DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0071
BUFFALMACCO
57
BUGIARDINI
tions in the villa of Niccolo Comacchini at Camerata
[Boccaccio Decam. Giov. 9, Nov. V.] any longer in
existence. A panel of S. Umilta of Faenza, with
eleven scenes from her life, painted in 1316, is
preserved in the A.M.G. and is attributed to Buffal-
macco, not, perhaps, impossibly, from his connection
with the monastery of Faenza noted above. It
is considered, however, by Crowe and Cavalcaselle
[It. ed. II. 77-8] to display rather the characteristics
of the Lorenzetti; and they refer to a small panel
in the gallery of the Berlin Museum, No. 1077,
representing two scenes from the life of S. Umilta,
which is attributed to Ambrogio Lorenzetti, which
they believe originally formed part of the painting
in the A.M.G. In one compartment of the Taber-
nacle “ delle Cinque Lampade ” in the Via Ricasoli
[formerly del Cocomero] is a head of Our Lady with
the Infant, life-size, which is attributed to Buffal-
macco. It is traditionally stated that the P. at
one time lived in the house on the fagade of which
this tabernacle is placed [Cocchi: Antiche Ims™- di
Noa. Donna in Firenze, 119], and that it was the
scene of the trick he played on his master Tafo
related in Sacchetti’s Novella, CXCI.
In 1304 Buffalmacco and his boon companion
Maso da Seggio were two of the principal organizers
of the theatrical representation of the “ Inferno,”
produced on the Arno, in honour of May 1, by the
men of the Borgo S. Frediano. The wooden bridge
“ alia Carraja,” which was crowded with spectators,
gave way and precipitated the sightseers into the
river. Many lost their lives by water or fire.
Buffalmacco himself escaped, having left the spot
shortly before the catastrophe occurred [Villani,
Lib. VIII. 70]. About 1315, probably, Buffalmacco
painted some frescoes in the chapel of S. Jacopo
in the Badia of Settimo near Florence, which repre-
sented scenes from the life of the saint and, on the
vault, the four Patriarchs and the four Evangelists
[Vasari, ut sup. 505]. Of these paintings some
fragments still remain in a damaged condition. In
the atrium of the “ Canonica ” of the church of
S. Stefano a Calcinaja, about one mile distant from
Lastra a Signa, are the remains of a mural painting
of a Madonna and Child. An uncertain tradition
assigns this work to Buffalmacco as being the one
on which, some difficulty having arisen about the
payment, he painted over the infant a small bear
in water colours, to the despair of his customer,
who was thus quickly brought to reason [Vasari,
ut sup. 518-19]. The work is, however, probably of
a later date and has been ascribed to Stamina. Of
Buffalmacco’s frescoes at the Badia of S. Paolo a
Ripa d’Arno, which represented scenes from the
Old Testament and from the life of S. Anastasia
[Vasari, ut sup. 511], two figures of saints, painted
on one of the pilasters of the church, alone remain.
It appears very doubtful whether Buffalmacco ever
painted in the Pisan Campo Santo. At Arezzo he
is said to have executed some paintings for the
Bishop, Guido Tarlati, in a chapel of the Gozzari,
later called “ del Battesimo ”; but these works are
lost, as are also his paintings in the church of S.
Giustina. Vasari [ut sup. 509] relates that the
bishop, who was a very strong Ghibelline, desired
Buffalmacco to paint him an eagle over a dead lion.
The artist, however, reversed the subject, and drew
the Guelph device of a lion tearing an eagle. He
fled to Florence before the change was discovered,
but some time elapsed before his escapade was
forgiven. In Cortona Vasari \ut sup. 516-17] states
that Buffalmacco painted, for Messer Aldobrandino
the Bishop, the chapel and panel for the high altar
in the episcopal palace, which has perished; but
that some of his paintings still existed in the churches
of S. Francesco and of Sta. Margherita in the same
city. In the latter church some remains of old
frescoes were discovered in the course of the nine-
teenth century, but it is considered that they were
painted by Ambrogio Lorenzetti, or Berna, rather
than by Buffalmacco [Vasari, ut sup. 517, n. 1].
The works ascribed by Vasari [ut sup. 506-7, 517-18]
to Buffalmacco at Bologna, at Assisi, and at Perugia
can hardly—if dates count for anything—have been
executed by him, though, in the course of his travels,
he may have visited these cities, as well as have
wandered further into the Marche. His life closed
in extreme poverty. Having spent more than
he had gained, he was carried during his last illness,
says Vasari [ut sup. 519], by the Company of the
Misericordia to the hospital of Sta. Maria Nuova,
and was buried, like other paupers, in the hospital
cemetery termed the “ Ossa.”
[v.e. Baldinucci, ed. Ranalli, I. 175-94.]
177. Buffini, Michele, v. Muffini, Michele.
178. Bugiardini, Giuliano di Piero, di
Simone di Giovanni. B. Jan. 29, 1475/6, d. Feb.
17, I554/5- p- Port- S.L. [lib. rosso, 1503, 1505.
Reg. A. 1538]. p. of Domenico Ghirlandajo and
of Piero di Cosimo, assistant of Fra Bartolommeo
and Mariotto Albertinelli [Vasari, San. VI. 203],
influenced by Perugino [Berenson, “ Florentine
Painters of the Renaissance,” 112]. An intimate
friend of Michelagnolo. First m. of Francesco
Salviati, when the latter was a lad of thirteen
[Vasari, San. VII. 7]. If Giuliano was in the
bottega of Domenico Ghirlandajo with Michelagnolo
and Granacci when the master was painting the
choir of Sta. Maria Novella—1486-90—[Vasari, San.
VI. 202], it must have been before rather than after
the time when he studied under the sculptor
Bertoldo in the new Academy founded by Lorenzo
de’ Medici in his garden at S. Marco.
Giuliano was one of the young P.’s sum-
moned to Rome by Michelagnolo to show him the
method of painting in fresco [Vasari, VII. 175].
For the funeral of a member of the Rucellai family,
probably Bernardo il Vecchio, who died in 1514,
he painted a large square standard with figures of
SS. Cosimo and Damiano and the Apostles Peter
57
BUGIARDINI
tions in the villa of Niccolo Comacchini at Camerata
[Boccaccio Decam. Giov. 9, Nov. V.] any longer in
existence. A panel of S. Umilta of Faenza, with
eleven scenes from her life, painted in 1316, is
preserved in the A.M.G. and is attributed to Buffal-
macco, not, perhaps, impossibly, from his connection
with the monastery of Faenza noted above. It
is considered, however, by Crowe and Cavalcaselle
[It. ed. II. 77-8] to display rather the characteristics
of the Lorenzetti; and they refer to a small panel
in the gallery of the Berlin Museum, No. 1077,
representing two scenes from the life of S. Umilta,
which is attributed to Ambrogio Lorenzetti, which
they believe originally formed part of the painting
in the A.M.G. In one compartment of the Taber-
nacle “ delle Cinque Lampade ” in the Via Ricasoli
[formerly del Cocomero] is a head of Our Lady with
the Infant, life-size, which is attributed to Buffal-
macco. It is traditionally stated that the P. at
one time lived in the house on the fagade of which
this tabernacle is placed [Cocchi: Antiche Ims™- di
Noa. Donna in Firenze, 119], and that it was the
scene of the trick he played on his master Tafo
related in Sacchetti’s Novella, CXCI.
In 1304 Buffalmacco and his boon companion
Maso da Seggio were two of the principal organizers
of the theatrical representation of the “ Inferno,”
produced on the Arno, in honour of May 1, by the
men of the Borgo S. Frediano. The wooden bridge
“ alia Carraja,” which was crowded with spectators,
gave way and precipitated the sightseers into the
river. Many lost their lives by water or fire.
Buffalmacco himself escaped, having left the spot
shortly before the catastrophe occurred [Villani,
Lib. VIII. 70]. About 1315, probably, Buffalmacco
painted some frescoes in the chapel of S. Jacopo
in the Badia of Settimo near Florence, which repre-
sented scenes from the life of the saint and, on the
vault, the four Patriarchs and the four Evangelists
[Vasari, ut sup. 505]. Of these paintings some
fragments still remain in a damaged condition. In
the atrium of the “ Canonica ” of the church of
S. Stefano a Calcinaja, about one mile distant from
Lastra a Signa, are the remains of a mural painting
of a Madonna and Child. An uncertain tradition
assigns this work to Buffalmacco as being the one
on which, some difficulty having arisen about the
payment, he painted over the infant a small bear
in water colours, to the despair of his customer,
who was thus quickly brought to reason [Vasari,
ut sup. 518-19]. The work is, however, probably of
a later date and has been ascribed to Stamina. Of
Buffalmacco’s frescoes at the Badia of S. Paolo a
Ripa d’Arno, which represented scenes from the
Old Testament and from the life of S. Anastasia
[Vasari, ut sup. 511], two figures of saints, painted
on one of the pilasters of the church, alone remain.
It appears very doubtful whether Buffalmacco ever
painted in the Pisan Campo Santo. At Arezzo he
is said to have executed some paintings for the
Bishop, Guido Tarlati, in a chapel of the Gozzari,
later called “ del Battesimo ”; but these works are
lost, as are also his paintings in the church of S.
Giustina. Vasari [ut sup. 509] relates that the
bishop, who was a very strong Ghibelline, desired
Buffalmacco to paint him an eagle over a dead lion.
The artist, however, reversed the subject, and drew
the Guelph device of a lion tearing an eagle. He
fled to Florence before the change was discovered,
but some time elapsed before his escapade was
forgiven. In Cortona Vasari \ut sup. 516-17] states
that Buffalmacco painted, for Messer Aldobrandino
the Bishop, the chapel and panel for the high altar
in the episcopal palace, which has perished; but
that some of his paintings still existed in the churches
of S. Francesco and of Sta. Margherita in the same
city. In the latter church some remains of old
frescoes were discovered in the course of the nine-
teenth century, but it is considered that they were
painted by Ambrogio Lorenzetti, or Berna, rather
than by Buffalmacco [Vasari, ut sup. 517, n. 1].
The works ascribed by Vasari [ut sup. 506-7, 517-18]
to Buffalmacco at Bologna, at Assisi, and at Perugia
can hardly—if dates count for anything—have been
executed by him, though, in the course of his travels,
he may have visited these cities, as well as have
wandered further into the Marche. His life closed
in extreme poverty. Having spent more than
he had gained, he was carried during his last illness,
says Vasari [ut sup. 519], by the Company of the
Misericordia to the hospital of Sta. Maria Nuova,
and was buried, like other paupers, in the hospital
cemetery termed the “ Ossa.”
[v.e. Baldinucci, ed. Ranalli, I. 175-94.]
177. Buffini, Michele, v. Muffini, Michele.
178. Bugiardini, Giuliano di Piero, di
Simone di Giovanni. B. Jan. 29, 1475/6, d. Feb.
17, I554/5- p- Port- S.L. [lib. rosso, 1503, 1505.
Reg. A. 1538]. p. of Domenico Ghirlandajo and
of Piero di Cosimo, assistant of Fra Bartolommeo
and Mariotto Albertinelli [Vasari, San. VI. 203],
influenced by Perugino [Berenson, “ Florentine
Painters of the Renaissance,” 112]. An intimate
friend of Michelagnolo. First m. of Francesco
Salviati, when the latter was a lad of thirteen
[Vasari, San. VII. 7]. If Giuliano was in the
bottega of Domenico Ghirlandajo with Michelagnolo
and Granacci when the master was painting the
choir of Sta. Maria Novella—1486-90—[Vasari, San.
VI. 202], it must have been before rather than after
the time when he studied under the sculptor
Bertoldo in the new Academy founded by Lorenzo
de’ Medici in his garden at S. Marco.
Giuliano was one of the young P.’s sum-
moned to Rome by Michelagnolo to show him the
method of painting in fresco [Vasari, VII. 175].
For the funeral of a member of the Rucellai family,
probably Bernardo il Vecchio, who died in 1514,
he painted a large square standard with figures of
SS. Cosimo and Damiano and the Apostles Peter