DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0216
PENNI
202
PENNI
28 lire [c. 89]. A small portrait (riirattino) of
Messer Fabio Serragli, painted in 1596, he was
ordered to bring to the Chancellor, under a penalty
of 25 ducats [c. 100]. In the same year he is
ordered to finish the portrait of Bernaba Sachettini,
“ Donzello,” to the “ Capitani di Parte ” [c. 114].
Early in 1597 the widow Lisabetta demanded that
Piero should pay her 6 scudi for the portrait she
gave him to restore and which he had spoilt [c.
119]. In the following October it is noted that he
had painted the portraits “ alia macchia ” of
Lorenzo Larciani, for which he demanded 42 lire,
but Lorenzo denied the debt, and of Ottavio Mar-
chetti, for which he claimed the same amount.
Ottavio, however, replied that he had overpaid the
artist [c. 131]. In 1598 Piero had painted the
portrait of Onorio del Caccia, on account of which
Luisa di Orcoli Grazia demanded that he should
pay her 8.10 lire or else give her a portrait that
resembled Onorio [c. 142*], and here the entries
apparently cease.
34. Penni. The three brothers, known respect-
ively as Bartolommeo, Gian Francesco and Luca
Penni, were, according to Milanesi’s researches
[Vasari, San. IV. 643, n. 2], the sons of Michele di
Luca di Bartolommeo, a cloth-weaver of Florence,
who may probably, at a later date, have trans-
ferred his residence to Pisa. In Michele’s return
to the Estimo of the Contado of Florence, 1504,
St0- Spirito, pop. S. Lari a Colombaia, N. 5, he
declares that he is thirty-eight years of age, and his
wife, Caterina, thirty-two. His son Bartolommeo
is thirteen, Giovan Francesco eight, Raffaelle three,
and Piero one. Luca was not born at that date.
34a. (i) Bartolommeo di Michele. B. 1491,
d. 15—. P. In the letters and papers. Foreign
and Domestic, Henry VIII., Vol. V., published by
the Master of the Rolls, Bartolommeo, with his
companion Toto del Nunziata [?.».], is mentioned
several times under the years 1530, 1531, 1532 as a
P. in the King’s service. Walpole [“ Anecdotes of
Painting,” Works, Vol. III. ed. 1798, 54, 53] refers
to two further items relating to the years 1538 and
1539. He, however, confounds Bartolommeo with
his younger brother Luca. ? if Bartolommeo died
in England.
34b. (ii) Giovan Francesco di Michele detto
il Fattore. Flor., b. 1496, d. 1536? P. p. of
Raphael, by whom he was brought up with Giulio
Romano. Entering Raphael’s service as a boy,
he was usually called “ il Fattore ” (shop-boy), a
name always retained. Giovan Francesco was a
friend of Pellegrino da Modena, another of the
Master’s pupils. He painted in oil, tempera and
fresco, and was fond of painting landscapes and
architecture. In his drawings he imitated the
manner of Raphael, m. of Lionardo detto il Pistoja
(v. Grazia, Lionardo). Among Giovan Francesco’s
early works were the paintings in the Loggie of
the Vatican, on which he was engaged with Giovanni
da Udine, Pierino del Vaga and other artists. He
assisted Raphael in executing the cartoons for the
tapestries of the Pope’s Chapel (1515-16), principally
for the borders. He also worked, with Giulio
Romano and Giovanni da Udine, on the cartoons
and, under the direction of the Master, at the
Farnesina in Rome, and was Raphael’s assistant
in other works. At Monte Giordano Giovan
Francesco painted a facade in chiaroscuro, and in
Sta. Maria dell’ Anima a fresco of a gigantic S.
Christopher, which has since been covered with
whitewash. At Montughi, close to Florence, he
painted a tabernacle with Our Lady, for Lodovico
Capponi, which has perished. After the death of
Raphael, in 1520, Giovan Francesco and Giulio
Romano, who were left joint heirs to his drawings
and designs, joined partnership. Together they
finished the uncompleted works of their master,
particularly, says Vasari, those that he had com-
menced in the Vigna del Papa, the reference
being, Milanesi believed, to the Chapel in the
Castello della Magliana. The two P.’s also worked
in the Sala di Costantino in the Vatican. The
subject painted by Giovan Francesco represents
the Baptism of Constantine (1524). The allegorical
figure of Justice, in oil, is also by his hand, after
Raphael’s design. On account of their labours in
the Sala they received 1000 ducats di camera of
gold. This first payment was made on Feb. 2,
1524, the last on July 3, 1525. The partners next
painted a panel of the Assumption of the Virgin
for the church of Monteluce at Perugia, which had
been originally designed by Raphael. The lower
part of the picture is by Giovan Francesco: it is
now in the Vatican Gallery. They received from
the Pope a commission to make a copy of Raphael’s
Transfiguration to be sent to France, but before it
was completed they dissolved partnership, and
Giulio Romano, at the end of 1524, went to Mantua.
Giovan Francesco followed him thither, but, meet-
ing with a cold reception, he left almost immediately,
made a tour in Lombardy and then returned to
Rome. From Rome he accompanied the Marchese
del Vasto to Naples, taking with him the copy of
the Transfiguration which he had finished. The
picture was placed in the church of Sto- Spirito
degli Incurabili, and would appear subsequently
to have been taken to Spain. Giovan Francesco
remained in Naples, living in the house of Tommaso
Cambi, a Florentine merchant, who managed the
affairs of the Marchese del Vasto, with whom the
P. was in great favour. Giovan Francesco died in
Naples; if at the age of forty, this would bring
him to 1536. According to Vasari, Giovan Fran-
cesco executed many works with his brother-in-
law, Pierino del Vaga [Vasari, San. IV. 643-49,
V. 527; v.e. Passavant, “ Raph. d’Urbino,” ed.
frangaise, i860, I. 140, n. 2, 250, n. 4, 276, 279, 290,
335]-
202
PENNI
28 lire [c. 89]. A small portrait (riirattino) of
Messer Fabio Serragli, painted in 1596, he was
ordered to bring to the Chancellor, under a penalty
of 25 ducats [c. 100]. In the same year he is
ordered to finish the portrait of Bernaba Sachettini,
“ Donzello,” to the “ Capitani di Parte ” [c. 114].
Early in 1597 the widow Lisabetta demanded that
Piero should pay her 6 scudi for the portrait she
gave him to restore and which he had spoilt [c.
119]. In the following October it is noted that he
had painted the portraits “ alia macchia ” of
Lorenzo Larciani, for which he demanded 42 lire,
but Lorenzo denied the debt, and of Ottavio Mar-
chetti, for which he claimed the same amount.
Ottavio, however, replied that he had overpaid the
artist [c. 131]. In 1598 Piero had painted the
portrait of Onorio del Caccia, on account of which
Luisa di Orcoli Grazia demanded that he should
pay her 8.10 lire or else give her a portrait that
resembled Onorio [c. 142*], and here the entries
apparently cease.
34. Penni. The three brothers, known respect-
ively as Bartolommeo, Gian Francesco and Luca
Penni, were, according to Milanesi’s researches
[Vasari, San. IV. 643, n. 2], the sons of Michele di
Luca di Bartolommeo, a cloth-weaver of Florence,
who may probably, at a later date, have trans-
ferred his residence to Pisa. In Michele’s return
to the Estimo of the Contado of Florence, 1504,
St0- Spirito, pop. S. Lari a Colombaia, N. 5, he
declares that he is thirty-eight years of age, and his
wife, Caterina, thirty-two. His son Bartolommeo
is thirteen, Giovan Francesco eight, Raffaelle three,
and Piero one. Luca was not born at that date.
34a. (i) Bartolommeo di Michele. B. 1491,
d. 15—. P. In the letters and papers. Foreign
and Domestic, Henry VIII., Vol. V., published by
the Master of the Rolls, Bartolommeo, with his
companion Toto del Nunziata [?.».], is mentioned
several times under the years 1530, 1531, 1532 as a
P. in the King’s service. Walpole [“ Anecdotes of
Painting,” Works, Vol. III. ed. 1798, 54, 53] refers
to two further items relating to the years 1538 and
1539. He, however, confounds Bartolommeo with
his younger brother Luca. ? if Bartolommeo died
in England.
34b. (ii) Giovan Francesco di Michele detto
il Fattore. Flor., b. 1496, d. 1536? P. p. of
Raphael, by whom he was brought up with Giulio
Romano. Entering Raphael’s service as a boy,
he was usually called “ il Fattore ” (shop-boy), a
name always retained. Giovan Francesco was a
friend of Pellegrino da Modena, another of the
Master’s pupils. He painted in oil, tempera and
fresco, and was fond of painting landscapes and
architecture. In his drawings he imitated the
manner of Raphael, m. of Lionardo detto il Pistoja
(v. Grazia, Lionardo). Among Giovan Francesco’s
early works were the paintings in the Loggie of
the Vatican, on which he was engaged with Giovanni
da Udine, Pierino del Vaga and other artists. He
assisted Raphael in executing the cartoons for the
tapestries of the Pope’s Chapel (1515-16), principally
for the borders. He also worked, with Giulio
Romano and Giovanni da Udine, on the cartoons
and, under the direction of the Master, at the
Farnesina in Rome, and was Raphael’s assistant
in other works. At Monte Giordano Giovan
Francesco painted a facade in chiaroscuro, and in
Sta. Maria dell’ Anima a fresco of a gigantic S.
Christopher, which has since been covered with
whitewash. At Montughi, close to Florence, he
painted a tabernacle with Our Lady, for Lodovico
Capponi, which has perished. After the death of
Raphael, in 1520, Giovan Francesco and Giulio
Romano, who were left joint heirs to his drawings
and designs, joined partnership. Together they
finished the uncompleted works of their master,
particularly, says Vasari, those that he had com-
menced in the Vigna del Papa, the reference
being, Milanesi believed, to the Chapel in the
Castello della Magliana. The two P.’s also worked
in the Sala di Costantino in the Vatican. The
subject painted by Giovan Francesco represents
the Baptism of Constantine (1524). The allegorical
figure of Justice, in oil, is also by his hand, after
Raphael’s design. On account of their labours in
the Sala they received 1000 ducats di camera of
gold. This first payment was made on Feb. 2,
1524, the last on July 3, 1525. The partners next
painted a panel of the Assumption of the Virgin
for the church of Monteluce at Perugia, which had
been originally designed by Raphael. The lower
part of the picture is by Giovan Francesco: it is
now in the Vatican Gallery. They received from
the Pope a commission to make a copy of Raphael’s
Transfiguration to be sent to France, but before it
was completed they dissolved partnership, and
Giulio Romano, at the end of 1524, went to Mantua.
Giovan Francesco followed him thither, but, meet-
ing with a cold reception, he left almost immediately,
made a tour in Lombardy and then returned to
Rome. From Rome he accompanied the Marchese
del Vasto to Naples, taking with him the copy of
the Transfiguration which he had finished. The
picture was placed in the church of Sto- Spirito
degli Incurabili, and would appear subsequently
to have been taken to Spain. Giovan Francesco
remained in Naples, living in the house of Tommaso
Cambi, a Florentine merchant, who managed the
affairs of the Marchese del Vasto, with whom the
P. was in great favour. Giovan Francesco died in
Naples; if at the age of forty, this would bring
him to 1536. According to Vasari, Giovan Fran-
cesco executed many works with his brother-in-
law, Pierino del Vaga [Vasari, San. IV. 643-49,
V. 527; v.e. Passavant, “ Raph. d’Urbino,” ed.
frangaise, i860, I. 140, n. 2, 250, n. 4, 276, 279, 290,
335]-