DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42071#0018
AGNOLO
4
AGRESTI
in the list compiled for the city estimo in 1351
[A.S.F., Imposta della Sega], Agnolo was of the
quarter of Sta. Croce, Gonf. Ruote, and was assessed
in 18 lire. Two or more P.’s of the name of
Angelo are entered on the city lists of tax-payers
in 1351 and 1354, but, as their fathers’ names are
not given, it is impossible to identify them.
7. Agnolo di Cristoeano de’ Giuducci da
Milano. Flor. ?, b. -, d. 15—. S.L. 1525,
brother and p. of Francia Bigio. Vasari [San. V.
199] says that after having painted a frieze in the
cloister of S. Pancrazio and a few other things, among
which was a signboard, representing a graceful
gipsy fortune-teller, for Ciano the perfumer, he died.
Vasari [San. VI. 152] notes later that Agnolo, a
clever colourist, was employed by Baccio Bandinelli
to colour a picture, after the Master’s design,
intended for the church of Castello at Porta Pinti,
but which, owing to the political troubles of 1527,
was never finished. No known works by Agnolo
are extant. His father was a Milanese, but Agnolo
probably was born in Florence.
8. Agnolo di Conino, v. Bronzino.
9. Agnolo di Domenico di Donnino, v.
Mazzieri, Agnolo di.
10. Agnolo di Giovanni. Flor., b. 13—,
d. 14—. P. Phy. A. bet. 1353-86 [Cod. VII.].
S.L. 14— [date unfinished]; res. in pop. of S.
Ambrogio. ? if he may be identified with Angelus
Varinis entered in Phy. A. bet. 1320-53 (near the
latter date) [Cod. VII.].
10a. Agnolo di Giovanni di Francesco.
B. -, d. 14—. Materassarius et P. Phy. A.
Feb. 10, 1434/35; pop. S. Felice in Piazza [Cod.
XXI.].
11. Agnolo di Lippo di Paolo de’ Vetri.
Flor., b. 13—, d. Aug. 25, 1470. Phy. A. bet. 1386-
1408 [Cod. VII.]. S.L. c. 1405 ? For the Board of
Works of Sta. Maria del Fiore Agnolo worked
several years. In 1434 he assisted Maestro Domen-
ico di Pietro da Pisa, Prior of S. Sisto, in executing
the circular window (occhio), after Donatello’s
design of the Coronation of the Virgin, which is
placed above the chapel of S. Zanobi [Vasari, San.
II. 402, No. i]v From 1439 to 1441 he worked for
several masters on various windows and “ occhi ”
in the church. An entry in Giornale B of the Badia
notes that on May 19, 1436, his brother Antonio
brought in cash 4 lire, 10 s. for the costs of Agnolo’s
arrest, but on what charge is not stated [A.S.F.,
C. S. 79, No. 1].
In his return to the Catasto for 1446 [Quarter of
S. Maria Novella Unicorno, No. Ve. 669, f. 819]
Agnolo declares that he possessed a casolare (ruined
house) in the Via del Corno and two small farms in
the Mugello. On one of these, bought for the dowry
of his daughter Bartolommea, but which he had not
yet given her, he was compelled to live on account
of his poverty, large family and indebtedness to the
State for his taxes. His family then consisted of
his wife, Ma. Caterina, five sons and one remaining
daughter. Bartolommea had left the parental roof.
We may infer that Agnolo’s financial position was
shortly improved, as, in the course of this year
(1446), he was appointed for three years to execute
the glass windows in the Duomo [Cavallucci, pp.
148-9]. By his last return to the Catasto for 1469/
70, Agnolo, who was then eighty-four years of age,
appears to have been living in his house in the
Via del Corno, which he had probably rebuilt.
He possessed one farm in the Mugello, and his
family consisted of his wife and four sons, Biagio,
Domenico, Lorenzo and Baldassare [Quarter ut sup.
Campione, No. Ve. 917, f. 77].
Of his sons, Biagio, b. 1406 [or 1417, according
to his father’s return to the Catasto], d. 1492, was
inscribed in S.L. [lib. rosso 1472, 20*] as Biagio
d’Agnolo de’ Vetri, alias Ugucci. On Jan. 2,1491/2,
the friars of S. Piero Celestino of Murrone sold a
house to Biagio di Angelo di Lippo, P., alias Biagio
de’ Vetri, and to Monna Nera his wife and to
Giovanni his son [A.S.F. Contratti (1491-3), c. 54,
MS. E. Casanova], Polo, b. 1435 [or 1433, accord-
ing to his father], was entered in S.L. in 1472 and
described as having his bottega on the Ponte Vecchio
[lib. rosso, f. 105*]. Polo was the father of Agnolo,
b. 1470, d. -, p. of Verrocchio, who, according
to Vasari [III. 371-2],* modelled in terracotta ; of
Lazzero, b. 1472, d. 15—, Phy. A. Sept. 20, 1499
[Cod. X.], entered as a P.,and of Domenico, b. 1480 ?,
d. 1547 ?, the engraver of gems.
The name of Agnolo’s father, Lippo di Paolo, is
found in Phy. A. bet. 1386-1408 [Cod. VII.]. He
was entered before his sons and is described as a
P., probably on glass.
12. Agresti, Llvio da Forli, b. 15—, d. c. 1580.
P., p. of Pierino del Vaga, whom, according to
Baglione, he assisted in decorating the Castle of
S. Angelo, Rome, c. ? 1542. Livio is stated by
Baglione to have competed with Luca Longhi at
Ravenna. From this city, according to Vasari
[VII. 421], after having painted in fresco in the
church of Sto. Spirito, he went to Rome to perfect
himself in design. Some of his first works in fresco,
after he had left Ravenna,—Vasari continues,—
were executed at Narni. He next painted, in fresco,
a chapel in the church of Sto. Spirito in Saxia
[Rome], which procured him the commission [c.
1561] to carry out one of the smaller subjects in
the Sala Regia of the Vatican—Pedro of Aragon
acknowledging his kingdom to be held in fee of
the Pope [Vasari, San. VII. 39, No. 2, and VIII.].
For his patron, the Cardinal of Augsburg [Truchsess],
Livio painted seven stories on silver sheets \lastra\,
a method of painting he is said, by Baglione, to
have invented and in which he excelled. These
stories were presented to the King of Spain. Livio,
subsequently, accompanied the cardinal to Augs-
* Note by Milanesi, Vasari III, 372.
4
AGRESTI
in the list compiled for the city estimo in 1351
[A.S.F., Imposta della Sega], Agnolo was of the
quarter of Sta. Croce, Gonf. Ruote, and was assessed
in 18 lire. Two or more P.’s of the name of
Angelo are entered on the city lists of tax-payers
in 1351 and 1354, but, as their fathers’ names are
not given, it is impossible to identify them.
7. Agnolo di Cristoeano de’ Giuducci da
Milano. Flor. ?, b. -, d. 15—. S.L. 1525,
brother and p. of Francia Bigio. Vasari [San. V.
199] says that after having painted a frieze in the
cloister of S. Pancrazio and a few other things, among
which was a signboard, representing a graceful
gipsy fortune-teller, for Ciano the perfumer, he died.
Vasari [San. VI. 152] notes later that Agnolo, a
clever colourist, was employed by Baccio Bandinelli
to colour a picture, after the Master’s design,
intended for the church of Castello at Porta Pinti,
but which, owing to the political troubles of 1527,
was never finished. No known works by Agnolo
are extant. His father was a Milanese, but Agnolo
probably was born in Florence.
8. Agnolo di Conino, v. Bronzino.
9. Agnolo di Domenico di Donnino, v.
Mazzieri, Agnolo di.
10. Agnolo di Giovanni. Flor., b. 13—,
d. 14—. P. Phy. A. bet. 1353-86 [Cod. VII.].
S.L. 14— [date unfinished]; res. in pop. of S.
Ambrogio. ? if he may be identified with Angelus
Varinis entered in Phy. A. bet. 1320-53 (near the
latter date) [Cod. VII.].
10a. Agnolo di Giovanni di Francesco.
B. -, d. 14—. Materassarius et P. Phy. A.
Feb. 10, 1434/35; pop. S. Felice in Piazza [Cod.
XXI.].
11. Agnolo di Lippo di Paolo de’ Vetri.
Flor., b. 13—, d. Aug. 25, 1470. Phy. A. bet. 1386-
1408 [Cod. VII.]. S.L. c. 1405 ? For the Board of
Works of Sta. Maria del Fiore Agnolo worked
several years. In 1434 he assisted Maestro Domen-
ico di Pietro da Pisa, Prior of S. Sisto, in executing
the circular window (occhio), after Donatello’s
design of the Coronation of the Virgin, which is
placed above the chapel of S. Zanobi [Vasari, San.
II. 402, No. i]v From 1439 to 1441 he worked for
several masters on various windows and “ occhi ”
in the church. An entry in Giornale B of the Badia
notes that on May 19, 1436, his brother Antonio
brought in cash 4 lire, 10 s. for the costs of Agnolo’s
arrest, but on what charge is not stated [A.S.F.,
C. S. 79, No. 1].
In his return to the Catasto for 1446 [Quarter of
S. Maria Novella Unicorno, No. Ve. 669, f. 819]
Agnolo declares that he possessed a casolare (ruined
house) in the Via del Corno and two small farms in
the Mugello. On one of these, bought for the dowry
of his daughter Bartolommea, but which he had not
yet given her, he was compelled to live on account
of his poverty, large family and indebtedness to the
State for his taxes. His family then consisted of
his wife, Ma. Caterina, five sons and one remaining
daughter. Bartolommea had left the parental roof.
We may infer that Agnolo’s financial position was
shortly improved, as, in the course of this year
(1446), he was appointed for three years to execute
the glass windows in the Duomo [Cavallucci, pp.
148-9]. By his last return to the Catasto for 1469/
70, Agnolo, who was then eighty-four years of age,
appears to have been living in his house in the
Via del Corno, which he had probably rebuilt.
He possessed one farm in the Mugello, and his
family consisted of his wife and four sons, Biagio,
Domenico, Lorenzo and Baldassare [Quarter ut sup.
Campione, No. Ve. 917, f. 77].
Of his sons, Biagio, b. 1406 [or 1417, according
to his father’s return to the Catasto], d. 1492, was
inscribed in S.L. [lib. rosso 1472, 20*] as Biagio
d’Agnolo de’ Vetri, alias Ugucci. On Jan. 2,1491/2,
the friars of S. Piero Celestino of Murrone sold a
house to Biagio di Angelo di Lippo, P., alias Biagio
de’ Vetri, and to Monna Nera his wife and to
Giovanni his son [A.S.F. Contratti (1491-3), c. 54,
MS. E. Casanova], Polo, b. 1435 [or 1433, accord-
ing to his father], was entered in S.L. in 1472 and
described as having his bottega on the Ponte Vecchio
[lib. rosso, f. 105*]. Polo was the father of Agnolo,
b. 1470, d. -, p. of Verrocchio, who, according
to Vasari [III. 371-2],* modelled in terracotta ; of
Lazzero, b. 1472, d. 15—, Phy. A. Sept. 20, 1499
[Cod. X.], entered as a P.,and of Domenico, b. 1480 ?,
d. 1547 ?, the engraver of gems.
The name of Agnolo’s father, Lippo di Paolo, is
found in Phy. A. bet. 1386-1408 [Cod. VII.]. He
was entered before his sons and is described as a
P., probably on glass.
12. Agresti, Llvio da Forli, b. 15—, d. c. 1580.
P., p. of Pierino del Vaga, whom, according to
Baglione, he assisted in decorating the Castle of
S. Angelo, Rome, c. ? 1542. Livio is stated by
Baglione to have competed with Luca Longhi at
Ravenna. From this city, according to Vasari
[VII. 421], after having painted in fresco in the
church of Sto. Spirito, he went to Rome to perfect
himself in design. Some of his first works in fresco,
after he had left Ravenna,—Vasari continues,—
were executed at Narni. He next painted, in fresco,
a chapel in the church of Sto. Spirito in Saxia
[Rome], which procured him the commission [c.
1561] to carry out one of the smaller subjects in
the Sala Regia of the Vatican—Pedro of Aragon
acknowledging his kingdom to be held in fee of
the Pope [Vasari, San. VII. 39, No. 2, and VIII.].
For his patron, the Cardinal of Augsburg [Truchsess],
Livio painted seven stories on silver sheets \lastra\,
a method of painting he is said, by Baglione, to
have invented and in which he excelled. These
stories were presented to the King of Spain. Livio,
subsequently, accompanied the cardinal to Augs-
* Note by Milanesi, Vasari III, 372.