DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0206
NUTO
192
ORGAGNA
and n. 2]. Toto res. for a long time in England,
whither he was taken by Pietro Torrigiani, S. The
agreement with Torrigiani was concluded on Sept.
23 and 28, 15x9. In it Torrigiani contracted with
Pier Giovanni di Lorenzo da Settignano, S., and
Antonio detto Toto del Nunziata, P., that they
should remain with him four and a half years and
work at their respective arts in Italy, France,
Flanders, England, Germany and any other part
of the world, at a salary of 3 flor. gold per mensem
for the first year and of 40 ducats per annum for
the second, besides board, lodging and horse hire
(.cavalcalura). Toto was considered one of the best
of the Italian masters who plied their art in England
in the sixteenth century [Lanzi, “ Stor. Pitt.,” I.
189]. He became Serjeant Painter to King Henry
VIII., and received letters of naturalization in 1583
[Walpole’s Works, ed. 1798, III. 54]. There are
entries in the Treasurer of the Chambers Accounts
and the Privy Purse Expenses of Henry VIII. for
the years 1530,1531 and 1532 referring to Bartholo-
mew Penn and Anthony Toto, P.’s of Florence.
They were in the receipt of yearly wages at the rate
of £25 (each), and were supplied with livery coats,
for which a sum of forty-five shillings was paid.
On Jan. 1, 1532, an entry, referring to the King’s
New Year’s plate given away, mentions “ Anth.
Toote, graver ” [Gardiner, “ Letters and Papers of
the Reign of Henry VIII.,” v. s. an., Longmans,
1880]. Further extracts are given by Walpole \ut
sup. 54] as, in March 1538, quarterly payments to
the two P.’s of £12 10s. between them; also presents
on New Year’s Day, 1539. “To Anthony Toto’s
servant, that brought the King at Hampton Court
a depicted table of Colonia, 7s. 8d.” Toto’s works
in England are all lost or unknown. He must have
died in this country.
46. Nuto di Grtt/lo da Prato, b. 12—, d. 13—.
P. p. of Grifo di Tancredi, with whom he was
placed by his father on Jan. 28, 1294/5, for four
years to leam the art of painting. Grillo, Nuto’s
father, was then res. in the pop. S. Piero Maggiore,
Florence [Milanesi, N. Doc. No. 10].
47. Nuzi (or Nucci) Allegretto da Fabriano,
b. 1326, d. 1385. P. (Umbrian School). In a list
of foreign artists working in Florence, and inscribed
in the Registers of the Phy. A. about the year 1340,
the name of this P. is found as Alegrettus Nucci
del Senis [A.S.F.,Consigli Magg. Prov. Reg. No. 211].
He must therefore evidently have res. in Siena
before coming to Florence, either to learn or perfect
himself in art. There are other cases in which a P.
has been termed of the city of his last residence on
arriving in Florence, e.g. Antonio Veneziano,
who is described in Phy. A. [Cod. VII.] as Antonio
di Francesco da Siena. A. conjecture was hazarded
by Milanesi [MS. note] that, “ Allegretto ” being a
common Sienese name, Nuzi may have been bom
in Siena of a Fabrianese father, established in that
city. It would seem, however, that Allegretto
really was a native of Fabriano, and he signs his
panels “ Alegrittus de Fabriano.” S.L. 1346.
p. perhaps of Tio di Francesco [Ricci, “ Mem.
Stor. delle Arti e degli Art. della Marca d’Ancona,”
I. 88], He may have been the first master of Gentile
da Fabriano [Ricci, ut sup. 147]. The Marquis
Ricci, quoting from a MS. of Vincenzo Lori, says
that Allegretto returned to Fabriano after working
in Florence and in Venice, but as regards the latter
city there is no other evidence to support the
assertion. If the frescoes referred to by the
Marchese Ricci \ut sup.] in the choir of Sta. Lucia
dei PP. Domenicani of Fabriano, which he says are
no longer extant,* were executed by Allegretto in
1349, he probably returned for good in that year to
his native place, where he worked for the remainder
of his life, happy in the companionship of his wife
Catalina, whom he remembered affectionately in his
will, drawn up at Fabriano on Sept. 26,1373 [Ricci,
ut sup. 90]. Of Allegretto’s extant works the
earliest known would appear to be a panel of
S. Antonio in the sacristy of the church of S. Antonio
Abate, outside the Porta Pisana, Fabriano, painted
in 1353 [Ricci, ut sup. 80]. His frescoes in the
choir of the church representing scenes from the
life of the Saint, painted in 1366, have perished.
In 1355 he painted a panel of the Virgin enthroned,
Infant, Saints and Donors, inscribed alegritus
nutii . me pinxit . a. mccclv., which from the
Hospice of the Camaldolese alia Lungara has
passed to the Museo Cristiano of the Vatican.
Two small panels by him are in the Berlin Museum :
(i) Virgin enthroned. Infant and two Saints,
signed but not dated (No. 1076); (ii) Our
Saviour crucified with SS. Mary Magdalen and
John the Evangelist (No. 1078). The triptych of
the Virgin enthroned and Infant surrounded by
angels and Saints, painted in 1369, for Frate
Johannes, clericus preceptor, Tolentini, is preserved
in the Duomo of Macerata. It bears the inscription
ALEGRITTVS . DE . FABRIANO . PINXIT . MCCCLXVIII.
[Crowe and Cavalcaselle, ed. Lemon. III. 23, 29].
Allegretto died of cholic (mal di Fianco) and was
buried in the church of Sta. Lucia in Fabriano.
o
1. Onofico, v. Nofri.
2. Orgagna. For convenience of reference we
have placed, in sequence, under this heading the
* But v. Crowe and Cavalcaselle, ed. Lemon., III.,
who believe that the much-damaged frescoes still in
the church of Sta. Lucia, and representing scenes from
the book of the Apocalypse, may be attributed to
Allegretto. There is also a date given by Ricci [loc.
cit.\, who says that some of the frescoes were painted in
1345. Allegretto may well have come from Florence
on a visit to Fabriano in 1345, but he had evidently
returned to the former city in 1346, if the date on the
roll of S. Luke is correct.
192
ORGAGNA
and n. 2]. Toto res. for a long time in England,
whither he was taken by Pietro Torrigiani, S. The
agreement with Torrigiani was concluded on Sept.
23 and 28, 15x9. In it Torrigiani contracted with
Pier Giovanni di Lorenzo da Settignano, S., and
Antonio detto Toto del Nunziata, P., that they
should remain with him four and a half years and
work at their respective arts in Italy, France,
Flanders, England, Germany and any other part
of the world, at a salary of 3 flor. gold per mensem
for the first year and of 40 ducats per annum for
the second, besides board, lodging and horse hire
(.cavalcalura). Toto was considered one of the best
of the Italian masters who plied their art in England
in the sixteenth century [Lanzi, “ Stor. Pitt.,” I.
189]. He became Serjeant Painter to King Henry
VIII., and received letters of naturalization in 1583
[Walpole’s Works, ed. 1798, III. 54]. There are
entries in the Treasurer of the Chambers Accounts
and the Privy Purse Expenses of Henry VIII. for
the years 1530,1531 and 1532 referring to Bartholo-
mew Penn and Anthony Toto, P.’s of Florence.
They were in the receipt of yearly wages at the rate
of £25 (each), and were supplied with livery coats,
for which a sum of forty-five shillings was paid.
On Jan. 1, 1532, an entry, referring to the King’s
New Year’s plate given away, mentions “ Anth.
Toote, graver ” [Gardiner, “ Letters and Papers of
the Reign of Henry VIII.,” v. s. an., Longmans,
1880]. Further extracts are given by Walpole \ut
sup. 54] as, in March 1538, quarterly payments to
the two P.’s of £12 10s. between them; also presents
on New Year’s Day, 1539. “To Anthony Toto’s
servant, that brought the King at Hampton Court
a depicted table of Colonia, 7s. 8d.” Toto’s works
in England are all lost or unknown. He must have
died in this country.
46. Nuto di Grtt/lo da Prato, b. 12—, d. 13—.
P. p. of Grifo di Tancredi, with whom he was
placed by his father on Jan. 28, 1294/5, for four
years to leam the art of painting. Grillo, Nuto’s
father, was then res. in the pop. S. Piero Maggiore,
Florence [Milanesi, N. Doc. No. 10].
47. Nuzi (or Nucci) Allegretto da Fabriano,
b. 1326, d. 1385. P. (Umbrian School). In a list
of foreign artists working in Florence, and inscribed
in the Registers of the Phy. A. about the year 1340,
the name of this P. is found as Alegrettus Nucci
del Senis [A.S.F.,Consigli Magg. Prov. Reg. No. 211].
He must therefore evidently have res. in Siena
before coming to Florence, either to learn or perfect
himself in art. There are other cases in which a P.
has been termed of the city of his last residence on
arriving in Florence, e.g. Antonio Veneziano,
who is described in Phy. A. [Cod. VII.] as Antonio
di Francesco da Siena. A. conjecture was hazarded
by Milanesi [MS. note] that, “ Allegretto ” being a
common Sienese name, Nuzi may have been bom
in Siena of a Fabrianese father, established in that
city. It would seem, however, that Allegretto
really was a native of Fabriano, and he signs his
panels “ Alegrittus de Fabriano.” S.L. 1346.
p. perhaps of Tio di Francesco [Ricci, “ Mem.
Stor. delle Arti e degli Art. della Marca d’Ancona,”
I. 88], He may have been the first master of Gentile
da Fabriano [Ricci, ut sup. 147]. The Marquis
Ricci, quoting from a MS. of Vincenzo Lori, says
that Allegretto returned to Fabriano after working
in Florence and in Venice, but as regards the latter
city there is no other evidence to support the
assertion. If the frescoes referred to by the
Marchese Ricci \ut sup.] in the choir of Sta. Lucia
dei PP. Domenicani of Fabriano, which he says are
no longer extant,* were executed by Allegretto in
1349, he probably returned for good in that year to
his native place, where he worked for the remainder
of his life, happy in the companionship of his wife
Catalina, whom he remembered affectionately in his
will, drawn up at Fabriano on Sept. 26,1373 [Ricci,
ut sup. 90]. Of Allegretto’s extant works the
earliest known would appear to be a panel of
S. Antonio in the sacristy of the church of S. Antonio
Abate, outside the Porta Pisana, Fabriano, painted
in 1353 [Ricci, ut sup. 80]. His frescoes in the
choir of the church representing scenes from the
life of the Saint, painted in 1366, have perished.
In 1355 he painted a panel of the Virgin enthroned,
Infant, Saints and Donors, inscribed alegritus
nutii . me pinxit . a. mccclv., which from the
Hospice of the Camaldolese alia Lungara has
passed to the Museo Cristiano of the Vatican.
Two small panels by him are in the Berlin Museum :
(i) Virgin enthroned. Infant and two Saints,
signed but not dated (No. 1076); (ii) Our
Saviour crucified with SS. Mary Magdalen and
John the Evangelist (No. 1078). The triptych of
the Virgin enthroned and Infant surrounded by
angels and Saints, painted in 1369, for Frate
Johannes, clericus preceptor, Tolentini, is preserved
in the Duomo of Macerata. It bears the inscription
ALEGRITTVS . DE . FABRIANO . PINXIT . MCCCLXVIII.
[Crowe and Cavalcaselle, ed. Lemon. III. 23, 29].
Allegretto died of cholic (mal di Fianco) and was
buried in the church of Sta. Lucia in Fabriano.
o
1. Onofico, v. Nofri.
2. Orgagna. For convenience of reference we
have placed, in sequence, under this heading the
* But v. Crowe and Cavalcaselle, ed. Lemon., III.,
who believe that the much-damaged frescoes still in
the church of Sta. Lucia, and representing scenes from
the book of the Apocalypse, may be attributed to
Allegretto. There is also a date given by Ricci [loc.
cit.\, who says that some of the frescoes were painted in
1345. Allegretto may well have come from Florence
on a visit to Fabriano in 1345, but he had evidently
returned to the former city in 1346, if the date on the
roll of S. Luke is correct.