DOI Page / Citation link:
https://doi.org/10.11588/diglit.57409#0157
PIETRO LAURATE
141
painted an oratory in Florence, opposite to the north door of
Santo Spirito, and in the angle where now stands the abode
of a butcher. This work amply merits the highest praise
from every intelligent artist, for the delicacy of its execution,
and in particular for the softness and sweetness visible in
the heads. From Florence, Pietro went to Pisa, where, on
the facade of the Campo Santo, and beside the principal door,
he painted stories from the lives of the Holy Fathers, with so
much vivacity of expression and grace of attitude, that he
fully equalled Giotto, and obtained high reputation. Some
of these heads, whether as regards design or colouring,
exhibit a life-like character, which could not be surpassed by
anything of which the manner of those times was capable.
From Pisa, Laurati departed to Pistoja, where he painted a
picture in distemper for the church of San Francesco ; this
was a figure of the Virgin with angels around her, a very
good composition. On the predella* beneath this painting are
historical representations, wherein the master executed
numerous small figures, so full of life and movement, that in
those days they must have been considered miraculous ; and,
as they satisfied himself no less than others, he placed his
name on the work as follows:—‘•'•Petrus Laurati de Senis.”]
In the year 1355, J Laurati was invited to Arezzo by Messer
Guglielmo, the dean, and by the wardens of the deanery of
Arezzo, who were then Margarito Boschi, and others. The
capitular church of that city had been erected with superior
designs, and in abetter manner than any that had been con-
structed in Tuscany up to that time ; it had further been
enriched by Margaritone with ornaments of hewn stone and
carvings, as we have before said. Laurati now adorned the
tribune and the great recess of the chapel wherein is the high
altar, with fresco paintings, representing passages from the
life of our Lady, with figures of the natural size. In these
stories, which begin with the expulsion of Joachim|| from the
Temple, and close with the Birth of Christ, may be perceived
* The step on the top of the altar was called the predella, or gradino.
+ This picture is now preserved in the gallery of the Uffizj in Flo-
rence, but the lower part is wanting. Vasari gives only a portion of
the inscription, which is as follows :—“petrus laurentii de senis
ME PINXIT ANNO DOMINI MCCCXL.”—Masselli.
J Supposed to be a misprint for 1345.-—Ed. Flor. 1846.
|| In some editions this was erroneously printed Zaccharias.—Ibid.
141
painted an oratory in Florence, opposite to the north door of
Santo Spirito, and in the angle where now stands the abode
of a butcher. This work amply merits the highest praise
from every intelligent artist, for the delicacy of its execution,
and in particular for the softness and sweetness visible in
the heads. From Florence, Pietro went to Pisa, where, on
the facade of the Campo Santo, and beside the principal door,
he painted stories from the lives of the Holy Fathers, with so
much vivacity of expression and grace of attitude, that he
fully equalled Giotto, and obtained high reputation. Some
of these heads, whether as regards design or colouring,
exhibit a life-like character, which could not be surpassed by
anything of which the manner of those times was capable.
From Pisa, Laurati departed to Pistoja, where he painted a
picture in distemper for the church of San Francesco ; this
was a figure of the Virgin with angels around her, a very
good composition. On the predella* beneath this painting are
historical representations, wherein the master executed
numerous small figures, so full of life and movement, that in
those days they must have been considered miraculous ; and,
as they satisfied himself no less than others, he placed his
name on the work as follows:—‘•'•Petrus Laurati de Senis.”]
In the year 1355, J Laurati was invited to Arezzo by Messer
Guglielmo, the dean, and by the wardens of the deanery of
Arezzo, who were then Margarito Boschi, and others. The
capitular church of that city had been erected with superior
designs, and in abetter manner than any that had been con-
structed in Tuscany up to that time ; it had further been
enriched by Margaritone with ornaments of hewn stone and
carvings, as we have before said. Laurati now adorned the
tribune and the great recess of the chapel wherein is the high
altar, with fresco paintings, representing passages from the
life of our Lady, with figures of the natural size. In these
stories, which begin with the expulsion of Joachim|| from the
Temple, and close with the Birth of Christ, may be perceived
* The step on the top of the altar was called the predella, or gradino.
+ This picture is now preserved in the gallery of the Uffizj in Flo-
rence, but the lower part is wanting. Vasari gives only a portion of
the inscription, which is as follows :—“petrus laurentii de senis
ME PINXIT ANNO DOMINI MCCCXL.”—Masselli.
J Supposed to be a misprint for 1345.-—Ed. Flor. 1846.
|| In some editions this was erroneously printed Zaccharias.—Ibid.