DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0115
FONTEBUONI
ioi
FORA
Giorgio Vasari, also worked with Pierino del Vaga,
first m. of Agostino Caracci and of Alessandro
Tiarini. P. painted in Rome (Court of the Vatican),
where he employed Taddeo Zuccaro; in Florence,
in the Palazzo Vecchio, and for the decorations on
the occasion of the festivities held for the marriage
of Don Francesco de’ Medici and Giovanna d’ Austria
in 1565J at Genoa, Palazzo Doria, etc., and at
Bologna, where he painted in several churches, and
also finished some pictures commenced by Innocenzo
da Imola. About 1541 (?) he was called to France
by Primaticcio, but, falling dangerously ill on his
arrival, returned at once to Bologna.
P.’s daughter Lavinia (b. Aug. 26, 1552, d. 1602),
who followed her father’s profession, worked in
Rome and at Bologna, principally as a portrait-
painter. She is considered to have had more merit
than her father. L. married Signor Gio. Paolo di
Livio Zappi of Imola.
Works :—Bologna (Gallery, S. Giacomo Maggiore,
frescoes and altar-piece). Milan (Brera).
(Vasari, Sansoni; Baldinucci; Layard’s Kugler;
Borghini; Malvasia; A.D. Registers.)
37. Fontebuoni, Anastagio di Piero di
Stagio. Flor., b. c. 1572, d. July 1626. P.
mat. July 8,1590 [A.D., R. 56, c. 115*]. A.D. 1594.
Consul, 1604 (Aug., absent) \id. 97], 1622 (Sept.)
[id. 99]. p. of il Passignano, 1590. In 1597 A.
painted a picture for Giorgio Fontebuoni. c. ? 1604
A. visited Rome, where he was employed, for some
months, at the Vatican. His apprentice, Orazio
Mondella, P., a poor youth, petitioned the Pope
that A. may be made to pay him his wages, he
having served him in painting, grinding colours,
carrying water and doing all that his master required
while working in the Papal palace. A. also painted
in fresco and oil in the Roman churches of S. Bal-
bina, S. Giovanni dei Fiorentini, St. Prisca, on the
Aventine, S. Giacomo degli Spagnuoli and S. Paolo
fuori le Mure. Having had a dispute with the
Benedictine fathers, A. returned to Florence.
Pictures by A. were sent to Pistoja, Rimini, Genoa
and Ragusa. Tolomei states that the Fontebuoni
were a family of Pistoja; if, however, A. was not
born in Florence he was certainly established there.
Works :—Florence (Casa Buonarroti, Uffizi Gal-
lery); Rome. Brother of—
38. Fontebuoni, Bartolommeo di Piero di
Stagio. Flor., b. 15—, d. 1630. P. mat. Jan. 7,
1595/6 [A.D., R. 57, c. 55]. On July 8, 1596, B.
demanded that Filippo di Piero Camelli should,
within three days, pay for a picture with a portrait
painted for him by his father [A.D., R. 63, c. ioo*].
From this it would appear that he was the son of
a P. In his youth a promising artist, B. painted in
Florence and Rome. Becoming, however, a fol-
lower of the Venerable Ippolito Galantini (a Floren-
tine weaver who founded in 1602 the Congregazione
della Dottrina), he entered the Order of Jesus in
Rome, and was sent to India before 1618. He
continued the exercise of his art in the Jesuit
churches erected at Goa and other localities in the
Portuguese territories. Bartolommeo died in Bengal.
(Baldinucci, ed. Ranalli; Lanzi; alsoTigri; and
note from “ Giornale d’Erudizione Artistica.”)
39. Fora, del. The three brothers, Bartolommeo,
Ghirardo and Monte del Fora, chiefly known as
illuminators, were the sons of Giovanni di Minialo
detto Fora, a scarpellino or stone-carver of Florence,
by his second wife, Domenica di Bartolommeo di
Bartolo calzolaio. The brothers were established
at Carlolari, in a bottega belonging to the monks
of the Badia, situate at the “ Canto del Garbo,”
under the sacristy of the church, opposite S. Apol-
linare, which they had rented for five years from
May 1, 1465. This agreement was cancelled in
1467, when they entered into occupation, on
Nov. 1, for the term of five years, of a barber’s
shop, belonging to the same monks. The yearly
rent was 15 flor. and a goose, but they had to spend
30 flor. on transforming the barber’s shop into a
cartoleria. Notices of their lives follow.
39a. Bartolommeo di Giovanni di Miniato.
Flor., b. 1442, d. 1492. MI. and cartolaro. No
works of Bartolommeo are known to exist further
than that he assisted his brothers Gherardo and
Monte in illuminating several choral-books for the
sacristy and library of the monks of the Badia.
The entries in the books of the Badia show that the
brothers supplied the parchment and bindings as
well as the illuminations. Perhaps Bartolommeo
was the managing partner of the firm. Brother of—•
39b. Gherardo di Giovanni di Miniato.
Flor., b. 1445, d. 1497. MI. P. MO. Engraver,
musician. S.L. [lib. rosso 1472]. p. of, or at least
influenced by, Domenico Ghirlandajo. In 1474
Gherardo painted the fresco on the left side of the
entrance to the church of S. Egidio (Sta. Maria
Nuova), which was partly repainted in the following
century by Francesco del Brina. The subject is
Pope Martin V. confirming the privileges conferred
by his predecessors on the Hospital of St. Maria
Nuova. In i486 Gherardo painted a Madonna
and Saints over the door of the church of the con-
vent of Sta. Maria del Sasso, near Bibbiena, which
has long since perished. In 1487 Gherardo, with
his brother Monte, painted a tabernacle outside the
Porta alia Croce, known as the Madonna del Garullo.
The tabernacle was pulled down in the course of
recent alterations. The only fragment of Gherardo’s
painting that remains is a half-figure of the Madonna
and Child set in the wall of a house in the Via del
Cenacolo, forming a comer of the Via Aretina.
Another tabernacle painted by Gherardo, at the
comer of the Piazza S. Marco and Via Cavour, is
hardly ever visible to the public, being closed with
shutters. It is an interesting work, although it is
said to have suffered from repainting. The house
to which this tabernacle is attached is said to have
ioi
FORA
Giorgio Vasari, also worked with Pierino del Vaga,
first m. of Agostino Caracci and of Alessandro
Tiarini. P. painted in Rome (Court of the Vatican),
where he employed Taddeo Zuccaro; in Florence,
in the Palazzo Vecchio, and for the decorations on
the occasion of the festivities held for the marriage
of Don Francesco de’ Medici and Giovanna d’ Austria
in 1565J at Genoa, Palazzo Doria, etc., and at
Bologna, where he painted in several churches, and
also finished some pictures commenced by Innocenzo
da Imola. About 1541 (?) he was called to France
by Primaticcio, but, falling dangerously ill on his
arrival, returned at once to Bologna.
P.’s daughter Lavinia (b. Aug. 26, 1552, d. 1602),
who followed her father’s profession, worked in
Rome and at Bologna, principally as a portrait-
painter. She is considered to have had more merit
than her father. L. married Signor Gio. Paolo di
Livio Zappi of Imola.
Works :—Bologna (Gallery, S. Giacomo Maggiore,
frescoes and altar-piece). Milan (Brera).
(Vasari, Sansoni; Baldinucci; Layard’s Kugler;
Borghini; Malvasia; A.D. Registers.)
37. Fontebuoni, Anastagio di Piero di
Stagio. Flor., b. c. 1572, d. July 1626. P.
mat. July 8,1590 [A.D., R. 56, c. 115*]. A.D. 1594.
Consul, 1604 (Aug., absent) \id. 97], 1622 (Sept.)
[id. 99]. p. of il Passignano, 1590. In 1597 A.
painted a picture for Giorgio Fontebuoni. c. ? 1604
A. visited Rome, where he was employed, for some
months, at the Vatican. His apprentice, Orazio
Mondella, P., a poor youth, petitioned the Pope
that A. may be made to pay him his wages, he
having served him in painting, grinding colours,
carrying water and doing all that his master required
while working in the Papal palace. A. also painted
in fresco and oil in the Roman churches of S. Bal-
bina, S. Giovanni dei Fiorentini, St. Prisca, on the
Aventine, S. Giacomo degli Spagnuoli and S. Paolo
fuori le Mure. Having had a dispute with the
Benedictine fathers, A. returned to Florence.
Pictures by A. were sent to Pistoja, Rimini, Genoa
and Ragusa. Tolomei states that the Fontebuoni
were a family of Pistoja; if, however, A. was not
born in Florence he was certainly established there.
Works :—Florence (Casa Buonarroti, Uffizi Gal-
lery); Rome. Brother of—
38. Fontebuoni, Bartolommeo di Piero di
Stagio. Flor., b. 15—, d. 1630. P. mat. Jan. 7,
1595/6 [A.D., R. 57, c. 55]. On July 8, 1596, B.
demanded that Filippo di Piero Camelli should,
within three days, pay for a picture with a portrait
painted for him by his father [A.D., R. 63, c. ioo*].
From this it would appear that he was the son of
a P. In his youth a promising artist, B. painted in
Florence and Rome. Becoming, however, a fol-
lower of the Venerable Ippolito Galantini (a Floren-
tine weaver who founded in 1602 the Congregazione
della Dottrina), he entered the Order of Jesus in
Rome, and was sent to India before 1618. He
continued the exercise of his art in the Jesuit
churches erected at Goa and other localities in the
Portuguese territories. Bartolommeo died in Bengal.
(Baldinucci, ed. Ranalli; Lanzi; alsoTigri; and
note from “ Giornale d’Erudizione Artistica.”)
39. Fora, del. The three brothers, Bartolommeo,
Ghirardo and Monte del Fora, chiefly known as
illuminators, were the sons of Giovanni di Minialo
detto Fora, a scarpellino or stone-carver of Florence,
by his second wife, Domenica di Bartolommeo di
Bartolo calzolaio. The brothers were established
at Carlolari, in a bottega belonging to the monks
of the Badia, situate at the “ Canto del Garbo,”
under the sacristy of the church, opposite S. Apol-
linare, which they had rented for five years from
May 1, 1465. This agreement was cancelled in
1467, when they entered into occupation, on
Nov. 1, for the term of five years, of a barber’s
shop, belonging to the same monks. The yearly
rent was 15 flor. and a goose, but they had to spend
30 flor. on transforming the barber’s shop into a
cartoleria. Notices of their lives follow.
39a. Bartolommeo di Giovanni di Miniato.
Flor., b. 1442, d. 1492. MI. and cartolaro. No
works of Bartolommeo are known to exist further
than that he assisted his brothers Gherardo and
Monte in illuminating several choral-books for the
sacristy and library of the monks of the Badia.
The entries in the books of the Badia show that the
brothers supplied the parchment and bindings as
well as the illuminations. Perhaps Bartolommeo
was the managing partner of the firm. Brother of—•
39b. Gherardo di Giovanni di Miniato.
Flor., b. 1445, d. 1497. MI. P. MO. Engraver,
musician. S.L. [lib. rosso 1472]. p. of, or at least
influenced by, Domenico Ghirlandajo. In 1474
Gherardo painted the fresco on the left side of the
entrance to the church of S. Egidio (Sta. Maria
Nuova), which was partly repainted in the following
century by Francesco del Brina. The subject is
Pope Martin V. confirming the privileges conferred
by his predecessors on the Hospital of St. Maria
Nuova. In i486 Gherardo painted a Madonna
and Saints over the door of the church of the con-
vent of Sta. Maria del Sasso, near Bibbiena, which
has long since perished. In 1487 Gherardo, with
his brother Monte, painted a tabernacle outside the
Porta alia Croce, known as the Madonna del Garullo.
The tabernacle was pulled down in the course of
recent alterations. The only fragment of Gherardo’s
painting that remains is a half-figure of the Madonna
and Child set in the wall of a house in the Via del
Cenacolo, forming a comer of the Via Aretina.
Another tabernacle painted by Gherardo, at the
comer of the Piazza S. Marco and Via Cavour, is
hardly ever visible to the public, being closed with
shutters. It is an interesting work, although it is
said to have suffered from repainting. The house
to which this tabernacle is attached is said to have