YALE UNIVERSITY LIBRARY Gift of the Publishers JACOPO CARUCCI DA PONTORMO Published on the Foundation Established in Memory of HENRY WELDON BARNES of the Class of 1882, Yale College THE HENRY WELDON BARNES MEMORIAL PUBLICATION FUND The present volume is the fifth work published by the Yale University Press on the Henry Weldon Barnes Memorial Publication Fund. This Foundation was estab lished June 16, 1913, by a gift made to Yale University by William Henry Barnes, Esq., of Philadelphia, in memory of his son, a member of the Class of 1882, Yale College, who died December 3, 1882. While a student at Yale, Henry Weldon Barnes was greatly interested in the study of litera ture and in the literary activities of the college of his day, contributing articles to some of the undergraduate papers and serving on the editorial board of the Yale Record. It had been his hope and expectation that he might in after life devote himself to literary work. His untimely death prevented the realization of his hopes, but by the estab lishment of the Henry Weldon Barnes Memorial Publication Fund his name will nevertheless be forever associated with the cause of scholarship and letters which he planned to serve and which he loved so well. "Si vede apertamente che quel cervello andava sempre investigando" — Vasari JACOPO CARUCCI DA PONTORMO HIS LIFE AND WORK By FREDERICK MORTIMER CLAPP WITH A FOREWORD BY FRANK JEWETT MATHER, Jr. NEW HAVEN: YALE UNIVERSITY PRESS LONDON: HUMPHREY MILFORD OXFORD UNIVERSITY PRESS MDCCCCXVI Copyright, 1916 By Yale University Press First published, October, 1916 FOREWORD If Mr. Clapp 's book, instead of appearing in the century of Picasso, had appeared in that of Pontormo, there would have been prefatory sonnets written by friends who believed in the artist and in the author. Believing in both myself, I offer a kind of substitute in plain prose, for the author, who is an accomplished poet and therefore well able to write his own complimentary verses, evades the task. It is a significant fact that Mr. Clapp 's first considerable publication on his favorite artist, "Les Dessins de Pontormo," was written in French and published in Paris. Nor is it betraying confidence to tell that the present book in its trial stages existed in a French version. The fact that Mr. Clapp has to this extent assimilated the French language is interesting, but it is far more important to note that he has equally assimi lated certain solid merits and enlivening graces of French scholarship. I shudder when I think what a German or a Germanized American scholar would have made of the subject of Pontormo. In his solitary, experimental career, in the now elegiac, now tragic flavour of his personal poetry, there was every opportunity and temptation for indulgence in the irre sponsible joys of sentimentalism. In the mere physical abun dance of new data, there was every incentive to shoot it all into one of those imposing academic rubbish heaps which in mere bulk are more impressive than real books, as they are of more portentous effect upon the benevolent commonalty. What is remarkable about Mr. Clapp 's book is not that he has avoided deliberate gush and casual disorder — one trusted the fine man of letters in him for so much — but rather that he has lured and compelled into his long task positive qualities of orderliness, lucidity, and discipline. With a vast and easily confusing mass of material, he has been content to wait until xi FOREWORD the place appeared where each fact not merely might but must be taken up into the fabric of the book. This means that, while the book is thickly set with data, the gentle reader will find an uncluttered fairway. Notable too is the way in which narrative and comment have been knit into one structure. Criticism remains unpre tentious and chiefly implicit. The close and logical order of the exposition builds up a kind of persuasive portrait, which is on the whole left to the reader's judgment. It is a satisfactory procedure, indicative of probity in the author, and compli mentary withal to the reader's intelligence. Mr. Clapp not merely keeps a facile subjectivity out of his task of research, but so conducts the work that, even under that self-denying ordinance, it eventuates as a contribution to literature. While re-reading the proof sheets I have had a haunting image of one of those precise, complete, and austerely attractive portraits by Philippe de Champaigne, in which the conscience of the eye and hand constitute the style. Mr. Clapp is fortunate in being one of the first to naturalize in our scanty literature of art these sterling traits of the Gallic spirit. Frank Jewett Mather, Jr. Xll PREFACE When early one morning, some years ago, I went into the church of Santa Felicita in Florence, I did not know that I was taking the first step in a task that has since then occupied all my leisure. It was in the autumn, and I imagined — it seems to come back to me — that on such a sunny day it might be possible to see an altar-piece at which I had often peered in vain in the darkness of the Capponi Chapel. I was not mistaken. The light, slanting through the upper windows of the nave, was falling even into that dimmest of corners and, in the fugitive splendour, for the first time I really saw Pontormo 's "Deposition." The moment was one of unexpected revelation. As I studied the picture with amazement and delight, I became conscious not only of its beauty but of the blindness with which I had accepted the prejudice of those for whom Andrea del Sarto is the last great Florentine artist and his younger contem poraries, one and all, mere facile eclectics whose work Vasari summed up in the frescoes of the Palazzo Vecchio. I had discovered Pontormo. Little by little I made my way through the neglect into which he had fallen, and he became for me a living person. His solitary aloofness appealed to me, his disdain of patronage, and the passion with which he pursued the phantom of a more creative, a more personal form of expression than the graphic arts are perhaps capable of affording. His drawings quickened my sense of his evolution. They are more numerous than those of any other Tuscan who worked before 1550. And, as I turned them over through many months, I experienced, again and again, moments of the intellectual pleasure that comes from the recognition of rare and significant things. At that time Mr. Bernhard Berenson 's essay in his "Drawings of the Florentine Painters" was the only attempt 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. More recently a splendid folio of facsimiles, published under the auspices of the Uffizi Gallery, has made a limited selection of them known to a larger public. But Pontormo was a greater draughtsman than anyone has realized. I have, indeed, come to feel that his drawings alone, with all of which I have dealt exhaustively in my "Dessins de Pontormo, ' ' are enough to give him a place among the greatest names in Italian art. The lunette at Poggio a Cajano and his portraits, many of which have been ascribed to other masters, were my next enthusiasm. From them it was clear to me that Pontormo was a decorator, at times unsurpassed in his sense of the exquisitely appropriate, a subtle reader of the souls of men and, in more ways than one, the founder of modern portraiture. The book is divided into eight parts: a critical study of Pontormo 's life; a catalogue raisonne of his authentic works; a catalogue raisonne of the pictures that have been ascribed to him; a catalogue of the pictures attributed to him at sales and in loan exhibitions ; a catalogue of paintings and frescoes that have been destroyed, lost, or are as yet unidentified; an appendix in which I have discussed his apprenticeship in greater detail than was advisable in the text itself ; an appendix in which I have transcribed thirty-six documents relative to his career, most of which are now printed for the first time; an appendix that consists of a transcript of his diary, which has never before been published, and a chronological reconstruction of its pages followed by analyses of the material it contains. The Index, which is alphabetical and analytical, refers to the notes as well as to the text. No bibliography has been added because, with the exception of the brief notices in the Uffizi folio of his drawings, Berenson 's essay, my "Dessins," and a few scattered articles devoted chiefly to individual pictures nothing that is not a mere repetition of Vasari's narrative has been written on the subject. A complete running bibliography of the references to Pontormo that occur here and there in the xiv PREFACE literature of the history of art will be found in the footnotes and in the bibliographies of the catalogues raisonnes. In the Catalogue of Authentic Pictures I have studied the seventy surviving works that I believe to be genuine. After the text itself this is the most important part of the book. In the Catalogue of Attributed Pictures I have examined in detail one hundred and nine pictures which I am persuaded have been erroneously given to Pontormo. Some of these are still ascribed to him; others now bear names concerning the fitness of which I am not always in accord with other critics. In the case of a few others, notably the "Pieta," in the Academy at Florence, the "Portrait of a Man," in Stuttgart, the "Portrait of a Lady," in Turin, and the two portraits in the Jarves Collection, further study has modified the opinion that I expressed in my "Dessins." This catalogue, by the strange diversity of the pictures it contains, reveals the vague impres sions and misapprehensions that have prevailed about Pon tormo 's manner. Since, in a way, it defines by elimination some of the qualities that distinguish his work, it may serve a purpose and prevent, in some measure, the repetition of false attribu tions. In it will be found three pictures ascribed to Pontormo by Berenson, which I have not seen and of which I have not been able to obtain photographs. No attributions could carry greater weight or deserve more scrupulous attention. I have, however, not felt that I could stand sponsor for the authenticity of any picture with which I am personally unacquainted. In both catalogues all the known material related to each picture is, for the sake of easy reference, arranged in the following order: (1) the title preceded by the collection or gallery number; (2) a detailed description of the composition and the colour; (3) the "procedes" and the size; (4) a critical account of the history of the picture, its derivation, iconography, significance, and influence upon other pictures; (5) its condi tion; (6) its date; (7) all preparatory drawings now known to exist with all photographs or reproductions that have been made of them; (8) documents; (9) reproductions, including copies and engravings; (10) bibliography. XV PREFACE In addition to the pictures cited in the two catalogues just mentioned, there are thirty-eight others ascribed to Pontormo in catalogues of sales and loan exhibitions. These and all details known about them I have placed, as a matter of record, in a third catalogue, although such attributions are in general quite arbitrary and have no value for the antiquarian, unless he has been able to examine the panels or canvases in question, most of which cannot now be traced. An illustration, however, has not infrequently been sufficient to convince me that the picture to which it refers has without reason been thought to be a Pontormo. Last, in this part of the book, comes the list of forty-four works, now lost or unidentified. They are ascribed to Pontormo by the documents, by Vasari, or by other early writers, and among them several, with which many drawings that survive can be identified, are of peculiar interest. The ideal of absolute completeness that I have kept before me is, I am fully aware, unattainable in catalogues of this kind. Pictures and drawings, attributed to Pontormo and as yet unknown to me, may at any time make their way into the market or be referred to in articles concerned with more or less obscure collections. Except for a few cases where measurements in feet or inches have been cited, the size of pictures and drawings is given in metres or centimetres. The transcriptions of the documents and of Pontormo 's diary reproduce exactly the form, spelling, and abbreviations of the originals. In the course of my researches I have made more than three hundred photographs. From these I have drawn most of my illustrations, all of wliich have been placed in chronological order, between the text and the Catalogue of Authentic Pictures to facilitate reference to them from either the former or the latter. They should not only help the reader to follow Pon tormo 's development as an artist but enable him to trace the evolution of some of the more important paintings. To give a fuller idea of Pontormo 's draughtsmanship I have included xvi PREFACE illustrations of a few drawings which I have discussed so fully in my "Dessins" that further reference to them in this book seemed superfluous. My thanks are especially due to George Parmly Day, Esq., without whose generous and sympathetic interest this book might never have been printed ; to Frank Jewett Mather, Jr., who has consented to give my work the authority and interpre tation of a foreword from his pen ; to H. G. Dwight, Esq., who has pointed out to me certain pictures ascribed to Pontormo and who has read the proofs ; to Mrs. Katharine Hooker, for her constant encouragement and help; to J. V. Alden, Esq., for information about the pictures known as Pontormos in America, to the accuracy of which I am now able to testify; to Porter Garnett, Esq., whose knowledge of typography has helped me to avoid errors into which I might otherwise have fallen; to Signor O. H. Giglioli; to L. D. Caskey, Esq.; to Carleton L. Brownson, Esq.; to E. Byrne Hackett, Esq.; to Signor Gino Carlo Sensani, for verifying the reading of three documents, for transcribing the sonnets on Pontormo 's death and for sending me photographs and descriptions of several attributed pictures on which my notes were incomplete; to Dr. Osvald Siren, for suggestions with regard to the pictures ascribed to Pontormo in the Jarves Collection, the catalogue of which he has recently written with scholarly acumen ; to William Clifford, Esq., for access to the shelves of the Library of the Metropolitan Museum in New York, a courtesy that greatly facilitated and shortened my work there; to Bernhard Beren son, Esq., to whose books I owe the beginning of my interest in Italian art; to M. Henry Lemonnier, membre de 1 'Institut, M. Emile Bertaux, and M. Emile Male, whose fine sense of values, clarity of vision and flexible thoroughness of method have been my touchstone in the pursuit of these studies. I must also acknowledge my gratitude to the publishers who generously allowed me to increase the scope of the illustrations when the book was in course of preparation. F. M. C. XVll TABLE OF CONTENTS PAGE Foreword by Frank Jewett Mather, Jr xi Preface ..... .... xiii Chapter ' I. 1494-1512 1 • II. 1512-1518 7 • III. 1518-1520 18 * IV. 1520-1522 28 • V. 1522-1527 . 37 • VI. 1527-1530 51 - VII. 1530 to 1545 and Later 58 VIII. 1545-1557 73 IX. Portraits 82 X. Last Years : His Life from Day to Day ... 89 Paintings and Drawings by Pontormo, following . 98 Catalogue Raisonne of Authentic Frescoes and Pictures . 101 Catalogue Raisonne of Pictures Attributed to Pontormo . 193 Catalogue of Pictures Attributed to Pontormo in Catalogues of Sales and Loan Exhibitions ..... 241 Catalogue of Lost Pictures ...... 253 Appendix I: Note on the Apprenticeship of Pontormo . 267 Appendix II : Documents Relative to the Life of Pontormo 271 Appendix III: Diary of Pontormo ..... 295 Index 321 XIX Fig. Fig. 1.2. Fig. 3. Fig. 4. Fig.Fig. 5.6. Fig. 7. Fig. 8. Fig.Fig. 9. 10. Fig. 11. Fig. 12. Fig.Fig. 13.14. Fig. 15. Fig. 16. Fig. 17. LIST OF ILLUSTRATIONS Illustrations are grouped bvhvcen pages !)8-99 "The Hospital of San Matteo," Academy, Florence Madonna and Saints, Chapel of San Luca, SS. Annunziata, Florence Study for San Luca Madonna and Saints (Print Room, Dresden) Study for the San Luca Madonna and Saints (Uffizi 6676 verso, Florence) The Visitation, SS. Annunziata, Florence Study for the Visitation in SS. Annunziata, Florence (Uffizi 6603, Florence) Study for the Visitation in SS. Annunziata, Florence (Uffizi 6542, Florence) Study for the Baptist of the Carro della Zecca (Uffizi 6581 verso, Florence) Study for a Lost Pieta (Uffizi 6690 verso, Florence) Portrait of an Engraver of Precious Stones, Louvre 1241, Paris Study for the Lost Santa Cecilia of the Oratory of Santa Cecilia in Fiesole (Corsini 124161, Rome) Sketch for the Lost Santa Cecilia of the Oratory of Santa Cecilia in Fiesole (Uffizi 6694, Florence) Madonna and Saints, San Michele Visdomini, Florence Sketch for the Madonna and Saints of San Michele Vis domini (Corsini 124232, Rome) Sketch for the Madonna and Saints of San Michele Vis domini (Corsini 124244, Rome) Sketches for the Madonna and Saints of San Michele Vis domini (Uffizi 6551, Florence) Sketch for the Madonna and Saints of San Michele Vis domini (Uffizi 6551 verso, Florence) 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) Fig. 39. Fig. 40. Fig. 41. Fig. 42. Fig. 43. Fig. 44. Fig. 45. Fig. 46. Fig. 47. Fig. 48. Fig. 49. Fig. 50. Fig. 51. Fig. 52. Fig. 53. Fig. 54. Fig. 55. Fig. 56. Fig. 57. Fig. 58. Fig. 59. Fig. 60. Fig. 61. Fig. 62. LIST OF ILLUSTRATIONS Study for a Lost Pieta. (Uffizi 300 F, Florence) Study for St. Michael of San Michele in Pontormo (Uffizi 6506, Florence) Portrait of a Youth, Palazzo Bianco 6, Genoa Portrait of Cosimo il Vecchio, Uffizi, Florence Study of Three Nudes (Uffizi 672, Florence) Study of Three Nudes (Uffizi 442, Florence) Study of a Man (Uffizi 6571 verso, Florence) Study of a Nude (Uffizi 6504, Florence) Three Sketches of a Nude (Uffizi 6516 verso, Florence) Portrait of a Boy, Trivulzio Collection, Milan Study of a Youth (Uffizi 6682, Florence) Pomona and Vertumnus, Lunette in the Medicean Villa at Poggio a Cajano Right Half of the Lunette, in the Medicean Villa at Poggio a Cajano Left Half of the Lunette, in the Medicean Villa at Poggio a Cajano Sketches for the Lunette at Poggio a Cajano (Uffizi 6660 verso, Florence) Sketches for the Lunette at Poggio a Cajano (Uffizi 6557, Florence) Study for the Lunette at Poggio a Cajano (Uffizi 6673, Florence) Sketch for the Lunette at Poggio a Cajano (Uffizi 6514, Florence) Sketch for the Lunette at Poggio a Cajano (Uffizi 6515 verso, Florence) Study for the Lunette at Poggio a Cajano (Uffizi 6673 verso, Florence) Study for the Lunette at Poggio a Cajano (Uffizi 6544, Florence) Study for the Lunette at Poggio a Cajano (Uffizi 6555, Florence) Study for the Lunette at Poggio a Cajano (Uffizi 6731, Florence) 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 665L Florence) Fig. 70. Study for the Lunette at Poggio a Cajano (Uffizi 6559, Florence) Fig. 71. Study for the Lunette at Poggio a Cajano (Uffizi 6685 recto, Florence) Fig. 72. Study for the Lunette at Poggio a Cajano (Uffizi 6579, Florence) Fig. 73. Study for the Lunette at Poggio a Cajano (Uffizi 454, Florence) Fig. 74. Study for the Lunette at Poggio a Cajano (Uffizi 455, Florence) Fig. 75. Study of a Nude (Uffizi 6727 recto, Florence) Fig. 76. Study for a Young Baptist in the Wilderness (Uffizi 6597, Florence) Fig. 77. Study of Three Nudes (Stadel Institute 4288, Frankfort) Fig. 78. Study of Three Nudes (Uffizi 6677 verso, Florence) Fig. 79. Christ before Pilate, Cloister of the Certosa, near Florence Fig. 80. The Way to Golgotha, Cloister of the Certosa, near Flor ence Fig. 81. The Risen Christ, Cloister of the Certosa, near Florence Fig. 82. The Supper at Emmaus, Academy 190, Florence Fig. 83. Sketch for a Projected Descent from the Cross in the Cloister of the Certosa, near Florence (Uffizi 6622, Florence) Fig. 84. Study for the Supper at Emmaus (Uffizi 6656 verso, Florence) xxiv LIST OF ILLUSTRATIONS Fig. 85. Sketch for a Projected Nailing to the Cross in the Cloister of the Certosa, near Florence (Uffizi 6671, Florence) Fig. 86. Study for a Projected Nailing to the Cross in the Cloister of the Certosa, near Florence (Uffizi 6665, Florence) Fig. 87. Study for the Angel of the Annunciation in the Capponi Chapel of Santa Felicita, Florence (Uffizi 6653, Florence) Fig. 88. Study for the Virgin of the Annunciation in the Capponi Chapel of Santa Felicita, Florence (Uffizi 448, Florence) Fig. 89. Study for a Projected Nailing to the Cross in the Cloister of the Certosa, near Florence (Uffizi 447, Florence) Fig. 90. Detail of the St. Quentin in Borgo San Sepolcro Fig. 91. Sketch for the Head of the St. Quentin in Borgo San Sepolcro (Uffizi 6647 verso, Florence) Fig. 92. The Deposition, Capponi Chapel, Santa Felicita, Florence Fig. 93. Study for the Deposition of the Capponi Chapel (Uffizi 6666, Florence) Fig. 94. Study for the Deposition of the Capponi Chapel (Uffizi 6627, Florence) Fig. 95. Study for the Deposition of the Capponi Chapel (Uffizi 6577, Florence) Fig. 96. Sketches for the Deposition of the Capponi Chapel (Corsini 124230, 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 LIST OF ILLUSTRATIONS Fig. 132. Probable Study for One of the Lost Allegorical Figures in the Loggia of the Medicean Villa at Castello (Uffizi 6584, Florence) Fig. 133. Probable Study for One of the Lost Allegorical Figures in the Loggia of the Medicean Villa at Castello (Uffizi 6586, Florence) Fig. 134. Benjamin at the Court of Pharaoh. Tapestry Woven after a Design by Pontormo, Palazzo del Quirinale, Rome Fig. 135. Studies for the Tapestry of Benjamin at the Court of Pharaoh (Uffizi 6593, Florence) Fig. 136. Joseph and Potiphar 's Wife. Tapestry Woven after a Design by Pontormo, Palazzo del Quirinale, Rome Fig. 137. Study for the Lost Expulsion from Paradise in San Lorenzo, Florence (Uffizi 6715, Florence) Fig. 138. Study for the Lost Christ in Glory in San Lorenzo, Flor ence (Uffizi 6609, Florence) Fig. 139. Study for the Lost Moses Receiving the Law in San Lorenzo, Florence (Uffizi 6749, Florence) Fig. 140. Study for the Lost Four Evangelists in San Lorenzo, Florence (Uffizi 6750, Florence) Fig. 141. Study for the Lost Sacrifice of Cain and Death of Abel in San Lorenzo, Florence (Uffizi 6739, Florence) Fig. 142. Study for the Lost Death of Abel in San Lorenzo, Flor ence (Uffizi 6746, Florence) Fig. 143. Study for the Lost Tilling of the Soil in San Lorenzo, Florence (Uffizi 6535, Florence) Fig. 144. Study for the Lost Deluge in San Lorenzo, Florence (Uffizi 6753, Florence) Fig. 145. Study for the Lost Deluge in San Lorenzo, Florence (Uffizi 6752, Florence) Fig. 146. Study for the Lost Deluge in San Lorenzo, Florence (Uffizi 6528, Florence) Fig. 147. Study for the Lost Ascent into Heaven in San Lorenzo, Florence (Academy, Venice) Fig. 148. Study for a Figure in One of the Lost Frescoes in San Lorenzo, Florence (Uffizi 6560, Florence) Fig. 149. Study for a Figure in One of the Lost Frescoes in San Lorenzo, Florence (Uffizi 6679, Florence) xxvii LIST OF ILLUSTRATIONS Fig. 150. Portrait of an Old Lady, Belvedere 48, Vienna Fig. 151. Portrait of a Lady, Jacquemart-Andre Collection, Paris Fig. 152. Page 4 of Pontormo 's Diary (Biblioteca Nazionale, Florence) Fig. 153. Study for the Figure in the Lost Frescoes of San Lorenzo Mentioned in the Last Line of Page 4 of Pontormo 's Diary (Uffizi 6760, Florence) XXV1U 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 della Galleria degli Uffizi — the folio devoted to Pontormo 's drawings. On Certain Drawings — Clapp, On Certain Drawings of Pontormo (pamphlet). Photo. F. M. C. — photographs taken by the author. Vasari — Milanesi 's edition of the "Lives." JACOPO CARUCCI DA PONTORMO JACOPO CARUCCI DA PONTORMO CHAPTER I 1494-1512 Vasari says that Jacopo Carucci, called II Pontormo, was generally believed to be descended from an old Tuscan family that came originally from Ancisa, the famous "castello" in Valdarno where Petrarch's ancestors were born.1 From other sources we know that in the Middle Ages one branch of the Carucci lived in Monte Pilli and Terzano, castle-towns on the Poggio di San Martino in the Arno valley,2 and that there were in Florence between the thirteenth and the seventeenth century still other Carucci whose forbears had lived in Colle Val d'Elsa.3 Numerous documents in the Florentine Archives, the Hospital of the Innocents, the Marucelliana, and the Riccar- diana, mention Florentines of our painter's name. The earliest of these references4 known to me states that the family burial- place was in Santa Croce, under the vaults of the room of the Compagnia di Loreto, and that there one formerly read: "Filiorum Carucci 1298." In 1348 a Francesco Carucci,6 i Vasari, VI, 245. 2 Biblioteca Nazionale, Firenze, Priorista di Monaldi, p. 267 v. See Appendix II, Doc. 1. » A. S. F., Consorteria, S. Giovanni, I, 94 v. See Appendix II, Doc. 2. * Biblioteca Biccardiana, Firenze, Cod. 1894, p. 132. See Appendix II, Doc. 3. s Biblioteca Nazionale, Firenze, Codice Araldieo, p. 129. See Appendix II, Doc. 6. PONTORMO "pianellaio,"6 was buried in San Pancrazio, and it was in the following year that the first member of the Monte Pilli branch of the family took up his residence in Florence7 — a certain Taddeo di Caruccio, two of whose descendants were buried almost half a century later in the cloister of Santa Croce and their gravestone marked: "Ruggieri Taddei Carucci et Suor mccclxx. ' ' Soon after this latter date we come upon the earliest figure among Pontormo 's remoter ancestors whose place in Florentine society is made clear by the documents, a Ruggieri di Taddeo Carucci8 who on February 28, 1380, was one of the Ufficiali della Torre and evidently, therefore, a person of some importance. In 1381 a Rogerius Taddei Carucci,9 ' ' pannolini, ' no is mentioned in the "Squittinio del Gonfalone di Bue," and we know that five years later, between March, 1386, and April, 1387, a Carucci of the same name," but this time called a "vinaiolo,"12 sat in the Signoria of Florence. The parish churches of the family were Santa Croce and San Remigio.13 Pontormo 's ancestors appear, then, to have been burghers and free citizens14 of the Republic of Florence. They followed humble trades like many of their fellow-townsmen, but they also took part, at an early date, in governing the city. During the fifteenth century their fortunes do not seem to have risen, and, although one branch of the family continued to live in Florence, we know little about them except that in 1460 a Ruggiero Carucci was buried in Santa Croce,16 and that between 1481 6 Tile or slipper maker. t Priorista di Monaldi, p. 267 v. 8 Biblioteca Biccardiana, Cod. 1187. See Appendix II, Doc. 4. o Delizie degli Eruditi Toscani, XVI, 139. These last three allusions to a Bogerius or Euggieri Carucci may possibly refer to the same person, although in that case he would seem to have followed different occupations at different times. The inscription on the tombstone in Santa Croce is drawn from the "Poligrafo Gargane," now in the Biblioteca Nazionale of Florence. io Linen-draper. " Biblioteca Marucelliana, Firenze, Cod. C 1, p. 278. See Appendix II, Doe. 5. i2 Wine-merchant. i3 Biblioteca Biccardiana, Cod. 1894, p. 132. See Appendix II, Doc. 3. « For the arms of the family, see Appendix II, Doc. 1 and 6. ib Codice Araldico, p. 129. See Appendix II, Doc. 6. HIS LIFE AND WORK and 1622 the books of the Consorteria"' cite no less than eighteen Carucci, all of whom were of the Gonfalone del Bue, and lived in the quarter of Santa Croce.17 In the records of the Hospital of the Innocents,18 a Lisabetta Carucci, wife of Pagolo, is mentioned several times in 1528-1530, and it is evident from other sources that later on the Carucci19 owned a chapel in the Carmine which passed in 1624 into the possession of the Delia Moriana family.20 Pontormo 's father, Bartolomeo di Jacopo di Martino Carucci, was — Vasari's testimony in this connection is precise21 — a Florentine, a painter, "secondo que' tempi ragionevole, " and a pupil of Ghirlandaio. Of his life and work nothing is known. I have not been able to find, either in the Florentine Archives or in those of the Collegiata of Empoli, even so much as the date of his death. According to Vasari, he carried on his trade chiefly among the hamlets of the Valdarno, and it is not impossible that unidentified specimens of his work may still exist in the frescoes of the churches or shrines of those villages, or among the paintings that once belonged to them, but have since been scattered. Bartolomeo di Jacopo 's wandering life as a provincial artist brought him finally, sometime about 1490, to Empoli,22 and while he was at work there upon certain pictures he went to live in the village of Pontormo, which lies, at a distance of not more than a mile from Empoli, in the direction of Montelupo. io A. S. F., Consorteria, S. Croce, I and II, 83 ; idem, Gonfalone Bue, II, 26 v. See Appendix II, Doc. 7. it The Carucci da Colle lived in the Gonfalone del Chiave. The books of the Con sorteria (I, 94 v.) mention two members of this branch of the family. See Appendix II, Doc. 2. isEntrata e Uscita D (1527-1528), p. 54; idem, Z, p. 52 (October 10, 1530); for mention of a Checci Carucci, idem, p. 54. See Appendix II, Doc. 8. is For references of a later date to other members of the family, see Bibl. Magliab., Cod. 401, CI. 25, p. 80 — "Euggieri di Taddeo Carucci, 1545, De Notai Nobili"; A. S. F., Necrologia della Grascia (1570-1591) — "M. Marietta donna fu di S. Euggieri Carucci in S. Croce 10 luglio, 1572"; A. S. F., Catasto, Nicchio, 1534, G. L., S. Spirito— " Jacopo di Giovanni Carucci"; idem, Bue, F. I., S. Croce — "Jacopo di Luca Carucci"; see also Ammirato, Stor. Spogl, p. 329; Bibl. Eiccard., Cod. 3107, p. 163. 20 Biblioteca Marucelliana, Cod. B VII. 14, p. 11. See Appendix II, Doc. 9. 21 VI, 245. 22 ibid. PONTORMO It is now a diminutive place, although in early days it had at least three churches. Between it and Empoli a little torrent runs, which is called the Orme, and from the bridge that crosses this stream the village takes its name.23 Around it on all sides the level land, covered with vineyards, stretches away toward the olive-grey lower slopes of Monte Albano and east, across broader spaces, to foot-hills rising range behind range to the Apennines. The landscape is Tuscan with a touch in it of Pisan breadth and a faint taste of the sea. Its salient features are the Orme bridge and the Romanesque campanile of San Michele. Here, according to Vasari, Jacopo 's father married Alessandra, "una molto virtuosa e da bene fanciulla," daughter of Pasquale di Zanobi and Mona Brigida, and here, on May 24, 1494, 24 our master was born. The tradition of art was part of Pontormo 's inheritance. Jacopo spent his earliest years in his native place, where, while still a child, he lost in quick succession, father, mother and grandfather. It was to his grandmother, therefore, that he owed his bringing-up and early education, and it was at her instance that he was taught the rudiments of Latin and to read and write. Later on she took him to Florence and placed bim in the care of a certain Battista, "calzolaio," who was a distant kinsman of hers.25 This journey must have been made before 23 O. H. Giglioli, Empoli Artistica, p. 192. 2* The sacristy of San Michele at Pontormo contains no baptismal register earlier than the seventeenth century. Some of the records of this church may, however, be preserved among the books of the Knights of Santo Stefano in the Archives of Pisa. They are not to be found in the Collegiata at Empoli. The date that we have given is based upon the following calculation: The commemorative tablet, placed, it would seem, in the choir of San Lorenzo in 1558 when the frescoes that Pontormo painted there were at last finished by Bronzino, bore an inscription which is quoted by Moreni (II, 119). This gave Pontormo 's age, when he died, as 62 years, 7 months and 6 days. From the Libro dei Morti we know that his death occurred on December 31, 1556, or January 1, 1557 (New Style). Simple subtraction gives the date of his birth. Vasari (VI, 245) erroneously states that Pontormo was born in 1493 and that he was sixty-five at the time of his death. Milanesi (VI, 288) notices these errors and quotes in a note the inscription from San Lorenzo. We now know that when Pontormo became a "commesso" of the Hospital of the Innocents, on August 20, 1549, he gave his age as fifty-five — conclusive proof that he was born in 1494. 25 Vasari, VI, 246. 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 begin until 1506-1507,28 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, only a child.28 Did the fact that his father had been a painter influence his relatives when they thought of choosing a trade for the boy % Was Jacopo a painter by chance % Or did he show an aptitude that parents in those days were often quick to notice and appreciate? We do not know. We have, however, reason to conjecture that he was precocious, for Vasari speaks of a small "Annunciation," painted while Jacopo was still with Alberti- nelli,29 which the elder master used proudly to show to all those who came to his "bottega." Raphael once saw it, and was amazed that it was the work of one so young. The little panel must therefore have been in existence before September 5, 1508, the date of Raphael's departure for Rome.80 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 2« Ibid. 27 A. S. F., Convento 102, No. 89, Eicordi, pp. 14, 41 f. See Appendix II, Doc. 10. 2« For the early age at which children were sometimes apprenticed, see Vasari 's statement (VT, 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 2» 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 Brigida soon returned with Jacopo 's sister31 to Pontormo, and from there she could hardly have influenced her grandson. However that may have been, we now know from a document that, on January 24, 1508, all that was left of his father's tiny estate passed into the hands of the Public Guardians.32 Left, then, to work out his own future unaided and undi rected Pontormo gave immediate evidence of his mobility of spirit. No master satisfied him, and he passed rapidly from one to another. Before he reached sixteen he had tasted some thing of the simplicity of the quattrocento tradition that lingered in the work of Albertinelli, the fantastic playfulness of Pier di Cosimo, the enigmatic spirit of Leonardo 's recondite beauty, and the warm naturalism of Andrea. These were, according to Vasari,33 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 "putti" of the Santa Veronica fresco and the saints of the "Visitation" (fig. 5), at the Annunziata, are reminiscent of Andrea. The variety of influences that we detect in these pictures demonstrates that as a youth Pontormo was restless and impressionable. Vasari represents him as thoughtful, melan choly, and taciturn, nursing his plans in silence and not infrequently an object of ridicule to his fellow-apprentices most of whom must have been of smaller talent and of coarser grain. A friendless, bitter childhood marked the sensitive and precocious boy whose timidity forecast the solitary shyness of his later life. si Idem, VI, 246. 82 See Appendix II, Doc. 11. ss VI, 246. 6 CHAPTER II 1512-1518 When Giuliano de' Medici rode into Florence with his relatives and friends on September 14, 1512,1 Soderini's govern ment was at an end, and the city faced a new regime. Vengeance was visited upon the conspirators Boscoli and Capponi,2 persecutions upon the friends, even upon the dependents of Soderini,3 and the people applauded. A year later they publicly rejoiced at the election of Leo X,4 and no observer could have failed to realize that, in the spirit of Florentine democracy, fundamental changes had taken place. One curious result of these changes was that, from 1512 on, an increasing proportion of the orders given to artists came from the Medici or their satellites. No scantiest fragment of information concerning the political sympathies of the young Pontormo has survived, and it is not inconceivable that he was too much absorbed in his work to care what changes took place around him. All we can say is that he received, between 1512 and 1515, five commissions from the usurpers or their partisans.6 We do not know to whom Jacopo owed his first important commission. It was for a fresco which was once in a chapel of San Ruffillo in Piazza dell 'Olio6 — a work for which we have no documents.7 Vasari places it after the "Faith and Charity" i Guicciardini, Stor. d' Italia, XI, ii, 5, pp. 15-20. 2 Villari, II, 195. s Guicciardini, Op. ined., VI, 146. < Nardi, VI, ii, 31. Landucci, pp. 336 f. 5 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. i The records of the church have disappeared. PONTORMO of the facade of the Annunziata.8 We have, however, every reason to conjecture that it was executed between the autumn of 1512 and the summer of 1513. The upper part of this fresco terminated in a lunette of "God the Father with Cherubim," which has been destroyed. It is interesting to remark that the same motive had been treated by Albertinelli9 once at least to our knowledge, and that when Jacopo himself used it, a year or two later in the Pope's Chapel, he did so quite in the spirit of his old master. The ruined remains of the San Ruffillo fresco (fig. 2) are still preserved in the Chapel of San Luca at the Annunziata and reveal a Madonna standing, the Child in her arms, and with her two saints that stand and two that kneel. These figures have in them something of the last flicker of the quattrocento tradition, which Albertinelli had transmitted to our master. The composition is reminiscent of Fra Barto lommeo, and, though juvenile, it is not without a stately simplicity and a naive charm. Pontormo was, in all likelihood, already at work in Andrea's shop when he executed this fresco,10 but he had not yet made his own the larger characteristics of Andrea's craft. The reason for this was simple: Andrea developed much more slowly than Jacopo, and, though he was eight years Pontormo 's senior, his style was still, in 1512-1514, tentative and immature. For the San Ruffillo fresco we have two drawings (fig. 3 and 4), which are particularly precious documents, because they give us an insight into the formation of Pontormo 's draughtsmanship. One (Dresden, No. 200) u is an angular variant, scattered in its modelling but searching in its contours, of the technique that was employed by Andrea between 1510 and 1514, and in it Jacopo 's effort to imitate his master is unquestionably evident. He tried, crudely but earnestly, to catch the tricks of Andrea's hand. The other sheet (Uffizi s VI, 256. Eicha, IV, 146. 9Cf., for example, the "Holy Trinity" by Albertinelli (Vasari, IV, 222) which is now No. 63 in the Academy at Florence. io Andrea's shop was in the Sapienza, near the Annunziata. He shared it with Franciabigio. n Dessins, pp. 83 f. 8 HIS LIFE AND WORK 6676 verso),12 a study from the nude for the Madonna, is more vigorous, and in its structure recalls the nudes of the "Battle of the Cascina." Even at so early a date Jacopo was feeling his way in a new direction. Late in the summer of 1513 our young painter received a more important task. The Servites, who were "Palleschi," were energetically proceeding with the embellishment of their convent of the Annunziata in celebration of the election of Leo X, and in the summer following that event, Andrea,13 Franciabigio and Rosso were all at work in the small cloister or atrium of their church. Jacopo was chosen, almost by accident, to do part of the projected work, and in this connection Vasari tells a story.14 Andrea di Cosimo15 had, it would seem, been commissioned to paint the arms of Leo above the principal arch of the 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 in the autumn and winter of 1513 and in the spring of 1514.18 The last payment was made in June, 1514. From these same accounts it is also clear that the mechanical part of the decoration, such as the gilding, was done by the very Andrea di Cosimo Feltrini,17 who according to Vasari had undertaken to complete with his own hands the "stemma" and all its decoration. Still another story, recorded by Vasari, has it that 12 Ibid., p. 226. is I have found several payments made to him during this period (A. S. F., Convento 119, No. 705, pp. 76, 106, 116). « VI, 248. ib For the life of Andrea di Cosimo Feltrini, see Vasari, V, 204-210. The records of the Servites tell us that in 1510-1511 he painted the 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 Bidolf o 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. i' Ibid., p. 124 r. 9 PONTORMO the young Pontormo hid himself in Sant 'Agostino alia Porta a Faenza to make his drawings, and that until they were quite finished he did not go to the "bottega" to show them to his master. When Andrea saw them he was stupefied. And from that day, for reasons known only to himself, he shut the doors of his shop against Jacopo.18 Such is Vasari's tale, mere gossip perhaps, but indicative of an attitude of mind not unlike that of the whimsical and solitary Pontormo. He now withdrew from the life of the "botteghe," and, says his biographer, by practising great economy — "comincio a fare sottilissime spese perche era poverino" — he finished his part in the decoration of Leo's arms for the Servites. Hardly, however, had he completed it when he made up his mind to destroy it, and paint it all over again from a design upon which he had already begun work when to his great indignation the fresco was uncovered. Here too, Vasari's narrative is true to Jacopo 's sensitive, searching, and disinterested nature. Even as a boy he had a touching eagerness of mind, a thorough going contempt for work that he had put behind him. The fresco, which represented Faith and Charity19 with two "putti" that supported the papal blazon, is now all but obliterated, although one still dimly discerns two seated figures, voluminously draped, and about them, traces of "putti," seated or flying. That phase of Andrea's art which is exem plified by his "Marriage of St. Catherine" seems to have presided over the composition, but the work has been too badly damaged to yield any secrets of form or modelling. Vasari devotes to this decoration two pages in which he praises the beauty of the "putti," "la dolcezza delle teste," and the refreshing daring of the treatment.20 Throughout the sixteenth century it was famous.21 With these figures no drawings can be identified. One faded sketch of a "putto" clinging to a tree (Uffizi 6706) 22 is is Vasari, VI, 248. 19 Ibid. 20 Ibid., p. 250. 21 Ibid., VI, 248 f. Bocchi, pp. 415 f . Eicha, 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 "putto" in that pose was one of the beauties of the composition.26 Two drawings for Medici arms supported by two figures exist, in the Uffizi, that one is sometimes tempted to connect, at any rate remotely, with the "Faith and Charity" of the Annunziata, to which, however, in its final form at least, they are not related. Neither, in my opinion, can they be identified with any of the Medici arms surmounted with tiara and keys and supported by "putti" that one sees in the ceiling of the Pope's Chapel at Santa Maria Novella, although one of the drawings (Uffizi 418) may preserve an idea, finally rejected, for these bearings, in spite of the fact that we find in it no indication of the papal keys. It is likewise not inconceivable that the other drawing (Uffizi 417) ~4 is a sketch for the arms of Leo that Pontormo painted for his native town, inside the castle gate which opened into the main street.26 This ' ' stemma, ' ' of which no vestige remains, was executed just after the "Faith and Charity." At all events, these two sketches are among the earliest specimens that we have of Pontormo 's draughtsmanship, and in them his conception of form owes much to Andrea, but the stroke, hooked and broad at one end, is an evidence of certain habits of hand that could have been acquired only in Albertinelli 's "bottega." No documents survive for the frescoes of the Pope's Chapel. Indirect evidence however indicates clearly enough the date of this decoration ; it must have been begun during the summer of 1515. In writing the lives of several other artists, Vasari speaks of the embellishments of the Pope's apartments in the convent of Santa Maria Novella.28 Ridolfo Ghirlandaio received the commission for all these decorations, but the work had to be finished under pressure for Leo's triumphal return 28 Bocchi, p. 416 : " E ammirato un altro puttino, che da alto guarda in giu, ed affacciatosi ad una spronda, sembra per l'altezza grande, di hauer timore di cadere. " Cf. Bicha, loe. cit. 2* Dessins, pp. 89 f . 25 Vasari, VI, 250. 26 Ibid., pp. 255 f., 541. 11 PONTORMO to his native town, and Ridolfo, unable to finish it, without assistance in the time given, confided to Pontormo the chapel which was, in some respects, the most important part of the undertaking. Leo entered Florence on November 15, 1515. Pontormo 's decoration must, therefore, have been completed before that date. The chapel is on the north side of the convent and is lighted by a single window. The ceiling, a barrel vaulting, forms with the end-walls circular lunettes. In the lunette behind the altar is a "Coronation of the Virgin," perhaps by Ridolfo,27 which has been disastrously repainted. In the lunette over the door Pontormo painted in fresco a "Santa Veronica Holding the Sudario." The saint kneels facing us, a figure of fine sim plicity. The sweeping folds of her robe recall Albertinelli 's drapery, but her face, long and oval, suggests a type evolved by Michelangelo as early as 1505. Right and left, in profile, kneels a cherub, holding a flaming vase. The composition is adequate but not inspired. The ceiling and side-walls are covered with grotesques in the geometrical framework of which are four small medallions, in each, a flying "putto"; and four squares, in each, the arms of Leo supported by "putti." In the middle of the ceiling, in a large "tondo," Pontormo painted a God the Father descending, arms outspread, a figure altogether in the tradition of Mariotto. Only the medallions and squares of this ceiling decoration were executed by Pontormo, and even these have been so completely repainted as to show now no trace of his hand. The grotesques were executed by Andrea di Cosimo Feltrini, who in all probability designed them as well. The "Madonna of San Ruffillo," the "Faith and Charity" of the Annunziata, and the decorations of the Pope's Chapel, are the earliest achievements of Pontormo that now survive. He was hardly nineteen when he painted them and, although they do not reveal the talent that his later works might lead us to expect, they do show clearly certain characteristics of his maturer years in the gracious strangeness of the heads, the 2' Ibid., p. 541, note 3. 12 HIS LIFE AND WORK supple movement of the figures, and in the love of novelty that here and there is apparent in them. The festivities following Leo's elevation to the papacy brought Pontormo many commissions to which Vasari, writing about 1560 with a desire to please Cosimo I, devotes more than six pages.28 In the carnival procession of 1514, the Compagnia del Diamante, a society led by Giuliano de' Medici, had three triumphal cars which represented "Youth," "Manhood," and "Age" — subjects chosen by Andrea Dazzi,20 the latinist. The woodwork of the cars was by Raffaello delle Viviole and II Carota, and the decorative motives, by Andrea di Cosimo.30 The costumes were designed by Giuliano da Vinci and Bernardino di Giordano, while the songs were written by Antonio Alamanni. Pontormo painted on these three cars stories of the Trans formations of the Gods,31 and so great was their success that they stirred to emulation a rival society, II Broncone, of which Lorenzino was the leader. For the carnival of 1515, this company ordered no less than seven cars, the subjects repre sented upon which were chosen by Jacopo Nardi,32 who also wrote the songs.33 For the first car Pontormo painted on panels, and probably in chiaroscuro, "Legends of Saturn," for the second, "Scenes from the Life of Numa Pompilius," for the third, "Scenes from the Life of Titus Manlius Torquatus," for the fourth, "The Deeds of Julius Caesar," for the fifth, "Episodes from the Life of Augustus," for the sixth, "Scenes from the Life of Trajan." The seventh car represented "The Golden Age" and on it were ornamental figures in relief by Bandinelli,34 among them "The Four Cardinal Virtues." All we can say of these lost works is that they seem to have increased Pontormo 's popularity. They were probably not unlike the decorations prepared for Leo's visit to Florence in 28 Ibid., pp. 250-255. 20 1475-1548. See W. Biidiger, Andreas aus Florenz, Halle, 1897. so Vasari, VT, 251. ai The panels of these cars were once in the possession of Pietro Paulo Galeotti, the goldsmith. 32 1476-1556. ss Canti Carnascialeschi, Firenze, 1559, pp. 120-124. 34 Vasari, VT, 254. 13 PONTORMO the autumn of 1515.3B On that occasion Jacopo painted various compositions — among which Vasari mentions a "Pallas Tuning her Instrument to Apollo's Lyre" — on a triumphal arch of wood erected by Baccio da Montelupo in front of the Badia, at the head of the Via Pelagio.36 These paintings were in a ruinous condition even when Vasari wrote, and like the cars of the Diamante and the Broncone they have long since perished. We can, however, form some idea of the character of such ephemeral decorations from another "carro" which was decorated by Pontormo, and with which the officials of the Zecca used to take part in the yearly procession of San Giovanni.37 It was broken up in 1810, but twenty small panels from it are still preserved in the Palazzo Vecchio,38 many of them, it is true, so grossly and so many times repainted as to leave hardly a vestige of Pontormo 's hand. They are three long panels: "St. John in the Wilderness," "The Preach ing of St. John," "The Beheading of the Saint";39 six smaller, vertical panels: "The Baptist," "The Visitation," "St. Zenobius," "Zechariah," with two others which represent an apostle or a prophet; and twelve small, square panels of "putti" dancing and playing, some of which are delightful. 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, Eustici 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 Eustici 's decorations, see idem, VI, 602. 37 Vasari, VI, 256. We have no document for this work; the account-books of the Zecca between 1510 and 1530 have been lost. 3SIbid., p. 257, note 1. MilaneBi states that eighteen pieces still exist; in reality we have twenty fragments. 3» The composition of this panel is practically identical with that of a "predella" picture (Academy, Florence, No. 77) which is attributed to Andrea. 14 HIS LIFE AND WORK On two of these the "putti" support Medici arms. The wood work of the car, which has disappeared, was by Marco del Tasso. What the original grouping of these fragments was cannot now be determined, although a notion of the whole may be formed from that other car that one sees in the streets of Florence on the Saturday before Easter — the Carro de' Pazzi. Vasari places the Carro della Zecca between the "San Ruffillo Madonna" and the fresco of the "Visitation" in the cloister of the Annunziata, that is, in 1514-1515. Certainly the composition of the little "Visitation," which once belonged to it, is closely derived from Mariotto's "Visitation" of 1503,40 and is one of the last traces of his old master's instruction left in Pontormo 's art. Ruined as it is, the panel is more vital than Albertinelli 's altar-piece. For this neglected work of Pontormo 's I have discovered one drawing (fig. 8; Uffizi 6581 verso)41 — a study for "The Baptist." The draughtsmanship, and especially the modelling of the forearm, place this sheet about 1515-1516, which is the date that Vasari gives, by implication, for the undertaking. The relation between the "Madonna with Saints" that Pontormo painted for San Ruffillo and his "Visitation" in the cloister of the Annunziata42 is quite evident: the latter (fig. 5) is merely an elaboration of the former (fig. 2), and in both-fche 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 4o Now in the Uffizi. 4i Dessins, pp. 166 f. 42 Vasari, VI, 256 f . Bocchi, p. 424. Bicha, VIII, 60. 15 PONTORMO breathes a poetry compared with which the "Birth of the Virgin," painted by Andrea in the same cloister between 1511 and 1514,43 is pat and prosaic. Only the grouping of the eight figures in the background shows a certain inexperience. It is now possible to supplement the documents relative to this fresco that are mentioned by Milanesi and incompletely cited by Colasanti.44 The first payment was made in December, 1514, the last about the middle of June, 1516,45 and the decoration was, therefore, unfinished when Leo came to Florence. For it Jacopo received eighty "lire." The drawings for this work have perished with the exception of two studies,46 one (fig. 6; Uffizi 6603) light and facile but tame, for the woman seated on the steps, the other (fig. 7; Uffizi 6542) for the "putto," seated to her right. Both are vaguely reminiscent of an early phase of Andrea's draughtsmanship, of which we have, in the Louvre,47 an excel lent example. Compared with our two studies for the "San Ruffillo Madonna," they mark a notable advance. Just after the "Visitation" I am inclined to place a lost "Pieta," for which several drawings survive. The touch indicates that these sketches were drawn between 1516 and 1519, and in them Pontormo is master of his early technique. Five (Uffizi 6670 recto and verso; 6689; 6690 verso; 6691) 48 are studies for the same Dead Christ (fig. 9) and they are of a relaxation exquisitely felt. Uffizi 6670 verso is unmistakably for the same undertaking, which was perhaps the "Pieta" that Vasari49 describes as having existed in a chapel of the garden of the San Gallo monks, outside the San Gallo gate, and which was evidently destroyed during the siege in 1529-1530. We 43 Vasari, V, 67. On the cornice of the fire-place one reads: A. D. M. D. X. IIII. 44 Ibid., VI, 258, note 1. Colasanti, Bull. soc. filol. romana, II, 51, note 2. 45 A. S. F., Convento 119, No. 705, pp. 149 v., 165 v., 192 v., 200 v., 202 v. See Appendix II, Doc. 13. 46 Dessins, pp. 142, 180. Ufiizi 6556 recto and verso are also sketches for this fresco. Cf. ibid., p. 151, and On Certain Drawings, p. 7. 47 No. 45. 48 Dessins, pp. 221 f., 234 f., 237. 49 VI, 260. 16 HIS LIFE AND WORK cannot cite documents to determine the date of this composition because the books of the convent have perished. Sometime in these busy years Jacopo also painted over the door of the Women's Hospital,60 a lost fresco of "Christ as Pilgrim." These figures were in chiaroscuro, and it is worthy of notice that Andrea was employing the same medium at precisely the same moment in the cloister of the Scalzo61 — a coincidence that may have a certain bearing on Bocchi's state ment62 that, at the end of the sixteenth century, this fresco was generally thought to be by Andrea. There was probably in it a strong influence of his work. To the same period belonged the arms of Giovanni Salviati, supported by two "putti" and surmounted by a cardinal's hat, which in Vasari's time adorned the courtyard of Filippo Spina's house, opposite its main entrance. These Vasari63 places after the Visdomini altar-piece, although they were in all probability executed as early as 1517, in which year Salviati was made cardinal by Leo X. The last of the undertakings that immediately followed the "Visitation" was the lunette frescoed in Fiesole over the gate of the Compagnia della Cecilia. An early sketch in red chalk (fig. 12) for this lost work exists in the Uffizi, which was marked in the seventeenth century: "Per la Sta Cecilia che e in Fiesole." I have found the finished study (fig. 11) in the Corsini Collection, in Rome.54 The composition is admirable and corresponds precisely to Vasari's description56 of the lunette: "una S. Cecilia colorita in fresco con alcune rose in mano tanto bella e tanto bene in quai luogo accomodata." The quality of both drawings clearly indicates 1517-1518 as the date of this decoration. so Ibid., p. 256. 5i 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. 63 VT, 261. 54 Dessins, pp. 240 f., 333. 56 VI, 257. 17 CHAPTER III 1518-1520 The "Visitation" at the Annunziata marks the culmination of Pontormo 's first period. From Andrea he had taken solidity of form, variety of movement, and familiar simplicity of gesture — qualities which he touched, however, with a graciousness and a poetry that were unrevealed to his master's more pedestrian mind. With a fine instinct for decorative harmonies, he had lightened Andrea's warm but heavy colouring by eliminating the half-tones, thinning the yellows and the reds, and with great skill carrying a few, strong, light colours through a whole composition. But his restless mind found no repose. New problems of form attracted him, and new influences swayed his sensitive nature. In the "Visitation," his figures show a tendency to a heroic largeness of type. Many sketches, drawn between 1513- and 1518, indicate beyond the possibility of a doubt that the source of this tendency was Michelangelo's cartoon of the "Battle of the Cascina." Jacopo was attracted by the easy play of muscles in new attitudes, which it revealed so abundantly, and some of the poses he studied many times. It is also quite clear that he was not unacquainted with certain lost drawings for the Sixtine. And since touch is more persistent than borrowed conceptions of type or gesture, these drawings resemble, from a technical point of view, certain sketches that Andrea made between 1512 and 1518, although Jacopo 's work is, of course, not literal. During these years he studied still another master — Leonardo da Vinci, whose influence, though infinitely less potent and lasting than that of Michelangelo, is strikingly present in the Visdomini altar-piece (fig. 13), which is the most 18 HIS LIFE AND WORK important picture that Pontormo painted after the "Visitation" and before the lunette at Poggio. Tentative exploration of new ground, crossing and recrossing of impulses old and new, are characteristic, as we have seen, of Jacopo 's early work. These various tendencies meet in the Visdomini altar-piece. The St. Joseph, the St. James, and the St. John the Evangelist, recall Andrea, while the gestures of other figures are Leon- ardesque, as is the pose of the Christ Child and of the little St. John. From Leonardo too is derived the graduated chiaro scuro and the mysterious smile that plays upon many of the faces. It would almost seem that, when he painted certain parts of this picture, Pontormo had in mind an early work by Da Vinci, which was known and treasured then, but is now lost. The composition, on the contrary, is not derivative, but is based upon a curious attempt to create a new rhythm. One is tempted to believe that Pontormo meant the personages of the picture to be united, not by the passage of line into line, but by their common meditation upon the mystery of the Divine Mother.1 To our modern taste the general effect is, as a result, broken and somewhat trivial. Francesco Pucci ordered the picture for the second altar to the right in San Michele Visdomini.2 It was famous in its day, and Vasari merely echoes a prevalent opinion when he says: "questa e la piu bella tavola che mai facesse questo rarissimo pittore." Even at a much later date it was highly prized and Richa3 tells us that the Archduchess Maria Madda- lena once tried to buy it, but was unable to do so because it is an inalienable part of the Pucci heritage. In the Doetsch Collection,4 which was dispersed some years ago in London, a copy existed that certain critics believed to be the original.6 The picture in San Michele is badly lighted and can with difficulty be examined. It would be hazardous to come to a i Vasari, VI, 258. 2 Ibid. s VII, 23. 4 In 1895. s See Catalogue Eaisonng under Doetsch Collection and Florence, San Michele Visdomini. 19 PONTORMO definite conclusion in regard to its authenticity. Among those papers of the Pucci family which are now in the Archives of Florence I have not been able to find the contract. But if we had it, it would perhaps add nothing of an essential nature to our information. The date of the panel is known. On the book which St. John holds are the letters, m. d. xiij. We possess many drawings6 for this altar-piece (fig. 14 to 23). With it Berenson has identified thirteen studies, among them our painter's best jotting in pen and ink (Uffizi 6545), and to these I have added eight preliminary sketches,7 all of which are swift, fresh, and masterful. Between the St. Francis of the Visdomini and the St. Jerome (reversed) of an unfinished little altar-piece, now in the Uffizi,8 we detect a distinct resemblance that is made sig nificant by another drawing for the St. Francis (Uffizi 6742 verso),9 in which the saint is seen standing, and which, not improbably, served for the St. Jerome of the smaller picture. At any rate, the colour, the character of the heads, especially that of the Madonna, the fall of the drapery, and the rhythm of the composition make it certain that the Uffizi panel belongs in date just after the Visdomini picture. From the same year we have a beautiful black-chalk sketch (fig. 24; Uffizi 6729) 10 for another "Madonna and Child," the fate of which is unknown, that must have had the same qualities as the Uffizi picture but greater charm. From this period, and like the Visdomini panel harking back to Leonardo's chiaroscuro, though in structure, motive, and gesture recalling Andrea, is the "Madonna and Little St. John," now in the possession of the Marchese Farinola. The picture is not mentioned by Vasari, and for it we have no documents. Between the Visdomini and Poggio, and accordingly for a 6 Dessins, p. 67. 7 On Certain Drawings, pp. 6, 20. s No. 1177. o Dessins, p. 271. ™ Ibid., p. 262 f. Possibly a study for the "Madonna" of the "drappelloni" painted in 1519 for the funeral of Bartolomeo Ginori. 20 HIS LIFE AND WORK period which embraces less than two years, Vasari mentions thirteen pictures — a number so great that it is apparent that here his chronology needs some correction. Two of his errors are easily eliminated. The arms of the Lanfredini," now destroyed, which Jacopo painted over a door on the Lungarno between Ponte Santa Trinita and Ponte alia Carraia, were placed by Bronzino, according to Vasari himself, among the earliest undertakings of Pontormo, and the "St. Quentin," begun by Giovanmaria Pichi for the Osservanti of Borgo San Sepolcro and finished by Jacopo,12 is obviously so closely related to the Certosa frescoes that it can hardly have been painted earlier than 1522.13 The principal works that belong between the summer of 1518 and the autumn of 1519 are three14 "cassone" pictures16 of "Scenes from the Life of Joseph," a panel16 of "Joseph in Egypt" (all executed for Pierfrancesco Borgherini), the "Portrait of Cosimo il Vecchio," of the Uffizi,17 and the "Portrait of a Youth," now in Genoa.18 No written document fixes the date of these pictures (fig. 26, 27, 30, 41, 42), but on internal evidence one may be certain that they were executed in 1518-1519. Vasari records19 that, in the "Joseph in Egypt," Pontormo painted the portrait of the young Bronzino. Angelo, who is represented as about fifteen years of age, was born November 17, 1503.20 The date of the panel would, then, be 1518.21 A similar deduction gives us the date of the "Portrait n Vasari, pp. 258 f. 12 Ibid. 13 Dessins, p. 203. 14 Berenson (Florentine Painters, p. 175) mentions only two of these panels. is Now in Panshanger. See Catalogue Baisonnfi. These small pictures are usually called "cassone" panels, but they may have formed part of a "lettuccio" or settle, or they may have been ornaments of a "spalliera" which would be, in our modern usage, a wainscot. i« National Gallery, No. 1131 ; now apparently transferred to canvas. 17 Now in the Uffizi. is Palazzo Bianco, No. 6. 19 VI, 261. 20 Eegistro dei Battezzati di S. Giovanni Battista, 1503, p. 33, line 27. 21 Eichter, to whom Bronzino appears here to be but ten years of age, erroneously places this picture in 1512. It is not necessary to point out that such a date would mean 21 PONTORMO of Cosimo il Vecchio." It was ordered by Goro Gheri while he was secretary to Lorenzino de' Medici, and we know that Lorenzino died on May 4, 1518. In the composition of the Borgherini panels Jacopo makes a rather self-conscious effort to escape from old formulas by distributing his figures and arranging them in little groups, on planes that are defined by the various parts of an archi tectural setting. In this there was nothing new. Quattrocento pictures, such as Ghirlandaio 's "Adoration of the Magi," as well as numerous mythological subjects by Pier di Cosimo, are similarly composed, and we also find, at precisely this moment, Andrea combining naturalistically a similar kind of grouping with architecture and flights of steps, in his "Scenes from the Life of Joseph," now in the Pitti.22 But even a cursory com parison satisfies us that the younger artist had the more fantastic spirit. In the Borgherini panels, as in the Visdomini altar-piece, certain figures are in type, structure, and drapery, reminiscent of Andrea. The slender legs, the trailing draperies, the long lines of the folds of other figures, the interrupted rhythm of the composition are of quite another inspiration, as is also the light and delicate colour. These four little pictures were famous; Vasari places the "Joseph in Egypt" among Jacopo 's finest productions.23 For us too they have a peculiar interest, for they were part of the room decorated and furnished for Borgherini by Andrea, Granacci, Pontormo and other great craftsmen.24 Pontormo 's "Joseph in Egypt" was placed in the corner to the left of the door. His three "Scenes from the Life of Joseph" either that Pontormo manifested a masterful individuality of style bordering on exaggeration while he was still an apprentice in the "bottega" of Andrea. 22 Nos. 87 and 88. 23 VI, 261. 24 Idem, V, 26 f ., 342 f . ; VI, 261, 455. Pierfrancesco Borgherini married Margherita Acciaiuoli in 1515, but the decoration of their famous room was not finished, it would seem, until several years later. Pontormo 's panels cannot have been painted before 1517. Margherita was born in 1495 and was still alive in 1558, in which year Domenicho dedicated to her his "Life, of Santa Brigida." For the courageous way in which she denounced Della Palla's attempt to gain possession, during the siege, of the works of art that the room contained, see Vasari, VI, 263. 22 HIS LIFE AND WORK formed part of two "cassoni," or were framed in the decorative inlaid woodwork of the room, the design and execution of which was Baccio d' Agnolo 's. For the three "cassone" panels (fig. 26, 27 and 30) I have discovered five studies. Of these, Uffizi 6690,20 a sketch (fig. 29) from the nude for one of the figures on the steps to the left in the "Baker Led out to Execution," is technically near Jacopo 's studies from Michelangelo's cartoon for the "Battle of the Cascina," and should be compared with Uffizi 442 (fig. 44) in which there is, however, a greater tension of rhythm. For one of ¦-the figures, in the upper left-hand corner of "Joseph Sold to Potiphar," we have a scrawl (fig. 31) of delicious verve,26 and for another, a brilliant but somewhat unsympathetic drawing (fig. 32), which might have been done by Naldini. Uffizi 6692 (fig. 25) is a sketch for the youth descending the steps on the right of "Joseph Discovering Himself to His Brethren." Its freshness and facility are delightful. Uffizi 6542 verso (fig. 28) 27 prefigures the boy kneeling to the left in the same composition, and in it the structure of the nude recalls Andrea, but the hair is blown out in the way that Leonardo loved. These last two are important drawings that no one would think of ascribing to Andrea, although the panel for wliich they were drawn is universally held to be by Del Sarto and until recently all three pictures were ascribed to him.28 In the grouping of the composition, these "cassone" decorations resemble the "Adoration of the Magi" (fig. 33)29 painted for Giovanmaria Benintendi,30 where, however, in his 25 Dessins, p. 236. 28 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. 20 Pitti, No. 379. so Andrea di Cosimo, Franciabigio and Bacchiacca worked for Benintendi when he decorated his house (Vasari, V, 196, 209; VI, 455). 23 PONTORMO use of a dark and rich colour, Pontormo is nearer Andrea than he will ever be again. The figures are broad-faced, prodigiously stout, and wear enormous sleeves. Jacopo was, we may surmise, experimenting with a new form of elegance. Like the Bor gherini panels, this picture, which is now in the Pitti, was painted in competition with other masters. Franciabigio 's "cassone" panel for Benintendi as well as a companion piece by Bacchiacca, is now in the Dresden Gallery, and in the lower left corner, one finds the date: a. s. mdxxidt. Pontormo 's "Adoration" cannot however be later than 1519-1520. For the horses in the background three vigorous drawings (fig. 34) exist31 that, by their touch, insistently suggest several studies for the lunette at Poggio. The figures of Pharaoh and his retinue in the foreground and to the left of "Joseph in Egypt" remind one vividly of the St. Michael and the St. John the Evangelist (fig. 35 and 36), which Pontormo painted for the citizens of his native town and which are still in the church of San Michele at Pontormo. Statuesque, and visibly affected by the work done by Andrea between 1515 and 1519, they are nevertheless clearly less naturalistic. The drawings for these figures are of exceptional interest. We have a finished study (fig. 37), in black chalk, for the St. John,32 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 si Dessins, pp. 153 f., 256. wibid., pp. 117, 161. 24 HIS LIFE AND WORK Greek god, carved in alabaster or ivory, some god, tall and slim beyond measure, but full of the authentic strangeness of rarest things. Conte Gamba finds it reminiscent of the quattrocentist tradition, and its transparent smoothness does, perhaps, recall Rossellino's somewhat over-modelled surfaces, although struc turally it is of a fine sophistication that the Quattrocento seldom knew. In 1519 Pontormo executed certain ephemeral works, since destroyed or lost, among them a series of "drappelloni" for the funeral of Bartolomeo Ginori for which he painted, accord ing to Vasari,33 a "Madonna and Child" on white taffeta with the arms of the family below on coloured silk. In size and lightness, these pennons were an innovation and set a new standard. In the middle of the series there were two banners, two "braccia" high, on each of which a "St. Bartholomew." To these years also belong Pontormo 's first known por traits, although they can hardly have been his earliest, since we know, for example, that in his "Joseph in Egypt" he had already portrayed the young Bronzino among other figures, many of which seem natural enough to be portraits. The extraordinarily lifelike figure to the extreme left in the Pitti "Adoration," has even been considered to be a likeness of Pontormo himself, although for such a conjecture there is no foundation. The portrait of Giovann' Antonio Lappoli,34 who came momentarily under Jacopo 's instruction36 just after the "Faith and Charity" of the Servites was finished, as well as the portrait of Becuccio Bicchieraio 's son-in-law with a friend,36 have been lost. But we have some ground, from the sequence of Vasari's narrative, for imagining that they belonged to this period, and were therefore probably not unlike the "Portrait of Cosimo il Vecchio" (fig. 42 ),37 the "Portrait of a Youth," at Genoa (fig. 41), 38 or the broad, massive portrait-drawing of 33 VI, 260. Cf. note 10 and fig. 24. 34 Ibid. 35 Ibid., p. 6. so Ibid., p. 260. 37 Now in the Uffizi. Cf . Vasari, VI, 264. ss Palazzo Bianco, No. 6. 25 PONTORMO a youth, alert and conscious, in ample robes, now in the Uffizi (fig. 38; No. 452), all of which are excellent examples of Pontormo 's early manner in portraiture. As a young man Pontormo worked hard, and how creative his spirit was, how disciplined his hand! These were perhaps his happiest years. He was popular, and from all sides orders came to him, which he met with a power and a versatility that made him the most conspicuous and promising painter of the younger generation, and gave him, though he was but five-and- twenty, an eminent place among the ablest craftsmen then at work in Florence. Between 1512 and 1519 his manner had undergone numer ous changes of unusual interest, through which we have been able to follow the drift of his unquiet spirit. The conception of form that he had inherited from Albertinelli and Pier di Cosimo mingled, not without hesitations, with the realism that he had caught from the sturdiest draughtsman Florence ever had. Now and then, as he developed, he found Leonardo's types attractive, but most of all, and increasingly, Michel angelo's art moved him to a profounder study of the problem of decorative and yet convincing form. The first decade of Pontormo 's career gives us a sense of the forces that outlined his creative individuality, and although most of the pictures of that period are important rather as documents than as works of art, one divines in them, neverthe less, a constant preoccupation. Jacopo had that rarest of gifts, the decorative instinct. Not, then, as an eclectic, or as an imitator, did he pass consecutively, and sometimes even simul taneously, through the various traditions that Florence kept alive. Through all these superficial changes he was struggling to formulate his vision, for he wanted to treat form, not merely with mysterious science like Leonardo, not simply with conven tionality like Albertinelli, not even with convincing naturalistic prosiness like Andrea, but for its own sake, joyously, lightly, and decoratively. To spread, as it were, a feast of problems solved with a magnificent, fine facility for the pure distraction of our pictorial sense — that was his apparent aim. But, as a 26 HIS LIFE AND WORK youth, he had been commissioned to paint sacred subjects, and these hardly gave his talent for decoration a sufficient outlet, chiefly because the effort to establish a new canon for the favorite themes of religious painting needed a forceful self- confidence that Jacopo did not have. To express himself freely, moreover, he seems to have required an equilibrium between his vision and his environment more delicately adjusted than any he had found so far. In 1520 such an equilibrium was estab lished when, given a fine task and a free hand, he painted one of the greatest mural paintings of the Renaissance, the lunette in the Great Hall of the Medicean villa at Poggio a Cajano. 27 CHAPTER IV 1520-1522 No documents exist for the lunette at Poggio. Only a careful scrutiny of several circumstances will enable us to conjecture the date at which it was begun. The decision to undertake the decoration of the Great Hall came from Leo X.1 It was to be a tribute to the memory of his father, and he made Ottaviano de ' Medici general director of the work.2 We imagine that this enterprise was intended by the Pope to serve also as a token of his desire that Lorenzino settle down in Florence and not in Rome, and that it could hardly have received serious attention until Lorenzino returned to Florence, on September 7, 1518,3 with his bride, Madeleine de la Tour d'Auvergne. Six months later Lorenzino died (May 4, 1518) ,4 and it is but reasonable to suppose that his death may have somewhat delayed the preliminary arrangements. The painters could, as a result, hardly have begun work before the early spring of 1519. Franciabigio and Andrea di Cosimo were then com missioned to gild the ceiling, but, even when finally undertaken, the work progressed slowly. Besides Pontormo, Andrea del Sarto and Franciabigio6 were engaged, and to them the side-walls were entrusted, while to Pontormo were given the end-walls, the upper part of each of which is a lunette. His whole task, therefore, was to include two lunettes and two large frescoes,* and as the lunettes were i Vasari, V, 195; VI, 265. 2 Ibid., VI, p. 264. 3 Anonymous continuator of Landucci, p. 365. Letter of Cardinal Giulio to Antonio Pucci, August 3, 1518, Catalogo dei Manoscritti Torrigiani, p. 271. 4 Cambi, XXII, pp. 144 f. Nerli, VI, p. 132. Ammirato, XXIX, p. 335. 5 Vasari, V, pp. 35, 195. The painters were paid thirty "scudi" a month (V, 196). o Ibid., VI, 264. 28 HIS LIFE AND WORK the more difficult part of the undertaking, it was on one (fig. 50, 51 and 52) of them that Jacopo began work. Paolo Giovio, bishop of Nocera, chose the subject,7 "Pomona and Vertumnus," having in mind, it would seem, one of the less well-known passages8 of the "Metamorphoses." With a simple lunette (fig. 11) Pontormo had already dealt, once with great charm" in the "Santa Cecilia," once with mastery in a drawing for a lost "Pieta" (fig. 39; Uffizi 300F),1" and he attacked the new and greater problem of a lunette pierced by a bull's-eye with the greatest earnestness, devoting to his preparation much time and thought, feverishly undoing today the work of yesterday — "sempre facendo nuovi trovati."11 At the same time, ideas apparently came to him for all four decorations, for I cannot but think that in many drawings of passionate force, of sparkling rhythm, or of wistful tran quillity, which are manifestly of this period, but in no way related to the lunette, we have first thoughts for one of the other projected but unexecuted frescoes. What the subjects of these compositions were to have been we do not know, and it is possible that he only made tentative plans for them, for in the time that he took to paint the first lunette, Franciabigio finished only one fresco,12 while Andrea's "Tribute to Caesar" was left but half painted18 when the death of Leo (December 1, 1521) interrupted the undertaking,14 and all work upon the Great Hall was suspended. During the brief reign of Hadrian VI, the position of the Medici was precarious, and it was evidently not a moment when they would have spent much on what the Italians call "muraglia." 7 Ibid., V, 195. s Ovid, Met., xiv, 623-697. o Dessins, p. 333. io Ibid., p. 87. n Vasari, VI, 264 f. 12 Ibid., V, 195. is Ibid., 36. Finished by Alessandro Allori. On a "cartella" one reads: "Anno Domini 1521 Andreas Sartius pingebat, et Anno Domini 1580 Alexander Allorius seque- batur." Andrea was very busy during these years. The "Tabernacle of Porta Pinti" was finished in 1520. Cf. Vasari, V, 33. i4 Ibid., VI, 264 f. 29 PONTORMO Many drawings relative to Poggio survive. We can follow with comparative ease the steps by which Pontormo advanced from a general idea of the composition to its final form. The earliest sheet (fig. 53) we possess is perhaps Uffizi 6660 verso,16 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 find them in the finished work. This sheet is also a curious link between Poggio and the lunette of "Santa Cecilia," for to the extreme right one descries a woman crouching in a pose which repeats that of the latter figure. We can also follow in some cases the genesis of individual figures, and in Pontormo 's second mapping-out of the whole lunette (Uffizi 6742 verso) we find, for example, his first idea for the woman to the left on the lower right wall. For the same figure a study from the nude survives. It was made, however, before the width of the lower parapet had been determined. In this sketch (fig. 54; Uffizi 6557), which is strikingly modern in pose and treatment, the figure lies flatter than it does in the fresco. The final study (fig. 55 ; Uffizi 6673), 15 A detailed discussion of each of these drawings will be found in my Dessins. 30 HIS LIFE AND WORK the gracile charm of which recalls Fragonard, is except for the fall of the drapery identical with the finished work. With even greater precision, we can follow the evolution of the figure to the extreme right on the lower wall. For it our earliest idea is a study from the male nude (fig. 56; Uffizi 6514) which, apart from its rare plasticity and its beautiful lightness of touch, is of unusual interest because it shows that Pontormo at first thought of making the lower parapet twice as high as it is in the fresco. In Uffizi 6515 verso (fig. 57), we find the final pose of this figure sketched from life, the model a young artisan, the movement delightfully indicated. Last in this series we have Uffizi 6673 verso (fig. 58) , which but for the drapery is close to the figure in the decoration. In spirit, however, it is different, for in the sketch the beautiful peasant girl of the fresco is transfigured by a touch of the superhuman. Clearly this drawing owes indirectly something of its great, indwelling life to Michelangelo in spite of the fact that the draughtsmanship is devoid of any semblance of his manner. The case is otherwise with two extraordinary sketches (fig. 59 and 60) for the pose of this figure (Uffizi 6544 and 6555). These represent gigantic male nudes, and they cannot be placed later than 1521. Yet I know of no drawing by Michelangelo, earlier than 1528, in which the contour and modelling are rendered as Pontormo renders them here. Are we to believe, as Berenson suggests, that in these studies Pontormo, with marvellous versatility, outstripped for a moment Michelangelo himself? Uffizi 6437 verso is a study of drapery that falls from the knees of a seated female figure; the legs are bent back at the knees, and the feet rest on a wall upon which she had just climbed. This was Jacopo 's first idea for the rustic goddess to the extreme right of the upper parapet, but with it he seems to have been dissatisfied. For on the recto of this sheet we find that he made another study of drapery that hangs from the waist of the same figure, seated this time, facing left astride of a wall, and wearing a skirt that sweeps down the left leg and is caught up, at the knees, by the parapet. This pose also 31 PONTORMO had its difficulties — an awkward bundling-up of drapery before and behind the figure. It interested Pontormo, however, and for it he made one more sketch, a fine, small study (fig. 54) from the nude (Uffizi 6557) that, without the help of 6437 recto, we would never have thought of identifying with any figure in the fresco. Uffizi 6519 verso is a little sketch for part of the same drapery, the final form of the lower part of which, identical in touch with the fragment just mentioned, is found in Uffizi 6731 recto (fig. 61). In Uffizi 6632 recto, the pose of the torse is suggested. This is followed by a curious series of trial poses. The male nude, studied in Uffizi 6662 verso (fig. 62), is seated as in the fresco but the position of the legs and arms is reversed. Technically this drawing, like Uffizi 6544 and 6555, is Michelangelesque, though less noticeably so. Corsini 124243 verso, a sketch of great spontaneity, is probably Jacopo 's first thought for the pose finally chosen. Uffizi 6728 gives the outline of the right leg precisely as in the fresco; Uffizi 6531 (fig. 63) and 6530 are finished studies for the whole figure, draped as in the painting, and Uffizi 6547 (fig. 64), is a rare but ruined study for the head, enigmatical, enchantingly felt, dainty and free. Several drawings survive for the child to the left of this figure, one of the earliest of which is Uffizi 8976 verso, and although it is far from the final pose, we can also unreservedly identify Uffizi 6646 (fig. 65) , on which one sees, to the left, the curve of the bull's-eye, as a first thought for the same infant. Uffizi 6728 verso is a sketch for the left leg. The recto of Uffizi 8976 may represent another conception of the figure, drawn while Pontormo still thought of making his fresco, not a summer holiday of the rustic gods, but a pastoral "concerto." For the composition of this proposed "concerto," Uffizi 455 (fig. 74) is a finished study where, however, our figure does not occur. It is among certain drawings that preserve early tentative poses of this figure that we find two of Pontormo 's rarest sketches (fig. 67 and 68; Uffizi 6669 recto and verso). These drawings, so perfect in structure and yet so prompt, so transfused with the quickness of lyric beauty, attain to a quality 32 HIS LIFE AND WORK that we should look for in vain in the work of Del Sarto. In them Jacopo achieves a spontaneous registry of vision, a tran script of the essential, not less magical than Leonardo's own. The only other sketch we have for a figure on this side of the lunette is Corsini 124240, a spirited jotting for the "putto" over the bull's-eye. For the left half of the lunette, less copious material has come down to us. The final pose of the youth to the extreme left, on the upper wall, appears in no study that is known to me, although the germinal idea is undoubtedly a tiny sketch on Uffizi 6515 where, however, the movement of the left arm and of the legs is different. Uffizi 6634 may also be a first thought for this figure, the pose still far from that which one sees in the fresco and which obviously owes something to the "Jonah" of the Sixtine. On Uffizi 6661 (fig. 66) there is a vibrant sketch for the "putto," to the left, above the bull's-eye. The child to the right of the youth that we have just discussed has come down to us in the final study (fig. 69 ; Uffizi 6651) from which the figure was transferred to the wall. It is exquisitely lovely, of liquid tonality, the movement seized with masterly definition. The soft but vivacious modelling gives one a sense of fine silver bronze, and beautiful as this figure is in the fresco, it has surely lost some of its own original, delicate vitality. We cannot trace the loosely dressed youth, seated to the right on the lower wall, in any known drawing unless, as is doubtful, Uffizi 6618 preserves an earlier conception of the figure. For the left arm, however, as it appears in the fresco, we have a decisive study (fig. 70; Uffizi 6559), while on Uffizi 6515 one finds what is seemingly a sketch for the knees in a slightly different pose, and a study of the left foot in the pose finally chosen. The old peasant-like Vertumnus, to the extreme left, is traceable in a number of studies. As we have already noted, the idea of placing a squatting figure in this corner of the fresco occurred to Pontormo early in his work of preparation, and one descries such a pose in the first draft of the lower part of 33 PONTORMO the fresco (Uffizi 6742 verso). In the beginning, Jacopo seems to have intended that this figure should shade his eyes with his right hand — a motive which first appears in a scrawl on Uffizi 6599 recto, and which is studied again from the nude in three splendid sheets, Uffizi 6515, spirited and immediate, 6685 recto (fig. 71), ringing and solid, 6599 recto, somewhat arbitrary in its proportions but of great indwelling energy. For the old god's head, precisely as it appears in the fresco, Uffizi 6579 (fig. 72) is a fine study, obviously from the life and admirable in its incisive severity. Two puzzling designs for the whole lunette remain to be considered (fig. 73 and 74; Uffizi 454 and 455), both of which recall the fresco without being definite studies for it. In the former, there are three figures on either side; around the bull's-eye is wound a strong young sapling of which each figure holds a branch, and which without their efforts would straighten out and spring away. This motive is apparently symbolic of Pomona's beneficent guardianship of gardens and their trees, and yet a more felicitous and fitting solution of the mere problem created by the shape of the space to be frescoed could hardly be imagined ; no figure is otiose, and no gesture mean ingless. Pontormo 's insight into the secrets of Michelangelo's art could with difficulty be more admirably illustrated than by the fine ease with which he gives here a real function to every figure ; his feeling for the fundamentally significant in compo sition finds nowhere more creative expression. Is our drawing a rejected study for the existing lunette at Poggio, or is it a project for the second lunette of the Great Hall, for which Jacopo received a new commission in 1532, but which he never executed? The swollen contours and the close packing of the figures into the space prescribed convince Berenson that our design was drawn in 1531-1532. I believe, on the contrary, that the exaggerated contours, the rather puffy modelling, can more easily be explained by the fact that the drawing is in pen and bistre — a medium for which Pontormo shows nowhere either aptitude or predilection. Moreover, it will be noticed that this splendid design contains one figure 34 HIS LIFE AND WORK closely related to the Pomona of the finished fresco; and so striking a relation must have its own especial significance. In a second lunette, in the same Hall, Jacopo would hardly have repeated a conspicuous figure. But, if our drawing is really a project for the first lunette, one wonders at first sight how Pontormo, who must have realized its unusual beauty, could ever have abandoned it. He had, I think, no choice ; it was the great size of the lunette at Poggio that forced him to lay it aside as impracticable, for the figures of the drawing expanded to the scale of the surface to be decorated would have been enormous, larger even than the clumsy giants painted by Alessandro Allori, in 1580, at the other end of the Hall. Our other study for the whole lunette is also in pen and bistre. Here too the motive of the bent sapling is used, but it is held by only two figures, both on the same side of the bull's-eye. This design must have been drawn just after the former, and it shows, as we have seen, that for a time Pontormo thought of painting, not a rustic holiday as an interpretation of his theme, but a pastoral "concerto." Many drawings16 exist that are not for any figure of the surviving lunette at Poggio but that date from the same period. Among these we find a powerfully realized study (fig. 76; Uffizi 6597) for a "Young Baptist in the Wilderness," the preliminary sketch for which (Uffizi 6645 recto) represents one of Pontormo 's most inspired moments ; an intense and enigmatic composition of three nudes, preserved in the Stadel Institute, at Frankfort (fig. 77) ; a curious sketch of a melancholy and meditative youth wrapped in a great mantle (fig. 49; Uffizi 6682). The latter, like many other studies that date from these years — notably the swift and energetic drawing, Uffizi 6727 recto (fig. 75) — represents a figure seated upon a high, stepped block. These, and the flamelike study (fig. 78; Uffizi 6677 verso) of three nudes, one of which stretches out a hand with the gesture of the "Adam" of the Sixtine, help us to measure the nature and extent of Michelangelo's influence upon Jacopo between 1519 and 1521. Either Pontormo had seen the Sixtine ceiling itself, or he had i« Fig. 43, 44, 45, 46, 47, 49, 75, 76, 77, 78. 35 PONTORMO studied many sketches made by Michelangelo in preparation for it that have since been lost. Apart from the drawings of seated figures, which I have just mentioned, the earliest sheet that we have for Poggio (fig. 53; 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 recto, a sketch that distinctly recalls the figure in the space to the right of and above Michelangelo's "Zerubbabel," and that represents, I believe, Pontormo 's first idea for one of the "putti" above the bull's-eye. The slope on which the figure leans excludes all other explanation. This sheet furnishes the most direct evidence we have that the Sixtine ceiling was present to our master's mind when he was planning his "Pomona and Vertumnus," at Poggio. On the other hand, the lunette, in its final form, owes little to Michelangelo. Its sunny airiness, its autumnal festivity, the gay dignity, the unity and charming novelty of the composition, are all Pontormo 's own, and in it his fine instinct for the decorative expresses itself with a gracious fitness, a perennial youthfulness, a quiet, delicate joyfulness, without parallel in any other Italian work of the Renaissance. 36 CHAPTER V 1522-1527 In the fresco at Poggio, one phase of Pontormo 's talent attains its fulfilment and, upon so great an achievement, another painter would have formed a permanent manner. To a less imaginative temperament nothing would have been easier; he had been so successful that many must have con sidered him to be the most prominent painter of the younger generation. Great things had been expected of him; he had accomplished great things. But to Jacopo 's unworldly mind, success meant little, and when he had conquered one problem, he immediately and ardently undertook the solution of another. Some of his contemporaries felt, nevertheless, that his mobility of spirit was mere capriciousness, and here and there, in Vasari, we come upon echoes of their opinion. They failed to under stand that his changeableness was partly due to external causes, the nature of which they did not realize. Five years earlier, Pontormo had been too exclusively absorbed in his art to notice or care what social or artistic revolutions were undermining Florentine life, but now his delicately balanced nature could hardly have failed to react to the great changes that were taking place around him. The Medici had passed through troubled waters, but as the political tide had turned so also was turning the current of Florentine tradition, and the great, fresh stream of Tuscan art, once fed and kept pure by so many springs, was now irrevocably flowing toward a despotism as absurdly cruel as that which was to submerge Florence itself. The era of the "Michelangeleschi" had begun. In his effort to free himself from the limitations imposed upon him by Andrea's unimaginative naturalism, Pontormo had sought the stimulus of Michelangelo's early work, and 37 PONTORMO by that contact, his own style had become more distinctly personal, even though the deep study that he made, during his formative years, of the cartoon of the "Battle of the Cascina" had profoundly modified his ideal of form. Now, however, he was confronted with the inexorable fascination of Michel angelo's maturer manner, that imperious manner which had already begun to obsess all Florentines. And under such cir cumstances it was inevitable that the magnetism of the older master's superabundant creativeness, the tremendous emphasis of his vitality, and his turbulent mastery of material, should cross Pontormo 's own ideals with lingering insistence, and warp the instinctive nature of his rare, unconscious, personal vision. Had he appreciated his own possibilities, had the Florentine public remained open-minded to various kinds of artistic achievement, he might have given to the world other works as decorative and as appropriate as the lunette at Poggio or as the "Deposition" at Santa Felicita. But the moment was unpropitious, and Jacopo 's very power had its roots in his extreme sensibility. Still he was not without intellectual courage, and he made a supreme effort to avoid the trap into which all his fellow-painters were falling. Suddenly we are witnesses of the curious spectacle of an Italian painter of great attainments seeking to escape from the tyranny of Michelangelo's canon of form by flying to that of Diirer.1 This choice, the strangest that an Italian ever made, was for Jacopo the craving of an instinct, and quite apart from his strangely modern susceptibility to novelty, he was, we may believe, swayed by an intimate compulsion, for there was in Diirer 's designs an intense metaphysical quality that Pontormo was born to understand. A curious evidence of how well he understood, of how far he succeeded in seeing the world with northern eyes, while the rhythms of the great Florentine were still beating in his memory, is furnished by such a sheet as Uffizi 6702 verso.2 For a moment, he had a divided mind. But i Vasari's account of the diffusion of Diirer 's woodcuts in Italy (V, 22, 405; VI, 266) is full of errors, especially in his "Life of Marcantonio." 2 Dessins, pp. 246-248. 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 tions.3 Jacopo, on the contrary, after he had studied Diirer 's art, felt impelled to revolutionize, as thoroughly as possible, his theories of form, contour and composition. And were the drawings that survive for the frescoes at the Certosa more numerous, we might, perhaps, be able to demonstrate that for a time Pontormo attempted to draw with the awkward stress and jerky pulse of an early Diirer woodcut.4 A sketch we find on Uffizi 6648,6 furnishes us with a reasonable basis for such an assumption. Vasari tells us that Pontormo began the Certosa frescoes in 1522, and he had reason to know, for in 1524 he had spent much time in copying them.6 In the books of the monastery I have discovered a complete record7 of the payments that were made to Pontormo for this work. In the Quaderno di Cassa F,8 under the date May 26, 1524, we read: "A mro Jacopo di bartholomeo dapontormo depintore Ducati trenta L dua hebe dai procuratore in 9 volte per parte da di 4 di Febraio 1522 per insine adi 10 daprille 1524 supra ala depintura fa nel claustro. ' ' This is the first entry and may, accordingly, be taken as con vincing proof that, on February 4, 1522, Pontormo was already at work in the cloister. In Vasari's opinion9 it was the return of the plague to Florence in 1522 that caused Pontormo to leave the city. But he is careful to add that Jacopo, being by nature lonely and meditative, loved the life of the Certosa for its own sake — the silence and the solitude, in the sheltering peace of which he - In the ' ' Preaching of St. John, ' ' the man standing to the right and the woman seated holding an infant. Cf. Vasari, V, 22; VI, 266. 4 The fact that Italian collectors did not like Pontormo 's ' ' maniera todesca ' ' may explain the almost total disappearance of the drawings that he must have made during this period. 5 Dessins, p. 204. 6 Vasari, VII, 605. 7 A. S. F., Convento 51, Nos. 16, 40 and 81. See Appendix II, Doc. 14, 15 and 16. 8 Ibid., No. 40, p. 26 r. o 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 never ceased, Vasari says,10 to frequent San Lorenzo a Galuzzo, and of that assertion Pontormo 's own diary contains a curious confirmation. On October 11, 1556,11 less than two months before he died, he wrote : "domenica andai acertosa." In the cloister of the monastery five frescoes survive although in a ruinous state: "The Agony in the Garden," "Christ before Pilate" (fig. 79), "The Way to Golgotha" (fig. 80), a "Pieta," and "The Risen Christ" (fig. 81). According to Vasari,12 Jacopo intended to add a "Crucifixion" and a "Deposition," and from a drawing (fig. 85) that I have identified13 with his work at the Certosa, we know that he also meant to paint a "Nailing to the Cross." The difference in style between Poggio and the Certosa is great. Vasari thought that no one could distinguish the "Christ before Pilate" from the work of an ultramontane painter.14 Such a statement is, of course, an exaggeration, and closer study reveals that Pontormo merely borrowed from Diirer,16 sometimes actually copying them, certain peculiarities of dress, attitude, or contour, and the ragged silhouette and jumbled lineal rhythms of the composition. The draperies, much as Pontormo may have tried to change them, are still Florentine, and the touch, the modelling, and the types, quite Italian. Vasari himself must have noticed Pontormo 's vacil lation between northern and southern ideals, for he remarks that, though the most successful fresco, "The Way to Golgotha," shows throughout Pontormo 's imitation of Diirer, the cup bearer of Pilate in the "Christ before Pilate" still retains a certain something of Jacopo 's earlier manner.16 io Ibid., p. 269. n For the text of the Diary, see Appendix III. 12 VI, 269. 13 Dessins, p. 222. 14 VI, 267. is For the figures that Pontormo borrowed from Diirer, see the Catalogue Eaisonnfi under Certosa. io VI, 268. 40 HIS LIFE AND WORK The frescoes have been restored, but from the still undam aged small copies by Jacopo da Empoli,17 it is evident that the colouring was close to Poggio and owed its vivacity to light harmonies on a few tones that were carried through the whole composition. Undoubtedly they were decorative; even now, although ruined and repainted, they sing out in the sunshine as few frescoes later than the Trecento do. They have a soft vivacity, an unforced gravity, that no transalpine work could have. Besides the "Passion" of the great cloister, Jacopo painted for the Certosini18 a "Supper at Emmaus" (fig. 82), wliich was hung in the Foresteria, and which is now in the Academy at Florence.19 Milanesi and others give 152820 as the date of this picture but, as I have pointed out elsewhere,21 1525 is the date which is inscribed on the "cartella." We have also a payment made on June 4, 1525,22 for the colours and the frame — "per fare lo cenaculo dela despensa." In this picture, the influence of Diirer is confined to the composition, which is derived from the engraving of "Christus und die Jiinger von Emmaus" that was issued between 1505 and 1511. The canvas is, otherwise, of a naturalism almost too naive. In addition to the "Supper at Emmaus," Vasari23 speaks of a "Nativity," painted for the prior's room, and apparently now lost, in which the St. Joseph held a lighted lantern. Pontormo also executed for the monastery a bust portrait of a lay-brother who was 120 years old. This fresco, which no longer exists, was once on the right side of the altar of San Benedetto. Vasari24 praises it highly, finding it of an excellence that went far towards excusing the extravagance of manner that marred, in his estimation, Jacopo 's other works at the Certosa. 17 Now in the Ufficio delle Belle Arti in the Palazzo Vecchio. is Vasari, VI, 270. w No. 190. 20 Vasari, VT, 270, note 1. Berenson, Florentine Painters, p. 175. 21 On Certain Drawings, p. 12. 22 A. S. F., Convento 51, No. 16, p. 30 r. See Appendix II, Doc. 15. 23 VI, 269. 2* Ibid. 41 PONTORMO Most of the drawings25 for his work at the Certosa have perished, but among the few that survive there are several of an exceptional interest. One of them (Uffizi 6702), to which we have already referred, shows that Michelangelo's canon of form still haunted Pontormo even while he was imitating Diirer. On it we find a sketch of a figure, unquestionably derived from a drawing for the "Haman" of the Sixtine, which Jacopo perhaps thought of using for his "Risen Christ." When, however, he came to paint that fresco he followed Diirer closely in type and in composition. The same sheet also preserves for us a light sketch for the woman seated to the extreme right in the "Pieta," — a figure that has no antecedents in Diirer. Lastly, this leaf contains a first thought for the Christ of the latter fresco in which the pose recalls the Christ of Diirer 's "Beweinung Christi" of the "Kleine Passion." In all these studies the quality of the line is somewhat relaxed and thin. Another drawing (Uffizi 6674), unfortunately now quite ruined, gives us the Christ in a pose nearer that which was finally chosen. Uffizi 6643 verso appears to be a study from the nude for the awkward figure that carries the end of the cross in the "Way to Golgotha." On Uffizi 6558, which is chiefly devoted to a nude obviously of the Poggio period, we also find two draped heads that belong to the period that we are now discussing. A similarly draped head appears on Uffizi 6539. These are, in all likelihood, studies for the women of the "Pieta." Another sketch of the same sort, Corsini 124242, is certainly for the figure high up to the left in the same fresco. A study of drapery for a seated figure, preserved in Uffizi 6648, may very well have been drawn for the young disciple behind Peter in the "Agony in the Garden." Much of this fresco, however, is so ruined that identifications are hazardous. Berenson assigns this sketch to Certosa on morphological grounds, and it is the only sheet from this epoch of change that he mentions. For the monk to the right, in the "Supper at Emmaus," we have, in Uffizi 6656 verso (fig. 84), a fine study from which 25 In my Dessins these drawings are discussed in detail. 42 HIS LIFE AND WORK we can draw definite conclusions about the quality of Pontormo 's draughtsmanship after what was considered by his contem poraries mere capricious imitation of an inferior style. The figure is in red chalk, simple, adequate and of an unaffected lucidity of vision. The most interesting drawing (fig. 83; Uffizi 6622) that we now have related to the frescoes in the Val d'Ema is an elaboration of the " Kreuzabnahme " that Diirer engraved between 1509 and 1511. The arched form, the proportions, and the space left in the lower corner for the top of a rounded door, make its identification easy. It is a study for the "Deposition" that, as Vasari records, Pontormo was to have painted in the great cloister, and which was never executed. Technically our sketch is of a flower-like delicacy that is altogether lovely. With his contemporaries Jacopo 's work at the Certosa was not popular. Vasari, to be sure, devotes five pages to this undertaking. Nevertheless, we read between the lines that Jacopo 's friends found it an aberration, and it is not surprising that his restless spirit soon passed on to other aims. In one of the last drawings (fig. 85; Uffizi 6671) that he made at the Certosa, a study for a "Nailing to the Cross," he is evidently already making his way towards a new understanding of art. Here, and in no uncertain manner, is the dispersed composition, the crowded arrangement of figures, that was dear to the late cinquecentist and that, with the cult of the gigantic and the forceful, finally smothered the last embers of Florentine art. Pontormo saw that, in Florence, painting could only develop in one direction, and in this design he had premonitions of ideals that were not completely evolved by the Florentine School until twenty years later. Even more interesting, however, is the fact that the studies (fig. 86 and 89) we possess for indi vidual figures of this composition (Uffizi 6652 verso and 6657; Corsini 124161) have still a breezy spring, a solidity that recalls Poggio, and a wirelike quality of line that anticipates various sketches for Santa Felicita. Vasari26 says that Pontormo had with him at the monastery 26 VI, 270; VII, 594. 43 PONTORMO no one but the young Bronzino and he implies that Pontormo executed practically with his own hands the entire cloister "Passion." In any case we know not only that the books of the Certosa contain no payment made to any assistant other than Bronzino but that Jacopo spent four years in the Val d'Ema,27 which was more than time enough to have painted, without help of any kind, all five existing frescoes. If in their present state these defy any attempt to define in them differ ences of touch, we can at least be sure that the "Supper at Emmaus" shows no trace of a second hand. Pontormo had an instinctive dislike of collaborators; often he would not even let his work be seen before it was finished.28 He had, in fact, so little patience with mediocrity that, far from allowing his pupils to finish his pictures, he sometimes could not resist the temptation to transfigure their work with last touches of his own. This he did, according to Vasari, when Lappoli once tried, with a mirror, to paint his own portrait with results that were miserable enough until Pontormo took the brush out of his pupil's hand and transformed the nondescript likeness into a masterpiece. While he was at work in the Val d'Ema, Jacopo also so completely rehandled a "St. Quentin" (fig. 90), which had been begun by Giovanmaria Pichi,29 that the canvas now retains hardly a trace of other than the master's touch. For it we have a wonderful head,30 in pen and bistre, drawn on a black-chalk ground (fig. 91) that Pontormo seems to have dashed off to illustrate for his pupil a problem of pose. Between the autumn of 1525 and the winter of 1527 Jacopo returned to Florence, although he continued to occupy himself, from time to time, at the monastery. An entry in the Quaderno di Cassa of the monks, on December 6, 1526, for flour and chickens sent to him to Florence, would seem to fortify our conjecture.31 Soon after he had finished the Passion frescoes, Pontormo 27 See in Appendix II, the documents cited above. 28 Vasari, VT, 271. 29 Ibid., 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 work which, in Vasari's opinion,32 is not unlike the "Passion" of the Certosa. The Mary, the St. John, and the St. Julian do recall various figures in the "Christ before Pilate" and in the "Pieta," but the ingenuous simplicity of the composition — due doubtless to the shape of the shrine itself — bears no relation to his work in the Val d'Ema. For the fresco at Boldrone no document exists, but considerations of style and circumstance make the date of it practically certain. It cannot have been painted earlier than 1525 nor later than the summer of 1529, in the autumn of which year Florence was invested by the Imperial troops and the country-side was no longer safe.83 Pontormo 's imitation of Diirer interrupted, in some measure, the natural evolution of his talent. Nevertheless, it was a surface distortion, which did not modify the funda mental groundwork of his art. His exploration of northern formulas had been too consciously intellectual ever to pass into his larger heritage as a Florentine, and Diirer 's art, once it had ceased to interest Jacopo, left no lasting mark upon his later manner. Even before he had completely freed himself from its influence, Pontormo 's genius was such that he could still express himself with a marvellous freedom and add the "Deposition" of the Capponi Chapel (fig. 92) to the master pieces of Italian art. Of that difficult subject this altar-piece is, perhaps, our rarest rendering, as it is, without doubt, Jacopo 's highest achievement in religious painting. In it, as in the lunette at Poggio, he subordinates everything to a fine, calculated, decorative effect in a way that was unique in an age of naturalism and the final triumph of representation. The pale golden colour, enveloped and yet left singing, is as delicately adequate and soothing as the forms are, in a real sense of the term, ethereal, and as the composition, with its strange, torn, gyrating rhythm, its complex cycles of movement, 32 VI, 272. 33 Nerli, IX, 202 f . 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 Vasari35 noticed a certain difference in style, colour, and composition, between the "Deposition" and the figures of the vaulting. The "Evangelists" are, in fact, dull in tone, and the "Annunciation" is more in harmony with them than with the altar-piece. We cannot, however, tell what the original effect was, for the "Annunciation" has lost in successive repaintings all its distinctive quality, and the figures of the cupola have been destroyed.36 In all these pictures the influence of Diirer is slight. No one who has not seen Jacopo 's work at the Certosa would ever think of associating the "Kleine Passion" with the "Deposi tion," still less with the "Annunciation" or the "Evangelists" of Santa Felicita. Vasari37 himself felt that in them Jacopo had again become a Florentine: "parve quasi che fusse tomato alia 34 Vasari, VI, 271 f. 35 Ibid. so In 1766 when the organ-loft was rebuilt. 37 VI, 271. 46 HIS LIFE AND WORK sua maniera di prima." Nevertheless, a certain lingering influence of Diirer 's engravings may be traced in the rather tight, complicated folds and torn, cascading effect of the draperies in the "Deposition." We do not know the exact date at which Pontormo was commissioned to decorate this chapel. The books of the monastery of Santa Felicita are silent, and none of the Capponi papers38 that are now in the Florentine Archives mention the undertaking. Vasari speaks of it as begun "non molto dopo la Certosa," and Balocchi, who probably had access to some document now lost, states30 that Lodovico di Gino di Lodovico Capponi acquired the chapel in 1525 for two hundred "scudi." In a Libro di Ricordanze40 of the monastery one gleans the fact that the chapel was rented, in January, 1490, by the Barbadori to Antonio di Bernardo Paghanelli, in the margin of which entry one reads: "Compero il detto Antonio la detta, cappeZZa da Barbadori e da Bernardo suo figlio fu venduta a Ludovico Capponi per scudi 200." This note can hardly have been written later than 1528, and we will not go far wrong, then, if we suppose that Jacopo began the work late in the autumn of 1526. He put up a scaffolding and, according to Vasari,41 kept the chapel closed for three years. This, however, does not imply that Pontormo undertook, during all that time, no other commissions. The preparatory work for these decorations may be followed in a number of drawings.42 For the "Annunciation" there are two finished studies, one (fig. 88; Uffizi 448) for the Virgin, a rather dry, meticulous drawing in red chalk, the other (fig. 87; Uffizi 6653) for the angel, a sketch full of freshness and movement. Pontormo employed in the latter a mixed technique of pencil washed with bistre, which furnishes us with a precious criterion of the use that he made of chalk and wash toward the end of the twenties. Earlier sketches for the 38 A. S. F., Convento 83, No. 130, Scritture diverse di Casa Capponi (1410-1539). so IMust. di S. Felicita, p. 35. 40 A. S. F., Convento 83, No. 115 (1485-1528), p. 21. See Appendix II, Doc. 17. 4i VI, 271. 42 For a detailed discussion of these -dr-awings, see my Dessins. 47 PONTORMO angel's neck and shoulders may be found on Uffizi 6570 verso, and it is not impossible that the draped figure on the recto of this sheet is an abandoned idea for the pose of the Madonna. The touch is undoubtedly of this period, but the light drapery, apparently inappropriate for a Madonna, weakens some what our supposition. The figure may, of course, be a study for the lost "Pomona" that Jacopo painted in fresco near the door of Filippo del Migliore's house, in Via Larga — a work that Vasari mentions immediately after the Certosa, and which, therefore, should be placed just before Jacopo 's frescoes and altar-piece at Santa Felicita. For the "Deposition" of the Capponi Chapel we have many drawings. On Uffizi 6666 (fig. 93), the Madonna's head is sketched from the male nude, and on Uffizi 6627 (fig. 94), the head of the woman to her left is studied twice. In the "Deposition," Pontormo combined these studies, using one for the features and the other for the arrangement of the head dress. Both are evidently drawn from life, as is Uffizi 6577 (fig. 95), a study for the head of the youth who carries the knees of Christ, in which the features are more troubled and more realistic than in the altar-piece where so personal a note would have spoiled the fine serenity of the scene. The diver gence between the painting and the drawing is a clear indication of how profoundly Pontormo 's imagination trans figured his material. The youth who carries the shoulders of Christ may be seen in a number of sheets. Corsini 124229 verso and 124230 (fig. 96) are first thoughts for his head and shoulders; on Uffizi 6730 (fig. 97) there is a sketch for his legs and drapery; and on Uffizi 6613 verso (fig. 98) the movement of his legs is studied from the nude. Here too we find a part of his drapery, as well as the marvellously prompt strokes with which Pontormo first sketched the whole figure. A somewhat mannered study (fig. 99; Uffizi 6619) of an unpleasant type of nude, drawn from the life, is Jacopo 's first idea for the Christ. The touch has a certain sincerity, but the pose is without charm of movement, and in the conception of this figure the altar- piece marks a notable advance. The drapery of the upper part 48 HIS LIFE AND WORK of the youth in the upper right-hand corner of the picture appears in Uffizi 6730 (fig. 97), and in Uffizi 6576 recto (fig. 100) the entire figure is studied from the nude. This is by far the most interesting sheet we possess for Santa Felicita. It is of a supple sureness of hand, caressing and delightful. For the "tondi" of the pendentives43 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 wliich distinguishes many sketches for the earlier masterpiece, and they are certainly much less magnificently lyrical. The portrait-drawings (fig. 101 and 102) from this period are subtly imaginative, fragile, and transparent evocations to which the introspective and restless spirit of the sitter still clings. While he was still at work in Santa Felicita, Pontormo 43 In his "Life of Pontormo" (VI, 271) Vasari states that one of the Evangelists was painted by Bronzino who was then working with Jacopo; in his "Life of Bronzino" (VII, 594) he says that Bronzino painted two Evangelists and certain figures of the vaulting. It is impossible now to disentangle these inconsistencies. 49 PONTORMO also painted for Capponi a portrait of his daughter as the Magdalen,44 which has since been lost, although we still have a drawing (Uffizi 6546) that may have been made for the work in question. At all events this sheet appears to date from the late twenties although, curiously enough, it shows an excess of sentiment hardly to be found in Florentine art before the Seieento. 44 Vasari, VI, 272. 50 CHAPTER VI 1527-1530 Between 1527 and 1531 Florence passed through its last tumultuous crisis. On May 16, 1527, Alessandro, Ippolito, and their tutor Passerini were expelled from the city, and for the moment, patriotism ran high in spite of class selfishness and individual cupidity. Unhappily it was too late ; the end of the Republic was at hand.1 In the popular enthusiasm of those years, we have, I believe, indirect evidence of the date of the "Madonna, St. Anne and Four Saints," now in the Louvre (fig. 104). The picture was ordered by the Captain and Officials of the Signoria for the nuns of St. Anne.2 In a medallion under the Madonna's feet, these officials, accompanied by commanders, mace-bearers, "tavolaccini," fifes and trumpets, are represented as pro ceeding solemnly to the convent beyond the San Frediano gate where they rendered homage, on July 26 of every year, to the nuns' patron saint. The origins of this ceremony went back to the Trecento when, on St. Anne's Day, 1343, the Duke of Athens was driven from the city. In his note on our picture Milanesi3 refers to the historical meaning of the ceremony, and since his time a vague notion seems to have arisen that this altar-piece was painted for the two-hundredth anniversary of the festival. Critics have, accordingly, dated it 1543,4 in other words, fifteen years too late. It is altogether unlikely that a i Vettori, Sommario, p. 382. Cambi, XXII, pp. 317-319. Varchi, Storia, III, i, pp. 156-158. 2 Vasari, VI, 273. Eicha, IV, 222. a Vasari, loe. cit., note 3. 4 Berenson, Florentine Painters, p. 176. Lafenestre, Musie National du Louvre, 4th ed., 1907, p. 102. De Eicci, Peintures du Louvre, p. 40. 51 PONTORMO painting, so clearly intended to celebrate the deliverance of the city from a tyrant, should have been ordered at the very moment when Cosimo I was sternly repressing the last traces of freedom in Tuscany.5 Such a picture belongs to a very different moment, and must have been painted between May 16, 1527, the date of the expulsion of the Medici, and August 12, 1530, when the city surrendered. After the exile of Alessandro and Ippolito, the festival commemorating the deliverance of Florence from an ancient tyrant took on an added solemnity. Of this, Pontormo 's altar-piece is, in all probability, a record. The books of the Signoria have been lost, so that no documents exist for this picture. It is, however, worthy of notice that the "gonfaloniere" elected in 1527 was Niccolo Capponi, a relative of the Lodovico for whom Pontormo was working at the moment.6 But on closer examination, the panel itself comes magnifi cently to our aid. The drapery, although heavier, is not unlike that of the Virgin of the "Annunciation," or that of the "Evangelists" at Santa Felicita. The Madonna and St. Anne wear a head-dress of the kind worn by the Madonna and the women of the "Deposition," and in both pictures the features of the Virgin are the same. These are resemblances that cannot be explained, if our picture really dates from 1543, for at that moment Pontormo was more exclusively Michelangelesque than at any other period. Convincing proof that our chronology is correct is to be found in the finished drawing (fig. 105; Uffizi 460) for the whole composition. It is in pen and bistre and technically close to the study for the Angel at Santa Felicita. In the Louvre panel, as in the landscape of a "Madonna and Child" (fig. 103), dating from 1528-1529 and now in the Corsini Palace in Florence, that faint influence of Diirer 's art which lingered in the Capponi "Deposition" is still further attenuated, although the St. Sebastian of the former picture recalls strangely a "Sebastian" from Diirer 's workshop, which 6 Capponi, II, 494. 6 Varchi, VI, i, pp. 383, 396. 52 HIS LIFE AND WORK is now in the Archbishop's palace at Ober St. Veit,7 near Vienna. This resemblance, which cannot be fortuitous, may explain Vasari's remark that the figures of ihe St. Anne altar- piece, like those of the shrine at Boldrone, are not purely Italian — a comment for which there is no other justification, for the central group of the Louvre picture certainly owes something to Leonardo, and the arrangement of the saints in it suggests early compositions by Fra Bartolommeo. Leonardo's influence is visible elsewhere in pictures of this period. A complicated and ingenious composition of the "Madonna and Little St. John"9 that now hangs in the Uffizi may have been suggested by some lost drawing of the great master's,9 although we cannot help remarking that the move ment of the Madonna's shoulder, head and arm is repeated in a drawing (fig. 109) for a "St. Jerome," the archetype of which is Leonardo's unfinished "St. Jerome," now in the Vatican. This sketch is of the same date as Santa Felicita. The frenzied gestures of the charging horsemen in Pontormo 's "Martyrdom of St. Maurice" (fig. 106) ,10 the frantic, galloping horses, small-nosed, full-necked, round- haunched and compact, the wild rush of the onslaught, in that "sanguinoso fango" where every brutal, pitiless passion is unchained, have their prototype in the "Battle of Anghiari."11 The orgy of nude bodies, on the other hand, and the exaggerated muscles of the figures, are derived from Michelangelo, although 7 Painted for Friedrich der Weise between 1502 and 1504. The drawing for this picture is now in the Stadel Institute, in Frankfort. 8 Uffizi, No. 1578. Gamba (Disegni di Jacopo Carucci, Firenze, 1912) places this picture about 1525. In my opinion it was painted about 1528. s 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. For this panel, wliich Vasari12 says was ordered by the women of the Innocents, we have no document. Perhaps, in fact, no document ever existed. We know that the women occupied, in the hospital, a place apart, which was closed with a high double gate. If they really ordered the picture, they probably paid for it themselves, and such a payment would not have been entered on the books of the institution. It is true that in 1529 Pontormo had transactions with the authorities of the hospital, but on grounds so circumstantial we are not justified in assigning the picture to that year, even though Vasari does so by implication. Close study, however, of the draperies of the Judge and of the figure in the foreground makes clear their likeness to the drapery of the Louvre altar- piece. But we have still other evidence for the date of the panel of a more indisputable and intimate nature : the drawing we possess of an arched variant (fig. 108) of the upper left- hand quarter of the composition is identical in draughtsman ship with the sketch for a "St. Jerome" (fig. 109; Uffizi 441) 13 of which we have just spoken. In both we find the same fine hatchings, the same somewhat brittle line, the same violent contrast in the modelling of the muscles, and in both we have the same great-shouldered, bottle-armed, round-headed type. Our drawing of St. Jerome, like the delicate study of a women on the verso of the same sheet (fig. 110) , dates from 1527-1529 ; its relation to Santa Felicita proves that. The "Martyrdom of St. Maurice" cannot be later than 1530. In the Uffizi14 there is a smaller version (fig. 107) of the same composition that Jacopo painted for Carlo Neroni,15 in which we find only the cavalry, the angels, and the baptism of the martyrs. The vertical axis of the composition has also been rearranged and the colour-scheme reconsidered, from 12 VI, 275. is Dessins, pp. 91, 290. 14 No. 1187. is VaBari, VI, 275. 54 HIS LIFE AND WORK which facts we may conjecture that the Pitti picture is the earlier by a brief interval of time. Both panels, which were once quite famous, are a mere patchwork of derived ideas, and in colouring they are cold and dry. Perhaps the neatness of their execution, or the mere fact that they are Michelangelesque, veiled for Pontormo 's contemporaries their poverty as art. Between 1528 and 1530 Pontormo painted the splendid "Visitation" that once adorned a villa of the Pinadori family, near Carmignano, and that is now in the village church.16 In this altar-piece (fig. Ill), the more than human proportions of the figures, the grand simplicity of their attitude and gesture, isolates the divine event and intensifies its significance. Here, then, we have a curious attempt to give, in other terms than those commonly used by Michelangelo's followers, that sense of the superhuman which the latter so insistently dwelt upon. To emphasize the note of grandeur Pontormo, like Andrea in all his later pictures, employs voluminous draperies but, unlike Andrea's leaden stuffs, Pontormo 's are light and loose in their amplitude. The same folds may be found again in the Louvre "Madonna and St. Anne," and in the works at Santa Felicita. The composition is to a certain degree suggestive of Diirer 's "Die Vier Nackten Frauen," and the St. Elizabeth recalls his "Nemesis" reversed. The final study (fig. 112; Uffizi 461) 1T for this "Visitation" survives, the touch of wliich 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. Della Palla, who acted as a kind of royal antiquarian and art-dealer to Francis I, tried, while Pierfrancesco Borgherini was absent io 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 'originale 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, to buy from his wife Pontormo 's famous "cassone" panels, and failing in the attempt, finally persuaded Jacopo to paint a special picture for the French King.18 Borgherini was a partisan of the Medici, and it was in 1527 that he fled with them to Lucca. The "Lazarus," therefore, could hardly have been begun before 1528. In 1530 Florence was invested and all traffic stopped, and in 1531 Della Palla was exiled from the city.19 We can hardly err, then, if we assume that this picture was finished about 1529.20 A beautiful drawing (fig. 113) exists that may have served for the figure of Lazarus.21 In it we seem to divine an exquisite ecstasy of surprise such as one might feel in coming back to life. During the siege (1528-1530) Pontormo painted the portrait of Francesco Guardi dressed as a soldier,22 which has since been lost or is unidentified. Its cover, which Vasari attributes to Bronzino, is now in the Barberini Gallery23 and represents < < Pygmalion and Galatea. ' ' In these figures all serious students of Pontormo 's art see, at a glance, the master's hand. The type of the cranium is especially noticeable, recalling instantly many of the heads in the "Martyrdom of St. Maurice." His touch is less convincingly present in the altar and the accessories, and in these details his pupil had, perhaps, some trifling part that Bronzino may have mentioned when he discussed the hfe 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. io Varchi, XII, ii, pp. 531-533. 20 It is worthy of remark that the ' ' Sacrifice of Isaac ' ' by Andrea, now in Dresden, was ordered by Della 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. 21 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. From 1520 to 1530 Pontormo 's inspiration was varied and his activity great. In spite of adverse criticism of the Certosa frescoes, his position in the artistic world had become steadily more important. In 1525 his name was inscribed in the book of the Company of San Luca ;24 on June 5, 1526, he was enrolled among the painters in the Guild of the Medici e Speziali.25 Up to this time he had lived in lodgings in the parish of San Giovanni,29 but, on March 15, 1529, he purchased from the Hospital of the Innocents two lots on the Via Laura, now Via della Colonna,27 on which he proposed to build a house and a "bottega" for his own use — an intention that he was not to carry out until about 1534. 24 A. S. F., Accademia del Disegno, No. 1, Eegistro contenente Capitoli e ordinamenti della Compagnia di S. Luca e dell 'arte, e l'Elenco dei Pittori Ascritti a quella compagnia (1340-1550), p. 10 v. See Appendix II, Doc. 18. 25 A. S. F., Medici e Speziali, No. 11, Libro Verde, Matricola per la Citta, p. 27 left. See Appendix II, Doc. 19. 26 A. S. F., Catasto, Estimo del Contado, No. 5, Quartiere S. Giovanni, 1520, Popoli 1-95, No. 128, p. 57 left. See Appendix II, Doc. 20. 27 A. S. F., Catasto, Libro a parte 1534, Cittadini a parte, Q. S. M. N. e S. G., 1534, No. 11, Qre. Sto. Gni. Chiave, p. 448 left. See Appendix II, Doc. 21. Cf. Vasari, VI, 279. 57 CHAPTER VII 1530 TO 1545 AND LATER Our study of Pontormo 's art encounters more formidable difficulties of chronology between 1530 and 1540 than at any other period. After 1530 Pontormo no longer worked for convents or religious companies, and rarely even for private persons, but, like many other artists in Florence, he depended for his commissions almost entirely upon Alessandro or Cosimo de' Medici. The archives of the first ten years of the ducal government are hopelessly incomplete, and no written docu ments exist for pictures executed during that time. It is also a curious fact, due apparently to the political disorder following the siege, that from this period few paintings by Jacopo have come down to us. Nevertheless, the dates of certain of his undertakings are delimited by well-known events, so that by a close study of these we may establish a correct, if undocumented, chronology for these years. After the triumph of the Medici, Clement VII wished to carry out the decoration of the Great Hall at Poggio. Andrea del Sarto1 and Franciabigio2 were dead, and to Pontormo, therefore, the whole commission was entrusted. No higher tribute could have been paid to his ability. He was the greatest painter in Florence at that moment. The scaffolding was erected, and all preparations for the work were made, but Jacopo delayed. Neither Alessandro nor Ottaviano de' Medici could get him to proceed with decision.3 Vasari would have us believe that his dilatoriness was due to illness and to the i January 22, 1531. 2 January 24, 1525. a Vasari, VI, 276. 58 HIS LIFE AND WORK fact that Bronzino was not in Florence to help him.4 The real causes unquestionably lay deeper. Jacopo had struggled, with an open mind, through a maze of complex tradition, he had tried many canons, and with each he had endeavoured, some times as at Poggio with wonderful insight, to illustrate the fundamental laws of decoration. He had seen that to be beautifully effective a wall-painting should contain no element that makes a special appeal of its own ; that it should be neither narrative nor epic nor dramatic, but just pictorial, a rest to our eye, a subtle stimulation to our sense of harmonious fitness; that the figures should be convincing enough to soothe our unwordable instinct for form, our thoughtless curiosity for the sensation of substance, but that they should never be insistent ; that the composition should fit the space available with a kind of fine levity without calling attention either to the problem or to its solution ; and that the colour should be pale and light, a few bright tones carried through the whole, leaving the surface unified, the expanse of the wall unbroken. But his very sincerity, his very insight into his art's underlying principles diminished his self-confidence. He could not stupidly repeat himself, and a method, a manner once found, once tried, immediately lost for him its interest. His keen sense of the vast problems involved in mural painting forced him to try a new and serious solution of at least one of these problems in each new fresco. One cannot wonder, then, that before the unfinished spaces of the Great Hall he felt a terrible hesitation, a hesitation all the more paralysing because he was ill, and overstrained by the arduous years just passed. On the other hand, this period of unproductive delay was not an evidence of diminished creativeness. Intellectually, Pontormo was hard at work ; he was reconsidering the meaning of that canon of form which, in the San Lorenzo tombs (1526- 1531), Michelangelo had given to an astonished world. What 4 Bronzino was in Pesaro at work on his frescoes in Villa Monte Imperiale and on other undertakings for Guidobaldo della Eovere, among them the portrait now in the Pitti (No. 149) and long ascribed to Pontormo. Cf. the Catalogue Eaisonnd, under Florence, Pitti Palace and Thode, Ein fiirstlicher Sommeraufenthalt in der Zeit der Bochrenaissance, Jdhrbuch d. konigl. preuss. Kunstsamml., IX (1888), pp. 163, 171, 179. 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 than even Michelangelo himself.5 What arrested Pontormo 's natural development, as painter and draughtsman, was not his apparently great susceptibility to influence of every kind, but personal contact with Michel angelo while the latter was at work in Florence.8 That contact and the overwhelming wave of Michelangelo's popularity turned Jacopo 's receptive curiosity and interest in other craftsmen's ideas — interest and curiosity that he inherited from Florentine tradition — into downright captivation. We may believe that he now sought the great master's society and became his friend, so that to the influence of Michelangelo's art was added the magnetism of a presence7 to which Jacopo 's sensitive nature instantly responded. From 1530 on, for more than ten years, we watch him stagger under an ever increasing burden — the obsession of Michelangelo's types and poses. The San Lorenzo tombs8 and the Cavalieri drawings9 played a great part in his temporary undoing. The former he must have seen only too frequently, both before they were finished, and after they had been placed in the chapel; the latter he constantly studied, and they were too magnificently rich in ideas not to enthrall him. 8 Vasari, VT, 278. elbid., 277; VII, 273. 7 It was on April 11, 1531, that the Archbishop of Capua first asked Michelangelo to design a "Noli me tangere" for Alfonso Davolo, but it was not until October of the same year that it was agreed that Pontormo should paint the picture from Michelangelo's caTtoon. Cf. Frey, Dichtungen, 327, 509; Brief e, 309; Thode, Michelangelo, I, 411; III, 554. Figiovanni's letter to Michelangelo from the days immediately following October 27, 1531 (Frey, Dichtungen, 509, 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. s 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 all events, little figures derived from the Medici tombs are sketched, with increasing frequency, on the sheets belonging to these years. He even seems to have reconsidered such early studies for Dead Christs as Uffizi 6687 and 6690, 10 drawing below each, in minute black chalk, more twisted, muscular versions of the same pose, which have for parent the "Night" or the "Day," and that are comments upon the work of his youth, made by a man dazed by a greater vision. In the same spirit he tried, over and over again, to solve the secret of Michelangelo's magic, drawing shape after shape reminiscent of that master's inventions. Several designs (fig. 121 and 122), mannered but delightful, survive from this period of renewed research. One of these (Uffizi 6748) " is a drawing for "The Three Graces," in which the pose of the left-hand figure has in it something suggestive still of the woman to the left of the Carmignano "Visitation." From 1531-1534 we have a magnificent, but ruined, cartoon (Uffizi 13861 )12 for "Nudes Playing at Calcio," undoubtedly one of the drawings that Vasari says were made for the second series of frescoes at Poggio, which were never executed.13 The composition is splendid, strange in its equilibrium, spacious and full of movement. In spirit and form this design differs totally from the lunette at Poggio that Pontormo finished eleven years earlier, and had it been executed, its strenuous playfulness of mighty nudes would have made the existing io For these drawings, see my Dessins. n The composition of this drawing goes back to classic examples of the subject of which a number, in various materials, survive. Most important of these for its influence on the Eenaissance is the small marble group, now in the Library of the Cathedral of Siena, which inspired Eaphael's "The Three Graces" of the Musee de Chantilly, and Marcan tonio 's engraving; B. 340. — Pass. 188. — Ottl. 262; reproduced, Delaborde, Marc- Antoine Baimondi, p. 169. It is perhaps to the latter that Pontormo 's drawing owes, in a more precise sense, its general arrangement, although he has, of course, introduced into his treatment a subtle, mannered, self-conscious exaggeration of line and gesture. Vasari shows in his "Three Graces," now in the Museum of Budapest, that he was not unacquainted with Jacopo 's drawing. 12 Vasari, VT, 276 : "in uno de ' quali cartoni, che sono oggi per la maggior parte in casa di Lodovico Capponi, e un Ercole che fa scoppiare Anteo; in un altro una Venere e Adone ; ed in una carta, una storia d ' ignudi che giocano al calcio. ' ' is The project was abandoned after the death of Clement VII, on September 25, 1534 (Vasari, VI, 276, 278). 61 PONTORMO fresco seem trivial and aimless. It belongs, one might almost say, to a different world, for by the time it was designed Pontormo had already read himself deep into the meaning of Michelangelo's art. He understood not only Michelangelo's conception of pose and structure but his theory of spacing and movement as well. Some of the drawings (Uffizi 6616, 6738)" for single figures of this composition, are still, in spite of their mannerism, of considerable vitality. But close as is Pontormo 's rendering of the Michel- angelesque canon in the "Nudes Playing at Calcio," the malady of imitation was to go deeper still, and yet another circumstance was to contribute to the crushing of Jacopo 's personality. For both the "Noli me tangere," which he was now commis sioned to paint for Alfonso Davolo15 and the "Venus and Cupid, ' ' executed for Bartolomeo Bettini, Michelangelo himself not only furnished the cartoons, but expressed the desire that Pontormo be chosen as the artist best able to translate into paint the cartoon of the former picture.16 The address displayed by Jacopo led to an order from the condottiere Alessandro Vitelli for a replica of the "Noli me tangere,"17 and to the commission for the "Venus" from Bettini.18 An artist of Pontormo 's alertness of mind could not, without the most serious consequences, fulfil tasks such as these at the moment when of his own accord he was devoting himself to a profound study of the works of his great contemporary. These commissions reacted upon Jacopo 's style in a way that was much talked about in Florence, and Vasari condenses for us the gossip of the time.19 14 On Certain Drawings, p. 15. Cf. also Dessins, pp. 188 f., 267. is Vasari, VI, 276. Since Michelangelo furnished the cartoon for this picture late in 1531, Pontormo probably finished it in the spring of 1532. ie Vasari, VI, 277. 17 The panel for Davolo and its replica have disappeared. The cartoon also has been lost. We may however form an idea of the composition from a copy, perhaps the work of Battista Franco, that is now in the store-rooms of the Uffizi. See Carlo Gamba, Una copia del "Noli Me Tangere" di Michelangelo, Bollettino d' arte, III (1909), fasc. iv, pp. 148-151, and Vasari, VI, 575. is Vasari, VI, 277. io Ibid. 62 HIS LIFE AND WORK But, even if we did not have Vasari's testimony, no one could have the slightest doubt that Jacopo was deeply impressed by Michelangelo's cartoons. After he had undertaken the "Venus," he brooded over the conception of that picture, rehandling the motive twice in little sketches (Uffizi 444, 446), which are Michelangelesque in arrangement only; once with magnificent great freedom (Uffizi 6534) beyond even his master's power at that moment; and once again later (fig. 133; Uffizi 6586) ,20 with tight distortion and strange exaggeration, in what is probably a study for one of the allegorical figures for the Medicean villa at Castello. The composition of the "Venus and Cupid"21 is well known (fig. 123). During the sixteenth and seventeenth centuries this picture enjoyed a great reputation.22 It was copied many times,23 and we still have several ancient adaptations, by various hands. In the opinion of many critics, including Berenson,24 the original is now in the Uffizi, where it was found in 1850 in the Guardaroba and rescued from a long neglect.25 The panel has undergone an elaborate restoration and the position in which it now hangs makes impossible a critical study of the original touch. Such examination, however, as I have been able to give it has by no means convinced me that we are not in the presence of a genuine work of Jacopo 's. The feet are those we find in the drawing, Uffizi 6586 (fig. 133), and the ear and the contour of the legs are characteristic, but the hand has been horribly repainted, as also has the drapery. We need not be surprised that in the colour little remains that is suggestive of Pontormo, for Michelangelo was, in all likelihood, responsible not only for the cartoon but for the original colour- scheme as well. One can easily determine the date of the "Venus." 20 For a discussion of these drawings, see my Dessins. 21 Vasari, VT, 277. Thode, Michelangelo, III, 487. 22 Vasari, VT, 277 f. Varchi, Due Lezzioni, p. 104. Borghini, p. 395. 23 For a list of these copies, see the Catalogue Raisonne, under Florence, Uffizi. 24 Florentine Painters, p. 175. 25 See Milanesi 's note, Vasari, VI, 291-295, also the Catalogue Raisonne, loe. cit. and Appendix II, Doc. 33 and 34. 63 PONTORMO Vasari's narrative28 is quite exact at this point : "AUora (after he had begun the 'Venus') conobbe Iacopo quanto avesse mal fatto a lasciarsi uscir di mano 1' opera del Poggio." We know that the second commission for the frescoes at Poggio was cancelled by the death of Clement and that Bettini could not, therefore, have ordered the "Venus" much before 1533. It was finished, it would seem, about 1535, for Vasari's observa tions imply that its execution extended over part of the time during which Jacopo was at work on his portrait of Alessandro.27 Happily this portrait,28 which I have identified with a portrait in the Johnson Collection (fig. 124), is fully docu mented.29 It was painted while, to the great scandal of Florence, Alessandro was frequenting the society of Taddea Malespina and her sister. According to Vasari,30 Pontormo made first, "per piu commodita," a miniature of the Duke, which has been lost. The biographer then describes the portrait, adding that the Duke was represented with a stylus in his hand in the act of drawing the head of a woman31 — a detail which is one of the most striking features of the Johnson picture. Moreover, Vasari's portrait of the Duke,32 painted in 1532-1533, as well as a portrait from the workshop of Bronzino33 labelled in letter ing of the seventeenth century, ALEX • MED • FLOR • DUX • I • LAURENS • F • , together with the latter's prototype in Bergamo,34 and its replica at Heidelberg,35 all reveal the presence of the same sitter. Further evidence of the authen ticity of the Johnson portrait is supplied by a letter that a certain Costantino Ansaldo wrote to Ferdinand I, in 1571.38 26 VI, 277. 27 Ibid., 278. 28 Vasari (VI, 278) says that the commission was given to Pontormo on account of the success of his now lost portrait of Amerigo Antinori. 28 F. M. Clapp, Un ritratto d' Alessandro de' Medici, Bassegna d' arte, XIII (1913), pp. 63-66. so VI, 278. si Ibid. 32 Uffizi, No. 1281. 83 Now in the corridor between the Uffizi and the Pitti, No. 20. 34 Morelli Collection, No. 65. 85 Thode Collection. 86 A. S. F., Carteggio mediceo del Principato, Filza 567, c. 187 and 225. Cf. Carlo Carnesecchi, Sui ritratto d' Alessandro de' Medici dipinto dai Pontormo, Bivista d' arte, 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.87 Our identification of this portrait rests, then, on the solidest foundation. There was no one but Clement, his father, for whom Alessandro would have put on mourning during the early years of the thirties. The Pope died, September 25, 1534, and the portrait must accordingly date from the end of 1534 or the beginning of 1535. The fact that its date can be determined with such comparative accuracy helps us to define also, to a certain degree, the date of other portraits that must have been painted during the ten years immediately following the siege. These will be discussed, in some detail, in the chapter devoted entirely to Pontormo 's work in portraiture. After the "Venus" and the "Portrait of Alessandro" were finished, the Duke commissioned Pontormo to paint two "loggie" in the Medicean villa at Careggi, with the help of assistants, and with the utmost dispatch. Vasari38 writes that the decoration consisted of six allegorical figures — Fortune, Justice, Victory, Peace, Fame, and Love39 — which, in one of the "loggie," occupied the lower part of the vaulting. Jacopo designed them all, but the execution of the first five was Bronzino 's, and only the last was painted by Pontormo. In the hollow of the vaulting, there were flying "putti" designed VI (1909), No. 1, and Gualandi, Baccolta di lettere, III, 62-70, where the number of the original document is given as: Archivio mediceo: Carteggio Universale, Filza 237, c. 187. See Appendix TI, Doc. 22. 37 For further details contained in this letter, see Catalogue Raisonnfi, under Philadelphia, Johnson Collection. ss VI, 280. 3» 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 the ornamental part of the work were confided to Jacone,40 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" itself was finished on December 13, 1536.42 Taking into account the unusual speed with which the work was done, we may conjecture that it was begun sometime between the summer of 1535 and the spring of 1536. Alessandro was assassinated on January 6, 1537 (New Style), and the second "loggia" was never decorated. Of the preparatory work only one sheet is known to me — Uffizi 458,43 on which there are three studies of "putti" flying upward with birds in their hands, the identification of which with Careggi is made possible by Vasari's accurate description of the figures of the vaulting. The cartouche on the same sheet represents Pontormo 's first idea for the general arrangement of these figures. They are all of great charm and drawn with joyous promptitude. After the battle of Montemurlo (August 2, 1537) had ended the last flutter of resistance to Medicean domination,44 Cosimo was in a position to proceed with the embellishment of his villas.45 Tribolo 's plan for the garden and fountain of Castello48 is well known, and the commission given to Pontormo for the "loggia" to the left of the courtyard47 was only part of a great scheme of reconstruction, which included the whole property. 40 Vasari, VI, 452. 41 Ibid., p. 281. For Jacone who painted on the facade of the Palazzo Buondelmonti, in monochrome, ' ' The Life of Pippo Spano ' ' of which no trace remains, see Vasari, V, 58 ; VI, 281, 450, 453 f. For Pierfrancesco, see ibid., V, 58. 42 VI, 281. 43 Dessins, p. 101. Bronzino imitated these "putti" in the choir of flying angels in the ' ' Adoration of the Divine Child, ' ' now in Santo Stefano, Pisa. 44 Nardi, X, ii, pp. 358-377. 45 Vasari, VI, 281-283. *«Ibid., 71-85. 47 Ibid., p. 282. 66 HIS LIFE AND WORK Jacopo seems to have gone to Castello in the spring of 1538. He designed all the ornaments first and had them executed by Bronzino and the journeymen who had worked at Careggi.48 Then he shut himself up in the "loggia" with the intention of painting, entirely with his own hands, the figures of the decoration. Since he had just had at Careggi his first real experience with assistants, his desire to work out, in solitude and without help of any kind, the decorations at Castello throws a significant sidelight on his innate dislike of collabo ration. He received from Cosimo a stipend of eight "scudi" a month, and he kept the "loggia" closed with a hoarding49 for five years until weary with waiting, Maria Salviati, the mother of Cosimo, ordered the scaffolding thrown down.50 Jacopo obtained a brief delay, and then, amid universal expectation, the work was uncovered. It was not a success. The critics found in the figures a lack of proportion51 and "certi stravol- gimenti ed attitudini molto strane." By way of excuse, accord ing to Vasari, Pontormo merely said that he had never had his heart in the work because the place was exposed to the fury of marauding soldiers. Like the "loggia" of Careggi, the decora tion was painted in oil upon dry plaster,52 and in ten years' time it was a mere ruin of which no trace remains today. The general arrangement must have resembled that of the "loggia" at Careggi. In the pendentives there were alle gorical nude figures, which represented Philosophy, Astrology, Geometry, Music, Arithmetic, and a Ceres; in the medallions, little stories appropriate to each figure; in the vaulting, a "Saturn with Sign of Capricorn," a "Mars Hermaphrodite with Sign of Leo and Virgo," and flying "putti" as at Careggi.53 Little remains of Jacopo 's preparatory studies.54 I believe 48 Ibid. Jacone helped Pontormo with the greater part of the ' ' grotteschi ' ' both in the loggia at Careggi and at Castello (Vasari, VI, 452). 4» Ibid. so Ibid. bi Ibid. 52 Ibid. 53 Ibid., p. 283. 54 For these drawings, see my Dessins. 67 PONTORMO that Uffizi 6584 (fig. 132), a great woman in a pose clearly derived from the San Lorenzo tombs, gives us, in all likelihood, a hint of the pose of one of the principal figures. We have, in Uffizi 6630, almost certainly a design, in itself extremely interesting, for the "Mars Hermaphrodite." Uffizi 6510 is, it would seem, a first thought for the "Saturn," while another design (fig. 133; Uffizi 6586), which is closely related to the "Venus" painted for Bettini and to which we have already referred, is perhaps a finished study for the "Astrology" or the " Geometry. " The technique of this drawing manifestly indicates that it dates from these years, and in it the type of figure that Michelangelo had evolved — huge thighs and abdo men, small head, breasts and arms — is rendered with exag geration and distortion. All these drawings are painfully laboured and over-modelled. Toward the end of the thirties we must also place, on Vasari's evidence,55 a portrait of Maria Salviati, lost or as yet unidentified, and a lost portrait of the young Cosimo for which, on the other hand, we have a drawing (Uffizi 6528 verso) and a first sketch in oils.56 Two details of Pontormo 's private life during this decade are now known. With the hundred ' ' scudi ' ' that he received for his "Portrait of Alessandro" and the "Venus" Jacopo finished his house.57 From the Catasto of 1545 it is evident that it was built sometime before 1536.5S It was small, "non cosa di molta importanza," as befitted a solitary craftsman, and its chief peculiarity was a room that Pontormo made his workshop, to which the sole entrance was by a ladder that he was in the habit of pulling up after him to fortify himself against all interruptions. Travel could have had little attraction for so retiring a spirit, although certain drawings59 that reflect the glories of 55 VI, 282. 56 Article by Carlo Gamba, Bivista d' 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 WORK 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 may have merely seen in Florence various studies of Michelangelo's for the Sixtine or fragments of his cartoons that had found their way into Tuscany. We have no hint of any other journey until long afterwards, in 1539, in October of which year Milanesi00 believes — correctly as it happens — that Jacopo was in the Eternal City. The evidence that Milanesi brings forward is, nevertheless, completely unconvincing and rests entirely upon a letter quoted by Visconti in the Gioniale arcadico.01 This letter was written by Annibal Caro to Monsignore Giovanni Guidiccioni, and may be read in full in the collected edition of Caro's letters, edited by Tomitano. There the name of the artist mentioned is Pastermo. An earlier edition by Volpi gives the same spelling. But in the fragment of the letter that Visconti printed he arbitrarily changed Pastermo to Pontormo. What Caro really wrote cannot be determined without refer ence to the manuscript of this letter, the whereabouts of which is unknown to me. We have, however, definite and conclusive proof that Jacopo did visit Rome between 1535 and 1543. In the Louvre, among the authentic Pontormo drawings preserved there, more than eighty-five are consecrated entirely to motives of 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 Rustici (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. «i LXXX, 93. For the text of this letter as well as for Visconti 's citation from it, see Appendix II, Doc. 24. 62 See Dessins, pp. 305-325. Baldinucci, of whose collection theso sketches once formed part, noted on the mount of No. 954 that they were taken "per lo piu da pitture e Anticaglie di Eoma. " The "Portrait of Cardinal Spannocchi Cervini" (Borghese, No. 408) was probably painted in Rome and it must date from between October, 1540 69 PONTORMO no means of knowing, but this journey will naturally count for much in explaining his use of Michelangelesque forms later on in San Lorenzo. Last in this period of Pontormo 's work I place his cartoons68 for certain tapestries that formed part of the first series of "arazzi" executed by Flemish workmen of the weaving industry that was inaugurated in Florence by Cosimo I. They portrayed "The History of Joseph" and once adorned the Sala de' Dugento, in the Palazzo Vecchio. To Pontormo Vasari assigns two cartoons, the subjects of which were "The Lamentation of Jacob" (Pianto di Jacob) and "Joseph and Potiphar 's Wife" (Fuga di Joseph; fig. 136). These, he says, pleased neither Cosimo nor the Flemish workmen. To the latter they seemed strange in composition and unsuitable as designs for tapestries. The cartoons have perished but the tapestries still exist in the Palazzo del Quirinale, in Rome, together with others woven, according to Vasari and the books of the Guardaroba,64 from cartoons by Bronzino and Salviati, among them, a "Benjamin at the Court of Pharaoh" (fig. 134). I am inclined to believe, however, that the latter tapestry may well have been none other than the "Coppa di Joseph" that is given to Pontormo in the Inventory of July 15, 1549, while the ' ' Cattura di Benjamin," cited in the same document and ascribed to Bronzino, would appear to have been in reality the "Cattura di Simeone," correctly attributed to Bronzino in the complete list of all the hangings drawn up in 1553. In any case, our "Benjamin at the Court of Pharaoh" is identical, in size, shape, and spirit, with the two "arazzi" for which Pontormo is known to have furnished the designs and the structure and arrange ment of the figures are his. The composition too is informed with qualities quite foreign to those that distinguish the "Burying of the Bones of Jacob," for which it is certain that Bronzino drew the cartoon. And I am the more inclined to and 1545. Cervini was not created cardinal until shortly after the former date and after the later date he was one of the presidents of the Council of Trent. 63 Vasari, VT, 283. «4 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 Creditori 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 «5 Geisenheimer, Gli arazzi nella sala dei Dugento, Boll, d' arte, III (1909), 137-147. oe Conti, Bicerche storiche, pp. 12, 48, 97, 99 f. Geisenheimer, loe. cit. 71 PONTORMO Rost, the other two by Karcher. Pontormo must have worked upon his cartoons sometime between 1545 and 1547. These tapestries67 are interesting chiefly as a tentative prelude to the designs for the San Lorenzo choir. They show an evident fatigue, and the "Lamentation of Jacob" is httle more than a "rechauffe" of motives taken from the "Doni Madonna" of Michelangelo, from Jacopo 's own "Adoration of the Magi" and from his "Pieta," of the Capponi Chapel. The pose of one of the figures recalls the pose of Abel in the drawing (Uffizi 6739) of the "Death of Abel" for San Lorenzo — a design that may well have been one of the first that Pontormo made for the choir frescoes and, therefore, practi cally contemporaneous with the first cartoon for the tapestries. In the "Benjamin at the Court of Pharaoh" the figure of Joseph seems to be a rehandling of the Maximianus of Jacopo 's "Martyrdom of the Theban Legion," which was painted more than fifteen years earlier. A curious glimpse of Jacopo 's private life reaches us from the end of the forties. On August 20, 1549, he became a "commesso" of the Hospital of the Innocents.68 He paid to that pious foundation one hundred florins, and the Hospital promised to send him every year, for the rest of his life, twenty-four "staia" of grain, six barrels of wine and one barrel of oil. 67 See Catalogue Raisonne, under Eome, Quirinal. 68 Archivio degl' Innocenti, Libro di Commessi, B, 1528-1549, p. 319. See Appendix II, Doc. 25 and 26. 72 CHAPTER VIII 1545-1557 From 1535 to 1545 Pontormo was undisguisedly Michel angelesque. Nothing but the solution of Michelangelo's formu las interested him, and the passionate concentration with which he worked is visible in the few drawings that survive from these years. They bear witness to the marvellous penetration of his spirit, as well as to the perseverance with which he tried to broaden his understanding of plastic form. By 1540 he thoroughly comprehended the mechanism, so to speak, of Michelangelo's art, and had explored the hollow shell to its last secret recess. The very principle of the master's work, the life-enhancing accent laid upon restrained but untamed strength, the implication of elemental grandeur in the forces against wliich his giant race struggles in vain, was clear to Jacopo. But into his cleverly mimicked shapes he was power less to strike the colossal pulse which alone could make them live. He was not so much a creator, in the old poetic sense, as an artist in the most modern interpretation of the term, a detached visionary craftsman interested only in the hidden problems of his art. For that reason, if for no other — like the manner he had evolved at the Annunziata, or in the Visdomini panel, at Poggio, or the Certosa, or Santa Felicita — the allegorical nudes that he had created at Carregi and Castello no longer satisfied Pontormo. Mere Michelangelesque form, once achieved, no longer interested him, mere scientific compactness of compo sition no longer attracted. Neither was he to be led away into by-ways of scholastic formulas, or into the worship, for its own sake, of the muscular or the heroic. To communicate an 73 PONTORMO impression of force, of "terribilita" alone, he soon perceived was not art. To Bronzino, Vasari, Bandinelli, and Tribolo, the imitation of Michelangelo's canon was an end in itself. To Pontormo that canon, once thoroughly studied, became what all other canons had been to him — the crude material of a new form of decoration. The final phase, therefore, of his development was the most misunderstood of his entire career, for he proposed nothing less than to use Michelangelo's superhuman giant as a mere element in a new scheme of mural painting, in which he would audaciously employ that monstrous nude to create a novel and . more fantastic beauty. The opportunity to express himself in terms of this newly conquered material came when Cosimo commissioned him to paint the choir of San Lorenzo.1 The Medici had been the "padroni" of this chapel for generations and that Pontormo was chosen for the great task of decorating it was the most signal tribute that could have been paid, at that moment, to his genius. The solemnity of the place and the importance of the undertaking stirred Jacopo to even more than his usual earnestness.2 We can only imperfectly appreciate to what degree he succeeded in approaching his ideal. The frescoes were destroyed in 1742 by a generation quite incompetent to understand them," when, because of the sinking of the foundation arches, a com plete rebuilding of the choir became imperative.4 We do not wonder that, to men idolatrous of mere repre sentation, these frescoes had been from the beginning incom prehensible and a failure. Vasari5 gave expression to the trite criticism of his time, and his last word was: "onde si vede che chi vuol strafare e quasi sforzare la natura, rovina il buono che da quella gli era stato largamente donato." This somewhat smug and academic verdict is stupidly repeated by such writers i Vasari, VI, 284. 2 Ibid., p. 285. s Domenico Moreni, Continuazione delle memorie, III, 115. 4 Ibid., p. 112. 6 VI, 287. 74 HIS LIFE AND WORK as Borghini,6 Moreni7 and Richa.8 Even today, in certain circles, a judgment quite in the spirit of Vasari's would probably be passed upon the frescoes, were they still in existence, but the younger generation of modern painters, who have broken with a paralysing conservatism, would unquestionably hail Pontormo as one of their earliest and most gifted forerunners. The present arrangement of the organ and of the archi tectural mouldings of the chapel differs somewhat from that of the primitive plan. An exhaustive comparison of drawings that survive with Vasari's and Bocchi's descriptions of the choir leads me to believe that on entering it one saw: on the upper left-hand side-wall, to the left, "The Creation of Adam," between the windows, "The Temptation," to the right, "The Expulsion from Paradise"; on the upper end-wall, to the left, "Moses Receiving the Law and the Sacrifice of Isaac,"0 in the centre, "Christ in Glory as Judge," to the right, "The Four Evangelists"; on the upper right side- wall, beginning with the space next to the end- wall, "The Tilling of the Soil," between the windows, "The Sacrifice of Cain and the Death of Abel," in the last space to the right, "The Benediction of the Seed of Noah and the Building of the Ark"; on the lower left wall, "The Resurrection"; on the lower end- wall, on either side of the window, "The Ascent into Heaven" and "The Descent of the Damned"; on the lower right wall, "The Deluge." The chief difficulty that we encounter with this arrange ment is that Vasari10 speaks of two Creations of Adam and Eve, one in the upper series of frescoes, one at the foot of "Christ in Glory," of which it formed an integral part. The finished drawing (fig. 138) for the "Christ in Glory" exists, and it is evident that here Vasari's description is incorrect, for the lower part of the composition is a "Creation of Eve." In all likeli- » II Biposo, p. 396. 7 Op. cit., p. 115. 8 Op. cit., V, 28. Even the editors of the Milan edition of Vasari (XII, 59, note) regret that Salviati was not given the commission, although they could never have seen Pontormo 's frescoes, which were destroyed seventy years before their time. »Bocchi especially praises these figures (Bellezze, ed. Cinelli, p. 515). 10 VI, 285 f. 75 PONTORMO hood, then, the first fresco on the upper side-walls dealt with the Creation of Adam, not as Vasari says with that of Adam and Eve. To place "The Creation of Eve" at the foot of "Christ in Glory" seemed to Vasari and to most of Pontormo 's contemporaries, whose opinion Giorgio perpetuates, a gross violation of orthodox doctrine.11 The drawings12 for San Lorenzo are very numerous; we have the finished study (fig. 138) for the "Christ in Glory," the "Moses Receiving the Law" (fig. 139), the "Four Evangelists" (fig. 140), the "Sacrifice of Cain and Death of Abel" (fig. 141 and 142), and I have identified sketches for the "Descent of the Damned," for the "Tilling of the Soil" (fig. 143), for parts of the "Deluge" (fig. 144, 145 and 146), and for figures in the "Ascent into Heaven" (fig. 147), and in the "Expulsion from Paradise" (fig. 137). In these Pontormo is a creator of simple and majestic patterns. Here the masses of his composition are deployed in a new rhythm, and to that end he avoids in his unearthly nudes realism and any mere anatomical correctness of proportion, as well as all the scientific solutions of difficulties of pose with which naturalism had laboured to endow art, and all mathe matical analysis of perspective. The gesture and the movement of these figures have in them no accepted beauty. But in drawings for the "Deluge" and the "Resurrection" he goes still further, casting to the winds all canons of artistic propriety. The poses are extravagantly strange, the contours distorted, the structure of the nude impossible. Vasari13 felt that Judgment Day itself would not be more terribly confused than these last two frescoes. Longer study, however, reveals to us Pontormo 's intention. We cannot dismiss these drawings as an aberration, and the eleven years of patient, solitary devotion that Jacopo gave to this new expression of his artistic vision, as years of pitiable feebleness. Indeed, we may be sure that in these studies Pontormo drew no nudes out of all proportion n Ibid., p. 286. 12 For these drawings, see my Dessins. is VI, 286. 76 HIS LIFE AND WORK because he could no longer draw correctly. His serious and searching nature was never more touchingly consecrated to the problem before him than at San Lorenzo. He had, in all that he did there, a definite purpose. That purpose was not unlike the aim of certain painters of today. He perceived, dimly perhaps, but still more clearly than any Italian of his time, that in every work of art there is an element of decoration, source of our pleasure, and an element of representation, source of our sense of reality — an emotional and a scientific side. And he also perceived, I think, that the Florentine Renaissance had been naturalistic, that its best ardour had been spent in solving problems of representation — anatomy, movement, perspective, contour, light and shade — in a word, in the evocation through the figure arts of sensations allied to those that are awakened by the visible world, and that by 1540 all the discoveries of the school, from Masaccio to Michelangelo, had been condensed into elaborate formulas. Against this tendency he revolted. He tossed and twisted the vast nudes that he had inherited from Michelangelo to fit strange combinations of shape that haunted him. Emotional design, that was his aim — arrangements of lines and masses that stir our sensation of form without the intervention of the mind. Obviously, such compositions could give no pleasure to a generation which had lost, and not yet re-acquired, the art of looking at pictures for their own sake. On one sheet (fig. 146 ; Uffizi 6528) 14 there is a swaying and falling rhythm of great sea-waves, which the tremendous nudes of the sketch swing to and obey. Surely no more fitting drawing for a "Deluge" was ever made. In it, as in other drawings for San Lorenzo, we divine a symbolism at once incomprehensible and attractive, a fascination, a quality untranslatable into terms of intellectual reflexion. This emotion sometimes permeates studies for individual figures; it lives in the gesture of the nude that we find on Uffizi 6679 (fig. 149). In unskilful hands such a method would naturally be dangerous. But, by his contact with Andrea and the early 14 Dessins, pp. 132 f . 77 PONTORMO work of Michelangelo, Pontormo was more thoroughly versed in the study of form for its own sake than any artist working in Florence in 1550. He had therefore a right to his experiment, and we cannot but admire his disregard of adverse criticism. In these drawings there is no tawdry glitter, no laziness of the mind; the emphasis of his research is merely carried from the figure into the design. Vasari and his friends, who had never sought vitality in form, were of course the first to find Pontormo 's figures in the choir of San Lorenzo incorrect. Jacopo sought a broad decorative effect, and they, perversely enough, found only here and there bits of torse rendered with great skill.15 They mis understood his intention because they had no conception of that ceaseless renovation of ideals which is the well-spring of an artist's life. In no account-book of the Medici for this period (1548- 1556) is there any mention of payments made to Pontormo.16 But the Medici owned the chapel, and Vasari17 definitely states that it was Cosimo who ordered the frescoes and paid for them. Neither have I found any payment made to our painter by the Canons of San Lorenzo, although the books of the Chapter are, for these years, quite complete. In the Medicean Libro di Salariati for 1556 there are, however, two entries of eleven payments made to "Bastiano del gostra pittore con M° Jac° dapontormo." On March 1, 1554, this Bastiano was given a salary of two ducats a month,18 and it is curious that we find payments made to him and none made to Pontormo. The baffling silence of the documents makes it impossible to state when the decoration of the choir was undertaken. Vasari19 says that Jacopo laboured on it eleven years, which is Vasari, VT, 287. ie See Catalogue Baisonnfi, under Lost Pictures, San Lorenzo. One finds in the books of the Medici for these years numerous references to Cellini, Bronzino, Salviati, Bacchiacca and the "Arazzieri. " " VI, 284. is A. S. F., Depositeria Generale, No. 394, Libro di Salariati (1555-1556), pp. 42 and 101 right and left. See Appendix II, Doc. 27. i» VI, 287. Lapini, in his Diario fiorentitw (ed. Corazzini, Firenze, 1900), states that Jacopo worked ten years on these frescoes. 78 HIS LIFE AND WORK would mean that he began the work in 1545. That is not incon ceivable, for it is evident from his diary that, between 1554 and 1556, he was ill much of the time, and we may surmise that for some years his health had been failing. In those casual pages he does not perhaps record all the days that he spent at San Lorenzo, but even if we add several days in each month, to those he specifically mentions, we discover that he can hardly have worked there more than thirteen days out of every thirty. At that rate eleven years would have been none too long for such a task. Moreover, he seems to have laboured most of the time in perfect solitude, and we know that on certain occasions he even prepared the plaster with his own hands. At his death parts of the great lower frescoes were still incomplete and in the following year were finished by Bronzino. The choir was not uncovered until July 23, 1558.20 Pontormo died, according to Vasari,21 of dropsy brought on by overwork. He was buried on January 2, 155722 and, since in Italy burial often takes place the day after death, it is probable that his death occurred on the first. All the painters, sculptors, and architects of Florence were present at his funeral, and he was buried in the courtyard of the Servites under his fresco of the "Visitation."23 This, however, was only a temporary interment. His body was afterwards transported in pomp to the Chapel of San Luca,24 which was originally the chapter-house of the Annunziata and which was ceded by the Servites, sometime not long after 1562, to Montorsoli as sepulchre of the Compagnia del Disegno. Pontormo was the first artist to be buried there. On the round stone in the floor, which covers the vault, is the inscription: FLOREAT 20 Vasari, loe. cit. and VII, 602. Bronzino finished many nudes in the lower part of the "Deluge," and in the " Eesurrection " a strip about a "braccio" wide for the entire length of the fresco. Cf . Moreni, op. cit., II, 119 ; Borghini, op. cit., p. 396 ; Eicha, V, 29 ; Bocchi, op. cit., p. 515 ff. See also for the lower part of the "Deluge," a drawing ascribed to Bronzino, Louvre, No. 1026. 21 VI, 288. 22 A. S. F., Medici e Speziali, No. 251, Libro dei Morti (1544-1560), p. 92 r.; Libro dei Morti (1506-1560), Serie della Grascia, p. 524 v. See Appendix II, Doc. 28 and 29. 28 Borghini, op. cit., p. 396. Vasari, VI, 288. 24 Vasari, VT, 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 Eotto il career terren di spirto voto.25 In the choir of San Lorenzo, a year or two later, a marble slab was placed which seems to have existed in Moreni 's time26 and on which one read: "Iacobus Puntormius Florentinus, qui, antequam tantum opus absolveret de medio in Coelum sublatus est, et vixit annos LXII menses VII dies VI. A. S. MDLVI." After his death, cartoons and models in clay were found in his house, as well as a fine "Madonna" in his earlier manner, which his heirs sold to Piero Salviati.27 Pontormo died intestate. The right to his property was contested by Bronzino and Andrea d'Antonio Chiazzella, the weaver, and the case was won by Andrea as nearest of kin.28 I believe Milanesi was wrong in identifying this Andrea Chiazzella,29 distinctly described by Ser Giovanni Giordano as "tessor drapporum," with the Sguazzella, a pupil of Andrea del Sarto, who executed between 1516 and 1524, in an unnamed chateau in France, various pictures that were destroyed during the Revolution.30 What was perhaps the best likeness of Pontormo has perished. It was painted by Bronzino in a corner of the choir of San Lorenzo to the right of a figure of St. Lawrence31 and disappeared when Jacopo 's frescoes were destroyed. But one may still see a portrait of Pontormo by his pupil in Bronzino 's 25 Borghini, p. 396. For sonnets on the death of Pontormo by Bronzino and others, see Appendix II, Doc. 36. 26 Moreni, op. cit., p. 115. Vasari, VI, 288, note. 27 Vasari, VI, 288. 28 A. S. F., Rogiti di Ser Giov. Battista di Lorenzo Giordani, G. 300, p. 399. See Appendix II, Doc. 30. 20 In a document from the Catasto, which I have discovered, Chiazzella is again called a weaver. In 1561 he is cited as owner of a house in the Via della Colonna which was probably the house that Pontormo himself had built. See^ Appendix II, Doc. 31. so Vasari, V, 57, note 2; VI, 289, note. 3i Vasari, VII, 602. 80 HIS LIFE AND WORK "Descent into Hell," now in the Uffizi.32 The woodcut that appears in the second edition of Vasari is of less interest, although it is evidently not apochryphal, and Baldinucci33 states that Allori painted a portrait of Jacopo in the Montanti Chapel of the Annunziata. Waetzoldt34 believed the figure to the extreme left in the Pitti "Adoration of the Magi" to be a likeness of our painter when he was a young man, and others have seen, in a Pontormo drawing35 in the Uffizi, Jacopo 's own features. Both conjectures are without foundation. 32/6td., 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. at Notizie, ed. 1812, IX, 521: "vedesi nella piu alta parte dell' Istoria della disputa, (presso al capitello della colonna, che fa f route alia grossezza del muro, in persona d'un vecchio Jacopo da Pontormo." At the Reiset sale in 1870, a picture was sold which the catalogue describes as a "Portrait of Carucci by Himself," and a portrait, said to be of Pontormo by himself, was sent to the Royal Academy Loan Exhibition of 1877 by Lord Methuen. I am unacquainted with both these pictures. The woodcut from Vasari's second edition of the "Lives" was reprinted in the Milan edition of the same (1811, XII, 2), and by Miintz in his "Renaissance" (III, 499). Cf. also Dezallier d ' Argenville, Vie des plus fameux peintres (1762), I, 49, eng., and Vasari (1760), pl. 135, eng. The right-hand figure in the double portrait, Louvre, No. 1508, commonly known as "Raphael et son maitre d 'armes, ' ' was believed in the seventeenth century to be a likeness of Pontormo. The identification is without foundation. The canvas, once given to Raphael himself, is ascribed to Giulio Romano by Berenson, to Sebastiano del Piombo by Waagen, to Polidoro da Caravaggio by Cavalcaselle. Cf. Duranty, Gazette des beaux-arts, XV (1877), pp. 32, 34; Rosenberg and Gronau, Baffael, 4th ed., pp. 211, 252; Berenson, Central Italian Painters, 2d ed., p. 185; Crowe and Cavalcaselle, Baffaello, ed. Le Monnier, III, 414 f. ; Passavant, Baphael d'Urbin, II, 355-357, note; 294. For the provenance of the picture, see Engerand, Inventaire, Paris, 1899, pp. 20 ff. 84 Die Eunst des Portrats, 1908, p. 345, fig. (photo. Reali). ss Dessins, p. 244. B. F. D., pl. CLXXIV. D. G. U., pl. XVIII. 81 CHAPTER IX PORTRAITS The various influences that reacted upon Pontormo 's personality and combined, at times strangely, with successive phases of his creative instinct may also be traced in his por traits, for happily portraiture was with him, even in his youth, a favorite medium of expression. By its limitations and its possibilities it implied an art admirably suited to his peculiar temperament. But it would be idle to analyse his portraits separately, while to establish for them an exact chronology is practically impossible. In portraiture progressive variations of touch are always difficult to distinguish, and Pontormo 's fidelity to the character of his sitter complicates the problem. Moreover, of the forty-seven portraits, paintings or drawings, that have come down to us only one is documented and dated: the "Portrait of Alessandro" in the Johnson Collection. And only this and the "Portrait of Cosimo il Vecchio" have even been identified.1 To determine whether other portraits, ascribed or ascribable to Pontormo, are authentic or not requires that intimate knowledge of his touch and of his development which alone can help us to make an intelligible pattern out of what ignorance and the years have jumbled and in part destroyed. Here his portrait-drawings render an especial service. They betray their date by disclosing their relationship to other drawings, the date of which is known, and with their help we may thread the mazes of a difficult chronology. The earliest portrait we possess is perhaps the "Engraver of Precious Stones" (fig. 10), once part of the collection of i The ' ' Portrait of Bartolommeo di Lorenzo Gualteretti, ' ' in the Johnson Collection, which is ascribed to Pontormo by Berenson, is dated 1550. I am not, however, of the opinion that it is an authentic Pontormo. 82 HIS LIFE AND WORK Louis XIV and now in the Louvre.2 The drawing of the mouth, the nose, and the chin, the facial oval, and the heavy colour, obviously recall Andrea's "Portrait of Himself," which is now in the Uffizi.3 But Pontormo 's portrait is troubled and intro spective; from it a personality looks out at us mysteriously, as from no portrait by Del Sarto. Although, like the "Portrait of a Man" now in Bonn,4 which appears to have followed it at a short interval, it cannot have been painted later than in 1516, it demonstrates that Jacopo had even then the secret of laying bare his sitter's soul. Within the next two years he painted the "Portrait of a Young Man" (fig. 41) of the Palazzo Bianco,5 which catches so delightfully the self-conscious stiffness of a fashionable youth, and but a little later, the well-known "Portrait of Cosimo il Vecchio" (fig. 42). 6 This I place somewhat before the summer of 1518. It is an evident masterpiece, of powerful arrangement, beautiful colour, and intense interpretation. Iconographically it derived from one of the medals struck not long after Cosimo's death, and since it was painted for a secretary of Lorenzino's, Pontormo had of course to represent Cosimo in the guise of the great and saintly ancestor of the Medici. But how intimately and imaginatively Jacopo, with his subtle incisiveness of spirit, understood the fine craftiness, the pitiless penetration, and cunning self-satisfaction of the ailing old banker ! What hands ! How grasping, how alive ! Cosimo seems to hold them tightly clasped before him for fear some violent animation in them betray bis stealthy calm. He lives more vividly here than in any portrait painted during his lifetime. The treatment of the features and of the spacing in these last two portraits owes something to such works of Piero di Cosimo as his "Portrait of a Warrior," of the National Gallery or his "Francesco Giamberti," now in The Hague. 2 No. 1241. s No. 1176. 4Provinzial Museum, No. 214. b No. 6. 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. Sometime about 1528 Jacopo painted the beautiful "Por trait of a Youth" (fig. 115), now in Lucca.9 This is one of his most characteristic and charming pictures. The long, upgrow- ing neck, the delicate oval of the face, the full, fine, bushy hair, the slightly turned, sidelong glance, the slim body delicately suggested in its great robe of silk, the simple but striking adjustment of the figure to the space, the clarity and ring of the colour, all are but elements of the finer art with which Pontormo felt the essential character, the sweet frankness of a fresh, young spirit. The Bergamo portrait (fig. 116) ,10 falsely called "Baccio Bandinelli," and the Uffizi11 "Portrait of a Man" (fig. 118), 7 Dessins, pp. 96 f . 8 Ibid., p. 218. o Pinacoteca, No. 75 (Sala I, No. 5). io Morelli Collection, No. 59. n No. 1220. 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 a Girl as Lucretia" (fig. 119), now in the Borghese,12 they date from just before 1530. With them belongs the "Portrait of a Man," in the Corsini18 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 463 F) ; an elaborate but tame three- quarters portrait-drawing of an artisan (Uffizi 6698), 14 which inspired Bronzino 's "Portrait of Bartolommeo Panciatichi"; the "Portrait of Alessandro," now in Philadelphia (1534- 1535) ;15 the tense, clean-cut profile16 that is now called "The Canon Castiglione" (fig. 125). Between 1534 and 1540 I place a group of fair women, panels that are among the highest achievements of the Floren tine School in portraiture. No other Tuscan attained such rare, light harmony of tone, such graciously ample arrangement of space, such dignity and simplicity and ease, together with such subtlety, breadth, and wealth of suggestion of the sitter's social sphere, her inheritance, and her intelhgence. Most of all no Florentine, except Leonardo, so drew up the yearning, unquiet spirit to the eyes and made an unmistakable, but almost unseiz- able, vibration of personality play about the mouth. These are women of proud family and of long lineage. Yet, in their lovely but simple dresses, with their gold chains, their rings, their embossed books, their httle dogs, how human they seem to us, how frank and secretly confiding! Here must be placed such masterpieces as the "Portrait of a Young Woman" (fig. 128), in the Dirksen Collection, in Berlin, the alert and speaking "Portrait of a Girl" (fig. 127), in Frankfort,17 the 12 No. 75. is No. 577. 14 Dessins, pp. 106, 244. is Johnson Collection, No. 83. ie Pitti, No. 249. 17 Stadel Institute, No. 14 a. 85 PONTORMO "Portrait of a Lady with a Volume of Verse" (fig. 131), once in the Yerkes Collection and erroneously ascribed to Bronzino. To these years also belong the "Young Girl with a Carnation Hung over Her Ear" of the Widener Collection, a portrait that resembles those just mentioned but which from repainting has become stiff and blank, as well as two fine portrait-drawings : the one (Uffizi 17769 ),18 aristocratic, though a trifle hard in its refinement ; the other (Uffizi 414) ,19 which was long ascribed to Leonardo, big, broad, and full of good-humoured complacency. These panels and drawings were closely followed by the oval "Portrait of a Woman in Green" (fig. 129), in the Grand- ducal Gallery of Oldenburg,20 skilfully arranged, magnificently large, and of broad spiritual insight. Of the same date are the dry but firm study, Uffizi 6680 ;21 the badly proportioned drawing of a bishop (Uffizi 443 verso), perhaps for the now lost portrait of Ardinghelli; the somewhat dull, though quite correct, red-chalk study of a boy in a mantle with a flute (Uffizi 443) ,22 Here one should place the "Portrait of Cardinal Spannocchi Cervini" (fig. 130), the Sienese prelate who was afterwards Pope Marcellus — a panel which, before Morelli's time, was held to be by Raphael.23 And here, too, belongs the grave and penetrating "Portrait of Bartolomeo Compagni" (fig. 126), now in the Stirling Collection. In it the accessories are of an almost painfully scrupulous naturalism. The effect of the whole, however, with its broad distribution of masses is of a dignity, a quietness, quite undeniably Pontormo 's own. Even during the last years of his life, while he slaved in the solitude of the San Lorenzo choir, his mind all preoccupied with a new idealism, Pontormo had, when he faced a definite model, an eye unswervingly loyal to the essentially significant in character. A masterful and uncompromising human docu ment, raised above mere stupid transcription into that realm of is Dessins, pp. 288 f. i» Ibid., p. 89. 20 No. 19. 21 Dessins, p. 230. 22 Idem, pp. 93 f . 23 Borghese Gallery, No. 408. 86 HIS LIFE AND WORK intellectual clarity in which the best of Pontormo 's art moves, is the "Portrait of an Old Lady" (fig. 150), now in Vienna.24 Here, as in the severely simple "Portrait of a Lady" (fig. 151), in the Jacquemart-Andre Collection, Jacopo's study of his sitter's personality is still indefatigable and searching. Pon tormo could never have painted the "Mona Lisa." His limitations and inequalities become only too obvious when his achievement, even in portraiture, is compared with a work upon which a mind as unparalleled in depth and scope as Leonardo 's has left a record of its own unique experience. He had neither the supreme quality of accumulated vision necessary for such an understanding, nor the unapproachable cunning of hand. His was an intuitive intelligence, an instinctive penetration, which, at its best, leaves upon the faces of his people an inde finable and appealing wistfulness that makes Bronzino 's portraits seem hollow and uncommunicative, Andrea's monoto nously literal, Ghirlandaio 's wooden, and even the greater portraits of the Quattrocento lacking in all inner animation. But quite apart from any limitations that one may feel in Pontormo 's portraits, when one compares them with the greatest masterpieces, and quite apart too from any artistic superiority that they may claim when one sets them beside the works of his predecessors or contemporaries, they have, in the history of this province of painting, an importance that has been hitherto unrecognized. It cannot, however, be long before it will be clear to all students of Florentine civilization that one legacy, in the long inheritance left by those minds that have re-created the visible world in the plastic arts, one aspect of our present vision of ourselves, has undoubtedly its source in him. This contribution to our visual memory passed from Jacopo to Bronzino and, popularized by him, found its way through certain Italians who worked in Spain, and through Flemish artists like Antonio Moro25 who worked in Italy, into 24 Gemaldegalerie, No. 48. 2» For the influence of Pontormo, through Bronzino, upon Antonio Moro, cf. the "Portrait of William of Orange" (Cassel, No. 37) which Antonio painted in 1555-1556; the "Portrait of a Youth in Armour," dating from about 1560, lately in the Ehrich Galleries, New York, and now in the St. Louis Museum ; and the ' ' Portrait of a Princess, ' ' 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 passages1 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 lessly a chance to finish the Great Hall at Poggio.2 Vasari did not understand Jacopo's whole-hearted devotion to his art. Even though he admits it was no lack of ability that made Pontormo procrastinate,3 and that once decided how a tiring should be done his manner of working showed no vacillation, it is quite apparent Vasari did not realize that Jacopo never put his hand to an undertaking without first solving the problem of its conception and execution. In a letter to Varchi Pontormo himself gives us a whimsical account of his attitude towards painting. This letter4 explains much. Jacopo felt the underlying principle of sculpture and painting to be design — a term that he uses in its widest sense, and that for him includes invention, composition, and the rendering of the figure. Sculpture, he thought, is eternal; painting, transitory. And he wittily compares the former to "parmo fine," the latter to "panno accotonato dell 'inferno." On the other hand, the mere durability of the stuff of sculpture, i VI, 249, 271, 285, 287. 2 Ibid., p. 277. s Ibid., p. 289. 4 Bottari, Baccolta di lettere, Milan, 1822, I, 20-25. See Appendix II, Doc. 32. 89 PONTORMO the time-resisting bronze or stone, is after all a quality that even unquarried rocks have, while the eternity to which genius attains resides in a profound creative impulse and in the conquest of inert material. He keenly felt the mere physical difficulties of the practice of sculpture or painting, and from this point of view, painting is for him the more marvellous art. Does it not, with slighter means, attempt a larger task % With mere colours and a flat surface, does the painter not realize, by an artifice, nature, its colours, lights, shadows, diversities — air, cloud, landscape, houses, men, and animals — everything various, harmonious, and graceful, in the multitudinous appear ances of things? This vying with nature Jacopo felt to be a fine audacity. Still finer, the daring that, by arranging and harmonizing images taken from nature, transfigures and makes them more beautiful than nature is herself ! The playful, philosophic aloofness of this letter manifested itself in Jacopo's daily life. He was an unworldly and solitary spirit. Vasari hints that some of his contemporaries even found him unsociable and mean. Certainly he cultivated no luxuries of dress or food or change. His httle house was without extravagance or pretence, and it had, to use Vasari's5 expression, "cera di casamento da uomo fantastico e solitario." Like Michelangelo and Leonardo, he never married. His work he loved, not what it brought him. Poor as he was, he sought no commissions from the rich.6 And when he had work to do, he closed his door even to his intimates. This we know from his diary, for one day he writes: "Domenica fu pichiato da Bronzino e poi il di da Daniello. Non so quello che si volessino." Vasari appreciated his rectitude of spirit and defends him against the accusation that, in allowing the "Venus" to be sold to Alessandro, he did not treat Bettini fairly. He protests against gossip, once current in Florence, that Jacopo was vain and proud because he had been chosen to paint the choir of San Lorenzo.7 Vasari knew that nothing was more foreign to 5 VI, 279. 8 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 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 Uffizi (fig. 153), and we can state — curious fact in the hfe 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 Tageouch Jacopos da Pontormo, Bepertorimm, 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 cosl." 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 bim 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 we get a strangely lucid image of how day succeeded day and, bit by bit, the long solitary work went forward. He notes his troubles with his "fattore." Too ill to go out himself, Jacopo sends him for a ' ' fiasco ' ' of wine. The wretched man tells him that hereafter he can do his own errands ! And that evening he supped on a bunch of grapes. Again he remarks: "My Battista has gone off for the day and has not come back though he knows I am ill and will have to keep him in mind all the time." Battista was his pupil Naldini, who was a foundling of the Hospital of the Innocents and who was, it would seem, adopted by Pontormo sometime late in the forties. We watch the heartless boy tease the old man for two long days, saying he will go away and never come back again. Once Jacopo pathetically remarks: "Thursday, that was the day when Battista locked himself in his room and refused to eat." One evening (March, 1556) Bronzino asked his old master to dinner and he refused to go. They quarrelled, and that night Jacopo wrote bitter things in his diary, but after wards crossed them out. He notices the changes of the weather — bright days or bleak rainy days when he suffered from the cold. He speaks of his dinners and suppers with Bronzino or ' ' Daniello. ' ' These were chiefly on Sundays. Sometimes for long periods he saw no one. Then again, day in and day out, he took his meals with one of his friends, and they were, we may believe, kind to the caprices of the solitary, morose old man. We learn of his rare 92 HIS LIFE AND WORK days of recreation — holidays when he went to walk with Piero or Angelo or with all their little circle, at Monte Oliveto or San Miniato or San Domenico. We learn of still rarer nights at the tavern or the theatre. We hear of visits to the friars on business, of the gift of game that he promised to his friends, the "pane di ramerino" and the fifty figs that they gave him, the wine that he bottled, the peaches he planted, the chair and the coverlet he bought. Frequently we read of his illnesses, particularly of one long illness during which Bronzino took 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 Itahan 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 feast9 of the "Tregua," of the picture Bronzino sent to Pisa, of a head of Sandrino 's that he went to see, visits from Luca Martini, a sonnet that Varchi sent him. We know his friends, the little circle of men who spent their leisure together, Bronzino, Piero, Daniello, Luca Martini, o The famous truce between the Emperor and the King of France that was published in Siena, March 26, 1556. 93 PONTORMO Varchi, Ottaviano,10 and, more rarely, Pucci and Strozzi. With them we see two women, Alessandra and Maria. Once too he mentions dining alone with Borghini,11 the "priore dell' Ospedale." In so solitary a life, to a nature so intense and lonely as his,12 the training of pupils was impossible. What was best in his art was too personal to be easily imitated, too subtle and too various to become a canon to young artists. On the other hand, no artist, no matter how talented, could have formed a school in Florence at a moment when all art had become Michel angelesque. As far as their influence on others went, Pon tormo 's rare gifts were largely wasted. The decadence had begun. It was almost in vain he gave to the world scores of drawings, the best of which must finally rank with Michel angelo's and Leonardo's, a whole gallery of splendid portraits, a perfect specimen of decoration at Poggio, a lyric altar-piece at Santa Felicita. The decorative beauty that these last two works reveal, their lightness, their freshness, left his contem poraries only half convinced. Still less convinced were they by the heroic and mysterious symbolism of the San Lorenzo choir. An artist of his genius could not, of course, even in the later Renaissance, escape having imitators. To his early work Rosso owed much in the "Marriage of St. Catherine," in San Lorenzo (1523), the "Deposition," at Volterra (1521), the "Doni Altar-piece" (1522), now in the Pitti, the "St. John," now at Dijon. Rosso 's draughtsmanship is merely a hard, extravagant variant of our master's first manner. Andrea also, to whom Pontormo 's debt was great, shows here and there as io 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 Boechi (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 1 'avere a incontrare morti." 94 HIS LIFE AND WORK in the "putti" of the two "Assumptions" in the Pitti, faint traces of the counter-influence of Jacopo's art. Granacci liberally borrowed form and colour from our painter in such pictures as his "Scenes from the Life of Joseph." Bacchiacca pieced out his patchwork with many a shape of Jacopo's invention, and Bugiardini had in mind a Pontormo drawing (the meaning of which he was too dull to understand), when he executed the "Young St. John," now in Bologna. Vasari made drawings of the Certosa frescoes,13 consulted Jacopo14 about his own "Portrait of Alessandro,"15 and had our master help him with the cartoons10 for the "Battle of Val di Chiana." In his full-length portraits of Cosimo il Vecchio and Cosimo I,17 he imitated Pontormo so closely that they were long considered to be the latter's work. With lesser men, like Lappoli18 and Pichi,19 Jacopo's pupils for a time, we are hardly concerned. They were crass imitators of whatever creative instinct they came in contact with momentarily. Neither is it worth while to study here Cristofano dell' Altissimo20 who belongs to a later generation and owed more to Bronzino than to our painter. The feeble journeyman who painted the "Madonna and Saints," in the Municipio at Citta di Castello,21 or the painter of the "Presentation in the Temple," now in Dijon, we leave in their obscurity. Bronzino (1503-1572) 22 was really Pontormo 's only pupil. And it is one of fate 's strange extravagances that for centuries is VII, 605. 14 Ibid., p. 657. ib Uffizi, No. 1281. io Vasari, VII, 716. " See the Catalogue Raisonnfi, under Palazzo Vecchio, Florence. The influence of Pontormo 's work at San Lorenzo may be seen in the figure of a bald, bearded saint in his "Coronation of the Virgin," in Citta di Castello (photo. Alinari). is Vasari, VI, 7. io 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. 21 Catalogo della pinacoteca comunale di Cittd di Castello, p. 7. 22 Vasari, VI, 6, 289; VII, 593 f. Bronzino was, according to Vasari (IV, 241), originally a pupil of Eaffaellino del Garbo. 95 PONTORMO he has been by far the more famous of the two, although he was infinitely less gifted than his master. But, as court painter he was much employed by the Medici, and numerous copies of his portraits of Cosimo I, of Eleonora, and of their children, produced in his "bottega," and as gifts scattered by the Grand Duke and his descendants all over Europe, served to give Jacopo's conscientious disciple a renown out of all proportion to his merits. His reliable, pedestrian character made bim a favourite with Cosimo and his satelhtes who preferred to capricious creativeness, work finished with diligence and dis patch. But every fine quality — dignity, repose, spaciousness, impressiveness, and simplicity — that one finds in the best of Bronzino 's portraits is derived directly from his master's art. In the "Portrait of Ugolino Martelli," and in the Panciatichi portraits, our contention is made clear. These, by their elegance, by their intense grasp of the sitter's psychology, by the charm with which they are posed, by the modelling of the cheeks and the eyes, and by the large- jointed bony character of the hands, owe their inspiration to Pontormo 's work in portraiture between 1518 and 1534. A glance at Pontormo 's "Portrait of a Lady with a Volume of Verse," once in the Yerkes Collection, his "Alessandro," in Philadelphia, the "Portrait of Youth," in Genoa,23 his drawing of an artisan in the Uffizi,24 suffices to prove our point. After 1540 Bronzino got nothing new from Jacopo. He merely hardened the formula that he had learned between 1530 and 1540 and chilled its colour. He lost, as he lost touch with Pontormo 's work, the insight into his sitter's character he had once had. Even in his delightful portraits of the Medici children, he had already substituted expression for interpre- 23 How closely Bronzino 's early work in portraiture resembled Pontormo '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 Ehrieh Galleries, New York, on March 21, 1906. 24 Uffizi 6698. Cf. Dessins, pp. 243 f. 96 HIS LIFE AND WORK tation. These date from the end of the forties and the beginning of the fifties. By 1555 he had arrived at the unresponsive stiffness of "Eleonora and Her Son," now in the Uffizi. Out of the great qualities once reflected upon him he had evolved for himself a permanent manner. Bronzino 's early religious pictures arc rare. Like his early portraits they owe all their interest to our master. His later mythological and religious paintings are quite crassly and confusedly Michelangelesque. His drawings also are of an extreme rarity. In addition to those pointed out by Berenson, I have identified two others, one25 for the "Deluge," in the Chapel of Eleonora, in the Palazzo Vecchio, the other26 for the Infant Jesus of the Pitti "Holy Family." Both date from after 1550. They are dry, tame, uncertain variants of drawings that Jacopo made between 1535 and 1545.27 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 early drawings have at times28 been confused with Naldini 's, or that, still more frequently, Naldini 's29 have been catalogued as Jacopo's. Other sketches of Battista 's have, as Berenson has observed, long passed as Andrea's, while some of his red-chalk studies have borne even Michelangelo's name. After 1557, when Pontormo was no longer alive to counsel him, Naldini 's draughtsmanship became hideously academic. His paintings are painfully feeble, and in them only figures 26 Uffizi 6704. Cf. Dessins, pp. 248 f. 26 Uffizi 6639. Cf. Dessins, p. 199. 27 Ibid., pp. 49 f . as Uffizi 7452. Cf. Dessins, p. 281. 29 Uffizi 6524; 6566; Louvre 1019(f). Cf. Dessins, pp. 130, 157, 328. Naldini worked at one time with Vasari on the frescoes of the Great Hall of the Palazzo Vecchio. Cf. Vasari, VII, 99. 97 PONTORMO borrowed here and there from Pontormo indicate attenuated traces of our master's practice. More than twenty-five years after his death, Pontormo 's influence was also felt by Empoli. This facile workman made various copies of Jacopo's pictures, notably of the Certosa frescoes and of the "Supper at Emmaus." Still later, towards the end of the century, Cigoli now and then imitated our painter, and Andrea Boscoli30 drew inspiration from his drawings for many a sketch of his own.31 so Two drawings (Uffizi 457 and 464) by Boscoli have been falsely attributed to Pontormo. Cf. Dessins, pp. 101, 106. si Giovanni Stradano imitated Pontormo in the ' ' Nativity of the Virgin, ' ' which he painted in 1583 in the chapel of the Villa Pazzi at Perugiano, near Montemurlo. Cf. a cut in the Bassegna d' arte, XIV (1914), p. 254. Zacchia of Lucca (d. 1561), although generally a late imitator of Fra Bartolommeo, shows at times, as in his "Portrait of a Man, ' ' in the Louvre, that he was not without knowledge of Pontormo 's work in portraiture. 98 PAINTINGS AND DRAWINGS BY PONTORMO l--|(i. 1. "THE Hilsl'ITAl. Ill- SAX MATTEI acuh:m\ floki:mi. •^n- FIG. 2. MADONNA AND SAINTS CHAPEL OF SAN LUCA. SS. ANNUNZIATA, FLORENCE FIG. 3. STUDY FOR THE SAN LUCA MADONNA AND, SAINTS PRINT ROOM, DRESDEN FIG. 4. STUDY FOR THE SAN LUCA MADONNA AND SAINTS UFFIZI 6676 VERSO, FLORENCE FIG. 5. THE VISITATION SS. ANNUNZIATA, FLORFNCF FIG. 6. STUDY FOR THE VISITATION IN SS. ANNUNZIATA, FLORENCE UFFIZI 6603, FLORENCE FIG. 7. STUDY FOR THE VISITATION IN SS. ANNUNZIATA, FLORENCE UFFIZI 6542, FLORENCE FIG. 8. STUDY FOR THE BAI'TIST Ol' THE CARRO DELLA ZECCA I 'FFIZI 6581 VERSO, FLORENCK I. .. FIG. 9. STUDY FOR A LOST PIETA TTFFIZI 6690 VERSO, FLORENCE FIG. 10. PORTRAIT OF AN ENGRAVFR OF 1'RICCIOUS STONICS j.orvKi-; 1241, r \k im FIG. 11. 'STUDY FOR THE LOST SANTA CECILIA OF THE ORATORY OF SANTA CECILIA IN FIESOLE CORSINI 124161, ROME FIG. 12. SKETCH FOR THE LOST SANTA CECILIA OF THE ORATORY OF SANTA CECILIA IN FIESOLE UFFIZI 6694, FLORENCE FJG. 13. MADONNA AND SAINTS 5AN MICHELE VISDOMINI, FLOHL.N'CIv . - ' FIG 14. SKETCH FOR THE MADONNA AND SAINTS OF SAN MICHELE VISDOMINI CORSINI 124232, ROME FIG. 15. SKETCH FOR THE MADONNA AND SAINTS OF SAN MICHELE VISDOMINI CORSINI 124244, ROME FIG. 16. SKETCHES FOR THE MADONNA AXD SAINTS OF SAN MICHELE VISDOMINI UFFIZI 6551. FLORENCE FIG. 17. SKETCH FOR THE MADOXXA AXD SAIXTS OF SAX MICHELE VISDOMINI UFFIZI D^l VERSO. FLORENCE 4wu¥3iF' tfir. "t'Ntwrv* tu t"\v>;- -;<>**i«|^~ ¦ ,'.-3 FIG. 18. SKETCH FOR THE MADONNA AND SAINTS OF SAN MICHELE VISDOMINI UFFIZI 6545, FLORENCE FIG. 19. SKETCH FOR THE MADONNA AND SAINTS OF SAN MICHELE VISDOMINI UFFIZI 6744 VERSO, FLORENCE -J -^ iv FIG. 20. STUDY FOR THE MADONNA AND SAINTS OF SAN MkTIUUC VIS I )i )M IN I UFFIZI 654, FLORENCE FIG. 21. STUDY FOR THE MADONNA AND SAINTS OF SAN MICHELE VISDOMINI UFFIZI 6662, FLORENCE FIG. 22. STUDY FOR THE MADONNA AND SAINTS OF SAN MICHELE VISIID.MINI L'FFIZI 6581, M.ORJ.NCI. FIG. 23. STUDY FOR THE MADONNA AND SAINTS OF SAN MICHELE VISDOMINI UFFIZI 6744, FLORENCE ?• .T4- M *'-< N* 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 HIMSEUF To His URETIl K KN COLLECTION Ol l..\t>\ l>1 ^IIOHorCII, I'ANMIANt.KH 1 M^V ' j4l -h ¦B^^^^^^H I 1* 2m& ¦ il 1 FIG. 27. THE BAKER LED OUT TO EXECUTION- COLLECTION OF LADY IIESIIOROUGM PANSHANGER FIG. 28. STUDY FOR THE JOSEPH DISCOVERING HIMSELF TO HIS BRETHREN LTFFIZI 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 "»Tr« ->*»,., ,-»**-¥ ,\.._* FIG. 31. STUDY FOR THE JOSEPH SOLD TO POTIPHAR UFFIZI 6556, FLORENCE FIG. 32. STUDY FOR THE JOSEPH SOLD TO POTIPHAR UFFIZI 009J YKRKO. 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 UFFI/.I 452. FLORENCE Bjjto^^ AW&$L l|||p| -Jl««^-!*3i*a *; . ,, "7#"* " . f&£i -MPS M>mw W4 . >'-M' ft waB^ipM^BM, llt'?A Wm /Mr.«!*««I-v..'5 iHSSiffli |Bf| fsKX^rfc"' ' '" *5a*5 25 *'S^'- ¦•' ** FIG. 39. STUDY FOR A LOST PIETA UFFIZI 300 F, FLORENCE FIG. 40. STUDY FOR ST. MICHAEL OF SAN MICHELE IN PONTORMO UFFIZI 6506, FLORENCE FIG. 41. PORTRAIT OF A YOUTH PALAZZO BIANCO 6. GENOA FIG. 42. PORTRAIT OF COSIMO IL VECCHIO UFFIZI. FLORENCE FIG. 43. STUDY OF THREE NUDES UFFIZI 672, I'LOKKKCE FIG. 44. STUDY OF THREE NUDES UFFIZI 442, FLORENCE }M IP ¥ 1 1 Y&- ¦ 1t ; | :.:¦.¦: FIG. 45. STUDY OF A MAN UFFIZI 6571 VERSO, FLORENCE TOW mi «||i ^. s* ¦: / ¦ FIG. 4o. .STUDY OF A NUDE 11FIZI (OH I. FLORENCE FIG. 47. THREE SKETCHES OF A NUDE UFFIZI 6516 VERSO, FLORENCE FIG. 48. PORTRAIT OF A BOY TRIVULZIO COLLECTION, MILAN Liu! FIG. 49. STUDY OF A YOUTH UFFIZI 6682, I'- LOR ENCE 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 VEKSO, FLORENCE FIG. 54. SKETCHES FOR THE LUNETTE AT POGGIO A CAJANO UFFIZI 6557, FLORENCE K' -•«??: - •¦ FIG. 55. STUDY FOR THE LUNETTE AT POGGIO A CAJANO UFFIZI 6673. FLORENCE f1 US3 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 6514. FLORENCE FIG. 60. STUDY FOR THE LUNETTE AT POGGIO A CAJANo UFFIZI 6555, I'LORENCE ¦.^¦B^P^^piiP^*^^ 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, F'LORENCE FIG. 63. MVHY 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 ..<*< 3£^K"?SS?K .V c 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 THK LUNETTE AT POGGIO A CAJANO UFFI/,1 6685 RECTO, FLORENCE "Nw , ' ST- ' . "s..&*lGEw' 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 RKCTO, FLORENCE FIG. 76. STUDY FOR A YOUNG BAPTIST IN THE WILDERNESS UFFIZI 6597, FLORENCE FIG. 77. STUDY OF THREE NUDES STAEDEL 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. SO. THE WAY TO GOLGOTHA CLOISTER OF THE CERTOSA. NEAR FLORENCE FIG. 81. THE RISEN CHRIST CLOISTER OF THE CERTOSA. NEAR FLORENCE ir^ FIG. 82. THE SUPPER AT EMMAUS ACADEMY 190, FLORENCE FIG. 53. SKETCH FOR A PROJECTED DESCENT FROM THE CROSS IX THE CLOISTER OF THE CERTOSA, NEAR FLORENCE UFFIZI 6622. FLORENCE "~f^~X FIG. S4. STUDY FOR THE SUPPER AT EMMAU: UFFIZI b656 VERSO. FLORENCE FIG. 85. SKETCH FOR A PROJECTED NAILING TO THE CROSS IN THE CLOISTER OF THE CERTOSA, NEAR FLORENCE UFFIZI 6671, FLORENCE FIG. So. STUDY FOR A PROJECTED NAILING TO THE CROSS IN THE CLOISTER OF THE CERTOSA. NEAK FLORENCE UFFIZI 6665, FLOkl.NCI FIG. 87. STUDY FOR THE ANGEL OF THE ANNUNCIATION IN THE CAPPONI CHAPEL OF SANTA FELICITA, FLORENCE UFFIZI 6653, FLORENCE FIG. 88. STUDY FOR THE VIRGIN OF THE ANNUNCIATION IN THE CAPPONI CHAPEL OF SANTA FELICITA. FLORENCE UFFIZI 448. FLORENCE FIG. 89. STUDY FOR A PROJECTED NAILING TO THE CROSS IX THE CLOISTER OF THE CERTOSA NEAR FLOREXCE UFFIZI 447. FLORENCE iJt* FIG. 90. DETAIL OF THE ST. QUENTIN IN BORGO SAN SEPOLCRO FIG. 91. SKETCH FOR THE HEAD OF THE ST. QUENTIN IN BORGO SAN SEPOLCRO UFFIZI 6647 VERSO, FLORENCE FIG. 92. THE DEPOSITION CAPPONI CHAPEL, SANTA FELICITA, FLORENCE FIG. 93. STUDY FOR THE DEPOSITION OP 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 1*4230- ROME FIG. 98. SKETCHES FOR THE DEPOSITION OF THE CAPPONI CHAPEL UFFIZI 6613 VERSO, FLORENCE FIG. 97. STUDIES FOR THE DEPO SITION OF THE CAPPONI CHAPEL FIG. 99. STUDY FOR THE DEPOSITION OF THE CAPPONI CHAPEL UFMZI 6619, I'LOHKNCE FIG. 100. STUDY FOR THE DEPOSITION OF THE CAPPONI CHAPEL UFFIZI 6576 RECTO, FLORENCE FIG. 101. STUDY FOR A PORTRAIT OF A YOUNG GIRL UFFIZI 449. FLORENCE FIG. 102. STUDIES* FOR A PORTRAIT OF A BOY UFFIZI 6667, FLORENCE FIG. 103. THE MADONNA. CHILD ANO LITTLE ST. JOHN PALAZZO CORSINI 141, FLORENCE p'£ ¦ ' * *^^]&^ tJJEBMb^bI 1 if] 1^*1*0 1 B7 '"^ HI |ijP Lv^jMj ^tWiiJB BP^1^ ¦¦ v HflflKflflBBi 1 ii Awlr^BBB : iii P#^ Jl- ' ^flflV^«Hfl BM flr J \ ' I m^ % f \t fil Bk • Btj8 r^^%JJBfl| 1 ^ V ra Bt 1 | ¦ idM Br* ¦ft JH 1 ^1 Ih!bJ It .^H ^IHp ¦ iflfl BT ffiBT fl : ' ' 41 Bk fft m W^^'**— * \ i ml 1 j BBj ^BBlEiBk ¦ !^Bb B; ^^BJ^^v .¦3*1 ¦ tVm -fill bJP H^ >fl ' - ^¦1' ' BKwWvn WSfJByBM FIG. 104. THE MADONNA, ST. ANNE AND FOUR SAINTS LOUVRE 1240, PARIS 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, FLORENCE v. *»<^ >*, <*; ™ FIG. 107. THE MARTYRDOM OF ST. MAURICE UFFIZI 1187, FLORENCI. 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 CARMIGNANO UI-'FIZI 461, FLORENCE FIG. 113. STUDY OF A NUDE UFFIZI 6723, FLORENCE FIG. 114. BIRTH-PLATE: THE BIRTH OF ST. JoHN THE BAPTIST UFFIZI 119N 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 o71> FLORENCE JJ FIG. 118. PORTRAIT OF A MAN UFFIZI 1220, FLORENCE FIG. 119. LUCRETIA BORGHE9E GALLERY 75, ROME 1 ***•* r?- HI 7 ^ wmv'mr *f . *'¦ I 'St- < 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. YENUS AND CUPID UFFIZI 1284, FLORENCE FIG. 124. PORTRAIT OF ALESSANDRO DE" MEDICI JOHNSON COLLECTION S3, PHILADELPHIA FIG. 125. PORTRAIT OF A MAN PALAZZO PITTI 249, FLORENCE FIG. 126. PORTRAIT OF BARTOLOMEO COMPAGNI STIRLING COLLECTION, KEIR, DUNBLANE, SCOTLAND PI fe ; Bk ^mj0t?t ¦ /^BflB^k 1 K A^ BA. BBk'^ T Amm ¦ X- i SP 0 ' 4€- ¦ ,, 4i • '.-,' ¦ .' i FIG. 127. PORTRAIT OF A YOUNG WOMAN STAEDEL INSTITUTE 14 A, FRANKFORT 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 OP THE CARDINAL SPANNOCCHI CERVINI BORGHESE GALLERY 408, ROME FIG. 131. PORTRAIT OF A LADY WITH A VOLUME OF VERSE FORMER VERKES COLLECTION «*p i '^Fs^sr 1. v$ Ste. i«l 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 V, !» ti\ Af V *k V "**> ¦*r X? J •x. X x 5 H H t < x - 2 ^ 5 5 S 5 ^ - | R ^ ^ 5 £ X - 1 2 * FIG. 136. JOSEPH AND POTIPHARS 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, FLORENCE UFFIZI 6609, FLORENCE ' J* % FIG. 139. STUDY FOR THE LOST MOSES RECEIV ING THE LAW IN SAN LORENZO, FLORENCE UFFIZI 6749, FLORENCE FIG. 140. STUDY FOR THE LOST FOUR EVAN GELISTS IN SAN LORENZO, FLORENCE UFFIZI 6750, FLORENCE FIG. 141. STUDY FOR THE LOST SACRIFICE OF CAIN AND DE OF ABEL IN SAN LORENZO, FLORENCE UFFIZI 6739, FLORENCE .- \'^ - '. A? / H m V,,:-..- *$?*¦¦ FIG 142 STUDY FOR THE LOST DEATH OF ABEL IN SAN LORENZO, FLORENCE FIG. 143. STUDY FOR THE LOST TILLING OF THE SOIL IN SAN LORENZO, FLORENCE BflBJl FIG. 144. STUDY FOR THE LOST DELUGE IN SAN LORENZO. FLORENCE UFFIZI 6753. FLORENCE '•y FIG. 145. STUDY FOR THE LOST DELUGE IN SAN LORENZO, FLORENCE UFFIZI 6752, FLORENCI! FIG. 146. STUDY FOR THE LOST DELUGE IN SAN LORENZO, FLORENCE UFFIZI 6528, FLORENCE \/ n-yrr "• *lw 3* i / I m ~< . '"— •»»¦¦ LIU. _i,-f«"«'^«-«'* " ¦•*tnircjt#t Lftpr*. ,.*J„ .,% «.?u i- «* rjfcijJrjp **v ,'^"i FIG. 152. PAGE 4 OF PONTORMOS DIARY BIBLIOTECA NAZIONALE, FLORENCE ""• *-L :; 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 UFF'IZI 6760, FLORENCE CATALOGUE RAISONNE OF AUTHENTIC FRESCOES AND PICTURES CATALOGUE RAISONNE OF AUTHENTIC FRESCOES AND PICTURES Mm ASHBOURNE NEAR PHILADELPHIA Widener Collection 172. PORTRAIT OF A LADY Half-length; turned slightly to the left. She has a fair complexion, dark brown eyes that look at the spectator ; her yellowish brown hair is rolled up in a black net with pearl ornaments. She wears a bottle-green dress cut low with puffed sleeves and a muslin fichu. A necklace of black stones and a gold chain hang round her shoulders; over her left ear she has placed a carnation ; in her lap sits a small greyish white terrier. The background is a shallow niche, grey to the left and behind her left shoulder, and black over her right shoulder and to the extreme right. Oil on wood (heavily cradled). H. .56, w. 44. From the collection of the Duke Sigismund Frantz, Castle Ambras (Austria) ; acquired as a Bronzino ; first correctly ascribed to Pontormo by Berenson. The modelling of the eye, the nostrils and the mouth, as well as the very characteristic shape of the ear, vividly recall the "Portrait of a Lady," in the Jacquemart-Andre Collection. The little dogs of these two pictures resemble one another closely. A portrait having certain affinities with the present panel and ascribed correctly to Bronzino formed part of the Fischhof Collection (Catalogue de Tableaux composant la Collection de M. Eugene Fischhof, Georges Petit, 1913, p. 124; fig., p. 125). Condition : repainted on the face, neck, and shoulders. Date : 1534-1545. 101 PONTOBMO Reprod. Photo, for the collector; catalogue cited below, pl. facing p. 172. Bibl. Catalogue of Paintings Forming the Private Collection of P. A. B. Widener, Ashbourne, Near Philadelphia, Paris : Manzi, Joyant & Co., 1900, II, 172. BERGAMO Morelli Collection 59. PORTRAIT OF A YOUTH Bust figure turned three-quarters left. He is beardless and has brown curly hair, thin arched eyebrows, wide-set hazel eyes, the right slightly smaller than the left, thickish nose and pouting lips, and a large-lobed ear. He wears a black velvet cap, doublet and embroidered linen collar. Background, greenish grey. Oil on wood. H. .46, w. .37. Provenance unknown. Morelli believed it to be a portrait of Baccio Bandinelli because of its resemblance to a print said to represent the sculptor. His identification seems to be unfounded. Bandinelli was born, according to the Libro de' Battezzati, on October 7, 1488, or, according to Libro III dell' Eta, on November 12, 1493. Therefore, if the panel is a likeness of Bandinelli it must have been executed between 1506 and 1511, since the person it represents can hardly have been more than eighteen when it was painted. The picture is, how ever, a strikingly characteristic example of Jacopo's work in portraiture between 1528 and 1532. Bandinelli was then at least thirty-five or at most forty-four years of age. Condition : excellent ; slightly retouched about the forehead and the hair. Date : 1528-1532. Rep rod. Pig. 116; photo. Taramelli 305; photo. Istituto d'Arti Grafiche; fig., Prizzoni, Caller ie dell' Accademia Carrara, Bergamo, 1907, p. 67 ; small cut, Reinach, Beper., Ill, 756. Bibl. B. P. P. R., p. 174; Prizzoni, La Galleria Morelli in Bergamo, Bergamo, 1892, p. 18 ; idem, catalogue cited above. 102 AUTHENTIC PICTURES BERLIN Von Dirksen Collection PORTRAIT OF A LADY Three-quarter length. She is seated on a marble seat against a wall; the torse and legs turned three-quarters left, the head three-i|iiarterH right; the knees crossed. Her left elbow rests on a raised ledge, her left hand touching the elaborately woven cord of her belt that lies across her lap; her right hand rests upon her knees and holds a small book, the index finger between the leaves. Her hair is parted in the middle and, brushed back smoothly from the forehead, is wound around the back of the head in a thick roll covered with a jewelled net ornamented with a small brooch at the centre. In front of this net a chased gold fillet encircles the head. She wears a gown cut square at the neck, with large puffed sleeves. These are of velvet from elbow to wrist, close-fitting and trimmed with two bands of fur ; a little ruche at the wrist. The bodice is trimmed with velvet bands. The neck and shoulders are covered by a white chemisette with an embroidered collar tied with a small black ribbon. Around her neck, a knotted chain from which hangs a little cross. Around her waist, and falling across her lap, a girdle with intricate knots and tassel. The book has ribbon clasps. On the lower ledge of the bench to the right, a pair of gloves decorated with little bows. The background, a shallow niche with a pilaster on either side. This portrait is closely related, in general conception, composition and modelling, to the "Portrait of a Young Woman with a Dog, ' ' in the Stadel Institute, in Frankfort, but in spirit it is graciously wistful while the latter is robustly frank. Date : 1534-1545. Reprod. Fig. 128. Bibl. B. F. P. R., p. 174. BOLDRONE WAY-SIDE SHRINE In the centre, raised above the other figures, the Christ crucified. His hair is auburn, his loin-cloth, purple, the cross, bright yellow. To the right of the cross stands St. John turned three-quarters left, his head nearly full face, his right arm extended downward at his side, his left slightly raised; weight on the right leg, the left leg bent. He wears a full purple mantle. To his right, St. Augustine, torse full face, his head turned three-quarters left; in his right hand, a red crosier; in his left, a red book. He wears a voluminous light green vestment with purple tunic. To the left Mary stands, 103 PONTORMO turned three-quarters right, her hands clasped. Her robe is light purple. To her left, St. Julian, torse nearly full face, his head in profile looking up at the Crucified. He holds in his right hand a great sword the point of which rests on the ground. His hair is brown, his ample mantle, red with yellow sleeves. Fresco. The altar wall is 1.70 wide, the side-walls, which meet it at an angle of about 30°, are 1.18 wide. The Christ, Mary and St. John occupy the altar wall, the other two saints, a side-wall each. Near Florence, above Quarto, at the corner of Via dell'Os- servatorio, Via Andrea del Sarto and Via Domenico Cirillo. Mentioned by Vasari who implies that this shrine was under taken shortly after Pontormo finished the Capponi Chapel. In the figures he finds a trace of Jacopo's German manner. The composition is however of a simplicity quite unlike the Passion frescoes, although the types recall those of the Certosa. Condition : ruined in Milanesi 's time ; broken open and uncared for now; in a few years no trace of it will be left. Date : 1526-1527. Drawing: possible sketch (reversed) for the Madonna, Uffizi 459 verso. Documents : We do not know who paid for this work. It is, of course, not impossible that the neighbouring Benedictine nuns may have given Jacopo the commission, but I have examined the following records of their monastery (San Giovanni Evangelista di Boldrone) without finding any reference to this fresco : A. S. F., Convento 32, Giornale 2, 1513-1526 ; 3, 1523-1554 ; 4, 1535- 1542; Entrata e Uscita, 20, 1503-1513 ; 21, 1526-1534; Debitori e Creditori, 47, 1528-1548; Contratti, 60, 1502-1774; 61, 1529-1665; Ricordi, 76, 1528-1564. Reprod. Photo. P. M. C. ; the San Giuliano is reproduced in Gold schmidt 's Pontormo, Bosso und Bronzino. Bibl. Vasari, VI, 272 ; Dessins, pp. 35, 70, 103. BONN Provinzial Museum University Collection 214. PORTRAIT OF A YOUNG MAN A little less than life-size; nearly half-length; turned three-quarters left. He is beardless with traces of a moustache and wears a four-cornered brown-black hat and a greyish black coat. Behind him hangs a green curtain looped up on the right. The background, a warm dark grey. Oil on wood. H. .61, w. .43 (catalogue, h. .63, w. .44) . 104 AUTHENTIC PICTURES Provenance unknown; bequeathed with the Solly Collec tion (1821) to the University; once exhibited in Berlin (No. 239) . The colour should be compared with that of the ' ' Portrait of a Precious-Stone Engraver," in the Louvre. The present panel is considered by Berenson and Bryan to be a portrait of Andrea del Sarto but there is no ground for such an identi fication. Andrea's features are well known from his numerous portraits of himself. This portrait can not have been painted earlier than 1517 and the personage represented does not appear to be more than twenty years old. Andrea was twenty in 1506. Condition : darkened by successive varnishings but otherwise undamaged. Date: about 1517. Bibl. B. F. P. R., p. 174 (under Berlin) ; Fiihrer durch das Provin- zialmuseum in Bonn, Bonn, 1913, II, 71 ; Katalog der Oemaldegalerie, Bonn, 1914, pp. 102 f. ; F. Knapp, Das Florentiner Cinquecento, p. 8; Waagen, Verzeichnis der Gemalde-Sammlung des koniglichen Museums zu Berlin, 1841, p. 101 ; cf. also the Berlin catalogues of 1883 and 1898. BORGO SAN SEPOLCRO Municipio ST. QUENTIN Nude figure turned slightly to the left. His arms are raised ; his haloed head gazes up; his hands and feet are fixed in a pillory and a long spike is driven through his body from the right side of the neck; spikes are also driven under the nails of each hand. His loin-cloth is red. The standards of the pillory are brown and are locked with hinges to the base. On the crosspieee that holds his feet is inscribed : S. QVINTINVS. The background is a landscape of trees and hills. To the extreme right a tiny figure, in red tights and red hat, climbs a hill. He holds a spear and points at the spectator. To the left an old man, who leans upon a cross, walks away towards the right. Oil on coarse canvas. H. 1.63, w. 1.03. Mentioned by Vasari. This picture, which was begun by Giovanmaria Pichi for the Osservanti of Borgo San Sepolcro, was so completely rehandled by Pontormo that, except in the painting of the scaffold and the loin-cloth, we can hardly distinguish any other touch than his. It was originally hung in the church of San Francesco in Borgo San Sepolcro but, 105 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. Pig. 90 (detail) ; photo. F. M. C. Bibl. Vasari, VI, 259; B. F. D., II, 148; B. F. P. R., p. 174; Dessins, p. 203 ; On Certain Drawings, p. 13. CARMIGNANO Parish Church VISITATION On the right: Elizabeth, profile to left, in light green dress, orange mantle verging on pink in the shadow, head-dress cream-colour with green lights. Next to Elizabeth and to the left : the head of a woman seen facing ; drapery, olive-green. Facing Elizabeth, and profile to right: the Virgin; reddish hair, mantle blue-green, head-dress and sleeve light pink passing over into purple. Behind the Virgin and to the left: a woman facing; light red hair, pinkish purple mantle, dark green scarf on head and right shoulder, sleeve a lighter green. Background: a street with palaces; on the right, slate-colour below, pinkish grey above. On the left : palaces of purplish grey, on a bench in front of which two tiny figures seated. Oil on wood. H. 2.02, w. 1.56. On the second altar, to the right on entering the church. This panel is not mentioned by Vasari. It was painted in all probability for the Pinadori who had great estates around Carmignano and who are frequently cited in the account-books of the Medici and in those of the Hospital of the Innocents. It formerly hung, it would seem, in their villa (Bocchi, ed. Cinelli, p. 286). The composition was perhaps suggested by Diirer 's "Die Vier Nackten Frauen" (1497) ; the St. Eliza beth, by his "Nemesis" reversed. The features of the woman 106 AUTHENTIC PICTURES whose head we see between the Virgin and St. Elizabeth recalls Pontormo's "Portrait of an Old Lady," now in Vicuna (No. 48) — a portrait which is however later than tlie present panel. Condition: excellent; practically untouched, although slightly dimmed with altar-smoke. Date: 1528-1530. Drawing: finished study for the whole composition, Uflizi 4(il (fig. 112; photo. Philpots 1391; Alinari 687; F. M. C; fig., article cited below, p. 15). Reprod. Fig. Ill; photo. Reali; fig., article cited below; fig., Gold schmidt, op. cit. Bibl. Bocchi, p. 286; Gamba, Rivista d 'arte, II (1904), 13-18; B. F. P. R., p. 174 ; Dessins, pp. 104 f . CERTOSA San Lorenzo al Monte THE AGONY IN THE GARDEN On the left Christ kneels, seen from behind, dressed in a reddish purple mantle. To the left and right of him, St. James and St. John; in the fore ground, St. Peter. Peter wears a pale blue shirt, John, a yellowish green shirt and wine-coloured mantle, James, a yellow shirt and Venetian red mantle. To the right, a group of soldiers led by Judas who has red hair and wears a Venetian red mantle. The crowd, which is made up of white, red, and purple helmets and caps, is brought out by touches of the same purple as Christ's robe. The background is a pale yellow-green hilly country crowned, on the left by a castle which is yellow catching the light, on the right by towers, battlements, houses, and walls of a drab-grey colour. Fresco. Arched, h. 3.00, w. 2.90. In the large cloister, at the near end (on entering) of the left side- wall and next to the "Christ before Pilate." Vasari says that the present fresco was the first that Pontormo painted at Certosa and that in it he attempted an effect of moonlight with excellent results. Vasari found, however, that in the figures Jacopo's earlier manner was obscured by his imitation of Diirer. Closer study does, in fact, reveal that the composition is practically identical with that of Diirer 's woodcut "Christus am Oelberg" (1509-1511). The background is perhaps an idealized view of the Porta Romana of Florence. 107 PONTORMO Condition : Even by the beginning of the eighteenth century (Borghini, ed. 1730, p. 394, n. 2) all of Pontormo 's work in the cloister of the Certosa had already suffered much from the weather. The present composition is now more deplorably ruined and repainted than any of the other frescoes. The plaster has fallen in a number of places. Date : 1522-1523. Documents : According to Giornale L. payments were made to Pontormo by the monks of the Certosa on the following dates: February 28, 1524; April 16, 1524; September 20, 1524; December 3, 1524; October 30, 1525; June 4, 1525 ; August 12, 1525 ; November 15, 1526 ; January 4, 1526 ; April 15, 1526 ; July 3, 1526 ; November 14, 1526 ; December 5, 1527. These pay ments are noted in Debitori e Creditori and in Quaderno F. under other dates. See Appendix II, Docs. 14, 15 and 16. Reprod. Small copy (oil on canvas) by Empoli, Ufficio delle Belle Arti, Florence ; photo. F. M. C. Bibl. Vasari, VI, 266-269; VII, 594, 605; Moreni, Notizie Istoriche, parte seconda, p. 153; Borghini, II Riposo, ed. 1730, p. 394; Cruttwell, Florentine Churches, p. 77 ; Dessins, pp. 20, 33, 35, 38, 50, 52, 69, 91, 96, 97, 105, 134, 135, 140, 145, 154, 165, 187, 192, 198, 201, 204, 207, 209, 210, 216, 223, 246, 247, 328, 333. CHRIST BEFORE PILATE In the centre Christ stands almost profile left, his hands bound behind him. He has red hair and wears a light violet mantle. To the left, Pilate seated, turned three-quarters right, his right arm on the arm of his chair, his left hand outstretched towards the Christ; he wears a dark yellow robe, with a Veronese green band and a white turban ; a red mantle is thrown over the chair. Behind him, his wife, almost facing, her head almost profile left, her right hand raised, pointing to Christ; she wears a Veronese green dress, a white head-dress and scarf over the shoulders. On her right and behind Pilate, the head and shoulders of a man dressed in a red jacket and violet cap. On her left stands a man also pointing to Christ; he is dressed in a purple mantle with lighter purple collar and linings, red sleeves and red cap. Behind Christ on the right, a man facing, his right arm stretched out towards Pilate ; he wears a Veronese green cloak, yellow vest and hat. Farther to the right, two soldiers in white armour with golden weapons. Behind these, two men, one to the left wears a pale violet hat, reddish purple cloak and sleeve with yellow undersleeve, one to the right a red mantle, purple vest and light violet turban. At the feet of the latter, at the extreme right, a soldier crouching with a shield. In the foreground, seen from behind and to the waist, two soldiers in white armour, carrying halberds. The back ground is a stone staircase ending in a balustrade; there are parapets on either side of pale yellowish green. At the top of the stairs a man descends bearing a golden ewer and basin; he is dressed in a yellow jerkin, violet breeches, Veronese green cap and white scarf. Behind the balustrade to the right, a man and woman, the former dressed in a reddish brown cloak and blue-grey jacket, the latter in a green dress and white head-dress. The sky is a grey-blue. All the flesh tones, a warm brown. Fresco. Arched, h. 3.00, w. 2.90. 108 AUTHENTIC 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 arc; very like the "St. Quentin" of Borgo San Sepolcro. The following figures are derived from Diirer : the soldiers in the foreground, from "Die Badstube" (c. 1496) ; Pilate, from the King in "Die Marter des Evangelisten Johannes" (1498) ; for the figures on the steps, cf. "Marias Erster Tempelgang" (1506). Condition: repainted. The white colour of the armour may be due to an old scaling of the surface. Date : 1523-1524. Documents: cf. the preceding. Reprod. Fig. 79; small copy (oil on canvas) by Empoli, Ufficio delle Belle Arti, Florence ; photo. F. M. C. ; fig., Goldschmidt, op. cit. Bibl. Cf . the preceding. THE WAY TO GOLGOTHA In the foreground right, Christ falls under the weight of the cross ; he wears a robe of two shades of wine-colour. In the foreground left, St. Veronica kneels and bends towards the Christ as she holds out to him the sacred cloth ; she wears a skirt of dark wine-colour with yellow lights, violet sleeves, a Veronese green scarf shot with grey, a pink cap and steel-coloured band. In the lower left corner, the head and shoulders of a figure dressed in a light wine-coloured bodice and a white and green head-dress. Above St. Veronica, the executioner, who leads Christ by a cord passed around his waist, stands facing ; he has yellow hair and is dressed in a wine-coloured tunic with yellow lining and a Veronese green cap turned out with violet. To his left and bending forward, a soldier in Veronese green hose slashed with blue-white, a yellow jerkin shot with red, puffed sleeves slashed from the elbows down, yellow over white. Behind the last named figure, a man, with golden hair tied with a white band, dressed in a bright red tunic with a violet girdle. Behind the latter, a youth leaning forward, staff in hand ; his hair is golden, his cap Veronese green, his jerkin purplish red. Behind the group just described, the two thieves nude and seen from behind. In front of them, a man on horseback, his horse light bay, his mantle Veronese green, his cap red and green, his saddle red. On his right, a man on a white horse who turns towards the spectator; he wears a violet tunic, light red sleeves and saddle, wine- coloured mantle, green turban. Behind him to the right, half hidden by a green mound, a group of women: the Madonna dressed in pale purple with a white head-dress; to her right, a woman with hand raised to her face who is blond and wears a green bodice and red skirt; to the left of the Virgin, a woman weeping, her head bent on her arms ; she is dressed in a red mantle 109 PONTORMO with red sleeves; behind the latter, other women's heads in white head dresses. Behind and to the right of the man who leads Christ, a boy in white with flying yellow hair, bearing a ladder. Next to him towards the foreground, a man with a staff in his right hand, his left hand on an arm of the cross; he wears a purple tunic, white shirt-sleeves rolled back, white cap; his staff and the cross are reddish yellow. Farther to the right, a figure wearing a yellow hat, purple shirt and red hose. On his right, a man in white who carries one of the thieves' crosses. Still farther to the right, an old man on a white horse riding towards the spectator; he wears a red mantle turned out with yellow, purple shirt, red hat with yellow ornament; the horse's harness is red.. To the left of the horse's head one sees a blond head. To the right, another man who bears a cross, dressed in a tunic with green sleeves lined with white. Below these last named figures, a man nude to the waist who leans forward to raise the end of Christ's cross; he wears Veronese green hose with ribbons and a wine-coloured drapery lined with yellow-red. To the right of the latter, a blond head with green head-dress. In the extreme right corner, a kneeling figure with golden hair, yellow and brick-coloured shot dress, pale blue sleeve and cuff and green lower sleeve. Fresco. Arched, h. 3.00, w. 2.90. At the extreme right end of the right-hand wall of the cloister, adjoining the wall of the entrance door. Vasari considered this to be the best of this cycle of frescoes — "riusci molto migliore che l'altre" (VI, 268) — and, in certain details, a return to Jacopo's Italian manner, although in the general effect he saw an imitation of Diirer. Borghini repeats Vasari's opinion, but to us this fresco appears inferior to the "Christ before Pilate. ' ' It was, it would seem, the fourth that Pontormo painted in the cloister. In it the following figures are derived from engravings or woodcuts by the German master: St. Veronica, from "Die Kreuztragung" (1512) ; the man with a ladder on his head and the figure that strikes Christ, from "Die Kreuztragung" (1509) ; the women on the hill, from "Die Kreuzigung" (1509-1511) ; the old man on horseback, to the extreme right, from "Christus vor Hannas" (1509-1511). Condition: ruined and repainted. Date : 1523-1524. Drawings: possible sketch for the man carrying the end of the cross, Uffizi 6529 ; possible sketch for the head of the same, Uffizi 6578 ; sketch for the same figure from the knees up, Uffizi 6643 verso (photo. F. M. C.) ; possible sketch for the executioner, Uffizi 6529. Documents : see above. Reprod. Fig. 80 ; photo. P. M. C. Bibl. See above. 110 AUTHENTIC PICTURES PIETA In the centre, extended from right to left, the Christ; his hair is red; across his lap, a white cloth; under him, a pale purple drapery laid over a green stuff. In the foreground, extreme right, a woman .seated; she wears a dark purplish robe, green head-dress and holds a white handkerchief in her right hand. In the foreground, extreme left, Magdalen kneels dressed in a red robe shot with yellow, a green head-dress shot with pink, and green sleeves shot with yellow. Behind the Christ, the Virgin in pale purple dra peries and white head-dress. Above the Magdalen, Joseph of Arimathea, seated profile right, dressed in a purplish red vest, grey sleeves and purplish yellow hat around which is wound a green scarf; in his hands, a white cloth. To the right of the latter figure, a man stooping over a cylindrical box ; he wears a yellow robe with red sleeves; the box is purplish white with red ribbons. Next to the latter a woman, her right hand raised to her face; her mantle is purple dark at the edges and her head-dress white. Next to her, and to the right of a ladder, the head of a woman draped in white. Next to the latter, and to the right of the Virgin, a woman standing; she wears a white tunic and a red mantle which is drawn over her head. Directly below the latter, a seated woman in a green robe and purplish white head-dress. Next to her, a man stooping to support the Christ; he wears a green coat, purple hose and yellow cap. In the background, yellow uprights of crosses and ladders and light green trees ; to the left, a low hill. The sky is a pale green, the ground, yellow. Fresco. Arched, h. 3.00, w. 2.90. At the extreme right end of the wall opposite the entrance of the cloister. Instead of painting a "Deposition" for which we have a drawing and a "Crucifixion" which he had projected and which were never executed, Pontormo began and finished, Vasari tells us, this "Pieta," which was the fifth of his frescoes for the Certosini. Vasari praises the colour, the Magdalen, the Joseph of Arimathea and the Nicodemus. Jacopo derived the following figures from Diirer: the Madonna, from "Christus am Kreuz" (1508) ; the Magdalen from "Die Beweinung Christi" (1509-1511) ; the Madonna's head, the head of the woman seated to her right and the woman standing between them, from "Die Crablegung" (1509-1511). The woman seated to the extreme right may have been suggested by the Madonna in "Christus am Kreuz" (1498); the old man seated left (Joseph of Arimathea) is not unlike the old man in "Die Kreuzabnahme" (1509-1511) and recalls the Zaeharias of Pontormo 's birth-plate, in the Uffizi. It is also interesting to 111 PONTORMO compare this work of Pontormo 's with Diirer 's pictures of the same subject, now in Munich and Nuremberg. Condition: ruined and repainted. Date: 1524-1525. Drawings: first thought for the woman above and to the left of the Madonna, Corsini 124242 (photo. F. M. C.) ; first thoughts for the Christ, Uffizi 6614 verso (photo. P. M. C.) and 6702 verso (photo. F. M. C.) ; sketch for the woman seated to the right, Uffizi 6702 verso ; possible first ideas for the drapery of the women's heads may be seen on Uffizi 6558 (photo. F. M. C.) . Documents : see above. Reprod. Small copy by Empoli (oil on canvas), Ufficio delle Belle Arti, Florence; photo. F. M. C. Bibl. See above. THE RISEN CHRIST In the centre, the Risen Christ, his hands outstretched and uplifted; with the right he makes the sign of benediction, in the left he holds the banner of the Resurrection; his drapery is lavender. Below him and to the right, a yellow shield with a light blue band on which: S. P. Q. R. Below him and to the left, a light blue shield with a yellow band on which are stars. On each side of the Christ, groups of sleeping soldiers. In the group to the right, the figure farthest from the spectator wears a yellow-brown jerkin and a lavender cap. Before him and towards the Christ, a sprawling soldier, holding a shield, dressed in a purple shirt and yellow jerkin; at his knees, white drapery. On the right of the latter, a soldier in a purple suit, lighter purple hose, white shirt showing at the elbows, white underclothes showing at the knees, high shoes and white socks ; he holds on his right arm a yellow shield on which a white band and crescents. In the group to the left, the soldier nearest Christ wears a red jerkin, light green neck-band, light green and purple hat. The soldier next to the left has a brown beard and is dressed in a purple jerkin and a purple hat turned back showing a pale blue lining. Before the latter and on the left, a soldier with his head resting on his hand ; he wears a pale green jerkin, white showing at the wrist and through the slashed sleeve, and a yellow hat. In the foreground left, a soldier wearing a light purple jerkin, yellow hose, white with red ribbons at the knees, boots and white socks; his sleeve from elbow to wrist is light red slashed with white ; at his neck, a red tie ; his hat is lavender with pale blue ribbons and a yellow chin-stay; his right hand rests on the red hilt of a sword which lies across his knees and has a golden pommel; beside him to the left, a silver helmet with purple strap. In the background, pikes and halberds seen against purple turning to silver towards the centre. Fresco. Arched, h. 2.32, w. 2.90. In a recess at the extreme left end of the farther wall of the cloister. Vasari says that this was the third fresco that Pontormo painted at the Certosa and that in it he changed his 112 AUTHENTIC PICTURES colouring — "venne capriccio a Jacopo ... di mutar colorito" (VI, 268). The general tone was, it would seem, lighter than in the other frescoes. The composition is derived from Diirer 's woodcut of the same subject; the soldier to the extreme left, from "Die Auf erstehung " (1509-1511); the figure of the soldier to the right and the Christ, from "Die; Auf erstehung" (1510). Condition : ruined and repainted. Date : 1523-1524. Drawings: possible sketch for the soldier to the extreme right, Uffizi 6638; possible first thoughts for the Christ, Uffizi 6702 verso and 6726 verso (photo. F. M. C). Documents : see above. Reprod. Fig. 81 ; photo. F. M. C. Bibl. See above. According to Vasari (VI, 269) Pontormo intended to execute in the cloister of the Certosa a "Crucifixion" and a "Deposition." For the former we have, in Uffizi 459 verso (photo. F. M. C), a possible first thought for the Madonna, and for the latter we have, in Uffizi 6622 (fig. 83 ; photo. Houghton) , a preliminary sketch for the whole composition. "We also know that he planned to paint a "Nailing to the Cross" for which we have a drawing of the whole composition (Uffizi 6671 ; fig. 85 ; photo. Houghton) and several sketches for individual figures (Uffizi 447; fig. 89; photo. F. M. C; Uffizi 6652 verso; 6657; 6665 ; fig. 86 ; photo. Houghton) . Bronzino helped Jacopo at the Certosa, but to what extent we cannot now determine. There he did his first independent work — a "Pieta with Two Angels" and a "San Lorenzo," both in fresco (Vasari, VI, 270; VII, 594). From documents that I have discovered (A. S. F., Convento 51, No. 16, p. 30) we learn that Bronzino also decorated for the monks certain service-books which have since been lost. Vasari in his early youth, just after he came to Florence for the first time (VII, 651), studied the frescoes of the cloister and made drawings from them (VII, 605) . Pontormo also executed at the Certosa a "Nativity," and a portrait of a lay brother that Moreni (Notizie, II, 145) describes as a half-length figure 113 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). Mentioned by Vasari. This picture was painted for the Certosini of San Lorenzo al Monte and placed in the Foresteria, or Dispensa, of the convent. It was removed, after the suppres sion of the monasteries, to the Academy. The composition is derived from Diirer 's woodcut "Christus und die Jiinger von Emmaus." In type and treatment, however, our canvas is less Diireresque than the frescoes of the cloister at the Certosa. On the back one finds the note: "Verif. 7 Giugno 1906." Condition : somewhat damaged, especially on the left side. Date : 1525. Drawings: possible first thought for the figure to the left in the fore ground, Uffizi 6656 recto (photo. F. M. C.) ; finished study for the monk in the background to the right, Uffizi 6656 verso (fig. 84; photo. F. M. C). 114 AUTHENTIC PICTURES Document: payment for the colours and the frame, A. S. P., 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 Pmpoli at the request of the monks of the Certosa, and now in the Ufficio delle Belle Arti, in Florence. Bibl. Vasari, VI, 270; Borghini, // h'ipnso, ed. 1730, p. 394; Pieraccini, Guida della R. Galleria antica <• modvrnn, 7th ed., Prato, p. 75; IJ. V\ P. R., p. 174; Dessins, pp. 33, 35, 38, 52, 55, 69, 128, 209, 223; On Certain Drawings, pp. 12, 21. "THE HOSPITAL OF SAN MATTEO" Behind an early Renaissance arcade, on a slightly raised platform, four women in bed; the bed to the extreme right is canopied and its occupant wears a halo. Between this bed and the next a woman kneels profile left before a statue of the Virgin and Child. An attendant sits at the foot of the first bed to the right. To the extreme right and in front of the platform, two figures profile left, one carrying a book, the other coming in through a door. To their left, a child standing full face who seems to address them; farther to the left, a woman's figure with back turned; to the extreme left, a group of four women, one seated profile right, while another with a halo kneels before her and washes her feet; another standing profile left brings a towel; a fourth, to the extreme left, stands profile right looking on. On the floor, slippers and a pitcher. The figures are grey on a lavender back ground; the beds, light yellow, the floor, grey. Fresco. H. .91, w. 1.50. Painted in grisaille on the wall of a room that was once part of the Hospital of San Matteo. It is now concealed by Giotto's "Madonna Enthroned" and has long been ascribed to Andrea del Sarto. Guinness makes the impossible suggestion that Andrea painted this fresco while he was an inmate of the hospital. Schaeffer considers it to be an early work of Andrea's. The attribution to Pontormo, in which I completely concur, is Berenson 's. The haloes worn by several figures in the composi tion indicate that the generally accepted explanation of the subject is incorrect and that, in all probability, we have here some obscure episode from the "Lives of the Saints." Condition: fair; somewhat rubbed here and there. Date: about 1513. Reprod. Fig. 1 ; photo. Alinari 1633 (as Andrea) ; Hanfstaengl (also as Andrea) . Bibl. Guinness, Andrea del Sarto, London, 1899, p. 85 ; Schaeffer, Andrea del Sarto; Lafenestre, Florence, p. 193 ; B. F. P. R., p. 174. 115 PONTORMO SS. Annunziata FAITH AND CHARITY In the centre, a marble relief of the Medici arms surmounted by tiara and keys. To the left, a voluminously draped female figure holding in her arms an infant; she is seated nearly profile left, head full face; behind her on a high step, a "putto" seated profile left, his right hand laid on her shoulder. Seated to the right, a heavily draped woman's figure turned three- quarters right, her right arm extended at her side, her left hand laid on the top of a great book that rests on her knees. Behind her, a "putto" three- quarters right. Between these draped figures and the shield, at the centre of the composition, are vestiges of "putti" in various poses. Fresco over the main portal on the facade of the "loggia." The space decorated is enclosed between concentric arcs and two verticals. H. 1.25, w. 4.60. This work, which was originally entrusted to Andrea di Cosimo Feltrini who, however, executed only the ornaments and the gilding, is described at length and enthusiastically praised by Vasari. Jacopo, it would seem, prepared his draw ings secretly at Sant 'Antonio alia porta a Faenza. The success of these drawings was, according to Vasari, the cause of Jacopo's rupture with Andrea. Michelangelo is said (Vasari) to have admired this decoration, and it was celebrated through out the sixteenth century. Cav. Gabburri (Lettere pittoriche, II; Vasari, ed. 1811, XII, 9, n. 2) wanted, to restore it but nothing was done ; by 1831 it had become so complete a ruin that restoration was found to be impracticable. Condition: ruined; the figures described above can only be dimly discerned. Date: September, 1513 — June, 1514. Drawing: Uffizi 6706, a ruined study of a "putto" clinging to the branch of a tree, is perhaps a fragment of Pontormo 's preparatory work. Bocchi describes a figure in this pose as one of the beauties of the fresco. Documents: we have five payments for this work: November, 1513; March, 1513 (Old Style); March, 1514; April, 1514; June, 1514. See Appendix II, Doc. 12. Reprod. Photo, of the 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. Once in the first chapel to the right, in the church of San Ruffillo in Piazza dell' Olio, anciently San Ruffillo del Vescovo. At the end of the eighteenth century this decoration had already fallen into decay. When the church was pulled down in the early part of the nineteenth century, the fresco was transferred (1823) to the left wall of the Chapel of San Luca, in the Annun ziata, where it may now be seen. On that occasion the lunette of "God the Father" that surmounted this composition was destroyed. Condition: ruined and badly restored; the left side and leg of St. 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, 335 ; On Certain Drawings, pp. 5, 19 ; B. F. P. R., p. 175. VISITATION Composition of fifteen figures grouped on steps before a broad round niche ornamented with pilasters. In the centre, the Virgin standing profile right, orange head-dress, red robe, blue mantle. To her right and seen profile 117 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: NBC| VAN| IVR. On the upper edge of the tablets are cassolettes. Between the capitals of the middle pilasters of the niche one reads : ANVE • OPTIME • DEVS. Fresco in the small cloister that serves as courtyard to the church. H. 3.92, w. 3.37 ; the upper part of the composition is arched. Mentioned by Vasari. This is the most important speci men we possess of Pontormo 's early work. Wolfflin finds that here Jacopo has attempted, and not unsuccessfully, to imitate the compositions of Fra Bartolommeo ("Marriage of St. Catherine," Louvre). He adds: "This fresco not only produces an imposing effect by the increased size of the figures ; it is intrinsically a great composition. The central scheme, according to the design which Andrea had thoroughly tested five years before, is now for the first time raised to the height of an architectonic effect." Selwyn Brinton feels that our fresco "in beauty of colour and refinement of drawing almost rivals the 'Madonna del Sacco.' " Andrea's fresco of course dates from ten years later. More careful study reveals that, while the larger elements of the composition are well arranged, the 118 AUTHENTIC PICTURES accessory figures lack rhythmical coherence and the general effect is somewhat lame. The colour-scheme, however, is charm ing, light, decorative, and harmonious. The "Assumption" in this cloister, which is erroneously ascribed to Pontormo by Milanesi (V, 67) followed by Crowe and Cavalcaselle (ed. Hutton, III, 495), is of course by Rosso (Vasari, V, 157) although the original commission for the work was given to Andrea. Condition: seriously damaged in spots and badly restored; the "intonaco" has fallen here and there and some of the heads are almost obliterated ; the upper part of the fresco has suffered from humidity. Date : December, 1514-June, 1516. Drawings: sketch for the boy seated on the steps to right, Uffizi 6542 (fig. 7; photo. F. M. C.) ; study for the woman seated on the steps left, Uffizi 6603 (fig. 6 ; photo. Houghton) ; Gamba believes Louvre 461 (photo. Giraudon ; Braun, Louvre 117) to be a study for the Zechariah but the drawing has been so completely rehandled that its authenticity is somewhat doubtful. Berenson considers a sketch on Uffizi 6556 verso to be for the hand of the old woman with a staff; I do not think that the identification is convincing. In my Dessins I suggested Uffizi 6565 as a first thought for the Zechariah. It now seems to me to be a sketch for one of the figures of the "Joseph Sold to Potiphar," in Panshanger. Cf. fig. 31. Documents : payments, December, 1514 ; April 24, 1515 ; May 28, 1515 ; March 4, 1516; May 13, 1516; May 17, 1516. See Appendix II, Doc. 13. Reprod. Fig. 5; Louvre 1242, modified copy of the late sixteenth century, recognized as such by Villot, and perhaps the work of Alessandro Allori (photo. Braun, 11242) ; engraving, Etruria pittrice, pl. XLIV; photo. Alinari 3815 ; fig., Vasari, trans, de Vere, VII, 154. Bibl. Vasari, VI, 257; Bocchi, p. 424; Richa, VIII, 60; Borghini, II Riposo, ed. 1730, p. 393; Del Migliore, p. 170; Ristretto delle cose piii notabili della citta di Firenze, 1689, p. 29 ; B. F. D., II, 144 ; B. F. P. R., p. 175 ; Cruttwell, Florentine Churches, pp. 8 f ., 18 f. ; Wolfflin, The Art of the Italian Renaissance, New York, 1903, pp. 148, 161, 219 ; Selwyn Brinton, The Renaissance, Goupil, 1908, p. 187 f. ; Dessins, pp. 19, 33, 34, 38, 66, 142, 151, 152, 180, 220, 221, 301, 350; On Certain Drawings, pp. 7, 19 f.; Bassegna d' arte, IX, No. 3, p. 39; as well as Vine. Meini, Notizie storiche e religiose dell' Ordine dei Servi e del tempio della SS. Annunziata, Firenze, Fioretti, 1853 ; Moreni, Descrizione della chiesa della SS. Nunziata di Firenze, Firenze, 1781 (republished in Firenze antica e moderna, Firenze, 1789-1802, III, 287- 365; Pitture a fresco d' Andrea del Sarto e d' altri celebri Autori nel chiostro della SS. Annunziata disegnate e incise da Aless. Chiari con illust. di Melch. Misserini, Firenze, 1834; Ant. Zobi, Memorie storico-artistiche sulla cappella della SS. Annunziata di Firenze, Firenze, 1837. 119 PONTORMO Santa Felicita Capponi Chapel DEPOSITION Arched composition of eleven figures. The Christ is borne by two figures : a youth to the extreme left who walks three-quarters right, head full face, supports his shoulders, with his left hand lifting the Christ's left hand; a youth squatting a little more than profile right, head three-quarters right, supports Christ's thighs on his left shoulder. To the right in the foreground, a woman, seen from behind with left hand lifted, approaches the Madonna who is seated, it would seem, on a bank by the road-side ; she is seen nearly full face, her left arm bent, her right raised and stretched out towards the Christ. Over the Christ's head one sees the head of a woman, seen from behind, who with her right hand holds the Saviour's left wrist. Above her and to the left, a woman who bends down, her head seen three-quarters right, and with her left hand supports the left side of the Christ's head. Between the latter figure and the Madonna, the head of a woman who, turned three- quarters right, looks at the Virgin. Above the latter, at the top of the composition, a woman who stands full face, head three-quarters left, her right arm folded across her 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. As Vasari tells us this altar-piece was painted for Lodovico Capponi for the chapel where it may still be seen in its magnifi cently carved original frame. The chapel belonged to the Barbadori and was dedicated to the Annunziata. It was rented by them to Antonio di Bernardo Paghanelli (1487) who later on bought it. His son Bernardo sold it for two hun dred "scudi" to Lodovico di Gino Capponi somewhere about 1525 (A. S. F., Convento 83, No. 115, p. 21 ; see Appendix II, Doc. 17). Capponi had the chapel entirely redecorated. Pontormo was chosen to fresco the walls and vaulting and 120 AUTHENTIC PICTURES paint the altar-piece. Guglielmo Da Marcillac was given a commission for a stained-glass window representing the "Entombment" (Vasari, IV, 428). This window was later in the possession of the Gesuati of Florence who, being workers in glass themselves, took it apart to discover ihe secret of certain effects. Later it was preserved in Palazzo Capponi delle Rovinate. According to Milanesi it is now in the Museo Nazionale of Florence, the catalogue of which does not mention it. The cupola of the chapel and the holy water font were traditionally held to be by Brunelleschi and on the memorial tablet one reads: ". . . ac ne illarum ornamenta at hac Brunel leschi structura Pontormi que pictura..." In our "Deposi tion" the figure to the extreme left is not indispensable to the composition ; it may be a portrait of Capponi, the donor. Condition: excellent; Milanesi believes that, with the other decorations of the chapel, it was badly cleaned in 1723 (Vasari, VI, 272; see also Richa, IX, 211; Borghini, ed. 1730, pp. XIV and 395). The picture does not seem to me to show any trace of a drastic cleaning and the documents contain no specific reference to any such restoration (A. S. F., Santa Felicita, Filza Ricordi e Scritture, 1456-1734; Restaurazione del Nostro Capitolo fata a spese di Monache particulari nel 1722). Date: 1526-1528. Drawings : probable first idea for the Christ, Uffizi 6619 (fig. 99 ; photo. F. M. C. ; D. G. U, pl. 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. P. 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, Ricordi e Scritture, 1436-1734; No. 115, Ricordanze, 1485-1528. None of these contain any reference to our altar-piece. Reprod. Fig. 92; photo. Alinari 4708; fig. Goldschmidt, op. cit.; Vasari, trans, de Vere, VII, 168. Bibl. Vasari, II, 350; IV, 428; VI, 2711; Bocchi, p. 117; Richa, IX, 252 ff.; Borghini, II Biposo, ed. 1730, p. 394; Follini, Firenze illustrata, VIII, 194 ff. ; Lami, Deliciae Erudit., XIII, 1173 ff. ; Firenze, Bibl. Naz. Magliab., XXXV, 411, p. 73; Del Migliore, Zibaldone historico, Vol. C, XVII; Balocchi, Illust. dell' I. e B. Chiesa parrochiale di S. Felicita, Firenze, 1828, pp. 34 f. ; Bistretto, p. 106; Morelli, Borghese and Doria PamfUi Galleries, 1900, p. 130; Cruttwell, Florentine Churches, pp. 12 f. ; Fabriczy, Brunel leschi, p. 761; B. F. D., I, 3211; II, 139, 142, 145, 147, 148, 150, 151, 155; B. F. P. R., p. 175 ; Dessins, pp. 20, 35, 40, 70, 91, 96, 128, 132, 141, 164, 169, 170, 179, 186, 189, 190, 193, 203, 217, 223, 234, 255, 263, 264, 266, 366; On Certain Drawings, pp. 13, 22. ANNUNCIATION The Virgin stands full face beside her lectern, head turned three- quarters left, her left hand resting on the book she has just been reading, her right holding the folds of her robe ; red robe, blue mantle, over her head, a grey scarf. The Angel Gabriel is turned three-quarters right; he holds his drapery with both hands against his thigh, right leg advanced, head profile right; red drapery with a blue belt and blue wings. Fresco. In two parts, each, h. 2.50, w. 1.10. Part of the decoration of the chapel of which the "Depo sition" just described is the altar-piece. The pose of the Madonna may have been suggested by a drawing of Michel angelo's, such as the sketch (British Museum 1900-9-11-1) which was used by Venusti for his "Annunciation" at the Lateran. Condition : ruined and grossly repainted. Date: 1526-1528. Drawings: possible first thought for the Virgin, Uffizi 6570 recto (photo. F. M. C. ; D. G. U, pl. XIX) ; finished study for the Virgin, Uffizi 448 (fig. 88 ; photo. Pini ; P. M. C. ; D. G. U, pl. XVI) ; five sketches for the head and shoulders of the angel, Uffizi 6570 verso (photo. F. M. C.) ; finished study for the angel, Uffizi 6653 (fig. 87; photo. F. M. C). Bibl. See the preceding and B. F. D., II, 138, 149; Dessins, pp. 40, 70, 96, 159, 160, 164, 190, 208, 295. THE FOUR EVANGELISTS Bust figures. They cannot be identified with certainty. In the pendentive left of altar, Evangelist, bearded and bald, turned three-quarters 122 AUTHENTIC PICTURES right, dressed in reddish robe with green sleeve. Pendentive right of altar, Evangelist, torse full face, head three-quarters right, blue robe, ml mantle, white sleeve. Pendentive nearest the door of church, Evangelist, full face, leaning with right forearm on a parapet, head inclined .slightly to lel'l, red drapery, grey sleeve. Pendentive above pillar, Evangelist leaning on a parapet and turned slightly to right, red drapery. Oil on wood. Diameter .70. Like the "Annunciation" just described these "tondi" of the vaulting are part of the general decoration of the chapel. Vasari and Borghini state that one of them was painted by Bronzino. In his "Life of Bronzino" Vasari ascribes two Evangelists and certain other figures (now destroyed) of the vaulting to Jacopo's pupil. The chapel is now so dark that no distinctions of touch can be made although the "tondo" over the pillar seems to show traces of Bronzino 's hand. The Evangelist seen nearly in profile may have been suggested by such a drawing of Michelangelo's as British Museum 1835, 9- 15-495 (B. F. D., 1520; photo. Kensington 2209). The church was modernized in the first half of the eighteenth century ; the "God the Father and Patriarchs" that occupied the centre of the cupola was destroyed in 1766 in remodelling the organ-loft. Uffizi 6615 (photo. Houghton) may have served as a study for one of these lost figures. Condition : darkened by smoke. Date: 1526-1528. Drawings : possible first idea for one of these figures, Uffizi 6674 (photo. F. M. C.) ; finished study for the "tondo" nearest the door, British Museum, Payne Knight Collection, P. p. 2, 102. Bibl. See above and Dessins, pp. 36, 40, 70, 186, 203, 225, 295. Santa Maria Novella Cappella del Papa ST. VERONICA In the centre the saint kneels facing holding out to the left the sacred cloth, white head-dress, orange robe. To right and left, on a high square parapet kneels a cherub with purple wings touched with light blue; each holds a flaming blue cassolette and draws back the purple curtains which 123 PONTORMO hang from a canopy ornamented with three cherub heads, one (left) with blue wings, one (centre) with grey-green wings, one (right) with reddish wings. Under the figure of St. Veronica, the inscription: _HECEST[ SALV|VRA; on the parapet to the left: ECCE| TABER|NACVLV| DEI| SV; on the right parapet: PRETENDE| DNE| SVP| PAMVLV. Lunette over the entrance door. Fresco. H. 3.07, w. 4.13. Condition : completely restored by Conti. There is nothing to show that the present colour-scheme resembles Pontormo 's. Reprod. Photo. Perazzi; fig. Goldschmidt, op. cit. The ceiling, which is a barrel vault (L. 6.84, w. 4.12), and the side-walls down to about a metre from the floor are covered with grotesques subdivided by a geometrical pattern in which are the following compositions: In the centre, a medallion : God the Father seen to the knees holding in his left hand a book on which, A. O. His right hand is raised in benediction. He is dressed in a brick-red mantle and brown vest. To his left, bust figure of a "putto." Fresco. Diameter, 1.20. Between the central medallion and the door, a small medallion: "putto" flying downward with a cross. Between the central medallion and the window, a small medallion: "putto" flying downward with the tables of the law. Between the central medallion and the back wall, a small medallion: "putto" flying with a blue scroll. Between the central medallion and the right wall, a small medallion: "putto" flying with pole and crown of thorns; reddish drapery. Frescoes. Diameter, .60 ; the backgrounds are purple. These medallions are surrounded by grotesques consisting of griffons, cherubs, vases, cartouches, harpies, the diamond ring and ostrich plumes of Lorenzo with scrolls inscribed: SV|A|VE, etc. These are light purple, yellowish red and light blue on a black ground. Among these motives are various "cartelle," on which is inscribed: GLO|VI... |S, and four squares containing Medici arms accompanied by "putti" with various attributes and surmounted by tiara and keys. These squares are .75 by .75. Reprod. Photo, (in part) Perazzi. Mentioned by Vasari. The commission for these decora tions was given to Ridolfo Ghirlandaio who turned the chapel over to Pontormo. The long oval of the face of St. Veronica recalls an early drawing of Michelangelo now in the Louvre. The medallion of "God the Father" is mentioned by Borghini (Biposo, ed. 1730, p. 392). That the decoration of this chapel, as far as its character and general effect goes, was suggested, if not determined by Ridolfo Ghirlandaio, may be inferred from the decoration of the Cappella della Signoria where we 124 AUTHENTIC PICTURES find similar grotesques as well as the motive of "putti" used in the same way. The Cappella della Signoria must have been painted between the autumn of 1513 and the summer of 1514. On June 4, 1514, according to a document that still survives, Lorenzo di Credi and Giovanni Cianfanini gave an estimate of the value of the decorations (Vasari, IV, 575; VI, 539, n. 2). Date: 1515. Bibl. Vasari, VI, 256, 540; Borghini, II Riposo, ed. 1730, p. 393; On Certain Drawings, p. 19 (where I erroneously identified Uffizi 6542 verso with one of the "putti" of the Veronica fresco) ; B. P. P. R., p. 175 ; Dessins, pp. 19, 34, 66, 90, 113. For the convent, see Memorie dell' insigne monastero e chiesa di S. Maria Novella, Delizic 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). On the wall opposite the door is a "Crowning of the Virgin." The Madonna wears a light blue robe with yellow inner mantle and head-dress; the God the Father, a dark red mantle and purplish tunic. Light purple background; above, purple curtains. This composition has been completely repainted. The original fresco was perhaps by Ridolfo Ghirlandaio. San Michele Visdomini HOLY FAMILY In the centre, the Madonna enthroned, turned three-quarters right, the head full face ; her left hand rests on her lap, her right points to St. Joseph ; she wears a pinkish red robe and blue mantle. In the foreground right, St. Francis kneels profile left; his hands clasped before him, he gazes at the Christ Child ; he wears a grey habit. Behind him stands St. James profile left, head three-quarters left, left arm at his side, right arm extended holding a staff; darkish pink drapery, grey- white sleeve. In the foreground left, St. John the Evangelist seated three-quarters right, head three-quarters left gazing up ; his right arm extended at side, his hand holding a quill pen ; in his lap an open book on which is written: M D viij, followed by ten lines which are illegible ; he has a long curly beard and wears a grey tunic and light red mantle ; on the rock on which he sits is inscribed D. N. Above him St. Joseph 125 PONTORMO is seated three-quarters right, head nearly full face; he holds on his knees the Infant Jesus ; Joseph is dressed in a greyish purple robe, a greyish yellow mantle across his knees. The Christ Child stands on Joseph's left knee, weight on left leg, right leg drawn back, in his left hand a reed cross, his head inclined on his right shoulder looks up left. In the middle foreground, the young St. John seated profile left, his right leg raised; with his right hand he points to the Christ Child; his head, seen nearly full face, looks at St. Francis. The background is a dark grey stone niche and wall with dark purple curtains drawn aside, to the left, by a "putto" who stands profile right, his right arm raised, a fold of the curtain hanging across his loins. To the right stands a cherub nearly full face ; his right arm extended across his body holds back the curtains. Oil on heavy prepared paper stretched and glued on a wooden panel. H. 2.14, w. 1.85. On the second altar to the right. Mentioned by Vasari. Painted for Francesco di Giovanni Pucci, gonfaloniere of the Republic, for the altar where it still hangs. Francesco Pucci was the son of Giovanni d'Antonio Pucci and Bartolommea di Leonardo Benivieni. He was born in 1437 and held many important offices: podesta of Bibbiena, 1478; vicario of Anghiari, 1485; castellano of the fortress of Sarzana, 1493; captain of Cutigliano, 1494; vicario of Lari, 1500. After the fall of Soderini he was elected to the balia that reformed the state for the Medici and he was later gonfaloniere of Justice. He died in 1518, the year in which Pontormo 's altar-piece was painted. The Archduchess Maria Maddalena offered one thou sand "scudi" for this picture (Richa, VII, 23; Del Migliore, p. 366) but it is an unalienable part of the Pucci inheritance as is established by the "rogato" of Ser Carlo da Firenzuola. This fact would seem to militate against the assertion made by some critics and repeated by Goldschmidt that the panel once in the Doetsch Collection was the original. The Doetsch Catalogue (Richter) , it is true, holds the picture then part of that collec tion to be the original and adds that it was replaced in San Michele by a copy. Berenson too once gave the Doetsch picture as authentic but in his latest list he is of the opinion that our panel is Pontormo 's. We may, moreover, remark that Milanesi in his note on this altar-piece (VI, 258, n. 3) states that it was carefully cleaned and restored in 1823 by Luigi Scotti who found that over the wooden panel a sheet of paper had been 126 AUTHENTIC PICTURES stretched upon which the picture had been ] tainted. The Doetsch picture was on canvas, and the catalogue informs us that the copy substituted in San Michele in the first part of the last century was painted on paper stretched on a panel. It seems hardly likely that Scotti would have been asked to restore a new copy. This combination of facts seems to point to the present version as the original, and such scrutiny as 1 have been able to give it has not led me to doubt its authenticity, although the church is so badly lighted that a thorough examination is impossible. The altar was erected in 1518 and restored in 1872. On a marble slab under it one reads : FRANCISCUS PUCCIUS • IO : ANTONII FIL • SIBI • SUISQUE • POS- TERISI ET VOLENTI • EX • FAMILIA POSUIT. Condition : cleaned and restored. Date: 1518. Drawings: possible first idea for the St. John Evangelist, Uffizi 6742 recto (photo. Pini; F. M. C.) ; first thoughts for the little St. John, Corsini 124232 (fig. 14; photo. F. M. C.) ; Uffizi 6678 (photo. F. M. C.) ; sketches for the same figure, Corsini 124244 (fig. 15; photo. P. 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; P. 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 nella chiesa di S. Michele Bisdomini in Firenze." The Gabburri Collection was sold to Kent (1742) who afterwards sold it in London. Mariette had a 127 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. S. F., Carte Riccardi, No. 605) nor Strumenti dai 1516 al 1529 dei Signori Pucci, segnato C. (idem, No. 606) contains any record of the contract for this picture. Reprod. Fig. 13; photo. Alinari 20313. Ancient copy in the former Doetsch Collection sold in London in 1895 for 10,500 frcs., of which the provenance and fate are unknown (fig., Doetsch Catalogue). ¦ Bibl. Vasari, VI, 258 ; Borghini, II 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, Repertorium, XXI, 281; Morelli, Borghese and Doria PamfUi Galleries, p. 130; Catalogue of the Collection of Henry Doetsch, London, 1895, p. 31; Dessins, pp. 19, 34, 38, 55, 67, 109, 111, 128, 129, 131, 145, 148, 150, 151, 165, 166, 215, 221, 228, 229, 242, 261, 271, 273, 274, 282, 305, 335, 336, 342; On Certain Drawings, pp. 6, 20. Palazzo Capponi Collection of Marchese Farinola MADONNA AND LITTLE ST. JOHN The Virgin, full face, seen to the waist, wears a scarlet robe, a dark violet scarf about her auburn hair. The Christ Child kneels proflle right with his right knee on a cream-coloured sack over which a green drapery is thrown. To the right of this sack one sees the head and shoulders of the little St. John, torse profile left, head full face; behind him, his cross of reeds. Across the foreground runs a parapet of greenish stone-colour. The background is greyish green. Oil on wood. H. 1.00, w. .65. Provenance and history unknown. It would be the merest conjecture to venture the suggestion that this may be the panel that Vasari says Pontormo painted for Lodovico Capponi 's own room (VI, 272; cf. also, Borghini, p. 395). The children's faces are Leonardesque and recall the Visdomini altar-piece; the modelling too has the same soft quality, but the colour is paler. Condition: excellent. Date: 1517-1518. Bibl. Morelli, op. cit., p. 130 ; B. F. P. R., p. 175. 128 AUTHENTIC PICTURES Palazzo Corsini 141. MADONNA AND LITTLE ST. JOHN The Madonna, seated three-quarters right, is seen almost to the knees, her head turned slightly to the left. She wears a light red dress with yellow sleeves, blue-green mantle and violet head-dress ; her hair is red. She supports the Christ Child who stands, full face, on her left knee, his right foot forward, his left hand raised in blessing. He is blond. A narrow drapery crosses his body. In the lower left corner, the head and shoulders of St. John, seen full face; he has red hair and draws about him a part of the Madonna's mantle. The background is a landscape: to the right, hill and trees; to the left, a round low tower with conical roof, a lofty donjon, a little church with belfry, and lightly indicated olive-trees ; the sky is a greenish blue. Oil on wood. H. .87, w. .67. Attributed to Rosso or Bacchiacca. Berenson ascribes it correctly to Pontormo. There is something in the composition that reminds one of Andrea's "Madonna di Borgo Pinti," of which there is a good copy by Empoli in this collection (No. 121) ; the little church faintly suggests the background of Diirer 's larger woodcut, the "Kreuztragung"; the little St. John recalls Michelangelo's "tondo" of the "Holy Family." Cruttwell inaccurately states that Berenson ascribes this picture to Bacchiacca. Condition : excellent ; a slight vertical crack to the left has been repaired. Date: 1528-1529. Reprod. Fig. 103 ; photo. Brogi, 17626. Bibl. B. F. P. R., p. 175; Uld. Medici, Catalogo della Galleria dei Principi Corsini in Firenze, Firenze: Mariani, 1880; Cruttwell, Florentine Churches, p. 85. 185. MADONNA AND LITTLE ST. JOHN The Madonna sits facing, her right foot advanced, her head slightly inclined on her right shoulder. She has blond hair and wears a light red robe, a blue mantle, a fold of which is draped across her lap, and a violet and yellow scarf. She holds to the left the Christ Child, who is also blond and stands facing, his right hand raised in sign of benediction. He wears a greenish loin-cloth. On the right, St. John seated, facing; he has red hair; his head, turned three-quarters left, gazes at the Madonna ; a drapery is wound about his loins and passes over his left arm ; he holds a scroll on which is written: ECCE| AGNUS| DEI; below him to the right, his cross of reeds. 129 PONTORMO The background consists of rocks and trees; the foreground of rocks, earth and little plants. Oil on wood. H. .52, w. .40. Condition: excellent. Date: 1526-1528. Reprod. Photo. Alinari 4546. Bibl. See above and Cruttwell, op. cit., p. 81. Palazzo Davanzati BIRTH-PLATE: NATIVITY OF ST. JOHN THE BAPTIST The composition is the same as that of the birth-plate now in the Uffizi (No. 1198). The robe of the woman to the left is pale yellow; the woman bending with the child in her arms wears a light yellow tunic and white turban ; St. Elizabeth, white head-dress ; the coverlet of her bed, dark green ; Zaeharias, red tunic, dark blue mantle, white sleeves. On his tablets he writes : JOHANNES. On the back in the midst of tasselled red ribbons, a bearing; to the right, the arms of the Antinori ; to the left, those of the San Giovanni or of the Ughi — it is hard to say which because the colours have faded (Priorista di Monaldi, p. 243 verso) . Oil on wood. Diameter, .52. Provenance unknown. The colour-scheme differs some what from that of the Uffizi birth-plate, though the composition is identical. There the woman to the left wears a red dress; the woman in the centre, a reddish violet turban and orange dress ; Zaeharias, a yellow tunic and red mantle. I have been unable to ascertain whether this is the birth-plate that Berenson cites in the Butler Collection, which was recently dispersed. The date of our "piatto" could be accurately determined if the date of the marriage indicated by the arms was known. Beside it and purporting to be the original sketch for it, is exhibited a poor late sixteenth century copy in bistre heightened with white laid on in strokes on grey paper (h. .41, w. .32). Condition : practically untouched but faded. Date: about 1530. 130 AUTHENTIC PICTURES Palazzo Pitti 182. MARTYRDOM OF ST. MAURICE Composition of over eighty figures. On the left, on a dais approached by brownish steps, sits Maximianus as judge; in the extreme left corner, a man with his back turned who carries a basket ; in t he foreground to the left and to the extreme right, martyrs with their hands tied behind them being driven away to sacrifice; on the left and farther back, martyrs pursued and slain by naked horsemen; above the latter, on a mound, an angel baptizing the souls of the slain ; above them, in the clouds, three angels shooting arrows at the executioners; on another brown mound to the right, martyrs crucified or lying on the ground wounded or slain ; at the foot of this mound an angel who picks up nails. The colour-scheme is as follows : figure in the foreground right, red hair, red tights to the knees, yellow jacket with sash, blue sleeves, mole-grey scarf, yellow-brown basket; Maximianus, brown hair, light green vest, violet-red mantle, under him a grey drapery ; to his right, angel picking up nails, pale greenish blue drapery ; standard in the centre, red with a blue stripe; in front of it a figure in yellow on horseback; among the horsemen, touches of scarlet given by their caps; figure to the extreme left, blue-green drapery; standard to the extreme left, orange with a blue stripe; draped figure to the left, blue robe ; angel baptizing, tunic of reddish yellow ; shields, some red, some yellow; touches here and there among the martyrs of red; sky, green; landscape, brown; steps and platform, brown; flesh-tones pale with brown shadows. Oil on wood. H. .65, w. .70. Painted for the women of the Hospital of the Innocents according to Vasari (VI, 275) who praises this panel extrava gantly. A variant exists in the Uffizi wliich was executed for Carlo Neroni (Vasari, ibid.). The present picture was still in the Hospital in 1565 and greatly prized by Vincenzo Borghini, who at that time was prior of the institution. Biscioni in his notes on Raffaello Borghini states that, when he wrote, it was no longer at the Innocents. Richa in the late eighteenth century knew that it still existed, but the editors of the Milan edition of Vasari (1811) speak of it as lost (XII, 43, n. 1) as also does the Roman edition of the "Lives." When and under what circumstances it passed into the Pitti I do not know. The panel is a curious mixture of nudes inspired by Michelangelo's early work and horsemen that are reminiscent of the "Battle of Anghiari." We may measure the extent to which Jacopo was influenced by the studies that he must have made in his youth 131 PONTORMO of Leonardo's lost masterpiece by comparing this picture with fragmentary copies of the "Battle of Anghiari" known to us in Leonardo's sketches, in London, Venice and Windsor; Raphael's sketch, in the University Galleries, Oxford; Cesare da Sesto's drawing, in Windsor; Rubens' drawing in coloured chalks, in the Louvre, which is a copy of a copy ; a drawing in the British Museum which is a copy of the right-hand figure of the central group ; an old copy in oils, in the magazine of the Uffizi (part of central group) ; a smaller painting of part of the same group, Collection Timbal, Paris ; a large late sixteenth century copy, in oils on canvas, of an earlier copy, now in the collection of the late Herbert Home, Florence ; the engraving by Edelinck; the engraving by Lorenzo Zacchia (1558). Jacopo is perhaps at his feeblest here and in the Uffizi variant; the colour is arid, the composition and modelling laboured. Condition : The panel has been cut down on the left side ; it is otherwise relatively untouched. Date: 1528-1529. Drawings: possible study for the nude to the left of the angel that baptizes the martyrs, Corsini 124236 (photo. F. M. C.) ; modified variant of the upper left quarter of the composition, Hamburg 21253 (fig. 108 ; B. F. D., pl. CLXXII). Documents: If the women of the hospital paid for this picture the transaction would probably not appear in the records of the Institution. At any rate, in the Archives of the Innocents I have found no trace of this panel. I have examined the following account-books: Debitori e Creditori, C, 1510- 1526; D, 1526-1533; E, 1533-1539; F, 1539-1544; G, 1545-1551; H, 1551-1554; Giornale I, 1532-1539; Entrata e Uscita, D, 1527-1528; xx, 1528; y 1528; yy, 1529; z, 1530; A, 1531; B, 1532; C, 1533; D, 1534; E, 1535; F, 1536; G, 1537; H, 1538. Reprod. Fig. 106; variant, Uffizi, No. 1187; old copy in the Jarves Collection, New Haven, No. 79; photo. Braun 42182; Alinari; Brogi 7892; fig., Goldschmidt, op. cit.; Vasari, trans, de Vere, VII, 170. Bibl. Vasari, VI, 275; Borghini, II Riposo, ed. 1730, p. 395; Richa, VIII, 130 ; Chiavacci, Guida della R. Galleria del Palazzo Pitti, 3d ed., Firenze, 1864, p. 90; 3d ed. (in French), Prato, p. 164; Miintz, Renaissance, Paris, 1895, III, 499; B. P. D, I, 320; II, 154; B. F. P. R., p. 174; Cruttwell, Florentine Galleries, p. 215 ; Dessins, pp. 35, 40, 56, 71, 127, 225, 256, 290, 338. 233. ST. ANTHONY Half-length; seen three-quarters right, head full face; in his right hand a rustic cross, in his left a white scroll which passes to the right across the 132 AUTHENTIC PICTURES lower part of the picture and bears the inscription: ES| DEI| ESTOl LIT ATE | VICT; he wears a black mantle with a dull grey-purple sleeve; the flesh-tones are reddish brown ; the background, green-brown. Oil on canvas. H. .78, w. .66. Not mentioned by Vasari ; provenance unknown. This is a good example of Pontormo 's most mannered period (1540- 1550) . Part of the inscription is covered by the frame. Condition : darkened with heavy varnish and covered with minute cracks but otherwise uninjured. Date : 1540-1545. Reprod. Small replica in a private collection, in Florence; photo. Alinari ; Brogi 7893. Bibl. Chiavacci, op. cit., 3d ed., p. 112; idem (in French), p. 167; Cruttwell, Florentine Galleries, p. 164; B. F. P. R., p. 175. 249. PORTRAIT OF A MAN Bust figure, seen in profile to left. He is clean shaven, has grey hair and wears a black coat with a small white frill at the neck and a greenish black cap. The background is a slate-grey. Oil on wood. H. .50, w. .39. The traditional title was "Portrait of an Unknown Man." E. Schaeffer thinks, not without a considerable show of reason, that we have here a portrait of Francesco da Castiglione, "canonico fiorentino." And it is true, as Schaeffer points out, that the same face, seen at a slightly different angle, does appear in Vasari's fresco, in the Palazzo Vecchio, "The Entry of Leo X into Florence," and that Pontormo 's portrait would seem to have served Vasari as a prototype, although in the fresco the prelate appears "in pontificalibus," that is, in a reddish violet mantle and carrying, as "suddiacono," the cross of the Pope. In his "Ragionamenti" (VIII, Rag. Ill, 142) Vasari writes in describing his fresco: "P. . . . chi e quel prete, vecchio, magro, rosso, che fa I'uffizzio di suddiacono con quella toga rossa, portando la croce di papa? G. Quello e M. Francesco da Castiglione, canonico fiorentino, il quale ha accanto a se, e sopra, tutti i segretari del papa." This is clear enough identi fication. We may, however, notice that Castiglione does not 133 PONTORMO seem to be definitely mentioned by Paris de Grassis in his "De ingressu summi pont. Leonis X Florentiam" (ed. Moreni, Florentiae, MDCCXCIII), and what is more important the date of his death is not known. Schaeffer, who thinks that he died rather soon after 1515, conjectures from the yellow tone of the picture and from the shape of the nostril that it is an example of the early work of Pontormo — perhaps the earliest portrait we possess from his hand. Such an opinion shows a total absence of any sense of quality as well as a complete misunderstanding of Pontormo 's development as a painter. The yellow tone — the picture had not yet been cleaned — was of course due to the thickening and darkening of old varnish and the shape of the nostril, which may not inconceivably have been characteristic of the sitter, is certainly not an index of Pontormo 's early work. In this panel, which Morelli also errs in placing early, we have one of the most intense and masterly of Jacopo's portraits of men. The economy of means with which an effect of rough-hewn strength is given is remarkable and the modelling, the colour, the severity of the conception, all point indubitably to Pontormo 's later period, when he had evolved a personal style quite free from the influence of Andrea j which had predominated in his work between 1514 and 1517.1 This may well be a portrait of Castiglione, but in that case he was still living as late as 1534, and until the date of his death is determined Schaeffer 's identification must remain a conjecture. Condition : excellent ; the background has been retouched and the panel has recently been cleaned. Date : 1534-1535. Reprod. Fig. 125 ; photo. Alinari ; Brogi 7894 ; fig., article cited below with two figs, of Vasari 's fresco ; fig., Miintz, Renaissance, Paris, 1895, III, 143. Bibl. Chiavacci, op. cit., p. 120; 3d ed. (French), p. 163; Morelli, op. cit., p. 129, n.; B. F. P. R., p. 175; Cruttwell, Florentine Galleries, p. 210; E. Schaeffer, Ein Bildnis Pontormos im Palazzo Pitti, Monatshefte, f. \Kunstwissenschaft, March, 1910, p. 115. 134 AUTHENTIC 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 arc 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 elad in green-black and holds in his left hand a blue hat ; the men in the group immediately behind the parapet wear red jackets and blue hats or blue jackets and red hats ; the second King, who stands three-quarters right, wears a robe embroidered in gold, red cloak with pale lavender sleeves and blue turban; the man to his right is dressed in red; the figure seen over his shoulder in dark blue tunic and dark blue cap; the third King is dressed in a dark yellow robe with red sleeves and red turban; the man on the left, who presents a vase to him, has brown hair and wears a yellow tunic and red tights; the next figure to the left has blue tights and sleeves and a yellow tunic ; the figure to his right, white tunic and scarlet tights; behind the parapet, many spectators; in the distance, two converging processions of horsemen; in their costumes blue and red pre dominate; in the background at the left, low knolls covered with delicate trees; in the centre, a city gate with towers; to the right, three buildings in the style of the early Renaissance; the foreground, brown; paths, brownish yellow; fields, greenish brown; penthouse, brown; buildings, various shades of yellow, white, and brown ; sky, blue and green. Oil on wood. H. .85, w. 1.91. Believed to be the panel that Pontormo painted for Giovanmaria Benintendi (Vasari, VI, 264, note). Francia bigio and Bacchiacca also painted for Benintendi pictures of about the same dimensions and shape (Vasari, V, 196; VI, 455). These are now in the Dresden Gallery (Nos. 75 and 80), where Franciabigio 's is dated 1523, and in the Kaiser-Friedrich Museum (No. 267). The decorative woodwork of the room of which this "Adoration" formed part was by Baccio d' Agnolo (Vasari, V, 352). Waetzoldt believes, I think without reason, the figure to the extreme left to be a portrait of Pontormo himself. Condition: excellent. Date: 1518-1519. Drawings: sketches for one of the horsemen in the middle distance, 135 PONTORMO Uffizi 6518 and 6722 (fig. 34; photo. Houghton) ; sketch of the horse of the same, Uffizi 6558 verso. Reprod. Fig. 33; engraving, Luigi Bardi, Galleria Pitti, IV; photo. Braun 42379 ; Alinari ; Brogi 7895 ; fig., Vasari, trans, de Vere, VII, 147. Bibl. Vasari, V, 196; VI, 264; Borghini, II Riposo, ed. 1730, p. 393; Chiavacci, op. cit., p. 164; 3d ed. (French), p. 167; B. F. P. R., p. 175 ;, Cruttwell, Florentine Galleries, p. 217; Waetzoldt, Die Kunst des Portrats,. p. 345 ; Schubring, Cassoni, p. 404 f. ; Dessins, pp. 35, 39, 68, 118, 127, 256, 269 ; On Certain Drawings, p. 21. Palazzo Vecchio Ufficio delle Belle Arti CARRO DELLA ZECCA Four "putti" with a bird. Ruined. Reprod. Photo. F. M. C. Four "putti" playing with a shield. Ruined. Four "putti" playing with arrows and a ribbon. Ruined. Six "putti"; to the left one carries another on his head; in the centre two carry a sphere. Ruined. Four "putti" playing together; one holds a shield which rests on the ground. Ruined. Three "putti"; one in the centre rides a lamb which one to the left leads; another, to the right, carries a bundle. Ruined.Two "putti" and two cherubs. Completely repainted. Reprod. Photo. P. M. C. Eight "putti"; two on a table that the others surround; one, to the right, carries a large bundle. Ruined.Reprod. Photo. F. M. C. The preceding eight pieces are in monochrome, oil on wood. H. .32, w. .44. 136 AUTHENTIC PICTURES Two "putti" supporting a gilded shield (Medici arms and those of Florence). Two "putti" supporting a shield (Medici arms and those of Florence). The preceding two panels are in monochrome, oil on wood. II. .28, w. .56. Baptism of Christ. Hair, blond; drapery, purplish white; background, black. Oil on wood. H. .69, w. .45. Grossly repainted. Reprod. Photo. F. M. C. Visitation. The Virgin wears a purple robe, blue mantle, white head-dress; St. Elizabeth, orange robe, white head-dress. Oil on wood. H. .69, w. .45. Completely repainted. Reprod. Photo. F. M. C. Prophet.Full-length ; stands nearly full face holding to the left a book supported on a lectern in the form of a child; robe, white; background, black; step, greenish. Oil on wood. H. .69, w. .45. Completely repainted. Reprod. Photo. F. M. C. St. Zenobius. Stands nearly full face ; the episcopal glove on his right hand which is raised in benediction ; white vestments, black background. Repainted. Reprod. Photo. F. M. C. The Baptist. Stands turned three-quarters right; right arm raised, left hand holds a staff ; purplish grey shirt, black background. Oil on wood. H. .69, w. .45. Repainted.Drawing: sketch for the whole figure, Uffizi 6581 verso. (Fig. 8; photo. F. M. C). Reprod. Photo. F. M. C. St. Matthew. Stands turned three-quarters left ; in his hands he holds a book ; green vest; purplish mantle. On the right a cherub flying downward speaks to him. Oil on wood. H. .69, w. .45. Repainted. Reprod. Photo. F. M. C. 137 PONTORMO The Preaching of St. John. Composition of sixteen figures. In the centre, St. John stands turned three-quarters right ; in his left hand a cross, his right raised ; to the left, seven figures, one of which kneels in the foreground with right arm outstretched; to the right, eight figures, one of which, a woman, kneels holding a child. Oil on wood. H. .59, w. 1.28. Completely ruined. Reprod. Photo. F. M. C. Baptism of Christ. In the centre, St. John baptizing Christ ; to the right, a man seated who takes off his tunic ; to the left, a man seated seen from behind. Oil on wood. H. .50, w. 1.28. Reprod. Photo. P. M. C. Beheading of John the Baptist. In the centre John kneels; the executioner, seen from behind, holds a sword in his right hand and with his left grasps by the hair the saint's severed head holding it out to Salome who advances from the left with a plate held in her extended hands; to the extreme left, a man seen from behind; to the right, the barred window of the prison and two spectators. Oil on wood. H. .50, w. 1.28. Completely ruined. Reprod. Photo. F. M. C. St. John in the Wilderness. To the left, St. John seated on a rock ; to the right, the meeting of John and Christ. Oil on wood. H. .50, w. 1.28. Completely ruined. These panels once formed part of the Carro della Zecca painted for the Corporation of the Mint and were exhibited every year in the procession of the feast of St. John. In 1810, during the occupation of Florence by the French, the car was broken up. The fragments enumerated above were once in the city store-rooms ; recently they have been placed in the Ufficio delle Belle Arti. Milanesi states (VI, 257) that eighteen pieces survive ; there are in reality twenty. The woodwork of the car, now lost, was by Marco del Tasso who carved much of the woodwork of the choir of the Badia and was a well-known engineer and architect (Vasari, III, 350-353). The composition of the "Beheading of John" is a free copy of the "predella" 138 AUTHENTIC PICTURES panel of the same subject ascribed to Andrea and now in the Academy at Florence (No. 77). Date : 1515. Documents: The records of the Zecca between 1510 and 1530 have been lost. Bibl. Vasari, VI, 256 ; Borghini, ed. 1730, p. 393 ; Dessins, pp. 34, 38, 39, 66, 99, 167. Uffizi 1177. MADONNA ENTHRONED In the centre, the Madonna seated on a throne facing the spectator; her hair is brown and she wears a red dress and a blue-green mantle edged with gold the ample folds of which lie across her knees; her right hand points downward to the angels at her feet, her left hand supports the Christ Child who stands on her left knee, his left leg bent, his right hand raised in benediction. At the foot of the throne on the right of the Virgin, St. Francis seen in profile to left, his left arm extended at his side, his right laid upon his breast; his robe is grey. On the left, St. Jerome, profile right and dressed in a blue-grey tunic and blue-pink drapery, his hands clasping to his breast a stone. In the centre on the steps of the throne, two little angels seated, facing, with a lamb between them ; they have auburn hair and dark wings edged with gold. In the background, which is dark grey, the outlines of the throne are dimly visible. Oil on wood. H. .72, w. .60. Not mentioned by Vasari. Formerly ascribed to Rosso; correctly given to Pontormo by Berenson. The composition reminds one somewhat of Andrea's "Marriage of St. Cathe rine, ' ' now in Dresden. Condition: unfinished and retouched. Date : 1517-1518. Drawing: study (reversed) which may have served for the St. Jerome, Uffizi 6742 verso (photo. F. M. C). Reprod. Photo. F. M. C. Bibl. B. F. P. R., p. 175; Cruttwell, Florentine Galleries, p. 98; Dessins, pp. 67, 271. 1187. MARTYRDOM OF ST. MAURICE This picture may be divided into three planes. In the foreground, the massacre of the Theban Legion ; nearly all the figures are nude ; the prevailing 139 PONTORMO flesh-tone is a light brown. Through a defile in the low hills other soldiers arrive; the standard on the right is a dull red, that on the left, green; the ground is various shades of brown. In the middle distance, on the left, raised on a little mound, an angel baptizes the souls of the slain; on the right, a grove of trees in which other soldiers of the Legion are crucified. Between these two groups, behind a dip in the landscape, a glimpse of the domes and spires of Florence ( ?) ; in the sky, flying out of the clouds, three angels who hurl arrows at the executioners. Oil on wood covered with a layer of "gesso." H. .64, w. .43. Painted according to Vasari for Carlo Neroni. This panel is a modified replica of the same subject now in the Pitti (No. 182). When and how our picture entered the Uffizi is unknown to me. Condition : chipped here and there but unrestored. Drawing : variant of the whole composition in wliich, however, the same figures appear, Hamburg 21253 (fig. 108). Reprod. Fig. 107 ; photo. F. M. C. Bibl. Vasari, VI, 275; B. F. D., I, 320; II, 142, 152, 154; B. F. P. R., p. 175 ; Catalogue de la R. Galerie de Florence, Florence, 1864, p. 138 ; Crutt well, Florentine Galleries, p. 92; Dessins, pp. 35, 40, 56, 71, 127, 225, 256, 290, 338. 1198. BIRTH-PLATE Birth of St. John the Baptist. A group of seven figures and the new born child. St. Elizabeth sits upon her couch, head and shoulders facing, surrounded by her friends and serving-maids; to her left, Zaeharias 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. Zaeharias 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 Della Casa family ; those to the left, of the Tornaquinci (blue and gold quarterings) ; but the alteration of the colours makes identification of these "stemmi" problematical. Oil on wood. Diameter, .54. 140 AUTHENTIC 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, Zaeharias' tunic, red and his mantle, blue. I have not discovered the date of the marriage indicated by the arms. Cruttwell, who is followed by Goldschmidt, states that this "piatto" was painted for Elisabetta Tornaquinci, wife of Paolo Aldighieri. Schubring erroneously gives the arms as those of the Monte di Pieta. Cf . in this catalogue, under Palazzo Davanzati, Florence, and in the Catalogue of Attributed Pic tures, under Butler Collection. Condition: excellent; the colours have faded somewhat. Date : 1529-1530. Drawing: In the former Lamponi Collection, Florence, there was a red-chalk study (h. 220, w. 140 mm.) for the head and shoulders of the woman to the extreme left. I have not seen this drawing and from the poor cut in the Lamponi Catalogue (Florence, 1902, pl. XX, No. 356) I cannot tell whether it is an original sketch or a copy. Reprod. Fig. 114 ; photo. Brogi 14763. Bibl. Catalogue de la R. Galerie de Florence, p. 140 ; B. P. P. R., p. 175 ; Cruttwell, Florentine Galleries, p. 98; Schubring, Cassoni, Leipzig, 1915, p. 407, Nos. 834 and 835; Muntz, Les plateaux d'accouchees et la peinture sur meubles du XIVe au XVIe siecle, Monuments Piot. 1220. PORTRAIT OF A MAN Bust figure turned three-quarters left ; he looks at the spectator and has brown hair and a sparse brown beard ; he wears a black velvet hat and a black coat with turned down embroidered linen collar. The background is brown. Oil on wood. H. .65, w. .49. Provenance unknown. The treatment is faithful but dry. There is no evidence to support the conjecture that this is the portrait of Carlo Neroni (Vasari, VI, 275) for whom the "Martyrdom of St. Maurice," which hangs near by, was painted. Condition : excellent ; a small piece has been added at the top of the panel. Date: 1530-1532. Reprod. Fig. 118 ; photo. F. M. C. Bibl. Catalogue cited above, p. 142; B. F. P. R., p. 175; Cruttwell, op. cit., p. 142. 141 PONTORMO 1284. VENUS AND CUPID Venus reclines, her head to the right, her feet to the left ; she faces the spectator, her head profile left, and supports herself on her left elbow which is raised and rests on a heap of drapery; her right arm is outstretched, the hand touching one of Cupid's arrows; her golden hair is partially covered by a head-dress. To the left Cupid stands, his weight on his right foot, his left leg raised and passed over the right hip of Venus ; his right hand rests on a sheaf of arrows, his left arm passed under his mother's chin, his face, seen in profile, resting against hers; his hair is blond and curly, his wings out stretched behind him. To the extreme left, a stone altar on which a vase of flowers, a bundle of arrows and a piece of drapery; across one corner of it hangs a bow from which two masks are suspended, one of a satyr, the other of a man ; on the side of the altar, a bas-relief of a fallen figure. In the middle distance, a rocky hillock; behind, distant hills and sky. Oil on wood. H. 1.27, w. 1.91. Painted for Bartolomeo Bettini from a cartoon drawn by Michelangelo (Vasari, VI, 277). Bettini planned, to place it in a room of his decorated by Bronzino with portraits of Tuscans who had written of love : Dante, Petrarch, Boccaccio and others. Certain interested people, however, took the panel almost by force from Pontormo and gave it to the Duke Alessandro who paid him fifty "scudi" for it. As a result of this high-handed action, for which Jacopo could hardly be held responsible, Michelangelo was alienated from our master. The painting was famous throughout the sixteenth century. Varchi (Bue Lezzioni, Florence, 1549, pp. 104, 278 f.) speaks of it in the following terms: "Non dice egli che gli uomini medesimi si sono innamorati delle statue di marmo, come awenne alia Venere di Prassitele, benche questo stesso awiene ancora oggi tutto il giorno nella Venere che disegno Michelagnolo a M. Bartolommeo Bettini, colorita di mano di M. Jacopo Pontormo." It hung in the Salotto della Duchessa in the Palazzo Vecchio (Inventorio della Guardaroba per M. Giul. del Tovaglia, XXV oct., 1553, p., 13 verso: "Uno quadro di pittura drentovi una Venere con Cupido et fornimento di noce intagliato, et cortina di taffeta verde di Jac° da Pontolmo ' ' ; cf . Conti, Prima reggia, p. 34). It is also mentioned in the Inventorio generale a capi (Guardaroba, No. 30, 1553-1560), p. 54. The present panel was 142 AUTHENTIC PICTURES found in 1850 in the Guardaroba generale.1 The figure of Venus had been covered in part with a wretchedly painted scarf (Milanesi, VI, 292). This and other retouches were removed and in 1861 the picture was hung in the second room of the Tuscan school in the Uffizi. Berenson, Milanesi, and Thode believe it to be Pontormo 's original and their conviction seems to be well founded. But owing to the panel's present condition its authenticity can only be proved by tracing it through the various inventories of the Guardaroba between 1550 and 1850. This has not been done. Gamba thinks that it resembles too closely other known variants of this subject to permit the definite assertion of its authenticity. The first German edition of Vasari erroneously states that the original is in the Museum of Naples. Selwyn Brinton finds the Venus a mere "coarse imitation (!) of the Michelangelesque." Concerning the sym bolism of the picture, see Thode, III, 486. The following sonnet inspired by this picture is quoted by Frey (Dichtungen, p. 271, No. CLXXIX) : Sopra la miracolosa pittura de la Venere, da Michel' Agnolo disegnata et da il Pontormo colorita. Deh, perche '1 bello et il buono, com' io vorrei, Non posso a pien ' di te spiegare in carte ! Che la natura esser ' vinta da 1 ' arte A chi mai non ti vidde, mosterrai. Se cosi bella in ciel Venere sei, Come si vede qui parte per parte, Ben puossi, et con ragion, felice Marte, Anzi beato dir fra gli altri i dei. Non han le rose, le viole et i gigli Si puro, acceso, vivo, almo colore, Ne l'oro ne i rubin si dolce ardore. Cosa mortal non e che ti somigli, Et che sia '1 ver ; di te piagato il core, Si sforza, quant' ci puo, baciarti Amore. i The editor of the 1832-1838 edition of Vasari was aware of the existence of this picture in the Guardaroba. 143 PONTORMO Condition : completely repainted and restored by Ulisse Forni who spent months on the undertaking. Date: 1533-1535. Drawings : Since Michelangelo furnished the cartoon for this picture we have naturally no study for it from the hand of Pontormo. Variants in which Jacopo rehandled the motive may be studied in two small sketches, Uffizi 444 and 446 ; in the masterful black-chalk, Uffizi 6534 ; in Uffizi 6586 (fig. 133), drawn perhaps for the frescoes at Castello; in Uffizi 6684 (reversed). The drawings Uffizi 6655 and Louvre 1029 are late copies of the picture. The Naples cartoon is also a copy. The sketch by Michelangelo in the British Museum (1859-6-25-553) considered by some critics to be an idea for this composition is believed by Berenson to be a first thought for a "Samson and Delilah." Documents: see above. Copies: A close copy at Hampton Court thought by Thode to be by Bronzino or Salviati, and by Law to be by Bronzino, although it is only the work of the latter's "bottega"; cf. Handbook to the Public Galleries in and near London, London, 1842, II, 360 ; Duppa, p. 329 ; Fagan, p. 143 ; a second altered copy in the same collection; a variant, once the property of Prof. d' Alton of Bonn who believed it to be a Michelangelo and had an etching made of it (Kugler, Kunstblatt, 1842, p. 42; Kleine Schriften, II, 358), was brought to the Berlin Gallery in 1841, was later in the magazine of the museum and still later was placed in the gallery at Hildesheim (1884) ; a variant sold in Florence sometime before 1880 ; two copies in the Guardaroba in Florence ; a small copy once owned by the heirs of Luigi Riccieri in Florence (according to Milanesi from the end of the sixteenth century) ; the cartoon (682, XXV) in the Museum of Naples in which the dish and the flowers are no longer visible and which was once believed to be Michelangelo's original design for this work; a close early copy in the same museum (No. 22, VIII, 13), of the same size as the present panel, once ascribed to Bronzino, by Thode with a query to Salviati, but now with more reason to Alessandro Allori; a copy once in the possession of Edmond Blanc in Paris which was perhaps the same as that mentioned by Milanesi as having been sold and taken out of Tuscany ; a variant in the Stadtisches Museum of Erfurt. Several copies are mentioned in old inventories: (1) In the inventory of 1635 of the palace at Turin (Vesme, Le Gall. Naz. ital., Ill, 52, No. 437) : "Venere nuda stesa in terra con Amore che la bacia et alcune mascare con arco e saette, in tavola D. M. A. Buonarroti. 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 Gemaldesammlung des Heidel- berger Schlosses (Thode und Zangemeister, Mitth. des Heidelb. Schlossvereins, III, 197, No. 230): "Venus et cupido, dureh 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 sui muro, pittura antica, che ha molto della maniera del Bonarroti, onde alcuni la credono di sua mano"; ef. also Crozat, Recueil d' Estampes, Paris, 1720, I, pl. 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. !); the same subject treated twice by Vasari in the same gallery, Nos. 7 and 18, as well as No. 16 which is ascribed to Salviati. Vasari is known to have painted two, perhaps three, similar pictures from cartoons of Michelangelo's, one for Ottaviano de' Medici (VII, 669), another for Bindo Altoviti in 1544 (VII, 673). He took a "Venus" with him to Venice in 1542 and sold it there to Don Diego de Mendoza (VII, 669 f.; VIII, 283). For the possible third "Venus" by Vasari, see his letter of July 21, 1544, to Francesco Lioni in Venice (VIII, 291). I do not know whether any of these are Nos. 7 and 18 of the Galleria Colonna or still other panels the whereabouts of which is unknown to me. The composition of the "Venus" can be traced in a number of pictures too numerous to mention, an example of which is the "Death of Adonis," ascribed to Sebastiano del Piombo, in the Uffizi. Reprod. Fig. 123 ; photo. Alinari ; Braun 41284 ; Brogi 11033. Bibl. Vasari, VI, 277, 291-295 (long note by Milanesi on the present panel) ; VII, 277 ; Borghini, ed. 1730, p. 395 ; Varchi, op. cit., p. 134 ; 278 f. ; Catalogue de la R. Galerie de Florence, p. 154 ; Gazette des beaux-arts, XIII, 2e per.; Thode, Michelangelo, Erit. Unters., II, 324-331; Law, The Royal Gallery of Hampton Court, 1898, p. 110; Catalogue de la Galerie Colonna, Rome, p. 6 ; Brinton, Renaissance, 1908, p. 187 f . ; B. F. D., I, 325 ; II, 138, 145; B. F. P. R., p. 175; Dessins, pp. 21, 33, 35, 72, 94, 95, 137, 169, 208, 232, 305, 331. See also above. 1578. MADONNA AND LITTLE ST. JOHN The Madonna, seen to the knees, is seated three-quarters right, her head almost profile ; her hair is auburn and wound in a thick coil around her head. On her right knee, slightly raised, sits the Christ Child also turned three- quarters right, his head slightly bent over towards the left is seen full face; his right arm is extended left, his left laid on the shoulder of St. John; his hair is blond; the Madonna's right hand rests on his breast. To the right, St. John turned three-quarters right, his hand raised to the Madonna whose cheek is laid against his forehead; his hair is brown; his right arm is bent round the Christ Child, his left hand laid on the Christ Child's left knee; the Madonna's left arm encircles St. John, her hand on his left elbow. The Virgin wears a green skirt, a scarlet bodice and overskirt; a yellowish grey scarf is passed round her right arm and across the body of the Infant ; behind her, thrown over a chair, is a mantle of blue-green and red lined with a lighter green. The background is almost black. Oil on wood. H. .86, w. .73. This panel, which was left unfinished by Pontormo, remained until 1907 in the store-rooms of the Uffizi. It was 145 PONTORMO in a ruined state and only after an exhaustive restoration could it be hung in the Gallery. It still retains, however, quite evident traces of our master's hand. The composition was, it would seem, derived from or suggested by a lost drawing or picture of Da Vinci's. It belongs, therefore, to the group of Pontormo 's Leonardesque pictures although it is later than the San Michele Visdomini altar-piece or the "Farinola Madonna." The little St. John owes much to Michelangelo's "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). Condition : completely repainted by Lucarini. Date: 1526-1528. Reprod. Photo. Perazzi ; fig., article cited below. Bibl. Gamba, Quadri nuovamente esposti agli Uffizi, Bollettino d' arte, I (1907), 20-22. PORTRAIT OF THE YOUNG COSIMO I Bust figure seen in profile to left; he wears a brown coat with white collar; his hair is brown and curly; the flesh-tints are freshly laid in; the background is a greenish grey. Oil on a beechwood panel. H. .47, w. .31. Not exhibited. This portrait, which is little more than a "frottis," was discovered by Conte Gamba. It is in all likeli hood a sketch for the lost portrait mentioned by Vasari (VI, 282) as executed while Jacopo was at work at Castello. Cosimo, who was born in 1519, is represented as about eighteen years of age. The present panel would seem to date, then, from about 1537-1538 — precisely the years in which Jacopo began his work at Castello. Vasari used this sketch, or the finished por trait made from it, for his likeness of Cosimo in the following frescoes of the Sala di Cosimo I, in the Palazzo Vecchio: (1) allegorical subjects to left and right of "Cosimo in Elba" (photo. Alinari 4458); (2) "The Captives at Montemurlo" (Alinari 4463) ; (3) allegories to left and right of "Cosimo among His Architects and Engineers" (Alinari 4462) ; (4) alle gories to left and right of "Cosimo Sending Succour to Serra- 146 AUTHENTIC PICTURES valle" (Alinari 4460) ; (5) "Cosimo Elected Duke of Florence" and in the allegories to the left and right of the same. For a copy of another portrait of the first Grand Duke by Pontormo, see Catalogue of Attributed Pictures, Jarves Collection, No. 78 (100). Condition: unfinished and damaged. Date: 1538-1543. Drawing: sketch, Uffizi 6528 verso (photo. Perazzi; fig., article cited below; D. G. U, pl. XXV). Reprod. Photo. Perazzi ; fig., article cited below. Bibl. Vasari, VI, 282; Borghini, ed. 1730, p. 396; Gamba, Rivista d'arte, 1910, pp. 125-127 ; Dessins, pp. 11, 35, 40, 74, 133. PORTRAIT OF COSIMO IL VECCHIO Seated; seen to the knees, the torse turned three-quarters left, the head profile left. He is clean shaven and wears a red cloak edged with Ane brown fur and a cap of lighter red ; his hands are clasped in his lap ; the flesh-tints are pale and cadaverous. The chair is a warm brown, the background a dark greenish grey. A small laurel grows on the left side, the leaves of which are a brown-green. Wound round the stem of this tree is a narrow scroll bearing the inscription: VNO AW|LSO • NO • DEFICIT ALITER;1 behind the head and shoulders, on the back of the chair : COSM • MED | ICES • P • P • P • Oil on wood. H. .86, w. .65. One of the great imaginative creations of Florentine portraiture; the modelling of the face and hands is exquisite. Here Cosimo has all the dignity of a noble and revered ancestor (cf. Bartolomeo Scala, Carmina illustrium Poetarum Italorum, VIII, 489). The prototype of this portrait was undoubtedly a medal, but it is difficult to say whether Pontormo worked from a medal of which an example survives or from a variant of which we do not possess a specimen. There are four known medals that represent Cosimo : I. A medal with the inscription: COSMUS MEDICES DECRETO PUBLIC. P. P. Reverse: PAX. LIBER- TASQUE. PUBLICA; a seated figure of a woman with the word, FLORENTIA. II. A similar medal with PUBLICO instead of PUBLIC. (engrav. Litta, fasc. 22 ; Supino, II medagliere mediceo, p. 22, i^Eneid, VI, 143. 147 PONTORMO No. 20 ; Fabriczy, Medaillen d. italienischen Benaissance, p. 55, fig. 87 ; idem, Bepertorium, XXIV, 313 ; Armand, Medailleurs italiens, 2e ed., 1, 10 ; Bode, Florentiner Bildhauer, p. 257) . An example in the Kaiser-Friedrich Museum, the Bargello, and the Dreyfus Collection, Paris. III. A small replica of No. II. Cf. J. Friedlander, Italienischen Schaumiinzen, Jahrb. d. k. preuss. Kunstsamml., II (1881), 239-241, pl. XXVII, No. 3; Trapesnikoff, Die Por- tratdarstellungen der Mediceer des XV Jahrhunderts, pl. II, 3 ; Supino, p. 22; Armand, II, 23. Examples in the Kaiser- Friedrich Museum, and in the Bargello in gold, silver, and bronze. This is perhaps the gold medal mentioned in the Medicean inventories of the fifteenth century (Miintz, Les coll. d. Medicis au XVe siecle, p. 74) . IV. The same with MAGNUS. COSMUS. MEDICES. P. P. P. and the same reverse as the preceding. Cf. Museum Mazz., I, xx, 4; Tresor de numismatique : Med. ital., I, xx, 1; Friedlander, pl. XXVII, No. 4; Miintz, Precurseurs de la Benaissance, p. 135 ; Supino, p. 22, No. 21 ; Heiss, Medailleurs de la Benaissance, II, 9 ; I, pl. i, 2 ; Armand, II, 23. An example in the Kaiser-Friedrich Museum and in the Bargello where it is ascribed to Michelozzo.1 Goethe and Heinrich Meyer (Jenaische Allgemeine Liter atur-Zeitung, 1810, Vol. I) ascribed No. I without reason to Donatello, No. II equally without reason, to Michelozzo. Supino and Armand ascribe No. Ill also to Michelozzo. Fried lander believes that all four were made for Lorenzo de' Medici by Nicolaus Florentinus whose real name was perhaps Niccolo di Forzore Spinelli (1430-1514). It was in all likelihood No. Ill that was reproduced, not long after it was struck, in three manuscripts that are now in the Laurenziana: 1. Aristotelis Logica, Ioanne Argyropylos interprete (Bandinius, Catalogus Codicum latinorum, III, 3; D' Ancona, La miniatura fiorentina, II, 394, No. 796) in which the effigy of Cosimo, profile right, appears in a medallion of a gold-coloured monochrome in the 1 There is another medal dating from the end of the sixteenth century with the same obverse as No. IV; on the reverse, three interlaced rings and the word SEMPER. 148 AUTHENTIC PICTURES middle of the right side of the title-page. On the same page, which has been reproduced by Miintz (Les Prrrurseurs, p. 158), there is a similar medallion of Piero. 2. Aristotelis Opera quaedam, Ioanne Argyropylos interprote (Bandinius, III, 225; D' Ancona, II, 395). This work is dedicated to I'iero. The medallion of Cosimo represents him in a red mantle and red biretta. 3. IOHANNIS NESII, De moribus ad Petrum Laurentii f. Dialogi IV (Bandinius, III, 144; D' Ancona, II, 454 f.). In the initial "C" Cosimo is represented in profile in a violet vest and red cap. Medal No. Ill could not have been struck before March 16, 1465, the date of Cosimo's death, since the title "Pater Patriae" was a posthumous honour. The miniature of manuscript No. 3 must have been executed before 1469 in which year Piero died. We see, therefore, that the medals, the first three of which are practically of the same date, are themselves derived from an earlier representation of Cosimo that has since been lost. They are in turn the source of a number of portraits of Cosimo other than the three miniatures we have just mentioned. Medal No. IV itself dates, in the opinion of some critics, from the end of the fifteenth century and is derived from medal No. III. A fourth immediate derivative of these medals is the medallion in gilded bronze on the cover of a late fifteenth century manuscript, FR. TOMMASO SARDI, L'Anima pellegrina, poema in terza rima, Rome, Bibl. Corsini, Cod. 55. K. 1. A fifth derivative, and earlier than the last, is the medal in relief in "gesso" and gilt that one sees in Botticelli's "Portrait of a Man," now in the Uffizi (No. 1154). It is derived in all probability from medal No. I. Friedlander even goes so far as to believe that Botticelli's portrait, which is a work of his earliest period, represents Nicolaus Florentinus himself holding his medal of Cosimo. A sixth derivative is the late fifteenth century marble relief ascribed to Verrocchio, now in the Kaiser-Friedrich Museum (No. 104; Trapesnikoff, pl. Ill), which comes from the Orlandini Collection (Bode, Italienische Portratskulpturen des 15 Jahrhunderts, p. 38; Bode und Tschudi, Beschreibung der Bildwerke, pl. VII). A seventh derivative is the sixteenth century terra-cotta relief in 149 PONTORMO the Old Sacristy of San Lorenzo, Florence, where the face is turned to the right (Trapesnikoff, pl. IV, 1) and of which the poor and empty bust portrait of Cosimo ascribed to Bronzino in the Uffizi is an exact copy even to the colouring. This latter portrait miniature (photo. Alinari 459 ; Trapesnikoff, pl. IV, 2 ; Young, The Medici, pl. Ill) dates from about 1553 and is labelled COSMUS MEDICES P. P. P. It differs from Pontormo 's portrait in structure and modelling as well as in many small details. An eighth derivative is the cameo, Uffizi No. 1083, which was copied from medal No. III. A ninth derivative is the porphyry relief by Francesco del Tadda (H. 19, w. 14 in.; Wood Brown, p. 113, fig., p. 39), mounted on an oval slab of green serpentine of Prato and bearing on the chamfer of the bust: OPA DI FRANC0 DA FIESOLE, which was once in the Uffizi and is now in the magazine of the Bargello. Pontormo 's portrait is then by no means the first work of art derived from these medals. It is most closely related to medal No. Ill ; and since Goro Gheri, for whom it was painted, was secretary to Lorenzino, it is not inconceivable that he obtained for Pontormo access to a fine cast of that medal, perhaps in precious metal, such as was undoubtedly preserved in the collections of the Medici. It should be noted, however, that our portrait differs from all surviving medals in the shape of the ear, the way in which the cap touches the same, the tilt of the head and the contour of the eye. These differences may have arisen, quite naturally, in idealizing and elaborating the features merely suggested in the prototype. In Vasari's time our panel was in the house of Ottaviano de' Medici in the possession of his son Messer Alessandro. Later it was in the Uffizi, and in the eighteenth century it was removed to Cosimo's cell at San Marco where, in 1912, Ales sandro Pieroni's modified copy (purplish brown cloak, red cap; h. 1.30, w. 1.10) was substituted and the original again placed in the Uffizi. The present panel is the prototype of most of the later representations of Cosimo among which the following are known to me. (a) Vasari's full-length portrait of Cosimo, in 150 AUTHENTIC PICTURES the Chapel of Leo X, in the Palazzo Vecchio. (b) The portraits of Cosimo in Vasari's frescoes in the Camera di Cosimo il Vecchio, Palazzo Vecchio: "Cosimo Going into Exile" (Alinari 4407) ; "Cosimo's Return from Exile," "Cosimo with Brunel leschi and Ghiberti" (Alinari 4413); "Cosimo with Santi Bentivogli Poppi"; "Cosimo with Philosophers and Artists." Cf. Vasari, " Ragionamenti " ; Filippo Moise, Ilhistrazioue del Palazzo de' Priori, Firenze, 1843; Giuseppe Conti, II palagio del Comune in Firenze, 1905; Cosimo Conti, La prima reggia di Cosimo 1, 1893, p. 140. (c) Altissimo's bust portrait (profile left in red cap and mantle) in the corridor between the Pitti and the Uffizi. (d) Paggi'sC?) portrait in the same corridor (modifications in the chair and length, inscription omitted). (e) The portraits used as decorative motives in the ceiling of the Long Gallery of the Uffizi by Cosimo Ulivelli, Angiolo Gori, Jacopo Chiavistelli, Bernardino Pocetti and others, (f) The portrait in the possession of the Societa Colombaria, Florence. (g) The portrait in the collection of the Erzherzog Ferdinand von Tirol, Hofmuseum, Vienna, which belonged to a gallery of portraits of famous men similar to that collected by Paolo Giovio at Como (Kenner, Die Portratsammlung des Erzherzogs Ferdinand v. Tirol, Jahrb. kunsthist. Samml. d. Allerh. Kaiserhauses, Vienna, XVIII (1897), 145. (h) The late sixteenth century copy bearing the inscription COSIMO ¦ MEDICI -P-P-, now in the Thaw Collection, New York. (i) The miniature once in the Colworth Collection (No. 41) and sold at Christie's in 1892. (j) Allegrini's engraving in Regiae familiae, which is a modified form of Pontormo 's por trait with the inscription : ' ' Cosmus cognomento Pater Patriae Joannis Medic, et Piccardae Bueriae F. Ex Coenobio Divi Marci Florentinae. " (k) The poor engraving in Allegrini's Serie di Bitratti di uomini illustri, Florence, 1768-1770, III, tav. 52, which bears the inscription: "Preso da un Quadro in tavola esistente nella Spezeria del Convento di S. Marco di Firen6. Tommaso Gentili del. F. Allegrini inci. 1769." (1) The poor woodcut (bust figure) in Paolo Giovio's Elogia Virorum bellica virtute illustrium, Basel, 1575, p. 131 (Cf. Miintz, Le 151 PONTORMO Musee de Portraits de Paul Jove, Paris, 1900, Memoires de VInstitut de France, XXXVI, Paris, 1901) . (m) The modified engraving by Antonio Perfetti 1819 (drawing by Pietro Ernimi) printed in Florence by Luigi Bardi e Compagno, Galleria di Firenze, II, pl. XLVIII. (n) The engraving in Rosini's Pittura italiana, V, 77. (o) The line-engraving (bust figure) in Inghirami's Storia della Toscana, XVII, tav. CIII, No. 4, as well as a number of later engravings. To this list may be added, although only on conjecture, the portrait mentioned in the Guardaroba of the Palazzo Vecchio, in the Inventory of 1553 (C. Conti, La prima reggia, p. 138 f). For engravings of other portraits of Cosimo, see Vine. Follini, Iconografia universale, Florence, XI, 3. Condition: excellent; there are a few worm-holes in the panel which has split somewhat along the right side ; a small piece has been added at the top ; the old varnish has been removed recently by skilful restoration. Date: 1518-1519. Reprod. Fig. 42. See above. A poor engraving by Borde in Litta, fase. 22; photo. Brogi 14817; Alinari; Anderson; Trapesnikoff, pl. IX; University Prints, No. 99, series C. Bibl. Vasari, VI, 264 ; Molini, Galleria di Firenze, Vol. II, S. I, p. 5 ; Cruttwell, Florentine Churches, p. 168 ; B. F. P. R., p. 175 ; Catalogue de la R. Galerie de Florence, Florence, 1864, p. 150; "Waetzoldt, Die Kunst des Portrats, Leipzig, 1908, p. 65. See also above. FRANKFORT Stadel Institute 14A. PORTRAIT OF A YOUNG WOMAN WITH A DOG She is seated in a Savonarola chair, and turned three-quarters left, the head almost full face; she looks at the spectator. Her hair is brown, neatly parted, a thick roll of it held in an ornamental net that encircles her head; eyebrows finely pencilled ; eyes brown, the right smaller than the left ; nostrils wide ; ears high and pointed ; chin full ; neck column-like. She wears a scarlet cloth dress cut square at the neck, large puffs at the shoulders, dark green velvet sleeves, full white chemisette with high embroidered collar made of two pieces, small frills at the wrists. In her hair, a gold circle with a filigree star in the centre ; around her neck a gold chain of heavy ornamental links ; around her waist a narrow black and gold woven band ; on the upper joint of the ring finger of the right hand, a high diamond ring ; on the little finger of 152 AUTHENTIC PICTURES the left hand, a ruby ring ; around her right wrist and lying across her lap, a dark bead chaplet ending in a large tassel enclosed in gold filigree; in the bend of her right arm, a little brown and white dog sits facing the spectator. The chair on which she sits is seen in profile and is ornamented with a bronze mask, a handle, two large nails and a green fringe. The background forming a shallow niche is dark grey on the left, light grey on the right ; flat pilasters on either side; behind the sitter, a low table on which two books bound in parchment with dark ribbon-fastenings. Oil on poplar wood. H. .89, w. .70. From the Riccardi, Fesch, Le Brun and Mailand Collec tions; bought in 1882 (Frankfurter Kunstverein). Once thought to be a lady of the family of the dukes of Urbino. On the back of the panel, in pencil, an illegible inscription: "Anton . . . rato| . . . o," and a round branded seal on which the following letters: DO OGA| LOGDI| TOME(?) wliich Weizsacker reads: MA| LOD.III| IM . . . Ascribed to Bron zino by the author of the Mailand Catalogue who compares it with a "Portrait of the Duke of Urbino," once in the Pourtales Collection (No. 114), which he also considers to be a Bronzino, but which was anciently attributed to Sebastiano del Piombo and, by the author of the Pourtales Catalogue, to Andrea del Sarto. The attribution of the present panel to Bronzino was retained in the earlier Frankfort catalogues and by various critics. The portrait was first correctly attributed to Pontormo by Berenson who is followed by Waetzoldt and the latest catalogue of the gallery. This is one of the most charming and characteristic portraits that our master has left us. It is dignified and gracious, of a large simplicity and penetrating intellectuality. The pose and spacing were perhaps suggested by a lost drawing of Michelangelo's; cf. the sheet in the British Museum (Frey, 184). Condition: excellent; slightly retouched and judiciously varnished. Date: 1534-1545. Drawings: Uffizi 414 and 17769 bear a superficial resemblance to this portrait with which, however, they have no connection. Reprod. Fig. 127; poor engraving by Monzies, Mailand Catalogue, facing page 14 ; photo. Bruckmann ; Braun. Bibl. Catalogue de tableaux anciens composant la collection de feu M. Mailand, Salle Drouot, May, 1881, p. 14, No. 16 ; Weizsacker, Catalog der 153 PONTORMO Gemalde-galerie des Stadelschen Kunstinstituts in Frankfurt am Main, Frankfurt, 1900, pp. 53 f.; Stadelsches Kunstinstitut, Verzeichnis der Gemdlde, Frankfurt, 1910, p. 5; idem, ed. 1914, ibid.; Waetzoldt, Die Kunst des 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 left. He has brown eyes that look left; longish brown hair. He is beardless and wears a pink doublet, finished at the throat with a small white frill, at the wrists with large cuffs turned back and lined with fur; a silk mantle of brighter pink than the doublet is thrown in rich folds over the left shoulder; at the waist, a cord in the form of a belt from which a black velvet bag with a dark silver mount hangs open showing an embroidered handkerchief. The left hand rests on the hip, the two middle fingers touching ; in the right hand, a pair of gloves ; on the head, a small round scarlet cap. Background, green-black. Oil on wood. H. .86, w. .63. Formerly No. 24 ; left to the gallery in the Galliera bequest ; ulterior provenance unknown; not mentioned by Vasari. The right eye slightly smaller than the left is characteristic of Pontormo 's draughtsmanship; cf. among others the Frankfort "Portrait of a Young Woman," the portrait-drawing of a girl, in Chantilly, the "Portrait of a Woman," in Turin, the "Por trait of a Girl," in the Widener Collection. The hands in the present portrait recall those of the ruined "Portrait of a Magistrate" (Borghese, No. 74) ; the drapery is close to that of the man kneeling in the foreground of Andrea's "Assump tion" (Pitti, No. 191) and that of the man to the extreme left of Andrea's panel of the "Life of Joseph" (Pitti, No. 87); the pink shot with yellow of the mantle is not unlike that of the dress of the Magdalen in Andrea's "Disputa" (Pitti, No. 172), the drapery of the two saints in the foreground of Andrea's "Assumption" (Pitti, No. 191) and the robes of certain figures in Andrea's " Deposition" (Pitti, No. 58). The same colour was also used by Rosso for the drapery of the saint 154 AUTHENTIC PICTURES in the foreground of his "Madonna and Saints" (Pitti, No. 237). Condition : excellent ; cracked slightly by the warping of the boards. Date: 1516-1521. Reprod. Fig. 41; photo. Brogi 11502; F. M. C. Bibl. Jacobsen, Le Gallerie Brignole-Sale-Dcfftrrari in Genova, Archivio storico dell' arte, II (1896), p. 120; Catalogo di Palazzo Bianco e Rosso, Genova, 1909, p. 34; idem, 2d ed., p. 59; idem, Orlando Grosso, Milan, p. 47; Suida, Genua, 1906, p. 142; B. F. P. R., p. 176. KEIR, DUNBLANE, SCOTLAND Stirling Collection PORTRAIT OF BARTOLOMEO COMPAGNI Half-length ; seated, three-quarters left, in an arm chair before a table ; the head turned a little less than three-quarters left; the eyes look at the spectator. The right hand, lightly holding a quill-pen, rests on the table, the left upon his left thigh; on the third finger, a jewelled ring. He wears a long beard and moustache and is dressed in a dark coat with large sleeves and embroidered collar; at his wrists, embroidered white frills; on his head, a black cap ; in his lap, a handkerchief. The arm of the chair ends in a winged cupid's head; on the table are: seal-ring, sealing-wax, paper-cutter, open quill-case, ink-pot and two folded letters, the seal of the uppermost of which is broken ; on it one reads : A1 Magroap° bartolomeo Compagni . . . o Honerarius| In Firenze ; beside these lie sheets of paper on which he has just written : lac me0 os . . . mo| Per lamore uoleua . . . | ho meso quanto quella . . .| comanda ei sono . . . The background is a flat niche, on the left, a pilaster, on the right, an engaged column on the base of wliich : 49 AT AT ; at the base of the pilaster, a shelf on which lie official seals, a packet of papers, a document with a large seal of a bust seen in profile left; to this seal two ribbons are affixed. Oil. Condition: excellent. Date: 1534-1545. Provenance unknown; bought in Italy, sometime before 1825, by Charles Stirling in whose catalogue of 1826 it appears as "Portrait of a Consul." The person addressed as Jacopo in the letter that the sitter is engaged in writing is evidently Pontormo himself. Reprod. Fig. 126; photo, for Capt. Archibald Stirling. Bibl. B. F. P. R., p. 177. 155 PONTORMO LONDON Mond Collection A CONVERSATION To the left, a man, dressed in a crimson robe, scarlet leggings, buff shoes and pale sea-green mantle and cap, seated profile right; to the right another man, similarly dressed in a robe of grass-green with a mantle of pale rose and a scarlet cap, seated in an arm-chair profile left, his left hand on the arm of the chair, his right raised ; behind, two figures facing of which one sees little more than the heads. The figure to the right is dressed in olive-green; the figure to the left, in orange-crimson. The man in the middle background is dressed in dark grey. The woodwork is orange-brown, the foreground, warm yellow-brown, the background, which is made up of the intersection of a groined roof and a wall, is grey. Oil on canvas. H. .35, w. .24. Provenance unknown; discovered and attributed to Pon tormo by Costa. The stout, thick-set figures should be compared with the same type of figure in the Pitti "Adoration of the Magi." The colour and the touch recall the Uffizi "Birth- plate," which is of the same date. Condition: slightly damaged. Date: 1516-1521. Reprod. A replica in the Methuen Collection ; J. P. Richter, Catalogue of the Mond Collection, London, 1910, II, pl. 19. Bibl. Catalogue cited above, II, 449 ; B. F. P. R., p. 176. National Gallery 1131. JOSEPH IN EGYPT The composition is complicated. To the left, a palace at the door of which Pharaoh appears surrounded by his attendants. In the foreground left, a flight of eight steps with two landings on which Joseph and his people in attitudes of supplication. To the right, seated on a triumphal car drawn by naked children, Joseph is again represented stooping toward a man who kneels beside the car and presents a petition. Farther to the right, part of a circular edifice up the front of which runs a bracketed stair. Toward the top of this staircase Joseph again appears leading one of his sons. Another child is received by his mother on the landing above. The upper part of the circular building is open disclosing a hall or porch in which Joseph is repre sented at the bedside of his dying father to whom he presents the children, 156 AUTHENTIC PICTURES Ephraim and Manasseh. In the second plane, at the middle of tlie pielure, a dense group of figures; behind these, a smaller group around a little mound; in the background, trees and two gable-roofed houses. There are three statues on high pedestals in the picture. They represent Mars, Venus, and Cupid. The colour-composition is somewhat as follows: Foreground, beginning on the extreme right; man kneeling, light violet breeches, yellow jerkin, white sleeves; blond boy standing with back turned and legs wide apart, red legs, violet skirt, yellow jerkin ; boy (Bronzino) seated on steps, dark brown cloak; three "putti," white drapery with violet lights; old man kneeling, light blue; man to the extreme left, darker blue of the same tone with dark brown drapery about the waist, dark red cap in hand. Second plane, beginning on the extreme left; man, bright red; old man in front of latter, light yellow-brown, white sleeves and turban ; old man whose head and shoulders show between the last two figures, light blue ; young man who faces the old man with turban, dark violet-brown mantle, yellow tunic ; old woman with clasped hands, deep pink, white scarf and head-dress. In the little group in the second plane at the middle of the picture, reds and light violets predominate. The figure seated on the base of the column to the right, violet drapery, yellow jerkin, red cap ; man on lowest step of stairs to the right, red robe and cap ; second figure mounting the stairs leading a child, violet cloak, dull red stockings, red turban; child, light green dress; woman at top of stairs, red; child who advances to meet her, green; woman half-hidden by column, red. In the group on the platform of the circular building the same tones are distributed. The group in third plane at the middle of picture : pale green, violet and white. The figures in the background are red or red and white. The land scape, light brown; the architecture, pale lavender-grey; the pillar and pedestal in the foreground right, pale brown. Marked in lower left corner: JACOMO DAPONTORMO — inscription which probably dates from the last half of the sixteenth century. On the scroll held by the man kneeling in lower right corner, a legend which I have not been able to read in its entirety : . . . ci dj fiso sej i ispeto . . . nel . . . nella da una . . . Oil on canvas. H. .44, w. .49. This picture, on which Vasari lavishes the highest praise, was painted for the famous room, in Casa Borgherini in Borgo SS. Apostoli, presented to Pierfrancesco Borgherjni by his father on the occasion of the former's marriage to Margherita, daughter of Roberto Acciaiuoli. It was originally placed in a corner to the left of the entrance and formed part of a general scheme of decoration which involved other pictures and "cas soni" by Pontormo, Andrea, Franciabigio, Bacchiacca and Granacci (Vasari, V, 342 f.). The house afterwards passed into the hands of the Rosselli (once Del Turco) family (Baldinucci, IV, 209 ; Vasari, IV, 531, n.) . Milanesi states that the pictures painted by Jacopo for Borgherini were sold in 1584 to the Grand Duke Francesco by Niccolo di Giovanni Borgherini 157 PONTORMO i for ninety ducats (Archivio di Stato, Depositeria Generale, Recapiti 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 wliich country the art of Greece was supposed to be derived (Richter, 39 1). The statues that adorn the buildings furnish further proof that the scene is meant for Egypt, in as much as legends current in the Middle Ages (Tischendorf, Evang. Pseudo- Matth., Chaps. XXII, XXIII) had induced artists to use them as a symbol of that country. Richter believed that the portrait of the young Bronzino made him appear to be about ten years of age. He therefore placed this canvas in 1512, at the very beginning of Pontormo 's career — at least six years too early. His error is repeated by Jacobsen who also considered the signature to be genuine. Schubring seems to continue Vasari's mistaken explanation of the subject and he identifies the picture with a "lettuccio" representing "Giuseppe che serve Faraone" which, however, Vasari distinctly states was painted for Borgherini by Granacci. Schubring turns this difficulty with ease by remarking that Vasari frequently confuses these two painters. We might notice in passing that two panels by 158 AUTHENTIC PICTURES Bacchiacca representing the "Life of Joseph," and painted for Borgherini, are in the National Gallery (Nos. 1218 and 1219). For the other pictures executed by Pontormo for Borgherini, see under Panshanger. Condition: excellent. Date: 1518-1519. Drawing : Berenson thinks that Uffizi 6537 is a study for the drapery of the right arm of the figure to the extreme left. I do not feel that the identifi cation is convincing. In the Louvre there is a poor pen and ink drawing (No. 1725), ascribed to Andrea but really dating from about 1575, which is a copy by an unknown hand of the present composition. Document: see above. Reprod. Photo. Hanfstaengl, National Gallery, 220; fig., Poynter, National Gallery, II, 99; fig., Vasari, trans, de Vere, VII, 158. Bibl. Vasari, V, 26, 343; VI, 261, 455; Borghini, II Riposo, ed. 1730, p. 393 ; Richter, Art of the National Gallery, pp. 36 f. ; Catalogue of the Collection of the Duke of Hamilton, London, 1882, p. 101; Hamilton Palace Collection, Illustrated Priced Catalogue, London, 1882, pp. 52, 100; Poynter, op. cit., II, 98 ; Cook, Handbook, I, 32 ; Descriptive Catalogue of the National Gallery, 1906, p. 457; idem, 81st ed., 1913, pp. 554 f. ; Graves, Loan Exhibi tions, II, 942 ; Art Sales, 1888, II ; Miintz, Renaissance, Paris, 1895, III, 499 ; Jacobsen, Italienische Gemdlde in der National-galerie zu London, Reperto- rium, XXIV (1901), p. 365; Frizzoni, Arte italiana del rinascimento, 1891, pp. 255 f . ; B. F. D., II, 142 ; B. F. P. R., p. 176 ; Dessins, 34, 68, 139, 331. LUCCA Pinacoteca 75. PORTRAIT OF A YOUTH Half-length ; full face ; the head turned slightly right. He stands beside a greyish table placed to the left on which his right hand rests, his left hand on his hip. He is beardless and has bushy auburn hair and brown eyes. He wears a dark green coat with sleeves of the same colour over which is thrown an ample light red mantle; at his neck a white shirt and collar show; his hat is a dark bluish green ; the background, dark green. Oil on wood. H. .85, w. .61. Provenance unknown ; once at Poggio Imperiale ; now the property of the Istituto di Belle Arti. Erroneously believed to be a portrait of Giuliano de' Medici. On the back of the panel one reads: "Dalla guardaroba genle 2485." 159 PONTORMO Condition: excellent. Date: 1529-1530. Drawing: Berenson thinks that Uffizi 452 (fig. 38) is probably a study for this portrait, but the drawing seems to me to date from ten years earlier. Reprod. Fig. 115 ; photo. Alinari 8459. Bibl. Trapesnikoff, Die Portrdtdarstellungen der Mediceer, Strassburg, 1909, p. 77; B. F. D., I, 324; II, 138; B. F. P. R., p. 176. MILAN Collection of Prince Trivulzio PORTRAIT OF A BOY WITH A BOOK Three-quarter length. He stands turned three-quarters left leaning against a narrow low wooden shelf; his eyes look at the spectator. He has dark curly hair, dark wide-set eyes, broad flat nose, thin eyebrows. His left hand rests on the edge of the shelf, his right holds against his hip a large open book. He wears a black cap and a dark costume of stuff with a knotted sur face; the sleeves have large puffs at the shoulders; the lower sleeve is very long and of dark velvet; the front of the jacket is fastened with laces the ends of which are encased in metal tips ; about the waist, a tight, narrow belt tied with a bow in front ; about the hips a broad, black, buckled sword-belt which hangs lower on his left side. Light background. Oil on wood. A fine example of Pontormo 's work in portraiture during the first part of the decade of the twenties, which I regret to say that I know only from a photograph, in spite of a written application for permission to see the original and a special journey made to Milan for that purpose. On the book I have made out in a fragmentary manner the following verses : Famosi Frondi de' Cra . . . santi Per non so quai del Ciel fero Pia . . . Rado hoggi s ' orna Cesare o Poeta Merce del guasto Mondo & pien derrori Chi sara mai . . . segnamente honesi II od . . . che in Voi si dolcemente aqueta I vianj & le tempeste 'e 'n . . . lieta Ogni anima gentil del Volgo fuori? 160 AUTHENTIC PICTURES Et chi sia poi . . . degnamente ancora Adorar possa & quanto si conuiene Lalta vertu ch' e nel bel nostro inuolta Io da che prima nasce l'Aurore Fin che di naduo al' oriente uiene, V adoro e 'inchino humil solo Vna uolta. Ed... Ama gentil dai faute ca° et Eccm° Sig™ II Signore Guidobaldo duca d'Urbino." The portrait ascribed to Pontormo, once in the collection of the Rev. E. H. Dawkins, Morhanger House, near Surrey, Bedfordshire, and sold at Christie's on February 28, 1913, for £23 2s., would seem to have been a copy of our portrait with which it was identical in size. Cf. in Catalogue of Sales, under Dawkins. Condition: recently cleaned and restored. Date: 1531-1532. Document. See above. Beprod. Copy(f) once in the Dawkins Collection; engraving, Luigi Bardi, Galleria Pitti, VI, 273; photo. Braun 42149; Alinari; Brogi 6004; fig., article by Justi cited below; woodcut, Heiss, Les Midailleurs de la Benaissance, 2« partie, Paris, 1892, p. 201. Bibl. Vasari, VI, 276; VII, 595; Cniavacci, Guida della B. Galleria del Palazzo Pitti, 3d ed., Firenze, 1864, p. 74; idem, French ed., p. 190; B. F. P. B., p. 174; Justi, Zeitschrift f. bildende Kunst, Leipzig, 1897, pp. 34-40; Fabriczy, L' Arte, I (1898), 475; Cruttwell, Florentine Galleries, p. 182; Giglioli, Bivista d' arte, 1909, p. 339-340; Thode, Jahrbuch d. kbnigl. preuss. Kunstsamml., 1888; Schulze, Bronzino, XII. Palazzo Vecchio Cappella Leone X PORTRAIT OF COSIMO IL VECCHIO AS ST. COSMAS Full-length, turned three-quarters left, head profile left. He holds a richly bound green leather folio tooled with gold, from between the leaves of which a little palm of martyrdom stands up; he wears a scarlet cap, deep pink mantle lined with a lighter pink, and red slipperB; his legs are bare. The background is a dark greenish grey decorated with a pattern of leaves; the floor is brownish green. Oil on wood. H. 1.72, w. .59. Brought from the Guardaroba in 1861; formerly in the Uffizi (No. 1267) and ascribed to Pontormo — attribution retained by Morelli, Berenson, Crutt well, Trapesnikoff and De Vere. This panel and the following were however, according to his own testimony (VII, 699), executed by Vasari for the Chapel of Leo X, in the Palazzo Vecchio, on the altar of which Raphael 's ' ' Madonna dell' Impannata" formerly stood. The head of the present portrait is a copy of Pontormo 's ' ' Portrait of Cosimo, ' ' once at San Marco and now in the Uffizi. 205 PONTORMO The Chapel of Leo has been reconstructed and this panel and its companion piece have found their original places again beside a copy of the "Impannata." Condition: darkened and retouched here and there. Date: about 1560. Beprod. Photo. Braun 41267; Brogi 11032. Bibl. Vasari, IV, 351; VII, 699; Catalogue de la B. Galerie de Florence, Florence, 1864, p. 150; Bivista d'arte, VI (1909), 263 f.; B. F. P. E., p. 175; Cruttwell, Florentine Galleries, p. 84; Morelli, Doria Pamfili Galleries, p. 130; Trapesnikoff, Die Portratdarstel- lungen, p. 21; Lensi, Palazzo Vecchio, p. 172. PORTRAIT OF COSIMO I AS ST. DAMIAN Full-length, turned three-quarters right; weight on the right leg; the head turned nearly three-quarters left. His hair and beard are almost black; with his left hand he holds, against his side, a richly bound book from between the leaves of which a little palm of martyrdom stands up; his right arm is bent at the elbow; his forefinger points in front of him; he wears a deep pink mantle which reaches to the ground, a doublet of dimmer red, red stockings and dark red shoes. The background is greyish green, the floor brownish green. Oil on wood. H. 1.72, w. .59. Cf. the preceding of which the present panel is a pendant. Once Uffizi, No. 1270. Condition: practically untouched though darkened with varnish. Date: about 1560. Beprod. Photo. Braun 41270; Brogi 11031; fig., Vasari, trans, de Vere, VII, 152. Bibl. See the preceding. Ufficio delle Belle Arti MADONNA AND LITTLE ST. JOHN Oil on wood. H. .38, w. .39. This panel, which is preserved as having once formed part of the decora tion of the Carro della Zecca, is entirely foreign to the work of Pontormo. Condition: disastrously repainted. Beprod. Photo. F. M. C. Santa Croce MADONNA AND CHILD WITH TWO FRANCISCAN SAINTS The Virgin wears a red robe and blue mantle; the saint that holds an open book, a red mantle; the friar, a brown robe. Lunette in fresco. This lunette has not the slightest connection with the work of Pontormo. Beprod. Photo. Alinari 3880 (as Pontormo). 206 ATTRIBUTED PICTURES San Lorenzo ASSUMPTION OF THE VIRGIN The Virgin is dressed in a pink robe and blue mantle. Tho kneeling figure in tho foreground wears a green robe and red mantle; St. Peter, a groon robe and yellow mantle. Erroneously ascribed to Pontormo. This is the work of an exceedingly mediocre imitator of Andrea del Sarto of whose "Assumption" in the Pitti the composition is a travesty. Beprod. Photo. Alinari 31074 (as rontormo). 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. Santa Maria Maddalena de' Pazzi MADONNA AND CHILD WITH ST. JOHN, ST. BERNARD AND OTHER SAINTS In the chapel of the Da Romena family. Cinelli erroneously attributes this work to Pontormo. It was painted by Puligo in 1525 (Vasari, IV, 466). Beprod. Photo. Alinari 31089 (as Pontormo). Bibl. Bocchi, ed. Cinelli, p. 486 ; Eicha, I, 323 ; Fantozzi, p. 293 ; Fabriczy, Memorie sulla chiesa di S. M. Maddalena de' Pazzi im, Firenze, L' Arte, IX (1906), p. 258, notes 10, 11 and 14. Uffizi 1196. EXPULSION FROM PARADISE In the centre, Adam and Eve, their legs turned three-quarters left, their torses seen in profile, their heads thrown back and seen three-quarters left; behind them on the right, the serpent with a human head coiled around a bare tree trunk ; to the left, the trunks of two other trees; above them an angel, in a mist of light and seen from behind, brandishes with his right hand a naked sword. The general tone is olive-green, the flesh-tints doepen to pink on faces, hands, knees, and feet. Oil on wood. H. .41, w. .29. 207 PONTORMO Ascribed to Pontormo ; not mentioned by Vasari ; not cited by Berenson. This panel is not authentic, although the Adam has a certain resemblance to various horsemen of the central group of the "Martyrdom of St. Maurice," Pitti, No. 182. Condition: fair; rubbed here and there. Beprod. Photo. F. M. C. Bibl. Catalogue de la B. Galerie de Florence, Florence, 1864, p. 139; Goldschmidt, op. cit., p. 46. 1249. JOSEPH LED AWAY TO PRISON In the foreground, Joseph escorted by five soldiers; to the right, three figures one of which has his back turned; in the background, a palace with steps, "loggia," and terrace on which many soldiers are visible; to the left, a pillar surmounted by a statue beyond which a city and far-off hills; to the extreme left, » building partly ruined. Oil on wood. H. 1.30, w. .93. This panel and the following were long ascribed to Pontormo. They were painted for the bridal chamber of Pierfrancesco Borgherini. Miintz repeats the attribution to Jacopo as does the second edition of the Cicerone. Ulmann was the first to point out that they are characteristic works of Granacci, and Berenson has showed that in the drawings mentioned below we have part of the preparatory material for these panels. Condition: good. Date: about 1518. Drawings: Uffizi 347 F. and 349 F. Document: A. S. F., Depositeria Generale, filza 995. Beprod. Photo. Braun 41249; Brogi 11034; Galleria di Firenze illustrata, II, pl. L fig., Miintz, Benaissance, p. 105; Schubring, Cassoni, pl. CLXXIV. Bibl. Vasari, V, 343; VI, 262, u.; B. F. P. B., p. 144; B. F. D., I, 123; II, 53 catalogue cited above, p. 146; Molini, Galleria di Firenze, 1819, II, 5; Cicerone, 2d ed, III, 981; Miintz, Benaissance, III, 499; Ulmann, Piero di Cosimo, Jahrbuch d. konigl. preuss. Samml., XVII (1896), 51; Dessins, p. 51, n. 2; Cruttwell, Florentine Galleries pp. 20 f.; Schubring, Cassoni, p. 403. 1282. JOSEPH PRESENTING JACOB TO PHARAOH The scene takes place in a great open piazza; to the left, a Florentine palace; to the right, the end of a "loggia"; in the background, an octagonal building. To the left, Pharaoh with his retinue and soldiers, Joseph and Jacob kneeling with his sons; to the right, a group of five spectators; to the extreme right, two men with their backs turned and a boy who is seen profile left. In the middle distance and beyond, many groups of little figures. Oil on wood. H. 1.22, w. .93. Cf. the preceding. Condition : excellent. Beprod. Photo. Braun 41282; Brogi 6220; Galleria di Firenze illustrata, II, pl. LII; Schubring, op. cit., pl. 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 throe-quarters left; from her left shoulder a ribbon like scarf hangs across her body, the end in her right hand; behind her the Hwan turned three- quarters left, wings outspread, head raised gazing at Loda. To tho left, a child lien on the ground, a great broken egg for its pillow; behind it, another child carrying n drapery. To the right two children stand embraced; before them on tho ground, a broken egg. In the background to the left, a hill crowned with a grove ; to the right, a rugged peak Been beyond broken hills. Oil on wood. Once in the granducal collection at Lucca. Ascribed to Pontormo; not mentioned by Vasari; not cited by Berenson. This little panel does not reveal Jacopo's touch, although it shows traces of his influence. Goldschmidt erroneously considers it to be an early work. Leonardo's "Leda" from which this picture is derived has been lost. It probably existed only as a cartoon and perhaps in two versions, one of which may have represented Leda alone and the other, the two children. The ' ' Anonimo Fiorentino ' ' merely mentions the "Leda," but Lomazzo in his Idea del Tempio states that it existed at Fontainebleau (1591) and describes it as one of Leonardo's few finished works. Cassiano del Pozzo also saw a "Leda" ascribed to Leonardo at Fontainebleau in 1625 and mentions the twins as part of the composition, although there is nothing to show that the picture of which he speaks was not a pupil 's copy executed at Milan under Leonardo's supervision from his original cartoon. The following are well known studies for or copies of the original composition Leonardo's sketch in Codice Atlantico; his study for the hair, in Windsor Raphael's sketch, also in Windsor; the picture in the Borghese (No. 434) that once in the Hastings and later in the Doetsch Collection ; that at Wilton House ; that in the Johnson Collection ; in the Ruble Collection ; in the Oppler Collection; that by Franciabigio, in the Museum of Brussels (No. 415), which is a free paraphrase and seems to have been executed before 1518. Similar pictures have existed and, in some cases, still exist in the collections of the Prince of Lichtenstein, M. de Rothschild, Queen Christina of Sweden, the Due d 'Orleans and in the Uffizi, Somzee, and Schweitzer Collections. Condition: fair; cracked across the centre vertically and horizontally and repaired. Date: 1515-1525. Beprod. Photo. Brogi 14762; Eug. Lasinio, B. Galleria di Firenze illust., Firenze, 1828, III, 46. Bibl. Catalogue cited above, p. 132; Molini, op. cit., Ill, 46; Galleria di Firenze, Societa Bditrice, 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; Mulier- Walde, Jahrbuch d. konigl. preuss. Samml, XVII (1897), 137; Miintz, The Leda of Leonardo da Vinci, Athenreum, II (1898), 393 and LSonard 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. Bibl. Dimier, Primatice, p. 282. FUCECCHIO Arcipretura di San Giovanni Battista MADONNA AND FOUR SAINTS. ABOVE: THE BAPTISM AND TWO ANGELS Erroneously ascribed to Pontormo. This altar-piece seems to have been patched together from two unrelated pictures. It is the work of some provincial artist, perhaps of Umbrian origin, who had studied Perugino, Michelangelo and Andrea del Sarto. Beprod. Photo. Alinari 19283 (as Pontormo). GENOA Palazzo Brignole-Sale PORTRAIT OF A MAN IN RED WITH A SWORD Ascribed to Pontormo by Berenson. I do not know of any collection in a Palazzo Brignole-Sale in Genoa other than the collections of Palazzo Bianco and of Palazzo Rosso. In neither of these galleries have I been able to find this portrait. Bibl. B. F. P. E., p. 175. HAMPTON COURT 139 (282). MADONNA AND CHILD Figures less than life-size. The Virgin is seen full-length facing and slightly inclined to the left; her left hand supports the back of the Child, her right turns his face to her own; she wears a turban-shaped head-dress. Oil on wood. H. 1 ft. 10 in., w. 1 ft. 5 in. 210 ATTRIBUTED PICTURES Ascribed to Andrea; by certain critics to Pontormo. This picture is apparently an old copy of the panel in the collection of the Earl of North- brook, which is ascribed to Andrea by Crowe and Cavalcaselle, but has recently been given to Puligo. Another replica, falsely ascribed to Pontormo, may be seen at Alnwick Castle. The present panel may be the "Mary and Child by Andrew del Sarto," valued by the Commonwealth at £40 and, on December 3, 1649, sold to Mr. Rhemy van Leemput for £50 (Commonwealth Inventory, fol. 212). Bibl. Crowe and Cavalcaselle, ed. Hutton, III, Ml. 193 (249). MADONNA AND CHILD Erroneously ascribed to Bronzino. This is a late Florentine partial copy of the composition, probably derived from an original by Pontormo, which is known in numerous renderings of various dates. See in this division of the Catalogue Raisonne, under Berlin; Boston; Castello; Florence, Cenacolo di Foligno; London, Cook Collection; Munich; Oxford. The present panel was painted, it would seem, in the "bottega" of Allori. Oil on wood. H. 4 ft., w. 3 ft. Bibl. Catalogue of the Collection of Hampton Court, p. 93 ; Law, New Authorized Historical Catalogue of the Pictures and Tapestries at Hampton Court, London, 1911, p. 64. 300 (463). VENUS AND CUPID A copy of Pontormo 's "Venus and Cupid" of which the Uffizi panel is probably his original. Oil on wood. H. 4 ft., 3 in., w. 6 ft., 5 in. Hard, cold and dry. Although thought by Law to be a Bronzino, it is more probably only a product of his "bottega." Brought to England in 1734 and exhibited at Essex House, Essex St., Strand. It was then advertised to be disposed of in a raffle, the tickets of which were to be ten guineas each. The raffle did not take place, but the King bought it for Queen Charlotte for £1000. The engraved tickets of the exhibition contained an elaborate description of the picture and an attestation of its genuineness as a work of Michelangelo signed by three connoisseurs ; at the bottom of the tickets there was an etching of the picture (cf. Mrs. Jameson's Royal Galleries). Duppa engraved it in his Life of Michael Angelo (1806) and states that it came from the collection of the Bettini family. Thode conjectures, apparently without evidence, that it is the same picture as that mentioned in the Heidelberg Inventory. Exhibited in Manchester (Art Treasures, No. 170) in 1857 in connection with which exhibition W. Burger (Tresors d' art en Angleterre, Bruxelles, 1860, p. 43) speaks of it as a masterpiece and one of the finest 211 PONTORMO paintings (!) in Hampton Court. Hogarth satirized it in his Analysis of Beauty. Law gives the number of this picture as 420. Bibl. Law, Boydl Gallery of Hampton Court, London, p. 110; Graves, Loan Exhibi tions, II, 942; Law, New Authorized Historical Catalogue of Hampton Court, p. 99. 740. VENUS AND CUPID Venus lies on a white drapery. There are two doves, two roses and an apple in the lower right corner. Oil on wood. H. 5 ft. 2 in., w. 7 ft. 3 in. A late and inferior variant of the same composition as No. 300 of this collection. Once in the collection of James II (No. 996). Law gives the number of this picture as 707. Bibl. Law, catalogue cited above, p. 180 ; idem, New Authorized Historical Catalogue, p. 129. HILDESHEIM Museum VENUS AND CUPID A copy of the composition best known by the example, probably by Pontormo himself, now in the Uffizi (No. 1284). This picture was brought, in 1884, from the Berlin Gallery to which it had been taken in 1841. It is the same "Venus" that was once in the collection of Professor d 'Alton of Bonn, where it was erroneously ascribed to Pontormo by Kugler. Bibl. Verzeichniss der abgegebenen Gemdlde, 1886, No. 233; A. W. von Schlegel, Verzeichniss von d' Altons Gemdldesammlung , 1840; Kugler, Kunstblatt, 1842, p. 42; Kleine Schriften, II, 358. LONDON Collection of Sir Frederick Cook 42. MADONNA AND CHILD The Virgin, in green tunic with green sleeves, pink robe, blue mantle and head dress, is seated on the ground. Her right hand rests on an open book, her left clasps the naked Infant Christ who kneels clinging to her. Behind and to the right, St. Joseph at work, speaking to the little St. John and St. Elizabeth. Buildings ia the background. Canvas. H. 1.268, w. 1.016. At St. Paul's Churchyard. This is a copy of the composition best known in the version now in the Pinakothek at Munich (No. 1090) . Other renderings 212 ATTRIBUTED PICTURES by various hands may be seen in the Boston Museum ; in the Royal Villa at Castello, near Florence; in the Cenacolo di Foligno, Fcrroni Collection, Florence (No. 117) ; at Hampton Court (No. 193-249) ; in the collection of Mr. Vernon Watney at Cornbury Park, Oxford; in a private collection in Berlin. Beprod. Photo. Gray 31563. Bibl. A Catalogue of the Paintings at Doughtu House, Bichmond, and elsewhere in the Collection of Sir Frederick Cook, 1913, I, p. 47. Collection of the Earl of Northbrook 211 (39). PORTRAIT OF A MAN Bust figure turned three-quarters left. He has long hair and dark eyes and wears a three-cornered hat and a black coat lined with fur. Green background. Oil on wood. H. 19$ in., w. 15$ in. Originally in Palazzo Riccardi at Florence; later in the Le Brun and Baring Collections. Exhibited at the British Institution, 1824, No. 21 ; 1840, No. 68. Once supposed to be a member of the Medici family and by Raphael. Ascribed by Frizzoni and by Waagen to Andrea, by Crowe and Cavalcaselle to Pontormo or Puligo. It is not by Jacopo and it seems too hard for Puligo. Beprod. Catalogue cited below facing page 158. Bibl. Buchanan, II, 254; Waagen, Art Treasures, II, 176; idem, Arts and Artists, III, 35; Crowe and Cavalcaselle, ed. Hutton, III, 512; ed. Borenius, VI, 201; Descriptive Catalogue of the Collection of the Earl of Northbrook, London, 1889, p. 158. MADONNA AND CHILD The Virgin, dressed in crimson with a pink kerchief, stands, a half-length figure. The Christ Child is seated on a white cushion on a balustrade. She raises his face with her left hand. Oil on wood. H. 24 in., w. 18$ in. From the Gray, Buchanan and Baring Collections. Ascribed to Andrea ; by certain critics to Pontormo ; by Crowe and Cavalcaselle to Puligo, but none of these attributions is satisfactory. Replicas at Alnwick Castle and, with modified colouring, at Hampton Court (No. 282). Bibl. Catalogue cited above, p. 157; Waagen, op. cit., II, 175; Crowe and Caval caselle, ed. 1864-1866, III, 584; ed. Borenius, VI, 201. Collection of the Earl of Plymouth PORTRAIT OF A YOUTH Bibl. B. F. P. E., p. 176. 213 PONTORMO National Gallery 649. PORTRAIT OF A BOY Full-length; he stands turned slightly to the right, the weight on left leg, the right knee slightly bent, the head turned three-quarters right; he looks at the spectator; his right hand rests on his hip, his left holds lightly the pommel of his sword. He is dressed in doublet, trunk-hose gaged and puffed, a broad, richly ornamented belt, stockings and slippers; he also wears a short velvet coat embroidered at the edges on the sleeves and around the cuffs; at the throat and wrists, lace ruffs. The sleeve is slashed and ornamented with embroidered triangles. He wears a dark Florentine cap trimmed, on the left and in front, with jewelled ornaments and, on the right, with a large puffy feather. The back ground is a striped curtain, dark in the centre with two light vertical bands at either side and dark edges; it has many horizontal creases; the fringe is short and alternately black and light. Oil on wood. H. 4 ft. 2$ in., w. 2 ft. Formerly in the collection of the Duke of Brunswick ; purchased in Paris in 1860 from M. Edmond Beaucousin. Once erroneously believed to be a Pontormo — an attribution that Miintz repeats. Ascribed to Bronzino by Frizzoni and Berenson; by others, including Richter, to Salviati, neither of which ascriptions is justified or satisfactory. Beprod. 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; Bichter, 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, Krit. TJnters., II, 483-488; Frizzoni, op. cit., pp. 263 f.; Poynter, op. cit., I, 72; Cook, op. cit., I, 14-16; Bichter, op. cit., p. 44. 1048. PORTRAIT OF A CARDINAL Three-quarter length. He is seated facing and wears a rose-coloured silk hood with a white collar and a scarlet hat. Copper. H. .95, w. .71. Purchased in Florence from Mr. Campbell Spenee in 1879. Once erroneously attributed to Pontormo but now ascribed to Scipione Pulzone. 214 ATTRIBUTED PICTURES Two other portraits of the same personage survive, one in the Corsini Gallery, Rome, one in Chantilly. Beprod. Woodcut, Beinach, BSpertoire, III, 370. Bibl. Catalogue of the National Gallery, 1913, p. 569. Cf. F.-A. Oruyor, La peinture d Chantilly, tcoles itrangeres, p. 125. 1150. PORTRAIT OF A MAN Bust figure turned three-quarters right; dark brown hair that falls over his ears, a short moustache and short thick board; flesh-tones, a roddmh brown; black foat with white ruche at neck and white frill at wrist of left hand which is raised; black ginvn ; black cap; in his right hand, a purse or document; on the little finger of left hand, a small ring; on first finger of right hand, another; background, light brown. Oil on wood. H. 25 in., w. 19$ in. Falsely ascribed to Pontormo. Purchased at Florence, of Mr. C. Fairfax Murray, in 1883. Beprod. Poynter, op. cit., II, p. 99. Bibl. Poynter, loe. cit., p. 98; Descriptive Catalogue, 1906, p. 457; idem, ed. 1913, pp. 554 f. LYONS Musee 161. SACRIFICE OF ISAAC Oil on wood; life-size. A replica of Andrea's picture, now in Dresden. The present panel was carried away from Holland by Napoleon and given, in 1811, to the Lyons Museum. Crowe and Cavalcaselle found the execution less agreeable than that of Andrea's altar-piece, the nude poorly rendered, the colour lacking in transparency. They believed, I think without reason, that the author may have been Pontormo. Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 507; De Bis, Les Mustes de Province, II, 377. MADRID Museo Nacional 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. Beprod. Photo. Braun 50340. Bibl. Catdlogo de los cuadros del Museo nacional de pintura y escultura, Don Pedro de Madrazo, ampliado por D. Salvador Viniegra, novena edici6n, Madrid, 1904, p. 48; idem, 10th ed., 1910, p. 54; French ed., 1913, p. 61; Appunti del senatore Giov. Morelli a proposito della Galleria del Prado, Archivio storico dell' arte, VII (1894), 65. 385. MADONNA AND CHILD The Child stands erect on the lap of the Madonna who raises her veil. To the left, an archangel holding a book crouches on the steps of the Virgin's seat; to the right St. Joseph seated on the ground; in the middle ground, St. Elizabeth leads the young St. John; the background, a landscape. At St. Joseph's feet, Andrea's monogram. Oil on wood. Ascribed to Andrea; believed by Crowe and Cavalcaselle to show in the drawing and colour the hand of Pontormo. Not mentioned by Berenson. I have not seen this picture. Hutton mentions several replicas: a damaged school copy (oil on wood), at Dudley House; a later copy by a clever imitator of Del Sarto in the collection of Mr. Holford in London; another of later date on canvas, without signature, at Ince, near Liverpool. Condition: damaged. Bibl. Crowe and Cavalcaselle, ed. Hutton, III, 510. MILAN Collection of Prince Trivulzio PORTRAIT OF A RINUCCINI LADY Bibl. B. F. P. E., p. 176. MONTPELLIER Musee Fabre PORTRAIT OF A YOUNG MAN Bust figure turned three-quarters left, the head nearly full face; he holds his mantle with his right hand; his hair falls almost to his shoulders; he wears a white shirt and a black vest. Oil. H. .61, w. .51. 216 ATTRIBUTED PICTURES Originally attributed by Fabre and Canova to Raphael ; by certain critics to Ridolfo Ghirlandaio; by others to Franeia. Others have thought that they could detect here the hand of Pontormo. Their opinion need no longer complicate the problem of the authorship of this portrait which, as Berenson has clearly demonstrated, is a Brescianino. Beprod. Engraving by Dimier, article by (ionse cited below; fig., article by Horenson cited below. Bibl. Inventaire gin6ral des richesse.* d'art de la France, Province, Monuments rivtls, Paris, 1878, I, 247; Gonse, Le portrait d 'homme du Musie tic MontpelUer, Gazelle des beaux-arts, 2e serie, XII, 114 ff.; Benouvier, Musee dc MontpelUer, Gazelle, des beaux- arts, V, 8; Passavant, Raphael, trad, fran., I860, SS, 367; Berenson, Le portrait Baphaelesque de MontpelUer, Gazette des biauxarts, XLIX (1907), 208 ff. MUNICH Alte Pinakothek 1090. MADONNA AND CHILD The Virgin is seated on the ground full face, her knees turned to the left; she wears a bright red tunic with dark green sleeves, a purplish scarf over her hair and a dark blue mantle. Her right hand is laid on the top of an open book on which one reads in the midst of indecipherable lines: IACOPO| DAPUN| NO. In the margin we distinguish the capitals Q|N|0. With her left hand the Virgin holds the naked Christ Child who nestles in her lap, his left hand laid upon her knee. He is turned three-quarters left and gazes up at his mother. In the background, to the right, there are little figures of St. Joseph in pale blue, St. Elizabeth in purple skirt, bodice with red sleeves and white head dress, and the little St. John who is nude except for a scarf tied over his right shoulder. He holds a basket for St. Joseph who is in the act of stepping on to a stool. St. Elizabeth, turned three-quarters to the right, stands in an archway reading. Above her, over a parapet, a woman's figure leans. Behind the Virgin's head and shoulders, houses and to the left, the pyramidal tops of two campaniles. Oil on wood. H. 1.20, w. 1.01. From the King's private collection. Attributed to Pontormo and con sidered to be genuine by Morelli; not mentioned by Vasari; not cited by Berenson. Goldschmidt calls it a "signiertes Spatwerk, " although the inscription is a late addition. This panel is a copy of a lost original by Pontormo which must have dated from about 1540-1550. The smooth and dry flesh-painting, the feeble and heavy feeling for form give but little hint of the quality of the original. The composition, however, was famous. A number of other copies are known : one, a mere ruin, in the Royal Villa at Castello, near Florence; another (modified) in the office of Sir Frederick Cook, St. Paul's Churchyard, London; others in the former Galleria Ferroni, now in the Cenacolo di Foligno, Via Faenza, Florence, in a private collection in Berlin, at Hampton Court, No. 193 (249), and in the collection of Mr. Vernon Watney, at Cornbury Park, Oxford. A good copy, once ascribed to Bronzino but really by Naldini and bearing the date 1561, has recently 217 PONTORMO been taken from the store-rooms of the Boston Museum and placed on exhibition there. The composition also appears in a poor black-chalk drawing, in the Uffizi (No. 6629), that dates in all probability from the eighteenth century. See in this catalogue, under the collections cited. Condition: heavily repainted on the Virgin's mantle and head-dress and on the drapery of the figures of the background. Beprod. Photo. Bruckmann, Munich, 1897; for other copies, see above. Bibl Von Eeber, Katalog der Gemalde-Sammlung d. konigl. dlteren Pindkothek in Miinchen,' Muneten, 1908, p. 233; Morelli, Munich and Dresden Galleries, 1893, p. 101; ed. 1904, p. 240; English ed., p. 220; Catalogue of the Pamtmgs at Doughty House, B%ch- mond, ed. by Herbert Cook, London, 1913, p. 47. Rohrer Collection PORTRAIT OF A YOUNG MAN Bust figure, life-size. Dark hair, large ears, and eyes that look at the spectator. Dressed in a black silk coat, slashed on the arms and simply embroidered about the neck and down the front, a simple, white collar embroidered at the edge and a black cap. He is just taking a sheet of paper from an inside pocket. On this sheet the notes and words of the beginning of a madrigal are written and in the lower left corner, the date 1547. Oil on poplar wood. H. .584, w. .498. Ascribed to Pontormo by Schmidt ; but the heavy, glossy colour, the fussy modelling, the uneasy naturalism, and the absence of any amplitude of conception show that this panel has obvious affinities with the later manner of Salviati to whom it is ascribed by Voss, but of whose work I do not consider it to be an authentic example. Beprod. Schmidt, article cited below, pl. 29, No. 2; Voss, article cited below, fig. 4. Bibl. Wilhelm Schmidt, Gemdlde aus der Sammlung Bdhrer, Monatshefte fur Kunst- wissenschaft, 1910, p. 141 ; Hermann Voss, Italienische Gemdlde des 16 und 17 Jahrhunderts in der Galerie des Kunsthistorischen Hof museums zu Wien, Zeitschrift fur bildende Kunst, 1912, pp. 41-43; Gamba, Alcuni ritratti di Cecchino Salviati, Bassegna d' arte, IX (1909), 4. NAPLES Museo Nazionale 14. CARDINAL KNEELING AT THE FEET OF CHRIST Oil on wood. Ascribed to Pontormo by Monaco. The panel has however no connection with Jacopo's work. It is not now exhibited. Bibl. Monaco, Handbook to the National Museum of Naples, trans. Bolfe, 1883, p. 196; Aldo de Einaldis, G/uida 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. Originally ascribed to Andrea del Sarto. In inventory S. 84163 it is attributed to Pontormo with whose work it has no connect ion. The original of this picture is in the Prado; a replica of the Naples copy, and like it lalsely ascribed to Andrea, hangs in the Borghese Gallery. The present panel conies from the Palazzo del Giardino, Parma (inv. 16S0), and Naples, Capodimonte (inv. A. 101 — Andrea del Sarto ; inv. S. G. 275 —copy of Andrea del Sarto). Bibl. De Einaldis, catalogue cited above, p. 40. 18 XIV, 16. PORTRAIT OF TWO ARCHITECTS Dated M.D.LVL Oil on wood. H. 1.20, w. .90. Anciently ascribed to Andrea del Sarto ; by De Rinaldis to a follower of Bronzino and Pontormo. Borenius thinks it a "mixture of Bronzino and Pontormo." The picture shows little direct influence of Jacopo. Beprod. Photo. Anderson 5494 ; Brogi 6760. Bibl. De Einaldis, catalogue cited above, p. 41 ff . ; Crowe and Cavalcaselle, ed. Borenius, London, 1914, p. 196. 20 XIV, 4. PORTRAIT OF A WOMAN Bust figure. She is blond and wears a large necklace wound twice around her neck, a bodice with large sleeves, and holds in her hand an open book bound in red. She looks at the spectator. Oil on wood. H. .68, w. .49. This portrait, which came originally from the Palazzo Farnese in Rome (inv. 1697, No. 151), was later at Capodimonte, Naples (inv. A. 11009) and was there ascribed to the ' ' School of Leonardo. ' ' In the inventory S. G. 309, it is attributed to Bronzino. De Rinaldis ascribes it to the "School of Pontormo." It would seem to be from the "bottega" of Allori. The hands are well drawn but the colouring is crude and the modelling feeble. Beprod. Photo. Anderson 5496. Bibl. De Einaldis, catalogue cited above, p. 43. 22, VIII, 13. VENUS AND CUPID OU on wood. H. 1.34, w. 1.95. Once ascribed to Bronzino. It is however a copy with slight modifications of the "Venus and Cupid" of the Uffizi. The same long, bony forefinger occurs here. De Rinaldis gives it to Alessandro Allori. Provenance : Parma, 219 PONTORMO Palazzo del Giardino (inv. 1680) where it was ascribed to Giovanni Bellini; Naples, Capodimonte, and later Palazzo Reale (inv. A. 11656 — Agnolo Bronzino; inv. S. 84068 — idem). Eeprod. Photo. Brogi 6772; Thode, Michelangelo, III, 487. Bibl. De Einaldis, catalogue cited above, p. 46 ; Thode, op. cit., Ill, 485. 682, XXV VENUS AND CUPID Cartoon. H. 1.30, w. 2.12. Once held to be Michelangelo's original cartoon for the "Venus and Cupid" painted for Bettini by Pontormo. Thode preserves the traditional attribution, although it is quite evident that this is merely a late and mediocre copy of Jacopo's picture. Provenance : Palazzo Farnese in Rome (inv. 86654). Bibl. De Einaldis, catalogue cited below, p. 554. NEW HAVEN Jarves Collection Yale University 78 (100). PORTRAIT OF COSIMO I Bust figure nearly full face. His hair and beard are dark brown, his complexion bronzed and his blue eyes look at the spectator. He wears a dark velvet coat with embroidered fastenings, a broad turned-down plain white collar, a heavy flat gold chain with links of elaborate design alternating with others smaller, in each of which a pearl. The background is dark, ripe-olive green. On the upper left corner of the back of the panel, a seal. Oil on wood (the panel is made up of three pieces). H. .61, w. .48. Originally ascribed to Pontormo and considered to be authentic by Berenson. This is however a weak copy from the "bottega" of Alessandro Allori of a portrait painted by Pontormo at the very end of his career. Under the somewhat dejected air of the copy we still catch a hint of the severity of vision of the original. The chain is identical with that which one sees in the former Sedelmeyer portrait cited below, except that in the present panel the pendant is not visible. It is, of course, the insignia of the Golden Fleece which was given to Cosimo by the Emperor in 1546. The original must, therefore, have been painted after that date. Many portraits exist related either to the prototype of our portrait or to a similar and contempo raneous portrait by Bronzino which Vasari (VII, 601) mentions that Agnolo painted when the Duke was forty years of age, namely in 1549-1550. In all of these the head is seen in exactly the same pose, but the dress or the pose of the body is different. Among them we may point out the following, citing 220 ATTRIBUTED PICTURES them according to the apparent age at which Cosimo is represented : (1) The bust portrait, in Vienna, with shoulders turned slightly to the right, ascribed to Bronzino but really a "bottega" copy. (2) Vasari's full-length portrait, once ascribed to Pontormo and now in the Chapel of Leo X, in the Palazzo Vecchio. (3) The bust portrait ascribed to Bronzino in the Pitti, in which the Duke wears the same collar as in No. 1, but over a doublet, trimmed with fur. (4) The half-length portrait, which was once in tin; 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. Condition: fair; cracked where the boards of the panel join. Date of the original: 1546-1556. Eeprod. Photo. Eandall, 11 Pratt Street, Hartford, Conn. Bibl. Descriptive Catalogue of "Old Masters" Collected by James J. Jarves, Cambridge, 1860; Manual of the Jarves Collection, Eussell Sturgis, Jr., New Haven, 1868, p. 84; Catalogue Sedelmeuer, pp. SS. 112; Siren, Catalogue of the Jarves Collection, New Haven, 1916. 79 (99). MARTYRDOM OF ST. MAURICE Oil on wood. H. .28, w. .28. A poor and modified copy, made, it would seem, in Florence at the end of the sixteenth century, of Pontormo 's picture, now in the Pitti (No. 182). The 1860 catalogue of the collection considered the present panel to be authentic but weak. It has been drastically cleaned and the general tone is now a misty grey. The size is slightly larger than the original which has been cut down. The copy reveals, therefore, a trifle more of the figures on both sides of the composition. Condition: seriously injured, especially the hand of the judge; the panel is warped and the colours, except the orange, completely faded. Beprod. Photo. Eandall. Bibl. Descriptive Catalogue, p. 57; Manual, p. 84; Siren, op. cit. 98 (104). PORTRAIT OF A LADY Half-length, seen facing, her left hand resting on a table (?), her index finger keeps her place between the leaves of a book. She has dark brown hair parted in the middle, grey-blue eyes and wears a black dress cut square and low at the neck and edged with a fine embroidery of gold, a white chemisette open in V-form at the throat, and a white cap with a veil over it. Around her neck, a gold chain knotted in front from which hangs a gold medallion of a man 's head profile left ; on her forefinger, a gold ring. The book is bound in reddish leather ornamented with three parallel gold lines. The background is a grey-green landscape — valley, hills and trees; the sky, dark grey-blue. Oil on wood (the original part of the panel is made up of five pieces). II. .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 is none for identifying the person represented as Vittoria Colonna. The same writer feels that this somewhat stiff and inexpressive picture unites "the warm, rich, grave tones of the Venetian School to the strength and boldness of design of Michelangelo." Russell Sturgis in his Manual follows this early attribution. Berenson ascribes the picture to Pontormo. It is however, according to Dr. Siren, with whose opinion I completely concur, a Ferrarese work and has probably a certain connection with the art of Dosso Dossi. This portrait is really only a fragment, has suffered not a little, and has lately been thoroughly cleaned in connection with which restoration it became clear that the lower part of the panel, from just above the medallion downwards, is a late addition. For the iconography of Vittoria Colonna, see under "Portrait of Vittoria Colonna," Casa Buonarotti. Condition: injured, rubbed, and repainted about the face; recently restored; a vertical crack across the face; the lower part of the composition is spurious. Beprod. Photo. Eandall. Bibl. Catalogues cited above; Manual, p. 84 f. NEW YORK Ehrich Galleries PORTRAIT OF A MAN Half-length, seated three-quarters left, the head almost full face. He looks at the spectator. His left hand rests on the arm of his chair, his right is raised and holds a small open book on which one distinguishes the letters X. A.| F. V. P.j . . . 558. He wears a beard and is dressed in a dark coat with white collar and cuffs, and a large black hat. Behind him, a dark brownish green curtain and, to the left, sky, clouds, and a little land scape of river, ruins, tower and hill. The flesh-tints are brownish. Oil on wood. H. 32$ in., w. 28£ in. Ascribed to Pontormo, with whose work it shows no relation. The colouring, the modelling, the drawing of the eye, as well as many other details, make it certain that this is a Cremonese picture, and probably the work of Giulio Campi. Beprod. Photo. The Ehrich Galleries. Wildenstein Collection PORTRAIT OF A MAN Bust figure, profile left, the head three-quarters left. He looks at the spectator. In his right hand he holds a little book. He has a thin square beard and wears a dark cap and coat with a narrow white collar. Oil on wood. 222 ATTRIBUTED PICTURES In 1905 this portrait was, if I am not mistaken, in the Constantini Collection in Florence where it was quite arbitrarily ascribed to Pontormo. It was originally attributed to Andrea — an attribution which Perkins and, it would appear, Berenson believe to be correct. Condition: retouched. Beprod. Photo. Beali; 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 MADONNA AND CHILD Copy of the picture ascribed to Pontormo in the Alte Pinakothek, Munich (No. 1090). For other copies, see in this division of the catalogue, under Berlin; Boston; Florence, Cenacolo di Foligno, Collection Ferroni; Hampton Court; London, Cook Collection; Munich, Alte Pinakothek. PALERMO Museo Nazionale 406. JUDITH Believed by Berenson to be an example of Jacopo's later manner. It is however, according to Gamba, a replica of the "Judith" by Jacopo Ligozzi of Verona, now in the Pitti Palace. Bibl. B. F. P. B., p. 177. PANSHANGER Collection of Lady Desborough PORTRAIT OF A YOUTH Three-quarter length; dressed in black with velvet bands about the jerkin, a white shirt showing on the breast; three-cornered black hat. He writes at a, table covered with a striped cloth of red, yellow, yellow-green, and slate colour. Background, dark grey. Oil on wood. H. .92, w. .67. 223 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 quai proprio a . . . sono . . . tanto . . . molto obrigato 1523 . . . Andr ..." Crowe and Cavalcaselle believed the portrait to be a genuine Andrea and of fine quality. Neither Hutton nor Borenius dissents from their opinion. On considerations of style and modelling Gamba ascribes it to Puligo, assuming that the ' ' Domenico ' ' of the picture is none other than the artist himself. Beprod. Photo. Braun; fig., article cited below, pp. 278-279. Bibl. Gamba, Di alcuni ritratti del Puligo, Bivista d'arte, VT (1909), 280; Crowe and Cavalcaselle, ed. Hutton, III, 513; ed. Borenius, VI, 201; Waagen, Treasures of Art, PORTRAIT OF A LADY Dressed in red; half-length. In front of her, a parapet covered with a green cloth on which lies a book of music, the "Canzoniere del Petrarca," and, to the left, a third book closed. On the parapet: TV DEA TV PBESES NOSTEO SVCCVEE; LABOEI; and on one of the capitals: MELIOEA LATENT. Background: on one side, pilasters; on the other, a landscape. Oil on wood. H. .96, w. .79. Exhibited Burlington House, 1881; at the Grafton Galleries (No. 49) in 1909-1910. Falsely ascribed to Andrea of whose later work "Waagen and Crowe and Cavalcaselle believed it to be an example. Neither Hutton nor Borenius dissents from the traditional opinion. Some critics have suggested that it is a Pontormo but it shows no trace of his hand. Gamba believes it to be a Puligo and proposes that it be identified with the latter's lost "Portrait of Barbara Cortegiana, ' ' which is mentioned by Vasari and which Berenson, on the contrary, identifies with the ' ' Santa Barbara, ' ' now in the Hermitage. The panel has, I think, been rather unhappily cleaned, but there is something in the modelling, the type of the face, the hands, and the colour, which makes me practically certain that it is by Granacci. It should be compared with his "Assumption of the Virgin," now in the Academy, at Florence. Eeprod. 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, VT (1909), 281. 224 ATTRIBUTED PICTURES PARIS Jacquemart-Andre Collection PORTRAIT OF A YOUTH WITH A LUTE Half-length; turned three-quarters right and seated in an arm-chair before a table. His grey-blue eyes look at the spectator. In his lap he holds a large Hix (double) string light brown lute, on which he plays; before him on tho table a book of music lies open. He wears a coat of dark violet-brown stuff with large slashed sleeves trimmed with bands of black velvet and a black velvet hat; through the slashings a lining of dark red is visible; at the neck, a small white ruche. The table-cloth is striped — dark red, black, dark grey, dark olive-grey, light red and yellow. In the background to the right, the brown cornice and pilasters of a massive cupboard on which a small brown statue of Cupid and three large books bound in dark violet leather, and tied with green ribbons ; to the left, a looped-up dark green curtain. Oil on wood. Provenance unknown ; attributed to Pontormo but, close as is this portrait to the work of our master, the clumsy treatment of the hands, the hard inorganic folds, the somewhat vacant modelling of the face convince me that it is not his. It also lacks a certain largeness and calm in the composition that we have a right to expect from Jacopo. On the other hand the drawing of the ear, eye, and mouth do not suggest Salviati, and we do not find here his restless insistence on minor passages in the modelling. The colour recalls vividly a portrait of a youth writing at a table covered with a striped cloth, in Lady Desborough 's collection, at Panshanger. Both may well be by the same hand. It would, of course, be pure conjecture to suggest that that hand was Giovann' Antonio Lappoli 's and that the person represented in our portrait is Antonio da Lucca. But the present picture was certainly painted under the direct inspiration of Pontormo 's work, and it cannot date from before 1515 nor from after 1525. Jacopo had, as is well known, few pupils. Those directly in contact with the master, during this period, were Bronzino, Pichi, and Lappoli. Our panel cannot be by Bronzino whose earliest work in portraiture is based upon the manner Jacopo used after 1530. Of this the portraits of Panciatichi, Martelli, and Giannettino Doria furnish every proof. Of Pichi practically nothing is known. Lappoli, on the other hand, precisely during the years in which our portrait was painted, was busy copying the works of Pontormo and even, so Vasari affirms, helping him with others. We learn too from Vasari, who was an intimate friend of Lappoli 's (both were Aretines) and who was in Florence during the years in question, that Lappoli, instead of working diligently at his art, gave himself up to various amusements in the house of Ser Raffaello di Sandro Zoppo, Cappellano in San Lorenzo. There he met and made a friend of Antonio da Lucca, "musico e 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 fra quali fu quello di detto messer Antonio da Lucca e quello di ser Raffaello, che sono molto buoni" (VI, 8). The personage represented in our portrait is not only ' ' sonator di liuto " but " giovinetto ' ' as well. Vasari tells us that Lappoli returned to Arezzo in 1523. Condition: good; repainted here and there, especially on the face, the left hand and parts of the robe. Date: 1518-1523. Eeprod. Photo. Bulloz. Louvre 1242. VISITATION Composition of thirteen figures on steps in front of a Benaissance 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. Brought from Italy by Napoleon. Anciently attributed to Rosso. Villot was the first to notice that it is an old free copy of Pontormo 's fresco of the "Visitation," in the courtyard of the Annunziata at Florence. The back ground has been completely altered, the composition narrowed and heightened, the drapery and the colouring modified, the figures rearranged. Two figures, a woman to the left and the "putto" on the steps to the right, have been eliminated as well as the "Sacrifice of Isaac" which occupies the upper part of Pontormo 's original fresco. The inscription also is different. It seems to me probable that this copy was made toward the end of the sixteenth century. Salle IV. Condition: excellent. Date: 1560-1570. Beprod. Photo. Braun 11242; Landon, VII, pl. 33. Bibl. Filhol, XVI, 21-24; Catalogue Villot, No. 159, p. 93; Catalogue Tauzia, No. 144; Notice des tableaux du Musee royal, pp. 218-219; Seymour De Eicci, Description, p. 41. 226 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 molto: " Comporta et astiente. " To the left, the base of a column on which tho inscription: BAET-DILOE- GVALTEEOTTI| DETA DANNI XLII| L'ANNO M-D-L- Oil on wood. H. .76, w. .58. Provenance unknown. Attributed to Pontormo by Berenson who con siders it a typical work of our painter's last years. I do not however, after careful study, believe that it is authentic. Date: 1550. Bibl. Catalogue of a Collection of Paintings and some Art Objects: Italian Paintings, Berenson (Philadelphia: John G. Johnson, 1913), I, 46. Mclhlenny Collection PORTRAIT OF GIULIANO DE' GONDI Bust figure; the shoulders profile right, the head three-quarters right. He looks at the spectator, wears a long beard, has dark hair and eyes, and is dressed in a dark coat with a white collar. The background is olive-green. Oil on wood. Once in the Cernuschi Collection. Acquired in Milan and ascribed to Pontormo. This portrait might easily be mistaken for an authentic specimen of his portraiture were it not for the modelling of the eyes and nose and the brush-work of the hair and beard. On the back of the panel we find the following inscription in a handwriting of the second half of the sixteenth century: " Giuliano | di Lionardo pater | di Giuliano auus| de Lionardo pro auus| di Lionardo abauus| di Simone atauus| di Bart. tritauus| dj Casa de ghondj| Annos natur. xxxviij." Beprod. The Chappel Studio, Philadelphia. Wanamaker Collection 230. HOLY FAMILY Oil on wood. H. 45} in., w. 37$ in. Ascribed to Pontormo without reason. It is a slightly modified copy of the well-known and signed "Holy Family" by Bronzino, now in Vienna (No. 49). Another ancient copy exists in the Louvre. Eeprod. Catalogue cited below, pl. 180. 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, Bevue del' art ancien et moderne, XVIII (1905), 190; Schulze, Bronzvno, 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's somewhat misleading description of Jacopo's "Pomona and Vertumnus. ' ' The present lunette is, of course, by Alessandro Allori and dates from 1580-1582. Allori refers to it in his Ricordi: "... doue ho fatto dirimpetto all' arco di Jacopo da Puntormo tutto con gran (certa) inuentione del Rev Grazia ) 272 DOCUMENTS Doc. VIII. Firenze : Archivio degl 'Innocenti. Entrata e Uscita D. 1527-1528, p. 54. A ma lisabecta fu di paglo Carucci 1. sept, s. sei. Entrata e Uscita Z, 1530, p. 52. X doctobre 1530. A ma lisabetta dona fu dipaglo Carucci D. dua, come allibro Rosso. Idem, p. 54. A m° Ant0 distefano lombardo 1. vetocto sono p lui a Checci Carucci da avere p condisse p spesi di bestiame stctti in valdimevole. Doc. IX. Firenze: Biblioteca Marucclliana, Codice, B VII. 14, p. 11. Cappella dei Carucci nel Carmine donata ai Delia Moriana da Lionardo e Jacopo di Giovanni Carucci nel 1624. Doc. X. Firenze: Archivio di Stato. Santa Maria Novella; Convento 102, No. 89: Ricordi, p. 14. M°. ccccc.viiij0 Ricordo Come oggi q° di 26 dimaggio 1509, si fece uno sinda|chato nel caplo del nost0 c5to Rogato p mano di 2 lorenzo di tho di[ lorenzo pogginj notj0 alpalagio delpodesta: en alpnte sta nella bojetegho di 8 Lorenzo violj. nel quai sindacato furno elect j & Cre|ati sindachi M° Alexandro dibartholomeo dipiero luchini et M°| Ant0 dimiehele dulino et fre Lorenzo dibernardo alpnte spp'ore| del co*0. apotere liberamete vendere & Itrafacto finire Vna nosta| Casa posta nella via digualfonda co suo vocablj & Vendita di cofini. Laqual| gia fu venduta dai nost0 coto, adi 10. una casa in dap'le 1503 auita di M° Alexa|dro & auita di Jacopo Gualfonda carucci. Come appe Carta p mano di 2 piero | dauicj libera a li notj alpodesta. Et qa vendita libera si fe: pen elnost0 bro Pagonazo c5ue|to / era strecto da molti debiti / & altre necessita. S*° G a 3 et maxie ppotere| pagare uno restante didebito / eh elmost0 et in Gle a 42 coto haueua Colmunistero| delpadiso / p ilpodere ch daloro sicopo / posto atubiana Comune dif prato. Et p vigore didco sindachato. Noi M° Alexadro dibartho|lomeo / & M° Ant0 dimiehele / & fre Lorenzo dibernardo / sindachi pdcj : vendemo libere & itrafacto / sotto di 26 dimaggio sopa dco| la sopa dea Casa posta Jngualfonda / Amariotto dipinctore & figli|uolo dibiagio battiloro / p se & p sua heredi / p pgio di ff octata larghi| do0 io° et no piu alt0 et p° pche dco Mariotto doueua aspecta| re tucto elrestante del tpo della vita di dco M° Alexadro: et pche| Anehora dco mariotto haueua gia Compato da dco M° Alexadro| lujafructo di dea Casa en segli potessi puenire durate lasua vita| Intato ch Jnfra quello che el nost0 cot° nebbe p la vendita fra, auita | di M° Alexadro et di Jacopo caruecj. en nebbe ff quarata larghi dorol io° et ff octata larghi doro i o° ch alpnte ne pagha dco mariotto | alnost0 co™ viene el nost0 c5to hauerla ueduta preggio giusto & ragio|neuole ptiiche sia veduta libera & itrafacto: et p° maxie: prispecto| dellume tolto dalla Compa delpellegrino alle finestr6 didrieto. 273 PONTORMO E qualj| ff octata larghi dco mariotto gli de pagare jn q° modo cioe. ff 30| larghi do0 io° depaghare I suauna seripta p'uata fca di mano| di m° Ant0 dimiehele sindacho pdc5 di Consentimeto de dua altrj | sindachi copagnj adca vedita: sotto seripta diloro mano & sotto | seripta di mano didcS mariotto dipictore. ratificado eiaschu dinoi| sotto scriptj / atato qto Tessa seripta si contiene. Laquale seripta e appsso didcS mariotto: et qsta seripta p'uata se facta : pen prima : ch sene f accia publeco strumto / si de daroma trarre anosta spesa una licetia & cofir|matioe didea vendita: et hauuta & obtenuta la dea. licetia: sidefare| lauedita publica jisua gabbla p publicho strumto / & pmano di publicoj notj0 et Insullo strumto fco & publecato. dco Mariotto: de dare | & finire dipagare elrestante de dej ff octanta larghi doro i o° che| sono ff cinqta do0 i o°. Et noi sindachi pdcj promettiamo p dco co*°| di Sa maa nolla adeo Mariocto copatore la difesa gnale di dea, Casa| aluj venduta / obligado tuctj nostrj benj / psentj & futurj p la difesa di| dicta Casa venduta solanite. Et spetalmte promettiamo. pia dea di|fesa elpodre copato dalle monache delpadiso posto iquel diprato| p gli oblighi & debitj del quale: spetialmete & ipte se venduta la| decta Casa: et q disotto simettera lordine del cotracto colpagmto. Doc. XI. Firenze: Archivio di Stato. Officiali dei Pupilli: Deliberationes et Partitiones, 1507-1508, No. 119, c. 114. M e c c c c vij Pro herte Bartholomei Jacobj Pictoris de putormo Die 24 Januarij Licetia vendendi mobilia Prefati officiales tutores dicte hereditatis seruatis &c. dederut et con- cesserut licetiam Bart0 aionis aetori dicte hereditatis| vendendi mobilia dicte hereditatis. Die xxiiij Maij 1508 Redditio rationu Prefati officiales simul cohadunati et prestito jurameto seruatis &c.| viso quod libro tempto pdictum Bartholomeu angeli della|ione actorem Sigto A tempto p dicta heredit et suscriptionej facta indicto libro 8 manu Petri zenobij demarignollis et omnibus | ineo cotentis dictii libru et oratione ineo deseripte appbaverut[ et declarauerut dictii Bartholomeu remississe coputti sue | admtrationis et omnia alia fecisse inp tibus oportuna. Die xvj Junij Fideiuxio Guido ormannogii dedetis civis Flor preseti et ementi dicti Bartho|lomei dangeli dellaione prese et fide . . . penes dictos off et pmi . . .| dictis offs licet absentibus ei et mihi eoru not3 peis recipientib| se facturu et pdictis Bartholonieus tegerunt peum hine adunii| anfl pxe futuru redder bonum coputum et de oniia alia facere adq| tenetur secu ofdi flort alias desuo pp° attendere obseruare| promisit, rogans &c. Actuubisopa presetiB Benedicte bart0 depuccinis et| Ant0 Iusti famulo. Die xxi Junii Appbatio Prefati off simul cohadunati &c. seruatis &c. dictii guidone fideiuxore| appbauerunt. 274 DOCUMENTS Doc. XII. Firenze: Archivio di Stato. Convento dei P.P. Serviti della Ilma Annunziata di Servi di Maria : Convento 119, No. 705, p. 113 verso. Novembre 1513 A muraglia adi dto ff uno doro p° Jacopo di Bt° dipintore p parte di dipintura sopra larcho dela porta L — 7 s Marzo 1513 Idem, p. 122 verso. A muraglia adi dto L sette suo p dipignare 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 ff quatro doro inoro ff tre p° andrea dagnolo dipintore p oro p inorare e capitolli de sua quadri adipinto ff uno doro p° Jacopo dipintore sopra alarcho delauolta sopra ala porta di sono p inorare qlle figure L — 28 s Aprile 1514 Idem, p. 127 recto. A spesse di muraglia adi dto ff dua doro 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 ch mese aoro cotati L — 56 s Doc. XIII. Firenze: Archivio di Stato. Convento dei P.P. Serviti della Ilma Annunziata di Servi di Maria : Convento 119, No. 705, p. 149 verso. •£• dicebre 1514 A p spese dimuraglia iochopino dipintore adi decto lire ueti una sono ch tati gneue ha dare el coveto p il quadro fa nel ciostricino e resto pago fra mariano porto el p. priore cotati L — 21 s Aprile 1515 Idem, p. 161 verso. A Jachopino dipintore adi decto lire quatordici, sono per parte di dipintura del quadro del chiostricino porto el p. priore contanti lire quatordici L — 14 s Maggio 1515 Idem, p. 165. A Jacopino dipintore a di decto lire secte ; sono per parte di dipintura del quadro del chiostricino porto contanti lire 7 275 PONTORMO Marzo 1516 Idem, p. 192 verso. A Jachopino dipintore adi decto lire tre soldi 10, sono per parte di suo conto porto contanti lire 3 soldi 10 Maggio 1516 Idem, p. 200 verso. A Jachopino a di detto lire diciasette dipintore, sono per parte. di suo conto porto contanti lire 17 Giugno 1516 Idem, p. 202 verso. A Jachopino dipintore a di detto lire dicia sette soldi 10 sono per loro per e chapitegli del quadro porto contanti lire 17 soldi 10 Doc. XIV. Firenze : Archivio di Stato. San Lorenzo al Monte : Debitori e Creditori: 1524-1532. Convento 51, No. 81, p. xlviij. M. D. xxiiij Mr0 Jacopo da pontormo depintore Di Dare p insino adi 15 di apille 1524 Duct xxxa L ija. p cassa in g° a 49 como si vede in gle Biancho sto L a 3 Duct 30 L 2 s — 20 septembre Duct xx° p cassa ing0 a 49 chome si vede in gle Biancho st° L a 8. Duct 20 L — s — 30 octobre Duct xx° p cassa in g° a 58 chome si vede in gle Biancho sto L a 23 Duct 20 L — s — 1526 Marzo adi xxviiij0 Duct vij° p cassa in g° a 79 chome si vede in gle Biancho s*° L a 30 Duct 7 — L — s Octobre adi v Duct ija L — s — p cassa in g° a 79 chome si vede in gle Biancho S*° L a 34 Duct 2 L — s — Decembre adi xv Duct iiij0 L — s — p cassa in g° a 79 si vede in gle Biancho S*° L a 40 Duct — 4 L — s — d Marzo adi xviii Duct vj L — p cassa in g° a 79 chome si vede in gle Biancho S*° L — a 45 Duct 6 L — Apille adi 5 Duct v — L — p cassa in g° a 88 chome si vede in gle Biancho S*° L a 47 Duct 5 — 1— s 1527 decembre adi 5 Duct v° L v. s xiiij0 p cassa in g° chome si vede in gle Biancho s*° L a 55 Duct 1 — L 5 s 14 febraio adi xxviiij0 Duct vj° L — s xv p entrata in g° a 90 chome si vede in gle Biancho Sto L a 58 Duct 6 L — s 15 — d. Doc. XV- Firenze : Archivio di Stato. San Lorenzo al Monte : Giornale L. Convento 51, No. 16, p. 3 verso. 1524 adi 16 aplie Mr° Jacopo di bartholomeo da pontormo dipinctore de dare p cassa Duct fl trenta L dua hebe dato p avf I noue volte como i quad0 f a 65 Duct 30L2s — d. 276 DOCUMENTS MDxxiiij adi xx d. setemb Idem, p. 8 verso. Mr0 Jacopo da pontormo dipentore di dare p cassa Duct dieci ebe de contanti dai p. priore como se vede I q° di cassa sto f a 68 Duct 10 L — s — d. e piu adi 3 di dicembre Duct, dieci ebe dai p. p'orc como inq° sto f a 69 Duct 10 L — s — d. fa Duct 20 L — s. M D xxv adi 30 doctobre Idem, p. 23 destra. Mr0 Giacopo da pontormo dipintore di dare p cassa Duct, x porto lui di contanti p parte como si vede in quad0 di cassa a 78 Duct. 10 L — s — d. E piu adi 20 di dicembre Duct x porto lui ebe dai pcur p parte como si vede in quad0 di cassa s*0 f . a 81 Duct 10 L — s — d. fa Duct 20 L — s. M D. xxv Idem, p. 30 destra. E piu Duct uno L sei pagamo a mr0 Jac° dipintore p tanti colori e la cornice p fare lo cenaculo de la despensa como in q° a 86 Duct. 1 L 6 s — d. mro Jacopo inpentore di dare p cassa Duct sette ebe dai pcur e fu adi 4 di Junio como in q° d cassa a 86 Duct 7 L — s — Idem, p. 34 sinistra. mro Giacopo dipintore di dare p cassa Duct dua ebe dai p cur e fu adi 12 de agosto como sivede in q° di cassa a 89 Duct. — 2 L — s. Idem, p. 40 destra. mro Giacopo impentore di dare p cassa Duct quatro ebe dai pcuratore e fu adi 15 di nouembre 1526 come ing0 de cassa Sto 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 dai pcur como si vede ing° di cassa St0 f a 96 Duct 6 L — s. Idem, p. 47 verso. mr0 Jacopo dipintore di dare p cassa Duct, cinqu ebe dai pcur como in q° di cassa S*° f e fu adi 15 daple a 101 Duct 5 L. M xxvij (sic) adi 5 decembre Idem, p. 55 recto. mr° Giacopo da pontormo dipintore di dare p cassa Duct uno L v s 14 p Sta 6 difarina e paia 2 di galloni pago lo pcur a fra Jer0 et a fra franc0 como ing° di cassa st0 f a 108 Duct 1 L 5 s 14. M D. xxvij Idem, p. 58 recto. Mro Jac° da pontormo dipintore di dare p entrata dadi 28 di febraio 1524 Duct dua L quat0 s dieci sono p la valuta di some 8 di flasconi ebe in piu volte e p una meza catasta di legno p L 8 \ eli flasconi a s 25 la soma posta in firenze a Duct. 2 L — 4 s 10. 277 PONTORMO E piu adi 3 dilugio 1526 L tre s x sono p la valuta di uno bar di vino di gtto de la montagna beuealo queto afize 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 aflza victura e gabella Duct. 2 L 6 s 15. fa Duct 6 L — s 15. Doc. XVI. Firenze : Archivio di Stato. San Lorenzo al Monte : Quaderno di Cassa F. Convento 51, No. 40, p. 65 destra. M. D. xxiiij 26 deto (Maggio) A mr0 Jacopo di btholomeo dapontormo depintore Duct trenta L dua hebe dai pcuratore in 9 volte p parte da di 4 di Febraio 1522 p insine adi 10 dapille 1524 supra ala depintura fa nel claustro Duct — 30 L 2 s — s. M. D. xxiiij0 adi 16 dagosto Idem, p. 68 destra. Amr° Jacopo dipintore duct porto lui Duct. 10 L — s — d. M D. xxiiij0 adi 29 doctobr Idem, p. 69 destra. adi deto Am™ Jacopo di pintore duct deci hebe lui cotanti dai p priore p parte Duct. 10 L s — d. Idem, p. 78 destra. Capsa cotrassta di hau p sino adi 30 de oct-1525 duct dieci pagami a Mro Jacobo depintore porto lui p parte Duct 10 L — s — d. M D xx (sic) Idem, p. 81 destra. 20 decto A m™ Jac° dipintore Duct dieci ebe dai p cur f u adi 19 d. decebr Duct 10 L — s — d. M. D. xxvj adi 29 d. marzo Idem, p. 86 destra. A mr° Jacopo dipintore Duct sette ebe dai pcur a f u adi 4 de Junio Duct 7 L — s — d. adi 25 de agosto 1526 Idem, p. 89 destra. A mr° Jacopo depentore Duet Dua hebe dai pcurator et fu adi 12 dagosto Duct 2 L — s — d. adi pmo di Decembrio 1526 Idem, p. 94. L tre s quatordeci d sei p gabella de legne et f raseoni mandati a m™ Jac° depitore e pt° de la casa sua Duct — L 3 s 14 d 6. 278 DOCUMENTS Idem, p. 94. a mr0 Jac° Dapontormo depetore Duct quat0 hebe dai pcuratore et fu adi 15 Novebrio 1526 a suo coto Duct 4. adi 10 di febraio 1526 Idem, p. 96 destra. A mro Jac° Depentore dapontormo Duct sei et fu adi 4 Digenaio hebe dai pcuratore Duct — 6 L — s — d. adi 5 dap'le 1527 Idem, p. 101. A mro Jac° Depetore Duct cinqu e fu adi 15 apHe hebe Dal p curatore porto lui Duct 5. adi 27 di Nouebrio 1527 Idem, p. 108. Decebrio 6 A mr° Jac° Depetore : Duct uno L cinqu s xiiij hebe Sta 6 de farina et paia. 2. degaline pago el p curatore Duct — 1 L — 5 s. 14 d. Doc. XVII. Firenze: Archivio di Stato. Monastero di Santa Felicita di Firenze. Convento 83, No. 115: Libro Ricor danze 1485-1528, p. 21. Rd° come oggi questo di digenaio 1490 Ant0 di Bnado paghanelli a dato a affitare la capella della nfltiata posta nella chiesa di Seta Felicita p ladrieto della casa de ' barbadori alpiite di deto ant0 a f buono di . . . busini pte fioretino p di. L lano. Marginal note : Compero il d° Antonio la da Cappa da Barbadori e da Bernardo suo figlio fu venduta a Ludovico Capponi p scudi 200. Doc. XVIII. Firenze: Archivio di Stato. Accademia del Disegno, No. I, Registro : Elenco dei Pittori, p. 10 verso. •J* Jachopo d. Btolomeo dapuntormo dipre 1525. Doc. XIX. Firenze : Archivio di Stato. Medici e Speziali, No. 11 : Libro Verde ; Matricola per la Citta, p. 27 sinistra. Die V mesis iunij 1526 332Jacobus bartei Jacobi de putormo pictor in| civitate florentiae uolens uenire ad magistrate | dicte artis et describi inter al matriculatos ppea pmisit et iuravit et obligavit renumpsians et rogans, &c. Nil debet soluere benefitio dicti Jacobi bartei eius patris matriculati in libro pagonazo a 181. 279 PONTORMO Doc. XX. Firenze: Archivio di Stato. Catasto: Estimo del Contado, No. 5. Quartiere San Giovanni, 1520; Popoli 1-95, No. 128, p. 57 sinistra. Jachopo di btlomeo d. Jacopo da puntormo a dua siti da fare possi I ditto popolo invia Laura e ce da p° via Se° zanoby orafo 3° spedale dinocieti copo dallo spe dalle di nocieti p ff 100 dr° rt° 2 franc Sasoly adi 15 de marzo 1529 : et di poij a murato una p suo abitare. p fare la bottega et di poy ivero itutto p fare il suo abitare. Andati a Jac° detto p uso Doc. XXL Firenze: Archivio di Stato. Catasto: Libro a Parte 1534. Cittadini a parte: Quartiere Santa Maria Novella e San Giovanni 1534, No. 11. Quartiere San Giovanni: Gonfalone Chiave, p. 448 sinistra. Jac° di btolomeo di Jac° dipitore daputormo. Sustanzie. p° alibro No. 349. Una chasa nelpp0 dis° pr0 maggiore| in via laura a p° via 2° zanobi di| ghabiello orafo 3° gino seharpellino da| settigniano 4° orbatello p suo uso — e leuata dasobb. St0 G1 No 5 (56) dallui detto che murata dinuovo. Doc. XXII. Firenze: Archivio di Stato. Archivio mediceo del Principato : Carteggio Universale, filza 567, c. 187 e 225. Letter of Costantino Ansoldi to Francesco de' Medici1 germo Principe Supplico sua Alteza come gia molti anni Intesi che Soa Alteza, overo il gran Duca fece publicare una crida in Fiorenza per sapere ove si trovasse II ritratto della bona memoria del Duca Alessandro, promettendo bona remuneratione, et perch 'io sono statto creatura del Detto Duca Alessandro mio Signore et ancho sempre desideroso di farme conoscer alia soa Alteza per suo amorevolissimo servitor, subito mi mossi a pensare nella mente mia se potessi In qualche modo uenir in cognitione di detto retratto, venendome In memoria ch' II detto Duca mio Signore me lo dono mentre era vivo, et doppo la sua morte m'e venuto In memoria ch'io lo donai a una Signora Thadea Malaspina, quai fu sorella dell'Illma Marcha 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. Moisfi 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, VT [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 nell' anno del Sre 1568. adi. 10. di 9bre che fu la vigilia di St0 Martino. per andar a camino di trovar tal ritratto, desiderando presentarlo alia soa Alteza, parte per raffarmare la mia antica servitu, parte per haver qualch'aiuto dalla mane di soa Alteza per soccorrere alii bisogni di cinque mie figliole femine, quali sono da marito et senza roba et senza madre, feci capo a Ferrara a una Sra Iulia Malaspina figliola della detta Sra Thedea, dalla Intesi che detto ritratto si trovava nella guarda robba del Principe di Massa, per ch'essa Sra 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 Sr lulio de Medici quai io ho alevato et fu consignato et raeeto nelle mie mani dai detto Duca Alessr0 havesse ad operare con l'Ulmo Principe di Massa per essersi alevati loro insiema che con il suo meggio detto ritratto pervenesse nelle mie mani, ma Intendendo che II Sr lulio era in Pisa mi transfer! da Fiorenza a Pisa, et havendoli narrato la causa della mia venuta pregandolo volessi recuperare detto ritratto et farmene un dono in ricompensa della mia fedel servitu fatta alia bona memoria del Duca Alessro suo Padre et anche a S.S. ; mi rispose ch' a tutte sua forze 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 1 ' anima di detto Duca, et con questa speranza restai in Fiorenza et Pisa cinque mesi con mio grandissimo interesse, et grandissima infermita, per la quai fu forzato partirme per venir a casa, havendo perd prima hauta licenza da esso Sre lulio, et prowisione sopra lasua parola di non mancarmi nel detto servitio et hebbe soccorso di denari per il mio viaggio dai gran Duca per mano del Sr Thomaso di Medici, gionsi a casa et ricuperai la sanita quando piaque al Sr Iddio, et alcuni mesi doppo il Sr lulio mi scrisse ch'io andassi a Fiorenza, perche haveva ricuperato con gran difficulta il ritratto, et era per darmi tutto il mio intento, come posso justificare per sue lettere per il che mi partei per Fiorenza a di 5 maggio 1570 et subito che fu gionto da S.S. mi prese per la mano et mi mostrd 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, anei ne fece fare una copia, quai 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 Sr lulio con mio grandissimo interesse di borsa, et mala satisfation d'animo, non havendo possuto adempire 1 'intento mio, perd ringratio sempre la Mta Divina; Serm° Principe questo retratto e il vero et Iusto quai 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 quai 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; Suppla solamente vogli tener memoria di me Fidm0 et antico servitore del Duca Alessr0 dignandosi darme qualche soccorso per me quai mi ritrovo povero senza faculta di sorte alcuna et d'eta. de' 69 anno, et con cinque figliole femine da marito, che riconoscero il tutto dalla man di S. Alteza et il Sr Iddio gli ne rendera il guiderdone mantenendo et augumentando il suo felice stato come fa; et quando S. Alteza si dignara saper quel ch'io son, et sono stato, pigliara informatione dai Cavalier Carlo da Spello, da m. lulio da Pistoia, da maestro augustino sarto, da m Stephano Romano camerier del gran Duca, et di piu dai Serm0 gran Duca, da' quali credo soa Alteza havera bonissimo ragualio delle mie actioni; et se soa Alteza volesse valersi di me in cosa alcuna sara servita indrizare la Ira in Parma, in casa del Sr Seipion Banzola, per che havro bon ricapito et io non mancaro di far quanto mi comandara soa Alteza, alia quai serviro sempre con fede et con la verita, et se la Mta di Dio mi concedesse che io havesse il modo di poter venire alii Piedi di S. Alteza eome 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 Sr lulio non me havesse ingannato et non fosse proceduto con me con tanta malignita com' ha fatto, ma non voglio passare piu oltra, in scritto accio soa Alteza non mi tenesse uno Aretino, com' in effetto io non son, ne mi movo se non eon gran ragione; Et con questo fine humilte baxio li piedi di soa Alteza, alia quai N. S. Iddio doni ogni felicita insieme con tutti li soi descendenti. Da Casalmaggre il di 23 9bre M.D.LXXI. Di S. A. Humiliss0 Servitore (a tergo) Costantino Ansoldi. Al Serm° Principe di Fiorenza overo in sua absentia al Serm° gran Duca, mei Sri In Fiorenza. Doc. XXIII. Firenze: Archivio di Stato. Catasto: Cittadini a parte : Quartiere San Giovanni : Gonfalone Chiave, 1549, No. 16, p. 349 sinistra. Jac° di bt™° di Jac° dipintore ttj° dalibro apte 36 (448) una casa nelp° di S° pre magiore invia laura a p° via 2° Zanobi di Gabrello orafo 3° bino scarp110 4° orbatello p Xa p uso Doc. XXIV. Lettere CXXVII del Commendatore Annibal Caro raccolte dai Conte Giulio Bernardino Tomitano opiter- gino ed ora per la prima volta pubblicate in Venezia per Antonio Zatta, 1791. A Mon. Giov. Guidiccioni a Fossombruno. Lettera VI. 282 DOCUMENTS ... A quest' ora il ritratto di V. S. e finite del tutto ed oggi gli si da la vernice. II Pastermo si e portato da un uomo grande ed la migliorato assai, ma io non me ne soddisfaccio interamente perche V. S. e degim de' Miclielangeli e de' Bastiani. Volea fare intarciare le leltere nell' ornamento ma perche aconficcandosi si disordina ogni cosa, mi sono risoluto di farvelc dipingcrc V. S. m'ordini quel che n'ho da fare e intanto me lo vagbeggiero 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. 1!) Ottobre 1539. Some of the letters printed in this volume were in the eighteenth century in the private collections of Duca Mancciueea 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, 1, 117) the painter's name is still given as Pastermo. Doc. XXV. Firenze: Archivio degl' Innocenti. Libro Nero: Debitori e Creditori G. 1545-1551, p. 446. 1549 Jacopo di bt° di contto di dare adi xx dagosto ff cento p una comessa nel n° spedale comapare al giorn1^ R (157) a p patti b (419) a lir0 comess1 (72) ff 100. Idem, p. ccccxlvi. Jacopo d bt° dapuntormo dipintore di aver adi xxiii di marzo ff cento di ma . . . dai q° di cassa b (210) e entta S (36) dare cassa (444) ff 100. Doc. XXVI. Firenze: Archivio degl' Innocenti. Libro di Commessi B. 1528-1549, p. ccccxviiii. Jacopo di btolonieo da puntormo dipintore di auer ogni ano durante sua vita naturale che deta dafii 55 sta xxiiii0 di grano b1 vi° di vino et b° 1° d'olio posto in fre alia casa di sua abitazione atempi soliti et q° p auer comesso nel n° spedale ff cento di ma comapare algiornale R (157) et albro No p (446) e provata da s" consoli et operai di nostra arte addi xx dagosto 1549. posto al 1° giallo (177) Doc. XXVII. Firenze: Archivio di Stato. Depositeria Vec chia, No. 394, p. 101 destra. Bastiano del gostra pittore con m° Jac° dapontormo conprouisione de duca dua al mese cominciando add pm0 dimarzo 1554 et di havere adi 28 di 283 PONTORMO febbraio 1556 p tanti messoli auscita Fissatasalariati p sua prouisione di marzo aprile et magio 1555 pagatoli di conto ff 36. Idem, p. 101 sinistra. Bastiano del gestra pittore diet0 dedare addi xxvii di feb° 1556 ff dua porto lui p sua provisione di marzo 1555. Resta da havere ff ventidua p sua provisione di mesi 11 di p° anno 1555 p tutto febbraio fatto creditore alibro desalariati p 1557 di ff ventidua. Duct. 22. Doc. XXVIII. Firenze : Archivio di Stato. Medici e Speziali No. 251. Libro dei Morti 1544-1560, p. 92 recto. Genaio 1556 Mr° Jac° di Lorenzo dapontormo di pntore mri Adi 2 spito nella niitiata. Doc. XXIX. Firenze: Archivio di Stato. Medici e Speziali: Libro dei Morti 1506-1560: Serie della Grascia, p. 524 verso. Gennaio 1556 M° Jac° diLz° da puntormo sep° nella nunziata adi 2. Doc. XXX. Firenze: Archivio di Stato. Notari: G 300. Protocollo di Ser Giovanni Battista di Lorenzo Giordani (1555-1556), c. 399 r. 3 febbraio 1557 Item posta dictis anno 1556 Indicne 15 etdie| 3° mensis februarij. Actu Flore In populo sti| stephani abbatia Florne presentibus testib| S Priore S Ghei de Gharadinis et| Luca ant1 de balieaccis testore drapof. Publicer pateat quat? Andreas oii Ant1! Bart1 als mei tester drapporu costitutus| I psentia mei et testium pmissoru| Asserens egreghi magm Jacm q; Bat1 micupatum| de Potormo pictore mortuu esse et decessisse aditio jam est mesis vel circa nullo p eu cSdito testameto qd sciatur here nullis relietis liberis sed relieto post se| dicto Andrea eius attinete ditatis et coniucto| i qnto gradu et pximiori ipsi mag0 Jacobo | ex latere matris scilicet | nato ex Dona marghta Giachi calzolarij| de potormo sorore patrueli dicti Andree | et nullis aliis post se relietis subcessoribus| dictu Andrea excludere ab hereditate| dicti mag1 Jac1 seu eu eo i aliqa pte| cocurrere et putans hereditate pdieta| potius utilem q inutile. Idest meliori, &c. Doc. XXXI. Firenze: Archivio di Stato. Decima: Ricerca delle Case di Firenze 1561. Quartiere San Giovanni, p. 128. Pergola via o via della Colonna 1983 Andrea di . . . detto il Chiarrella| tessitore una casa contigua alia dtta cha| Antonio di Gino lorenzi — | Habita apigione Franc0 di Goro pittore p ff| 14 sta ff 24 B 4 — ff 14. 2. 2. Antonio come al quaderno. 284 DOCUMENTS Doc. XXXII. Due Lezzioni di messer Benedetto Varchi, Fiorenza: Torrentino, MDXLIX, Appendix.' II diletto ch io so che voi, mag. M. Benedetto, pigliate di qualche bella pittura o scultura, e in oltre lamore che voi agli liuomini di deltc professioni portate, mi fa credere chel sottilissimo inlellello vostro si niuova aricercure le nobilita e ragioni di ciascuna di c|iieste due arti, disputa certo bella edifficilissima, e ornameto proprio del voslro si raro ingegno, & per esser ricerco con tanta benignita da una vostra dc' di pnssali di dette ragioni, non sapero o potero forse con parole e enchiostro esprimere interanicnte 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 eome 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 t5de, e finita per tutto, con scarpelli, e altri strumenti faticosi, ritrovata in certi luoghi da non potere pensare in che modo si possa eo' ferri entrarui o finirui essendo pietra o cosa dura; che a fatica alia tenera terra sarebbe fattibile, oltre alle difficulta d'un braccio in aria co qualche cosa in mano, difficile, e sottile a condurla che non si rompa, oltre di questo non potere rimediare quando e leuato un poco troppo (questo e ben vero, oltre a questo hauerla accordato benissimo per un verso) & poi per gli altri no ve 1' ha a ritrouare, quando per macamento di pietra in qualche lato, per la difficulta grande che e in accordare propor- zionate tutte le parti insieme a tondo, non potendo ben mai vedere come l'ha a stare, se non fatta che l'e, e se le non sono cose minime e non va rimedio; ma e non hara non ha rimedio. Ma chi non avra, fondamento di disegno, incorrera in errori, o in auertenze troppo euidente, che le cose minime si possono male fugire nelluna e nell ' altra, ecei ancora e vari modi di fare, come di marmo, di bronzo, e tate varie sorte di pietra, di stucho, di legno, di terra e molte altre cose, che in tutte bisogna gran praticha, oltre alia fatica della persona, che non e piccola; ma questa tiene l'uomo piu sano, e fargli megliore complessione ; doue che el Pittore e el contrario, male disposto del coropo per le fatiche dell' arte, piu tosto fastidi di mente che aumeto di vita; (troppo ardito), e volenteroso di imitare tutte le cose che ha fatto la natura, co colori, perche le paino esse (e ancora migliorarle) per fare i sua lauori ricchi, e pieni di cose varie, faccendo, doue accade come dire, splendori, notte con fuochi, e altri lumi simili, aria, nugoli, paesi lontani e dappresso, casamenti con tante varie osseruanze di prospettiua, animali di tanta sorti, di tanti vari colori e tante altre cose; che e possibile 1 Reprinted 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 Baccolta di Lettere sulla Pittura, Scultura ed Architettura, scritte da' piu celebri personaggi dei Secolo XV, XVI e XVII (edizione Ticozzi, Milano, 1822, I, 20-25). This letter was really written by Pontormo at Varchi 's request and formed part of the symposium appended to his lecturo on sculpture and painting in which he published various opinions expressed by famous artists on the relative merits of the two arts. 285 PONTORMO che in una storia che facci vi s'interuenga cio che fe' mai la natura, oltre a come io dissi disopra, migliorarle, e col arte dare loro grazia, a accomodarle, e comporle doue le stanno meglio; oltre a. questo e varii modi di lauorare, in fresco, a olio, a tempera, a colla, che in tutto bisogna gran pratica a maneg- giare tanti vari colori, sapere conoscere i loro effetti, mesticati in tanti varii modi, chiari, scuri, ombre, e lumi, reflessi, e molte altre appartenenze infinite che io dissi troppo ardito, che la importaza sie superare la natura in volere dare spirito a una figura, e f aria parere viua, e f aria in piano ; che se almeno egli hauesse considerate, che quando Dio ered l'huomo, lo fece di rilieuo, come cosa piu facile a, farlo viuo, et no si harebbe preso uno soggetto si artifitioso, e piu teste 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 eosa 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. Doc. XXXIII. Firenze : Archivio di Stato. Guardaroba No. 28. Inventario della Guardaroba per M. Giuliano del Touaglia, M. Giovanni Ricci, M. Mariotto Cecchi: XXV d'Ottobre 1553, p. 6 verso. Nelle Camere del Duca al Piano della sala de 200 nella Camera Terza. Quadro di 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 potolmo. 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 co ornamento di noce e cortina di sta uerde. Uscita Idem, p. 58. A S Ea addi 24 d'agosto (1557) Uno quadro grande di una Dona di mano del Pont 'olmo co ornamento dorato et per lei dato di com6 della Duca a Don giovani di figana p portare a milano al giori° a 100. Doc. XXXV. Firenze : Archivio di Stato. Guardaroba No. 34 : Giornale ' della Guardaroba di Sua Eccellenza 1555-1558, p. 100 verso. M.D.LVII. Addi 29 d'agosto. Uno quadro di nfa Donna dimano del Pont 'olmo co ornameto dorato di bra 2£ dato in dono a Don giovani figana p ordine della Sigra Duca. Doc. XXXVI. Rime Inedite di Raffaello Borghini e di Angiolo Allori detto il Bronzino, a cura del canonico Domenico Moreni, Firenze, nella stamperia Magheri, 1822, pp. XXX- XL. SONNETS ON THE DEATH OF PONTORMO Benedetto Varchi al Bronzino Bronzin, dove poss'io fuggir, s' ancora In questa si remota, e si ronita Profonda valle il duol sempre m' addita, Sol perch ' io pianga, e mi lamenti ognora ? Lo gran Pittor, che dianzi in si poc ' ora Impensata da noi fece partita, E me lascio, perch ' io morissi, in vita Con voi, cui sorte, e danno eguale accora 1 Ohime dunque il chiaro vostro, e mio Puntormo ha spento morte anzi '1 suo giorno ; E voi vivete, e '1 Martin vive, ed io ? Pur ne consoli, ch'ei non lunge a Dio Lieto il rimira, e vedrallo al gran giorno Quale il dipinse a noi tra fero, e pio. 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 m'addolora. Lasso, e che piu dolor d'uopo mi fora? Non basta a far da me l'alma partita Quel ch' io sento ? o si dee per infinita Doglia morte allungar piu d' ora in ora ! Anzi pur questo e de ' miseri il rio Sentiero, 'n morte per piu danno, e scorno Fa di se lungo, ardente, e van desio. Ma che rispondo ! Anzi perche travio Dal pensier giusto, e saldo ! Ecco ch'io torno A trar dagli occhi amaro eterno rio. Se mai sara, che dall' interna doglia, Che si m' ingombra 1' intelletto, e '1 core Onde cade da lor possa, e valore, Come per verno rio tenera foglia, Gia, non dich'io poter pari alia voglia, Ma eoncesso mi sia, ehe no '1 dolore Sempre mi tenga a guisa d'uom, che muofe, Legati i sensi, e mai non gli apra, o scioglia, Forse potrebbe un di pietosa mente Da questa lingua, e quest' indotte carte Udendo la cagion del mio gran pianto, Meco dolersi, e meco reverente Ammirar la bonta, 1' ingegno, e Parte Del gran Puntormo virtuoso, e santo. Quando nell 'alto mar, che non ha riva Delle tue lodi, arnica alma beata, Entro, e mi veggio in f rale, e disarmata Barca, d'ajuto, e di governo priva, Pavento, e tremo, e nel pensier m'arriva Se mai fu audace impresa invan tentata, Ond'io calo la vela al vento data Con mente offesa, a se medesma schiva. Ma gli onor tuoi, le virtu care, e tante Tornan si viva in me la giusta voglia Di fame ricco il nostro almo paese, Che pur convien, che dai lito mi scioglia, E guidandomi amor trapassi avante Di speme acceso, e di desir cortese. Ben fu presagio di piu grave danno, Orme, del passo tuo 1' empia ruina Poiche partir dovea la pellegrina Alma del tuo gran lume anz'il quart 'anno. 288 DOCUMENTS Quella, che am& si '1 vero, odid 1 ' inganno D ' arte eccellente, e di bonta divina, Che l'Arno altero a par teco cammina Colmo di gloria, e di pietoso affano. Dolce, vago, gentil chiaro ruscello Piangi con meco, e da quest' occhi prendi Piii che dai fonte tuo forza, e vigore. Tu perso hai '1 nglio, io 1' amico, e '1 fratello, Anzi 1 padre, '1 maestro : or meco rendi Debito officio a cosi giusto amore. Amico spirto al ciel tomato, d'ondc Partisti quasi accorto pellegrino Fornito il vote, e quest' aspro cammino D ' oliva ornate, e di laurea f ronde, Com' hai sofferto, ohime, lasciarmi all' onde Nemiche in mezzo? e senza me divino Goderti albergo? Al sommo Sol vicino Pur vedi il tutto, e nulla ti s' asconde ; Chiaro t'e il cor con quanto ardore, e fede T'ama, e che senza te perdendo vassi, Poiche del Varco tuo 1 ' Orme non vede, Ne suoi pieta soffrir, ch ' amico lassi L ' altro nei lacci, ond ' ha ritratto il piede Potendo aitarlo, e sol libero passi. Se quell' ardor pien d'amorosa fede D ' onesta carita provata, e salda Piii che mai per te m ' arde, e non pur scalda, Come vera amicizia ama, e richiede, Arnica luce or, che chiaro si vede Da te '1 mio core, e la sincera, e calda Voglia, che quasi al sol mi strugge, e sf alda Tenera neve, e non piii spera, o crede. Gli occhi, che per mia doglia in terra chiusi Nel cielo apristi, ond ' ei s ' allegra, e schiara, Rivolgi al tuo fedel, negletto, e solo, Che quaggiu vive oscura vita amara Soccorril, prego, e '1 troppo amor lo scusi, Se la tua pace in ciel turba il suo duolo. Dalla sublime sua stellante soglia L'unica luce mia ver me riguarda, Perch ' io la segua, e parle ogni ora tarda, Ch' altro non ha nel cielo, onde si doglia; Ond' io, ch' al cor non ho piu calda voglia, Quanto a lassii volar preme, e ritarda Disgombro, e scarco, accid leve, e gagliarda L'alma sormonte, e di quaggiu si scioglia; E con piu cura all ' op re sante, e belle Di lei mi specchio, e sforzomi esser tale, 289 PONTORMO Che quale in terra in ciel m'accoglia, ed ame: 0 felice quel di, ch' aperte l'ale Per acquetar le pari oneste brame Volaro seco alle sue pari stelle. Se virtu qui fra noi pregiar si deve, E se bontade il ciel gradisce, ed ama, Sacro seggio or esalta, orna e riceve Mia luce, e 'n terra avra perpetua fama ; Che quanto d'arte, ingegno, o studio brama In lei rilusse, e ne die saggio in breve, Che nei tre lustri a quei, che il secol chiama Piu chiari, a par sen gio secura, e leve. Crebbe col tempo in lei bontade, ed arte, Felici amiche ; a quanto saggia umile, Mai sempre aggiunse al dotto il santo stile. Or in ciel premio a 'suoi merti simile Si gode, e '1 mondo a' suoi pregi comparte Onor supremi, e meco piange in parte. Pioche la luce mia da mille chiare Op re ritrasse l'onorata mano, Dato alio stile, ed ai color sovrano Loco, e dimostro quanto arte puo fare. In nuova illustre, e magna opra; ch' ornare Dovesse il tempio del gran Re Toscano La pose, ove cerco sopr' ogni umano Poter se stessa, e tutti altri avanzare ; Ma quando, ohime, non molto lungi al fine Seguiva intenta il vago, alto lavoro, D'orror, di meraviglia, e d'Arte pieno, Soverchi studj a sue voglie divine Fermaro il corso, e dai terreno coro Void al celeste, al vero lume in seno. Di Messer Tommaso Porcacehi. Chiusa col padre suo sotto atra terra Col capo alquanto in fuor, col viso ehino La maestra di voi, chiaro Bronzino, Cosi la voce al dir mesta disserra. Chefo? Chi sono? Or chi mi sbrana, e atterra? Dov7 e Parte? il color? 1' ingegno? il fino Pronto disegno ? Ohime, spento il divino Pontormo, acerba morte or mi sotterra ! Gia, vive, e lo so ben, de' suoi colori Dell' orme sue nuovo Pontormo eletto, A questo eguale, Apelle oggi a' migliori Dunque nel mio Bronzino i tristi umori Raseiugo, in lui mi poso ; cosi detto S ' ascose, e solo oggi per voi vien fuori. 290 DOCUMENTS Bronzino a Madonna Laura Battiferra degli Ammannati Donna, che '1 secol nostro oscuro, e vile Rendete sovr' ogni altro illustre, e caro Primo di Febo onor, primo, e piu chiaro Di cortese onesta lume gentile, Troppo sete ver me dolee, ed umile Per medicar l'altiero colpo amaro, Che morte diemmi, e che non ha riparo, Se non col farmi a chi mei die simile. Morte mei diede, e sola puo far morlc A me sol grata, a tutti altri molesta, Che l'alta piaga all 'alma, e al cor si chiuda. Ben rallenta il dolor, che non men forte M'e duopo vostra man soave, c prcsta, Ma piu s ' allunga, onde pieta m 'e cruda. Alia Medesima La notte, ch' al mio duol principio diede, Ch' altro, ehe morte omai finir non puote, E che lascio le mie speranze vote Di si 'intera amicizia, e chiara fede, Con si grave dolor nel cor mi riede, Anzi e pur sempre, che da lui remote Gioia, e quiete ogni altra cura scuote, Che pianger lasso, e sospirar non chiede : Onde s'awien, che mano, o voce porga Donna, ond' io scriva, e la ragion discopra Del comun danno, e di mie doglie acerbe, Tal dai petto sospir, dagli occhi sgorga Pian to, che f orza m ' e, lasciata ogni opra, Mostrar, ch' a sol tormento il ciel mi serba. Alia Medesima Mentre sepolto, e di me stesso in bando Mi sto com ' uom, che piu non veggia, e senta Che tenebre, e martir, poiche m ' ha spenta Morte ogni gioia, ohime, si tosto, e quando ! Si dolce udir mi par 1 ' aura vi destando Le vive gemme, e si bel raggio intenta Far la mia vista, che ridurmi tenta L'alma, u' si vive, i suoi danni obliando; 0 vitale armonia, celeste lume, S ' al destin si potea tor 1 ' arme, vostra Era la gloria, e ben temer si vide. Ma ch'io sol la sua voce ode, e mi guide Lo buon Pittor, che f u dell ' eta nostra Specchio, e gia termo, e 'n doglia mi consumo. 291 PONTORMO Di Madonna Laura Risposta Se fermo e nel destin, che lacrimando L ' alma vostra gentil viver consenta Per quella, ch' oggi in ciel lieta, e contenta Gode del vostro gir si lamentando ; Io, che fuor (mal mio grado) talor mando Quai roco angel, voce imperfetta, e lenta, E se pur luce scopro, ella diventa Oscura nube in cieea parte errando. Vi prego umil, che l'onorate piume Seguiate, e '1 dolce suon, che si vi mostra Quel, che dai volgo vii parte, e divide ; Che forse un di, se morte non recide Anzi tempo il mio stame, all ' alta chiostra Con voi sard fuor d'ogni mio costume. A Madonna Laura S ' al vostro alto valor f amosa pianta Ai ehiari merti del mio Duce, o al mio Grave dolore, o a quel caldo desio, Che d ' onorarlo il cor mi strugge, e sehianta, Pari avess ' io '1 poter, quai piu si vanta Securo nome, dai futuro oblio Vincerei, credo, a dai piii crudo al pio Saria sua f ama reverita, e pianta : Ma poiche '1 vostro ogni valore avanza, Ne piu puo meritar l'ottimo, e saggio, E mia doglia, e voler passa ogni segno. Al vostro sol valor rieorro, al degno Merto, e a mia voglia, e duol pari, e quindi aggio Speme d ' alzarlo, ov ' io non ho possanza. Di Madonna Laura in Risposta Al gran merto dell 'alma eletta, e santa, Che ritornando al cielo in grembo a Dio, Lasso voi, lasso, in tenebroso, e rio Stato, e noi privi di ricchezza tanta ; Quai tromba suona, o pur quai Musa canta Tanto altamente, e cosi chiara, ch' io Bassa, a scura non veggia? che desio La vostra udir, cui grave doglia ammanta. Ella puo sola, ond' io certa ho speranza Vedere anzi '1 fornir del mio viaggio Dare algi alti suoi pregj onor condegno. Allor quanto alzar puossi umile ingegno, Sebbene a ciascun passo in terra eaggio Pur di seguirvi prenderei baldanza. 292 DOCUMENTS A Madonna Laura L 'Aura vostr ' Alma, or che '1 fier Borea ammorza Alle campagne i piu vaghi colori, E '1 corso impetra ai vivi argcnti, e fuori Vedova, e attrista ogni terrcna seorza; Col suo dolce spirar, di nuova forza Par, ch' aer muova, e nuova terra irrori, Nuovo Sol n'apra, e piante, aeque, erbo, e fiori Ne renda, e ta', ch' a rallegrar ne sforza. Ond' io quel fronda al piu nemico verno Dentro agghiacciato, e fuori, atro, e negletto, Orbo del caro mio buon padre, e dure, Vigor riprendo, e '1 giel distruggo interno, Degli onor suoi mi vesto, e '1 suo diletto Seren m'innalza, e scuopre la mia luce. Di Madonna Laura in Risposta Bronzino in ciel 1 ' alma beata luce Quant ' altro vago, e luminoso aspetto Atto a produr fra noi piu degno effetto Come fu gia del mondo onore, e luce ; Talche l'erto sentier, ch' a Dio conduce Fuor di questo mortal breve ricetto, Mostra si piano al vostr' alto intelletto, Ch ' uopo non ha di miglior guida, o duce. Et io, che 'n alto mar senza governo Quando e piu nudo il ciel de ' suoi, splendori, Erro sempre altemando or poggia, or orza, Gia fatta preda al gran Nettuno, e scherno, Sorgo non lunge i suoi lucenti albori Si che la stanca nave si rinforza. 293 APPENDIX III Diary of Pontormo1 Doc. XXXVII. Firenze: Biblioteca Nazionale. Miscellanea magliabecchiana, catalogo VIII, 1490. I Carte 5 adi 30 digenaio 1555 comlcioqelle rene di quella figura ch piagne quello babino| adi 31 feci quelpoco delpanno cTilacigne cfi fucattiuo tepo eemj doluto j 2 dj| lostomaco e lebudella laluna afatto lap 'ma quarta| adi 2 dj febraio i sabato sera euenerdi inagai 1° cauolo etuctadue qe sere| cenai 5 16 dipane epno hauere patito fredo alauorare n5 me forse doluto | elcorpo elostomaco eltepo emolle epiouoso| adj 1° difebraio feci dalpanno igiu eadi 5 lafinii eadi 16 feci quelle gabe diquella| babino cfi le sotto cfi fu Jsabato eluenerdi. eomicio a ee beltepo ecosj elsabato detto efre|ddo — eprima era durato apiouere tucta uia seza puto difredo eadi 21 cfi fu berligaccio| cenai co brSzino lalepre eueddi lebagattelle elasera dicarnouale ui cenaj| adj 24 i domenica lunedi emartedi 1 The order in wliich 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 Room 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 Ouctano Poggiali and of it Gaye (Carteggio, III, 166-169) quotes a few pages. The identification of the original is due to Colasanti (Diario di Jacopo Carrucci, Bullettino della societd filologica romana, II [1902], 35-59) whose article was reviewed by Fabriczy (Das Tagebuch 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 cfi fuelp'mo di di guaresima| duro tepo come dap'le e bello giouedipoi comieioueto secco epiutosto freddo | cfi fu lutimo di difebraio eio feci eldj latesta diquella figura cfi e sopa quelle cfista cosi| domenica mattina desinai cobr° epareuami ee moltopieno i modo cfi| lasera ionocenai| adi 4 dimarzo feci queltorso cfi e sotto a quellatesta detta eleuami la hora lanzj dj| domenica fumo adi 10 detto desinai cob0 elasera a hore 23 cenamo quello pesce grosso eparechj picholifrittj cfi spesi soldi 12 cfi ueraattauiano elunedi feci quello braccio diquella figura ditesta cfi alza elasera D elasciala| isino quiui come mostra q° scizo| martedj emerco ledi comicio feci quel uechio elbracci suo cfi stacosi| adi 15 dimarzo comiciaj eltepo quello braccio cfi tiene lacoregia itesta cfi f u I uenerdjj elasera aguas cenaj 1° pesce duouo cacio fichi enoee eo 11 dipane| mercoledi tarsi adi 20 fornj elbraccio diuenerdj elunedi lanzj haueuo fatto| cfiera du quello busto elmartedj fecj latesta diquello braccio cfiio dico rate pa giouedimattina| mileuaj abuonora et uidi simaltepo eueto efredo rechi di cfi ionolauoraj e mj| stettj i casa uenerdj feci quello alt0 br° bello cfi sta atrauerso esabato upoco di| capo azurro cfi fumo adi 23 seza elasera cenj ii 5 dipane dua huoua espinacj| cfi fu ladom lunedi piouere adi 25 desinai cobr° elasera cenai icasamia 1° pesce duouo | martedj feci quellatesta delputto cfi china eeenai 5 10 dipane eebi 1° sonetto1 daluarchi| mercoledi feci quelloresto delputto eebj disagio a quello stare chinato tucto di| II imodo cfi mi dolse giouedj lerene (euenerdi oltre aldolermj ebimala| dispositione enomiseti bene elasera nocenaj elamattina cfi fumo a di (frac0 i giu . . .) 29 1555 1 feci lamano emezo ebraccio diquella figura grade elginochio ed 1° pezodigaba| doue eposa lamano cfi fu eluenerdj detto e la detta sera nScenai estettj. D.| isinalsabato sera emagiai 10 5 dipane eduahuoua e ia I salata di Fiorj diborana| 31 dimar zo ladomenica mattina desinai i casa danjello pesce ecastrone elasera nocenai| elunedi mattina misismosse elcorpo cSdolore 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 cfi| a ee dime peso cfi mi nocessj assaj quello ritornare neletto pure ora cfi 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 5 10 iThis 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). MBNTEE io con penna oscura, e basso inchiostro Tanti anni, e tanti un uiuo LAVRO formo, Voi con chiaro pennello alto PVNTORMO Fate pari all ' antico il secol nostro : Anzi mentre io col uolgo inerte dormo, Voi nuouo pregio alia cerussa, e all ' ostro Giugnete tal, che fuor del uile stormo, A dito sete, e per essempio mostro. Felice uoi, che per secreto calle, Oue orma ancor non e segnata, solo Ven gite a gloria non piu uista mai. Onde la donna piu ueloce assai Che strale, o uento, e ch'e sempre alle spalle, Inuan darauui homai lultimo uolo. 296 HIS DIARY dipane dua huoua afretHe radichio| uenerdi comTciaj ia hora I anzj di quelle schiene cfi sono sotto aquella| cenai ia liba dipane sparagi ehuoua efu 1° bello dj| sabato cenaj| domenica cfi fu luliuo desinai I casa br° certi crespcllj mirabili| lunedj damattina ebj 1° nelorto cfi lego eacoeio lorto lauaga| martedj feci quella gaba co lacoscia sotto aquelle schiene dette di sopa cjoe| elasera cenai la meza testa dicauretto| mercoledi dua huoua. elasera easco lagociola a cecfio fornaio| giouedi laltera meza fritta| uenerdi eh fueldj sco cenaj 1° pesce duouo solo co zucfiro e o 8 dipane. | sabato bmorai quelinasso. euenne el duca asco lorezo cioe aluficio. lasera poi nf>cenaj| pa|squa domenica fui° grafredo egraueto eaqua desinai co br° 6 6 dipane elasera iiocenaj| lunedi piu fredo e ueto eaqua elasera cenai Icasa daniello 6 6 dipaue| martedi fuasaj bello elasera cenai 6 10 dipane| mercoledi mattina fu fredo estettimi icasa cenai 6 9 dipane agnello elpiu bello cfi sipossa| giouedi lauoraj. quelle dua braccia. ecenai o 9 dipane carne eencio efu frediccio| uenerdi feci latesta coquel masso cfi le sotto cenaj 6 9 dipane 1° pesce duouo eia isalata| e ho elcapo cfi mi gira u buo dato.| sabato feci brocone e masso elamano ecenai 6 10 dipane| domenica cenai 6 10 dipane estettj tucto eldi stracho debole efastidioso fubellisimo dj efe laluna| lundedj adi 22 dap'le stettj bene ogni male eraito uia magiai 6 8 dipane n5 haueuo piu| capogirli enoero debole. e ho buona speraza.| III adi 23 lasera cenai copiero1 magiai 5 9 dipane cfi 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 cfi sta cosi| adi 28 Tdomenica mattina desinaj cobrozo elasera no cenai| lunedj cenai copiero ubuodato e cosacce 5 12 dipane | martedj cenaj 6 12 dipane cacio enoce| mercoledj adj p° dimagio cenai o 12 dipane la \ testicuola cacio ebacelli| giouedj lalta meza acena| uenerdj sera cenai cdpiero 1° pesce duouo isalata fichj sechj. lasera di sea, croce | sabato 1° pesce duouo cosugo dibietole zucfiro eminestra dibietole ed 10 dipane | domenica cenai dua huoua| lunedi 1° fegato f ritto dagnello | martedi sera cenai 1° cuore dagnello carne secha lessa e 6 10 djpane| ecomiciai quel br° di quella figura cfi sta cosi| mori eltasso]2 mercoledj egiouedi lafinj. elasera adai acena c5 daniello cauretto arosto epesce| uenerdj sera 1° pesce duouo ela Tsalata o 10 dipane uino macho cfi mezetta| sabato sera cenai co piero pesce darno ricatta huoua ecarciofi emagiai| troppo emaxime della ricotta elamattina desinai co br° elasera no cenai| cfi fulauetura mia cfi haueuo magiato tropo| lunedisera magiai carne delgiouedj cota eno mi fa bene. 5 10 di pane| 3 martedi comlciai afare queltorso cfi tiene elcapo alogiu cosi| cenai la Isalata e 1° pesce duouo o 10 dipane | mercoledj ebi 1° Itonico si faticoso cfi io no pesocfi glabia a far bene cfi sono | tucte le poppe come siuede la comettitura ecenai huoua e o 10 dipane | giouedi feci 1° bra, f uenerdi lalt0 bra| sabato quella coscia diquella figura cfi sta cosi| 19 dim|agio| domenica desinai ecenai cobrS. elamatina posi quegli peschi| lunedi comicai quel braccio di detta figura cfi stacosi elasera cenai | 6 10 dipane huoua episegli| martedi quello al° bra| 22 mercoledi eltorso 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 cfi fu lasesione desinai cobro elasera co danjello[ uenerdj quella coscia. 5 diecj dipane 1° pesce duouo efini lafigura| IV sabato sera cenai i° isalata edua huoua eldi feci certe letere | domenica mattjna adai asafrac0 epoi desinai i casa danjello elasera n5 cen . . . [ lunedj martedj | mercoledj feci quel capo cfi sta sottoaquella figfa cosi| . . . di 30 ma|(g)io| giouedi lacoseia| uenerdi quelle schiene | sabato finj lafigura cenai 6 10 dipane ciriege e 1° pesce duouo | domenica sera desinai cobr5. cfi fula sera dello spirito sc5| lunedi mattina codaniello elasera cenai icasa mia| martedi sera eodaiello cogloni efegato el° quarto arosto | mercoledi sera icasa mia 1° pezo dipane diramerino e huoua e feci quelle spall . . .| diquella figura| cfi sta cosi | giouedi feci elbraccio emagiai upoco dicarne arosto | uenerdi lafornj emagiai 1° pesce duouo eadormetamj uestito| sabato mileuaj molto male disposto cenai copiero poco e| seza uoglia elanocte ebi lafebre co gra, fuoco adosso eno dormj mai| domenica cfisiamo adi 9 di gugno 1555 cenai copiero | lunedi gra, dogle dicorpo| martedi gra, dogle dicorpo] mercoledi quel medesimo ne mai lasera ho passato upane ouero agiuto| adj 13 1 giouedi mattina desinaicobr0 cfi fu elcorp' donj elasera acora uicenaj| uenerdi. lauorai| sabato cenai copiero elauoraj| domenica desinai cobr0 ecenai | lunedi cenai i casa mia 5 10 dipane carne e isalata | martedi | mercoledi feci quellatesta dimorto co labarba. cfi e sopa qa figura | giouedi feci quella testa e braccio diquella figura cfi stacosi| uenerdi feci eltorso| sabato legabe e lafinj eeenaj o 9 dipane huoua e susine cfi fu adj 23 — | digugno| domenica | lunedi | martedj sidisfece elpote mercoledi sirimuro lebucli. giouedi feci quelcfi uaislno al c . . . | sabato fu sapiero| domenica desinai codaniello cfi fu 1° gra caldo erauj brozo elasera cenai copiero | giouedi adi 4 diluglo comiciai quella figura cfi sta cosi| elasera stettj adisagio aspettare lacarne cfi batista era zoppo eelporta ua[ cfi gia ber°gato fuora. eqdo suo padre staua male no uistaua e q° e| cfi gia hauto eletto dadormire datrotella| uenerdi sabato feci I sino alegabe. ladomenica desinaj co br5zo| adi 8 lunedi. feci no so cfi lettere ecomiciomi luscita| martedi feci ia coscia. crebemi luscita. co dimolta colera sagu|igna ebiacha mercoledi stetti pegio cfi forse io uo tre opiu cfi a| ogni hora bizognaua talcfi io mistettj I casa ecenai upoco dj| minestraceia elmio batista ando difuora lasera e sapeua cfi io mi| setiuo male e no torno talcfi io laro tienere amete sepre[ giouedi feci quella alta gaba edelle idispositionj delcorpo sto iipoco| meglo cfi sono 4 uolte ho eenato I sa L° ebeuto upoco digreco| nocfi mipaia stare bene pcfi ogni tre hore mi uiene lostringimeto| adi 12 uenerdj sera cenai copiero. eeredo sia passata luscita cioe q1 dolor j| sabato sera cenai Icasa pesce marinate e br uera eldj lauorai quello doccone| lungo rasete lassito elasera feci quistione eolfattore. elui dise chio miprouedessi| domenica mattina desinai cobr° elasera aspettai elfattore cfi ado alegnaia. e mi| disse io tornero a buonotta e no torno. cenai 1° grapolo duua e no alt°| lunedj | adi 16 martedj comiciai quella figura e la sera cenai upoco di carnaecia| cfi mi feee_ pocopro cfi batista disse cfi io miprouedessi pcfi era stato | gridato da nocetj| mercoledi magiai dua huoua neltegame.| giouedi mattina cacai dua strozoli n5 liquid j edreto nusciua cfi se fu-|sino lucignoli lughi di babagia cioe grasso biancho easai bene| cenai I saL° upoco dj lesso asaj buono efinj lafigura | uenerdj. pesee e 1° huouo| sabato batista euenuto p tucti e colori 298 HIS DIARY macinati epenegli e olio| elasera cenai dua huoua pere e la inezetta diuino uue e cacio| domenica cenai co bro. elamatina batista ado alegnaia etorno lasera| adi 22 lunedi desinai codaniello elasera cenai co br°. eho difelto I sulagola cfi io| noposso Ighiottire. ebatista notorno: eldi apfitai quello cart one cfi bata porto| martedi stetti diguno enocenai duolmj 1° dete e feci 1" pezodipanno| VI mercoledi sera cenai zucha lessa 6 16 dipane edelinia| giouedi desinai co br° elasera nocenaj| uenerdj feci quella testa cfi gnarda I qua cioe di quello foglo cfi io portai| cfi sta cosi| sabato| domenicu| lunedj | 'M) martedj comiciai lafigura| mercoledi Isino alagaba| adj p°| dagosto| giouedj feci lagaba. elasera cenai copiero upaio dipipionj lessj| uenerdi feci el liracio cfi sapogia| sabato quella testa de la figura cfi le sotto cfi sta eosi| domenica cenai Icasa daniello cobro cfi fu alle polpette| lunedj | martedi | mercoledj quella testa cfi lafigura gliposa lamano I capo| giovedj cenai upoco di buonacarne efeci quelcapo c5 laloro| uenerdj. lauoraj estetti diguno cfi fulauilia disa L°| sabato eldi prouai ateso — e alterami lostomaeo| domenica mattina stetti subito leuato cfi io fui euestito nelorto cfi era| fresco, ubuodato auedere certi disegni cfi mi mostro fuscellino| epati fredo enoso pcfi misi sdegno lostomaeo lasera cenai cobr5° popone e 1° pipione elamattj dipoi mi setiuo male epareuami auer lafebre lunedi matti haueuo efebre e lostomaeo sdegnato cenai cfi no mi piaque| nulla neluino magiai 5 7 dipane carne e poca epoco bere 6 la dimador . . . | martedi sera la curatella ia pesca 6 12 dipane e o miglore gusto| ecomlciaj latesta diquella figura cfi sta cosj| mercoledi ebraccio| 15 — giouedi: | uenerdj elcorpo | sabato lecosce[ domenica | lunedi martedj — comleiaj quelle rene sotto alia testa| mercoledi. lafinj.| giouedi uenerdi sabato domenica desinai co br° enSudi messa| adj 2 lunedi comleiaj afare sopa la cornice martedi feci latesta di qa figura| ebi 1° barile dolio| VII mercoledi Isino afiachj elasera comlcio apiouerej giouedj lecosce e fiachjj uenerdj elbraccio| sabato quella testa dimorto cfi gle alato| Domenjca cfi fu ladonna desinaj co bro elaseracenaj co gra dogla dideti| lunedi ebi sturbo e I bas0 end lauoraj elsino asabato stetti Icasa | adisegnare domenica desinai co br° elasera n5cenaj| lunedi disegnai| martedi comleiaj quellafigura sotto alia testa| mercoledj elcorpo sotto a le poppe g\ giouedi tutta la gaba| uenerdi pioue| sabato fu sco matteo| domenica| domenica adj 5 dottob. batista ado alpogio elasera| cenaj tucte cosacce e diuogla erestom j el duolo de detj | lunedi magiai castrone Isalata uue e cacio e 5 15 dipane | efeci quellatesta cfi e sotto aquella figura disegnata di sopa| martedi feci quella alta testa cfi gle alato emercoledi elresto| sabato vi fecj quelcorpoj domenica desinaj c5 br° uermicegli| lunedj quello elmo| martedi quella testa cosi| mercoledj. quel busto elasera no cenaj | giovedi quel braccio elasera cenai 1° pesce duouo | uenerdi elcorpo cfi fu sea luca cenai uoue e 5 14 dipane e 1° cauolo| sabato elbraccio e doue e siede cenai huoua e 6 9 dipane e 2 fichi sech . . .| domenica desjnaj co bro uermicegli elasera cenauj| lunedi martedi mercoledi giovedi uenerdj lauorai sotto a detta figura diseg°| Isino alcomicione sabato ordinaj elcartone cfi ghera alato cenaj 1° ca| uolobuono cotto dimia| mano elanotte mi leuaj| ia scegia du dete e magio| u poco meglo| Domenica elunedi cossi dame upoco diuitella| cfi mi copo baa estetti queduo di Icasa adisegnaf| e cenai quelle 3 sere dame solo| 299 PONTORMO VIII martedi adi 29 dottob| mercoledi 30 1 nouefi adi p° uenerdi mattina desinai cobr° aguilla copesei darno| sabato domenica elunedi. fu fredo. | adi 9 feci quella testa cfi e sotto aquella| figura cfi sta cosi| adi 16 uenequello cartone eportossi quellalt0 easettalo pcomIciare| alauorare eldi dinazj fu 1° bellissimo di saza nugolj esaza fredo | adi 12 rifeci quella testa cfi e cosa daricordarsj quale / cioe I martedj | adj 17 desinaj c5 br° e cenaj esetti tuctodi I casa elamattina pagai| 1° miglacio elasera cenauj efuel di cfi b°a mi uene adire de fratj| adi 18 nolauoraj e adai aparlare afratj| adi 19 lauoraj que 2 testi dimortj cfi sono sotto alculo dieole j | adi 20 sibollj elbucato| adj 24 desinai co br° cfi uera la madre dela maria cfi mi pmise| 1° pane| diramejrinol bello | adj 27 comicaj sotto aquelle figure cfi stano cosi| adi 28] adi 29 1 adi 30 fusca andrea cfi cenai copiero e donomj 50 fichi sechj| domenica mattina desinaj co br° elasera co daniello la lepre| e cfi uenne luca martin j I fireze| lunedi martedj mercoledj giouedj uenerdj fu sea, nicolo cfi fu 1° bello | di e edurato I si aogi cfi siano adi 9 de diceb| adi 8 cenaj lasera co br° pollastrinj mortj dalla faina erecane delpane diramerino| lunedi cenai quella Hgua diporco| martedj cenaj Icasa daniello co m luca martinj eluarchi| mercoledj cenaj dua huoua ia Isalata dluidia 5 14 dipane efichj sechj euino| giouedi cenaj carne dicastrone cfi fu lasera delle diuisione| adj 13 uenerdi cenaj dame eeomlciaj afare dame ebatista siserro I camera | sabato cenaj co bro em luca 1° pesce | domenica adi 22 desinai c5 br° ep'ma adi 20 cfi fueluenerdj delle digune| comlcio eltepo arischiarare coueto buono e acociarsi eedurato otto di Iterj | ep ' ma era stato umese tuctauia o poco a asaj ogni di apiouere co certo | I grassameto dusci e dumido dimura quato io miricordj a gra pezo| talcfi glagenerato aq° beltepo scesi rouino cfi presto amazano IX 1556 pagolo1 daterra rossa morj lauilia dipasqua| cioe adi 24 cenaj I casa br° luca martinj etucti dicasa daniello | lamattina dipasqua desinaj ecenaj quiuj| adi 26 adamo asa, frac0 etornamo adesinare cfi uera lalexa,dra| co mona lucretia estemouj lasera etornamo tuctj a le 6 hore| adi 27 adamo br° eio amote oliueto estemo tuctamattina co giouabatista| strozj2 tornamo tardj eio stetti Isino alasera digiuno ecenaj Icasa mia| adj 28 adamo auolsaminiato edesinamo aloste espedemo s 20 p 1° erauamo 5| elasera n5 cenaj | adj 29 domenica mattina adamo Isino asadomenico tornamo tardj i modo cfi io| nouollj desinare edugaj alasera Icasa danjello| lunedj cenaj I casa| martedj cenaj I casa| adj p°| genai| 1556| mercoledj desinaj co br° ecenaj atauiano eio 1° germano| giouedj sera cenai porco lesso e 1° fareiglo ebatista n5 uolle cenare] uenerdj cenai co br° 1° pesce cfi midette elpadouano 1° limone e deluoua| sabato mattina comlcio apiovere eaguastarsi eltepo cfira durato bello | dieci di cfi maj no fu 1° nugolo elasera tornaj co 1° pitocho cfi migosto| lire 12 eriscotraj ba° cfi porto quatro scudj afrati dellapigione| domenica desinaj co br°| la befania lunedj. adamo aspasso emagiomo pane di miglio poi lasera cenaj eodanielo| martedj | mercoledj | giouedj sera cenai colp'ore denoceti lui eio solj agelatina e huoua| uenerdi adi 10 ahore 24 1° carro mistrlse leginochia rasete 1° muriciuolo| e ba° uenne aeasa 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 Rosso, Varchi 's friend. 2 The celebrated poet. 300 HIS DIARY tucto eldi eio comleiaj | amagiare su dame. 1° pezo darista ecosi martedi uene abotega del gello mercoledj] adj 15 sera bro uene acasa p me co ottauiano pcfi io adassi acenaseco eio dalospetiale| delcapello la lasaj eno miruede| giouedj sera cenaj giu colfattore huoua| sea, fitoi|nio| uenerdi Bera huoua I 1° tegamino| sabato sera huoua I 1° tegamino| domenica sera cenaj copiero tordi lissj earosto cfi glelo auea prncsso lamattina dasapiero e lasera altardj br° eatauinno passorno| efui apto loro luscio dalfattore seza fermarsj solo disse cfi di fac°| poi I su le 2 hore attauiano uene apichiare domadado dime| didedo cfi lalesadra miuoleua dice elfattore adi 20| sc° ba°| lunedj pioue tucto eldj. scosse rouinose egratuonj ebalenj elasera cenai 1° resto dltingolo edarista auazata digiouedi borana| cotta o 9 dipane e 6 4 di pane diramerino| adi 21 pioue tuctoeldj cenaj dua huoua la libra dipane la Isalata| adj 22 cenai porco lesso e 1° poco dicauolo epane diramerino 5 9 dipane | adj 23 giouedi cenaj castrone ebiadare cobatista abelochio erecane| ecenamo Isieme e ucelomj duo dj dicedo cfi n5 netrouauaj adi 24 cenai 6 10 dipane borana ecacio e dua huoua| adi 25 ba° micopo 20 mele 10 q1 ecenai dua huoua eia Isalata | adi 26 tornado acasa ahore 24 fui sopa guto da atauiano daniello | elalezadra e altre donne cfi ueniuano p me cfi io adassi acasa br°| adamo efecesi ueglia Isino ahore 12] adi 27 cenai Icasa 12 6 dipane emele cotte| adi 28 desinai cobr° colobascj| adi 29 cenai dua huoua| adi 30 castrone cfi copo batista 9 qi| adi 31 huoua| febraio adi 5 huoua| adi 2 desinaj co br° ecenaj Icasa daniello lasera | adi 3 cenai ia torta co lacarne di mia mano| adi 4 cenaj 1° pesce duoua colcacio| adi 5 upoco dicastrone.| adi 6 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 fece delpane cioe menacilia edisse pcfi| io laueuo madato p 1° fiascho di uino cfi io no gli co|madassj piu o cfi io facessj dame o io toglessj chj i| facessi elasera lasaj fenita quella figura disegnata| XI difebraio 1556 domenica adj 16 desinaj co br° elasera cenaj Icasa| daniello br° e attauiano eio aspettado daniello I sino alle 5 hr«| lunedj sera magiaj upoco di buecfi ba° micopo | cfi no arebe magiato ecanj come quello cfi no emeglo| cfi glatri toglendo pse elbuono lato / e luj sanio| martedi. cenai di quello bue| mercoledj ba° micopo 28 q1 darista. cenaj dua huoua 5 10 djpane| berlIga|ccio giouedi cenaj acasa br° e fecj queltorso diqella figa cfi sta cosi| uenerdj cenaj 2 huoua cacio efichi sechj| sabato ia torta neltegamuzo eba° mireco s 15 diuitella egraso| domenica desinai ecenai co br° elasera sifece laueghia cfi uera| eluarchi| lunedi sera Icasa daniello cfi zando auedere lacomedia I uia magio| martedi fu 1° grafredo eneuico lanocte eio cenai i° cauolo Icasamia mercoledi | adi 20 giouedj feci quella testa cfi grida ecenai lasera uitella esino I 29 lascaj finite tucto Isino Iterra quel cfi 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 cfi lanocte io afiocaj elalt0 dipoi no potei lauorare | adi 6 fecitucto eltorso| adi 7 fornj legabe| adi 8 Fulai auedere 1° hercole coelrotella| lunedj 9 feci la testa sottole| martedi adaj auedere latauola di br° cioe quello sabartolomeo| mercoledi la testa sottole| 301 PONTORMO giouedi leuaj le bullette cfierano cofitte lasu alto] uenerdj ia testa sottole | i tonicai dame ia testa ebi della pigione lire 4| sabato 14 lasera adai auedere quella testa di sadrino cfi mapse lales|adra cfi senado | uia e Italsera| cenai co piero| cfi uera) 15 domenica fupichiato dabr0 epoi eldi dadanjello no so quello cfi siuolessino| 18 fecj quello Itonico dimacigno sotto alefinestre| XII 5 la finita| giouedi 19 riscotraj daniello e attauiano cfi mi uoleuano dare desinare epoi scrotraj br° da salorezo cfi madaua| lasua tauola apisa uenerdi | sabato | domenica uene br° daniello e atauiano acasa eio copai canne| esalci p lorto e br° miuoleua adesinare eturdadosi midisse| epare cfi uoj uegnate acasa 1° ur5 nimjco-e lasciomi ire| elunedj sera cenai Icasa daniello 1° capretto di s 34 molto | buono cfi uera br° sadrino e gulio eio eltaldi lalesadra si| rupe elcapo co certj ebricjj martedi sera madai p 1° fiasco dibiacho a gaddj soldi ii| adi 25 mercoledi laluna opositjone| adi 26 comiciai quello braccio di quel babino cfi gle sotto | uenerdi mileuai ia hora I anzj di efeci quel torso dalbr accio I giu| sabato feci ia coscia efecesi la festa dellatregua elasera eossi 1° riso| decauretto| adi 29 domenica delluliuo desinai c5 br°] lunedj feci latesta diquelputto.| martedi feci Icasa no so cfi| adi 1° da|p'le mercoledi feci questa altra coscia c5 tueta lagaba elpie | giouedi sco uenerdi mileuaj abuonora e feci quel torso dibabino| giouedi feci le gabe adi 9 uenerdj 1° capo azurro eadai acena copiero | sabato fecj sotto alefinestre diuerso la -S- uechia quellapietra[ ejtorno aquella figura cfi uiua emahdaj gli sparagi e nouj| cenaj acasa piero | domenica ebi 1° berlingozo damena ugenia eadai aeena c5 br°.| lunedi lauorai quelgli docioni sotto alefinestre | pier frac0 / martedj mercoledi sasetto elpalco. da poter lauorare | XIII 13 giouedi mileuaj ia hora I azj di ecomlciai quella figura| sotto alatesta cfi sta cosi | uenerdi eltorso| 18 dap'le sabato legabe| lunedi sottole Isino Isulcoro| adi 6 dimagio uedei 20 sta digrano e ebi ia poliza delmonte 6 [scudi] | adi p° dimagio uenerdj sabato | domenica desinaj co br° cfi fu sea. + lunedi comiciai quella figura cfi sta cosi| martedi feci latesta| mercoledi eltorso 6 [scudi] | giouedi legabe| uenerdi esabato sotto le . . .| domenica desinai ecenai cobr0 — eadamo aspasso dalla porta alprato| martedi comiciai quel braccio di quella figa cfi sta cosi| mercoledi lalt0 braccio elagaba cfi fu la uilia dellaseesione| 14 giouedi cenai edesinai co br°| uenerdi esabato fini lafigura | domenica desinaj co br° elasera n5 cenaj ecomlciaj anomisetire bene| lunedi sera I sule 2 hore uenne 1° tepo cotuonj ebalenj eaqua efreddo| eacordura cfi siano amereoledj apiouere ogni di cfi p'maerastato| 2 mesj beltepo| 28 giouedi comlcia quella figura cfi sta cosj sotto alia testa | uenerdi la fini — sabato feci quello libro | domenica n5 desinai e lasera cenai copiero 1° paio dipipionj| lunedi adi p° digugno feci quello moretto| adi 7 desinai ecenai cobr° elasera siseti] male | adi 9 comleiaj quella figura cfi sta cosi | 10 I mercoledi| giouedi | uenerdi sabato feci quello poco del braccio elasala finita cfi] XIV cfi e tucta finita difigure Itere ia storia | domenica sera cenai copiero torta di latte| lunedi adi 15] lacioltre daelrotella| uenerdi adi 19 comleiaj quella figura cfi sta cosi| sabato feci lebraceia] domenica 2i fui trouato da br° Isca, 302 HIS DIARY maria delfiore| epromessj dadare adesinare seco chi haucuano poi aire| auedere eltoro elasera erorimasto dicenaruj e miidaj| p 1° fiasco diuino apiero cfi uera lalesadra etornamocene Isiene| dispiaquemj ubuodato lacena tale cfi io stetti diguno I sino amarte| dj sera cfi beui diiiueltrebiano cfi di uinegia e 2 huoua| eaueuo fatto amazare quello galletto cfi si git to uia] adj 24 mercoledj sera ecenaj codaniello cfi uera elmarignolle1 e br°] giouedj feci quelle 2 teHte segnate disopa efui0 tepo edipiouere| edituoni edifredo straordinario| ui'iierdi sirimuro tucte quelle bucfi di sui coro dj quella p'ma stor| sabato feci quelle dua braccia e no cenaj | domenica 28 desinai co br° elasera cenai cfi fuqdo e copo certi pesjei ecfi noj adamo alprato ognisatj cfi uera sadrino ebernardo| lunedi. feci qellateretta. martedi quellaltr11 teretta| udj p° di luglio mercoledi giouedi uenerdi sabato la sera no cenaj djsegnaj| 5 domenica. desinai cobr0 cfi fu quella mattina cfi io lotrouaj| da sea maria delliore cfiera coatauiano e parlaua co ni| lorezo puccj cfiero auiato copare lalattuga pratese| elasera cenauj cfi fuqdo io madaj apiero peluiuo a s 9| 12 domenica | 14 martedi comicciai eltorso diquella figura grade mero quel poco di bra°| giouedisirimuro le dua bucfi sabato quelle schiene cfi glisono sotto di qua| 19 domenica mattina desinai c5br° elasera cSpiero torta diper|rogie elsabato inazi cenaj quel pezo ditlcha cioe lasera Iaz| XV (15) 20 lunedi sera luglo cenai estetti diguno I sino amercoledj sera| feci quello pezo dibra0 e 1° pezo digaba diquelle schie|ne dette martedi ehiesi cfi bta cocessi.| 22 mercoledi feci quella testa equello poco della spalla cenai co| daniello| giouedi feci I quelcato I sulcoro della storia finita| uenerdi feci quella gaba diquella figura grade Itera| adi 20 detto lasera. lamattina ebi 1° mogio digrano lasera mj| lauaj epiedi. e pcossj ne luscio co 1° calcio tale cfiio mi | feci male e duolmj Isino aogi cfi siano adi 25 cioe| — 5 sabato feci quella coscia grade | domenica desinai copiero uitella e lasera nocenai| lunedi mileuaj abuonora e feci quello torso cfi e sotto | mercoledi feci quello stlco della coscia grade| uenerdi seracenai copiero pesce abatista lascio lapoli cosi| cfi deceua cfi ndtornaua cfi fu qdo egli acatto el giaehio| cercha alauoro da di detto disopa cioe 29 di luglo | Isino adj 26 dagosto ioho fatto quella figura n5 uestita| ditesta co quelpoco dellaria e ordinato el sco lorezo | circa elmagiare portai ia gallina ecenai cobro| elasera uiceno danjello e attauiano espeseno 3 lire | cfimitocha soldi 20 e 1° giouedi sera ui cenai cfie brozo| copo pmio coto 1° poco dj castrone | adj 27 detto portai el cartone del sco lorezo eapicossi dapoterlauorare| adj 10 disetteb fece ma adia delpane 1° quarto | XVI 1556 adi 11 disettefi Ibottaj 3 b' e 2 / 1 diuino dacalezano| elasera cenaj c5piero| sabato feci quella testa diquel babino cfi tiene lacorona| 13 domenica cenai Icasa dajello cfi uera br° ia testa diuitella| cfi spesi 2 barilj| lunedj lacorona mercoledi cfi fuledigune feci quel braccio | giouedj uenerdj feci eltorso elasera nocenaj (d 48) | sabato legabe cenai ia lib3- dipane | 20 domenica lunedi cfifusc0 matteo tuctauia ia lib dipane | emartedi cfi no lauoraj | mercoledi comleiaj quello babino del calice ecenaj o 8 di pan(e)| adj 26 Isabato sera adamo alia tauerna attauiano e brozoeio | cenamo pescj ehuoua euino uechio e tocho s 1 Probably Lorenzo Marignolli, the sculptor. 803 PONTORMO 17 p l°j domenica. desinai c5 br° / elasera uicenaj cfiuera attauiano| lunedi I casa | martedi cfi fu sco mjcfile uidesinaj elasera uicenai cfi| cera uenuto luca martinj : (mercoledj acasa| giouedi sera uicenaj cfi uera eluarchj e m luca elamattin(a) senado apisa cfi fu Iuenerdj | sabato piove tucta nocte e mezo el dj edesinaj zucfi fritte co| bro0 erecane 1° fischo di colore | 4 domenica adaj a safrac0 estettj tucto eldi tornaj ecenaj 1° lesso] di castrone e ebi 1° fiasco diuino uechio dai busino| lunedj feci quelcapo di quel babino I capegli cenaj 2 ucellin(i) martedi mileuaj ia hora I azj dj efeci queltorso del putto cfi ha | elcalice elasera cenaj castrone buono maio ho male alla| gola cioe noposso sputare ia cosa apicata cfi io soglo auere| adi ii domenica adai acertosa elasera cenaj (daniello gulio alpiouano| anguilla arosto cfi toco s 15 j adi 18 domenica desinaj copiero castrone elasera cenai I casa br°| fegato f ritto [uenerdi comlcio aee fredo elasera cenamo alia tauerna | XVII (17) O elunedi sera cobrozo cfi ui uenne luca martinj e tasso polio elepre e o 8 dipane | martedi sera cenai upoco dicastrone co 10 dipane ecomlciomj ari piacere| eluino dipiero dormedo bene lanocte | mercoledi sera cfi sono ledigune no cenai eancora ho quella bocaccia asetata| giouedj sera cfi fu lauilia di sed tomaso cenaj borrana cocta edua huoua ecosi | uenerdi sera tato cfi I dua sere io magiai 27 5 dipane | esabato sera D. I sino alia domenica sera cfi cenai upoco dicarne arosto| lunedi cfi fu lauilia della pasqua cenai I casa brozo e Isino alasera stettj| ecenaj seco ia acegia la sec5da festa lamattina a lasera magiai quiui| e lasera di sc5 giouannj cenai co daniello bene diquegli farciglonj e 5 8 dipane | uenerdj e sabato magiai Icasa 5 30 dipane huoua burro e altre cose| domenica sera cenai porco arosto e 5 16 dipane | lunedj : ia isalata diborana e 1° pesce duouo e 5 19 dipane | genaio marte. cfi fu Kaledj cenaj cobrozo o 10 dipane] mercole. cenai o 14 dipane arista. ia Isalata dluidia e cacio e fichi sechi| giouedj cenai o 15 dipane | uenerdi 6 14 dipane | sabato no cenai | domenica matina desinai e cenai e5 brSzo miglacj efegategi (elporco) | lunedi sera cenai 5 14 dipane arista uue e cacio e Isalata dluidia| martedi sera cenai ia Isalata dluidia 5 ii dipane 1° rochio e mele cocte itlgolo magiai porco lesso neluino mercoledj sera e giouedj sera 6 24 dipane cfi adi 11 digenaio I uenerdj dasera 5 11 dipane luidia 1° pesce duouo | adi 12 cenai 1° pesce duouo isalata dluidia 5 12 dipane e I talsera epiei la botte delujno dipiero cfi ne leuaj 17 fiaschi eaepierla seruj 13 fiaschj I tucto restomene quatro fiaschi e prima naueuo autj Isino adi detto fiaschi 6| I modo cfi itucto sono fiaschj 23 el detto di na auto dame 1° barile diuino delmio| domenica desinai ecenai Icasa br° adi 13 digenaio 1555 1 lunedi adai a saminiato cenai 1° rochio disalsicia 6 10 dipane | martedi 1° lobo luidia e la libra dipane gelatina e fichi sechi e cacio | adi 20 cenai I casa daniello ia gallina dldia cfi uera attauiano cfi f u I domenica sera| adj 27 dj genaio desinai ecenai Icasa b° eueneui dopo desinare lalesadra e stette isino asera epoi senado efuquella sera cfi b° eio uenimo acasa auedere elpetrarcha cioe fiaehi stomachj ec epagai quello cfi sera gucato| (. . . .alta daso . . . ne 5) XVIII (18) disorte cfi setitroua disordinato dexercitio / dipannj| odicoito o di supfluita dimagiare puo elpochi giornj| spaciartj o fartimale p ho edausare laprudetia| gugno luglo eagosto e meza settebr esudori teperatj esopa tucto 304 HIS DIARY alueto qdo hai fatto exercitio hai hauere cura| eancora del magiarc ebere qdo se caldo dipoj tiprepara| damezo setteb Ila alio autunno cfi p ee edi pieolj eltepo| comiciare humido elumidita del bere supfluo cfi hai fatto| nella stato tibisogna co diguni epoco bere elughe uigilie| e exercitio p parartj cfi efredj deluemo noti nuochino] no titrouado bene disposto cno I'rcquctare tropo lacarne| emaxime delporcho edamezo genaio Ila no ne maginre| pcfi e molto febricosa ecattiua euiui dogni cosa teperato| p cfi le sacliate deglomorj cdcllo scese siscuoprano alfebraio| almarzo e alio ap'le p cfi neluerno el fredo glicogela| e abi cura cfialleuolte seeodo chome achade nella luna ce 1° fredo| epoi subito Ihumidire ogni cosa cogelata ediqui nasce| XIX (19) scese moltorouinose egociole o alt1 mali picolosj] cfi tucto precede qdo e que fredj magiato ebeuto| supfluo pcfi elf redo telo coporta erapiglia masubito| altepo dolcie ehumj do lorisealda ericresce erigofia| e po chome io dissj disopa .i. nelprlcipio qdo se aq°| modo carico habi cura alio exercitio delrafreddare| pcfi uccide o subito o Ipochj giornj sicfi se haj| humor j supfluj aquistatj lauernata tienj lordine| cfi io djssj dsopa e sopa tucto sta I ceraello elmarzo| emaxime nella luna 10 di p'ma e 10 poi cioe alcomlciare della luna nuoua dimarzo esia Isino a] passata la qulta dicima cfi tucte le lune cfi sepiono sono nociue se 1° e ripieno e Iporta riguardarsi p ' ma| Ricordo adj 5 dinoueb 1555 cfi mipare cfi ebi sognj cfi io comuch| io ho qualcfi Ipedimeto o distomaco o dicapo o didogle pe fianchj | o alle gabe o bracca o didetj : cfi siano cotinouj eno bisogna cfi io feecj| come p ladreto macfi subito io uirimedj colmagiare poco ocolostare| diguno e Igegnarsj pie 4 tepora oseruare edigiunj comadatj pcfi] e dipiu auiene aleuolte setirsj pieno delmagiare agrauato dal| somo e ualcibo cfi pare chiosia gofiato alora e da riguardarsj| pcfi e sanita superflua| nelanno 1555 p la luna cficomicio dimarzo e duro Isino adi 25 dap ' le Itucto quella luna| naqai Ifermjta pestjfere cfi ama- io conosco zorno dimolti huominj regalatj ebuonj e forse | seza cfi no lo face disordinj e atuctj sicuaua sague credo cfi gia uenissi do io me ne peto cfi elf redo no| fu digenaio esfogossi I qa luna dimarzo cfi si setiua 1° fredo uelenoso| XX 20 I domenica sera adj 7 digenaio 1554 caddj epcossj laspalla elb° estettj male| e stettj acasa br° sei di poi mene tornaj acasa estettj male Isino| acarnauale cfi fu adi 6 difebraio 1554 1 sordo cobattere colaria rlfocolata dalastagione degiornj gradi| cfiera come setire frigere elfuoco nelaqua talcfiio sono stato cogra| paura eluatagio e stare preparato mazj cfi etri la luna dimarzo | cfi la titruouj sobrio dicibo dexercitio ec5 gra riguardo delsudore| enosisbigottire cfi passata cfi le dipochj giornj luomo no sa chome | lasistia o dode siuegha cfi dimaldjsposto subito luomo sisete bene| come Iteruiene ame ogi q° dj 22 dap ' le delp0 giomo della luna nuoua| setirmj bene e p adreto mai ee mj mai setito bene tucto dee procedere| da 1° certo fredo cfi n5 era acora smaltito ehauea durato Isino adi 21 1 ma ogi q° di sopa detto mefatto caldo esetomj bene pcfi eltepo ha forse la] stagione sua.| 305 PONTORMO XXI Ins 21 adj ii dimarzo 1554 I domenjea mattina desinaj eo brozino| polio euitella esetimj bene [ueroe cfi 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 cfi haueuo sete] elunedj sera eenaj 1° cauolo e 1° pesce duouo | elmartedj sera cenai la meza testa dicauretto e laminestra| elmercoledi sera lalta meza fritta edelzibibo 1° buo data e 5 q1 dipane e caperj| I insalata| giouedi sera la minestra dibuono castrone e Isalata dibarbe| uenerdj giouedi matti sera Isalata dibarbe e dua huoua I pesce duouo | sabato namiuene D, domenica sera cfi fu lasera delluliuo cenaj 1° poco el capo girlo dicastrone ne lesso emagiai 1° poeo disalata| e douetti cfi mi duro tucto magiare da tre quatrinj dipane | lunedj sera dopocena djedapoisono misetj molto 'gagliardo ebedisposto magiai | Isalata stato tuctauia dilattuga ia minestrina dibuono castrone e 4 q1 dipane | maldisposto martedj sera magiai ia Isalata dilattuga e 1° pesce e del capo debole duouo | mercoledj sco sera 2 q1 dimadorle e 1° pesce duouo e noce efeci quella figura| cfi e sopa la zucha giouedj uenerdj uene la D asc5 sera ia Isalata dilattuga edelcauiale eel0 huouo lo el duca sera 1° pesce duouo della f aua e 1° poco dicauiale e 4 uene anco q1 dipane sabato sera magiai dua huoua| ela donna domenica cfi fu lamattina dipascua adai adesinare c5 br5 elasera cenauj] lunedi sera magiai ia Isalata efiera diborana e 1° mezo limone e 2 huo|ua Ipesce duouo. | Martedisera erotucto afiocato e magiai i° pane diramereno e 1° pe duouo | eia Isalata e defichj seehj| mercoledi D giouedi sera 1° pane dir0 1° pe duno huouo e la Isalata e 4 q1 dipane Itueto uenerdi sera Isalata minestra dipisegli e 1° pesce duouo e 5 q1 dipane | sabato burro Isalata zucfiro 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 o ditorta| martedj | mercoledi| giouedj] uenerdj] sabato adai alatauema asalata epesce duouj ecacio esetimj bene| domenica desinai ecenaj co brozino | lunedi 1° armoncino lesso dagnello buono| martedj dua huoua afrettelate eia Isalata | mercoledj | giouedj sera 4 q1 dipane la Isalata dello agnello lesso malcotto] adj 13 — uenerdj sera cenai radiehio cotto 1° pane di 4 q1 e 1° pesce duouo] sabato sera [ domeniea sera cenai carne dagnello lesso e Isalata cocta ecacio | mercoledi adj 23 dimagio cenaj dellacarne] giouedi cfi fuel corp0 dnj desinaj cobrozino ebi delgreco carne | epesei elasera ia oca ditorta copoea came epoca uogla dimagiare| adj 2 digugno sabato sera ebi lasegiola cfi miuiene ljre 16 9 digugno 1554 comlcio marco moro amurare elcoro eturare i sco lorezo adj * 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 tepi emagiato tuttauia bene| eadi detto comleiaj ariguar darmj upoco eduromj 3 di 30 oce dipane | cioe 10 oce apasto cioe la uolta eldj ec5 poco bere ep'ma adj 16] didetto Ihottaj barili 6 djuino daradda| 306 HIS DIARY XXIII 1554 23 adj 22 detto tornai estettj Icasa solo aspettare elfattore Isino alle 4| hore edipoi magiai i° pesce duouo 8 oce dipane ia noee e 1° tico secho| e dua meluze cotte| adj 23 la sera magiai minestra dicastrone lesso e dua mele cotte e 10 oce dipane| e 1° meza mezetta diuino ecomlciato amanomettere la botte. 307 Reconstruction of the Sequence of the Pages of Pontormo's Diary 1554 Sunday, January 7 to Tuesday, February 6, Sunday, March 11 to Sunday, April 1, Monday, April 2 to Sunday, April 15, Wednesday, May 23 to Thursday, May 24, Saturday, June 2, . Saturday, June 9, . October 16, 18 and 19, . Monday, December 17 to Monday, December 31, 1555 Tuesday, January 1 to Tuesday, January 15, . Sunday, January 20, .... . Sunday, January 27, .... . Wednesday, January 30 to Saturday, February 2, Saturday, February 16, . Thursday, February 21, . Wednesday, February 27 to Thursday, 28, Sunday, March 3 to Monday, March 4, Sunday, March 10 to Tuesday, March 12, . Friday, March 15 to Saturday, March 16, . Monday, March 18 to Saturday, March 23, Monday, March 25 to Wednesday, March 27, . Thursday, March 28 to Monday, April 22, For April 21 and 22, see also page 21 Tuesday, April 23 to Friday, May 24, Saturday, May 25 to Sunday, June 30, Thursday, July 4 to Tuesday, July 23, Wednesday, July 24 to Sunday, August 25, Monday, September 2 to Wednesday, September 4, Wednesday, September 4 to Sunday, September 21, Sunday, October 6 to Wednesday, October 9, . Saturday, October 12 to Monday, October 28, . Tuesday, October 29 to Monday, November 4, . Tuesday, November 5, . Saturday, November 9, . Tuesday, November 12, . Friday, November 15 to Wednesday, November 20, Sunday, November 24, . Wednesday, November 27 to Saturday, December 14, Friday, December 20, Sunday, December 22, . Tuesday, December 24 to Tuesday, December 31, pagepage pagepagepagepagepagepagepagepagepagepagepage pagepagepagepagepagepage pagepagepagepagepagepagepagepage pagepagepagepage pagepagepage pagepagepage pagepage 308 HIS DIARY 1556 Wednesday, January 1 to Saturday, January 18, Sunday, January 19 to Saturday, February 8, . Sunday, February 16 to Saturday, February 29, Tuesday, March 3 to Wednesday, March 18, Thursday, March 19 to Friday, April 3, Thursday, April 9 to Wednesday, April 15, Thursday, April 16 to Saturday, April 18, Monday, April 20, ... Friday, May 1 to Sunday, May 10, . Tuesday, May 12 to Monday, June 1, Sunday, June 7, . Tuesday, June 9, . Friday, June 12 to Saturday, June 13, Sunday, June 14 to Monday, June 15, Friday, June 19 to Sunday, July 5, . Tuesday, July 14, . Friday, July 16, . Saturday, July 18 to Sunday, July 19, Sunday, July 19 to Monday, July 27, Wednesday, July 29, . Friday, July 31 to Thursday, August 27, Thursday, September 10, Friday, September 11 to Monday, September 14, Wednesday, September 16 to Wednesday, September Saturday, September 26 to Tuesday, October 6, Sunday, October 11, .... . Friday, October 16, .... . Sunday, October 18, .... . 23, page page pagepagepagepage page page page page pagepage page page page page pagepagepagepagepagepagepagepage page pagepagepage 9 10 11 11 1212 13 131313131313L414 L4 L4 14 1515L515 16 1616 L6 16 L6 309 Analysis of Pontormo's Diary 1554 Sunday, January 7, he falls, hurts himself and remains six days with Bronzino who nurses him; he is ill until Tuesday, February 6 (Carnival). Sunday, March 11, lunches with Bronzino; the food; his health; the weather; in the evening sups at home; his food; his thirst. Monday, 12th, his food. Tuesday, the 13th, idem. Wednesday, 14th, idem. Thursday, 15th, idem; he is ill. Friday, 16th, his food. Saturday, 17th, fasts. Sunday, 18th (Palm Sunday), his food; its cost. Monday, 19th, he feels well; his food. Tuesday, 20th, his food. Wednesday, 21st (Ash Wednesday), San Lorenzo; his food. Thursday, 22d, his food; the Duke comes to San Lorenzo with the Duchess. Friday, 23d, his food. Saturday, 24th, his food. Sunday, 25th (Easter) lunches and sups with Bronzino (Annunciation). Monday, 26th, his food. Tuesday, 27th, he feels hoarse; his food. Wednesday, 28th, fasts. Thursday, 29th, his food. Friday, 30th, idem. Saturday, 31st, his food. Sunday, April 1, lunches with Bronzino ; in the evening, fasts. Monday, 2d, his food. Saturday, 7th, he goes to the tavern; he feels well; his food. Monday, 9th, his food. Tuesday, 10th, idem. Thursday, 12th, idem. Friday, 13th, idem. Sunday, 15th, idem. Tuesday, May 22. Wednesday, 23d, his food. Thursday, 24th (Corpus Christi), lunches with Bronzino; his food; ill. June 2, buys a chair for 16 lire. Saturday, 9th, Marco Moro begins working on the walls and scaffolding of San Lorenzo. October 16, bottles six barrels of wine. 18th (St. Luke), begins to sleep downstairs with a new coverlet. 19th, ill with cold; suffers; the weather; his food; fasts. Monday, December 17, spends evening at Bronzino 's; Luca Martini; Tasso; his food. Tuesday, 18th, his food; he begins to feel and sleep better. Wednesday, 19th, fast day; fasts; feels ill. Thursday, 20th (Eve of St. Thomas), his food. Friday, 21st, his food. Saturday, 22d, fasts. Sunday, 23d, fasts ; his food. Monday, 24th, sups with Bronzino ; passes the evening there. Tuesday, 25th, lunches and sups at Bronzino 's. Thursday, 27th (St. John's Day), sups at Bronzino 's; his food. Friday, 28th, sups alone; his food. Saturday, 29th, sups alone; his food. Sunday, 30th, his food. Monday, 31st, idem. 1555 Tuesday, January 1, sups at Bronzino 's; his food. Wednesday, 2d, his food. Thursday, 3d, idem. Friday, 4th, idem. Saturday, 5th, fasts. Sunday, 6th, lunches and sups at Bronzino 's; his food. Monday, 7th, his food. Tuesday, 8th, idem. Wednesday, 9th, idem. Thursday, 10th, idem. Friday, 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, 2(>ih, sups at Daniello's; his food; Ottaviano. Sunday, 27th, lunches and sups at Bronzino 's; Alessandra; Petrarcba. Wednesday, 30th, San Lorenzo. Thursday, 31st, San Lorenzo; ill. Friday, February 1, San Lorenzo. Saturday, 2d, his food; his health; the weather. Saturday, 16th, San Lorenzo; the weather. Thursday, 21st (Berlingaccio), sups at Bronzino 's; his food. Wednesday, 27t,h (Ash Wednesday), the weather. Thursday, 28th. San Lorenzo. Sunday, March 3, lunches at Bronzino s; his health; fasts. Monday, 4th, San Lorenzo. Sunday, 10th, lunches and sups with Bronzino; food; Otta viano; the weather. Monday, 11th, San Lorenzo. Tuesday, 12th, San Lorenzo. Friday, 15th, San Lorenzo: his food. Saturday, 16th, San Lorenzo. Monday, 18th, San Lorenzo. Tuesday, 19th, San Lorenzo. Wednesday, 20th, San Lorenzo. Thursday, 21st, remains at home ; bad weather. Friday, 22d, San Lorenzo. Saturday, 23d, San Lorenzo ; his food. Monday, 25th, lunches at Bronzino 's; sups at home; his food. Tuesday, 26th, San Lorenzo; his food; sonnet of Varchi 's. Wednesday, 27th, San Lorenzo; his health. Thursday, 28th, his health. Friday, 29th, his health; fasts; San Lorenzo. Saturday, 30th, his food. Sunday, 31st, lunches at Daniello's; fasts in the evening. Monday, April 1, his health; his food; ill. Wednesday, 3d, San Lorenzo; difficulties of the work; his food. Thursday, 4th, his food. Friday, 5th, San Lorenzo ; his food ; the weather. Saturday, 6th, sups at home. Sunday, 7th (Palm Sunday), lunches with Bronzino; food. Monday, 8th, his garden. Tuesday, 9th, San Lorenzo ; his food. Wednesday, 10th, Ceccho fornaio ; food. Thursday, 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. Wednesday, May 1, food. Thursday, 2d, food. Friday, 3d (Holy Cross), sups at Piero's; food. Saturday, 4th, food. Sunday, 5th, food. Monday, 6th, idem; sells grain and buys a policy in the "Monte." Tuesday, 7th, idem; San Lorenzo; Tasso dies. Wednesday, 8th, San Lorenzo. Thursday, 9th, San Lorenzo; sups at Daniello's; food. Friday, 10th, food. Saturday, 11th, sups at Piero's; food; he eats too much. Sunday, 12th, lunches at Bronzino 's; fasts in the evening. Monday, 13th, food. Tuesday, 14th, San Lorenzo ; food. Wednesday, 15th, San Lorenzo ; his fatigue ; food. Thursday, 311 PONTORMO 16th, San Lorenzo. Friday, 17th, San Lorenzo. Saturday, 18th, San Lorenzo. Sunday, 19th, lunches and sups at Bronzino 's; his peach-trees. Monday, 20th, San Lorenzo ; food. Tuesday, 21st, San Lorenzo. Wednesday, 22d, San Lorenzo. Thursday, 23d (Ascension), lunches at Bronzino 's; sups at Daniello's. Friday, 24th, San Lorenzo; food. Saturday, 25th, food; he writes letters. Sunday, 26th, goes to San Francesco; lunches with Daniello; fasts in the evening. Wednesday, 29th, San Lorenzo. Thursday, 30th, San Lorenzo. Friday, 31st, San Lorenzo. Saturday, June 1, San Lorenzo; his food. Sunday, 2d (Pentecost), lunches at Bronzino 's. Monday, 3d, spends the morning at Daniello's; the evening at home. Tuesday, 4th, spends the evening at Daniello's; food. Wednesday, 5th, stays at home; food; San Lorenzo. Thursday, 6th, San Lorenzo; food. Friday, 7th, San Lorenzo; food; fatigue. Saturday, 8th, ill; sups at Piero's; fever; sleeplessness. Sunday, 9th, sups at Piero's. Monday, 10th, ill. Tuesday, 11th, ill. Wednesday, 12th, ill. Thursday, 13th (Corpus Christi), lunches at Bronzino 's; fasts in the evening. Friday, 14th, San Lorenzo. Saturday, 15th, sups at Piero's; San Lorenzo. Sunday, 16th, lunches at Bronzino 's and sups with him also. Monday, 17th, sups at home; food. Wednesday, 19th, San Lorenzo. Thursday, 20th, San Lorenzo. Friday, 21st, San Lorenzo. Saturday, 22d (Jacopo mistakes the day of the month), San Lorenzo; food. Tuesday, 25th, San Lorenzo; scaffolding. Wednesday, 26th, San Lorenzo; holes made in the walls there. Thursday, 27th, San Lorenzo. Saturday, 29th (St. Peter). Sunday, 30th, lunches at Daniello's; the weather; Bronzino; sups at Piero's. Thursday, July 4, San Lorenzo; ill; Naldini; food. Friday, 5th, San Lorenzo. Saturday, 6th, San Lorenzo. Sunday, 7th, lunches at Bronzino 's. Monday, 8th, letters; ill. Tuesday, 9th, San Lorenzo; ill. Wednesday, 10th, ill at home; food; Naldini unkind to him. Thursday, 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, food. Saturday, 20th, Naldini; food. Sunday, 21st, sups at Bronzmo 's; Naldini goes to Legnaia. Mpnday, 22d, lunches at Daniello's; sups at Bron zino 's; ill; Naldini; works on a cartoon. Tuesday, 23d, fasts; San Lorenzo; ill. Wednesday, 24th, food. Thursday, 25th, lunches at Bronzino 's; fasts in the evening. Friday, 26th, San Lorenzo; a cartoon. Tuesday, 30th, San Lorenzo. Wednesday, 31st, San Lorenzo. Thursday, August 1, San Lorenzo; sups at Piero's. Friday, 2d, San Lorenzo. Saturday, 3d, San Lorenzo. Sunday, 4th, sups at 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 n 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; i'aats 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 6fh (Pontormo mistakes the day of the month), Naldini goes to Poggio; food; toothache. Monday, 7th, his food; San Lorenzo. Tuesday, 8th, San Lorenzo. Wednesday, 9th, San Lorenzo. Saturday, 12th, San Lorenzo. Sunday, 13th. lunches at Bronzino's; food. Monday, 14th, San Lorenzo. Tuesday, 15th, San Lorenzo. Wednesday, 16th, San Lorenzo; fasts in the evening. Thursday, 17th, his food. Friday, 18th (St. Luke), his food; San Lorenzo. Saturday. 19th, San Lorenzo; food. Sunday, 20th, lunches at Bronzino 's ; sups there too. Monday, 21st, San Lorenzo. Tuesday, 22d, San Lorenzo. Wednesday, 23d, San Lorenzo. Thursday, 24th, San Lorenzo. Friday, 25th, San Lorenzo. Saturday, 26th, San Lorenzo; a cartoon; sups at home; food; toothache. Sunday, 27th, stays at home to draw ; sups at home. Monday, 28th, stays at home to draw ; sups alone. Friday, November 1, lunches at Bronzino's; food. Saturday, 2d, the weather. Sunday, 3d, idem. Monday, 4th, idem. Tuesday, 5th, his health. Saturday, 9th, San Lorenzo. Tuesday, 12th, San Lorenzo; fatigue. Friday, 15th, the weather. Saturday, 16th, a cartoon; San Lorenzo. Sunday, 17th, lunches at Bronzino's; sups at home; Naldini; the monks. Monday, 18th, he goes to see the monks. Tuesday, 19th, San Lorenzo. Wednesday, 20th, the washing. Sunday, 24th, lunches at Bronzino's; Maria's mother. Wednesday, 27th, San Lorenzo. Saturday, 30th (St. Andrew), sups at Piero 's. Sunday, December 1, lunches at Bronzino's; sups with Daniello; food; Luca Martini. Friday, 6th (St. Nicholas), the weather. Sunday, 8th, sups at Bronzino 's ; food. Monday, 9th, food. Tuesday, 10th, sups at Daniello 's ; Martini; Varchi. Wednesday, 11th, food. Thursday, 12th, the "Divisione." Friday, 13th, sups at home; he begins to do his own housework; Naldini. Saturday, 14th, sups with Bronzino and Martini. Friday, 20th (fast day), the weather. Sunday, 22d, lunches with Bronzino. Tuesday, 24th, the death of Pagolo; lunches at Bronzino's; Martini; Daniello and his family. Wednesday, 25th, lunches and sups with Bronzino. Thursday, 26th, goes to San Francesco; lunches with Alessandra; Lucretia. Friday, 27th, goes with Bronzino to Monte Oliveto; Strozzi; fasts; sups at home. Saturday, 28th, goes to San Miniato; lunches at the tavern; fasts in the evening. Sunday, 29th, goes to San Domenico; fasts; goes to see Daniello. Monday, 30th, stays at home. Tuesday, 31st, idem. 1556 "Wednesday, January 1, lunches at Bronzino's; sups at home with Otta viano. Thursday, 2d, sups at home; food; Naldini. Friday, 3d, sups with 313 PONTORMO Bronzino ; food. Saturday, 4th, the weather; buys a cloak; Naldini; business. Sunday, 5th, lunches at Bronzino's. Monday, 6th (Epiphany), he takes a walk; sups with Daniello. Thursday, 9th, sups with the Prior of the Inno cents ; food. Friday, 10th, an accident ; Naldini. Saturday, 11th, two ' ' scudi ' ' to Naldini. Sunday, 12th, the weather; he eats at home; food. Tuesday, 14th, goes to the "bottega." Wednesday, 15th, the weather; a visit from Bronzino and Ottaviano. Thursday, 16th, sups with the porter; food. Friday, 17th (St. Anthony), food. Saturday, 18th, food. Sunday, 19th, sups with Piero; food; at San Piero; in the evening a visit from Bronzino and Otta viano. Monday, 20th (San Sebastiano), the weather; food. Tuesday, 21st, the weather; food. Wednesday, 22d, food. Thursday, 23d, food; Naldini. Friday, 24th, food. Saturday, 25th, food; Naldini. Sunday, 26th, spends the day at Bronzino's with Ottaviano, Daniello, Alessandra, and others. Monday, 27th, sups at home; food. Tuesday, 28th, sups at Bronzino's. Wednesday, 29th, food. Thursday, 30th, food; Naldini. Friday, 31st, food. Saturday, February 1, food. Sunday, 2d, lunches at Bronzino's; sups at Daniello's. Monday, 3d, cooks for himself. Tuesday, 4th, food. Wednesday, 5th, food. Thursday, 6th, San Lorenzo ; food. Friday, 7th, food. Saturday, 8th, food; charcoal; the porter; San Lorenzo. Sunday, 16th, lunches at Bronzino's; sups at home with Bronzino and Ottaviano. Monday, 17th, food; Naldini. Tuesday, 18th, food. Wednesday, 19th, food; Naldini. Thursday, 20th, sups at Bronzino's; San Lorenzo. Friday, 21st, food. Saturday, 22d, food; Naldini. Sunday, 23d, lunches and sups at Bronzino's; passes the evening there; Varchi. Monday, 24th, sups with Daniello; goes to a comedy in Via Maggio. Tuesday, 25th, the weather; sups at home. Thursday, 27th, San Lorenzo ; food. Friday, 28th, San Lorenzo. Saturday, 29th, San Lorenzo. Tuesday, March 3, San Lorenzo. Wednesday, 4th, San Lorenzo; he takes cold. Thursday, 5th, ill. Friday, 6th, San Lorenzo. Saturday, 7th, San Lorenzo. Sunday, 8th, he goes to see a Hercules. Monday, 9th, San Lorenzo. Tuesday, 10th, he goes to see a picture of St. Bartholomew by Bronzino. Wednesday, 11th, San Lorenzo. Thursday, 12th, San Lorenzo. Friday, 13th, San Lorenzo; has four "lire" from rent. Saturday, 14th, he goes to see a head of Sandrino's; sups with Piero. Sunday, 15th, a visit from Bronzino to whom he does not open the door; another from Daniello to whom he does not open. Wednesday, 18th, San Lorenzo. Thursday, 19th, lunches at Daniello's with Ottaviano; meets Bronzino who is just sending a picture to Pisa.1 Sunday, 22d, visit from Daniello and Ottaviano; quarrels with Bronzino. Monday, 23d, sups with Daniello; food; Bronzino, Sandrino, Giulio, Alessandra. Tuesday, 24th, buys a "fiasco" of wine. Wednesday, 25th, the moon. Thursday, 26th, San Lorenzo. Friday, 27th, San Lorenzo. Saturday, 28th, San Lorenzo ; feast2 of the "Tregua" ; sups at home. Sunday, 29th (Palm Sunday), lunches with Bronzino. Monday, 30th, San Lorenzo. Tuesday, 31st, stays at home. Wednesday, April 1, San Lorenzo. Thursday, 2d (Holy Thursday). Friday, 3d, San Lorenzo. Thursday, 9th, San Lorenzo. Friday, 10th, San Lorenzo; i ' ' Christ and Saints ' ' for the Cathedral of Pisa. For the documents, see Centof anti, Not. di art. tratto dai doc. pis., Pisa, 1898; also Supino, Arch. stor. dell' arte, VI, 448. 2 The famous truce between the Emperor and the King of France published in Siena, March, 27, 1556. 314 HIS DIARY sups at Piero's. Saturday, 11th, San Lorenzo ; food ; sups at Piero's. Sunday, 12th, receives a "berlingozo" from Mona Ugenia; sups with Bronzino. Monday, 13th, San Lorenzo. Tuesday, 14th, San Lorenzo. Wednesday, 15th, San Lorenzo; scaffolding; Pier Francesco. Thursday, Kith, San Lorenzo. Friday, 17th, San Lorenzo. Saturday, 18th, San Lorenzo. Monday, 20th, San Lorenzo. Sunday, May 3 (Holy Cross), lunches al Bronzino's. Monday, 4th, San Lorenzo. Tuesday, 5th, San Lorenzo. Wednesday, 61 h, San Lorenzo. Thursday, 7th, San Lorenzo. Friday, 8th, San Lorenzo. Saturday, 1Mb, San Lorenzo. Sunday, 10th, lunches nnd sups with Bronzino; they go out for a walk. Tuesday, 12th, San Lorenzo. Wednesday, 13th ( Kve ol' 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. Saturday, July 4, fasts in the evening; makes a drawing. Sunday, 5th, lunches at Bronzino's, whom he met at Santa Maria; Lorenzo Pucci; Otta viano; sups with Bronzino; wine from Piero. Tuesday, 14th, San Lorenzo. Thursday, 16th, San Lorenzo. Saturday, 18th, food. Sunday, 19th, lunches with Bronzino ; sups with Piero. Monday, 20th, San Lorenzo ; hurts himself ; receives a "mogio" of grain; washes his feet. Tuesday, 21st, fasts; San Lorenzo; Naldini. Wednesday, 22d, fasts; San Lorenzo; sups with 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. Wednesday, August 26th, sups with Bronzino, Ottaviano and Daniello. Thursday, 27th, sups with Bronzino; prepares a cartoon. From the end of July to the 20th of August he mentions in an indefinite way that he worked on one figure at San Lorenzo. Thursday, September 10, Mona Adia makes bread. Friday, 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. Thursday, October 1, sups at Bronzino's; Varchi; Martini. Friday, 2d, Martini goes to Pisa. Saturday, 3d, the weather; lunches with Bronzino; a "fiasco" of colour. Sunday, 4th, goes to San Francesco for the day; food. 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 The days on which Pontormo mentions working at San Lorenzo. 1554 March 21, 22 ; June !>. 1555 January 30, 31; February 1, 16, 28; March 4, 1.1, 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, li), 20, 21 ; September 2, 3, 4, 5, 6, 7, 17, 18, 19; October 7, 8. 9, 12, 14, 15, 16, 17, 18, 19, 21, 22, 23, 24, 25, 26; November 9, 12, 19. 27. 1556 February 6, 8, 20, 27, 28, 29; March 3, 4, 6, 7, 9, 11, 12, 13, 18, 26, 27, 28, 30; April 1, 3, 9, 10, 11, 13, 14, 15, 16, 17, 18, 20; May 4, 5, 6, 7, 8, 9, 12, 13, 15, 16, 28, 29, 30; June 1, 9, 12, 13, 19, 20, 25, 26, 27; July 14, 16, 20, 21, 22, 23, 24, 25, 27, 29; August 1, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13, 14, 15, 17, 18, 19, 20, 21, 22, 24, 25 ; September 12, 14, 16, 18, 19, 23 ; October 5, 6. The days on which Pontormo mentions that he was ill. 1554 January 7 to February 6 ; March 11, 15, 27 ; April 1 ; May 24; October 19; December 19. 1555 January 31 ; February 2 ; March 3, 28 ; April 1, 19 ; May 11, 26 ; June 8, 10, 11, 12, 13 ; July 4, 8, 9, 10, 11, 18, 22, 23 ; August 10, 11, 12 ; September 8, 9, 10, 11, 12, 13, 14; October 6, 26; November 5. 1556 January 10 ; March 5 ; May 17 ; June 7 ; July 20 ; October 6, 16. He mentions Bronzino : 1554, March 11, 25 ; April 1, 8 ; May 24 ; December 17, 24, 25 ; 1555, January 1, 6, 13, 27 ; February 21 ; March 3, 10, 25 ; April 7, 14, 28 ; May 12, 19, 23 ; June 2, 13, 16 ; July 7, 14, 21, 25 ; August 11, 25 ; September 8 ; October 13, 20 ; November 1, 17, 24 ; December 1, 8, 14, 22, 25 ; 1556, January 1, 3, 5, 28; February 2, 16, 20, 23; March 29; April 12; May 3, 10, 14, 17 ; June 7, 21, 28 ; July 5, 19 ; August 26, 27 ; September 27, 29 ; October 1, 3, 18. Daniello : 1554, December 27 ; 1555, January 20 ; March 31 ; April 15 ; May 9, 23, 26 ; June 3, 4, 30 ; July 22 ; August 4 ; December 10, 29 ; 1556, January 6; February 2, 24; March 19, 23; June 24; July 22; September 13. Piero: 1555, April 23, 24, 26, 27, 29 ; May 3, 11 ; June 8, 9, 15, 30; July 12; November 30; 1556, January 19 ; April 10, 11 ; May 31 ; June 14; July 19, 26, 31 ; September 11. Naldini : 1555, July 4, 10, 21, 22 ; October 6 ; November 17; December 13; 1556, January 2, 4, 10, 11, 23, 25, 30; February 17, 19; 1556, February 22; July 31. Ottaviano: 1555, January 20; March 10; 1556, January 2, 15 ; February 16 ; March 22 ; July 5 ; September 27. Varchi : 1554, March 26; 1555, December 10, 23; 1556, October 1. Luca Martini: 1554, December 17 ; 1555, December 1, 10, 14 ; 1556, September 29 ; October 1, 2. Tasso : 1554, December 17 ; 1555, December 24. Strozzi : 1555, December 27. 317 PONTORMO Borghini: 1556, January 9. Sandrino: 1556, March 14; June 28. Giulio: 1556, March 23; October 11. Lorenzo Pucci: 1556, July 5. Lappoli: 1556, July 31. Marignolle: 1556, June 24. "II fattore": 1555, July 13, 14; 1556, January 16; February 8. Pier Francesco: 1556, April 15. Pagolo: 1555, December 24. Marco Moro : 1554, June 9. Ceecho fornaio : 1555, April 10. The monks: 1555, November 17, 18. Petrarcha: 1554, January 27. Alessandra : 1554, January 27 ; 1555, December 26 ; 1556, January 26, March 23, June 22. Lucretia: 1555, December 26. Mona Ugenia: 1556, April 12. The mother of Maria: 1555, November 24. Fuscellino: 1555, August 11. Bernardo : 1556, June 28. Mona Adia: 1556, September 10. The "Monte": 1555, May 6. Gaddi, March 24, 1556. 318 INDEX INDEX Academy of Florence: "Assumption of the Virgin, ' ' Granacci, 224 ; "Beheading of St. John," as cribed to Andrea, 14, 138-139; "Holy Trinity," Albertinelli, 8; "Hospital of San Matteo," 115; "Pieta," ascribed to Pontormo, 199-200; "Supper at Emmaus," 41, 114, 115. Acciaiuoli, Margherita, 22, 157. — , Roberto, 157. Achiardi, d', 201. Adia, Mona, 303. "Adoration of the Magi," Pitti, 23, 25, 72, fil, 135-136 ; date of, 24, 135; drawings for, 24, 135-136; mentioned by Vasari, 135, 136. Agnew, 242. "Agony in the Garden," Certosa, 42, 107-108 ; date of, 108 ; mentioned by Vasari, 107. Alamanni, Antonio, 13. Albertinelli, 6, 11, 253, 267, 268; death of, 268; document con cerning house of, 273-274; "God the Father," 8; "Holy Trinity," 8; Pontormo's apprenticeship to, 5, 6, 8, 11, 12, 15, 26, 267, 268 ; "Visitation," 15. Aldighieri, Paolo, 141. Alessandra, mentioned in Pontormo 's diary, 94, 300, 301, 302, 303, 304. Alessandra, Pontormo's mother, 4. Alessandro VI, Pope, 181. Alexandre K. Collection, 246. Alinari. See Photographs. Allegrini, 151, 177, 261. Allori, Alessandro, 119, 144, 219, 234; portrait of Pontormo, 81; Ricordi, 177, 228; work at Pog gio, 29, 35, 175, 176. Alnwick Castle, 193, 211. Altamira, Duke of, 261. Altissimo, Cristofano dell', 95, 151. Alton, Collection d', 144. Altoviti, Bindo, 145. Ambras Castle, 101, 237. American Art Association, 242. Ammirato, 3, 28. Ancisa, 1. Ancona d', 148, 149. Anderson. See Photographs. Andrea d'Antonio di Bartolommeo, 284. Andrea del Sarto, 8, 10, 14, 33, 55, 58, 105, 115, 119, 139, 153, 154, 159, 165, 166, 200, 210, 219, 223, 224, 229, 231, 234, 236, 253, 254, 261, 269; "Adoration of the Magi," 270; "Assumption," Pitti, 95, 154, 207; "Birth of the Virgin," 16; "Caesar Re ceiving Tribute," 29, 175; "Deposition," Pitti, 154; "Dis puta," 154; draughtsmanship, 8 ; imitation of Diirer, 39 ; in fluence on Pontormo, 6, 8, 11, 15, 17, 18, 20, 22, 23, 24, 26, 37, 77, 94, 95, 118, 169, 267; "Life of Joseph," 22, 154, 200; "Madonna and Little St. John," Borghese, 321 INDEX 270; "Madonna and Saints," Pitti, 255; "Madonna del Sacco," 118; "Madonna di Porta Pinti," 29, 129; "Mar riage of St. Catherine," 10, 139, 269-270; panels for Borgherini, 22, 157; "Pieta," Vienna, 200; Pontormo's drawings compared with those of, 33; Pontormo's portraits compared with those of, 87; "Sacrifice of Isaac," 56; San Filippo Benizzi frescoes, 16, 267, 269; "San Gallo Annuncia tion," 253, 269; "San Godenzo Annunciation," 269; Scalzo fres coes, 17, 39, 232 ; work at Poggio a Cajano, 28, 175, 176; work in the Annunziata, 9; work on triumphal arches, 14. Andros de la Rue Collection, 241. Anguillesi, 261, 263. "Annunciation" (lost), 253. "Annunciation," Santa Felicita, 52, 122; date of, 122; drawings for, 48, 122. Annunziata, 9, 79, 81, 119, 200; "Faith and Charity" at the, 7, 11, 116; "Visitation" at the, 15, 117-119. — , Chapel of San Luca, 7, 79 ; "Madonna and Saints" in, 6, 8, 12, 15, 117, 254; "Holy Trinity" in, 200. "Anonimo fiorentino," 209. Ansoldi, Costantino, 64, 65, 170, 171, 280-282. Antinori, arms of the, 130. — , lost portrait of Amerigo, 64. Antonio da Lucca, 225, 226. Appendices, 267-318. Arazzieri, 78. Archbishop of Capua. See Nicolaus von Schomberg. Archives of Florence, 1, 3 ; Accademia del Disegno, 57, 279; Annun ziata, 9, 16, 116, 119, 269, 270, 275-276; Carteggio di Cosimo I, 14; Carteggio mediceo del Prin- cipato, 64, 65, 173, 184, 200, 280-282; Carte Pucci, 20; Carte Riccardi, 128; Catasto, 3, 5, 57, 68, 80, 280, 282; Consorteria, 1, 271, 272; Decima, 284; Deposi teria Generale, 78, 158, 164, 208, 264; Depositeria Vecchia, 78, 283-284; Filza, No. 273, 185; Guardaroba, 70, 71, 142, 184, 185, 186, 261, 286, 287; Indice mediceo, 255; Libro dei Battez- zati, 102 ; Libro dei Morti, 4, 79, 284 ; Libro dei Morti, Serie della Grascia, 79, 284; Libro dell' Eta, 102; Medici e Speziali, 57, 279; Pupilli, 274; Rogiti di Giovanni Giordani, 80, 184, 284; Santa Felicita, 47, 120, 121, 279; San Giovanni di Boldrone, 104; San Lorenzo al Monte, 39, 41, 44, 78, 108, 113, 115, 276-279; Santa Maria Novella, 5, 125, 273-274; Scalzo, 17, 232; Scritture Cap poni, 47 ; Strumenti Pucci, 128. — of Hospital of the Innocents, 1, 72, 106, 132, 249, 263, 273, 283. — of Pisa, 4, 178. — of San Lorenzo, 264. Archivio storico, 173. Archivio storico dell' arte, 155, 181, 209, 216, 231, 235. Ardinghelli, lost portrait of Niccolo, 86, 258. Argenville, Dezallier d', 81. Argyropylos, Ioanne, 148, 149. Armand, 148, 173. Armann, Walter, 172. Arms of Giovanni Salviati (lost), 256. 322 INDEX Arms of Leo X, 11, 12, 15. — of the Lanfredini (lost), 21, 254- 255. Arte e Storia, 264. Arte, V, 181, 201, 203, 205, 207, 228, 244. Art Journal, 23, 164. Art Prices, 241, 242, 244, 245, 248. Art Sales, 159. "Ascension of the Blessed," drawing for, 263. Ashbourne. See Widener Collection. Assisi, 193. "Assumption," Annunziata, 119. Athenaeum, 209. Auction Sale Prices, 241, 242, 244, 245. Avignon. See Musee Calvet. Azeglio d', 235. B Bacchiacca, 78, 95, 129, 229, 231; designs for tapestries, 184; "Life of Joseph, ' ' 159 ; work for Ben intendi, 23, 24, 135; work for Borgherini, 157. Baccio d' Agnolo, 23, 135. Baciocchi Collection, 200. Badia, Florence, 14, 138. Badoer, Federigo, 204. "Baker Led out to Execution," 23, 164-165. Baldinucei, 81, 95, 157. — Collection, 69. Balocchi, 47, 122. Baltimore. See Walters Collection. Bamberg, Collection of the Arch bishop of, 234. Bandinelli, Baccio, 13, 14, 74, 84, 102, 254. Bandinius, 148, 149. Banzola, Scipione, 282. "Baptism of Christ," Carro della Zecca, 137, 138. "Baptist in Wilderness," Carro della Zecca, 35, 137. Barbadori, 47, 120. Barberini Gallery, Rome, 56, 259. Bardi, Luigi, 136, 152, 205. Bargello, Florence, 121, 148, 150. Bartolommeo, Fra. Sec Porta. Battiferra, Laura, 290-293. "Battle of Anghiari," 53, 131, 132, 269. "Battle of the Cascina," 9, 18, 23, 38, 246. Bayersdorfer, 234. Beaucousin, Edmond, 213. "Beheading of John," Carro della Zecca, 138-139. Bellini, Giovanni, 175. Benedetti, de, 263. Benintendi, Giovanmaria, 23, 135. Benivieni, Bartolommea, 126. ' ' Benjamin at the Court of Pharaoh, ' ' tapestry, 70, 71, 72, 186-187. Berenson, Bernhard, 41, 81, 102, 103, 105, 106, 107, 115, 119, 122, 123, 125, 128, 129, 132, 133, 134, 136, 139, 140, 141, 145, 152, 154, 155, 156, 159, 160, 162, 165, 166, 168, 169, 170, 176, 177, 178, 179, 181, 183, 188, 189, 198, 200, 203, 205, 206, 208, 217, 229, 233, 235, 237, 264 ; on " Baker Led out to Exe cution, " 165; on "Birth-plate," Butler Collection, 242; on Bron zino, 97; on "Christ before Pilate," 109; on Doetsch "Holy Family," 126; on drawing by Michelangelo, 144; on drawing for Certosa, 42; on drawing for "St. Quentin," 106; on drawings for Poggio, 31, 34, 49; on "En tombment, ' ' National Gallery, 323 INDEX 213; on Giulio Romano, 81; on Granacci, 208; on "Holy Fam ily," San Michele Visdomini, 20; on "Hospital of San Matteo," 115 ; on "Judith, ' ' Palermo, 223 ; on "Life of Joseph," 21; on "Lucretia," Borghese, 179; on "Madonna and Little St. John," Palazzo Corsini, Florence, 129; on "Madonna and Saints," Louvre, 51, 168, 169; on "Ma donna Enthroned," 139; on Naldini, 97; on "Pieta,," Acad emy, 200; on "Portrait of a Boy," National Gallery, 213; on ' ' Portrait of a Lady, ' ' Tarnowski Collection, 198; on "Portrait of a Lady," Trivulzio Collection, 216; on "Portrait of a Lady," Turin, 235; on "Portrait of a Lady," Vienna, No. 45, 236; on "Portrait of a Lady," Widener Collection, 101; on "Portrait of a Man," Bonn, 105; on "Por trait of a Man," Genoa, 210; on "Portrait of a Man," Montpel Uer, 217; on "Portrait of a Man," Piatt Collection, 199; on "Portrait of a Man," WUden stein Collection, 223; on "Por trait of Ardinghelli," Palazzo Torrigiani, 258; on "Portrait of a Woman," Jarves Collection, 222; on "Portrait of a Young Woman," Stadel Institute, 153; on "Portrait of a Youth," Lo thian Collection, 233; on "Por trait of a Youth," Lucca, 160; on "Portrait of a Youth," Plymouth Collection, 215; on "Portrait of a Youth," Vienna, 237; on "Portrait of Cosimo I," New Haven, 220 ; on " Portrait of Cosimo il Vecchio," 205; on "Portrait of Gualteretti, " 82, 227; on "Santa Barbara," St. Petersburg, 224, 229; on Santa Felicita, 49, 121; on "Tobias and the Angel," Borghese, 230; on "Venus and Cupid," Uffizi, 63, 143. Bergamo, 57, 64, 84, 102, 171, 194. Berlin, 85, 103, 105, 144, 194. Bernardino di Giordano, 13. Bernardo, mentioned in Pontormo's diary, 303. Bettini, Bartolomeo, 62, 64, 68, 90, 142. Beurnonville, Collection de, 87-88, 201, 241. Biblioteca Borghese, Rome, 283. — Corsini, Rome, 149. — Laurenziana, Florence, 148. — Magliabecchiana, Florence, 91. — Marucelliana, Florence, 1, 2, 3, 271, 272, 273. — Moreniana, Florence, 254. — Nazionale, Florence, 1, 2, 91, 127, 271, 272, 295. — Riccardiana, Florence, 1, 2, 3. Bicchieraio, Becuccio, 25, 255. "Birth-plate," Butler Collection, 130, 141. — , Palazzo Davanzati, 57, 130, 141. — , Uffizi, 57, 111, 140-141, 156. Biscioni, 131, 262. Blanc, Edmond, 144. Boccaccio, lost portrait of, 142. Bocchi, 10, 11, 15, 17, 55, 75, 79, 94, 106, 107, 116, 119, 122, 128, 200, 207, 254, 263, 264. Bode, 148, 149, 196, 231, 238. Bode und Tschudi, 149. Boldrone, Way-side shrine at, 45, 103- 104; date of, 45, 104; mentioned 324 INDEX by Vasari, 45, 53, 104; possible drawing for, 104. Bollettino d'arte, 62, 71, 146, 184, 185, 186, 260. Bologna, 95, 195. Bonn, 83, 104, 105. Borde, 152. Borenius, 23, 200. Borgherini, Casa, 157. — , Niccolo di Giovanni, 157, 163. — , Pierfrancesco, 22, 23, 55, 56, 157, 163, 208, 258; panels for, 21, 22, 24, 55-56, 97, 163, 164, 165, 208. Borghese Gallery, 69, 85, 86, 209, 229-231; "Lucretia" in, 85, 179; "Portrait of a Magistrate" in, 154, 229-230; "Portrait of Car dinal Spannoechi Cervini" in, 69, 86, 180-181; "Tobias and Angel" in, 230-231. Borghini, Raffaello, 63, 75, 79, 80, 108, 110, 115, 116, 117, 119, 121, 122, 123, 124, 125, 128, 131, 132, 136, 139, 145, 147, 159, 164, 169, 177, 228, 229, 254, 255, 256, 257, 259, 262, 263, 264, 287. — , Vincenzo, 94, 131 ; mentioned in Pontormo's diary, 300. Borgia, Francesco, 181. — , Pietro Ludovico, 181. Borgo San Sepolcro, 21, 105-106, 109. Boscoli, Andrea, 98. Boston, 195, 217-218. Bottari, 89, 255, 285. Botticelli, Sandro, 149, 175. Bracciolini, Poggio, 237. Brandus Galleries, 242. Braun. See Photographs. Bredius und Schmidt-Degener, 162. Brett Collection, 242. Brigida, Mona, 4. Brinton, Selwyn, 118, 119, 143, 145. British Institute, 214, 247. British Museum, 49, 122, 123, 132, 144, 153. Brogi. Sec Photographs. Broncone, Compagnia del, 13, 253- 254. Bronzino, Angelo, 21, 56, 78, 80, 86, 87, 95, 96, 97, 101, 144, 145, 150, 153, 162, 167, 169, 172, 195, 200, 211, 213, 219, 221, 227, 228, 233, 234, 235, 254, 259, 287; "Adoration of the Divine Child," 66; birth, 21 ; "bottega," 96; "Cleopatra," 179; copies a "Madonna" of Leonardo's, 53 ; copies of his portraits of the Medici, 96; "Descent into Hell," 81 ; designs for tapestries, 70, 71, 184, 185, 187; discusses Pon tormo's life with Vasari, 56; drawings, 97; finishes Pontor mo's San Lorenzo frescoes, 4, 79, 263; frescoes in San Lorenzo, 91 ; helps Pontormo at Certosa, 43-44, 113; helps Pontormo at Santa Felicita, 49, 123 ; imitates Michelangelo, 74; imitates Pon tormo, 66, 96, 97; journey to Rome, 185; lost portraits of Dante, Petrarch and Boccaccio, 142; mentioned in Pontormo's diary, 90, 92, 93, 295, 296, 297, 298, 299, 300, 301, 302, 303, 304, 305, 306; "Pieta," Certosa, 113; Pontormo 's portrait of the young, 25 ; Pontormo 's portraits com pared with those of, 87; "Por trait of a Lady," Fischhof Col lection, 101; "Portrait of Ales sandro de' Medici," 64, 171, 172; ' ' Portrait of Anna Strozzi, " 96 ; ' ' Portrait of Cosimo il Vecchio, ' ' 150; "Portrait of Eleonora," Uffizi, 97; "Portrait of Giannet- 325 INDEX tino Doria," 225; "Portrait of Guidobaldo della Rovere," 59, 203, 205, 258; "Portrait of Ugo lino Martelli," 96, 225; portraits of Cosimo I, 220, 221, 235; portraits of Medici children, 96; portraits of Pontormo, 80; por traits of the Panciatichi, 85, 96, 225 ; ' ' San Lorenzo, ' ' at Certosa, 113 ; ' ' San Lorenzo, ' ' in San Lo renzo, Florence, 80 ; sonnets, 288- 293; work at Careggi, 66, 262; work at Castello, 67, 262; work at Pesaro, 59, 204 ; work for Bet tini, 142; work for the Medici, 184. Bruekhardt, 231. Bruckmann. See Photographs. Briiiningk et Somof, 228, 229. Brunelleschi, Filippo, 121. Brussels, 71, 209. Bryan, 105. Buchanan, 214. Budapest, 61, 195-196. Bugiardini, Giuliano, 5, 95, 195, 236, 237, 261. Bullettino della societa filologica ro mana, 16, 91, 268, 295, 296. Bulloz. See Photographs. Burger, W., 211. Burlington House, 164, 166, 224. Burlington Magazine, 197. Butler Collection, 141, 242-243. "Burying of the Bones of Jacob," Bronzino, 70. Butteri, Giovanmaria, 95. Buttery, 241. Calvet. See Musee Calvet. Cambi, 28, 51. Campanari, 201. Campi, Giulio, 222. Canova, 217. Capodimonte, 219, 220. Cappella del Papa. See Santa Maria Novella. Capponi Chapel, Santa Felicita, 46, 47, 72, 104, 120, 123, 185. Capponi, Gino, 52, 269. — , Lodovico, 47, 52, 120, 128, 176, 257. — , lost portrait of the daughter of, 50. — , Niccolo, 52. Caravaggio, Polidoro da, 81. Carderera, Valentin, 197. Careggi, lost paintings in the villa of, 65-66, 67, 73, 262. Carlo da Spello, 282. Carmignano. See "Visitation," Car mignano. Carmine, Florence, 3, 273. Camasecchi, Carlo, 64, 170-171, 173, 280. Caro, Annibal, 65, 69, 259, 282, 283. Carocci, Guido, 169, 264. Carota, II, 13, 253. Carraia, Ponte alia, Florence, 254. Carro de' Pazzi, 15. Carro della Zecca, 14, 15, 136-139; date of, 15, 139 ; drawing for, 15, 139 ; mentioned by Vasari, 139. Cars for the Broncone, 7, 13, 14, 253- 254. — for the Diamante, 7, 13, 14, 253. Cartoons for tapestries. See Designs. Carucci, arms of, 271, 272. — , Bartolomeo di Jacopo, 3. — Chapel in the Carmine, 3, 273. — , Checci, 3, 273. — da Colle, 3, 271. — , document concerning a Jacopo, 5, 267, 273. — family, 1, 3, 271, 273. 326 INDEX Carucci, Francesco, 1, 272. — , Jacopo di Giovanni, 3. — , Jacopo di Luca, 3, 272. — , Jacopo. See Pontormo. — , Lisabetta, 3, 273. — , Marietta, 3. — , Pagolo, 3, 273. — , Ruggieri di Taddeo, 2, 3, 271, 272. -, Ruggiero, 2, 271. — , Taddeo di, 2, 272. Casa, arms of the della, 140. Casa Buonarotti, 201, 222. Cassel, 87, 196-197. Castellani Collection, 248. Castello, lost paintings in the villa of, 63, 66-67, 68, 71, 73, 146, 262- 263; date of, 67, 262; drawings for, 67-68, 262. Castiglione, Francesco da, 85, 133, 134. Catalogue: Academy, Florence, 115, 200. — Attributed Pictures, 193-249. — Authentic Pictures, 101-189. — Avignon, 194. — Berlin, 105, 212. — Bonn, 105. — Borghese Gallery, Rome, 179, 181, 230, 231. — Brett Collection, 242. — Budapest Museum, 196. — Butler Collection, 242. — Cassel, 197. — Castellani Collection, 248. — Chantilly, 214. — Citta. di Castello, 95, 197. — Clark Collection, 243. — Codicum Latinorum, 148. — Colonna Gallery, Rome, 145. — Colworth Collection, 243. — Cook Collection, 213, 218. — Corsini Gallery, Florence, 129, 203. — Crozat Collection, 229. D' Alton Collection, 212. Dawkins Collection, 244. De Beurnonville Collection, 241. De II###, 88. Dellafaille Colled ion, 244. Dijon, 198. •Doetsch Collection, 126, 128, 172, 244. Dollfus Collection, 96. • Erfurt, 199. Eszterhazy de Galantha Collection, 245. ¦ Exposition "Starye Gody," 244. ¦ Ferdinand von Tirol Collection, 261. • Fischhof Collection, 101. • Gabburri Collection, 127. ¦Galleria d' Arazzi, 185. -Grafton Galleries, 23, 164, 165, 166, 224. • Guggenheim Collection, 245. • Hague Portrait Exhibition, 198. - Hamilton Collection, 159. ¦ Hampton Court, 145, 211, 212. - Hermitage, 229. ¦Inventaire des richesses d' art de la France, 217. • Jarves Collection, 221, 222. -Johnson Collection, 173, 227. -Lamponi Collection, 141. -Lanfranconi Collection, 246. -Lanna Collection, 173. - Lochis Collection, 194. - Lost Pictures, 253-264. - Louvre, 169, 170, 226. -Madrid, 216. -Mailand Collection, 153. - Manoscritti Torrigiani, 28. -Mond Collection, 156. -Morelli Collection, 102, 173. - Munich, Alte Pinakothek, 218. ¦Musee de Province, 215. -Museo Nazionale, Florence, 121. 327 INDEX Catalogue : Museo Nazionale, Naples, Cerbone Pucci Collection, 243. 218, 219, 220. — National Gallery, London, 159, 213, 214. — National Loan Exhibition, 166, 224. — Northbrook Collection, 214, 215. — Oldenburg, 162. — Palazzo Bianco, Genoa, 155. — Palazzo Pitti, Florence, 132, 133, 134, 136, 205. — Rezzonico Collection, 248. — Rome, 231. — Sale and Loan Exhibitions, 241- 249. — Schevitch Collection, 248. — Sedelmeyer Collection, 221, 246. — Spitzer Collection, 173. — Stadel Institute, Frankfort, 153- 154. — Stuttgart, 234. — Turin, Regia Pinacoteca, 235, 236. — Uffizi, Florence, 140, 141, 145, 152, 206, 208, 209. — Versailles, 169. — Vienna, 188, 236, 237. — Walters Collection, 194. — Wanamaker Collection, 228. — Widener Collection, 102. — Willett Collection, 249. — Ximenes d' Aragona Collection, 247. — Yerkes Collection, 189. Catasto, 3, 5, 57, 68, 80, 280, 282. "Cattura di Benjamin," tapestry, 70, 187. "Cattura di Simeone," tapestry, 70. Cavaliere Tommaso, 60. Ceecho fornaio, mentioned in Pon tormo's diary, 297. Cellini, Benvenuto, 53, 68, 78, 173, 297. Cenacolo di Foligno, Florence, 201. Certosa, near Florence, 21, 39-44, 45, 46, 57, 73, 104, 107-114; "Agony in the Garden," 40, 107-108; "Christ before Pilate," 40, 107, 108-109; "Crucifixion," pro jected for, 40; date of frescoes at, 39; "Deposition," projected for, 40; documents for frescoes at, 39, 44, 108; drawings for frescoes at, 39, 40, 42, 43, 110, 112, 113; lost "Nativity" at, 41, 257; lost "Portrait of a Lay Brother" at, 41, 257; mentioned in Pontormo's diary, 304; "Nail ing to the Cross, ' ' projected for, 40; "Pieta,," 40, 111-112; Pon tormo's relations with monks of, 39, 44, 277-279; "Risen Christ," 40, 112-113; "Supper at Em maus" for, 41, 42, 114-115, 277; Vasari mentions frescoes at, 39, 40, 43, 44, 107, 108, 109, 110, 111, 112, 113; "Way to Gol gotha," 40, 109-110. Chantilly, 61, 154, 214. Chappel Studio. See Photographs. Charles I, Collection of, 236. Charles V, 9. Chennevieres, de, 228. Chiari, Alessandro, 119. Chiavacci, 132, 133, 134, 136, 205. Chiavistelli, Jacopo, 151. Chiazzella, Andrea, 80, 284. Chiesa delle Stigmate, Florence, 201- 202. "Christ as Pilgrim," lost fresco of, 17, 108, 109, 254. Christie's, 158, 241, 242, 243, 244, 245, 249. Christina, Collection of Queen, 209. "Christ in Glory," drawing for, 75, 76, 263. 328 INDEX Chronique des arts, 209. Cianfanini, Giovanni, 125. Ciangogni, 264. Cibo, Innocenzio, 261. Cicerone, 195, 208, 209. Cicognara, 173. Cigoli, 98. Cinelli, 17, 207, 254, 256. Citta di Castello, 95, 197, 260. Clapp, F. M., 64. — , article on ' ' Portrait of Alessandro de' Medici," 64, 173. — , Dessins, 8, 10, 11, 15, 16, 17, 20, 21, 23, 24, 29, 30, 38, 39, 40, 42, 44, 47, 54, 55, 56, 61, 62, 63, 66, 67, 69, 70, 76, 77, 81, 84, 85, 86, 96, 97, 98, 104, 106, 107, 108, 115, 116, 117, 119, 122, 123, 125, 128, 132, 136, 139, 140, 145, 147, 154, 159, 164, 165, 166, 169, 177, 178, 179, 183, 187, 200, 208, 236, 253, 255, 259, 262, 263, 264, 295. — , On Certain Drawings, 16, 20, 41, 62, 106, 115, 116, 117, 119, 122, 125, 128, 136, 177, 264. — See Photographs. Clark Collection, 243. Clement VII, Pope, 58, 61, 64, 175, 281. Clouet, follower of, 196. Clough Collection, 260. Codice Araldico, 1, 2, 272. — Atlantico, 209. Colasanti, 16, 91, 268, 270, 295, 296. Colle, Val d'Elsa, 1. Cologne. See Dellafaille Collection. Colonna, Francesco, 175. — Gallery, Rome, 145, 201, 237. — , Vittoria, 201, 241. Colworth Collection, 151, 243. Comando Militare, 254. Commonwealth Inventory, 211. Como, 151. Compagnia del Broncone, 7, 13, 14, 253-254. — del Diamante, 7, 13, 14, 253. — del Disegno, 79. — della Cecilia, 17, 255. — di Lore to, 1, 271. Company of San Luca, 57. Consorteria, 1, 3, 5, 271, 272. Constantine, Collection of Grand Duke, 243-244. Coustantini Collection, 196. Conti, Cosimo, 71, 142, 151, 152, 184, 185, 261. — , G., 151. ' ' Conversation, ' ' Mond Collection, 156. Cook, 159. — Collection, 212-213. ' ' Coppa di Joseph, ' ' tapestry, 70, 187. "Coronation of the Virgin," Ridolfo Ghirlandaio, 12. Correggio, 236. Corsini Gallery, Florence, 52, 129, 231. — , Rome, 85, 182, 214 ; drawings in, 17, 32, 33, 42, 43, 48, 112, 121, 127, 132, 176, 255. Costa, 156. Council of Trent, 70. Cristofano dell' Altissimo. See Al- tissimo. Crowe and Cavalcaselle, 23, 81, 119, 163, 164, 165, 166, 175, 181, 188, 193, 195, 211, 214, 215, 216, 218, 219, 224, 229, 231, 232, 234, 237- 238, 268. Crozat, 144. — Collection, 229. " Crucifixion, " projected at Certosa, 40, 111, 113. Cruttwell, 108, 119, 122, 129, 130, 132, 133, 134, 136, 139, 140, 141, 329 INDEX 152, 199, 200, 201, 203, 205, 206, 208. Cust, Lionel, 196, 197. Cybo, Alberieo, 171. D Daily Telegraph, 165. Dalkeith. See Lothian Collection. Daniello, mentioned in Pontormo's diary, 90, 92, 93, 283, 296, 297, 298, 299, 300, 301, 302, 303, 304. Dante, Bronzino's lost portrait of, 142. Davolo, Alfonso, 56, 60, 62, 259. Dawkins Collection, 205, 244. Dazzi, Andrea, 13, 253. "Dead Christ" (lost), 253. "Death of Abel," drawing for, 72. "Death of Adonis," Sebastiano del Piombo, 145. Delaborde, 61. Delizie degli eruditi toscani, 2, 125. Dellafaille Collection, 244. "Deluge," drawing copied from the San Lorenzo, 263. — , drawings for the San Lorenzo, 263. "Deposition," in Santa Felicita, 38, 43, 45, 46, 47, 72, 120-122 ; date of, 121 ; drawings for, 48-49, 121 ; mentioned by Vasari, 120. — , projected at the Certosa, 43, 111, 113. Desborough, Collection of Lady, 162. Designs for tapestries, 70, 71, 183- 187. Dessins. See Clapp. Deti, Giovambattista, 229. Diamante. See Cars. Diary of Pontormo, 90-94, 295-307. Dijon, 94, 95, 197-198. Dimier, 210. Dirksen Collection, 85, 103. Disegni della Galleria degli Uffizi, 53, 81, 121, 122, 168, 169, 176, 177, 179, 258, 259, 262, 263, 264. Documents: for Albertinelli 's house, 273; for Andrea's Scalzo frescoes, 17; for Borgherini panels, 158; for Bronzino's birth, 21; for Capponi Chapel, 120, 279 ; for Certosa frescoes, 39, 44, 113, 276-279; for Chiaz zella 's house, 284; for "Coppa di Joseph," 186-187; for Del Gostra, 283-284; for "Deposi tion," Santa Felicita, 121; for "Faith and Charity," 9, 116, 275; for Feltrini, 9; for "Joseph and Potiphar 's Wife," 186; for "Joseph Discovering Himself to His Brethren," 164; for "Lam entation of Jacob, ' ' 185 ; for lost Madonnas, 261, 286-287; for lost "Noli me tangere," 260; for "Pieta," Academy, 200; for Pontormo 's ancestors, 271-273 ; for Pontormo's death, 284; for Pontormo's house, 280, 282; for Pontormo 's life annuity, 283 ; for Pontormo's matriculation in the Medici e Speziali, 279; for Pon tormo's membership of the Ac cademia del Disegno, 279; for Pontormo's property, 284; for Pontormo's relations with the Certosa, 44, 277-278; for Pon tormo's relations with the Pu pilli, 274; for "Portrait of Ales sandro," 64, 173, 280-282; for "Portrait of Guidiccioni," 259; for "Portrait of Guidobaldo della Rovere," 205; for "Supper at Emmaus, ' ' 41, 115 ; for tapes tries, 184, 185, 186, 187; for 330 INDEX "Venus and Cupid," 63, 142, 287; for "Visitation," Annun ziata, 16, 119, 275-276; possibly for Granacci 's "Joseph Led away to Prison," 208. Doetsch Collection, 19, 126, 128, 172, 209, 244. Dollfus Collection, 96. Domenicho, 22. Domenico di Polo, 172, 173. Donatello, 148. Dossi, Dosso, 222. Drawing, by Michelangelo, 123. Drawings, copies: of "Battle of the Cascina," 18; of "Deluge," of San Lorenzo, 263 ; of Louvre "Madonna and Saints," 168; of "Venus and Cupid," 144. Drawings for: "Adoration of the Magi," 24, 135-136; "Annuncia tion," Santa Felicita, 47, 48, 122 ; "Baker Led out to Execution," 23, 165; "Benjamin at the Court of Pharaoh," 187; Carro della Zecca, 15, 137; Certosa, 42, 110, 112, 113; "Concerto," projected for Poggio, 32, 35; "Cruci fixion," projected at Certosa, 113; "Deposition," projected at the Certosa, 43, 113; "Deposi tion," Santa Felicita, 48-49, 121; Diirer 's altar-piece, Ober St. Veit, 53; "Faith and Charity," 10, 11, 116; "Four Evangelists," Santa Felicita, 49, 123 ; frescoes at the Certosa, 42, 110, 112, 113 ; Granacci 's "Joseph Led away to Prison," 208; "Holy Family," Visdomini, 20, 30, 127; "Joseph Discovering Himself to His Brethren," 23, 163, 164; "Jo seph Sold to Potiphar," 23, 119, 166; lost frescoes at San Lorenzo, 75, 76, 77, 185, 263; lost "Madonna and Child," 20; lost paintings at Careggi, 66, 262; lost paintings at Castel lo, 68, 262; lost "Piela," 16; lost "Santa Cecilia," 17, 2!), 30, 255; lost "Raising of Imzarus, " 56, 259; lunette at l'oggio, 30-36, 176; "Madonna and Saints," Annunziata, 8, 117; "Madonna and Saints," Louvre, 52, 168; "Madonna Enthroned," Uffizi, 20, 139; "Magdalen," 50; "Mars Hermaphrodite," Castello, 68; "Martyrdom of St. Maurice," 54, 132, 140; Medici arms, 11; "Pieta," Certosa, 42; "Portrait of Young Cosimo," 147; pro jected "Nailing to the Cross," Certosa, 40, 43, 113 ; Roman an tiquities, 69, 181; "St. Jerome," 53, 54; "St. John Evangelist," Pontormo, 24, 179; "St. Mi chael," Pontormo, 24, 178; "St. Quentin," 44, 106; Santa Fe licita, 43, 47, 49, 121, 122, 123; "Saturn," Castello, 68, 262; second series of frescoes, pro jected at Poggio, 61, 62, 176; "Supper at Emmaus," 42, 43, 114; "Three Graces," 61; "Visi tation," Annunziata, 16, 119; ' ' Visitation, ' ' Carmignano, 55, 107; "Way to Golgotha," 42, 110; woman, 54; "Young Bap tist," 35, 137. Drawings possibly for: "Agony in the Garden," 42; "Birth-plate," Uffizi, 141 ; "God the Father and Patriarchs, ' ' Santa Felicita, 123 ; "Joseph in Egypt," 159; lost "Noli me tangere," 260; lost "Pomona," 258; lost "Portrait 331 INDEX of Francesco Guardi," 259; lu nette at Poggio, 29 ; " Portrait of a Young Woman," Frankfort, 153. Drax Collection, 245. Dresden, 8, 24, 56, 117, 135, 139. Dreyfus Collection, 148. Dudley House, 216. Duke of Altamira. See Altamira. Duppa, 144, 211. Duranty, 81. Durazzo Collection, 235. Diirer, " Auf erstehung, " 113; "Bad- stube, ' ' 109 ; ' ' Beweinung Christi," 42, 111; "Christus am Kreuz," 111; "Christus am Oel- berg," 107; "Christus und die Jiinger von Emmaus," 41, 114; "Christus vor Hannas," 110; engravings, 38, 47; figures bor rowed by Pontormo from, 40, 107, 109, 110, 111, 113; "Grable- gung," 111; his influence on Pontormo, 38, 39, 40, 41, 42, 43, 45, 46, 47, 52, 55, 106, 107, 109, 110, 111, 113, 114, 129, 168, 256, 258; "Kleine Passion," 42, 46; ' ' Kreuzabnahme, " 43, 111 ; "Kreuzigung," 110; "Kreuz tragung," 110, 129; "Marias Erster Tempelgang," 109; "Marter des Evangelisten Jo hannes," 109; "Nemesis," 55, 106 ; Pietas, Munich and Nurem berg, 112; "Sebastian," from the workshop of, 52, 168; "Vier Nackten Frauen," 55, 106. Dzikow. See Tarnowski Collection. E Edelinck, 132. Ehrich Galleries, 87, 96. — See Photographs. Eleonora da Toledo, 53, 93, 96, 97, 235, 306. Empoli, 3, 4. — , Collegiata of, 3, 4. — , Jacopo da, 98, 108, 109, 112, 115, 129, 203; influenced by Pon tormo, 98. Emporium, 255. Engerand, 81, 170. Engerth, Erasmus, 188, 236, 237, 238. Englewood. See Piatt Collection. "Entombment," window in Santa Felicita, 121. Erfurt, 144, 199. Espagnac, Collection d', 245. Eszterhazy de Galantha Collection, 245. Etruria pittrice, 119. "Evangelists," Santa Felicita, 49, 122-123 ; drawings for, 263 ; men tioned by Vasari, 123. "Expulsion from Paradise," draw ing for, 263. Fabre, 217. Fabriczy, 91, 122, 148, 173, 203, 205, 207, 238, 295. Fagan, 144. "Faith and Charity," Annunziata, 7-8, 10, 12, 25, 116; date of, 116; documents for, 116; mentioned by Vasari, 7; possible drawings for, 10, 116. "Fall of the Damned," drawing for, 263. Fantozzi, 207. Farinola Collection, 6, 20, 128. Farnese, Alessandro, 65, 180, 258. ' ' Fattore di San Marco, ' ' Panshanger, 166. Febo, 60. 332 INDEX Feltrini, Andrea di Cosimo, 9, 12, 13, 23, 28, 116, 175, 253, 255. Ferdinand von Tirol Collection, 151, 237. Fesch Collection, 153, 213. Fiesole, lost fresco of ' ' Santa Cecilia ' ' in, 17, 255. Figana, Don Giovanni di, 261, 264. Figiovanni, 60, 260. Filhol, 170, 226. Firenze antica e moderna, 119. Firenzuola, Ser Carlo da, 126. Fischhof Collection, 101. Florence, Signoria of, 52. Follini, 122, 152. Fontainebleau, 209, 210. Fontana, Prospero, 238. Forni, Ulisse, 144. Fortezza da Basso, Florence, 173. Fossart Sale, 145. Fragonard, 31. Francesco da Toledo, 71. Francesco di Goro, 284. Franciabigio, 8, 9, 23, 24, 28, 29, 58, 135, 157, 173, 175, 176, 209. Francillon Sale, 145. Francis I, 55, 56, 163, 259. Franco, Battista, 62, 173, 260. Frankfort. See Stadel Institute. Frantz Collection, 101. Frey, 60, 143, 153, 201, 260. Friedlander, J., 148, 149. Friedrich der Weise, 53. Frizzoni, 102, 159, 172, 173, 181, 196, 209, 213, 214, 231. Fucecchio, 210. Fuscellino, 299. Fry and Brockwell, 164, 165. Funeral banners for Ginori, 25, 255. G Gabburri, Cavaliere, 116, 127. Gaci, Cosimo, 80. Gaddi, mentioned in Pontormo's diary, 302. Galeotti, Pietro Paulo, 13, 253. Galericn Europas, 181. Galicia. See Tarnowski Collection. (tallerie Nazionali Italiana, 144. Galliera Collection, 154. Gamba, 62, 68, 143, 146, 147, 166, 169, 218, 223, 224, 237, 260, 264; ascribes "Fattore di San Marco" to Puligo, 166; ascribes "Por trait of a Youth," Panshanger, to Puligo, 224; believes a draw ing in Louvre for "Visitation," in Annunziata, 119; believes "Portrait of a Lady," Pans hanger, to be Puligo 's "Barbara Cortegiana," 224, 229; his ar ticle on Carmignano "Visita tion," 107; his opinion of draw ing of "St. Michael," 25; his opinion of "Madonna and Little St. John," Uffizi, 146; his opin ion of "Madonna and Saints," Louvre, 53, 168; his opinion of the "Venus and Cupid," Uffizi, 143. — See Disegni delle Gallerie degli Uffizi. Gamurrini, 254. Gaye, Giovanni, 53, 91, 185, 295. Gazette des beaux-arts, 81, 145, 217, 228, 231. Geisenheimer, 71, 184, 185. Genoa, Durazzo Collection, 235; Palazzo Bianco, 21, 25, 83, 154; Palazzo Brignole-Sale, 210. Gesuati, Order of, 121. Gheri, Goro, 22, 150. Ghirlandaio, Domenico, 3, 5, 22, 87. — , Ridolfo, 9, 11, 12, 124, 125, 231, 258. Giglioli, O. H., 4, 178, 200, 205. 333 INDEX Ginori, banners for the funeral of Bartolomeo, 20, 25, 255. — Collection, 233. — , Portrait of Leonardo de ', 233. Giordani, Ser Giovanni Battista, 80, 284. Giornale arcadico, 69, 259, 283. Giotto, 115. Giovanni delle Corniole, 169. Giovio, Paolo, 29, 151, 174. Girard, Joseph, 194. Giraudon. See Photographs. Giulio da Pistoia, 282. Giulio, mentioned in Pontormo's diary, 302, 304. Giulio Romano, 81, 231, 261. Giustiniani Gallery, 144. Glen, 245. "God the Father and Patriarchs" (lost), Santa Felicita, 123, 257. "God the Father" (lost), San Ruffillo, 8, 117, 254. "God the Father," Pope's Chapel, Santa Maria Novella, 8, 12, 124. Goethe, 148. Goldschmidt, 104, 107, 109, 122, 124, 126, 132, 141, 168, 176, 183, 208, 209, 217, 228, 263, 270. Gonfalone Bue, 2, 3, 272. — Chiave, 3, 57. — Nicchio, 3. Gonse, 217. Gooden and Fox, 242. Gori, Angelo, 151. Gostra, Bastiano del, 78, 264. Gowan's Art Books, 179. Grafton Galleries, 164, 166, 224. Graham Collection, 245. Granacci, Francesco, ' ' Assumption of the Virgin," Academy, Flor ence, 224; "Joseph Led away to Prison," 208; "Joseph Pre senting Jacob to Pharaoh," 208; "Life of Joseph," Palazzo Giraud-Torlonia, Rome, 232 ; "Life of Joseph," Uffizi 95, 158, 163-164; panels for Borgherini, 22, 157 ; Pontormo 's influence on, 95; "Portrait of a Woman," Panshanger, 229; work on tri umphal arches, 14. Grassis, Paris de, 134. Graves, 159, 164, 165, 212, 243, 246, 247, 248. Gray. See Photographs. Gronau, 81. Grotesques, Santa Maria Novella, 124. Gruyer, F.-A., 214, 268. Gualandi, 65, 170, 173, 280. Gualfonda, Florence, 5. Gualteretti, Portrait of Bartolommeo, 82, 227. Gualtieri. See Walter of Brienne. Guardaroba, Florence, 63, 144, 152. Guardi, lost Portrait of Francesco, 56, 259. Guasti, 258. Guedy, Theodore, 194. Guggenheim Collection, 245. Guicciardini, 7, 248. Guidiccioni, Giovanni, 69, 259. Guidobaldo della Rovere, 203. — See Portraits. Guiffrey, Jean, 228. Guiness, 115, 229. H Hadrian VI, Pope, 29. Hague, The, 83. Hamburg Museum, 132, 140. Hampton Court, 210-212; copies of "Venus and Cupid," at, 144, 211-212; "Madonna and Child," at, 210-211. Hanfstaengl. See Photographs. 334 INDEX H,#*, Collection de, 88. Hare, Leman, 213. Heidelberg, 64, 144, 171, 211. Heiss, A., 148, 205. "Hercules and Anteus, " projected fresco at Poggio, 61, 176. Hermitage. See St. Petersburg. Hertz Collection, 229. Hervey, Mary F. S., 196, 197. Hildesheim, 144, 212. Hoefle. See Photographs. Hofstede de Groot, 198. Hogarth, 212. Holbein, 85. Holford Collection, 216. "Holy Family," Budapest, 195-196. — , Santa Maria Visdomini, 17, 18-20, 22, 73, 97, 125-128; copy in Doetsch Collection of, 128, 244; date of, 20, 126 ; drawing for, 20, 30, 127; mentioned by Vasari, 126 ; painted for Francesco Pucci, 126 ; Pontormo 's original of, 127 ; shows influence of Leonardo, 18- 19, 146. Home Collection, 132. Hospital, lost fresco in the Women's, 17, 254. "Hospital of San Matteo," Academy, Florence, 6, 115. Hospital of the Innocents, Florence, 3, 4, 54, 92, 94. Houghton. See Photographs. Hutton, 165. I Ince, near Liverpool, 216. Inghirami, 152. Ingres, 85. Inventories, copies of "Venus and Cupid" mentioned in, 144. Jackson, S., 242. Jacobsen, 12H, 155, 158, 159, 169, 177, 203, 235, 236. Jacone, 66, 67, 262. Jacopo di Sandro, 14. Jacopo da Empoli. See Empoli. Jacopo da Ponte. See Ponte. Jacquemart-Andre Collection, 87, 101, 167, 224, 225-226. Jahrbiieh dir kiiniglich preussischen Kiuistsammlungcn, 59, 148, 197, 205, 208, 209, 232. Jahrbiieh der kunsthistorischen Sammlungen des Allerhochten Kaiserhauses, 151, 172, 261. Jameson, 211. Jarves Collection, 132, 147, 220-222. Jenaische Allgemeine Literatur- Zeitung, 148. Johnson Collection, 64, 65, 82, 85, 96, 170-173, 209, 227, 260. "Joseph and Potiphar 's Wife," tap estry, 70, 186 ; date of, 186 ; docu ments for, 186; mentioned by Vasari, 186; woven by Karcher, 186. "Joseph Discovering Himself to His Brethren," Panshanger, 23, 24, 162-164 ; date of, 163, 164 ; draw ings for, 23, 163, 164; painted for Borgherini, 163. "Joseph in Egypt," 21, 22, 156, 159, 163 ; date of, 21, 159 ; drawing supposed for, 159 ; iconography of, 158 ; mentioned by Vasari, 157, 159 ; painted for Borgherini, 157; portrait of Bronzino in, 25, 158 ; portraits in, 125 ; significa tion of architecture in, 158. "Joseph Sold to Potiphar," Pans hanger, 23, 165-166 ; date of, 166 ; drawings for, 23, 119, 166. 335 INDEX Joubert Sale, 145. Justi, 196-197, 204, 205. K Kaiser-Friedrich Museum, 135, 148, 149. Karcher, Nicholas, 71, 72, 184. Keir, Scotland. See Stirling Collec tion. Kenner, 151, 172, 261. Kensington. See Photographs. Kent, 127. Keuller, 185. Klassischer Bilderschatz, 181. Knapp, 105, 268. Krafft, Albrecht, 188, 237. Kugler, 144, 212. Kunstblatt, 144, 212. Kunstgeschichte in Bildern, 181. Kunstkritische Studien, 209. Lafenestre, 51, 115, 117, 179, 181, 183, 230, 231. "Lamentation of Jacob," tapestry, 70, 183-185; borrowed motives in, 72, 185; date of, 185; docu ment for, 185; mentioned by Vasari, 184 ; woven by Rost, 184. Lami, 122, 258. Lamponi Collection, 141. Landauer Collection, 234. Landon, 169, 170, 226. Landucci, 7, 28, 269. Lanfranconi Collection, 202, 246. Lanfredini, Arms of Bartolomeo, 21, 254. — , Lanfredino, 255. — , letters written by a Bartolomeo, 255. Lange-Tiibingen, 234. Lanini, Bernardino, 195. Lanna Collection, 172. Lanzi, 243, 264. Lapini, 78, 264. Lappoli, Giovann' Antonio, 25, 95, 225, 303 ; paints portrait of An tonio da Lucca, 225-226; Pon tormo's lost portrait of, 25, 44, 255; "Visitation," Palazzo Spada, perhaps by, 232. Lasalle, Collection, 246. Lasinio, 209. Lateran, 122. Law, 144, 145, 211, 212. Le Brun Collection, 153. "Leda," Museo Correr, Venice, 236. Leicester Collection, 246. Lensi, 185, 206. Leo X, Pope, 175, 256, 258; commis sions decorations at Poggio, 28, 174; elevation of, 7, 9, 13, 268, 269 ; his death, 29 ; his entry into Florence, 11, 12, 13, 14, 16, 134. Leonardo da Vinci, 90; "Battle of Anghiari," 53, 131, 132, 269; Bronzino copies a "Madonna" of, 53; cartoon of "Battle of Anghiari" studied by Pontormo, 53; copies of his "Leda," 209; drawings compared with Pon tormo's, 33; influence on Pon tormo, 6, 18, 20, 23, 26, 53, 128, 131, 146, 168, 268-269; "Ma donna and St. Anne," Louvre, 168; "Mona Lisa," 87; Pon tormo's drawings compared with those of, 94; Pontormo's por traits compared with those of, 85; portrait-drawing in Uffizi, once ascribed to, 86; "St. Je rome, " 53 ; sketches in London, Venice, and Windsor, 132 ; sketch for a "Leda," 209 ; study for the 336 INDEX "Leda," 209; visits to Florence, 267, 268. Leslie Collection, 247. Libraries. See Biblioteca. Lichtenstein Collection, 209. "Life of Joseph," Andrea del Sarto, 154. — , Bacchiacca, 159. — , Pontormo. See National Gallery ; Panshanger; Quirinal. Ligozzi, Jacopo, 223. Liphart, 244. Litta, 147, 152, 173. Loan Exhibitions, 81, 158, 163, 164, 166, 211, 214, 224. 232, 243, 244, 247, 248. Lochis. See Pinacoteca Lochis. Loeser Collection, 202. Lomazzo, 209, 238. London. See Cook Collection; Mond Collection ; National Gallery ; Northbrook Collection ; Plymouth Collection. Lorenzo di Credi, 125. Lost Pictures, Catalogue of, 253-264. Lothian Collection, 233. Louis XIV, Collection of, 83. Louvre, copy of "Joseph in Egypt," 159; copy of "Visitation," An nunziata, 119, 226; drawing by Andrea, 16; drawing by Michel angelo, 134; drawings by Pon tormo, 69; "Madonna and Saints," 51-53, 54, 55, 167-169; date of same, 51-52, 168; draw ing for same, 52, 168-169; "Mar riage of St. Catherine," Fra Bartolommeo, 118; "Portrait of a Man," Zacchia, 98; "Portrait of Precious-Stone Engraver, ' ' 83, 105, 169-170; Rubens' drawing of "Battle of Anghiari," 132. Lowy. See Photographs. Lucarini, 146. Lucca, 56; "Portrait of a Youth" in, 57, 84, 159-160. "Lucretia," Borghese, 85, 179; date of, 179. Lucretia, mentioned in Pontormo's diary, 300. Lyons, Musee, 215. M Mclhlenny Collection, 227. Macquoid, 243. "Madonna": drawing for a, 20; for funeral banners of Ginori, 20, 25, 255; (lost), found in Pon tormo's house after his death, 262; (lost), given by Cosimo I to a Spaniard, 261; (lost), given to Rossino, 260; (lost), men tioned in Inventory of Guarda roba, 264; (lost), once owned by Alessandro d' Ottaviano de' Medici, 260; (lost), once owned by Carlo Panciatichi, 264; (lost), painted for Alessandro Neroni, 256; (lost), painted for Capponi, 128, 257; (lost), painted for certain Spaniards, 257. "Madonna and Little St. John," Corsini Gallery, No. 141, Flor ence, 52, 129. — , Corsini Gallery, No. 185, Florence, 129, 130. — , Farinola Collection, 20, 128, 146. — , Uffizi, 53, 145-146 ; date of, 146. "Madonna and Saints," Citta, di Cas tello, 95. — Louvre, 52, 53, 54, 55, 167-169; date of, 51, 53, 168 ; drawing for, 52, 168; meaning of medallion in, 51, 168 ; mentioned by Vasari, 51, 168, 169. 337 INDEX "Madonna and Saints," San Luca Chapel, Annunziata, 6, 7, 8, 12, 15, 117; date of, 117; drawings for, 8, 117; "God the Father," once part of, 254; mentioned by Vasari, 7, 117. "Madonna Enthroned," Uffizi, 20, 139; date of, 20, 129; drawings for, 20, 139. Madrid, Prado, "Holy Family," as cribed to Pontormo, 215-216; "Madonna," ascribed to Pon tormo, 216. "Magdalen," drawing for a, 50. Mailand Collection, 153. Malespina, Giulia, 171, 281. — , Rieciarda, 171. — , Taddea, 64, 65, 171, 280-281. Mancciueea Collection, 283. Manchester, 163, 211, 222. Manni, 263. Manuscripts containing miniatures of Cosimo il Vecchio, 148. Manutius, 175. Marcantonio Raimondi, 38, 61. Marcellus II, Pope. See "Portrait of Spannoechi Cervini." Marchese, 268. Marchese del Vasto. See Davolo. Marcillac, Guglielmo da, 121. Maria Maddalena, Archduchess, 19, 126. Maria, mentioned in Pontormo's diary, 94, 300. Mariette, 127, 128. Marignolle, mentioned in Pontormo's diary, 303. "Marriage of St. Catherine," Dres den, 139. Martini, Luca, mentioned in Pon tormo's diary, 93, 297, 300, 304. "Martyrdom of St. Maurice," Pitti, 53, 54, 55, 56, 72, 131-132, 208; copy in Jarves Collection, 132, 221; date of, 54, 132; drawing for, 132; drawing for a variant of, 54, 140; influenced by Leon ardo, 53, 269; influenced by Michelangelo, 53, 55; mentioned by Vasari, 54, 131; painted for the women of the Innocents, 131 ; variant in the Uffizi, 131. — Uffizi, 54, 55, 132, 139-140, 141; mentioned by Vasari, 54, 140; painted for Carlo Neroni, 140, 141, 259; variant in the Pitti, 54-55, 140. "Martyrdom of San Lorenzo," lost drawing for, 263. "Martyrdom of the Theban Legion." See Martyrdom of St. Maurice. Masaccio, 77, 270. Mason Perkins, 199, 223. Mechel, 237. Medals of Alessandro de' Medici, 172, 173. — of Cosimo il Vecchio, 147, 148, 149. Medici, 29, 37, 56, 137, 162, 214; account-books of, 78; chapel in San Lorenzo, 78. — , Alessandro de ', 51, 52, 58, 64, 65, 66, 172, 173, 258, 262, 280-282; portraits of, 64, 65, 68, 82, 85, 96, 170-173, 203, 258, 260, 280-282. — , Alessandro d' Ottaviano de', 150, 260, 261. — , Cosimo I de', 13, 52, 58, 66, 67, 74, 146, 147, 170, 220, 255, 261, 280; Bronzino's portrait of, 96; Bronzino's portrait of the chil dren of, 96; fosters tapestry weaving in Florence, 70, 71; Jarves copy of Pontormo's por trait of, 147; letter to Bronzino, 91; mentioned in Pontormo's diary, 93, 297, 306; orders San 338 INDEX Lorenzo frescoes, 78 ; Pontormo 's portraits of, 146. Medici, Cosimo il Vecchio de', 147, 149, 205-206, 260 ; cameo-portrait of, 150; Colworth portrait of, 243; medals of, 147-148, 149; miniatures of, 149 ; Pontormo 's portrait of, 25, 82, 83, 147-152; portrait-relief by Del Tadda of, 150; portraits of, 149-151, 152; terra-cotta portrait-relief of, 150. — , Ferdinando I de ', 64, 170. — Francesco de', 157, 163, 233, 280. — Giuliano de', 7, 13, 159, 253. — , Giulio d'Alessandro de', 170, 171, 281. — , Giulio de' (Clement VII), 28, 58, 61, 64, 65, 171, 174. — , Ippolito de', 51, 52, 204; Bron zino's "Guidobaldo della Ro- vere" confused with Pontormo's portrait of, 203 ; lost portrait of, 247, 258; Titian's portrait of, 204. — , Leopoldo de', 295. — , Lorenzino de', 13, 22, 28, 148, 150, 253. — Ottaviano de', 28, 58, 145, 171, 175, 261. —, Piero de', 149. — , Tanay de', 185. — , Tommaso de', 281. Medici, Uld., 129, 203. Medici e Speziali, 57, 284. Meini, Vincenzo, 119. Mendoza, Don Diego de, 145. Methuen Collection, 81, 247. Meyer, Heinrich, 148. Michelangelo Buonarotti, 90, 210; "Battle of the Cascina," 18, 23, 38, 246; cartoon for lost "Noli me tangere," 60, 62, 259; car toon for "Venus and Cupid," 62, 142 ; drawings by, 36, 60, 69, 122, 123, 144, 153, 179, 270; "Entombment," 213; "Holy Family," 72, 129; influence on: Bronzino, 97; Florentine School, 37, 94; Pontormo, 12, 1H, 26, 31, 32, 35, 36, 37, 38, 42, 52, 53-54, 55, 59, 60, 61, 62, 68, 69, 70, 72, 73, 74, 77, 78, 8H, 131 ; "Leda," 236; Naldini 's drawings con fused with those of, 97 ; personal contact with Pontormo, 60, 142; "Phsethon," 60; Pontormo's drawings compared with those of, 94; praises "Faith and Char ity," 116; San Lorenzo Tombs, 60, 61, 68; selects Pontormo to paint "Noli me tangere," 259- 260; selects Pontormo to paint ' ' Venus and Cupid, " 62 ; Sixtine ceiling, 33, 35, 36, 42, 69; "Tity- rus," 60; "Venus and Cupid," once ascribed to, 211. Michelozzo, 148. Migliore, Filippo del, 48, 116, 117, 119, 122, 126, 128, 258, 264. Milan. See Trivulzio Collection. Milanesi, 104, 143, 144, 184, 261; ascribes "Assumption," Annun ziata, to Pontormo, 119, 200; believes Capponi "Deposition" has been cleaned, 121 ; confuses Granacci 's "Life of Joseph" with Pontormo's, 163; copies of "Venus and Cupid" mentioned by, 144; identifies Chiazzella with Sguazzella, 80; mentions stained glass window, Capponi Chapel, 121; on Borgherini panels, 157, 163; on Bronzino's copy of a "Madonna" by Leon ardo, 53 ; on Carro della Zecca, 14, 138; on contest for Pon- 339 INDEX tormo 's property, 80 ; on date of "Supper at Emmaus," 41; on "Holy Family," Visdomini, 126; on inscription in San Lorenzo, 4; on lost "Sant 'Agostino," 256; on "Madonna and Saints," Louvre, 51, 168; on "Pieta," Academy, 199; on Pontormo's journey to Rome, 69; on "Por trait of Guidiccioni, " 259; on supposed portrait of Ippolito, in Pitti, 204; on "Venus and Cupid," 63, 145; on "Visita tion," Annunziata, 16. Milizia, II, 264. Mini, Antonio, 69. Mireur, 145, 241, 245, 246, 248. Moise, F., 151, 280. Molini, 152, 208, 209. Monaco, 218. "Mona Lisa," Pontormo's portraits compared with, 87. Monatshefte fur Kunstwissenschaft, 134, 201, 218. Mond Collection, 156. Montanti Chapel, Annunziata, 81. Montault, Barbier de, 231. Monte Cimino, 65. Monte di Pieta, 141; mentioned in Pontormo's diary, 302. Monte Imperiale, villa of, 59. Montelupo, 3. — , Baccio da, 14, 254. Montemurlo, battle of, 66, 98, 261. Monte Oliveto, mentioned in Pon tormo's diary, 93, 300. Monte Pilli, 1, 2, 271. Montorsoli, 79. Montpellier, Musee, 216-217. Monzies, 153. Morelli, 102, 122, 128, 134, 179, 180, 181, 183, 206, 216, 218; ascribes: "Holy Family," Vienna, to Bugiardini, 236; "Lucretia," Borghese, to Bronzino, 179; at tributes to Pontormo: Munich "Madonna and Child," 217; "Portrait of Cardinal Span noechi Cervini," 86, 180; "Por trait of Cesare Borgia," 231; ' ' Portrait of Cosimo il Vecchio, ' ' Palazzo Vecchio, 205. — Collection. See Bergamo. Moreni, Domenico, 4, 74, 75, 79, 80, 108, 113, 119, 134, 257, 262, 263, 264, 287. Moriana, family of the della, 3, 273. Moro, Antonio, 87, 196. Moscioni. See Photographs. "Moses Receiving the Tables of the Law," 75, 76, 263. Miiller-Walde, 209. Munich, 112; copy of a lost "Ma donna" at, 217-218, 223. — See RShrer Collection. Miintz, 81, 132, 134, 141, 148, 149, 151, 159, 169, 170, 181, 185, 208, 209, 213. Murray, C. Fairfax, 214. Musee Calvet, Avignon, 194. Museo Nazionale. See Bargello. Museum Mazzuchelli, 148. Muziano, 201. N ' ' Nailing to Cross, ' ' projected at Certosa, 43, 113. Naldini, Battista : draughtsmanship, 23, 97; drawings confused with Andrea's, 97; with Michelan gelo's, 97; with Pontormo's, 97; helps Vasari, 97; imitates Pon tormo, 97, 98; life with Pon tormo, 92; "Madonna," in Bos ton, 195; mentioned in Pontor- 340 INDEX mo's diary, 298, 299, 300, 301, 303; pupil of Pontormo, 97. Naples, Museo Nazionale, "A Cardi nal," 218; copies of "Venus and Cupid," 143, 144, 219, 220; copy of Raphael's "Portrait of Leo X," 261; "Madonna and Angels," 219; "Portrait of a Woman," 219; "Portrait of Two Architects," 219; "Tibal- deo," 237. Napoleon, 168. Nardi, Jacopo, 7, 13, 66, 253. National Gallery, London, 83, 213- 214; Bacchiacca s "Life of Jo seph," 159; "Joseph in Egypt," 21, 156-159 ; Michelangelo s ' ' En tombment," 213: "Portrait of a Boy," 213; "Portrait of a Cardinal," 214; "Portrait of a Man," 214. "Nativity" (lost), painted for Cer tosa, 41, 113, 257. Necrologia della Grascia, 3. Neoustroieff, 201. Nerli, 28, 45. Neroni, Alessandro, 256. — , Carlo, 54, 131, 259. Nesius, Iohann, 149. Nesselrode Collection, 172. New Haven. See Jarves Collection. New Jersey. See Piatt Collection, Englewood. New York, 151, 222, 223, 231. Niccolini Chapel, San Proculo, Flor ence, 207. Niccolo da Magna. See Schomberg. Nichols Collection, 247. Nicolaus Florentinus, 148, 149. Nicolle, 228. "Noli me tangere" (lost), for Ales sandro Vitelli, 62, 260. — (lost) for Davolo, 56, 60, 259-260; copies of, 260; date of, 260; documents for, 260; Michel angelo's cartoon for, 62, 259. — See Michelangelo. Notai Nobili, de, 3. Northbrook Collection, 196, 211, 214- 215. Northumberland Collection, 193, 247. "Nudes Playing at Calcio, " pro jected for Poggio, 61, 62, 173, 176. Nuremberg, 112. O Ober St. Veit, near Vienna, 53, 168. Oldenburg, 86, 161-162, 235. On Certain Drawings. See Clapp. Onken. See Photographs. Oppler Collection, 209. Orlandini Collection, 149. Orleans, Collection d', 172, 209. Osservanti, Borgo San Sepolcro, 21, 105, 106. Ottaviano, mentioned in Pontormo's diary, 94, 296, 300, 301, 302, 303, 304. Ovid, 29, 175. Oxford, Christ Church, 121. — , University Galleries, 132. — , Watney Collection, 223. Paggi, 151. Paghanelli, Antonio, 47, 120. — , Bernardo, 47, 120. Pagni, Cristiano, 71, 184. Pagolo, il Rosso, mentioned in Pon tormo's diary, 300. Palazzo Albani, Urbino, 205. — Barberini, Rome, 144, 182-183. — Bianco, Genoa, 21, 25, 83, 96, 154- 155. — Capponi delle Rovinate, 121. 341 INDEX Palazzo Capponi, Farinola Collection, 128. — Corsini, Florence, 129-130, 202- 203, 246. — Corsini, Rome, 17, 32, 33, 42, 43, 48, 85, 112, 121, 127, 132, 176, 182, 214, 255. — Davanzati, Florence, 57, 130, 242. — del Podesta, Florence, 14. — del Quirinale. See Quirinal. — Farnese, Rome, 219, 220. — Giraud-Torlonia, Rome, 231-232. — Pazzi, Florence, 65, 171. — Pitti, 22, 23, 25, 53, 59, 81, 95, 97, 132-136, 180, 207; "Adoration of the Magi," 23-24, 135-136; Andrea ' s "Madonna and Saints," 255; "Martyrdom of St. Maurice," 53, 54, 55, 56, 72, 131-132, 208; "Portrait of a Man," 85, 133-134; "Portrait of Cosimo I," ascribed to Bron zino, 221; "Portrait of Guido baldo della Rovere," 203-205, 258 ; Rosso 's altar-piece, 94 ; " St. Anthony," 132-133; "The Three Fates," Rosso, 203; "Tobias and Angel," 232. — Ricasoli, Florence, 166. — Rospigliosi, Rome, 233. — Spada, Rome, 232-233. — Strozzi, Florence, 202. — Torrigiani, Florence, 258. — Vecchio, Florence, 95, 232 ; Camera di Cosimo il Vecchio, 151; Cap pella della Signoria, 124, 125; Carro della Zecca, 14, 136-139; Chapel of Eleonora, 97; Chapel of Leo X, 151, 205-206, 221; "Portrait of Cosimo I," 206; ' ' Portrait of Cosimo il Vecchio, ' ' 205-206; Quartiere di Leone X, 261; Sala de' Dugento, 70, 71, 184; Sala di Clemente VII, 172; Sala di Cosimo I, 146; Salotto della Duchessa, 142 ; Ufficio delle Belle Arti, 41, 108, 109, 112, 115, 136-139, 206; Vasari's frescoes, 97, 133, 261. Palermo, Museo Nazionale, 223. Palla, Giovambattista della, 22, 55- 56, 163, 258, 259. "Pallas Tuning Her Instrument," 14. Panciatichi, Bartolomeo, 257; Bron zino's portrait of, 85. — , Carlo, 257. Panshanger, Collection of Lady Des borough, 21, 24, 223-224; "Baker Led out to Execution," 23, 164- 165; "Fattore di San Marco," 166; "Joseph Discovering Him self to His Brethren," 23, 162- 164; "Joseph Sold to Potiphar," 23, 119, 165-166; "Portrait of a Lady," 224, 229; "Portrait of a Youth," 223, 224. Paolino da Pistoia, Fra, 268. Paris. See Jacquemart-Andre Col lection; Louvre. Parma, Palazzo del Giardino, 219, 220. Parsons, 244. Pasquale di Zenobi, 4. Passavant, 81, 181, 217. Passerini, 51, 169, 204. Pastermo, 69, 259, 283. Pelagi, G., 254. Perazzi. See Photographs. Perfetti, Antonio, 152. Perkins. See Mason Perkins. Perugino, 210, 238. Pesaro, 59. Petit, Georges, 248. Petrarca, mentioned in Pontormo's diary, 304. 342 INDEX Petrarch, 1, 142. Philadelphia. See Johnson Collec tion ; Mclhlenny Collection ; Wanamaker Collection; Widener Collection. Phillips, Sir Claude, 23, 164, 165. Philpots. See Photographs. Photographs. Alinari, 95, 107, 115, 116, 119, 122, 127, 128, 130, 132, 133, 134, 136, 145, 146, 147, 150, 151, 152, 160, 172, 176, 177, 181, 200, 201, 202, 203, 205, 206, 207, 210, 228, 236, 237, 261, 263. -Anderson, 152, 161, 181, 219, 229, 231, 232, 233, 255. — Braun, 119, 127, 132, 136, 145. 153, 166, 168, 169, 170, 181, 200, 205, 206, 208, 213, 216, 224, 226, 229, 237, 263. — Brogi, 129, 132, 133, 134, 136, 141, 145, 152, 155, 179, 201, 205, 206, 208, 209, 219, 220, 235, 237, 238. — Bruckmann, 153, 188, 198, 213, 218, 236. — Bulloz, 167, 226. — Chappel Studio, 227. — Clapp, 104, 106, 107, 108, 109, 110, 112, 113, 114, 117, 119, 121, 122, 123, 127, 132, 136, 137, 138, 139, 140, 141, 155, 164, 166, 168, 176, 177, 178, 179, 183, 187, 206, 208, 255, 258, 259, 262, 263. — Ehrich Galleries, 222. — Giraudon, 119. — Gray, 213, 224. — Hanfstaengl, 115, 117, 159, 196, 197. — Hoefle, 234. — Houghton, 106, 113, 119, 121, 123, 127, 136, 165, 176, 177, 178, 259, 263. — Istituto d'Arti Grafiche, 102. — Kensington, 123. — Lbwy, 237. — Moscioni, 179, 182, 230, 231. — Onken, 162. — Perazzi, 124, 146, 147, 178, 179. — Philpots, 107. — Pini, 122, 127, 168, 176, 178, 262, 263. — Randall, 221, 222. — Reali, 81, 107, 115, 193, 223. — Taramelli, 102. — University Prints, 152. Piazza dell 'Olio, Florence, 7. Pichi, Giovanmaria, 21, 44, 95, 105, 225. Pieraccini, 115, 200. Pier di Cosimo, 6, 14, 22, 26, 83, 232, 267, 269. Pierfrancesco di Jacopo, 66, 232, 262. Pierin del Vaga, 181. Piero, mentioned in Pontormo's diary, 93, 297, 298, 300, 301, 302, 303, 304. Pieroni, Alessandro, 150. "Pieta," Academy, Florence, as cribed to Pontormo, 199-200. — , Certosa, Florence, 111-112 ; date of, 112; drawings for, 42, 112; mentioned by Vasari, 111. — , drawing for a lost, 16, 29. — for merchants of Ragusa (lost), 256. — for the monks of San Gallo (lost), 16-17, 256. Pietro, Filippo di, 177. Pinacoteca Lochis, 194. Pinadori, family of the, 55, 106. Pini. See Photographs. Piombo, Sebastiano del, 81, 145, 153, 201, 234. Pippo Spano, frescoes of the life of, 66. Pisa, 56, 66, 93. Pitti, Andrea, 55. 343 INDEX Pitti, Buonaccorso, 168. — See Palazzo Pitti. Piatt Collection, 198-199. Plymouth, Collection of the Earl of, 215. Poccetti, Bernardino, 151. Poggiali, Gaetano, 295. Poggio a Cajano, frescoes projected for, 34, 58-59, 61, 62, 64, 89, 175- 176, 237. — , lunette in the villa of, 27, 28-36, 37, 38, 41, 45, 59, 61, 73, 94, 173- 177, 228 ; date of, 176 ; drawings for, 30-36, 43, 176 ; mentioned by Vasari, 28, 29, 177. Polydorus, 181. "Pomona" (lost), for Filippo del Migliore, 48, 258; possible draw ing for, 48, 258. "Pomona and Vertumnus." See Poggio a Cajano (lunette). Ponte alia Carraia, 21. — Santa Trinita, 21. Ponte, Jacopo da, 170. Pontormo, Jacopo da: "Adoration of the Magi," 72, 81, 135-136, 185; age, 4, 80; "Annunciation," Capponi Chapel, 46, 122; ap prenticeship, 5, 6, 8, 267-270; "Arms of Leo X," 10, 11; "Arms of the Lanfredini," 21, 254-255 ; "Baker Led out to Exe cution," 23, 164-165; birth, 4; ' ' Birth-plate, ' ' Palazzo Davan zati, 130; "Birth-plate," Uffizi, 140-141; Carro della Zecca, 14, 136-139 ; Certosa frescoes, 39, 41, 44, 46, 98, 107-114; character, 6, 38, 89, 91; childhood, 4, 6; contribution to portraiture, 87; death, 4, 79; decorations of the Capponi Chapel, 46, 47, 48, 49, 120-123; decorative gift, 26; "Deposition," Capponi Chapel, 45, 72, 120-122 ; designs for tap estries, 71, 183-187; diary, 40, 91, 92, 268, 295-318; dislike of collaborators, 44, 67; drawings, 23, 33, 34, 61, 63, 81, 85, 97, 169, 295 ; enrolled in the Company of San Luca, 57, 279; enrolled in the Medici e Speziali, 57, 279; "Evangelists," Santa Felicita, 46, 122-123; "Faith and Char ity," Annunziata, 10, 116, 269; family, 1-2, 267; "Fattore di San Marco," 166; food, 93; forerunner of the Seicento, 50; friends, 93 ; funeral, 79 ; German manner, 39, 104; "God the Father," Santa Maria Novella, 124, 270; "Holy Family," San Michele Visdomini, 17, 18-20, 22, 73, 97, 125-128; "Hospital of San Matteo," 6, 115; house, 57, 68, 90; illnesses, 93; imitators of, 94, 95 ; influence : on Andrea, 95; on Andrea Boscoli, 98; on art, 94; on Bacchiacca, 95; on Bronzino, 96, 97 ; on Bugiardini, 95 ; on Cigoli, 98 ; on Empoli, 98 ; on Granacci, 95 ; on Naldini, 97- 98; on portraiture, 87, 88; on Rosso, 94; on Stradano, 98; on Vasari, 95, 205 ; on Zacchia, 98 ; influenced : by Albertinelli, 8, 11, 12, 15, 26, 268 ; by Andrea, 8, 11, 15, 17, 18, 19, 20, 22, 23, 24, 26, 37, 77, 94-95, 118, 169; by Durer, 38, 39, 40, 41, 42, 43, 45, 46, 47, 52, 55, 106, 107, 109, 110, 111, 113, 114, 129, 168, 258; by Fra Bartolommeo, 8, 53, 168; by Leonardo, 18, 19, 20, 23, 26, 53, 128, 168, 268-269 ; by Michel angelo, 12, 18, 26, 31, 32, 35, 36, 344 INDEX 37, 38, 42, 52, 53-54, 55, 59, 60, 61, 62, 68, 69, 70, 72, 73, 74, 77, 78, 131; by Pier di Cosimo, 26, 83; "Joseph Discovering Him self to His Brethren," 23, 24, 162-164; "Joseph in Egypt," 21, 22, 166-169; "Joseph Sold to Potiphar," 23, 165-166; journey to Rome, 69, 181; letter to Varchi, 89, 285-286; lost "An nunciation," 267; lost frescoes at Careggi, 65-66, 67, 263; lost frescoes at Castello, 67-68, 262- 263; lost frescoes in San Lo renzo, 70, 71, 74, 75, 76, 77, 78, 79, 86, 90, 94, 95, 263-264, 295, 296, 297, 298, 299, 300, 301, 302, 303, 304, 306; lost "God the Father," San Ruffillo, 117; lost "God the Father," Santa Felieita, 46, 123; lost "Nativity," 113; lost "Noli me tangere," 56, 60, 259-260; lost "predella" for "San Gallo Annunciation," 270; lost "Rais ing of Lazarus, ' ' 55, 56, 258-259 ; "Lucretia," Borghese, 85, 179; "Madonna and Saints," Louvre, 51, 53, 55, 167-169; "Madonna and Saints," San Luca, Annun ziata, 117, 268, 270; "Madonna Enthroned," Uffizi, 20, 139; ' ' Madonna, ' ' Farinola Collection, 20, 128, 146; "Madonna," Pal azzo Corsini, Florence, 129-130, 145-146; manner of life, 57, 73, 90, 92, 93, 94; "Martyrdom of St. Maurice," 53, 55, 131-132, 139-140, 269 ; opinions on art, 37, 43, 59, 77, 89, 90, 285-286; por traits, 25, 41, 44, 57, 64, 68, 69, 80-81, 82-88, 94, 96, 101, 102, 103, 104-105, 107, 113, 133-134, 141, 146-155, 159-162, 167, 169- 173, 180-181, 182, 188-189, 198, 205, 229-230; property, 80; pupils, 94-95, 225; "Pygmalion and Galatea," 56, 182-1H3; re lations: with Andrea, 269; with Certosa, 39, 40, 44; with Hospital of Innocents, 72; with Michel angelo, 259-260; with Naldini, 92; with Vasari, 95, 171; "St. Anthony," Pitti, 132-133; "St. John Evangelist," Pontormo, 24, 178-179; "St. Michael," Pon tormo, 24, 177-178; "St. Quen tin," 22, 44, 105, 106, 109; "Santa Veronica," 6, 12, 123- 125, 270; sonnets on his death, 80, 287-293; studies "Battle of the Cascina," 18, 23; studies Masaccio, 270; studies Pier di Cosimo, 269 ; studies Sixtine ceil ing, 35-36; "Supper at Em maus," 41, 98, 114-115; tribute to Michelangelo, 286; under standing of Michelangelo's art, 34, 62, 73; "Venus and Cupid," 142-145, 286; "Visitation," An nunziata, 15-16, 117-119; "Visi tation," Carmignano, 55, 106- 107; way-side shrine, Boldrone, 45, 103-104 ; work at Poggio, 28, 31, 32, 33, 35, 36, 37, 38, 41, 45, 58, 173-177; work on cars of Broncone, 13, 253-254; work on cars of Diamante, 13, 253 ; works found in his house at his death, 80. Pontormo, memorial tablet to, 80. — , portraits of, 81, 247, 248. — , village of, 3, 6, 11, 177. Pope's Chapel. See Santa Maria Novella. Porcacchi, Tommaso, 290. Porta a Faenza, Florence, 10, 116. 345 INDEX Porta, Fra Bartolommeo della, 6, 8, 53, 98, 118, 168, 268. Porta Prato, Florence, 302. — Romana, Florence, 107. — San Frediano, Florence, 51, 168. — San Gallo, Florence, 16, 256. Portrait-drawings, 25-26, 49, 82, 84, 85, 86, 96, 154. Portraits : of a boy, National Gallery, ascribed to Pontormo, 213; of a boy, Trivulzio Collection, 84, 160-161; of a lady, Jacquemart- Andre Collection, 87, 101, 167; of a lady, Oldenburg, 86, 161- 162; of a lady, Tamowski Col lection, ascribed to Pontormo, 198; of a lady, Turin, ascribed to Pontormo, 235; of a lay brother (lost), 113, 257; of Alessandro de' Medici, 64, 65, 68, 82, 85, 96, 170-173, 203, 258, 260, 280-282 ; of a man, Palazzo Corsini, Rome, 85, 182; of a man, Pitti, 133-134; of a man, Piatt Collection, ascribed to Pontormo, 199 ; of a man, Uffizi, 57, 84, 141, 259; of Amerigo Antinori (lost), 64, 260; of an engraver of precious stones, Louvre, 82, 105, 169-170; of Anna Strozzi, by Bronzino, ' 96 ; of an old lady, Vienna, 87, 107, 188; of Ardinghelli (lost), 258; of a woman, Panshanger, by Granacci, 229; of a young woman, Dirksen Collection, 85, 103; of a young woman, Stadel Institute, 85, 103, 152-154; of a young woman, Widener Collec tion, 86, 101 ; of a young woman, Yerkes Collection, 86, 96, 188- 189; of a youth, Bergamo, 57, 84, 102; of a youth, Bonn, 83, 104-105 ; of a youth, Jacquemart- Andre Collection, ascribed to Pontormo, 225-226; of a youth, Lucca, 57, 84, 159-160; of a youth, Palazzo Bianco, Genoa, 21, 25, 83, 96, 154-155; of Bar bara Cortegiana, St. Petersburg, ascribed to Pontormo, 224, 229; of Bartolomeo Compagni, 86, 155; of Becuccio Biccheraio's son-in-law (lost), 25, 255; of Capponi 's daughter (lost), 50, 257; of Cardinal Spannoechi Cervini, 69, 86, 180-181 ; of Carlo Neroni (lost), 259; of Cosimo I, 68, 180, 220-221; of Cosimo il Vecchio, 21-22, 25, 82, 83, 147- 152, 173, 205; of Francesco Guardi (lost), 259; of Giulio de' Medici (lost), 261; of Gualte- retti ascribed to Pontormo, 227; of Guidiccioni (lost), 259; of Guidobaldo della Rovere, by Bronzino, 203-205; of Ippolito de' Medici (lost), 258; of Lap poli (lost), 255; of Maria Sal viati (lost), 68, 261; of the Fat tore di San Marco, Panshanger, 166; of Vittoria Colonna as cribed to Pontormo, 201; of Young Cosimo I, 146-147. Pourtales Collection, 153. Poynter, 159, 213, 214. Pozzo, Cassiano del, 209. Prato Ognissanti, mentioned in Pon tormo 's diary, 303. ' ' Presentation in the Temple, ' ' Dijon, 95. Priorista di Monaldi, 1, 2, 130, 271. Provinzial Museum. See Bonn. Public Guardians. See Pupilli. Pucci, Antonio, 28. Pucci family, 126. 346 INDEX Pucci, Francesco, 19, 126. — , Giovanni d'Antonio, 126. — , Lorenzo, mentioned in Pontormo 's diary, 94, 303. Puligo, Domenico, 166, 207, 215, 224, 229. Pulzone, Scipione, 214, 232. Pupilli, 6, 274. "Pygmalion and Galatea," Palazzo Barberini, Rome, 56, 182-183. Q Quarto, 104. Quattrocento, 87. Quirinal, Rome, 70, 72, 183-185, 186- 187. R Raffaellino del Garbo, 95. Raffaello da Colle, 187. "Raising of Lazarus" (lost), 55, 56, 258-259; date of, 56, 259; men tioned by Vasari, 55; possible drawing for, 56, 259. Randall. See Photographs. Raphael, 5, 61, 81, 86, 132, 180, 181, 205, 209, 253, 261, 267. Rassegna d'arte, 64, 98, 119, 173, 189, 199, 218, 223, 237. Reali. See Photographs. Reber, von, 218. Regia Pinacoteca. See Turin. Registro dei Battezzati, 21. Reinach, Salomon, 102, 181, 214, 234, 244, 248. Reiset, 264. — Collection, 81, 248. Renouvier, 217. Repertoire. See Reinach. Bepertorium, 91, 128, 148, 159, 169, 177, 236, 295. "Resurrection," drawings for, 76, 263. Revue de I' art ancien et moderne, 228. Rezzonico Collection, 248. Riccardi Collection, 153. Ricci, Seymour de, 51, 168, 169, 170, 226. Richa, 8, 10, 15, 19, 51, 75, 79, 116, 117, 119, 121, 122, 126, 128, 131, 132, 168, 169, 199, 207, 256, 264. Richter, J. P., 21, 126, 156, 158, 159, 213. Rieffel, 234. Rigoni, 185. Rinaldis, Aldo de, 218, 219, 220, 261. Riposo. See Borghini (Raffaello). Ris, de, 215. "Risen Christ," Certosa, 42, 112-113. Ristretto, 119, 122, 128. Rivista d'arte, 64, 68, 107, 147, 166, 171, 173, 176, 178, 179, 205, 206, 224, 228, 229, 280. Rohrer Collection, 218. Rome, Pontormo's drawings of an tiquities of, 69. — See Borghese Gallery ; Corsini Gal lery; Palazzo Farnese; Palazzo Giraud-Torlonia ; Palazzo Ros- pigliosi; Palazzo Spada; Quiri nal. Romena, chapel of the da, Santa Maria Maddalena de' Pazzi, 207. Roselli family, 157. Rosenberg, 81. Rosini, 152, 264. Rospigliosi. See Palazzo Rospigliosi. Rossellino, 25. Rossi, Giovan Gherardo de', 158. Rossino, 260. Rosso, 9, 14, 94, 129, 139, 238, 253, 270 ; altar-piece in Pitti, 94, 154- 155; "Assumption," Annun ziata, 119, 200; "Deposition," Volterra, 94, 238; influenced by 347 INDEX Pontormo, 94; "Marriage of St. Catherine," San Lorenzo, Flor ence, 94; "The Three Fates," Pitti, 203. Rost, Giovanni, 71, 72, 184. Rothschild Collection, 209. Rovere, Portrait of Guidobaldo della, 59, 203, 205, 258. Royal Academy, Loan Exhibitions, 81, 243, 247, 248. Rubens, 132. Ruble Collection, 209. Riidiger, W., 13. Rusconi, 181. Rustici, Giovan Francesco, 14, 69. "Sacrifice of Cain and Death of Abel," drawing of, 75, 263. St. Anne, convent of, 51, 168. "St. Anthony," Pitti, 132-133; date of, 133. "St. Bartholomew" for Ginori 's funeral banners, 25, 255. St. Catherine of Siena, convent of, 254. "St. Jerome," drawing of, 53. "St. John," Carro della Zecca, 138. "St. John Evangelist," Pontormo, 24, 178-179; date of, 179; drawing for, 24, 178; mentioned by Va sari, 178. St. Louis, Museum, 87. "St. Matthew," Carro della Zecca, 137. "St. Michael," Pontormo, 24, 177- 178; date of, 178; drawings for, 24-25, 178 ; mentioned by Vasari, 178. St. Petersburg, Hermitage, "Santa Barbara," 228-229; "Holy Fam ily," 228. "St. Quentin," Borgo San Sepolcro, 21, 44, 105, 106, 109; date of, 21, 106; drawing for, 44, 106; mentioned by Vasari, 105-106. "St. Zenobius," Carro della Zecca, 137. Sala del Papa, 53. Sale X., 145. Salviati, Francesco, 75, 78, 144, 145, 184-185, 213, 218; cartoons for tapestries, 70, 184; "Portrait of a Boy," Poldi-Pezzoli, 237; "Portrait of a Man," Colonna Gallery, Rome, 237; "Portrait of a Man," Corsini Gallery, Florence, 237; "Portrait of a Man," Piatt Collection, 199; "Portrait of a Youth," Uffizi, 237; "Portrait of a Youth," Vienna, 237; "Portrait of Him self," Uffizi, 237; "Tibaldeo," Naples, 237. — , lost Arms of Giovanni, 17, 256. — , Maria, 67 ; lost portrait of, 68, 261. — , Piero, 80, 262. Salvini, Salvino, 258. Salvio, painter to Cavalier Somo, 171, 281. San Domenico, mentioned in Pon tormo's diary, 93, 300. Sandrino, mentioned in Pontormo's diary, 93, 302, 303. San Francesco, Borgo San Sepolcro, 105. — , Florence, mentioned in Pontor mo 's diary, 298, 304. San Gallo, Aristotile da, 14. San Giovanni, arms of the, 130. San Lorenzo, Florence, Archives of, 78. — /'Assumption of the Virgin" in, 207. 348 INDEX San Lorenzo, Bronzino finishes Pon tormo's frescoes in, 79, 263. — , drawing by Bronzino for the "Deluge" in, 79. — , lost frescoes in : 70, 71, 74, 75, 76, 77, 78, 79, 86, 90, 94, 95, 263-264 date of, 78-79, 263 ; drawings for 71, 72, 75, 76, 77, 185, 263 ; men tioned by Vasari, 74, 78, 79, 264 mentioned in Pontormo's diary 79, 91, 92, 263, 295, 296, 297, 298 299, 300, 301, 302, 303, 304, 306 no documents for, 78, 264; sym bolism of, 77, 94. — , memorial tablet in, 4, 80 ; Michel angelo 's tombs in, 59 ; Ottaviano de' Medici buried in, 94; relief of Cosimo il Vecchio in, 150; Rosso 's "Marriage of St. Cathe rine" in, 94. San Lorenzo a Galuzzo. See Certosa. San Lorenzo al Monte. See Certosa. San Luca Chapel, Annunziata, in scription on the vault of, 79. — See "Madonna and Saints." San Marco, Florence, 150. — , Piazza di, Florence, 254. San Michele, Pontormo, 4, 24, 177- 179. San Michele Visdomini, Florence, "Holy Family" in, 6, 17, 18-20, 22, 73, 125-128, 146. San Miniato, mentioned in Pontor mo's diary, 93, 300, 304. San Pancrazio, Florence, 2, 272. San Proculo, Florence, 207. San Remigio, Florence, 2, 272. San Ruffillo. See "Madonna and Saints," San Luca Chapel, An nunziata. Sansovino, Jacopo, 14. "Santa Barbara." See St. Peters burg. Santa Cecilia, Compagnia di, 255, — , lost lunette of, 17, 29, 30, 255; date of, 255; drawings for, 17, 255; mentioned by Vasari, 17. Santa Croce, Florence, 1, 2, 3, 271; "Madonna and Saints," ascribed to Pontormo in, 206; Zanehini Chapel in, 81. Santa Felicita, Capponi Chapel, 46, 47, 48, 49, 53, 54, 55, 73, 84; drawings for decoration of, 43; "Annunciation" in, 46, 122; drawings for, 47-48; "Deposi tion" in, 38, 45-49, 94, 120-122; date of, 47, 121; drawings for, 47-49, 121 ; mentioned by Vasari, 47, 120; "Evangelists" in, 46, 122-123; drawing for, 49, 123; lost "God the Father and Pa triarchs" in, 46, 257; possible drawings for, 49. Santa Maria del Fiore, mentioned in Pontormo's diary, 302-303. Santa Maria Maddalena de' Pazzi, 207. Santa Maria Novella, Florence, 5, 11, 124; "Santa Veronica" in, 12, 123-125; "God the Father" in, 12, 124. Santa Maria sopra Minerva, Rome, 258. Santa Trinita, Florence, 199. Santa Trinita. See Ponte. "Santa Veronica," Santa Maria Novella, Florence, 6, 12, 123- 125, 270 ; date of, 125 ; mentioned by Vasari, 124. Santi di Tito, 237. SS. Annunziata. See "Madonna and Saints"; "Visitation." "Sant 'Agostino" (lost), 10, 256. Sant' Angelo in Vado, Rome, 204. Sant' Antonio, Florence, 116. 349 INDEX Sant' Eusebio, Florence, 168. Santo Stefano, Pisa, 4. Sardi, Tommaso, 149. Sardinia, King of, 235. Sarto Agostino, 282. — , Andrea del. See Andrea del Sarto. Savoy, House of, 235. Scala, Bartolomeo, 147. Scalzo, Florence, 17. Schaeffer, 115, 133, 134. Schevitch Collection, 248. Sehlegel, A. W. von, 212. Schmidt, W., 218. Schomberg, Nicolaus von, 260. Schubring, 136, 141, 158, 208. Schulze, 154, 179, 198, 200, 201, 205, 228, 234, 235. Schweitzer Collection, 209. Scotland. See Lothian Collection; Stirling Collection. Scotti, Luigi, 126. Sedelmeyer Collection, 203, 221, 246. Servites, 9, 10, 79, 269. Sesto, Cesare da, 132. Sguazzella, 80. Siena, Library of the Cathedral of, 61. Signoria of Florence, 2, 51. Siren, Osvald, 221, 222. Sixtine Ceiling. See Michelangelo. Smith Collection, 248. Societa Colombaria, Florence, 151. Soderini, 7, 126. Solly Collection, 105. Somo, Cavalier, 281. Somzee Collection, 209. Sonnet on "Venus and Cupid," 143. Sonnets on the death of Pontormo, 287-293. Spannoechi Cervini. See "Portrait of Cardinal Spannoechi Cer vini. ' ' Spence, Campbell, 214. Spinelli, Niccolo di Forzore, 148. Spini Filippo, 17. Stadel Institute, Frankfort, drawings in, 35, 53, 153; "Portrait of a Young Woman" in, 85, 103, 152- 154. Steinmann, 201. Stephano Romano, 282. Stirling Collection, 86, 155. Stradano, Giovanni, 98. Strozzi, Alessandro, 295. — , Carlo di Tommaso, 295. — , Filippo, 56. — , Giovambattista, mentioned in Pon tormo 's diary, 94, 300. — , Pontormo 's diary once in the library of the, 295. — See Palazzo Strozzi. Sturgis, Russell, 222. Stuttgart, Staatsgalerie, 234. Suida, 155. Supino, 147, 148, 176. "Supper at Emmaus," Academy, Florence, 41, 114-115; date of, 41, 114; drawing for, 42, 114; document for, 41, 115, 277. Tadda, Francesco del, 150. Tapestries, Pontormo's designs for, 70-72, 183, 187. Taramelli. See Photographs. Tarnowski Collection, 198. Tasso, Battista, mentioned in Pon tormo's diary, 297, 304. — , Giuliano del, 14. — , Marco del, 15, 138, 297. Terey, Gabriel de, 196. Terzano, 1, 271. Thaw Collection, 151. Thode, 59, 60, 63, 143, 144, 145, 171, 350 INDEX 179, 201, 205, 211, 213, 220, 236, 260. Thode Collection, 64. "Three Graces," drawing for, 61. — , marble group of, 61. "Tilling of the Soil," drawing for, 76, 263. Timbal Collection, 132. Tischendorf, 158. Titi, 144. Titian, 204, 237. "Tobias and the Angel," Borghese Gallery, 230-231. Tomitano, 69. Tornaquinci, arms of the, 140. — , Elisabetta, 141. Touaglia, Giuliano del, 264. Tour d'Auvergne, Madeleine de la, 28. Trapesnikoff, 148, 149, 150, 152, 160, 205, 206. Tregua, feast of the, 93, 302. Tresor de numismatique, 148. Treviso, Girolamo da, 237. Tribolo, 66, 74. Triumphal arch for Leo X, 7, 14, 254. Trivulzio Collection, 84, 160-161, 216. Tschudi, 149. Tucker, von, 181. Turco, family of the del, 157. Turin, 154, 234-236. U Ufficio delle Belle Arti. -See Palazzo Vecchio. Uffizi, 15, 139-152, 169; "Birth- plate" in, 57, 140-141; copy of Leonardo's "Battle of Anghi ari," 132; "Expulsion from Paradise," ascribed to Pontormo, 207-208; "Leda and the Swan," ascribed to Pontormo, 209 ; ' ' Life of Joseph," Granacci, 208; "Ma donna and Little St. John," 53, 145-146 ;" Madonna Enthroned, " 139; "Martyrdom of St. Mau rice," 54, 139-140; portrait- drawing: of an artisan, 85; of a bishop, 86, of a boy, 86, of a soldier, 85 ; "Portrait of a Man," 57, 84, 141 ; " Portrait of a Man, ' ' by Botticelli, 149; "Portrait of a Youth," by Salviati, 237; ' ' Portrait of Cosimo il Vecchio, ' ' 21-22, 25, 82, 83, 147-152, 173, 205; "Portrait of Eleonora," by Bronzino, 97 ; " Portrait of Him self," by Andrea, 83; "Portrait of Himself," by Salviati, 237; "Portrait of Young Cosimo," 146-147; "Venus and Cupid," 63, 142-145. — , drawings in, 10, 11, 16, 17, 20, 23, 24, 25, 26, 29, 30, 31, 32, 33, 34, 35, 36, 38, 39, 42, 43, 44, 47, 48, 49, 50, 52, 54, 55, 56, 57, 61, 62, 63, 64, 66, 68, 71, 72, 77, 81, 84, 85, 86, 91, 96, 97, 98, 104, 106, 110, 112, 113, 114, 116, 117, 119, 121, 122, 123, 125, 127, 136, 137, 139, 144, 147, 153, 159, 160, 164, 165, 166, 168, 176, 177, 178, 179, 187, 200, 218, 255, 258, 259, 262, 263. — , paintings mentioned in, 15, 20, 21, 53, 54, 62, 68, 81, 83, 95, 97, 111, 132, 149, 151, 156, 163, 171-172, 180, 201, 207-209, 237. Ughi, arms of the, 130. Ulivelli, Cosimo, 151. Ulmann, 208. University Prints. See Photographs. Urbino, Palazzo Albani, 205. 351 INDEX Vagnonville, Baron de, 249. Val d'Ema. ^ee Certosa. Valori, Baccio, 268. Varchi, 51, 52, 56, 63, 94, 142, 145, 262, 285; mentioned in Pon tormo's diary, 300, 304; Pontor mo's letter to, 89, 285-286; son net to Bronzino, 287, 296; son net to Pontormo, 93. Vasari, 78, 95, 106, 116, 145, 201; "Battle of Val di Chiana," 95; copies Pontormo's "Portrait of Cosimo il Vecchio," 150, 151; copies Pontormo's "Portrait of Young Cosimo I, ' ' 146 ; ' ' Corona tion of the Virgin," Citta di Castello, 95; decorations for the reception of Charles V, 9 ; draw ings from Pontormo's Certosa frescoes, 39, 95, 113; frescoes in Palazzo Vecchio, 97, 133, 146- 147, 261; letter to Francesco Lioni, 145; letter to Ottaviano de' Medici, 171; "Life of Bron zino," 49, 95, 262; "Life of Cristofano dell' Altissimo," 95; "Life of Feltrini," 9; "Life of Lappoli," 225; "Life of Mar cantonio," 38; "Life of Pon tormo," 89; Michelangelo's in fluence on, 74, 144; personal appreciation of Pontormo, 37, 89, 90, 91; Pontormo's influence on, 95, 133, 205; "Portrait of Alessandro de' Medici,"" Uffizi, 64, 95, 171, 172; "Portrait of Cosimo I," Palazzo Vecchio, 95, 180, 206, 221; "Portrait of Cosimo il Vecchio," Palazzo Vecchio, 95, 180, 205, 206; "Portrait of Maria Salviati," Palazzo Vecchio, 261; "Ragiona- menti," 133, 151; "The Three Graces," Budapest, 61; "Venus and Cupid," Galleria Colonna, 145. — , Lives of : edition of 1760, 81 ; edi tion of 1832-1838, 143 ; first Ger man edition, 143; Milan edition, 75, 131, 256; Milanesi edition. See Milanesi; Roman edition, 131; translation De Vere, 119, 122, 132, 136, 159, 170, 206. — mentions : Albertinelli 's ' ' Holy Family," 8; Andrea's "Birth of Virgin," 16; Bacchiacca 's panels for Benintendi, 135; Bronzino 's draughtsmanship, 97 ; "Pieta," 199; "Portrait of Guidobaldo," 204, 205; work at Certosa, 113; Bugiardini 's ap prenticeship, 5; Dal Prato 's medallions, 171; Della Palla, 56; Diirer 's woodcuts, 38; Fran ciabigio 's panels for Benintendi, 23; Granacci 's "Life of Jo seph," 158; Lappoli 's copies of Scalzo frescoes, 232; Leonardo's cartoon of the "Battle of An ghiari," 53; Marco del Tasso, 138; Michelangelo's influence on Pontormo, 62 ; Michelangelo 's San Lorenzo tombs and Cavalieri drawings, 60; Ottaviano de' Medici, 94; Puligo 's "Barbara Cortegiana," 224, 229; Puligo 's "Madonna and Saints," Santa Maria Maddalena de ' Pazzi, 207 ; Ridolfo Ghirlandaio 's frescoes in the Cappella della Signoria, 125. — mentions: Pontormo's "Adoration of the Magi," Pitti, 23, 135, 136; apprenticeship, 5, 6, 267-268, 270 ; birth, 4; Carro della Zecca, 15, 352 INDEX 139; cartoons for tapestries, 70, 184, 185, 186; Certosa frescoes, 39, 40, 43, 44, 107, 108, 109, 110, 111, 112, 113, death, 79; "Depo sition," Santa Felicita, 120, 122; "Evangelists," 46-47, 123; "Faith and Charity," 7, 9, 10, 116 ; family, 1, 3, 4, 6 ; frescoes in the Pope's Chapel, 11 ; funeral, 79; "Holy Family," San Michele Visdomini, 19, 126; house, 57, 68; "Joseph in Egypt," 21, 22, 157, 159; lost "Annunciation," 5, 253; lost "Arms of the Lan fredini," 21, 254; lost "Arms of Giovanni Salviati," 17, 256; lost cars for the Broncone, 13, 14, 253 ; lost cars for the Dia mante, 13, 14, 253; lost "Dead Christ," 253; lost frescoes at Careggi, 65, 66, 262; lost fres coes at Castello, 66, 67, 262 ; lost frescoes in San Lorenzo, 74, 75, 76, 78, 79, 263, 264; lost fresco of "Christ as Pilgrim," 17, 254; lost funeral banners for Ginori, 25, 255; lost "God the Father," Capponi Chapel, 257 ; lost ' ' God the Father," San Ruffillo, 254; lost "Madonna" for Capponi, 128, 257; lost "Madonna" found in his house, 262; lost "Ma donna" given to a Spaniard, 261; lost "Madonna" given to Rossino, 260; lost "Madonna," in the house of Alessandro Neroni, 256; lost "Madonna" painted for Spaniards, 257; lost "Madonna" sold to Piero Sal viati, 80; lost "Nativity" for Certosa, 41, 257; lost "Noli me tangere," 260; lost "Pieta" for merchants of Ragusa, 256; lost "Pieta" for the monks of San Gallo, 16, 256; lost "Pomona" for Del Migliore, 48, 258; lost "Portrait of a Lay Brother," 41, 257; lost "Portrait of Amerigo Antinori," 260; lost "Portrait of Ardinghelli," 258; lost "Por trait of Bicchieraio's Son-in- law," 255; lost portrait of Cap poni 's daughter, 257 ; lost ' ' Por trait of Carlo Neroni," 141, 259; lost "Portrait of Cosimo I," 68; lost "Portrait of Francesco Guardi," 56, 259; lost "Portrait of Ippolito de' Medici," 203, 258; lost "Portrait of Lappoli," 25, 44, 255; lost "Portrait of Maria Salviati," 68, 261; lost "Santa Cecilia," 17, 255; lost "Sant 'Agostino," 256; lost "Raising of Lazarus," 55, 258; lunette at Poggio, 28, 29, 177; "Madonna and Saints," Louvre, 51, 168, 169; "Madonna and Saints," San Luca Chapel, 117; "Martyrdom of St. Maurice," Pitti, 54, 131, 132; "Martyrdom of St. Maurice," Uffizi, 54, 140; panels for Borgherini, 22, 56, 157, 164, 165, 208; "Portrait of Alessandro de' Medici," 64, 170, 171, 173, 258; "Portrait of Co simo il Vecchio," 21, 25, 152; "Portrait of Young Cosimo I," 146, 147 ; " Pygmalion and Gala tea," 56, 183; "St. John Evan gelist," 178; "St. Michael," 178; "St. Quentin," 105-106; Santa Felicita decorations, 46, 47, 49; "Santa Veronica," 124; "Scenes from the Life of Joseph," 21; second series of decorations projected at Poggio, 353 INDEX 58-59, 61, 64, 89 ; shrine at Bol drone, 45, 53, 104; "Supper at Emmaus," 114; triumphal arch, 14, 254; "Venus and Cupid," 62, 63, 90, 142, 145; "Visita tion," Annunziata, 15, 118. Vasi, 144. Vatican, 53. Vega, Garcilaso de la, 197. Venice, Museo Correr, 132, 236. Venturi, 179, 180, 181, 230, 233. "Venus and Adonis," projected for Poggio, 61, 176. "Venus and Cupid," 62, 63, 64, 65, 68, 90, 142-145 ; copies and repli cas of, 63, 144, 199, 220 ; date of, 63, 144; documents concerning, 63, 142; mentioned by Vasari, 62, 63, 142, 145; symbolism of, 143. Venusti, "Annunciation," Lateran, 122; "Portrait of Vittoria Co lonna," ascribed to, 201. Vere, de, translation of Vasari, 119, 122, 132, 136, 159, 170, 205, 206. Verrocchio, 149. Vertumnus and Pomona, Ovid's story of, 175. — See Poggio a Cajano (lunette). Vesme, 144. Vettori, 51. — , Bernardo, 267. Via Andrea del Sarto, Florence, 104. — degli Arazzieri, Florence, 254. — della Colonna, Florence, 57, 284. — dell' Osservatorio, Florence, 104. — del Pelagio, Florence, 7, 14, 254. — Domenico Cirillo, Florence, 104. — La.rga, Florence, 48, 258. — Laura, Florence, 57. — San Gallo, Florence, 254, 256. Vienna, Belvedere, 188, 236-238; "Holy Family," ascribed to Pontormo, 236-237; "Madonna and Little St. John," once as cribed to Pontormo, 237-238; "Pieta.," by Andrea, 200; "Por trait of a Lady," ascribed to Pontormo, 236; "Portrait of a Man," ascribed to Pontormo, 238; "Portrait of an Old Lady," 87, 107, 188; "Portrait of a Youth," ascribed to Pontormo, 237; "Portrait of Cosimo I," ascribed to Bronzino, 221. Villa Caprarola, 65. — Imperiale, 204. Villano, mentioned in Pontormo's diary, 297. Villari, 7. Villot, 119, 169, 226. Vincenzo, painter to Giulio de' Med ici, 171, 281. Vinci, Giuliano da, 13. — , Pierino da, 297. — See Leonardo da Vinci. Virgil, 147. Visconti, P. E., 69, 259, 283. Visino, pupil of Albertinelli, 195. "Visitation," Annunziata, 15, 16, 18, 23, 55, 73, 117-119; copy in the Louvre of, 119, 226 ; date of, 119; drawings for, 16, 119; documents for, 16, 119; men tioned by Vasari, 118 ; Pontormo buried under, 79. — , Carmignano, 55, 61, 106-107 ; date of, 55, 107; drawing for, 107. — , Carro della Zecca, 15, 137. — , Palazzo Spada, ascribed to Pon tormo, 232. Vita d'arte, 127, 176, 177. Vitelli, Alessandro, 62, 260. Vittoria Colonna, 222. Viviole, Raffaello delle, 13, 253. Volpi, 69. 354 INDEX Volterra, 94, 238. Voss, Hermann, 188, 218, 236, 237. W Waagen, 81, 105, 165, 166, 214, 215, 224, 229. Waetzoldt, 81, 135, 136, 152, 153, 154. Walter of Brienne, Duke of Athens, 51. Walters Collection, Jr6l. {&A Wanamaker Collection, 227-228. Way-side shrine, Boldrone, 44-45, 103-104. "Way to Golgotha," 40, 109-110; date of, 110; drawings for, 42, 110; mentioned by Vasari, 110. Weizsacker, 153. Wemyss Collection, 248. Wickoff, 237, 238. Widener CoUection, 86, 101, 154. Willett Collection, 249. Wilton House, 209. Windsor, 132. Wolfflin, 118, 119. Wood Brown, 125, 150. Wornum, 213. X Ximenes d' Aragona Collection, 247. Y Yale University. See Jarves Collec tion. Yerkes Collection, 86, 96, 188-189, 229. Young, 150. Yriarte, 231. Z Zacchia, Lorenzo, 132. — , Paolo, 98. Zanchini Chapel, Santa Croce, Flor ence, 81. Zecca, 139. — , Carro della, 14, 136-139. Zeitschrift fiir bildende Kunst, 188, 203, 205, 218, 236, 237. Zobi, Antonio, 119. Zuccaro, Federigo, 65, 204. — , Taddeo, 65. 355