DOI Page / Citation link:
https://doi.org/10.11588/diglit.61668#0030
8
POLLAIUOLO
dal Castagno and Alesso Baldovinetti. Although his
first paintings, for which we have certain date, were
executed at the age of twenty-eight, several others are
in existence which may well be placed earlier—work
with which Piero had nothing to do. That he carried
on the art simultaneously with that of goldsmith is
proved by the following documented dates. In 1460
he painted the important canvases representing the
Labours of Hercules, at the commission of Lorenzo de’
Medici, having just completed the Silver Cross for the
Altar of S. Giovanni. About 1465 he frescoed the
Altar-wall in the Chapel of the Cardinal of Portugal,
S. Miniato, at the same date that he was working at
the Silver Candlesticks to accompany the Cross. In
1472 his name figures at the head of the list of painters
drawn up in that year,* and in 1475 he painted the
S. Sebastian for the Pucci Chapel, now in the National
Gallery, between which dates we have record of several
pieces of goldsmith’s work—the helmet for the Count
of Urbino, the silver basin for the Signoria, and a
Crucifix for the Church of the Carmine. In the
inscription carved by him upon the Tomb of Sixtus IV.,
executed in the last years of his life, he designates
himself “Skilful in Silver, in Gold, in Painting, and
in Bronze,” f and the title “Pictor insignia ” follows his
name in the inscription on his Tomb in S. Pietro in
Vincoli.
* Berenson, “ Drawings of the Florentine Painters,” London,
1903, vol. i. p, 18,
t “ Opvs Antoni Polaioli Florentine Arg. Avro. Pict. Aere.
Clari.”
POLLAIUOLO
dal Castagno and Alesso Baldovinetti. Although his
first paintings, for which we have certain date, were
executed at the age of twenty-eight, several others are
in existence which may well be placed earlier—work
with which Piero had nothing to do. That he carried
on the art simultaneously with that of goldsmith is
proved by the following documented dates. In 1460
he painted the important canvases representing the
Labours of Hercules, at the commission of Lorenzo de’
Medici, having just completed the Silver Cross for the
Altar of S. Giovanni. About 1465 he frescoed the
Altar-wall in the Chapel of the Cardinal of Portugal,
S. Miniato, at the same date that he was working at
the Silver Candlesticks to accompany the Cross. In
1472 his name figures at the head of the list of painters
drawn up in that year,* and in 1475 he painted the
S. Sebastian for the Pucci Chapel, now in the National
Gallery, between which dates we have record of several
pieces of goldsmith’s work—the helmet for the Count
of Urbino, the silver basin for the Signoria, and a
Crucifix for the Church of the Carmine. In the
inscription carved by him upon the Tomb of Sixtus IV.,
executed in the last years of his life, he designates
himself “Skilful in Silver, in Gold, in Painting, and
in Bronze,” f and the title “Pictor insignia ” follows his
name in the inscription on his Tomb in S. Pietro in
Vincoli.
* Berenson, “ Drawings of the Florentine Painters,” London,
1903, vol. i. p, 18,
t “ Opvs Antoni Polaioli Florentine Arg. Avro. Pict. Aere.
Clari.”