DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0093
COSI
79
CREDI
Duchino di Niccoluccio da Lucca. On Aug. 2,1331,
C. binds himself to the master, to learn his art for
one year. He promised to serve Duchino by day
and by night, and to take care of his goods, his
brother, Giunta, being his surety. For salary, C.
was to receive 23 lire of fiorini piccoli. Res. in
pop. S. Michele Visdomini.
(Milanesi, Nuovi Documenti; S.L. Registers.)
102. Cosi, Zanobi di Marc Antonio. Flor.,
b. 15—, d. 16—. P. 1594 owing 27 lire for mat.
[A.D., R. 57, c. 50], Consul del Corpo, 1611 (Dec.)
[id. 98], del Corpo, 1618 [id. 30], id. 1628/9 [*'<L
31]. Festaiolo, Oct. 1642 [id. 100].
103. Covato, Cesare di . . . Mechino del.
Flor., b. 15—, d. -. P. mat. Dec. 17, 1592.
[A.D., R. 56, 122*].
104. Credi, Lorenzo di, was Lorenzo d’
Andrea d’ Oderigo, d’ Andrea di Credi di
Barducci. Flor., b. 1459, d. Jan. 12, 1536/7.
P. S.L. [no date] (lib. rosso, 1503, 1505, 1515, in
which latter year is an autograph receipt by Lorenzo
for 2 flor.). p. of Andrea del Verrocchio; influenced
by his fellow p., Leonardo da Vinci. He was a
careful and painstaking draughtsman, and appears
to have had a knowledge of, if not practice in,
sculpture, m. of Antonio d’ Arcangelo del Cera-
juolo, Gian Jacopo da Castrocaro, Giovan Antonio
Sogliani, Tommaso di Stefano (Lunetti).
Lorenzo came of a family of goldsmiths, his
grandfather, father and elder brother, Carlo, all
professing this art. Probably he obtained his first
instruction in design in his father’s bottega, but he
also studied in the school of art established in the
“ Orti Medicei.” To Verrocchio he was greatly
attached. When his master was called to Venice
to execute the monument of Bartolommeo Colleoni
(c. i486),* Lorenzo was entrusted with the entire
management of Verrochio’s business and estate.
Vasari says that Lorenzo, besides attending to
Andrea’s affairs with incredible love, visited him
more than once to Venice to render an account of
his stewardship; and adds that, had Lorenzo con-
sented, Verrocchio would have made him his heir.
As it was he appointed Lorenzo his executor and
left him all his business credits, the furniture and
artistic properties contained in his house in Florence,
and the clothes and furniture he possessed in Venice,
under the condition of paying certain legacies. To
Credi also Verrocchio confided the completion of
the Colleoni monument [Gaye, I. 367 et seqi\. In
order to fulfil this latter trust, Lorenzo assigned the
work to Giovanni d’ Andrea, a Florentine S. The
Venetian Senate, however, paid no attention to
the wishes of Verrocchio, or to the act of his executor,
but appointed Alessandro Leopardi to finish the
monument. Like Fra Bartolommeo, Lorenzo was
an ardent follower of Savonarola, and, with other
“ piagnoni,” brought his designs from the nude to
* The model of the horse was finished and sent to
Venice in 1481.
be offered up at the “ Burning of the Vanities ”
on Shrove Tuesday, 1496/7 [Vasari, IV. 179].
Vasari states that the earliest pictures of Lorenzo
were a round of “ Our Lady ” sent to the King of
Spain, the design for which he took from one by
his master, and a picture, much better than the
foregoing, copied from one by Leonardo da Vinci,
so exactly that it was impossible to distinguish
between the two. This also was sent to Spain.
Vasari next speaks of an altar-piece, now in the
Cathedral of S. Jacopo of Pistoja, representing the
“ Virgin enthroned with Infant ” and, at the sides,
“ S. John Baptist and S. Zanobi ” [ordered of
Verrocchio in 1478, picture completed in 1485,
“ Bullettino Storico Pistojese,” I. 45]. This is
perhaps one of the earliest pictures by Lorenzo
that has come down to us. Vasari also mentions
a panel of “ S. Bartolommeo,” encased in a pilaster
of Or S. Michele, which Lorenzo painted while
still young. The study for this picture is in the
Louvre, No. 206 (Berenson). To his early period
modern criticism assigns also the following pictures,
distributed in different galleries : an “ Annuncia-
tion ” (Uffizi, No. 1160); portrait of a lady (Forli,
No. 99); “Madonna” (Turin, No. 356); bust of
a young woman (Berlin, No. 80); “ Madonna and
Saints ” (Dresden, No. 15); “ Madonna ” (Mayence,
No. 105); “Madonna” (Strasburg, No. 107)
(Berenson). The round of the “ Madonna, Infant
and S. John,” in the Borghese Gallery (No. 433),
is assigned by Morelli to the last ten years of the
fifteenth century. In i486 Lorenzo rented a house,
for three years, from the hospital of Sta. Maria
Nuova.
In Jan. 1490/1 he was one of the judges ap-
pointed to examine the designs and models pre-
sented for the fa9ade of the Duomo of Florence.
He was called in council with other experts in
1498, with reference to the restoration of the lantern
of the cathedral. In 1501 the panel of Fra Angelico,
in the church of S. Domenico of Fiesole, was restored
and reshaped by Lorenzo, and placed in a new
frame. ? if this is the panel now hanging in the
choir. In the same church there is a “ Baptism
of Our Lord,” by Credi, originally painted for the
Compagnia dello Scalzo, which the Grand-Duke,
Pietro Leopoldo, gave in exchange for Perugino’s
panel of “ Our Lady and two Saints,” which was
transferred to the Uffizi in 1786. In the course
of 1503 Lorenzo was commissioned by Giovanni
di Bernardo Jacopi to paint, for his chapel in the
church of Castello (Sta. Maria Maddalena de’ Pazzi),
an altar-piece representing the “ Virgin and Infant
with SS. Giuliano and Niccolo ” [Libro di Bene-
fattori, Conventi Soppressi Cestellono. grosso filza C.
XVIII. 96]. Vasari calls this his best work. It
is now in the Louvre (No. 1260). In Jan. 1503/4
Lorenzo was among the artists called to advise on
the best site for Michelagnolo’s “ David,” with
Pietro Perugino and Giovanni della Comiole.
79
CREDI
Duchino di Niccoluccio da Lucca. On Aug. 2,1331,
C. binds himself to the master, to learn his art for
one year. He promised to serve Duchino by day
and by night, and to take care of his goods, his
brother, Giunta, being his surety. For salary, C.
was to receive 23 lire of fiorini piccoli. Res. in
pop. S. Michele Visdomini.
(Milanesi, Nuovi Documenti; S.L. Registers.)
102. Cosi, Zanobi di Marc Antonio. Flor.,
b. 15—, d. 16—. P. 1594 owing 27 lire for mat.
[A.D., R. 57, c. 50], Consul del Corpo, 1611 (Dec.)
[id. 98], del Corpo, 1618 [id. 30], id. 1628/9 [*'<L
31]. Festaiolo, Oct. 1642 [id. 100].
103. Covato, Cesare di . . . Mechino del.
Flor., b. 15—, d. -. P. mat. Dec. 17, 1592.
[A.D., R. 56, 122*].
104. Credi, Lorenzo di, was Lorenzo d’
Andrea d’ Oderigo, d’ Andrea di Credi di
Barducci. Flor., b. 1459, d. Jan. 12, 1536/7.
P. S.L. [no date] (lib. rosso, 1503, 1505, 1515, in
which latter year is an autograph receipt by Lorenzo
for 2 flor.). p. of Andrea del Verrocchio; influenced
by his fellow p., Leonardo da Vinci. He was a
careful and painstaking draughtsman, and appears
to have had a knowledge of, if not practice in,
sculpture, m. of Antonio d’ Arcangelo del Cera-
juolo, Gian Jacopo da Castrocaro, Giovan Antonio
Sogliani, Tommaso di Stefano (Lunetti).
Lorenzo came of a family of goldsmiths, his
grandfather, father and elder brother, Carlo, all
professing this art. Probably he obtained his first
instruction in design in his father’s bottega, but he
also studied in the school of art established in the
“ Orti Medicei.” To Verrocchio he was greatly
attached. When his master was called to Venice
to execute the monument of Bartolommeo Colleoni
(c. i486),* Lorenzo was entrusted with the entire
management of Verrochio’s business and estate.
Vasari says that Lorenzo, besides attending to
Andrea’s affairs with incredible love, visited him
more than once to Venice to render an account of
his stewardship; and adds that, had Lorenzo con-
sented, Verrocchio would have made him his heir.
As it was he appointed Lorenzo his executor and
left him all his business credits, the furniture and
artistic properties contained in his house in Florence,
and the clothes and furniture he possessed in Venice,
under the condition of paying certain legacies. To
Credi also Verrocchio confided the completion of
the Colleoni monument [Gaye, I. 367 et seqi\. In
order to fulfil this latter trust, Lorenzo assigned the
work to Giovanni d’ Andrea, a Florentine S. The
Venetian Senate, however, paid no attention to
the wishes of Verrocchio, or to the act of his executor,
but appointed Alessandro Leopardi to finish the
monument. Like Fra Bartolommeo, Lorenzo was
an ardent follower of Savonarola, and, with other
“ piagnoni,” brought his designs from the nude to
* The model of the horse was finished and sent to
Venice in 1481.
be offered up at the “ Burning of the Vanities ”
on Shrove Tuesday, 1496/7 [Vasari, IV. 179].
Vasari states that the earliest pictures of Lorenzo
were a round of “ Our Lady ” sent to the King of
Spain, the design for which he took from one by
his master, and a picture, much better than the
foregoing, copied from one by Leonardo da Vinci,
so exactly that it was impossible to distinguish
between the two. This also was sent to Spain.
Vasari next speaks of an altar-piece, now in the
Cathedral of S. Jacopo of Pistoja, representing the
“ Virgin enthroned with Infant ” and, at the sides,
“ S. John Baptist and S. Zanobi ” [ordered of
Verrocchio in 1478, picture completed in 1485,
“ Bullettino Storico Pistojese,” I. 45]. This is
perhaps one of the earliest pictures by Lorenzo
that has come down to us. Vasari also mentions
a panel of “ S. Bartolommeo,” encased in a pilaster
of Or S. Michele, which Lorenzo painted while
still young. The study for this picture is in the
Louvre, No. 206 (Berenson). To his early period
modern criticism assigns also the following pictures,
distributed in different galleries : an “ Annuncia-
tion ” (Uffizi, No. 1160); portrait of a lady (Forli,
No. 99); “Madonna” (Turin, No. 356); bust of
a young woman (Berlin, No. 80); “ Madonna and
Saints ” (Dresden, No. 15); “ Madonna ” (Mayence,
No. 105); “Madonna” (Strasburg, No. 107)
(Berenson). The round of the “ Madonna, Infant
and S. John,” in the Borghese Gallery (No. 433),
is assigned by Morelli to the last ten years of the
fifteenth century. In i486 Lorenzo rented a house,
for three years, from the hospital of Sta. Maria
Nuova.
In Jan. 1490/1 he was one of the judges ap-
pointed to examine the designs and models pre-
sented for the fa9ade of the Duomo of Florence.
He was called in council with other experts in
1498, with reference to the restoration of the lantern
of the cathedral. In 1501 the panel of Fra Angelico,
in the church of S. Domenico of Fiesole, was restored
and reshaped by Lorenzo, and placed in a new
frame. ? if this is the panel now hanging in the
choir. In the same church there is a “ Baptism
of Our Lord,” by Credi, originally painted for the
Compagnia dello Scalzo, which the Grand-Duke,
Pietro Leopoldo, gave in exchange for Perugino’s
panel of “ Our Lady and two Saints,” which was
transferred to the Uffizi in 1786. In the course
of 1503 Lorenzo was commissioned by Giovanni
di Bernardo Jacopi to paint, for his chapel in the
church of Castello (Sta. Maria Maddalena de’ Pazzi),
an altar-piece representing the “ Virgin and Infant
with SS. Giuliano and Niccolo ” [Libro di Bene-
fattori, Conventi Soppressi Cestellono. grosso filza C.
XVIII. 96]. Vasari calls this his best work. It
is now in the Louvre (No. 1260). In Jan. 1503/4
Lorenzo was among the artists called to advise on
the best site for Michelagnolo’s “ David,” with
Pietro Perugino and Giovanni della Comiole.