DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42071#0234
PONTORMO
220
PONTORMO
Rosso, Jacopo painted the predella for Andrea’s
panel of the Annunciation executed for the church
of the Frati Eremitani outside the Porta S. Gallo,
and assisted the Master in many of his works.
In 1513, on the occasion of the accession of Pope
Leo X, the monks of the Servi placed the arms of
the Pope over the central arch of the SS. Annun-
ziata. Andrea Feltrini, who had received the com-
mission to gild and colour them, selected Jacopo
to paint the supporting figures of Faith and Charity.
The young P.’s work (he was then nineteen) made
his reputation. On seeing the figures, Michelagnolo
prophesied great things of the youthful artist. For
the above figures, which time has now consumed,
Jacopo was paid in all 13 scudi [A.S.F. Conv. Sopp.
Servi, Lib. di Mem. dal 1280, c. 7*]. The jealousy,
however, of Del Sarto appears to have been excited,
and whether on this account, or for any other
reason, Jacopo left the Master’s bottega [Vasari,
ut sup. 247, 248]. In 1514 Jacopo was commis-
sioned to paint the fresco of the Visitation, in the
small cloister of the SS. Annunziata, which was
completed in 1516, and for which, says Vasari
[ut sup. 258], he was only paid 16 scudi. The
books of the Servi, however, do not account for
more than n scudi in payment for this fresco,
unless we include 17 lire 10 s. paid for the “ Capitegli
del Quadro,” which Feltrini may have gilded, and
which would bring the total up to a little over
13 scudi [A.S.F. Conv. Sopp. Servi, Lib. di Mem.
c. 8*; Lib. del Camarlingo, 1512-16 (Milanesi)].
Jacopo was engaged, with Baccio di Montelupo, S.,
on the decorations designed in honour of Pope
Leo X.’s visit to Florence in Nov. 1515 and, com-
missioned by Ridolfo del Ghirlandajo, painted, in
fresco, in Sta. Maria Novella, the Almighty sur-
rounded by many “ putti,” and a S. Veronica with
the effigy of Our Lord impressed on the “ sudario.”
About the same time he painted the “ Carro della
Moneta,” which bore the offerings the Masters of
the Mint were accustomed to bring to the Baptistery
on S. John Baptist’s Day. Of the paintings which
decorated the car, seventeen panels are preserved
in the magazine of the Florentine Municipality
[Vasari, ut sup. 255, 257, n. 1]. During the Carnival
fetes of 1515/16, for the Masques, on which occasions
distinguished artists were accustomed to give their
services, Jacopo was selected to paint the three
triumphal cars for the Company del Diamante,
presided over by Giuliano de’ Medici, Duke of
Nemours, and also the cars prepared for the Roman
procession of the rival Company “ del Broncone,”
of which Lorenzo di Piero de’ Medici, Duke of
Urbino, was the head [Vasari, ut sup. 250-55]. For
a chapel in the church of S. Raffaello (since de-
stroyed) Jacopo painted in fresco a Virgin, Infant
and Saints, with the Almighty in a lunette, which
has been transferred to the Chapel of the Painters
in the great cloister of the SS. Annunziata. Accord-
ing to Vasari [ut sup. 259] Jacopo next painted for
his native place, Pontormo, a panel of S. Michael
Archangel and S. John Evangelist for the local
church of S. Michelagnolo, where it may still be
seen. In 1517 he executed for Messer Filippo Spini,
in the court of his house, the armorial bearings of
Giovanni Salviati, on his election to the Cardinalate
by Leo X. To 1518 belongs the altar-piece of the
Nativity, painted for the Pucci Chapel in S. Michele
Visdomini, considered by Vasari his finest panel.
In 1519 he painted a set of silk hangings, prepared,
according to the Florentine custom, for the obsequies
of Bartolommeo Ginori [Vasari, ut sup. 258]. To
his early period, although the date is not precisely
fixed, belong his paintings of the life of Joseph,
painted for Pier Francesco Borgherini, and placed
in a chamber ornamented with carved panellings
by Baccio d’Agnolo, and to the pictorial decorations
of which Andrea del Sarto, il Bacchiacca and
Granacci, who contributed. The canvas of Joseph
and his kindred in Egypt by Jacopo is now in the
National Gallery (No. 1131). To the year 1521
belong Jacopo’s frescoes at the Villa of Poggio a
Cajano, the series being interrupted by the death
of Pope Leo X. After the siege of Florence Jacopo
was commissioned to continue the work, but could
not be induced to proceed further than preparing
the cartoons [Vasari, ut sup. 264, 275]. In 1522
[Vasari, ut sup. 266], to avoid the plague, which
had made its appearance in Florence, Jacopo
retired to the Certosa in Val d’Ema, where he
decorated the principal cloister with frescoes of
the Passion of Our Lord, of which some fragments
only remain. Small copies were, however, made
by Jacopo da Empoli, and preserved in the Deposito
Generale of the Palazzo Vecchio; Pontormo had
now come under the influence of Albrecht Diirer, and
not only borrowed the compositions of Diirer’s
prints, but also copied his style. His canvas of
the Supper at Emmaus, painted for the Refectory
of the Certosa, and now in the A.M.G., is dated
1528. Vasari mentions a visit of Jacopo to Rome,
which probably took place in 1529, when he painted
the portrait of Ippolito de’ Medici with his dog,
granting that this is the panel now in the Pitti
Gallery (No. 149). On his return to Florence,
Jacopo appears to have decorated, in fresco, the
Capponi Chapel in the church of Sta. Felicita, a
work on which he was engaged for three years, and
in which he was assisted by Angelo Bronzino. He
painted a Tabernacle on the road to Cecina, about
two miles from Florence, in the German manner,
but the work has almost disappeared. By Giovan
Battista della Palla, the well-known art dealer,
Jacopo was commissioned to paint a Resurrection
of Lazarus. His paintings on the cartoons of
Michelagnolo were carried out after the siege of
Florence, The first, Christ appearing to the
Magdalen, was executed for Signor Alessandro
Vitelli, then in command in Florence, who sent it
to Citt& di Castello. The second was the celebrated
220
PONTORMO
Rosso, Jacopo painted the predella for Andrea’s
panel of the Annunciation executed for the church
of the Frati Eremitani outside the Porta S. Gallo,
and assisted the Master in many of his works.
In 1513, on the occasion of the accession of Pope
Leo X, the monks of the Servi placed the arms of
the Pope over the central arch of the SS. Annun-
ziata. Andrea Feltrini, who had received the com-
mission to gild and colour them, selected Jacopo
to paint the supporting figures of Faith and Charity.
The young P.’s work (he was then nineteen) made
his reputation. On seeing the figures, Michelagnolo
prophesied great things of the youthful artist. For
the above figures, which time has now consumed,
Jacopo was paid in all 13 scudi [A.S.F. Conv. Sopp.
Servi, Lib. di Mem. dal 1280, c. 7*]. The jealousy,
however, of Del Sarto appears to have been excited,
and whether on this account, or for any other
reason, Jacopo left the Master’s bottega [Vasari,
ut sup. 247, 248]. In 1514 Jacopo was commis-
sioned to paint the fresco of the Visitation, in the
small cloister of the SS. Annunziata, which was
completed in 1516, and for which, says Vasari
[ut sup. 258], he was only paid 16 scudi. The
books of the Servi, however, do not account for
more than n scudi in payment for this fresco,
unless we include 17 lire 10 s. paid for the “ Capitegli
del Quadro,” which Feltrini may have gilded, and
which would bring the total up to a little over
13 scudi [A.S.F. Conv. Sopp. Servi, Lib. di Mem.
c. 8*; Lib. del Camarlingo, 1512-16 (Milanesi)].
Jacopo was engaged, with Baccio di Montelupo, S.,
on the decorations designed in honour of Pope
Leo X.’s visit to Florence in Nov. 1515 and, com-
missioned by Ridolfo del Ghirlandajo, painted, in
fresco, in Sta. Maria Novella, the Almighty sur-
rounded by many “ putti,” and a S. Veronica with
the effigy of Our Lord impressed on the “ sudario.”
About the same time he painted the “ Carro della
Moneta,” which bore the offerings the Masters of
the Mint were accustomed to bring to the Baptistery
on S. John Baptist’s Day. Of the paintings which
decorated the car, seventeen panels are preserved
in the magazine of the Florentine Municipality
[Vasari, ut sup. 255, 257, n. 1]. During the Carnival
fetes of 1515/16, for the Masques, on which occasions
distinguished artists were accustomed to give their
services, Jacopo was selected to paint the three
triumphal cars for the Company del Diamante,
presided over by Giuliano de’ Medici, Duke of
Nemours, and also the cars prepared for the Roman
procession of the rival Company “ del Broncone,”
of which Lorenzo di Piero de’ Medici, Duke of
Urbino, was the head [Vasari, ut sup. 250-55]. For
a chapel in the church of S. Raffaello (since de-
stroyed) Jacopo painted in fresco a Virgin, Infant
and Saints, with the Almighty in a lunette, which
has been transferred to the Chapel of the Painters
in the great cloister of the SS. Annunziata. Accord-
ing to Vasari [ut sup. 259] Jacopo next painted for
his native place, Pontormo, a panel of S. Michael
Archangel and S. John Evangelist for the local
church of S. Michelagnolo, where it may still be
seen. In 1517 he executed for Messer Filippo Spini,
in the court of his house, the armorial bearings of
Giovanni Salviati, on his election to the Cardinalate
by Leo X. To 1518 belongs the altar-piece of the
Nativity, painted for the Pucci Chapel in S. Michele
Visdomini, considered by Vasari his finest panel.
In 1519 he painted a set of silk hangings, prepared,
according to the Florentine custom, for the obsequies
of Bartolommeo Ginori [Vasari, ut sup. 258]. To
his early period, although the date is not precisely
fixed, belong his paintings of the life of Joseph,
painted for Pier Francesco Borgherini, and placed
in a chamber ornamented with carved panellings
by Baccio d’Agnolo, and to the pictorial decorations
of which Andrea del Sarto, il Bacchiacca and
Granacci, who contributed. The canvas of Joseph
and his kindred in Egypt by Jacopo is now in the
National Gallery (No. 1131). To the year 1521
belong Jacopo’s frescoes at the Villa of Poggio a
Cajano, the series being interrupted by the death
of Pope Leo X. After the siege of Florence Jacopo
was commissioned to continue the work, but could
not be induced to proceed further than preparing
the cartoons [Vasari, ut sup. 264, 275]. In 1522
[Vasari, ut sup. 266], to avoid the plague, which
had made its appearance in Florence, Jacopo
retired to the Certosa in Val d’Ema, where he
decorated the principal cloister with frescoes of
the Passion of Our Lord, of which some fragments
only remain. Small copies were, however, made
by Jacopo da Empoli, and preserved in the Deposito
Generale of the Palazzo Vecchio; Pontormo had
now come under the influence of Albrecht Diirer, and
not only borrowed the compositions of Diirer’s
prints, but also copied his style. His canvas of
the Supper at Emmaus, painted for the Refectory
of the Certosa, and now in the A.M.G., is dated
1528. Vasari mentions a visit of Jacopo to Rome,
which probably took place in 1529, when he painted
the portrait of Ippolito de’ Medici with his dog,
granting that this is the panel now in the Pitti
Gallery (No. 149). On his return to Florence,
Jacopo appears to have decorated, in fresco, the
Capponi Chapel in the church of Sta. Felicita, a
work on which he was engaged for three years, and
in which he was assisted by Angelo Bronzino. He
painted a Tabernacle on the road to Cecina, about
two miles from Florence, in the German manner,
but the work has almost disappeared. By Giovan
Battista della Palla, the well-known art dealer,
Jacopo was commissioned to paint a Resurrection
of Lazarus. His paintings on the cartoons of
Michelagnolo were carried out after the siege of
Florence, The first, Christ appearing to the
Magdalen, was executed for Signor Alessandro
Vitelli, then in command in Florence, who sent it
to Citt& di Castello. The second was the celebrated