DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42071#0019
ALBERTI
5
ALBERTINELLI
burg, where he executed some paintings. On his
return to Rome, Livio was employed by Pope
Gregory XIII. and painted several altar-pieces.
According to Baglione, he retired, towards the close
of his life, to the Hospital of Sto. Spirito, where he
died c. 1580. Baglione also mentions that some of
his works had been engraved.
Works :—Rome, Forli (Pinacotheca : churches of
the Carmine and Sta. Trinita, and private collect-
ions) ; Ravenna ?; Narni ? (v.e. Lanzi, Orlandi,
Scanella).
13. Alberti, Antonio, v. Antonio da
Ferrara.
14. Alberti or degli Alberti, Michele da Borgo
San Sepolcro [?], b. 15—, d. 16—. P., p. of
Danielle da Volterra. Painted, after his master’s
designs, in the church of the Trinith de’ Monti,
Rome, with Giovan Battista Rossetti. Michele was
one of the executors of Danielle’s will, the other
being Feliciano da San Vito. Danielle bequeathed
to the two P.’s all his plaster casts, moulds,
models and designs. Their offer to complete the
equestrian statue of Henri II. of France, left un-
finished at the death of Danielle, was not accepted
by the French Ambassador [Vasari, San. VII. 69].
Works :—Rome (Trinita de’ Monti) (v.e. Lanzi).
15. Albertini, Domenico di Michele. Flor.,
b. 15—, d. -—. P. Entered in mat. on Jan. 2,
1:592/3 [A.D., R. 56, c. 131*], and commenced pay-
ment of his fees on the following Feb. 11 [A.D.,
R. 27, c. 37?]. Between Aug. 16, 1589, and July
21, 1590, he received, in several payments from
P. Domenico Portegiano of the Convent of S. Marco,
a total sum of 15 scudi for a picture of the Pre-
sentation of our Lord in the Temple [Carte, C.S.
Marco, V. 238, Del Badia MS.]. On Sept. 10, 1592,
he demanded from Gherardo di Michele Albertini
of the Via del Palagio 105 lire, on account of paint-
ings executed in his house [A.D., R. 63, c. 45*].
15a. Albertinelli, Mariotto di Biagio di
Bindo di Biagio. Flor., b. Oct. 12, 1474,
d. Nov. 5, 1515. P. S.L. ante 1525 [lib. rosso
1503-4-5]. p. of Cosimo Rosselli and Piero di
Cosimo ; friend and partner in art of Fra Barto-
lommeo ; influenced by Lorenzo di Credi and
Filippino Lippi and also by Hugo van der Goes’s
large altar-piece, then in the church of S. Egidio
[Morelli, 125]. According to Vasari [San. IV. 228]
he had many p.’s, among whom were Innocenzo da
Imola, Giuliano Bugiardini, Franciabigio and Visino.
Albertinelli, Vasari states \ut sup. 217], was first
put to his father’s trade of a gold-beater, though
against his inclination, and did not commence his
art studies until he was twenty. This latter state-
ment is evidently incorrect, and Mariotto must
have entered Rosselli and Piero di Cosimo’s bottega
some time between 1485 and 1490. While under
Rosselli’s tuition, his intimacy with Baccio della
Porta, who was with the Master in 1485, began,
and when the latter left the bottega to set up on
his own account, c. 1492, his friend went with him.
Both the young artists studied the works of the
old Florentine masters, and together, in all prob-
ability, frequented the school of art established by
Lorenzo il Magnifico in the “ Orti Medicei.”
Mariotto, however, an adherent of the Medici, had
no sympathy with Baccio’s enthusiasm for Savon-
arola. This difference of opinion led, ere long, to
a temporary estrangement. Albertinelli pursued
his studies from antique models and copied some
of the ancient sculptures, still remaining in the
Casa Medici in Via Larga [Vasari, ut sup. 218-19 and
notes 2, 3]. Thus opportunity arose for his recog-
nition by Madonna Alfonsina Orsini, wife of Piero de’
Medici, who interested herself in the young artist’s
studies and took him.under her protection. Mariotto
appears to have painted the portrait of his patroness
and some pictures which Madonna Alfonsina sent
to Rome, and which subsequently came into the
possession of Csesar Borgia [Vasari, ut. sup. 219-20].
On the exile of Piero de’ Medici in 1494, Mariotto
returned to Baccio, whose style he began to imitate.
The two artists seem to have worked together until,
to Albertinelli’s great grief, Baccio entered the
Convent of S. Domenico at Prato in 1500. In this
year, Mariotto, at the request of Gerozzo Dini \y.
Fra Bartolommeo], finished the lower portion of the
fresco of the Last Judgment, which Baccio had
designed and partly painted, in the chapel of the
Cemetery of the Hospital of S. Maria Nuova [Mar-
chesi, II. 27, 28]. Therein, says Vasari [ut sup.
180-1], Mariotto drew from life the then Spedalingo
of the Hospital and certain Friars who were learned
in surgery, Gerozzo and his wife, kneeling, Giuliano
Bugiardini, his creato, as one of the nude figures,
and, among the Blessed, Frate Giovanni da Fiesole,
the Painter. He also introduced his own portrait.
The kneeling donors have disappeared and Fra
Angelico is considered to be portrayed by Baccio
himself as one of the Apostles [Marchesi, II. 27].
Between 1500 and 1509 Albertinelli continued to
work on his own account in Florence. The follow-
ing dated paintings belong to this period: Small
triptych 1500, Madonna and Saints with an An-
nunciation in chiaroscuro [Poldo Pezzoli. coll.
Milan, No. 139]. The fine Visitation, with its
predella [Uffizi, No. 1259], painted in 1503 for the
Congregation of the Priests of San Martino. A large
Madonna and Saints, painted for Zanobi del Maestro
in 1506, signed mariocti • debertinellis • opvs
a. d. m. 6. vi. and now in the Louvre [No. 1114].
Morelli [126] states that this panel was begun by
Filippino Lippi and completed by Mariotto, a view
which is supported by Berenson. The fresco of
the Crucifixion in the Certosa near Florence, signed
and dated Sept. 1506. To the same period the
following undated pictures may, probably, be
assigned: The Annunciation in the cathedral of
Volterra; two fragments of Saints, John the
5
ALBERTINELLI
burg, where he executed some paintings. On his
return to Rome, Livio was employed by Pope
Gregory XIII. and painted several altar-pieces.
According to Baglione, he retired, towards the close
of his life, to the Hospital of Sto. Spirito, where he
died c. 1580. Baglione also mentions that some of
his works had been engraved.
Works :—Rome, Forli (Pinacotheca : churches of
the Carmine and Sta. Trinita, and private collect-
ions) ; Ravenna ?; Narni ? (v.e. Lanzi, Orlandi,
Scanella).
13. Alberti, Antonio, v. Antonio da
Ferrara.
14. Alberti or degli Alberti, Michele da Borgo
San Sepolcro [?], b. 15—, d. 16—. P., p. of
Danielle da Volterra. Painted, after his master’s
designs, in the church of the Trinith de’ Monti,
Rome, with Giovan Battista Rossetti. Michele was
one of the executors of Danielle’s will, the other
being Feliciano da San Vito. Danielle bequeathed
to the two P.’s all his plaster casts, moulds,
models and designs. Their offer to complete the
equestrian statue of Henri II. of France, left un-
finished at the death of Danielle, was not accepted
by the French Ambassador [Vasari, San. VII. 69].
Works :—Rome (Trinita de’ Monti) (v.e. Lanzi).
15. Albertini, Domenico di Michele. Flor.,
b. 15—, d. -—. P. Entered in mat. on Jan. 2,
1:592/3 [A.D., R. 56, c. 131*], and commenced pay-
ment of his fees on the following Feb. 11 [A.D.,
R. 27, c. 37?]. Between Aug. 16, 1589, and July
21, 1590, he received, in several payments from
P. Domenico Portegiano of the Convent of S. Marco,
a total sum of 15 scudi for a picture of the Pre-
sentation of our Lord in the Temple [Carte, C.S.
Marco, V. 238, Del Badia MS.]. On Sept. 10, 1592,
he demanded from Gherardo di Michele Albertini
of the Via del Palagio 105 lire, on account of paint-
ings executed in his house [A.D., R. 63, c. 45*].
15a. Albertinelli, Mariotto di Biagio di
Bindo di Biagio. Flor., b. Oct. 12, 1474,
d. Nov. 5, 1515. P. S.L. ante 1525 [lib. rosso
1503-4-5]. p. of Cosimo Rosselli and Piero di
Cosimo ; friend and partner in art of Fra Barto-
lommeo ; influenced by Lorenzo di Credi and
Filippino Lippi and also by Hugo van der Goes’s
large altar-piece, then in the church of S. Egidio
[Morelli, 125]. According to Vasari [San. IV. 228]
he had many p.’s, among whom were Innocenzo da
Imola, Giuliano Bugiardini, Franciabigio and Visino.
Albertinelli, Vasari states \ut sup. 217], was first
put to his father’s trade of a gold-beater, though
against his inclination, and did not commence his
art studies until he was twenty. This latter state-
ment is evidently incorrect, and Mariotto must
have entered Rosselli and Piero di Cosimo’s bottega
some time between 1485 and 1490. While under
Rosselli’s tuition, his intimacy with Baccio della
Porta, who was with the Master in 1485, began,
and when the latter left the bottega to set up on
his own account, c. 1492, his friend went with him.
Both the young artists studied the works of the
old Florentine masters, and together, in all prob-
ability, frequented the school of art established by
Lorenzo il Magnifico in the “ Orti Medicei.”
Mariotto, however, an adherent of the Medici, had
no sympathy with Baccio’s enthusiasm for Savon-
arola. This difference of opinion led, ere long, to
a temporary estrangement. Albertinelli pursued
his studies from antique models and copied some
of the ancient sculptures, still remaining in the
Casa Medici in Via Larga [Vasari, ut sup. 218-19 and
notes 2, 3]. Thus opportunity arose for his recog-
nition by Madonna Alfonsina Orsini, wife of Piero de’
Medici, who interested herself in the young artist’s
studies and took him.under her protection. Mariotto
appears to have painted the portrait of his patroness
and some pictures which Madonna Alfonsina sent
to Rome, and which subsequently came into the
possession of Csesar Borgia [Vasari, ut. sup. 219-20].
On the exile of Piero de’ Medici in 1494, Mariotto
returned to Baccio, whose style he began to imitate.
The two artists seem to have worked together until,
to Albertinelli’s great grief, Baccio entered the
Convent of S. Domenico at Prato in 1500. In this
year, Mariotto, at the request of Gerozzo Dini \y.
Fra Bartolommeo], finished the lower portion of the
fresco of the Last Judgment, which Baccio had
designed and partly painted, in the chapel of the
Cemetery of the Hospital of S. Maria Nuova [Mar-
chesi, II. 27, 28]. Therein, says Vasari [ut sup.
180-1], Mariotto drew from life the then Spedalingo
of the Hospital and certain Friars who were learned
in surgery, Gerozzo and his wife, kneeling, Giuliano
Bugiardini, his creato, as one of the nude figures,
and, among the Blessed, Frate Giovanni da Fiesole,
the Painter. He also introduced his own portrait.
The kneeling donors have disappeared and Fra
Angelico is considered to be portrayed by Baccio
himself as one of the Apostles [Marchesi, II. 27].
Between 1500 and 1509 Albertinelli continued to
work on his own account in Florence. The follow-
ing dated paintings belong to this period: Small
triptych 1500, Madonna and Saints with an An-
nunciation in chiaroscuro [Poldo Pezzoli. coll.
Milan, No. 139]. The fine Visitation, with its
predella [Uffizi, No. 1259], painted in 1503 for the
Congregation of the Priests of San Martino. A large
Madonna and Saints, painted for Zanobi del Maestro
in 1506, signed mariocti • debertinellis • opvs
a. d. m. 6. vi. and now in the Louvre [No. 1114].
Morelli [126] states that this panel was begun by
Filippino Lippi and completed by Mariotto, a view
which is supported by Berenson. The fresco of
the Crucifixion in the Certosa near Florence, signed
and dated Sept. 1506. To the same period the
following undated pictures may, probably, be
assigned: The Annunciation in the cathedral of
Volterra; two fragments of Saints, John the