DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0197
MINACCHI
183
MINIATI
Crowe and Cavalcaselle’s Life of Giovanni [ut sup.,
93-io5].
94. Minacchi, Lorenzo di Niccolo. Flor.,
b. 15—, d.-. P. Phy. A., May 23, 1570, da
Sta. Maria Maggiore [Cod. XIII.]. Lorenzo's name
appears on the Registers of the A.D. in Feb. 1580/1
[No. 101, c. 59].
95. Minga, Andrea del, v. Cini, Andrea di
Mariotto.
95a. Mini, Antonio di Bernardo di
Paolo. Flor., b. c. 1506, d. 1533. P.S. p. of
Michelagnolo. Antonio was about sixteen years of
age when he entered Michelagnolo’s service, at the
latter end of 1522. He accompanied the Master on
his flight to Venice in 1529, and remained with him
altogether about nine years [Vasari, San. VII. 198;
v.c. Symonds’ “ Life of M. A. Buonarroti,” 375,442].
At the end of this time Antonio fell desperately in
love with the daughter of a poor widow, de’ Caccini,
and thought of marrying her against the wishes
of his family. Michelagnolo, at the request of
Antonio’s uncle, Giovambattista di Paolo Mini,
encouraged him to carry out his intention of visiting
France, and gave him the picture of “ Leda ” that he
had painted for Duke Alfonso of Ferrara, with the
original cartoon, many drawings and two cases of
models. Antonio set out on his journey at the
end of November 1531, in company with a young
Florentine P., Benedetto del Bene. After remaining
some time at Lyons, where they painted a Leda
from Michelagnolo’s cartoon, the two artists pro-
ceeded to Paris, Antonio, who was simple and
inexperienced, believing that he would retrieve his
fortunes by the sale of the picture his master had
given him. But King Francis was absent from the
capital, and, after having followed him in vain for
two months, Antonio left the Leda with Giuliano
Bonaccorsi, a Florentine, and went back to Lyons,
where he fell seriously ill. On his partial recovery
he returned to Paris, only to find that Bonaccorsi
had defrauded him of the Leda, having sold the
picture to the King on his own account, and that
many other of his possessions had been dispersed.
His grief was so great that he had a relapse, and died
in Paris shortly after, towards the close of 1533
[Vasari, San. VII. 334, 335; Com. alia Vita di
M.A. Buonarroti; v.c. Vasari, V. 131; VI. 620;
VII. 200, 262]. Gaye [“ Carteggio degli Arti,”
II. 228-30] has published two interesting letters
written by Giovambattista di Paolo Mini to Barto-
lommeo Valori in 1531, referring to the conditions
of the sacristy of S. Lorenzo, the sepulchre of
Julius II., a portrait of Clement VIII. by Sebastian
del Piombo, the Sacrifice of Abraham by Andrea del
Sarto and the Rape of Diana commenced by Fra
Bartolommeo and finished by Bugiardini.
96. Miniati, Bartolommeo. Flor., b. 15—,
d. 15—. P. p. of il Rosso Fiorentino, with whom
he worked at Fontainebleau, between the years
1530 and 1540 [Vasari, San. V. 171].
97. Miniati, The. This family, of Prato, derived
their surname from Miniato, the father of Piero
and Antonio, the two P’s. whose notices follow.
For a tree of the Miniati v. Vasari, San. VI. 51:
“ Com. alia vita di Niccolo Soggi.”
97a. (i) Piero di Miniato di Piero di Meglio,
known as Piero Miniati. Prato, b. c. 1366, d.
June, 1430. P. Phy. A. bet. 1386-1408 [as Piero
di Donato (? for Miniato) di Meglio da Prato]
[Cod. VII.]. S.L. 1392. p. ? of Agnolo Gaddi or
of Niccolo di Piero Gerini, who were both working
at Prato towards the close of the fourteenth century.
It is not known that Piero ever abandoned his
native city [Guasti, “ Madonna del Soccorso,” 40].
Piero worked at Prato for Francesco di Marco
Datini, and for the Rectors of the Spedale del
Ceppo, which Datini had bequeathed to his native
city. In 1409-10 he painted a small panel for the
church of S. Domenico, where he appears to have
executed some other work, as in the Datini account-
books there is an entry, under date of Feb. 12, that
Piero was lent two of the longest poles in the poultry
yard, which he said he wanted to erect a scaffolding
in S. Domenico, in order to paint there. On Aug. 31,
1413, Piero was paid, by Datini’s executor, 26 flor.,
at 4 lire per florin, for a variety of small works,
chiefly, no doubt, executed by his assistants, which
included the arms of Louis II. of Anjou, King of
Naples, who lodged in Datini’s house in 1409-10,
over the principal entrance of the Ceppo; some
fifteen badges (segni) of the Ceppo, painted on
various houses belonging to the hospital; the
“ archa ” covering the bier in which Francesco’s
body was laid; six painted boards (legni) to be
placed on the altar of S. Francesco at the annual
celebration of Datini’s death; a curtain for the
altar of S. Domenico, etc. Piero in the same year
also received 34 flor. for painting a panel of the
Coronation of the Virgin, with two predelle, a curtain
and all the ornaments of the same for the monastery
of S. Matteo (now in the Municipal Gallery).
There are various entries in the account-books for
gold and azure, purchased at Florence for this
picture. Before 1418 Piero began to paint, with
his brother Antonio, the tabernacle of the Romito,
outside the Porta Sta. Trinita (Prato), where Fran-
cesco Datini possessed some land. The painting, of
which the principal subject represented the Virgin,
Infant and two Saints, with small kneeling figures of
Datini and his wife, was not finished in 1423
[Guasti, “ Madonna del Soccorso,” 53, 54, 55]. In
this year Piero was to be paid 18 flor. in reduction
of a debt of some 73 flor. that he had with the
Ceppo, on condition that he finished this painting;
if not, a deduction was to be made according to the
amount of work done. The tabernacle still exists,
incorporated in a farmhouse at the angle formed by
two roads, near the church of the Madonna del
Soccorso, but in a very bad condition. In 1418
further payments were made to Piero on account of
183
MINIATI
Crowe and Cavalcaselle’s Life of Giovanni [ut sup.,
93-io5].
94. Minacchi, Lorenzo di Niccolo. Flor.,
b. 15—, d.-. P. Phy. A., May 23, 1570, da
Sta. Maria Maggiore [Cod. XIII.]. Lorenzo's name
appears on the Registers of the A.D. in Feb. 1580/1
[No. 101, c. 59].
95. Minga, Andrea del, v. Cini, Andrea di
Mariotto.
95a. Mini, Antonio di Bernardo di
Paolo. Flor., b. c. 1506, d. 1533. P.S. p. of
Michelagnolo. Antonio was about sixteen years of
age when he entered Michelagnolo’s service, at the
latter end of 1522. He accompanied the Master on
his flight to Venice in 1529, and remained with him
altogether about nine years [Vasari, San. VII. 198;
v.c. Symonds’ “ Life of M. A. Buonarroti,” 375,442].
At the end of this time Antonio fell desperately in
love with the daughter of a poor widow, de’ Caccini,
and thought of marrying her against the wishes
of his family. Michelagnolo, at the request of
Antonio’s uncle, Giovambattista di Paolo Mini,
encouraged him to carry out his intention of visiting
France, and gave him the picture of “ Leda ” that he
had painted for Duke Alfonso of Ferrara, with the
original cartoon, many drawings and two cases of
models. Antonio set out on his journey at the
end of November 1531, in company with a young
Florentine P., Benedetto del Bene. After remaining
some time at Lyons, where they painted a Leda
from Michelagnolo’s cartoon, the two artists pro-
ceeded to Paris, Antonio, who was simple and
inexperienced, believing that he would retrieve his
fortunes by the sale of the picture his master had
given him. But King Francis was absent from the
capital, and, after having followed him in vain for
two months, Antonio left the Leda with Giuliano
Bonaccorsi, a Florentine, and went back to Lyons,
where he fell seriously ill. On his partial recovery
he returned to Paris, only to find that Bonaccorsi
had defrauded him of the Leda, having sold the
picture to the King on his own account, and that
many other of his possessions had been dispersed.
His grief was so great that he had a relapse, and died
in Paris shortly after, towards the close of 1533
[Vasari, San. VII. 334, 335; Com. alia Vita di
M.A. Buonarroti; v.c. Vasari, V. 131; VI. 620;
VII. 200, 262]. Gaye [“ Carteggio degli Arti,”
II. 228-30] has published two interesting letters
written by Giovambattista di Paolo Mini to Barto-
lommeo Valori in 1531, referring to the conditions
of the sacristy of S. Lorenzo, the sepulchre of
Julius II., a portrait of Clement VIII. by Sebastian
del Piombo, the Sacrifice of Abraham by Andrea del
Sarto and the Rape of Diana commenced by Fra
Bartolommeo and finished by Bugiardini.
96. Miniati, Bartolommeo. Flor., b. 15—,
d. 15—. P. p. of il Rosso Fiorentino, with whom
he worked at Fontainebleau, between the years
1530 and 1540 [Vasari, San. V. 171].
97. Miniati, The. This family, of Prato, derived
their surname from Miniato, the father of Piero
and Antonio, the two P’s. whose notices follow.
For a tree of the Miniati v. Vasari, San. VI. 51:
“ Com. alia vita di Niccolo Soggi.”
97a. (i) Piero di Miniato di Piero di Meglio,
known as Piero Miniati. Prato, b. c. 1366, d.
June, 1430. P. Phy. A. bet. 1386-1408 [as Piero
di Donato (? for Miniato) di Meglio da Prato]
[Cod. VII.]. S.L. 1392. p. ? of Agnolo Gaddi or
of Niccolo di Piero Gerini, who were both working
at Prato towards the close of the fourteenth century.
It is not known that Piero ever abandoned his
native city [Guasti, “ Madonna del Soccorso,” 40].
Piero worked at Prato for Francesco di Marco
Datini, and for the Rectors of the Spedale del
Ceppo, which Datini had bequeathed to his native
city. In 1409-10 he painted a small panel for the
church of S. Domenico, where he appears to have
executed some other work, as in the Datini account-
books there is an entry, under date of Feb. 12, that
Piero was lent two of the longest poles in the poultry
yard, which he said he wanted to erect a scaffolding
in S. Domenico, in order to paint there. On Aug. 31,
1413, Piero was paid, by Datini’s executor, 26 flor.,
at 4 lire per florin, for a variety of small works,
chiefly, no doubt, executed by his assistants, which
included the arms of Louis II. of Anjou, King of
Naples, who lodged in Datini’s house in 1409-10,
over the principal entrance of the Ceppo; some
fifteen badges (segni) of the Ceppo, painted on
various houses belonging to the hospital; the
“ archa ” covering the bier in which Francesco’s
body was laid; six painted boards (legni) to be
placed on the altar of S. Francesco at the annual
celebration of Datini’s death; a curtain for the
altar of S. Domenico, etc. Piero in the same year
also received 34 flor. for painting a panel of the
Coronation of the Virgin, with two predelle, a curtain
and all the ornaments of the same for the monastery
of S. Matteo (now in the Municipal Gallery).
There are various entries in the account-books for
gold and azure, purchased at Florence for this
picture. Before 1418 Piero began to paint, with
his brother Antonio, the tabernacle of the Romito,
outside the Porta Sta. Trinita (Prato), where Fran-
cesco Datini possessed some land. The painting, of
which the principal subject represented the Virgin,
Infant and two Saints, with small kneeling figures of
Datini and his wife, was not finished in 1423
[Guasti, “ Madonna del Soccorso,” 53, 54, 55]. In
this year Piero was to be paid 18 flor. in reduction
of a debt of some 73 flor. that he had with the
Ceppo, on condition that he finished this painting;
if not, a deduction was to be made according to the
amount of work done. The tabernacle still exists,
incorporated in a farmhouse at the angle formed by
two roads, near the church of the Madonna del
Soccorso, but in a very bad condition. In 1418
further payments were made to Piero on account of