DOI Page / Citation link:
https://doi.org/10.11588/diglit.61542#0325
1537] RETIRES TO S. MARIA NUOVA 275
Napoleon. It is chiefly remarkable for the beauty
and dignity of the saints who stand on either
side of the Virgin’s throne—the venerable bishop
Nicholas and the chivalrous youth Giuliano with
the Leonardesque face and flowing locks, clasping
his hands and lifting his eyes to heaven. Both of
these pictures were painted before 1508, and are
mentioned by Albertini in his “ Memorials.”
In his latter years Lorenzo spent his time chiefly
in repeating old subjects and executing small
Madonnas for private chapels and oratories that
were in great demand. In 1510, he painted the
sadly-damaged altar-piece, now in the Church of
S. Maria delle Grazie, for the hospital of the
Ceppo at Pistoia, by order of the Master of the
Florentine hospital, S. Maria Nuova. In 1523, he
finished the figure of the Archangel Michael, in
the Sacristy of the Duomo, and a year later was
employed to restore certain tombs and monuments
in the same church. Finally, in 1531, being seventy-
two years old, and caring more for a quiet life than
for riches or honours, the aged master retired to end
his days in the hospital of S. Maria Nuova, a founda-
tion closely associated with the convent of San Marco
and the Piagnone artists, where Fra Bartolommeo
painted his Last Judgment, and the miniaturist,
Monte da Giovanni’s brother, was organist. At the
same time, Lorenzo made a will leaving certain sums
to Andrea Verrocchio’s niece Ginevra and a few
other friends, and bequeathing the rest of his fortune
to the hospital, on condition that he should receive
a yearly allowance of 36 florins, which was to be
continued after his death to his old servant Mona
Napoleon. It is chiefly remarkable for the beauty
and dignity of the saints who stand on either
side of the Virgin’s throne—the venerable bishop
Nicholas and the chivalrous youth Giuliano with
the Leonardesque face and flowing locks, clasping
his hands and lifting his eyes to heaven. Both of
these pictures were painted before 1508, and are
mentioned by Albertini in his “ Memorials.”
In his latter years Lorenzo spent his time chiefly
in repeating old subjects and executing small
Madonnas for private chapels and oratories that
were in great demand. In 1510, he painted the
sadly-damaged altar-piece, now in the Church of
S. Maria delle Grazie, for the hospital of the
Ceppo at Pistoia, by order of the Master of the
Florentine hospital, S. Maria Nuova. In 1523, he
finished the figure of the Archangel Michael, in
the Sacristy of the Duomo, and a year later was
employed to restore certain tombs and monuments
in the same church. Finally, in 1531, being seventy-
two years old, and caring more for a quiet life than
for riches or honours, the aged master retired to end
his days in the hospital of S. Maria Nuova, a founda-
tion closely associated with the convent of San Marco
and the Piagnone artists, where Fra Bartolommeo
painted his Last Judgment, and the miniaturist,
Monte da Giovanni’s brother, was organist. At the
same time, Lorenzo made a will leaving certain sums
to Andrea Verrocchio’s niece Ginevra and a few
other friends, and bequeathing the rest of his fortune
to the hospital, on condition that he should receive
a yearly allowance of 36 florins, which was to be
continued after his death to his old servant Mona