of Christ. Fresco. SS. Benedict and Michael and other Saints. Fresco. Recorded by Romagnoli as certainly genuine, though in bad condition. The church collapsed through a landslip at the beginning of the last century. Consequently the frescoes perished. LUCCA. Convent of S. Ponziano. Madonna. Perished. Convent destroyed. 25 386 APPENDIX FLORENCE. Church of the Convent of the Mantellate. Head of a Madonna. Fresco (?) Tondo. Recorded by Romagnoli {Op. cit.) Coll. of Cav. Giuseppe d'Este. The Trinitct. Milanesi MS., Commentary on\ 2,s,2iX\. Bib. Com. Siena, P. III. 45, p. 174. Engraved in VApe Italiana, vol. v., tav. xxii. Lamponi Sale, Nov. loth, 1902. Christ carrying His Cross. Canvas. i'ioxo*72cm. Carved gilded frame. Fine painting attributed to Bazzi. Uffizi (Corridor). Case 95, No. 188. Engraving by Marc Antonio of a picture o{ Orpheus and Eurydice. Said to be by Bazz'i. Eurydice's head, hair, and pose resemble Eve, but the figure is generally coarse and heavy in modelling, especially in the hands. This may perhaps have been engraved from the sketch mentioned below : Coll. of Senator G. Morelli. MILAN. Coll. of Count Cereda Bonomi. Afadonna. See Morelli, Op. cit., p. 152. This collection was sold and dispersed on the 1 4th- 1 6th December, 1896. (See an account of the sale by Frizzoni in Arte e Storia, February loth, 1897. He, however, does not mention the Bazzi picture.) SAVONA. - Madonna. See Mancini and Romagnoli, {^Op. cit.) Now disappeared. MISSING PICTURES 387 TURIN. Royal Palace. The Virgin and Child, with SS. John Baptist and Jerome. Tondo. (Dionisotti, Op. cit., p. 199.) ROME. Chapel of Cardinal Salviatl Christ bearing His Cross. Panel. Mentioned by Delia Valle, Mancini, and Romag- noli. The latter speaks of it as being in the Cardinal's private chapel in the Palazzo Salviati, Lungara, Rome, in 1690. In a note among the Ciaccheri MSS. it is said to have been given by the painter himself to a friend, one Fedeli, apparently a tailor, and perhaps, says the annotator, a descendant of the painter, Bartolo di Maestro Fede [sic). Romag- noli calls it a Way of the Cross. Perhaps he confuses the Salviati private chapel in Rome with the Salviati altar in San Francesco, Siena. In any case the mistakes in some of the above statements are obvious. MoNTE DI PietA. Madonna and Child, with SS. Paul and Bernardino. Panel 065 x o 83 cm. Described by Paul Mundler. (See Dr. Julius Meyer, List of Bazzis Works ^ PARIS. Coll. of M. de Maulde. Head of Christ. Exhibited at the Turin Exhibition in 1898. (See Official Catalogue, p. 196, Sala L, No. 35, and HArte Sacra, p. 107. See also Antonio Taramelli in H Archivio Storico dell' Arte, 1898, p. 181.) LONDON. Sold at Christie's, 1847, and again in 1859. The Countess of Spannocchi and Family; called also ''Charity:' Panel. 388 APPENDIX Bought the first time by N.N. for igg los. Sold again, fi-om the Northwick Collection, and bought by J. W. Brett for 67 4s. Sold at the Hamilton Palace Sale, 1882. Lot 339. S. Christopher with the Infant Christ and SS. Sebastian and Roch. 16 X 14 in. Mentioned by Waagen (vol. iii., p. 300) as in the Collection of Capt. Stirling, M.P., Glentyan, Renfrewshire. Bought by Banting for ^44 2s. Lot. 716. '' Riposo," with SS. Francis, Catherine, George, and Theresa. 29 x 22 in. Called in the Catalogue " Venetian School,'' but corrected in pencil by Mr. Christie himself to Razzi (sic). Bought by Mr. Boore (on commission) for ^136 io.y. NEWHAVEN, U.S.A. Jarvis Coll. 5*. Sebastian. Attributed to Bazzi. COLOGNE. Picture Gallery. No. 784. Sta Chiara. Catalogued as by Bazzi, but probably by Riccio. (Dr. Thode, Archivio Storico dell' Arte, 1889, p. 52.) Disappeared. COLL. OF THE LATE VICOMTE DE TAUZIA. Scenes from Ancient Mythology. It is uncertain where these are. (Frizzoni, Op.cit., P- 213.) COLL. OF BARON RUMOHR. The Story of Cefalus and Procris. On muslin. (See Rumohr, Ital. Forschungen, vol. ii. p. 386 ; and Frizzoni, Op. cit., p. 149.) MISSING PICTURES 389 COLL. OF W. SICHEL, ESQ. (?) The Holy Family. Panel. 26 x 18 in. Exhibited at the Burlington Fine Arts Club, 1898. Bought by Mr. M. Colnaghi from the Coll. of the Rev. A. H. Clementi Smith, at Christie's, 1899. Disappeared. ONCE BELONGING TO SENATOR G. MORELLI. Orpheus and Etirydice. Sketch. Early Sienese period. Frizzoni, Op. cit. ; Meyer, Op. cit., Catalogue B. It is as well to note that Romagnoli giv^es a very long list of suggested pictures by Bazzi, many of which it is hopeless now to endeavour to identify. It is hardly probable that they were important : very likely the work of imitators. Moreover, in the Sale Catalogues in the big towns of Italy and elsewhere, so-called Bazzi's are continually appearing, which more often than not may come under the same category. Now and then a genuine picture turns up, but it is usually in some private family, and often passing under another name. Others may still be found in American collections as yet unidentified, but we have not had the opportunity of surveying that vast field. Note. Whilst this work was in the press our attention was drawn to the following passage in a catalogue of pictures collected by Mr. William Young Ottley in Rome during the years 1798 and 1799, and sold at Christie's on May i6th, 1801 (W. Buchanan, Memoirs of Painting, etc., vol. ii. p. 22. London : R. Ackermann, 1824) : " No. 6. SoDOMO DE Sienna. Madonna, with the Infant Christ and S. John. Probably the only picture in England of this great master, who was the first of the Sienese School and a worthy concurrent of Raphael. His cabinet pictures are extremely rare even in his own country. i ft. 6 in. x 2 ft. 2 in. 170 guineas." Can this be the painting formerly belonging to the Rev. A. Clementi Smith (see above) ? The extract has a further interest inasmuch as it illustrates the extraordinary ignorance of the so-called critic, barely eighty years since, as soon as he strayed from the then orthodox beaten track of connoisseurship. DRAWINGS ATTRIBUTED TO GIOVANNI ANTONIO BAZZI, CALLED " SODOMA." SIENA. Spannocchi Coll. Flagellatori. Pencil. 0*24 x o'i6 cm. " Maniera del Sodoma." Exhib. Siena, 1904, as above. FLORENCE. Uffizl Case 344. No. 567. Risen Christ. Pencil. Doubtful. Very florid. Case No. 343. No. 121 2. Pietd. Pen and ink. Doubtful. Scratchy and poor. Case 103. No. 414. Drawing of a Lady. Red chalk. Generally attributed to Leonardo, and by Mr. Berenson to Pontormo. Case 343. No. 1933. Portrait of a Youth. Pencil. Doubtful. Case 93. No. 421. Madonna and Child with a cat. Pen and ink. Attributed to Leonardo, but given to Bazzi by Morelli {Op. cit., p. 154). (In Portfolios not Exhibited.) Sheet 324. No. 1932. Study of a kneeling bearded Saint. 6 X 9 in. Pencil. Perhaps a S. Jerome. 390 ATTRIBUTED PICTURES 391 (In another Portfolio.) No. 10779. Two Apostles. Red chalk. T6xi9:|-in. Very fine. Rather too studied to be by Bazzi. Fine draperies. Border much cut down ; evidently injured. No. 10777. Seated figure. Huge torso and thighs. Absurdly small head, hands, and feet. Before him kneels another mis- formed figure. A very doubtful work. No. 1940. Figure of a young bearded Man. Washed drawing. Attributed to Bazzi. Certainly Luini. No. 1 94 1. Study of figures. Pen and ink. Large, very doubtful. Possibly Peruzzi. No. 1942. The Swoon of S Catherine. Probably a Sienese copy. No. 1944. The Way of the Cross. Washed drawing. Figure of Christ inked over at a later date. Santarelli Coll. Sheet 4. T. 29. 256. Pieta. Pencil, wash and Chinese white. Holy women and Joseph of Arimathea. Rocks behind to the left. Cross in the distance to the right. T. 29. 266. 5". Sebastian. Pale ink and wash. Careful drawing for a niche. A beautiful youth bound to a pillar; left arm raised above his head, right bound behind him. Legs over-developed. (This drawing is described in Philpot's catalogue as Christ bound to the Column, No. 3082.) T. 29. 267. Venus sailing over the sea in her shell, with her maittle for a sail. Pencil and Chinese white. Careful drawing. Coarse modelling. 39^ APPENDIX T. 31. 269. Preparations for the Crucifixion. Sepia. Large drawing ; high lights touched up with white. T. 32. 272. Sketch for S. Sebastiaft in the Uffizi. Probably a copy sketch from the picture. Poor. T. 33. 273. Lucifer devouring souls. Sepia and ink. Winged allegorical figure. Probably an illustration to some legend or poem. Very carefully finished. Obviously not by Bazzi, though a very clever drawing. Stradano (?). T. 33. 274. Man struggling with a serpent. Pen and ink. One of the sons of Laocoon, from the celebrated group. Careful drawing. Anonimo, XVIII. Cent. T. 34. 275. l^he Crucifixion. Sepia and ink. Signed " raffael cC urbino." One cross with many figures. T. 34. 276. Ecce Homo. Sepia. Full length, with many figures. Small drawing. T. 35. 277. Large head of a nun. Pencil, red chalk and Chinese white. Perhaps a study for S. Catherine ; but more pro- bably a copy. T. 36. 278. The Virgin and Child enthroned; S. George and the Dragon; S. John the Baptist. Pen and ink. Signed Anno Domini MDLVIII. Probably by Pacchia. T. 37. 279. Christ in the attitude of Benediction. Sepia and ink. School of Bazzi. Coll. of the Dow. Duchess of Sermoneta. Two female heads facing each other. 5 J x 9 J in. Coloured sketch in distemper, on coarse drawing- paper. Perhaps Pacchia. ATTRIBUTED PICTURES 393 TURIN. Royal Library. i5590- Classical subject. Warriors with a woman. 7| X 5i in. Attributed by L. von F. to Peruzzi, which is much more probable. MILAN. Ambrosiana. S. Mary Magdalen seated reading. (Morelli, Op. cit., p. 155. note.) Mused Civico. S". Christopher. Not by Bazzi. VIENNA. Albertina. Drawing for the Marriage of Alexander and Roxana. Formerly attributed to Raphael. MUNICH. Alt Pinakothek. Fol. 109. No. 2514. Diana and her Nymphs. Washed drawing. Attributed to Maturino. (See Morelli, German Galleries, p. 97.) Probably Genga. HAMBURG. KiJNSTHALLE (HaRZEN CoLL.). Two drawings for Leda. On both sides of a sheet of paper. Attributed to Raphael. But see articleby W. }^oo^xn2inn,JahrdMcher fiir Kon. Preuss. Sam., vol. xii. Heft. i. pp. 43-4. 394 APPENDIX BERLIN. Royal Museum (Beckerath Coll.). Dead Christ supported by two figures. Pen on brown paper. Exhib. Milan, 1879. Scribbled all over ; drawn and over-drawn several times. Madonna and Child with another figure. Red crayon, Signed " Andrea del Sarto.'' Probably a copy. Madonna and Child with S. Joseph. Pencil, touched with red crayon. Copy of a composition. Diagonal lines across it. 5*. Catherine of Siena. Three-quarter length. Pencil. Washed with sepia and heightened with white. Probably a copy. Group of Adoring Shepherds. Pencil, pen and ink. Part of a larger composition. Grey paper. RENNES. MUSEE PUBLIQUE. Frame 57 (P) 4. S. Sebastian. Pen and ink. 0*29 X 07 cm. Formerly belonging to the Marquis de Robien, and perhaps before that in the Crozat Collection. PARIS. Louvre (His de la Salle Coll.). 'No. 18. (2200.) Leda. Pencil. Attributed. Doubtful. No. 19. (2201.) Leda. Red chalk. Attributed. Doubtful. ATTRIBUTED PICTURES 395 Louvre. No. 9173. The Adoration of the Magi. Pen and ink. No. 9177. (1244.) Head of a Woman. Pencil and crayon. Doubtful. No. 89. (a) Julius Ccesar. (b) Augustus. Two drawings on one sheet of paper. Painted in water colour touched with gold. No. 90. (a) Tibe7'ius. (b) Caligula. Same as above. No. 91. (a) Claudius. (b) Nero. Same as above. No. 92. (a) Vespasian. (b) Nerva. Same as above. No. 93. (a) Trajan. (b) Hadrian. Same as above. On the back of this last design the following signature is written in large capitals in three lines ANTONIUS VERCELLENSIS PINGEBAT. These are all generally considered very doubtful. LONDON. British Museum. Leda. Brown ink. Small oblong, signed Giorgione. Wrongly attributed. 396 APPENDIX No. 316. Group of Sibyls with small figures below. Pen and bistre. 12J x lof in. Has been attributed to Verrocchio and even to Botticelli. Attributed with no reason to Bazzi. Frizzoni suggests that this drawing may be by Baldassare Peruzzi. (See Z' Arte del Rinascimento, p. 193, note.) Exhib. Grosvenor Gallery (Winter, 1877^8). No. 734. Angel's head. From the Lawrence Collection. Catalogue of Exhibition of Drawings in the British Museum, 1895. Attributed to Raphael, but given to Bazzi by Crowe and Cavalcaselle {Raphael, vol. ii. p. 374, note). Coll., of J. P. Heseltine, Esq., 98, Queen's Gate. Marriage of Alexander and Roxana. Attributed to a pupil of Raphael. From the Lagoz Coll. Mathey, Esq. Four figures, two kneeling. Black chalk. Formerly in the Collection of Sir J. C. Robinson Squared for painting. Coll. of C. P." Rowley, Esq. Pieta. Christ supported by angels. Panel. Exhibited at the New Gallery (Early Italian Art, 1893-4. No. 1 561). Coll. of E. Cheney, Esq. Head of Christ. Black and red chalk. Exhibited at the Grosvenor Gallery (Winter, 1877-8. No. 719). Attributed to Giovanni Razzi(^2V). ATTRIBUTED PICTURES 397 Coll. of J. Knowles, Esq., Queen Anne's Lodge, St. James's Park. Head of a Girl. Three chalks. Grey paper. Exhibited at same Exhibition as above (1878-9. No. 571). OXFORD. Christ Church Library. Drawing for a Triumph. On yellow paper. Attributed to Bazzi, but probably by Peruzzi. The Triumph of Bacchus. Oval sketch Sepia and Chinese white. Attributed to Bazzi, but by Berenson to Perino del Vaga. MISSING DRAWINGS BY GIOVANNI ANTONIO BAZZI, CALLED " SODOMA." PARIS. Coll. of M. Destailleur. The Fall of Phaethon. Design for a ceiling. (See Frizzoni, Op. cit., p. 149.) Sold at M. Destailleur's sale in 1896 for 6 fr, to M. Calendaudour, and has since disappeared. FLORENCE. Uffizl ^^'\ Studies of many figures. Photographed by ;; 5^;| j. b. Phiipot. ,, 376. S.Rock. Photographed by J . B. Phiipot. ,, 2957. S. John the Baptist. Photographed by J. B. Phiipot. All these have disappeared. Lamponi Sale. Half-length -inale figure. Attributed to G. A. Bazzi. {L'Arte, Jan. to April 1903, p. n-) LONDON. Formerly in Sir Thomas Lawrence's Coll. (Dis- persed June 4th, i860.) The Head of the Saviour. Coloured chalks. Said to be a fine work. Attributed to Gio. A. Razzi (sic). (Christie's Cata- logue, p. 51, No. 699.) Two heads of young men. Pen and ink. On one sheet. Highly finished. Attributed to G. A. Razzi {sic). (No. 700.) 398 AUTHORITIES CONSULTED. ENGLISH. Baddeley, St. Clair W. Tchay and Chianti. Sampson Low Marston, Searle & Rivington. London, 1887. Berenson, Bernhard. The Central Italian Painters of the Renais- sance. New York and London : G. P. Putnam's Sons. 1899. The Florentine Painters of the Renaissance. New York and London : G. P. Putnam's Sons. 1900. The Study and Criticism of Italian Art (Second Series). London : George Bell & Sons. 1902. ("The British Museum Raphael Cartoon" and "Rudiments of Connoisseurship.") The Connoisseur. January 1903. London. The Drawings of the Florentine Painters. London : John Murray. 1903. Brinton, Selwyn. The Renaissance in Italian Art. Part III. London : Simpkin, Marshall, Hamilton, Kent & Co., Ltd. 1900. Part I., Section II., 1903. Cartwright, Julia. Isabella d'Este, Marchioness of Mantua, 1474 1539. London : John Murray. 1903. CoLViN, Sidney. Catalogue of Drawings, etc., exhibited by the British Museum Authorities in 1895-6. Guide to an Exhibition of Drawings and Engravings by the Old Masters. Principally from the Malcolm Collection. London, 1895. Selected Drawings by Old Masters in the University Galleries and in the Library at Christ Church, Oxford. Oxford, Clarendon Press : H. Frowde. 1903. Crowe, J. A., & Cavalcaselle, G. B. A New History of Painting in Italy from the Second to the Sixteenth Century. London : John Murray. 1864-6. 3 vols. A History of Painting in North Italy : Venice, Padua, Vicenza, Verona, Ferrara, Milan, Friuli, Brescia. London : John Murray. 187 1. 2 vols. Raphael : his Life and Works. London : John Murray. 1885. Cruttwell, M. Signorelli. (The Great Masters Series.) London : George Bell & Sons. 1899. Douglas, Robert Langton. Fra Angelico. London : George Bell & Sons. 1901. 399 400 AUTHORITIES CONSULTED Douglas, Robert Langton. History of Siena. London : John Murray. 1902. The Burlington Magazine. Vol. I., No. 3. London, May 1903. Gardner, Edmund G. Siena. London: J. M. Dent. 1902. Hastings, Gilbert. Two articles in Marines Quarterly, London, January and April 1900. Siena : its Architecture and Art. London : De la More Press. 1902. Hawthorne, Nathaniel. Transformation. London : Smith, Elder & Co. 1891. Hewlett, Maurice. Earthwork out of Tuscany. London : J. M. Dent. 1895. The Quarterly Review. London, July 1903. The Road in Tuscany. London : Macmillan. 1904. Heywood, William. Our Lady of August and the Palio of Siena. Siena: Enrico Torrini. 1899. A Pictorial Chronicle of Siena. Siena: Enrico Torrini. 1902. Palio and Ponte. An account of the Sports of Central Italy from the Age of Dante to the Twentieth Century. London : Methuen & Co. 1904. andL. Olcott. Guide to Siena. Siena : Enrico Torrini. 1903. Jameson, Mrs. legends of the Madonna. Boston : Houghton, Mifflin & Co. Legends of the Monastic Orders. Boston : Houghton, Mifflin & Co. Sacred and Legendary Art. Boston : Houghton, Mifflin & Co. Layard, Sir A. H. Kiigler's Italian Schools of Painting. London : John Murray. 1900. McCuRDY, Edward. Leonardo da Vinci. (The Great Masters Series.) London : George Bell & Sons. 1904. MoRELLi, Giovanni. Italian Masters in German Galleries. (Trans- lated by Mrs. L. M. Richter.) London : George Bell & Sons. 1883. Ditto. (Translated by Miss C. J. ffoulkes.) MiJNTZ, Eugene. Raphael : his Life, Work and Times. (Translated by Walter Armstrong, B.A. Oxon.). London : Chapman & Hall. 1896. Murray, A. H. Hallam, Henry W. Nevinson and Montgomery Carmichael. Sketches on the Old Road through France to Florence. London : John Murray. 1904. Phillips, Claude. The Magazine of Art. London, 1894. Priuli-Bon, Contessa. Sodoma. (The Great Masters Series.) London: George Bell & Sons. 1900. Ricci, CoRRADO. Pintoricchio : his Life, Work, and Times. (Trans- lated by Florence Simmonds.) London : Heinemann. 1902. Correggio. (Translated by Florence Simmonds.) London : Heinemann. 1896-7. Richter, J. P. Vasari's Lives of the Painters. (Translated by Mrs. Foster.) Vol. VI,, Notes. London : George Bell & Sons. 1892. Louise M. The Artist, London, Oct, 1901. ENGLISH 401 RiCHTER, Louise M. The Connoisseur, London, Oct., Dec. 1902. Robinson, J. C. Catalogue of Original Designs by Michel Angelo and Raphael in the University Galleries, Oxford. Oxford: J.Fisher. 1848. The Drawings by Michel Angelo and Raphael. Oxford : Clarendon Press. 1870. RoscoE, W. Life of Leo X. London: David Bogue. 1846. Sharp, W. The Art Journal, London, 1884. Swinburne, Algernon Charles. Songs before Sunrise. London, 1868. London : F. S. Ellis. 187 1. London : Chatto & Windus. 1894 and 1904. Essays and Studies : Notes on Designs of the Old Masters at Florence. 2nd Ed. London: Chatto & Windus. 1876. SvMONDS, J. Addington. The Renaissance in Italy. London, 1877. Sketches in Italy, " Siena." Leipzig : B. Tauchnitz. 1883. New Italian Sketches, " Monte Oliveto." Leipzig : B. Tauchnitz. 1884. Tarver, J. C. Tiberius the Tyrant. Westminster : Archibald Con- stable & Co. 1902. Williams, Egerton R., Jun. Hill Towns of Italy. Boston and New York : Houghton, Mifflin & Co. 1903. Abridged Catalogue of the Pictures and Sculpture in the Royal Picture Gallery (Mauritshuis) The Hague. Hague : National Printing Office. 1899. Catalogues of the Grosvenor Gallery (Winter Exhibitions of Drawings by the Old Masters), 1877-8, 1878-9. Catalogue of the Exhibition of Early Italian Art, 1300-1550, in the New Gallery, 1893-4. Catalogue of Pictures exhibited at the Burlington Fine Arts Club (Lombardo-Milanese Exhibition), 1898. Catalogue of the Burlington Fine Arts Club (Sienese Exhibition). London, July 1904. Catalogue of the National Gallery, London. London, 1898. Catalogue of Drawings by Raphael, etched and engraved. Oxford : J. Fisher. 1894. Catalogue of a Hundred original Drawings by Raphael, collected by Sir Thomas Lawrence. Exhibited at Messrs. Woodburn's Gallery, 112, St. Martin's Lane, London. London, 1836. Catalogue of the same, as sold by Messrs. Christie, Manson & Woods. June 4th, i860. Handbook Guide for the University Galleries, Oxford. Oxford : J. Fisher. 1862. Letters on the " Leda " of Leonardo da Vinci. (Published in the Athenceum, September 17th and 24th, 1898.) Signed Eugene Miintz, W. Roberts, and G. A. Simcox. The Churchman, New York, February 1901. 26 402 AUTHORITIES CONSULTED FRENCH. Bartsch, Adam. Le Peintre Graveur. Leipzig, 1808. Bertaux, E. Les Saints Louis dans I'Art Italian. La Revue des Deux Mondes, April ist, 1900. Blanc, Charles. Le Tresor de la Curiosite. Paris : Rdnouard. 1858. BouRGET, Paul. Sensations d'ltalie. Paris : Lemerre. Burckhardt, J. Le Cicerone. Paris : Firmin-Didot et Cie. Frizzoni, Gustavo. Exposition des Maitres de I'^cole Lombarde ^ Londres. La Gazette des Beaux Arts, November 1898. Geffrov, a. Une vue inddite de Rome en 1459 in Melanges de G. B. De Rossi (Supplement aux Melanges d'Arch^ol. et d^ Histoire, torn. xii.). Rome, 1892. Gillet, Louis. L'Art Siennois k I'occasion d'une Exposition Recente. Revue des Deux Mondes, September 15 th, 1904. Mariette, p. J. Abecedario {Archives de I'Art Franfais) par Ph. de Chennevriferes et A. de Montaiglon, 1858-9. Paris: Dumoulin. 1885. Mireur, Dr. H. Dictionnaire des Ventes d'Art faites en France et k rfitranger pendant les XVIII & XIX Sibcles. Paris : L. Souille. 1901. London : Quaritch. MiJNTZ, Eugene. Histoire de I'Art pendant la Renaissance. Paris : Hachette & Cie. 1895. " Musee de L'Ecole des Beaux Arts. Nouvelles Acquisitions." La Revue Encyclopidique Larousse, No. 238, 26 Mars, 1898. Passavant, J. I). Raphael d'Urbino. Paris : Jules R^nouard. i860. QuAKANTA, Bernard. Le Mystagogue. Guide Gen6-al du Musee Royal Bourbon de Naples. Naples, 1846. Reiset, M. Notice des Dessins, etc., au Mus^e du Louvre. (La Vie de Giovanni Antonio Bazzi.) Paris : Imprimeries Reunies, fitab- lissement A. 1887. Rio, a. F. De I'Art Chretien. Paris : L. Hachette et Cie. 1861. Richardson, J. (the Younger). Traite de la Peinture et de la Sculpture. Amsterdam : Herman Uytwerf. 1728. Sarnelli, Pompeo. Guide des Strangers curieux de voir et d'apprendre ce qu'il y a de plus remarquable dans la R. Ville de Naples. Naples, 1702. SoMOF, A. L'Ermitage Imperial. Catalogue de la Galerie des Tableaux. Premiere Partie. Les ficoles d'ltaUe et d'Espagne. St. Peters- bourg : La Companie d'Imprimerie artistique. Perspective des Anglais. 28. 1899. Tauzia, Vicomte L. Both de. Catalogue des Dessins au Musee du Louvre. 1888. Thomas, Dom. G. M. L'Abbaye de Mont-Olivet-Majeur. Florence : Le Monnier. 1881. TiMBAL. La Gazette des Beatix Arts, January and February 1875. ToNi. (Euvres Completes de Raphael Sanzio. Vol, III. Paris, 1844. FRENCH 403 Livret de la Galerie Imp^riale de I'Ermitage de St. P^tersbourg. St. P^tersbourg : Edouard Pratz & Cie. 1838. Recueil d'estampes d'apres les plus beaux Tableaux et d'apres les plus beaux Dessins qui sont en France dans le Cabinet du Roy ; Celui de Monseigneur le Due d'Orleans et dans d'autres Cabinets, divise suivant les differents ;^coles avec un Abrdg^ de la Vie des Peintures, et une Description Historique de chaque Tableau. Tome premiere, contenant rEcole Romaine. Paris : De ITmpri- merie Royale. 1729. Catalogue des Peintures, Sculptures, Dessins et Gravures du Musee de la Ville de Rennes. Rennes : Typo Oberthur. 1863. Catalogue des Dessins et Objets d'Art legues par J. B. Wicar k la Ville de Lille. Lille: Lefebvre-Ducocq. 1856. Catalogue de Musee Wicar, Lille. Par H. Pluchart. Lille : Imp. A. Massart. 1889. Catalogues de Collection de Don Marcello Massarenti. Rome, 1874, 1877, 1882, 1894. Catalogue des Tableaux et Sculptures, etc., du Cabinet de feu M. le President de Tugny et de celui de M. Crozat. Paris: Delatour. 1751. Notice des Tableaux et Objets d'Arts exposes au Musee Fabre de la Ville de Montpellier. Montpellier : Imp. Typo, de Gras. 1866. Catalogue de I'Exposition des Primitifs Fran9ais au Palais du Louvre et a la Bibliothbque Nationale. Paris. Avril 1904. Catalogue Sommaire des Dessins, Cartons, Pastels, Miniatures et Emaux. Exposes au Musde National du Louvre. Paris : Librairies- Imprimeries R^unies. Catalogue des Peintures de la (iallerie Nationale de Budapest. Budapest: Imprimerie de la Soci^te "Athenaeum." 1898. GERMAN. Bode, W. Beitrage zu Burckhardt's Cicerone. Leipzig, 1878. Italienische Bildhauer. Repertorium fiir Kunstwissenschaft. Band XII. Heft i. 1889. Chledowski Casimir. Siena. Berlin : Bruno Cassirer. 1905. FoERSTER, Richard. Farnesina-Studien. Rostock : Hermann Schmidt. 1880. " Die Hochzeit des Alexander und der Roxana in der Renaissance." Der Jahrbtich der Konigl. Preussischen Kunstsainmlungen, Band XV. 1894. Frizzoni, Gustavo. " Giov. Ant. de Bazzi." Zeitschrift fiir Bildende Kunst. 1874. "Giovanni Morelli und seine letzten Errungenschaften." Graul. " Des Giovan Antonio de' Bazzi (Sodoma) Vermahlung Alexanders mit Roxane." Die Graphische Kunst. XVI Jahr. 2 Heft, S. 33. 1893. 404 AUTHORITIES CONSULTED Grimm, H. " Die Hochzeit Alexanders und der Roxana. Kupfei'stich nach dem Gemalde Sodoma's von Jacoby." Detitsche Rundschau. 19 Jahrgang. 4. 1880. Hauser, Friedrich. Neuattische Reliefs. Janitschek, Ur. Hubert. Repertoriuin fiir Kunstwissenschaft, Band VII. Heft 4. W. Spemann. Berlin & Stuttgart. Repertoriuin fiir Kunstwissenschaft, Band XIV. Heft 4. Wien : Ceroid & Co. 1891. Jansen, Albert. Leben und Werke des Malers Ciovannantonio Bazzi von Vercelli genannt il Soddoma. Stuttgart : Ebner & Seubert. 1870. Koch, Wilhelm. Paris vor Helena in der Antiken Kunst. Marburg, 1889. KooPMANN, W. Jahrbiicher der Konigl. Preuss. Sammlungen, Band XII. Heft I. 43, 44. Lubke, W. Crundriss der Kunstgeschichte. Meyer, Dr. Julius. Allgemeines Kiinstlerlexicon. Berlin, 1885. Muller-Walde, Paul. "Beitrage zur Kenntniss des Leonardo da Vinci." Jahrbuch der Konigl. Preussischen Kunstsammlungen, Band XVIII. Heft ii., iii. Berlin, 1897. Passavant, J. D. Raphael von Urbino und sein Vater, Giovanni Santi. Leipzig: Brockhaus. 1858. Philippi, Adolf. Die Kunst der Renaissance in Italien. " Lionardo da Vinci und seine Schule." Viertes Buch. Leipzig : E. A. Seemann. 1897. RiCHTER, LuiSE M. Siena. Leipzig and Berlin : Seemann. 1901. Zeitschrift fiir Bildende Ktmst. Leipzig, July 1901. RiEFFEL, Franz. Studien aus der Mainzer Gemaldegalerie : " Eusebio Ferrari und die Schule von Vercelli." Repertoriuin fiir Kunst- wissenschaft, Band XIV., p. 275. Rothes, Walter von. Die Bliithezeit der Sienesischen Malerei und ihre Bedeutung fiir die Entwickelung der Italienischen Kunst. Strassburg : Heilz & Mundel. 1904. Rumohr, C. F. von. Italienische Forschungen. ScHUCHHARDT, Karl. " Sodoma's Lucrezia in Kestner Museum in Hanover." Jahrbuch der Konigl. Preussischen Kunstsammlungen, Band XVIII. 1897. ScHMARZOW, A. Der Freskenschmuck einer Madonnenkapelle in Subiaco. Berichte iiber die Verhandlungen der Koniglich Sach- sischen Gesellschaft der Wissenschaften zu Leipzig, Philologisch- Historische Classe. Band III. 53. Leipzig: B, G. Teubner. 1901. Steinmann, Ernst. Rom in der Renaissance von Nicolaus V. bis auf Leo X. Leipzig: Seemann. 1902. SvBEL, L. VON. Weltgeschichte des Kunst. Marburg : N. G. Elwert. 1888. GERMAN 405 Thausing. Wiener Abend Post, Dec. 1878. Wiener Kunst Brief en, p. 261. Leipzig, 1884. Ullman, H. Notes on Sodoma, in his own copy of Frizzoni's EArte Italiana del Rinascimento, (Kunst-Historisches Institut. Florence.) ViscHER, R. Giovanni Antonio de' Bazzi. (Kunst und KUnstler des Mittelalters und der Neuzeit von Dr. Robert Dohme.) Leipzig: E. A. Seemann. 1878. Giovanni Antonio Bazzi. Das Museum, IV. Jahrg. S. 13. WoERMANN, Karl. Verzeichniss der Galerie Weber in Hamburg. Dresden, 1892. 100 Jahre Italienische Bildnissmalerei von 1450 1550. Berlin, 1891. WoLTMANN, A., and Woermann, Karl. Geschichte der Malerei. Leipzig: Seemann. 1882. Weigel, Rudolph. Die Werke der Maler in ihren Handzeichnungen, Leipzig, 1865. Weizsacker, Heinrich. Katalog der Gemalde-Gallerie des Stadelschen Kunstinstituts in Frankfurt a/M. Frankfurt : August Osterrieth. 1900. WicKHOFF, Franz. Beitrage zur geschichte der Reproducirenden Kunst Marcanton's Eintritt in den Kreis Roemischer Kuenstler. Wien, 1899. Waagen, G. F. Kunstwerke und Kiinstler in England. Berlin : Nicolaischen Buchhandlung. 1839. Weese, Arthur. Baldassare Peruzzi. Antheil an dem malerischen Schmucke der Villa Farnesina, nebst einem Anhange : II taccuino di Baldassare Peruzzi in der Comunal Bibliotek zu Siena. Ein Versuch. Leipzig : K. W. Hiersemann. 1894. Die Verzeichnisse der Stadtischen Gemalde-Sammlung in Strasburg. Strasburg : G. Fischbach. 1899. Katalog der Gemalde-Sammlung der Kgl. Aelteren Pinakothek in Miinchen. Miinchen : Knorr & Hirth. 1896. Katalog der zum Ressort der Kgl. Verwaltungs-Kommission gehorigen Sammlungen von Gemalden, Skulpturen und Alterthiimern in Provinzial-Museumsgebaude an der Prinzenstrasse No. 4 zu Hannover. Hannover: Klindworth. 1891. Fiihrer durch die Gemalde-Galerie zu Wien. Alte Meister, I. Italienische, Spanische und Franzosische Schulen. Wien : Adolf Holzhausen. 1899. Beschreibendes Verzeichnis der Gemalde in Kgl. Museum zu Berlin, Berlin : W. Speman. 1898. Katalog der Stadtischen Galerie, Mainz. Verzeichnis der Gemalde des Stadtischen Museums Wallraf-Richarz zu Coin. Coin: Durch die Kolner Verlags-Anstalt. 1902. 4o6 AUTHORITIES CONSULTED ITALIAN. Albertini, Francesco. Opusculum de Mirabilibus Novae Romae. Roma, 15 lo. Aloe, Stanislas d'. Guida di Napoli. Napoli, 1856. Amanti, Bruto. Giulia Gonzaga, Contessa di Fondi. Bologna : Zanichelli. 1896. Amoretti, C. Memorie Storiche su la Vita, gli Studi, e le Opere di Lionardo da Vinci. Milano, 1804. Ancona, Alessandro d'. "Cecco Angiolieri da Siena." Nuova Antologia. January 1874. Vol. xxv. pp. 1-57. Origini del Teatro Italiano. Torino : Loescher. 1891. Angelis, L. de. La Vita del Beato Pietro Pettinaio. Siena : Francesco Rossi. 1802. Ragguaglio del Nuovo Istituto delle Belle Arti di Siena. Siena, 1816. Angelucci, Colonello. Esposizione d' Arte Antica. Torino, 1880. Aretino, Pietro. Lettere, Parigi, 1609. Armenini, Gio. Battista (Da Faenza). De' Veri Precetti della Pittura. Lib. I. Ravenna: Francesco Tebaldini. 1587. (With notes by Stefano Ticozzi.) Milano : Vincenzio Ferrario. 1820. Azeglio, Marchese R. d'. Reale Galleria di Torino. IV. Torino, 1836. Azzari, Fulvio. Compendio Istorico della Cittk di Reggio. Reggio : Flaminio Bartoli. 1623. Baistrocchi, Romualdo. MS. Library at Parma Baldinucci, Filippo. Notizie de' Professori del Disegno. Torino, 1770. Baldoria, Prof. N. "Monumenti Artistici in San Gimignano." Archivio Storico deir Arte. Fascicoli i., ii. Roma, 1890. Barbavara, G. C. Brevi Notizie su due antiche pitturi Piemontesi. Estratto dal giornale Arte Sacra. Torino : Roux, Frascati & Co. 1898. Bardi, Luigi. Galleria Pitti di Firenze. Firenze, 1839. Baretti, G. Dizionario. London, 1831. Bellini, C. A. Serie degli Uomini Grande di Vercelli. MS. 1652. Archivio Comunale di Vercelli, with marginal notes by G. A. Ranza. Bertoletti, a. Artisti Subalpini in Roma nei Secoli XV, XVI, XVII. Ricerche e Studi negli Archivi Romani. Mantova, 1884. Bertoluzzi, G. Nuovissima Guida per osservare le Pitture si a olio che a fresco, esistenti actualmente nelle chiese di Parma. Opera postuma. Parma, 1830. Bertoluzzi, Giuseppe. MS. Library at Parma. Bianchi, Nicomede. Le Carte degli Archivi Piemontesi. 1881. Bonanni, Filippo. Catalogo delle Qrdine Equestri e Militare. Roma, ITALIAN 407 BoRGHESi, S,, and Banchi, L. Nuovi Documenti per la Storia dell' Arte Senese. Appendice alia Raccolta dei Documenti pubblicata dal Comm. Gaetano Milanesi. Siena: Torrini. 1898. BoRGHiNi, Raffaello. II Riposo. Firenze : Marescoiti, 1582 and 1584 ; Firenze : Moucke, 1730; Firenze: Nestenus, 1738. Siena: Pazzini, 1787. Milano, 1807. Reggio : Fracadori, 1827. Bosio, C. T. Antonio. Memorie Storico-Religiose e di Belle Arti del Duomo e delle altre Chiese di Chieri. Torino : Collegio degli Artigianelli. 1880. BoTTARi, Mgr. Giovanni. Raccolta di Lettere sulla pittura, scultura, e architettura, scritte dai piu celebri personaggi dei Secoli XV. XVI. e XVII, e continuate fino a nostri giorni da Stefano Ticozzi. Milano : Giovanni Silvestri. 1822-5. Brigidi, E. a. La Nuova Guida di Siena e dei suoi Dintorni. Siena : Enrico Torrini. igoo. Brogi, F. Inventario Generate degli Oggetti d' Arte della Provincia di Siena. Siena : Carlo Nava. 1897. Bruzza, Padre L. (Barnabita). Notizie intorno alia Patria e ai Primi Studi del Pittore Giovan Antonio Bazzi detto il Soddoma. (Estratto dal vol. i. della Aliscellanea di Storia Italiana.) Torino : Stamperia Reale. 1862. Sugli Storici inediti Vercellesi. MS. Biblioteca Comunale di Vercelli. Campori, G. Catalogo Storico degli Artisti Italiani e Stranieri negli Stati Estensi. Modena : R. D. Camera, 1855. Carotti, Ur. GiULio. Catalogo della R. Pinacoteca di Brera in Milano. Milano: M. Bellinzaghi. 1901. Capi d' Arte appartenenti a S. E. La Duchessa Josephine Melzi d' Eril Barbo. Milano, 1901. Cave, Philolauro da. Lode delle Donne Senese. Bib. Com. Siena. Siena, December 5th, 1533. Cento fanti, L. Tanfani. Notizie di Artisti. Tratte dei Documenti Pisani. Pisa, 1898. Notizie Inediti di S. Maria del Pontinuovo. Pisa : Nistri. 187 1. Ciaccheri, Abbate G. MS. notes. Bib. Com. Siena. Claretta, Barone G. Piemonte e Siena. Appunti del mio Taccuino da una recente peregrinazione in Toscana. La Letteratura, November 15th, December ist and 15th. Nos. 22, 23, 24. Torino, 1889. Colombo, Padre G. Vita di Gaudenzio Ferrari. Torino, 1881. Notizie inediti dei Artisti Vercellesi. Vercelli, 1883. Corpus Inscriptionum Latinarum. Paris, 1874. Crowe, J. A., and Cavalcaselle, G. B. Raffaello, la sua Vita e le sue Opera. Firenze : Le Monnier. 1884. 2 vols. CuGNONi, C. " Agostino Chigi il Magnifico." Archivio della Societa Romana di Storia Romana. Roma, 1878. 4o8 AUTHORITIES CONSULTED CusT, R. H, HoBART. " Alcuni Disegni del Sodoma." Rassegna d'Arte. Milano, July 1905. D. " L' affiesco del Sodoma a Montoliveto fuori Porta S. Frediano, Firenze." Arte e Storia. 25 Gennaio, 1895. Anno XIV. Num. 2. Uella Valle, Padre G. Lettere Sanesi. Notizie di Gio. Ant. Bazzi da Vercelli, vol. iii. pp. 229-80. Notizie di Antonio Barili, vol. iii. p. 323. Roma: Giovanni Zempel. 1786. De Rossi, Ci. B. " Di un Affresco del Sodoma nel Chiostro di Monte Oliveto Maggiore, rappresentante una prospettiva del Foro Romano." (Estratto del Bidlettino deW Istituto della Corrispond- enza.) Roma, 1887. DioNisoTTi, Carlo. Notizie Biografiche dei Vercellesi Illustri. Biella : G. Amosso. 1862 Memorie Storiche della Citta di Vercelli. Biella : G. Amosso. 1864. Dolce, Lodovico. Dialogo della Pittura. " L' Aretino." Biblioteca Rara, vol. .X. Milano, 1863. Venezia, 1557. (Italian and French.) Firenze, 1735. DoNATi, FoRTUNATo. " II Palazzo del Comune di Siena." Extract from VArte Antica Senese. Published by the Commission of La Storia Patria. Siena: Sordo Muti. 1904. DoNi, Anton Francesco. La Libreria. Venezia : Gabriele Giolito de Ferrari. 1558. Fagcio, Cesare. Giovan Antonio Bazzi (II Sodoma), Pittore Vercellese del Secolo XVI. Vercelli: Gallardi & Ugo. 1902. Ferrario. Costume antico e moderno. Vol. ix. p. 40. Torino, 1833. Ferri, Marco. Guida della Cittk di Siena per gli amatori delle Belle Arti. Siena, 1832. Ferri, N. P. Catalogo delle Stampe esposte al Pubblico nella Galleria degli Uffizi di Firenze. Firenze, 1881. Catalogo di disegni dalla R. Galleria degli Uffizi di J'irenze. Roma, i8go. Fontani, F. Viaggio Pittorico della Toscana. Firenze, 1827. Frizzoni, Gustavo. Nuova Antologia, August 1871. Vol. xvii. Firenze, 1871. "Intorno alia Dimora del Sodoma a Roma nel 15 14." Giornale di Erudizione Artistica. Vol i., pp. 208-13, fasc. vii. Luglio, 1872. CoUezione di Quaranta Disegni scelti dalla Raccolta del Senatore Giovanni Morelli. Riprodotti in eliotipia. Milano : Hoepli. 1886. L'Arte Italiana del Rinascimento. Milano : Fratelli Dumolard. 1891. " II Sodoma, Gaudenzio Ferrari, Andrea Solari, illustrati in tre opere in Milano, recentemente ricuperate." Archivio Storico deW Arte. Vol. iv. 1893. ITALIAN 409 Frizzoni, Gustavo. " Disegni d' Antichi Maestri." (Estratto dall^ Arte. Anno VIII. fasc. iii., iv.) Roma e Milano, 1904. Rassegna d' Arte. August 1904, Jan. 1905. Milano. FuMAGALLi, Ignazio. Scuola di Lionardo da Vinci in Lombardia. Gagnoni-Schippisi, a. Terre Toscane. Firenze : Bemporad & Figlio. 1902. Gamba, Barone F. Abbadia di S. Antonio di Ranverso. Atii delta Societa d' Archeologia e Belle Arti. Torino, 1876. Gave, Dr. Giovanni. Carteggio Inedito d' Artisti di Secoli XIV, XV, XVI. Firenze, 1840. Gazzera, C. Memorie Storiche dei Tizzoni, Conti di Desana. Torino, 1842. Gigli,Girolamo. DiarioSenese. Siena: G.Landi&N.Alessandri, 1854. Giovio, Paolo. Fragmentum trium dialogorum Episcopi Nucerini, quos in insula x\enaria a clade urbis receptus conscripsit. Dialogus de viris Litteris illustribus, cui in calce sunt additse Vincii, Michaelis Angeli et Raphaelis Urbinatis vitae, nella : Vita Raphaelis. Published by Girolamo Tiraboschi in Storia delta Letteratura Italiana. Milano : Niccolo Bettoni. 1833. GoRi, Pietro. II Giuoco del Calcio. Firenze : Bemporad & I^glio. 1898. Graf, Arturo. Attraverso il Cinquecento. " Un Processo a Pietro Aretino." " Un Buffone di Leone X." Torino : Loescher. i888. Grassi. Descrizione di Pisa. Gregory, G. G. de. Istoria della Vercellese Litteratura ed Arte. Torino, 1820. Griffoli. Val di Chiana. Bozzetti di un artista di Dozzina. Siena : Sordo Muti. 1878. Grifi, LuiGi. L Ape Italiana. Vols, iv., v. Roma, 1839. Gualandi, Michelangelo. Memorie Originali Italiane Risguardanti le Belle Arti. Serie II. Bologna, 1841. Jacobsen, E. La Galleria del Castello Sforzesco di Milano. L Arte. fasc. ix., X., Settembre-Ottobre, 1901. Landi, Alfonso. Descrizione del Duomo di Siena. MSS. Bib. Com. Siena. Lanzi, Abbate L. Storia Pittorica dell' Italia dal Risorgimento delle Belle Arti fin presso al fine del XVIII secolo. Venezia : Pietro Milesi, 1837. (Edizione corredata dall A. de Angelis.) LoESER, Charles. La Galleria di Strasburgo. Archivio Storico dell' Arte. 1896. LoMAZzo, Gio. P. Trattato dell' Arte della Pittura e della Scultura. Milano, 1584. Lucarelli, Oderigi. Guida Storica di Gubbio. Cittk di Castello: Lapi. 1886. Lugano, Don P. "II Sodoma e i suoi affreschi a Sant' Anna in Camprena presso Pienza." Bullettinp Senese di Storia Patria, Annq IX. fasc. ii, Siena, 1902, 4IO AUTHORITIES CONSULTED Lupi, Clementi. " L'Arte Senese a Pisa." 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Anno X. fasc. iii.) Siena, 1903. ScARABELLi ZuNTi, E. Documenti e Memorie di Belle Arti Par- migiane. 1501-50. MS. Bib. Com. Parma. Spotorno, G. B. Storia Letteraria della Liguria. Geneva : Ponthenier. 1826. Supino, I. B. "L'Arte del Rinascimento nella Primaziale di Pisaf" Archivio Storico delf Arte. Roma, Nov., Dec. 1893. 412 AUTHORITIES CONSULTED TiRABOSCHi, G. Storia della Letteratura Italiana. Modena, 1792; Milano : Societa Tip. di Classici Italian!. 1826. Milano : Niccolb Bettoni. 1833. TiTii, SiGiSMUNDi. Historiarum Senensium. Tomi Dieci. MSS. Biblioteca Comunale Siena. ToGNETTi, A. Guida di San Gimignano. Firenze : S. Landi. 1899. TuRCHi, Francesco. Delle Lettere Facete et Piacevoli di diversi Huomini Grandi et Chiari et Begli Ingegni. Raccolta per M. F. Turchi. Venezia : Salicato. 1601. Ugurgieri, Padre I. Azzolini. Le Pompe Senese. Pistoia, 1649. Vasari, Giorgio. Le Vite de' Piu eccellenti Pittori Scultori ed Architettori. Firenze: Sansoni. 1881. Milano: SocietaTip.de' Classici Italiani. 181 1. Venturi, a. La Reale Galleria Estense. Modena, 1882. Various articles in Archivio Storico dell' Arte and L'Arte. Catalogues of Roman Galleries. Rome: Laziale. 1890. Zani, D. Pietro. Enciclopedia Metodica Critico-Ragionata delle Belle Arti. Parma, 1823. Archivio Storico dell' Arte. 1887-98. L'Arte. 1899 1905. Atti e Memorie delle R. R. Deputazioni di Storia Patria delle Provincie Modenesi e Parmensi. Modena, 1863. Compendio delle Discendenze de' Fratelli Giovanni, Bonifazio e Parigio de'Taccoli. Reggio : Vedrotti. 1741. Suburbanum Augustini Chisii opus per Blasium Palladium impressum Romae per Jacobum Mazochium, Romanae Academia biblio- polam anno salutis MDXIL De Viridario Augustini Chigii Patritii Senen vera libellus Galli Egidii Romani poe. laur. impressum Romae per Stephanum Guillireti et Herculem nani consocios anno Domi 1511. Guida della Citta di Siena per gli Amatori delle Belle Arti. Siena : Marco Ferri. 1832. La Galleria di Firenze. Relazione al Ministro della Pubblica Istruzione in Italia. Firenze: M. Cellini & Co. 1872. Le Gallerie Nazionale Italiane. Notizie e Documenti. Roma, 1896. Anno II., III. Giornale Illustrata dell' Esposizione d' Arte Sacra a Torino. Torino : Roux, Frassati & Co. 1899. La Sesia. Giornale della Cittk e del Circondario di Vercelli. Anno V., No. 50. Vercelli, 10 Dicembre, 1875. La Scintilla. Rivista Letteraria. Venezia, Giugno 7. 1891. Le Cento Citta d' Ltalia. (Supplemento mensile illustrato del Secolo.) Anno XXXIV. Milano, 1899. La Reale Galleria di Torino. Torino, 1846. Jl Museo di Pittura e Scultura. Firenze : Fumagalli. 1840. ITALIAN 413 Supplemento alia serie dei trecento elogi ecc. Firenze : Allegrini. 1776. La Serie degli uomini i piii illustri nella pittura, scultura e architettura con i loro elogi e ritratti. La Serie de' ritratti de' pittori che da se stessi si dipinsero nella R. Galleria di Toscana. La Reale Galleria di Firenze Illustrata. Firenze, 181 7. Raccolta delle piti Celebri Pitture esistenti nella Citt^ di Siena, Disegnate ed incise da valenti artisti. Firenze : Niccolo Pagni. 1825. Catalogo della R. Pinacoteca di Torino. Torino : V. Bona. 1899, Catalogo Generale del Esposizione Italiana dell' Arte Sacra a Torino. 1898. Catalogo della Vendita di Monte di Pietk, Roma. Roma, 1875. Catalogo della Galleria del fii Marchese Rinuccini. (N.D.) Catalogo Generale dei Quadri e disegni della Gallerie Rasponi di Ravenna. Ravenna, 1879. Catalogo dei Quadri della Galleria Carrara in Bergamo. Catalogo della Galleria legata alia Accademia Carrara di Belle Arti da Sen. Dott. Giovanni Morelli. Bergamo, 1892. Catalogo dei Disegni originali venduti da Guglielmo Piatti in Firenze. 1831. Catalogo dei Quadri e statue esistenti al piano terreno e primo piano del Palazzo di No. 2, Via Castelli, Livorno. Livorno : Meucci. 1884. Catalogo dei Quadri del Dott. Giacomo Peirano esposti in Torino nel CasteJlo del Valentino. Genova, 1884. Catalogo Generale della Mostra dell' Antica Arte Senese, Aprile- Ottobre 1904. INDEX Abbadia di S. Antonio di Ranverso e Defendente de Ferrari da Chi- vasso, by Barone Francesco Gamba, 44 (note ^). Abbaye de Motit-Olivet-Majeur, L\ by Dom. Gregoire Thomas, 89 (note -). Acharigi, Alfonso di Francesco Cappella di Piazza, Siena, 208, 320, 322. Adoration of the Magi, The, 216-19, 329, 344 ; Comparison with Ma- donna and Child with Saints at Sinalunga, 221 ; Portrait of Bazzi, 217, 252 ; Studies, 219, 344, 362, 363- Aetion Picture of Alexander and Roxana, 138 (note ^). Age of Bazzi, Vasari's reckoning, 8, 201 (note *). Agnolo di Donnino, no. Agnolo di Tura Cronaca, 205(note^). Agony in the Garden, The, Fresco, 184, 185, 344. Agostino Chigi il Magnifico, bj' C. Cugnoni, 108 (note *), 132 (note ). Ajazza Family Paintings commis- sioned by, 33, 39, 265. Alba : see Macrino d'Alba. Albertini, Francesco Optisculnm de Mirabilibus Novce et Veteris Urbis Roma, 109 (note ^). Alexander and Roxana Idyll : see Farnesina Frescoes. Alladio, Gian Giacomo de : see Macrino d'Alba. Allegorical Cycle, 85, 86. Allegretti Diario, 207 (note). Allgemcines Kimstlerlexicon, by Dr. Julius Meyer, 82 (note ^), 115 (note '), 195 (note ^). Ancona, Alessandro d' Origini del Teatro Italiano, 289-90 (note) ; Studii de Critica e Storia Lettera?ia, 23 (note ^). Angelis : see De Angelis. Angiolieri, Cecco Nickname, 23 (note). Animals Bazzi's love for (" Noah's Ark "), 63-5, 92-3 ; paintings of, 93, 99, 143, 145, 198, 345. Annunciation, The Painting on Glass, by Martino Spanzotto, 50. Anselmi, Michel Angelo, Pupil of Bazzi and Correggio, 97, 166, 167, 211 (note 3), 239, 250, 344. Antiquarie prospettiche Romane, 80. Appellations Bazzi, name of: see that title ; " Cavaliere : " .y^^ that title ; " Count Palatine:" see that title ; "il Mattaccio" {Matazo), 17, 65,94, 269; Official entries, 2-4, 17-20, 95, 108 (note 2), 116 (note '), 117, 118, 121, 150. 151. 1 55. 159. 163, 164, and passim ; Sodoma sobriquet : see that title ; Tizoni, 2-4, 159, 228, 295. Appiani, Padre Paolo Antonio Ateneo Ascolano, 153 (note ^). Apprenticeship Bazzi to Martino Spanzotto, 5, 29-32, 39, 49, 155, 257 ; Matteo Balducci to Bazzi, 32, 155 et seq. Archivio Civico di Casale Pietro Spanzotto, 35 (note ^). 15 4i6 INDEX Archivio Civico di Vercelli Refer- ences to Bazzi Family, 9 (notes ', , *), 10 (notes ', 2), 28, 30 (note ^\ 31 (notes \ ^), 32 (note '), 33 (note ^), 53 (note ^), 54 (note i), 55 (notes S ^), 256, 257-60; references to Martino Spanzotto, 33 (note ), 34 (note), 35 (notes 1, *, % 39 (notes S ^ ^), 40 (note *), 257, 265. Archivio Comunale di Chivasso Costantina de Spanzotis, 41 (note ^). Archivio del Conte Asinari di Camerano Painting by Martino Spanzotto, 41 (note '). Archivio dell' Opera del Duomo di Siena References to Bazzi and his work, 19 (note *), 125 (notes ', ^), 186 (note ') 2c6 (note '), 207 (notes *, ^), 209 (note '), 21 1 (note '), 213 (note ^), 225 (note), 325. Archivio della Curia Arcivescovile Visitation of the Church of S. Francesco, Siena, by Monsignore Francesco Bossio, 71, 87 (note i). Archivio del Opera del Duomo, 335 (note ). Archivio di Stato di Firenze Car- teggio Mediceo privato, 18 (note ^), 122, 289; S. Anna in Creta fres- coes, 75 (note % 77 (note*), 268. Archivio di Stato di Pisa References to Bazzi, 3, 229 (notes ^ ^ *), 230 (notes 1, *), 231 (notes \ *) 232 (notes *, ^), 233 ; Archivio degli Spedali Riuniti : S. Maria della Spina Painting by Bazzi, 233 (note % 234 (note ), 335, 336 (note 1) ; Archivio del Capitolo, Pisa Picture by Bazzi, 334 ; Ar- chivio del Opera del Duomo, 335 (note 1). Archivio di Stato di Roma Pier Antonio Spanzotto, 37 (note ^), 38 (notes ^ *). Archivio di Stato di Siena Refer- ences to Bazzi and his work, 8 (note *), 19 (note ^) 93 (note ^), 107 (note 2), 1 16 (note "), 117 (notes ^ % 1 18 (note ^), 125 (note ^), 130 (note 1), 150 (note 1), 1 56 (note ^) 158 (note'), 171 (note ^), 172 (note *), 192 (notes *, ^), 193 (note *), 194 (notes ^f ^ *)i 199 (note 2), 200-203 (notes passim), 208 (notes ^, ^, *), 210 (notes S ^ *), 212 (note *), 213 (note *), 222 (note 1), 223 (note 1), 225 (note ^), 237 (note ^), 262, 269, 295, 307-14. 315-18, 320-S, 325-8; Archivio del Patrimonio dei Resti Ecclesiastici References to Bazzi and his work, 2 (note ^), 130 (note ^). 1 72 (note % 1 83 (note *), 1 86 (note 3), 197 (note 1), 298-303. Archivio di Stato in Mantova Bazzi's Letter to the Marquis of Mantua, 151 (note *), 162-3, 296. Archivio Estense (di Stato) in Modena Bazzi's Letter to the Duke of Ferrara, 152 (note 1), 162-4, 297. Archivio Notarile Provinciate di Siena Bazzi and his work, refer- ences to, 4 (note 1), 19 (note *), 20 (note 1), 32 (note *), 59 (note % 96 (note ^), 116 (notes S *), 117 (notes , ^), 121 (note*), 155 (note^), 1 86 (note*), 187 (note *),204 (note ^), 208 (note \ 216 (note *), 222 (notes ^ 2), 224 (note % 237 (note ^), 285, 286, 288, 289, 293, 303, 304-7, 318-20, 329. 332-4, 337; Brazzi, Lorenzo, 242 (note ^); Family Pedigrees of Bazzi and Galli, 256, 286 ; Magagni, Girolamo, 240 (notes ^ *). Archivio Storico delV Arte, 33 (note *), 351. 352, 353. 354. 357, 359, 380, 381, 387, 388. Archivio Storico Italiano, 167 (note*). Arduini, Giovanni and Arduino Law- suit with Bazzi, 216, 329, 345. INDEX 417 Aretino, Pietro, 146; letters, 153-4, 235. 336. Armenini da Faenza, Giovanni Battista Dei Veri Precetti delta Pitiura, 6 (note ^), 198, 314. Armstrong, W. Translation of Raphael by Eugene Miintz, 62 (note ). Arrian Anabasis. Inspiration for Fresco of The Family of Darius before Alexander, 144 (note *). Arts Trade Guilds designated as " Fine Arts," 29 ; Vercelli, revival in, 35, 40 : for special artists see their names, also titles Pictures, Painting. Arte, Z,' References to Bazzi's Paintings, 60 (note *), 114 (note), 166 (note 2), 353, 355, 369, 398. Arte del Rinascimento nel Primaziale di Piza, U : see Supino. Arte e Storia Notice by Frizzoni, 388 ; notices by Diego di S. Am- brogio, 46 (note 1), 123 (note 1). Arte in Milano, by Giuseppe Mongeri, 37 (note ). Arte Italiana del Rinascimento, L' : see Frizzoni. Artist, The, 66 (note). Artisti Lombardi a Roma, nei Secoli XV, XVI, and XVII, by A. Bertoletti, 5 (note). Artisti Subalpini a Roma, by A. Bertoletti, 37 (note ^). Ascarelli, Camillo Cappella di Piazza, Siena, 208, 320, 322. Ascension, The Castello diTrequanda Fresco, 200 (note 1), 215, 350. Assumption of the Virgin, The Banner by Bazzi in S. Domenico, 183, 343: Fresco, S. Bernardino, 199, 215, 296, 342; Picture by Matteo Balducci, 157. Asti Genealogy of the Madonna, 46 (note *). Asti, Bartolommeo da Brazzi's (il Rustico) lawsuit, 242. Attraverso il Cinquecento ; Un Pro- cesso a Pietro Aretino, by Arturo Graf, 146 (note i). Authors Want of reflection, hasty statements, etc., 82. Baistrocchi, Romualdo, MSS. at Parma, 97 (note ^). Baldinucci, Filippo Notizie dei Professori del Disegno, 8 (note *). Balducci, Matteo Apprenticeship, 32, 155. 158, 239; articles, 293; identity and work, 1 56-8. Balducci, Matteo, pupil of Pin- toricchio Identity and work, 156-8. Banchi, Signor L. : see Nuovi Docu- menti. Bandinelli, Baccio Sketch for Rox- and!sbed, attributed to, 140 (note ^) Bandinelli, Belisario di Guido Cappella di Piazza, Siena, 208, 320, 322. Bandinelli, Conte Marcantonio Re- moval of frescoes by Bazzi to place of safety, 184, 344. Bandini-Piccolomini tomb Statue of The Risen Christ, \-i(3. Banners Assumption, The, S. Do- menico, 183, 343 ; Madonna, S. Ber- nardino, 370; Montalcino, 347, 375 ; Pisa, banners for the Opera del Duomo, 232 ; 6". Sebastian banner : see that title. Baptismal certificate of Bazzi, alleged to be at Pienza, 7. Barbavara, Giuseppe Cesare Genea- logy of the Madonna, by Gandol- fino di Roretis, 46 (note 1). Bardi, Agostino Facade of house, 122, 288, 384; owner of racehorses, 120, 121, 290, 291. 27 4i8 INDEX Barili, Antonio Frames, 67, 68, 384- Battle of Anghiari, The, by Leonardo, 99 (note ^). Battle of Camollia, 193 (note -), 205. Battle of Campaldino, 124 (note i). Baudi di Vesme, Conte Alessandro, 33 (note 2), 34, 36 (note i), 37 (note \ 39 (notes 1, % 43, 44, 49 (note ^), 267 (note). Bazzi, Amedea (sister) Birth, 9, 31, 256; consent to deed, 54, 256; marriage, 53. Bazzi, Angelina (mother), 9, 10, 31, 53. 54, 256. Bazzi, Antonio de (grandfather), 9, 256. Bazzi, Apelles (son), 116, 256. Bazzi, Beatrice de' Galli (wife) Legendary portrait, 89 ; marriage, 115. I33 contract, 285; official records of, 19, 116, 191 (note ^), 225, 237, 306, 337 ; pedigrees, 256, 286 ; property left by her mother, 116, 222; separation from Bazzi alleged, 19, 20, 237. Bazzi, Faustina (daughter) Birth, 116; legendary portrait, 90 ; marriage, 14, 97 (note ^), 223, 224, 237, 244, 256. Bazzi, Maestro Giacomo de (father) Apprenticehip to a Guild, 9, 29 ; birthplace, 9, 30 ; death, 53 ; home at Vercelli, 9, 28, 30 ; name, 2 ; social condition, erroneous state- ments as to, 29, 30; will, 9, 30, 256, 258-60. Bazzi, Niccold (brother) Birth, 9, 31, 256 ; extravagance, 53 ; lawsuit, 55 ; marriage, 2 (note i), 55 ; men- tion of in Archives of Vercelli, 28 ; takes possession of his brother Giovanni Antonio's patrimony, 54. Bazzi family Documents relating to, 28, 53, 55 ; innuendos against, 188; pedigree of the family of De Bazis, 256. Bazzi, Name of Others bearing name, 167, 168 (note 1) ; paternal name, 2 ; variations of name, 2. Beauregard, Count Costa de Picture, 87, 357. Beccafumi, Domenico (" Del Pace "), 145 (note 1) ; bier for Compagnia della SS. Trinita, 171 (note 3), 172 ; contrasted with Bazzi, 1 5 ; fame, 225; frescoes, 122, 159; influence of Bazzi on, 161 ; life of, by Vasari, 16 (note 2), 61 ; Palazzo Pubblico. Siena, at, 192 ; petition re picture for Francesco Petrucci, 186, 187, 303, 304 ; rivalry with Bazzi, 227 ; 6*. Sebastian banner, completion of, 173, 351 ; valuation of frescoes by Bazzi, 194, 210, 307, 308, 310, 325- Bellini, Carlo Amedeo, 34 (note). Benzi Family S. Catherine's Chapel in S. Domenico, Siena, 175, 176. Berenson, Bernhard Bazzi and his work, 51 ; drawing in Uffizi, 61 (note ^) ; references to in Draw- ings of the Florentine Painters, 99 (note 1), 115 (note 2), 174 (note i), 180 (note), 355, 378, 383, 397. Bergamo Pictures, 170 (note ^), 353, 379- Berlin Pictures and drawings, 49, 67, 85, 197, 345, 356. 367, 380, 394. Berna Painting attributed to, 182 (note *). Bernazzano Landscape painter, 85 (note '). Bertano, Giovanni Battista Far- nesina Frescoes attributed to, 148 (note). Bianchi, Nicomede Le Carte degli Archivi Piemontesi, 36 (note ^). Biandrate Native place of Giacomo Bazzi, 9, 30, 55. INDEX 419 Biers painted for churches and con- fraternities, 171, 172, 183, 343, 346, 372, 373, 374 ; documents, 298-300. Biografia Cronologica, etc. : see Romagnoli. Biografia degli Scrittori Sanest, by Padre Luigi De Angelis, 217 (note ^). Biringucci, Vannoccio di Paolo Arbitrator re valuation of The Adoration of the Magi, 216 (note *), 329- Birthplace of Giovanni Antonio Bazzi, I, 6, 7, 8, 30, 31, 56, 57. Bode, Dr. The Portrait of a Lady at Frankfurt a/M., 60 (note '), 356. Boltraffio Painting of 6". Scholastica, 78 ; pupil of Leonardo, 57. Bonajuti, Lattanzio, 224 (note '). Bonelli, Niccolo di Lorenzo, 191 (note -), 240, 306. Bordone, Paris The Portrait of a Lady at Frankfurt a/M., attributed to, 60, 356. Borghesi, S., Nuovi Documenti : see that title, Borghini, Raffaello // Riposo, 7. Borgogna, Cav. Aw. Antonio, 52 (note '), 70 (note % 354. Bosio, C. T. Antonio Memorie Storico-religiose e di Belle Arti del, etc., 43, 45 (note). Bossi, Giovan Battista del Ubertino Marriage of his daughter to Niccolo Bazzi, 55. Bossio, Monsignore Francesco Visitation of Church of San Fran- cesco, Siena, 71, 87 (note). Bottari, Monsignore Frescoes in Cappella di Piazza, Siena ; Inscrip- tion, 211, 212; L^ttere Pittoriche, 67 (note ), 126 (note ^), 238. Bourget, Paul Sensations d'Ltalie, 105. Bramante Influence of, 83, 1 10. Bramantino, no. Brandolini, Francesco, Prior of the Olivetan Convent at Florence, 17, 122. Brazzi, Lorenzo ("il Rustico"), 168 (note 1), 241, 242. Brogi, Y .Inventario Generate degli Oggetti d'Arte etc., 81 (note '), passim in Picture Lists. Bruzza, Padre Luigi Notizie intorno alia patria e ai primi studi, etc., references to Bazzi, i, 4, 8, 9 (note 1), 28, 30 (note i), 31, 53 (note ), 87, 257 (note 1), 263, 357 ; references to Spanzotto, 33, 34, 35 (notes S '), 267. Bugiardini, no. Bulletino Senese di Storia Patria, 11 Lugano, Padre Piacido, 75, 'j'j ; Massera, A. F., 23 (note 1) ; Rossi, Pietro, 5 1 (note '), 70 (note i), 86. Buoninsegni, Alessandro Letter to his brother Bernardino announcing death of Bazzi, 8, 213, 237. Buoninsegni, Conte Bernardino di Filippo Decoration of the Porta Pispini, Siena, 201, 318. Buoninsegni Family Chapel, 87 (note 1). Buonsignori, Conte di, 208, 321. Burckhardt, // Cicerone, 60 (note '), 356, 377. Burlesque catalogue of Bazzi's possessions, 22, 260-4. Burlington Magazine, The Refer- ences to Bazzi, 4 (note '), 175 (note^), 181 (note ). Calendar Reckoning in Pisa, 227 (note ^). Camollia, Battle of, 193 (note *), 205. Campana, Niccolo Cappella di Piazza, Siena, 208, 321. Campori, Marchese Giuseppe Docu- ments discovered referring to Bazzi, 164 (note 1), 167, 168. 420 INDEX Caporali, no. Cappella di Piazza, Siena Build- ing, restoration, etc., 205-8 ; docu- ments re frescoes, 318-25, execu- tion, delays, 208-10, restoration, 211, study for, 362, valuation, 210, 324. 325, 342. Caraglio, Jacopo Engraving oi Mar- riage of Alexander and Roxana, 139 (note '). Carte degli Archivi Piemontesi, Le : by Nicomede Bianchi, 36 (note '). Cartwright, Julia Horses presented to Henry VIH. by Francesco Gon- zaga, 121 (note ^). Casale Monferrato, 32, 34, 35, 36, 40, 41, 46, 50. Castiglioni, Camillo Embassy, 38. Cavalcaselle : see Crowe, J. A, and G. B. Cavalcaselle. " Cavalier of Christ " Award of title, 20, 70; official records of title, 151, 152, 153, 155 (note ), 159, 212, 228, 229 (note *). Cave, Phylolauro da : see Phylolauro da Cave. Cazerini, Giuliano di Marries Albina Spanzotto, 38. Cecco, Giovanni di Designs for Cappella di Piazza, Siena, 207. Cellini^ Benvenuto, La Vita di Refer- ence to Eurialo Morani d' Ascoli, 1 54 (note 1). Cennini, Cennino Trattato delta Pittura, 15. Cento Cittd d' Italia, 81. Centofanti : see Tanfani Centofanti. Cervelliera, Battista del Life of, 228 (note 1) ; patronage of Bazzi, 227. Cesariano, 1 10. Character of Giovanni Antonio Bazzi Animals, love of, 17, 63, 64, 65. 92, 93. 99. 117-24. 144. 189, 190, ig8; beauty, instinct for, 51, $8, 62, 98, 105, 147, 149, 185, 246, 247, 248 ; erroneous statements re, 11-23, 65; impulse and passion, 104,1249 ; industry, alleged idleness, 58, 62, 73, 90, 91, 102, 103, 104, 105, 176, 177; spendthrift, alleged, 223 (note 1), 225, 237. Charitas, Paintings of, 49,67, 85, 102, III (note 2), 1 16 (note % 166 (note), 351. 356. Chatsworth Drawing for Leda, 369, Chieri Pictures attributed to Span- zotto, 43, 44. Chiese Senesi, by Faluschi : MS., 175 (note '). Chigi, Agostino (II Magnifico) career, 133 ; decoration of the Villa Far- nesina, 114, 131, 132, 133: for par- ticulars see Farnesina Frescoes ; dissolute habits, 147 ; friendship withBazzi, 107, 108, 109, 152; life by Fabio Chigi, 108 (note*) ; marriage, 134, 147 ; patronage of Pietro Are- tino, 146 ; preferment of Cardinal Alfonso Petrucci, 1 20 ; visit to Siena, 107. Chigi, Fabio (Pope Alexander VII.) Life of Agostino Chigi, 108 (note '^). Chigi, Sigismondo Friendship for Bazzi, 108 ; decoration of palace at Siena, 108 (note *), 384 ; his mar- riage, 109 (note). Children Paintings of, compared with Raphael's, 113 ; 177 (note ^\ 202. Christ bearing his Cross by Anselmi, 167 (note !) Christ bearing his Cross Paintings by Bazzi, 87, 184, 185, 232, 235, 236 (note 1), 345. 346, 349, 357, 372, 378, 380, 381, 386, 391. Christ bound to the Column S. Fran- cesco, Siena, date of execution, 129-31 ; description of, 127, 128, 129, 343 ; portrait of Bazzi, 128, 218 (note^), 252; Swinburne's (A.C.) admiration of, 179 (note ^). INDEX 421 Christ bound to the Column Monte Oliveto Maggiore, 128 (note % 349. Chronicles of the City of Perugia^ 1 492- 1 503, by Francesco Matarazzo, 255. Ciaccheri, Abate G. Pictures and drawings belonging to, 202 (note 1), 220 (note 2), 351, 362, 364. Cicerone, II : see Burckhardt. Cinuzzi family The Descent from the Cross, painted for them by Bazzi, 70. Cinuzzi, Fedro Gift of a Holy Family by Bazzi to the Hospital of S. Maria della Scala at Siena, 346. Cinuzzi, Giugurta, 72. Circumcision, The, by Luca Signorelli, partially repainted by Bazzi, 226, 360. Classical influences Study of the antique, 80, 141, 180. Cobbler Misconception involved in the term " Humble Cobbler," 29. CoUignon, Giuseppe Restoration of pictures, 220, 344, 347. Colombo, Padre Giuseppe Docu- menti e Notisie intorno agli Artisti Vercellesi, 2 (note i) ; Bazzi, 28, 29 (note ^), 30 (note ^); Spanzotto, 33 (note 2), 34, 35 (note 1), 39 (note i). Colvin, Sidney Portrait of Raphael, 113. 369- Compagnia di Sta Croce Passion Series frescoes : see that title. Contessa di Cellant, La, by L. G. Vallardi, 37 (note 1). Conze Heroen und Gottergestalten, 141 (note ^). Cook, Sir Frederic S. George and the Dragon, 165, 360. Coronation of the Virgin, The S. Bernardino fresco, 160, 342. Coronation of the Virgin, The Sketch at Lille, by Raphael, 62 (note ). Correggio Influence on Anselmi, 167 (note 1), 239, 250. Correspondence Ferrara, Bazzi to the Duke of : see Ferrara, Duke of ; Mantua, Bazzi to the Marquis of: see Mantua, Duke of; Pietro Are- tino, 153, 154, 235, 336; Prince of Piombino : see that title. Corvini, Alessandro Letter from P. Niccolo Trappolino, 15 (note '), 237, 339- Cosimo in. (GrandDukeof Tuscany Cervelliera, Battista de, 228 (note ') ; Porta Pispini fresco, preservation of, 202 (note ') ; 5". Sebastian banner, purchase of, 175 ; Siena, entry into, 244 (note ^). Cossa (or Coscia), Fra Andrea S. Anna in Creta frescoes, 75, 268. Count Palatine, title of, 20, 198, 211, 212. Cozzarelli, Giacomo, sculptor Statues for the Siena Duomo, 125 (note 1). Cozzarelli, Guidoccio, painter Cap- pella di Piazza, Siena, 207 (note ^). Crea, The " Santuario " at The Annunciation in painted glass, by Spanzotto, 50. Credi, Lorenzo di, 69, 377. Crescimbeni Storia della Volgare Poesia, 153 (note ^). Cristoforo di Maestro Bindoccio, 207. Cronaca di Andrea Dei continuata da Agnolo di Tura, 205 (note *). Crowe, J. A., and G. B. Cavalcaselle Histofy of Painting in Italy, 82, 145 (note 1). 382 ; Raphael, his Life and Works, 109, 148 (note ), 396. Crucifixion, The, paintings of, 226, 372, 375. 379; drawing, 392. Cugnoni, C. Agostino Chigi il Magnifico, 108 (note *), 132 (note ), Currency Note on the, 254. 422 INDEX Curti, Pier Ambrogio Madama di Celan, 37 (note 1). Curtius Inspiration for The Family of Darius before Alexander, 144 (note 1). Cust, R. H. Hobart Burlington Magazine, article, 175 (note ^), 181 (note ^) ; Pavement Masters of Siena, 175 (note =*), 176 (note 1); Rassegna d Arte, articles in, 359. D'Alba : see Macrino d'Alba. D'Agostino, Domenico Designs Cap- pella di Piazza, Siena, 206. D'Arco of Mantua, Counts^Portrait of Bianca Maria Gaspardone (Madame du Challant), 36. D'Azeglio, Marchese Roberto, 52 (note 1). Da Vinci : see Leonardo da Vinci. Daniele da Volterra, 249 ; Marriage of S. Catherine attributed to, 352. David, Bartolommeo di Valuation of frescoes, 194, 210, 308, 310, 324. De Angelis, Padre Luigi Biografia degli scrittori Sanesi, 217 (note '); La Vita del B. Pietro Pettinaio, 70 (note 3), 71 (note *), 87 (note i) ; Ragguaglio del Nuavo Istituto delle Belle Arti, 69 (note ), 251 (note ), 344- De Bazis : see Bazzi, Name of. De' Galli : see Galli. De Gregory, Cav. Gaspare Antonio Storia delta Vercellese Litteratura ed Arti, 34 (note). De VArt Chretien, by Albert F. Rio Reference to Bazzi, 26. De Labrugia, Niccold Sacrifice of Abraham, 231 (note ^). De' Medici : see Medici. De' Tizoni : see Tizzoni. Dead Christ, 77^^ Paintings of, 220, 346, 351. 352, 355. 357. 359. 364, 368, 373. 375 376, 379. 390. 391. 394- Death Date of Bazzi's, 8 ; inventory of goods, 59, 64 (note*), 67, 166 note), 2 1 5 (note *), 237, 337 ; Buonin- segni's letter, 8, 213, 237. Deconti, Canonico Giuseppe Works of art in Casale, 36 (note *), 49. Deconti, Vincenzo Notizie Storiche di Casale e Monferrato, 36 (note *), 40. Deferrari, Defendente Pupil of Spanzotto, 34, 40, 45, 51. Dei, Andrea Cronaca, 205 (note ^). Dei Veri Precetti delta Pittura : see Armenini, Del Pace : see Beccafumi. Del Piombo: see Sebastiano del Piombo. Delia Pittura Italiana : see Morelli, Giovanni. Delia Valle, Padre Lettere Sanesi, references to Bazzi, 7 (note *), 8, 22 (note % 66, 67, 68, 73, 82, 87 (note 1), 89, 128, 130, 175 (note 1), 198, 202 (note *), 204 (note *), 211, 212 (note 1), 218 (note '), 219, 220 (note J), 224 (note *), 253 (note ^), 263, 359. 374. 384. 386. Deposition frotn the Cross, The Com- pared with ''Allegorical Cycle" 86 ; Lo Svenimento, 72, 178 (note ^) ; date, 69, 86 ; description, 70-73, 344; landscape, 61 (note *); por- trait of Bazzi, 73, 252. Desana Dei Tizzoni, Conti di, 5 (note 1). Descent from the Cross, The Volterra sketch, 227, 378. Descent from the Cross, The by Pacchia, 185 (note 1), 372. Descent into Limbo, The, fresco, 184, 185, 246, 344. Destailleur, M. Fall of Phaethon, The, 226 (note 2), 398. Destruction of Monte Cassino, The fresco, 98, 99. INDEX 423 Di Negro, Don Gaetano, Abbot of Monte Oliveto Maggiore Protects Bazzi's frescoes, 106. Di Neri : see Innocenzio di Neri. Dialogo del Segreto, by Petrarch, 153 (note ^). Dialogo della Pittura : see Dolce. Diana and her Nymphs Drawing, 1 16 (note ^), 393. Die Bluthezeit der Sienesischen Malerei, by Walther Rothes, 245 (note 1). Die graphischen Kiinste Article by Richard Graiil, 148 (note 1). Diodorus Inspiration for Family of Darius before Alexander, 144 (note 1). Disegni di Antichi Maestri Article by Gustavo Frizzoni, 114 (note). Documenti e Memorie di Belle Arti Parmigiane, MS. by E. Scarabelli Zunti, 97 (note *). Documenti e Notizie intorno agli artisti Vercellesi, by Padre Giuseppe Colombo, 2 (note 1). Dolce, Lodovico Dialogo della Pit- tura : " L'Aretino,''' 139 (note ^) Domenico d Agostino Design for Cappella di Piazza, Siena, 206. Domenico, Fra, da Lecco, Abbot of Monte Oliveto Maggiore, 76, 88, 89. 90. 91. 92. Donati, Cav. Fortunato Palazzo del Comune di Siena, II, 206. Doni, Anton Francesco La Libreria, 154 (note). Dossi, Dosso The Portrait of a Lady at Frankfurt a/M. attributed to, 60 (note 3), 356. Douglas, R. Langton Burlington Magazine article, 4 (note ^) ; His- tory of Siena, 3 (note -), 4, 171 (note ^), 174 (note ^), 193 (note *), 195 (note 1), 345- Drawings Lists of authentic and attributed drawings by Bazzi, 361-9, 390-7 ; missing drawings, 398 ; re- semblance to drawings by Raphael and Leonardo, 148 ; see also title Pictures and Drawings by Bazzi. Drawings of the Florentine Painters, The: see Berenson, Duccio Said to have designed Cap- pella di Piazza, Siena, 205 (note *). Duomo, Siena, 195, 341 : see Opera del Duomo, Siena. Earthwork out of Tuscany, by Maurice Hewlett, 179 (note ^). Emperor Charles V. Admiration of Bazzi's work ; title of Count Pala- tine, 20, 64, 198, 211, 345. Este, Isabella d', 121 (note *), 147 (note 1), 247 ; correspondence, 162. Eve Representation of, 185, 246. Execution of Niccolo Tuldo, The Fresco, 180, 342. Expulsion of Heliodorus, The, by Raphael, 146. Faccio, Colonel Giovan' Antonio Bazzi, ID (note *), 28 (note ^), 30 (note 1), 31 (note ^), 87 (note ^), 107 (note 1), 257 (note 1), 379. Fall of Phaethon, The, 226, 364, 398. Faluschi Chiese Senesi, 175 (note *). Farnesina, The, by Adolfo Venturi, 139 (note). Farnesina Frescoes Alexander and Bucephalus, 145, 146, 350 ; date of execution, 114, 131-3, 146, 150; Family of Darius before Alexander, The, description, 142-4, list of frescoes, 350; Marriage of Alex- ander and Roxana, The compari- son with other works, 140, 180, 219, 347, description, 135-8, 140, 141, purity of sentiment, 25, 147, 247, 424 INDEX source of inspiration, 138, studies, 139, 140, 363, 366, 368, 393, 396; portions of the Villa decorated by Bazzi, 134; Vulcan's Forge, de- scription, 144 ; Vasari's incorrect record of, 75 (note *). Famesina Studien : see Foerster, Dr. Richard. Federighi, Antonio, 125 (note); Cap- pella di Piazza, Siena, 207. Ferrara, Duke of Letter from Bazzi to, 152, 162, 163, 297. Ferrari, Eusebio Paintingsattributed to, 34 (note), 381. Ferrari, Gaudenzio, 34, 46 (note), 381. ffoulkes, C. J., 354. Finding of the Cross, The Fresco, 184 (note 2). Fiorenzo, Legend of the wicked monk, 91, 92. Florence Illness of Bazzi in hospital, 187-90, 193, 305 ; Medici, exile of, 188, 189; Montepulciano ceded to, 129, 130 ; pictures and drawings by Bazzi, 175, 252, 351, 352, 363, 364, 365, 378, 385. 390. 391. 392, 398; Falii: i'^^ that title ; siege of, etc., 190 (note^) ; visits of Bazzi to, 17, 123, 125, 151, 152, 155, 180-91. Foerster, Dr. Richard Das Jahrbuch der Konigl. Preussischen Kiinst- sammlungen, 131 (note ^), 133 (note ^), 140 (note *) ; Famesina Studien, 115, 131-45. Foiano, Maestro Giusto da Cappella di Piazza, Siena, 207 (note ^). Fra Filippo Lippi, by E. C. Strutt, 105 (note ^). Fragmentutn Triuni Dialogorum : see Giovio. Francesco di Giorgio Cappella di Piazza, Siena, 205 (note *) ; statues for the Siena Duomo, 125 (note *). Francis L Meets Pope Leo X. at Bologna, 151. Frankfurt a/M., Stadel Art Institute "Yh^ Portrait of a Lady, 59-61, 356. Frescoes Agostino Bardi's house, 122, 288, 384; Alexander and Roxana Idyll : see Famesina Fres- coes, 215; Ascension, Castello di Trequanda, 200 (note ^), 350; Camera della Segnatura ceiling : see Vatican ; Cappella di Piazza, Siena : see that title ; Christ bound to the Column : see that title ; Depo- sition from the Cross, The, S. Fran- cesco : see that title ; Descent into Limbo, The, 184-6, 344; Famesina Frescoes: see that title; Madonna de' Calzolari, 203, 34; Madonna del Corvo, 220, 346 ; Monte Oliveto Maggiore Frescoes : see that title ; Passion Series : see that title ; Palazzo Pubblico, Siena : see that title ; Porta Pispini, Siena, 201-3, 252, 315-18, 346 ; S. Anna in Creta: see that title ; S. Bernardino, Siena, Frescoes : see that title ; S. Domenico, Siena : see that title ; 5. Ivo dispensing Justice, 102, 350; S. Spirito, Siena : see that title ; San Gimignano Frescoes, 102, 103, 350. Frizzoni, Gustavo Archivio Storico del Arte, articles, 351, 352, 353, 380; Arte e Storia, 388; Arte Italiana del Rinascimento, 9 (note <), 29 (note ), 81 (note % 88 (note *), IOC, loi (note ^), 113, 140 (note ^), 148 (note 1), 166 (note ^), 1 82 (note ^), 187 (note-), 200 (note ^), 214 (note ^), 216 (note -), 217, 218 (note 1), 227 (note ^), 233 (note *), 253. 342, 343. 345. 346, 347, 35. 351. 352, 355, 356, 368, 369, 370, 374. 375. 378, 379. 380, 388, 389, 396, 398 ; Disegni di Antichi Maestri, 114 (note); Intorno alia Dimora del Sodoma a Roma net INDEX 425 1 5 14, 148 (note 1) ; Rassegna d 'Arte, articles, 61 (note ^), 359. Furione, Lorenzo Leases a shop and dwelling-house to Giacomo Bazzi, 9.30- Gain, Caterina de' Peri de' Will, 20, 222, 223 (note). Galli, Luca de' Family pedigree, 286 ; marriage of her daughter to Bazzi, 19, 115, 285; sons, 222 (notei), 285. Gamba, Barone Francesco Picture in Baptistery of Duomo at Chieri, 44 (note 2), 45. Garghi, Fabio di Girolamo Cappella di Piazza, Siena, 208, 320, 322. Gaspardone (or Scapardone), Bianca Maria (Madame du Challant) Portrait, 37 (note ij. Gazzera, Costanzo Memorie Storiche dei Tizzoni, Conti di Desana, 5 (note 1). Geffroy, A., 79 (note ^). Genealogy of the Madonna Pictures of, 46, 47, 81. Genga, Girolamo Paintings and drawings, etc., by, 1 16, 370, 393. Genoa Madonna and Child with S.John, 170, 355. Ginoulhiac family, Milan Madonna and Child, 58, 170, 354. Giolito Stanze Diver si, 153 (note ^). Giomo del Sodoma : see title Magagni, Giomo. Giorgio di Giovanni Valuation of fresco by Magagni, 241. Giornale di Erudizione Artistica Article by Gustavo Frizzoni, 148 (note 1). Giovanangeli family, 222, 244. Giovanni di Lorenzo, 186. Giovanni di Stefano di Giovanni Altar-shrine, S. Domenico, Siena, 176, Giovanni, Fra, da Lucignano " Guar- dian " of S. Francesco, Siena, 131. Giovenoni Family of painters, 35. Giovio, Paolo Fragmentum Trium Dialogorum, 6 (note *), 141 (note ^). Girolamo di Giovanni, of Como, 240. God The Father, Representations of, 177, 178, 182, 234, 343, 364, 371. Gonzaga, Francesco : see Mantua, Marquis of. Gonzaga, Giulia, Cotitessa di Fondi, by Bruto Amanti, 60 (note >). Graf, Arturo Un Processo a Pietro Aretino, 146 (note i). Granacci, Francesco, no. Graul, Richard Die graphischen Kiinste, 148 (note 1). Griccioli, Conte Silvio, 184, 344, 346. Grimm, Hermann Kunst und Kimst- geschichte, 148 (note ). Gualandi, Michelangelo Memorie Originali di Belle Arti, 1 57 (note i). Guerazzi, Francesco Domenico The Siege of Florence, 190 (note '). Guerrini, Liborio Restoration of paintings, 198 (note i), 211, 212 (note 1), 342, 345. Guida Artistica delta cittd e contorni di Siena, 88 (note ^), passim in Picture Lists. Guida Illustrata di Monte Olii>eto Maggiore, by Don Luigi Perego, 89 (note *), 91, 105 (note "'). Guide to Siena, by W. Heywood and L. Olcott, 61 (note % 176 (note ). Hanover Pictures, 85, 165, 356, Harck, Fritz, 357, 381. Hawthorne, Nathaniel Transforma- tion, i2j (note). Head of Christ Pictures, 80, 348, 366, 387, 396, 398. Henderson Collection, Buscot Park, Berks, 165, 358. 426 INDEX Henry VIII. of England, 5 (note), 121. Heroen und Gottergestalten, by Conze, 141 (note ^). Heseltine, J. P. Drawing for Alex- ander and Roxana, 140 (note ^), 396. Hewlett, Maurice Criticism of Bazzi's paintings, 179 (note). Hey wood, William Palio and Ponte, 117 (note ^), 124 (note i), 190 (note 2), 227 (note ^), 232 (note 1), 290 (note) ; Pictorial Chronicle of Siena, ^,115 (note "). Heywood, William, and L. Olcott Guide to Siena, 61 (note *), 176 (note 1). High Legh, Cheshire The Holy Family with S. Elizabeth and S. John, 218 (note ^), 358. Histoire de I' Art pendant la Renais- sance : see Miintz. Historiarum Senensium : see Tizio. History of Painting in Italy, A, by J. A. Crowe and G. B. Cavalcaselle, 82, 145 (note 1), 382. Histaty of Siena, A, by R. Langton Douglas ; see Douglas. Holy Family, The Paintings and drawings of, 52 (note 1), 68, 69, 70 (note), 174 (note ^), 195, 202, 218, 233. 344, 345. 346, 347. 35 1. 352. 353. 354, 355. 356, 357, 358, 359, 360, 361, 372, 374, 375, 377, 378, 379, 381, 382, 383, 384, 385, 387, 388. Home, H. P. The Struggle for the Standard, 99 (note ^). Horses Model of, 213 ; paintings of, 64, 99, 196, 198, 345 ; purchase of, 121, 288 ; racing : see that title. House, Bazzi's purchase of a, in Siena, 4, 222, 332. " II Mattaccio " {Matazo) Nickname, 17, 65, 94, 269. // Riposo Raffaello Borghini, 7 (note % II Santuario di Crea itt Monferrato, by Francesco Negri, 35 (note ^), 50, Immorality of the Renaissance, 12. Influence of Bazzi on Sienese Art, 25. 239- Innocenzio, Fra, di Neri, da Siena, " Guardian " of S. Francesco, Siena, 131- Inventario Generale degli Oggetti d'Arte delta Provincia di Siena, by F. Brogi, 81 (note 2), passim in Picture Lists. Invention of the Cross, The by Antonio Nasini, 87 (note '). Inventory of goods left at Bazzi's death : see Death. Inventory or " Denunzia " attributed to Bazzi, 22, 260-4. Invercellini, Giovanantonio, of Ver- celli (smith) Works for Agostino Chigi, 132 (note ^). Isabella d^Este, Marchioness of Mantua, 1474 1539, by Julia Cart- wright, 121 (note ^). Italian Masters in German Galleries : see Morelli. Jacobsen, Dr. Paintings by Bazzi, 61 (note ''), 355. Jahrbuch der Konigl. Preussischen KUnstsammlungeit, Das Foerster, 131 (note ^), 140 (note ^) ; Karl Schuchhardt, 70 (note 1), 84 (note ^), 85 (note 2), 151 (note 2), 343. Jansen, Albert Lebe?t utid Werke des Male?-s Giovanni Antonio Bazzi vott Vercelli genannt Sodoma, 9 (note ^), 29, 30 (note ^), 31 (note *), 69 (note 2), 141 (note ^), 227 (note ^), yii- Jameson, Mrs. Genealogy of the Madonna, by Parmigiano, 47 (note). INDEX 427 Judith, 85, 343. Jurisprudence, by Raphael, 113. Kunst und Kunstgeschichte , by H. Grimm, 148 (note ^). L'Indaco, no. Lady, A. Chalk drawing of, in the Uffizi, 61 (note ^). Landi, Alfonso Racconto dei Pitture, etc., MS., 6 (note *), 22 (note *), 67, 68 (note 2), 195 (note % 262, 384. Last Supper, The, 123, 186, 352. Lawrence, Sir Thos. Collection of drawings by Bazzi, 140 (note -) ; passim in the lists of Drawings. Lebenund Werkedes Malers Giovanni Antonio Bazzi von Vcrcelli genannt Sodoma : see Jansen, Albert. Lecco, Fra Domenico da : see Domenico. Leda Drawings and paintings, 115, 246, 338, 358, 365, 366, 369, 377, 380, 393. 394, 395- Leonardo da Vinci Battle of Anghiari, The, 99 (note *); in- fluence on Bazzi, 52, 58, 62, 69, 80, 99 (note 1), loi (note 1), 115 (note *), 141, 148, 149, i6g, 180 (note), 191, 217 ; Lady, A, drawing of, attributed to, 61 (note *), 390; life of, 16 ; Milan, departure from, 57 ; ^. Sebastian, 174 (note i); The Struggle for the Standard, 99 (note^); types painted, 149; youths as models for virgins, etc., 62 ; passim in Picture Lists. Leonardo da Vinci, by Edward McCurdy, 169 (note i). Leonardo da Vinci, or The Fore- runner Romance by Dimitri Merejkowski, 62 (note i). Lxttere facete e piacevoli : see Turchi. L^ttere Pittotiche : see Bottari. L^ttere Sanesi : see Delia Valle. Libreria, La, by Anton Francesco Doni, 154 (note). Life of Bazzi, The,hy Vasari : see Vasari. Ufe of Beccafumi, The, by Vasari : see Vasari. Life of Leo X., The, by W. Roscoe, 153 (note 2). Life of the Virgin, The S. Anna in Creta Frescoes : see that title ; Subiaco, Church of S. Francesco, 1 1 5 (note 3), 376. Lille Drawing for a Coronation of the Virgin, 62 (note -). LJves'pf the Painters, The, by Vasari : see Vasari. " Lo Scalabrino " : see Michelangelo d' Antonio. Lo Svenimento : see S. Domenico, Siena. Lomazzo, Gio. 'Paolo Alexander and Roxana, 139 (note i). Lombard School of Painting, The Decoration, style of, 83 ; influence on Bazzi, 8, 25, 56, 58, 73, 80, 217. Lombardy, Bazzi's return to, 169. Lorenzo di Pietro, " il Vecchetta " Altar-shrine, S. Domenico, Siena, wrongly attributed to, 176 (note 1). Lotto, Lorenzo, no. Lucca Christ bearing His Cross, 233, 235. 378 ; paintings for the Olivetan Order, 234, 388. Lucian A&tioWs^iciuTe.oi Alexande? and Roxana, 138. Lucretia Poem on an antique statue of, by Pope Leo X., 153 (note *). L^ucretia Pictures of, 85, 151-51 163-5, 166 (note), 338, 353, 356, 357 ; epigrams by Eurialo Morani d'Ascoli, 153, 165, 264. Lugano, Padre Placido Frescoes at S. Anna in Creta, 75, 77. Luini Leonardo's influence, 52 ; The Presentation in the Temple, fresco, 83. 428 INDEX Lusini, Canonico Vittorio Storia della Basilica di S. Francesco in Siena, La, 70 (note *), 71, 72, 87 (note 1), 130. McCurdy, Edward Leonardo da Vinci, 169 (note i). Macchiavelli, Messer Giovanni Bat- tista, 103. Macrino d'Alba (Gian Giacorao de Alladio) " Ancona " at Turin, 83 (note 1) ; school of Foppa, 5 1 (note 1). Madama di Celan, by Pier Ambrogio Curti, 37 (note 1). Madonna Paintings and drawings of, by Bazzi, 58, 65, 68, 80, 81, 103, 163, 164, 165, 169, 170, 172, 174, 193 (note*), 195, 197, 203, 214, 220, 221, 233, 234, 248, 253, 306, 329, 341, 342. 343, 344, 345. 346, 347, 348, 349, 350. 351, 352, 353. 354, 355. 357. 358, 359, 360, 363, 364. 366, 367, 368, 370, 371, 372, 374, 377, 378, 379. 380, 381, 382, 383, 384, 385, 386, 388, 390, 392, 394. Genealogy of the Madonna Italian examples of, 46, 47 ; purity and re- finement of, 248. Madonna and Child, The by Giro- lamo Magagni, 241. Madonna and Child, The by Gio. Maria Tucci, 234. Madonna and Child, The by Vin- cenzo Tamagni, at Asciano, 97 (note *); at Monte Oliveto Maggiore, lOI. Madonna and Saints, The by An- selmi, 167 (note ^). Madonna di S. Sisto, by Raphael, 113, 177 (note 1). Madonnas, by Spanzotto, 41-50. Magagni (Giomo del Sodoma) Charities ofS. Catherine, The, attri- buted to, 370 ; life and work of, 240, 241 ; Nativity of the Virgin, The, attributed to, 219, 345 ; removal of property from Bazzi's studio, 187-92, 240, 304-7; Two Saints, attributed to, 37 1 . Mancini, Monsignore Giulio, 21 (note *), 62 (note ^), 71, 87 (note i), 224 (note -), 386 ; Brazzi, Lorenzo (" il Rustico "), 242. Mantegna, Andrea, loi, ill (note *). Mantua Frescoes at, 147 (note i), 247 (note ). Mantua, Marquis of, Francesco Gonzaga Death, 162; Bazzi's letter to, 151, 162, 163, 296; owner of racehorses, 18, 120, 121. Mantuan and Ferrarese Archives Destruction and injury by fire, etc., 162. Manuel de Bibliographie Biogra- phique et d^Iconographie des Femmes celebres . . . par un vieux bibliophile, 37 (note i). Marco di Giovanni Frescoes by, 158. Marco di Pietro Sale of Riccio's property to, 224. Marco d'Oggiono, 57. Marriage of Alexander and Roxana : see Farnesina Frescoes. Marriage of S. Catherine, 227, 352. Marriage of the Virgin by Becca- fumi, 161 (note i). Marseilles Incomplete Genealogy of the Madonna, by Perugino, 47 (note). Maserius Restoration of Christ bearing His Cross, 88. Matarazzo, Francesco Chronicles of the City of Perugia, 1492-1503, 255 (note). Mayence Pictures, 34 (note), 381. Mazzuchelli, Giammaria Gli Scrit- tori d' Italia, etc., 153 (note ^). Mazzuoli, Francesco Retouching of frescoes at S. Domenico, Siena, 177 (note). INDEX 429 Medicean Archives Bazzi's letter of recommendation, 18, 289. Medici family Bazzi's introduction to Lorenzo (the younger), 18, 123, 289, to Giuliano, 152; exile, 188, 189. Medici, Lorenzo di Galeotto de' Bazzi's stay with at Volterra, 226. Medici, Giuliano de Coronation of Pope Leo X., 148 ; Lucretia, by Bazzi, 152, 155, 163, 297. Melchion (Bazzi's " garzone ") Record of, 95, 270, 272. Melzi, Francesco Pictures attributed to, 169, 379. Memmi, Simone, 196. Metnorie Originali di Belle Arti, by Michelangelo Gualandi, 157 (note *). Metnorie Storiche dei Tizzoni, Conti di Desana, by Costanzo Gazzera, 5 (note 1). Metnorie Storico-diplomatiche, etc., 38 (note *). Metnorie Storico-religiose e di Belle Arti, etc., di Chieri, by C. T. Antonio Bosio, 43 (note i), 45 (note). Mendoza, Don Diego de Portrait by Riccio, 243. Meo, Painter Cappella di Piazza, Siena, 207. Merejkowski, Dimitri Leonardo da Vinci, or The Forerunner, 62 (note 1). Metamorphosis of Cephalusy The Painting on muslin, 126 (note *). Meyer, Dr. Julius Allgemeitus Kunstler Lexikon : Bazzi and his paintings, 82, 83, 115, 122, 168 (note '), 195 (note ') 381, 389- Michelangelo Artist-companions at the Vatican, 1 10 ; Bazzi's paintings compared with those of, 178 ; great- ness of, 141, 249; sonnets, 16. Michelangelo d'Antonio ("lo Scala- brino "), 194 (note). Melozzo da Forli Paintings in the Vatican attributed to, in (note '). Milan Florin, value of, 255 ; French invasion, etc., 56 ; paintings and drawings at, 37, 78, 214 (note '), 354, 365. 380, 388, 393. Milanesi, Carlo Archivio Storico Italiano, 167 (note *). Milanesi, Gaetano Annotated copy of Bertolotti's work, 38 (note) ; Cotntnentary, 2 (note ^), 3, ig, 70, 81, 97 (notes -, ^), 122, 124, 187 (note), I go, 192, ig6 (note ^), 201, 202, 214, 225 (notes 1, '), 234, 239, 240, 243, 244. Docutnenti per la Storia delV Arte Senese, 8 (note '), 15 (note 1). 96 (note ^), 125 (note % 146 (note 2), 155. (note 2), 157 (notei), i58(notei), 159, i82(note^), 186 (note *), 187 (note), 188, I go, 194, 2og (note), 210 (note ^), 216 (note 1), 2g4 (note), 304 (note), 307 (note), 3og (note 1), 310 (note 1), 312 (note), 320 (note 1). 37 1. 372, 385; MSS., 171 (note ), 173 (note 1), 205 (note \ 222 (note ), 223 (note ^), 224 (notes *, ^), 241 (note ), 243 (note ^\ 254, 256, 307. 351- Milanesi and Borghesi MSS., 223 (note !) Miracle of the Exorcism of the De- moniac Girl, The Designs for, 181, 363. Miracle of the leaves and Fishes, The Fresco, 78, 347. Models, Male, 62, 172 (note i). Molza Eurialo Morani d'Ascoli, 153 (note '). Monferrato, Marquises of, Guglielmo Vn. and Bonifacio V, (Paleologi) Art Revival in Vercelli, 40. Mongeri, Giuseppe- Arte in Milano, 2,7 (note ^). Montalcino Tamagni in prison for 430 INDEX debt at, 1 16-17, 286; banner, 347, 375 ; pictures, 375. Montault, Monsignor Xavier Barbier de CEuvres, 48 (note ^). Monte Oliveto Convent, near Flor- ence, Cenacolo, 123, 186, 352 ; difficulty of fixing date, 122-5; Francesco Brandolini, Prior, 122. Monte Oliveto Maggiore Animals kept at the Convent, 64, 92. Monte Oliveto Maggiore : Frescoes Chronicles of the Convent, 84, 88, 92-7, 107 ; date of execution, 75, 83, 84, 90, 92, 95 ; description, 98-102, 104-6, 180 (note); dilatory methods of Bazzi's working, alleged, 89, 90 ; " garzoni " employed, 96, 97 ; lasciviousness alleged, 90-92, 99, 246; legends connected with Bazzi's work, 89, 90 ; payments, etc., ex- tracts from Monastery ledgers, 92, 97, 102, 104, 107, 269-85 ; portraits, 64. 89, 93, 98, 218, 251, 253; pre- servation of frescoes, 106 ; resem- blance of the Preseiitation in the S. Bernardino frescoes to S. Bene- dict Cycle, 160 ; Signorelli's work, 76, 104 ; study for Scene 7, S. Benedict Cycle, 364 ; Temptation of the Monks, The, 86, 90, 98, 99, 104, 246, 349 ; time occupied in, 103, 107 ; treatment of, 98-9, 104, 105. Montepulciano Cession to Florence, 129, 130. Monumenta Hisiortce Patrice Scrip- toritint, 36 (note '). Morani, Eurialo, d' Ascoli Epigrams, 22 (note ^), 264 ; life and works, 152-5; Lticretia, epigrams on, 152, I S3. 154, 165, 264. Morelli, Giovanni References to Bazzi and his work : Delia Pittura Italiana, 23, 59 (note '), 85 (note '), 102 (note^), 115 (note ^), 148, 169, 251, 252, 254, 353, 356, 366, 369, 377. 379. 388, 390, 393; Italian Masters in German Galleries, 34 (note -), 51 (note ^), 114 (note i), 116 (note % 393; pictures and drawings formerly owned by, 353, 365. 389. Morelli, Giuliano di Niccolo, gold- smith, of Siena, 15, 339. Munich Pictures and drawings at, 1 16 (note *), 353, 356, 366, 380, 393. Mtintz, Eugene Histoire de I'Art pendant la Renaissance, 75 (note i), 98 (note ^), 113 (note ^) ; Raphael, 62 (note *), 109 (note *); Revne Encyclopedique Larousse, La, 367. Muratori Cappella di Piazza del Campo, Siena, 205 (note ^), 206 (note 1). Naples Picture of The Resurrection, 215.352. Nasini, Antonio The Invention of the Cross, 87 (note ^). National Gallery, The, London- Pictures, 66 (note i), 226 (note ^), 233 (note 1), 360. Nativity, The Picture attributed to Spanzotto, 45. Nativity, The Pictures : Borgogna Collection, Vercelli, 52 (note -), 70 (note), 354; Dorchester House Col- lection, 69 (note ^), 358 ; Hardvvick Court Collection, 360, 385 ; Lec- cetto, 69, 251 (note ^), 344 ; Porta Pispini : see that title. Nativity of the Virgin, The Pictures, 219, 220, 345, 347. Necrom,ancy Work on, 191. Negri, Cav. Aw. Francesco IlSantu- ario di Crea in Monferrato, 35 (note ') ; Una Famiglia di Artisti CcLsalesi dei Secoli XV e XVI, 34, 36, 38, 40, 49 (note -), 50, 267. Neri di Donato Cappella di Piazza, Siena, 206. INDEX 431 Neroni (or Negroni) : see Riccio. New Italian Sketches; Monte OUveto, by John Addington Symonds, 105 (note 1). Niccolo de Labrugia Sacrifice of Abraham, 231 (note 2). Niccolo di Pietro Works with Giomo del Sodoma, 241. Nicknames Commonness of, 21, 23 ; evidence not to be based upon, 24 : see also Appellations. Nobiltd del Notaio, by Placido Pucci- nelli, 38. Notizie de* Ariisti, by L. Tanfani Centofanti, 3 (note 1), 228 (note '). Notizie dei Professori del Disegno, by Filippo Baldinucci, 8 (note 1). Notizie intorno alia patria e ai printi studi, etc. : see Bruzza. Notizie Storiche di Casale e Monf er- rata, by Vincenzo Deconti, 36 (note *), 40 (note ^). Nuovi Documenti, by S. Borghesi and L. Banchi, 22 (notes ^ ^), 67 (note 2), 118 (note ^), 163 (note i), 164 (note 1), 194 (note ^), 208 (note % 263, 308 (note). Olcott, L., and W. Heywood Guide to Siena, 61 (note 1), 176 (note i). Oldoni Family of painters, 35. Olivetan Order Frescoes by Bazzi : see titles S. Anna in Creta and Monte Oliveto Maggiore ; Lucca, painting of The Madonna, 234; paintings by Bazzi for this Order, 26, 76, 234. Opera del Duomo, Pisa References to Bazzi, 3, 228-33. Opera del Duomo, Siena Appren- tices' training, 125, 126; Archives: see Archivio dell' Opera del Duomo di Siena; Bazzi's commissions from, 124, 155 ; choir stalls and sedilia, by Riccio, 244; statue for, 125; The Transfiguration attributed to Bazzi, 370. Opusculuvt de Mirabilibus Novce et Veteris Urbis Romce, 109 (note '). Origini del Teatro Italiano, by Alessandro d' Ancona, 290 (note). Our Lady, SS. Elizabeth and Joseph, 218, 329, 358. Oxford Pictures and drawings, 1 14, 140 (note % 368, 369, 397. Pacchia, Girolamo del Descent from the Cross, The, 185 (note 1); frescoes at the Oratory of S. Bernardino, Siena, 159; influence of Bazzi, 161, 239 ; pictures and drawings attri- buted to, 66 (note *), 372, 377, 392. Pacchiarotto, Giacomo, 239. Paccinelli, Girolamo Porta Pispini fresco, 201, 318. Paccinelli, Vincenzo Decoration of house by " II Rustico," 242. Painting Apprenticeship : see that title ; arabesque work, 78, 100, 102 (note ^), 103, no, 177 ; Bardi's house, 122; Beccafumi, comparison with, 15; Biers: see that title; careless composition and slovenly execution, 15, 102, 160, 180, 249; children, compared with Raphael's, 113' "^n (note 1), 202; classical influences, study of the antique, 80, 141, 180 ; Defendente De- ferrari, affinity with, 51 ; detail, 60, 61, 73 ; dilatory methods, 89, 90, 209, 216; drawing, anatomical methods, 79, 91, skill at, 61, 173, 185 ; Genga, Girolamo, imitator, 116; hands, skill at painting, 106 (note) ; imitators, other, 239 ; influence of Bazzi on contem- poraries, 25, 61, 161, 239 ; influences on Bazzi Bramante, 83 (note >), Leonardo : see Leonardo Da Vinci, Lombard School : see that title, 432 INDEX Macrino d'Alba, 51, 52, Quercia's sculptures, 16, 58, 66, Spanzotto, 51, Tuscan School, 69, 79, 80, Umbrian School, 58, 80, 83, 348, Verona, Fra Giovanni da, 100 ; Madonnas^ purity and refinement of, 248 ; portraiture, love of, 58, 81, 98, 170, 216, 218, 253; Putti: see that title ; Raphael, comparison with, 113 (note *), 146, 177 (note 1), 202 ; Raphael's pupils, comparison with, 147 (note i), 247 ; reality, human aspect, 104 ; sculpturesque effect, 179; sensuous types of beauty, 25, 79, 173, 246, e seg.\ single figures, excellence of, 141, 161, 174, 195; types, 149. Palazzo del Comune di Siena, by Cav. Fortunato Donati, 206 (note *). Palazzo Pubblico, Frescoes Becca- fumi's decorations, 192 ; description of Bazzi's work, 193-5 ; list, 341, 342 ; Madonna and Childwith SS. Ansano and Galgano, 214, 342; Madonna di San Calisto, 193 (note *), 195, 341 ; payments, etc., entries in registers, 307-14 ; Resur- rection of Christ, The, 214, 215, 252, 341 ; valuation by Beccafumi, 310. Palestra Tolomei frescoes : see Passion Series. Paleologi, Guglielmo VII, and Boni- facio v., Marquises of Monferrato, 40. Palii Bazzi's entrances for, in Siena and Florence, 17-19, 64, 117, 125, 155, 189; records, 289-93. Palio and Ponte : see Hey wood. Palladio, Blasio Farnesina frescoes, Rome, 132 (note '), 133. Pallavicini, Abbot Tomaso, 75 (note i). Palmieri, Giovanni Decoration of Porta S. Viene, Siena, 201, 318. Pandol/o Petrucci Portrait of, 59, 166 (note), 338. Paolo, Fra, da Recco Cloisters, S. Anna in Greta, T]. Paris Pictures and drawings, 367, 382, 387, 394, 398 ; Lorenzo di Pavia, Genealogy of the Virgin, 46 (note). Parma Bazzi at, 166-8; birthplace of Michel Angelo Anselmi, 97, 166, 167. Parmigianino The Portrait of a Lady at Frankfurt-am-Main attributed to, 60, 356. Parmigiano Incomplete Genealogy of the Madonna, ^.y (note). Passalacqua, Antonio di Michel- angelo, 194 (note ). Passion Series frescoes S. Croce Confraternity, 184-6, 344-6, 371. Patrons Cervelliera, Giovan' Battista del, 227, 228 (note i) ; Chigi, Agostino : see that title ; Prince of Piombino : see that title ; Savini family, 64, 68 ; Spannocchi family : see that title. Pavia, Lorenzo di Genealogy of the Madonna, 46 (note). Pavement Masters of Siena, The, by R. H. Hobart Cust, 175 (note ), 176 (note )r 186 (note 2). Pavement of the Duomo, Siena Design for, 186. Pecci, Cav. Giovanni Antonio Bazzi's title of Count Palatine, 212; Cap- pella di Piazza, Siena, 205 (note *), 206 (note *) ; frescoes, Palazzo Pubblico, Siena, 193 (note *) ; Memmi, Simone, painting by, 196 ; Porta S. Viene, Siena, painting, 202, 203 (note 1) ; Relazione, etc., 371. Pecori, Can. Luigi San Gimignano frescoes, 103 (notes 1, ', *). Perego, Don Luigi M. Monte Oliveto Maggiore frescoes, 89 (note ^), 91, 105 (note ^). Pergamo, Niccolo da, (Bergamo) Father of Angelina Bazzi, 31, 256, INDEX 433 Perugino, 80; destruction of pictures at S. Francesco, 70, 72 ; Genealogy of the Madonna (incomplete), 47 (note) ; portrait of, in School of Athens, alleged, 114, 252 ; Vatican paintings, no, 112. Peruzzi, Baldassare Bazzi's frescoes at Palazzo Pubblico,Siena, valuation of, 194, 308, 311, 313 ; Bazzi's fres- coes in the Chapel of S. Catherine, comments on, 177 (note ^) ; Capo- Maestro of the Opera del Duomo, Siena, 216 (note i) ; friendship with Giuliano di Niccol6 Morelli, 15 (note 1) ; pictures and drawings attributed to, 351, 356, 364, 377, 391. 393. 396. VeXxzxchDialogo del Segreto, 153 (note *). Petrucci, Cardinal Alfonso, 133; owner of racehorses, 18, 120, 291, 292. Petrucci, Francesco Picture for, by Beccafumi, 186, 187, 303, 304. Petrucci, Pandolfo Decoration of palace, 85 (note 1), 343 ; marriage of his daughter, 109 (note); por- trait by Bazzi, 59, 166 (note), 338. Petrucci family, 216 (note ^); portraits of, 184 (note ^). Pezzana Storia di Parma, 168 (note 1). Phylolauro Da Cave Verses, 216, 217, 330.331- Piancastagnaio Painting in S. Barto- lommeo by Matteo Balducci, 157. Pianta, Antonio, father of Costantina Spanzotto, 39, 267. Pianta, Niccol6, kinsman to Antonio, 39- Pianta, Spagnolio, brother to Antonio, 39- Piccolomini, Giovanni Battista Cap- pella di Piazza, Siena, 208. Pictorial Chronicle of Siena, A, by W. Heyvvood, 115 (note *). Pictures by Bazzi Adoration of the Magi, The, S. Agostino, Siena, 216, 217, 344; Agojtyinthe Garden,The, 184, 185 ; Banners : see that title ; Biers, see that title ; Cenacolo, Monte Oliveto, Florence : see Last Supper ; Charitas, paintings : see that title ; Christ bearing His Cross, paintings : see that title ; Christ bound to the Column, S. Francesco : see that title ; Circumcision, The, by Luca Signorelli : see Circumcision, The ; Crucifixion, The, paintings : see that title ; Dead Christ, The, paintings : see that title ; Deposition from the Cross, The, S. Francesco : see that title ; Descent from the Cross, The, Volterra, 227, 378 ; destruction of pictures by fire, 70, 72 ; Frescoes : see that title ; Genealogy of the Virgim: see that title ; inventory of pictures left after death : see Death ; Judith, 85, 343 ; Leda, pictures and drawings : see that title ; lists of authentic, attributed, and missing drawings and pictures, 341-98; Lucretia, pictures : see that title ; Madonna, The, pictures : see that title ; Mar- riage of S. Catherine, The, it.'j, 352 ; Nativity, The, pictures : see that title ; Nativity of the Virgin, The, pictures, 219, 220, 345, 347; Our Lady, SS. Elizabeth and Joseph (tondo), 2 1 8, 329, 358 ; Pietd: see that title ; Porta Pispini (S. Viene) : see that title ; Portraits : see that title ; Resurrection, The, pictures, 214, 215, 253, 341, 352; Sacrifice of Abraham, The, 229, 231, 352 ; ^. George and the Dragon, 164, 165, 360 ; 5. Homobonus giving Alms attributed, 166, 353 ; S, Ivo dis- pensing Justice, 103, 350; 6". Sebastian, banner: see that title; 28 434 INDEX Scenes from the Life oj the Virgin^ 1 1 5 (note 2); Swoon ofS. Catherine, The, drawing, 6i ; Virgin and Child, The, pictures : see Madonna paintings ; Way of the Cross, The, pictures: see Christ beariftg His Cross. Picture Sales of the Century, by Red- ford, I (note '). Pienza Alleged baptismal certificate at, 7. Pietd by Martino Spanzotto, at Casale Monferrato, 50. Pietd Bier for Compagnia della SS. Trinita, Siena, 172, 346; for the Compagnia di S. Giovanni Battista della Morte, 183, 346; Dead Christ {Madonna del Corvo), 220, 346 ; Pisa, Duomo, 229, 230, 352 ; Rome, Borghese Gallery, 115, 351 ; S. Anna in Creta, 80, 348. Pinturicchio Death of, 157 ; Libreria frescoes, 82, 83, 84 ; Life of, by Corrado Ricci, 156 (note -) ; Matteo Balducci, pupil of, 156, 157; pic- tures destroyed by fire, 70, 72 ; 6". Sebastian, 1 1 1 (note *) ; Vatican paintings, no. Pippi, Giulio (Giulio Romano) pupil of Raphael, 247, 248. Pisa Archives : see title Archivio di State di Pisa ; banners : see Banners ; calendar, method of reckoning, 227 (note ') ; paintings by Bazzi, 229, 231, 232, 233, 352 ; visit of Bazzi to, 227. Pitti, Don Miniate Friendship with Vasari, 75 (note ^), 94, 263 (note 1). Pitti Gallery Ecce Homo, 351; por- trait, 253, 351. Pompe Sanesi, Le, by Padre Isidoro Ugurgieri-Azzolini, i (note ^), 22, 262, 263. Pontormo Drawing of A Lady in the Uffizi, attributed to, 61 (note 2). Pope Julius II., 109, 114, 133. Pope Leo X. Bazzi introduced to, 152; coronation, 148; election, 150; Florence, visit to, 152; Francis I.> meeting with, at Bologna, 151 ; verses on an antique statue of Lucretia, 153 (note ^). Pope Pius III., Death of, 82. Port' Ercole Sale of, 107. Porta Pispini (S. Viene) Frescoes, 201, 202, 252, 315-18, 346. Portraits Archbishop, The, 59, 338 ; Bazzi represents saints, etc., by portraits, 58 ; Finding of the Cross, The, 184 (note ^); Lady, Por- trait of A, 59-61, 356; Lady in the Uffizi, drawing of A, attributed to Bazzi, 61 (note -) ; Madonna and Child, portrait of a mother and child, 58, 170, 354; Man, Portrait of a, British Museum, 254, 368 ; Monte Oliveto Maggiore frescoes, see Monte Oliveto Maggiore ; Pan- dolfo Petrucci, 59, 166 (note). Portraits of Bazzi himself Adoration of the Magi, The (" pastore " tra- ditional likeness), 217, 344; Christ bound to the Column, 128, 252 ; Deposition from the Cross, The (soldier), 73, 252 ; Leccetto Nativity, angel in, 69, 251, 344; Madonna and Child with Saints, Pisa (S. Joseph alleged portrait), 234, 253, 352; Monte Oliveto frescoes, 64, 89, 93, 251, 253 ; Porta Pispini, Siena, 201 , 252 ; portrait in the Pitti Gallery, 253> 351; portrait in the Uffizi Gallery, 7, 253, 351 ; Portrait of a Man, drawing in the Uffizi, 254, 363; Raphael, 113, 114, 369; Re- surrection, The, Naples, 215, 253, 352 ; Resurrection, The, Palazzo Pubblico, Siena, 214, 252, 341 ; S. Anna in Creta frescoes, 78, 81, 82, 83, 347 ; 5. Sebastian banner, INDEX 435 252 ; Saracini family, a lady of the, 59, 338 ; School of Athens, The, 1 14, 252 ; Siena Public Library (copy), 253 ; Spanish Soldier, A, 198, 314 ; Toscani family, a lady of the, 59, 338. Posi, Ser Niccolo Notary, 96 (notes ^ *), 286. Poverty, alleged Erroneous state- ments: of Bazzi, 2, 188, 225, 228, 237 ; of his parents, 29, 30. Presentation in the Temple, The Fresco by Luini, 83. Presentation of the Virgin, The : see S. Bernardino, Siena. Prince of Piombino Friendship with Bazzi, 18, 65, 123; correspondence, 4, 122, 150, 151, 210, 212, 289, 325-8 ; visits to, 20, 131 (note ^), 209, 210. Priuli-Bon, Contessa Sodoma, 67 (note 1), 107 (note 1), 182 (note % 188 (note 1), 190. Property, Bazzi's Dowry to daughter, 237; houses in Siena, 222-5, 332-4; inventory of goods left at death : see title Death ; patrimony, 54 ; poverty alleged : see that title ; removal of goods from studio: see Magagni, Giomo del Sodoma. Puccinelli, Placido Nobiltd del Notaio, 38. Pupils Anselmi, Michel Angelo : see that title ; apprentices at the Siena Duomo, 125, 126 ; Lorenzo Brazzi, " II Rustico " : see Brazzi ; Magagni, " Giomo del Sodoma " : see that title ; Matteo Balducci : see Balducci ; Melchion, 95, 270, 272 ; Pacchia, Girolamo del : see that title ; Tamagni, Vincenzo : see that title ; Tucci, Giovanni Maria, 234, 239- Putti Beauty of Bazzi's, 113 (note ^), ^n^ 195. 202. Pyrotechnics, Work on, by Van- noccio Biringucci, 216 (note ^). Querela, Giacomo della Bazzi's studies of sculptures by, 16, 52 58, 65, 66, 363. Racconto dei Pitture, etc., by Alfonso Landi : see Landi. Ragguaglio del Nuovo Istituto delle Belle Arti : see De Angelis. Ragguaglio delle Cose di Siena, by Giulio Mancini, 242 (note 1). Ragnoni, Ramezio and Ugucia Founders of the Convent of S. Anna in Creta, 76. Ranza, Giovanni Antonio, 34 (note). Raphael Alexander and Roxana, studies for, attributed to, 139, 363, 366, 393 ; children, paintings re- sembling Bazzi's : see Children ; comparison with Bazzi, 113, 141, 148, 202 ; drawings attributed to, 113. 254, 366, 368, 369, 380, 393; friendship with Bazzi, 1 12-14; male models, 62 (note ^), 172 (note ^) ; paintings destroyed by fire, 70, 72; portrait by Bazzi, 113, 369; pupil Giulio Pippi, 248 ; School of Athens, The, 114, 140, 252, 369; Vatican paintings, 109-15, 146; Villa of Agostino Chigi, work at, 132. Raphael, by Eugene Muntz, 62 (note *), 109 (note 1). Raphael, his Life and Works, by J. A. Crowe and G. B. Cavalcaselle, 109, 148 (note 1), 396. Rassegna d'Arte, 61 (note -), 359. Razzi Frequent use of this incorrect name, i. Reale Galleria di Torino Jllustrata, La, by Marchese Roberto d'Azeglio, 52 (note 1). 436 INDEX Reale Galleria Estense, La, by Cav. Adolfo Venturi, 164 (note ^). Redford Picture Sales of the Cen- tury, I (note ^). Reggio d'Emilia 5". Homobonus giving Alms, 166, 353. Renaissance in Italy, The, by John Addington Symonds, 173 (note ^). Repertoritim fiir Kunstwissenschaft, 34 (note), 60 (note % 356, 381. Rerum Italicorum Scripta, by Mura- tori, 205 (note *), 206 (note i). Resmrection, The Pictures and draw- ings of, 214, 215, 252, 253, 341, 352, 363. 364, 365, 374, 390- Revue Encyclopedique Larousse, La 367- Rhea Silvia Statue by Querela, 66. Rhodes, Siege of, 44, 41;. Ricci, Coram. Corrado Fonte Gaia, Siena, 66 (note ') ; Pintoricchio, his Life, Work, and Times, 1 56. Ricci, Fra Timotheo de Frescoes at S. Spirito, Siena, 197. " Riccio, II " (Bartolomeo Neroni, or Negroni) Choir-stall design, 225 (note); Crucifixion, The, attributed to, 227 (note 1), 379; daughters, 14, 224, 225 (note), 256 ; figures for the Compagnia di S. Giovanni della Morte, 1 5 (note 1) ; finishes fresco by Magagni, 241 ; marriage (first), 14, 90, 97 (note % 223 (note ^), 237 ; marriage (second), 224 (note), 244 ; property, sale of, 224 ; will, 144, 307 ; work and life, 242-5. Richardson, J. (the younger) Severe criticism of Farnesina Frescoes, 147 (note -). Richter, Luise M. Zeitschrift fiir bildende Kunst, 66. Rieffel, Franz Article in Repertorium fiir Kunstwissettschaft, 34 (note), 381. Rignoni, Pietro, of Vogogna, 38, Rinaldi, Scipione, 14, 224, 256. Rinaldo Farnesina frescoes attri- buted to, 148 (note). Rio, M, Albert De I'Art Chretien, 26. Risen Christ, The Statue on Bandini Piccolomini tomb, 126. Rivetta, Baron Giorgio Documents re Spanzotto family, 36 (note ^). Road in Tuscany, The, by Maurice Hewlett, 180 (note). Rom in der Renaissance van Nicolatis V. bis auf Leo X., by Dr. Ernst Steinmann, r 1 1 (note *). Romagnoli, Ettore Biographia Cro- nologica, etc., MS., references to Bazzi, 7 (note *), 66 (note ^), 106 (note 1), 173 (note i), 199 (note ^), 204 (note ^), 211 (note '), 212 (note 1), 214 (note ^), 224 (note '), 225 (note ^), 253 (note ^), 341, 344, 345, 346, 347, 351. 362, 372, 373, 385, 386, 389. Romano, Giulio : see Pippi. Rome Art circle, 1 10 ; Farnesina frescoes : see that title ; paintings by Bazzi, 102 (note '), 115, 350, 351. 377, 386 ; paintings by Pier Antonio Spanzotto in Castel Sant' Angelo, 37 ; Vatican : see that title. Roretis, Gandolfino di Genealogy of the Virgin, 46 (note). Roscoe, W. Life of Leo X., 153 (note ^). Rosini, G. Picture by Bazzi in col- lection of, 360 ; Storia della Pittura Italiana, 233 (note ^), 248. Rossi, MM. G. B. de, 79 (note ^). Rossi, Pietro "// Sodoma'' nelV Arte Senese, 5 1 (note), 70 (note^), 86. Rothes, Walther Die Bluthezeit der Sienesischen Malerei, 245 (note i). Rumohr, Baron Italienische Forsch- ungen, 126 (note ^), 381, 388. " Rustico, 11 " : see title Brazzi. INDEX 437 Sacrifice of Abraham, The, 229-32, 352. S. Anna in Creta History of the Convent, 76. S. Anna in Creta frescoes Alle- gorical Cycle, resemblance to, 86 ; commission contract, 75, T]^ 81, 268; date, 75, 82, 83, 84, 95; description of, 77-81; "garzone," 82 ; list of, 347, 348 ; Luini's Pre- sentation in the Temple^ resem- blance, 83 ; Pinturicchio's frescoes, resemblance, 82, 83, 84. ^. Ansano fresco, 193, 194, 195, 309, 311, 341. S. Benedict Series of frescoes : see Monte Oliveto Maggiore Frescoes. S. Bernardino Spiritual influence of, 179- S. Bernardino, Siena, Frescoes by Bazzi Accounts in the ledgers of the Confraternity, 2, 150, 151, 158 (note), 159, 162, 166, 199 (note % 295, Assumption, The, comparison with the Resurrection of Christ, 215, date of execution, 158, 162, 199, description of, 159-61, 199, list of, 342, sketches for, 160 (note 1), 367, 369; frescoes by Marco di Giovanni, 158. ^. Catherine Spiritual influence of, 179. S. Catherine's Chapel, Siena, frescoes: see S. Domenico. S. Croce, suppressed Confraternity of Passion Series frescoes : see that title. S. Domenico, Church of, Siena Assumption, Banner of The, 183, 343 ; Chapel of the Rosary, painting of God the Father, etc., 182, 343 ; history of S. Catherine's Chapel, I75i 176; S. Catherine's Chapel frescoes, agreement to paint, 176, comparison with other works, 72, 113, 178 (note ^) ; completion by Francesco Vanni, 181, description, 176-81, destruction of ceihng, 177, list of, 342, poem on the fresco of S. Catherine by Algernon Charles Swinburne, 179 (note ^), /*//?' com- pared with Raphael's, 113, 177 (note ^), retouched, 177 (note ^), sketches and designs, 61, 176, 177, 178, 363. 364. 365. 368, 391. S. Francesco, Convent of, Siena Christ bearing His Cross, 87, 386 ; frescoes, Christ bound to the Column: see that title, decorative pieces, 371, Deposition from the Cross, The : see that title, Invention of the Cross, The, 72, 87 (note 1), 384; Putto and angels, 342 ; " Guardians," 129-31. 6". Francis Spiritual influence of, 179. ^. George and the Dragon, 164, 165, 360. S. Giovanni Battista della Morte Bier by Bazzi, 183, 298-300, 346. S. Gregory Life of S. Benedict, 91, 92. 5. Homobonus giving alms, 166, 353. ^. Ivo dispensing Justice Fresco, 103, 117. 350- ^. James on horseback : see S. Spirito Fresco. ^. Maria del Pontinuovo, Notizie Inedite di Extract from, 233 (note 2), 335. 6. Paul by M. A. Anselmi, 167. S. Peter Statue of, for the Siena Duomo, 125, 126. il". Sebastian by Pinturicchio, in the Appartamento Borgia of the Vatican, 1 1 1 (note 2). 3". Sebastian banner Compared with The Sacrifice of Abraham, 231 ; completed by Beccafumi, 173, 351 ; description, 173, 174, 351 ; pay- ments for work, 172, 173, 175, 438 INDEX 300-303 ; portrait 01 Bazzi on reverse side, 252 ; resemblance to drawing by Leonardo, 174 (note i) ; reverse side, description of, 174, 351 ; purchase of, from the Con- fraternity, 175. 6". Sebastian Drawing, for Spanish Chapel fresco, 197, 367. 5". Scholastica Paintings of, by Bazzi and Boltraffio, 78. S. Spirito, Church of, Siena 77/1? Assumption by Matteo Balducci, 157; frescoes by Bazzi, description of, 196-8, 345 ; designs for, 197, 345. 364- 3". Vittofio fresco, 193, 194, 195, 307- '4, 341. 363- SS. Giovannino and Gennaro, Confra- ternity of Bier heads, 184, 346. Salaino, Andrea, pupil of Leonardo, 57- Salimbeni, Ventura Paintings, 15, 242. Salomoni, Angiolo Memorie Storico- diplomatiche, etc., 38 (note *). Salviati, Cardinal, 87 (note i), 386. San Gallo, Aristotile di, no. San Gimignano Frescoes, 102, 103, 117, 350; home of Vincenzo Tamagni, 95, 97, 116. Sansedoni, The Blessed Ambrogio Races in honour of, 117, 118, 119, 289, 290. Sant' Ambrogio, Diego di, 46 (note), 123 (note 1). Sant' Angelo, Cardinal di Letter, 1 54 (note). Saracini family Portrait of a lady of the, 59, 338. Saronno Luini's frescoes in the Santuario at, 83. Sarto, Andrea del Frescoes by, 100 (note). Sassetta, Marchese della Owner of racehorses, 120, 291, 292. Savini della Costarella, Enea Mado7ina and Child by Bazzi, 68 (note), 384. Savini family Patronage of the, 64, 68. Scenes fro7n the Life ofS. Benedict Miniatures by Riccio, 243. Scenes from the Passion Paintings on the predella of The Descent from the Cross, 73, 344. Schmarzow, A. Bazzi's paintings, 1 1 1 (note ^), 115 (note ^), 376. School of Athens, The, 114, 140, 252, 369- Schuchhardt,iKarl Bazzi's paintings: Das Jahrbuch der Kofiiglichen Pre7cssischen Kunstsammlungen, 70 (note 1), 73 (note % 84, 85, 86, 116 (note^), 151 (note*), 343, 356. Scorel, Jan The Portrait of a Lady, attributed to, 60 (note ^), 356. Scricciolo, Gianni Aids Giomo del Sodoma to remove goods from Bazzi's studio, 187, 304-7. Scritttira di Artisti Italiana, La, 187 (note ^), 304 (note 1). Sculpture Bazzi's taste for, 58, 67, 126, 191,305.306,338,339; Querela, Giacomo della : see that title ; sRisen Christ, The, statue attributed to Bazzi, 126 ; statue of S. Peter ordered, 125. Sebastiano d' Andrea Bazzi pur- chases property from, 223, 332-4. Sebastiano del Piombo -Agostino Chigi brings him from Venice, 134 ; The Portrait of a Lady at Frank- furt-am-Main attributed to, 60, 356 ; work at the Farnesina, 132. Selected Drawings by Old Masters in the University Galleries, atid in the Library at Christ Church, Oxford, by Sidney Colvin, 113 (note ^). Sellaro, Pompilio, 224 (note ^). Sensations d'ltalie, by Paul Bourget, 105. INDEX 439 Seta, Messer Bastiano della Employ- ment given to Bazzi, 228. Sforza, Lodovico (" il Moro "), Duke of Milan, 56. Signorelli, Luca Circumcision, The, at Volterra, 226, 360; frescoes at Monte Oliveto Maggiore, 76, 88, 104, 105, at the Vatican, no, iii (note ). Sketches on the Old Road through France to Florence, 227 (note '). Siena Affection of Bazzi for, 57 ; Archives, see Archivio di Stato di Siena, etc. ; birthplace of Bazzi, supposititious, 6, 7, 57 ; Cappella di Piazza, Siena : see that title ; church of the Carmine, 219, 345 ; currency, 255; disturbances, 171, 195 (note 1), 196 ; Duomo, Pintu- ricchio frescoes in Libreria, 82, 83, 84 ; Fonte Gaia, by Giacomo della Querela, 52, 66, 363 ; gates, decora- tion of, 200, Porta Pispini : see that title ; home of Bazzi, 6, 25, 73, 222, 223, 225, 332-4; Loggia de Mercanzia, decorations by " II Rus- tico," 242 ; Madonna de' Calzolari, 203, 346 ; Madonna del Corvo, 220, 346 ; Opera del Duomo : see that title ; Palazzo Pubblico : see that title ; Palii, notes on : see that title ; S. Agostino : see The Adoration of the Magi ; S. Ber- nardino Oratory : see that title ; S. Croce frescoes : see Passion Series ; S. Domenico : see that title ; S. Francesco : see that title ; S. <3iacomo, Christ bearing his Cross, 236 (note ^), 345 ; S. Mustiola, Madonna and Child, by Giomo del Sodoma, 241 ; S. Spirito : see that title ; S. Sebastian banner : see that title ; Villa Nerucci (Monistero), 220, 347 ; Villa Farnesina frescoes : see Farnesina. Siena e il stio Territorio, 182 (note '), passim in Picture Lists. Sienese Admiration of, for "QdiZTx, 57- Sienese earrings in picture of Gentle- woman at Frankfurt a/M., 60. Sinai unga, Collegiata, 221, 347. Sodoma, sobriquet of Bazzi Acqui- sition of, 17-19 ; first appearance of name, date, 117, 118; "nom de guerre," 21; official recognition of, 19, 25, 124, 150; opprobrious nature of name, alleged, 16, 19, 22, 23, 24 ; racing sobriquet, 18, 19, 117, n8 ; spelling of name, variety of, 21 (note 1) ; title attached to, 20, 21. Sodoma, by Contessa Priuli-Bon : see Priuli-Bon. Solimei, Contessa Zucchini Christ appearing to His Mother after His Resurrection, lyj (note ^), 353. Some Overlooked Masterpieces, 17$ (note ^). Spaniards in Siena, The, 196-9. Spannocchi, Giulio, Antonio and Ambrogio, 56 (note ^). Spannocchi collection. The, 219, 362, 371, 390- Spannocchi family Friendship and patronage, 52, 56, 61, 64, 108 (note 1), 356. Spanzotto, Martino Apprenticeship of Bazzi, 5, 29, 32, 155, 257; Casale, home at, 35, 40, 49 ; death, 41 ; influence on his pupils, 51 ; paint- ings, " Ancona,'' for church of Sta Maria di Piazza at Casale, 40 ; in- fluence of school of Foppa, alleged, 5 1 (note *), Madonna and Child at Turin (two pictures), 41-3, Pietd, Casale, 50, Polyptych in Baptistery of the Duomo at Chieri, 44, 45,. Polyptych in S. Antonio at Casale Monferrato, 46-50, 5". Francis re- ceiving the Stigmata, 41, S. Paolo, 440 INDEX Vercelli, for Niccolo d'Ajazza, 33, 39, 265, for Tana family, 43, 44 ; training, 50 ; place in Italian art, 34 ; pupil Defendente Deferrari, 34, 40, 5 1 ; wife's lawsuit, 39 ; home at Vercelli, 39. Spanzotto, Pietro Genealogy of the Madonna attributed to, 49. Spanzotto, Pier Antonio, 37. Spanzotto family History of, 34-8 ; pedigree, 267. Spotorno, G. 'B.Storia Letteraria della Liguria, 44 (note 1). Stanze Diversi, published by Giolito, 153 (note 3). Stanze di diversi Autori, collected by Antonio Terrain o, 154 (note). Steinmann, Dr. Ernst, in (note -). Storia della Basilica di S. Francesco in Siena, La, by Vittorio Lusini, 70 (note 3), 71, 72, 87 (note ^), 130. Storia della Terra di San Gimignano, by Can. Luigi Pecori, 103 (notes Storia della Vercellese Litteratura ed Arti, by Cav. Gaspare Antonio De Gregory, 34 (note). Storia della Volgare Poesia, by Cres- cimbeni, 1 53 (note ^). Storia Letteraria della Liguria^ by G. B. Spotorno, 44 (note 1). Strong, S. Arthur Critical Studies, etc., 369; Drawings in the collec- tion of the Earl of Pembroke, 160 (note 1). Struggle for the Standard, The, by Leonardo da Vinci, 99 (note ^). Strutt, E. C. Fra Filippo Lippi, 105 (note ^). Subiaco, Church of S. Francesco at Frescoes, 115 (note ^), 376. Supino, Igino Benvenuto L'Arte del Rinascitnento nel Primaziale di Pisa, 228 (notes ^ ^), 231 (note *). Supplement aux Melanges d'Archeol. et d^Histoire, by G. B. de Rossi, 79 (note 2). Swinburne, Algernon Charles Essays and Studies, 27 ; Songs'before Sun- rise, 179 (note ^). Symonds, John Addington Bazzi's Monte Oliveto frescoes, 105 (note ^) ; 6". Sebastian banner, 173, 174. Tamagni (Vincenzo di Bartolommeo Chelis) Debt to Bazzi, 96, 116, 286; paintings, 96, 97, loi, 344; pupil of Bazzi, 96, 239. Tamagni family, 103, 117. Tana, Tomaso Death of, 44, 45 ; pictures by Spanzotto in memory of, 43. 44- Tanfani Centofanti (or Tanfani), Leo- poldo Delia Chiesa di S. Maria del Pontemtovo, 233 (note ^); Notizie de'' Artisti. Tratte dei Documenti, Pisoni, 3, 228 (note ^). Tarlatti, Guido, Bishop of Arezzo, 81 Tarver, J. C. Tiberius the Tyrant, 24 (note *). Termino, Antonio Stanze di diverst Autori, 1 54 (note). Tiberius the Tyrant, by J. C. Tarver, 24 (note 1). Tim.es, The Use of name " Razzi," i (note '). Tiraboschi Storia della Letteratura Italiana, 6 (note -), 1 54 (note). Titles : see titles Cavalier and Count Palatine. Tizio, Sigismondo Historiarum Sen- ensium MS. : Birthplace of Bazzi, 6 ; Biringucci, Vannoccio di Paolo, 216 (note ^) ; Cappella di Piazza, Siena, 207 (note ^), Christ at the Column, 129; Descent from, the Cross, The, 70 ; information re life of Agostino Chigi, 108 (note ^). Tjzoni, family of de', 2, 3, 4, 5 (note). INDEX 441 Tizoni, Francesco de', 5, 30, 257. Tizoni, name of Adoption by Bazzi, 2, 3, 4, 159, 228, 295 (note 1). Tolomei, The Blessed Bernardo Fresco, 194, 195, 341. Tolomei, Francesco Cappella di Piazza, Siena, 208, 320, 322, 323 ; frescoes in the Palazzo Pubblico, Siena, 194, 312. Tondi, Giovanbattista di Jacomo Palazzo Pubblico frescoes, 214, 312. Toscani family Portrait of a lady of the, 59, 338. Transfiguration, The, by Girolamo Genga, 116, 370. Transformation, by Nathaniel Haw- thorne, 1 27 (note ^). Trappolino, Niccolo Letter, 1 5 (note 1), 67 (note 2), 339. Trattato delta Pittura, by Cennino Cennini, 15 (note ^). Trattato dell' Arte della Pittura e delta Sculttira, by Gio. Paolo Lo- mazzo, 1 39 (note ^). Treatise on Painting in possession of Bazzi, 191. Trequanda.Castellodi Fresco of 7)%^ Ascension, 200 (note 1), 215, 350. Trinity, The by Giovanni Maria Tucci, 234. Trinity with Madonna and Saints, The Drawing, 182 (note ^), 364. Trissini, family of, of Lodi Painters, 35- Trissino, Giovanni, da Lodi Paint- ings at Vercelli, 33. Triumph of Neptune, The Fresco at Monte Oliveto Maggiore, loi. Tucci, Giovanni Maria, pupil of Bazzi Work, 234, 239. Turchi, Francesco Lettere facete e piacevoti, 67 (note ^), 126 (note i), 154 (note), 238,339. Turi di Pilli Apprentices at the Duomo, Siena, 125 (note ^). Turin "Ancona," by Macrino d'Alba^ 83 (note 1) ; Genealogy of the Ma- donna, 46 (note 1) ; Lucre tia, by Bazzi, 165, 353 ; Virgin and Child with Saints, 221, 353. Tuscan Art Influence of, 69,70,79, 80. Uffizi Pictures and drawings, 61 (note -), 67, 102 (note i), 139, 175, 177, 214 (note ^), 220, 225 (note), 226, 253, 254, 346, 348, 351, 363-5, 386, 390, 398. Ugurgieri-Azzolini, Padre Isidoro Le Pompe Sanesi, i (note -), 22, 262, 263. Ulman, Yi.MS. Notes, 218 (note ). Umbria Artists from, 110; influence of art school, 58, 80, 83, 348. Una Famiglia di Artisti Casalesi, etc. : see Negri. Une vue inedite de Rome en 1459, by A. Geffroy, 79 (note *). Urbino, Duke of Owner of race- horses, 119 (note 2), 120, 291. Vallardi, L. G. La Contessa di Cellant, 37 (note 1). Vanni, Francesco Finishes Bazzi's work at S. Domenico, Siena, 181, 182 ; parentage, 15. Vaprio, d'Adda La Madonnone in the Villa Melzi, 169, 379. Vasari, Giorgio Vite dei piii Eccel- lenti Pittori, etc. : The Life of Bazzi^ I (note '), 2 (note ^), 6, 8, 10-13, Ht 15, 16, 17, 18, 19, 20, 21, 23, 26, 56, 57, 58, 61, 63-5, 67, 68 (note 1). 7o (note -), 72, 73, 75 (note ^) , 76 (note 1), 78, 81 (note 1), 82 (note i), 85 (note % 88, 90, 91, 93 (note 1), 94, 95. 96 (note ), 97 (note <), 100, 105, 107, 112, 114, 116 (note *), 122 (note 3), 123, 124, 125 (note i), 128, 131. 133. 139 (note 2), 144, 145, 147, 150, 151 (note *), 152, 161 (note i) 442 INDEX 165 (note ), 171 (note ), 175, 176 177 (note *), 178 (note i), 180 (note 1), 181 (note i), 182, 183, 184 (note 1), 189, 190, 192 (note '), 194 (note *), 198 (note *), 201 (note *), 203 (note *), 204, 214, 217, 218 (note *), 219 (note ^), 220 (note 1), 224 (note ^), 225 (note '), 226 (note 2), 227, 228 (notes S ^), 234 (note ), 235, 238, 239, 240, 243 (note '), 244, 245, 246, 249, 251 (note ^), 252 (notes \ *), 263, 286, 343. 344, 384, 385 ; ^^P of Becca- fumi, The, 16 (note ^), 61. Vatican Artists employed at the, 1 10; frescoes by Bazzi, date of execution, 107, no, description of, no, in, destruction of, ni, 112, 114, 131, 133, 134, list of, ni (note i), 350; payment for, 109; time occupied, 109. Veneziano, Agostino Engraving of Alexander and Roxana attributed to, 139. Ventura di Ser Giuliano, 125 (note ^). Venturi, Adolfo Farnesina, The, 139 (note) ; letter of Bazzi to Duke of Ferrara, 164 (note ^); S. Hotnobonus giving Alms, 166 (note '), 353. Verani, Padre Tomaso Picture dedi- cated by the Tana family, 43. Vercelli Art centre, 5, 35, 51; Bazzi's connection with, i, 6, 8, 31, home at, 30, 31, departure from, 53, 55, paintings at, 49, 52, 53i 354i 379 ; Martino Spanzotto and Giovanni Trissino's paintings in S. Paolo, 33, 39. Vergelle Supposititious birthplace of Bazzi, 7. Verona, Fra Giovanni da Wood- carving at Monte Oliveto Maggiore, 100. Verzelli : see Vercelli. Vesme, Conte A. Baudi di Archivio Storico delV Arte, references to Spanzotto and his paintings, 33 (note ), 34, 35 (note ), 36 (note % 39 (note *), 40, 43, 44, 49 (note ), 267 (note 1). Virgin and Child pictures : see Ma- donna Paintings. Vita de B. Pietro Pettinaio, La, by Luigi de Angelis, 70 (note '), 71 (note 1), 87 (note 1). Vita di Benvenuto Cellini, La, 154 (note ). Viti,Timoteo Alexander and Roxana, sketch owned by, 140 (note ') ; pictures and drawings attributed to, 102 (note 1), 254, 348 (note % 364, 368, 380. Volterra Bazzi's visits to, 225-7 ; pictures, 226, 227, 352, 378. Volterra, Daniele di Paintings, 5 (note 1), 249, 352. Vulcan's Forge: see Farnesina Frescoes. Way of the Cross, The: see Christ bearing His Cross. Weber, Herr Lucretia owned by, 165 (note '), 357. Weimar Drawing for Leda in Grand Ducal Palace, 366. Weizsacker, Dr. Heinrich Catalog der Gemdlde Gallerie des Stadel- schen Instituts, 60 (note '), 356. Zacchetti, Bernardino 5". 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