DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42071#0069
BRONZINO
55
BRONZINO
No. XCII.]. At this date Bronzino’s Court salary
was discontinued, probably on the completion of
the frescoes in the Palazzo Vecchio chapel; but the
Duke still gave him continual employment. By
order of Cosimo, Bronzino painted, in 1564, a
“ Nativity of Our Lord ” for the new church of the
Cavalieri di Santo Stefano, erected, at Pisa, after
the designs of Vasari. In 1565 he had finished a
“ Deposition,” also painted by order of the Duke,
for the convent of the Zoccolanti at Portoferraio
in the island of Elba. In 1565, also, he received
the commission to paint two subjects in fresco, for
the church of S. Lorenzo (Florence), of which one
only, the Martyrdom of the Titular Saint, was
carried out. Lapini in his Diario [pp. 121-2],
referring to this fresco, although he antedates his
remark, says, “ And here, towards the cloister, he
painted himself so life-like, that it seems his proper
self.” The fresco was uncovered on Aug. 10, 1569.
After the death of Pontormo in 1567, Bronzino
completed the frescoes of the high chapel of this
church, left unfinished by the master. They have
since been whitewashed.
Bronzino executed many other works, both
sacred and profane, which are named by Vasari,
but lack of space precludes detailed description of
all Bronzino’s extant paintings. His portraits, to
several of which we have incidentally alluded,
merit special attention. Many are met with in the
Florentine and various public and private galleries.
Of the series of portraits of illustrious personages of
the House of Medici, both life-size and in miniature,
Vasari [VII. 603] says that they are all natural,
animated and very truthful. He adds that Bron-
zino, unlike many artists, did better and better as
he advanced in age. Like all the other Florentine
artists of repute, he was employed on the decorations
for various public fetes, as at the marriage of
Cosimo I. with Eleonora di Toledo, in 1539, and of
Don Francesco de’ Medici with Giovanna d’ Austria,
in 1565. He also painted scenes for a comedy.
Bronzino was one of the four Academicians elected
to superintend the obsequies of Michelagnolo in
1564, the others being Giorgio Vasari, P., Barto-
lommeo Ammanati, and Zanobi Lastricati (to
replace Benvenuto Cellini).
As a poet Bronzino deserves mention. The
cantos of his “ Versi Berneschi ” are considered by
the Accademia della Crusca as classical. Several
were included in the edition of the “ Rime piacevoli
del Berni,” published at Vicenza in 1603, of which
a second edition appeared at Venice in 1627. During
the eighteenth century selections from his cantos
were included in different editions of Berni’s
“ Rime.” In the nineteenth century further ver-
sions appeared, some.being printed on the occasion
of marriages, according to an Italian custom. In
1863, the “ Saltarelli di Bronzino pittore ” were
published in a separate volume at Bologna, edited
by P. Dazzi [British Museum catalogue, under
heading of Allori * Angelo]. Specimens of Bron-
zino’s familiar letters may be seen in Bottari’s
“ Lettere pittoriche ” [I. 30, 117, V. 73].
Bronzino was born in the Borgo of Monticelli,
outside the Porta S. Frediano, Florence. From a
deed, dated 1568, his cognomen is ascertained to
have been Tori [Vasari, VII. 593, n. 1]. He made
his will on Jan. 13, 1561/2 [Vasari, VII. 605, n. 2].
Bronzino was living in the house of Cristofano
Allori, in the Corso degli Adimari, pop. S. Cristo-
fano, where he died. This Cristofano Allori, the
father of Alessandro, must have been Bronzino’s
brother-in-law, Alessandro being the P.’s nephew.
Cristofano appears to have predeceased Bronzino.
Bronzino was buried in the parish church, then
situate in the Piazza degli Adimari, but suppressed
in 1768 [Vasari, ut sup., Fanfani, Pianta Geometrica
della Citta di Firenze], Vasari describes Bronzino
as a very sweet and courteous friend, of an agree-
able conversation and, in all his affairs, most
honourable. “ He was liberal of all that he pos-
sessed, and most kindly in all things, as it is possible
for anyone, even an artist, noble as he is, to be.
Gentle of disposition, he has never offered injury
to anyone, and has ever loved the distinguished
men of his own vocation, as we well know who
have lived on terms of close friendship with him
for three and forty years.”
Works :—Florence [Uffizi, Pitti, A.M. and Corsini
Galleries, S. Lorenzo, Sta. Maria Novella, Palazzo
Vecchio], Bergamo, Lucca, Milan [Brera], Pisa,
Rome [Borghese, Colonna, Corsini and Doria
Galleries], Turin.
Berlin [Gallery], Buda Pesth [Gallery], Dresden,
London [Nat. Gallery], Madrid, Oxford [University
Museum], Paris [Louvre], Leningrad, Vienna,
The Hague, U.S.A. [Boston (Mr. J. Gardner), New
York].
(Berenson, Borghini, Bottari, Conti, Fanfani,
Gaye, Lapini, Tanfani, Vasari, ed. Sansoni, Cata-
logues of Galleries named, S.L. and A.D. Registers).
Allori (Agnolo), called il Bronzino. Rime.
See Berni (F.). Delle Rime piacevoli del Berni.
1603. 120. Vicenza. 1063 a 2. Another ed.
1609. 120. 1603 a 7.
-Rime, see Berni (F.). Delle Rime piacevoli
del Berni, etc. 1627. 120. Venetia. 239 a 26.
-Opere Burlesche, see Berni (F.). II primo
(secondo) libro delle opere Burlesche di F. Berni,
etc. Vol. II. 1721-24. 8vo. 84 a 29.
Id., il primo (secondo, terzo). Libro, etc. 1081.
h. 22.
-Rime, see Borghini (R.). Rime inedite,
etc. 1822. Firenze. 8vo. 11427, ee. Rime ine-
dite di R. Borghini e A. Allori.
-Delle Sense, Rime burlesche, see Moschus
Amore fuggitivo, idillio, etc., tradotto da B. Varchi.
1816. 8vo. T. 2364(4).
* The evidence appears to be entirely against
Bronzino having been an Allori.
55
BRONZINO
No. XCII.]. At this date Bronzino’s Court salary
was discontinued, probably on the completion of
the frescoes in the Palazzo Vecchio chapel; but the
Duke still gave him continual employment. By
order of Cosimo, Bronzino painted, in 1564, a
“ Nativity of Our Lord ” for the new church of the
Cavalieri di Santo Stefano, erected, at Pisa, after
the designs of Vasari. In 1565 he had finished a
“ Deposition,” also painted by order of the Duke,
for the convent of the Zoccolanti at Portoferraio
in the island of Elba. In 1565, also, he received
the commission to paint two subjects in fresco, for
the church of S. Lorenzo (Florence), of which one
only, the Martyrdom of the Titular Saint, was
carried out. Lapini in his Diario [pp. 121-2],
referring to this fresco, although he antedates his
remark, says, “ And here, towards the cloister, he
painted himself so life-like, that it seems his proper
self.” The fresco was uncovered on Aug. 10, 1569.
After the death of Pontormo in 1567, Bronzino
completed the frescoes of the high chapel of this
church, left unfinished by the master. They have
since been whitewashed.
Bronzino executed many other works, both
sacred and profane, which are named by Vasari,
but lack of space precludes detailed description of
all Bronzino’s extant paintings. His portraits, to
several of which we have incidentally alluded,
merit special attention. Many are met with in the
Florentine and various public and private galleries.
Of the series of portraits of illustrious personages of
the House of Medici, both life-size and in miniature,
Vasari [VII. 603] says that they are all natural,
animated and very truthful. He adds that Bron-
zino, unlike many artists, did better and better as
he advanced in age. Like all the other Florentine
artists of repute, he was employed on the decorations
for various public fetes, as at the marriage of
Cosimo I. with Eleonora di Toledo, in 1539, and of
Don Francesco de’ Medici with Giovanna d’ Austria,
in 1565. He also painted scenes for a comedy.
Bronzino was one of the four Academicians elected
to superintend the obsequies of Michelagnolo in
1564, the others being Giorgio Vasari, P., Barto-
lommeo Ammanati, and Zanobi Lastricati (to
replace Benvenuto Cellini).
As a poet Bronzino deserves mention. The
cantos of his “ Versi Berneschi ” are considered by
the Accademia della Crusca as classical. Several
were included in the edition of the “ Rime piacevoli
del Berni,” published at Vicenza in 1603, of which
a second edition appeared at Venice in 1627. During
the eighteenth century selections from his cantos
were included in different editions of Berni’s
“ Rime.” In the nineteenth century further ver-
sions appeared, some.being printed on the occasion
of marriages, according to an Italian custom. In
1863, the “ Saltarelli di Bronzino pittore ” were
published in a separate volume at Bologna, edited
by P. Dazzi [British Museum catalogue, under
heading of Allori * Angelo]. Specimens of Bron-
zino’s familiar letters may be seen in Bottari’s
“ Lettere pittoriche ” [I. 30, 117, V. 73].
Bronzino was born in the Borgo of Monticelli,
outside the Porta S. Frediano, Florence. From a
deed, dated 1568, his cognomen is ascertained to
have been Tori [Vasari, VII. 593, n. 1]. He made
his will on Jan. 13, 1561/2 [Vasari, VII. 605, n. 2].
Bronzino was living in the house of Cristofano
Allori, in the Corso degli Adimari, pop. S. Cristo-
fano, where he died. This Cristofano Allori, the
father of Alessandro, must have been Bronzino’s
brother-in-law, Alessandro being the P.’s nephew.
Cristofano appears to have predeceased Bronzino.
Bronzino was buried in the parish church, then
situate in the Piazza degli Adimari, but suppressed
in 1768 [Vasari, ut sup., Fanfani, Pianta Geometrica
della Citta di Firenze], Vasari describes Bronzino
as a very sweet and courteous friend, of an agree-
able conversation and, in all his affairs, most
honourable. “ He was liberal of all that he pos-
sessed, and most kindly in all things, as it is possible
for anyone, even an artist, noble as he is, to be.
Gentle of disposition, he has never offered injury
to anyone, and has ever loved the distinguished
men of his own vocation, as we well know who
have lived on terms of close friendship with him
for three and forty years.”
Works :—Florence [Uffizi, Pitti, A.M. and Corsini
Galleries, S. Lorenzo, Sta. Maria Novella, Palazzo
Vecchio], Bergamo, Lucca, Milan [Brera], Pisa,
Rome [Borghese, Colonna, Corsini and Doria
Galleries], Turin.
Berlin [Gallery], Buda Pesth [Gallery], Dresden,
London [Nat. Gallery], Madrid, Oxford [University
Museum], Paris [Louvre], Leningrad, Vienna,
The Hague, U.S.A. [Boston (Mr. J. Gardner), New
York].
(Berenson, Borghini, Bottari, Conti, Fanfani,
Gaye, Lapini, Tanfani, Vasari, ed. Sansoni, Cata-
logues of Galleries named, S.L. and A.D. Registers).
Allori (Agnolo), called il Bronzino. Rime.
See Berni (F.). Delle Rime piacevoli del Berni.
1603. 120. Vicenza. 1063 a 2. Another ed.
1609. 120. 1603 a 7.
-Rime, see Berni (F.). Delle Rime piacevoli
del Berni, etc. 1627. 120. Venetia. 239 a 26.
-Opere Burlesche, see Berni (F.). II primo
(secondo) libro delle opere Burlesche di F. Berni,
etc. Vol. II. 1721-24. 8vo. 84 a 29.
Id., il primo (secondo, terzo). Libro, etc. 1081.
h. 22.
-Rime, see Borghini (R.). Rime inedite,
etc. 1822. Firenze. 8vo. 11427, ee. Rime ine-
dite di R. Borghini e A. Allori.
-Delle Sense, Rime burlesche, see Moschus
Amore fuggitivo, idillio, etc., tradotto da B. Varchi.
1816. 8vo. T. 2364(4).
* The evidence appears to be entirely against
Bronzino having been an Allori.