DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0235
PONTORMO
221
PORTA
Venus and Cupid, commissioned by Bartolommeo
Bellini, to whom Michelagnolo had given the cartoon,
but which Jacopo was compelled to present to Duke
Alessandro of Florence, from whom he received
50 ducats. Jacopo also painted the Duke’s portrait
in miniature and again in large. The latter portrait
was given by Alessandro to the Signora Taddea
Malaspina, sister of the Marquis of Massa [Vasari,
ut sup. 276-79]. To 1530 probably belongs a
Visitation, in the parish church of Camignano (Val
d’Ombrone Pistojese) [Gamba, “ Rivista d’Arte,”
1904,1. 13-18]. In 1536 Jacopo was commissioned
by the Duke of Florence to decorate, in fresco, the
loggia of the Villa of Careggi, a work principally
executed by Bronzino; the ornamental parts were
painted by Jacone, Pier Francesco di Jacopo
(Toschi) and others. The completion of the design
was interrupted by the assassination of Duke
Alessandro on Jan. 6, 1536/7 [Vasari, ut sup. 280].
For his successor, Duke Cosimo I, Jacopo, with
Bronzino’s assistance, painted, in fresco, a loggia
at the Palazzo del Castello (now Villa Reale), near
Florence. The work occupied five years, but was
not considered a success, and has subsequently
been covered with whitewash. In 1546 Giovanni
Rost and Nicholas Carcher were brought to Florence
by Duke Cosimo, and Jacopo and Bronzino were
commissioned to make cartoons for the History of
Joseph, to be carried out in tapestry for the Sala de’
Due Cento in the Palazzo Vecchio. Jacopo only
executed two cartoons [Vasari, ut sup. 281-84].
These tapestries have been returned of late years
to their original place, and now adorn the walls of
the Council Hall of the Commune of Florence.
Jacopo’s last work was the decoration of the high
chapel of the church of S. Lorenzo, which occupied
him for ten years, and was not finished at his death.
The paintings, which comprised stories of the
Creation, Deluge, and the Resurrection of the Dead,
were completed by Bronzino [Vasari, utsup. 284-88].
They were first exposed to the public on July 23,
1558, but did not meet with general approbation.
In Oct. 1738 they were covered with whitewash.
A curious fragment of a diary by Jacopo, published
by Gaye [III. 166-8], refers to these frescoes [v.e.
“ Diario Fiorentino di Agostino Lapini,” Firenze,
Sansoni, 1900,121-2]. Vasari [utsup. 288] describes
Jacopo as leading a frugal and solitary life, avoiding
crowds and so afraid of death that he would not
allow the word to be mentioned in his presence
and fled before a funeral. He dressed miserably
and kept no servant. During his latter years his
youngest p., Battista Naldini, took as much care
of him as Jacopo would allow. His attention to
art was unremitting, but he would remain whole
days in contemplation before his work until, his
mind being made up, he proceeded on its execution
without further hesitancy. He was not wanting in
friends, of whom his dearest and best was Angelo
Bronzino, who painted his portrait in the descent
of Our Lord to Limbo, now in the Uffizi. For the
dispute between Bronzino and Andrea Chiazzella
concerning Jacopo’s heritage v. Squazzella, Andrea.
Jacopo’s house (which still exists) was built by
himself in the Via della Colonna, on a plot of land
purchased from the Spedale degli Innocenti for
100 flor. on March 15, 1529/30. Here from this
time he lived, worked and died [Vasari, ut sup. 275 ;
Fantozzi, “ Pianta Geometrica di Firenze,” No.
478]. Jacopo was buried in the chiostrino of the
church of the SS. Annunziata, under his fresco of
the Visitation. His remains were subsequently
transferred to the chapel of the Painters in the
great cloister of the same church. Jacopo’s draw-
ings may be studied in the Uffizi. For a list of his
extant works we refer the reader to Berenson’s
“ Florentine Painters of the Renaissance,” 136.
118. Porcellini, Clemente di Lionardo.
Flor., b. 15—, d. 16—. P. mat. Feb. 1597/8
[A.D., R. 28*, 54*], drawn for Consul del Corpo,
1611 (Dec., sick) [id. 98]. p. of Lodovico Cardi.
In 1597 Clemente painted a canvas of Christ de-
scending to Limbo for the festival of S. Luke. In
Feb. 1598/9 a canvas painted by Clemente, probably
the above, was presented to Signor Marco Valori,.
Lieutenant of the A.D., by order of the Consuls..
The last notice we have met with relating to Clemente
is of the year 1653, when he still owed a balance on
his matriculation fees [id. 59, c. 17].
118a. Porta, Baccio della. Bartolommeo,
Fra. B. 1475, d. 1517. Son of Pagholo, who lived
near the Gate of S. Pier Gattolini. P. p. of Cosimo
Roselli, and close friend and partner of Mariotto
Albertinelli (v. Albertinelli, Mariotto, in this work)..
Entered the order of S. Dominic on July 20, 1500,
after the death of his friend and teacher, Savonarola.
For information on this interesting P., con-
sult Vaspari’s Lives (San. IV. 175-202), Crowe and
Cavalcaselle, Berenson, “ Florentine Painters,”
Bryan’s Dictionary, Selwyn Brinton, “ The Medici at.
Florence ” (“ Renaissance in Italian Art,” Part III),
and other writers. The author of this Dictionary
has not been able to include any information on this
P. from the records of the Phy. A. (Editor).
119. Porta, Giuseppe, detto del Salviati
and il Garfagnino. Castelnuovo della Garfagnana
(Massa-Carrara), b. 1520, d. c. 1570-75. P. w.
A.D. (elected with other famous Venetian P.’s,
S.’s and A.’s in Oct. 1566 [A.D., R. 24, c. 17]. p. of
Francesco Salviati. Giuseppe united the good
method of design proper to the Florentine and
Roman schools with Venetian colouring. Palladio
styles him “ pittore e prospettivo eccellente ” [Cam-
pori, “ Mem. Biog. degli S.A.Pr. nat. di Carrara,”
etc. Modena, 1873]. Giuseppe was taken to Rome
in 1535 by his uncle, Secretary of Monsignor Onofrio
Bartolini, Archbishop of Pisa, and placed with
Salviati. He accompanied his master to Venice
in 1539. Here he married and settled, and in
Venice and its vicinity his principal works were
221
PORTA
Venus and Cupid, commissioned by Bartolommeo
Bellini, to whom Michelagnolo had given the cartoon,
but which Jacopo was compelled to present to Duke
Alessandro of Florence, from whom he received
50 ducats. Jacopo also painted the Duke’s portrait
in miniature and again in large. The latter portrait
was given by Alessandro to the Signora Taddea
Malaspina, sister of the Marquis of Massa [Vasari,
ut sup. 276-79]. To 1530 probably belongs a
Visitation, in the parish church of Camignano (Val
d’Ombrone Pistojese) [Gamba, “ Rivista d’Arte,”
1904,1. 13-18]. In 1536 Jacopo was commissioned
by the Duke of Florence to decorate, in fresco, the
loggia of the Villa of Careggi, a work principally
executed by Bronzino; the ornamental parts were
painted by Jacone, Pier Francesco di Jacopo
(Toschi) and others. The completion of the design
was interrupted by the assassination of Duke
Alessandro on Jan. 6, 1536/7 [Vasari, ut sup. 280].
For his successor, Duke Cosimo I, Jacopo, with
Bronzino’s assistance, painted, in fresco, a loggia
at the Palazzo del Castello (now Villa Reale), near
Florence. The work occupied five years, but was
not considered a success, and has subsequently
been covered with whitewash. In 1546 Giovanni
Rost and Nicholas Carcher were brought to Florence
by Duke Cosimo, and Jacopo and Bronzino were
commissioned to make cartoons for the History of
Joseph, to be carried out in tapestry for the Sala de’
Due Cento in the Palazzo Vecchio. Jacopo only
executed two cartoons [Vasari, ut sup. 281-84].
These tapestries have been returned of late years
to their original place, and now adorn the walls of
the Council Hall of the Commune of Florence.
Jacopo’s last work was the decoration of the high
chapel of the church of S. Lorenzo, which occupied
him for ten years, and was not finished at his death.
The paintings, which comprised stories of the
Creation, Deluge, and the Resurrection of the Dead,
were completed by Bronzino [Vasari, utsup. 284-88].
They were first exposed to the public on July 23,
1558, but did not meet with general approbation.
In Oct. 1738 they were covered with whitewash.
A curious fragment of a diary by Jacopo, published
by Gaye [III. 166-8], refers to these frescoes [v.e.
“ Diario Fiorentino di Agostino Lapini,” Firenze,
Sansoni, 1900,121-2]. Vasari [utsup. 288] describes
Jacopo as leading a frugal and solitary life, avoiding
crowds and so afraid of death that he would not
allow the word to be mentioned in his presence
and fled before a funeral. He dressed miserably
and kept no servant. During his latter years his
youngest p., Battista Naldini, took as much care
of him as Jacopo would allow. His attention to
art was unremitting, but he would remain whole
days in contemplation before his work until, his
mind being made up, he proceeded on its execution
without further hesitancy. He was not wanting in
friends, of whom his dearest and best was Angelo
Bronzino, who painted his portrait in the descent
of Our Lord to Limbo, now in the Uffizi. For the
dispute between Bronzino and Andrea Chiazzella
concerning Jacopo’s heritage v. Squazzella, Andrea.
Jacopo’s house (which still exists) was built by
himself in the Via della Colonna, on a plot of land
purchased from the Spedale degli Innocenti for
100 flor. on March 15, 1529/30. Here from this
time he lived, worked and died [Vasari, ut sup. 275 ;
Fantozzi, “ Pianta Geometrica di Firenze,” No.
478]. Jacopo was buried in the chiostrino of the
church of the SS. Annunziata, under his fresco of
the Visitation. His remains were subsequently
transferred to the chapel of the Painters in the
great cloister of the same church. Jacopo’s draw-
ings may be studied in the Uffizi. For a list of his
extant works we refer the reader to Berenson’s
“ Florentine Painters of the Renaissance,” 136.
118. Porcellini, Clemente di Lionardo.
Flor., b. 15—, d. 16—. P. mat. Feb. 1597/8
[A.D., R. 28*, 54*], drawn for Consul del Corpo,
1611 (Dec., sick) [id. 98]. p. of Lodovico Cardi.
In 1597 Clemente painted a canvas of Christ de-
scending to Limbo for the festival of S. Luke. In
Feb. 1598/9 a canvas painted by Clemente, probably
the above, was presented to Signor Marco Valori,.
Lieutenant of the A.D., by order of the Consuls..
The last notice we have met with relating to Clemente
is of the year 1653, when he still owed a balance on
his matriculation fees [id. 59, c. 17].
118a. Porta, Baccio della. Bartolommeo,
Fra. B. 1475, d. 1517. Son of Pagholo, who lived
near the Gate of S. Pier Gattolini. P. p. of Cosimo
Roselli, and close friend and partner of Mariotto
Albertinelli (v. Albertinelli, Mariotto, in this work)..
Entered the order of S. Dominic on July 20, 1500,
after the death of his friend and teacher, Savonarola.
For information on this interesting P., con-
sult Vaspari’s Lives (San. IV. 175-202), Crowe and
Cavalcaselle, Berenson, “ Florentine Painters,”
Bryan’s Dictionary, Selwyn Brinton, “ The Medici at.
Florence ” (“ Renaissance in Italian Art,” Part III),
and other writers. The author of this Dictionary
has not been able to include any information on this
P. from the records of the Phy. A. (Editor).
119. Porta, Giuseppe, detto del Salviati
and il Garfagnino. Castelnuovo della Garfagnana
(Massa-Carrara), b. 1520, d. c. 1570-75. P. w.
A.D. (elected with other famous Venetian P.’s,
S.’s and A.’s in Oct. 1566 [A.D., R. 24, c. 17]. p. of
Francesco Salviati. Giuseppe united the good
method of design proper to the Florentine and
Roman schools with Venetian colouring. Palladio
styles him “ pittore e prospettivo eccellente ” [Cam-
pori, “ Mem. Biog. degli S.A.Pr. nat. di Carrara,”
etc. Modena, 1873]. Giuseppe was taken to Rome
in 1535 by his uncle, Secretary of Monsignor Onofrio
Bartolini, Archbishop of Pisa, and placed with
Salviati. He accompanied his master to Venice
in 1539. Here he married and settled, and in
Venice and its vicinity his principal works were