DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0155
STEFANO AND UGOLINO.
139
this figure performed so many miracles some few years after,
that the whole loggia was for some time filled with images
placed therein “ ex voto”, and the figure is still held in the
highest veneration.* Finally, in the chapel belonging to
Messer Ridolfo de’ Bardi, in the church of Santa Croce,
wherein Giotto depicted the life of St. Francis, Ugolino
painted an altar-piece in distemper, the subject a Crucifixion,
with St. John and the Magdalen weeping, and a monk stand-
ing on each side of these figures.f
Ugolino departed from this life in the year 1349,| being
then very old, and was honourably entombed in his native
city of Siena.
But, returning once more to Stefano, this master is said to
have been a good architect also, and what we have related
above may serve to confirm the truth of the assertion. He
died, as is recorded, in the year of jubilee 1350, at the age
of forty-nine, and was buried in the tomb of his forefathers,
in the church of Santo Spirito, where the following epitaph
was placed over his remains :—
“ Stephano Florentino pictori, facundis imaginibus ac colorandis
figuris nulli unquam inferiori, Affines mcestiss. pos. Vix. an. xxxxix.”
* For a minute account of this oratory and picture, see Baldinucci
ind Villani, ut supra.
f It is not known where this picture now is, and it is very probably
lost.
i Ugolino died in 1339, and the above date is a mistake of Vasari’s,
or a misprint of his second edition: the date given in the first edition,
where the life of Ugolino stands separately, being 1339: that biography
is there closed by the following epitaph, which Vasari omitted in his
second edition:—
“ Pictor divinus jacet hoc sub saxo Ugolinus,
Cui Deus seternam tribuat vitamque supernam.”
Montani remarks, that this epitaph may very well be of the time of
Ugolino ; but that the epitaph on Stefano is manifestly of a much
later date. •
139
this figure performed so many miracles some few years after,
that the whole loggia was for some time filled with images
placed therein “ ex voto”, and the figure is still held in the
highest veneration.* Finally, in the chapel belonging to
Messer Ridolfo de’ Bardi, in the church of Santa Croce,
wherein Giotto depicted the life of St. Francis, Ugolino
painted an altar-piece in distemper, the subject a Crucifixion,
with St. John and the Magdalen weeping, and a monk stand-
ing on each side of these figures.f
Ugolino departed from this life in the year 1349,| being
then very old, and was honourably entombed in his native
city of Siena.
But, returning once more to Stefano, this master is said to
have been a good architect also, and what we have related
above may serve to confirm the truth of the assertion. He
died, as is recorded, in the year of jubilee 1350, at the age
of forty-nine, and was buried in the tomb of his forefathers,
in the church of Santo Spirito, where the following epitaph
was placed over his remains :—
“ Stephano Florentino pictori, facundis imaginibus ac colorandis
figuris nulli unquam inferiori, Affines mcestiss. pos. Vix. an. xxxxix.”
* For a minute account of this oratory and picture, see Baldinucci
ind Villani, ut supra.
f It is not known where this picture now is, and it is very probably
lost.
i Ugolino died in 1339, and the above date is a mistake of Vasari’s,
or a misprint of his second edition: the date given in the first edition,
where the life of Ugolino stands separately, being 1339: that biography
is there closed by the following epitaph, which Vasari omitted in his
second edition:—
“ Pictor divinus jacet hoc sub saxo Ugolinus,
Cui Deus seternam tribuat vitamque supernam.”
Montani remarks, that this epitaph may very well be of the time of
Ugolino ; but that the epitaph on Stefano is manifestly of a much
later date. •