DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0020
ALBERTINELLI
6
ALBERTINELLI
Evangelist and the Magdalen, in the Morelli Collec-
tion, Bergamo Gallery [No. 32]; the Holy Family
in the Pitti [No. 365]; the Madonna in the Semi-
nario Viscovile, Venice [No. 18] and the small panel
of the Expulsion from Paradise now in England
[Morelli, 125]. To the above may perhaps be added
the Trinity and the Madonna and four Saints, the
latter signed opvs mariocti, both painted for the
nuns of S. Giuliano and preserved in the A.M.G.
[Nos. 63-167].
That Mariotto had not lost touch with Fra Barto-
lommeo during the foregoing years is shown by his
nomination on Jan. 1, 1505/6 as guardian to the
Frate’s half-brother Paolo for five years, with the
condition that he should instruct him in art, chiefly
gilding and architectural decoration (massoneria)
[Marchesi, II. Doc. II. 589]. In 1507 he was called
in to endeavour to settle the dispute as to the price
of the Vision of S. Bernard, painted by Fra Barto-
lommeo for Bernardo del Bianco, with, however, a
negative result [Marchesi, II. Doc. IV. 596]. In
1509, but hardly, we think, at the beginning of the
year, a formal art partnership was arranged between
Fra Bartolommeo [q.v.] and Albertinelli. A series
of dated panels painted at this period of Mariotto’s
career shows that it was one of great activity. The
pictures, which were executed from Fra Barto-
lommeo’s designs, are signed with a monogram, con-
sisting of two interlaced gold rings, surmounted by
the red cross of S. Marco. The principal works
belonging to the years 1510, 1511, 15x2 are noted
here: The Annunciation, painted for the Company
of S. Zanobi and now in the A.M.G. [No. 169],
signed mariotti • florentini • opvs • 1510. The
signature has been restored, but is genuine. This
picture is especially referred to by Vasari \ut sup.
223-4] for the pains Mariotto took to obtain
special effects of light and shade. Some dispute
having arisen about the price, the panel was valued
by Pietro Perugino, Ridolfo del Ghirlandajo and
Francesco Granacci. It is probable that this
picture was commenced before Albertinelli entered
into partnership with Fra Bartolommeo.—Virgin,
Infant and Saints, 1510, signed with monogram,
now at Vienna Museum.—Holy Family, 1511,
signed with monogram [Corsini Gal. Rome, No.
160].—Annunciation, executed with Fra -Barto-
lommeo, signed 1511. *fris • bartho • or • p • ex •
mariotti ■ florentinor’ opvs, now in the Geneva
Museum.—Holy Family, painted by Albertinelli
from a cartoon by Fra Bartolommeo, signed with
monogram and dated 1511 f [Borghese Gal. Rome,
No. 310].—Virgin and Child with SS. Peter and
Paul, dated 1511! and signed with monogram, in
the Mastiani Chapel in Sta. Caterina of Pisa,
executed by Mariotto from a cartoon by Fra Barto-
lommeo.—SS. Mary Magdalen and Catherine of
* Marchesi II, 606, given thus: fris Barto . or . p .
ET MARIOTTI FLORENTINORU.
t Berenson says 1512.
Alexandria, two panels in the Siena Gallery [Nos.
564, 565]. The second is dated 1512 and signed
with the monogram. Both came from the Sienese
Convent of Sto. Spirito and both are ascribed to
Fra Bartolommeo. On Jan. 5,1512/13, the associa-
tion between the two P.’s was dissolved and the
works of art not sold, the colours and studio pro-
perties, together with a sum of 424 ducats of gold,
representing the profits, were divided between the
partners. The finished panels allotted to Alber-
tinelli consisted of a round and two square panels,
subjects not given, a “ Christ bearing the cross with
the thieves in a frame [e adornamento] and a small
‘ Annunciation,’ which the Gonfaloniere has.”
These were valued at 47 flor. Of the unfinished
works, Mariotto received four panels. Of these one
was designed by Filippino Lippi for the Certosa of
Pavia, and a second, similar, by Fra Bartolommeo
for the same convent; to these we refer more
particularly below. The subject designed on the
third panel is not named. On the fourth was a
small sketch by Fra Bartolommeo of an Adam and
Eve standing [Marchesi, II. Doc. VIII. 606],
possibly the one now in the collection of Mr. J. G.
Johnson, in Philadelphia, U.S.A.
The panel commissioned for the high altar of
the Certosa of Pavia, two designs for which are
mentioned above, was to represent a Piet& with
SS. Anthony and Paul the Hermit. The original
order was given to Filippino Lippi in 1504, but his
death prevented its completion. In 1511 the com-
mission was renewed to Albertinelli and there was
a commencement of execution. In the same year
there is an entry in the books of the Convent of
S. Marco that Fra Bartolommeo and Mariotto
had received 12 ducats in gold from the monks of
the Certosa of Pavia on account of paintings they
had done for them [Marchesi, II. 79]. Of the panels
in question, however, nothing further appears to
be known [Vasari, San. III. 475 n.; IV. 227 n.].
Vasari [San. IV. 222] states that Albertinelli,
restless by nature and whimsical in character,
abandoned art for some months and adopted, as he
is quoted to have declared, “ a less fatiguing and
more cheerful, if a baser trade,” that of a tavern-
keeper. Padre Marchesi [II. 85] inclines to place
this episode at the close of his partnership with
Fra Bartolommeo. We notice below that Mariotto
had married the daughter of a vintner, and it seems
more probable that he passed his idle time in his
father-in-law’s establishments, rather than that he
set up two separate taverns on his own account, as
Vasari \loc. cit.] relates. On the creation of Pope
Leo X. (March 1513 c.s.) Mariotto painted his coat
of arms, supported by Faith, Hope and Charity,
which for a long time, says Vasari \ut sup. 223],
was suspended above the principal entrance of Casa
Medici.
Towards the close of his life Mariotto was invited
to paint at the Convent of La Quercia outside
6
ALBERTINELLI
Evangelist and the Magdalen, in the Morelli Collec-
tion, Bergamo Gallery [No. 32]; the Holy Family
in the Pitti [No. 365]; the Madonna in the Semi-
nario Viscovile, Venice [No. 18] and the small panel
of the Expulsion from Paradise now in England
[Morelli, 125]. To the above may perhaps be added
the Trinity and the Madonna and four Saints, the
latter signed opvs mariocti, both painted for the
nuns of S. Giuliano and preserved in the A.M.G.
[Nos. 63-167].
That Mariotto had not lost touch with Fra Barto-
lommeo during the foregoing years is shown by his
nomination on Jan. 1, 1505/6 as guardian to the
Frate’s half-brother Paolo for five years, with the
condition that he should instruct him in art, chiefly
gilding and architectural decoration (massoneria)
[Marchesi, II. Doc. II. 589]. In 1507 he was called
in to endeavour to settle the dispute as to the price
of the Vision of S. Bernard, painted by Fra Barto-
lommeo for Bernardo del Bianco, with, however, a
negative result [Marchesi, II. Doc. IV. 596]. In
1509, but hardly, we think, at the beginning of the
year, a formal art partnership was arranged between
Fra Bartolommeo [q.v.] and Albertinelli. A series
of dated panels painted at this period of Mariotto’s
career shows that it was one of great activity. The
pictures, which were executed from Fra Barto-
lommeo’s designs, are signed with a monogram, con-
sisting of two interlaced gold rings, surmounted by
the red cross of S. Marco. The principal works
belonging to the years 1510, 1511, 15x2 are noted
here: The Annunciation, painted for the Company
of S. Zanobi and now in the A.M.G. [No. 169],
signed mariotti • florentini • opvs • 1510. The
signature has been restored, but is genuine. This
picture is especially referred to by Vasari \ut sup.
223-4] for the pains Mariotto took to obtain
special effects of light and shade. Some dispute
having arisen about the price, the panel was valued
by Pietro Perugino, Ridolfo del Ghirlandajo and
Francesco Granacci. It is probable that this
picture was commenced before Albertinelli entered
into partnership with Fra Bartolommeo.—Virgin,
Infant and Saints, 1510, signed with monogram,
now at Vienna Museum.—Holy Family, 1511,
signed with monogram [Corsini Gal. Rome, No.
160].—Annunciation, executed with Fra -Barto-
lommeo, signed 1511. *fris • bartho • or • p • ex •
mariotti ■ florentinor’ opvs, now in the Geneva
Museum.—Holy Family, painted by Albertinelli
from a cartoon by Fra Bartolommeo, signed with
monogram and dated 1511 f [Borghese Gal. Rome,
No. 310].—Virgin and Child with SS. Peter and
Paul, dated 1511! and signed with monogram, in
the Mastiani Chapel in Sta. Caterina of Pisa,
executed by Mariotto from a cartoon by Fra Barto-
lommeo.—SS. Mary Magdalen and Catherine of
* Marchesi II, 606, given thus: fris Barto . or . p .
ET MARIOTTI FLORENTINORU.
t Berenson says 1512.
Alexandria, two panels in the Siena Gallery [Nos.
564, 565]. The second is dated 1512 and signed
with the monogram. Both came from the Sienese
Convent of Sto. Spirito and both are ascribed to
Fra Bartolommeo. On Jan. 5,1512/13, the associa-
tion between the two P.’s was dissolved and the
works of art not sold, the colours and studio pro-
perties, together with a sum of 424 ducats of gold,
representing the profits, were divided between the
partners. The finished panels allotted to Alber-
tinelli consisted of a round and two square panels,
subjects not given, a “ Christ bearing the cross with
the thieves in a frame [e adornamento] and a small
‘ Annunciation,’ which the Gonfaloniere has.”
These were valued at 47 flor. Of the unfinished
works, Mariotto received four panels. Of these one
was designed by Filippino Lippi for the Certosa of
Pavia, and a second, similar, by Fra Bartolommeo
for the same convent; to these we refer more
particularly below. The subject designed on the
third panel is not named. On the fourth was a
small sketch by Fra Bartolommeo of an Adam and
Eve standing [Marchesi, II. Doc. VIII. 606],
possibly the one now in the collection of Mr. J. G.
Johnson, in Philadelphia, U.S.A.
The panel commissioned for the high altar of
the Certosa of Pavia, two designs for which are
mentioned above, was to represent a Piet& with
SS. Anthony and Paul the Hermit. The original
order was given to Filippino Lippi in 1504, but his
death prevented its completion. In 1511 the com-
mission was renewed to Albertinelli and there was
a commencement of execution. In the same year
there is an entry in the books of the Convent of
S. Marco that Fra Bartolommeo and Mariotto
had received 12 ducats in gold from the monks of
the Certosa of Pavia on account of paintings they
had done for them [Marchesi, II. 79]. Of the panels
in question, however, nothing further appears to
be known [Vasari, San. III. 475 n.; IV. 227 n.].
Vasari [San. IV. 222] states that Albertinelli,
restless by nature and whimsical in character,
abandoned art for some months and adopted, as he
is quoted to have declared, “ a less fatiguing and
more cheerful, if a baser trade,” that of a tavern-
keeper. Padre Marchesi [II. 85] inclines to place
this episode at the close of his partnership with
Fra Bartolommeo. We notice below that Mariotto
had married the daughter of a vintner, and it seems
more probable that he passed his idle time in his
father-in-law’s establishments, rather than that he
set up two separate taverns on his own account, as
Vasari \loc. cit.] relates. On the creation of Pope
Leo X. (March 1513 c.s.) Mariotto painted his coat
of arms, supported by Faith, Hope and Charity,
which for a long time, says Vasari \ut sup. 223],
was suspended above the principal entrance of Casa
Medici.
Towards the close of his life Mariotto was invited
to paint at the Convent of La Quercia outside