DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0250
ROSSELMINI
236
ROSSO
with Pasquino Canni (q.v.) and others. By deed of
June 8, 1333, Guido di Ghezzo, P. of Siena, cedes
to M. a credit of 10 flor. due to him by Paolo
d’Andrea, P., also of Siena, against receipt of that
amount. Res. in pop. S. Lorenzo. Father of—
41b. Jacopo di Matteo. Flor., b. 13—•, d.
-. P. ? S.L. 1348 (as Jacopo di Matteo
Rosselli).
(Milanesi, Nuovi Documenti; id. MSS.; Phy. A.
and S.L. Registers.)
42. Rosselmini, Domenico di Marco, v. Dome-
nico di Marco Rosselmini.
43. Rossetti, Giovan Paolo. Volterra, b.
15—, d. June 1568. P. p. and, according to
Lanzi, nephew of Danielle Ricciarelli. G.P. worked
in fresco on Danielle’s designs with Michele Alberti,
another of the Master’s p.’s in the Orsini chapel in
the church of the Trinita de’ Monti, Rome, c. 1540-46.
After Danielle’s death G.P. returned to Volterra, in
which city there are two paintings by him: a
Deposition in the church of S. Dalmazio, executed
in 1551, and another Deposition in the church of the
Abbey of S. Salvatore, which was engraved on copper
by Diana Mantovana, wife of Francesco Cipriani of
Volterra.
Principal Works :—Volterra.
(Milanesi, Vasari, Lanzi; Sivet.)
44. Rossi, Raffaello di Niccolo de’. Flor.,
b. 14—, d. 15. P. A Florentine who had settled in
Genoa, where he was known as “ Raffaello Fioren-
tino.” R.’s name appears on the Register of the
Genoese P.’s, No. 66, next to that of Pier Francesco
Sacchi. In 1518, under a contract dated Dec. 10,
Andrea Ciciro commissioned R. to paint a panel
representing the Virgin in Glory (Majestatem unavi)
with beautiful figures of SS. John the Evangelist
and the Baptist for his chapel in the church of Sta.
Maria di Castello (cLei Predicatori), Genoa. The
painting was to be of the same goodness and quality
as that of an altar-piece, ascribed to Luca d’Olanda,
in the church of S. Luca at Albaro (about two miles
east of Genoa). R. was to be paid 50 scudi di sole
of gold; ten at once, ten more when the painting
was half finished and the balance on its completion.
On May 20, 1520, R. received 20 scudi di sole of gold
for painting and erecting an altar, neither site nor
subject named. On the 21st of the following August
he was paid 150 lire Genoese currency for painting
and erecting an altar “ cum capella ” for the
Consorzio (or Confraternity) del Corpo di Cristo,
which had its chapel and Services (Uffizi) at the
Maddalena. A similar commission was given to R.
by the Confraternity of the Disciplinanti of Sta.
Caterina at Alassio. On April 21, 1521, after some
delay had occurred, R. promised to proceed to
Alassio within fifteen days, on which he was paid
30 lire of Genoese currency in silver.
45. Rosso, Fiorentino (il), was Giovam-
battista di Jacopo di Guasparre detto il Rosso
(Maitre Roux). P.A., b. March 8, 1494/5 (Reg. 10),
d. 1541. Phy. A. Feb. 26, 1516/17, pop. Sta. Maria
del Fiore. Vasari says that, in his youth, R. copied
Michelagnolo’s cartoon, and would study with but
few masters, as he held certain opinions contrary to
their practice. The Italian artists who worked with
R. in France were Domenico del Barbiere, Lionardo
flamingo; Bartolommeo Miniati, Luca Panni (?),
Giovambattista da Bagnacavallo, and Francesco
Caccianemici. Among the French P.’s Vasari names :
Maitre Francois d’Orleans, Maitres Simon and
Claude de Paris, Maitre Laurent de Picardie. R.
was a friend of Michelagnolo.
Among R.’s early works Vasari mentions a
Tabernacle in fresco, at Marignolle outside the Porta
Romana, which no longer exists, and the arms of the
Pucci with two figures, over the door of the chapel
of S. Sebastian de’ Servi (SS. Annunziata). For the
latter work, also destroyed, he was paid 5 scudi.
In 1513, as we learn from the records of the Convent
of the Servi, he painted two putti over the door of
the chiostro de’ Morti, near the arms of the Duke (?).
From the same entry it appears that R. had painted
a fresco of the Assumption in the small cloister, in
the above year, to which the following memos, in the
account books of the convent seem to refer: Nov.
10, 1513 “a muraglia” (for wall work?). Giovan
Battista di Jacopo received 2 flor. of gold in gold on
account for painting a picture (quadra) in the small
cloister. June 18, 1514, “ a muraglia ” to Giovan
Battista 3 flor. larghi of gold in gold for capitals
and picture. This first fresco proved unsatisfactory,
as is shown by an entry in the Records under date of
Aug. 17,1517, which states that the commission was
renewed to R. at this date on condition that, if not
better done than the first painting, he should not be
paid for his work, and would be required to return
any advances that he might have received. In
1515 R. was among the artists employed in erecting
arches for the triumphal entry of Pope Leo X. into
Florence on Nov. 30. About 1517 R. res. in a
house situate in the Corso de’ Tintori, and was
exercising his art with great credit. Probably early
in 1424 he went to Rome, accompanied by his p.
Battistino.
About April 26 of this year he received the
commission from Antonio da San Gallo, in the
owner’s name, to paint the chapel of Agnolo Cesi
in the church of Sta. Maria della Pace, a work
which suffered by comparison with Raphael’s
paintings in the neighbouring Chigi chapel. About
this time R. painted a Dead Christ supported by
Angels for Lionardo Tornabuoni, Bishop of S.
Sepolcro, and made some mythological drawings
of the gods for il Baviera (Baverio de’ Carocci of
Parma), which were afterwards engraved by Giovan
Jacopo Caraglio. R. remained in Rome until the
sack of the city in 1527, when he was made prisoner
by the Germans and ill-treated, escaping with
difficulty and in a forlorn condition to Perugia.
In this city he was cordially received by Domenico
236
ROSSO
with Pasquino Canni (q.v.) and others. By deed of
June 8, 1333, Guido di Ghezzo, P. of Siena, cedes
to M. a credit of 10 flor. due to him by Paolo
d’Andrea, P., also of Siena, against receipt of that
amount. Res. in pop. S. Lorenzo. Father of—
41b. Jacopo di Matteo. Flor., b. 13—•, d.
-. P. ? S.L. 1348 (as Jacopo di Matteo
Rosselli).
(Milanesi, Nuovi Documenti; id. MSS.; Phy. A.
and S.L. Registers.)
42. Rosselmini, Domenico di Marco, v. Dome-
nico di Marco Rosselmini.
43. Rossetti, Giovan Paolo. Volterra, b.
15—, d. June 1568. P. p. and, according to
Lanzi, nephew of Danielle Ricciarelli. G.P. worked
in fresco on Danielle’s designs with Michele Alberti,
another of the Master’s p.’s in the Orsini chapel in
the church of the Trinita de’ Monti, Rome, c. 1540-46.
After Danielle’s death G.P. returned to Volterra, in
which city there are two paintings by him: a
Deposition in the church of S. Dalmazio, executed
in 1551, and another Deposition in the church of the
Abbey of S. Salvatore, which was engraved on copper
by Diana Mantovana, wife of Francesco Cipriani of
Volterra.
Principal Works :—Volterra.
(Milanesi, Vasari, Lanzi; Sivet.)
44. Rossi, Raffaello di Niccolo de’. Flor.,
b. 14—, d. 15. P. A Florentine who had settled in
Genoa, where he was known as “ Raffaello Fioren-
tino.” R.’s name appears on the Register of the
Genoese P.’s, No. 66, next to that of Pier Francesco
Sacchi. In 1518, under a contract dated Dec. 10,
Andrea Ciciro commissioned R. to paint a panel
representing the Virgin in Glory (Majestatem unavi)
with beautiful figures of SS. John the Evangelist
and the Baptist for his chapel in the church of Sta.
Maria di Castello (cLei Predicatori), Genoa. The
painting was to be of the same goodness and quality
as that of an altar-piece, ascribed to Luca d’Olanda,
in the church of S. Luca at Albaro (about two miles
east of Genoa). R. was to be paid 50 scudi di sole
of gold; ten at once, ten more when the painting
was half finished and the balance on its completion.
On May 20, 1520, R. received 20 scudi di sole of gold
for painting and erecting an altar, neither site nor
subject named. On the 21st of the following August
he was paid 150 lire Genoese currency for painting
and erecting an altar “ cum capella ” for the
Consorzio (or Confraternity) del Corpo di Cristo,
which had its chapel and Services (Uffizi) at the
Maddalena. A similar commission was given to R.
by the Confraternity of the Disciplinanti of Sta.
Caterina at Alassio. On April 21, 1521, after some
delay had occurred, R. promised to proceed to
Alassio within fifteen days, on which he was paid
30 lire of Genoese currency in silver.
45. Rosso, Fiorentino (il), was Giovam-
battista di Jacopo di Guasparre detto il Rosso
(Maitre Roux). P.A., b. March 8, 1494/5 (Reg. 10),
d. 1541. Phy. A. Feb. 26, 1516/17, pop. Sta. Maria
del Fiore. Vasari says that, in his youth, R. copied
Michelagnolo’s cartoon, and would study with but
few masters, as he held certain opinions contrary to
their practice. The Italian artists who worked with
R. in France were Domenico del Barbiere, Lionardo
flamingo; Bartolommeo Miniati, Luca Panni (?),
Giovambattista da Bagnacavallo, and Francesco
Caccianemici. Among the French P.’s Vasari names :
Maitre Francois d’Orleans, Maitres Simon and
Claude de Paris, Maitre Laurent de Picardie. R.
was a friend of Michelagnolo.
Among R.’s early works Vasari mentions a
Tabernacle in fresco, at Marignolle outside the Porta
Romana, which no longer exists, and the arms of the
Pucci with two figures, over the door of the chapel
of S. Sebastian de’ Servi (SS. Annunziata). For the
latter work, also destroyed, he was paid 5 scudi.
In 1513, as we learn from the records of the Convent
of the Servi, he painted two putti over the door of
the chiostro de’ Morti, near the arms of the Duke (?).
From the same entry it appears that R. had painted
a fresco of the Assumption in the small cloister, in
the above year, to which the following memos, in the
account books of the convent seem to refer: Nov.
10, 1513 “a muraglia” (for wall work?). Giovan
Battista di Jacopo received 2 flor. of gold in gold on
account for painting a picture (quadra) in the small
cloister. June 18, 1514, “ a muraglia ” to Giovan
Battista 3 flor. larghi of gold in gold for capitals
and picture. This first fresco proved unsatisfactory,
as is shown by an entry in the Records under date of
Aug. 17,1517, which states that the commission was
renewed to R. at this date on condition that, if not
better done than the first painting, he should not be
paid for his work, and would be required to return
any advances that he might have received. In
1515 R. was among the artists employed in erecting
arches for the triumphal entry of Pope Leo X. into
Florence on Nov. 30. About 1517 R. res. in a
house situate in the Corso de’ Tintori, and was
exercising his art with great credit. Probably early
in 1424 he went to Rome, accompanied by his p.
Battistino.
About April 26 of this year he received the
commission from Antonio da San Gallo, in the
owner’s name, to paint the chapel of Agnolo Cesi
in the church of Sta. Maria della Pace, a work
which suffered by comparison with Raphael’s
paintings in the neighbouring Chigi chapel. About
this time R. painted a Dead Christ supported by
Angels for Lionardo Tornabuoni, Bishop of S.
Sepolcro, and made some mythological drawings
of the gods for il Baviera (Baverio de’ Carocci of
Parma), which were afterwards engraved by Giovan
Jacopo Caraglio. R. remained in Rome until the
sack of the city in 1527, when he was made prisoner
by the Germans and ill-treated, escaping with
difficulty and in a forlorn condition to Perugia.
In this city he was cordially received by Domenico