DOI Page / Citation link:
https://doi.org/10.11588/diglit.42071#0266
SOGLIANI
252
SOGLIANI
Vasari states that G.A. was with Lorenzo di
Credi for twenty-four years; possibly, as he
matriculated in the Phy. A. in 1515 and occupied
a bottega behind Sta. Maria del Fiore in the same
year, this should read, “ till his twenty-fourth year.”
He always remained on friendly terms with his
master, and, with Stefano di Tommaso Lunetti
and Giovanni di Benedetto Cianfanini, was named
an executor of Lorenzo’s will in 1531. One of
G.A.’s earliest paintings, according to Vasari, was
a copy of Credi’s Nativity for the church of the
Osservanza (S. Francesco) at S. Miniato, Florence,
which is now in the Berlin Museum. On a pilaster
in the church of Or S. Michele he painted a S.
Martin, Bishop, and he commenced a picture of the
Magi, in imitation of the style of Fra Bartolommeo,
whom he greatly admired. This panel was finished
after G.A.’s death by Santi di Tito, and is preserved
in the church of S. Domenico of Fiesole. In 1521
he painted for Madonna Alfonsina, wife of Piero
de’ Medici, a crucifixion of S. Arcadius, which, after
.many vicissitudes, was placed, in 1550, by Duke
Cosimo in the church of S. Lorenzo, where it may
still be seen. From documents published by Tan-
fani, G.A.’s connection with the Duomo of Pisa
appears to have commenced c. 1530. On March 31,
1531, he was paid 50 ducats larghi for painting a
panel, probably the Sacrifice of Noah, placed in the
tribune of the Duomo. The same year he was
commissioned to paint in Florence two other panels,
the Sacrifices of Cain and Abel, which were placed
in position in 1533. On March 22, 1536, G.A. was
paid 120 ducats 840 lire for painting the Nativity
of the Virgin and S. Clemente, placed in the Duomo
opposite the door of the Annunziata. On the 23rd
of the same month he undertook to paint a com-
panion picture of Our Lady and eight Saints for
the altar of the chapel of SS. Giovanni Battista and
Giorgio. This would appear to be the panel stated
by Vasari to have been commenced by Pierino del
Vaga. There is no evidence, however, that Pierino
[?.v] took any part in this painting; * but there
is a note of payment, dated April 17, 1537, of 70
lire to Niccolo de la Brugia on account of his work
on a panel for the chapel of SS. Giovanni and
Giorgio “ which we did not think he ought to
finish.” In 1537 two further altar-pieces were
allotted to G.A., each to contain life-size figures
of Our Lady and Saints. The one, entitled SS.
Simone, Jacopo and Antonio, was painted in
Florence; the other was executed in Pisa, where
* An entry exists in the Archives of the Pisan Duomo
to the effect that, in 1793, Giovan Battista Tempesti
repaired two damaged panels, one on a pilaster, repre-
senting S. Andrea and other saints, by G.A., the second
on an altar, near the new altar of S. Ranieri, repre-
senting Sta. Barbara and other saints, commenced by
Pierino del Vaga and finished by G.A. The Madonna
and Infant on a pilaster was not by Pierino but by
G.A. Such, at least, was the tradition at the close
of the eighteenth century.
G.A. arrived on Nov. 22, 1539, taking up his
residence in a furnished house hired for him by
the Opera. In 1541 the chapel of the Crocifisso
and other titles owed G.A. 840 lire for a large half
round of the Madonna and Saints, apparently the
picture referred to above. G.A.’s paintings, in-
cluding the panel of the Virgin and Saints, left
unfinished at the death of Andrea del Sarto, may
still be seen in the Pisan Duomo. Vasari states
that, had G.A. not been so dilatory in his work,
he might have painted all the panels required for
the new chapels erected by Stagio Stagi in the
Duomo. Whether or not this was the reason,
Niccolo de la Brugia, Beccafumi, Bazzi, Vasari him-
self and Agnolo Bronzino were all employed in
different years in painting panels for the cathedral
chapels. The last work executed by G.A. for the
Duomo of Pisa was the painting, in 1541, of twenty-
one “ drappelloni ” (hangings) with figures of Saints,
which cost 389 lire, of which 186 lire were for gold
and painting, the balance being for white and red
“ taffeta ” fringes, customs dues and other charges.
Vasari states that G.A. willingly undertook this
style of work, especially in partnership with his
friend Tommaso di Stefano (Lunetti), P., with
whom he painted for many other sets in Florence,
to which city we must now return, having treated
consecutively of G.A.’s works in Pisa. It was in
1534 that he painted, by commission of the lay
brother de’ Molfetti, S. Dominic’s miracles of the
bread in the refectory of the convent of S. Marco.
The P. had intended to represent the miracle of
the loaves and fishes, for which he had made a
drawing, but was desired by the monks to execute
the first subject. Among G.A.’s undated works,
executed in Florence, may be mentioned a Cenacolo
in oils for the nuns of the Crocetta, which still exists
in a very damaged condition; a Crucifixion in a
tabernacle, painted for Taddeo Gaddi, the friend
of Raphael, on his palace in the Via de’ Ginori.
The painting was transferred, in recent times, to
the wall of the opposite palace on the side of the
Via del Bisogno, and is damaged by time and
retouching; a Crucifixion (fresco) for the monks
of the Badia in their refectory, now used as a ware-
house; a processional standard with the Visitation
on one side and S. Niccolo, Bishop, and two youth-
ful penitents on the other, for the Company of S.
Niccolo del Ceppo in the Via della Badessa, which
still belongs to the Company; two panels for the
nuns of S. Girolamo della Costa di S. Giorgio,
representing respectively S. Francis and S. Elizabeth
of Hungary, which are still in the church; a Trinity
with “ putti ” and Saints, for the church of S.
Jacopo sopr’ Amo, and two Saints in fresco. The
predella was painted by Sandrino del Calzolaio,
G.A.’s p. The panel is now in the sacristy of the
church. G.A. also painted a Judith and Holo-
femes, which was sent to Hungary, and the Be-
headal of S. John Baptist, for Paolo da Terranuova,
252
SOGLIANI
Vasari states that G.A. was with Lorenzo di
Credi for twenty-four years; possibly, as he
matriculated in the Phy. A. in 1515 and occupied
a bottega behind Sta. Maria del Fiore in the same
year, this should read, “ till his twenty-fourth year.”
He always remained on friendly terms with his
master, and, with Stefano di Tommaso Lunetti
and Giovanni di Benedetto Cianfanini, was named
an executor of Lorenzo’s will in 1531. One of
G.A.’s earliest paintings, according to Vasari, was
a copy of Credi’s Nativity for the church of the
Osservanza (S. Francesco) at S. Miniato, Florence,
which is now in the Berlin Museum. On a pilaster
in the church of Or S. Michele he painted a S.
Martin, Bishop, and he commenced a picture of the
Magi, in imitation of the style of Fra Bartolommeo,
whom he greatly admired. This panel was finished
after G.A.’s death by Santi di Tito, and is preserved
in the church of S. Domenico of Fiesole. In 1521
he painted for Madonna Alfonsina, wife of Piero
de’ Medici, a crucifixion of S. Arcadius, which, after
.many vicissitudes, was placed, in 1550, by Duke
Cosimo in the church of S. Lorenzo, where it may
still be seen. From documents published by Tan-
fani, G.A.’s connection with the Duomo of Pisa
appears to have commenced c. 1530. On March 31,
1531, he was paid 50 ducats larghi for painting a
panel, probably the Sacrifice of Noah, placed in the
tribune of the Duomo. The same year he was
commissioned to paint in Florence two other panels,
the Sacrifices of Cain and Abel, which were placed
in position in 1533. On March 22, 1536, G.A. was
paid 120 ducats 840 lire for painting the Nativity
of the Virgin and S. Clemente, placed in the Duomo
opposite the door of the Annunziata. On the 23rd
of the same month he undertook to paint a com-
panion picture of Our Lady and eight Saints for
the altar of the chapel of SS. Giovanni Battista and
Giorgio. This would appear to be the panel stated
by Vasari to have been commenced by Pierino del
Vaga. There is no evidence, however, that Pierino
[?.v] took any part in this painting; * but there
is a note of payment, dated April 17, 1537, of 70
lire to Niccolo de la Brugia on account of his work
on a panel for the chapel of SS. Giovanni and
Giorgio “ which we did not think he ought to
finish.” In 1537 two further altar-pieces were
allotted to G.A., each to contain life-size figures
of Our Lady and Saints. The one, entitled SS.
Simone, Jacopo and Antonio, was painted in
Florence; the other was executed in Pisa, where
* An entry exists in the Archives of the Pisan Duomo
to the effect that, in 1793, Giovan Battista Tempesti
repaired two damaged panels, one on a pilaster, repre-
senting S. Andrea and other saints, by G.A., the second
on an altar, near the new altar of S. Ranieri, repre-
senting Sta. Barbara and other saints, commenced by
Pierino del Vaga and finished by G.A. The Madonna
and Infant on a pilaster was not by Pierino but by
G.A. Such, at least, was the tradition at the close
of the eighteenth century.
G.A. arrived on Nov. 22, 1539, taking up his
residence in a furnished house hired for him by
the Opera. In 1541 the chapel of the Crocifisso
and other titles owed G.A. 840 lire for a large half
round of the Madonna and Saints, apparently the
picture referred to above. G.A.’s paintings, in-
cluding the panel of the Virgin and Saints, left
unfinished at the death of Andrea del Sarto, may
still be seen in the Pisan Duomo. Vasari states
that, had G.A. not been so dilatory in his work,
he might have painted all the panels required for
the new chapels erected by Stagio Stagi in the
Duomo. Whether or not this was the reason,
Niccolo de la Brugia, Beccafumi, Bazzi, Vasari him-
self and Agnolo Bronzino were all employed in
different years in painting panels for the cathedral
chapels. The last work executed by G.A. for the
Duomo of Pisa was the painting, in 1541, of twenty-
one “ drappelloni ” (hangings) with figures of Saints,
which cost 389 lire, of which 186 lire were for gold
and painting, the balance being for white and red
“ taffeta ” fringes, customs dues and other charges.
Vasari states that G.A. willingly undertook this
style of work, especially in partnership with his
friend Tommaso di Stefano (Lunetti), P., with
whom he painted for many other sets in Florence,
to which city we must now return, having treated
consecutively of G.A.’s works in Pisa. It was in
1534 that he painted, by commission of the lay
brother de’ Molfetti, S. Dominic’s miracles of the
bread in the refectory of the convent of S. Marco.
The P. had intended to represent the miracle of
the loaves and fishes, for which he had made a
drawing, but was desired by the monks to execute
the first subject. Among G.A.’s undated works,
executed in Florence, may be mentioned a Cenacolo
in oils for the nuns of the Crocetta, which still exists
in a very damaged condition; a Crucifixion in a
tabernacle, painted for Taddeo Gaddi, the friend
of Raphael, on his palace in the Via de’ Ginori.
The painting was transferred, in recent times, to
the wall of the opposite palace on the side of the
Via del Bisogno, and is damaged by time and
retouching; a Crucifixion (fresco) for the monks
of the Badia in their refectory, now used as a ware-
house; a processional standard with the Visitation
on one side and S. Niccolo, Bishop, and two youth-
ful penitents on the other, for the Company of S.
Niccolo del Ceppo in the Via della Badessa, which
still belongs to the Company; two panels for the
nuns of S. Girolamo della Costa di S. Giorgio,
representing respectively S. Francis and S. Elizabeth
of Hungary, which are still in the church; a Trinity
with “ putti ” and Saints, for the church of S.
Jacopo sopr’ Amo, and two Saints in fresco. The
predella was painted by Sandrino del Calzolaio,
G.A.’s p. The panel is now in the sacristy of the
church. G.A. also painted a Judith and Holo-
femes, which was sent to Hungary, and the Be-
headal of S. John Baptist, for Paolo da Terranuova,