DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0187
MARSILI
i73
MASACCIO
references to Bastiano in the A.D. Registers are as
follows: (Councillor 1571, June [No. 24, c. 32];
A.D. 1571, Dec. 8 [25, c. 16]; Provveditore, 1574 [id.
30, 34*]; Camarlingo, 1575—76 [id. 66*, 84]; Consul
1578 (May) [1594], id. 1585 (April) [1595]; Master of
Girolamo (di Domenico Salucci) [28, c. 89]). Father
of—
39. Giuseppe (Marsili). Flor., b. 15—, d. —.
P. mat.? c. 1593. p. Jacopo da Empoli. For the
festival of S. Luke in 1593 Giuseppe painted a
figure representing “ il Componimento ” (A.D., R.
27, c. 135].
40. Martini,Bartolommeo di SANTi,dettoMEO
della Porta a Prato. Flor., b. 15—, d. 16—.
p. of Piero (? del Cammello) in Via dello Studio,
mat. 1592 [A.D., R. 56, c. 123*]. There are various
unimportant entries referring to Bartolommeo in
the A.D. Register [8, 89, 90] between 1602 and 1627.
His bottega was in the Via della Condotta.
41. Marucelli, Valerio di Niccolo di Ber-
nardino da Ferrara [Milanesi]. Flor. b. Oct.
15, 1563, d. 16—. P. landscp. mat. May 1, 1585
[A.D., R. 56, c. 91*]. A.D. 1588 [id. 27, c. 138].
(Consul 1595 (Aug.) [id. 97], drawn 1606, 1609,
1610, and 1623/4, but refused service on each
occasion.) p. of Santi di Tito [Lanzi, “ Stor. Pitt.”
I. 234], or according to Baldinucci [ed. Ranelli, III.
517] of Giovan Battista Naldini, m. of Gasparre
Falgani. For the Festival of S. Luke in 1583,
Valerio painted a canvas of “ Abraham sacrificing
Isaac” [id. 26,c. 34], which, with four other canvases,
painted on this occasion, was sold on Jan. 7, 1583/4,
to Giovanini di Raffaello Navisi, P., for 35 lire (each)
[id. id., c. 37*]. Valerio competed with other artists,
to paint the altar-piece for the chapel of the
Accademia del Disegno which was allotted to
Jacopo Ligozzi, but never executed [id. 27, no*].
In 1596 he received a canvas to paint the portrait of
the Prior of the Innocenti (Don Vincenzo Borghini)
[id. 28, c. 50*]. The following notes [A.S.F., Guarda-
roba Med.] refer to various paintings by Valerio
executed by order of the Grand-Duke on Nov. 14,
16—, for a small painting on copper of the Madonna
with two angels and cherubim’s heads from the
original by Correggio in the possession of Don
Giovanni de Medici; 16 ducats for a S. Mary
Magdalen taken from one by Parmigiano on copper,
about § braccio [236 ins. 2, No. 138]; Nov. 12,
1603, 15 ducats for a copy of the portrait of the
Princess DonnaDianora, etc., for restoring a Madonna
3 ducats [No. 251, a c. 314]; July 16, 1608, for
painting on canvas a Pieta from an old cartoon said
to have been designed by il Perugino or il Ghirlan-
dajo, 50 ducats nett [251, No. 529]; Aug. 5, 1615,
paid 50 ducats for a S. Mary Magdalen carried by the
Angels to Heaven, painted on alabaster, 1 braccio high
by J braccio [332, c. 477]; Dec. 3, 1618, 3 ducats
for having made a pen design coloured of a neck-
lace and a jewel for the Archduchess [350, No. 551];
May 14,1623, inventoried in Grand-Ducal possession
three oil paintings on canvas, with the portraits of
the Grand-Duke Ferdinand I., Madama Cristina of
Lorraine, and their son Prince Don Lorenzo [No.
373, c. 344], and lastly March 7, 1623/24, 25 lire for
having painted on a round of about J braccio of
white silk a Madonna, “ a modo di Assunta,” with
two “ puttini ” and a frieze, for the Archduchess;
14 lire for having made four designs for the
decoration (per guarnire) a crystal vase, which were
executed for the late Grand-Duke Ferdinand [323,
No. 39].
Valerio’s family was of Ferrarese origin.
42. Masaccio was Tommaso di Ser Giovanni
di Simone Guidi da S. Giovanni in Val d’Amo, b.
Dec. 21,1401, d. 1428. P. Phy. A. Jan. 7, 1421/22,
pop. S. Niccolo [Cod. NXI.]. p. of Masolino da
Panicale. m. of Fra Filippo Lippi and possibly of
his brother Giovanni [<7.^.5. Guidi]. Andrea di
Giusto (Manzini) was his assistant. Much loved by
Brunellesco, who taught him many things apper-
taining to art [“ Lib. di Ant. Billi,” ed. Frey,
16-17]. The earliest notice of Masaccio’s artistic
pre-eminence is probably that given by Cristoforo
Landini in his Commentary on Dante [“ Bib. Naz.
Florence,” 271], wherein the P. is described as a
most skilful imitator of nature, a master of relief and
of pure and simple composition, in the art of
perspective equal to any other of his time, and
possessing a great facility of execution. He was not
the Masaccio named by Leon Battista Alberti in his
tract “ De Pictura ” [Vasari, San. II. 550, n. 2].
Vasari [ut sup. 289] states that Masaccio began to
study art when Masolino was painting in the
Brancacci Chapel of the Carmine. As, however, he
matriculated in the Phy. A. in Jan. 1421/22 (as noted
above), thus enabling him to set up a bottega, he
must have commenced his apprenticeship to art
some years earlier, and probably under Masolino.
It may in consequence be surmised that Masaccio
accompanied or followed Masolino to Rome about
1422, and was engaged under the Master in painting
the frescoes in S. Clemente and possibly on other
works [v.e. Crowe and Cavalcaselle, ed. Lemon. II.
283]. Between 1422 and 1425 Masaccio in all
probability executed the various paintings in
Florence mentioned by Vasari [ut sup. 290-92], of
which the wall-painting in tempera of the Trinity
in Sta. Maria Novella and the Virgin, Infant and S._
Anne, formerly in the church of S. Ambrogio, alone
are extant. The “ Trinity,” much damaged, has
been removed from its original position to the south
wall of the church ; the S. Anne, which is considered
an early work [Crowe and Cavalcaselle, ut sup. 320].
is preserved in the A.M.G. (No. 70). Masaccio may
still have assisted Masolino when, about 1424, the
Master commenced the frescoes of the Brancacci
Chapel, or he may have been engaged about this
time in painting the “ Procession ” in the cloister of
the convent of the Carmine, which he is stated to
have executed with great artistic ability (1artifitio).
i73
MASACCIO
references to Bastiano in the A.D. Registers are as
follows: (Councillor 1571, June [No. 24, c. 32];
A.D. 1571, Dec. 8 [25, c. 16]; Provveditore, 1574 [id.
30, 34*]; Camarlingo, 1575—76 [id. 66*, 84]; Consul
1578 (May) [1594], id. 1585 (April) [1595]; Master of
Girolamo (di Domenico Salucci) [28, c. 89]). Father
of—
39. Giuseppe (Marsili). Flor., b. 15—, d. —.
P. mat.? c. 1593. p. Jacopo da Empoli. For the
festival of S. Luke in 1593 Giuseppe painted a
figure representing “ il Componimento ” (A.D., R.
27, c. 135].
40. Martini,Bartolommeo di SANTi,dettoMEO
della Porta a Prato. Flor., b. 15—, d. 16—.
p. of Piero (? del Cammello) in Via dello Studio,
mat. 1592 [A.D., R. 56, c. 123*]. There are various
unimportant entries referring to Bartolommeo in
the A.D. Register [8, 89, 90] between 1602 and 1627.
His bottega was in the Via della Condotta.
41. Marucelli, Valerio di Niccolo di Ber-
nardino da Ferrara [Milanesi]. Flor. b. Oct.
15, 1563, d. 16—. P. landscp. mat. May 1, 1585
[A.D., R. 56, c. 91*]. A.D. 1588 [id. 27, c. 138].
(Consul 1595 (Aug.) [id. 97], drawn 1606, 1609,
1610, and 1623/4, but refused service on each
occasion.) p. of Santi di Tito [Lanzi, “ Stor. Pitt.”
I. 234], or according to Baldinucci [ed. Ranelli, III.
517] of Giovan Battista Naldini, m. of Gasparre
Falgani. For the Festival of S. Luke in 1583,
Valerio painted a canvas of “ Abraham sacrificing
Isaac” [id. 26,c. 34], which, with four other canvases,
painted on this occasion, was sold on Jan. 7, 1583/4,
to Giovanini di Raffaello Navisi, P., for 35 lire (each)
[id. id., c. 37*]. Valerio competed with other artists,
to paint the altar-piece for the chapel of the
Accademia del Disegno which was allotted to
Jacopo Ligozzi, but never executed [id. 27, no*].
In 1596 he received a canvas to paint the portrait of
the Prior of the Innocenti (Don Vincenzo Borghini)
[id. 28, c. 50*]. The following notes [A.S.F., Guarda-
roba Med.] refer to various paintings by Valerio
executed by order of the Grand-Duke on Nov. 14,
16—, for a small painting on copper of the Madonna
with two angels and cherubim’s heads from the
original by Correggio in the possession of Don
Giovanni de Medici; 16 ducats for a S. Mary
Magdalen taken from one by Parmigiano on copper,
about § braccio [236 ins. 2, No. 138]; Nov. 12,
1603, 15 ducats for a copy of the portrait of the
Princess DonnaDianora, etc., for restoring a Madonna
3 ducats [No. 251, a c. 314]; July 16, 1608, for
painting on canvas a Pieta from an old cartoon said
to have been designed by il Perugino or il Ghirlan-
dajo, 50 ducats nett [251, No. 529]; Aug. 5, 1615,
paid 50 ducats for a S. Mary Magdalen carried by the
Angels to Heaven, painted on alabaster, 1 braccio high
by J braccio [332, c. 477]; Dec. 3, 1618, 3 ducats
for having made a pen design coloured of a neck-
lace and a jewel for the Archduchess [350, No. 551];
May 14,1623, inventoried in Grand-Ducal possession
three oil paintings on canvas, with the portraits of
the Grand-Duke Ferdinand I., Madama Cristina of
Lorraine, and their son Prince Don Lorenzo [No.
373, c. 344], and lastly March 7, 1623/24, 25 lire for
having painted on a round of about J braccio of
white silk a Madonna, “ a modo di Assunta,” with
two “ puttini ” and a frieze, for the Archduchess;
14 lire for having made four designs for the
decoration (per guarnire) a crystal vase, which were
executed for the late Grand-Duke Ferdinand [323,
No. 39].
Valerio’s family was of Ferrarese origin.
42. Masaccio was Tommaso di Ser Giovanni
di Simone Guidi da S. Giovanni in Val d’Amo, b.
Dec. 21,1401, d. 1428. P. Phy. A. Jan. 7, 1421/22,
pop. S. Niccolo [Cod. NXI.]. p. of Masolino da
Panicale. m. of Fra Filippo Lippi and possibly of
his brother Giovanni [<7.^.5. Guidi]. Andrea di
Giusto (Manzini) was his assistant. Much loved by
Brunellesco, who taught him many things apper-
taining to art [“ Lib. di Ant. Billi,” ed. Frey,
16-17]. The earliest notice of Masaccio’s artistic
pre-eminence is probably that given by Cristoforo
Landini in his Commentary on Dante [“ Bib. Naz.
Florence,” 271], wherein the P. is described as a
most skilful imitator of nature, a master of relief and
of pure and simple composition, in the art of
perspective equal to any other of his time, and
possessing a great facility of execution. He was not
the Masaccio named by Leon Battista Alberti in his
tract “ De Pictura ” [Vasari, San. II. 550, n. 2].
Vasari [ut sup. 289] states that Masaccio began to
study art when Masolino was painting in the
Brancacci Chapel of the Carmine. As, however, he
matriculated in the Phy. A. in Jan. 1421/22 (as noted
above), thus enabling him to set up a bottega, he
must have commenced his apprenticeship to art
some years earlier, and probably under Masolino.
It may in consequence be surmised that Masaccio
accompanied or followed Masolino to Rome about
1422, and was engaged under the Master in painting
the frescoes in S. Clemente and possibly on other
works [v.e. Crowe and Cavalcaselle, ed. Lemon. II.
283]. Between 1422 and 1425 Masaccio in all
probability executed the various paintings in
Florence mentioned by Vasari [ut sup. 290-92], of
which the wall-painting in tempera of the Trinity
in Sta. Maria Novella and the Virgin, Infant and S._
Anne, formerly in the church of S. Ambrogio, alone
are extant. The “ Trinity,” much damaged, has
been removed from its original position to the south
wall of the church ; the S. Anne, which is considered
an early work [Crowe and Cavalcaselle, ut sup. 320].
is preserved in the A.M.G. (No. 70). Masaccio may
still have assisted Masolino when, about 1424, the
Master commenced the frescoes of the Brancacci
Chapel, or he may have been engaged about this
time in painting the “ Procession ” in the cloister of
the convent of the Carmine, which he is stated to
have executed with great artistic ability (1artifitio).