DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42071#0081
CASINI
67
CASTAGNO
between them, in the vaulting. There is also a
fresco of SS. Francis and Dominic in the Pieve, and
a Piet& in the Confraternity of S. Maria della
Misericordia, in Arezzo. In the National Gallery,
London, is an altar-piece painted by J. for S.
Giovanni Evangelista in Prato Vecchio, and illus-
trating scenes from the life of the titular saint
[Nos. 580, 580A].
Works :—Florence, Arezzo, National Gallery.
(Milanesi, Vasari; Crowe and Cavalcaselle, It.
ed.; National Gallery Catalogue.)
31. Casini, Vittorio di Giovan Battista di
Matteo. Flor., b. 15—, d. -. P. Phy. A.
Jan. 24, 1566/7 [Cod. XIII.]. [A.D., R. 25] 3rd
Consul Aug. 19,1572. A.D. Dec. 13,1572. Brother
of—
32. Casini, Giovan Maria di Giovan Battista
di Matteo. Flor., b. 15—, d. 1617, Nov. 25. P.
A.D. mat. Sept. 1576. (Provveditore 1580-81/2.
Consul del Corpo 1582 (Aug.), 1588 (Aug.), 1594
(Aug.). Consul 1604 (April), m. of Antonio di
Giuliano di Niccolino. G. M. is mentioned in the
acts of the A.D., between 1592 and 1596, as having
painted various pictures for private clients, among
them the portrait, in a frame, of Giovanni, the
baker, of the Via San Gallo. In 1605 he valued a
picture by Donato Mascagni. In the Church of
S. Salvatore, Pistoja, is a Deposition on the high
altar by G. M. G. M. was buried in the church of
Sta. Maria Novella. He was the father of Domenico
(mat. 1609) and Valerio or Valore (mat. ? ante 1620),
both P.’s, whose notices belong to the seventeenth
century.
The prices of portraits by fair artists about this
period may be seen from the following reference in
the books of the A.D. Two portraits, with hands,
of a lady and gentleman respectively, painted by
G. M. c. 1602, were valued by Benedetto Veli, after
C.’s death in 1619, at 10 scudi (70 lire) the pair.
Giovanni Nigetti valued them at 7 scudi. Domenico
Frilli Croci was unable to fix a value, but believed
that G. M. usually received 2 scudi for male and
3 scudi for female portraits of this description.
(Baldinucci; Lanzi; A.D. Registers.)
33. Castagno, Andrea del (Andrea di Bar-
tolommeo di Simone), detto Andreino degli
Impiccati. Flor., b. 1590; d. Aug. 19, 1457. P.
Phy. A. May 30, 1445 [Cod. XXI.]. m. of Marco
del Buono, Berto Linaiuolo, Jacopo del Corso,
Giovanni da Rovezzano (?). As Piero Pollaiuolo
was bom in 1445 and A. died in 1457, the Master
can only have superintended his early studies, if,
indeed, he was A.’s pupil. A. was either bom, or
lived as a child, at Castagno, a poor village in the
Mugello. According to Vasari, after the death of
his father, and when still a little lad, he came under
the care of an uncle, whose sheep he kept at Cas-
tagno. A.’s father, Bartolommeo, was a small
proprietor and labourer of the pop. S. Andrea a
Linari. We note a few dates having reference to
A.’s work as a P. He obtained the surname “ degli
Impiccati ” from having painted, on the fagade of
the Bargello, the figures of the Albizzi, Pemzzi and
other Florentine citizens, who were executed or
banished as rebels, after the return to Florence of
Cosimo, il Vecchio, de’ Medici in 1435. In 1444 A.
designed a Deposition from the Cross for a circular
window in the cupola of the Duomo, which still
exists. On Feb. 28, 1445/6, he was paid 8 lire
3 soldi for painting a lily and two “ putti ” above
the organ of the same church. In 1449 A. was
commissioned by Ser Lionardo di Francesco di
Nardo de’ Fallandanzi da Orte, Rector, to paint a
panel of the Assumption of the Virgin for the church
of S. Miniato fra le Torri, for the price of 104 lire.
Between 1451 and 1453, A. was engaged in painting
the wall on the choir of the church of S. Egidio
(Sta. Maria Nuova), for which he was to receive the
sum of 100 flor. of gold. In 1454, Alesso Baldo-
vinetti [q.v.] coloured—apparently from Alesso’s
cartoon—for A. a large “ panno ” of the “ Inferno,”
for which, on June 16, he owed the P. 40 lire.
The work was carried out in the infirmary of the
Servi. Vasari records that A. also painted for
the hospital of Sta. Maria Nuova a S. Andrea in the
cloister della Ossa, above a doorway, which gave
such satisfaction that he was commissioned to paint
a “ Last Supper ” in the attendants’ refectory.
Both these works are lost. He painted a S. Giuliano
at the door of the church of S. Giuliano.
If A. is the Andreino da Firenze mentioned in a
note of a payment found by Mr. E. Muntz in the
Vatican Archives, he was in Rome in the autumn
of that year, working for Pope Nicholas V. In any
case he was again in Florence in 1455, painting in
the Feroni and Medici Chapels in the church of
the Servi (SS. Annunziata). A fresco of the Trinity
with S. Jerome and other Saints was uncovered after
1890 behind the altar of the Vai-Verazzani, formerly
Montanto, chapel in this church, which was formerly
dedicated to S. Jerome.
On Oct. 19, 1455, the Commune of Florence
decreed that an equestrian figure of Niccolo da
Tolentino should be painted and placed in the
Duomo; the commission was given by the Board
of Works to A., who received 24 golden florins for
the work. It was restored in 1524 by Lorenzo di
Credi, and may still be seen in the cathedral. In
May 1557 A. painted his last great work : a “ Last
Supper ” (fresco) in the refectory of the monastery
of S. Apollonia. A. was married, but does not
appear to have had any family. His wife pre-
deceased him by eleven days; and it is possible
that they both died of the plague, which made its
appearance in Florence in 1457. A. was buried in
the church of the SS. Annunziata. He res. in the
pop. Sta. Maria del Fiore. As Domenico Vene-
ziano survived A. and, finally, died a natural death,
it is evident that the latter did not murder him.
(The legend probably arose from the real assas-
67
CASTAGNO
between them, in the vaulting. There is also a
fresco of SS. Francis and Dominic in the Pieve, and
a Piet& in the Confraternity of S. Maria della
Misericordia, in Arezzo. In the National Gallery,
London, is an altar-piece painted by J. for S.
Giovanni Evangelista in Prato Vecchio, and illus-
trating scenes from the life of the titular saint
[Nos. 580, 580A].
Works :—Florence, Arezzo, National Gallery.
(Milanesi, Vasari; Crowe and Cavalcaselle, It.
ed.; National Gallery Catalogue.)
31. Casini, Vittorio di Giovan Battista di
Matteo. Flor., b. 15—, d. -. P. Phy. A.
Jan. 24, 1566/7 [Cod. XIII.]. [A.D., R. 25] 3rd
Consul Aug. 19,1572. A.D. Dec. 13,1572. Brother
of—
32. Casini, Giovan Maria di Giovan Battista
di Matteo. Flor., b. 15—, d. 1617, Nov. 25. P.
A.D. mat. Sept. 1576. (Provveditore 1580-81/2.
Consul del Corpo 1582 (Aug.), 1588 (Aug.), 1594
(Aug.). Consul 1604 (April), m. of Antonio di
Giuliano di Niccolino. G. M. is mentioned in the
acts of the A.D., between 1592 and 1596, as having
painted various pictures for private clients, among
them the portrait, in a frame, of Giovanni, the
baker, of the Via San Gallo. In 1605 he valued a
picture by Donato Mascagni. In the Church of
S. Salvatore, Pistoja, is a Deposition on the high
altar by G. M. G. M. was buried in the church of
Sta. Maria Novella. He was the father of Domenico
(mat. 1609) and Valerio or Valore (mat. ? ante 1620),
both P.’s, whose notices belong to the seventeenth
century.
The prices of portraits by fair artists about this
period may be seen from the following reference in
the books of the A.D. Two portraits, with hands,
of a lady and gentleman respectively, painted by
G. M. c. 1602, were valued by Benedetto Veli, after
C.’s death in 1619, at 10 scudi (70 lire) the pair.
Giovanni Nigetti valued them at 7 scudi. Domenico
Frilli Croci was unable to fix a value, but believed
that G. M. usually received 2 scudi for male and
3 scudi for female portraits of this description.
(Baldinucci; Lanzi; A.D. Registers.)
33. Castagno, Andrea del (Andrea di Bar-
tolommeo di Simone), detto Andreino degli
Impiccati. Flor., b. 1590; d. Aug. 19, 1457. P.
Phy. A. May 30, 1445 [Cod. XXI.]. m. of Marco
del Buono, Berto Linaiuolo, Jacopo del Corso,
Giovanni da Rovezzano (?). As Piero Pollaiuolo
was bom in 1445 and A. died in 1457, the Master
can only have superintended his early studies, if,
indeed, he was A.’s pupil. A. was either bom, or
lived as a child, at Castagno, a poor village in the
Mugello. According to Vasari, after the death of
his father, and when still a little lad, he came under
the care of an uncle, whose sheep he kept at Cas-
tagno. A.’s father, Bartolommeo, was a small
proprietor and labourer of the pop. S. Andrea a
Linari. We note a few dates having reference to
A.’s work as a P. He obtained the surname “ degli
Impiccati ” from having painted, on the fagade of
the Bargello, the figures of the Albizzi, Pemzzi and
other Florentine citizens, who were executed or
banished as rebels, after the return to Florence of
Cosimo, il Vecchio, de’ Medici in 1435. In 1444 A.
designed a Deposition from the Cross for a circular
window in the cupola of the Duomo, which still
exists. On Feb. 28, 1445/6, he was paid 8 lire
3 soldi for painting a lily and two “ putti ” above
the organ of the same church. In 1449 A. was
commissioned by Ser Lionardo di Francesco di
Nardo de’ Fallandanzi da Orte, Rector, to paint a
panel of the Assumption of the Virgin for the church
of S. Miniato fra le Torri, for the price of 104 lire.
Between 1451 and 1453, A. was engaged in painting
the wall on the choir of the church of S. Egidio
(Sta. Maria Nuova), for which he was to receive the
sum of 100 flor. of gold. In 1454, Alesso Baldo-
vinetti [q.v.] coloured—apparently from Alesso’s
cartoon—for A. a large “ panno ” of the “ Inferno,”
for which, on June 16, he owed the P. 40 lire.
The work was carried out in the infirmary of the
Servi. Vasari records that A. also painted for
the hospital of Sta. Maria Nuova a S. Andrea in the
cloister della Ossa, above a doorway, which gave
such satisfaction that he was commissioned to paint
a “ Last Supper ” in the attendants’ refectory.
Both these works are lost. He painted a S. Giuliano
at the door of the church of S. Giuliano.
If A. is the Andreino da Firenze mentioned in a
note of a payment found by Mr. E. Muntz in the
Vatican Archives, he was in Rome in the autumn
of that year, working for Pope Nicholas V. In any
case he was again in Florence in 1455, painting in
the Feroni and Medici Chapels in the church of
the Servi (SS. Annunziata). A fresco of the Trinity
with S. Jerome and other Saints was uncovered after
1890 behind the altar of the Vai-Verazzani, formerly
Montanto, chapel in this church, which was formerly
dedicated to S. Jerome.
On Oct. 19, 1455, the Commune of Florence
decreed that an equestrian figure of Niccolo da
Tolentino should be painted and placed in the
Duomo; the commission was given by the Board
of Works to A., who received 24 golden florins for
the work. It was restored in 1524 by Lorenzo di
Credi, and may still be seen in the cathedral. In
May 1557 A. painted his last great work : a “ Last
Supper ” (fresco) in the refectory of the monastery
of S. Apollonia. A. was married, but does not
appear to have had any family. His wife pre-
deceased him by eleven days; and it is possible
that they both died of the plague, which made its
appearance in Florence in 1457. A. was buried in
the church of the SS. Annunziata. He res. in the
pop. Sta. Maria del Fiore. As Domenico Vene-
ziano survived A. and, finally, died a natural death,
it is evident that the latter did not murder him.
(The legend probably arose from the real assas-