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Jacomo Caracci Pontorno PDF
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Brigham Young University
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JACOPO CARUCCI DA PONTORMO
Published on the Foundation
Established in Memory of
WITH A FOREWORD BY
FRANK JEWETT MATHER, Jr.
THE LIBRARY
BRIGHAM YOUTJG UNIVERS'TY
PROVO, UTAH
TO
M. C. C.
FOREWORD
If Mr. Clapp's book, instead of appearing in the century
of Picasso, had appeared in that of Pontormo, there would
have been prefatory sonnets written by friends who believed
in the artist and in the author. Believing in both myself, I offer
a kind of substitute in plain prose, for the author, who is an
accomplished poet and therefore well able to write his own
complimentary verses, evades the task.
It is a significant fact that Mr. Clapp's first considerable
publication on his favorite artist, "Les Dessins de Pontormo,"
was written in French and published in Paris. Nor is it
betraying confidence to tell that the present book in its trial
stages existed in a French version. The fact that Mr. Clapp
has to this extent assimilated the French language is interesting,
but it is far more important to note that he has equally assimi-
lated certain solid merits and enlivening graces of French
scholarship. I shudder when I think what a German or a
Germanized American scholar would have made of the subject
of Pontormo. In his solitary, experimental career, in the now
elegiac, now tragic flavour of his personal poetry, there was
every opportunity and temptation for indulgence in the irre-
sponsible joys of sentimentalism. In the mere physical abun-
dance of new data, there was every incentive to shoot it all into
one of those imposing academic rubbish heaps which in mere
bulk are more impressive than real books, as they are of more
portentous effect upon the benevolent commonalty.
What is remarkable about Mr. Clapp's book is not that he
has avoided deliberate gush and casual disorder —
one trusted
the fine man of letters in him for so much —
but rather that he
has lured and compelled into his long task positive qualities of
orderliness, lucidity, and discipline. With a vast and easily
confusing mass of material, he has been content to wait until
xi
FOREWORD
the place appeared where each fact not merely might but must
be taken up into the fabric of the book. This means that, while
the book is thickly set with data, the gentle reader will find an
uncluttered fairway.
Notable too is the in which narrative and comment
way
have been knit into one structure. Criticism remains unpre-
tentious and chiefly implicit. The close and logical order of the
exposition builds up a kind of persuasive portrait, which is on
the whole left to the reader's judgment. It is a satisfactory
procedure, indicative of probity in the author, and compli-
mentary withal to the reader's intelligence. Mr. Clapp not
merely keeps a facile subjectivity out of his task of research,
but so conducts the work that, even under that self-denying
ordinance, it eventuates as a contribution to literature. While
re-reading the proof sheets I have had a haunting image of one
of those precise, complete, and austerely attractive portraits
by Philippe de Champaigne, in which the conscience of the eye
and hand constitute the style. Mr. Clapp is fortunate in being
one of the first to naturalize in our scanty literature of art these
sterling traits of the Gallic spirit.
XII
PREFACE
When early one morning, some years ago, I went into the
church of Santa Felicita in Florence, I did not know that I was
taking the first step in a task that has since then occupied all
my leisure. It was and I imagined
in the autumn, it seems —
to come back to me —
that on such a sunny day it might be
possible to see an altar-piece at which I had often peered in vain
in the darkness of the Capponi Chapel. I was not mistaken.
The light, slanting through the upper windows of the nave,
was falling even into that dimmest of corners and, in the
fugitive splendour, for the first time I really saw Pontormo's
"Deposition."
The moment was one of unexpected revelation. As I
studied the picture with amazement and delight, I became
conscious not only of beauty but of the blindness with which
its
I had accepted the prejudice of those for whom Andrea del Sarto
is the last great Florentine artist and his younger contem-
poraries, one and all, mere facile eclectics whose work Vasari
summed up in the frescoes of the Palazzo Vecchio.
I had discovered Pontormo. Little by little I made my
way through the neglect into which he had fallen, and he became
for me
a living person. His solitary aloofness appealed to me,
his disdain of patronage, and the passion with which he
pursued the phantom of a more creative, a more personal
form of expression than the graphic arts are perhaps capable
of affording.
His drawings quickened my sense of his evolution. They
are more numerous than those of any other Tuscan who worked
before 1550. And, as I turned them over through many months,
I experienced, again and again, moments of the intellectual
pleasure that comes from the recognition of rare and significant
things. At that time Mr. Bernhard Berenson's essay in his
"Drawings of the Florentine Painters" was the only attempt
xiii
PREFACE
that had been made to estimate the importance of Pontormo's
sketches, and in studying them I found it an unfailing source
of illumination. recently a splendid folio of facsimiles,
More
published under the auspices of the Uffizi Gallery, has made a
limited selection of them known to a larger public.
But Pontormo was a greater draughtsman than anyone has
realized. I have, indeed, come to feel that his drawings alone,
with of which I have dealt exhaustively in my "Dessins de
all
XVII
TABLE OF CONTENTS
PAGE
Preface
...
..........
Foreword by Frank Jewett Mather, Jr. xi
xiii
Chapter
I 1494-1512 1
II. 1512-1518 7
III. 1518-1520 18
IV. 1520-1522 28
V. 1522-1527 37
VI. 1527-1530 51
VII. 1530 to 1545 and Later 58
VIII. 1545-1557 73
IX. Portraits 82
X. Last Years His Life from Day to
:
.....
Catalogue of Pictures Attributed to Pontormo in Catalogues
......
of Sales and Loan Exhibitions
Catalogue of Lost Pictures
241
253
Appendix I: Note on the Apprenticeship of Pontormo . 267
Appendix
Appendix
Index
II
III:
:
.....
Documents Relative
..........Diary of Pontormo
to the Life of Pontormo 271
295
321
XIX
LIST OF ILLUSTRATIONS
Illustrations are grouped between pages 98-99
xxi
LIST OF ILLUSTRATIONS
Fig. 18. Sketch for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6545, Florence)
Fig. 19. Sketch for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6744 verso, Florence)
Fig. 20. Study for the Madonna and Saints of San Michele Vis-
domini (Uffizi 654, Florence)
Fig. 21. Study for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6662, Florence)
Fig. 22. Study for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6581, Florence)
Fig. 23. Study for the Madonna and Saints of San Michele Vis-
domini (Uffizi 6744, Florence)
Fig. 24. Study for a Lost Madonna and Child (Uffizi 6729,
Florence)
Fig. 25. Study for the Joseph Discovering Himself to His Brethren
in the Collection of Lady Desborough, Panshanger
(Uffizi 6692, Florence)
Fig. 26. Joseph Discovering Himself to His Brethren, Collection
of Lady Desborough, Panshanger
Fig. 27. The Baker Led Out to Execution, Collection of Lady
Desborough, Panshanger
Fig. 28. Study for the Joseph Discovering Himself to His Brethren
(Uffizi 6542 verso, Florence)
Fig. 29. Study for the Baker Led Out to Execution (Uffizi 6690,
Florence)
Fig. 30. Joseph Sold to Potiphar, Collection of Lady Desborough,
Panshanger
Fig. 31. Study for the Joseph Sold to Potiphar (Uffizi 6556,
Florence)
Fig. 32. Study for the Joseph Sold to Potiphar (Uffizi 6692 verso,
Florence)
Fig. 33. The Adoration of the Magi, Palazzo Pitti 379, Florence
Fig. 34. Study for the Adoration of the Magi (Uffizi 6722, Florence)
Fig. 35. St. John the Evangelist, San Michele in Pontormo
Fig. 36. St. Michael, San Michele in Pontormo
Fig. 37. Study for St. John the Evangelist and for the Hands of
St. Michael of San Michele in Pontormo (Uffizi 6571,
Florence)
Fig. 38. Study for a Portrait of a Youth (Uffizi 452, Florence)
xxii
LIST OF ILLUSTEATIONS
Fig. 39, Study for a Lost Pieta (Uffizi 300 F, Florence)
Fig. 40 Study for Michael of San Michele in Pontormo
St. (Uffizi
6506, Florence)
Fig. 41, Portrait of a Youth, Palazzo Bianco 6, Genoa
Fig. 42, Portrait of Cosimo il Vecchio, Uffizi, Florence
Fig. 43, Study of Three Nudes (Uffizi 672, Florence)
Fig. 44. Study of Three Nudes (Uffizi 442, Florence)
Fig. 45. Study of a Man (Uffizi 6571 verso, Florence)
Fig. 46. Study of a Nude (Uffizi 6504, Florence)
Fig. 47. Three Sketches of a Nude (Uffizi 6516 verso, Florence)
Fig. 48. Portrait of a Boy, Trivulzio Collection, Milan
Fig. 49. Study of a Youth (Uffizi 6682, Florence)
Fig. 50. Pomona and Vertumnus, Lunette in the Medicean Villa at
Poggio a Cajano
Fig. 51. Right Half of the Lunette, in the Medicean Villa at Poggio
a Cajano
Fig. 52. Left Half of the Lunette, in the Medicean Villa at Poggio
a Cajano
Fig. 53. Sketches for the Lunette at Poggio a Cajano (Uffizi 6660
verso, Florence)
Fig. 54. Sketches for the Lunette at Poggio a Cajano (Uffizi 6557,
Florence)
Fig. 55. Study for the Lunette at Poggio a Cajano (Uffizi 6673,
Florence)
Fig. 56. Sketch for the Lunette at Poggio a Cajano (Uffizi 6514,
Florence)
Fig. 57. Sketch for the Lunette at Poggio a Cajano (Uffizi 6515
verso, Florence)
Fig. 58. Study for the Lunette at Poggio a Cajano (Uffizi 6673
verso, Florence)
Fig. 59. Study for the Lunette at Poggio a Cajano (Uffizi 6544,
Florence)
Fig. 60. Study for the Lunette at Poggio a Cajano (Uffizi 6555,
Florence)
Fig. 61. Study for the Lunette at Poggio a Cajano (Uffizi 6731,
Florence)
Fig. 62. Sketch for the Lunette at Poggio a Cajano (Uffizi 6662
verso, Florence)
xxiii
LIST OF ILLUSTRATIONS
Fig. 63. Study for the Lunette at Poggio a Cajano (Uffizi 6531,
Florence)
Fig. 64. Study for the Lunette at Poggio a Cajano (Uffizi 6547,
Florence)
Fig. 65. Sketch for the Lunette at Poggio a Cajano (Uffizi 6646,
Florence)
Fig. 66. Sketch for the Lunette at Poggio a Cajano (Uffizi 6661,
Florence)
Fig. 67. Studies for the Lunette at Poggio a Cajano (Uffizi 6669
recto, Florence)
Fig. 68. Studies for the Lunette at Poggio a Cajano (Uffizi 6669
verso, Florence)
Fig. 69. Study for the Lunette at Poggio a Cajano (Uffizi 6651,
Florence
Fig. 70. Study for the Lunette at Poggio a Cajano (Uffizi 6559,
Florence)
Fig. 71. Study for the Lunette at Poggio a Cajano (Uffizi 6685
recto, Florence)
Fig. 72. Study for the Lunette at Poggio a Cajano (Uffizi 6579,
Florence)
Fig. 73. Study for the Lunette at Poggio a Cajano (Uffizi 454,
Florence)
Fig. 74. Study for the Lunette at Poggio a Cajano (Uffizi 455,
Florence)
Fig. 75. Study of a Nude (Uffizi 6727 recto, Florence)
Fig. 76. Study for a Young Baptist in the Wilderness (Uffizi 6597,
Florence)
Fig. 77. Study of Three Nudes (Stadel Institute 4288, Frankfort)
Fig. 78. Study of Three Nudes (Uffizi 6677 verso, Florence)
Fig. 79. Christ before Pilate, Cloister of the Certosa, near Florence
Fig. 80. The Way to Golgotha, Cloister of the Certosa, near Flor-
ence
Fig. 81. The Risen Christ, Cloister of the Certosa, near Florence
Fig. 82. The Supper at Emmaus, Academy 190, Florence
Fig. 83. Sketch for a Projected Descent from the Cross in the
Cloister of the Certosa, near Florence (Uffizi 6622,
Florence)
Fig. 84. Study for the Supper at Emmaus (Uffizi 6656 verso,
Florence)
xxiv
LIST OF ILLUSTRATIONS
Fig. 85. Sketch for a Projected Nailing to the Cross in the Cloister
of the Certosa, near Florence (Uffizi 6671, Florence)
Fig. 86. Study for a Projected Nailing to the Cross in the Cloister
of the Certosa, near Florence (Uffizi 6665, Florence)
Fig. 87. Study for the Angel of the Annunciation in the Capponi
Chapel of Santa Felicita, Florence (Uffizi 6653,
Florence)
Fig. 88. Study for the Virgin of the Annunciation in the Capponi
Chapel of Santa Felicita, Florence (Uffizi 448, Florence)
Fig. 89. Study for a Projected Nailing Cross in the Cloister
to the
of the Certosa, near Florence (Uffizi 447, Florence)
Fig. 90. Borgo San Sepolcro
Detail of the St. Quentin in
Fig. 91. Sketch for the Head of the St. Quentin in Borgo San
Sepolcro (Uffizi 6647 verso, Florence)
Fig. 92. The Deposition, Capponi Chapel, Santa Felicita, Florence
Fig. 93. Study for the Deposition of the Capponi Chapel (Uffizi
6666, Florence)
Fig. 94. Study for the Deposition of the Capponi Chapel (Uffizi
6627, Florence)
Fig. 95. Study for the Deposition of the Capponi Chapel (Uffizi
6577, Florence)
Fig. 96. Sketches for the Deposition of the Capponi Chapel
(Corsini 124230, Rome)
Fig. 97. Studies for the Deposition of the Capponi Chapel (Uffizi
6730, Florence)
Fig. 98. Sketches for the Deposition of the Capponi Chapel (Uffizi
6613 verso, Florence)
Fig. 99. Study for the Deposition of the Capponi Chapel (Uffizi
6619, Florence)
Fig. 100. Study for the Deposition of the Capponi Chapel (Uffizi
6576 recto, Florence)
Fig. 101. Study for a Portrait of a Young Girl (Uffizi 449, Flor-
ence)
Fig. 102. Studies for a Portrait of a Boy (Uffizi 6667, Florence)
Fig. 103. The Madonna, Child and Little St. John, Palazzo Corsini
141, Florence
Fig. 104. The Madonna, St. Anne and Four Saints, Louvre 1240,
Paris
xxv
LIST OF ILLUSTRATIONS
Fig. 105. Study for the Madonna, St. Anne and Four Saints, in the
Louvre (Uffizi 460, Florence)
Fig. 106. The Martyrdom of St. Maurice, Palazzo Pitti 182, Flor-
ence
Fig. 107. The Martyrdom of St. Maurice, Uffizi 1187, Florence
Fig. 108. Study for a Variant of the Martyrdom of St. Maurice
(Museum 21253, Hamburg)
Fig. 109. Study for a St. Jerome (Uffizi 441, Florence)
Fig. 110. Study of a Nude Woman (Uffizi 441 verso, Florence)
Fig. 111. The Visitation in the Parish Church of Carmignano
Fig. 112. Study for the Visitation in the Parish Church of Car-
mignano (Uffizi 461, Florence)
Fig. 113. Study of a Nude (Uffizi 6723, Florence)
Fig. 114. Birth-plate: The Birth of St. John the Baptist, Uffizi
1198, Florence
Fig. 115. Portrait of a Youth, Pinacoteca 75, Lucca
Fig. 116. Portrait of a Youth, Morelli Collection 59, Bergamo
Fig. 117. Anatomical Study (Uffizi 6718, Florence)
Fig. 118. Portrait of a Man, Uffizi 1220, Florence
Fig. 119. Lucretia, Borghese Gallery 75, Rome
Fig. 120. Study for a Portrait of a Soldier (Uffizi 463 F, Florence)
Fig. 121. Study of a Nude (Uffizi 6561, Florence)
Fig. 122. Study for the Three Graces (Uffizi 6748, Florence)
Fig. 123. Venus and Cupid, Uffizi 1284, Florence
Fig. 124. Portrait of Alessandro de Medici, Johnson Collection
' 83,
Philadelphia
Fig. 125. Portrait of a Man, Palazzo Pitti 249, Florence
Fig. 126. Portrait of Bartolomeo Compagni, Stirling Collection,
Keir, Dunblane, Scotland
Fig. 127. Portrait of a Young Woman, Stadel Institute 14 A, Frank-
fort
Fig. 128. Portrait of a Young Woman, Von Dirksen Collection,
Berlin
Fig. 129. Portrait of a Woman in Green, Augusteum 19, Oldenburg
Fig. 130. Portrait of the Cardinal Spannocchi Cervini, Borghese
Gallery 408, Rome
Fig. 131. Portrait of a Lady with a Volume of Verse, former Yerkes
Collection
xxvi
LIST OF ILLUSTRATIONS
Fig. 132. Probable Study for One of the Lost Allegorical Figures
in the Loggia of the Medicean Villa at Castello (Uffizi
6584, Florence)
Fig. 133. Probable Study for One of the Lost Allegorical Figures in
the Loggia of the Medicean Villa at Castello (Uffizi
6586, Florence)
Fig. 134. Benjamin Tapestry Woven
at the Court of Pharaoh.
after a Design by Pontormo, Palazzo del Quirinale,
Rome
Fig. 135. Studies for the Tapestry of Benjamin at the Court of
Pharaoh (Uffizi 6593, Florence)
Fig. 136. Joseph and Potiphar's Wife. Tapestry Woven after a
Design by Pontormo, Palazzo del Quirinale, Rome
Fig. 137. Study for the Lost Expulsion from Paradise in San
Lorenzo, Florence (Uffizi 6715, Florence)
Fig. 138. Study for the Lost Christ in Glory in San Lorenzo, Flor-
ence (Uffizi 6609, Florence)
Fig. 139. Study for the Lost Moses Receiving the Law in San
Lorenzo, Florence (Uffizi 6749, Florence)
Fig. 140. Study for the Lost Four Evangelists in San Lorenzo,
Florence (Uffizi 6750, Florence)
Fig. 141. Study for the Lost Sacrifice of Cain and Death of Abel
in San Lorenzo, Florence (Uffizi 6739, Florence)
Fig. 142. Study for the Lost Death of Abel in San Lorenzo, Flor-
ence (Uffizi 6746, Florence)
Fig. 143. Study for the Lost Tilling of the Soil in San Lorenzo,
Florence (Uffizi 6535, Florence)
Fig. 144. Study for the Lost Deluge in San Lorenzo, Florence
(Uffizi 6753, Florence)
Fig. 145. Study for the Lost Deluge in San Lorenzo, Florence
(Uffizi 6752, Florence)
Fig. 146. Study for the Lost Deluge in San Lorenzo, Florence
(Uffizi 6528, Florence)
Fig. 147. Study for the Lost Ascent into Heaven in San Lorenzo,
Florence (Academy, Venice)
Fig. 148. Study for a Figure in One of the Lost Frescoes in San
Lorenzo, Florence (Uffizi 6560, Florence)
Fig. 149. Study for a Figure in One of the Lost Frescoes in San
Lorenzo, Florence (Uffizi 6679, Florence)
xxvii
LIST OF ILLUSTRATIONS
Fig. 150. Portrait of an Old Lady, Belvedere 48, Vienna
Fig. 151. Portrait of a Lady, Jacquemart-Andre Collection, Paris
Fig. 152. Page 4 of Pontormo's Diary (Biblioteca Nazionale,
Florence)
Fig. 153. Study for the Figure in the Lost Frescoes of San Lorenzo
Mentioned in the Last Line of Page 4 of Pontormo's
Diary (Uffizi 6760, Florence)
xxvm
ABBREVIATIONS
A\ S. F. — Archivio di Stato di Firenze.
B. F. D. — Berenson, Drawings of the Florentine Painters.
B. F. P. R. — Berenson, Florentine Painters of the Renaissance.
Dessins — Clapp, Dessins de Pontormo.
D. G. U. — Disegni delta Galleria degli — the
Uffizi devoted to
folio
Pontormo 'a drawings.
On Certain Drawings —
Clapp, On Certain Drawings of Pontormo
(pamphlet).
Photo. F. M. C. — photographs taken by the author.
Vasari — Milanesi's edition of the '
'Lives."
JACOPO CARUCCI DA PONTORMO
JACOPO CARUCCI
DA PONTORMO
CHAPTER I
1494-1512
following year that the first member of the Monte Pilli branch
of the family took up his residence in Florence
7
a certain —
Taddeo two of whose descendants were buried
di Caruccio,
almost half a century later in the cloister of Santa Croce and
their gravestone marked: "Ruggieri Taddei Carucci et Suor
mccclxx. Soon after this latter date we come upon the earliest
'
'
know that five years later, between March, 1386, and April,
11
1387, a Carucci of the same name, but this time called a
12
"vinaiolo," Signoria of Florence.
sat in the The parish
churches of the family were Santa Croce and San Remigio. 13
Pontormo's ancestors appear, then, to have been burghers
and free citizens 14 of the Republic of Florence. They followed
humble trades like many of their fellow-townsmen, but they also
took part, at an early date, in governing the city. During the
fifteenth century their fortunes do not seem to have risen, and,
although one branch of the family continued to live in Florence,
we know little about them except that in 1460 a Ruggiero
Carucci was buried in Santa Croce, 15 and that between 1481
3
PONTORMO
It is diminutive place, although in early days it had at
now a
least three churches. Between it and Empoli a little torrent
runs, which is called the Orme, and from the bridge that crosses
23
this stream the village takes its name. Around it on all sides
the level land, covered with vineyards, stretches away toward
the olive-grey lower slopes of Monte Albano and east, across
broader spaces, to foot-hills rising range behind range to the
Apennines. The landscape is Tuscan with a touch in it of
Pisan breadth and a faint taste of the sea. Its salient features
are the bridge and the Romanesque campanile of San
Orme
Michele. Here, according to Vasari, Jacopo's father married
Alessandra, "una molto virtuosa e da bene fanciulla," daughter
of Pasquale di Zanobi and Mona Brigida, and here, on May
24, 1494, * our master was born. The tradition of art was part
2
of Pontormo's inheritance.
Jacopo spent his earliest years in his native place, where,
while still a child, he lost in quick succession, father, mother
and grandfather. It was to his grandmother, therefore, that he
owed his bringing-up and early education, and it was at her
instance that he was taught the rudiments of Latin and to read
and write. Later on she took him to Florence and placed him
in the care of a certain Battista, "calzolaio," who was a distant
25
kinsman of hers. This journey must have been made before
23 O. H. Giglioli, Empoli Artistica, p. 192.
2* The San Michele at Pontormo contains no baptismal register earlier
sacristy of
than the seventeenth century. Some of the records of this church may, however, be
preserved among the books of the Knights of Santo Stefano in the Archives of Pisa.
They are not to be found in the Collegiata at Empoli. The date that we have given is based
upon the following calculation: The commemorative tablet, placed, it would seem, in the
choir of San Lorenzo in 1558 when the frescoes that Pontormo painted there were at last
finished by Bronzino, bore an inscription which is quoted by Moreni (II, 119). This gave
Pontormo's age, when he died, as 62 years, 7 months and 6 days. Prom the Libro dei
Morti we know that his death occurred on December 31, 1556, or January 1, 1557 (New
Style). Simple subtraction gives the date of his birth. Vasari (VI, 245) erroneously
states that Pontormo was born and that he was sixty-five at the time of his death.
in 1493
Milanesi (VI, 288) notices these errors and quotes in a note the inscription from San
Lorenzo. We now know that when Pontormo became a commesso '
of the Hospital of
'
'
'
4
HIS LIFE AND WORK
1503,and we may surmise that, even at that early date, the
orphan boy's future had been decided upon.
Vasari implies that Jacopo's training as a painter did not
26 27
begin until 1506-1507, although, from a document that I have
discovered, it appears to be not unlikely that before April 10,
1503, he had already begun his apprenticeship, for on that day
the monks of Santa Maria Novella, wishing to record the terms
upon which they had sold a house in the Gualfonda to Alberti-
nelli, had a deed drawn up in which mention is made of a Jacopo
Carucci. Since, between 1500 and 1505, no adult of that name
is referred to in either the Catasto or the Consorteria, we are,
it would seem, justified in believing that the Jacopo in question
was none other than our master, although he was, of course,
28
only a child.
Did the fact that his father had been a painter influence
his relatives when they thought of choosing a trade for the boy ?
Was Jacopo a painter by chance ? Or did he show an aptitude
that parents in those days were often quick to notice and
appreciate? We
do not know. We
have, however, reason to
conjecture that he was precocious, for Vasari speaks of a small
"Annunciation, " painted while Jacopo was still with Alberti-
29
nelli, which the elder master used proudly to show to all those
who came to his "bottega." Raphael once saw it, and was
amazed that it was the work of one so young. The little panel
must therefore have been in existence before September 5,
30
1508, the date of Raphael's departure for Rome. Pontormo
was not then fourteen.
We cannot tell how long Jacopo frequented Albertinelli 's
workshop, but in 1507 he had perhaps already left it. At any
rate, Albertinelli was not the clever boy's only master. As an
orphan, who had escaped from the bondage of apprenticeship
26 ibid.
27 A. S. F., Convento 102, No. 89, Kicordi, pp. 14, 41 f. See Appendix II, Doc. 10.
28 For the early age at which children were sometimes apprenticed, see Vasari 's
statement (VI, 202) that Bugiardini went to work with Ghirlandaio while the latter was
painting the choir of Santa Maria Novella, in other words, when he was only ten years old
20 Vasari, VI, 246.
so Idem, IV, 329.
PONTORMO
by some happy chance the nature of which we are unable to
define, he was freer than most gifted boys are at his age. No
parent hampered him, for, if we are to believe Vasari, Mona
31
Brigida soon returned with Jacopo's sister to Pontormo, and
from there she could hardly have influenced her grandson.
However that may have been, we now know from a document
that, on January 24, 1508, all that was left of his father's tiny
32
estate passed into the hands of the Public Guardians.
Left, then, to work out his own future unaided and undi-
rected Pontormo gave immediate evidence of his mobility of
spirit. No master satisfied him, and he passed rapidly from
one to another. Before he reached sixteen he had tasted some-
thing of the simplicity of the quattrocento tradition that
lingered in the work of Albertinelli, the fantastic playfulness
of Pier di Cosimo, the enigmatic spirit of Leonardo 's recondite
beauty, and the warm naturalism of Andrea. These were,
33
according to Vasari, his masters, and Pontormo 's early work
corroborates his biographer's assertion: it is a curious mixture
of many tendencies. The doll-like figures in trailing robes of
the ''Hospital of San Matteo" (fig. 1) owe much to Pier di
Cosimo; the composition of the "San Luca Madonna" (fig. 2)
is well within the canon of Fra Bartolommeo, Albertinelli 's
master and partner; the chiaroscuro of the Visdomini and
Farinola panels is derived from the practice of Leonardo the ;
6
CHAPTER II
1512-1518
s The "Faith and Charity" of the portal of the Annunziata, the triumphal cars
for the Compagnia del Broncone and for the Compagnia del Diamante, the triumphal arch
at the head of the Via del Pelagio, the frescoes in the Pope 's Chapel.
« The church was destroyed when the palace of the archbishop was rebuilt the
;
fresco was transferred to the Chapel of San Luca in the Annunziata in 1813.
7 The records of the church have disappeared.
PONTORMO
of the facade of the Annunziata.
8
We
have, however, every
reason to conjecture that it was executed between the autumn of
1512 and the summer of 1513. The upper part of this fresco
terminated in a lunette of "God the Father with Cherubim,"
which has been destroyed. It is interesting to remark that the
9
same motive had been treated by Albertinelli once at least to
our knowledge, and that when Jacopo himself used it, a year or
two later in the Pope's Chapel, he did so quite in the spirit of
his old master. The ruined remains of the San Rurnllo fresco
(fig. 2) are still preserved in the Chapel of San Luca at the
8
HIS LIFE AND WORK
12
6676 verso), a study from the nude for the Madonna, is more
vigorous, and in its structure recalls the nudes of the "Battle
of the Cascina." Even at so early a date Jacopo was feeling
his way in a new direction.
Late in the summer of 1513 our young painter received a
more important task. The Servites, who were "PaHesc^,"
were energetically proceeding with the embellishment of their
convent of the Annunziata in celebration of the election of
13
Leo X, and in the summer following that event, Andrea,
Franciabigio and Rosso were all at work in the small cloister
or atrium of their church. Jacopo was chosen, almost by
accident, to do part of the projected work, and in this connection
14
Vasari tells a story. Andrea di Cosimo 15 had, it would seem,
been commissioned to paint the arms of Leo above the principal
arch of the facade and, finding himself unequal to the task,
had called in Pontormo. Payments that I have found in the
Libro del Camarlingo prove that Jacopo worked on this fresco
16
in the autumn and winter of 1513 and in the spring of 1514.
The last payment was made in June, 1514. From these same
accounts it is also clear that the mechanical part of the
decoration, such as the gilding, was done by the very Andrea
17
di Cosimo Feltrini, who according to Vasari had undertaken
to complete with his own hands the "stemma" and all its
decoration. Still another story, recorded by Vasari, has it that
12 Ibid., p. 226.
13 I have found several payments made to him during this period (A. S. F., Convento
119, No. 705, pp. 76, 106, 116).
i* VI, 248.
is For the life of Andrea di Cosimo V, 204-210. The records
Feltrini, see Vasari,
of the Servites tell us that in 1510-1511 he painted the facade of their church in mono-
chrome (A. S. F., Convento 119, Libro del Camarlingo, 1509-1512, p. 49; Entrata e Uscita,
No. 747, p. 84). From documents that I have discovered we know that he also painted
the arms of Leo X between two doors opening into the church from the small cloister.
For these he received on September 3, 1513, fourteen lire on account (A. S. F., Convento
119, No. 705, p. 103). See also Vasari, V, 207. Feltrini was skilled in gilding and
grotesques. On several occasions he was associated with Pontormo, with Eidolfo Ghirlandaio,
with Franciabigio (at Poggio a Cajano), and still later with Vasari (decorations for the
reception of Charles V at Florence).
isA. S. F., Convento 119, No. 705, pp. 113 v., 122 v., 124 r., 127 r., 132 r. See
Appendix II, Doc. 12.
it Ibid., p. 124 r.
9
PONTORMO
the young Pontormo hid himself in Sant'Agostino alia Porta
a Faenza to make his drawings, and that until they were quite
finished he did not go to the "bottega" to show them to his
master. When Andrea saw them he was stupefied. And from
that day, for reasons known only to himself, he shut the doors
18
of his shop against Jacopo. Such is Vasari's tale, mere
gossip perhaps, but indicative of an attitude of mind not unlike
that of the whimsical and solitary Pontormo.
He now withdrew from the life of the "botteghe," and, says
his biographer, by practising great economy "comincio a —
fare sottilissime spese perche era poverino" he finished his —
part in the decoration of Leo's arms for the Servites. Hardly,
however, had he completed it when he made up his mind to
destroy it, and paint it all over again from a design upon which
he had already begun work when to his great indignation the
fresco was uncovered. Here too, Vasari's narrative is true
to Jacopo 's sensitive, searching, and disinterested nature.
Even as a boy he had a touching eagerness of mind, a thorough-
going contempt for work that he had put behind him.
The fresco, which represented Faith and Charity 19 with two
"putti" that supported the papal blazon, is now all but
obliterated, although one still dimly discerns two seated
figures, voluminously draped, and about them, traces of "putti,"
seated or flying. That phase of Andrea's art which is exem-
plified by his " Marriage of St. Catherine" seems to have
presided over the composition, but the work has been too badly
damaged to yield any secrets of form or modelling. Vasari
devotes to this decoration two pages in which he praises the
beauty of the "putti," ''la dolcezza delle teste," and the
refreshing daring of the treatment. 20 Throughout the sixteenth
century it was famous. 21
With these figures no drawings can be identified. One
faded sketch of a "putto" clinging to a tree (Unizi 6706) 22 is
is Vasari, VI, 248.
i» Ibid.
20 Ibid., p. 250.
2i Ibid., VI, 248 f. Bocchi, pp. 415 f. Richa, V, 52.
22 Dessins, p. 249.
10
HIS LIFE AND WORK
perhaps a fragment of Jacopo's preparatory work, but we
hazard this conjecture only because in Bocchi's opinion a
23
"putto" in that pose was one of the beauties of the composition.
Two drawings for Medici arms supported by two figures
exist, in the Umzi, that one is sometimes tempted to connect,
at any rate remotely, with the "Faith and Charity" of the
Annunziata, to which, however, in its final form at least, they
are not related. Neither, in my opinion, can they be identified
with any of the Medici arms surmounted with tiara and keys
and supported by "putti" that one sees in the ceiling of the
Pope's Chapel at Santa Maria Novella, although one of the
drawings (Ufiizi 418) may preserve an idea, finally rejected,
for these bearings, in spite of the fact that we find in it no
indication of the papal keys. It is likewise not inconceivable
24
that the other drawing (Ufiizi 417) is a sketch for the arms
of Leo that Pontormo painted for his native town, inside the
25
castle gate which opened into the main street. This stemma, '
'
2* Dessins, pp. 89 f.
11
PONTORMO
to his native town, and Ridolfo, unable without
to finish it,
12
HIS LIFE AND WORK
supple movement of the figures, and in the love of novelty that
here and there is apparent in them.
The festivities following Leo's elevation to the papacy
brought Pontormo many commissions to which Vasari, writing
about 1560 with a desire to please Cosimo I, devotes more than
28
six pages. In the carnival procession of 1514, the Compagnia
del Diamante, a society led by Giuliano de' Medici, had three
triumphal cars which represented "Youth," "Manhood," and
"Age" — 29
subjects chosen by Andrea Dazzi, the latinist. The
woodwork was by Raffaello delle Viviole and II
of the cars
30
Carota, and the decorative motives, by Andrea di Cosimo. The
costumes were designed by Giuliano da Vinci and Bernardino
di Giordano, while the songs were written by Antonio Alamanni.
Pontormo painted on these three cars stories of the Trans-
formations of the Gods, 31 and so great was their success that
they stirred to emulation a rival society, II Broncone, of which
Lorenzino was the leader. For the carnival of 1515, this
company ordered no less than seven cars, the subjects repre-
32
sented upon which were chosen by Jacopo Nardi, who also
wrote the songs. 33 For the first car Pontormo painted on
panels, and probably in chiaroscuro, "Legends of Saturn," for
the second, "Scenes from the Life of Numa Pompilius," for
the third, "Scenes from the Life of Titus Manlius Torquatus,"
for the fourth, "The Deeds of Julius Caesar," for the fifth,
"Episodes from the Life of Augustus," for the sixth, "Scenes
from the Life of Trajan." The seventh car represented "The
Golden Age" and on it were ornamental figures in relief by
34
Bandinelli, among them "The Four Cardinal Virtues." All
we can say of these lost works is that they seem to have
increased Pontormo 's popularity. They were probably not
unlike the decorations prepared for Leo's visit to Florence in
28 Ibid., pp. 250-255.
29 1475-1548. See W. Riidiger, Andreas aus Florenz, Halle, 1897.
so Vasari, VI, 251.
3i The panels of these cars were once in the possession of Pietro Paulo Galeotti, the
goldsmith.
32 1476-1556.
33 Canti Carnascialeschi, Firenze, 1559, pp. 120-124.
3* Vasari, VI, 254.
13
PONTORMO
35
the autumn of 1515. On that occasion Jacopo painted various
compositions —
among which Vasari mentions a "Pallas
Tuning her Instrument to Apollo's Lyre" on a triumphal —
arch of wood erected by Baccio da Montelupo in front of the
36
Badia, at the head of the Via Pelagio. These paintings were
in a ruinous condition even when Vasari wrote, and like the
cars of the Diamante and the Broncone they have long since
perished.
We form some idea of the character of
can, however,
such ephemeral decorations from another "carro" which
was decorated by Pontormo, and with which the officials of
the Zecca used to take part in the yearly procession of San
37
Giovanni. It was broken up in 1810, but twenty small panels
from it are still preserved in the Palazzo Vecchio, 38 many of
them, it is true, so grossly and so many times repainted as
to leave hardly a vestige of Pontormo 's hand. They are three
long panels: "St. John in the Wilderness," "The Preach-
39
ing of St. John," "The Beheading of the Saint"; six
smaller, vertical panels: "The Baptist," "The Visitation,"
"St. Zenobius," "Zechariah," with two others which represent
an apostle or a prophet; and twelve small, square panels of
"putti" dancing and playing, some of which are delightful.
ss ibid., p. 255. See also A. S. F., Carteggio di Cosimo I, CI. 50, No. 239, carta 1,
Eelazione dell ' ingresso che fece Leone X in detto giorno nella citta di Firenze, 30 nov.,
1515.
30 Ibid., p. 255.
Numerous triumphal arches and temporary decorations were erected
for this occasion.Vasari speaks of them a number of times. Pier di Cosimo, Granacci,
Baccio da Montelupo, Eosso, Andrea, Jacopo di Sandro, Giuliano del Tasso, Bandinelli,
Sansovino, Rustici and Pontormo were all employed in preparing them. Vasari states in his
'
Life of Pontormo ' ' that the arch at the Badia was by Montelupo. In his " Life of Andrea
'
del Sarto" he says that the arch between the Badia and the Palazzo del Podesta was by
Granacci and Aristotile da San Gallo. In his "Life of Granacci" he speaks of it as
"dirimpetto alia porta di Badia" (V, 342)— a
phrase which he repeats in his "Life of
Aristotile" (VI, 436). For Pier di Cosimo 's, Andrea's, Jacopo di Sandro 's, Montelupo 's,
and Granacci 's work in connection with these festivities, see Vasari, V, 24 and note 3.
For Rustici 's decorations, see idem, VI, 602.
"Vasari, VI, 256. We have no document for this work; the account-books of the
Zecca between 1510 and 1530 have been lost.
38 Ibid.,
p. 257, note 1. Milanesi states that eighteen pieces still exist; in reality
we have twenty fragments.
o The composition
of this panel is practically identical with that of a " predella '
14
HIS LIFE AND WORK
On two The wood-
of these the "putti" support Medici arms.
work of the car, which has disappeared, was by Marco del
Tasso. What the original grouping of these fragments was
cannot now be determined, although a notion of the whole may
be formed from that other car that one sees in the streets of
Florence on the Saturday before Easter the Carro de' Pazzi. —
Vasari places the Carro della Zecca between the "San
Ruffillo Madonna" and the fresco of the "Visitation" in the
cloister of the Annunziata, that is, in 1514-1515. Certainly the
composition of the little "Visitation," which once belonged to
40
it, is closely derived from Mariotto's "Visitation" of 1503, and
is one of the last traces of his old master's instruction left in
Pontormo's art. Ruined as it is, the panel is more vital than
Albertinelli 's altar-piece.
For this neglected work of Pontormo's I have discovered
one drawing (fig. 8; Uffizi 6581 verso) a study for "The
41
—
Baptist." The draughtsmanship, and especially the modelling
of the forearm, place this sheet about 1515-1516, which is the
date that Vasari gives, by implication, for the undertaking.
The relation between the "Madonna with Saints" that
Pontormo painted for San Ruffillo and his "Visitation" in the
cloister of the Annunziata 42 is quite evident: the latter (fig. 5)
is merely an elaboration of the former (fig. 2), and in both the
face of the Virgin is the same. The features of the woman
with a bundle on her head in the "Visitation" recall the Santa
Lucia of the "San Ruffillo Madonna." A similarity of rhythm
in the two compositions makes these resemblances still more
striking; both arrangements are triangular, with a figure on
either side. The "Visitation," however, is strongly influenced
by Andrea, although vestiges, almost imperceptible, of Alberti-
nelli 's methods may be discovered in it by attentive study.
But the movement, the power and novelty of the fresco, its
light harmonies, its fresh colour, its crisp execution, reveal a
personality more vivacious than Mariotto's, while the whole
40 Now in the Uffizi.
4i Dessins, pp. 166 f.
15
PONTORMO
breathes a poetry compared with which the " Birth of the
Virgin," painted by Andrea in the same cloister between 1511
and 1514, 43 is pat and prosaic. Only the grouping of the eight
figures in the background shows a certain inexperience.
It is now documents relative to
possible to supplement the
this fresco that are mentioned by Milanesi and incompletely
44
cited by Colasanti. The first payment was made in December,
45
1514, the last about the middle of June, 1516, and the decoration
was, therefore, unfinished when Leo came to Florence. For it
Jacopo received eighty "lire."
The drawings for this work have perished with the
46
exception of two studies, one (fig. 6; Uffizi 6603) light and
facile but tame, for the woman seated on the steps, the other
(fig. 7; Uffizi 6542) for the "putto," seated to her right. Both
are vaguely reminiscent of an early phase of Andrea's
draughtsmanship, of which we have, in the Louvre, 47 an excel-
lent example. Compared with our two studies for the "San
Ruffillo Madonna," they mark a notable advance.
Just after the "Visitation" I am inclined to place a lost
"Pieta" for which several drawings survive. The touch
indicates that these sketches were drawn between 1516 and
1519, and in them Pontormo is master of his early technique.
Five (Uffizi 6670 recto and verso; 6689; 6690 verso; 6691) 48
are studies for the same Dead Christ (fig. 9) and they are of
a relaxation exquisitely felt. Uffizi 6670 verso is unmistakably
for the same undertaking, which was perhaps the "Pieta" that
Vasari 49 describes as having existed in a chapel of the garden
of the San Gallo monks, outside the San Gallo gate, and which
was evidently destroyed during the siege in 1529-1530. We
«a Vasari, V, 67. On the cornice of the fire-place one reads : A. D. M. D. X. IIII.
«« Ibid., VI, 258, note 1. Colasanti, Bull. soc. filol. romana, II, 51, note 2.
«A. S. F., Convento 119, No. 705, pp. 149 v., 165 v., 192 v., 200 v., 202 v. See
Appendix II, Doc. 13.
"Damns, pp. 142, 180. Uffizi 6556 recto and verso are also sketches for this fresco.
Cf. ibid., p. 151, and On Certain Drawings,
p. 7.
« No. 45.
*8 Dessins, pp. 221 f., 234 f., 237.
"VI, 260.
16
HIS LIFE AND WORK
cannot cite documents to determine the date of this composition
because the books of the convent have perished.
Sometime in these busy years Jacopo also painted over the
50
door of the Women's Hospital, a lost fresco of "Christ as
Pilgrim." These figures were in chiaroscuro, and it is worthy
of notice that Andrea was employing the same medium at
precisely the same moment in the cloister of the Scalzo
51
—a
coincidence that may have a certain bearing on Bocchi's state-
52
ment end of the sixteenth century, this fresco was
that, at the
generally thought to be by Andrea. There was probably in it
a strong influence of his work.
To the same period belonged the arms of Giovanni
Salviati, supported by two "putti" and surmounted by a
cardinal's hat, which in Vasari's time adorned the courtyard
of Filippo Spina's house, opposite its main entrance. These
Vasari 53 places after the Visdomini altar-piece, although they
were in all probability executed as early as 1517, in which year
Salviati was made cardinal by Leo X.
The last of the undertakings that immediately followed
the "Visitation" was the lunette frescoed in Fiesole over the
gate of the Compagnia della Cecilia. An early sketch in red
chalk (fig. 12) for this lost work exists in the Uffizi, which was
marked in the seventeenth century: "Per la Sta Cecilia che e
in Fiesole." I have found the finished study (fig. 11) in the
54
Corsini Collection, in Rome. The composition is admirable
and corresponds precisely to Vasari's description 55 of the
lunette: "una con alcune rose in
S. Cecilia colorita in fresco
mano tanto bella e tanto bene in qual luogo aecomodata." The
quality of both drawings clearly indicates 1517-1518 as the date
of this decoration.
so Ibid., p. 256.
51 A. S. F., Compagnia di San Giovanni detta dello Scalzo, Libro maestro, Debitori
e Creditori B (1514-1535), p. 30.
52 Ed. Cinelli, p. 19.
53 VI, 261.
s^ Dessins, pp. 240 f., 333.
55 VI, 257.
17
CHAPTER III
1518-1520
19
PONTORMO
definite conclusion inregard to its authenticity. Among those
papers of the Pucci family which are now in the Archives of
Florence I have not been able to find the contract. But if we
had it, it would perhaps add nothing of an essential nature to
our information. The date of the panel is known. On the book
which St. John holds are the letters, m. d. xiij.
We possess many drawings6 for this altar-piece (fig. 14
to 23). With it Berenson has identified thirteen studies, among
them our painter's best jotting in pen and ink (Uffizi 6545),
7
and to these I have added eight preliminary sketches, all of
which are swift, fresh, and masterful.
Between the St. Francis of the Visdomini and the St.
Jerome (reversed) of an unfinished little altar-piece, now in
8
the Uffizi, we detect a distinct resemblance that is made sig-
nificant by another drawing for the St. Francis (Uffizi 6742
9
verso), in which the saint is seen standing, and which, not
improbably, served for the St. Jerome of the smaller picture.
At any rate, the colour, the character of the heads, especially
that of the Madonna, the fall of the drapery, and the rhythm
of the composition make it certain that the Uffizi panel belongs
in date just after the Visdomini picture. From the same year
we have a beautiful black-chalk sketch (fig. 24; Uffizi 6729) 10
for another "Madonna and Child," the fate of which is
unknown, that must have had the same qualities as the Uffizi
picture but greater charm.
From this period, and
Visdomini panel harking
like the
back to Leonardo's chiaroscuro, though in structure, motive,
and gesture recalling Andrea, is the " Madonna and Little St.
John," now in the possession of the Marchese Farinola. The
picture is not mentioned by Vasari, and for it we have no
documents.
Between the Visdomini and Poggio, and accordingly for a
6 Dessins, p. 67.
7 On Certain Drawings, pp. 6, 20.
« No. 1177.
o Dessins, p. 271.
io Ibid.,
p. 262 f. Possibly a study for the "Madonna" of the " drappelloni '
20
HIS LIFE AND WORK
period which embraces less than two years, Vasari mentions
thirteen pictures —
a number so great that it is apparent that
here his chronology needs some correction. Two of his errors
are easily eliminated. The arms of the Lanfredini, 11 now
destroyed, which Jacopo painted over a door on the Lungarno
between Ponte Santa Trinita and Ponte alia Carraia, were
placed by Bronzino, according to Vasari himself, among the
earliest undertakings of Pontormo, and the "St. Quentin,"
begun by Giovanmaria Pichi for the Osservanti of Borgo San
12
Sepolcro and finished by Jacopo, is obviously so closely related
to the Certosa frescoes that it can hardly have been painted
13
earlier than 1522.
The principal works that belong between the summer of
14 15
1518 and the autumn of 1519 are three "cassone" pictures
16
of " Scenes from the Life of Joseph," a panel of "Joseph in
Egypt" (all executed for Pierfrancesco Borgherini), the
"Portrait of Cosimo il Vecchio," of the Uffizi, 17 and the
"Portrait of a Youth," now in Genoa. 18 No written document
but on
fixes the date of these pictures (fig. 26, 27, 30, 41, 42),
internal evidence one may be certain that they were executed
19
in 1518-1519. Vasari records that, in the "Joseph in Egypt,"
Pontormo painted the portrait of the young Bronzino. Angelo,
who is represented as about fifteen years of age, was born
November 17, 1503. 20 The date of the panel would, then, be
1518.
21
A similar deduction gives us the date of the "Portrait
ii Vasari, pp. 258 f.
12 Ibid.
izDessins, p. 203.
i* Berenson (Florentine Painters, p. 175) mentions only two of these panels.
is Now in Panshanger. These small pictures are usually
See Catalogue Raisonne.
called '
cassone
' panels, but they may have formed part of a " lettuccio
'
' or settle, or '
'
they may have been ornaments of a " spalliera which would be, in our modern usage,
'
'
a wainscot.
is National Gallery, No. 1131 ; now apparently transferred to canvas.
17 Now in the Uffizi.
is Palazzo Bianco, No. 6.
is VI, 261.
20 Registro dei Battezzati di S. Giovanni Battista, 1503, p. 33, line 27.
2i Richter, to whom Bronzino appears here to be but ten years of age, erroneously
places this picture in 1512. It is not necessary to point out that such a date would mean
21
PONTORMO
of Cosimo il Vecchio." It was ordered by Goro Gheri while
he was secretary to Lorenzino de' Medici, and we know that
Lorenzino died on May 4, 1518.
In the composition of the Borgherini panels Jacopo makes
a rather self-conscious effort to escape from old formulas by
distributing his figures and arranging them in little groups,
on planes that are defined by the various parts of an archi-
tectural setting. In this there was nothing new. Quattrocento
pictures, such as Ghirlandaio 's "Adoration of the Magi," as
well as numerous mythological subjects by Pier di Cosimo, are
similarly composed, and we also find, at precisely this moment,
Andrea combining naturalistically a similar kind of grouping
with architecture and flights of steps, in his "Scenes from the
22
Life of Joseph," now in the Pitti. But even a cursory com-
parison satisfies us that the younger artist had the more
fantastic spirit. In the Borgherini panels, as in the Visdomini
altar-piece, certain figures are in type, structure, and drapery,
reminiscent of Andrea. The slender legs, the trailing draperies,
the long lines of the folds of other figures, the interrupted
rhythm of the composition are of quite another inspiration, as
is also the light and delicate colour.
22
HIS LIFE AND WOEK
formed part of two or were framed in the decorative
'
' cassoni,
'
'
25 Dessins, p. 236.
26 Ibid., p. 151, where I incorrectly identified this sheet with the saint to the extreme
right of the "Visitation" at the Annunziata.
27 Ibid., p. 142.
28 Catalogue of Exhibition
of Old Masters in Aid of the National Art-Collections
Fund, October 4-December 28, 1911, p. 50. Crowe and Cavalcaselle saw that they displayed
qualities characteristic of Pontormo, History of Painting, ed. Borenius, VI, 202. See also
an article by Sir Claude Phillips in the Art Journal, 1906, p. 1.
29 Pitti, No. 379.
3» Andrea di Cosimo, Franeiabigio and Bacchiacca worked for Benintendi when he
decorated his house (Vasari, V, 196, 209; VI, 455).
23
PONTORMO
use of a dark and rich colour, Pontormo is nearer Andrea than
he will ever be again. The figures are broad-faced, prodigiously
stout, and wear enormous sleeves. Jacopo was, we may surmise,
experimenting with a new form of elegance. Like the Bor-
gherini panels, this picture, which is now in the Pitti, was
painted in competition with other masters. Franciabigio's
"cassone" panel for Benintendi as well as a companion piece
by Bacchiacca, is now in the Dresden Gallery, and in the lower
left corner, one finds the date: a. s. mdxxiii. Pontormo 's
"Adoration" cannot however be later than 1519-1520. For the
horses in the background three vigorous drawings (fig. 34)
31
exist that, by their touch, insistently suggest several studies
for the lunette at Poggio.
The Pharaoh and his retinue in the foreground
figures of
and to the left of " Joseph in Egypt" remind one vividly of the
St. Michael and the St. John the Evangelist (fig. 35 and 36),
which Pontormo painted for the citizens of his native town and
which are still in the church of San Michele at Pontormo.
Statuesque, and visibly affected by the work done by Andrea
between 1515 and 1519, they are nevertheless clearly less
naturalistic. The drawings for these figures are of exceptional
interest. We have a finished study (fig. 37), in black chalk, for
32
the St. John, which is manifestly more pictorial than such a
drawing for the panels at Panshanger as Uffizi 6692. The long,
abrupt breaks in the drapery, angular bunches of which are
gathered at the hips, as well as the treatment of the hands, recall
the Corsini study (fig. 11) for the lost "Santa Cecilia." But
not so the studies in red chalk for St. Michael's hands that one
finds on the same sheet, which, like the best drawings of Del
Sarto, catch thrillingly a momentary pulse of life, and record
a moment in which Jacopo sounded the spirit of his master
more profoundly perhaps than he ever had or ever would again.
His study for the legs of St. Michael (fig. 40), on the contrary,
shows a love of elegance, and a whole-hearted preoccupation
with the beautiful and the decorative. It suggests some late
3i Dessins, pp. 153 f., 256.
32 Ibid., pp. 117, 161.
24
HIS LIFE AND WORK
Greek god, carved in alabaster or ivory, some god, tall and slim
beyond measure, but full of the authentic strangeness of rarest
things. Conte Gamba finds it reminiscent of the quattrocentist
tradition, and its transparent smoothness does, perhaps, recall
Rossellino 's somewhat over-modelled surfaces, although struc-
turally it is of a fine sophistication that the Quattrocento
seldom knew.
In 1519 Pontormo executed certain ephemeral works, since
destroyed or lost, among them a series of "drappelloni" for
the funeral of Bartolomeo Ginori for which he painted, accord-
33
ing to Vasari, a "Madonna and Child" on white taffeta with
the arms of the family below on coloured silk. In size and
lightness, these pennons were an innovation and set a new
standard. In the middle of the series there were two banners,
two "braccia" high, on each of which a "St. Bartholomew."
To these years also belong Pontormo 's first known por-
traits, although they can hardly have been his earliest, since
we know, for example, that in his "Joseph in Egypt" he had
already portrayed the young Bronzino among other figures,
many of which seem natural enough to be portraits. The
extraordinarily lifelike figure to the extreme left in the Pitti
"Adoration," has even been considered to be a likeness of
Pontormo himself, although for such a conjecture there is no
34
foundation. The portrait of Giovann' Antonio Lappoli, who
came momentarily under Jacopo's instruction 35 just after the
"Faith and Charity" of the Servites was finished, as well as
38
the portrait of Becuccio Bicchieraio 's son-in-law with a friend,
have been lost. But we have some ground, from the sequence
of Vasari 's narrative, for imagining that they belonged to this
period, and were therefore probably not unlike the "Portrait
37
of Cosimo il Vecchio" (fig. 42 ), the "Portrait of a Youth,"
38
at Genoa (fig. 41), or the broad, massive portrait-drawing of
35 Ibid., p. 6.
36 Ibid., p. 260.
25
PONTORMO
a youth, alert and conscious, in ample robes, now in the Uffizi
(fig. 38; No. 452), all of which are excellent examples of
27
CHAPTER IV
1520-1522
28
HIS LIFE AND WORK
the more difficult part of the undertaking, it was on one (fig. 50,
51 and 52) of them that Jacopo began work. Paolo Giovio,
bishop of Nocera, chose the subject, "Pomona and Vertumnus,'
7 ,
» Ibid., V, 195.
s Ovid, Met., xiv, 623-697.
9 Dessins, p. 333.
io Ibid., p. 87.
12 Ibid., V, 195.
13 Ibid., 36. Finished by Alessandro Allori. On a "cartella" one reads: "Anno
Domini 1521 Andreas Sartii'S pingebat, et Anno Domini 1580 Alexander Allorius seque-
batur. " Andrea was very busy during these years. The "Tabernacle of Porta Pinti"
was finished in 1520. Cf. Vasari, V, 33.
K Ibid., VI, 264 f.
29
PONTORMO
Many drawings Poggio survive.
relative to We can
follow with comparative ease the steps by which Pontormo
advanced from a general idea of the composition to its final
form. The earliest sheet (fig. 53) we possess is perhaps
Uffizi 6660 verso,
15
on which the lunette is mapped out and the
pose of several figures indicated, and on which the medallion
under the bull's-eye, the two "putti" over it, the high wall and
the laurel branches also appear. Pontormo, however, had not
decided what figures he would use, nor yet made clear to
himself, where he was to place them. He seems, it is true, to
have contemplated an arrangement that involved two figures
with their backs to the lower part of the bull's-eye, one seated,
one half reclining and, to the right of the right-hand figure, a
simple rustic gaine. So his mind played around the Goddess
of Gardens and her setting.
His next idea for the whole composition is Uffizi 6742
verso. On this sheet, drawn over a preliminary sketch for the
St. Francis of the Visdomini, we can trace outlines of the
lunette, the lower wall, and four seated figures. The peasant-
like figure of Vertumnus to the extreme left, the figure to his
right, the reclining woman who looks over her left shoulder,
occur here, practically as we them in the finished work.
find
This sheet is also a curious link between Poggio and the lunette
of "Santa Cecilia," for to the extreme right one descries a
woman crouching in a pose which repeats that of the latter
figure.
We can also follow in some cases the genesis of individual
figures, and in Pontormo 's second mapping-out of the whole
lunette (Uffizi 6742 verso) we find, for example, his first idea
for the woman to the left on the lower right wall. For the
same figure a study from the nude survives. It was made,
however, before the width of the lower parapet had been
determined. In this sketch (fig. 54; Uffizi 6557), which is
strikingly modern in pose and treatment, the figure lies flatter
than it does in the fresco. The final study (fig. 55 Uffizi 6673) ;
30
HIS LIFE AND WORK
the gracile charm of which recalls Fragonard,
except for the
is
32
HIS LIFE AND WORK
that we should look for in vain in the work of Del Sarto. In
them Jacopo achieves a spontaneous registry of vision, a tran-
script of the essential, not less magical than Leonardo's own.
The only other sketch we have for a figure on this side of the
lunette is Corsini 124240, a spirited jotting for the "putto"
over the bull's-eye.
For the left half of the lunette, less copious material has
come down to us. The final pose of the youth to the extreme
left, on the upper wall, appears in no study that is known to
me, although the germinal idea is undoubtedly a tiny sketch
on Uffizi 6515 where, however, the movement of the left arm
and of the legs is different. Umzi 6634 may also be a first
thought for this figure, the pose still far from that which one
sees in the fresco and which obviously owes something to the
" Jonah" of the Sixtine. On Uffizi 6661 (fig. 66) there is a
vibrant sketch for the "putto," to the left, above the bull's-eye.
The child to the right of the youth that we have just
discussed has come down to us in the final study (fig. 69 ; Uffizi
6651) from which the figure was transferred to the wall. It is
exquisitely lovely, of liquid tonality, the movement seized with
masterly definition. The soft but vivacious modelling gives
one a sense of fine silver bronze, and beautiful as this figure
is in the fresco, it has surely lost some of its own original
delicate vitality.
We cannot trace the loosely dressed youth, seated to the
right on the lower wall, in any known drawing unless, as is
doubtful, Uffizi 6618 preserves an earlier conception of the
figure. For the left arm, however, as it appears in the fresco,
we have a decisive study (fig. 70; Uffizi 6559), while on Uffizi
6515 one finds what is seemingly a sketch for the knees in a
slightly different pose, and a study of the left foot in the pose
finally chosen.
The old peasant-like Vertumnus, to theextreme left, is
traceable in a number of studies. As we have already noted,
the idea of placing a squatting figure in this corner of the fresco
occurred to Pontormo early in his work of preparation, and
one descries such a pose in the first draft of the lower part of
33
PONTOKMO
the fresco (Uffizi 6742 verso). In the beginning, Jacopo seems
to have intended that this figure should shade his eyes with his
—
right hand a motive which first appears in a scrawl on Uffizi
6599 recto, and which is studied again from the nude in three
splendid sheets, Uffizi 6515, spirited and immediate, 6685 recto
(fig. 71), ringing and solid, 6599 recto, somewhat arbitrary in
35
PONTORMO
studied many sketches made by Michelangelo in preparation
for it that have since been lost. Apart from the drawings of
seated figures, which I have just mentioned, the earliest sheet
that we have for Poggio (fig. 53; Uffizi 6660 verso) contains
three studies of interlaced "putti" that are unmistakably
derived from the Sixtine vault, although the pose differs from
that of any "putti" now to be seen there. More important
still, in this connection, is the right-hand figure of Uffizi 6660
36
CHAPTER V
1522-1527
38
HIS LIFE AND WORK
he was an absolutist and at cross-roads he never lingered. In
the Scalzo frescoes Andrea had been content to eke out his
unimaginativeness with fragments taken from Diirer's inven-
3
tions. Jacopo, on the contrary, after he had studied Diirer's
art, felt impelled to revolutionize, as thoroughly as possible,
his theories of form, contour and composition. And were the
drawings that survive for the frescoes at the Certosa more
numerous, we might, perhaps, be able to demonstrate that for
a time Pontormo attempted to draw with the awkward stress
and jerky pulse of an early Diirer woodcut. 4 A sketch we find
on Uffizi 6648, 5 furnishes us with a reasonable basis for such
an assumption.
Vasari tells us that Pontormo began the Certosa frescoes
in 1522, and he had reason to know, for in 1524 he had spent
much time in copying them. 6 In the books of the monastery
7
I have discovered a complete record of the payments that were
made to Pontormo for this work. In the Quaderno di Cassa F, 8
under the date May 26, 1524, we read: "A r0
Jacopo di m
bartholomeo dapontormo depintore Ducati trenta L dua hebe
dal procuratore in 9 volte per parte da di 4 di Febraio 1522 per
insine adi 10 dap-nlle 1524 supra ala depintura fa nel claustro."
This is the first entry and may, accordingly, be taken as con-
vincing proof that, on February 4, 1522, Pontormo was already
at work in the cloister.
In Vasari 's opinion 9 was the return of the plague to
it
explain the almost total disappearance of the drawings that he must have made during
this period.
5 Dessins, p. 204.
e Vasari, VII, 605.
t A. S. F., Convento 51, Nos. 16, 40 and 81. See Appendix II, Doc. 14, 15 and 16.
s Ibid., No. 40, p. 26 r.
» VI, 266.
39
PONTORMO
hoped to accomplish great and novel things in art. Even after
the frescoes were finished and he had returned to the city, he
10
never ceased, Vasari says, to frequent San Lorenzo a Galuzzo,
and of that assertion Pontormo's own diary contains a curious
confirmation. On October 11, 1556, 11 less than two months
before he died, he wrote "domenica andai acertosa."
:
40
HIS LIFE AND WORK
The frescoes have been restored, but from the still undam-
17
aged small copies by Jacopo da Empoli, it is evident that the
colouring was close to Poggio and owed its vivacity to light
harmonies on a few tones that were carried through the whole
composition. Undoubtedly they were decorative; even now,
although ruined and repainted, they sing out in the sunshine
as few frescoes later than the Trecento do. They have a soft
vivacity, an unforced gravity, that no transalpine work could
have.
Besides the "Passion" of the great cloister, Jacopo painted
for the Certosini a "Supper at Emmaus" (fig. 82), which was
18
41
PONTORMO
25
Most of the drawings for his work at the Certosa have
perished, but among the few that survive there are several of
an exceptional interest. One of them (Uffizi 6702), to which
we have already referred, shows that Michelangelo's canon of
form still haunted Pontormo even while he was imitating
Diirer. On it we find a sketch of a figure, unquestionably
derived from a drawing for the "Haman" of the Sixtine,
which Jacopo perhaps thought of using for his "Risen
Christ." When, however, he came to paint that fresco he
followed Diirer closely in type and in composition. The same
sheet also preserves for us a light sketch for the woman seated
to the extreme right in the "Pieta" a figure that has —
no antecedents in Diirer. Lastly, this leaf contains a first
thought for the Christ of the latter fresco in which the pose
recalls the Christ of Diirer 's "Beweinung Christi" of the
"Kleine Passion." In all these studies the quality of the line
is somewhat relaxed and thin. Another drawing (Uffizi 6674),
unfortunately now quite ruined, gives us the Christ in a pose
nearer that which was finally chosen. Uffizi 6643 verso appears
to be a study from the nude for the awkward figure that carries
the end of the cross in the "Way to Golgotha." On Uffizi 6558,
which devoted to a nude obviously of the Poggio
is chiefly
period, we also find two draped heads that belong to the period
that we are now discussing. A similarly draped head appears
on Uffizi 6539.These are, in all likelihood, studies for the
women of the "Pieta." Another sketch of the same sort,
Corsini 124242, is certainly for the figure high up to the left
in the same fresco. A study of drapery for a seated figure,
preserved in Uffizi 6648, may very well have been drawn for
the young disciple behind Peter in the "Agony in the Garden."
Much of this fresco, however, is so ruined that identifications
are hazardous. Berenson assigns this sketch to Certosa on
morphological grounds, and it is the only sheet from this epoch
of change that he mentions.
For the monk to the right, in the "Supper at Emmaus,"
we have, in Uffizi 6656 verso (fig. 84), a fine study from which
25 In my Dessins these drawings are discussed in detail.
42
HIS LIFE AND WORK
we can draw definite conclusions about the quality of Pontormo 's
draughtsmanship after what was considered by his contem-
poraries mere capricious imitation of an inferior style. The
figure is in red chalk, simple, adequate and of an unaffected
lucidity of vision.
The most interesting drawing (fig. 83; Ufiizi 6622) that
we now have related to the frescoes in the Val d'Ema
an is
43
PONTORMO
no one but the young Bronzino and he implies that Pontormo
executed practically with his own hands the entire cloister
" Passion." In any case we know not only that the books of
the Certosa contain no payment made to any assistant other
than Bronzino but that Jacopo spent four years in the Val
d'Ema, 27 which was more than time enough to have painted,
without help of any kind, all five existing frescoes. If in their
present state these defy any attempt to define in them differ-
ences of touch, we can at least be sure that the "Supper at
Emmaus" shows no trace of a second hand. Pontormo had an
instinctive dislike of collaborators; often he would not even
28
let his work be seen before it was finished. He had, in fact,
so little patience with mediocrity that, far from allowing his
pupils to finish his pictures, he sometimes could not resist the
temptation to transfigure their work with last touches of his
own. This he did, according to Vasari, when Lappoli once
tried, with a mirror, to paint his own portrait with results that
were miserable enough until Pontormo took the brush out of
his pupil's hand and transformed the nondescript likeness into
a masterpiece. While he was at work in the Val d'Ema,
Jacopo also so completely rehandled a "St. Quentin" (fig. 90),
which had been begun by Giovanmaria Pichi, 29 that the canvas
now retains hardly a trace of other than the master's touch.
For it we have a wonderful head, 30 in pen and bistre, drawn on
a black-chalk ground (fig. 91) that Pontormo seems to have
dashed off to illustrate for his pupil a problem of pose.
Between the autumn of 1525 and the winter of 1527 Jacopo
returned to Florence, although he continued to occupy himself,
from time to time, at the monastery. An entry in the Quaderno
di Cassa of the monks, on December 6, 1526, for flour and
chickens sent to him to Florence, would seem to fortify our
31
conjecture.
Soon after he had finished the Passion frescoes, Pontormo
27 See in Appendix II, the documents cited above.
28 Vasari, VI, 27]
2«>7&id., p. 259.
so Dessins, p. 203.
si A. S. F., Convento 51, No. 40, p. 108. See Appendix II, Doc. 15.
44
HIS LIFE AND WORK
painted, on the walls of a large way-side shrine at the cross-
roads of Boldrone, a Christ crucified, Mary, St. John the
Baptist, St. Julian, and St. Augustine in episcopal robes a —
32
work which, in Vasari's opinion, is not unlike the "Passion"
of the Certosa. The Mary, the St. John, and the St. Julian
do recall various figures in the "Christ before Pilate" and in
the "Pieta," but the ingenuous simplicity of the composition —
due doubtless to the shape of the shrine itself bears no —
relation to his work in the Val d' Ema.
For the fresco at
Boldrone no document exists, but considerations of style and
circumstance make the date of it practically certain. It cannot
have been painted earlier than 1525 nor later than the summer
of 1529, in the autumn of which year Florence was invested
by the Imperial troops and the country-side was no longer safe. 33
Pontormo's imitation of Diirer interrupted, in some
measure, the natural evolution of his talent. Nevertheless,
it was a surface distortion, which did not modify the funda-
45
PONTORMO
is elusively beautiful. The sense of amber dawn-light playing
on lovely, elemental beings is stronger here than the sense of
death. Among these divinities of lithe limbs and curliest blond
hair, grief and passion are unreal, for death has been among
them for the first time, and in amazement rather than in tears,
they carry to the grave their fairest youth, who lies as if asleep
upon their shoulders, with no indignity done to his beauty,
a tress upon his neck and the first down on his chin. His young
mother seated by the roadside reaches out her hand, uncompre-
hending. On all the faces a look, more of incredulity than of
despair, appeals to us to explain so strange and sudden a
catastrophe.
The "Deposition" represents but part of the work done
by Pontormo at Santa Felicita.
34
He frescoed the entire
Capponi Chapel, painting on the side-wall to the right, an
"Annunciation"; in a "tondo," on each pendentive of the
vaulting, a bust figure of an Evangelist; and in the cupola
itself, "God the Father and Four Patriarchs." The general
effect of the decoration is not perfectly harmonious, and even
Vasari 35 noticed a certain difference in style, colour, and
composition, between the "Deposition" and the figures of the
vaulting. The "Evangelists" are, in fact, dull in tone, and the
"Annunciation" is more in harmony with them than with the
altar-piece. We cannot, however, tell what the original effect
was, for the "Annunciation" has lost in successive repaintings
all its distinctive quality, and the figures of the cupola have
36
been destroyed.
In all these pictures the influence of Diirer is slight. No
one who has not seen Jacopo's work at the Certosa would ever
think of associating the "Kleine Passion" with the "Deposi-
tion," with the "Annunciation" or the "Evangelists"
still less
as Ibid.
46
HIS LIFE AND WORK
sua maniera di prima." Nevertheless, a certain lingering
influence of Diirer's engravings may be traced in the rather
tight, complicated folds and torn, cascading effect of the
draperies in the "Deposition."
We do not know the exact date at which Pontormo was
commissioned to decorate this chapel. The books of the
monastery of Santa Felicita are silent, and none of the Capponi
papers 38 that are now in the Florentine Archives mention the
undertaking. Vasari speaks of it as begun "non molto dopo
la Certosa," and Balocchi, who probably had access to some
document now lost, states 39 that Lodovico di Gino di Lodovico
Capponi acquired the chapel in 1525 for two hundred "scudi."
In a Libro di Ricordanze 40 of the monastery one gleans the fact
that the chapel was rented, in January, 1490, by the Barbadori
to Antonio di Bernardo Paghanelli, in the margin of which
entry one reads: "Compero il detto Antonio la detta cappeZZa
da Barbadori e da Bernardo suo figlio fu venduta a Ludovico
Capponi per scudi 200." This note can hardly have been
written later than 1528, and we will not go far wrong, then,
if we suppose that Jacopo began the work late in the autumn
41
of 1526. He put up a scaffolding and, according to Vasari,
kept the chapel closed for three years. This, however, does not
imply that Pontormo undertook, during all that time, no other
commissions.
The preparatory work for these decorations may be
42
followed in a number of drawings. For the "Annunciation"
there are two finished studies, one (fig. 88; Uffizi 448) for the
Virgin, a rather dry, meticulous drawing in red chalk, the other
(fig. 87; Uffizi 6653) for the angel, a sketch full of freshness
47
PONTORMO
angel's neck and shoulders may be found on Uffizi 6570 verso,
and it is not impossible that the draped figure on the recto of
this sheet is an abandoned idea for the pose of the Madonna.
The touch is undoubtedly of this period, but the light drapery,
apparently inappropriate for a Madonna, weakens some-
what our supposition. The figure may, of course, be a study
for the lost "Pomona" that Jacopo painted in fresco near the
door of Filippo del Migliore's house, in Via Larga a work —
that Vasari mentions immediately after the Certosa, and which,
therefore, should be placed just before Jacopo 's frescoes and
altar-piece atSanta Felicita.
For the "Deposition" of the Capponi Chapel we have many
drawings. On Uffizi 6666 (fig. 93), the Madonna's head is
sketched from the male nude, and on Uffizi 6627 (fig. 94), the
head of the woman to her left is studied twice. In the
"Deposition," Pontormo combined these studies, using one for
the features and the other for the arrangement of the head-
dress. Both are evidently drawn from life, as is Uffizi 6577
(fig. 95), a study for the head of the youth who carries the
48
HIS LIFE AND WOEK
of the youth in the upper right-hand corner of the picture
appears in Uffizi 6730 (fig. 97), and in Uffizi 6576 recto (fig. 100)
the entire figure is studied from the nude. This is by far the
most interesting sheet we possess for Santa Felicita. It is of
a supple sureness of hand, caressing and delightful.
For the "tondi" of the pendentives 43 we have in the British
Museum (Payne Knight Collection, P. p. 2, 102) an idea for
the "Evangelist" to the right above the "Annunciation."
Berenson believes that Uffizi 6647 recto is also a first thought
for one of these medallions, but one should notice in passing
that the pose is far from that of any of the figures in their
final form.
Since the frescoes of the cupola proper no longer exist,
one can hardly pretend to identify drawings with them. It is,
nevertheless, not impossible that Uffizi 6590 and 6613, studies
of male figures seated on a low step, are sketches for the
"Patriarchs." The pose, the head thrown back gazing up,
suggests that they were intended to occupy the lower part of
a circular vaulting. Berenson thinks that they are for the
Vertumnus at Poggio. But the quality of the contour in Uffizi
6590 is precisely that of 6576 recto, one of our best studies
for the "Deposition," and the arms, hands, and head, of 6613
should be compared with similar parts of the latter drawing.
The drawings for the Capponi Chapel have, on the whole,
less vitality of line than those for Poggio. In them the touch
is a little too fine and tight. They have none of that almost
too obvious amplitude of form which distinguishes many
sketches for the earlier masterpiece, and they are certainly
much less magnificently lyrical. The portrait-drawings (fig.
101 and 102) from this period are subtly imaginative, fragile,
and transparent evocations to which the introspective and
restless spirit of the sitter still clings.
While he was still at work in Santa Felicita, Pontormo
*3 in his "Life of Pontormo" (VI, 271) Vasari states that one of the Evangelists
was painted by Bronzino who was then working with Jacopo in his Life of Bronzino
;
'
'
'
(VII, 594) he says that Bronzino painted two Evangelists and certain figures of the
vaulting. It is impossible now to disentangle these inconsistencies.
49
PONTORMO
also painted for Capponi a portrait of his daughter as the
44
Magdalen, which has since been lost, although we still have
a drawing (Uffizi 6546) that may have been made for the work
in question. At all events this sheet appears to date from the
late twenties although, curiously enough, it shows an excess
of sentiment hardly to be found in Florentine art before the
Seicento.
*i Vasari, VI, 272.
50
CHAPTER VI
1527-1530
1
Republic was at hand.
In the popular enthusiasm of those years, we have, I
believe, indirect evidence of the date of the "Madonna, St. Anne
and Four Saints," now in the Louvre (fig. 104). The picture
was ordered by the Captain and Officials of the Signoria for
2
the nuns of St. Anne. In a medallion imder the Madonna's
feet, these officials, accompanied by commanders, mace-bearers,
"tavolaccini," fifes and trumpets, are represented as pro-
ceeding solemnly to the convent beyond the San Frediano gate
where they rendered homage, on July 26 of every year, to the
nuns' patron saint. The origins of this ceremony went back
to the Trecento when, on St. Anne's Day, 1343, the Duke of
Athens was driven from the city. In his note on our picture
3
Milanesi refers to the historical meaning of the ceremony, and
since his time a vague notion seems to have arisen that this
altar-piece was painted for the two-hundredth anniversary of
the festival. Critics have, accordingly, dated it 1543, 4 in other
words, fifteen years too late. It is altogether unlikely that a
iVettori, Sommario, p. 382. Cambi, XXII, pp. 317-319. Varchi, Storia, HI, i,
pp. 156-158.
2 Vasari, VI, 273. Richa, IV, 222.
3 Vasari, loc. cit., note 3.
51
PONTORMO
painting, so clearly intended to celebrate the deliverance of the
city from a tyrant, should have been ordered at the very
moment when Cosimo I was sternly repressing the last traces
5
of freedom in Tuscany. Such a picture belongs to a very
different moment, and must have been painted between May
16, 1527, the date of the expulsion of the Medici, and August 12,
1530, when the city surrendered. After the exile of Alessandro
and Ippolito, the festival commemorating the deliverance of
Florence from an ancient tyrant took on an added solemnity.
Of this, Pontormo's altar-piece is, in all probability, a record.
The books of the Signoria have been lost, so that no documents
exist for this picture. It is, however, worthy of notice that
the "gonfaloniere" elected in 1527 was Niccolo Capponi, a
relative of the Lodovico for whom Pontormo was working at
6
the moment.
But on closer examination, the panel itself comes magnifi-
cently to our aid. The drapery, although heavier, is not unlike
that of the Virgin of the "Annunciation," or that of the
"Evangelists" at Santa Felicita. The Madonna and St. Anne
wear a head-dress of the kind worn by the Madonna and the
women of the "Deposition," and in both pictures the features
of the Virgin are the same. These are resemblances that cannot
be explained, if our picture really dates from 1543, for at that
moment Pontormo was more exclusively Michelangelesque than
at any other period. Convincing proof that our chronology
is correct is to be found in the finished drawing (fig. 105;
Umzi 460) for the whole composition. It is in pen and bistre
and technically close to the study for the Angel at Santa
Felicita.
In the Louvre panel, as in the landscape of a "Madonna
and Child" (fig. 103), dating from 1528-1529 and now in the
Corsini Palace in Florence, that faint influence of Durer's art
which lingered in the Capponi "Deposition" is still further
attenuated, although the St. Sebastian of the former picture
recalls strangely a "Sebastian" from Durer's workshop, which
5 Capponi, II, 494.
o Varehi, VI, i, pp. 383, 396.
52
HIS LIFE AND WORK
7
is now palace at Ober St. Veit, near
in the Archbishop's
Vienna. This resemblance, which cannot be fortuitous, may
explain Vasari's remark that the figures of the St. Anne altar-
piece, like those of the shrine at Boldrone, are not purely
Italian — a comment for which there is no other justification,
for the central group of the Louvre picture certainly owes
something to Leonardo, and the arrangement of the saints in it
suggests early compositions by Fra Bartolommeo.
Leonardo 's influence elsewhere in pictures of this
is visible
period. A
complicated and ingenious composition of the
"Madonna and Little St. John" 8 that now hangs in the Umzi
may have been suggested by some lost drawing of the great
9
master's, although we cannot help remarking that the move-
ment of the Madonna's shoulder, head and arm is repeated in
a drawing (fig. 109) for a "St. Jerome," the archetype of which
is Leonardo's unfinished "St. Jerome," now in the Vatican.
This sketch is of the same date as Santa Felicita.
The frenzied gestures of the charging horsemen in
10
Pontormo's "Martyrdom of St. Maurice" (fig. 106), the
frantic, galloping horses, small-nosed, full-necked, round-
haunched and compact, the wild rush of the onslaught, in
that "sanguinoso fango" where every brutal, pitiless passion is
11
unchained, have their prototype in the "Battle of Anghiari."
The orgy of nude bodies, on the other hand, and the exaggerated
muscles of the figures, are derived from Michelangelo, although
» Painted for Friedrich der Weise between 1502 and 1504. The drawing for this
picture isnow in the Stadel Institute, in Frankfort.
s Uffizi, No. 1578. Ganiba (Disegni di Jacopo Carucci, Firenze, 1912) places this
picture about 1525. In my opinion it was painted about 1528.
9 It is interesting to note that Eleonora gave to the Duke of Altamira a copy that
Bronzino made of a "Madonna" by Leonardo. Cf. Vasari, VI, 284, note. Gaye, III, 94.
io Pitti, No. 182.
n
There are reasons to doubt the existence of Leonardo's work as late as 1528-1530.
We know by documentary evidence that in 1513 it was in a condition so deplorable that a
beam had to be used to prevent its collapse. The cartoon, or pieces of it, may have existed
long after the wall painting had disappeared. Both Cellini and Vasari state that the
cartoon hung for a long time in the Sala del Papa and was studied there by all the young
artists of Florence (Vasari, V, 8). It is not unlikely that in painting the "Martyrdom
of St. Maurice" Pontormo merely used sketches that he had made from the cartoon years
before.
53
PONTORMO
the type of nude is still far from the thick-necked giant of the
latter 's middle period.
12
For which Vasari says was ordered by the
this panel,
women of the Innocents, we have no document. Perhaps, in
fact, no document ever existed. We know that the women
occupied, in the hospital, a place apart, which was closed with
a high double gate. If they really ordered the picture, they
probably paid for it themselves, and such a payment would not
have been entered on the books of the institution. It is true
that in 1529 Pontormo had transactions with the authorities
of the hospital, but on grounds so circumstantial we are not
justified in assigning the picture to that year, even though
Vasari does so by implication. Close study, however, of the
draperies of the Judge and of the figure in the foreground
makes clear their likeness to the drapery of the Louvre altar-
piece. But we have still other evidence for the date of the
panel of a more indisputable and intimate nature the drawing
:
12 VI, 275.
is Dessins, pp. 91, 290.
"No. 1187.
is Vasari, VI, 275.
54
HIS LIFE AND WORK
which facts we may conjecture that the Pitti picture is the
earlier by a brief interval of time. Both panels, which were
once quite famous, are a mere patchwork of derived ideas, and
in colouring they are cold and dry. Perhaps the neatness of
their execution, or the mere fact that they are Michelangelesque,
veiled for Pontormo's contemporaries their poverty as art.
Between 1528 and 1530 Pontormo painted the splendid
" Visitation" that once adorned a villa of the Pinadori family,
16
near Carmignano, and that is now in the village church. In
this altar-piece (fig. Ill), the more than human proportions
of the figures, the grand simplicity of their attitude and gesture,
isolates the divine event and intensifies its significance. Here,
then, we have a curious attempt to give, in other terms than
those commonly used by Michelangelo's followers, that sense
of the superhuman which the latter so insistently dwelt upon.
To emphasize the note of grandeur Pontormo, like Andrea in
all his later pictures, employs voluminous draperies but, unlike
Andrea's leaden stuffs, Pontormo's are light and loose in their
amplitude. The same folds may be found again in the Louvre
"Madonna and St. Anne," and in the works at Santa Felicita.
The composition is to a certain degree suggestive of Diirer's
1
'Die Vier Nackten Frauen," and the St. Elizabeth recalls his
"Nemesis" reversed. The final study (fig. 112; Ufifizi 461) 17
for this "Visitation" survives, the touch of which approaches
drawings for the Capponi Chapel. It is, however, drier and,
what is rare with Pontormo, the drawing is inferior to the
picture.
Vasari mentions another work, The Raising of Lazarus,
'
'
'
now lost, that must have been painted in the second half of the
decade of the twenties, and of it he tells a story. Delia Palla,
who acted as a kind of royal antiquarian and art-dealer to
Francis I, tried, while Pierfrancesco Borgherini was absent
16 Bocchi, p. 286: "modello d 'una Visitazione in piccolo del Pontormo, i cui panneg-
giamenti son bellissimi e toccati con franchezza, e stimo che 1 'originate in grande sia in una
Villa de' Pinadori a Carmignano." This sentence occurs in Bocchi 's description of the
house of Andrea Pitti.
17 Dessins, pp. 104 f.
55
PONTORMO
from Florence, buy from his wife Pontormo's famous
to
"cassone" panels, and failing in the attempt, finally persuaded
18
Jacopo to paint a special picture for the French King.
Borgherini was a partisan of the Medici, and it was in 1527
that he fled with them to Lucca. The "Lazarus," therefore,
could hardly have been begun before 1528. In 1530 Florence
was invested and all traffic stopped, and in 1531 Delia Palla
was exiled from the city.
19
We can hardly err, then, if we
assume that this picture was finished about 1529.
20
A beautiful
drawing (fig. 113) exists that may have
served for the figure
21
of Lazarus. In it we seem to divine an exquisite ecstasy of
surprise such as one might feel in coming back to life.
in these details his pupil had, perhaps, some trifling part that
Bronzino may have mentioned when he discussed the life of
Jacopo with Vasari. It is permissible to conjecture that
the latter, misinterpreting Bronzino 's remarks, was led to
is Vasari, V, 27; VI, 262 f. For Delia Palla 's activities as a picture-dealer, see
Vasari, V, 27, 50, 51, 55; VI, 61.
is Varchi, XII, ii, pp. 531-533.
20 It is worthy of remark that the ' by Andrea, now in Dresden,
' '
' Sacrifice of Isaac
was ordered by Delia Palla for the King of France, but that this panel, which dates from
1528-1530, never came into the possession of Francis I. It was sold to Filippo Strozzi and
was later in the collection of the Marchese del Vasto. In 1529, therefore, Delia Palla had
in all probability ceased to act as agent of the French King. He died, as is well known,
in the fortress of Pisa where he was imprisoned after the siege. The Marchese del Vasto
mentioned is the Alfonso Davolo for whom Pontormo painted his "Noli me tangere. " He
had a house in the island of Ischia to which he took the pictures that he had acquired in
Florence. Cf. Vasari, V, 51.
2i Uffizi 6723. Cf. Dessins, p. 257.
22 Vasari, VI, 275.
23 No. 83.
56
HIS LIFE AND WORK
attribute to him the whole work. The "Portrait of a Youth,"
now in Bergamo (fig. 116), the firm but dry "Portrait of a
Man," in the Uffizi Gallery (fig. 118), the gracious "Portrait
of a Youth," at Lucca (fig. 115), as well as two birth-plates,
one in the Uffizi (fig. 114) and the other in the Palazzo Davan-
zati, date from these years. Many
drawings also testify to his
unceasing curiosity during this epoch and leave a record of
strange excursions into a dim marginal world beyond which
draughtsmanship can hardly penetrate. Of these, one of
ghastly force and incisive promptitude of vision (fig. 117),
another of precise and fastidious dexterity of touch (fig. 120),
and still another (fig. 121) haunted by some wistful uncanni-
ness— unfaltering jotting of a surprised and cringing half-
human, half-spectral thing that was probably drawn a few
years later — will serve us as illuminating examples.
From1520 to 1530 Pontormo's inspiration was varied and
his activity great. In spite of adverse criticism of the Certosa
frescoes, his position in the artistic world had become steadily
more important. In 1525 his name was inscribed in the book
24
of the Company of San Luca on June 5, 1526, he was enrolled
;
1534, No. 11, Qre. Sto. Gni. Chiave, p. 448 left. See Appendix II, Doc. 21. Cf. Vasari,
VI, 279.
57
CHAPTER VII
58
HIS LIFE AND WORK
fact that Bronzino was not in Florence to help him. 4 The real
causes unquestionably lay deeper. Jacopo had struggled, with
an open mind, through a maze of complex tradition, he had
tried many canons, and with each he had endeavoured, some-
times as at Poggio with wonderful insight, to illustrate the
fundamental laws of decoration. He had seen that to be
beautifully effective a wall-painting should contain no element
that makes a special appeal of its own that it should be neither
;
59
PONTORMO
his contemporaries imitated superficially, he now strove to
comprehend profoundly. And to do so he put his past again
behind him and with a fresh eye faced the problem. Knowing
his keen intellectual sincerity, we will not be surprised to find
him, now and then, in his next phase, more Michelangelesque
5
than even Michelangelo himself.
What arrested Pontormo's natural development, as painter
and draughtsman, was not his apparently great susceptibility
to influence of every kind, but personal contact with Michel-
6
angelo while the latter was at work in Florence. That contact
and the overwhelming wave of Michelangelo's popularity turned
Jacopo's receptive curiosity and interest in other craftsmen's
ideas — interest and curiosity that he inherited from Florentine
tradition — into downright captivation. We may believe that
he now sought and became his friend,
the great master's society
so that to the influence of Michelangelo's art was added the
7
magnetism of a presence to which Jacopo's sensitive nature
instantly responded. From 1530 on, for more than ten years,
we watch him stagger under an ever increasing burden the —
obsession of Michelangelo 's types and poses.
8
The San Lorenzo tombs and the Cavalieri drawings 9 played
a great part in his temporary undoing. The former he must
have seen only too frequently, both before they were finished,
and after they had been placed in the chapel; the latter he
constantly studied, and they were too magnificently rich in
ideas not to enthrall him.
sVasari, VI, 278.
«Ibid., 277; VII, 273.
Tit
-was on April 11, 1531, that the Archbishop of Capua first asked Michelangelo
to designa "Noli me tangere" for Alfonso Davolo, but it was not until October of the
same year that it was agreed that Pontormo should paint the picture from Michelangelo 's
cartoon. Cf. Frey, Bichtungen, 327, 509; Brief e, 309; Thode, Michelangelo, I, 411; III,
554. Figiovanni 's letter to Michelangelo from the days immediately following October 27,
1531 (Frey, Bichtungen, 509, Eeg. 28) seems to indicate that it was actually in Michel-
angelo's house that Pontormo put into oils the former's cartoon. In a letter to Febo (di
Poggio?) of December, 1534, Michelangelo states that he intended to leave Florence the
next day never to return.
« 1526-1534.
o
1532-1534. Vasari, VII, 271 f. Cf. a letter of Cavalieri 's, dated January
1, 1533,
to Michelangelo thanking him for the drawing of the "Tityrus," and
another, dated
September 5, 1533, thanking him for the ' Phaethon.
'
'
60
HIS LIFE AND WORK
At derived from the Medici tombs
all events, little figures
are sketched, with increasing frequency, on the sheets belonging
to these years. He even seems to have reconsidered such early
10
studies for Dead Christs as Uffizi 6687 and 6690, drawing
below each, in minute black chalk, more twisted, muscular
versions of the same pose, which have for parent the "Night"
or the "Day," and that are comments upon the work of his
youth, made by a man dazed by a greater vision. In the same
spirit he tried, over and over again, to solve the secret of
Michelangelo's magic, drawing shape after shape reminiscent
of that master's inventions.
Several designs (fig. 121 and 122), mannered but delightful,
survive from this period of renewed research. One of these
(Uffizi 6748) " is a drawing for "The Three Graces," in which
the pose of the left-hand figure has in it something suggestive
still of the woman to the left of the Carmignano "Visitation."
in casa di Lodovico Capponi, e un Ercole che fa scoppiare Anteo; in un altro una Venere
e Adone ed in una carta, una storia d ignudi che giocano al calcio.
'
; '
i3 The project was abandoned after the death of Clement VII, on September 25,
61
PONTORMO
fresco seem trivial and aimless. It belongs, one might almost
say, to a different world, for by the time it was designed
Pontormo had already read himself deep into the meaning
of Michelangelo's art. He understood not only Michelangelo's
conception of pose and structure but his theory of spacing and
14
movement as well. Some of the drawings (Uffizi 6616, 6738)
for single figures of this composition, are still, in spite of their
mannerism, of considerable vitality.
62
HIS LIFE AND WORK
But, even if we did not have Vasari's testimony, no one
could have the slightest doubt that Jacopo was deeply impressed
by Michelangelo's cartoons. After he had undertaken the
"Venus," he brooded over the conception of that picture,
rehandling the motive twice in little sketches (Uffizi 444, 446),
which are Michelangelesque in arrangement only; once with
magnificent great freedom (Uffizi 6534) beyond even his
master's power at that moment; and once again later (fig. 133;
20
Uffizi 6586), with tight distortion and strange exaggeration,
in what is probably a study for one of the allegorical figures
for the Medicean villa at Castello.
The composition of the "Venus and Cupid" 21 is well known
(fig. 123). During the sixteenth and seventeenth centuries this
22
picture enjoyed a great reputation. It was copied many
23
times, and we still have several ancient adaptations, by various
24
hands. In the opinion of many critics, including Berenson,
the original is now where it
in the Uffizi, was found in 1850 in
25
the Guardaroba and rescued from a long neglect. The panel
has undergone an elaborate restoration and the position in
which it now hangs makes impossible a critical study of the
original touch. Such examination, however, as I have been
able to give it has by no means convinced me that we are not
in the presence of a genuine work of Jacopo 's. The feet are
those we find in the drawing, Uffizi 6586 (fig. 133), and the ear
and the contour of the legs are characteristic, but the hand has
been horribly repainted, as also has the drapery. We need
not be surprised that in the colour little remains that is
suggestive of Pontormo, for Michelangelo was, in all likelihood,
responsible not only for the cartoon but for the original colour-
scheme as well.
One can easily determine the date of the "Venus."
20 For a discussion of these drawings, see my Dessins.
21 Vasari, VI, 277. Thode, Michelangelo, III, 487.
22 Vasari, VI, 277 f. Varchi, Due Lezzioni, p. 104. Borghini, p. 395.
23 For a list of these copies, see the Catalogue Eaisonne, under Florence, Uffizi.
2* Florentine Painters, p. 175.
25 See Milanesi's note, Vasari, VT, 291-295, also the Catalogue Eaisonne, loc. cit.
63
PONTORMO
26
Vasari's narrative is quite exact at this point " Allora (after :
64
HIS LIFE AND WORK
He describes the portrait, states that the Duke, dressed in
mourning, was seen full face seated at a table, and adds that
the panel was painted in the Pazzi palace "nel tempo che morse
la buona memoria di Papa Clemente," that it was given to him
by the Duke in reward for his faithful service, and that, after
Alessandro 's death, it had been presented by him to Taddea
Malespina, one of the Duke's mistresses. 37 Our identification
of this portrait rests, then, on the solidest foundation. There
was no one but Clement, his father, for whom Alessandro would
have put on mourning during the early years of the thirties.
The Pope died, September 25, 1534, and the portrait must
accordingly date from the end of 1534 or the beginning of 1535.
The fact that its date can be determined with such comparative
accuracy helps us to define also, to a certain degree, the date
of other portraits that must have been painted during the ten
years immediately following the siege. These will be discussed,
in some detail, in the chapter devoted entirely to Pontormo's
work in portraiture.
After the ''Venus" and the ''Portrait of Alessandro" were
finished, the Duke commissioned Pontormo to paint two
"loggie" in the Medicean villa at Careggi, with the help of
38
assistants, and with the utmost dispatch. Vasari writes that
the decoration consisted of six allegorical figures Fortune, —
Justice, Victory, Peace, Fame, and Love
39
which, in one of —
the "loggie," occupied the lower part of the vaulting. Jacopo
designed them all, but the execution of the first five was
Bronzino's, and only the last was painted by Pontormo. In
the hollow of the vaulting, there were flying "putti" designed
VI (1909), No. 1, and Gualandi, Eaccolta di lettere, III, 62-70, where the number of the
original document is given as: Archivio mediceo: Carteggio Universale, Filza 237, c. 187.
See Appendix II, Doc. 22.
37 For further details contained in this letter, see Catalogue Raisonne, under
Philadelphia, Johnson Collection.
38 VI, 280.
39 The subjects were characteristic of the time. Annibal Caro, secretary of Cardinal
Alessandro Farnese, selected similar subjects — Religion, Virtue, Fame, Charity, Peace,
Abundance, and Justice —
for the frescoes executed in the Villa Caprarola, on the flanks
of Monte Cimino, by Taddeo and Federigo Zuccaro and their assistants between 1534 and
1546. Both these and Pontormo's decorations were far-off reflections of the "Arts and
Virtues '
of the Middle Ages. The Zuccaro frescoes still survive.
'
65
PONTORMO
by our master and coloured by Bronzino. The grotesques and
40
the ornamental part of the work were confided to Jacone,
Pierfrancesco di Jacopo and others.
41
When Vasari wrote,
these paintings were already ruined.
No document for the date of this undertaking survives.
Vasari implies that it was begun soon after the portrait of the
Duke was finished, and he explicitly states that the " loggia"
42
itself was finished on December 13, 1536. Taking into account
the unusual speed with which the work was done, we may
conjecture that it was begun sometime between the summer
of 1535 and the spring of 1536. Alessandro was assassinated
on January 6, 1537 (New Style), and the second "loggia" was
never decorated.
Of the preparatory work only one sheet is known to me —
43
Uffizi 458, on which there are three studies of "putti" flying
upward with birds in their hands, the identification of which
with Careggi is made possible by Vasari 's accurate description
of the figures of the vaulting. The cartouche on the same sheet
represents Pontormo's first idea for the general arrangement
of these figures. They are all of great charm and drawn with
joyous promptitude.
After the battle of Montemurlo (August 2, 1537) had ended
the last flutter of resistance to Medicean domination, 44 Cosimo
was in a position to proceed with the embellishment of his
45
villas. Tribolo's plan for the garden and fountain of Castello 46
is well known, and the commission given to Pontormo for the
47 Ibid., 282.
p.
66
HIS LIFE AND WORK
Jacopo seems to have gone to Castello in the spring of 1538.
He designed all the ornaments first and had them executed by
48
Bronzino and the journeymen who had worked at Careggi.
Then he shut himself up in the "loggia" with the intention of
painting, entirely with his own hands, the figures of the
decoration. Since he had just had at Careggi his first real
experience with assistants, his desire to work out, in solitude
and without help of any kind, the decorations at Castello
throws a significant sidelight on his innate dislike of collabo-
ration. He received from Cosimo a stipend of eight "scudi" a
49
month, and he kept the "loggia" closed with a hoarding for
five years until weary with waiting, Maria Salviati, the mother
50
of Cosimo, ordered the scaffolding thrown down. Jacopo
obtained a brief delay, and then, amid universal expectation,
the work was uncovered. It was not a success. The critics
51
found in the figures a lack of proportion and "certi stravol-
gimenti ed attitudini molto strane." By way of excuse, accord-
ing to Vasari, Pontormo merely said that he had never had his
heart in the work because the place was exposed to the fury of
marauding soldiers. Like the "loggia" of Careggi, the decora-
52
tion was painted in oil upon dry plaster, and in ten years' time
it was a mere ruin of which no trace remains today.
53 Ibid., p. 283.
67
PONTORMO
that Uffizi 6584 (fig. 132), a great woman in a pose clearly
derived from the San Lorenzo tombs, gives us, in all likelihood,
a hint of the pose of one of the principal figures. have, in We
Uffizi 6630, almost certainly a design, in itself extremely
interesting, for the "Mars Hermaphrodite." Uffizi 6510 is, it
would seem, a first thought for the "Saturn," while another
design (fig. 133; Uffizi 6586), which is closely related to the
"Venus" painted for Bettini and to which we have already
referred, is perhaps a finished study for the "Astrology" or
the "Geometry." The technique of this drawing manifestly
indicates that it dates from these years, and in it the type of
figure that Michelangelo had evolved huge thighs and abdo- —
men, small head, breasts and arms is rendered with exag- —
geration and distortion. All these drawings are painfully
laboured and over-modelled.
Toward the end of the thirties we must also place, on
55
Vasari's evidence, a portrait of Maria Salviati, lost or as yet
unidentified, and a lost portrait of the young Cosimo for which,
on the other hand, we have a drawing (Uffizi 6528 verso) and
56
a first sketch in oils.
Two details of Pontormo's private life during this decade
are now known. With the hundred scudi that he received for '
'
'
'
ss VI, 282.
56 Article by Carlo Gamba, Bivista a" arte, 1910, pp. 125-127.
57 Vasari, VI, 279.
ss A. S. F., Catasto, Libro a Parte, No. 11, p. 448 left; Libro S. Gio. a Parte 1549,
No. 16, p. 349 left. See Appendix II, Doc. 23. Cf. Vasari, VI, 279.
so Benvenuto Cellini brought to Florence from France certain cartoons, drawings and
68
HIS LIFE AND WOEK
the Sixtine Chapel tempt one to think that Jacopo had visited
Rome before 1520. But deductions based upon drawings are,
in such a case, inconclusive. Jacopo
seen may have merely
in Florence various studies of Michelangelo's for the Sixtine
or fragments of his cartoons that had found their way into
Tuscany. We
have no hint of any other journey until long
60
afterwards, in 1539, in October of which year Milanesi
believes — correctly as it happens — that
Jacopo was in the
Eternal City. The evidence that Milanesi brings forward is,
nevertheless, completely unconvincing and rests entirely upon
61
a letter quoted by Visconti in the Giornale arcadico. This
letter was written by Annibal Caro to Monsignore Giovanni
Guidiccioni, and may be read in full in the collected edition
of Caro's letters, edited by Tomitano. There the name of the
artist mentioned is Paster mo. An earlier edition by Volpi gives
the same spelling. But in the fragment of the letter that
Visconti printed he arbitrarily changed Pastermo to Pontormo.
What Caro really wrote cannot be determined without refer-
ence to the manuscript of this letter, the whereabouts of which
is unknown to me. We have, however, definite and conclusive
proof that Jacopo did visit Rome between 1535 and 1543. In
the Louvre, among the authentic Pontormo drawings preserved
there, more than eighty-five are consecrated entirely to motives
of architecture and decoration. They are all in the same
technique —
pen and bistre —
and all of the same date. On
ten of these one finds notes in Pontormo 's own handwriting
which indicate that the detail in question was to be found in
one of the churches or among the antiquities of Rome or its
environs.
62
How long he stayed away from Florence we have
models by Michelangelo. They had been successively in the hands of Antonio Mini and
Giovan Francesco Eustici (Vasari, VI, 620), but in any case they would have reached
Florence too late to account for any influence of Michelangelo upon Pontormo before 1530.
so Vasari, VI, 274, note.
si LXXX, 93. For the text of this letter as well as for Visconti 's citation from it,
69
PONTORMO
no means of knowing, but this journey will naturally count for
much in explaining his use of Michelangelesque forms later on
in San Lorenzo.
63
Last in this period of Pontormo's work I place his cartoons
for certain tapestries that formed part of the first series of
"arazzi" executed by Flemish workmen of the weaving industry
that was inaugurated in Florence by Cosimo I. They portrayed
"The History of Joseph" and once adorned the Sala de'
Dugento, in the Palazzo Vecchio. To Pontormo Vasari assigns
two cartoons, the subjects of which were "The Lamentation
of Jacob" (Pianto di Jacob) and " Joseph and Potiphar's
Wife" (Fuga di Joseph; fig. 136). These, he says, pleased
neither Cosimo nor the Flemish workmen. To the latter they
seemed strange in composition and unsuitable as designs for
tapestries. The cartoons have perished but the tapestries still
exist in the Palazzo del Quirinale, in Rome, together with others
6*
woven, according to Vasari and the books of the Guardaroba,
from cartoons by Bronzino and Salviati, among them, a
"Benjamin at the Court of Pharaoh" (fig. 134). I am inclined
to believe, however, that the latter tapestry may well have been
none other than the "Coppa di Joseph" that is given to
Pontormo in the Inventory of July 15, 1549, while the "Cattura
di Benjamin," cited in the same document and ascribed to
Bronzino, would appear to have been in reality the "Cattura
di Simeone," correctly attributed to Bronzino in the complete
list of all the hangings drawn up in 1553. In any case, our
"Benjamin at the Court of Pharaoh" is identical, in size, shape,
and spirit, with the two "arazzi" for which Pontormo is known
to have furnished the designs and the structure and arrange-
ment of the figures are his. The composition too is informed
with qualities quite foreign to those that distinguish the
"Burying of the Bones of Jacob," for which it is certain that
Bronzino drew the cartoon. And I am the more inclined to
and 1545. Cervini was not created cardinal until shortly after the former date and after
the later date he was one of the presidents of the Council of Trent.
«3 Vasari, VI, 283.
e* Guardaroba, F. 15, pp. 91 v., 94 v. Cf. Dessins, pp. 172 f.
70
HIS LIFE AND WORK
attribute our " Benjamin" to Jacopo because we still have a
study (fig.135; Uffizi 6593), for the figure to the right and seen
from behind (reversed), which displays all the characteristics
of Pontormo's draughtsmanship about 1545. It is, of course,
not impossible that Jacopo merely gave certain ideas and
suggestions to Bronzino who had actually received the com-
mission for the cartoon. All three compositions are narrow
vertical panels. They resemble in shape the frescoes that
Pontormo executed later in the upper part of the choir of San
Lorenzo — notably the ''Sacrifice of Cain" and the "Four
Evangelists" — and between these and the frescoes of the
"loggia" at Castello they form, as it were, a link.
The first important reference to the weaving industry,
fostered by Cosimo I in Florence, is to be found in a letter of
his written, in September, 1545, to Don Francesco da Toledo
who was then residing in Brussels. 65 In the passage in question
the Grand Duke speaks of his determination to establish looms
in Tuscany in the hope that the Florentines and their neighbours
might be led to prefer Italian tapestries to those made in
Flanders, and we may conjecture from the form of this state-
ment that the enterprise had already passed the experimental
stage. Payments made to the Flemish weavers, Giovanni Rost
and Nicholas Karcher, that one finds recorded in the Libro
Creditor! e Debitori della Guardaroba (1544-1553) confirm
our surmise. Nevertheless, the exact date at which the
great set of hangings for the Sala de' Dugento was begun
cannot now be determined. A letter of the Maggiordomo to
Cristiano Pagni, in December, 1545, is, I think, the earliest
mention that we have of the project. 66 But the "arazzieri,"
Rost and Karcher, did not sign a contract to undertake the work
until October 26, 1546. Pontormo's "Fuga di Joseph" (fig. 136)
is spoken of as finished in the Inventory of August 3, 1549,
while still another document seems to imply that the three
tapestries we have been discussing had been delivered to the
Grand Duke before October 1, 1548. The first was woven by
65 Geisenheimer, Gli arazzi nella sala dei Dugento, Boll, d' arte, III (1909), 137-147.
66 Conti, Bicerche storiche, pp. 12, 48, 97, 99 f. Geisenheimer, loc. cit.
71
PONTORMO
Rost, the other two by Karcher. Pontormo must have worked
upon his cartoons sometime between 1545 and 1547.
67
These tapestries are interesting chiefly as a tentative
prelude to the designs for the San Lorenzo choir. They show
an evident fatigue, and the " Lamentation of Jacob" is little
more than a " rechauffe" of motives taken from the "Doni
Madonna" of Michelangelo, from Jacopo's own " Adoration
of the Magi" and from his "Pieta" of the Capponi Chapel.
The pose of one of the figures recalls the pose of Abel in the
drawing (Uffizi 6739) of the "Death of Abel" for San
Lorenzo —
a design that may well have been one of the first that
Pontormo made for the choir frescoes and, therefore, practi-
cally contemporaneous with the first cartoon for the tapestries.
In the "Benjamin at the Court of Pharaoh" the figure of
Joseph seems to be a rehandling of the Maximianus of Jacopo's
"Martyrdom of the Theban Legion," which was painted more
than fifteen years earlier.
Acurious glimpse of Jacopo's private life reaches us from
the end of the forties. On August 20, 1549, he became a
"commesso" of the Hospital of the Innocents. He paid to 68
72
CHAPTER VIII
1545-1557
74
HIS LIFE AND WORK
6 7 8
as Borghini, Moreni and Richa. Even today, in certain circles,
a judgment quite in the spirit of Vasari's would probably be
passed upon the frescoes, were they still in existence, but the
younger generation of modern painters, who have broken with
a paralysing conservatism, would unquestionably hail Pontormo
as one of their earliest and most gifted forerunners.
The present arrangement of the organ and of the archi-
tectural mouldings of the chapel differs somewhat from that of
the primitive plan. An exhaustive comparison of drawings that
survive with Vasari's and Bocchi's descriptions of the choir
leads me to believe that on entering it one saw: on the upper
left-hand side-wall, to the left, "The Creation of Adam,"
between the windows, "The Temptation," to the right, "The
Expulsion from Paradise"; on the upper end-wall, to the left,
"Moses Receiving the Law and the Sacrifice of Isaac," 9 in the
centre, "Christ in Glory as Judge," to the right, "The Four
Evangelists " on the upper right side-wall, beginning with the
;
space next to the end- wall, "The Tilling of the Soil," between
the windows, "The Sacrifice of Cain and the Death of Abel,"
in the last space to the right, "The Benediction of the Seed of
Noah and the Building of the Ark"; on the lower left wall,
"The Resurrection"; on the lower end-wall, on either side of
the window, "The Ascent into Heaven" and "The Descent of
the Damned"; on the lower right wall, "The Deluge."
The chief difficulty that we encounter with this arrange-
ment is that Vasari 10 speaks of two Creations of Adam and Eve,
one in the upper series of frescoes, one at the foot of "Christ
in Glory," of which it formed an integral part. The finished
drawing (fig. 138) for the "Christ in Glory" exists, and it is
evident that here Vasari's description is incorrect, for the lower
part of the composition is a "Creation of Eve." In all likeli-
o II Riposo, p. 396.
t Op. cit., p. 115.
s Op. cit., V, 28. Even the editors of the Milan edition of Vasari (XII, 59, note)
regret that Salviati was not given the commission, although they could never have seen
Pontormo 's frescoes, which were destroyed seventy years before their time.
» Bocchi especially praises these figures (Bellezze, ed. Cinelli, p. 515).
io VI, 285 f «
75
PONTORMO
hood, then, the first fresco on the upper side-walls dealt with
the Creation of Adam, not as Vasari says with that of Adam
and Eve. To place "The Creation of Eve" at the foot of
"Christ in Glory" seemed to Vasari and to most of Pontormo's
contemporaries, whose opinion Giorgio perpetuates, a gross
11
violation of orthodox doctrine.
12
The drawings for San Lorenzo are very numerous; we
have the finished study (fig. 138) for the "Christ in Glory," the
"Moses Receiving the Law" (fig. 139), the "Four Evangelists"
(fig. 140), the "Sacrifice of Cain and Death of Abel" (fig. 141
76
HIS LIFE AND WORK
because lie could no longer draw correctly. His serious and
searching nature was never more touchingly consecrated to the
problem before him than at San Lorenzo. He had, in all that
he did there, a definite purpose. That purpose was not unlike
the aim of certain painters of today. He perceived, dimly
perhaps, but still more clearly than any Italian of his time,
that in every work of art there is an element of decoration,
source of our pleasure, and an element of representation, source
of our sense of reality —
an emotional and a scientific side.
And he also perceived, I think, that the Florentine Renaissance
had been naturalistic, that its best ardour had been spent in
solving problems of representation —
anatomy, movement,
perspective, contour, light and shade —
in a word, in the
evocation through the figure arts of sensations allied to those
that are awakened by the visible world, and that by 1540 all
the discoveries of the school, from Masaccio to Michelangelo,
had been condensed into elaborate formulas.
Against this tendency he revolted. He tossed and twisted
the vast nudes that he had inherited from Michelangelo to fit
strange combinations of shape that haunted him. Emotional
design, that was his aim — arrangements of lines and masses
that stir our sensation ofform without the intervention of the
mind. Obviously, such compositions could give no pleasure to
a generation which had lost, and not yet re-acquired, the art of
looking at pictures for their own sake. On one sheet (fig. 146
14
Uffizi 6528) there is a swaying and falling rhythm of great
sea-waves, which the tremendous nudes of the sketch swing to
and obey. Surely no more fitting drawing for a "Deluge" was
ever made. In it, as in other drawings for San Lorenzo, we
divine a symbolism at once incomprehensible and attractive,
a fascination, a quality untranslatable into terms of intellectual
reflexion. This emotion sometimes permeates studies for
individual figures; it lives in the gesture of the nude that we
find on Uffizi 6679 (fig. 149).
In unskilful hands such a method would naturally be
dangerous. But, by his contact with Andrea and the early
i* Dessins, pp. 132 f.
77
PONTORMO
work of Michelangelo, Pontormo was more thoroughly versed
in the study of form for its own sake than any artist working
in Florence in 1550. He had therefore a right to his experiment,
and we cannot but admire his disregard of adverse criticism.
In these drawings there is no tawdry glitter, no laziness of the
mind; the emphasis of his research is merely carried from
the figure into the design.
Vasari and his friends, who had never sought vitality in
form, were of course the first to find Pontormo 's figures in
the choir of San Lorenzo incorrect. Jacopo sought a broad
decorative effect, and they, perversely enough, found only here
15
and there bits of torse rendered with great skill. They mis-
understood his intention because they had no conception of that
ceaseless renovation of ideals which is the well-spring of an
artist's life.
In no account-book of the Medici for this period (1548-
*
1556) is there any mention of payments made to Pontormo.
1
But the Medici owned the chapel, and Vasari 17 definitely states
that it was Cosimo who ordered the frescoes and paid for them.
Neither have I found any payment made to our painter by the
Canons of San Lorenzo, although the books of the Chapter are,
for these years, quite complete. In the Medicean Libro di
Salariati for 1556 there are, however, two entries of eleven
payments made to "Bastiano del gostra pittore con M° Jac°
dapontormo." On March 1, 1554, this Bastiano was given a
salary of two ducats a month, 18 and it is curious that we find
payments made to him and none made to Pontormo.
The baffling silence of the documents makes it impossible
to state when the decoration of the choir was undertaken.
19
Vasari says that Jacopo laboured on it eleven years, which
is Vasari, VI, 287.
i6 See Catalogue Kaisonne, under Lost Pictures, San Lorenzo. One finds in the books
of the Medici for these years numerous references to Cellini, Bronzino, Salviati, Bacchiacca
and the ' Arazzieri.
'
78
HIS LIFE AND WORK
would mean that he began the work in 1545. That is not incon-
ceivable, for it is evident from his diary that, between 1554 and
1556, he was ill much of the time, and we may surmise that for
some years his health had been failing. In those casual pages
he does not perhaps record all the days that he spent at San
Lorenzo, but even if we add several days in each month, to those
he specifically mentions, we discover that he can hardly have
worked there more than thirteen days out of every thirty. At
that rate eleven years would have been none too long for such
a task. Moreover, he seems to have laboured most of the time
in perfect solitude, and we know that on certain occasions he
even prepared the plaster with his own hands. At his death
parts of the great lower frescoes were still incomplete and in
the following year were finished by Bronzino. The choir was
20
not uncovered until July 23, 1558.
Pontormo died, according to Vasari, 21 of dropsy brought
on by overwork. He was buried on January 2, 1557 22 and, since
in Italy burial often takes place the day after death, it is
probable that his death occurred on the first. All the painters,
sculptors, and architects of Florence were present at his
funeral, and he was buried in the courtyard of the Servites
under his fresco of the Visitation. 23 This, however, was only
'
' '
'
20 Vasari, loc. cit. and VII, 602. Bronzino finished many nudes in the lower part of
the "Deluge," and in the Besurrection " a strip about a "braccio" wide for the entire
'
'
length of the fresco. Cf. Moreni, op. cit., II, 119; Borghini, op. cit., p. 396; Bicha, V, 29;
Bocehi, op. cit., p. 515 ff. See also for the lower part of the "Deluge," a drawing ascribed
to Bronzino, Louvre, No. 1026.
21 VI, 288.
22 A. S. F., Medici e Speziali, No. 251, Libro dei Morti (1544-1560), p. 92 r.; Libro
dei Morti (1506-1560), Serie della Grascia, p. 524 v. See Appendix II, Doc. 28 and 29.
23 Borghini, op. cit., p. 396. Vasari, VI, 288.
2* Vasari, VI, 656.
79
PONTORMO
SEMPER VELIM VITA MORTE. The young poet Cosimo
Gaci wrote for Jacopo the following epitaph
In mille f ronti, a cui die vita e moto
Lo mio nobil color, legger potrai,
Viator, chi son io qui troverai
:
25
Eotto il career terren di spirto voto.
80
HIS LIFE AND WORK
32
''Descent into Hell," now in the Uffizi. The woodcut that
appears in the second edition of Vasari is of less interest,
33
although it is evidently not apochryphal, and Baldinucci
states that Allori painted a portrait of Jacopo in the Montanti
Chapel of the Annunziata. Waetzoldt 34 believed the figure to
the extreme left in the Pitti "Adoration of the Magi" to be a
likeness of our painter when he was a young man, and others
have seen, in a Pontormo drawing 35 in the Uffizi, Jacopo 's own
features. Both conjectures are without foundation.
32 Ibid., VI, 289, note; VII, 599. The "Descent into Hell" was painted in 1552
for the Zanchini Chapel in Santa Croce; the portrait of Pontormo is mentioned by Vasari
(VII, 599). Jacopo 's is the face turned slightly to the right and seen just over the
Saviour's right shoulder, that is to say, immediately to the left of the figure of Christ.
33 Notizie, ed. 1812, IX, 521: "vedesi nella piu alta parte dell' Istoria della disputa,
presso al capitello della colonna, ehe fa fronte alia grossezza del muro, in persona d'un
vecehio Jacopo da Pontormo." At the Eeiset sale in 1870, a picture was sold which the
catalogue describes as a "Portrait of Carucci by Himself," and a portrait, said to be of
Pontormo by himself, was sent to the Eoyal Academy Loan Exhibition of 1877 by Lord
Methuen. I am unacquainted with both these pictures. The woodcut from Vasari 's second
edition of the "Lives" was
reprinted in the Milan edition of the same (1811, XII, 2),
and by Miintz in his "Renaissance" (III, 499). Cf. also Dezallier d 'Argenville, Vie des
plus fameux peintres (1762), I, and Vasari (1760), pi. 135, eng. The right-hand
49, eng.,
figure in the double portrait, Louvre, No. 1508,commonly known as Raphael et son maitre '
'
d'armes, " was believed in the seventeenth century to be a likeness of Pontormo. The
identification is without foundation. The canvas, once given to Raphael himself, is ascribed
to Giulio Romano by Berenson, to Sebastiano del Piombo by Waagen, to Polidoro da
Caravaggio by Cavalcaselle. Cf. Duranty, Gazette des beaux-arts, XV (1877), pp. 32, 34;
Rosenberg and Gronau, Eaffael, 4th ed., pp. 211, 252; Berenson, Central Italian Painters,
2d ed., p. 185; Crowe and Cavalcaselle, Eaffaello, ed. Le Monnier, III, 414 f. Passavant, ;
Eaphael d'Urbin, II, 355-357, note; 294. For the provenance of the picture, see Engerand,
Inventaire, Paris, 1899, pp. 20 ff.
81
CHAPTER IX
PORTRAITS
The various influences that reacted upon Pontormo's
personality and combined, at times strangely, with successive
phases of his creative instinct may also be traced in his por-
traits, for happily portraiture was with him, even in his youth,
a favorite medium of expression. By its limitations and its
82
HIS LIFE AND WORK
Louis XIV and now in the Louvre. 2
The drawing of the mouth,
the nose, and the chin, the facial oval, and the heavy colour,
obviously recall Andrea's "Portrait of Himself," which is now
3
in the Uffizi. But Pontormo's portrait is troubled and intro-
spective; from it a personality looks out at us mysteriously,
as from no portrait by Del Sarto. Although, like the " Portrait
of a Man" now in Bonn, which appears to have followed it at
4
seems to hold them tightly clasped before him for fear some
violent animation in them betray his stealthy calm. He lives
more vividly here than in any portrait painted during his
lifetime.
The treatment and of the spacing in these
of the features
last two portraits owes something to such works of Piero di
Cosimo as his "Portrait of a Warrior," of the National Gallery
or his "Francesco Giamberti," now in The Hague.
2 No. 1241.
3 No. 1176.
* Provinzial Museum, No. 214.
s No. 6.
« Now in the Uffizi.
83
PONTORMO
We have one other portrait that was painted before 1520 —
the " Unknown Boy" (fig.48) of Prince Trivulzio's collection.
There are two portrait-drawings of the same period, a
melancholy youth wrapped in a mantle (fig. 49; Uffizi 6682),
to which we have referred elsewhere, and a strong study of a
young artisan (fig. 38; Uffizi 452 F). The latter recalls the
"Portrait of a Youth," now in Lucca, but was not drawn for
it. To the years 1520-1525 no portrait can be assigned with
certainty. The black-chalk sketch of an old woman in a mantle
(Uffizi 6573) recalls the draped women of the frescoes at the
Certosa but, like Uffizi 451 F, it can hardly be earlier than 1525.
While Jacopo was painting the Capponi Chapel and the
works that immediately followed it (1525-1530), he executed
several portraits that survive, among them the flower-like
portrait-drawing of a young girl (fig. 101 Uffizi 449), 7 in which
;
the line has qualities that characterize the best studies for Santa
Felicita. One might assign to the same period a wistful drawing
of a young boy (fig. 102; Uffizi 6667 ), 8 which discloses a rare
understanding of child-life, but in which there is a certain
serene transliteration of fact that sometimes tempts me to place
it nearer to Poggio.
84
HIS LIFE AND WORK
though dry in colour, are both of a Holbeinesque purity of
drawing and of a fine severity. Like the exquisite Portrait of '
'
12
a Girl as Lucretia" (fig. 119), now in the Borghese, they date
from just before 1530. With them belongs the "Portrait of
13
a Man," in the Corsini at Rome, which has completely lost
by retouching its distinction and decision.
From the period of the siege and immediately thereafter,
we have: the portrait-drawing of a young soldier (fig. 120),
of rare economy of touch and of a clarity of interpretation
recalling Ingres (Uffizi 463F) an elaborate but tame three-
;
14
quarters portrait-drawing of an artisan (Uffizi 6698), which
inspired Bronzino's "Portrait of Bartolommeo Panciatichi";
the "Portrait of Alessandro," now in Philadelphia (1534-
15 16
1535) ;
the tense, clean-cut profile that is now called "The
Canon Castiglione" (fig. 125).
Between 1534 and 1540 I place a group of fair women,
panels that are among the highest achievements of the Floren-
tine School in portraiture. No other Tuscan attained such rare,
light harmony of tone, such graciously ample arrangement of
space, such dignity and simplicity and ease, together with such
subtlety, breadth, and wealth of suggestion of the sitter's social
sphere, her inheritance, and her intelligence. Most of all no
Florentine, except Leonardo, so drew up the yearning, unquiet
spirit to the eyes and made an unmistakable, but almost unseiz-
play about the mouth. These are
able, vibration of personality
women of proud family and of long lineage. Yet, in their
lovely but simple dresses, with their gold chains, their rings,
their embossed books, their little dogs, how human they seem
to us, how frank and secretly confiding! Here must be placed
such masterpieces as the "Portrait of a Young Woman"
(fig. 128), in the Dirksen Collection, in Berlin, the alert and
85
PONTORMO
"Portrait of a Lady with a Volume of Verse" (fig. 131), once
in the Yerkes Collection and erroneously ascribed to Bronzino.
To these years also belong the "Young Girl with a Carnation
Hung over Her Ear" of the Widener Collection, a portrait
that resembles those just mentioned but which from repainting
has become stiff and blank, as well as two fine portrait-drawings
18
the one (Uffizi 17769), aristocratic, though a trifle hard in its
19
refinement; the other (Uffizi 414), which was long ascribed to
Leonardo, big, broad, and full of good-humoured complacency.
These panels and drawings were closely followed by the
oval "Portrait of a Woman in Green" (fig. 129), in the Grand-
20
ducal Gallery of Oldenburg, skilfully arranged, magnificently
large, and of broad spiritual insight. Of the same date are the
21
dry but firm study, 6680 the badly proportioned
Uffizi ;
86
HIS LIFE AND WORK
intellectual clarity in which the best of Pontormo's art moves,
24
is the "Portrait of an Old Lady" (fig. 150), now in Vienna.
Here, as in the severely simple "Portrait of a Lady" (fig. 151),
in the Jacquemart-Andre Collection, Jacopo's study of his
sitter's personality is still indefatigable Pon-
and searching.
tormo could never have painted the "Mona Lisa." His
limitations and inequalities become only too obvious when his
achievement, even in portraiture, is compared with a work upon
which a mind as unparalleled in depth and scope as Leonardo's
has left a record of its own unique experience. He had neither
the supreme quality of accumulated vision necessary for such
an understanding, nor the unapproachable cunning of hand.
His was an intuitive intelligence, an instinctive penetration,
which, at its best, leaves upon the faces of his people an inde-
finable and appealing wistfulness that makes Bronzino's
portraits seem hollow and uncommunicative, Andrea's monoto-
nously literal, Ghirlandaio 's wooden, and even the greater
portraits of the Quattrocento lacking in all inner animation.
But quite apartfrom any limitations that one may feel in
Pontormo's portraits, when one compares them with the
greatest masterpieces, and quite apart too from any artistic
superiority that they may claim when one sets them beside the
works of his predecessors or contemporaries, they have, in the
history of this province of painting, an importance that has
been hitherto unrecognized. It cannot, however, be long before
it will be clear to all students of Florentine civilization that one
87
PONTORMO
our general tradition of form. It was Jacopo who first trans-
formed portraiture by seeing it in terms of Michelangelo's
heroic vision and it was Jacopo who, in recording the appear-
ance of his sitters, first sought to combine a massive imaginative
simplicity and dignity of presentation with an intangible
evocation of individual character.
painted in 1577, which was once in the collection of the Baron de Beurnonville (1881),
and later in that of la Baronne de H***, for a reproduction of which, see Catalogue de la
Collection de la feue Baronne de H***, Georges Petit, June, 1904, p. 28.
88
CHAPTER X
LAST YEARS: HIS LIFE FROM DAY TO DAY
Numerous passages 1
in Vasari's "Life of Pontormo" give
us an idea of his personal appreciation of Jacopo as an artist
and as a man. The clever Aretine, who was a favourite of
princes and by nature a courtier, was hardly the person to under-
stand Pontormo's shrinking and detached spirit. For all his
kindly sympathy, he could not but deplore Jacopo 's aloofness,
his indifference to the patronage of the great, his waywardness,
and his hesitations. It was a pity, he thought, to let slip heed-
2
lessly a chance to finish the Great Hall at Poggio. Vasari did
not understand Jacopo 's whole-hearted devotion to his art.
Even though he admits it was no lack of ability that made
Pontormo procrastinate, 3 and that once decided how a thing
should be done his manner of working showed no vacillation,
it is quite apparent Vasari did not realize that Jacopo never
89
PONTORMO
the time-resisting bronze or stone, is after all a quality that
even unquarried rocks have, while the eternity to which genius
attains resides in a profound creative impulse and in the
conquest of inert material. He keenlymere physical
felt the
difficulties of the practice of sculpture or painting, and from
this point of view, painting is for him the more marvellous art.
Does it not, with slighter means, attempt a larger task % With
mere colours and a flat surface, does the painter not realize,
by an artifice, nature, shadows, diversities
its colours, lights, —
air, cloud, landscape, houses, men, and animals everything—
various, harmonious, and graceful, in the multitudinous appear-
ances of things? This vying with nature Jacopo felt to be a
fine audacity. Still finer, the daring that, by arranging and
harmonizing images taken from nature, transfigures and makes
them more beautiful than nature is herself
The playful, philosophic aloofness of this letter manifested
itself in Jacopo 's daily life. He was an unworldly and solitary
spirit. Vasari hints that some of his contemporaries even
found him unsociable and mean. Certainly he cultivated no
luxuries of dress or food or change. His little house was
without extravagance or pretence, and it had, to use Vasari 's 5
expression, "cera di casamento da uomo fantastico e solitario."
Like Michelangelo and Leonardo, he never married. His
work he loved, not what it brought him. Poor as he was, he
sought no commissions from the rich. 6 And when he had work
to do, he closed his door even to his intimates. This we know
from his diary, for one day he writes: "Domenica fu pichiato
da Bronzino e poi il di da Daniello. Non so quello che si
volessino."
Vasari appreciated his rectitude of spirit and defends him
against the accusation that, in allowing the "Venus" to be sold
to Alessandro, he did not treat Bettini fairly. He protests
against gossip, once current in Florence, that Jacopo was vain
and proud because he had been chosen to paint the choir of
San Lorenzo. 7 Vasari knew that nothing was more foreign to
s VI, 279.
« Ibid.
7 Ibid., p. 285.
90
HIS LIFE AND WORK
the modest spirit of his friend than insolent words or a high-
handed manner.
We owe much of our knowledge of Pontormo's personality
to Vasari's kindly interest, but for a profounder insight into
8
his peculiar character we must turn to his diary (fig. 152).
Of this precious document we have only a fragment that begins
with the year 1554, when the entries are few, and continues at
irregular intervals to within a month and a half of his death.
Nothing could be more direct, more completely without
pose, than these pages, which sound as if in them he communed
with his own memory. They evoke an image of his life from
day to solitary day, with its labour, its illnesses, its isolation,
and its simple pleasures —
the humble life of an artist and a
workman, "costumato e virtuoso." Here is the naked psy-
chology of the man, parsimoniously traced, naive, concise, and
never distorted even by a desire to define his own states of mind.
As a record it is therefore of unique value. It has no literary
flavour and betrays no preoccupation except that of setting
down for himself, and for their own sake, his daily experiences.
Sometimes he merely names the days as they pass, days
perhaps when he pondered over the frescoes in San Lorenzo,
or mute pointless days of inertia and lassitude. Frequently
he mentions what he accomplished: "Today I worked on the
death's head with a beard"; or "Today I finished the arm of
the figure that stands like this." And in the margin he draws
a little sketch, the shorthand of the image in his mind. These
marginal sketches (fig. 152) correspond to drawings of his, now
in the Umzi (fig. 153), and we can state —
curious fact in the
life of a painter dead three hundred and fifty years that on —
8 See Appendix III. Cf. Colasanti, Bull. soc.
filol. rom., II, 35-59. Fabriczy, Das
Tagebuch Jacopos da Pontormo, Bepertorium, XXVI (1903), 95 f. Apropos of a letter
from Cosimo I to Bronzino (Pisa, February 11, 1565), in regard to the latter's frescoes
in San Lorenzo, of which only the "Martyrdom of San Lorenzo" was finished, Gaye
(III, 166-169) quotes a fragment of Pontormo's Diary from an incomplete sixteenth
century copy in the Biblioteca Nazionale, Florence (No. 621 [331-E, 5, 6, 32]). His
excerpt begins: "addi 11 di Marzo 1554," and ends: "Sabato quella testa della figura
che e sotto ch' sta cosi. " The original of the Diary is in the same library, Miscellanea
magliabecchiana, Catalogo VIII, 1490.
91
PONTORMO
such and such a day Pontormo frescoed a given figure on the
walls of San Lorenzo.
We see him going to work before dawn we see him apply-
;
ing with his own hands the plaster to the walls; we see him
struggling with the material difficulties of the work. Once he
writes when he comes home tired: "Tonight my back aches
from standing bent backwards all day long." Or again: "Today
I did again the head of the figure below the windows that —
was a piece of work to remember!" Sometimes he speaks of
drawings that he has made or colours that he has prepared.
And in reading get a strangely lucid image of how day
we
succeeded day and, bit by bit, the long solitary work went
forward.
He notes his troubles with his "fattore." Too ill to go out
himself, Jacopo sends him f or a " fiasco of wine. The wretched
'
'
man tells him that hereafter he can do his own errands And !
in mind all the time." Battista was his pupil Naldini, who
was a foundling of the Hospital of the Innocents and who was,
it would seem, adopted by Pontormo sometime late in the
forties. We watch the heartless boy tease the old man for two
long days, saying he will go away and never come back again.
Once Jacopo pathetically remarks: "Thursday, that was the
day when Battista locked himself in his room and refused to
eat." One evening (March, 1556) Bronzino asked his old
master to dinner and he refused to go. They quarrelled, and
that night Jacopo wrote bitter things in his diary, but after-
wards crossed them out.
He notices the changes of the weather days or — bright
bleak rainy days when he suffered from the cold. He speaks
of his dinners and suppers with Bronzino or Daniello. These
'
'
'
'
92
HIS LIFE AND WORK
days of recreation —
holidays when he went to walk with Piero
or Angelo or with all their little circle, at Monte Oliveto or
San Miniato or San Domenico. We learn of still rarer nights
at the tavern or the theatre. We hear of visits to the friars on
business, of the gift of game that he promised to his friends,
the "pane di ramerino" and the fifty figs that they gave him,
the wine that he bottled, the peaches he planted, the chair and
the coverlet he bought.
Frequently we read of his illnesses, particularly of one
long illness during which Bronzino took him in and nursed
him, and of the accident that befell him of being struck by a
cart. When ill he records naively all his symptoms his colds, —
his fevers, his indigestions and nauseas, his frequent fasts. He
sets down rules for right living, especially in the spring, and
promises himself not to overeat.
Most of all he notes what he eats, even the precise number
of ounces of bread, the exact number of figs. His food was of
a touching simplicity, and he prepared it himself. It was the
food of the Italian artisan: eggs, bread, cheese, wine, salad,
fruit, "pesce d' uovo," "pasta." Now and then, he has a little
mutton, once some that Battista buys for him and of which he
remarks, "one wouldn't have given it to the dogs." At long
intervals he speaks of rarer things, "ucellini" or "crespelli
mirabili," which he remembers with enjoyment. But generally
he was extraordinarily frugal and abstemious.
These pages are full of the flavour of solitude, simple
living, and arduous labour. To what went on around him
Jacopo pays little attention. Twice he mentions that the Duke
came to San Lorenzo, and that once the Duchess also came.
He speaks of the feast 9 of the Tregua, of the picture Bronzino
'
'
'
'
9 The famous truce between the Emperor and the King of France that was published
in Siena, March 26, 1556.
93
PONTORMO
Varchi, Ottaviano,
10
more rarely, Pucci and Strozzi.
and,
With them we see two women, Alessandra and Maria. Once
11
too he mentions dining alone with Borghini, the "priore
delTOspedale."
In so solitary a life, and lonely as
to a nature so intense
the training of pupils was impossible. What was best in
12
his,
his art was too personal to be easily imitated, too subtle and too
various to become a canon to young artists. On the other hand,
no artist, no matter how talented, could have formed a school
in Florence at a moment when all art had become Michel-
angelesque. As far as their influence on others went, Pon-
tormo's rare gifts were largely wasted. The decadence had
begun. It was almost in vain he gave to the world scores of
drawings, the best of which must finally rank with Michel-
angelo's and Leonardo's, a whole gallery of splendid portraits,
a perfect specimen of decoration at Poggio, a lyric altar-piece
at Santa Felicita. The decorative beauty that these last two
works contem-
reveal, their lightness, their freshness, left his
poraries only half convinced. Still less convinced were they
by the heroic and mysterious symbolism of the San Lorenzo
choir.
An artist of his genius could not, of course, even in the
later Renaissance, escape having imitators. To his early work
Rosso owed much in the " Marriage of St. Catherine," in San
Lorenzo (1523), the "Deposition," at Volterra (1521), the
"Doni Altar-piece" (1522), now in the Pitti, the "St. John,"
now at Dijon. Rosso 's draughtsmanship is merely a hard,
extravagant variant of our master's first manner. Andrea also,
to whom Pontormo's debt was great, shows here and there as
10 Not, of course, Ottaviano de' Medici, the patron of the arts to whom Vasari
frequently alludes and who died in 1546 and was buried in San Lorenzo.
11 Cf. Vasari, VI, 289.
12 Bocchi (op. cit., pp. 18 f.) says that Pontormo was excessively melancholy and
that in order to attain a greater realism for his "Deluge" in San Lorenzo he kept dead
bodies in troughs of water to make them swell, the stench of which troubled the whole
neighbourhood. The latter part of this story is a direct contradiction of Vasari 's state-
ment (VI, 289) that Jacopo was inordinately afraid of death and would not let anyone
mention it in his presence: "fu tanto pauroso della morte, che non voleva, non che altro,
udirne ragionare, e fuggiva l'avere a incontrare morti."
94
HIS LIFE AND WORK
in the "putti" of the two " Assumptions" in the Pitti, faint
traces of the counter-influence Granacci
of Jacopo's art.
liberally borrowed form and colour from our painter in such
pictures as his "Scenes from the Life of Joseph." Bacchiacca
pieced out his patchwork with many a shape of Jacopo's
invention, and Bugiardini had in mind a Pontormo drawing
(the meaning of which he was too dull to understand), when
he executed the "Young St. John," now in Bologna. Vasari
made drawings of the Certosa frescoes, consulted Jacopo 14
13
15
about his own "Portrait of Alessandro," and had our master
16
help him with the cartoons for the "Battle of Val di Chiana."
In his full-length portraits of Cosimo il Vecchio and Cosimo I,"
he imitated Pontormo so closely that they were long considered
to be the latter 's work. With lesser men, like Lappoli 18 and
19
Pichi, Jacopo's pupils for a time, we are hardly concerned.
They were crass imitators of whatever creative instinct they
came in contact with momentarily. Neither is it worth while
20
to study here Cristof ano dell Altissimo who belongs to a later
'
is Ibid., 5-16, 259. Milanesi mistakes Pichi for Giovanmaria Butteri (1550-1606)
who was a pupil of Bronzino (VI, 6, note). Cf. Baldinucci, X, 144.
20 Vasari says (VII, 608) that Cristofano was a pupil first of Pontormo and then
of Bronzino.
2i Catalogo delta pinacoteca comunale di Cittd di Castello, p. 7.
22 Vasari, VI, 6, 289; VII, 593 f. Bronzino was, according to Vasari (IV, 241),
originally a pupil of Kaffaellino del Garbo.
95
PONTORMO
he has been by far the more famous of the two, although he was
infinitely less gifted than his master. But, as court painter he
was much employed by the Medici, and numerous copies of his
portraits of Cosimo I, of Eleonora, and of their children,
produced in his "bottega," and as gifts scattered by the Grand
Duke and his descendants all over Europe, served to give
Jacopo's conscientious disciple a renown out of all proportion
to his merits. His reliable, pedestrian character made him a
favourite with Cosimo and his satellites who preferred to
capricious creativeness, work finished with diligence and dis-
patch. But every fine quality — dignity, repose, spaciousness,
impressiveness, and simplicity — that one finds in the best of
Bronzino's portraits is derived directly from his master's art.
In the "Portrait of Ugolino Martelli," and in the Panciatichi
portraits, our contention is made clear. These, by their elegance,
by their intense grasp of the sitter's psychology, by the charm
with which they are posed, by the modelling of the cheeks and
the eyes, and by the large- jointed bony character of the hands,
owe their inspiration to Pontormo's work in portraiture
between 1518 and 1534. A
glance at Pontormo's "Portrait
of a Lady with a Volume of Verse," once in the Yerkes
Collection, his "Alessandro," in Philadelphia, the "Portrait
of Youth," in Genoa," his drawing of an artisan in the Uffizi, 24
prove our point.
suffices to
After 1540 Bronzino got nothing new from Jacopo. He
merely hardened the formula that he had learned between 1530
and 1540 and chilled its colour. He lost, as he lost touch with
Pontormo's work, the insight into his sitter's character he
had once had. Even in his delightful portraits of the Medici
children, he had already substituted expression for interpre-
ts How closely Bronzino 's early work in portraiture resembled Pontormo 's is
strikingly exemplified by his portrait, said to represent the Duchess Anna Strozzi (wood,
.73x.57, with the inscription A|LWI above and to the right), which was once in the
Dollfus Collection (No. 46), and which was sold in 1912 to M. du Bonneval. A repro-
duction of this panel may be seen in the Catalogue des tableaux anciens; Collections de M.
Jean Dollfus, Paris, 1912, p. 58. The same intimate relation between master and pupil
may be observed in Bronzino 's * Portrait of a Young Woman, ' sold at the Ehrich Galleries,
'
'
96
HIS LIFE AND WORK
tation. These date from the end of the forties and the beginning
of the fifties. By 1555 he had arrived at the unresponsive
stiffness of "Eleonora and Her Son," now in the Uffizi. Out
of the great qualities once reflected upon him he had evolved
for himself a permanent manner.
Bronzino 's early religious pictures are rare. Like his early
portraits they owe all their interest to our master. His later
mythological and religious paintings are quite crassly and
confusedly Michelangelesque.
His drawings also are of an extreme rarity. In addition
to those pointed out by Berenson, I have identified two others,
25
one for the " Deluge," in the Chapel of Eleonora, in the Palazzo
26
Vecchio, the other for the Infant Jesus of the Pitti "Holy
Family." Both date from after 1550. They are dry, tame,
uncertain variants of drawings that Jacopo made between 1535
and 1545. 27 Even Vasari realized how poor a draughtsman
Bronzino was.
Quite other was Pontormo's influence upon his adopted
son, Battista Naldini. This brilliant young draughtsman
imitated chiefly, and with extraordinary ease and bravura, his
master's early manner, the manner which sketches for the
Visdomini altar-piece and for the Borgherini panels illustrate
most decisively. It is not surprising, then, that Pontormo's
28
early drawings have at times been confused with Naldini's,
29
or that, still more frequently, Naldini's have been catalogued
as Jacopo 's. Other sketches of Battista 's have, as Berenson
has observed, long passed as Andrea's, while some of his
red-chalk studies have borne even Michelangelo's name.
After 1557, when Pontormo was no longer alive to counsel
him, Naldini's draughtsmanship became hideously academic.
His paintings are painfully feeble, and in them only figures
25 Uffizi 6704. Cf. Dessins, pp. 248 f.
97
PONTORMO
borrowed here and there from Pontormo indicate attenuated
traces of our master's practice.
More than twenty-five years after his death, Pontormo 's
influence was also felt by Empoli. This facile workman made
various copies of Jacopo's pictures, notably of the Certosa
frescoes and of the " Supper at Emmaus." Still later, towards
the end of the century, Cigoli now and then imitated our painter,
and Andrea Boscoli 30 drew inspiration from his drawings for
31
many a sketch of his own.
30 Two drawings (Uffizi 457 and 464) by Boscoli have been falsely attributed to
he painted in 1583 in the chapel of the Villa Pazzi at Perugiano, near Montemurlo. Cf. a
cut in the Bassegna d' arte, XIV (1914), p. 254. Zacchia of Lucca (d. 1561), although
generally a late imitator of Era Bartolommeo, shows at times, as in his '
Portrait of a
'
Man, '
' in the Louvre, that he was not without knowledge of Pontormo 's work in portraiture.
98
PAINTINGSAND DRAWINGS BY
PONTORMO
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FIG. 138. STUDY FOR THE LOST CHRIST IX GLORY IX SAX LORENZO,
FLORENCE
UFFIZI 6609, FLORENCE
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FIG. STUDY FOR THE LOST MOSES RECEIV
139. FIG. 14U. STUDY FOR THE LOST FOUR EVAN-
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DFFIZI 6749. FLORENCE DFFIZI 6750, FLORENCE
PIG. 141. STUDY FOR THE LOST SACRIFICE OF CAIX AND DEATH
OF ABEL IX SAN LORENZO, FLORENCE
UFFIZI 6739, FLORENCE
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FIG. 144. STUDY FOR THE LOST DELUGE IX SAX LORENZO, FLORENCE
DFFIZ3 6753. FLORENCE
PIG. 145. STUDY FOR THE LOST DELUGE IX SAX LORENZO, FLORENCE
UFFIZ] 0752. FLORENCE
FIG. 146. STUDY FOR THE LOST DELUGE IN SAN LORENZO, FLORENCE
UFFIZI 652S. FLORENCE
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up in a black net with pearl ornaments. She wears a bottle-green dress cut
low with puffed sleeves and a muslin fichu. A
necklace of black stones and a
gold chain hang round her shoulders; over her left ear she has placed a
carnation in her lap sits a small greyish white terrier. The background is a
;
shallow niche, grey to the left and behind her left shoulder, and black over her
right shoulder and to the extreme right.
Oil on wood (heavily cradled). H. .56, w. 44.
101
PONTORMO
Reprod. Photo, for the collector catalogue cited below,
; pi. facing p. 172.
Bibl. Catalogue of Paintings Forming the Private Collection of
P. A. B. Widener, Ashbourne, Near Philadelphia, Paris Manzi, Joyant & Co.,
:
BERGAMO
Morelli Collection
Condition : excellent ; slightly retouched about the forehead and the hair.
Date 1528-1532.
:
102
AUTHENTIC PICTURES
BERLIN
Von Dirksen Collection
PORTRAIT OF A LADY
Three-quarter length. She is seated on a marble seat against a wall;
the torse and legs turned three-quarters left, the head three-quarters right;
the knees crossed. Her left elbow rests on a raised ledge, her left hand
touching the elaborately woven cord of her belt that lies across her lap; her
right hand rests upon her knees and holds a small book, the index finger
between the leaves. Her hair is parted in the middle and, brushed back
smoothly from the forehead, is wound around the back of the head in a thick
roll covered with a jewelled net ornamented with a small brooch at the centre.
In front of this net a chased gold fillet encircles the head. She wears a gown
cut square at the neck, with large puffed sleeves. These are of velvet from
elbow to wrist, close-fitting and trimmed with two bands of fur a little ruche
;
at the wrist. The bodice is trimmed with velvet bands. The neck and
shoulders are covered by a white chemisette with an embroidered collar tied
with a small black ribbon. Around her neck, a knotted chain from which
hangs a little cross. Around her waist, and falling across her lap, a girdle
with intricate knots and tassel. The book has ribbon clasps. On the lower
ledge of the bench to the right, a pair of gloves decorated with little bows.
The background, a shallow niche with a pilaster on either side.
Date 1534-1545.
:
BOLDRONE
WAY-SIDE SHRINE
In the centre, raised above the other figures, the Christ crucified. His
hair is auburn, his loin-cloth, purple, the cross, bright yellow. To the right
of the cross stands St. John turned three-quarters left, his head nearly full
face, his right arm extended downward at his side, his left slightly raised;
weight on the right leg, the left leg bent. He wears a full purple mantle.
To his right, St. Augustine, torse full face, his head turned three-quarters
left; in his right hand, a red crosier; in his left, a red book. He wears a
voluminous light green vestment with purple tunic. To the left Mary stands,
103
PONTORMO
turned three-quarters right, her hands clasped. Her robe is light purple.
To her left, St. Julian, torse nearly full face, his head in profile looking up
at the Crucified. He holds in his right hand a great sword the point of which
rests on the ground. His hair is brown, his ample mantle, red with yellow
sleeves.
Fresco. The altar wall is 1.70 wide, the side-walls, which meet it at an
angle of about 30°, are 1.18 wide. The Christ, Mary and St. John occupy
the altar wall, the other two saints, a side-wall each.
Condition ruined in Milanesi 's time broken open and uncared for now
: ;
Drawing: possible sketch (reversed) for the Madonna, Uffizi 459 verso.
Documents We do not know who paid for this work. It is, of course,
:
not impossible that the neighbouring Benedictine nuns may have given Jacopo
the commission, but I have examined the following records of their monastery
(San Giovanni Evangelista di Boldrone) without finding any reference to
this fresco A. S. F., Convento 32, Giornale 2, 1513-1526 3, 1523-1554 4, 1535-
: ; ;
1542 Entrata e Uscita, 20, 1503-1513 21, 1526-1534 Debitori e Creditori, 47,
; ; ;
BONN
Provinzial Museum
University Collection
104
AUTHENTIC PICTUKES
Provenance unknown; bequeathed with the Solly Collec-
tion (1821) to the University; once exhibited in Berlin (No.
239) The colour should be compared with that of the Portrait
.
'
'
head gazes up his hands and feet are fixed in a pillory and a long spike is
;
driven through his body from the right side of the neck; spikes are also
driven under the nails of each hand. His loin-cloth is red. The standards
of the pillory are brown and are locked with hinges to the base. On the
crosspiece that holds his feet is inscribed S. QVINTINVS. The background
:
is a landscape of trees and hills. To the extreme right a tiny figure, in red
tights and red hat, climbs a hill. He holds a spear and points at the spectator.
To the left an old man, who leans upon a cross, walks away towards the right.
Oil on coarse canvas. H. 1.63, w. 1.03.
105
PONTORMO
when the Osservanza was suppressed in 1880-1882, it was
transported to the Municipio.
Condition: stretched somewhat out of shape; torn across the top and
sewn together; badly cracked under the saint's arm; the surface chipped off
here and there.
Date: about 1526.
Drawing: for the head of the saint, a pen and bistre sketch of great
promptitude of hand, Uffizi 6647 verso (fig. 91; photo. Houghton), which
Berenson thinks was drawn for the Madonna of the "Deposition" at Santa
Felicita.
Documents: The earliest books of the convent, still preserved, date
from 1797.
Reprod. Fig. 90 (detail) ;
photo. F. M. C.
Bibl. Vasari, VI, 259 B. F. D., II, 148
; ; B. F. P. R., p. 174 ; Dessins,
p. 203 ; On Certain Drawings, p. 13.
CARMIGNANO
Parish Church
VISITATION
On the right: Elizabeth, profile to left, in light green dress, orange
mantle verging on pink in the shadow, head-dress cream-colour with green
lights. Next to Elizabeth and to the left: the head of a woman seen facing;
drapery, olive-green. Facing Elizabeth, and profile to right: the Virgin;
reddish hair, mantle blue-green, head-dress and sleeve light pink passing over
into purple. Behind the Virgin and to the left: a woman facing; light red
hair, pinkish purple mantle, dark green scarf on head and right shoulder,
sleeve a lighter green. Background: a street with palaces; on the right,
slate-colour below, pinkish grey above. On the left palaces of purplish grey,
:
106
AUTHENTIC PICTURES
whose head we see between the Virgin and St. Elizabeth recalls
Pontormo's "Portrait of an Old Lady," now in Vienna (No.
48) —
a portrait which is however later than the present panel.
Condition excellent :
;
practically untouched, although slightly dimmed
with altar-smoke.
Date : 1528-1530.
Drawing: finished study for the whole composition, Uffizi 461 (fig. 112;
photo. Philpots 1391; Alinari 687; F. M. C. fig., article cited below, p. 15).
;
Reprod. Fig. Ill; photo. Eeali; fig., article cited below; fig., Gold-
schmidt, op. cit.
CERTOSA
San Lorenzo al Monte
THE AGONY IN THE GARDEN
Onthe left Christ kneels, seen from behind, dressed in a reddish purple
mantle. To the left and right of him, St. James and St. John; in the fore-
ground, St. Peter. Peter wears a pale blue shirt, John, a yellowish green
shirt and wine-coloured mantle, James, a yellow shirt and Venetian red
mantle. To the right, a group of soldiers led by Judas who has red hair and
wears a Venetian red mantle. The crowd, which is made up of white, red,
and purple helmets and caps, is brought out by touches of the same purple
as Christ's robe. The background is a pale yellow-green hilly country
crowned, on the left by a castle which is yellow catching the light, on the
right by towers, battlements, houses, and walls of a drab-grey colour.
Fresco. Arched, h. 3.00, w. 2.90.
107
PONTORMO
Condition: Even by
the beginning of the eighteenth century (Borghini,
ed. 1730, p. 394, n. 2) of Pontormo's work in the cloister of the Certosa
all
had already suffered much from the weather. The present composition is
now more deplorably ruined and repainted than any of the other frescoes.
The plaster has fallen in a number of places.
Date: 1522-1523.
Documents According to Giornale L. payments were made to Pontormo
:
by the monks of the Certosa on the following dates: February 28, 1524;
April 16, 1524; September 20, 1524; December 3, 1524; October 30, 1525;
June 4, 1525 August 12, 1525 November 15, 1526 January 4, 1526 April
; ; ; ;
15, 1526; July 3, 1526; November 14, 1526; December 5, 1527. These pay-
ments are noted in Debitori e Creditori and in Quaderno F. under other dates.
See Appendix II, Docs. 14, 15 and 16.
Reprod. Small copy (oil on canvas) by Empoli, Ufficio delle Belle Arti,
Florence photo. F. M. C.
;
Bibl. Vasari, VI, 266-269; VII, 594, 605; Moreni, Notizie Istoriche,
parte seconda, p. 153 Borghini, II Riposo, ed. 1730, p. 394
; Cruttwell,
;
Florentine Churches, p. 77 Dessins, pp. 20, 33, 35, 38, 50, 52, 69, 91, 96, 97,
;
105, 134, 135, 140, 145, 154, 165, 187, 192, 198, 201, 204, 207, 209, 210, 216,
223, 246, 247, 328, 333.
the chair. Behind him, his wife, almost facing, her head almost profile left,
her right hand raised, pointing to Christ; she wears a Veronese green dress,
a white head-dress and scarf over the shoulders. On her right and behind
Pilate, the head and shoulders of a man dressed in a red jacket and violet
cap. On her left stands a man also pointing to Christ; he is dressed in a
purple mantle with lighter purple collar and linings, red sleeves and red
cap. Behind Christ on the right, a man facing, his right arm stretched out
towards Pilate he wears a Veronese green cloak, yellow vest and hat. Farther
;
to the right, two soldiers in white armour with golden weapons. Behind these,
two men, one to the left wears a pale violet hat, reddish purple cloak and
sleeve with yellow undersleeve, one to the right a red mantle, purple vest
and light violet turban. At the feet of the latter, at the extreme right, a
soldier crouching with a shield. In the foreground, seen from behind and
to the waist, two soldiers in white armour, carrying halberds. The back-
ground is a stone staircase ending in a balustrade there are parapets on
;
either side of pale yellowish green. At the top of the stairs a man descends
bearing a golden ewer and basin; he is dressed in a yellow jerkin, violet
breeches, Veronese green cap and white scarf. Behind the balustrade to the
right, a man and woman, the former dressed in a reddish brown cloak and
blue-grey jacket, the latter in a green dress and white head-dress. The sky
is a grey-blue. All the flesh tones, a warm brown.
Fresco. Arched, h. 3.00, w. 2.90.
108
AUTHENTIC PICTURES
At the extreme left end (on entering) of the entrance wall.
This is the best preserved of the Passion frescoes and it is the
only one mentioned by Berenson. It was, according to Vasari,
the second that Pontormo painted in the cloister. In the cup-
bearer Vasari saw something of Jacopo's old manner. We
might notice that the soldiers at the extreme left are very like
the "St. Quentin" of Borgo San Sepolcro. The following
figures are derived from Diirer the soldiers in the foreground,
:
from "Die Badstube" (c. 1496) Pilate, from the King in "Die
;
lining and a Veronese green cap turned out with violet. To his left and
bending forward, a soldier in Veronese green hose slashed with blue-white,
a yellow jerkin shot with red, puffed sleeves slashed from the elbows down,
yellow over white. Behind the last named figure, a man, with golden hair
tied with a white band, dressed in a bright red tunic with a violet girdle.
Behind the latter, a youth leaning forward, staff in hand his hair is golden,
;
his cap Veronese green, his jerkin purplish red. Behind the group just
described, the two thieves nude and seen from behind. In front of them, a man
on horseback, his horse light bay, his mantle Veronese green, his cap red and
green, his saddle red. On his right, a man on a white horse who turns towards
the spectator; he wears a violet tunic, light red sleeves and saddle, wine-
coloured mantle, green turban. Behind him to the right, half hidden by a
green mound, a group of women: the Madonna dressed in pale purple with
a white head-dress; to her right, a woman with hand raised to her face who
is blond and wears a green bodice and red skirt; to the left of the Virgin,
a woman weeping, her head bent on her arms she is dressed in a red mantle
;
109
PONTORMO
with red sleeves; behind the other women's heads in white head-
latter,
dresses. Behind and man who leads Christ, a boy in
to the right of the
white with flying yellow hair, bearing a ladder. Next to him towards the
foreground, a man with a staff in his right hand, his left hand on an arm of
the cross; he wears a purple tunic, white shirt-sleeves rolled back, white
cap his staff and the cross are reddish yellow. Farther to the right, a
;
figure wearing a yellow hat, purple shirt and red hose. On his right, a man
in white who carries one of the thieves' crosses. Still farther to the right,
an old man on a white horse riding towards the spectator; he wears a red
mantle turned out with yellow, purple shirt, red hat with yellow ornament;
the horse's harness is red. To the left of the horse's head one sees a blond
head. To the right, another man who bears a cross, dressed in a tunic with
green sleeves lined with white. Below these last named figures, a man nude
to the waist who leans forward to raise the end of Christ's cross; he wears
Veronese green hose with ribbons and a wine-coloured drapery lined with
yellow-red. To the right of the latter, a blond head with green head-dress.
In the extreme right corner, a kneeling figure with golden hair, yellow and
brick-coloured shot dress, pale blue sleeve and cuff and green lower sleeve.
Fresco. Arched, h. 3.00, w. 2.90.
ladder on his head and the figure that strikes Christ, from "Die
Kreuztragung" (1509) the women on the hill, from "Die
;
Drawings: possible sketch for the man carrying the end of the cross,
Uffizi 6529 possible sketch for the head of the same, Uffizi 6578 sketch for
;
;
the same figure from the knees up, Uffizi 6643 verso (photo. F. M. C.) possible
;
110
AUTHENTIC PICTURES
PIETA
In the centre, extended from right to left, the Christ; his hair is red;
across his lap, a white cloth; under him, a pale purple drapery laid over
a green stuff. In the foreground, extreme right, a woman seated; she wears
a dark purplish robe, green head-dress and holds a white handkerchief in her
right hand. In the foreground, extreme left, Magdalen kneels dressed in a
red robe shot with yellow, a green head-dress shot with pink, and green
sleeves shot with yellow. Behind the Christ, the Virgin in pale purple dra-
peries and white head-dress. Above the Magdalen, Joseph of Arimathea, seated
profile right, dressed in a purplish red vest, grey sleeves and purplish yellow
hat around which is wound a green scarf; in his hands, a white cloth. To
the right of the latter figure, a man stooping over a cylindrical box he wears
;
a yellow robe with red sleeves; the box is purplish white with red ribbons.
Next to the latter a woman, her right hand raised to her face; her mantle
is purple dark at the edges and her head-dress white. Next to her, and to
the right of a ladder, the head of a woman draped in white. Next to the
latter, and to the right of the Virgin, a woman standing; she wears a white
tunic and a red mantle which is drawn over her head. Directly below the
latter, a seated woman in a green robe and purplish white head-dress. Next
to her, a man stooping to support the Christ he wears a green coat, purple
;
hose and yellow cap. In the background, yellow uprights of crosses and
ladders and light green trees to the left, a low hill. The sky is a pale green,
;
Drawings: first thought for the woman above and to the left of the
Madonna, Corsini 124242 (photo. F. M. C.) first thoughts for the Christ,
;
Uffizi 6614 verso (photo. F. M. C.) and 6702 verso (photo. F. M. C.) sketch ;
for the woman seated to the right, Uffizi 6702 verso possible first ideas for
;
the drapery of the women's heads may be seen on Uffizi 6558 (photo. F. M. C.)
Documents: see above.
Reprod. Small copy by Empoli (oil on canvas), Ufficio delle Belle Arti,
Florence; photo. F. M. C.
Bibl. See above.
yellow chin-stay; his right hand rests on the red hilt of a sword which lies
across his knees and has a golden pommel; beside him to the left, a silver
helmet with purple strap. In the background, pikes and halberds seen against
purple turning to silver towards the centre.
Fresco. Arched, h. 2.32, w. 2.90.
112
AUTHENTIC PICTURES
colouring —
venne capriccio a Jacopo
'
' di mutar colorito . . .
'
(VI, 268). The general tone was, it would seem, lighter than
in the other frescoes. The composition is derived from Diirer's
woodcut of the same subject; the soldier to the extreme left,
from "Die Auferstehung" (1509-1511) the figure of the ;
(photo. F. M. C).
Documents see above. :
Reprod. Fig. 81 ;
photo. F. M. C.
Bibl. See above.
113
PONTORMO
in fresco on the right side of the altar of San Benedetto, both
of which have since disappeared. Besides these he painted for
the Certosini the "Supper at Emmaus," now in the Academy
in Florence.
FLORENCE
Academy
190. SUPPER AT EMMAUS
In the centre, Christ, full face, seated at table, in his left hand a loaf,
his right raised in benediction. He has light brown hair and wears a reddish
grey vest and a dark blue mantle. To the right, a monk standing dressed in
a grey-toned purple habit. In the foreground right, a man seated profile
left, legs crossed, his left hand holding a drapery at his knee, his head seen
three-quarters from behind; he wears a yellowish red vest, grey hat, dark
olive-green mantle. In the foreground left, a man seated, turned to the
right and seen three-quarters from behind; he fills a glass from a pitcher
and wears a grey tunic and a red drapery shot with yellow about the hips.
Above the latter and to the left, a monk standing turned three-quarters right,
his hands raised to the level of his breast; he wears a grey habit. In the
background to the right, a monk dressed in grey stands facing. Over his
shoulder one sees the head of another figure turned three-quarters left. The
background is dark grey; around the eye of the Trinity in the upper part
of the picture there is a yellowish light. The table is grey-white, the stools
brownish grey, the plate and pitcher silver-grey, the cat brown, the dog
light grey. On a "cartella, " in the lower right corner, is inscribed 1525.
Oil on canvas. H. 2.30, w. 1.73 (catalogue, h. 2.69, w. 1.78).
Drawings: possible thought for the figure to the left in the fore-
first
ground, Uffizi 6656 recto (photo. F. M. C.) finished study for the monk in
;
the background to the right, Uffizi 6656 verso (fig. 84; photo. F. M. C).
114
AUTHENTIC PICTURES
Document: payment for the colours and the frame, A. S. F., San
Lorenzo al Monte, Giornale L., p. 30 destra. See Appendix II, Doc. 15.
Reprod. Fig. 82; photo. Reali; small copy (oil on canvas), the back-
ground of which is the grey stone frame of a door, painted by Empoli at the
request of the monks of the Certosa, and now in the Ufficio delle Belle Arti,
in Florence.
Bibl. Vasari, VI, 270 Borghini, II Riposo, ed. 1730, p. 394 Pieraccini,
; ;
as Andrea).
Bibl. Guinness, Andrea del Sarto, London, 1899, p. 85; Schaeffer,
Andrea del Sarto; Lafenestre, Florence, p. 193 ; B. F. P. R., p. 174.
115
PONTORMO
SS. Annunziata
March, 1513 (Old Style); March, 1514; April, 1514; June, 1514. See
Appendix II, Doc. 12.
Reprod. Photo, of the fagade of the church, Alinari 2028.
Bibl. Vasari, VI, 247-249 Bocchi, ed. Cinelli, p. 416 Richa, VIII, 52
; ;
R. Borghini, II Riposo, ed. 1730, p. 392 Del Migliore, p. 269 Dessins, pp.
; ;
33, 34, 41, 47, 66, 90, 249 On Certain Drawings, pp. 5, 19.
;
116
AUTHENTIC PICTURES
MADONNA AND SAINTS
In the centre the Madonna stands almost facing, the head nearly profile
right, the weight on left foot, the right foot slightly raised; violet drapery
over her blond hair, brick-red mantle, light blue skirt. The female saint
(Agnes?), who kneels facing, in the foreground to the left, and who with her
left hand holds against her lap a white book on which her right hand rests,
wears a purple robe with green sleeves she gazes up. In the foreground right
;
a male saint (Zechariah) kneels profile left; he wears a purple robe shot with
yellow and a red skirt; his hands rest on the top of a tablet that stands on
the ground before him. To the extreme right stands St. Michael nearly
facing, his head profile left; in his right hand he holds a scales; his armour
is purple, his drapery brick-red, his wings brown. To the extreme left St.
Lucy stands profile right, her head three-quarters right she holds in her left
;
hand a palm and in her raised right hand a plate on which her eyes. The
steps are green, the background grey-green; above, draped curtains drawn
back.
Fresco. H. 1.85, w. 1.71.
Condition: ruined and badly restored; the left side and leg of St.
Michael, as well as the back of St. Lucy, are quite modern; the "intonaco"
had fallen.
Date 1513. :
Drawings: first sketch for the Madonna, Uffizi 6676 verso (fig. 4;
photo. F. M. C.) study for the Zechariah, Dresden, 200 (fig. 3; photo.
;
Hanstaengel).
Reprod. Fig. 2 ;
photo. F. M. C.
Bibl. Vasari, VI, 256; Richa, IV, 146; Borghini, II Riposo, ed. 1730,
p. 392 f Del Migliore, p. 155 Dessins, pp. 19, 34, 38, 51, 65, 84, 194, 226,
.
; ;
VISITATION
Composition of fifteen figures grouped on steps before a broad round
niche ornamented with pilasters. In the centre, the Virgin standing profile
right, orange head-dress, red robe, blue mantle. To her right and seen profile
117
PONTORMO
left, Elizabeth who bends the knee to her, white head-dress, light green robe,
orange mantle, lavender under-sleeve. In the background behind Elizabeth,
a man's figure (effaced), dark purple cap, red mantle. To his right, a
woman 's figure profile left still farther right in the background, a woman
;
three-quarters left, head three-quarters right, red vest, dark purple mantle.
In front of the latter figure and behind Elizabeth, St. Joseph kneeling, in
his left hand a staff, his right pointing to the Virgin, red sleeves and vest,
yellow mantle. To his right, a prophet standing with hand uplifted, green
head-dress and sleeve, red draperies. To the extreme right, Zechariah stand-
ing profile left, head nearly full face; his left hand holds a book against his
hip, blond hair, white tunic, light yellow draperies, green cover of book.
On the second step and to the right, nude "putto" seated, right arm at side,
left leg extended right, blond hair. On second step to the left, woman seated
profile right, head nearly full face, white head-dress, reddish tunic with
yellow sleeves, purple drapery. Behind her, a woman standing profile right
with a bundle on her head to which her left arm is raised, blond hair, brickish
red drapery, white sleeve, the bundle greenish blue and pink. To the right
of the latter, blond woman standing three-quarters right, lavender vest shot
with gold, red mantle. To her right and behind the Madonna, a woman
standing full face carrying on her right arm a baby, her head profile right,
light green dress with yellow sleeves the baby wears a violet loin-cloth both
; ;
are blond. To the extreme left, an old woman standing full face with a staff
in her right hand, light purple robe, white scarf. The steps are yellow, the
background grey. Above, on the cornice of the niche, the "Sacrifice of
Isaac"; Jacob, dark red mantle with yellow sleeves. On either side of the
latter scene are cherubs holding tablets on which are inscribed, left: NVM|
DEE EVM; right: NEC| VAN| IVK. On the upper edge of the tablets
|
are cassolettes. Between the capitals of the middle pilasters of the niche one
reads : ANVE OPTIME DEVS.
• •
118
AUTHENTIC PICTURES
accessory figures lack rhythmical coherence and the general
effect is somewhat lame. The colour-scheme, however, is charm-
ing, light, decorative, The " Assumption"
and harmonious.
in this cloister, which is erroneously ascribed to Pontormo by
Milanesi (V, 67) followed by Crowe and Cavalcaselle (ed.
Hutton, III, 495), is of course by Rosso (Vasari, Y, 157)
although the original commission for the work was given to
Andrea.
"intonaco" has fallen here and there and some of the heads are almost
obliterated; the upper part of the fresco has suffered from humidity.
Date December, 1514-June, 1516.
:
Drawings sketch for the boy seated on the steps to right, Uffizi 6542
:
(fig. 7; photo. F. M. C.) study for the woman seated on the steps left, Uffizi
;
6603 (fig. 6; photo. Houghton) Gamba believes Louvre 461 (photo. Giraudon;
;
Braun, Louvre 117) to be a study for the Zechariah but the drawing has been
so completely rehandled that its authenticity is somewhat doubtful. Berenson
considers a sketch on Uffizi 6556 verso to be for the hand of the old woman
with a staff; I do not think that the identification is convincing. In my
Dessins suggested Uffizi 6565 as a first thought for the Zechariah. It now
I
seems to me
to be a sketch for one of the figures of the "Joseph Sold to
Potiphar, " in Panshanger. Cf. fig. 31.
Documents payments, December, 1514 April 24, 1515 May 28, 1515
: ; ;
March 4, 1516 May 13, 1516 May 17, 1516. See Appendix II, Doc. 13.
; ;
Bibl. Vasari, VI, 257; Bocchi, p. 424; Richa, VIII, 60; Borghini,
II Riposo, ed. 1730, p. 393 Del Migliore, p. 170 Ristretto delle cose piu
; ;
Italian Renaissance, New York, 1903, pp. 148, 161, 219 Selwyn Brinton, The ;
Renaissance, Goupil, 1908, p. 187 f. Dessins, pp. 19, 33, 34, 38, 66, 142, 151,
;
152, 180, 220, 221, 301, 350; On Certain Drawings, pp. 7, 19 f.; Rassegna
d''arte, IX, No. 3, p. 39; as well as Vine. Meini, Notizie storiche e religiose
dell' Or dine dei Servi e del tempio della SS. Annunziata, Firenze, Fioretti,
1853 Moreni, Descrizione della chiesa della SS. Nunziata di Firenze, Firenze,
;
119
PONTORMO
Santa Felicita
Capponi Chapel
DEPOSITION
Arched composition of eleven figures. The Christ is borne by two
figures a youth to the extreme left who walks three-quarters right, head full
:
face, supports his shoulders, with his left hand lifting the Christ's left hand;
a youth squatting a little more than profile right, head three-quarters right,
supports Christ's thighs on his left shoulder. To the right in the foreground,
a woman, seen from behind with left hand lifted, approaches the Madonna
who is seated, it would seem, on a bank by the road-side; she is seen nearly
full face, her left arm bent, her right raised and stretched out towards the
Christ. Over the Christ's head one sees the head of a woman, seen from
behind, who with her right hand holds the Saviour's left wrist. Above her
and to the left, a woman who bends down, her head seen three-quarters right,
and with her left hand supports the left side of the Christ's head. Between
the latter figure and the Madonna, the head of a woman who, turned three-
quarters right, looks at the Virgin. Above the latter, at the top of the
composition, a woman who stands full face, head three-quarters left, her
right arm folded across her breast, and looks down at the Christ. To the
right and above the Madonna, a youth who, with arms extended downwards
and at his sides, looks at the Saviour. To the extreme right, head and
shoulders of a man profile right, his head three-quarters right. All the
heads are blond. The colour-scheme is somewhat as follows Christ, purplish
:
loin-cloth; drapery of the head just above the Christ, lavender-grey; woman
on the left leaning forward, light blue dress with pink scarf; youth holding
the shoulders of Christ, light blue drapery, red mantle youth who carries
;
the legs of Christ, light pink drapery woman on the right, seen from behind,
;
light pink drapery; figure to the extreme right, pink dress; Madonna, blue
mantle woman next to the left, greenish blue robe youth leaning forward
;
;
at the top of the composition, pink drapery wound around his arm back- ;
ground, light green earth and cloudy sky; the whole is bathed in a golden
light.
Oil on wood. H. 3.13, w. 1.92.
of the chapel, it was badly cleaned in 1723 (Vasari, VI, 272; see also Richa,
IX, 211; Borghini, ed. 1730, pp. XIV and 395). The picture does not seem
to me to show any trace of a drastic cleaning and the documents contain no
specific reference to any such restoration (A. S. F., Santa Felicita, Filza
Ricordi e Scritture, 1456-1734; Restaurazione del Nostro Capitolo fata a
spese di Monache particulari nel 1722).
Date: 1526-1528.
Drawings: probable idea for the Christ, Uffizi 6619 (fig. 99; photo.
first
F. M. C. D. G. U., pi. XV) sketch for the legs of same, Uffizi 6527 study
; ; ;
for the youth in the upper right corner, Uffizi 6576 recto (fig. 100; photo.
Houghton; F. M. C.) sketch for the drapery of the same, Uffizi 6730 (fig. 97;
;
photo. F. M. C.) finished study for the head of the youth who carries the
;
legs of Christ, Uffizi 6577 (fig. 95; photo. Houghton) sketches for the head;
and shoulders of the youth who carries the shoulders of Christ, Uffizi 6687
(photo. F. M. C.) Corsini 124229 verso (photo. F. M. C.)
; Corsini 124230 ;
(fig. 96; photo. F. M. C.) sketch for the torse, legs and drapery of the same,
;
Uffizi 6613 verso (fig. 98; photo. F. M. C.) sketch for the drapery of the
;
same, Uffizi 6730 (fig. 97; photo. F. M. C.) possible sketch for the woman
;
seen from behind who approaches the Madonna, Uffizi 6735; finished study
for the head of the figure to the extreme right, Uffizi 6587 first idea for the ;
head of the woman to the right of the Virgin, Uffizi 6627 (fig. 94; photo.
Houghton) on the same sheet, a finished study for the same; possible sketch
;
for the head of the Madonna, Uffizi 6519 study for the same, Uffizi 6666
;
(fig. 93; photo. F. M. C.) Berenson considers Oxford 224 to be a first idea
;
for the whole composition but the resemblance between the drawing and the
picture is remote.
Documents: the following books of the monastery dating from the
period at which this picture was painted are preserved A. S. F., Convento 83, :
No. 6, Giornale, 1528-1558; No. 21, Entrata e Uscita, 1530-1539; No. 74,
121
PONTORMO
Debitori e Creditori, 1527-1528; No. 75, Debitori e Creditori, 1528-1538;
No. 106, Eicordi e Scritture, 1436-1734; No. 115, Ricordanze, 1485-1528.
None of these contain any reference to our altar-piece.
Reprod. Fig. 92; photo. Alinari 4708; fig. Goldschmidt, op. cit.;
Vasari, trans, de Vere, VII, 168.
Bibl. Vasari, II, 350 IV, 428 VI, 271 f
; Bocchi, p. 117 Richa, IX,
;
.
; ;
252 ff.Borghini, II Riposo, ed. 1730, p. 394 Follini, Firenze illustrata, VIII,
; ;
194 ff. Lami, Deliciae Erudit., XIII, 1173 ff.; Firenze, Bibl. Naz. Magliab.,
;
B. F. P. R., p. 175 Dessins, pp. 20, 35, 40, 70, 91, 96, 128, 132, 141, 164, 169,
;
170, 179, 186, 189, 190, 193, 203, 217, 223, 234, 255, 263, 264, 266, 366; On
Certain Drawings, pp. 13, 22.
ANNUNCIATION
The Virgin stands full face beside her lectern, head turned three-
quarters left, her left hand resting on the book she has just been reading,
her right holding the folds of her robe red robe, blue mantle, over her head,
;
a grey scarf. The Angel Gabriel is turned three-quarters right; he holds his
drapery with both hands against his thigh, right leg advanced, head profile
right; red drapery with a blue belt and blue wings.
Fresco. In two parts, each, h. 2.50, w. 1.10.
(fig. 88; photo. Pini; F. M. C. D. G. U., pi. XVI) five sketches for the head
; ;
and shoulders of the angel, Uffizi 6570 verso (photo. F. M. C.) finished study ;
122
AUTHENTIC PICTURES
right, dressed in reddish robe with green sleeve. Pendentive right of altar,
Evangelist, torse full face, head three-quarters right, blue robe, red mantle,
white sleeve. Pendentive nearest the door of church, Evangelist, full face,
leaning with right forearm on a parapet, head inclined slightly to left, red
drapery, grey sleeve. Pendentive above pillar, Evangelist leaning on a parapet
and turned slightly to right, red drapery.
Oil on wood. Diameter .70.
Drawings: possible first idea for one of these figures, Uffizi 6674 (photo.
F. M. C.) finished study for the "tondo" nearest the door, British Museum,
;
123
PONTORMO
hang from a canopy ornamented with three cherub heads, one with blue(left)
wings, one (centre) with grey-green wings, one (right) with reddish wings.
Under the figure of St. Veronica, the inscription: _HECEST[ SALV|VRA;
on the parapet to the left: ECCE| TABER|NACVLV| DEI| SV; on the right
parapet: PRETENDE| DNE| SVP| FAMVLV.
Lunette over the entrance door. Fresco. H. 3.07, w. 4.13.
Condition completely restored by Conti. There is nothing to show that
:
ceiling, which is a barrel vault (L. 6.84, w. 4.12), and the side-walls
The
down about a metre from the floor are covered with grotesques subdivided
to
by a geometrical pattern in which are the following compositions:
In the centre, a medallion God the Father seen to the knees holding in
:
his left hand a book on which, A. CI. His right hand is raised in benediction.
He is dressed in a brick-red mantle and brown vest. To his left, bust figure
of a "putto."
Fresco. Diameter, 1.20.
' '
Between the central medallion and the door, a small medallion : ' putto
flying downward with a cross.
Between the central medallion and the window, a small medallion:
" putto" flying downward with the tables of the law.
Between the central medallion and the back wall, a small medallion:
"putto" flying with a blue scroll.
Between the central medallion and the right wall, a small medallion:
"putto" flying with pole and crown of thorns; reddish drapery.
Frescoes. Diameter, .60 the backgrounds are purple.
;
Date: 1515.
Bibl. Vasari, VI, 256, 540 Borghini, II Riposo, ed. 1730, p. 393 On
; ;
pp. 19, 34, 66, 90, 113. For the convent, see Memorie dell' insigne monastero
e chiesa di S. Maria Novella, Delizie degli Eruditi Toscani, IX, 111 ff.
J. "Wood Brown, The Dominican Church of S. Maria Novella at Florence,
Edinburgh, 1902. There are four account books of the convent in the archives
of Florence dating from the period in which these decorations were executed
but none of them contain any reference to our frescoes (Convento 102, No. 1,
Giornale, 1516-1521, No. 56, Contratti, 1491-1779, No. 87, Ricordi, 1489-1531,
No. 89, Ricordi, 1507-1527).
she wears a pinkish red robe and blue mantle. In the foreground right,
St. Francis kneels profile left; his hands clasped before him, he gazes at
the Christ Child he wears a grey habit. Behind him stands St. James profile
;
left, head three-quarters left, left arm at his side, right arm extended holding
a staff; darkish pink drapery, grey- white sleeve. In the foreground left,
St. John the Evangelist seated three-quarters right, head three-quarters left
gazing up his right arm extended at side, his hand holding a quill pen in his
; ;
mantle on the rock on which he sits is inscribed D. N. Above him St. Joseph
;
125
PONTORMO
is seated three-quarters right, head nearly full face; he holds on his knees
the Infant Jesus Joseph is dressed in a greyish purple robe, a greyish yellow
;
mantle across his knees. The Christ Child stands on Joseph's left knee,
weight on left leg, right leg drawn back, in his left hand a reed cross, his
head inclined on his right shoulder looks up left. In the middle foreground,
the young St. John seated profile left, his right leg raised; with his right
hand he points to the Christ Child; his head, seen nearly full face, looks at
St. Francis. The background is a dark grey stone niche and wall with dark
purple curtains drawn aside, to the left, by a "putto" who stands profile
right, his right arm raised, a fold of the curtain hanging across his loins.
To the right stands a cherub nearly full face; his right arm extended across
his body holds back the curtains.
Oil on heavy prepared paper stretched and glued on a wooden panel.
'
H. 2.14, w. 1.85.
124232 (fig. 14; photo. F. M. C.) Uffizi 6678 (photo. F. M. C.) sketches
; ;
for the same figure, Corsini 124244 (fig. 15; photo. F. M. C.) Uffizi ;
6545 (fig. 18; photo. F. M. C.) reversed; Uffizi 6554 (photo. Houghton; Pini;
fig., Vita d'arte, No. 57, p. 3) study for the same, Uffizi 7452; sketch for
;
the left leg of same, Uffizi 6551 (fig. 16; photo. F. M. C.) finished study for ;
the head of St. Joseph, Uffizi 6581 recto (fig. 22; photo. Houghton; Pini) ;
studies for the "putto" to the right who draws back the curtains and sketch
for the folds of the curtain, Uffizi 6662 (fig. 21 photo. Houghton) ;
first ;
thought for the Christ Child, Uffizi 6744 verso (fig. 19; photo. F. M. C),
which may also represent an idea for the little St. John reversed; study for
the Christ Child, Uffizi 6520 (photo. Pini; F. M. C.) study for the head ;
of the same, Uffizi 654 (fig. 20; photo. Braun, Florence 388; Alinari; Pini;
F. M. C.) first thought for the St. Francis, Uffizi 6742 verso (photo. F. M. C.)
;
;
sketch for the same, Uffizi 6525; study for the same, Uffizi 6744 (fig. 23;
photo. Houghton; Pini; F. M. C.) first thought for the Madonna's head,
;
Uffizi 6551 verso (fig. 17; photo. F. M. C.) study for the head-dress of the
;
same, Uffizi 6520 verso; first idea for the torse and legs of St. James, Uffizi
6579 verso first thought for the same figure, Uffizi 7452 verso possible first
;
;
idea for the whole composition, Corsini 124229 (photo. F. M. C). In the
Descrizione dei disegni della galleria Gabburri in Firenze (Bibl. Naz. Fir.,
A XVIII, No. 33) we find the following mention of a drawing for the present
panel: "No. 13. Altro compagno con quantita di figure di penna e acqua-
relli rappresentante la Vergine che siede in alto col bambino Gesu, S.
Giovambattista piccolo, S. Francesco e altri Santi. Opera singolarissima del
celebre Iacopo da Pontormo ed e lo stesso che si vede in una tavola da altare
:
127
PONTORMO
poor opinion of it. We cannot tell, of course, whether the drawing in question
was authentic or merely a copy of the picture, but the chances are that it was
a copy.
Documents Neither the Libro di Copie di Contratti di Casa Pucci 1479-
:
1574 (A. Carte Riccardi, No. 605) nor Strumenti dal 1516 al 1529 dei
S. F.,
Signori Pucci, segnato C. {idem, No. 606) contains any record of the contract
for this picture.
Reprod. Fig. 13 ;
photo. Alinari 20313. Ancient copy in the former
Doetsch Collection sold in London in 1895 for 10,500 frcs., of which the
provenance and fate are unknown (fig., Doetsch Catalogue).
Bibl. Vasari, VI, 258; Borghini, II Riposo, ed. 1730, p. 393; Bocchi,
p. 403; Del Migliore, p. 366; Richa, VII, 23; Ristretto, p. 53; B. F. D., I,
314, n. II, 139, 140, 142, 143, 145, 149, 150, 153 B. F. P. R., p. 175 Jacobsen,
; ; ;
Dessins, pp. 19, 34, 38, 55, 67, 109, 111, 128, 129, 131, 145, 148, 150, 151, 165,
166, 215, 221, 228, 229, 242, 261, 271, 273, 274, 282, 305, 335, 336, 342; On
Certain Drawings, pp. 6, 20.
Palazzo Capponi
Condition: excellent.
Date: 1517-1518.
Bibl. Morelli, op. cit., p. 130 ; B. F. P. R., p. 175.
128
AUTHENTIC PICTURES
Palazzo Corsini
the Christ Child who stands, full face, on her left knee, his right foot forward,
his lefthand raised in blessing. He is blond. A narrow drapery crosses his
body. In the lower left corner, the head and shoulders of St. John, seen full
face; he has red hair and draws about him a part of the Madonna's mantle.
The background is a landscape to the right, hill and trees to the left, a
: ;
round low tower with conical roof, a lofty donjon, a little church with belfry,
and lightly indicated olive-trees the sky is a greenish blue.
;
Condition : excellent ; a slight vertical crack to the left has been repaired.
Date: 1528-1529.
Reprod. Fig. 103 ;
photo. Brogi, 17626.
Bibl. B. F. P. R., p. 175; Uld. Medici, Catalogo della Galleria dei
Principi Corsini in Firenze, Firenze Mariani, 1880 Cruttwell, Florentine
: ;
Churches, p. 85.
is written: ECCE| AGNUS| DEI; below him to the right, his cross of reeds.
129
PONTORMO
The background consists of rocks and trees; the foreground of rocks, earth
and little plants.
Oil on wood. H. .52, w. .40.
Condition: excellent.
Date: 1526-1528.
Reprod. Photo. Alinari 4546.
Bibl. See above and Cruttwell, op. cit., p. 81.
Palazzo Davanzati
Zacharias, red tunic, dark blue mantle, white sleeves. On his tablets he writes
JOHANNES.
On the back in the midst of tasselled red ribbons, a bearing; to the
right, the arms of the Antinori; to the left, those of the San Giovanni or of
—
the Ughi it is hard to say which because the colours have faded (Priorista
di Monaldi, p. 243 verso).
Oil on wood. Diameter, .52.
130
AUTHENTIC PICTURES
Palazzo Pitti
and to the extreme right, martyrs with their hands tied behind them being
driven away to sacrifice; on the left and farther back, martyrs pursued and
slain by naked horsemen above the latter, on a mound, an angel baptizing
;
the souls of the slain above them, in the clouds, three angels shooting arrows
;
right, red hair, red tights to the knees, yellow jacket with sash, blue sleeves,
mole-grey scarf, yellow-brown basket; Maximianus, brown hair, light green
vest, violet-red mantle, under him a grey drapery to his right, angel picking
;
up nails, pale greenish blue drapery; standard in the centre, red with a blue
stripe; in front of it a figure in yellow on horseback; among the horsemen,
touches of scarlet given by their caps; figure to the extreme left, blue-green
drapery; standard to the extreme left, orange with a blue stripe; draped
figure to the left, blue robe angel baptizing, tunic of reddish yellow shields,
; ;
some red, some yellow; touches here and there among the martyrs of red;
sky, green; landscape, brown; steps and platform, brown; flesh-tones pale
with brown shadows.
Oil on wood. H. .65, w. .70.
131
PONTORMO
of Leonardo's lost masterpiece by comparing this picture with
fragmentary copies of the " Battle of Anghiari" known to us
in Leonardo's sketches, in London, Venice and Windsor;
Raphael's sketch, in the University Galleries, Oxford; Cesare
da Sesto's drawing, in Windsor; Rubens' drawing in coloured
chalks, in the Louvre, which is a copy of a copy a drawing in ;
Condition : The panel has been cut down on the left side ; it is otherwise
relatively untouched.
Date 1528-1529.
:
Drawings: possible study for the nude to the left of the angel that
baptizes the martyrs, Corsini 124236 (photo. F. M. C.) modified variant of ;
the upper left quarter of the composition, Hamburg 21253 (fig. 108 B. F. D., ;
pi. CLXXII).
Documents: If the women of the hospital paid for this picture the
transaction would probably not appear in the records of the Institution. At
any rate, in the Archives of the Innocents I have found no trace of this panel.
I have examined the following account-books: Debitori e Creditori, C, 1510-
1526; D, 1526-1533; E, 1533-1539; F, 1539-1544; G, 1545-1551; H, 1551-1554
Giornale I, 1532-1539; Entrata e Uscita, D, 1527-1528; xx, 1528; y, 1528
yy, 1529; z, 1530; A, 1531; B, 1532; C, 1533; D, 1534; E, 1535; F, 1536
G, 1537 H, 1538.
;
Collection, New Haven, No. 79; photo. Braun 42182; Alinari; Brogi 7892;
fig., Goldschmidt, op. cit.; Vasari, trans, de Vere, VII, 170.
Vasari, VI, 275; Borghini, II Riposo, ed. 1730, p. 395; Richa,
Bibl.
VIII, 130 Chiavacci, Guida della R. Galleria del Palazzo Pitti, 3d ed., Firenze,
;
1864, p. 90; 3d ed. (in French), Prato, p. 164; Muntz, Renaissance, Paris,
1895, III, 499; B. F. D., I, 320; II, 154; B. F. P. R., p. 174; Cruttwell,
Florentine Galleries, p. 215 Dessins, pp. 35, 40, 56, 71, 127, 225, 256, 290, 338.
;
a rustic cross, in his left a white scroll which passes to the right across the
132
AUTHENTIC PICTURES
lower part of the picture and bears the inscription: ES| DEI| ESTO|
LITATE] VICT; he wears a black mantle with a dull grey-purple sleeve;
the flesh-tones are reddish brown the background, green-brown.
;
Condition darkened with heavy varnish and covered with minute cracks
:
Condition excellent
: ; the background has been retouched and the panel
has recently been cleaned.
Date 1534-1535.
:
Reprod. Fig. 125 photo. Alinari Brogi 7894 fig., article cited below
;
; ;
with two figs, of Vasari's fresco fig., Miintz, Renaissance, Paris, 1895, III, 143.
;
Bibl. Chiavacci, op. cit., p. 120; 3d ed. (French), p. 163; Morelli, op.
cit., p. 129, n.
; B. F. P. R., p. 175 Cruttwell, Florentine Galleries, p. 210
;
134
AUTHENTIC PICTURES
379. ADORATION OF THE MAGI
Composition of about ninety figures. To the extreme right, two shep-
herds kneel almost profile left; they have grey hair and are dressed in grey
clothes to their left, St. Joseph, seated profile left, wears a pinkish white tunic
;
and white tights; the Madonna, who stands near by turned three-quarters
left, wears a red dress and blue mantle; Elizabeth, turned three-quarters
left, is dressed in a pale lilac robe, grey mantle and white head-dress the first
;
King, who kneels almost profile right before the Christ Child, wears a dress
of cloth of gold with blue sleeves; his companion stands profile right, wearing
blue cap, fur collar, large blue sleeves, and he holds a red bundle under his
arm; his second companion stands profile right dressed in yellow; the man
who bends forward behind the latter is clad in green-black and holds in his
left hand a blue hat; the men in the group immediately behind the parapet
wear red jackets and blue hats or blue jackets and red hats the second King,
;
who stands three-quarters right, wears a robe embroidered in gold, red cloak
with pale lavender sleeves and blue turban; the man to his right is dressed
in red; the figure seen over his shoulder in dark blue tunic and dark blue
cap the third King is dressed in a dark yellow robe with red sleeves and
;
red turban; the man on the left, who presents a vase to him, has brown hair
and wears a yellow tunic and red tights the next figure to the left has blue
;
tights and sleeves and a yellow tunic the figure to his right, white tunic and
;
scarlet tights; behind the parapet, many spectators; in the distance, two
converging processions of horsemen; in their costumes blue and red pre-
dominate; in the background at the left, low knolls covered with delicate
trees; in the centre, a city gate with towers; to the right, three buildings in
the style of the early Renaissance the foreground, brown paths, brownish
;
;
Condition : excellent.
Date 1518-1519.
:
135
PONTORMO
Uffizi6518 and 6722 (fig. 34; photo. Houghton) ; sketch of the horse of the
same, Uffizi 6558 verso.
Reprod. Fig. 33 ; engraving, Luigi Bardi, Galleria Pitti, IV photo. ;
Braun 42379; Alinari; Brogi 7895; fig., Vasari, trans, de Vere, VII, 147.
Bibl. Vasari, V, 196 VI, 264 Borghini, II Riposo, ed. 1730, p. 393
; ;
p. 345 Schubring, Cassoni, p. 404 f. Dessins, pp. 35, 39, 68, 118, 127, 256,
; ;
Palazzo Vecchio
Four "putti" playing together; one holds a shield which rests on the
ground.
Ruined.
Three "putti"; one in the centre rides a lamb which one to the left
leads; another, to the right, carries a bundle.
Ruined.
Eight "putti"; two on a table that the others surround; one, to the
right, carries a large bundle.
Ruined.
Reprod. Photo. F. M. C.
The preceding eight pieces are in monochrome, oil on wood. H. .32, w. .44.
136
AUTHENTIC PICTURES
Two "putti" supporting a gilded shield (Medici arms and those of
Florence).
Two "putti" supporting a shield (Medici arms and those of Florence).
The preceding two panels are in monochrome, oil on wood. H. .28, w. .56.
Baptism of Christ.
Hair, blond; drapery, purplish white; background, black.
Oil on wood. H. .69, w. .45.
Grossly repainted.
Reprod. Photo. F. M. C.
Visitation.
The Virgin wears a purple robe, blue mantle, white head-dress; St.
Elizabeth, orange robe, white head-dress.
Oil on wood. H. .69, w. .45.
Completely repainted.
Reprod. Photo. F. M. C.
Prophet.
Full-length ; stands nearly full face holding to the left a book supported
on a lectern in the form of a child; robe, white; background, black; step,
greenish.
Oilon wood. H. .69, w. .45.
Completely repainted.
Reprod. Photo. F. M. C.
St. Zenobius.
Stands nearly
full face; the episcopal glove on his right hand which is
raised in benediction; white vestments, black background.
Repainted.
Reprod. Photo. F. M. C.
The Baptist.
Stands turned three-quarters right; right arm raised, left hand holds
a staff; purplish grey shirt, black background.
Oil on wood. H. .69, w. .45.
Repainted.
Drawing: sketch for the whole figure, Uffizi 6581 verso. (Fig. 8; photo.
F. M. C).
Reprod. Photo. F. M. C.
St.Matthew.
Stands turned three-quarters left; in his hands he holds a book; green
vest ;
purplish mantle. On the right a cherub flying downward speaks to him.
Oil on wood. H. .69, w. .45.
Repainted.
Reprod. Photo. F. M. C.
137
PONTORMO
The Preaching of St. John.
Composition of sixteen figures. In the centre, St. John stands turned
three-quarters right in his left hand a cross, his right raised to the left, seven
; ;
figures, one of which kneels in the foreground with right arm outstretched;
to the right, eight figures, one of which, a woman, kneels holding a child.
Oil on wood. H. .59, w. 1.28.
Completely ruined.
Keprod. Photo. P. M. C.
Baptism of Christ.
In the centre, St. John baptizing Christ ; to the right, a man seated who
takes off his tunic ; to the left, a man seated seen from behind.
Oil on wood. H. .50, w. 1.28.
Reprod. Photo. F. M. C.
now lost, was by Marco del Tasso who carved much of the
woodwork of the choir of the Badia and was a well-known
engineer and architect (Vasari, III, 350-353). The composition
of the "Beheading of John" is a free copy of the "predella"
138
AUTHENTIC PICTUEES
panel of the same subject ascribed to Andrea and now in the
Academy at Florence (No. 77).
Date 1515.
:
Documents: The records of the Zecca between 1510 and 1530 have
been lost.
Bibl. Vasari, VI, 256 ; Borghini, ed. 1730, p. 393 ; Dessins, pp. 34, 38,
39, 66, 99, 167.
Uffizi
Drawing: study (reversed) which may have served for the St. Jerome,
Uffizi 6742 verso (photo. F. M. C).
Reprod. Photo. F. M. C.
Bibl. B. F. P. R., p. 175; Cruttwell, Florentine Galleries, p. 98;
Dessins, pp. 67, 271.
139
PONTORMO
flesh-tone a light brown. Through a defile in the low hills other soldiers
is
arrive; the standard on the right is a dull red, that on the left, green; the
ground is various shades of brown. In the middle distance, on the left,
raised on a little mound, an angel baptizes the souls of the slain; on the
right, a grove of trees in which other soldiers of the Legion are crucified.
Between these two groups, behind a dip in the landscape, a glimpse of the
domes and spires of Florence ( ?) in the sky, flying out of the clouds, three
;
Bibl. Vasari, VI, 275 B. F. D., I, 320 II, 142, 152, 154 B. F. P. R.,
; ; ;
well, Florentine Galleries, p. 92; Dessins, pp. 35, 40, 56, 71, 127, 225, 256,
290, 338.
1198. BIRTH-PLATE
Birth of St. John the Baptist. A group of seven figures and the new-
born child. St. Elizabeth sits upon her couch, head and shoulders facing,
surrounded by her friends and serving-maids to her left, Zacharias seated
;
by the couch, profile left, writes on his tablets the name of the child: IO.
St. Elizabeth wears a white scarf over her head and a violet-grey dress. The
bedclothes are a greenish blue. Zacharias is dressed in pinkish red with yellow
jacket and brown stockings. The woman who stands behind him and bends
forward to the left to see the writing wears a blue-green dress and over her
head a white scarf. The woman in the centre of the composition who holds
the child stands nearly profile to the right and is dressed in an orange-yellow
robe with a red scarf on her head. The woman to the extreme left stands
profile right and wears a pinkish red dress with a white scarf on her head.
Next to the last mentioned, a woman with a fan leans forward; she has red
hair and is dressed in green. To her right, in the middle background, the
head and shoulders facing of a figure draped in violet. A green looped-up
curtain forms the background behind St. Elizabeth; the rest of the back-
ground is black above and brown below. On the back of the plate, a bearing
with above, to left and right, "putti. " The blazon is divided vertically.
The arms to the right may be those of the Delia Casa family those to the left, ;
of the Tornaquinci (blue and gold quarterings) but the alteration of the
;
140
AUTHENTIC PICTURES
Provenance unknown. The composition is identical with
that of the birth-plate now in the Palazzo Davanzati, but the
colour-scheme is more varied. There the woman to the left is
dressed in pale yellow, the turban of the woman in the centre
is white, Zacharias' tunic, red and his mantle, blue. I have
not discovered the date of the marriage indicated by the arms.
Cruttwell, who is followed by Goldschmidt, states that this
"piatto" was painted for Elisabetta Tornaquinci, wife of
Paolo Aldighieri. Schubring erroneously gives the arms as
those of the Monte di Pieta. Cf in this catalogue, under Palazzo
.
brown hair and a sparse brown beard he wears a black velvet hat and a black
;
coat with turned down embroidered linen collar. The background is brown.
Oil on wood. H. .65, w. .49.
Condition excellent a small piece has been added at the top of the panel.
: ;
Date: 1530-1532.
Reprod. Fig. 118 photo. F. M. C.
;
141
PONTORMO
1284. VENUS AND CUPID
Venus reclines, her head to the right, her feet to the left; she faces the
spectator, her head profile left, and supports herself on her left elbow which
is raised and rests on a heap of drapery; her right arm is outstretched, the
hand touching one of Cupid's arrows; her golden hair is partially covered by
a head-dress. To the left Cupid stands, his weight on his right foot, his left
leg raised and passed over the right hip of Venus his right hand rests on a
;
sheaf of arrows, his left arm passed under his mother's chin, his face, seen
in profile, resting against hers; his hair is blond and curly, his wings out-
stretched behind him. To the extreme left, a stone altar on which a vase of
flowers, a bundle of arrows and a piece of drapery; across one corner of it
hangs a bow from which two masks are suspended, one of a satyr, the other
of a man on the side of the altar, a bas-relief of a fallen figure. In the middle
;
142
AUTHENTIC PICTURES
1
found in 1850 in the Guardaroba generale. The figure of Venus
had been covered in part with a wretchedly painted scarf
(Milanesi, VI, 292). This and other retouches were removed
and in 1861 the picture was hung in the second room of the
Tuscan school in the Uffizi. Berenson, Milanesi, and Thode
believe it to be Pontormo's original and their conviction seems
to be well foimded. But owing to the panel's present condition
its authenticity can only be proved by tracing it through the
various inventories of the Guardaroba between 1550 and 1850.
This has not been done. Gamba thinks that it resembles too
closely other known variants of this subject to permit the
definite assertion of its authenticity. The first German edition
of Vasari erroneously states that the original is in the Museum
of Naples. Selwyn Brinton finds the Venus a mere "coarse
imitation (!) of the Michelangelesque. " Concerning the sym-
bolism of the picture, see Thode, III, 486. The following
sonnet inspired by this picture is quoted by Frey (Dichtungen,
p. 271, No. CLXXIX)
i The editor of the 1832-1838 edition of Vasari was aware of the existence of this
picture in the Guardaroba.
143
PONTORMO
Condition : completely repainted and restored by Ulisse Forni who spent
months on the undertaking.
Date: 1533-1535.
Drawings: Since Michelangelo furnished the cartoon for this picture
we have naturally no study for it from the hand of Pontormo. Variants in
which Jacopo rehandled the motive may be studied in two small sketches,
Uffizi 444 and 446 in the masterful black-chalk, Uffizi 6534 in Uffizi 6586
; ;
(fig. 133), drawn perhaps for the frescoes at Castello; in Uffizi 6684 (reversed).
The drawings Uffizi 6655 and Louvre 1029 are late copies of the picture.
The Naples cartoon is also a copy. The sketch by Michelangelo in the British
Museum (1859-6-25-553) considered by some critics to be an idea for this
composition is believed by Berenson to be a first thought for a "Samson
and Delilah."
Documents: see above.
Copies: A close copy at Hampton Court thought by Thode to be by
Bronzino or Salviati, and by Law to be by Bronzino, although it is only the
work of the latter 's "bottega"; cf. Handbook to the Public Galleries in and
near London, London, 1842, II, 360; Duppa, p. 329; Fagan, p. 143; a second
altered copy in the same collection; a variant, once the property of Prof,
d' Alton of Bonn who believed it to be a Michelangelo and had an etching
made of it (Kugler, Kunstblatt, 1842, p. 42; Kleine Schriften, II, 358), was
brought to the Berlin Gallery in 1841, was later in the magazine of the
museum and still later was placed in the gallery at Hildesheim (1884) a ;
variant sold in Florence sometime before 1880 two copies in the Guardaroba
;
in Florence a small copy once owned by the heirs of Luigi Riccieri in Florence
;
(according to Milanesi from the end of the sixteenth century) the cartoon;
(682, XXV) in the Museum of Naples in which the dish and the flowers are
no longer visible and which was once believed to be Michelangelo's original
design for this work; a close early copy in the same museum (No. 22,
VIII, 13), of the same size as the present panel, once ascribed to Bronzino,
by Thode with a query to Salviati, but now with more reason to Alessandro
Allori; a copy once in the possession of Edmond Blanc in Paris which was
perhaps the same as that mentioned by Milanesi as having been sold and
taken out of Tuscany a variant in the Stadtisches Museum of Erfurt. Several
;
nuda stesa in terra con Amore che la bacia et alcune mascare con arco e
saette, in tavola D. M. A. Buonarroti. Singolarissimo e de' migliori. A. p.
2.2 1/2. L. p. 3 1/2." Vesme adds that Carlo Emanuele had the picture
burned. (2) In the 1685 Verzeichniss der Gemdldesammlung des Heidel-
berger Schlosses (Thode und Zangemeister, Mitth. des Heidelb. Schlossvereins,
III, 197, No. 230): "Venus et cupido, durch Angeli Bonarota." (3) A
copy in the Galleria Gustiniani in Rome (Vasi, Itin. istrutivo di Roma, p. 429).
(4) There was also in the eighteenth century a wall painting of the same
subject in the Palazzo Barberini in Rome, which was held to be a Michelangelo
cf. Titi, Descrizione di Roma, 1763, p. 333: "Una Venere giacente, dipinta
sul muro, pittura antica, che ha molto della maniera del Bonarroti, onde alcuni
la credono di sua mano"; cf. also Crozat, Recueil d' Estampes, Paris, 1720,
I, pi. 1. We may add the following pictures derived more or less directly from
Pontormo 's original: a "Venus and Cupid" ascribed to Alessandro Allori,
144
AUTHENTIC PICTURES
sold in the Sale X, in London, in 1800, for 39,750 francs; a "Venus and
'
Cupid, perhaps the same, withdrawn from the Fossart sale in 1838 at 10,000
'
francs and sold at the Joubert sale in 1841 for 2,000 francs; a "Venus and
Cupid," ascribed to Alessandro Allori, sold by Francillon in 1828 (cf.
Mireur, I, pp. 26 f.). See also the small "Venus and Cupid," ascribed to
Bronzino, which is a free rehandling of the same composition (Uffizi 1173) ;
the "Venus and Cupid," ascribed to Bronzino, Galleria Colonna, No. 9; the
same subject treated twice by Vasari in the same gallery, Nos. 7 and 18, as
well as No. 16 which is ascribed to Salviati. Vasari is known to have painted
two, perhaps three, similar pictures from cartoons of Michelangelo's, one
for Ottaviano de' Medici (VII, 669), another for Bindo Altoviti in 1544
(VII, 673). He took a "Venus" with him to Venice in 1542 and sold it there
to Don Diego de Mendoza (VII, 669 f VIII, 283). For the possible third
.
;
"Venus" by Vasari, see his letter of July 21, 1544, to Francesco Lioni in
Venice (VIII, 291). I do not know whether any of these are Nos. 7 and 18
of the Galleria Colonna or still other panels the whereabouts of which is
unknown to me. The composition of the "Venus" can be traced in a number
of pictures too numerous to mention, an example of which is the "Death of
Adonis," ascribed to Sebastiano del Piombo, in the Uffizi.
Eeprod. Fig. 123 ;
photo. Alinari Braun 41284 Brogi 11033.
; ;
Bibl. Vasari, VI, 277, 291-295 (long note by Milanesi on the present
panel) VII, 277 Borghini, ed. 1730, p. 395 Varchi, op. cit., p. 134 278 f.
; ; ; ;
145; B. F. P. R., p. 175; Dessins, pp. 21, 33, 35, 72, 94, 95, 137, 169, 208, 232,
305, 331. See also above.
On her right knee, slightly raised, sits the Christ Child also turned three-
quarters right, his head slightly bent over towards the left is seen full face;
his right arm is extended left, his left laid on the shoulder of St. John his ;
hair is blond; the Madonna's right hand rests on his breast. To the right,
St. John turned three-quarters right, his hand raised to the Madonna whose
cheek is laid against his forehead; his hair is brown; his right arm is bent
round the Christ Child, his left hand laid on the Christ Child's left knee; the
Madonna's left arm encircles St. John, her hand on his left elbow. The
Virgin wears a green skirt, a scarlet bodice and overskirt; a yellowish grey
scarf is passed round her right arm and across the body of the Infant behind ;
her, thrown over a chair, is a mantle of blue-green and red lined with a lighter
green. The background is almost black.
Oil on wood. H. .86, w. .73.
145
PONTORMO
in a ruined state and only after an exhaustive restoration could
it be hung in the Gallery. It still retains, however, quite evident
traces of our master's hand. The composition was, it would
seem, derived from or suggested by a lost drawing or picture
of Da Vinci's. group of Pontormo's
It belongs, therefore, to the
Leonardesque pictures although it is later than the San Michele
Visdomini altar-piece or the "Farinola Madonna." The little
St. John owes much to Michelangelo's "tondo" of the "Holy
Family," now in the Uffizi. The same figure should also be
compared with the St. John in Pontormo's panel in Palazzo
Corsini, Florence (No. 141).
Bust figure seen in profile to left; he wears a brown coat with white
collar; his hair is brown and curly; the flesh-tints are freshly laid in; the
background is a greenish grey.
Oil on a beechwood panel. H. .47, w. .31.
146
AUTHENTIC PICTURES
valle" (Alinari 4460) (5) "Cosimo Elected Duke of Florence"
;
and in the allegories to the left and right of the same. For a
copy of another portrait of the first Grand Duke by Pontormo,
see Catalogue of Attributed Pictures, Jarves Collection, No.
78 (100).
are pale and cadaverous. The chair is a warm brown, the background a dark
greenish grey. A small laurel grows on the left side, the leaves of which are
a brown-green. Wound round the stem of this tree is a narrow scroll bearing
the inscription: VNO AVV|LSO NO DEFIC|IT ALITER; 1 behind the
• •
147
PONTORMO
No. 20 Fabriczy, Medaillen d. italienischen Renaissance, p. 55,
;
148
AUTHENTIC PICTURES
middle of the right side of the title-page. On the same page,
which has been reproduced by Miintz (Les Preciirseurs, p. 158),
there is a similar medallion of Piero. 2. Aristotelis Opera
Young, The Medici, pi. Ill) dates from about 1553 and is
labelled COSMUS MEDICES P. P. P. It differs from
Pontormo's portrait in structure and modelling as well as in
many small details. An eighth derivative is the cameo, Uffizi
No. 1083, which was copied from medal No. III. A ninth
derivative is the porphyry relief by Francesco del Tadda
(H. 19, w. 14 in.; Wood Brown, p. 113, fig., p. 39), mounted
on an oval slab of green serpentine of Prato and bearing on the
chamfer of the bust OPA DI FRANC DA FIESOLE, which
:
was once in the Uffizi and is now in the magazine of the Bargello.
Pontormo's portrait is then by no means the first work
of art derived from these medals. It is most closely related to
medal No. Ill and since Goro Gheri, for whom it was painted,
;
top the old varnish has been removed recently by skilful restoration.
;
Date: 1518-1519.
Reprod. Fig. 42. See above. A poor engraving by Borde in Litta,
f asc. 22 photo. Brogi 14817
;
Alinari Anderson Trapesnikoff, pi. IX
; ; ;
FRANKFORT
Stadel Institute
wide ears high and pointed chin full neck column-like. She wears a scarlet
; ; ;
cloth dress cut square at the neck, large puffs at the shoulders, dark green
velvet sleeves, full white chemisette with high embroidered collar made of
two pieces, small frills at the wrists. In her hair, a gold circle with a filigree
star in the centre around her neck a gold chain of heavy ornamental links
;
around her waist a narrow black and gold woven band on the upper joint of ;
the ring finger of the right hand, a high diamond ring; on the little finger of
152
AUTHENTIC PICTURES
the left hand, a ruby ring; around her right wrist and lying across her lap,
a dark bead chaplet ending in a large tassel enclosed in gold filigree; in the
bend of her right arm, a little brown and white dog sits facing the spectator.
The chair on which she sits is seen in profile and is ornamented with a bronze
mask, a handle, two large nails and a green fringe. The background forming
a shallow niche is dark grey on the left, light grey on the right flat pilasters ;
on either side behind the sitter, a low table on which two books bound in
;
153
PONTORMO
Gem'dlde-galerie des Stddelschen Kunstinstituts in Frankfurt am Main,
Frankfurt, 1900, pp. 53 f. Stadelsches Kunstinstitut, Verzeichnis der
;
Gem'dlde, Frankfurt, 1910, p. 5; idem, ed. 1914, ibid.; Waetzoldt, Die Kunst
des Portrats, Leipzig, 1908, p. 219; B. F. D., I, 323; II, 154; B. F. P. R.,
p. 176 Schulze, Bronzino, p. lxi Dessins, pp. 89, 288.
; ;
GENOA
Palazzo Bianco
6. PORTRAIT OF A YOUTH
Seen to just below the waist, turned three-quarters has brown
left. He
eyes that look left; longish brown hair. He is beardless and wears a pink
doublet, finished at the throat with a small white frill, at the wrists with large
cuffs turned back and lined with fur; a silk mantle of brighter pink than the
doublet is thrown in rich folds over the left shoulder; at the waist, a cord
in the form of a belt from which a black velvet bag with a dark silver mount
hangs open showing an embroidered handkerchief. The left hand rests on
the hip, the two middle fingers touching; in the right hand, a pair of gloves;
on the head, a small round scarlet cap. Background, green-black.
Oil on wood. H. .86, w. .63.
the head turned a little less than three-quarters left; the eyes look at the
spectator. The right hand, lightly holding a quill-pen, rests on the table, the
left upon his left thigh; on the third finger, a jewelled ring. He wears a
long beard and moustache and is dressed in a dark coat with large sleeves
and embroidered collar; at his wrists, embroidered white frills; on his head,
a black cap in his lap, a handkerchief. The arm of the chair ends in a winged
;
Honerarius] In Firenze; beside these lie sheets of paper on which he has just
written I ac meo os
:
mo Per lamore uoleu a . .ho meso quanto quella
.
| .| . . .
|
. .
on the right, an engaged column on the base of which 49 at the base : ATAT ;
of the pilaster, a shelf on which lie official seals, a packet of papers, a document
with a large seal of a bust seen in profile left; to this seal two ribbons are
affixed.
Oil.
Condition: excellent.
Date 1534-1545.
:
155
PONTORMO
LONDON
Mond Collection
A CONVERSATION
To the left, a man, dressed in a crimson robe, scarlet leggings, buff shoes
and pale sea-green mantle and cap, seated profile right; to the right another
man, similarly dressed in a robe of grass-green with a mantle of pale rose and
a scarlet cap, seated in an arm-chair profile left, his left hand on the arm of
the chair, his right raised; behind, two figures facing of which one sees little
more than the heads. The figure to the right is dressed in olive-green; the
figure to the left, in orange-crimson. The man in the middle background is
dressed in dark grey. The woodwork is orange-brown, the foreground, warm
yellow-brown, the background, which is made up of the intersection of a
groined roof and a wall, is grey.
Oil on canvas. H. .35, w. .24.
Date: 1516-1521.
Reprod. A replica in the Methuen Collection ; J. P. Richter, Catalogue
of the Mond Collection, London, 1910, II, pi. 19.
Bibl. Catalogue cited above, II, 449 ; B. F. P. R., p. 176.
National Gallery
156
AUTHENTIC PICTURES
Ephraim and Manasseh. In the second plane, at the middle of the picture,
a dense group of figures behind these, a smaller group around a little mound
;
in the background, trees and two gable-roofed houses. There are three statues
on high pedestals in the picture. They represent Mars, Venus, and Cupid.
The colour-composition is somewhat as follows Foreground, beginning :
on the extreme right man kneeling, light violet breeches, yellow jerkin, white
;
sleeves; blond boy standing with back turned and legs wide apart, red legs,
violet skirt, yellow jerkin; boy (Bronzino) seated on steps, dark brown cloak;
white drapery with violet lights old man kneeling, light blue
' '
three putti,
' ' ;
man to the extreme left, darker blue of the same tone with dark brown drapery
about the waist, dark red cap in hand. Second plane, beginning on the
extreme left man, bright red old man in front of latter, light yellow-brown,
; ;
white sleeves and turban old man whose head and shoulders show between
;
the last two figures, light blue young man who faces the old man with turban,
;
dark violet-brown mantle, yellow tunic old woman with clasped hands, deep ;
pink, white scarf and head-dress. In the little group in the second plane
at the middle of the picture, reds and light violets predominate. The figure
seated on the base of the column to the right, violet drapery, yellow jerkin,
red cap man on lowest step of stairs to the right, red robe and cap second
; ;
figure mounting the stairs leading a child, violet cloak, dull red stockings,
red turban; child, light green dress; woman at top of stairs, red; child who
advances to meet her, green; woman half-hidden by column, red. In the
group on the platform of the circular building the same tones are distributed.
The group in third plane at the middle of picture pale green, violet and :
white. The figures in the background are red or red and white. The land-
scape, light brown; the architecture, pale lavender-grey; the pillar and
pedestal in the foreground right, pale brown. Marked in lower left corner:
—
JACOMO DAPOXTORMO inscription which probably dates from the last
half of the sixteenth century. On the scroll held by the man kneeling in
lower right corner, a legend which I have not been able to read in its
entirety ci dj fiso sej i ispeto
: . . . nel nella da una . . . . . . . .
157
PONTORMO
for ninety ducats (Archivio di Stato, Depositeria Generale,
Recap iti di cassa, filza 995). He identifies, however, the pic-
tures in question with two panels, now in the Uffizi, which were
long ascribed to Pontormo but are really by Granacci. Our
picture was once in the possession of Giovan Gherardo de'
Rossi, was exhibited at the Royal Academy (No. 194) in 1873
and was bought by the National Gallery at the Duke of
Hamilton's sale at Christie's, June, 1882, as an " Allegory"
for £315 out of the interest of the "Clarke Bequest." The
little boy seated on the steps in the foreground is Bronzino
(Vasari, VI, 261). Even at an early date the iconographic
explanation of this picture seems to have become confused.
Vasari himself mistook the group to the left for Joseph
receiving Jacob and his brethren. It was Richter who first
correctly interpreted the subject; cf. Genesis, xlvii, 1-6, 13-26;
xlviii, 1-14. The meaning of the group of men huddled in the
middle distance is found in the verse: "Wherefore shall we
die before thine eyes, both we and our land?" Buildings in
classic style were generally considered in the Middle Ages and
the Renaissance to be characteristic of Egypt from which
country the art of Greece was supposed to be derived (Richter,
39 f.). The statues that adorn the buildings furnish further
proof that the scene is meant for Egypt, in as much as legends
current in the Middle Ages (Tischendorf, Evang. Pseudo-
Matth., Chaps. XXII, XXIII) had induced artists to use them
as a symbol of that country. Richter believed that the portrait
of the young Bronzino made him appear to be about ten years
of age. He therefore placed this canvas in 1512, at the very
beginning of Pontormo 's career —
at least six years too early.
His error is repeated by Jacobsen who also considered the
signature to be genuine. Schubring seems to continue Vasari 's
mistaken explanation of the subject and he identifies the
picture with a "lettuccio" representing "Giuseppe che serve
Faraone" which, however, Vasari distinctly states was painted
for Borgherini by Granacci. Schubring turns this difficulty
with ease by remarking that Vasari frequently confuses these
two painters. Wemight notice in passing that two panels by
158
AUTHENTIC PICTURES
Bacchiacca representing the "Life of Joseph," and painted for
Borgherini, are in the National Gallery (Nos. 1218 and 1219).
For the other pictures executed by Pontormo for Borgherini,
see under Panshanger.
Condition: excellent.
Date: 1518-1519.
Drawing Berenson thinks that Uffizi 6537 is a study for the drapery of
:
the right arm of the figure to the extreme left. I do not feel that the identifi-
cation is convincing. In the Louvre there is a poor pen and ink drawing
(No. 1725), ascribed to Andrea but really dating from about 1575, which
is a copy by an unknown hand of the present composition.
op. cit., II, 98; Cook, Handbook, I, 32; Descriptive Catalogue of the National
Gallery, 1906, p. 457 idem, 81st ed., 1913, pp. 554 f. Graves, Loan Exhibi-
; ;
tions, II, 942 Art Sales, 1888, II Miintz, Renaissance, Paris, 1895, III, 499
; ;
LUCCA
Pinacoteca
a greyish table placed to the left on which his right hand rests, his left hand
on his hip. He is beardless and has bushy auburn hair and brown eyes. He
wears a dark green coat with sleeves of the same colour over which is thrown
an ample light red mantle at his neck a white shirt and collar show his hat
; ;
MILAN
Collection of Prince Trivulzio
of which are encased in metal tips about the waist, a tight, narrow belt tied
;
with a bow in front; about the hips a broad, black, buckled sword-belt which
hangs lower on his left side. Light background.
Oil on wood.
Ed . .
Torre in alto f o og . . . . . .
fiamma mai
Ti ama neve .... io mi
Opiacer onde Pali al bel uer ergo
Che luce soura quanti il sol ne . .
Date: 1521-1522.
Reprod. Fig. 48 ;
photo. Anderson 12840.
OLDENBURG
Augusteum
19. PORTRAIT OF A LADY
Three-quarter length. She is seated, almost facing, in an arm chair of
reddish wood, her hazel eyes looking straight at the spectator; her auburn
hair is enclosed in a net. She wears a green velvet dress cut low at the neck,
the sleeves tied to the bodice with little bows the ends of which are encased
in gold work; a decolletee chemisette of embroidered white linen with an
open turned down collar; white ruffles at the wrists. In her hair, a circlet
of chased beads of gold, a pearl necklace at her throat, a gold chain hanging
from her shoulders; around her waist, a heavy gold chain ending in a tassel
which she holds with the first and little fingers of her left hand on the third ;
finger of the same hand, a ring with a green stone. Her right elbow rests
on a light reddish yellow octagonal table ornamented with black arabesques;
the fingers of her right hand keep her place in a small book which lies on the
table it is bound in red leather, tooled in gold with two red ribbons instead
;
161
PONTORMO
same, seen in shadow, is draped across the upper right-hand corner of the
picture.
Oil on wood. Oval ; h. 1.12, w. .83.
Date: 1535-1545.
Reprod. Fig. 129; photo. Oncken; Bredius und Schmidt-Degener, Die
Grossherzogliche Gemalde-galerie im Augusteum zu Oldenburg, Oldenburg,
1906, pi. VIII.
Bibl. Catalogue cited above, p. 8 ; Kurzes Verzeichnis, p. 3 ; B. F. P. R.,
p. 176.
PANSHANGER
Collection of Lady Desborough
left, dark yellowish pink; blond figure behind the latter, darkest red; figure
on the left kneeling profile right, red shirt, light blue sleeves, purplish yellow
skirt; figure on dais (Joseph), dark reddish pink, grey sleeves, blue skirt.
In the group before Joseph, beginning with figure farthest back and farthest
to the left dark blue and red figure to the latter 's right, white sleeves, dark
: ;
yellow mantle blond figure bowed low in front of last mentioned figure,
;
blue mantle figure kneeling nearly profile left with hands crossed on breast,
;
white sleeves, sage-green skirt; two little figures farther back seen over the
latter 's shoulders, dark yellow and dark red; blond figure in foreground
seen three-quarters from behind, blue shirt, white sleeves, reddish pink
mantle old man behind him, green tunic, purplish red mantle bowed figure
; ;
with hands covering his eyes, yellow mantle, greyish purple tunic; blond
youth seen just above the latter and standing profile left, purplish mantle,
white sleeves; three men to the right of the latter figure, yellow and white,
purplish grey and dark pink; figure next to right in background, dark pink;
162
AUTHENTIC PICTUKES
statue, grey-green; figure with sack seated on the steps, yellow, pink tunic;
sack, white-yellow; blond figure descending steps with a sack on shoulder,
grey-white tunic boy walking left in front of steps, light blue figure seated
; ;
on the parapet above him and seen from behind, dark green, pinkish red, light
red cap figure next to right, dark pinkish red figure with an ass beside
; ;
him, dark yellowish pink the banner, grey. The foreground is dark yellowish
;
brown, the stone grey-green and yellowish purple, the landscape and sky,
dark grey-green and blue-green. On the dais: ECCE| SALUS| MUD; on
the pedestal to the right: VNITIO| RI TI TI; on the banner: ECCE|
. . .
SALVATOR| MUNDI.
Oil on wood. H. .35, w. .42.
163
PONTORMO
believed to be by Pontormo but which are
by Granacci. really
See "Joseph in Egypt," under National Gallery, London.
the steps to the right, Uffizi 6692 (fig. 25; photo. F. M. C).
Document Archivio di Stato, Depositeria Generale Recapiti di cassa,
: :
filza 995.
p. 393; Crowe and Cavalcaselle, ed. Dent, III, 513; ed. Murray, VI, 202;
Graves, Century of Loan Exhibitions, III, 1197; Exhibition of Old Masters,
Grafton Galleries, 1911, p. 50 Fry and Brockwell, Catalogue of an Exhibition
;
of Old Masters, 1911, p. 36 Phillips, Art Journal, 1906, p. 1 Dessins, 34, 39,
; ;
a dark green sleeve, white head-dress and scarf; the old man seated profile
left wears a light blue turban, yellowish pink mantle and reddish pink
drapery. The table-cloth is grey-white, the column and statue, purplish grey.
In the group, second plane to right blond figure to extreme right, bluish
:
white sleeves and shirt, pinkish stockings the baker, faded pink shirt, greyish
;
white sleeves and stockings the tall prominent figure behind the latter, yellow
;
shirt, yellowish stockings with pinkish lights in them. In the group on the
steps: the first figure to the left (kneeling), light pink mantle, white sleeves
and waist-band, yellowish white vest, pink stockings; the figure that seizes
the latter, green sleeves; the lower of the two figures descending the steps,
dark violet mantle, greyish white legs; uppermost figure on the steps is
blond and wears yellowish white shirt and pinkish tights. Figures in the
door of the room above figure on the left, blue vest and red legs figure lying
: ;
down, dark greyish pink; figure to the right, reddish yellow shirt, reddish
stockings. The walls are grey-green, the stairs a lighter tone of the same
colour, the pilasters, purplish grey, the ground, grey-green.
Oil on wood. H. .58, w. .50.
164
AUTHENTIC PICTURES
ascribed to Andrea; by Crowe and Cavalcaselle (III, 585),
followed by Hutton, Phillips, Berenson and others, correctly
to Pontormo. Waagen thought that the subject was perhaps
"Saint Koch Distributing Alms," but the episode that the
picture really illustrates found in Genesis, xxxvii, 36. is to be
Phillips considers this and the following panel to be in " a style
of portentous exaggeration ... an energetic, arrogant, self-
conscious manner," and adds that "they are identical in style
with 'Joseph in Egypt' of the National Gallery and may well
belong to the same series. '
It is, of course, perfectly clear that,'
Condition excellent.:
Date: 1517-1518.
Drawing
for one of the figures descending the stairs, a study
: from the
nude, Uffizi 6690 (fig. 29; photo. Houghton).
Reprod. Fig. 27.
Bibl. Vasari, V, 343 ; Waagen, Treasures of Art, 1854, III, 12
VI, 261 ;
Graves, op. cit., II, 942; Crowe and Cavalcaselle, 1864-1866, III, 585; Fry
and Brockwell, catalogue cited, p. 36 ; Phillips, Daily Telegraph, October 18,
1911 ; B. F. P. R., p. 176 ; Dessins, 34, 39, 67, 237, 256.
of "Charity."
The colour-composition is somewhat as follows: youth on horseback to
left, pinkish red robe and cap man behind him on horseback, red shirt, blue
;
mantle, grey-blue cap youth in foreground left, with his back turned,
;
blond hair, light yellow jacket, pink stockings; figure beside him bending
down, yellow shirt, violet stockings; man behind the latter figure, red shirt,
blue mantle, grey-blue cap boy in foreground profile right, yellow-grey
;
tunic; youth whose head and shoulders show above the latter, yellowish
orange tunic figure in second plane behind the latter, dark violet tunic old
; ;
man in foreground right, facing left, yellow shirt, pinkish mantle, white
head-dress; child to his right, pinkish red drapery; figure above the latter,
blue, with violet-grey cap. In the background: figure to extreme left, dark
violet; figure seen through the left window, red and brown; two figures on
horseback, palest blue and violet-brown; figure in the portal, violet-brown;
old man walking to right, pale blue tunic, light violet cap man descending ;
165
PONTORMO
steps,green statue, grey- white old man descending steps in front of statue,
; ;
pinkish red vest, green drapery, violet stockings; boy walking away to right
behind the parapet, yellow-grey cloak. The foreground and background,
grey-green with here and there purplish lights.
Oil on wood. H. .58, w. .50.
Condition : excellent.
Date 1517-1518. :
Drawings: sketch of the lower part of the figure descending the upper
stairs to the right, Uffizi 6556 (fig. 31 photo. F. M. C.) study for the youth
; ;
who walks away to the right on the marble terrace to the right, Uffizi 6692
verso (fig. 32; photo. F. M. C).
Reprod. Fig. 30.
Bibl. See preceding and Catalogue of an Exhibition of Old Masters,
Grafton Galleries, p. 38 f. Dessins, 34, 39, 67, 83, 239, 256.
;
Condition : excellent.
Date: 1525-1530.
Reprod. Photo. Braun 37398 by Gamba cited below.
; fig., article
Bibl. Waagen, Treasures of Art, 1854, III, 11 Crowe and Cavalcaselle, ;
1864-1866, III, 585; idem, ed. Dent, III, 513; idem, ed. Murray, VI, 201;
Catalogue of the National Loan Exhibition, London, 1910, p. 96 Catalogue ;
of the National Loan Exhibition, Ballantyne & Co., p. 64; Gamba, Di alcuni
ritratti di Puligo, Rivista d'arte, VI (1909), 280; B. F. P. R., p. 176.
166
AUTHENTIC PICTURES
PARIS
Jacquemart -Andre Collection
PORTRAIT OF A LADY
Half-length; turned three-quarters left; she looks at spectator. In
her left hand, a book which lies on a table to the left, her second finger between
the leaves her right hand half closed, the index finger pointing towards the
;
spectator. She wears a dark dress; over her head and shoulders, a double
white veil. On the violet-brown table, a handkerchief to the extreme left one ;
sees the head and forepaws of a little brown and white dog. Dark olive-green
background.
'
right side and along the top along the left side the paint has peeled for
;
Louvre
1240. HOLY FAMILY
In the centre, the Virgin seated, three-quarters to right, her head three-
quarters left, in the lap of St. Anne who is seen full face. The Madonna
holds against her right shoulder the Infant Jesus who stands full face on
her knee. His head is turned three-quarters right; he looks at the Madonna.
Under this central group, clouds. On either side, standing figures: to the
left and above, St. Sebastian, his head profile right, his neck pierced by an
arrow; he holds a palm; below in the foreground, St. Peter, three-quarters
right, holding in his right hand the keys; to the right, above, the penitent
thief, profile left, holding a large cross in the foreground below, St. Benedict,
;
profile left, who points with his left hand to the Christ Child. Below the
clouds at the Madonna's feet, a medallion of small figures the Signoria of —
Florence proceeding with trumpeters, mace-bearers, and " tavolaccini " to the
convent of St. Anne.
The Madonna wears a red tunic and mauve head-dress; a green-blue
mantle falls about her knees. St. Anne's head-dress is white of a violet tone,
her mantle a grey-lavender. St. Sebastian has light brown hair and wears
a dark mauve mantle. St. Peter is dressed in a blue-green shirt and light
167
PONTORMO
red mantle the penitent thief in a red mantle St. Benedict in a grey mantle.
; ;
Vasari (VI, 272 f.) states that the officers of the Signoria
ordered this altar-piece for the nuns of St. Anne in Verzaia,
whose convent (founded in 1318) was once outside the San
Frediano gate. His statement explains the medallion at the
feet of the Virgin. The members of the Signoria went
annually (Richa, IV, 222) in solemn procession to this convent
on the 26th of July in commemoration of the successful rebellion
of the people against the tyrant Gualtieri of Brienne, Duke of
Athens. The revolt began on the 26th of July, 1343. Milanesi
refers to this fact. A misinterpretation of his note on our
panel would seem to have led certain critics to give its date as
1543 (Berenson, F. P. R., p. 176; Seymour de Ricci, Description,
p. 43; Goldschmidt, op. cit., p. 47). Conte Gamba erroneously
places it in 1524 (D. G. U., p. 3). It was painted, however, in
the years immediately preceding the downfall of the Republic,
probably in 1528. After leaving their original convent the nuns
occupied successively several buildings (Cronica di Buonac-
corso Pitti, p. 4, note) among them those of the hospital of
Sant' Eusebio de' lebbrosi sul Prato where Richa saw our
picture on the main altar of the church called then Sant' Anna
sul Prato. It was brought to the Louvre by Napoleon. The
composition, which Gamba finds ammucchiata, " recalls, in
'
'
the central group, Leonardo's " Madonna and St. Anne" of the
Louvre and, in the standing saints, many of Fra Bartolommeo 's
larger pictures. The St. Sebastian resembles the Sebastian
from Diirer's workshop, now in the archbishop's palace at Ober
St. Veit near Vienna.
Drawings: a finished, squared study, in pen and bistre, for the whole
composition, Uffizi 460 (fig. 105; photo. Braun, Florence 133 and F. M. C.
B. F. D., pi. CLXXI). In the same collection (No. 13890, photo. Pini 1322)
there is a late sixteenth century copy (h. .271, w. .197) of this drawing. It
168
AUTHENTIC PICTURES
is pen and bistre. Berenson (B. F. D., I, 320; II, 150) considers
also in
Uffizi 6681 to be a study for the Madonna's head. In my opinion this latter
drawing is a sketch by Bronzino after a lost picture by Pontormo for which
Uffizi 6729 is perhaps the original study.
Documents: The books of the Signoria for the period from which this
panel dates have perished.
Reprod. Fig. 104 ;
photo. Braun 11240 Landon, VI,
; pi. XX.
Bibl.Vasari,VI, 272 f Richa, IV, 220 ff.; Borghini, II Riposo, ed.
.
;
1730, p. 484 Notice des tableaux des ecoles primitives, 1814, No. 96, p. 81
;
Filhol, XVI, 21-24 Catalogue Villot, No. 157, p. 92 Catalogue Tauzia, No.
; ;
142 Notice des tableaux exposes dans la galerie du Musee royal, Paris, 1826,
;
35, 40, 56, 71, 97, 103, 104, 115, 160, 163, 230, 284, 342.
169
PONTORMO
Reprod. Fig. 10 engraved by Potrel photo. Braun 11241 Filhol, II,
;
;
;
pi. 83; Landon, VI, pi. 21; Vasari, trans, de Vere, VII, 174 (in colour).
Bibl. du Musee Napoleon, XVI, 21-24 Catalogue Villot,
Filhol, Galerie ;
No. 158, p. 93; Catalogue Tauzia, No. 143; Lepicie, I, 47; Engerand, Inven-
taire, I, 37 Notice des tableaux du Musee royal, pp. 218 f
; Muntz, Renais- .
;
PHILADELPHIA
Johnson Collection
with lappets. The background is a wall and door ajar; to the extreme left
it is a rich brown melting into dark grey, behind the head dark red and,
where the door stands open, light grey.
Oil on wood. H. .97, w. .79.
170
AUTHENTIC PICTURES
description of Pontormo's portrait of Alessandro, reprinted it
in the Rivista d' arte, although he was unaware that the portrait
still survives. From it we learn several new facts. Our por-
trait was painted, would seem, in Palazzo Pazzi just after
it
171
PONTORMO
«
DUX •
I •
LAURENS F Bronzino's portrait of the Duke, its
• •
replicas and its copy are all derived from the present panel
which is also the prototype of Vasari's likeness of Alessandro
in the fresco of "Clement Crowning Charles V," Sala di
Clemente VII, in the Palazzo Vecchio (photo. Alinari 4429).
The date of our portrait falls in the interval between the death
of Clement and the assassination of Alessandro. But these
terminal dates are brought nearer together by two additional
facts: the Duke is represented in mourning and Vasari dis-
tinctly states that the panel was contemporaneous with the
" Venus and Cupid." It can, therefore, only have been painted
in the autumn of 1534 or in the spring of 1535. From an
iconographical point of view it is an important document and
will serve as a criterion with which we may compare other
likenesses of the Duke. These are not very numerous. A
portrait (No. 96) described as " Alexandre de Medicis" (h. 17,
w. 13 in.), ascribed to Bronzino and once in the Nesselrode
Collection, was sold at the Fifth Avenue Art Galleries on April
6, 1911. It had formed part of the Brandus Galleries and passed
Medailleurs italiens, 2 e ed., I, 141, 147, 151, 157 II, 150, 151 ;
where the panel has shrunk but the paint has not been seriously broken,
although cracked here and there.
Date: 1534-1535.
Document: A. S. F., Carteggio mediceo del Principato, filza 567, c. 187
and 225.
Reprod. Fig. 124. Battista Franco made a copy of this portrait which
has been lost (VI, 575) ; fig.,Johnson Catalogue, p. 283; fig., Rassegna d' arte,
article cited below.
Bibl. Vasari, VI, 278, 575; VII, 657; Gualandi, Nuova raccolta di
lettere, (1856), 62 f.; Carnasecchi, Rivista d'arte,
III V
(1909), No. 1;
F. M. Clapp, Rassegna d'arte, XIII (1913), 63-66; Frizzoni, La Galleria
Morelli in Bergamo, Bergamo, 1892, p. 19; Archivio storico, (1893), 222; V
Johnson Catalogue, p. 45.
POGGIO A CAJANO
The Great Hall in the Royal Villa
from right to left, her back turned; her complexion is pale; she wears a
light blue head-dress, a grey-violet dress, a red drapery across her arms,
173
PONTORMO
her white under-sleeves rolled up at the elbows. To the right, a woman
reclining from right to left facing; she has an olive complexion and light
brown hair in which a violet bow and she wears an olive-green dress with
white scarf and violet sleeves; her left elbow rests on an orange drapery.
Right half of the lunette, upper parapet to the left, a nude child with blond
:
hair seated facing, his right foot on the parapet, his left leg hanging down;
he holds up, by a light blue ribbon, the great garland of green leaves and
golden fruit which passes under the bull's-eye and of which the other end
is held up by the nude boy, on the same parapet, on the other side of the
lunette. To the extreme right, on the upper parapet, a woman seated astride
of the wall, her right arm extended downward at her side, her hand upon
the parapet, her left arm raised, her hand grasping a laurel branch; she is
fair and wears a red dress with light blue sleeves, a white kerchief and white
head-dress.
Left half of the lunette, lower parapet: a youth seated facing on an
orange drapery, his legs extended to the right; he supports himself on his
right hand, his left hand grasping the handle of a basket; he is dressed in
a light mauve tunic with white under-sleeves and green leggings at his waist ;
a grey wallet; to his left, a light orange-coloured dog. To the extreme left,
an old peasant seated nearly full face, his legs drawn up in front of him,
his left hand on his right knee, his right hand on a basket which is placed
to his right; he is dark complexioned and wears a yellow jacket and white
under-shirt that falls between his knees. Left half of the lunette, upper
parapet: a nude blond boy turned slightly to the left and seated astride of
the parapet; his right hand rests on the top of the wall beside him, his left,
extended downward, holds the pale blue ribbon of the garland that passes
under the bull 's-eye. To the left, a nude youth seated on the parapet against
a green bush; his legs are spread apart and his body bent back to the left;
his right elbow rests on top of the wall beside him, his left hand is raised
to a laurel branch above his head he has brown curly hair under him there
; ;
is a violet drapery, one end of which he holds up in his left hand. At the
top of the bull's-eye to right and left, a "putto" seated on laurel branches
that spring from the upper circumference of the window. The "putto," to
the left, holds an ensign on which, letters now illegible; the "putto," to the
right, holds a standard on which :I V P P.
•
On a decorative cartouche
• •
dim mountains and clouds seen through a pale blue-violet summer haze.
Fresco. Lunette, h. 4.61, w. 9.90. The bull's-eye with its decorative
frame is 3.20 in diameter.
175
PONTORMO
beyond preparing his cartoons, which later passed in part
into the possession of Lodovico Capponi. These represented
"Hercules and Anteus," "Venus and Adonis," and "Nudes
Playing at Calcio." A large drawing (completely ruined) for
the latter cartoon (No. 13861).
is now
The in the Uffizi
decoration of the Hall was finally finished by Alessandro Allori
to whom in great part its present appearance is due.
settembre come e restata finita la sala del Palazzo del Poggio a Caiano detto
il Salone, luogo di S. A. S. doue ho lavorato piu mesi in diuersi tempi auendo
rifatto molte braccia e lauato e netto tutto quello che ui era fatto sino a tempo
di papa Leone X; e ui lauoro Andrea del Sarto, Jacopo da Puntormo, e
Francesco Bigio ... La pittura che fece m° Jacopo da Puntormo fu uno
;
arco sopra la porta e finestre che guardano verso Firenze, il quale ho rinetto
'
e lauato e rifatto 1
' aria.
Date 1519-1521.
:
for the same, Uffizi 6660 verso (fig. 53; photo. Houghton; fig., Vita d' arte, 57,
p. 6) Uffizi 6742 verso (photo. F. M. C).
;
For individual figures; right half of the lunette, lower parapet: first
idea for the woman to the left, Uffizi 6557 (fig. 54 photo. Houghton F. M. C.
;
;
D. G. U., pi. IX) finished study for the same, Uffizi 6673 recto (fig. 55;
;
photo. Houghton) for the woman to the right, sketches for the whole figure,
;
Uffizi 6515 verso (fig. 57; photo. F. M. C.) Uffizi 6514 (fig. 56; photo. ;
Houghton; F. M. C.) Uffizi 6544 (fig. 59; photo. Houghton); Uffizi 6555
;
(fig. 60; photo. Houghton) finished study, Uffizi 6673 verso (fig. 58; photo.
;
F. M. C.) first ideas for the boy to the left, upper parapet, Uffizi 6512;
;
Uffizi 6646 (fig. 65; photo. Houghton) Uffizi 6669 recto and verso (figs. 67
;
and 68; photo. Houghton; F. M. C.) Uffizi 8976 recto (fig. Vita d''arte, 57,
;
pi. II) 8976 verso (idem, pi. VIII) first ideas for the woman to the right,
; ;
upper parapet, Corsini 124243 verso (photo. F. M. C.) Uffizi 6557 (photo. ;
Houghton F. M. C. D. G. U., pi. IX) first thought for the head and shoulders
; ; ;
of the same, Uffizi 6632 (photo. Houghton; Pini; D. G. U., pi. II) possible ;
first idea for the drapery of the same, Uffizi 6667 verso first thought for the ;
drapery, Uffizi 6437 recto and verso; study for the folds of the drapery,
Uffizi 6519 verso; finished study for the drapery, Uffizi 6530 (photo. Hough-
ton) sketch for the right leg, Uffizi 6728 verso; first thought for the whole
;
figure, Uffizi 6662 verso (fig. 62; photo. F. M. C.) finished study for the ;
upper part of the figure, Uffizi 6531 (fig. 63; photo. Houghton); finished
study for the head, Uffizi 6547 (fig. 64; photo. F. M. C.) first ideas for the ;
"putto" to the right above the bull's-eye, Corsini 124240 (photo. F. M. C.) ;
176
AUTHENTIC PICTURES
Uffizi 6660 (photo. Houghton; F. M. C. ; fig., Vita d' arte, 57, p. 9) ;
jotting
for the head of same, Uffizi 6728 verso.
Left half of the lunette, lower parapet: study for the arm of the youth
to the right, Uffizi6559 recto (fig. 70; photo. F. M. C.) possible first thoughts ;
for the peasant (Vertumnus) to the left, Uffizi 6515 (photo. Houghton;
F. M. C.) Uffizi 6599 (photo. Houghton) Uffizi 6685 recto (fig. 71; photo.
; ;
Houghton) Uffizi 6685 verso; first thoughts for the same, Uffizi 6530 verso
;
head, Uffizi 6579 (fig. 72; photo. Houghton) finished study for the boy to ;
the right, upper parapet, Uffizi 6651 (fig. 69; photo. Houghton); possible
first thoughts for the youth to the left, upper parapet, Uffizi 6632 (photo.
Houghton; Pini; D. G. U., pi. II) Uffizi 6634 (photo. Pini) first idea for
; ;
the "putto" to the left over the bull's-eye, Uffizi 6660 (photo. Houghton;
F. M. C. fig., Vita d' arte, 57, p. 9) sketches for the same, Uffizi 6511 and
; ;
6559 verso study for the same, Uffizi 6661 (fig. 66; photo. Houghton).
;
Allegrini, Pitture, Firenze, 1751 B. F. D., I, 310-312, 314, n., 316, 317 II
; ;
138, 139, 140, 141, 142, 143, 144, 145, 146, 148, 149, 150, 153 B. F. P. R., p ;
175 Alessandro Allori, Ricordi, 28 f. Dessins, 20, 34, 39, 55, 56, 68, 98, 99, 100
; ;
101, 114, 123, 124, 125, 128, 131, 135, 136, 138, 141, 142, 144
118, 121, 122,
146, 147, 154, 155, 165, 171, 173, 175, 176, 177, 180, 181, 185
151, 152, 153,
186, 195, 206, 207, 212, 213, 214, 215, 218, 220, 221, 224, 227
196, 197, 203,
232, 233, 264, 270, 271, 272, 273, 278, 282, 283, 292, 307, 328
236, 261, 262,
329 On Certain Drawings, 8 f., 20 f. Jacobsen, Repertorium, XXI, 282 Di
; ; ;
Pietro, Due disegni di Jacopo da Pontormo, Vita d' arte, 57, 1912; D. G. U.,
p. 2.
PONTORMO
San Michele
ST. MICHAEL
Full-length turned three-quarters right head three-quarters left the
; ; ;
eyes look at the spectator; weight on left leg, the right leg bent, the foot
resting on the shoulder of a "putto" seated on the ground. In the saint's
left hand, a pair of balances in his raised right hand, a broad sword behind
; ;
him one dimly sees his great grey-white wings. He wears a greenish silvery
cuirass, cubitiere, grey purplish chausses, orange-yellow greaves, and a purplish
grey drapery which passes over the left shoulder and across the waist; his
white tunic puffed at the shoulder is visible on the right arm. He has dark
brown, curly hair. The "putto" seated between his feet is turned three-
quarters right; his right arm extended at his side, his left hand extended up
and to the right holding a globe; his right leg bent, his left extended right;
his head inclined on his left shoulder, the eyes looking up. Dark background.
Oil on wood covered with a thin layer of "gesso." H. 1.80, w. (at
bottom) .55; (at top) .70.
177
PONTORMO
Mentioned by Vasari panel which
(VI, 259). This
occupies the space to the right of the shrine is a pendant to
the following which occupies the space to the left. Originally
on the altar of the Madonna.
Date: 1518-1519.
Drawings: finished study for the legs of the saint, Uffizi 6506 (fig. 40;
photo. Pini; Houghton; Perazzi; F. M. C. fig., Rivista d' arte, III, 149);
;
the right foot is studied again on the same sheet; the hands of the saint are
sketched on Uffizi 6571 (fig. 37; photo. F. M. C.) for which, see the following.
Documents: The earliest books of this parish that now remain in the
church date from 1664; the earliest in the Florentine Archives, from 1533.
The church belonged to Santo Stefano dei Cavalieri di Pisa. Perhaps among
the records of the latter church, some of which are in the Archives of Pisa,
documentary evidence about this picture might be found.
Reprod. Fig. 36; photo. Perazzi; fig., article cited below.
Bibl. Vasari, VI, 259 Odoardo H. Giglioli, II San Giovanni Evange-
;
on the right shoulder the eyes gaze up and left weight on right leg, the left
; ;
crossed over the right, the toes only of the foot resting on the ground; the
right arm bent and raised to a large tablet on which he writes with a quill.
He is bald and wears a long white beard. He is dressed in a tunic and
voluminous dark green mantle gathered in great folds about the hips; the
lining of this mantle is red a white tunic shows at the wrists. Background,
;
grey-green.
Oil on wood covered with a thin layer of "gesso." H. 1.80, w. (at
bottom) .55, (at top) .70.
Condition :chipped here and there along the edges and on the robe
and feet; darkened with varnish and smoke. The panel has been cut down
to fit the space to the left of a seventeenth century carved and gilded frame
of the altar-shrine; part of the tablet, right hand and left side of the figure
were sacrificed on that occasion.
178
AUTHENTIC PICTURES
Date : 1518-1519.
Drawing:finished study for the whole figure, Uffizi 6571 (fig. 37; photo.
F. M. C; Rivista d''arte, III, 148; D. G. U., pi. I). On the same sheet
fig.,
one finds a study that Berenson believes to be for the left hand of our St.
John. It is, however, for the left hand of St. Michael cf the preceding. ; .
ROME
Galleria Borghese
75. LUCRETIA
Bust figure, the shoulders almost full face, the head turned three-
quarters right. She has an olive complexion, dark auburn hair with golden
lights, almost black eyes, lips delicately tinted. dull green drapery is A
thrown over her left shoulder. She wears an elaborate head-dress of gilded
bronze with golden lights. On the left side of this ornament one can trace
a pattern of black enamel or inlaid steel; at the top two "putti" support a
medallion on which is a little pyramid. In her left hand she holds upright a
damascened dagger with a bronze handle and a steel blade. The background
is greenish black. In the lower right corner, the inventory number 420.
Oil on slate. H. .56, w. .43.
Condition : damaged here and there ; on the hand some of the ' ;
impasto '
has fallen.
Date 1529-1530.
:
179
PONTORMO
408. PORTRAIT OF CARDINAL SPANNOCCHI CERVINI
Three-quarter length. He is seated in a Dante chair and is turned
three-quarters left; he has curly dark brown hair and beard and is growing
bald he wears a scarlet watered silk robe and cape, his purple cassock showing
;
at neck and wrists, embroidered white sleeves and white collar; on his head
a scarlet biretta. In front of him, a table covered with a carpet of black and
yellow arabesques on a red ground and bordered with a black and white
pattern picked out in yellow, red, and green in his hands, resting on the
;
table before him, he holds a book on which is inscribed at the top of the page
and half hidden by his thumb: JP°| ...MO; farther down the page one
perceives a large andK VNA
M, but the rest is illegible. On the upper
. . .
part of the opposite page one reads: MARIO (?). To the right of the book
a silver bell with figures —
a Charity and a Pelican —
in relief and a red
woven handle ending in three tassels. Behind the sitter, to the left, the wall
of the room is made up of small black panels, framed in light wood, with a
small pattern in "tarsia" or in Spanish stamped leather on which is repeated
three times the arms of the Spannocchi of Siena and of the Cervini. Above
these panels, the grey-green stone cornice of the room. On the right in the
background, a Renaissance cupboard with pediment, ionic pilasters surmounted
by masques, four drawers and two doors.
Oil on wood. H. 1.03, w. .84.
180
AUTHENTIC PICTURES
Trent — a position that he seems to have held until 1547. He
was electedpope on April 9, 1555. This portrait was probably
painted in Rome between 1540, when Cervini returned from his
diplomatic missions, and 1545 when he left Rome for Trent.
That Pontormo was in Rome during these years we know from
various drawings of Roman antiquities which bear his hand-
writing and are now in the Louvre. The realism of the back-
ground indicates the interior of a Spannocchi or a Cervini
palace. Venturi correctly places this panel about 1540. He
notes that Passavant, recalling La descrizione di Roma moderna,
1727, p. 497, thought it to be a portrait of a Cardinal Borgia,
although he was in doubt whether it represented Pietro
Ludovico, cardinal of Santa Maria in Via Lata, or Francesco
Borgia. Both were created cardinals in 1500 by Alessandro VI.
But the technique of the portrait makes Passavant 's supposition
quite untenable, since the former died in 1512 and the latter
in 1511. Moreover, the church did not allow its functionaries
to wear beards until 1527. Passavant drew attention to the
Turkish carpet which covers the table, finding it similar to the
,,
table-cover that one sees in Raphael's "Portrait of Inghirami.
This carpet has also been more recently identified, and not too
convincingly, with a Turkish rug in the collection of von Tucker,
once Bavarian minister to the Quirinal. Crowe and Cavalcaselle
felt that the head and hands recall Raphael, but they found that
the colouring, especially the red, was not his. They gave the
picture to Pierin del Vaga.
181
PONTORMO
Galleria Corsini
He has a pale complexion and dark eyes, scant brown beard and darker hair;
he wears a black coat with a soft linen collar embroidered in yellow. The
background, dark olive-grey across the upper left corner of which the folds
of a curtain sweep.
Oil on wood. H. .63, w. .46.
Palazzo Barberini
182
DESIGNS FOR TAPESTRIES
smoke rise from the altar. On the lower left side of the panel : F. 16. On the
back, an illegible note in ink.
Oil on wood. H. .79, w. .62.
Condition : excellent.
Date 1530-1531.
:
Reprod. Photo. F. M. C.
Bibl. Vasari, VI, 275; Lafenestre, Rome, p. 150; Morelli, Borghese and
Doria Pamfili Galleries, 1900, p. 30 Goldschmidt, op. cit., p. 55 B. P. P. R.,
; ;
Palazzo Quirinale
her two hands extended on either side she holds up the bloody cloth. In
the background, a hillock over which the heads of various spectators are
visible. To the right, a tree; in the middle ground, above and to the left, a
smaller tree in the extreme foreground, various plants. The border consists,
;
at the top, of fruit, with masks at either upper corner on either side, bunches
;
183
PONTORMO
of fruit and leaves with two "putti" who gather them, seated astride of
terms; below these, masks and flowers; along the bottom of the border, a
garland of fruit.
of the Duke and the weavers caused the latter to forego further
participation in this enterprise ?
Date: 1546-1553.
Drawing: for the figure seen from behind to the extreme right (reversed),
Uffizi 6593 (fig. 135; photo. F. M. C).
Documents. See above and the preceding two numbers.
Reprod. Fig. 134; fig., article cited above.
Bibl. See above and the preceding also Dessins, pp. 35,
; 74, 172, 173.
187
PONTORMO
VIENNA
Belvedere
Condition good a vertical crack between the boards on the right side
: ;
a small piece added on the right and at the bottom; slightly restored here
and there.
Date: 1550-1556.
Reprod. Fig. 150; photo. Bruckmann, 1905.
Bibl. Catalogues of 1895 and 1896, p. 21; of 1907, p. 16; Engerth,
Verzeichnis, p. 294; Voss, Zeitschrift f. bildende Kunst, 1912, p. 44, n. Crowe;
and Cavalcaselle, ed. Hutton, III, 509; ed. Borenius, VI, 196; B. F. P. R.,
p. 177.
YERKES COLLECTION
PORTRAIT OF A YOUNG WOMAN
Half-length seated in an arm chair before a table, she is turned three-
;
quarters to the left and looks at the spectator. Her hair is bound in an
ornamental gold net and she wears a crimson gown cut low with large puffed
sleeves, a white lace chemisette open at the throat and, at her wrists, frills.
She has a ring on the ring-finger of her left hand and on the forefinger of
188
AUTHENTIC PICTURES
her right hand, and round her neck, a small gold chain. The table is covered
with a red cloth on which lies an open book in which one reads: CANTO at
the head of two pages of illegible verse printed in two columns of four stanzas
each to the page, each stanza consisting of eight lines; at the further end of
the table lies a bunch of carnations ( ?). Her right hand rests on the right-
hand page, her left on the corner of the table. Behind her, a looped-up
curtain.
Oil on wood. H. 1.40, w. .67. (Catalogue gives h. 35^ in., w. 26| in.)
Condition slightly damaged a small piece has been added at the top.
: ;
Date: 1534-1545.
Reprod. Fig. 131 fig., catalogue de luxe cited below.
;
189
CATALOGUE RAISONNE
OF
PICTURES ATTRIBUTED TO PONTORMO
CATALOGUE RAISONNE
OF
PICTURES ATTRIBUTED TO PONTORMO
ALNWICK CASTLE
Collection of the Duke of Northumberland
Bibl. Crowe and Cavalcaselle, ed. Hutton, 1911, III, 514; ed. Borenius, VI, 202.
ASSISI
ST. AGATHA
Medallion; bust figure, turned three-quarters to right; she looks at the spectator;
robe open at neck and trimmed with white frilling; scarf thrown over hair, a plait of
which falls over left shoulder; in her left hand, the pincers of her martyrdom.
Photo. Eeali.
ST. LUCIA
Medallion; bust figure, turned three-quarters to the left; she looks at spectator;
robe open at neck and edged with white; sleeve of lighter stuff; hair elaborately arranged
and bound with a ribbon; a plait falls over right shoulder; in her left hand, on a plate,
she holds her eyes.
Photo. Eeali.
193
PONTORMO
AVIGNON
Musee Calvet
516. YOUNG WOMAN DRESSING
Oil on wood. H. .75, w. .81.
BALTIMORE
Walters Collection
dark green at the top shading down into the same colour as the dress.
Oil on wood. H. 34£ in, w. 27£ in.
Bibl. The Walters Collection, p. 126.
BERGAMO
Pinacoteca Lochis
BERLIN
A Private Collection
MADONNA AND CHILD
Copy of the picture ascribed to Munich.
Pontormo in the Alte Pinakothek,
See also Boston Museum; Castello; Cenacolo di Foligno, Florence; Cook
Collection, London; Hampton Court; Collection of Mr. Vernon "Watney,
Cornbury Park, Oxford.
194
ATTRIBUTED PICTURES
BOLOGNA
Accademia
MADONNA AND CHILD
The Madonna, seen to the knees, stands behind a wall; she is turned slightly to the
right and holds the Christ Child about the waist with both hands and gazes down at him;
she wears an elaborate head-dress. The Child stands on the parapet and is seen from
behind, the head profile left. In the background, a landscape with, left and right, a slim
tree.
specimen. The long narrow ear, the carefully modelled nostril, the fulness
about the eye, the hard meagre folds of the drapery, speak eloquently for
Giuliano. This seems to be the picture that, in this collection, Berenson
ascribes to Franciabigio. Still other critics have suggested, it would seem,
that it was painted by Visino, the pupil of Albertinelli (Vasari, IV, 228).
Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 444; Cicerone, 2d ed., Leipzig, 1874,
III, 981.
BOSTON
Museum of Fine Arts
MADONNA AND CHILD
Oil on wood. H. 1.26, w. 1.03.
Lanini with a query. It is probably the work of Battista Naldini. The date
1561 appears on the paper which is held by St. Elizabeth.
BUDAPEST
Museum of Fine Arts
181 (491). HOLY FAMILY
In the centre: the Madonna seated on the ground, turned three-quarters left, her
head her eyes looking down, her right hand laid beside her, her left arm extended
full face,
at her side, the hand holding a swaddling-cloth against her left thigh. Her dress is open
at the neck, the sleeves turned back at the elbows; on her head, a scarf an end of which
hangs down on her right shoulder. Over her right shoulder a voluminous mantle is thrown
195
PONTORMO
which passes behind her back and falls to the ground in the right foreground. The Christ
Child is seated in her lap turned three-quarters to left; he holds in his lap a vase of
flowers; he looks down, his head bent forward; curly blond hair. In front of him to the
left, the little St. John seen from behind, turned three-quarters right; he kneels before
the Infant Jesus, his arms outstretched, having just presented to him the vase of flowers;
he has curly dark hair; a large scarf passes over his left shoulder and is tied in a large
knot on the right side, an end of it falling on the ground; in the foreground lie his bowl
and cross of reeds. To the left of the Virgin one sees the head and shoulders of St. Anne.
She is voluminously draped and turned three-quarters to right; she looks at the Madonna,
her right arm folded across her breast under her mantle. To the right of the Virgin, the
head and shoulders of Joseph, turned three-quarters left; he looks over the Madonna's
left shoulder at the little St. John; he is slightly bald and wears a beard. All the figures
except St. Joseph have haloes.
CASSEL
Royal Gallery
PORTRAIT OF A MAN
He stands almost full face beside a table on which his right arm and hand rest
holding his gloves; his head is turned three-quarters left, his eyes look at the spectator;
his left arm slightly bent hangs at his side, his thumb in his low belt; brown eyes, thick
short brown beard and moustache. His doublet of velvet (?) is covered with a light net-
like pattern; at the shoulders, small puffs; the collar high and edged with a white ruff;
sleeves, white. Around his waist, a narrow belt with a gold clasp; on his hip one sees
an elaborately chased sword-hilt. He wears a small black cap with a white feather at the
back. Background: lighter behind the figure than to the left.
Oil on canvas. H. 1.05, w. .78.
genuine example of the work of the Tudor painter, Gerlach Flicke. This
attribution is followed by Lionel Cust who believes that it was painted after
Flicke came under the influence of Clouet. The identity of the sitter has
also been the subject of considerable discussion. Justi thinks that it is a
196
ATTRIBUTED PICTURES
portrait of Garcilaso de la Vega. He finds that it resembles a portrait of the
soldier-poet in Valentin Carderera's Iconografia espanola (Madrid, 1855 and
1864, pi. 73) which has for its prototype an oil painting once in the possession
of the Onate and Count de Valencia de Don Juan. Garcilaso
later in that of
was a knight of the Alcantara Order, the insignia of which is worn by the
personage represented in both portraits. He was the second son of Garcilaso
de la Vega, Comendador of Leon, Lord of los Arcos and Cuerva. Born in
Toledo in 1503, he visited Italy, was present at the siege of Florence, was
killed in battle in 1536 and buried in S. Pedro Martir at Toledo.
Reprod. Photo. Hanfstaengl; fig., Burlington Magazine, XIX, 238; Die Meisterwerke
der konigl. Gemalde-galerie zu Cassel, p. 43; article by Justi cited below.
Bibl. Kurzes Verzeichnis der Gemalde in der koniglichen Galerie zu Cassel, 21st ed.,
Cassel, 1911, p. 38; Eatalog der konigl. Gemalde-galerie zu Cassel, p. 64; Mary F. S.
Hervey, Notes on a Tudor Painter: Gerlach Flicke, Burlington Magazine, XVII (1910),
71-79; Lionel Cust, On Two Portraits Attributed to Gerlach Flicke, Burlington Magazine,
XIX (1911), 239; Justi, Ein Bildnis des Dichters Garcilaso de la Vega, Jahrbuch d.
konigl. preuss. Kunstsamml., XIV
(1893), 177-190.
CITTA DI CASTELLO
Pinacoteca Comunale
DIJON
Musee
PRESENTATION IN THE TEMPLE
Composition of nineteen figures. To the right, the Virgin with crossed hands climbs
the temple stairs. Five steps lead to a stone terrace whence to the right other steps lead
back to a slate-coloured arcade, decorated with arabesques and garlands, where the High
Priest, his hands uplifted, stands. He is accompanied by four men ; to his right, a draped
man leans out of an arch ; to the left of the arcade under another arch, three more men
below these, a slab inscribed: M
Vc XXI. To the left and following the Virgin, three
women, four men and a little dog. In the foreground right, two men who gaze at the
Virgin; to the left, a crenelated gateway with towers through which we catch a glimpse
of the country-side; further to the left, tower and arches of a smaller arcade.
Oil on wood. H. .96, w. .81.
197
PONTORMO
Pontormo. however the work of a feeble and unknown imitator.
It is Given
to the Museum in 1822 by M. de Saint-Mesmin, the curator.
Date: 1521.
Bibl. Catalogue du Musee de Dijon, Collection Trimolet, Dijon, Dijon, 1883, p. 8.
DZIKOW
GALICIA
Tarnowski Collection
Condition : much repainted ; the panel seems to have been somewhat cut down.
Date: 1534-1545.
Eeprod. Photo. Bruckmann 1904.
Bibl. Sehulze, Bronzino, p. LXI; B. F. P. B., p. 174; C. Hofstede de Groot, Meister-
werke der Portratmalerei auf der Ausstellung im Haag, Miinchen, 1903, p. 5.
ENGLEWOOD
NEW JERSEY
Piatt Collection
PORTRAIT OF A MAN
Head only; turned three-quarters right. He wears a dark hat and looks at the
spectator. The colour is a misty grey with a suggestion in it of a subdued olive-green.
Oil on canvas.
198
ATTRIBUTED PICTURES
Unfinished but very lightly and firmly painted. Originally attributed to
Pontormo. The insistence on minor passages in the modelling and the obvious
naturalism of the intention speak for Salviati to whom both Berenson and
Mason Perkins have recently attributed this picture.
ERFURT
Stadtisches Museum
32. VENUS AND CUPID
Bibl. Eatalog der Gemalde des stadtischen Museums, Erfurt, 1909, p. 8.
FLORENCE
Academy
183. PIETA
The Christ is seated on the ground profile right, the head and shoulders thrown back
three-quarters right, his right arm extended at his side. Behind him, the Madonna seated
full face, head turned three-quarters left; she looks at the Christ; her right hand supports
his shoulders, her left is laid upon his left forearm. To the right the Magdalen kneels
facing; her head turned three-quarters left looks at the Christ; her right hand is laid on
his right knee, her left raised to her breast. In the background to the extreme left, the
hill of Calvary with crosses and trees; to the right, a little town in a valley and a wooded
hill; in the foreground, little plants. The drapery under Christ is a dark greyish green.
The Madonna wears a red tunic of which one sees the sleeves and, over her head, a brown
mantle at the edge of which there is a thread of gold. The Magdalen has light brown
hair; her bodice is dark yellow, her skirt brown, her mantle bright red. The landscape is
green and the distance dark blue.
Oil on wood. H. 1.15, w. 1.00.
repeated by Cruttwell, we have only to notice that in our "Pieta" St. John
does not appear. Berenson feels that we have here a Pontormo for which the
199
PONTORMO
drawing Uffizi 6611 is, in his opinion, a study (B. F. D., I, 321; II, 147), but
I am not convinced that any relation exists between the drawing and the
picture. The latter does not, in fact, seem to me to be either by Pontormo or
by Bronzino. The composition is clearly inspired by the "Pieta" ascribed to
Andrea, in Vienna, although there the Madonna is attended by two angels and
the Magdalen does not appear.
Condition: slightly damaged, especially in the upper right corner; darkened with old
varnishes; retouched here and there; a vertical crack down the centre of the panel.
Date: probably not earlier than 1534 nor later than 1545.
Documents: A. S. F., Archivio mediceo, Classe 22, Vol. 33, c. 13 and 78 (February
11, 1564) idem, c. 13 and 76 (January 27, 1564). I cite these documents on the authority
;
of Signor Giglioli who assures me that they refer to the present picture; I have been
unable to examine them.
Reprod. Photo. Alinari 1418; Braun 42573.
Bibl. B. F. D. I, 321; II, 147; B. F. P. R., p. 174; Pieraccini, Guida della S.
(
Galleria, p. 75 Cruttwell, Florentine Galleries, p. 264 ; Dessins, pp. 73, 185 ; Schulze,
;
Annunziata
ASSUMPTION
Milanesi in his chronological table of Andrea's work (V, 67) erroneously
states that Pontormo finished this composition for the painting of which
Andrea signed a contract on June 16, 1515. His error is repeated by Borenius
(Crowe and Cavalcaselle, Murray: London, 1914, VI, 177). The fresco is
of course by Rosso.
HOLY TRINITY
Fresco.
Bocchi records that this work was designed by Pontormo and executed
by Bronzino. He probably preserves in this statement some early tradition
in regard to this fresco which does not, however, show any trace either of
Pontormo 's design or of Bronzino 's touch.
Baciocchi Collection
200
ATTRIBUTED PICTURES
Casa Buonarotti
Cenacolo di Foligno
201
PONTORMO
Tentatively ascribed to Pontormo. This picture really dates from the
very end of the sixteenth century.
Loeser Collection
Condition: excellent.
A SIBYL
Bust figure; her shoulders nearly profile right. Her head, seen nearly full face, looks
at the spectator. In her hand, an open roll of parchment.
Oil on wood. H. .66, w. .52$.
I saw this and the preceding picture somewhat fugitively some years ago
before I felt that I could say definitely whether the attribution to Pontormo
seemed to me justified. Unfortunately I have been unable to re-examine
them. I owe the details that I give to the courtesy of the owner and of
Signor Gino Sensani.
Condition: good.
Palazzo Corsini
Ascribed to Pontormo, but neither the colouring, the modelling, nor the
morphology of the figure are his. A copy of this portrait, identical in size,
passed from the Lanfranconi Collection, which was sold in Cologne in 1895,
202
ATTRIBUTED PICTURES
into the Sedelmeyer Collection. See in this catalogue, under the collections
in question.
Condition darkened with successive varnishings a crack down the centre of the panel
: ;
Palazzo Pitti
Bibl. Jacobsen, Zeitschrift fur bildende Eunst, 1898, fasc. 5; L' Arte, 1899, p. 228;
B. F. P. R., p. 180.
The colour is cold and the drawing somewhat stiff. Long believed to be
Pontormo 's portrait of Ippolito de Medici with his dog Rodon, which Vasari
'
(VI, 273) mentions as the companion piece to Jacopo 's lost portrait of
Alessandro. Cruttwell follows the traditional attribution as does Berenson,
although he places after it, in his later editions, a point of interrogation.
203
PONTORMO
Milanesi (VI, 274) indicated some of the difficulties involved in the inscription
that one reads on the red cloth that covers the table: ANNUM AGEBAT
DECIMUM OCTAVVM. was born on April 19, 1511, and the
Ippolito
portrait would, therefore, date from 1529, if we assume that it represents
Ippolito and the inscription refers to the sitter's age. But Ippolito fled from
Florence in 1527. The picture must, accordingly, have been painted in Rome
in spite of the fact that we have every reason to believe that Pontormo was
in Florence between 1527 and 1530. Justi has written at length about this
panel. He believes it to be Bronzino's portrait of Guidobaldo, Duke of
Urbino, and his argument is as follows: The person represented does not
resemble Titian's well-known and perfectly authenticated portrait of
Ippolito, which was painted in Bologna in 1532 (Pitti, No. 201). Ippolito
cannot have been in Florence after the flight of Passerini in 1527 it is ;
unlikely that Pontormo would have gone to Rome between 1527 and 1530
when all artists had fled from the city to escape the fury of pillaging soldiers.
Guidobaldo of Urbino was born in 1514, became duke in 1538, died in 1574.
Bronzino left Florence for Pesaro on August 2, 1530, and while in the latter
place he painted, for the Duke of Urbino, a portrait of the daughter of Matteo
Sofferoni, a harpsichord and, in the Villa Imperiale, certain figures in a vault-
ing, the success of which induced Guidobaldo to order his own portrait. The
Duke was eighteen between April 2, 1531, and 1532 —
a fact that coincides
with the inscription on our panel Annum agebat decimum octawm. Such
:
armour as the Duke wears could have been made only in Milan, and it is
interesting to note that Vasari claims that Bronzino spent a long time over
the portrait because Guidobaldo wished to pose in a suit of armour that he
had ordered in Lombardy, the arrival of which was constantly delayed
(VI, 276). On the back of the panel, painted in oil, we find the letters
D. G. B., which may stand for Duca Guido Baldo. The smooth cold flesh-
tints recall Bronzino 's other work in portraiture the hands are not Jacopo 's.
;
Vasari says that Pontormo 's portrait of Ippolito was in "sua maniera
tedesca, " and the present panel shows no trace of the influence of Diirer.
Signor Giglioli has pointed out to me that since the portrait has been cleaned
the chill shade of green so much used by Bronzino has been revealed and
that, moreover, this portrait seems to have come from the Urbino Collection.
In the list of the pictures now in the Pitti having that provenance is: "II
Duca armato con mano sopra la testa di un cane di mano di Zuccaro " a —
description that corresponds to our portrait. The attribution to Zuccaro
may be explained by the fact that he was well known in Pesaro for he came
from the neighbouring town of Sant Angelo in ' Vado and had worked in Pesaro
for fifteen years, while Bronzino was there only a few months. Federigo
Badoer (1547) states that Guido was strong, thick-set, and melancholy a —
description that might well be applied to the personage represented in our
portrait. Guido understood Greek. On the helmet is inscribed
204
ATTRIBUTED PICTURES
'fiAESTAIAH©
OSAIAONTO
BOVAHMA
(w8' Icrrai 877$' gjs eiAov to fiovXrjfUi)
Palazzo Vecchio
Cappella Leone X
Brought from the Guardaroba in 1861; formerly in the Uffizi (No. 1267)
and ascribed to Pontormo —
attribution retained by Morelli, Berenson, Crutt-
well, Trapesnikoff and De Vere. This panel and the following were however,
according to his own testimony (VII, 699), executed by Vasari for the Chapel
of Leo X, in the Palazzo Vecchio, on the altar of which Raphael's "Madonna
dell' Impannata" formerly stood. The head of the present portrait is a copy
once at San Marco and now in the Uffizi.
' '
of Pontormo 's Portrait of Cosimo,
' '
205
PONTORMO
The Chapel of Leo has been reconstructed and this panel and its companion
'
piece have found their original places again beside a copy of the ' Impannata.
1864, p. 150; Rivista d' arte, VI (1909), 263 f.; B. F. P. R., p. 175; Cruttwell, Florentine
Galleries, p. 84; Morelli, Doria Pamfili Galleries, p. 130; Trapesnikoff, Die Portrdtdarstel-
lungen, p. 21; Lensi, Palazzo Vecchio, p. 172.
Cf. the preceding of which the present panel is a pendant. Once Uffizi,
No. 1270.
This panel, which is preserved as having once formed part of the decora-
tion of the Carro della Zecca, is entirely foreign to the work of Pontormo.
Condition: disastrously repainted.
Eeprod. Photo. F. M. C.
Santa Croce
This lunette has not the slightest connection with the work of Pontormo.
206
ATTRIBUTED PICTURES
San Lorenzo
San Proculo
MADONNA AND CHILD
On one side of the Virgin, St. Anthony, on the other, Santa Barbara.
Once in the chapel of the Niccolini, next to the third altar on the right
side of the church. Falsely ascribed to Pontormo by Richa (I, 238). Cf.
Bocchi, ed. Cinelli, p. 388.
MADONNA AND CHILD WITH ST. JOHN, ST. BERNARD AND OTHER
SAINTS
In the chapel of the Da Romena family. Cinelli erroneously attributes
this work to Pontormo. It was painted by Puligo in 1525 (Vasari, IV, 466).
Uffizi
207
PONTORMO
Ascribed to Pontorrao not mentioned by Vasari not cited by Berenson.
; ;
This panel is not authentic, although the Adam has a certain resemblance
to various horsemen of the central group of the Martyrdom of St. Maurice, '
'
'
This panel and the following were long ascribed to Pontormo. They
were painted for the bridal chamber of Pierfrancesco Borgherini. Miintz
repeats the attribution to Jacopo as does the second edition of the Cicerone.
Ulmann was the first to point out that they are characteristic works of
Granacci, and Berenson has showed that in the drawings mentioned below
we have part of the preparatory material for these panels.
Condition: good.
Date: about 1518.
Drawings: Uffizi 347 F. and 349 F.
Document: A. S. F., Depositeria Generale, filza 995.
Reprod. Photo. Braun 41249; Brogi 11034; Galleria di Firenze illustrata, II, pi. L;
fig., Miintz, Renaissance, p. 105; Schubring, Cassoni, pi. CLXXIV.
Bibl. Vasari, V, 343; VI, 262, n.; B. F. P. R., p. 144; B. F. D., I, 123; II, 53;
catalogue cited above, p. 146; Molini, Galleria di Firenze, 1819, II, 5; Cicerone, 2d ed.,
Ill, 981; Miintz, Renaissance, III, 499; Ulmann, Piero di Cosimo, Jahrbuch d. Iconigl.
preuss. Samml., XVII (1896), 51; Dessins, p. 51, n. 2; Cruttwell, Florentine Galleries,
pp. 20 f Schubring, Cassoni, p. 403.
.
;
Condition : excellent.
Reprod. Photo. Braun 41282; Brogi 6220; Galleria di Firenze illustrata, II, pi. LII;
Schubring, op. cit., pi. CLXXII.
Bibl. See above and Molini, op. cit., II, 11; catalogue cited above, p. 153.
208
ATTRIBUTED PICTURES
LEDA AND THE SWAN
Leda stands facing in the middle of the picture, her arms outspread, her right hand
on the swan's wing, her head three-quarters left; from her left shoulder a ribbon-like
scarf hangs across her body, the end in her right hand; behind her the swan turned three-
quarters left, wings outspread, head raised gazing at Leda. To the left, a child lies on
the ground, a great broken egg for its pillow; behind it, another child carrying a drapery.
To the right two children stand embraced before them on the ground, a broken egg. In
;
the background to the left, a hill crowned with a grove; to the right, a rugged peak seen
beyond broken hills.
Oil on wood.
House that in the Johnson Collection in the Ruble Collection in the Oppler
; ; ;
Condition: fair; cracked across the centre vertically and horizontally and repaired.
Date: 1515-1525.
Eeprod. Photo. Brogi 14762; Eug. Lasinio, B. Galleria di Firenze Must., Firenze,
1828, III, 46.
Bibl. Catalogue cited above, p. 132 Molini, op. cit., Ill, 46 ; Galleria di Firenze,
;
Societa Editrice, 1839; Cicerone, 2d ed., Leipzig, 1874; III, 981; Goldschmidt, op. cit.,
p. 46. For existing copies of Leonardo 's work, see Kunstkritische Studien, Die Galerie
Borghese, Leipzig, 1890, p. 196; Miiller-Walde, Jahrbuch d. konigl. preuss. Samml., XVII
(1897), 137; Miintz, The Leda of Leonardo da Vinci, Athenaeum, II (1898), 393 and
Leonard de Vinci, Paris, 1899, p. 424; La chronique des arts, October 2, 1897; August 20,
and September 3, 1898; Frizzoni, Arch, storico dell' arte, 1896, p. 400.
209
PONTORMO
FONTAINEBLEAU
GASTON DE FOIX
An early inventory of Fontainebleau mentions
'
' dans la Salle des Bains
un Gaston de Foix du Pontormo. " Nothing further is known of this work.
FUCECCHIO
Arcipretura di San Giovanni Battista
GENOA
Palazzo Brignole-Sale
HAMPTON COURT
139 (282). MADONNA AND CHILD
Figures less than life-size. The Virgin is seen full-length facing and slightly inclined
to the left her left hand supports the back of the Child, her right turns his face to her
;
210
ATTRIBUTED PICTURES
Ascribed to Andrea; by certain critics to Pontormo. This picture is
apparently an old copy of the panel in the collection of the Earl of North-
brook, which isAndrea by Crowe and Cavalcaselle. but has
ascribed to
recently been given to Puligo. Another replica, falsely ascribed to Pontormo,
may be seen at Alnwick Castle. The present panel may be the "Mary and
Child by Andrew del Sarto, " valued by the Commonwealth at £40 and, on
December 3, 1649, sold to Mr. Rhemy van Leemput for £50 (Commonwealth
Inventory, fol. 212).
Historical Catalogue of the Pictures and Tapestries at Hampton Court, London, 1911, p. 64.
211
PONTORMO
paintings (!) in Hampton Court. Hogarth satirized it in his Analysis of
Beauty. Law gives the number of this picture as 420.
Bibl. Law, Royal Gallery of Hampton Court, London, p. 110; Graves, Loan Exhibi-
tions, II, 942; Law, New Authorized Historical Catalogue of Hampton Court, p. 99.
A late and inferior variant of the same composition as No. 300 of this
collection. Once in the collection of James II (No. 996). Law gives the
number of this picture as 707.
Bibl. Law, catalogue cited above, p. 180; idem, New Authorised Historical Catalogue,
p. 129.
HILDESHEIM
Museum
VENUS AND CUPID
A copy of the composition best known by the example, probably by
Pontormo himself, now in the Uffizi (No. 1284). This picture was brought,
in 1884, from the Berlin Gallery to which it had been taken in 1841. It is
the same "Venus" that was once in the collection of Professor d 'Alton of
Bonn, where it was erroneously ascribed to Pontormo by Kugler.
Bibl. Verzeichniss der abgegebenen Gemalde, 1886, No. 233; A. W. von Schlegel,
Verzeichniss von d' Altons Gemaldesammlung, 1840; Kugler, Kunstblatt, 1842, p. 42; Eleine
Schriften, II, 358.
LONDON
Collection of Sir Frederick Cook
in the version now in the Pinakothek at Munich (No. 1090) Other renderings .
212
ATTRIBUTED PICTURES
by various hands may be seen in the Boston Museum
Royal Villa at ; in the
Castello, near Florence in the Cenacolo di Foligno, Ferroni Collection,
;
Bibl. Catalogue cited above, p. 157; Waagen, op. cit., II, 175; Crowe and Caval-
caselle, ed. 1864-1866, III,584; ed. Borenius, VI, 201.
213
PONTORMO
National Gallery
Eeprod. Photo. Bruckmann; Braun 30649; fig., Poynter, National Gallery, p. 70;
Leman Hare, National Gallery in Colour, London, 1909, XIX, p. 72.
Bibl. Wornum, Descriptive Catalogue of the Pictures in the National Gallery, London,
1875, p. 223; Frizzoni, Arte italiana del rinascimento, 1891, pp. 266 f. ; Poynter, National
Gallery, p. 70; Cook, Handbook, I, 22; Descriptive Catalogue of National Gallery, 1906,
p. 87; Richter, Art of the National Gallery, p. 45; Miintz, Benaissance, III, 499.
790. ENTOMBMENT
Ascribed by most critics, including Frizzoni and Berenson, to Michel-
angelo; by others, to Bugiardini; by Symonds and still others, to Pontormo
with whose work it has no connection. This picture was once in the Fesch
Collection and its subsequent history is well known.
Bibl. Thode, Erit. Unters., II, 483-488; Frizzoni, op. cit., pp. 263 f.; Poynter, op. cit.,
I, 72; Cook, op. cit., I, 14-16; Richter, op. cit., p. 44.
214
ATTRIBUTED PICTURES
Two other portraits of the same personage survive, one in the Corsini Gallery,
Rome, one in Chantilly.
LYONS
Musee
161. SACRIFICE OF ISAAC
Oil on wood; life-size.
Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 507; De Bis, Les Musees de Province,
II, 377.
MADRID
Museo National
340. HOLY FAMILY
The Virgin looks down at the Christ Child who lies asleep in a fold of her mantle.
To the right, St. John; beside the Virgin, St. Joseph also asleep.
Oil on wood. H. 1.30, w. 1.00.
215
PONTORMO
Once in the collection of Dona Isabel Farnesio, Palacio de San Ildef.
Attributed to Pontormo but, as Morelli recognized long ago, it shows no trace
of the master's hand.
St. Joseph seated on the ground; in the middle ground, St. Elizabeth leads the young
St. John; the background, a landscape. At St. Joseph's feet, Andrea's monogram.
Oil on wood.
Condition: damaged.
Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 510.
MILAN
Collection of Prince Trivulzio
MONTPELLIER
Musee Fabre
216
ATTRIBUTED PICTURES
Originally attributed by Fabre and Canova to Raphael ; by certain critics
could detect here the hand of Pontormo. Their opinion need no longer
complicate the problem of the authorship of this portrait which, as Berenson
has clearly demonstrated, is a Brescianino.
Reprod. Engraving by Dimier, article by Gonse cited below; fig., article by Berenson
cited below.
Bibl. Inventaire general des richesses d'art de la France, Province, Monuments civils,
Paris, 1878, I, 247; Gonse, Le portrait d'homme du Musee de Montpellier, Gazette des
beaux-arts, 2e serie, XII, 114 ff. ; Renouvier, Musee de Montpellier, Gazette des beaux-
arts, V, 8; Passavant, Raphael, trad, fran., 1860, 88, 367; Berenson, Le portrait
Eaphaelesque de Montpellier, Gazette des beaux-arts, XLIX
(1907), 208 ff.
MUNICH
Alte Pinakothek
Pontormo which must have dated from about 1540-1550. The smooth and
dry and heavy feeling for form give but little hint
flesh-painting, the feeble
of the quality of the original.The composition, however, was famous. A
number of other copies are known: one, a mere ruin, in the Royal Villa at
Castello, near Florence; another (modified) in the office of Sir Frederick
Cook, St. Paul's Churchyard, London; others in the former Galleria Ferroni,
now Via Faenza, Florence, in a private collection
in the Cenacolo di Foligno,
in Berlin, at Hampton Court, No. 193 (249), and in the collection of
Mr. Vernon Watney, at Cornbury Park, Oxford. A good copy, once ascribed
to Bronzino but really by Naldini and bearing the date 1561, has recently
217
PONTOBMO
been taken from the store-rooms of the Boston Museum and placed on
exhibition there. The composition also appears in a poor black-chalk drawing,
in the Uffizi (No. 6629), that dates in all probability from the eighteenth
century. See in this catalogue, under the collections cited.
Condition: heavily repainted on the Virgin's mantle and head-dress and on the
drapery of the figures of the background.
Eeprod. Photo. Bruckmann, Munich, 1897; for other copies, see above.
Bibl. Von Reber, Eatalog der Gemdlde-Sammlung d. konigl. dlteren Pinakothek in
Miinchen, Miinchen, 1908, p. 233; Morelli, Munich and Dresden Galleries, 1893, p. 101;
ed. 1904, p. 240; English ed., p. 220; Catalogue of the Paintings at Doughty House, Rich-
mond, ed. by Herbert Cook, London, 1913, p. 47.
Rohrer Collection
Ascribed Pontormo by Schmidt but the heavy, glossy colour, the fussy
to ;
Eeprod. Schmidt, article cited below, pi. 29, No. 2; Voss, article cited below, fig. 4.
Bibl. Wilhelm Schmidt, Gemdlde aus der Sammlung 'Rohrer, Monatshefte fur Kunst-
wissenschaft, 1910, p. 141; Hermann Voss, Italienische Gemdlde des 16 und 17 Jahrhunderts
in der Galerie des Kunsthistorischen Hofmuseums zu Wien, Zeitschrift fur oildende Kunst,
1912, pp. 41-43; Gamba, Alcuni ritratti di Cecchino Salviati, Bassegna d' arte, IX (1909), 4.
NAPLES
Museo Nazionale
Bibl. Monaco, Handbook to the National Museum of Naples, trans. Eolfe, 1883, p.
196; Aldo de Einaldis, Guida illustrata del Museo Nazionale di Napoli, Napoli, 1911, 560;
Crowe and Cavalcaselle, ed. Borenius, London, 1914, VI, 196.
218
ATTRIBUTED PICTURES
17 X, 10. MADONNA AND CHILD WITH ANGELS
Oil on wood. H. 1.15, w. .86.
ascribed to Andrea, hangs in the Borghese Gallery. The present panel comes
from the Palazzo del Giardino, Parma (inv. 1680), and Naples, Capodimonte
(inv. A. 101 —
Andrea del Sarto inv. S. G. 275 copy of Andrea del Sarto)
; —
Bibl. De Einaldis, catalogue cited above, p. 40.
This portrait, which came originally from the Palazzo Farnese in Rome
(inv. 1697, No. 151), was later at Capodimonte, Naples (inv. A. 11009) and
was there ascribed to the "School of Leonardo." In the inventory S. G. 309,
it is attributed to Bronzino. De Rinaldis ascribes it to the "School of
Pontormo." It from the "bottega" of Allori. The hands
would seem to be
are well drawn but the colouring is crude and the modelling feeble.
219
PONTORMO
Palazzo del Giardino (inv. 1680) where it was ascribed Giovanni Bellini;
to
Naples, Capodimonte, and later Palazzo Reale (inv. A. 11656 Agnolo —
Bronzino; inv. S. 84068 idem). —
Keprod. Photo. Brogi 6772; Thode, Michelangelo, III, 487.
Bibl. De Rinaldis, catalogue cited above, p. 46; Thode, op. cit., Ill, 485.
NEW HAVEN
Jarves Collection
Yale University
Bust figure nearly full face. His hair and beard are dark brown, his complexion
bronzed and his blue eyes look at the spectator. He wears a dark velvet coat with
embroidered fastenings, a broad turned-down plain white collar, a heavy flat gold chain
with links of elaborate design alternating with others smaller, in each of which a pearl.
The background is dark, ripe-olive green. On the upper left corner of the back of the
panel, a seal.
Oil on wood (the panel is made up of three pieces). H. .61, w. .48.
of these the head is seen in exactly the same pose, but the dress or the pose
of the body is different. Among them we may point out the following, citing
220
ATTRIBUTED PICTURES
them according apparent age at which Cosimo is represented: (1) The
to the
bust portrait, in Vienna, with shoulders turned slightly to the right, ascribed
to Bronzino but really a "bottega" copy. (2) Vasari's full-length portrait,
once ascribed to Pontormo and now in the Chapel of Leo X, in the Palazzo
Vecchio. The bust portrait ascribed to Bronzino in the Pitti, in which
(3)
the Duke wears the same collar as in No. 1, but over a doublet trimmed with
fur. (4) The half-length portrait, which was once in the Sedelmeyer
Collection (No. 99), in which Cosimo, with shoulders turned three-quarters
left,wears a lace collar and the Order of the Golden Fleece. (5) A similar
portrait, once in the same collection and ascribed to Bronzino (No. 101), in
which the shoulders are turned the other way. Dr. Siren informs me that a
portrait of the same description exists in the collection of the Principe del
Drago.
Cambridge, 1860; Manual of the Jarves Collection, Russell Sturgis, Jr., New Haven, 1868,
p. 84; Catalogue Sedelmeyer, pp. 88, 112; Siren, Catalogue of the Jarves Collection, New
Haven, 1916.
A poor and modified copy, made, it would seem, in Florence at the end
of the sixteenth century, of Pontormo 's picture, now in the Pitti (No. 182).
The 1860 catalogue of the collection considered the present panel to be
authentic but weak. Ithas been drastically cleaned and the general tone is
now a misty grey. The size is slightly larger than the original which has
been cut down. The copy reveals, therefore, a trifle more of the figures on
both sides of the composition.
Condition: seriously injured, especially the hand of the judge; the panel is warped
and the colours, except the orange, completely faded.
Eeprod. Photo. Randall.
Bibl. Descriptive Catalogue, p. 57; Manual, p. 84; Siren, op. cit.
bound in reddish leather ornamented with three parallel gold lines. The background is a
grey-green landscape —
valley, hills and trees the sky, dark grey-blue.
;
Oil on wood (the original part of the panel is made up of five pieces). H. .64, w. .48.
221
PONTORMO
Attributed to Sebastiano del Piombo by the author of the catalogue of
1860, an attribution for which there is not the slightest foundation, as there
isnone for identifying the person represented as Vittoria Colonna. The
same writer feels that this somewhat stiff and inexpressive picture unites
"the warm, rich, grave tones of the Venetian School to the strength and
boldness of design of Michelangelo." Russell Sturgis in his Manual follows
this early attribution. Berenson ascribes the picture to Pontormo. It is
however, according to Dr. Siren, with whose opinion I completely concur,
a Ferrarese work and has probably a certain connection with the art of
Dosso Dossi. This portrait is really only a fragment, has suffered not a little,
and has lately been thoroughly cleaned in connection with which restoration
it became clear that the lower part of the panel, from just above the medallion
Condition: injured, rubbed, and repainted about the face; recently restored; a
vertical crack across the face; the lower part of the composition is spurious.
Eeprod. Photo. Kandall.
Bibl. Catalogues cited above; Manual, p. 84 f.
NEW YORK
Ehrich Galleries
PORTRAIT OF A MAN
Half-length, seated three-quarters left, the head almost full face. He looks at the
spectator. His left hand rests on the arm of his chair, his right is raised and holds a
small open book on which one distinguishes the letters X. A.| F. V. P.| ...558. He wears
a beard and is dressed in a dark coat with white collar and cuffs, and a large black hat.
Behind him, a dark brownish green curtain and, to the left, sky, clouds, and a little land-
scape of river, ruins, tower and hill. The flesh-tints are brownish.
Oil on wood. H. 32} in., w. 28* in.
Wildenstein Collection
PORTRAIT OF A MAN
Bust figure, profile left, the head three-quarters left. He looks at the spectator. In
his right hand he holds a little book. He has a thin square beard and wears a dark cap
and coat with a narrow white collar.
Oil on wood.
222
ATTRIBUTED PICTURES
In 1905 this portrait was, if I am not mistaken, in the Constantini
Collection in Florence where it was quite arbitrarily ascribed to Pontormo.
It was originally attributed to Andrea —
an attribution which Perkins and,
it would appear, Berenson believe to be correct.
Condition: retouched.
Reprod. Photo. Eeali; fig., Bassegna d' arte, article cited below.
Bibl. F. Mason Perkins, Miscellanea, Bassegna d' arte, XV (1915), 122.
OXFORD
Cornbury Park
Collection of Mr. Vernon Watney
PALERMO
Museo Nazionale
406. JUDITH
Believed by Berenson to be an example of Jacopo's later manner. It is
however, according to Gamba, a replica of the "Judith" by Jacopo Ligozzi
of Verona, now in the Pitti Palace.
PANSHAXGER
Collection of Lady Desborough
PORTRAIT OF A YOUTH
Three-quarter length; dressed in black with velvet bands about the jerkin, a white
shirt showing on the breast; three-cornered black hat. He writes at a table covered with
a striped cloth of red, yellow, yellow-green, and slate colour. Background, dark grey.
Oil on wood. H. .92, w. .67.
223
PONTORMO
Exhibited Manchester, 1857; Burlington House, 1881. Ascribed to
Andrea. This portrait, which has a superficial resemblance to the work of
Pontormo, has been given to him by certain critics, but it is, of course, not
authentic. The colouring clearly recalls that of the "Portrait of a Youth
with a Lute," in the Jacquemart- Andre Collection in Paris, which is also
unauthentic. The present panel bears an inscription: "8 Dicenbre. Mastro
Domenico assai mi chamo sod ... to verso di voi avendo strato ( propinquo
?)
ingenio per dimostrarmi qual proprio a . . . sono . . . tanto . . . molto obrigato
1523... Andr..." Crowe and Cavalcaselle believed the portrait to be a
genuine Andrea and of fine quality. Neither Hutton nor Borenius dissents
from their opinion. On considerations of style and modelling Gamba ascribes
' '
it to Puligo, assuming that the Domenico of the picture is none other than
' '
PORTRAIT OF A LADY
Dressed in red; half-length. In front of her, a parapet covered with a green cloth
' '
on which lies a book of music, the Canzoniere del Petrarca,
' and, to the left, a third '
to be a Puligo and proposes that it be identified with the latter 's lost Portrait '
Reprod. Photo. Gray; Braun 37397; fig., Gamba, article cited below; catalogue
published by Heinemann cited below.
Bibl. Waagen, op. cit., Ill, 11; Crowe and Cavalcaselle, ed. 1864-1866, III, 585;
ed. Hutton, III, 513; ed. Borenius, VI, 201; Catalogue of the National Loan Exhibition,
London: Heinemann, 1910, p. 69; Catalogue of the National Loan Exhibition, Ballantyne
and Co., p. 49; Gamba, Di alcuni ritratti del Puligo, Bivista d' arte, VI (1909), 281.
224
ATTRIBUTED PICTURES
PARIS
Jacquemart-Andre Collection
—
The table-cloth is striped dark red, black, dark grey,
dark olive-grey, light red and yellow. In the background to the right, the brown cornice
and pilasters of a massive cupboard on which a small brown statue of Cupid and three
large books bound in dark violet leather, and tied with green ribbons; to the left, a
looped-up dark green curtain.
Oil on wood.
to the work of our master, the clumsy treatment of the hands, the hard
inorganic folds, the somewhat vacant modelling of the face convince me that
it is not his. It also lacks a certain largeness and calm in the composition
that we have a right to expect from Jacopo. On the other hand the drawing
of the ear, eye, and mouth do not suggest Salviati, and we do not find here
his restless insistence on minor passages in the modelling. The colour recalls
vividly a portrait of a youth writing at a table covered with a striped cloth,
in Lady Desborough's collection, at Panshanger. Both may well be by the
same hand. It would, of course, be pure conjecture to suggest that that hand
was Giovann' Antonio Lappoli's and that the person represented in our
portrait is Antonio da Lucca. But the present picture was certainly painted
under the direct inspiration of Pontormo 's work, and it cannot date from
before 1515 nor from after 1525. Jacopo had, as is well known, few pupils.
Those directly in contact with the master, during this period, were Bronzino,
Pichi, and Lappoli. Our panel cannot be by Bronzino whose earliest work
in portraiture is based upon the manner Jacopo used after 1530. Of this
the portraits of Panciatichi, Martelli, and Giannettino Doria furnish every
proof. Of Pichi practically nothing is known. Lappoli, on the other hand,
precisely during the years in which our portrait was painted, was busy
copying the works of Pontormo and even, so Vasari affirms, helping him with
others. We learn too from Vasari, who was an intimate friend of Lappoli's
(both were Aretines) and who was in Florence during the years in question,
that Lappoli, instead of working diligently at his art, gave himself up to
various amusements in the house of Ser Raffaello di Sandro Zoppo, Cappellano
in San Lorenzo. There he met and made a friend of Antonio da Lucca,
"musico e sonator di liuto eccellentissimo che allora era giovinetto" (VI, 7).
Antonio taught Lappoli to play the lute, and Giovann' Antonio, as might
225
PONTORMO
have been expected, painted Antonio 's portrait — '
ritratti di naturale f ra
'
quali fu quello di detto messer Antonio da Lucca e quello di ser Raffaello, ehe
sono molto buoni" (VI, 8). The personage represented in our portrait is not
' ' ' '
only sonator di liuto but giovinetto as well. Vasari tells us that Lappoli
' ' ' '
Condition: good; repainted here and there, especially on the face, the left hand and
parts of the robe.
Date: 1518-1523.
Reprod. Photo. Bulloz.
Louvre
1242. VISITATION
Composition of thirteen figures on steps in front of a Renaissance door flanked by
two engaged columns. On next to the lowest step, a woman seated nearly profile right,
the head three-quarters right; behind her, a woman standing, profile right, with a bundle
on her head; behind the latter figure, an old woman with a staff, the head turned three-
quarters left; behind and above these figures, a woman holding an infant in her arms, her
head profile right. In the centre of the composition, the Madonna standing profile right
receives St. Elizabeth who, standing profile left on the step below, bends her knee to the
Virgin. To the right on the next lowest step, Zechariah, profile left, holding with his left
arm against his hip a large book, his head three-quarters left; behind him, Joseph, his
head three-quarters right, his left hand raised pointing to the Virgin. Behind Zechariah
and above, a woman standing nearly full face ; to the extreme right, an old man 's head
profile right. Inside the door to the right, two women. On the architrave, the inscription:
VN.HOC.MI.VT.VE.
Oil on wood. H. 2.75, w. 1.68.
Condition: excellent.
Date: 1560-1570.
Reprod. Photo. Braun 11242; Landon, VII, pi. 33.
Bibl. Filhol, XVI, 21-24; Catalogue Villot, No. 159, p. 93; Catalogue Tauzia, No.
144; Notice des tableaux du Musee royal, pp. 218-219; Seymour De Ricci, Description, p. 41.
226
ATTRIBUTED PICTURES
PHILADELPHIA
Johnson Collection
84. PORTRAIT OF BARTOLOMMEO DI LORENZO GUALTERETTI
Half-length; he leans forward with his hands crossed on a brown parapet; he wears
a black cap and black coat with embroidered collar and cuffs, one link of a gold chain
appearing. In his jewelled fingers he holds a paper on which the motto: "Comporta
et astiente.
'
' To the left, the base of a column on which the inscription BART DILOR • :
•
Date: 1550.
Bibl. Catalogue of a Collection of Paintings and some Art Objects: Italian Paintings,
Berenson (Philadelphia: John G. Johnson, 1913), I, 46.
Mclhlenny Collection
PORTRAIT OF GIULIANO DE' GONDI
Bust figure; the shoulders profile right, the head three-quarters right. He looks at
the spectator, wears a long beard, has dark hair and eyes, and is dressed in a dark coat
with a white collar. The background is olive-green.
Oil on wood.
Wanamaker Collection
230. HOLY FAMILY
Oil on wood. H. 45$ in., w. 37$ in.
227
PONTORMO
Bibl. Siter, Catalogue of the Wanamaker Collection, p. 105. Cf. also Guiffrey, L' Arte,
V (1902), 259; De Chennevieres, Gazette des beaux-arts, XXX
(1903), 494; Nicolle, Eevue
de I' art ancien et moderne, XVIII (1905), 190; Schulze, Bronzino, p. XXV.
POGGIO A CAJANO
The Great Hall in the Royal Villa
LUNETTE: THE APPLES OF THE HESPERIDES
Composition of ten figures.
Fresco.
This lunette, which faces Pontormo's fresco, has often and quite incor-
rectly been attributed to Pontormo. The initial error was apparently due
to Raffaello Borghini somewhat misleading description of Jacopo 's Pomona
's
'
'
'
and Vertumnus. ' The present lunette is, of course, by Alessandro Allori and
dates from 1580-1582. Allori refers to it in his Ricordi: "... doue ho fatto
dirimpetto all' arco di Jacopo da Puntormo tutto con gran (certa) inuentione
del Rev do Priore delli Innocenti di Firenze Don Vincentio Borghini, Dio
1
' habbi in gloria, dove come ho detto nell arco di contro ' al detto di m° Jacopo
e figurato i pomi degli orti Esperidi guardati dalle Nimfe, da Ercole e dalla
Fortuna ..."
Reprod. Photo. Alinari 29441 (as Pontormo).
Bibl. Bicordi di Alessandro Allori, Biblioteca della rivista d' arte, 1908, p. 29.
ST. PETERSBURG
Hermitage
85. HOLY FAMILY
The Virgin seated on the steps of an edifice holds on her knees the Christ Child and
draws to her the little St. John whom the Infant Jesus takes by the hand; to the left,
St. Elizabeth and St. Joseph seated.
Oil on slate. H. .44, w. .31.
228
ATTRIBUTED PICTURES
This panel was originally a portrait of a young woman; the tower she
holds was added later, thus changing the picture into a "Santa Barbara."
Acquired from the Crozat Collection by Catherine II. Anciently, and by
Waagen, attributed to Andrea del Sarto; by Crowe and Cavalcaselle to
Bacchiacca; by Berenson to Puligo. The later compares it with a "Madonna
and Boy Saint" (photo. Anderson 5268) in the collection of Miss Hertz.
Briiiningk and Somof suggest Jacopo as the author, and Guiness also finds
it more akin to Pontormo than to Andrea. A careful comparison with
Pontormo's "Portrait of a Young Girl," once in the Yerkes Collection adds
to the plausibility of their suggestion. The panel, however, seems to have
been so seriously altered by restoration and rehandling that any attribution
must now be considered conjectural. Vasari mentions (IV, 465) that Puligo
' '
painted a portrait of Barbara, cortegiana fiorentina, which Borghini states
' '
was later in the possession of Giovambattista Deti who, to please his wife, had
the music that Barbara held painted out and the symbols of Santa Lucia
substituted (Riposo, ed. 1807, libro III, pp. 190 f.). If we assume, as Berenson
does, that we have here the Puligo portrait mentioned by Vasari, we must
also assume that Borghini wrote Santa Lucia when he meant Santa Barbara.
But the picture does not seem to me to be by Puligo and I do not think that
his "Barbara" should be identified with it. Gamba (Rivista d' arte, VI, 280)
believes that the Puligo portrait in question is the "Portrait of a Woman
with a Book of Music,
'
' and that the attributes of Santa Lucia
in Panshanger,
were removed in a cleaning which that panel underwent at an unknown date.
This latter portrait, however, seems to be a Granacci.
ROME
Borghese Gallery
229
PONTORMO
an address almost illegible which seems to read: A honle M e Fala . . . Canezini . . . Jacimo|
oraf o . . . Jn firenz. On the flap of the letter : Lui.
Oil on wood. H. .97, w. .75.
230
ATTRIBUTED PICTURES
now which was perhaps by Andrea. One of these variants is in the
lost,
Pitti (No. 292). There is another in the Corsini Gallery, Florence (No. 113),
which is ascribed to Andrea but which is in colour reminiscent of Bacchiacca
(oil on copper, h. .35, w. .26). Another and later derivative exists in the
New York Public Library. The present panel is probably a Ridolfo Ghir-
landaio, although repainting, especially on the hands, has obscured the
original touch. It should be compared with Ridolfo 's "Nativity," which
was painted for the Cestello and which is now in the Museum of Budapest.
Condition : repainted.
Date: 1534-1535.
Keprod. Photo. Moscioni 21212 (as Andrea).
Bibl. Venturi, catalogue cited above.
dagger. He has a light beard and moustache and wears a dark doublet with light slashed
sleeves over a dark lining, embroidered ruffs at the wrists, dark cap with small gold
ornaments on it and, to the right, a large drooping feather.
Bibl. Yriarte, Les portraits de Cesare Borgia, Gazette des beaux-arts, 2* per., XXXVI
(1887), 200; Archivio storico dell' arte, V
(1892), 3; Frizzoni, Giovanni Morelli, idem,
1897, p. 87.
Barbier de Montault (Musees et galeries de Borne, Borne, 1870) ascribes quite arbi-
Borghese Gallery to Pontormo
trarily the following pictures in the Madonna and Child, :
'
'
'
No. 70 of the first room, p. 347; "Resurrection of Jairus' Daughter," No. 73 of the
thirteenth room, p. 367; "Circumcision," No. 76 and "The Burial of St. Thomas Aquinas,"
No. 80 of the same room, p. 387. The numbering has since been changed.
Palazzo Giraud-Torlonia
Two '
' cassone
'
' panels ascribed by certain critics to Pontormo, by others
231
PONTORMO
to Franciabigio. They are really by Granacci and their present whereabouts
is unknown.
Bibl. Lafenestre, Borne, pp. 261 ff. ; Ulmann, Piero di Cosimo, Jahrouch d. konigl.
preuss. Samml., XVII (1896), 52.
Palazzo Spada
16. VISITATION
The composition is a slightly modified replica of the "Visitation" by Andrea del
Sarto, in the cloister of the Scalzo. Andrea's fresco is in monochrome; the present panel
has the following colour-scheme: Zacharias wears a light green cap, mantle and shoes,
yellow sleeves and dark yellow stockings; under his arm, a greyish green bag; Joseph, a
greenish white mantle; Mary, whose hair is red and is tied with a light green ribbon, a
dark greenish blue mantle with yellow sleeves, a scarlet tunic and grey-green slippers;
Elizabeth, a dark blue-green robe, yellow mantle, and over her head, a white scarf; the
serving-maid, a pink dress, in her hands a bundle of linen in a blue-green cloth, on her
head, a white scarf; the serving-man, a blue-green doublet, garter and shoes, pink hose and
belt ; on his head a yellow bundle, in his right hand a white basin all the saints have haloes
;
of fine gold; the steps are grey-green, the foreground, pinkish brown.
Oil on wood. H. .65, w. .88.
This panel, once ascribed to Andrea, is a small copy of the fresco in the
Scalzo that Del Sarto finished, according to the documents, (A. S. F., Scalzo,
Debitori e Creditori B., 1514-1535, p. 106), in November, 1524. The touch
recalls to a certain degree Jacopo's early work, but after 1524 his feeling for
form was quite other than that which is revealed by the present panel. It
is conceivable that our copy was made by Lappoli or by Pierfrancesco
di Jacopo who are known to have copied some of the frescoes -of the Scalzo
(Vasari, VI, 8). Crowe and Cavalcaselle consider that it was executed in
the "bottega" of Andrea.
Condition: excellent.
Date: after 1524.
Eeprod. Photo. Anderson 5680 (as Pontormo).
Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 509; ed. Borenius, VI, 195.
232
ATTEIBUTED PICTURES
PORTRAIT OF A MAN
Seated in a Dante chair by a table and turned three-quarters left. He has a brown
beard that is turning grey and dark hair. He is dressed in a black coat with long frog
fastenings, white collar edged with embroidery and white cuffs. On the table, an oriental
table-cloth and a black inkstand with a quill pen in it. The table-cloth recalls that of the
'
Portrait of Cardinal Cervini, ' in the Borghese, but it is more thinly painted and has
' '
a border of a different design. In his right hand he holds a letter on which " Al
: M . .
.
The rest of the inscription is illegible. His left hand rests on the arm of the chair. In
the upper right corner, a curtain with a light fringe.
This portrait, which is falsely ascribed to Pontormo, dates from the second
half of the sixteenth century.
Rospigliosi Collection
SCOTLAND
New Battle Abbey, Dalkeith
PORTRAIT OF A YOUTH
Bibl. B. F. P. R., p. 177.
233
PONTORMO
STUTTGART
Staatsgalerie
TURIN
Regia Pinacoteca
122. PORTRAIT OF A LADY
Three-quarter length; seated, turned three-quarters left, in a Dante chair richly
carved and ornamented with grotesque heads; her hands rest on the arms of the chair;
she looks at the spectator. Her hair is light auburn and is bound up in a net; her eyes are
234
ATTKIBUTED PICTURES
light brown. She wears a gold-coloured satin gown open at the throat —
the bodice trimmed
with darker velvet bands —
a lace collar, an ample red brocaded mantle trimmed with
velvet. Her ornaments are: a string of pearls as edging to the net over her hair, pearl
necklace, gold chain, bracelets, a ring on the index finger of the right hand, another on
the ring-finger of the left hand; around her waist, and hanging down the front of her skirt,
an enamelled gold chain set with rubies and sapphires and fastened at the waist with a
clasp set with a cameo. In her left hand she holds a small book bound in black, tooled
and mounted in silver and closed with a silver clasp. Background: grey-green; from the
upper left corner an ample drapery of oriental gauze —
white striped with black and
finished with a black fringe —
is drawn behind the chair and piled up on the right side
of the picture.
Oil on wood. H. 1.09, w. .85.
Acquired in Genoa in 1824 when the Marchese Durazzo sold his palace
and collection to the King of Sardinia. The traditional attribution of this
portrait to Bronzino is retained in the catalogue of the gallery and by
Jacobsen and Schulze. Berenson has suggested that it is a Pontormo and
I am inclined to believe that his conjecture may be well founded, although
a severe rehandling seems to have effaced that we
much of the quality
naturally expect from Jacopo and so diminished the possibility of deciding
definitely in regard to the authenticity of this panel. The person represented,
who reminds one of the lady of the Oldenburg portrait grown older, is
generally believed to be Eleonora da Toledo and the identification, although
iconographically without foundation, is accepted by Jacobsen. And in this
connection it is interesting to note that the picture was not originally believed
to be a likeness of Eleonora. It was D'Azeglio who first imagined that he
could recognize here the features of the consort of Cosimo I an impression —
which led him to believe that the panel is a companion piece to No. 123 of
ascribed to Bronzino, which the Grand
' '
this gallery, a Portrait of Cosimo I,
' '
Duke himself gave to Emmanuel Filiberto and which, therefore, has long
been in the possession of the House of Savoy.
235
PONTORMO
Formerly No. 109 provenance unknown given to the Gallery by the
; ;
VENICE
Museo Correr
LEDA
A copy of Michelangelo well-known composition. Once in the possession
's
Bibl. Thode, Erit. Unters., II, 319; Jacobsen, Bepertorium, XXII (1899), p. 28.
VIENNA
Belvedere
236
ATTRIBUTED PICTURES
Bugiardini or Franciabigio by Crowe and Cavalcaselle to Pontormo. The
;
Florence (No. 127) with the portrait, also by Salviati, which is ascribed to
;
portrait, as is the treatment of the hair, the composition and the lace collar.
The ear, the mouth, and the modelling of the cheek, recall Salviati 's "Portrait
of a Boy" (photo. Alinari), in the Poldi-Pezzoli.
Condition : slightly damaged and repainted on the face and the hands.
Date: 1530-1545.
Beprod. Photo. Braun 34029; Lowy, 354; fig. 6, article by Voss cited below.
Bibl. Engerth, Gemalde, p. 253; catalogues of 1895 and 1896 cited above; B. F. P. E.,
p. 177; Voss, Italienische Gemalde des 16 und 17 Jahrhunderts in der Galerie des
Kunsthistorischen Hof museums zu Wien, Zeitschrift f. bildende Kunst, 1912, pp. 41-43;
Gamba, Alcuni ritratti di Cecchino Salviati, Eassegna d' arte, IX (1909), pp. 4 f. Cf. also
for the Poldi-Pezzoli portrait, idem, 1911, p. 9.
237
PONTORMO
without a shadow of reason, that this picture is "by Pontormo or Rosso
imitating not so much Andrea as Franciabigio.
Bibl. Bosa, I, 122, No. 7; Engerth, I, 292; Crowe and Cavalcaselle, ed. Borenius,
VI, 197.
VOLTERRA
Municipio
238
CATALOGUE OF PICTURES ATTRIBUTED
TO PONTORMO IN CATALOGUES OF
SALES AND LOAN EXHIBITIONS
CATALOGUE OF PICTURES ATTRIBUTED
TO PONTORMO IN CATALOGUES OF
SALES AND LOAN EXHIBITIONS
Art Prices Current (1910-1911), p. 555; Auction Sale Prices, XIII (1911), p. 377.
De Beurnonville Collection
686. A SAINT
She wears a pink robe and orange mantle and stands in a desert holding a palm and
a stone. In the background, St. Anthony (?).
Oil on copper. H. .21$, w. .16.
Mireur, Dictionnaire des ventes, II, 101; Catalogue des tableaux de if. le Baron de
Beurnonville, Paris, 1881, p. 423.
241
PONTORMO
Brandus Galleries
Sold at the American Art Association to S. Jackson for $55, April 6-7,
1911.
Catalogue of Pictures by Old Masters, the Property of the Late Charles Butler, p. 12.
Sold at Christie's, July 7, 1911, to Gooden and Fox for £73 10s.
Art Prices Current (1910-1911), p. 615; Auction Sale Prices, XIII (1911), p. 377.
Catalogue of the Butler Sale, p. 21.
242
LOAN EXHIBITIONS AND SALES
AN ECCLESIASTIC
Exhibited (No. 187) at the Loan Exhibition of the Royal Academy in
1883.
HOLY FAMILY
Ascribed to Pontormo by Lanzi. Its present whereabouts is unknown.
187. CIRCUMCISION
Catalogue cited above, p. 11.
Colworth Collection
243
PONTORMO
Ascribed to Luini; by Liphart to Pontormo witb wbose work, bowever,
it has no connection.
Art Prices Current (1912-1913), p. 158; Auction Sale Prices, XV (1913), p. 53;
Sale Catalogue, p. 16.
Dellafaille Collection
Katalog von Gemalden meist dlteren Meister aus dem Nachlasse Dellafaille, Kbln,
1913, p. 11.
Doetsch Collection
Reprod. Catalogue cited below, p. 31; small cut, Reinach, "Repertoire, II, 138.
Catalogue of the Collection of Henry Doetsch, London, 1895, p. 31.
244
LOAN EXHIBITIONS AND SALES
Art Prices Current (1909-1910), p. 86; Auction Sale Prices, XII (1910), p. 86.
PORTRAIT OF A MAN
Sold for 474 francs in 1868.
Guggenheim Collection
245
PONTORMO
Alexandre K. Collection
HOLY FAMILY
Sold in 1897 for 295 francs.
Lanfranconi Gallery
Lasalle Collection
HOLY FAMILY
Withdrawn from the Lasalle sale in Vienna, 1827, at 210 francs.
246
LOAN EXHIBITIONS AND SALES
Collection of Sir John Leslie
Collection of R. P. Nichols
STUDY OF A HEAD
Exhibited (No. 155*) at Leeds in 1868.
247
PONTORMO
Reiset Collection
Rezzonico Collection
PORTRAIT OF GUICCIARDINI
Not a portrait of Guicciardini and not by Pontormo. Sold in Milan in
1898.
Schevitch Collection
Once in the Castellani Collection. Sold at Georges Petit 's, April, 1906.
Catalogue des objets d' art composant la collection de M. D. Schevitch, Paris, 1906,
p. 55; Catalogue de la succession Alessandro Castellani, Vente, Hotel Brouot, mai 12-16,
1884, No. 1098, p. 290.
248
LOAN EXHIBITIONS AND SALES
Collection of Henry Willett
Two pieces of a "predella" representing various saints and six small pictures repre-
senting saints and angels and ascribed to the School of Pontormo ' were sold by the
'
'
'
Hospital of the Innocents in 1853 to the Baron Vagnonville for 150 "lire." Cf. Archivio
degl'Innocenti, Firenze, Filza No. 73.
249
CATALOGUE OF LOST PICTURES
CATALOGUE OF LOST PICTURES
ANNUNCIATION
Painted while Jacopo was still with Albertinelli and praised by Raphael,
according to Vasari (VI, 246). Fate unknown.
DEAD CHRIST
With two angels holding torches and, at the sides in two "tondi," two prophets.
Date: about 1513.
Date: 1515.
Vasari, VI, 252-255; cf. G. Pelagi, Capitoli della Compagnia del Broncone, Firenze,
1872, the original manuscript of which is in the Biblioteca Moreniana.
TRIUMPHAL ARCH
Mythological subjects among which a "Pallas and Apollo." This arch
was raised at the head of the Via del Pelagic The woodwork was by Baccio
da Montelupo. Ruined in Vasari 's time.
Date: 1515.
Vasari, VI, 255.
Fresco.
Date: 1512-1513.
Vasari, VI, 256.
CHRIST AS PILGRIM
Painted over the entrance of the Women's Hospital between Piazza San Marco and
Via San Gallo, opposite the nuns of St. Catherine.
Fresco: monochrome.
The convent of St. Catherine of Siena was in the Via degli Arazzieri
and is now the Comando Borghini states that this fresco occupied
Militare.
the space over the door of the Priests' Hospital. Pontormo's figures were
thought in later times to be by Andrea del Sarto (Cinelli). They were
destroyed in rebuilding in 1688.
Date: 1513-1514.
Vasari, VI, 256; Bocchi, ed. Cinelli, p. 19; Borghini, ed. 1730, p. 393.
254
LOST PICTURES
about 1500 (Istoria genealogica, Florence, 1685, IV, 273-275). He also
mentions a Bartolomeo di Lanfredini who was alive about 1530 and who
seems to have been the Lanfredini who wrote two letters to Cosimo I under
the dates of April 21 and May 9, 1541 (Indice mediceo, Classe 26, Vol. 20,
c. 13; Vol. 21, c. 25). Of Jacopo's decoration no trace remains. Cf. Borghini,
op. cit., p. 392. It is interesting to note that Feltrini, with whom Jacopo was
often associated in his earlier years, decorated the facade of the houses of
Lanfredino Lanfredini (Vasari, V, 207).
Date: 1512-1513.
SANTA CECILIA
Lunette over the door of the Compagnia di Santa Cecilia, in Fiesole.
Fresco.
These, for their style, size, and lightness, set a new fashion. Their fate
is unknown.
Date: 1517-1518.
Vasari, VI, 260.
255
PONTORMO
PIETA
With the Virgin weeping and in the air two ' ' putti, ' ' one holding the chalice of the
Passion, the other the head of Christ. On one side of the composition, St. John with arms
outspread, on the other, St. Augustine in episcopal robes; in his left hand, a crosier.
Fresco.
cardinal's hat.
Salviati was horn in 1490 and made cardinal by Leo X on July 1, 1517.
Date: 1517-1518.
Vasari, VI, 261 and note.
SANT' AGOSTINO
Seated in the act of blessing; above him two "putti" flying.
Painted for the little church of the Sisters of San Clemente, in Via San
Gallo. In Borghini's time it was believed to be still in the convent. Accord-
ing to Milanesi, it was later in the refectory of the nuns who were, it should
be noted, of the Order of St. Augustine. Lost after the suppression of the
convent. Cinelli (p. 7) calls this picture by mistake a "San Giorgio." His
error was corrected in the Milan edition of Vasari (XII, 30, n.).
Date: 1521-1523.
Vasari, VI, 265 and note; Borghini, op. cit., p. 394; Eicha, Chiese fiorentine, V, 262.
PIETA
With nude angels, the landscape drawn in part from an engraving of Diirer's.
Date: 1521-1523.
256
LOST PICTURES
MADONNA AND CHILD
Painted for certain Spaniards. Many years later this picture, which was
about to be sold to a second-hand dealer, was bought at the instance of
Bronzino by Bartolommeo Panciatichi. "When Raffaello Borghini wrote it was
in the house of Carlo Panciatichi. It has since been lost or is unidentified
Date: 1521-1523.
Vasari, VI, 265; Borghini, op. cit., p. 394.
NATIVITY
In the darkness Joseph was represented holding a lantern.
Painted for the Prior's room at the Certosa. Its fate is unknown.
Vasari, VI, 269.
MADONNA
Painted for Lodovico Capponi and hung in his bedroom. Vasari says it
resembled in style the decorations of the Capponi Chapel. Its fate is unknown.
Date: 1526-1528.
Vasari, VI, 272; Borghini, op. cit., p. 395.
Date: 1526-1528.
Vasari, VI, 272; Borghini, loc. cit.
257
PONTORMO
PORTRAIT OF ALESSANDRO DE' MEDICI
Vasari felt that in this portrait Jacopo was still under the influence of
Diirer. The terminal dates for this work are 1524, the date of Alessandro 's
arrival in Florence, and 1527, the date of his flight to Rome. Its fate is
unknown. For Pontormo's later "Portrait of Alessandro," see, in the
Catalogue of Authentic Pictures, Johnson Collection, Philadelphia.
Date: 1524-1527.
Vasari, VI, 273.
Date: 1524-1527.
Vasari, VI, 273.
POMONA
In a niche opposite the portal of the house of Filippo del Migliore in
Via Larga. Vasari felt that in this work Jacopo had begun to free himself
from his imitation of Diirer. No trace of the figure now remains.
RAISING OF LAZARUS
Vasari narrates that, unable to buy the Pontormos in Borgherini's
famous room while the latter was in exile in Lucca, Giovambattista della
258
LOST PICTURES
Palla gave Jacopo a commission for a "Lazarus" to be sent to the King of
France for whom Delia Palla acted as agent. Giovambattista 's career as a
picture dealer was ended in 1530 and he died in prison at Pisa not long after.
Vasari praises highly the realism of this picture. It probably never reached
France and its fate is unknown.
Date: 1529-1530.
Drawing: possible study for the figure of Lazarus, Uffizi 6723 (fig. 113; photo.
F. M. C).
Vasari, VI, 274; Borghini, op. cit., p. 395.
Date: 1530-1531.
Drawing: possible study, Ufiizi 463 F. (fig. 120; photo. Houghton; D. G. U., pi. XX).
Vasari, VI, 275; Dessins, pp. 36, 71, 106.
NOLI ME TANGERE
Painted for Alfonso Davolo, Marchese del "Guasto," from a cartoon of
Michelangelo's. The latter recommended Jacopo as the painter best able
259
PONTORMO
to execute the pictureand Pontormo made so great a success of his work that
he received a commission for a replica from Alessandro Vitelli, the condottiere.
Fra Niccolo da Magna (Nicolaus von Schomberg), Governor of Florence and
Bishop of Capua, acted as intermediary in the negotiations for the cartoon.
In regard to these we have three letters of Figiovanni, the first to Michel-
angelo in Florence, dated April 11, 1531 (Frey, Dichtungen, p. 508, Reg. 25
and 27) the second, in the autumn of 1531 ( ?) the third, just after October
;
—
"The Archbishop
of Capua is very glad the master is to carry out your cartoon in your house
'
'
—
seems to indicate that Pontormo actually painted this picture under Michel-
angelo's supervision. The cartoon itself passed later into the possession
of Cosimo I. Its fate like that of this panel is unknown.
Date: 1531-1532.
Drawing: Thode believes, I think without reason, that the drawing No. 367 of the
Clough Collection (Frey, 77 and 78) is Michelangelo's sketch.
Documents: for the letters that place this picture about 1531, see Frey, Brief e an
Michelangiolo, p. 309 f. idem, Dichtungen, pp. 327, 509; B. F. D., II, 93.
;
Reprod. Two copies exist in the store-rooms of the Uffizi, one attributable to Battista
Franco who made, about 1540, a cartoon from the cartoon of Michelangelo (VI, 575) which
passed into the Guardaroba of Cosimo I. Franco's cartoon was on a larger scale than
Michelangelo's, as also was the picture that he painted from it. Cf. fig. in Gamba's
article cited below. Bronzino 's '
Noli me tangere,' in the Louvre, is also derived from
' '
Michelangelo's design.
Vasari, VI, 276, 575, VII, 277; Gamba, Una copia del "Noli me Tangere" di
Michelangelo, Bollettino d'arte, III (1909), p. 148 ff.
NOLI ME TANGERE
Replica of the preceding for Alessandro Vitelli who had it placed in his
house in Citta di Castello. Cf. the foregoing. This replica has been lost.
MADONNA
Given by Pontormo to Rossino, the mason who helped him build his
house. When Vasari wrote it was in the possession of Alessandro, son of
Ottaviano de' Medici. It has disappeared or has not yet been identified.
260
LOST PICTURES
PORTRAIT OF CARDINAL GIULIO DE' MEDICI
This was a copy of part of Raphael's "Portrait of Leo X with Giulio de'
Medici and Cardinal de' Rossi," painted in 1517-1518 and now in the Pitti.
Pontormo gave copy to Rossino and later on it passed into the hands of
his
Alessandro d'Ottaviano de' Medici. Its fate is unknown. Andrea del Sarto
also made a copy, now lost, of the head of Giulio for Ottaviano de' Medici,
who gave it to the Bishop de' Marzi, as well as a complete copy which was
long supposed to be the picture in the Museum of Naples. De Rinaldis in
his catalogue of that collection gives this latter copy to Giulio Romano.
Bugiardini too painted a modified copy of Raphael's portrait for the cardinal
Innocenzio Cibo (VI, 206 f.).
Vasari, VI, 280.
MADONNA
According to Vasari the picture was given by Cosimo I to a Spaniard.
Milanesi conjectures that this Spaniard was the Duke of Altamira. It is
also not impossible that this is the picture referred to, in the Inventorio
generale a eapi della Guardaroba, No. 30, 1553-1560, p. 58, as having been
given by the duchess to Don Giovanni di Figana. Cf. Appendix II, Doc. 33
and 34.
261
PONTORMO
MADONNA
Found in Jacopo's house after his death and sold by his heirs to Piero
Salviati. The fate of this picture is unknown.
Oil on plaster.
the Sign of Leo and the Virgin. In the lunettes of the vaulting, Pontormo painted nude
'
'
allegorical female figures of Philosophy, " " Astrology, " " Geometry, " " Music,
'
'
'
"Arithmetic" and a "Ceres." In certain medallions one saw stories appropriate to each
figure. These were framed in decorative designs.
Oil on plaster.
Date: 1538-1543.
Drawings: possible sketch for the "Saturn," Uffizi 6510; possible study for one of
the allegorical figures, Uffizi 6584 (fig. 132; photo. F. M. C.) possible study for the ;
"Astrology" or the "Geometry," Uffizi 6586 (fig. 133; photo. Pini) possible study for ;
the "putti," Uffizi 6592; study for the "Mars Hermaphrodite," Uffizi 6630 (D. G. U.,
pi. XXII) ;
possible sketches for various motives, Uffizi 6644.
Bibl.Vasari, VI, 282, 452 ; VII, 596 Borghini, op. cit., p. 395 Varchi, Due Lezzioni,
; ;
p. 109; Moreni, Notizie, Firenze, 1792, I, 103; Dessins, pp. 21, 37, 41, 50, 56, 74, 90, 121,
262
LOST PICTURES
168, 169, 172, 194, 201. For the villa, cf. Vedute delle ville e d' altri luoghi della Toscana,
Firenze, 1757; De Benedetti, Palazzi e ville reali d' Italia, Alinari, 1911; Anguillesi,
Notizie storiche dei palazzi e ville appartenenti alia I. et B. Corona della Toscana, Pisa,
1815.
Glory," "The Four Evangelists," "The Tilling of the Soil," "The Sacrifice of Cain
and the Death of Abel," "The Benediction of the Sons of Noah and the Building of the
Ark," "The Ascension of the Blessed," "The Fall of the Damned," "The Resurrection,"
and The Deluge.
'
'
'
Fresco.
These paintings occupied Pontormo during the last ten or eleven years
of his life. The lower part of the "Deluge" and the "Kesurrection" were
finished by Bronzino after his master's death (Vasari, VI, 288, n. VII, 602; ;
Moreni, op. They were never popular and in 1742 they were
cit., II, 119).
destroyed in rehandling the choir (Manni, / Carri di San Giovanni, gives the
date as 1738). For the general arrangement, see p. 75. Pontormo, in his
Diary, refers repeatedly to his work on these frescoes; see Appendix III.
For the number of days he mentions having worked in the choir, see the
Synopsis of the Diary.
Date: 1546-1556.
Drawings: study for the Eve of the "Expulsion," Uffizi 6715 (fig. 137; photo.
Houghton); first thought for the "Moses Receiving the Tables of the Law," Uffizi 6508;
study for the same, Uffizi 6749 (fig. 139; photo. Pini; F. M. C.) finished study for the
;
"Christ in Glory," Uffizi 6607 (fig. 138; photo. Houghton; fig., Goldschmidt, op. cit.);
sketch for the Adam of the same, Uffizi 6733; finished study for the "Four Evangelists,"
Uffizi 6750 (fig. 140; photo. F. M. C.) sketch for the "Tilling of the Soil," Uffizi 6535
;
(fig. 143; photo. F. M. C.) sketch for the Adam of the same, Uffizi 6615; finished study
;
for the "Sacrifice of Cain and the Death of Abel," Uffizi 6739 (fig. 141; photo. Houghton) ;
first thought (reversed) for the Abel of the same, Uffizi 15665; study for the Cain of
the same, Uffizi 6746 (fig. 142; photo. F. M. C.) sketch for the "Fall of the Damned,"
;
Uffizi 6568 (photo. F. M. C.) first thought for the same, Uffizi 15666; sketch for certain
;
figures in the "Ascension of the Blessed," a drawing in the Academy at Venice (fig. 147;
photo. Braun, Venice 78029); sketches for certain figures in the "Resurrection," Uffizi
462 (photo. F. M. C.) and Uffizi 6684 (photo. F. M. C.) sketch for a single figure in
;
the same, Uffizi 17410; sketches for certain figures in the "Deluge," Uffizi 6528 (fig. 146;
photo. F. M. C), Uffizi 6752 (fig. 145; photo. F. M. C), Uffizi 6753 (fig. 144; photo.
F. M. C), Uffizi 6754 (photo. F. M. C; Dessins, pi. VIII), Uffizi 17411 (photo. Houghton;
D. G. U., pi. XXIIIB), Louvre 947 (photo. Braun 63207); sketches for single figures
in the same, Uffizi 6560 (fig. 148; photo. Houghton; F. M. C), Uffizi 6640 (photo.
F. M. C), Uffizi 6650, Uffizi 6679 (fig. 149; photo. F. M. C), Uffizi 6714. In Pontormo's
Diary there are many diminutive sketches (cf. fig. 152) relative to these frescoes, but we
cannot tell to what subiect they refer. With them correspond the following sketches in
the Uffizi: Nos. 6528, 6560, 6580, 6724, 6745, 6753, 6760 (fig. 153; photo. F. M. C),
15666. Borghini (p. 396) mentions that M. Baccio had a drawing of the San Lorenzo
frescoes but of which he does not say. Bocehi (p. 361) speaks of it with great enthusiasm
and at great length and from him we learn that it was a Last Judgment
'
' and a'
'
'
Martyrdom of San Lorenzo,
'
'
which he preferred to the fresco of the same subject.
'
From him we also learn that M. Baccio was Baccio Valori. In the Louvre there are two
large drawings, ascribed to Bronzino, which are undoubtedly copies of parts of the
"Deluge." In the Archives of the Innocents (Filza 17, p. 345) mention is made of a
large drawing of many nudes in black chalk which was once in the possession of the
Hospital and which may have had some relation to these frescoes.
263
PONTORMO
Documents: I have examined the following accounts without, however, finding any
reference to Pontormo's work in the choir: Archivio di San Lorenzo, Capitolo di San
Lorenzo, Armadio F; Debitori e Creditori E., 1542-1549, F. 1549-1557, G. 1555-1560;
Archivio di Stato, Firenze, Depositeria Generale, Nos. 391, 392, 393, 394, 522, 523, 573, 583,
770, 771, 943, 948, 949, 950, 951, 952, 953, 954, 1653, 1654. We find in No. 394, p. 101,
reference to the salary of a helper, Bastiano del Gostra. See Appendix II, Doc. 27.
Bibl. Vasari, VI, 284-287; VII, 602; Bocchi, ed. 1677, pp. 515-517; Richa, V, 29;
Borghini, p. 396; II Milizia, II, 135; Del Migliore, p. 166; Moreni, II, 112-115; Lapini,
Diario fiorentino; Ciangogni, Memorie istoriche; Lanzi, I, 164; Carocci, La Basilica
Laurenziana, Arte e storia, IV (1885); Bosini, V, 59, 62; Reiset, Notice des dessins au
Louvre, Paris, 1879, p. 60, No. 190, note; B. F. D., I, 327; II, 141, 142, 144, 147, 148,
149, 152, 153, 154; Gamba, I disegni di Jacopo Carucci, 1912; Dessins, pp. 21, 26, 30, 37,
41, 56, 75, 86, 106, 107, 117, 119, 121, 132, 133, 138, 140, 155, 158, 166, 167, 172, 183,
188, 199, 206, 231, 232, 250, 251, 253, 258, 265, 267, 268, 274, 276, 277, 278, 279, 281,
286, 287, 294, 298, 299, 302, 331, 349; On Certain Drawings, pp. 17, 18, 22, 23.
MADONNA
Once in the possession of Carlo Panciatichi but now lost.
264
APPENDICES
APPENDIX I
267
PONTORMO
a master when Mariotto went to Viterbo to finish a picture begun there by
Fra Bartolommeo. According to the books of the Order, this picture, a
"Madonna with Dominican Saints," was finished, not by Albertinelli, but as
6
late as 1543 by Fra Paolino da Pistoia. Colasanti 7 was led to assume, on
account of the discrepancy between the documents and Vasari's narrative,
that the latter 's story of Albertinelli 's journey to Viterbo had no claims
to critical consideration. Vasari, however, not only says that Mariotto began
a picture of his own there, then went to Rome and returned to Viterbo, but
8
he goes out of his way to record gossip to the effect that Mariotto died soon
after his return to Florence as a result of loose living in the South. Such
gossip, usually a reflection of much repeated tales, is often more convincing
in the "Lives" than details given by Vasari about pictures which he had
sometimes never seen. We know that Albertinelli died on November 5, 1515
9
;
we also know that he was in Florence on January 5, 1513, when his contract
with Fra Bartolommeo was dissolved. 10 More than that, Vasari himself tells
us that for Leo X's elevation to the Papacy (March 11, 1513) Mariotto received
a commission to paint the new Pope 's arms for the Medici Palace in Via Larga.
The journey to Viterbo, therefore, was not later than 1515 nor earlier than
March, 1513. But before the latter date Pontormo was already fairly launched
in his career as an independent painter. One is tempted to make Pontormo 's
release from Albertinelli 's "bottega" coincide with the moment when Mariotto
11
decided to give up painting and become an innkeeper. But on inferential
grounds, Knapp, Gruyer, and Crowe and Cavalcaselle, all place that adventure
in 1512 or 1513 at which date Jacopo had already passed through his last
experience as an apprentice and had left the workshop of Andrea. We may,
however, remark that, whatever the date at which Albertinelli opened his
public house, his apprentices were probably released at that moment from
further legal obligations to him. We also cannot help noticing that
among the surviving works of Albertinelli, many of which are dated, there
is no picture now extant, so far as I know, that bears a date falling between
1507 and 1510. Moreover, before we accept the date suggested by the critics
whom we have mentioned, it might be well to recall that Vasari mentions that
Mariotto received certain commissions for pictures in the spring of 1513.
In any case the determining of the date at which Pontormo left Mariotto is
of less importance to our study than the obvious fact that, when after a time
Mariotto did reopen his bottega, Pontormo continued to follow with interest
' '
' '
the work done there. Of this the "San Luca Madonna" is sufficient indirect
evidence.
Leonardo was in Florence from 1503 to May 30, 1506, from August, 1507
to the late spring of 1508 and again, it would appear, in the spring of 1509
and towards the end of 1510. His longest stay in his native city, after his first
visit to Milan, was between 1503 and May, 1506. If, as is highly probable,
Pontormo was still in Albertinelli 's care during those earlier years, he could
have worked with Leonardo only during one of Da Vinci's later visits to
Florence. Vasari's story implies, as we have seen, that Jacopo was appren-
ticed to Leonardo between the end of January, 1508, and the late spring of
268
HIS APPRENTICESHIP
the same year. We have no evidence, however, that Leonardo kept a
"bottega" during any of his later visits to Florence. It is accordingly not
unlikely that Pontormo never actually became a pupil of the great master
but merely studied, on his own account, like the young Raphael, works of
Leonardo's then in Florence, among them the unfinished "Battle of Anghiari."
The influence of that masterpiece is visible in Pontormo 's "Martyrdom of
the Theban Legion" which was painted many years later. We should also
note that in some of Pontormo 's earliest drawings the hair is blown out like
a flame —
a peculiarity of sketches by Leonardo dating from the years 1505-
1510.
The exact date at which Pontormo studied with his third master cannot
be determined. We may conjecture that he passed through the "bottega"
of Pier di Cosimo sometime between 1508 and 1510 but the only foundation
we have for such an opinion is the fact that Vasari's statement in regard
to Pontormo 's interest in Piero's art is corroborated by certain characteristics
of Jacopo's early portraits and religious pictures which recall definite
tendencies of Piero's later work.
Pontormo 's contact with Andrea del Sarto closes his experience as an
apprentice. Vasari states, as we have seen, that he went of his own accord to
stay with Andrea because he greatly admired the San Filippo Benizzi frescoes
which the latter had just finished. 12 These frescoes were completed in the
autumn of 1510 and dated by Andrea himself A. D. MDX. 13 Elsewhere
Vasari says that it was in 1512 that Pontormo was first associated with
Andrea. 14 We must choose between these two dates and the following are some
of the considerations that will influence our choice. For Pontormo 's fresco
over the portal of the Annunziata I have found payments that were made
as early as November, 1513, 15 which prove that he must have begun the work
in the late summer of that year. News of the election of Leo reached X
Florence in the second week of March, 16 1513, and the Servites, who were
"Palleschi," began decorating their church in honour of the great event
without delay. Vasari implies that after Pontormo had finished the cartoons
for the fresco in question Andrea refused to have him in his workshop any
longer. If Pontormo became Andrea's pupil in 1512 we must suppose that it
took Jacopo only a year and a half, at the most, to make Andrea's manner his
own, and we could desire no more forcible evidence of Jacopo's masterly
insight into Andrea's conception of form than is furnished by his manner
of drawing during the next six years. To the evidence that his drawings
furnish we must add Vasari's own statement that Jacopo helped Andrea
with "molti quadri ed opere, 17 although no picture of Andrea's dating
from this period, and among them we count the "San Gallo Annunciation,"
the "San Godenzo Annunciation," the Dresden "Marriage of St. Cathe-
In the Libro del Camarlingo just referred to I have found, under the dates of March 11
and 12, 1513, the following entries: "spese straordinarie p di decto lire sei soldi sei sono p
tagj et pouere p fare festa della creatizione del papa de' Medici porto — —6 6; p. 81
verso: spese straordinarie a di decto lire 13. soldi 10 sono p dipignere l'arme del papa de
Medici e duna bandiera posta incupola porto Ant dipintore — — 13 10."
it VI, 247.
269
PONTORMO
19
rine," 18 the "Adoration of the Magi," in the courtyard of the Annunziata,
and the "Madonna with the Infant St. John," in the Borghese, shows the
20
slightest trace of Pontormo 's touch. Vasari definitely names but one picture
painted by Jacopo for Andrea: the lost "predella" of the "San Gallo Annun-
ciation." And he adds that Bronzino had heard Pontormo himself say that
Rosso also worked on this "gradino." Evidently we must not take too
literally Vasari 's "molti quadri ed opere. " On the same page Vasari says
that Jacopo had not been much time with Andrea before his progress was
21
such that one would have thought that he had practised art for many years.
In all probability he had. For, if he was a mere child when he entered
Albertinelli 's workshop, he already had behind him in 1512 more than nine
years of apprenticeship. The groundwork of his sense of form had been laid
with Mariotto and, to an infinitely less degree, with Pier di Cosimo. The
"God the Father" and the "Santa Veronica" of the Pope's Chapel are
Albertinellian with a hint in them of the study that Jacopo had given to
figures sketched by Michelangelo during the years that were chiefly given
to the "Battle of the Cascina." The "San Luca Madonna" carries on the
tradition of Mariotto. Indirect evidence, then, would lead one to conjecture
that Jacopo entered Andrea's "bottega" in the autumn of 1510 or in the
spring of 1511.
In his "Life of Masaccio" Vasari states that Pontormo, like all
Florentines of his generation, studied the frescoes of the Brancacci Chapel.
is Goldschmidt (Pontormo, Bosso und Bronzino, Leipzig, 1911 [Dissertation], p. 43)
270
APPENDIX II
1386-7.
271
PONTORMO
Doc. VI. Firenze: Biblioteca Nazionale. Codice Araldico, p.
129.
Fig. I Fig. II
Codice B VII of the Biblioteca Marucelliana gives (p. 14) the arms of the
Carucci as " stelle gialle in campo azzurro sotto sei listre a sghembo rosse e
:
bianche. Cf Doc. I where the arms of the family are given as in fig. II, but
'
' .
Charucci
Carucci
Piero f 12Ap'lel535.
Oratio ) di Pieri di Ruggieri
Ruggieri >
Grazia J
272
DOCUMENTS
Doc. VIII. Firenze Archivio degl'Innocenti.
: Entrata e Uscita
D. 1527-1528, p. 54.
M°. ccccc.viiij
bro Pagonazo coue|to / era strecto da molti debiti / & altre necessita.
S t0 G a 3 et maxie ppotere| pagare uno restante didebito / ch elmost
et in G le a 42 co to haueua Colmunistero| delpadiso / p ilpodere ch daloro
sicopo / posto atubiana Comune di| prato. Et p vigore
didco sindachato. Noi M° Alexadro dibartho|lomeo / & M° Ant dimichele /
& fre Lorenzo dibernardo / sindachi pdcj vendemo libere & Itrafacto / sotto
:
giusto & ragio|neuo le ptiiche sia veduta libera & itrafacto: et p° maxie:
prispecto| dellume tolto dalla Comp a delpellegrino alle finestr e didrieto.
273
PONTORMO
E qualj| octata larghi dco raariotto gli de pagare jn q° modo cioe. ff 30
ff
larghi do depaghare I suauna scripta p'uata fca di mano| di m° Ant
io°
dimichele sindacho pdco di Consentimeto de dua altrj| sindachi copagnj adca,
vedita: sotto scripta diloro mano & sotto| scripta di mano didco mariotto
dipictore. ratificado ciaschu dinoi| sotto script j / atato qto lessa scripta si
contiene. Laquale scripta e appsso didco raariotto et qsta scripta p uata
: '
de darej & finire dipagare elrestante de dej ff octanta larghi doro i o° che|
sono ff cinqta do I o°. Et noi sindachi pdcj promettiamo p dco co to di S a |
ma a no lla adco Mariocto cSpatore la difesa gnale di dca Casa| aluj venduta /
obligado tuctj nostrj benj / psentj & futurj p la difesa di| dicta Casa venduta
solaihte. Et spetalihte promettiamo. pla dca di|fesa elpod r e copato dalle
monache delpadiso posto Iquel diprato| p gli oblighi & debit j del quale:
spetialraete & Tpte se venduta la| decta Casa: et q disotto simettera lordine
del cotracto colpagmto.
M c c c c c vij
Pro her te Bartholomei Jacobj Pictoris de piitormo
Die 24 Januarij
Licetia vendendi mobilia
Prefati officiales tutores dicte hereditatis seruatis &c. dederut et con-
cesserut licetiam Bart aionis actori dicte hereditatis vendendi mobilia dicte
|
hereditatis.
Die xxiiij Maij 1508
Redditio rationu
Prefati officiales simul cohadunati et prestito jurameto seruatis &c.| viso
quod libro temp to pdictum Bartholomeii angeli della|ione actorem Sig to
A tempto p dicta heredit et suscriptionej facta indicto libro 8 manu Petri
zenobij demarignollis et omnibus ineo c5tentis dictu libru et oratione ineo
|
8
absentibus ei et mihi eorii not peis recipientib| se facturu et pdictis
Bartholomeus tegerunt peum hinc adunu| anh pxe futuru redder bonum
coputum et de oniia alia facere adq| tenetur secii ofdi flort alias desuo pp°
attendere ohseruarej promisit, rogans &c. Actuubisop a presetib Benedicte
bart depuccinis et| Ant Iusti famulo.
Die xxi Junii
Appbatio
Prefati off simul cohadunati &c. seruatis &c. dictu guidone fideiuxore|
appbauerunt.
274
DOCUMENTS
Doc. XII. Firenze: Archivio di Stato. Convento dei P.P.
Serviti della Il ma Annunziata di Servi di Maria Convento :
Novembre 1513
A muraglia adi dto ff uno doro p° Jacopo di Bt° dipintore p parte di
dipintura sopra larcho dela porta L 7 s —
Marzo 1513
Idem, p. 122 verso.
A muraglia adi dto L sette su5 p dipignare larme di deimedici sopra
a larcho dela porta p° Jacopo di Bt° L 7 s —
Marzo 1514
Idem, p. 124 recto.
A spesse de muraglia adi dto quatro doro iuoro ff tre p° andrea dagnolo
ff
dipintore p oro p inorare e capitolli de sua quadri adipinto ff uno doro p°
Jacopo dipintore sopra alarcho delauolta sopra ala porta di sono p inorare
qlle figure L 28 — s
Aprile 1514
Idem, p. 127 recto.
A spesse di muraglia adi dto ff dua doro su5 p parte di dipintura sopra
alarcho dela porta p° Jacopo dipintore L 4 s —
Giugno 1514
Idem, p. 132 recto.
A muraglia adi decto lire cinquata sei sono p resto della di pintura sopra
larcho della porta della ciesa porto iachopo dipintore e adrea eft mese aoro
cotati L — 56 s
4* dicebre 1514
A p spese dimuraglia iochopino dipintore adi decto lire ueti una sono
en tati gneue ha dare el coveto p il quadro fa nel ciostricino e resto pago fra
mariano porto el p. priore cotati L — 21 s
Aprile 1515
Idem, p. 161 verso.
A Jachopino dipintore adi decto lire quatordici, sono per parte di
dipintura del quadro del chiostricino porto el p. priore contanti lire
quatordici L — 14 s
Maggio 1515
Idem, p. 165.
A Jacopino dipintore a di decto lire secte; sono per parte di dipintura
del quadro del chiostricino porto contanti lire 7
275
PONTORMO
Marzo 1516
Idem, p. 192 verso.
A Jachopino dipintore adi decto lire tre soldi 10, sono per parte di suo
conto porto contanti lire 3 soldi 10
Maggio 1516
Idem, p. 200 verso.
A Jachopino a di detto lire diciasette dipintore, sono per parte di suo
conto porto contanti lire 17
Giugno 1516
Idem, p. 202 verso.
A Jachopino dipintore a di detto lire dicia sette soldi 10 sono per loro
per e chapitegli del quadro porto contanti lire 17 soldi 10
276
DOCUMENTS
MDxxiiij adi xx d. setemb
Idem, p. 8 verso.
M
r0 Jacopo da pontormo dipentore di dare
p cassa Duet dieci ebe de
contanti dal p. priore como se vede i q° di cassa s to f a 68 Duct 10 L s d. — —
e piu adi 3 di dicembre Duct, dieci ebe dal p. piore como inq° s t0 f a
69 Duct 10 L — —s d.
fa Duct 20 L— s.
fa Duct 20 L s.
M D. xxv
Idem, p. 30 destra.
E piu Duct uno L sei pagamo a m ro
Jac° dipintore p tanti colori e la
cornice p fare lo cenaculo de la despensa c5mo in q° a 86 Duct. 1 L 6 s d. —
mro Jacopo inpentore di dare p cassa Duct sette ebe dal pcur e fu adi
4 di Junio como in q° d cassa a 86 Duct 7 L s — —
Idem, p. 34 sinistra.
m ro Giaco po dipintore di dare p cassa Duct dua ebe dal p cur e fu adi
12 de agosto como sivede in q° di cassa a 89 Duct. —2 L— s.
Idem, p. 40 destra.
m r0 Giacopo impentore di dare p cassa Duct quatro ebe dal pcuratore e
fu adi 15 di nouembre 1526 come ing° de cassa S t0 f a 94 Duct 4 L s. —
Idem, p. 45 destra.
mro Jac° dipintore di dare p cassa Duct sei e fu adi 4 di genaio ebe dal
pcur como si vede ing° di cassa S t0 f a 96 Duct 6 L — s.
Idem, p. 47 verso.
mr0 Jacopo dipintore di dare p cassa Duct, cinqu ebe dal pcur como in
q° di cassa S to f e fu adi 15 daple a 101 Duct 5 L.
M D. xxvij
Idem, p. 58 recto.
M ro Jac° da pontormo dipintore di dare p entrata
dadi 28 di febraio 1524
Duct dua L quat p valuta
s dieci sono di some 8
la di flasconi ebe in piu volte
e p una meza catasta di legno p L 8 ^ eli flasconi a s 25 la soma posta in
firenze a Duct. 2 L 4 s 10.—
277
PONTORMO
E piu adi 3 dilugio 1526 L tre s x sono p la valuta di uno Bar di vino di
gtto de la montagna beuealo queto anze vectura e gabella Duct L 3 s 10. —
E piu da di 14 di nouembre 1526 p sino adi 17 decto Duct dua L vi s
gindici sono p la valuta di una cattasta di legne ebe in dua volta e some 3 di
flasconi posti in firenze anza victura e gabella Duct. 2 L 6 s 15.
fa Duct 6 L—s 15.
M. D. xxiiij
26 deto (Maggio)
A mro Jacopo di btholomeo dapontormo depintore Duct trenta L dua
hebe dal pcuratore in 9 volte p parte da di 4 di Febraio 1522 p insine adi
10 dapUle 1524 supra ala depintura fa nel claustro Duct 30 L 2 s s. — —
M. D. xxiiij adi 16 dagosto
Idem, p. 68 destra.
Amro Jacopo dipintore duct porto lui Duct. 10 L — —s d.
Idem, p. 78 destra.
Capsa cotrassta di hau p sino adi 30 de oct-1525 duct dieci pagami a
Mr0 Jacobo depintore porto lui p parte Duct 10 L s d. — —
MD xx (sic)
Idem, p. 81 destra.
20 decto A m ro Jac° dipintore Duct dieci ebe dal p cur fu adi 19 d. decebr
Duct 10 L — — s d.
278
DOCUMENTS
Idem, p. 94.
a m
ro Jac° Dapontormo depetore Duct quat hebe dal pcuratore et fu
adi 15 Novebrio 1526 a suo coto Duct 4.
p di. L lafio.
Marginal note:
Compero il d° Antonio la d a Capp a da Barbadori e da Bernardo suo figlio
fu venduta a Ludovico Capponi p scudi 200.
279
PONTOBMO
Doc. XX. Firenze: Archivio di Stato. Catasto: Estimo del
Contado, No. 5. Quartiere San Giovanni, 1520; Popoli
1-95, No. 128, p. 57 sinistra.
1
Letter of Costantino Ansoldi to Francesco de Medici '
Serm0 Principe
Supplico sua Alteza come gia molti anni Intesi che Soa Alteza, overo
il gran Duca fece publicare una crida in Fiorenza per sapere ove si trovasse
II ritratto della bona memoria del Duca Alessandro, promettendo bona
remuneratione, et perch 'io sono statto creatura del Detto Duca Alessandro
mio Signore et ancho sempre desideroso di farnie conoscer alia soa Alteza
per suo amorevolissimo servitor, subito mi mossi a pensare nella mente mia
se potessi In qualche modo uenir in eognitione di detto retratto, venendome
In memoria ch' II detto Duca mio Signore me lo dono mentre era vivo, et
doppo la sua morte m'e venuto In memoria ch'io lo donai a una Signora
Thadea Malaspina, qual fu sorella deH'Ill ma March a di Massa che fu Madre
dell'Eccmo Principe hoggidi di Massa, et con qsto mi partei da Casalmaggiore
i Gualandi (III, 62-70) published this letter from a copy made by F. Moise in 1851
in which the latter falsely transcribed the name of the artist as Jacopo da Ponte. Gualandi,
unable to make a satisfactory hypothetical contact between the lives of Bassano and
Alessandro de' Medici, concluded that Ansoldi was guilty of gross misrepresentation.
Carnasecchi reprinted the document somewhat more accurately (Bivista d' arte, VI [1909]
34-36) and indicated its connection with Pontormo. Both versions are in varying degrees
inexact. It was Cosimo I who had advertised for the lost portrait of his ancestor but, since
Ansoldi writes (1571) after the retirement of Cosimo (1564), he addresses himself to the
"principe reggente" Francesco de' Medici.
280
DOCUMENTS
patria mia neH'anno del S re 1568. adi. 10. di 9bre che fu la vigilia di S t0
Martino. per andar a camino di trovar tal ritratto, desiderando presentarlo
alia soa Alteza, parte per raffarmare la mia antica servitu, parte per haver
qualch'aiuto dalla mane di soa Alteza per soccorrere alii bisogni di cinque
mie figliole femine, quali sono da marito et senza roba et senza madre, feci
capo a Ferrara a una S ra Iulia Malaspina figliola della detta S ra Thedea,
dalla Intesi che detto ritratto si trovava nella guarda robba del Principe
di Massa, per ch'essa S ra Thadea era morta in casa del detto Principe, nella
qual'erano restate tutte le sue spolie. Io inteso questo feci ricapito in
Fiorenza persuadendomi che la servitu ch'io teneva con II S r Iulio de Medici
qual io ho alevato et fu consignato et racc to nelle mie mani dal detto Duca
Aless ro havesse ad operare con 1 Ill m0 Principe di Massa per essersi alevati
'
loro insiema che con il suo meggio detto ritratto pervenesse nelle mie mani,
ma Intendendo che II S r Iulio era in Pisa mi transfer! da Fiorenza a Pisa,
et havendoli narrato la causa della mia venuta pregandolo volessi recuperare
detto ritratto et farmene un dono in ricompensa della mia fedel servitu fatta
alia bona memoria del Duca Aless r0 suo Padre et anche a S.S. ; mi rispose
ch' a tutte sua forze l'haverebbe ricuperato, et ch' il ritratto saria statto il
mio, et di piu che lui haveva obligatione di far tutto quello ch' io gli chiedessi
per che haveva nel suo corpo l'anima di detto Duca, et con questa speranza
restai in Fiorenza et Pisa cinque mesi con mio grandissimo interesse, et
grandissima infermita, per la qual fu forzato partirme per venir a casa,
havendo pero prima hauta licenza da esso S re Iulio, et prowisione sopra
lasua parola di non mancarmi nel detto servitio et hebbe soccorso di denari
per il mio viaggio dal gran Duca per mano del S r Thomaso di Medici, gionsi
a casa et ricuperai la sanita quando piaque al S r Iddio, et alcuni mesi doppo
il S r Iulio mi scrisse ch'io andassi a Fiorenza, perche haveva ricuperato con
gran difficulta il ritratto, et era per darmi tutto il mio intento, come posso
justificare per sue lettere per il che mi partei per Fiorenza a di 5 maggio 1570
et subito che fu gionto da S.S. mi prese per la mano et mi mostro il ritratto, et
perch 'io instava che non volesse mancare di quanto mi haveva promesso, mi
disse che lui non mi voleva a modo alcuno dare quel primo et autentico, ma che
me ne haverebbe datto una copia, sopra ch'io gli feci contrasto, tenendo che
manchasse della sua parola atteso che questo retratto era sta sepulto 33 Anni,
et per meggio mio era stato scoperto, ma non potei ottenere altro da S.S. per
che mai volse concedermi 1' original di detto ritratto, anci ne fece fare una
copia, qual fu principiata da Vincenzo suo pittore, et poi finita da Salvio
pittore del Cavalier somo, ma detta copia riusci sborgna, et io recusai'
d'accettarla, et gli dissi al meno S.S. ne doveva far fare una copia per man
di qualche valent'homo, ma lui mi rispose Constantino non lo posso fare,
per ch'il gran Duca subito lo sapria et me ne privaria. Onde, io, vedendo
la sua ferma risolutione contraria alia speranza ch'io teneva et alia parola
dattami da S.S. non volsi a patto alcuno accettarne copia, ma mi resolsi
venirmene a casa, et cosi venni in effetto senza fame motto ad esso S r Iulio
con mio grandissimo interesse di borsa, et mala satisfation d'animo, non
M
havendo possuto adempire T intento mio, pero ringratio sempre la ta Divina;
Sermo Principe questo retratto e il vero et Iusto qual fu fatto nel tempo che
morse la bona memoria di Papa Clemente in Fiorenza in casa di Pazi, per
man di Jacobo da pontor famoso homo, in habito da corrotto, in tavola a
tutta facia et sin 'alia Cintura, al qual non gli manca altro che la favella;
cosi ho voluto dame noticia alia Alteza sua, per ch'io non glielo posso dare
281
PONTORMO
con le mie mani, come desiderava, accio almeno soa Alteza possi con le mie
ragioni, queli io gli renuntio in tutto ricuperare detto ritratto. et far quanto
gli pare; Supp la solamente vogli tener memoria di me Fid mo et antico
servitore del Duca Aless r0 dignandosi darme qualche soccorso per me qual
mi ritrovo povero senza faculta di sorte alcuna et d'eta de' 69 anno, et con
cinque figliole femine da marito, che riconoscero il tutto dalla man di S. Alteza
et il S r Iddio gli ne rendera il guiderdone mantenendo et augumentando il
suo felice stato come fa; et quando S. Alteza si dignara saper quel ch'io son,
et sono stato, pigliara informatione dal Cavalier Carlo da Spello, da m. Iulio
da Pistoia, da maestro augustino sarto, da m
Stephano Romano camerier
del gran Duca, et di piu dal Sermo gran Duca, da' quali credo soa Alteza
havera bonissimo ragualio delle mie actioni; et se soa Alteza volesse valersi
di me in cosa alcuna sara servita indrizare la If a in Parma, in casa del S r
Scipion Banzola, per che havro bon ricapito et io non mancaro di far quanto
mi comandara soa Alteza, alia qual serviro sempre con fede et con la verita,
et se la M ta di Dio mi concedesse che io havesse il modo di poter venire alii
Piedi di S. Alteza come sarebbe l'animo mio, gli farei conoscere che prima
ch' hora ho desiderato far cosa grata a Soa Alteza, et l'havrei fatto in effetto
se il S r Iulio non me havesse ingannato et non fosse proceduto con me con
tanta malignita com' ha fatto, ma non voglio passare piu oltra, in scritto
accio soa Alteza non mi tenesse uno Aretino, com' in effetto io non son, ne
mi movo se non con gran ragione; Et con questo fine humilte baxio li piedi
di soa Alteza, alia qual N. S. Iddio doni ogni felicita insieme con tutti li soi
descendenti. Da Casalmagg™ il di 23 9bre M.D.LXXI.
Di S. A.
Humiliss Servitore
Costantino Ansoldi.
(a tergo)
Al Sermo Principe di Fiorenza
overo in sua absentia al Ser m »
gran Duca, mei S ri
In Fiorenza.
282
DOCUMENTS
... A quest' ora il ritratto di V. S. e finito del tutto ed oggi gli si da la
vernice. II Pastermo si e portato da un uomo grande ed la migliorato assai,
ma io non me ne soddisfaccio interamente perche V. S. e degna de' Michelangeli
e de' Bastiani.
le lettere nell' ornamento ma perche sconficcandosi
Volea fare intarciare
sidisordina ogni cosa, mi sono risoluto di farvele dipingere. V. S. m'ordini
quel che n'ho da fare e intanto me lo vagheggierd in vece di Lei.
Di Roma alii 12 d'Ottobre 1539.
Idem, Lettera VII. To the Same
... II ritratto si portera questa sera al Bernardi.
19 Ottobre 1539.
Some
of the letters printed in this volume were in the eighteenth century
in the private collections of Duca Mancciucca di Napoli and of Don Francesco
Daniele, Segretario dell' Accademia Ercolanese. Others were in the Biblioteca
Borghese and in the Biblioteca privata del Regnante Pontefice. Their present
whereabouts is unknown to me.
Cav. Visconti printed in the Giornale arcadico, Tomo LXXX, p. 93, with
certain changes of spelling among which Pastermo to Pontormo, the excerpt
given above of letter No. VI. In Seghezzi's edition of Caro's letters (Milano,
1807, I, 117) the painter's name is still given as Pastermo.
Idem, p. ccccxlvi.
Jacopo d bt° dapuntormo dipintore di aver adi xxiii di marzo ff cento
di ma dal qo di cassa b (210) e ent** S (36) dare cassa (444) ff 100.
. . .
283
PONTORMO
febbraio 1556 p tanti messoli auscita Fissatasalariati p sua prouisione di
marzo aprile et magio 1555 pagatoli di conto ff 36.
Gennaio 1556
M° Jac° diL z ° d a puntormo sep° nella nunziata adi 2.
sorore patrueli dicti Andree| et nullis aliis post se relictis subcessoribus[ dictti
Andrea excludere ab hereditate| dicti mag 1 Jac J seu cu eo i aliq a p te cocurrere |
284
DOCUMENTS
Doc. XXXII. Due Lezzioni di messer Benedetto Varchi,
Fiorenza: Torrentino, MDXLIX, Appendix. 1
II diletto ch io so che voi, mag. M. Benedetto, pigliate di qualche bella
pittura o scultura, e in oltre lamore che voi agli huomini di dette professioni
portate, mi fa credere chel sottilissimo intelletto vostro si muova aricercare
le nobilita e ragioni di ciascuna di queste due arti, disputa certo bella
edifficilissima, e ornameto proprio del vostro si raro ingegno, & per esser
ricerco con tanta benignita da una vostra de' di passati di dette ragioni,
non sapero o potero forse con parole e enchiostro esprimere interamente le
fatiche di chi opera, pure per qualche ragione e essempio semplicemente
(senza conclusione non dimanco) ve ne diro quello chi mi occorre. La cosa
in se e tanto difficile, che la non si puo disputare e manco risolvere, perche
una cosa sola ce, che e nobile che el suo fondamento e questo sie el disegno,
e tutte quante laltre ragioni sono debole, rispetto a questo (vedetelo, che
chiunque ha questo fa l'una e l'altra bene) & se tutte l'altre arguitioni sono
debole e meschine rispetto a questo come si puo ella disputare co questo solo,
se non lassare stare questo da parte, non hauendo simile a, se & produrre
altre ragioni piu debole senza fine, o conclusione? Come dire una figura di
scultura fabricata atorno, e da tutte le bande tode, e finita per tutto, con
scarpelli, e altri strumenti faticosi, ritrovata in certi luoghi da non potere
pensare in che modo si possa co' ferri entrarui o finirui essendo pietra o cosa
dura che a fatica alia tenera terra sarebbe fattibile, oltre alle difficulta
;
disposto del coropo per le fatiche dell 'arte, piu tosto fastidi di mente che
aumeto di vita; (troppo ardito), e volenteroso di imitare tutte le cose che
ha fatto la natura, co colori, perche le paino esse (e ancora migliorarle)
per fare i sua lauori ricchi, e pieni di cose varie, faccendo, doue accade come
dire, splendori, notte con fuochi, e altri lumi simili, aria, nugoli, paesi
lontani e dappresso, casamenti con tante varie osseruanze di prospettiua,
animali di tanta sorti, di tanti vari colori e tante altre cose; che e possibile
i Keprinted with many changes of spelling and punctuation and with certain
omissions
that obscure the sense of several passages, as well as with the erroneous remark that it
was originally addressed to M. Benedetto Cellini, in Bottari's Eaccolta di Lettere sttlla
Pittura, Scultura ed Architettura, scritte da' piu celebri personaggi dei Secolo XV, XVI
e XVII (edizione Ticozzi, Milano, 1822, I, 20-25). This letter was really written by
Pontormo at Varchi 's request and formed part of the symposium appended to his lecture
on sculpture and painting in which he published various opinions expressed by famous
artists on the relative merits of the two arts.
285
PONTORMO
che in una storia che faeci vi s'interuenga cio che fe' mai la natura, oltre a
come io dissi disopra, migliorarle, e col arte dare loro grazia, a accomodarle,
e comporle doue le stanno meglio; oltre a questo e varii modi di lauorare, in
fresco, a olio, a tempera, a colla, che in tutto bisogna gran pratica a maneg-
giare tanti vari colori, sapere conoscere i loro effetti, mesticati in tanti varii
modi, chiari, scuri, ombre, e lumi, reflessi, e molte altre appartenenze infinite
che io dissi troppo ardito, che la importaza sie superare la natura in volere
dare spirito a una figura, e farla parere viua, e farla in piano che se almeno
;
egli hauesse considerato, che quando Dio creo l'huomo, lo fece di rilieuo,
come cosa piu facile a farlo viuo, et no si harebbe preso uno soggetto si
artifitioso, e piu tosto miracoloso e diuino.
Dico ancora, per gli essempi che se ne puo dare, Michelagnolo non hauer
potuto mostrare la profondita del disegno, e la grandezza dell' ingegno suo
diuino nelle stupende figure di rilievo fatte da lui, ma nelle miracolose opere
di tante varie figure, e atti begli essorsi di pittura si, hauendo questa sempre
piu amata, come cosa piu difficile, e piu atta alio ingegno suo sopranaturale,
non gia per questo ei non conosca la sua grandezza, e eternita dependere da
la Scultura, cosi si degna e si eterna, ma di questa eternita ne participa piu
le caue de marmi di carrara che la virtu dello artefice, perche e in migliore
soggetto, e questi soggetto cioe rilieuo appresso di gran maestri e cagione
di grandissimi premii, e molta fama, e altre degnita in ricompenso di si
degna virtu, pesomi dunche, che sia come del vestire che questa sia panno
fine, perche dura piu e di piu spesa e la pittura panno acotonato dello inferno
;
che dura poco e di manca spesa perche leuato che gl ha quello riccolino non
'
se ne tiene piu conto, ma hauendo ogni cosa hauer fine, non sono eglino
eterne a un modo, e ci sarei che dire in bondato, ma habbiatemi per scusato,
'
che no mi dare el cuore far' scriuer piu a questa penna, altro che la impor-
tanza di tutta questa lettera ilche e farui noto che vi sono ossequente e a'
piaceri vostri paratissimo, Sommi aueduto che la ripreso vigore, e non le
basterebbe isto quaderno di fogli, non che tutto questo perche le ora nella
beva sua, ma io perche le non vi paressino cerimonie troppo stuchevoli per
non vi infastidire non la intignero piu nello inchiostro, pure che la mi serua
cosi tanto che io noti i di del mese, che sono XVIII di Febraio. Vostro Iacomo
in casa.
NelleCamere del Duca al Piano della sala de 200 nella Camera Terza.
Quadro di nfa dna con ornamento dorato di mano del Pontolmo.
Idem, p. 13 verso.
Salotto della Duchessa.
U° quadro di pittura drentui una uenere con Cupido, et fornimento di
noce intagliato, et cortina di taffeta uerde di mano di Jac° da pStolmo.
286
DOCUMENTS
Doc. XXXIV. Firenze: Archivio di Stato. Guardaroba No.
30, 1553-1560. Inventario generale a capi della Guardaroba,
p. 54.
Entrata
Uno quadro di Nfa Donna co ornamento dorati del Pont'olmo.
Uno quadro cola Venere e cupido del Pontolmo c5 ornamento di noce e
cortina di sta uerde.
Useita
Idem, p. 58.
AS Ea addi 24 d'agosto (1557) Uno quadro grande di una Dona di mano
del Pont'olmo co ornamento dorato et per lei dato di come della Duc a a Don
giovani di figana p portare a milano al gior le a 100.
M.D.LVII.
Addi 29 d'agosto. Uno quadro di nfa Donna dimano del Pont'olmo co
ornameto dorato di br a 2£ dato in dono a Don giovani figana p ordine della
Sig ra Duca.
287
PONTORMO
Di Bronzino
Io sono omai si di me stesso fuora,
Saggio, e buon Varchi, e 'n si misera vita,
Ch'ogni conforto, ogni pietosa aita
Dello sgravarmi il duol, piu addolora. m '
288
DOCUMENTS
Quella, che amo si '1 vero, odio l'inganno
D arte eceellente, e di bonta divina,
'
289
PONTORMO
Che quale in terra in ciel m'accoglia, ed ame:
felice quel di, ch' aperte l'ale
Per acquetar le pari oneste brame
Volaro seco alle sue pari stelle.
290
DOCUMENTS
Bronzino a Madonna Laura Battiferra degli Ammannati
Donna, che '1 secol nostro oscuro, e vile
Rendete sovr' ogni altro illustre, e caro
Primo di Pebo onor, primo, e piu chiaro
Di cortese onesta lume gentile,
Troppo sete ver me dolce, ed umile
Per mediear 1 altiero colpo amaro,
'
Alia Medesima
Mentre sepolto, e di me stesso in bando
Mi sto com uom, che piu non veggia, e senta
'
291
PONTORMO
Di Madonna Laura Risposta
Se fermo e nel destin, che lacrimando
L alma vostra
' gentil viver consenta
Per quella, cli' oggi in ciel lieta, e contenta
Gode del vostro gir si lamentando
Io, che fuor (mal mio grado) talor mando
Qual roco angel, voce imperfetta, e lenta,
E se pur luce scopro, ella diventa
Oscura nube in cieca parte errando.
Vi prego umil, che 1 onorate piume
'
A Madonna Laura
S ' al vostro alto valor f amosa pianta
Ai chiari merti del mio Duce, o al mio
Grave dolore, o a quel caldo desio,
Che d onorarlo il cor mi strugge, e schianta,
'
292
DOCUMENTS
A Madonna Laura
L'Aura vostr' Alma, or che '1 fier Borea ammorza
Alle campagne i piu vaghi colori,
E corso impetra ai vivi argenti, e fuori
'1
293
APPENDIX III
Diary of Pontormo
I
Carte 5
adi 30 digenaio 1555 corulcioqelle rene di quella figura ch piagne quello
babino| adi 31 feci quelpoco delpanno cnlacigne en fucattiuo tepo eemj doluto
j 2 dj| lostomaco e lebudella laluna afatto lap 'ma quarta| adi 2 dj febraio I
sabato sera euenerdi magai 1° cauolo etuctadue q e sere| cenai 6 16 dipane epno
hauere patito fredo alauorare no me forse doluto elcorpo elostomaco eltepo
|
emolle epiouoso| adj 1° difebraio feci dalpanno Igiu eadi 5 lafinii eadi 16 feci
quelle gabe diquella| babino en le sotto en fu Isabato eluenerdi. comicio a ee
beltepo ecosj elsabato detto efre|ddo —
eprima era durato apiouere tucta
uia seza puto difredo eadi 21 en fu berligaccio] cenai co brozino lalepre eueddi
lebagattelle elasera dicarnouale ui cenaj| adj 24 I domenica lunedi emartedi
1 The order in which the pages of the original manuscript follow one another has
been preserved in transcribing the Diary, but a blank page has been ignored with the result
that the last page is numbered 23 and not 24. This is not the order in which Pontormo
made these notes, but their true sequence will be found in the chronological analysis of
the Diary which immediately follows the text. In the margins of many of the pages one
finds little sketches drawn by Pontormo to indicate the figure in the choir of San Lorenzo
upon which he was at work on the day in question. The reduced facsimile of page 4, which
forms part of the illustration of this volume, gives an idea of the disposition of these
sketches some of which correspond, as I have pointed out elsewhere, to drawings by Jacopo
that are preserved in the Print Koom of the Uffizi.
The authenticity of this fragment is indisputable; the handwriting is identical with
that which appears on a number of Pontormo 's drawings (Dessins, p. 42 f.). We have, it
is true, no trace of it earlier than 1625 at which date it came into the possession of the
Strozzi, probably among the numerous acquisitions made by Carlo di Tommaso Strozzi.
In 1786 Alessandro, the last descendant of Carlo, sold his collection to the Grand Duke
Leopoldo. Pontormo 's Diary is not mentioned in the first catalogue of the codices that
once belonged to the Strozzi Library (Florence, Biblioteca Nazionale, Catalogo dei codici
della libreria strozziana), but the second catalogue of the same collection mentions it and
its provenance.
A copy (h. 266, w. 198 mm.) of eight pages of the Diary, including the sketches that
appear in the margins, was made early in the seventeenth century. It is now No. 621
(33-E, 5, 6, 32) of the Biblioteca Nazionale of Florence. It is labelled "Diario del
Pontormo, pittor fiorentino '
and once belonged to Gaetano Poggiali and of it Gaye
'
(Cartcggio, III, 166-169) quotes a few pages. The identification of the original is due
to Colasanti (Diario di Jacopo Carrucci, Bullettino della societd filologica romana, II [1902],
35-59) whose article was reviewed by Fabriczy (Das Tageouch Jacopos da Pontormo,
Bepertorium, XXVI [1903], 95 f.). Colasanti transcribed only a few lines. He attempted
to determine the chronological sequence of the pages, but his arrangement is inexact.
295
PONTORMO
emercoledi ch fuelp'mo di di guaresima| duro tepo come dap'le e bello
giouedipoi comicioueto secco epiutosto freddo| ch fu lutimo di difebraio
eio feci eldj latesta diquella figura ch e sop a quelle chsta cosi| domenica
mattina desinai cobr° epareuami ee moltopieno I modo cli| laser a ionocenai|
adi 4 dimarzo feci queltorso en e sotto a quellatesta detta eleuami l a hora
lanzj dj| domenica fumo adi 10 detto desinai cob elasera a hore 23 cenamo
quello pesce grosso eparechj picholifrittj en spesi soldi 12 en ueraattauiano
elunedi feci quello braccio diquella figura ditesta en alza
elasera D elasciala| isino quiui come mostra q° scizo| martedj emerco ledi
comicio feci quel uechio elbracci suo en stacosij adi 15 dimarzo comlciaj
eltepo quello braccio en tiene lacoregia itesta en fu I uenerdjj elasera
aguas cenaj 1° pesce duouo cacio fichi enoce eo 11 dipane| mercoledi
tarsi adi 20 fornj elbraccio diuenerdj elunedi lanzj haueuo fatto|
cnera du quello busto elmartedj fecj latesta diquello braccio cnio dico
rato pa giouedimattina| mileuaj abuonora et uidi simaltepo eueto efredo
rechi di en ionolauoraj e mj| stettj I casa uenerdj feci quello alt br°
bello en sta atrauerso esabato upoco di| capo azurro en fumo adi 23
seza elasera cenj ii 6 dipane dua huoua espinacj en fu ladom lunedi |
codolore leuamj epoi p ee fredo eueto ritornai neleto estettjuj Isino a hore
|
18 eitucto dipoi no miseti bene pure lasera| cenaj upoco digota lessa co delle
bietole e burro esto cosi seza sapere quello ch| a ee dime peso ch mi nocessj
assaj quello ritornare neletto pure ora ch sono| hore 4 mipare stare asaj bene|
adi 3 dap'le feci quella gaba dalginochio igiu eco gra fatica dibuioediveto
e ditonico| elasera cenai 6 14 dipane radichio e duoua| giouedi cenai 6 10
1 This was in all probability the following sonnet which one finds in De' Sonetti di
M. Benedetto Varchi, Fiorenza, 1555, p. 248, and which is quoted by Colasanti (Bull. d.
soc. filol. romana, II, 41, n. 2).
296
HIS DIARY
dipane dua huoua afretlie radichio| uenerdi comlciaj i a hora I anzj di quelle
schiene en sono sotto aquella| cenai i a lib a dipane sparagi ehuoua efu 1° bello
dj sabato cenaj domenica en f u luliuo desinai I casa br° certi crespell
| |
mirabili| lunedj damattina ebj 1° nelorto en lego eacScio lorto lauaga| martedj
feci quella gaba co lacoscia sotto aquelle schiene dette di sop a cioe| elasera
cenai l a meza testa dicauretto| mercoledi dua huoua. elasera casco lagociola
a cecho fornaio| giouedi laltera meza fritta| uenerdi ch fueldj sco cenaj 1°
pesce duouo solo co zuchro e 6 8 dipane. sabato lauorai quelmasso. euenne
|
el duca asco lorezo cioe aluficio. lasera poi nocenaj| pa|squa domenica fui°
grafredo egraueto eaqua desinai co br° 6 6 dipane elasera nocenaj| lunedi
piu fredo e ueto eaqua elasera cenai Icasa daniello o 6 dipane martedi fuasaj
|
cenai 6 9 dipane agnello elpiu bello ch sipossa| giouedi lauoraj. quelle dua
braccia. ecenai 5 9 dipane carne ecacio efu frediccio| uenerdi feci latesta
coquel masso ch le sotto cenaj 5 9 dipane 1° pesce duouo ei a Isalata| e ho elcapo
ch mi gira u buo dato.| sabato feci brocone e masso elamano ecenai o 10
dipane domenica cenai 6 10 dipane estettj tucto eldi stracho debole efastidioso
|
fubellisimo dj efe laluna| lundedj adi 22 dap'le stettj bene ogni male eraito
uia magiai 6 8 dipane no haueuo piu| capogirli enoero debole. e ho buona
speraza.|
III
adi 23 lasera cenai copiero 1 magiai 6 9 dipane ch uera eluillano| adi 24
lasera cenai copiero. sparagi e huoua adi 25 cenai Icasa 1° armoncino dagnello
|
lasera disamarco| adi 26 cenai copiero. adi 27 cenai copiero eldi fini quella
|
gaba sola ch sta cosi| adi 28 Idomenica mattina desinaj cobrSzo elasera no
cenai lunedj cenai copiero ubuodato e cosacce 6 12 dipane martedj cenaj
| |
huoua lunedi 1° fegato fritto dagnello martedi sera cenai 1° cuore dagnello
|
|
carne secha lessa e 6 10 djpane| ecomiciai quel br° di quella figura ch sta cosi|
mori eltasso| 2 mercoledj egiouedi lafinj. elasera adai acena co daniello cauretto
arosto epesce| uenerdj sera 1° pesce duouo el a Isalata o 10 dipane uino macho
ch mezetta| sabato sera cenai co piero pesce darno ricatta huoua ecarciofi
emagiai| troppo emaxime della ricotta elamattina desinai co br° elasera no
cenai] ch fulauetura mia ch haueuo magiato tropo| lunedisera magiai carne
delgiouedj cota eno mi fa bene, o 10 di pane| 3 martedi comlciai afare
queltorso ch tiene elcapo alogiu cosi| cenai l a Isalata e 1° pesce duouo 6 10
dipane mercoledj ebi 1° Itonico si faticoso ch io no pesoch glabia a far bene
|
giouedi feci 1° bra| uenerdi lalt bra| sabato quella coscia diquella figura ch
sta cosi| 19 dim agio domenica desinai ecenai cobro. elamatina posi quegli
| |
peschi[ lunedi comlcai quel braccio di detta figura ch stacosi elasera cenai |
i This cannot be Pierino da Vinci, the sculptor, who died, it would seem (Vasari, VI,
131), in 1554.
2 Battista del Tasso, the son of Marco del Tasso, and himself a great craftsman.
He was an intimate friend of Bronzino, Cellini and Luca Martini, and died, as Pontormo
records, on May 7, 1555. Cf. Vasari, III, 350-353. Pontormo mentions him again on
page XVII.
297
PONTORMO
egiouedi ch fu lasesione desinai cobro elasera co danjello| uenerdj quella
dipane 1° pesce duouo efini lafigura|
coscia. 6 diecj
IV
sabato sera cenai i° isalata edua huoua eldi feci certe letere| domenica
mattjna adai asafrac epoi desinai i casa danjello elasera no cen lunedj
. . .
|
ma|(g)io| giouedi lacoscia| uenerdi quelle schiene| sabato finj lafigura cenai
o 10 dipane ciriege e 1° pesce duouo domenica sera desinai cobro. ch fula
|
sera dello spirito sco| lunedi mattina codaniello elasera cenai Icasa mia|
martedi sera codaiello cogloni efegato el° quarto arosto| mercoledi sera Icasa
mia 1° pezo dipane diramerino e huoua e feci quelle spall .|.diquella figura|
.
ch sta cosi| giouedi feci elbraccio emagiai upoco dicarne arosto| uenerdi
lafornj emagiai 1° pesce duouo eadormetamj uestito| sabato mileuaj molto
male disposto cenai copiero poco e| seza uoglia elanocte ebi lafebre co gra.
fuoco adosso end dormj mai| domenica chsiamo adi 9 di gugno 1555 cenai
copiero lunedi gra, dogle dicorpoj martedi gra dogle dicorpo| mercoledi quel
|
medesimo ne mai lasera ho passato upane ouero agiuto| adj 13 giouedi mattina
1
mipaia stare bene pch ogni tre hore mi uiene lostringimeto| adi 12 uenerdj
sera cenai copiero. ecredo sia passata luscita cioe qi dolor j| sabato sera cenai
Icasa pesce marinato e br uera eldj lauorai quello doccone| lungo rasete
lassito elasera feci quistione colfattore. elui dise chio miprouedessi| domenica
mattina desinai cobr elasera aspettai elfattore ch ado alegnaia. e mi| disse
io tornero a buonotta e no torno. cenai 1° grapolo duua e no alt°| lunedj adi |
298
HIS DIARY
macinati epenegli e olio| elasera cenai dua huoua pere
mezetta diuino uue e la
VI
mercoledi sera cenai zucha lessa 6 16 dipane edeluua| giouedi desinai
c5 br° elasera nocenaj| uenerdj feci quella testa en guarda I qua cioe di
quello foglo en io portai[ en sta cosi| sabato| domenica| lunedj| 30 martedj
comlciai lafigura| mercoledi Isino alagabaj adj p°| dagosto| giouedj feci
lagaba. elasera cenai copiero upaio dipipionj lessj uenerdi feci el bracio en |
sapogia| sabato quella testa de la figura en le sotto en sta cosi| domenica cenai
Icasa daniello cobro en fu alle polpette| lunedj| martedi mercoledj quella |
VII
mercoledi Isino afiachj elasera comicio apiouerej giouedj lecosce e fiachj|
uenerdj elbraccio| sabato quella testa dimorto cb gle alato| Domenjca cb fu
ladonna desinaj co bro elaseracenaj co gra dogla dideti| lunedi ebi sturbo e
I bas° end lauoraj e Isino asabato stetti Icasa adisegnare domenica desinai
|
alpogio elasera cenaj tucte cosacce e diuogla erestomj el duolo de detj| lunedi
|
aquella figura disegnata di sop a martedi feci quella alt a testa cb gle alato
|
299
PONTORMO
VIII
martedi adi 29 dottob| mercoledi 30 noueb adi p° uenerdi mattina desinai
1
cobr° aguilla copesci darno| sabato domenica elunedi. fu fredo.| adi 9 feci
quella testa c£ e sotto aquella| figura en sta cosi| adi 16 uenequello cartone
eportossi quellalt easettalo pcomiciare| alauorare eldi dinazj fu 1° bellissimo
di saza nugolj esaza fredo| adi 12 rifeci quella testa en e cosa daricordarsj
quale / cioe I martedj| adj 17 desinaj co br° e cenaj esetti tuctodi I casa
elamattina pagai| 1° miglacio elasera cenauj efuel di en b°a mi uene adire de
fratj| adi 18 nolauoraj e adai aparlare afratj| adi 19 lauoraj que 2 testi
dimortj en sono sotto alculo dicolej| adi 20 sibollj elbucato| adj 24 desinai c5
br° en uera la madre dela maria en mi pmise| 1° pane| diramelrino| bello| adj
27 comicaj sotto aquelle figure en stano cosi| adi 28 adi 29 adi 30 fusca andrea
1 1
IX
1556
pagolo 1 daterra rossa morj lauilia dipasqua| cioe adi 24 cenaj I casa br°
luca martin j etucti dicasa daniello lamattina dipasqua desinaj ecenaj quiuj|
|
eio solj agelatina e huoua| uenerdi adi 10 ahore 24 1° carro mistrise leginochia
rasete 1° muriciuolo| e ba° uenne acasa p hauere danarj dalattazioj sabato
ebe A dua eportogli a frati p lapigione| domenica piove e fu gra ueto efreddo
i This was perhaps Pagolo il Eosso, Varchi 's friend.
2 The celebrated poet.
300
HIS DIARY
tucto eldi eio comIciaj| amagiare su dame. 1° pezo darista ecosi martedi uene
abotega del gello mercoledj| adj 15 sera bro uene acasa p me co ottauiano
pen io adassi acenaseco eio dalospetiale] delcapello la lasaj eno miruede|
giouedj sera cenaj giu colfattore huoua| sea atoi|nio| uenerdi sera huoua I
1° tegamino| sabato sera huoua I 1° tegamino|
X
domenica sera cenaj copiero tordi lissj earosto ch glelo auea pmesso|
lamattina dasapiero e lasera altardj br° eatauiano passorno| efui apto loro
luscio dalfattore seza fermarsj solo disse en di fac°| poi I su le 2 hore attauiano
uene apichiare domadado dime| didedo en lalesadra raiuoleua dice elfattore
adi 20 sc° ba°| lunedj pioue tucto eldj. scosse rouinose egratuonj ebalenj
1
12 5 dipane emele cotte| adi 28 desinai cobr colobascj| adi 29 cenai dua
huoua| adi 30 castrone ch copo batista 9 qi| adi 31 huoua| febraio adi 5 huoua|
adi 2 desinaj co br° ecenaj Icasa daniello lasera| adi 3 cenai i a torta co lacarne
di mia mano| adi 4 cenaj 1° pesce duoua colcacio| adi 5 upoco dicastrone.| adi
6 comiciai alauorare ecenaj porcho arosto| adi 7 uenerdi cenaj upesce duouo
colcacio| adi 8 cenai 1° pesce duouo elamattina ebi 12 staia di brace| el fattore
feee delpane cioe menacilia edisse pch| io laueuo madato p 1° fiascho di uino
ch io no gli co|madassj piu o ch io facessj dame o io toglessj chj i| facessi
elasera lasaj fenita quella figura disegnata]
XI
difebraio 1556
domenica adj 16 desinaj c5 br° elasera cenaj Icasa daniello br° e attauiano
|
eio aspettado danielloI sino alle 5 hr e lunedj sera magiaj upoco di buech
|
toglendo pse elbuono lato / e luj sanio| martedi. cenai di quello bue|
mercoledj ba° micopo 28 q 1 darista. cenaj dua huoua o 10 djpane berlIga|ccio
|
giouedi cenaj acasa br° e fecj queltorso diqella fig a ch sta cosi| uenerdj cenaj
2 huoua cacio efichi sechj| sabato i a torta neltegamuzo eba° mireco s 15
diuitella egraso| domenica desinai ecenai co br° elasera sifece laueghia ch
uera| eluarchi| lunedi sera icasa daniello ch zando auedere lacomedia I uia
magio| martedi fu 1° grafredo eneuico lanocte eio cenai i° cauolo icasamia
mercoledi| adi 20 giouedj feci quella testa ch grida ecenai lasera uitella
esino I 29 lascaj finito tucto Isino Iterra quel ch sotto adettatesta| marzo adi
3 feci latesta di quellafigura disegnata qui| adj 4 dimarzo fecj i° pezo ditorso
I sino alepope e pati fredo eueto| tale ch lanocte io afiocaj elalt dipoi no
potei lauorare| adi 6 fecitucto eltorso| adi 7 fornj legabe| adi 8 adai
auedere 1° hercole coelrotella| lunedj 9 feci la testa sottole| martedi adaj
auedere latauola di br° cioe quello sabartolomeo] mercoledi l a testa sottole|
301
PONTORMO
giouedi leuaj le bullette cherano cofitte lasu alto| uenerdj i a testa sottole| I
tonicai dame i a testa ebi della pigione lire 4| sabato 14 lasera adai auedere
quella testa di sadrino ch mapse lales|adra ch senado| uia e italsera| eenai
col piero| ch uera| 15 domenica fupichiato dabr epoi eldi dadanjello no
so quello en siuolessino| 18 fecj quello Itonico dimacigno sotto alefinestre|
J
XII
5 la finita| giouedi 19 riscotraj daniello e attauiano en mi uoleuano
dare desinare epoi scrotraj br° da salorezo en madaua| lasua tauola apisa
uenerdi| sabato domenica uene br° daniello e atauiano acasa eio copai
|
a gaddj soldi ii| adi 25 mercoledi laluna opositjone| adi 26 comiciai quello
braccio di quel babino en gle sotto uenerdi mileuai i a hora I anzj di efeci
|
quel torso dalbraccio I giu| sabato feci i a coscia efecesi la festa dellatregua
elasera cossi 1° riso| decauretto| adi 29 domenica delluliuo desinai c5 br°|
lunedj feci latesta diquelputto. martedi feci Icasa no so cn| adi 1° da|p'le
|
mercoledi feci questa altra coscia co tucta lagaba elpie| giouedi sco uenerdi
mileuaj abuonora e feci quel torso dibabino| giouedi feci le gabe adi 9 uenerdj
1° capo azurro eadai acena copiero sabato fecj sotto alefmestre diuerso la -S-
|
XIII
13 giouedi mileuaj i a hora I azj di ecomlciai quella figura sotto alatesta |
eh sta cosi| uenerdi eltorso| 18 dap'le sabato legabe| lunedi sottole Isino
isulcoro| adi 6 dimagio uedei 20 st a digrano e ebi i a poliza delmonte 6 [scudi] |
adi p° dimagio uenerdj sabato] domenica desinaj co br° cb fu sea "f"| lunedi
comiciai quella figura en sta cosi| martedi feci latesta mercoledi eltorso J
cobr° eadamo aspasso dalla porta alprato| martedi comiciai quel braccio
di quella fig a en sta cosi[ mercoledi lalt braccio elagaba cb fu la uilia
dellascesione| 14 giouedi eenai edesinai co br°| uenerdi esabato fini lafigura|
domenica desinaj co br° elasera no cenaj ecomlciaj andmisetire bene| lunedi
sera I sule 2 hore uenne 1° tepo cotuonj ebalenj eaqua efreddo| eacordura cb
siano amercoledj apiouere ogni di ch p' maerastato| 2 mesj beltepo| 28 giouedi
comicia quella figura cb sta cosj sotto alia testa uenerdi la fini|
sabato feci —
quello libro| domenica no desinai e lasera eenai copiero 1° paio dipipionj|
lunedi adi p° digugno feci quello moretto| adi 7 desinai ecenai cobr elasera
siseti| male adi 9 comicia j quella figura cb sta cosi
|
10 I mercoledi |
|
giouedi uenerdi sabato feci quello poco del braccio elasala finita cb|
|
XIV
ch a storia| domenica sera eenai copiero torta
e tucta finita difigure Itere i
di latte| lunedi adi 15| lacioltre daelrotella| uenerdi adi 19 comlciaj quella
figura ch sta cosi| sabato feci lebraccia| domenica 2i fui trouato da br° Isca.
302
HIS DIARY
maria delfiore| epromessj dadare adesinare seco chi haueuano poi aire]
auedere eltoro elasera erorimasto dicenaruj e madaj| p 1° fiasco diuino apiero
en uera lalesadra etornamocene isiene| dispiaquemj ubuddato lacena tale en
io stetti diguno I sino amarte| dj sera en beui diqueltrebiano en di uinegia
e 2 huoua| eaueuo fatto amazare quello galletto en si gitto uia| adj 24 mercoledj
sera ecenaj codaniello en uera elmarignolle 1 e br°| giouedj feci quelle 2 teste
segnate disop a efui tepo edipiouere| edituoni edifredo straordinario| uenerdi
sirimuro tucte quelle bucTi di sul coro dj quella p'ma sto r sabato feci quelle
|
quella gaba diquella figura grade itera| adi 20 detto lasera. lamattina ebi
1° mogio digrano lasera mj| lauaj epiedi. e pcossj ne luscio co 1° caleio tale
cnio mi feci male e duolmj Isino aogi en siano adi 25 cioe|
|
—
5 sabato feci
quella coscia grade domenica desinai cSpiero uitella e lasera nocenai| lunedi
|
della coscia grade uenerdi seracenai cdpiero pesce abatista lascio lapoli cosi|
|
1° poco dj castrone| adj 27 detto portai el cartone del sco lorezo eapicossi
dapoterlauorare| adj 10 disetteb fece m
a adia delpane 1° quarto
|
XVI
1556
adi 11 disetteb Tbottaj 3 b* e 2 / 1 diuino dacalezano| elasera cenaj copiero |
sabato feci quella testa diquel babino cntiene lacorona| 13 domenica cenai
Icasa dajello en uera br° i a testa diuitella| en spesi 2 barilj| lunedj lacorona
mercoledi cb fuledigune feci quel braccio| giouedj uenerdj feci eltorso elasera
nocenaj (d 48)| sabato legabe cenai i a lib a dipane| 20 domenica lunedi enfusc
matteo tuctauia i a lib dipane| emartedi eR no lauoraj| mercoledi comiciaj
quello babino del calice ecenaj 6 8 di pan(e)| adj 26 isabato sera adamo alia
tauerna attauiano e brozoeio| cenamo pescj ehuoua euino uechio e tocho s
i Probably Lorenzo Marignolli, the sculptor.
303
PONTORMO
17 p 1°|domenica. desinai co br° / elasera uicenaj chuera attauiano] lunedi
I casa| martedi ch fu sco mjchle uidesinaj elasera uicenai ch| cera uenuto
luca martin j: (mercoledj acasa| giouedi sera uicenaj en uera eluarchj e m
luca elamattin(a) senado apisa en fu iuenerdj| sabato piove tucta nocte e
mezo el dj edesinaj zucn fritte co| brd° erecane 1° fischo di colore 4 domenica
|
adaj a safrac estettj tucto eldi tornaj ecenaj 1° lesso| di castrone e ebi 1°
fiasco diuino uechio dal busino] lunedj feci quelcapo di quel babino I capegli
cenaj 2 ucellin(i) martedi mileuaj i a hora i azj dj efeci queltorso del putto
en ha elcalice elasera cenaj castrone buono maio ho male alla| gola cioe
|
ndposso sputare i a cosa apicata ch io soglo auere| adi ii domenica adai acertosa
elasera cenaj (daniello gulio alpiouano| anguilla arosto ch toco s 15 adi 18 j
domenica desinaj copiero castrone elasera cenai i casa br°| fegato fritto
[uenerdi comicio aee fredo elasera cenamo alia tauerna|
XVII
(17) O elunedi sera cobrozo ch ui uenne luca martin j e tasso polio
elepre e 6 8 dipane| martedi sera cenai upoco dicastrone co 10 dipane
ecomiciomj ari piacere| eluino dipiero dormedo bene lanocte| mercoledi sera
ch sono ledigune no cenai eancora ho quella bocaccia asetata| giouedj sera
ch fu lauilia di sco tomaso cenaj borrana cocta edua huoua ecosi| uenerdi
sera tato ch i dua sere io magiai 27 6 dipane esabato sera D. I sino alia
|
domenica sera ch cenai upoco dicarne arosto lunedi ch fu lauilia della pasqua
|
cenai I casa brozo e isino alasera stett j ecenaj seco i a acegia la secoda festa
|
brozo miglacj efegategi (elporco) lunedi sera cenai 5 14 dipane arista uue e
|
lobo iuidia e l a libra dipane gelatina e fichi sechi e cacio adi 20 cenai i casa
|
XVIII
(18) disorte ch setitroua disordinato dexercitio / dipannj| odicoito o di
supfluita dimagiare puo eipochi giornj| spaciartj o fartimale p ho edausare
laprudetia| gugno luglo eagosto e meza setteb 1 esudori teperatj esop a tucto
"
304
HIS DIARY
alueto qdo hai fatto exercitio hai hauere cura| eancora del magiare ebere
qdo se caldo dipoj tiprepara| damezo setteb ila alio autunno cfip ee edi picolj
eltepo| comiciare humido elumidita del bere supfluo ch hai fatto nella state |
tibisogna co diguni epoeo bere eliighe uigilie| e exe r citio p parartj ch efredj
deluerno noti nuochino] no titrouado bene disposto eno frequetare tropo
lacarne| emaxime delporcho edamezo genaio Ila no ne magiare pch e molto |
XIX
(19) scese moltorouinose egociole o alt 1 mali picolosj| cb tucto procede
qdo e que fredj magiato ebeuto| supfluo pch elf redo telo coporta erapiglia
masubito| altepo dolcie ehumj do loriscalda ericresce erigofia| e po chome io
dissj disop a .i. nelpricipio qdo se aq°| modo carico habi cura alio exercitio
delrafreddare| pcb uccide o subito o Ipochj giornj sich se haj| humorj supfluj
aquistatj lauernata tienj lordine| cb io djssj dsop a e sop a tucto sta I ceruello
elmarzo| emaxime nella luna 10 di p'ma e 10 poi cioe alcomiciare della luna
nuoua dimarzo esia isino a| passata la quita dicima cb tucte le lune ch sepiono
sono nociue se 1° e ripieno e Iporta riguardarsi p'ma| Ricordo adj 5 dinoueb
1555 cb mipare ch ebi sognj ch io comuch| io ho qualch ipedimeto o distomaco
o dicapo o didogle pe fianchj o alle gabe o bracca o didetj ch siano cotinouj
|
:
XX
20 I domenica sera
adj 7 digenaio 1554 caddj epcossj laspalla elb° estettj male| e stettj acasa
br° sei di poi mene tornaj acasa estettj male isino acarnauale ch fu adi 6
|
difebraio 15541
bene come Iteruiene ame ogi q° dj 22 dap'le delp giorno della luna nuoua
|
setirmj bene e p adreto mai ee mj mai setito bene tucto dee procedere| da 1°
certo fredo ch n5 era acora smaltito ehauea durato isino adi 21 ma ogi q° 1
di sop a detto mefatto caldo esetomj bene pcb eltepo ha forse la| stagione sua.|
305
PONTORMO
XXI
Ifia
21
adj ii dimarzo 1554 i domenjca mattina desinaj co brozino| polio euitella
esetimj bene [ueroe en uenedo p'me acasa ioero| neletto era asaj be tardj
eleuadomj mi setiuo gofiato epieno era| asaj beldj] lasera cenaj upoco di carne
secha arosto en haueuo sete| elunedj sera cenaj 1° cauolo e 1° pesce duouo|
elmartedj sera cenai l a meza testa dicauretto e laminestra| elmercoledi sera lalt a
meza f ritta edelzibibo 1° buo data e 5 q* dipane e caperj I insalata giouedi sera
|
|
giouedi matti sera isalata dibarbe e dua huoua i pesce duouo| sabato
na miuene D, domenica sera en fu lasera delluliuo cenaj 1° poco
el capo girlo dicastrone ne lesso emagiai 1° poco disalata| e douetti
ch mi duro tucto magiare da tre quatrinj dipane lunedj sera dopocena
|
burro isalata zucTiro epesce duouo adi i dap'le domenica desinaj co br°
|
elasera no cenaj |
XXII
lunedi sera cenai i° pane bollito col burro e 1° pesce duouo e 21 6 ditorta|
martedj mercoledi giouedj] uenerdj sabato adai alatauerna asalata epesce
|
|
|
mercoledj giouedj sera 4 qi dipane l a isalata dello agnello lesso malcottoj adj
13 — |
adj 23 dimagio cenaj dellacarne| giouedi ch fuel corp dnj desinaj cobrozino
ebi delgreco carne epesci elasera i a oc a ditorta copoca carne epoca uogla
|
dimagiare| adj 2 digugno sabato sera ebi lasegiola ch miuiene ljre 16 adj
9 digugno 1554 comicio marco moro amurare elcoro eturare i sco lorezo
* adi 18 lasera discoluca comiciai adormire giu col coltrone nuouo| adj
19 dottob misetiuo male cioe ifredato e dipoi no poteuo riauere| lospurgho
e cogra fatica duro parechj sere uscire djquella cosa] sotto dellagola come
alle uolte io ho hauto distate no so se se stato p ee durato ubuondato bellissimj
j
tepi emagiato tuttauia bene| eadi detto comiciaj ariguar darmj iipoco
eduromj 3 di 30 oce dipane cioe 10 oce apasto cioe l a uolta eldj eco poco
|
306
HIS DIARY
XXIII
1554
23
adj 22 detto tornai estettj icasa solo aspettare elfattore isino alle 4| hore
edipoi magiai i° pesce duouo 8 oce dipane i a noce e 1° fico secho| e dua meluze
cotte| adj 23 la sera magiai minestra dicastrone dua mele cotte e 10
lesso e
oce dipane e 1° meza mezetta diuino ecomlciato
| amanomettere la botte.
307
Reconstruction of the Sequence of the Pages
of Pontormo's Diary
1554
Sunday, January 7 to Tuesday, February 6, page 20
Sunday, March 11 to Sunday, April 1, page 21
Monday, April 2 to Sunday, April 15, page 22
Wednesday, May 23 to Thursday, May 24, page 22
Saturday, June 2, . page 22
Saturday, June 9, . page 22
October 16, 18 and 19, . page 23
Monday, December 17 to Monday, December 31, page 17
1555
Tuesday, January 1 to Tuesday, January 15, page 17
Sunday, January 20,
Sunday, January 27, ....
Wednesday, January 30 to Saturday, February 2,
page 17
page 17
page 1
Saturday, February 16,
Thursday, February 21, ....
.
.
page 8
page 8
page 8
Tuesday, December 24 to Tuesday, December 31, page 9
308
HIS DIARY
1556
Wednesday, January 1 to Saturday, January 18, page 9
Sunday, January 19 to Saturday, February 8, . page 10
Sunday, February 16 to Saturday, February 29, page 11
Tuesday, March 3 to Wednesday, March 18, page 11
Thursday, March 19 to Friday, April 3, . page 12
Thursday, April 9 to Wednesday, April 15, page 12
....
page
page
16
16
Friday, October 16,
Sunday, October 18, .... page
page
16
16
309
Analysis of Pontormo's Diary
1554
Sunday, January 7, he falls, hurts himself and remains six days with Bronzino
who nurses him; he is ill until Tuesday, February 6 (Carnival).
Sunday, March 11, lunches with Bronzino; the food; his health; the
weather; in the evening sups at home; his food; his thirst. Monday, 12th,
his food. Tuesday, the 13th, idem. Wednesday, 14th, idem. Thursday,
15th, idem; he is ill. Friday, 16th, his food. Saturday, 17th, fasts. Sunday,
18th (Palm Sunday), his food; its cost. Monday, 19th, he feels well; his
food. Tuesday, 20th, his food. Wednesday, 21st (Ash Wednesday), San
Lorenzo; his food. Thursday, 22d, his food; the Duke comes to San Lorenzo
with the Duchess. Friday, 23d, his food. Saturday, 24th, his food. Sunday,
25th (Easter) lunches and sups with Bronzino (Annunciation). Monday,
26th, his food. Tuesday, 27th, he feels hoarse; his food. Wednesday, 28th,
fasts. Thursday, 29th, his food. Friday, 30th, idem. Saturday, 31st, his food.
Sunday, April lunches with Bronzino; in the evening, fasts. Monday, 2d,
1,
his food. Saturday, 7th, he goes to the tavern; he feels well; his food.
Monday, 9th, his food. Tuesday, 10th, idem. Thursday, 12th, idem. Friday,
13th, idem. Sunday, 15th, idem.
Tuesday, May 22. Wednesday, 23d, his food. Thursday, 24th (Corpus
Christi), lunches with Bronzino; his food; ill.
June 2, buys a chair for 16 lire. Saturday, 9th, Marco Moro begins working
on the walls and scaffolding of San Lorenzo.
October 16, bottles six barrels of wine. 18th (St. Luke), begins to sleep
downstairs with a new coverlet. 19th, ill with cold; suffers; the weather;
his food; fasts.
1555
Tuesday, January 1, sups at Bronzino 's; his food. Wednesday, 2d, his food.
Thursday, 3d, idem. Friday, 4th, idem. Saturday, 5th, fasts. Sunday, 6th,
lunches and sups at Bronzino 's; his food. Monday, 7th, his food. Tuesday,
8th, idem. Wednesday, 9th, idem. Thursday, 10th, idem. Friday, 11th,
310
HIS DIARY
idem. Saturday, 12th, idem; puts his wine into "fiaschi"; notes how much
wine he has. Sunday, 13th, lunches and sups at Bronzino's. Monday, 14th,
goes to San Miniato his food. Tuesday, 15th, his food. Sunday, 20th, sups
;
Friday, February 1, San Lorenzo. Saturday, 2d, his food; his health;
the weather. Saturday, 16th, San Lorenzo the weather. Thursday, 21st
;
Monday, 18th, San Lorenzo. Tuesday, 19th, San Lorenzo. Wednesday, 20th,
San Lorenzo. Thursday, 21st, remains at home bad weather. Friday, 22d,
;
San Lorenzo. Saturday, 23d, San Lorenzo; his food. Monday, 25th, lunches
at Bronzino's; sups at home; his food. Tuesday, 26th, San Lorenzo; his
food; sonnet of Varchi's. Wednesday, 27th, San Lorenzo; his health.
Thursday, 28th, his health. Friday, 29th, his health; fasts; San Lorenzo.
Saturday, 30th, his food. Sunday, 31st, lunches at Daniello's; fasts in the
evening.
Monday, April 1, his health; his food; ill. Wednesday, 3d, San Lorenzo;
difficulties of the work; his food. Thursday, 4th, his food. Friday, 5th,
San Lorenzo; his food; the weather. Saturday, 6th, sups at home. Sunday,
7th (Palm Sunday), lunches with Bronzino; food. Monday, 8th, his garden.
Tuesday, 9th, San Lorenzo; his food. Wednesday, 10th, Ceccho fornaio;
food. Thursday, 11th, food. Friday, 12th (Good Friday), his food.
Saturday, 13th, San Lorenzo; the Duke comes to mass at San Lorenzo; fasts
in the evening. Sunday, 14th (Easter), the weather; lunches at Bronzino's;
food; fasts in the evening. Monday, 15th, the weather; sups at Daniello's;
his food. Tuesday, 16th, the weather; food. Wednesday, 17th, the weather;
stays at home; his food. Thursday, 18th, San Lorenzo; food; the weather.
Friday, 19th, San Lorenzo food his health. Saturday, 20th, San Lorenzo
; ;
his food. Sunday, 21st, his food his health the weather the moon. Monday,
; ; ;
22d, he feels well; food. Tuesday, 23d, sups at Piero's; food. Wednesday,
24th, he sups at Piero's; food. Thursday, 25th (St. Mark), sups at home.
Friday, 26th, sups at Piero's. Saturday, 27th, sups at Piero's; San Lorenzo.
Sunday, 28th, lunches at Bronzino's; fasts in the evening. Monday, 29th,
sups at Piero's; food. Tuesday, 30th, his food.
311
PONTORMO
16th, San Lorenzo. Friday, 17th, San Lorenzo. Saturday, 18th, San
Lorenzo. Sunday, 19th, lunches and sups at Bronzino's; his peach-trees.
Monday, 20th, San Lorenzo food. Tuesday, 21st, San Lorenzo. Wednesday,
;
Lorenzo food. Friday, 7th, San Lorenzo food fatigue. Saturday, 8th,
; ; ;
Thursday, July 4, San Lorenzo; ill; Naldini; food. Friday, 5th, San
Lorenzo. Saturday, 6th, San Lorenzo. Sunday, 7th, lunches at Bronzino's.
Monday, 8th, letters; ill. Tuesday, 9th, San Lorenzo; ill. Wednesday, 10th,
ill at home; food; Naldini unkind to him. Thursday, 11th, San Lorenzo;
his health. Friday, 12th, sups at Piero's; his health. Saturday, 13th, sups
at home; visit from Bronzino; San Lorenzo; his "fattore. " Sunday, 14th,
lunches at Bronzino's; quarrels with the "fattore"; sups at home; food.
Tuesday, 16th, San Lorenzo food quarrels with Naldini. Wednesday, 17th,
;
;
food. Thursday, 18th, his health sups at San Lorenzo work. Friday, 19th,
; ;
Thursday, August 1, San Lorenzo; sups at Piero's. Friday, 2d, San Lorenzo.
Saturday, 3d, San Lorenzo. Sunday, 4th, sups at Daniello's; Bronzino.
Wednesday, 7th, San Lorenzo. Thursday, 8th, San Lorenzo; food. Friday,
9th (Eve of St. Lawrence), work; fasts. Saturday, 10th, ill. Sunday, 11th,
his garden drawings shown him by Fuscellino ill sups at Bronzino 's.
; ; ;
Monday, 12th, ill; fever; food. Tuesday, 13th, food; San Lorenzo.
Wednesday, 14th, San Lorenzo. Friday, 16th, San Lorenzo. Saturday,
17th, San Lorenzo. Monday, 19th, San Lorenzo. Tuesday, 20th, San
Lorenzo. Wednesday, 21st, San Lorenzo. Sunday, 25th, lunches at Bron-
zino's; goes to Mass.
312
HIS DIARY
Monday, September 2d, San Lorenzo. Tuesday, 3d, San Lorenzo barrel ;
of oil. "Wednesday, 4th, San Lorenzo; the weather. Thursday, 5th, San
Lorenzo. Friday, 6th, San Lorenzo. Saturday, 7th, San Lorenzo. Sunday,
8th (Birth of the Virgin), lunches at Bronzino's; has a toothache in the
evening. Monday, 9th, ill. Tuesday, 10th, idem; stays at home and draws.
Wednesday, 11th, idem. Thursday, 12th, idem. Friday, 13th, idem.
Saturday, 14th, idem. Sunday, 15th, lunches at Bronzino's; fasts in the
evening. Monday, 16th, makes drawings. Tuesday, 17th, San Lorenzo.
"Wednesday, 18th, San Lorenzo. Thursday, 19th, San Lorenzo. Friday, 20th,
the weather. Sunday, 21st (St. Matthew).
Sunday, October 6th (Pontormo mistakes the day of the month), Naldini
goes to Poggio; food; toothache. Monday, 7th, his food; San Lorenzo.
Tuesday, 8th, San Lorenzo. Wednesday, 9th, San Lorenzo. Saturday, 12th,
San Lorenzo. Sunday, 13th, lunches at Bronzino's; food. Monday, 14th,
San Lorenzo. Tuesday, 15th, San Lorenzo. "Wednesday, 16th, San Lorenzo;
fasts in the evening. Thursday, 17th, his food. Friday, 18th (St. Luke),
his food; San Lorenzo. Saturday, 19th, San Lorenzo; food. Sunday, 20th,
lunches at Bronzino 's sups there too. Monday, 21st, San Lorenzo. Tuesday,
;
22d, San Lorenzo. "Wednesday, 23d, San Lorenzo. Thursday, 24th, San
Lorenzo. Friday, 25th, San Lorenzo. Saturday, 26th, San Lorenzo; a
cartoon sups at home food toothache.
; ; ; Sunday, 27th, stays at home to
draw; sups at home. Monday, 28th, stays at home to draw; sups alone.
Friday, November 1, lunches at Bronzino's; food. Saturday, 2d, the
weather. Sunday, 3d, idem. Monday, 4th, idem. Tuesday, 5th, his health.
Saturday, 9th, San Lorenzo. Tuesday, 12th, San Lorenzo; fatigue. Friday,
15th. the weather. Saturday, 16th, a cartoon; San Lorenzo. Sunday, 17th,
lunches at Bronzino 's sups at home Naldini the monks. Monday, 18th,
; ; ;
he goes to see the monks. Tuesday, 19th, San Lorenzo. "Wednesday, 20th,
the washing. Sunday, 24th, lunches at Bronzino's; Maria's mother.
"Wednesday, 27th, San Lorenzo. Saturday, 30th (St. Andrew), sups at
Piero 's.
28th, goes to San Miniato lunches at the tavern fasts in the evening.
; ;
Sunday, 29th, goes to San Domenico fasts goes to see Daniello. Monday,
;
;
1556
"Wednesday, January 1, lunches at Bronzino's; sups at home with Otta-
viano. Thursday, 2d, sups at home food Naldini. Friday, 3d, sups with
; ;
313
PONTORMO
Bronzino food. Saturday, 4th, the weather buys a cloak Naldini business.
; ; ; ;
17th (St. Anthony), food. Saturday, 18th, food. Sunday, 19th, sups with
Piero; food; at San Piero; in the evening a visit from Bronzino and Otta-
viano. Monday, 20th (San Sebastiano), the weather; food. Tuesday, 21st,
the weather; food. Wednesday, 22d, food. Thursday, 23d, food; Naldini.
Friday, 24th, food. Saturday, 25th, food; Naldini. Sunday, 26th, spends
the day at Bronzino 's with Ottaviano, Daniello, Alessandra, and others.
Monday, 27th, sups at home; food. Tuesday, 28th, sups at Bronzino 's.
Wednesday, 29th, food. Thursday, 30th, food; Naldini. Friday, 31st, food.
Saturday, February 1, food. Sunday, 2d, lunches at Bronzino 's; sups at
Daniello 's. Monday, 3d, cooks for himself. Tuesday, 4th, food. Wednesday,
5th, food. Thursday, 6th, San Lorenzo; food. Friday, 7th, food. Saturday,
8th, food; charcoal; the porter; San Lorenzo. Sunday, 16th, lunches at
Bronzino 's; sups at home with Bronzino and Ottaviano. Monday, 17th,
food; Naldini. Tuesday, 18th, food. Wednesday, 19th, food; Naldini.
Thursday, 20th, sups at Bronzino 's; San Lorenzo. Friday, 21st, food.
Saturday, 22d, food; Naldini. Sunday, 23d, lunches and sups at Bronzino 's;
passes the evening there; Varchi. Monday, 24th, sups with Daniello; goes
to a comedy in Via Maggio. Tuesday, 25th, the weather; sups at home.
Thursday, 27th, San Lorenzo; food. Friday, 28th, San Lorenzo. Saturday,
29th, San Lorenzo.
Saturday, 28th, San Lorenzo feast of the Tregua" sups at home. Sunday,
; ' ;
29th (Palm Sunday), lunches with Bronzino. Monday, 30th, San Lorenzo.
Tuesday, 31st, stays at home.
Wednesday, April 1, San Lorenzo. Thursday, 2d (Holy Thursday). Friday,
3d, San Lorenzo. Thursday, 9th, San Lorenzo. Friday, 10th, San Lorenzo;
314
HIS DIARY
sups at Piero's.Saturday, 11th, San Lorenzo; food; sups at Piero's. Sunday,
12th,receives "berlingozo" from Mona Ugenia; sups with Bronzino.
a
Monday, 13th, San Lorenzo. Tuesday, 14th, San Lorenzo. Wednesday, 15th,
San Lorenzo; scaffolding; Pier Francesco. Thursday, 16th, San Lorenzo.
Friday, 17th, San Lorenzo. Saturday, 18th, San Lorenzo. Monday, 20th,
San Lorenzo.
Sunday, May
(Holy Cross), lunches at Bronzino 's. Monday, 4th, San
3
Lorenzo. 5th, San Lorenzo.
Tuesday, Wednesday, 6th, San Lorenzo.
Thursday, 7th, San Lorenzo. Friday, 8th, San Lorenzo. Saturday, 9th,
San Lorenzo. Sunday, 10th, lunches and sups with Bronzino; they go out
for a walk. Tuesday, 12th, San Lorenzo. Wednesday, 13th (Eve of Ascen-
sion), San Lorenzo. Thursday, 14th, lunches and sups with Bronzino.
Friday, 15th, San Lorenzo. Saturday, 16th, San Lorenzo. Sunday, 17th,
lunches at Bronzino 's; fasts in the evening; his health. Monday, 18th, the
weather. Thursday, 28th, San Lorenzo. Friday, 29th, San Lorenzo.
Saturday, 30th, San Lorenzo. Sunday, 31st, fasts; sups with Piero; food.
Monday, June 1, San Lorenzo. Sunday, 7th, lunches and sups with
Bronzino; ill. Tuesday, 9th, San Lorenzo. Friday, 12th, San Lorenzo.
Saturday, 13th, San Lorenzo. Sunday, 14th, sups with Piero. Friday, 19th,
San Lorenzo. Saturday, 20th, San Lorenzo. Sunday, 21st, meets Bronzino
at Santa Maria del Fiore; goes to see a bull; lunches with Bronzino; wine
from Piero; Alessandra; his health; fasts. Tuesday, 23d, his food; kills one
of his chickens. Wednesday, 24th, sups with Daniello Marignolle Bron-
; ;
zino. Thursday, 25th, San Lorenzo the weather. Friday, 26th, San Lorenzo
;
the holes in the walls of the choir. Saturday, 27th, San Lorenzo; fasts in
the evening. Sunday, 28th, lunches with Bronzino; they go to Prato
Ognissanti and there meet Sandrino and Bernardo. Monday, 29th, prepares
paints. Tuesday, 30th, prepares paints.
Thursday, 16th, San Lorenzo. Saturday, 18th, food. Sunday, 19th, lunches
with Bronzino sups with Piero. Monday, 20th, San Lorenzo hurts himself
; ;
receives a "mogio" of grain; washes his feet. Tuesday, 21st, fasts; San
Lorenzo; Naldini. Wednesday, 22d, fasts; San Lorenzo; sups with Daniello.
Thursday, 23d, San Lorenzo. Friday, 24th, San Lorenzo. Saturday, 25th,
San Lorenzo. Sunday, 26th, lunches with Piero; food; fasts in the evening.
Monday, 27th, San Lorenzo. Wednesday, 29th, San Lorenzo. Friday, 31st,
sups with Piero Naldini quits Lappoli.
;
Thursday, September 10, Mona Adia makes bread. Friday, 11th, he bottles
three barrels of wine; sups with Piero. Saturday, 12th, San Lorenzo.
Sunday, 13th, sups with Daniello; Bronzino; food. Monday, 14th, San
Lorenzo. Wednesday, 16th (fast day),San Lorenzo. Friday, 18th, San
Lorenzo ; fasts in the evening. Saturday, 19th, San Lorenzo food. Monday,
;
315
PONTORMO
21st (St. Matthew), food. Tuesday, 22d, takes a holiday. Wednesday, 23d,
San Lorenzo; food. Saturday, 26th, evening at the tavern; Ottaviano;
Bronzino food. Sunday, 27th, lunches with Bronzino sups with Bronzino
; ;
and Ottaviano. Monday, 28th, stays at home. Tuesday, 29th (St. Michael),
lunches and sups with Bronzino; Martini. Wednesday, 30th, stays at home.
Monday, 5th, San Lorenzo. Tuesday, 6th, San Lorenzo; food; ill. Sunday,
11th, goes to Certosa sups at Piovano with Daniello and Giulio food small
; ; ;
expenses. Friday, 16th, he begins to feel the cold; sups with friends at the
tavern. Sunday, 18th, lunches with Piero food sups with Bronzino food.
; ; ;
316
Topical Analysis of Pontormo's Diary
1555 January 30, 31 ; February 1, 16, 28 ; March 4, 11, 12, 15, 16, 18, 19,
20, 22, 23, 26, 27, 28; April 3, 5, 9, 13, 18, 19, 20, 27; May 7, 8, 9, 14,
15, 16, 17, 18, 20, 21, 22, 24, 27, 30, 31 ; June 1, 5, 6, 7, 14, 15, 19, 20,
21, 22, 25, 26, 27 ; July 4, 5, 6, 9, 11, 13, 16, 18, 23, 26, 30, 31 ; August 1,
2, 3, 7, 8, 9, 13, 14, 16, 17, 19, 20, 21 ; September 2, 3, 4, 5, 6, 7, 17, 18,
19 ; October 7, 8, 9, 12, 14, 15, 16, 17, 18, 19, 21, 22, 23, 24, 25, 26
November 9, 12, 19, 27.
1556 February 6, 8, 20, 27, 28, 29 ; March 3, 4, 6, 7, 9, 11, 12, 13, 18, 26, 27,
28, 30; April 1, 3, 9, 10, 11, 13, 14, 15, 16, 17, 18, 20; May 4, 5, 6, 7,
8, 9, 12, 13, 15, 16, 28, 29, 30; June 1, 9, 12, 13, 19, 20, 25, 26, 27;
July 14, 16, 20, 21, 22, 23, 24, 25, 27, 29; August 1, 3, 4, 5, 6, 7, 8,
10, 11, 12, 13, 14, 15, 17, 18, 19, 20, 21, 22, 24, 25 ; September 12, 14,
16, 18, 19, 23 ; October 5, 6.
8, 10, 11, 12, 13; July 4, 8, 9, 10, 11, 18, 22, 23; August 10, 11, 12;
September 8, 9, 10, 11, 12, 13, 14 October 6, 26 November 5. ; ;
13. Piero 1555, April 23, 24, 26, 27, 29 May 3, 11 June 8, 9, 15, 30 July
: ; ; ;
26, 31 September 11. Naldini 1555, July 4, 10, 21, 22 October 6 November
; : ; ;
1556, February 22; July 31. Ottaviano: 1555, January 20; March 10; 1556,
January 2, 15 February 16 March 22 July 5 September 27. Varchi 1554,
; ; ; ; :
March 26; 1555, December 10, 23; 1556, October 1. Luca Martini: 1554,
December 17; 1555, December 1, 10, 14; 1556, September 29; October 1, 2.
Tasso 1554, December 17 1555, December 24. Strozzi 1555, December 27.
: ; :
317
PONTORMO
Borghini 1556, January 9.
: Sandrino 1556, March 14 June 28. Giulio
: ;
1555, December 24. Marco Moro 1554, June 9. Ceccho fornaio 1555, April
: :
10. The monks: 1555, November 17, 18. Petrarcha: 1554, January 27.
Alessandra 1554, January 27 1555, December 26 1556, January 26, March
: ; ;
23, June 22. Lucretia: 1555, December 26. Mona Ugenia: 1556, April 12.
The mother of Maria: 1555, November 24. Fuscellino: 1555, August 11.
Bernardo: 1556, June 28. Mona Adia: 1556, September 10. The "Monte":
1555, May 6. Gaddi, March 24, 1556.
318
INDEX
INDEX
Alinari. See Photographs.
Academy of Florence: "Assumption Ailegrini, 151, 177, 261.
— Roberto,
, 157. Ambras Castle, 101, 237.
25, 72, 81, 135-136; date of, 24, Anconad', 148, 149.
"Agony in the Garden," Certosa, 42, Andrea del Sarto, 8, 10, 14, 33, 55,
Alessandra, Pontormo 's mother, 4. 77, 94, 95, 118, 169, 267; "Life of
Alessandro VI, Pope, 181. Joseph," 22, 154, 200; "Madonna
Alexandre K. Collection, 246. and Little St. John," Borghese,
321
INDEX
270; "Madonna and Saints," Archives of Florence, 1, 3 Accademia
;
riage of St. Catherine," 10, 139, 14; Carteggio mediceo del Prin-
269-270; panels for Borgherini, cipal, 64, 65, 173, 184, 200,
22, 157; "Pieta," Vienna, 200; 280-282; Carte Pucci, 20; Carte
Pontormo 's drawings compared Riccardi, 128; Catasto, 3, 5, 57,
with those of, 33 Pontormo 's ; 68, 80, 280, 282; Consorteria, 1,
portraits compared with those of, 271, 272; Decima, 284; Deposi-
87; "Sacrifice of Isaac," 56; teria Generate, 78, 158, 164, 208,
San Filippo Benizzi frescoes, 16, 264; Depositeria Vecchia, 78,
267, 269; "San Gallo Annuncia- 283-284; Filza, No. 273, 185;
tion," 253, 269; "San Godenzo Guardaroba, 70, 71, 142, 184,
'
Annunciation, ' 269 ; Scalzo fres- 185, 186, 261, 286, 287; Indice
coes, 17, 39, 232 ; work at Poggio mediceo, 255; Libro dei Battez-
a Cajano, 28, 175, 176; work in zati, 102 ; Libro dei Morti, 4, 79,
"Madonna and Saints" in, 6, 8, 106, 132, 249, 263, 273, 283.
12, 15, 117, 254; "Holy Trinity" — of Pisa, 178. 4,
in, 200. — of San Lorenzo, 264.
"Anonimo fiorentino, " 209. Archivio storico, 173.
Ansoldi, Costantino, 64, 65, 170, 171, Archivio storico dell' arte, 155, 181,
280-282. 209, 216, 231, 235.
Antinori, arms of the, 130. Ardinghelli, lost portrait of Niccold,
— lost portrait of Amerigo,
, 64. 86, 258.
Antonio da Lucca, 225, 226. Argenville, Dezallier d', 81.
Appendices, 267-318. Argyropylos, Ioanne, 148, 149.
Arazzieri, 78. Armand, 148, 173.
Archbishop of Capua. See Nicolaus Armann, "Walter, 172.
von Schomberg. Arms of Giovanni Salviati (lost), 256.
322
INDEX
Arms of Leo X, 11, 12, 15. "Baptism of Christ," Carro della
— of the Lanfredini (lost), 21, 254- Zecca, 137, 138.
' '
255. ' Baptist in Wilderness, ' Carro della
Arte e Storia, 264. Zecca, 35, 137.
Arte, V, 181, 201, 203, 205, 207, 228, Barbadori, 47, 120.
244. Barberini Gallery, Rome, 56, 259.
Art Journal, 23, 164. Bardi, Luigi, 136, 152, 205.
Art Prices, 241, 242, 244, 245, 248. Bargello, Florence, 121, 148, 150.
Art Sales, 159. Bartolommeo, Fra. See Porta.
"Ascension of the Blessed," drawing Battiferra, Laura, 290-293.
for, 263. "Battle of Anghiari," 53, 131, 132,
Ashbourne. See Widener Collection. 269.
Assisi, 193. "Battle of the Cascina," 9, 18, 23,
"Assumption," Annunziata, 119. 38, 246.
Athenceum, 209. Bayersdorfer, 234.
Auction Sale Prices, 241, 242, 244, Beaucousin, Edmond, 213.
245. "Beheading of John," Carro della
Avignon. See Musee Calvet. Zecca, 138-139.
Azeglio d\ 235. Bellini, Giovanni, 175.
Benedetti, de, 263.
B Benintendi, Giovanmaria, 23, 135.
Benivieni, Bartolommea, 126.
Bacchiacca, 78, 95, 129, 229, 231; '
designs for tapestries, 184 ' ' Benjamin at the Court of Pharaoh, '
Life ; '
National Gallery,
'
323
INDEX
213 on Giulio Romano, 81 on
; ; Cosimo il Vecchio," 205; on
Granacci, 208; on "Holy Fam- "Portrait of Gualteretti, " 82,
'
ily, San Michele Visdomini, 20
' 227; on "Santa Barbara," St.
on "Hospital of San Matteo," Petersburg, 224, 229; on Santa
115 on " Judith, Palermo, 223
'
; ' on "Tobias and
Felicita, 49, 121;
on "Life of Joseph," 21; on the Angel," Borghese, 230; on
"Lucretia, " Borghese, 179; on "Venus and Cupid," Uffizi, 63,
"Madonna and Little St. John," 143.
Palazzo Corsini, Florence, 129 Bergamo, 57, 64, 84, 102, 171, 194.
on "Madonna and Saints," Berlin, 85, 103, 105, 144, 194.
Louvre, 51, 168, 169; on "Ma- Bernardino di Giordano, 13.
donna Enthroned," 139; on Bernardo, mentioned in Pontormo's
Naldini, 97; on "Pieta," Acad- diary, 303.
emy, 200; on "Portrait of a Bettini, Bartolomeo, 62, 64, 68, 90,
Boy," National Gallery, 213; on 142.
'
Portrait of a Lady,
' Tarnowski '
'
324
INDEX
by Vasari, 45, 53, 104; possible British Museum, 49, 122, 123, 132,
drawing for, 104. 144, 153.
Bollettino d' arte, 62, 71, 146, 184, Brogi. See Photographs.
185, 186, 260. Broncone, Compagnia del, 13, 253-
Bologna, 95, 195. 254.
Bonn, 83, 104, 105. Bronzino, Angelo, 21, 56, 78, 80, 86,
Borde, 152. 87, 95, 96, 97, 101, 144, 145,
Borenius, 23, 200. 150, 153, 162, 167, 169, 172, 195,
Borgherini, Casa, 157. 200, 211, 213, 219, 221, 227, 228,
— , Niccolo di Giovanni, 157, 163. 233, 234, 235, 254, 259, 287;
— , Pierfrancesco, 22, 23, 55, 56, 157, "Adoration of the Divine
163, 208, 258 ;
panels for, 21, 22, Child, " 66 birth, 21 " bottega,
; ; '
*
24, 55-56, 97, 163, 164, 165, 208. 96; "Cleopatra," 179; copies
Borghese Gallery, 69, 85, 86, 209, a "Madonna" of Leonardo's,
229-231; "Lucretia" in, 85, 179; 53; copies of his portraits of the
"Portrait of a Magistrate" in, Medici, 96; "Descent into Hell,"
154, 229-230; "Portrait of Car- 81 ; designs for tapestries, 70, 71,
dinal Spannocchi Cervini" in, 184, 185, 187; discusses Pon-
69, 86, 180-181; "Tobias and tormo 's life with Vasari, 56
Angel" in, 230-231. drawings, 97 ; finishes Pontor-
Borghini, Raffaello, 63, 75, 79, 80, mo's San Lorenzo frescoes, 4, 79,
108, 110, 115, 116, 117, 119, 121, 263 frescoes in San Lorenzo,
;
122, 123, 124, 125, 128, 131, 132, 91 ; helps Pontormo at Certosa,
136, 139, 145, 147, 159, 164, 169, 43-44, 113; helps Pontormo at
177, 228, 229, 254, 255, 256, 257, Santa Felicita, 49, 123; imitates
259, 262, 263, 264, 287. Michelangelo, 74; imitates Pon-
— , Vincenzo, 94, 131 ; mentioned in tormo, 66, 96, 97; journey to
Pontormo's diary, 300. Rome, 185; lost portraits of
Borgia, Francesco, 181. Dante, Petrarch and Boccaccio,
— , Pietro Ludovico, 181. 142; mentioned in Pontormo's
Borgo San Sepolcro, 21, 105-106, 109. diary, 90, 92, 93, 295, 296, 297,
Boscoli, Andrea, 98. 298, 299, 300, 301, 302, 303, 304,
Boston, 195, 217-218. 305, 306; "Pieta," Certosa, 113;
Bottari, 89, 255, 285. Pontormo 's portrait of the young,
Botticelli, Sandro, 149, 175. 25; Pontormo's portraits com-
Bracciolini, Poggio, 237. pared with those of, 87; "Por-
Brandus Galleries, 242. trait of a Lady," Fischhof Col-
'
Braun. See Photographs. lection, 101 ; ' Portrait of Ales-
Bredius und Schmidt-Degener, 162. sandro de' Medici," 64, 171, 172;
Brett Collection, 242. "Portrait of Anna Strozzi," 96;
Brigida, Mona, 4. "Portrait of Cosimo il Vecchio,"
Brinton, Selwyn, 118, 119, 143, 145. 150; "Portrait of Eleonora,"
British Institute, 214, 247. Uffizi, 97 ;
" Portrait of Giannet-
325
INDEX
tino Doria," 225; "Portrait of Campi, Giulio, 222.
Guidobaldo della Rovere, " 59, Canova, 217.
203, 205, 258; "Portrait of Ugo- Capodimonte, 219, 220.
lino Martelli,
'
' 96, 225 ;
portraits Cappella del Papa. See Santa Maria
of Cosimo I, 220, 221, 235; Novella.
portraits of Medici children, 96 Capponi Chapel, Santa Felicita, 46,
portraits of Pontormo, 80; por- 47, 72, 104, 120, 123, 185.
traits of the Panciatichi, 85, 96, Capponi, Gino, 52, 269.
225 ;
'
' San Lorenzo, '
' at Certosa, — , Lodovico, 47, 52, 120, 128, 176,
113 ;
'
' San Lorenzo,
'
' in San Lo- 257.
renzo, Florence, 80 ; sonnets, 288- — , lost portrait of the daughter of,
— Checci, 273.
, 3,
— da 271.
Colle, 3,
Calvet. See Musee Calvet. — document concerning a Jacopo,
, 5,
Cambi, 28, 51. 267, 273.
Campanari, 201. — family, 271, 273.
1, 3,
326
INDEX
Carucci, Francesco, 1, 272. — D' Alton Collection, 212.
— Jacopo Giovanni,
, di 3. — Dawkins Collection, 244.
— Jacopo Luca, 272.
, di 3, — De Beurnonville Collection, 241.
— Jacopo. See Pontormo.
,
— DeH***, 88.
— Lisabetta, 273.
, 3, — Dellafaille Collection, 244.
— Marietta,
, 3. — Dijon, 198.
— Pagolo, 273.
, 3, — Doetsch Collection, 126, 128, 172,
— Ruggieri Taddeo,
, di 2, 3, 271, 272. 244.
— Ruggiero, 271.
, 2, — Dollfus Collection, 96.
— Taddeo
, 272.
di, 2, — Erfurt, 199.
Casa, arms of the della, 140. — Eszterhazy de Galantha Collection,
Casa Buonarotti, 201, 222. 245.
Cassel, 87, 196-197. — Exposition "Starye Gody," 244.
Castellani Collection, 248. — Ferdinand von Tirol Collection,
Castello, lost paintings in the villa of, 261.
63, 66-67, 68, 71, 73, 146, 262- — Fischhof Collection, 101.
263; date of, 67, 262; drawings — Gabburri Collection, 127.
for, 67-68, 262. — Galleria d'Arazzi, 185.
Castiglione, Francesco da, 85, 133, — Grafton Galleries, 164, 165,
23,
134. 166, 224.
Catalogue : Academy, Florence, 115, — Guggenheim Collection, 245.
200. — Hague Portrait Exhibition, 198.
— Attributed Pictures, 193-249. — Hamilton Collection, 159.
— Authentic Pictures, 101-189. — Hampton Court, 145, 211, 212.
— Avignon, 194. — Hermitage, 229.
— Berlin, 105, 212. — Inventaire des richesses d' art de
— Bonn, 105. la France, 217.
— Borghese Gallery, Rome, 179, 181, — Jarves Collection, 221, 222.
230, 231. — Johnson Collection, 173, 227.
— Brett Collection, 242. — Lamponi Collection, 141.
— Budapest Museum, 196. — Lanfranconi Collection, 246.
— Butler Collection, 242. — Lanna Collection, 173.
— Cassel, 197. — Lochis Collection, 194.
— Castellani Collection, 248. — Lost Pictures, 253-264.
— Chantilly, 214. — Louvre, 169, 170, 226.
— Citta di Castello, 197. 95, — Madrid, 216.
— Clark Collection, 243. — Mailand Collection, 153.
— Codicum Latinorum, 148. — Manoscritti Torrigiani, 28.
— Colonna Gallery, Rome, 145. — Mond Collection, 156.
— Colworth Collection, 243. — Morelli Collection, 102, 173.
— Cook Collection, 213, 218. — Munich, Alte Pinakothek, 218.
— Corsini Gallery, Florence, 129, 203. — Musee de Province, 215.
— Crozat Collection, 229. — Museo Nazionale, Florence, 121.
327
INDEX
Catalogue: Museo Nazionale, Naples, Cerbone Pucci Collection, 243.
218, 219, 220. Certosa, near Florence, 21, 39-44, 45,
— National Gallery, London, 213, 159, 46, 57, 73, 104, 107-114; "Agony
214. in the Garden," 40, 107-108;
— National Loan Exhibition, 166, " Christ before Pilate," 40, 107,
224. 108-109; "Crucifixion," pro-
— Northbrook 214, 215.
Collection, jected for, 40; date of frescoes
— Oldenburg, 162. at, 39; "Deposition," projected
— Palazzo Bianco, Genoa, 155. for, 40; documents for frescoes
— Palazzo Florence,
Pitti, 133, 132, at, 39, 44, 108; drawings for
134,136, 205. frescoes at, 39, 40, 42, 43, 110,
— Rezzonico 248.
Collection, 112, 113; lost "Nativity" at, 41,
— Schevitch 248.
Collection, ing to the Cross," projected for,
— Sedelmeyer 221, 246.
Collection, 40; "Pieta," 40, 111-112; Pon-
— Spitzer 173.
Collection, tormo 's relations with monks of,
— Stadel Frankfort, 153-
Institute, 39, 44, 277-279; "Risen Christ,"
154. 40, 112-113; "Supper at Em-
— Stuttgart, 234. maus" for, 41, 42, 114-115, 277;
— Turin, Regia Pinacoteca, 235, 236. Vasari mentions frescoes at, 39,
— Florence,
Uffizi, 141, 145, 152,
140, 40, 43, 44, 107, 108, 109, 110,
206, 208, 209. 111, 112, 113; "Way to Gol-
— Versailles, 169. gotha," 40, 109-110.
— Vienna, 188, 236, 237. Chantilly, 61, 154, 214.
— "Walters 194.
Collection, Chappel Studio. See Photographs.
— Wanamaker Collection,
228. Charles I, Collection of, 236.
— Widener Collection, 102. Charles V, 9.
— Willett 249.
Collection, Chennevieres, de, 228.
— Ximenes d Aragona ' Collection, Chiari, Alessandro, 119.
247. Chiavacci, 132, 133, 134, 136, 205.
— Yerkes 189.
Collection, Chiavistelli, Jacopo, 151.
Catasto, 3, 5, 57, 68, 80, 280, 282. Chiazzella, Andrea, 80, 284.
"Cattura di Benjamin," tapestry, 70, Chiesa delle Stigmate, Florence, 201-
187. 202.
"Cattura di Simeone," tapestry, 70. "Christ as Pilgrim," lost fresco of,
Cavaliere Tommaso, 60. 17, 108, 109, 254.
Ceccho fornaio, mentioned in Pon- Christie's, 158, 241, 242, 243, 244,
tormo's diary, 297. 245, 249.
Cellini, Benvenuto, 53, 68, 78, 173, Christina, Collection of Queen, 209.
297. "Christ in Glory," drawing for, 75,
Cenacolo di Foligno, Florence, 201. 76, 263.
328
INDEX
Chronique des arts, 209. Compagnia del Broncone, 7, 13, 14,
Cianfanini, Giovanni, 125. 253-254.
Ciangogni, 264. — del Diamante, 7, 13, 14, 253.
Cibo, Innocenzio, 261. — del Disegno, 79.
Cicerone, 195, 208, 209. — della 255.
Cecilia, 17,
Cicognara, 173. — Loreto, 271.
di 1,
Cigoli, 98.
Company of San Luca, 57.
Cinelli, 17, 207, 254, 256.
Consorteria, 1, 3, 5, 271, 272.
Citta di Castello, 95, 197, 260.
Clapp, F. M., 64.
Constantine, Collection of Grand
— ,
'
on Portrait of Alessandro
article '
Duke, 243-244.
21, 23, 24, 29, 30, 38, 39, 40, 42, 185, 261.
44, 47, 54, 55, 56, 61, 62, 63, 66, — , G., 151.
67, 69, 70, 76, 77, 81, 84, 85, 86, "Conversation," Mond Collection,
96, 97, 98, 104, 106, 107, 108, 156.
115, 116, 117, 119, 122, 123, 125, Cook, 159.
128, 132, 136, 139, 140, 145, 147, — Collection, 212-213.
154, 159, 164, 165, 166, 169, 177, "Coppa Joseph," tapestry, 70, 187.
di
178, 179, 183, 187, 200, 208, 236, "Coronation of the Virgin," Ridolfo
253, 255, 259, 262, 263, 264, 295. Ghirlandaio, 12.
— , On Certain Drawings, 16, 20, 41, Correggio, 236.
62, 106, 115, 116, 117, 119, 122, Corsini Gallery, Florence, 52, 129,
125, 128, 136, 177, 264. 231.
— See Photographs. — , Rome, 85, 182, 214 ; drawings in,
Clark Collection, 243. 17, 32, 33, 42, 43, 48, 112, 121,
Clement VII, Pope, 58, 61, 64, 175, 127, 132, 176, 255.
281. Costa, 156.
Clouet, follower of, 196. Council of Trent, 70.
Clough Collection, 260. Cristofano dell' Altissimo. See Al-
Codice Araldico, 1, 2, 272. tissimo.
— Atlantico, 209. Crowe and Cavalcaselle, 23, 81, 119,
Colasanti, 16, 91, 268, 270, 295, 296. 163, 164, 165, 166, 175, 181, 188,
Colle, Val d'Elsa, 1. 193, 195, 211, 214, 215, 216, 218,
Cologne. See Dellafaille Collection. 219, 224, 229, 231, 232, 234, 237-
Colonna, Francesco, 175. 238, 268.
— Gallery, Rome, 145, 201, 237. Crozat, 144.
— , Vittoria, 201, 241. — Collection, 229.
Colworth Collection, 151, 243. "Crucifixion," projected at Certosa,
Comando Militare, 254. 40, 111, 113.
Commonwealth Inventory, 211. Cruttwell, 108, 119, 122, 129, 130,
Como, 151. 132, 133, 134, 136, 139, 140, 141,
329
INDEX
152, 199, 200, 201, 203, 205, 206, Dirksen Collection, 85, 103.
Oust, Lionel, 196, 197. 81, 121, 122, 168, 169, 176, 177,
— projected at the
,
Certosa, 43, 111, Pontormo's property, 284; for
113. Pontormo's relations with the
Desborough, Collection of Lady, 162. Certosa, 44, 277-278; for Pon-
Designs for tapestries, 70, 71, 183- tormo's relations with the Pu-
187. 274; for "Portrait of Ales-
pilli,
330
INDEX
"Venus and Cupid," 63, 142, Lorenzo, 75, 76, 77, 185, 263
287; for "Visitation," Annun- lost "Madonna and Child," 20
ziata, 16, 119, 275-276; possibly lost paintings at Careggi, 66
for Granacci's "Joseph Led 262; lost paintings at Castello
away to Prison," 208. 68,262; lost "Pieta," 16; lost
Doetsch Collection, 19, 126, 128, 172, "Santa Cecilia," 17, 29, 30, 255
209, 244. lost "Raising of Lazarus," 56
Dollfus Collection, 96. 259; lunette at Poggio, 30-36
Domenicho, 22. 176; "Madonna and Saints,'
Domenico di Polo, 172, 173. Annunziata, 8, 117; "Madonna
'
Donatello, 148. and Saints, ' Louvre, 52, 168
Dossi, Dosso, 222.
'
' Madonna Enthroned, '
' Uffizi
Drawing, by Michelangelo, 123. 20, 139 " Magdalen, " 50 " Mars
; ;
331
INDEX
of Francesco Guardi," 259; lu- Eleonora da Toledo, 53, 93, 96, 97,
'
nette at Poggio, 29 ; ' Portrait of 235, 306.
a Young Woman," Frankfort, Empoli, 3, 4.
153. — Collegiata
, of, 3, 4.
Drax Collection, 245. — Jacopo, da, 98, 108, 109, 112, 115,
Dresden, 8, 24, 56, 117, 135, 139. 129, 203; influenced by Pon-
Dreyfus Collection, 148. tormo, 98.
Dudley House, 216. Emporium, 255.
Duke of Altamira. See Altamira. Engerand, 81, 170.
Duppa, 144, 211. Engerth, Erasmus, 188, 236, 237, 238.
Duranty, 81. Englewood. See Piatt Collection.
Durazzo Collection, 235. "Entombment," window in Santa
Diirer, " Auf erstehung, " 113; "Bad- Felicita, 121.
' '
stube, ' 109 ; ' Beweinung Erfurt, 144, 199.
Christi," 42, 111; "Christus am Espagnac, Collection d', 245.
Kreuz," 111; "Christus am Oel- Eszterhazy de Galantha Collection,
berg," 107; "Christus und die 245.
Jiinger von Emmaus," 41, 114; Etruria pittrice, 119.
"Christus vor Hannas, " 110; "Evangelists," Santa Felicita, 49,
engravings, 38, 47 ; figures bor- 122-123 drawings ; for, 263 ; men-
rowed by Pontormo from, 40, tioned by Vasari, 123.
107, 109, 110, 111, 113; "Grable- "Expulsion from Paradise," draw-
gung," 111; his influence on ing for, 263.
Pontormo, 38, 39, 40, 41, 42, 43,
45, 46, 47, 52, 55, 106, 107, 109,
110, 111, 113, 114, 129, 168, 256,
Fabre, 217.
258; "Kleine Passion," 42, 46;
:
Kreuzabnahme, " 43, 111; Fabriczy, 91, 122, 148, 173, 203, 205,
Kreuzigung,
'
110 Kreuz- '
' ;
'
'
207, 238, 295.
the workshop of, 52, 168; "Vier "Fall of the Damned," drawing for,
332
INDEX
Feltrini, Andrea di Cosimo, 9, 12, 13, Gaddi, mentioned in Pontormo's
23, 28, 116, 175, 253, 255. diary, 302.
Ferdinand von Tirol Collection, 151, Galeotti, Pietro Paulo, 13, 253.
237. Galerien Europas, 181.
Fesch Collection, 153, 213. Galicia. See Tarnowski Collection.
Fiesole, lost fresco of "Santa Cecilia" Gallerie Nazionali Italiane, 144.
in, 17, 255. Galliera Collection, 154.
Figana, Don Giovanni di, 261, 264. Gamba, 62, 68, 143, 146, 147, 166,
Figiovanni, 60, 260. 169, 218, 223, 224, 237, 260, 264;
' '
Filhol, 170, 226. ascribes ' Fattore di San Marco
Firenze antica e moderna, 119. to Puligo, 166; ascribes "Por-
Firenzuola, Ser Carlo da, 126. trait of a Youth," Panshanger,
Fischhof Collection, 101. to Puligo, 224; believes a draw-
Florence, Signoria of, 52. ing in Louvre for "Visitation,"
Follini, 122, 152. in Annunziata, 119; believes
Fontainebleau, 209, 210. "Portrait of a Lady," Pans-
Fontana, Prospero, 238. hanger, to be Puligo 's "Barbara
Forni, Ulisse, 144. Cortegiana," 224, 229; his ar-
Fortezza da Basso, Florence, 173. ticle on Carmignano "Visita-
Fossart Sale, 145. tion," 107; his opinion of draw-
Fragonard, 31. ing of "St. Michael," 25; his
Francesco da Toledo, 71. opinion of "Madonna and Little
Francesco di Goro, 284. St. John," Uffizi, 146; his opin-
Franciabigio, 8, 9, 23, 24, 28, 29, 58, ion of "Madonna and Saints,"
135, 157, 173, 175, 176, 209. Louvre, 53, 168 ; his opinion of
Francillon Sale, 145. the "Venus and Cupid," Uffizi,
333
INDEX
Ginori, banners for the funeral of "Life of Joseph," Palazzo
Bartolomeo, 20, 25, 255. Giraud-Torlonia, Rome, 232
— Collection, 233. "Life of Joseph," Uffizi 95, 158,
— Portrait of Leonardo de
, ', 233. 163-164; panels for Borgherini,
Giordani, Ser Giovanni Battista, 80, 22,157 Pontormo 's influence on,
;
334
INDEX
H***, Collection de, 88.
Hare, Leman, 213. Jackson, S., 242.
Heidelberg, 64, 144, 171, 211. Jacobsen, 128, 155, 158, 159, 169, 177,
Heiss, A., 148, 205. 203, 235, 236.
Jacone, 66, 67, 262.
"Hercules and Anteus," projected
Jacopo di Sandro, 14.
fresco at Poggio, 61, 176.
Jacopo da Empoli. See Empoli.
Hermitage. See St. Petersburg.
Jacopo da Ponte. See Ponte.
Hertz Collection, 229.
Jacquemart- Andre Collection, 87, 101,
Hervey, Mary F. S., 196, 197.
167, 224, 225-226.
Hildesheim, 144, 212.
Jahrbuch der koniglich preussischen
Hoefle. See Pbotograpbs. Kunstsammlungen, 59, 148, 197,
Hofstede de Groot, 198. 205, 208, 209, 232.
Hogarth, 212. Jahrbuch der kunsthistorischen
Holbein, 85. Sammlungen des Allerhochten
Holford Collection, 216. Kaiserhauses, 151, 172, 261.
"Holy Family," Budapest, 195-196. Jameson, 211.
— , Santa Maria Visdomini, 17, 18-20,
Jarves Collection, 132, 147, 220-222.
125-128;
Jenaische Allgemeine Literatur-
22, 73, 97, copy in
Doetsch Collection Zeitung, 148.
of, 128, 244;
Johnson Collection, 64, 65, 82, 85, 96,
date of, 20, drawing for, 20,
126 ;
19, 146.
Vasari, 186 ; woven by Karcher,
186.
Home Collection, 132.
Hospital, lost fresco in the "Women's,
"Joseph Discovering Himself to His
Brethren," Panshanger, 23, 24,
17, 254.
' 162-164 date draw-
of, 163, 164
' Hospital of San Matteo, '
' Academy,
; ;
335
INDEX
Joubert Sale, 145. Lanna Collection, 172.
Justi, 196-197, 204, 205. Lanzi, 243, 264.
Lapini, 78, 264.
K Lappoli, Giovann' Antonio, 25, 95,
tion.
Spada, perhaps by, 232.
Kenner, 151, 172, 261. Lasalle, Collection, 246.
Lamponi Collection, 141. tormo, 6, 18, 20, 23, 26, 53, 128,
Landauer Collection, 234. 131, 146, 168, 268-269; "Ma-
Landon, 169, 170, 226. donna and St. Anne," Louvre,
Landucci, 7, 28, 269. 168; "Mona Lisa," 87; Pon-
Lanfranconi Collection, 202, 246. tormo 's drawings compared with
Lanfredini, Arms of Bartolomeo, 21, those of, 94; Pontormo 's por-
254. traits compared with those of,
— Lanfredino, 255.
, 85 ;
portrait-drawing in Uffizi,
— , written by
letters a Bartolomeo, once ascribed to, 86; "St. Je-
255. rome, " 53 sketches in London,
;
336
INDEX
"Leda," 209; visits to Florence, Lucarini, 146.
267, 268. Lucca, 56; "Portrait of a Youth" in,
Leslie Collection, 247. 57, 84, 159-160.
Libraries. See Biblioteca. "Lucretia," Borghese, 85, 179; date
Lichtenstein Collection, 209. of, 179.
"Life of Joseph," Andrea del Sarto, Lucretia, mentioned in Pontormo 's
154.
diary, 300.
— , Bacchiacca, 159.
Lyons, Musee, 215.
— , Pontormo. See National Gallery
Panshanger; Quirinal.
Ligozzi, Jacopo, 223.
M
Liphart, 244. Mclhlenny Collection, 227.
Litta, 147, 152, 173. Macquoid, 243.
Loan Exhibitions, 81, 158, 163, 164, "Madonna": drawing for a, 20; for
166, 211, 214, 224, 232, 243, 244, funeral banners of Ginori, 20,
247, 248. 25, 255; (lost), found in Pon-
Lochis. See Pinacoteca Lochis. tormo 's house after his death,
Loeser Collection, 202. 262; (lost), given by Cosimo I
Lomazzo, 209, 238. to a Spaniard, 261; (lost), given
London. See Cook Collection; Mond to Rossino, men-
260; (lost),
Collection ; National Gallery tioned in Inventory of Guarda-
Northbrook Collection Plymouth ; roba, 264; (lost), once owned
Collection. by Alessandro d'Ottaviano de'
Lorenzo di Credi, 125. Medici, 260; (lost), once owned
Lost Pictures, Catalogue of, 253-264. by Carlo Panciatichi, 264; (lost),
Lothian Collection, 233. painted for Alessandro Neroni,
Louis XIV, Collection of, 83. 256; (lost), painted for Capponi,
Louvre, copy of "Joseph in Egypt," 128, 257; (lost), painted for
159; copy of "Visitation," An- certain Spaniards, 257.
nunziata, 119, 226; drawing by "Madonna and Little St. John,"
Andrea, 16; drawing by Michel- Corsini Gallery, No. 141, Flor-
angelo, 134; drawings by Pon- ence, 52, 129.
tormo, 69; "Madonna and — Corsini Gallery, No. 185, Florence,
,
a Man," Zacchia, 98; "Portrait — , Louvre, 52, 53, 54, 55, 167-169;
of Precious-Stone Engraver,
'
' 83, date of, 51, 53, 168 drawing for,
;
337
INDEX
"Madonna and Saints," San Luca copy in Jarves Collection, 132,
Chapel, Annunziata, 6, 7, 8, 12, 221; date of, 54, 132; drawing
15, 117; date of, 117; drawings for, 132; drawing for a variant
for, 8, 117; "God the Father," of, 54, 140; influenced by Leon-
139; date of, 20, 129; drawings the women of the Innocents,
for, 20, 139. 131; variant in the Uffizi, 131.
Madrid, Prado, "Holy Family," as- — , Uffizi, 54, 55, 132, 139-140, 141;
cribed to Pontormo, 215-216; mentioned by Vasari, 54, 140;
"Madonna," ascribed to Pon- painted for Carlo Neroni, 140,
tormo, 216. 141, 259 ; variant in the Pitti,
"Magdalen," drawing for a, 50. 54-55, 140.
Mailand Collection, 153. "Martyrdom of San Lorenzo," lost
Malespina, Giulia, 171, 281. drawing for, 263.
— Ricciarda,
, 171. "Martyrdom of the Theban Legion."
— Taddea,
, 64, 65, 171, 280-281. See Martyrdom of St. Maurice.
Mancciucca Collection, 283. Masaccio, 77, 270.
Manchester, 163, 211, 222. Mason Perkins, 199, 223.
Manni, 263. Mechel, 237.
Manuscripts containing miniatures Medals of Alessandro de Medici, 172, '
338
INDEX
Lorenzo frescoes, 78 ; Pontormo 's 62, 142 ; drawings by, 36, 60, 69,
portraits of, 146. 122, 123, 144, 153, 179, 270;
Medici, Cosimo il Vecchio de', 147, "Entombment," 213; "Holy
149, 205-206, 260 ; cameo-portrait Family," 72, 129; influence on:
of, 150; Colworth portrait of, Bronzino, 97; Florentine School,
243; medals of, 147-148, 149; 37, 94; Pontormo, 12, 18, 26, 31,
miniatures of, 149; Pontormo 's 32, 35, 36, 37, 38, 42, 52, 53-54,
portrait of, 25, 82, 83, 147-152; 55, 59, 60, 61, 62, 68, 69, 70, 72,
portrait-relief by Del Tadda of, 73, 74, 77, 78, 88, 131; "Leda,"
150; portraits of, 149-151, 152; 236; Naldini's drawings con-
terra-cotta portrait-relief of, 150. fused with those of, 97 ;
personal
— , Ferdinando I de', 64, 170. contact with Pontormo, 60, 142;
— , Francesco de', 157, 163, 233, 280.
'
' Phsethon, " 60 ; Pontormo 's
— , Giuliano de', 7, 13, 159, 253. drawings compared with those
— , Giulio d'Alessandro de', 170, 171, of, 94; praises "Faith and Char-
vere" confused with Pontormo 's ceiling, 33, 35, 36, 42, 69; "Tity-
portrait of, 203 ; lost portrait of, rus," 60; "Venus and Cupid,"
247, 258; Titian's portrait of, once ascribed to, 211.
204. Michelozzo, 148.
— Leopoldo 295.
, de', Migliore, Filippo del, 48, 116, 117,
— Lorenzino
, de', 13, 22, 28, 148, 150, 119, 122, 126, 128, 258, 264.
253. Milan. See Trivulzio Collection.
— Ottaviano
, de', 28, 58, 145, 171, Milanesi, 104, 143, 144, 184, 261;
175, 261. ascribes "Assumption," Annun-
— Piero 149.
, de', ziata, Pontormo, 119, 200;
to
— Tanay 185.
, de', believes Capponi "Deposition"
— Tommaso
, 281. de', has been cleaned, 121 confuses ;
"Battle of the Cascina," 18, 23, panels, 157, 163; on Bronzino 's
38, 246; cartoon for lost "Noli copy of a "Madonna" by Leon-
me tangere," 60, 62, 259; car- ardo, 53 on Carro della Zecca,
;
toon for "Venus and Cupid," 14, 138 on contest for Pon-
;
339
INDEX
tormo's property, 80; on date of Bugiardini, 236; "Lucretia,"
"Supper at Emmaus," 41; on Borghese, to Bronzino, 179 ; at-
"Holy Family," Visdomini, 126; tributes to Pontormo Munich :
340
IXDEX
mo's diary, 298, 299, 300, 301, copies of, 260; date of, 260;
303 ;
pupil of Pontorrno, 97. documents for, 260; Michel-
Naples. Museo Nazionale, "A Cardi- angelo's cartoon for, 62, 259.
nal.'
-
'
218; copies of "Venus and — See Michelangelo.
Cupid." 143, 144, 219, 220; Notai Nobili, de, 3.
341
INDEX
Palazzo Capponi, Farinola Collection, 184; Sala di Clemente VII, 172;
128. Sala di Cosimo I, 146; Salotto
— Corsini, Florence, 129-130, 202- della Duchessa, 142 ; Ufficio delle
— — Carlo, 257.
Pitti, 22, 23, 25, 53, 59, 81, 95, 97, ,
342
INDEX
Petrarch, 1, 142. — Lbwy, 237.
Philadelphia. See Johnson Collec- — Moscioni, 179, 182, 230, 231.
tion ; Mclhlenny Collection — Onken, 162.
Wanamaker Collection ; "Widener — Perazzi, 124, 146, 147, 178, 179.
Collection. — Philpots, 107.
Phillips, Sir Claude, 23, 164, 165. — 122, 127, 168, 176, 178, 262,
Pini,
Philpots. See Photographs. 263.
Photographs. Alinari, 95, 107, 115, — Randall, 221, 222.
116, 119, 122, 127, 128, 130, 132, — Reali, 107, 115, 193, 223.
81,
133, 134, 136, 145, 146, 147, 150, — Taramelli, 102.
151, 152, 160, 172, 176, 177, 181, — University Prints, 152.
200, 201, 202, 203, 205, 206, 207, Piazza dell 'Olio, Florence, 7.
210, 228, 236, 237, 261, 263. Pichi, Giovanmaria, 21, 44, 95, 105,
— Anderson, 152, 161, 181, 219, 229, 225.
231, 232, 233, 255. Pieraccini, 115, 200.
— Braun, 119, 127, 132, 136, 145, 153, Pier di Cosimo, 6, 14, 22, 26, 83, 232,
166, 168, 169, 170, 181, 200, 205, 267, 269.
206, 208, 213, 216, 224, 226, 229, Pierfrancesco di Jacopo, 66, 232, 262.
237, 263. Pierin del Vaga, 181.
— Brogi, 129, 132, 133, 134, 136, 141, Piero, mentioned in Pontormo's
145, 152, 155, 179, 201, 205, 206, diary, 93, 297, 298, 300, 301, 302,
208, 209, 219, 220, 235, 237, 238. 303, 304.
— Bruckmann, 153, 188, 198, 213, Pieroni, Alessandro, 150.
218, 236. "Pieta," Academy, Florence, as-
— Bulloz, 167, 226. cribed to Pontormo, 199-200.
— Chappel Studio, 227. — Certosa, Florence, 111-112 date
, ;
— Clapp, 104, 106, 107, 108, 109, 110, 112; drawings of,112; for, 42,
112, 113, 114, 117, 119, 121, 122, mentioned by Vasari, 111.
123, 127, 132, 136, 137, 138, 139, — , drawing for a lost, 16, 29.
140, 141, 155, 164, 166, 168, 176, — for merchants of Ragusa (lost),
263. 66.
— Istituto d'Arti Grafiche, 102. Pisa, 56, 66, 93.
— Kensington, 123. Pitti, Andrea, 55.
313
INDEX
Pitti, Buonaecorso, 168. "Deposition," Capponi Chapel,
— See Palazzo Pitti. 45, 72, 120-122; designs for tap-
Piatt Collection, 198-199. estries, 71, 183-187; diary, 40,
Plymouth, Collection of the Earl of, 91, 92, 268, 295-318; dislike of
215. collaborators, 44, 67 ; drawings,
Poceetti, Bernardino, 151. 23, 33, 34, 61, 63, 81, 85, 97, 169,
Poggiali, Gaetano, 295. 295 ; enrolled in the Company of
Poggio a Cajano, frescoes projected San Luca, 57, 279 ; enrolled in
for, 34, 58-59, 61, 62, 64, 89, 175- the Medici e Speziali, 57, 279;
' '
176, 237. ' Santa Felicita,
Evangelists, '
— lunette
, in the villa of, 27, 28-36, 46, 122-123; "Faith and Char-
37, 38, 41, 45, 59, 61, 73, 94, 173- ity," Annunziata, 10, 116, 269;
177, 228 ; date of, 176 drawings
; family, 1-2, 267; "Fattore di
for, 30-36, 43, 176 ; mentioned by San Marco," 166; food, 93;
Vasari, 28, 29, 177. forerunner of the Seicento, 50;
Polydorus, 181. friends, 93 ; funeral, 79 ; German
"Pomona" (lost), for Filippo del manner, 39, 104; "God the
Migliore, 48, 258 ;
possible draw- Father," Santa Maria Novella,
ing for, 48, 258. 124, 270; "Holy Family," San
"Pomona and Vertumnus." See Michele Visdomini, 17, 18-20, 22,
Poggio a Cajano (lunette). 73, 97, 125-128; "Hospital of
Ponte alia Carraia, 21. San Matteo," 6, 115; house, 57,
— Santa Trinita, 21. 68, 90 ; illnesses, 93 ; imitators
Ponte, Jacopo da, 170. of, 94, on Andrea,
95 ; influence :
' '
' Birth-plate, Palazzo Davan- ' 12, 15, 26, 268 by Andrea, 8, 11, ;
zati, 130; "Birth-plate," Uffizi, 15, 17, 18, 19, 20, 22, 23, 24,
140-141; Carro della Zecca, 14, 26, 37, 77, 94-95, 118, 169; by
136-139 Certosa frescoes, 39, 41,
; Diirer, 38, 39, 40, 41, 42, 43, 45,
44, 46, 98, 107-114;. character, 46, 47, 52, 55, 106, 107, 109, 110,
6, 38,91 ;. childhood, 4, 6;
89, 111, 113, 114, 129, 168, 258; by
contribution to portraiture, 87 Fra Bartolommeo, 8, 53, 168
i death, 4, 79 ; decorations of the by Leonardo, 18, 19, 20, 23, 26,
Capponi Chapel, 46, 47, 48, 49, 53, 128, 168, 268-269 ; by Michel-
120-123; decorative gift, 26; angelo, 12, 18, 26, 31, 32, 35, 36,
344
INDEX
37, 38, 42, 52, 53-54, 55, 59, 60, 173, 180-181, 182, 188-189, 198,
61, 62, 68, 69, 70, 72, 73, 74, 77, 205, 229-230; property, 80;
78, 131; by Pier di Cosimo, 26, pupils, 94-95, 225; "Pygmalion
83; "Joseph Discovering Him- and Galatea," 56, 182-183; re-
self to His Brethren," 23, 24, lations : with Andrea, 269 ; with
162-164; "Joseph in Egypt," 21, Certosa, 39, 40, 44 ; with Hospital
22, 166-169; "Joseph Sold to of Innocents, 72 with Michel- ;
345
INDEX
Porta, Fra Bartolommeo della, 6, 8, 104-105 ; of a youth, Jacquemart-
53, 98, 118, 168, 268. Andre Collection, ascribed to
Porta Prato, Florence, 302. Pontormo, 225-226; of a youth,
— Romana, Florence, 107. Lucca, 57, 84, 159-160; of a
— San Frediano, Florence, 51, 168. youth, Palazzo Bianco, Genoa,
— San Gallo, Florence, 16, 256. 21, 25, 83, 96, 154-155; of Bar-
Portrait-drawings, 25-26, 49, 82, 84, bara Cortegiana, St. Petersburg,
85, 86, 96, 154. ascribed to Pontormo, 224, 229;
Portraits : of a boy, National Gallery, of Bartolomeo Compagni, 86,
ascribed to Pontormo, 213; of 155; of Becuccio Biccheraio's
a boy, Trivulzio Collection, 84, son-in-law(lost), 25, 255; of
160-161; of a lady, Jacquemart- Capponi's daughter (lost), 50,
Andre Collection, 87, 101, 167; 257 of Cardinal Spannocchi
;
198; of a lady, Turin, ascribed Vecchio, 21-22, 25, 82, 83, 147-
to Pontormo, 235; of a lay 152, 173, 205; of Francesco
brother (lost), 113, 257; of Guardi (lost), 259; of Giulio de'
Alessandro de' Medici, 64, 65, Medici (lost), 261; of Gualte-
68, 82, 85, 96, 170-173, 203, 258, retti ascribed to Pontormo, 227
260, 280-282 ; of a man, Palazzo of Guidiccioni (lost), 259; of
Corsini, Rome, 85, 182; of a Guidobaldo della Rovere, by
man, Pitti, 133-134; of a man, Bronzino, 203-205; of Ippolito
Piatt Collection, ascribed to de' Medici (lost), 258; of Lap-
Pontormo, 199; of a man, Uffizi, poli (lost), 255; of Maria Sal-
57, 84, 141, 259; of Amerigo viati (lost), 68, 261; of the Fat-
Antinori (lost), 64, 260; of an tore di San Marco, Panshanger,
engraver of precious stones, 166; of Colonna
Vittoria as-
Louvre, 82, 105, 169-170; of cribed to Pontormo, 201; of
Anna Strozzi, by Bronzino, 96 Young Cosimo I, 146-147.
of an old lady, Vienna, 87, 107, Pourtales Collection, 153.
188; of Ardinghelli (lost), 258; Poynter, 159, 213, 214.
of a woman, Panshanger, by Pozzo, Cassiano del, 209.
Granacci, 229 ; of a young Prato Ognissanti, mentioned in Pon-
woman, Dirksen Collection, 85, tormo 's diary, 303.
103 of a young woman, Stadel
; "Presentation in the Temple," Dijon,
Institute, 85, 103, 152-154; of a 95.
young woman, Widener Collec- Priorista di Monaldi, 1, 2, 130, 271.
tion, 86, 101 of a young woman,
; Provinzial Museum. See Bonn.
Yerkes Collection, 86, 96, 188- Public Guardians. See Pupilli.
189 ; of a youth, Bergamo, 57, Pucci, Antonio, 28.
84, 102; of a youth, Bonn, 83, Pucci family, 126.
346
INDEX
Pueci, Francesco, 19, 126. Revue de I' art ancien et moderne,
— , Giovanni d' Antonio, 126. 228.
— , Lorenzo, mentioned in Pontormo 's Rezzonico Collection, 248.
diary, 94, 303. Riccardi Collection, 153.
Puligo, Domenico, 166, 207, 215, 224, Ricci, Seymour de, 51, 168, 169, 170,
229. 226.
Pulzone, Scipione, 214, 232. Richa, 8, 10, 15, 19, 51, 75, 79, 116,
Pupilli, 6, 274. 117, 119, 121, 122, 126, 128, 131,
"Pygmalion and Galatea," Palazzo 132, 168, 169, 199, 207, 256, 264.
Barberini, Rome, 56, 182-183. Richter, J. P., 21, 126, 156, 158, 159,
213.
Q Rieffel, 234.
Quirinal, Rome, 70, 72, 183-185, 186- Riposo. See Borghini (Raffaello).
187. Ris, de, 215.
"Risen Christ," Certosa, 42, 112-113.
R
Ristretto, 119, 122, 128.
Raffaellino del Garbo, 95. Rivista d' arte, 64, 68, 107, 147, 166,
Raffaello da Colle, 187. 171, 173, 176, 178, 179, 205, 206,
"Raising of Lazarus" (lost), 55, 56, 224, 228, 229, 280.
258-259; date of, 56, 259; men- Rohrer Collection, 218.
tioned by Vasari, 55; possible Rome, Pontormo 's drawings of an-
drawing for, 56, 259. tiquities of, 69.
Randall. See Photographs. — See Borghese Gallery ; Corsini Gal-
Raphael, 5, 61, 81, 86, 132, 180, 181, lery; Palazzo Farnese; Palazzo
205, 209, 253, 261, 267. Giraud-Torlonia ; Palazzo Ros-
Rassegna d :
'arte, 64, 98, 119, 173, 189, pigliosi; Palazzo Spada; Quiri-
199, 218, 223, 237. nal.
Reali. See Photographs. Romena, chapel of the da, Santa
Reber, von, 218. Maria Maddalena de' Pazzi, 207.
Regia Pinacoteca. See Turin. Roselli family, 157.
Registro dei Battezzati, 21. Rosenberg, 81.
Reinach, Salomon, 102, 181, 214, 234, Rosini, 152, 264.
244, 248. Rospigliosi. See Palazzo Rospigliosi.
Reiset, 264. Rossellino, 25.
— Collection, 81, 248. Rossi, Giovan Gherardo de', 158.
Renouvier, 217. Rossino, 260.
Repertoire. See Reinach. Rosso, 9, 14, 94, 129, 139, 238, 253,
Repertorium, 91, 128, 148, 159, 169, 270 ; altar-piece in Pitti, 94, 154-
177, 236, 295. 155; "Assumption," Annun-
"Resurrection," drawings for, 76, ziata, 119, 200; "Deposition,"
263. Volterra, 94, 238; influenced by
347
INDEX
Pontormo, 94; "Marriage of St. "St. Quentin, " Borgo San Sepolcro,
Catherine," San Lorenzo, Flor- 21, 44, 105, 106, 109; date of,
ence, 94; "The Three Fates," 21, 106; drawing for, 44, 106;
Pitti, 203. mentioned by Vasari, 105-106.
Rost, Giovanni, 71, 72, 184. "St. Zenobius," Carro della Zecca,
Rothschild Collection, 209. 137.
"St.
of, 133.
Bartholomew"
— Arms of Giovanni,
, lost 17, 256.
"St. John Evangelist, " Pontormo, 24, San Domenico, mentioned in Pon-
178-179; date of, 179; drawing tormo 's diary, 93, 300.
348
INDEX
San Lorenzo, Bronzino finishes Pon- Santa Cecilia, Compagnia di, 255.
tormo's frescoes in, 79, 263. — , lost lunette of, 17, 29, 30, 255;
— , drawing by Bronzino for the date255 drawings for, 17,
of, ;
angelo 's tombs in, 59; Ottaviano 47-49, 121 mentioned by Vasari
;
de' Medici buried in, 94; relief 47, 120; "Evangelists" in, 46
Cosimo il Vecchio in, 150;
of 122-123; drawing for, 49, 123
Kosso's "Marriage of St. Cathe- lost "God the Father and Pa-
'
rine" in, 94. triarchs ' in, 46, 257 ;
possible
San Lorenzo a Galuzzo. See Certosa. drawings for, 49.
San Lorenzo al Monte. See Certosa. Santa Maria del Fiore, mentioned in
San Luca Chapel, Annunziata, in- Pontormo's diary, 302-303.
scription on the vault of, 79. Santa Maria Maddalena de' Pazzi,
— See Madonna and Saints.
'
'
'
207.
San Marco, Florence, 150. Santa Maria Novella, Florence, 5, 11,
— , Piazza di, Florence, 254. 124; "Santa Veronica" in, 12,
San Michele, Pontormo, 4, 24, 177- 123-125; "God the Father" in,
179. 12, 124.
San Michele Visdomini, Florence, Santa Maria sopra Minerva, Rome,
"Holy Family" in, 6, 17, 18-20, 258.
22, 73, 125-128, 146. Santa Trinita, Florence, 199.
San Miniato, mentioned in Pontor- Santa Trinita. See Ponte.
mo's diary, 93, 300, 304. "Santa Veronica," Santa Maria
San Pancrazio, Florence, 2, 272. Novella, Florence, 6, 12, 123-
San Proculo, Florence, 207. 125, 270 ; date of, 125 ; mentioned
San Remigio, Florence, 2, 272. by Vasari, 124.
San Ruffillo. See "Madonna and Santi di Tito, 237.
Saints," San Luca Chapel, An- SS. Annunziata. See "Madonna and
nunziata. Saints"; "Visitation."
Sansovino, Jacopo, 14. "Sant'Agostino" (lost), 10, 256.
"Santa Barbara." See St. Peters- Sant' Angelo in Vado, Rome, 204.
burg. Sant' Antonio, Florence, 116.
349
INDEX
Sant' Eusebio, Florence, 168. Spence, Campbell, 214.
Santo Stefano, Pisa, 4. Spinelli, Niccolo di Forzore, 148.
Schubring, 136, 141, 158, 208. tormo diary, 's 300. 94,
Schulze, 154, 179, 198, 200, 201, 205, — Pontormo diary once in the
, 's
228, 234, 235. library of 295. the,
Schweitzer Collection, 209. — See Palazzo Strozzi.
Scotland. See Lothian Collection;
Sturgis, Russell, 222.
Stirling Collection. Stuttgart, Staatsgalerie, 234.
Scotti, Luigi, 126. Suida, 155.
Sedelmeyer Collection, 203, 221, 246. Supino, 147, 148, 176.
Servites, 9, 10, 79, 269. Emmaus," Academy,
"Supper at
Sesto, Cesare da, 132. Florence, 41, 114-115; date of,
Sguazzella, 80. 41, 114; drawing for, 42, 114;
Siena, Library of the Cathedral of, document for, 41, 115, 277.
61.
Signoria of Florence, 2, 51.
350
INDEX
'
179, 201, 205, 211, 213, 220, 236, ascribed to Pontormo, 209 ; ' Life
260. of Joseph," Granacci, 208; "Ma-
Thode Collection, 64. donna and Little St. John," 53,
76, 263.
drawing: of an artisan, 85; of
Timbal Collection, 132. a bishop, 86, of a boy, 86, of a
soldier, 85 " Portrait of a Man,
'
;
Tischendorf, 158.
57, 84, 141 ;
" Portrait of a Man, '
Titi, 144.
by Botticelli, 149; "Portrait of
Titian, 204, 237.
a Youth," by Salviati, 237;
"Tobias and the Angel," Borghese
"Portrait of Cosimo il Vecchio,"
Gallery, 230-231.
21-22, 25, 82, 83, 147-152, 173,
Tomitano, 69.
205 " Portrait of Eleonora,
; by '
'
Tregua, feast of the, 93, 302. 24, 25, 26, 29, 3t), 31, 32, 33, 34,
Tresor de numismatique, 148. 35, 36, 38, 39, 42, 43, 44, 47, 48,
Treviso, Girolamo da, 237. 49, 50, 52, 54, 55, 56, 57, 61, 62,
Tribolo, 66, 74. 63, 64, 66, 68, 71, 72, 77, 81, 84,
Triumphal arch for Leo X, 7, 14, 254. 85, 86, 9/1, 96, 97, 98, 104, 106,
Trivulzio Collection, 84, 160-161, 216. 110, 1V2, 113, 114, 116, 117, 119,
Tschudi, 149. 121, 122, 123, 125, 127, 136, 137,
Tucker, von, 181. 13/9, 144, 147, 153, 159, 160, 164,
Turco, family of the del, 157. 165, 166, 168, 176, 177, 178, 179,
Turin, 154, 234-236. 187, 200, 218, 255, 258, 259, 262,
263.
U --, paintings mentioned in, 15, 20, 21,
Leonardo's Anghi-
"Battle of Ulivelli, Cosimo, [151.
ari," 132; "Expulsion from Ulmann, 208.
Paradise,
'
ascribed to Pontormo,
' University Prints. See Photographs.
207-208; "Leda and the Swan," Urbino, Palazzo Albani, 205.
351
INDEX
Palazzo Vecchio, 261; "Ragiona-
menti," 133, 151; "The Three
Vagnonville, Baron de, 249.
Graces," Budapest, 61; "Venus
Val d'Ema. See Certosa. and Cupid," Galleria Colonna,
Valori, Baceio, 268. 145.
Varchi, 51, 52, 56, 63, 94, 142, 145, — Lives of
, : edition of 1760, 81 ; edi-
262, 285; mentioned in Pon- tion of 1832-1838, 143 ; first Ger-
tormo's diary, 300, 304; Pontor- man edition, 143; Milan edition,
mo's letter to, 89, 285-286; son- 75, 131, 256; Milanesi edition.
net to Bronzino, 287, 296; son- See Milanesi Roman edition,
;
de' Medici, 171; "Life of Bron- seph, " 158; Lappoli 's copies of
zino," 49, 95, 262- "Life of Scalzo frescoes, 232; Leonardo's
Cristofano dell' Altisssimo," 95; cartoon of the "Battle of An-
"Life of Feltrini," 9; "Life of ghiari, " 53 ; Marco . del Tasso,
Lappoli," 225; "Life of Mar- 138; Michelangelo's influence on
cantonio," 38; "Life of Pon- Pontormo, 62 Michelangelo 's
;
352
INDEX
139 ; cartoons for tapestries, 70, "Pieta," for the monks of San
184, 185, 186 ; Certosa frescoes, Gallo, 16, 256; lost "Pomona"
39, 40, 43, 44, 107, 108, 109, 110, for Del Migliore, 48, 258; lost
111, 112, 113, death, 79; "Depo- "Portrait of a Lay Brother," 41,
sition," Santa Felicita, 120, 257; lost "Portrait of Amerigo
122; "Evangelists," 46-47, 123; Antinori," 260; lost "Portrait
"Faith and Charity," 7, 9, 10, of Ardinghelli," 258; lost "Por-
116 ; family, 1, 3, 4, 6 ; frescoes trait of Bicchieraio 's Son-in-
in the Pope's Chapel, 11 ; funeral, law," 255; lost portrait of Cap-
79; "Holy Family," San Michele poni 's daughter, 257; lost "Por-
Visdomini, 19, 126; house, 57, trait of Carlo Neroni," 141, 259;
68; "Joseph in Egypt," 21, 22, lost "Portrait of Cosimo I," 68;
157, 159; lost "Annunciation," lost "Portrait of Francesco
5, 253; lost "Arms of the Lan- Guardi," 56, 259; lost "Portrait
fredini," 21, 254; lost "Arms of Ippolito de' Medici," 203,
'
of Giovanni Salviati, ' 17, 256 258; lost "Portrait of Lappoli,"
lost cars for the Broncone, 13, 25, 44, 255; lost "Portrait of
14, 253 lost cars for the Dia-
; Maria Salviati," 68, 261; lost
mante, 13, 14, 253; lost "Dead "Santa Cecilia," 17, 255; lost
Christ," 253; lost frescoes at "Sant'Agostino," 256; lost
Careggi, 65, 66, 262; lost fres- "Raising of Lazarus," 55, 258;
coes at Castello, 66, 67, 262 ; lost lunette at Poggio, 28, 29, 177;
frescoes in San Lorenzo, 74, 75, "Madonna and Saints," Louvre,
76, 78, 79, 263, 264; lost fresco 51, 168, 169; "Madonna and
of "Christ as Pilgrim," 17, 254; Saints," San Luca Chapel, 117;
lost funeral banners for Ginori, "Martyrdom of St. Maurice,"
25, 255; lost "God the Father," Pitti, 54, 131, 132; "Martyrdom
Capponi Chapel, 257; lost "God of St. Maurice," Uffizi, 54, 140;
the Father," San Ruffillo, 254; panels for Borgherini, 22, 56,
lost "Madonna" for Capponi, 157, 164, 165, 208; "Portrait of
128, 257; lost "Madonna" found Alessandro de' Medici," 64, 170,
in his house, 262; lost "Ma- 171, 173, 258; "Portrait of Co-
donna" given to a Spaniard, simo il Vecchio," 21, 25, 152;
261; lost "Madonna" given to "Portrait of Young Cosimo I,"
Rossino, 260; lost "Madonna," 146, 147; "Pygmalion and Gala-
in the house of Alessandro tea," 56, 183; "St. John Evan-
Neroni, 256; lost "Madonna" gelist," 178; "St. Michael,"
painted for Spaniards, 257; lost 178; "St. Quentin," 105-106;
"Madonna" sold to Piero Sal- Santa Felicita decorations, 46, 47,
viati, 80; lost "Nativity" for 49; "Santa Veronica," 124;
Certosa, 41, 257; lost "Noli me "Scenes from the Life of
tangere," 260; lost "Pieta" for Joseph," 21; second series of
merchants of Ragusa, 256 ; lost decorations projected at Poggio,
353
INDEX
58-59, 61, 64, 89; shrine at Bol- Pontormo, 236-237; "Madonna
drone, 45, 53, 104; "Supper at and John," once as-
Little St.
Emmaus," 114; triumphal arch, cribed to Pontormo, 237-238;
14, 254; "Venus and Cupid," "Pieta," by Andrea, 200; "Por-
62, 63, 90, 142, 145; "Visita- trait of a Lady," ascribed to
tion," Annunziata, 15, 118. Pontormo, 236; "Portrait of a
Vasi, 144. Man," ascribed to Pontormo,
Vatican, 53. 238; "Portrait of an Old Lady,"
Vega, Garcilaso de la, 197. 87, 107, 188; "Portrait of a
Venice, Museo Correr, 132, 236. Youth," ascribed Pontormo, to
Venturi, 179, 180, 181, 230, 233. 237; "Portrait of Cosimo I,"
"Venus and Adonis," projected for ascribed to Bronzino, 221.
Poggio, 61, 176. Villa Caprarola, 65.
"Venus and Cupid," 62, 63, 64, 65, — Imperiale, 204.
68, 90, 142-145 ; copies and repli- Villano, mentioned in Pontormo 's
cas of, 63, 144, 199, 220 ; date of, diary, 297.
63, 144; documents concerning, Villari, 7.
— Bernardo, 267.
, tioned by Vasari, 118 Pontormo ;
354
INDEX
Volterra, 94, 238. Wood Brown, 125, 150.
X
W Ximenes d'Aragona Collection, 247.
355
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