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GIOVANNI DELLA ROBBIA 
 
Princeton Monographs in Art and Archaeology VIII 
 
 Giovanni della Robbia 
 
 BY 
 
 ALLAN MARQUAND 
 
 PROFESSOR OF ART AND ARCHAEOLOGY IN PRINCETON UNIVERSITY 
 
 PRINCETON UNIVERSITY PRESS 
 
 PRINCETON 
 
 LONDON: HUMPHREY MILFORD 
 
 OXFORD UNIVERSITY PRESS 
 
 1920 
 
Copyright, 1920, by Princeton University Press 
 
 Printed by Princeton University Press 
 Princeton, N. J., U.S. A. 
 
 Published, October, 1920 
 
PREFACE 
 
 In this volume I have presented a Catalogue Raisonne of the works of 
 Giovanni della Robbia, publishing for the first time many new monuments 
 and new documents. The writings of Dr. Bode, of Marcel Reymond, and 
 of Miss Cruttwell will have made the public sufficiently familiar with Luca 
 and Andrea della Robbia, but no one has brought together into a unified 
 treatise the works of Giovanni della Robbia. The present volume should 
 present to the eye of the interested student a sufficient number of works by 
 Giovanni della Robbia to enable him to recognize the characteristics of 
 his style. In other volumes we may hope to distinguish the correlated 
 works of the Buglioni, and of Giovanni's brothers. Logically the volume 
 on Andrea della Robbia should follow the monograph on Luca della Rob- 
 bia, but the output of his atelier was so enormous and the individualities of 
 his successors so ill defined, that I have prefered to delay publication, hop- 
 ing that the discovery of new documents may shed some light on the ob- 
 scure portions of this field. 
 
 As usual I have to acknowledge my indebtedness to Mr. Rufus G. JMather 
 for his careful revision of already published and for his discovery of new 
 documents. 
 
CONTENTS 
 
 L Introduction xi 
 
 II. Catalogue of Monuments i 
 
 III. Bibliography and Index 225 
 
INTRODUCTION 
 
 I. Biography. 
 
 Giovanni della Robbia was born on the nineteenth of May, 1469 at three 
 o'clock in the morning, and was baptized on the following day (Doc. i). 
 The baptismal records give him two names "Giovanni et Antonio," al- 
 though he was known only by the former. The name Giovanni had been 
 borne by his grand-uncle Ser Giovanni della Robbia, a notary and chancel- 
 lor of Florence, who died about 145 1. It may be observed, however, that 
 his mother's name was Giovanna, and his grandmother's Antonia, a suffi- 
 cient explanation for both his names. The same record gives his father's 
 name as Andrea di Giovanni, a manifest error, as Andrea's father's name 
 was Marco. His l^irthplace was in the family home in the Via Guelfa, 
 corner of Via Nazionale, purchased in 1446 by his grand-uncles Luca and 
 Marco della Robbia. It was in the Popolo di San Lorenzo, and the Gon- 
 falone di Lione doro. Here, surrounded by his relatives, Giovanni lived 
 and worked during all his life. Whether to be set up in Florence or its 
 neighborhood, or in some distant town like Arcevia in the Marches, his 
 monuments were moulded and baked in this house on the Via Guelfa in a 
 room called the anticncina, where was the furnace and mixing troughs used 
 by Andrea della Robbia and by his sons, Giovanni, Luca, and Girolamo 
 (A. J. A., XXin, 1920, 136-145)- 
 
 In 1502 or 1503 Giovanni married Tommasa di Carlo di Geri Bartoli 
 (Doc. 2-;^). This connection may have been of value to Giovanni della 
 Robbia. The Bartoli family were represented many times as Priors or 
 Gonfalonieri in Florence. One of them Domenico Bartoli, with his wife 
 Maddalena Rucellai, was given permission to decorate the Cappella di S. 
 Maria degli Angeli at the famous Franciscan monastery at La Verna. 
 Their coats of arms appear upon Andrea's very beautiful altarpiece of the 
 Madonna della Cintola, as well as upon two later altarpieces. 
 
 Giovanni and Tommasa had five children: (i) Marco, born Dec. 19, 
 1503; (2) Filippo, a painter, born Apr. 11, 1505; (3) Lucantonio, born 
 Apr. 14, 1506; (4) Alessandra, born Oct. 21, 1508, married in 1528 Lo- 
 renzo di Lionardo di Tommaso Altoviti, and died in 1570; and (5) Simone, 
 born April 26, 1511- One son died on Aug. 25, 1525, and two in 1527, 
 but their names are not recorded (Docs. 4-5). Nor is it known whether 
 any of Giovanni's sons worked in his atelier. It is true that in 15 18 his 
 eldest son Marco receipted for a part of the compensation due to Giovanni, 
 but this does not necessarily imply participation in the work. 
 
 Giovanni was one of a family of twelve. The eldest, Antonia, born Jan. 
 
xii INTRODUCTION 
 
 21, 1465, was married in 1485 to Girolamo di Michele di Giovanni Mascal- 
 zone; the second, Marco, born Apr. 6, 1468, became Fra Mattia in S. Marco 
 in 1496; Giovanni was the third; the fourth, Paolo, born Nov. 2, 1470, 
 became a soldier; the fifth was Lisabetta, born Sept. 18, 1473; '^he sixth, 
 Luca, born Aug. 26, 1475, married Sept. 4, 1522 Agnoletta di Piero di 
 Paolo Falconieri, and in 1528 Bartolommea di Lionardo Altoviti; the 
 seventh, Francesco or Pierfrancesco, born July 23, 1477, became Fra Am- 
 brogio in S. Marco in 1495; the eighth, Caterina, born Aug. 19, 1480, be- 
 came Suora Speranza in the Monasterio di S. Lucia in 1496; the ninth, 
 Piero, born Apr. 14, 1483, died Jan. i, 1493; the tenth, Margherita, born 
 May 2T,, i486, became Suora Agnolina in the Monasterio di S. Lucia in 
 1502; the eleventh, Girolamo, born Mar. 10, 1488, married in 1543 Luisa 
 di Piero Mattei ; the twelfth, Maria, born Sept. i, 1492, married in 1513 
 Tommaso di Marco Fantini. 
 
 Of his brothers, Luca and Girolamo worked in glazed terra-cotta and 
 doubtless collaborated with him before they went to France in 1528- 1529. 
 Fra Mattia and Fra Ambrogio seem to have been more independent of the 
 family atelier and had a furnace of their own in the Marches. 
 
 During the late years of his father's life Giovanni was the most produc- 
 tive and leading spirit in the atelier. His father's financial resources were 
 doubtless strained to care for his large family and Giovanni was expected 
 to provide in great measure for himself. So we find him entering into 
 contracts on his own account. Possibly he was extravagant in his ex- 
 penditures, as the documents concerning the dot he was to receive from his 
 wife show that his father in law. Carlo di Geri Bartoli was most anxious 
 to avoid risks. It may be, as Mr. Mather suggests, that the marriage of 
 Giovanni and Tommasa was contracted without mention of a dowry, but 
 Document 6 shows that in 1507, 1508, and 151 1 Carlo purchased securities 
 for this purpose amounting altogether to 538 florins, 10 soldi. Possibly the 
 amount promised was 600 florins, as is indicated in the Spogli dello Strozzi 
 (Doc. 3). Giovanni was not allowed to endanger this property save with 
 the consent of his father in law, and for a part of it at least he was re- 
 quired also to have his father's consent. 
 
 Giovanni appears, however, to have drawn against this account (Doc. 7), 
 to have received interest on it, and to have made various reinvestments. 
 Documents 8 and 9 indicate that after the death of his father and father 
 in law the amount of the dowry remaining in the Monte decreased ma- 
 terially in amount. 
 
 On the 14th of September 1522 Andrea della Robbia made his will, 
 adding a codicil on the i8th of February 1523. He revoked his will on 
 the third of June 1524. He died on August 4, 1525, his wife Giovanna 
 Paoli having predeceased him. Two of Andrea's sons were monks, two of 
 his daughters nuns, others were already dead. He left three heirs and his 
 
INTRODUCTION 
 
 Xlll 
 
 will shows that he desired an equal distriljution of his i)roperty. As An- 
 drea had revoked his will Giovanni properly states that his father died in- 
 testate (Doc. lo) and lays claim to his portion, one third. The other claim- 
 ants were his brothers Luca and Girolamo, both of whom were now living in 
 France (Doc. ii). The latter document is dated July 14, 1529; by March 
 24th of the following year his wife Tommasa is spoken of as a widow. 
 Hence his death, of which we have no specific record, must have occurred 
 during the autumn of 1529 or the early months of 1530. 
 His genealogy in part is as follows : 
 
 Michele 
 
 I 
 Vanni 
 
 I 
 Marco, d. 1382 
 
 I 
 Simone (i343-i433) 
 
 I 
 Ser Giovanni (1394-c. 1448) 
 
 Marco (1388-1448) 
 
 T 1 " I I ^ I I 
 
 Filippo Checca Jacopo Andrea Simone Paolo 
 
 (1430-1433) (1432-?) (1432-?) (1435-1525) (1438-1521) b. 1439 
 
 m. Andrea Gori m. in 1464 Giovanna 
 
 di Piero di Ser Lorenzo Paoli 
 
 Luca (1399-1481) 
 
 Francesco Margherita 
 b. 1443 b. 1444 
 
 m. 1460 to 
 Tomaso di 
 Giovanni di Piero 
 
 Giovanni ^ 3" of 12 children . 
 (1469-1529) 
 
 I 
 
 Marco Filippo Lucantonio Alessandra Simone 
 
 b. Dec. 19, 1503 b. Apr. 11, 1505 b. Oct. 21, 1506 b. Oct. 21, .1508 b. Apr. 26, 1511. 
 
 m. in 1528 to 
 Lorenzo di Lionardo 
 di Tommaso Altoviti 
 
 2. His work. 
 
 Although Giovanni was not matriculated into the Arte de' Medici e degli 
 Speziali until the year 1525 he began much earlier to act as an independent 
 sculptor. The first documented work for which he as an individual con- 
 tracted was the Lavabo in S. Maria Novella in 1497. It has many points 
 of contact with the works of Andrea della Robbia, in whose atelier he had 
 been employed for some years. In spite of its attractive quality it shows 
 a lack of originality, and a distinct lapse from the high standard of beauty 
 exhibited in the works of his father. From the early years of the nine- 
 teenth century until the year of his death we find a series of dated, docu- 
 mented, and at least two signed monuments. The following list may be 
 useful even to those who have the catalogue of his works before them. It 
 will show that the period of his greatest activity was between 15 10 and 
 1529, during the greater part of which his father was still alive. 
 
xiv INTRODUCTION 
 
 1. Lavabo, S. Maria Novella. 1497. Documented. 
 
 2. Last Judgment, A'olterra. 1501. Dated. 
 
 3. Thirty-nine Casks, S. ]\Iaria Nuova, 1507. Documented. 
 
 4. Stemma of Giovanni Niccolini, 1509. Dated. 
 
 5. Resurrection Relief. 15 10. Dated. 
 
 6. Font at Cerreto Guidi. 151 1. Dated. 
 
 7. Stemma of Filippo Sapiti. 15 12. Dated. 
 
 8. Font, S. Donate in Poggio. 15 13. Dated. 
 
 9. Altarpiece, Arcevia. 15 13. Dated and Documented. 
 
 10. Candelabrum bearing Angels, S. Ambrogio. 15 13. Documented. 
 
 11. Altarpiece, Buonsollazzo (formerly). 1513- Documented. 
 
 12. Altarpiece, Museo Nazionale, No. 64. 1514-1515. Documented. 
 
 13. Altarpiece, Poggibonsi. 15 14. Dated. 
 
 14. Altarpiece, Baltimore. 1515. Dated. 
 
 15. Ciborio, Vatican. 1515. Dated. 
 
 16. Stemma of Niccolo de'Pazzi. 1516. Dated. 
 
 17. Font, Galatrona. 15 18. Documented. 
 
 18. Altarpiece, Pisa. 1520. Dated and Documented. 
 
 19. Altarpiece, Fiesole. 1520. Dated. 
 
 20. Statue of S. Romolo, Fiesole. 1521. Dated. 
 
 21. Stemma of Bishop Folchi, Fiesole. 1521. Dated. 
 
 22. Lunette, Museo Nazionale, No. T,y. 1521. Signed and Dated. 
 
 22,. Altarpiece, Museo Nazionale, No. 25. 1521. Signed, Dated, Doc- 
 umented. 
 
 24. Tabernacolo, Via Nazionale. 1522. Dated. 
 
 25. Stemma of Arcangelo Spigliati, ]Museo Nazionale, No. 42. 1522, 
 Dated. 
 
 26. Medallion heads of prophets, apostles, saints, Certosa. 1523. Docu- 
 mented. 
 
 2y. Statue of Isaiah. Certosa (formerly). 1523. Documented. 
 
 28. Altarpiece, Lowengard's. 1523. Dated. 
 
 29. Altarpiece, Lamporecchio. 1524. Dated by document. 
 
 30. Stemma of Raffaello Corbinelli, Certaldo. 1524. Dated. 
 
 31. Stemma of Antonio Pazzi. S. Giovanni in Valdarno. 1525. Dated. 
 T,2. Ceppo Hospital Medallions, Pistoia. 1525-1529. Dated and Docu- 
 mented. 
 
 33. Stemma of the Particini, Poppi. 1526. Dated. 
 
 34. Stemma of Hippolito Buondelmonti, Pistoia. 1526. Dated. 
 
 35. Stemma of Lorenzo Lapi, Scarperia. 1526. Dated. 
 
 36. Madonna and Saints, Arezzo. 1526. Dated by document. 
 
 T,y. Stemma of Francesco di Casavecchia, Scarperia. 1528. Dated. 
 
 Giovanni continued to build altarpieces, large and small, ciboria, fonts, 
 medallions, and occasionally statues. Occasionally, as in the monuments 
 at Galatrona, he used exclusively white glazes ; but ordinarily his works are 
 
INTRODUCTION xv 
 
 polychromatic. Some of his colours, especially his blues and greens, retain 
 something of the distinction which may be observed in the works of Luca 
 and of Andrea della Robbia. But as a whole his colour sense was not re- 
 fined and many of his works are gaudy and crude. In the construction of 
 garlands he cared little for rhythm or for decoration composition. He 
 sought to catch the eye of the spectator by the introduction of lizards, 
 snails, or other animalculi. He cared so much for naturalistic effect in 
 representing human creatures that he used pink or other glazes, rather 
 than white, for flesh tones, and frecjuently left the nudes unglazed in order 
 that they might be painted so as to produce effects he could not accomplish 
 b}' coloured glazes. Reds had always caused trouble for the potter, so he 
 often left the tunic of the Virgin unglazed. His rendering of red in enamel 
 was not the charming violet of Luca or Andrea, but a brown of crude, 
 uninteresting tone. In the treatment of eyes he usually merged iris and 
 pupil into one brown mass. In fact in whatever direction we turn Giovanni 
 impresses us as a craftsman lacking in the higher inspirations of artistic 
 ideals. 
 
 DOCUMENTS 
 [Copied by Mr. Rufus G. Mather.] 
 
 1. "Adi 20 di decto (Maggio 1469) 
 
 Giovanni et Antonio de Andrea di Giovanni popolo 
 
 di San Lorenzo nacque adi 19 a hore 3 — ba'° addi 20." 
 [Archivio dell' Opera di S. Maria del Fiore, Libro dei Battezzati, 
 1466-1473, c. 6.] 
 
 2. "1502 Giovanni di Andrea della Robbia 
 
 Tommasa di Carlo di Geri Bartoli" 
 [Archivio di Stato, Spoglio dell 'Ancisa, Sec. xvii.] 
 
 3. "Gio(vann)i di Andrea della Robbia consume matrimoni" con 
 M" Tom" fig'" di Carlo di Geri Bartoli con dote di fl. 600 I'anno 1503" 
 
 [Spogli dello Strozzi cod. carta Sec. XVII, segnato Magliab. CI. 
 XXXVII, Cod. 299 c. 288, Libro D 116 Q" S. Gio(vann)i 1465.] 
 
 4. "Septembre 1525 — uno figluolo di Giovanni della Robbia 
 
 adj 2 Recato in Sco p° m'" 
 [Arch, di stato. Ufiicio della grascia. Libro dei Morti, 1 524-1 530, 
 segnato Arti 6 cod. 249.] 
 
 5. "27 Agosto 1527. Del Falagetto in casa gio. della Robbia 
 
 v'e malato due fanciulli" 
 [Gargani, citation from Libro del Contagio della Misercordia, 1523- 
 1530.] 
 
xvi INTRODUCTION 
 
 6. " + yhs + 1507 
 
 Giovanni d'Andrea di Marcho della Robl^ia de avere adi xj di dicembre 
 1507 F. cientocinquantadue larghi per Nicholo d'Andrea Ghranacci di 
 questo c. iii e ebon chondizione che di detto chredito non si possi fare 
 alchuno cbontratto sanza licenza di Charllo di Gieri Bartolj ma stia e sia 
 per sicburta e sodamento di dota o parte d'essa della Tommaxa donna di 
 detto Giovannj e figluola di detto Charllo Bartolj e ebon tutte le altre cbon- 
 dizioni chonsuete secbondo lo stile del Monte guadagnati F. 100 adi 21 
 di luglio 1490 e F. 52 adi 16 di giungno 1491. F. 152. 
 
 E de avere adj 20 di giugnio 1508 F. cinquanta larghi per Lisabetta di 
 Geri Risalitj di questo c. 525 cholle medesime chondizioni di sopra gua- 
 dagnati adj 19 di luglio 1491. F. 50. 
 
 E de avere adi 5 dj niarzo 1508 F. cinquanta largbi per Charllo di Gieri 
 Bartoli di questo c. 26 e chon chondizione che non se ne possi fare alchuno 
 cbontratto sanza licenza di Charllo di Gieri Bartoli e d'Andrea di Marcho 
 della Robbia ma stia per sichurta e sodamento di dota chome di sopra jn 
 forma chonsueta e chon chondizione che ongni volta che detto Giovannj 
 chonperasse beni jnmobilj che stieno principalmente obrigbati per la valuta 
 di detto chredito ala detta M.° Tomaxa tutto a dichiarazione di detto Charl- 
 lo Bartoli e di detto Andrea della Robia o degli uficialj del Monte che pe' 
 tempi saranno fatta detta chiarazione detto chredito resti libero da detta 
 chondizione guadagnati F. adi 20 di novembre 1491. F. 50. 
 
 E de avere adi detto F. cientosedicj sol. x larghi per Alberto di Giovannj 
 Altovitj di questo c. 533 e chon le medesime chondizioni di sopra che sono 
 ala partita di F. 50 larghi fatto chreditore jn di 5 di marzo guadagnati F. 
 10. 18. 5 adi 7 d'ottobre 1490 e F. 62. 10 adi 18 di febraio 1491 e F. 43. 
 4. 7 adj 2 d'aghosto 1491. F. 116 sol. 10 den. 
 
 E de avere adj 7 di marzo 1508 F. ciento setanta larghi per M' Cilia 
 d'Andrevolo Nicholini di questo c. 530 chon le medesime chondizioni di 
 sopra che sono a F. 10 e n larghi guadagnati F. 50 adi 6 di giungnio 1491 
 e F. 15. 14. 7 adi 8 di giungnio 1491 e F. 44. 12. 3 adi 30 di novembre 1491 
 e F. 14. 15 - adi 26 di novembre 1491 e F. 44. 18. 2 adi 20 di febraio 1490. 
 F. 170. 
 
 F. 538. 10. 
 
 Adi 22 d'ottobre 151 1 poxa (posta) chondizione ala partita di F. 538 
 larghi che Buonachorzo d'Antonio di Ser Bartolo la pigli da di primo di 
 gienaio 15 11 a tutto dicembre 1513 cioe paghe vi di licenza di detto Gio- 
 vannj al Quaderno c. 14. 
 
 Posto avere al Libro Rosso da 4 per cento c. 683 adi 13 di marzi 151 1. 
 F. 538. sol 10. 
 
 [Archiv. di Stato. Ufficio del Monte da 4 %, Libro Deb. e Cred. 1506- 
 1509, segnato G. c. 416. Published in L'Arte, XXII (1919), 109- 
 
 IIO.] 
 
Hie mutatur 
 Indictio 
 
 Recognitio 
 
 R(icordo) ad 
 gab(ellam) 
 
 7- 
 
 INTRODUCTION 
 
 "-J- yhs MDxiij Indictio prima 
 
 xvii 
 
 Item postea dictis Anno Indictione secunda et die vij' mensis 
 octobris Actum i curia mercantie et universitati mercatorum 
 civitatis florentie pntibus (presentibus) Antonio pieri francisci 
 d(e) gottolis et Johanne andree mei alias barbetta numptijs 
 ind(i)c(t)a curia testibus etc Johannis andree marci d(e)lla 
 robbia scultor et Matheus Uice fornarius alpalagetto et quilibet 
 eorum i solidum etc p(er) se et eorum heredes etc et eorum 
 certa scientia et 6i (omni) modo etc fuerunt cofessi et ricog- 
 noverut se esse veros et limos (legitimos) debitores Francisci 
 bernardi d(e) CorbinelHs Hcet abntis (absentis) et mei notarij 
 infrascripti p(ro) eo recipientis etc d(e) sum(m)a et quanti- 
 tate florenorum octo auri lar. i auro p(ro) valore cuisdam 
 panni albi v" (vocati) pezzetta biancha bb sexaginta ut (vel) 
 circa eisdem venditi et p(ro)eo recepti a franc" pieri delviva 
 ut asserverut dicte partes Renumptiantes etc Quam quantita- 
 tem f. 8. dicti Joh(ann)is et Matheus et q(ui)Hbet eorum in 
 solidum etc unica solutione sufficiente p(ro)miserunt etc sol- 
 vere et cum effectu pagare eidem franc" d(e) CorbinelHs licet 
 ab(se)nti etc hinc ad octo menses px (proximos) futuros sine 
 aliqua exceptione Et dcam solutionem facere florentie pisis 
 senis rome etc Et cum sit q(uod) dictus Joh(ann)is sit de- 
 scriptus creditor i libro nigro montis cois (comunitatis) flor- 
 entie ad c 683 f 538 lar. d 4 p(ro)c°( cento) Et cu sit 
 
 + yhs MDxiij" Indictio secunda (s 46) 
 q hac presenti suprascripta die dictus Johis codictionaverit 
 dcum motem (montem) hoc modo vz q(uod) dictus francisus 
 de CorbinelHs capiat pagas et dona dicti crediti montis d 4 
 p(ro) c° adie p'ma mensis maij px' futuri 15 17 ultra Qua pp 
 (propter) dictus Johannis omni modo etc dedit licentiam dco 
 franc" d(e) CorbinelHs licet ab(se)nti et mihi notaro etc 
 q(uo)casu quo dictus franciscus de corbinellis tempore quo 
 supra no essere solutus et Satisfactus a dco Joh(ann)e v(e)l 
 Matheo vel ab altero iporum de dels f. 8 auri lar. 1 auro q(uod) 
 possit et riliceat vendere elapso dco tempore dcorum otto men- 
 sium tot pagas s(upra)s(crip)ti crediti f 538 d(e) quo sup q 
 ascendant ad sum (m) am dcorum f 8 p(ro) tempore dicti anni 
 1517 ultra Et casu quo dictus franciscus d(e) corbinellis ven- 
 deret dcas pagas modis et formis s(upra)s(crip)ti p(er) pro- 
 senetas ordinarios montis q(uod) dictus Joh(ann)is no pos- 
 sit ullo unquam tempore dicere vel p(ro)ponere q(uod) dictus 
 franciscus d(ej Corbinellis eius male et T dampnu dicti 
 
xviii INTRODUCTION 
 
 Joh(ann)is vendiderit Et ex nuc dictus Joh(ann)is fecit 
 p( ro)curatorum etc dcum franciscum d(e) Corbinellis licet 
 absentem etc Splr(specialiter) etc pagas dicti s(upra)s(crip)ti 
 crediti f 538 mentis d 4 p(ro) c° d g" sup q(uod) ascendant 
 ad dcani s(upra)s(crip)tam summam f 8 auri lar. inauro 
 modis et formis s(upra)s(crip)tis Dans etc promittens etc 
 Que oia (omnia) et singula s(upra)s(crip)ta dicti Joh(ann)is 
 et Matheus referendo singula singulis p(ro)miserunt etc ac- 
 tendere et observare sub pena £25 auri lar. inauro Que pena 
 etc qua pena etc p(ro) quibus etc obligaverut etc Renumpti- 
 antes etc quibus etc p(er) quarantigiam etc Rogantes etc. 
 [Archivio di Stato. Rogiti di Ser Lorenzo di Pierantonio 
 Cardi, Protocolli 1510-1516, Segnato C 137 c 45' e 46.] 
 
 8. "+ Mdxxvj 
 Giovan(n)j dand" di marcho della Robbia de av- 
 (er)e adj 22 dotob(r)e 1526 f cinquecento di- 
 cotto s otto dj quatro Ij segnati indiv(i)si tenpj 
 al{i)b(r)o I c 722, p(er) tantj levatj di suo coto 
 dal(i)b(r)o Rosso I c 723 f 518 .8 .4 
 
 dota Sono ob(l)ighartj p(er) sodo di dota dalla to- 
 
 masa sua don(n)a e digl" (di licenza) di carlo di 
 geri b(ar)tolj e che di f 338 .13.4 di deta soma 
 no sene possa fare alchuno cotratto sanza licezia 
 di carlo b(ar)tolj e dj andrea di marcho delaro- 
 
 p(ost)a arin- bja che stano p(er) dota chome di sop(r)a Che 
 
 vestire |^ pS (partite) di detto credito sabino arinvestire 
 
 sine a tamto si sia riconperatj f 20 s 1.4 di similj 
 credit] sotto detto nome e codiz"" p "(""") JJ 
 f 98 .6 .4 obligatj arinvestire I c 723 
 Che franc" di piero palagj piglj paghe 4 di f 538 
 e p'(paghe) 2 di f 500 — coe jntt°(jn tutto) p" 
 
 p(agh)e 6 6 no p(er)o gudicado etc e fiinito che sia el 
 rinvestimeto chome di sop(r)a — I c 723. 
 Adj 29 dotob(r)e 1526 poste codiz" alep' (ale 
 paghe) di f 518 .8.4 che franc" di piero palagj 
 le piglj di poj che tutte le codiz"" sino a q° dj a 
 
 p' 2 posta jn detto credito saran(n)o spirate p' 
 
 (paghe) dua no p(er)o guidicado etc di l(icen)- 
 
 za di detto govannj al q° c 73 
 
 E adj 16 di novebre 1526 f undicj s sedicj Ij 
 p(er) gon(n)a filippo di charlo bartolj dare al- 
 (i)b(r)o h c 743 segnatj adj 16 di dicebe i486 
 
INTRODUCTION 
 
 XIX 
 
 P" 9 
 
 P 3 
 
 e colle niedesime cocliz(io)nj e disse p(er) 
 Rinu'" di pagha f 11.16 
 
 530 
 E adj 7 di m(ar)zo 1526 f otto s cinque di quat- 
 to p(er) zanobj di govan(n)j tenpj dare in q" c 
 437 segnatj adj 5 di m(ar)zo 1488 colle niede- 
 sime condizionj disop(r)a e p(er) rinvestimen- 
 to di p°( pagha ) f8 5 4 
 
 „ ^ 538 .9 -8 
 Adj 3 di genaio 1527 poste codiz"' alep(agh)e di 
 f 538-9-8 che guliano di piero rucellaj le piglj 
 dadj p° di settembre 1529 a tutto aghosto 1532 
 coe p° [pagha(e)] 9 no p(r)o gudicado etc di 
 l(icen)za di detto govannj delarobia al q° c 44 
 Adj 14 di novebre 1528 poste codiz"" alep" di 
 f 538.9.8 che lucha dj andrea della robia le 
 piglj da oggj att° aghosto 1529 coe p° 3 no 
 p(er)o gudicado etc di l(icen)za di detto go- 
 vannj e di cosentimeto di frac" dj ziaro p(er) 
 ognj suo interesse al q" c 98 
 Addj 8 di gennaio 1528 giul"" di p" rucellaj 
 condizionaro alia p° di detto c'°(chredito) alia 
 detta conditio rinunzio p(er) detta p° libero di 
 licentia di detto giovannj p(er) lucha dandrea 
 dellarobia conditionaro alia p' di detto chredito 
 ala detta condit di p' rinijtio p(er) detta p" 
 libero di lie' di detto lucha al q° c 125 
 Giovannj detto de av(er)e adj 22 dotobre 1526 
 f 9 1 1.3.3 P(s^) T^'i^esto) del(i)b(r)o I c 723 
 equalj sono obrighatj arinvestire re jnsimilj 
 
 creditj p(er) la codiz" i gl i 3 
 
 E adj p° di genaio 1526 fgli .5 .1 p(er) lap' di f 530 £9!! 5 
 
 E adj p° di maggo 1527 f 9 1 1.17.11 p(er) la p° di f 530 — f9li 17 i 
 
 E adj p° di settebre 1527 f 9 1 1.17.11 p(er) la p° di f 538 — £9!! 17 i 
 
 E adj p° di genaio 1527 f 9 1 1.17.11 p(er) la p' di f 538 — £9!! 17 i 
 
 1528 £9 1 1.17.11 p(er) lap' di £ 538 — £9!! 17 i 
 
 1528 £9 1 1.17.11 p(er) lap" di f 538 — £9!! 17 i 
 
 1528 £ 9 1 1.17.11 p(er) la p° di £ 538 — £911 17 i 
 
 i529f 5I4 -3 7P(er) lap'dif 538— £514 3 7 
 
 £771 17.19-5 
 [Archivio di Stato, Libro Debitori e Creditori del Monti da 7 per cento, 
 anni 1525-1526, segnato L c. 518. Published in L'Arte, XXII (1919), 
 no.] 
 
 se nnutia 
 
 E adj p° di marzo 
 E adj p° di settebe 
 E adj p° di genaio 
 E adj p° di mago 
 
XX INTRODUCTION 
 
 9. Giovanni dicotro dare addi 30 gen° 1528 
 f ceto r (largha = larghi ) p(er) luj a ant° di g" 
 (giovannj) danngello avere alibro n c 549 di lie' 
 (licenza) di detto giovannj e di ehonsetimeto 
 dulivierj di carlo bartolj cog'°(cognato) di detto 
 giovanni ed etia di chonsentimeto di detto gio- 
 vanni p(ro)churatore di s(er) rafaello di 
 charlo bartolj etia cognato di detto giovannj 
 c(art)a di por" (prochura) p(er) s(er) 
 franc" allegrj addi 8 del p(r)esente e p(er) 
 delib(er)atione e ptito (partito) de p(r)esentj 
 ufitialj dl mote roghato s(er) francesco allegrj 
 addi 26 dl p(r)esente e mediate una conditione 
 p°(posta) allap" (allapartita) di f 288.9.8 p(er) 
 rifare f 250 - V di detto chredito colle dette con- 
 ditioni che jndetto chredito sono chontenute e 
 indetto partito e mediante una p(r)omessa 
 fatta p(er) dettj f 250 p(er) 1° (licenza) di T" 
 altovitj e p(er) filippo di giovannj dellarobia 
 jn favore di m° tomasa don(n)a di detto gio- 
 vannj jnsino attante che dette p°( partite) aranno 
 rifatto detta soma sechondo la forma di detto 
 p(ar)tito c''( carta) di detta p(r)omessa p(er) 
 ser matteo da falgano addi 29 del p(r)esente al 
 
 q°(quaderno) c 140 f 100 — 
 
 E addi detto f cinqata p(er) luj a ant° di b(er)- 
 nardo bartolj avere alibro n c 550 di lie" e di 
 charta e di chdsentimento e mediante gli ob(li)- 
 ghj e condizione p°(posto) alia p' (partita) in- 
 
 tutto come disop(r)a al q° c 140 f 50 — 
 
 E addi p° di marzo f cinqata p(er) luj a 
 jac° di zerello da filichaia avere alibro M c 281 
 di lie' di detto giovan(n)j e dichosentimeto par- 
 tito e tutto chome disop(r)a f 50 
 
 R(icord)o E adj 15 di 1'° (luglio) 1529 f trecentotretotto s 
 nove dj otto 4(larghj) p(er) tantj postj avere 
 
 alibro s" O c 309 f 338 .9 
 
 538.9.8 
 
 p(osto) arin- /^^di -^o di genn° 1528 posta conditio alap' di 
 f 288.9.8 cholla detta p° (partita) sabino arinves- 
 tire insimili chrediti sotto nome di detto giovan- 
 nj e cholla medesima conditione p(er) sec'(se- 
 curitate) di dota della tomasa sua dona e flglu- 
 
 vestire 
 
INTRODUCTION xxi 
 
 ola di charlo bartoli come statino a f 199. 16.4 
 
 didetto chredito insino altato die di detto p" 
 
 sisieno richopato (richomperato) f 250 1° da 7 
 
 p(ro)c(ent)o non po g'" (pero giudicatoj e di 
 
 lie" di detto giovannj al q" c 140 
 
 1363 Giovannj detto de dare adj 16 di noveb(r)e jndj 31 
 
 dotob(r)e 1526 f 9 1 1.3 p(or)to aIb(er)to tenpj 
 
 p(er) av(er)e rinvestito jn f i6( ?).i6 di mote- 
 
 (monte) sotto detto nome a f 62 el c"(el cento) da 
 
 nerj pittj K° alap°(alapartita) f9li .3 
 
 1843 E adj 7 dimarzo jndj 28 di feb(r)aio 1526 f 9 1 1.5 
 p(or)to govan(n)j dellarobia p(er) av(erje finite 
 elrinvestimento de f 8.5.4 p(er) detto resto da andrea 
 
 g"gnj f 9I I -5 
 
 1419 E adj 16 di luglio indj 30 di gug° 1527 f 9 1 1.17.8 
 p(or)to franc" di piero palagj cond"'(condizionaro ) 
 alia p°( partita) dacherubino fortinj K(amerario) 
 
 alap" p(er) m''"'(maggo) £911 .17 .8 
 
 1002 E adj 4 di novenb(r)e jndj 31 dotob(r )e f 9 1 1.17.8 
 p(or)to frac° deto da girolamo puccinj K° almote 
 
 p(er) s"(settembre) £911.17 .8 
 
 83 E adj 5 di diceb(r)e 1527 £ 9 1 1.17.8 p(or)to £rac° 
 
 deto da govan(n)j belaccj alep° (ala partito) . . . . f 9I i .17 .8 
 
 137 E adj II dap(ri)le 1526 f 9 1 1.18 p(or)to franc" 
 detto da franc" torganj alep' p'° p' (per la pagha o 
 partita) di maggio 1528 f 9 I i .18 
 
 386 E adj 25 daghosto 1528 £613 p(or)to franc" detto 
 
 da b(er)n(ar)do ghondj alle p' p(er) s' 1528 .. .. £61 3 — 
 
 870 E adj II disetteb(r)e 1528 f 2 e s 8.4 p(or)to franc" 
 palagj condj" (condizionaro) di b(ernar)do ghondj 
 
 alep" p(er) r'( resto) di setteb(r)e 1526 £2!- 8 .4 
 
 2153 E addj 16 di noveb(r)e jndj 31 dottobre 1 3.1 p(or)to 
 franc" palagj condj" da piero davazatj almote p(er) 
 ro(resto) di setteb(r)e (15)26 f-l3 -i 
 
 774 E adj 8 digenaio 1528 f 3 1 - 12 (5 words written and 
 cancelled) anzi a 1'° (luca) di andrea della robia con- 
 diz" p(or)to e detto da bacazio (branchazio) s(er)- 
 zellj K° allep' p(er) g(ennaio) (15)28 f3l-i2 
 
 994 E adj 23 detto f 6 1 1.5.8 p(or)to giovannj detto 
 
 dabachazio s(er)zellj p '°(^'°'"°) (15)28 f61i .5 8 
 
 672 E adj 26 dap(ri)le 1529 f - 1 3.19.8 a govannj detto 
 p(or)to r° di 1"° altovitj suo genero di sua V° insino 
 non dice altro da verj baldovinj p '"°("""°) (15)29 . . f-13 .19 .8 
 
xxii INTRODUCTION 
 
 E de dare addj 24 di m(ar)zo 1529 f 5 1 - s 5 . j 
 p(er) t(a)ntj posto av(er)e aIib(r)o s'" O c 309 p 
 
 "C"'") di q''(questo) conto f 5 1 - 5 J 
 
 f 76 1 22.10.9 
 f 1 4. 1 1.9 
 
 f 77I 17.19.5 
 
 10. "Yhs 
 
 MDxxviiij Indictione 2° de mense Julij (In margine : Aditio heretitatis). 
 
 Item postea dictis anno indictione die (xiiij) et loco et coram dictis 
 supracriptis testibus etc. 
 
 Pateat omnibus evidenter qualiter Johannis quondam Andree Marci della 
 Robbia de Florentia Asserans et affirmans dictum Andream eius patrem 
 mortuum esse et decessisse ab intestate jam sunt annj tres proximj elapsi 
 et ultra relictis post se dictis Johanne et Hyeronimo et Luca eius filijs le- 
 gitimis et naturalibus et nullis alijs relictis habientibus eos excludere ab 
 hereditate vel successione dicti Andree eorum patris aut etiam eis et aliqua 
 parte concurrere Et sciens et cognoscens prefatus Johannes hereditatem 
 dicti Andree eius quondam patris eidem pro tertia parte ab intestato fusse 
 et esse delatam illamque fore et etiam sibj portius utilem et lucrosam quam 
 dannosam jdeo hereditatem predictam sibi ut supra pro dicta tertia parte 
 ab intestato delatam et pertinentem et pro omnj alia parte et portione etc. 
 Adivit et omnj meliorj modo etc. z\sserens et Protestans et Rogans etc. 
 
 [Archivio di Stato, Rogiti di Ser Matteo da Falgano, Protocolli 1527- 
 1530, segnato Notai M. 300 a. c. 297'; published in L'Arte, XXII (1919), 
 III.] 
 
 II. Giovannj dicotto dedare addi 14 di luglio 1529 f 
 cinq(u)a(n)ta p(er) lui a matteo di br"(bernardo) 
 chopini avere alib(r)o M c 70 di lie" (licenza) di detto 
 giovanni e di c6sent'° dulivieri di charlo b(ar)toli e 
 di cosent'" di detto giovannj dellarobia p(ro) chura- 
 tore di ser rafaello di charlo b(ar)toli cognati di detto 
 giovanni e frategli di don(na) Tomasa don(n)a di 
 detto giovanni c°( carta) di p{ro)chura p(er) 
 s(er) franc" allegrj sotto suo di ed etiam di chon- 
 sent'° di detto giovanni dellarobia jn suo nome i primo 
 chome erede della 0/3 p{ar)te abintest'" dand' di- 
 marcho dellarobia suo padre ed etia di sua lie" come 
 p(ro)churatore di lucha e girol""" sua frateglj rede 
 ciascun di loro p(er)la 0/3 p(ar)te abintest'" di detto 
 and' condition" (conditionaro) detto and" in detto 
 
INTRODUCTION xxiii 
 
 chredito c" tli petizione deredita e por"(prochura) 
 p(er) detto giovanni di detto and" p(er) s(er) matt" 
 da falg° q° di c° di petizione e di por" p(er) detti 
 lucha e girol'"" p(er) s(er) ant° puzquota(?) notaro 
 publicho di parigj co lettera testimoniale adi 6 di 
 giugno 1529 ed etia p(er) delib(er)atione e p(ar)tito 
 de p(r)esete ufitialj de mote e luogho di padre di 
 detta m" tomasa rog° s(er) franc" allegrj addi 26 
 di gennaio 1528 e mediate una chondizione posta 
 alia p° (partita) di f. 288.9.8 di detto chredito sechon- 
 do la forma di di detto partito e mediate etia una 
 promessa fatta in favore di detta m" tomasa p(er) 
 filippo di giovanni dellarobia e r(lorenzo) di r'"(lion- 
 ardo) altoviti sechondo la disposizione di detto p(ar)- 
 tito c° di detta p(r)omessa p(er) s(er) matt" da falg" 
 
 addi 29 di genn° 1528 al q" 55-56 f 50 
 
 E addi 3 di novenbre 1530 f venticinque I'flarghi) 
 p(er) lui a m' ginevra v°(vedova) donna fu di mat- 
 teo di nicholo av(er)e 1 q' c 822 di 1° di 1" di 1"° altoviti 
 p(ro)ochuratore di m' tommaxa donna fu di detto 
 giovannj della Robbia aliei attentj chome dicotro c" 
 di p(r)ochura 1 detto p(er) s(er) franc" allegrj q° 
 p(r)exete di al q°° 55 f 25 
 
 Credito Lo quale c""(chredito) disse detto 1° p(r)ochuratore 
 p(er)e detto Ricevere dalla detta m° tomaxa p(er) 
 parte di f 90 d" di p(r)ezo di una chasa allei venduta 
 R"(roghato) chome disse s(er) matteo da falgano 
 q" di al q° 55 
 
 1492 Gjovannj di chotro de dare addj 24 di m(ar)zo 1 28 di 
 febraio 1529 f 15 1 o s 12 dj 4 a m° tommaxa sua 
 donna e quali stavevamo a Rinvestire come nella c6d°° 
 di cotro si dice ma p(er) essere p(er) sua dota della- 
 quale a fatto fine e allej si danno p(er) chdputare 
 p(er) sua dota p(er) rofresto) da giovannj Cap°^ 
 
 alle p(r)estanze f 15 1 - 12 4 
 
 E adi detto f 15 1 0.12.4 fece fine Rhogato s(er) 
 matteo da falgano come di chdtro q° di 24 di marzo 
 
 1529 
 
 E de dare f 10 1 - s 10.3 p(er) tantj posto ala ma(n) 
 
 data (15)29 p(er) ro(resto) sino a g° 1530 f lol- 10 3 
 
 [Archivio di Stato Ufficio del Monte, Libro Debi- 
 tori e Creditori, da 7%, O, 1 529-1 530, c. 309; pub- 
 lished in L'Arte, XXII (1919), iii.] 
 
xxiv INTRODUCTION 
 
 12. ■•+ MDXXVIII" 
 
 Giovanni dand" di marcho della Robia de avere addi 
 14 di luglio 1529 jndi 14 detto ftrecetotretotto s nove 
 dj otto scritti jn div(er)si tenpi apare alib(r)o I c 723 
 p(er) tatj levati di suo coto dalib(r) g'"(gaillo) s(er) 
 
 L ■• • ■• •• f338 98 
 
 dota chenonsenepossafare alchuncbontrato sanza lie" dota 
 di carlo b(ar)tolj e dand" dimarcho dellarobia che 
 stanno p(er) sodo di dota della tomaxa figluola di 
 charlo di geri bartoli e don(n)a di detto giovannj 
 come apare alib(r)o L c 518 
 arinvestire Chelle p" di f 288.9.8 sabino a rinvestire jn simili 
 chrediti sotto detto nome e conditione p(er) sodo di 
 dota della tom(m)axa insino al tato chredito p° si 
 sia ric6p(ens)ato f 250 — l"(largha) da 7 p(er) 
 c(ent)o Apparetenghono a m" tommaxa v° figliuola di 
 charlo di geri b(ar)toli p(er) le sue Ragionj dotalj 
 ellafine p(er) lej fatta agli eredi di detto giovannj 
 della Robia Roghato s(er) matteo da falgano addi 
 24 di m(arz) 20 1529 etc. 
 
 E addi 5 di novenb(r)e 1530 f dugetosessantatre s 
 nove dj otto 1' p(er) lui a lixabctta di b(arto)r"° da 
 empoli av(er)e I q° c 842 di 1° di 1° altovitj p(r)ocura- 
 tore chome dichotro e p(er) la chagone chome la 
 
 p(ar)tita de f 25 dichotro al q° c 53 f 263 9 8 
 
 263.9.8 
 75 
 
 f 338.9.8 
 Giovannj sop(ra)adetto de av(er)e adi p" di sette- 
 b(r)e 1529 f 5 I-3.8 p(er) la p(partita) di f 288 . . f 5I- 3 8 
 E addi p"" di gennaio 1529 f 5 1 - 3.8 p(er) la p° di 
 
 £288 f 5 1 - 3 8 
 
 E de hav(er)e addi 24 di m(ar)zo 1529 f 5 1 - 5.1 
 p(er) tantj postj dare p(er) R°(Resto) di uno suo 
 
 choto allib(r)o g(ia)lIo s° L c 518 f 5 1- 5 i 
 
 E addi p""" di seteb(r)e 1530 f 10 1 - 10.2 p(er) 2 
 
 p(artite) di f 288 f 10 1 - 10 2 
 
 f 25 1 1.2.7 
 [Idem, Idem.] 
 
II. CATALOGUE OF MONUMENTS 
 Before 1500 
 
Before 1500 
 
 1 LAVABO. Florence. S. Maria Novella (Sacristy). 1497. H., 
 4.14m.; W., 2.34m. (including garlands). Photos., Alinari, 2276, 
 3633; Brog-i, 5639-5461; 3481. 
 
 Neither Luca nor Andrea della Robbia were ever called upon to con- 
 struct a lavabo, yet so attractive is the lavabo in S. Maria Novella (Fig. i), 
 that not only writers like Richa and Fantozzi, but even a Charles C. Per- 
 kins, attributed it to Luca himself. A few like Barbet de Jouy saw in it a 
 stronger resemblance to Andrea's handiwork. It was not until 1878 that 
 Milanesi, in publishing his second edition of Vasari, revealed from the 
 archives of S. Maria Novella that the true author was Giovanni della 
 Robbia, and the date of the monument 1497. 
 
 Andrea di Lazzaro Cavalcanti, known also as Buggiano, in 1440 had sur- 
 rounded a lavabo with a tabernacle or architectural frame, such as were 
 used by the Florentines for altarpieces, tombs, and ciboria. Andrea della 
 Robbia at S. Fiora had already placed a baptismal font in a framed 
 terra-cotta niche and above it displayed a pictorial relief of the Baptism of 
 Christ. This leads us to believe that the faience painting immediately above 
 the font is also connected with it in significance. It is not a representation 
 of the sea, as is frequently affirmed, but of a river (the Arno?) rising in 
 distant hills, supplying the wants of cities, and finally reaching the lavabo 
 itself. S. Maria, the patroness of the church adored by angels, is in the 
 lunette above and over her head the stemma or emblem of the Dominicans. 
 The marble font may have been designed by Giovanni, at least all of its 
 decorative features appear in other works of his. Above the font are 
 marble slabs with nondescript engraved ornaments and two cherub heads 
 from whose mouths issue ugly faucets for hot and cold water, below which 
 is engraved the inscription Abliite fonte prius te qnani pia sacra miuistres 
 non licet impitra- tangere sancte manu. These marble slabs date from the 
 XVIII century. 
 
 The faience landscape, though more attractive than Giovanni's later 
 paintings, foreshadows in its indiscriminate colouring something of the 
 garishness of his later productions. It is framed in imitation of a vault 
 with a double row of coff'erings each containing a five petalled plain or 
 wheel rosette, white against blue. The inner faces of the supports of the 
 
4 
 
 GIOVANNI DELLA ROBBIA 
 
 vault are decorated (Fig. la) : (i) to the right with squares enclosing equi- 
 lateral triangles, violet, green, yellow and blue; (2) to the left an all-over 
 pattern of squares, each inclosing four segments of circles and a crude 
 rosette. The technique is similar to that of cloisonne enamelling on copper. 
 The base of the tabernacle shows a central dado of quadrangular tiles 
 each bordered with green leaves against a yellow background and contain- 
 
 FiG. I. — Lav.OiBO. Florence, S. Maria Novella. 
 
GIOVANNI DELLy\ ROBBIA 5 
 
 ing a central wheel rosette — in beauty inferior to Andrea's pavement tiles 
 at Empoli, S. Gemignano and elsewhere. At each side are projecting 
 pedestals faced with rectangular tiles on which are painted elaborate, dol- 
 phin handled vases set on bases ornamented with griffins, and containing 
 each a bunch of fruit, flowers, and wheat. The inner face of the pilaster 
 to the right is decorated with scale pattern, green, yellow and blue, that to 
 the left with blue squares ornamented with white quatrefoils. 
 
 The pilasters are extremely similar to those of Andrea's altarpiece in 
 
 Fig. ia. Tile Decoration of Lavabo. 
 
 the Medici Chapel in S. Croce, but their dolphin capitals are thoroughly 
 characteristic of Giovanni. The spandrels contain elaborate, white rosettes 
 in disks set against a mottled violet — imitation of porphyry — ^background. 
 The entablature is unusually well proportioned with its candelabrum and 
 garland frieze, white on blue, studied from Andrea's frieze in S. Maria 
 delle Carceri at Prato, and its minor mouldings studied from Desiderio da 
 Settignano. 
 
 In the lunette (Fig. 2) the Madonna with the nude standing Child wor- 
 shipped by angels was not an uncommon subject with Andrea della Rob- 
 bia. In the lunette of 1489 in the Opera del Duomo the motive represented 
 by the Child is slightly different, but the lunette in the Berlin Museum 
 (No. 97), and that over the portal of the Cathedral at Pistoia presents the 
 
6 GIOVANNI BELLA ROBBIA 
 
 same composition. The type of the Madonna and the Child differ but ht- 
 tle from Andrea's later productions. The form of the heads is more 
 rounded, and the manner of indicating the eyes — with linear brow, and an 
 upper lash only, and with no distinction between pupil and iris — show a 
 growth in carelessness. Gilding in the background, haloes, collars, etc. 
 made the relief more brilliant. The two angels, however, are more origi- 
 nal and have a charm which Giovanni soon lost. It may be noted that the 
 frame of the lunette is decorated by a broad band of uprising fruit and 
 flowers, not broken into separate bunches. The principle of the composi- 
 
 FiG. 2. — Lunette of Lavabo. 
 
 tion appears to be that of a central line of varied fruit, flanked either by 
 another kind of fruit or by flowers. At the top is the emblem or coat of 
 arms of the Convent of S. Maria Novella: Per chevron, sable and argent, 
 in base a star of eight points gules; symbolizing the black Dominican mantle 
 opening over the white tunic. 
 
 Possibly to Andrea's example, as well as that of Desiderio da Settignano, 
 belongs the use of garland-bearing putti above the entablature. The vase 
 above the top of the lunette has disappeared, but its pedestal and the lilies it 
 
GIOVANNI BELLA ROBBIA 7 
 
 carries still remain. This motive was used in the tabernacle at SS. Apostoli 
 and in several other monuments. Giovanni did not share Luca's and An- 
 drea's love of children. His putti were chubby creatures with rings of flesh 
 about their ankles and wrists and deep wrinkles on their legs. Though 
 usually curly locked their heads were variously treated and sometimes bereft 
 of hair. 
 
 Documents: — [Copied by Mr. R. G. Mather.] 
 I. "1498 
 
 Febraio 
 
 A giovannj della robbia dadj 27 digenaio 
 1497 p(er) isino adj 4 di febraio 1498 f(iorini) 
 quatt" larghi doro ioro sono p(er) el 
 residuo dellavatoio delle manj cio(e) 
 pelpavimento alle Ricordanze V C40- 1 27 s 8" 
 [Archiv. di Stato, Entrata e Uscita, dal 28 di Giugno 1497 al 12 di 
 Aprile 15 10, di Sagrestia di S°M° Novella- segnato Corporazioni Sop- 
 presse 102, Appendice N° 19 a c. 89.] 
 
 2. "1498 
 
 Febraio. . . . 
 
 A giovannj della robbia dadi 27 digen(n)aio 
 
 per insino (cancelled) adj (error in text) 1497 PC^^) Isino 
 
 adj 4 . di febraio 1498 f quatro larghi 
 
 doro loro sono p(er) residuo dellavatoio 
 
 delle mane cioe pel pavim(en)to alle Ricordanze C40- 1 27 s 8" 
 [Archiv. idem, Entrata e Uscita, dal 28 Giugno 1497 al 29 Luglio 15 10, 
 di Sagrestia di S'M" Novella- segnato Corporazioni Soppresse 102, Ap- 
 pendice N° 20 a c. Sgt] 
 
 Bibl. : 
 
 Bacci, ///. Fior., 1908, 140-143; B-J., 65; B., Kf., 19, 23; It. PL, 94; 
 Denkm., 89, Taf. 276; W. D. R., Taf. 44; Burl, 52, 108; Cahier, 
 Car. d. Saints, I, 84, 390, s.v. Etoile; C-M., 100, 124, 128, 210 No. 
 32; Cr., 216-218, 328; Fov., 117, 120; Lee, Cont. Rev., 1901, 369-; 
 R. G. M., L'Arte (1918), 205-206, XII, 1-2 (Doc); M., Sc. Mag., 
 1893, 686; Perkins, T. S., 198; R., D. R., 227-229; Sc. FL, IV, 50; 
 Richa, III, 45; S., 131 Abb. 141; Vas. II, 182 note, 193 note. 
 
8 GIOVAXXI BELLA ROBBIA 
 
 2 KNEELING MADONNA. New York. Metropolitan Museum 
 Statuette. H., O. 42m. Photo., Museum. 
 
 This statuette (Fig. 3), was purchased through the Rogers fund in 1907. 
 The Madonna here kneels in adoration; the Child whom she worships is 
 absent. She wears a white veil and light blue mantle decorated with con- 
 
 FiG. 3. — Kneeling Madonn-'l. Metropolitan Museum. 
 
 ventionalized flowers. At Arcevia the Madonna's mantle is decorated with 
 similar moderation; at Volterra, much more elaborately. Not only the 
 face and hands, but also the robe are unglazed. In type she recalls Gio- 
 vanni's Madonna of 1497 '^^ ^he lunette of the lavabo in S. Maria Novella. 
 
 Bibl. : 
 
 M., D. R. A., 105-106, Fig. 42. 
 
 3 KNEELING MADONNA. New York. Mrs. Bejamin Thaw collec- 
 tion. Statue. H., 1.23m. Photo., P. W. French and Co. 
 
 This large Madonna (Fig. 4) belonged originally to a Presepio or Na- 
 tivity group, the whereabouts of the other figures being unknown. It came 
 
GIOVANNI DELLA ROBBIA 9 
 
 to New York through Messrs P. W. French & Co., who state that it was 
 originally in a convent in Florence. The face, hair, hands and tunic are 
 ung'Jazed, the head cloth is glazed white and the mantle a rich blue lined 
 green. 
 
 Although in certain details, such as the neck of the tunic and the fasten- 
 
 FiG. 4. — Kneeling Madonna. Thaw Collection. 
 
 ing of the mantle, not thoroughly characteristic of Giovanni della Robbia 
 it may be attributed to that sculptor. It resembles in type the Madonna 
 in S. Michele, Volterra, which Giovanni probably executed at the end of 
 the fifteenth or during the first decade of the sixteenth century. 
 
 Bibl. : 
 
 M., Arts & Dec, VI (Nov. 1915), 26, Frontispiece. 
 
 4 MADONNA WITH NUDE, STANDING CHILD. Volterra. S. 
 Michele. Photo., Alinari, 3461 1; Lombardi, 2614. 
 
 In the church of S. Michele Arcangelo set in a marble niche is a seated 
 Madonna with nude, standing child (Fig. 5). The nudes are unglazed. 
 The Madonna wears a violet robe, dark blue mantle, white head cloth. 
 The Child stands on a cushion and holds a bird in his left hand. In type 
 the Madonna is not far removed from that of the polychromatic altarpiece 
 in the cathedral at Arezzo. She is also closely related to the kneeling Ma- 
 donna in the Thaw Collection, New York. 
 
 Bibl. : 
 
 Ricci, Volterra, 143. 
 
lO 
 
 GIOVANNI DELLA ROBBIA 
 
 Fig. 5. — Madonna. Voltekra, S. Michele. 
 
 5 S. LUCIA. Empoli. S. Maria a Ripa (Empoli Vecchio). Statue 
 in niche. H., 1.47111. Photo., Ahiiari, 10131. 
 
 In technique and st34e this statue (Fig. 6) may be classed with the Ma- 
 donna at Volterra. Her face, hair and mantle are unglazed. The glazed 
 portions are the white kerchief, blue robe, white girdle, green palm branches, 
 violet book, on which are two white eyes and yellow bosses, and the mottled 
 violet base on which she stands. Her robe was decorated and bordered 
 with gold. 
 
 A document cited by Giglioli indicates that the statue originally stood in 
 a terra-cotta tabernacle preserved in the garden of the monastery of the 
 Minori Osservanti di San Francesco to whom the church was given by the 
 Adimari family in 1483. The monastery was suppressed Sept. 13, 1810. 
 This tabernacle is probably the one preserved in the Galleria della Collegiata 
 in Empoli. 
 
 Document: [Quoted from Giglioli, Empoli artistica, p. 173.] 
 
 " Altar e cap pel la di S. Lucia conccsso da i frafi a Lorenzo di Toin- 
 maso Marclietfi da Empoli ncl 1640 da liti restaiirato. ct abbillito. fit prima 
 
GIOVANNI BELLA ROBBIA ii 
 
 il dctto altare conccsso al conic Cosi)iw dclla Ghcrardcsca ct al Mcdesimo 
 Altarc cm apposta in un tabcniacolo di terra cotta die difatti si trova nel 
 bosco di dctto Conz'cnto, /' inivuiginc pure di terra cotta di S. Lucia, die in 
 oggi sta in una nicchia di pietra a man dritta daW Altar Maggiore di detta 
 Cliicsa." 
 
 [Archivio dell'Opera di Sant'Andrea d'Empoli. Campione Beneficiale 
 A., c. I45r.] 
 
 Fig. 6. — S. Lucia. Empoli, S. M.xria a Ripa. 
 
 Eibl. 
 
 Carocci, il Valdarno, 79, 81 ; C-M., 126, 255 No. 138; Cr., 229, 328; 
 Giglioli, 171-173 (Doc); R., D. R., 258; 5c. Fl, IV, 63; S.. 143, 
 Abb. 162. 
 
 6 HOLY WATER STOUP. Fiesole. S. Ansano. Photos., Alinari. 
 
 28-9829. Casts, Cantagalli, 450; Lelli, 384. 
 
 3284, 3285 ; Brogi, 
 
 A holy water stoup of variegated marble (modern) is here set on a Rob- 
 bia console (Fig. 7). About it are arranged fragments of a fruit and 
 flower garland upheld by two nude putti, not unlike the garland bearers of 
 the Lavabo in S. Maria Novella or those above the niche with the statue of 
 S. Domenico in the Museo Nazionale, No. 68. 
 
 Above the stoup is set a tondo, with broad frame of fruit and flowers ir- 
 regularly composed, containing a bust of a child (S. Giovannino?) with 
 
12 
 
 GIOVx-VNNI BELLA ROBBL\ 
 
 nudes nnglazed and loose cloak of blue lined green. The medallion seems 
 to be by another hand. 
 
 Bibl. 
 
 Carocci, I, Ii8; C-M., 250 No. 282; Cr., 344. 
 
 Fig. 7. — Holy Water Stoup. Fiesole, S. Ansano. 
 
 7 TWO ANGELS. FRAGMENTS OF A GARLAND. Fiesole. S. 
 Ansano. 
 
 Probably from the atelier of Giovanni della Robbia. 
 
 Bibl. : 
 
 C-M., 259 No. 282; Cr.. 344. 
 
GIOVANNI BELLA ROBBIA 13 
 
 8 S. PIETRO MARTIRE. Arezzo. S. Domcnico. Niche. H., 2.60m.; 
 W., 1.40111. Flioto., Alinari, 9718-9719. 
 
 S. Pietro Martire, standing on a circular base probably once inscribed, is 
 portrayed in white tunic, black mantle, carrying a green martyr's palm and 
 a blue book with yellow ornaments (Fig. 8). Nudes unglazed. The niche 
 in which he stands is most elaborate. The pilasters are decorated with 
 floral arabescjues rising from vases, their bases unornamented, and capitals 
 of the cornucopia variety shown in the altarpiece of the Last Judgment at 
 Volterra. The fruit ornament of the archivolt and diapered mosaics of 
 the predella also link this with the A^olterra altarpiece. The back of the 
 
 3l-i!S 
 
 Fig. 8. — S. Pietro Martire. Arezzo, S. Domenico. 
 
14 GIOVANNI BELLA ROBBIA 
 
 niche repeats the design of the Empoli, S. Gemignano, and other pavements. 
 The predella shows in a rolhng country S. Pietro Martire escaped from 
 stoning but being killed by a sword blow in the head. Above his head, be- 
 sides the nimbus are three crowns. 
 
 Bibl. : 
 
 Burl., 112; C-M., 224 No. 118; Cr., 230, 327; R., D. R., 258; Sc. FL, 
 IV, 64; S., 143, Abb. 159. 
 
 9 BUST OF S. PIETRO MARTIRE. Florence. Palazzo Alessandri. 
 
 A fine bust of S. Pietro Martire of similar type to the statue at Arezzo is 
 said to be in the Palazzo Alessandri. 
 
 Bibl. : 
 
 Cr., 231, 235, 329; S., 143. 
 
 10 S. DOMENICO IN A NICHE. Florence. Museo Nazionale, No. 68. 
 H., 2.30m.; W., 1. 20m. Photos., Alinari, 2753; Brogi, 9473. 
 
 Transferred by the Operai of S. Croce to the Museo Nazionale on April 
 15, 1868. 
 
 S. Domenico, standing on a polygonal pedestal (Fig. 9), is clad in white 
 tunic, over which is the Dominican black mantle, modelled in similar fash- 
 ion to that of S. Pietro Martire at Arezzo. He is in a niche capped by 
 a blue shell. He carries a book the cover of which is adorned with the 
 Dominican emblem, a star. 
 
 In all probability there was once a predella of which only the cornice re- 
 mains. The pilasters are decorated with candalabra, ornamented with 
 cornucopias, leafy masks, vases, and tablets which probably once bore the 
 date; they have plain moulded bases and capitals like those of the lavabo 
 in S. Maria Novella (1497). Stilt blocks above the capitals are deco- 
 rated like architraves. The archivolt is adorned with garlands which hang 
 to right and left from a white band, composed of fluted ribbons. The 
 garland is composed of fruit arranged in pairs interspersed with flowers, 
 not separated into distinct bunches. Above the arched niche at its apex is 
 a console bearing a large blue vase filled with roses and lilies. From the 
 console hang garlands of fruit and flowers also arranged in pairs and up- 
 held by putti, not completely nude, who stand upon acroteria decorated 
 with wheel rosettes. 
 
 Bibl. : 
 
 B. J., 87-88; Burl., Ill; C-M., 218 No. 74; Cr., 231, 328; Supino, 
 . 450 No. 68. 
 
GIOVANNI DELL A ROBBIA 
 
 15 
 
 Fig. 9. — S. DoiMENico. Florence, Museo Nazionale. 
 
 11 CIBORIO. Florence. SS. Apostoli. H. 
 Photo., Alinari, 3659; Brogi, 8593-8595. 
 
 .70m.; W., 2.43m 
 
 The attribution of this ciborio (Fig. 10) is not fixed with certainty. 
 Madame Burlamacchi mentions Bocchi, Del Migliore, Richa, Moreni, Gargi- 
 olH, von Rumohr. Bulgarini, Fantozzi and Rio as assigning it to Luca. 
 Cavallucci and MoHnier, and at one time Bode, assigned it to Andrea. Rey- 
 mond hesitates between Andrea and Giovanni, while Bode, Cruttwell and 
 Schubring attribute it to Giovanni. This hesitation on the part of recent 
 writers is easily to be explained, since the design is evidently closely re- 
 lated to that of Giovanni's Lavabo of 1497 and the pilasters suggest the 
 design for the Arcevia altarpiece of 15 13, whereas the figures are more 
 closely related to Andrea's types. It may have been made in the studio 
 dominated by Giovanni, by a sculptor trained under Andrea. 
 
 At the apex the branch of roses and foliage is a recent stucco addition. 
 
i6 
 
 GIOVANNI BELLA ROBBIA 
 
 From a somewhat heavy vase supported by winged putti hang long gar- 
 lands, as in Giovanni's lavabo in S. Maria. The putti are here more sum- 
 marily modelled than in the lavabo, and the exact point of attachment of 
 the garland equally obscure. The putti on the entablature are seated, not 
 
 Fig. 10. — CiBORio. Florence, SS. Apostoli. 
 
 standing, and the garlands are heavier than those of the lavabo. The lu- 
 nette is bounded by coarse egg and dart mouldings, between which is the 
 delicate arabesque frequently used in Andrea's atelier. In the lunette is 
 God the Father between adoring angels. On the open book we should ex- 
 
GIOVANNI DELLA ROBBIA 17 
 
 pect to find the letters A and O. The entablature is well proportioned : the 
 architrave highly ornamented with scales, bead and reel, channellings, and 
 egg and dart; the frieze with five attractive cherub heads; and the cornice 
 with leaf and other mouldings. The pilasters indicate Giovanni's influ- 
 ence, with vase and dolphin capitals and arabesque decoration similar to 
 that of the pilasters of the Arcevia altarpiece. 
 
 The central relief represents a vaulted hall with a closet to contain the 
 sacred emblems, while overhead is the Dove and at the sides adoring 
 angels in pairs. The floor is represented as tiled. Cherub heads in the 
 spandrels. The many traces of gilding are not indicative of Luca's author- 
 ship, as Rio states, but found even more frequently in the works of Andrea 
 and other members of the school. 
 
 At the sides of the tabernacle are two winged angels drawing back long 
 hanging curtains. Like the crown bearing angels in the lunette at Pistoia 
 Cathedral they wear pectorals on their breasts. 
 
 The predella is long and narrow. Its cornice bears the inscription : HIC 
 EST PANIS QVI DE CELO DESCENDIT; its frieze represents two 
 floating angels bearing a laurel framed medallion on which are the chalice 
 and wafer. At the extremities of the frieze are stemmi of the Acciaiuoli 
 family on shields of Tuscan form prevalent in the early sixteenth century. 
 The arms are, Argent, a lion rampant, azure. Many members of this fam- 
 ily held the office of Prior and Gonfaloniere in Florence. 
 
 Bibl. : 
 
 B. J., 90; Bocchi-Cinelli, 124; B., Kf., 23; It. PL, 94; Burger, 157; 
 C-M., 205 No. 2; Cr., 218, 328; M., D. R. A., 90, Fig. 39; 7?. H., iii- 
 112; Migliore, 474; Priorista, Princeton Mus. Copy, 29-33; ^-^ D. R., 
 229-230; Sc. FL, IV, 49, 52; Richa, IV, 62; von Rumohr, II, 295 
 note; S., 133, Abb. 142; Schiitz, C. Heft 7; Vas., II, 192. 
 
1500-1510 
 
1500 — I5I0 
 
 12 THE LAST JUDGMENT. 1501. Volterra. S. Girolamo. H., 
 3.10m.; W., 2m. Photos., Alinari, 8745-8746; Brogi, 13692. 
 
 In the church of S. Girolamo outside of VoUerra is an aharpiece of the 
 Last Judgment (Fig. 11) ordered by Michelangelo Ceheregli (Ceccarelli?) 
 in 1 501. Hence, Michelangelo's patronymic saint, S. Michele, appears as 
 the principal figure in the foreground, while S. Girolamo is figured as chief 
 of the blessed. Many details point to Giovanni della Robbia as the author 
 of the aharpiece. 
 
 The subject of the Last Judgment appeared not infrequently in Sienese 
 territory after Giovanni Pisano had portrayed it so energetically on the 
 pulpit of the Siena Cathedral. But this specific composition may have been 
 inspired by Fra Bartolommeo's Last Judgment undertaken in 1498 for the 
 campo santo of S. Maria Nuova. In both cases, Christ as Judge with his 
 angels is in the upper portion of the picture, and S. Michele with the Blessed 
 and Damned in the lower. 
 
 Here Christ is of the Verrocchian type constantly portrayed by Giovanni 
 della Robbia. So in facial characters are the two angels who carry em- 
 blems of the passion, nails, cross, crown of thorns, spear; but their slashed 
 garments which display the bare legs point rather to a temporary influence 
 from Andrea Sansovino, whose terra-cotta altarpiece at Monte Sansovino 
 was doubtless enamelled in the Robbia workshop. The two angels who 
 sound the last trump SVRGITE MORTVI ET VENITE AL(sic) 
 IVDICIO(sic) show no such refined prototypes. 
 
 In the lower part of the picture, the Blessed are to our left. Near to 
 S. Michele is S. Girolamo with his lion, then a Christ-like figure, S. Fran- 
 cesco with his cross, S. Chiara, a Pope, a warrior, and others. Above them 
 in the distance, saints and angels are dancing in a circle (influence of Fra 
 Angelico) beneath a blue sky splashed with yellow clouds. S. Michele is 
 conceived of as a beautiful youth rather than as an avenging angel and the 
 youth kneeling at his feet seems too innocent to be barred from the region 
 of the Blessed. The eyes of S. Michele show yellow irises in contrast with 
 those of the kneeling youth which are left white. About and above the 
 youth are strange beasts, men, and women in the midst of flames. In the 
 distance are devils torturing the damned beneath a sky splashed with black 
 clouds. 
 
22 
 
 GIOVANNI BELLA ROBBIA 
 
 Fig. II. — Last Judgment. 
 
 VOLTEREA, S. GiROLAMO. 
 
 The predella is inscribed QVESTA TAVOLA AFFATTO FARE 
 MICHELAGNIOLO DI NICHOLAO CEHEREGLI MCCCCCI. At 
 either end of the predella is a mosaic work of squares, each with four seg- 
 ments of circles about a central rosette, as at S. Maria Novella and else- 
 
GIOVANNI BELLA ROBBIA 23 
 
 where. The relief of the Annunciation, the Nativity and the Adoration of 
 the i\Iagi suggest Andrea's compositions reversed. The central dividing 
 panels are decorated with opposing bunches of fruit. 
 
 The main pilasters are decorated with crude triplex bunches of flowers 
 and fruit, blue or yellow, rising from blue and violet dolphin-handled vases. 
 The bases have undecorated mouldings, the capitals have cornucopias in 
 place of fern crockets or palmettes. The frame of the lunette is adorned 
 in front with broad continuous garlands composed of triplex bunches of 
 fruit hanging from a central ornament. 
 
 A white guilloche separates the polychromatic relief from the outer frame. 
 
 Bibl. : 
 
 B. J., 93; B., Kf., 25; C-M., 258 No. 343; Cr., 224-225, 331; Knapp, 
 Fra Bartoloinnico della Porta. Abb. 3-4; R., D. R., 233-236; Sc. FL, 
 III, 52, 54; Ricci, J'olterra, 152-153; S., 134, Abb. 143; Vas., II, 196. 
 
 13 NOLI ME TANGERE. Rifredi. La Quiete. R. Istituto delle Sig- 
 nore Montalve. Lunette. M., 1.30m.; W., 2.40m. Photo., Alinari, 
 17011. 
 
 This lunette (Fig. 12) was formerly in the chapel of the Reale Istituto 
 delle Signore Montalve in S. Jacopo di Ripoli in the Via della Scala, but 
 was removed late in the nineteenth century to the Sala Grande of the Con- 
 servatorio of La Quiete. It has been increased in height to correspond with 
 
 Fig. 12. — Noli Me Tangere. Rifredi. La Quiete. 
 
24 
 
 GIOVANNI BELLA ROBBIA 
 
 the lunette on the opposite side of the room. Here is represented the ap- 
 pearance of Christ to S. ]\Iaria ■Maddalena (John XX, 11-18), a subject 
 repeated several times in Giovanni's atelier. Chronologically this lunette 
 falls between 1497, the date of the Lavabo, and 1501, the date of the Last 
 Judgment at Volterra. The polychromatic landscape, the trees, the type 
 of the angel on the tomb are cjuite characteristic of Giovanni. The central 
 group, with the Maddalena on her knees before the Christ who draws back, 
 shows the influence of Verrocchio. The Maddalena is more beautiful than 
 was usual with Verrocchio, but Giovanni again made a beautiful Madda- 
 lena, for the altarpiece in the Bardi chapel at S. Croce. The Christ is 
 strangely \^errocchian in type. 
 
 Bibl. : 
 
 B. J., 64-65; Becchi, ///. Fior., V(i9o8), 102; B., Kf., 23; Burl., 6^; 
 Carocci, A. I. D. I., VI (197), 66; C-M., 208 No. 16; Cr., 235, 353 
 Note i; Moreni, 243; R., D. R., 250; Sc. FL. IV, 41; Richa, IV, 305; 
 S., 138. 
 
 14 THE INCREDULITY OF S. TOMMASO. Rifredi. La Quiete. 
 R. Istituto delle Signore Montalve. Lunette. H., 1.30m.; W., 2.40m. 
 Photo., Alinari, 17012. 
 
 This lunette (Fig. 13), a companion piece to the preceding, was evidently 
 made by the same author and at the same time. It represents the appear- 
 
 FiG. 13. — Incredulity of S. Tommaso. Rifredi, La Quiete. 
 
GIOVANNI DELLA ROBBIy\ 25 
 
 ance of Christ to S. Tomniaso, not indoors (John XX, 24-29), but in an 
 open landscape. The landscape background has a dark blue upper and bril- 
 liant yellow lower sky, green trees and plants oi various kinds, and a 
 bluish gray rocky soil in which may be seen a lizard, dove, rabbit and 
 deer. In the centre is a free copy of Verrocchio's bronze groui) of the In- 
 credulity of S. Tonimaso (1483) on Or San Michele. There is little or 
 nothing in this relief to indicate that the author was a son of Andrea della 
 Robbia and yet all the details are characteristic of Giovanni della Rob- 
 bia's work. 
 
 Bibl. : 
 
 Cf. the preceding: also Cr., J'errocchio, 165; Mackowsky, 70; Sachs, 
 41. 
 
 15 FRIEZE OF CHERUB HEADS WITH CORNUCOPIAS. Ri- 
 fredi. La Ouiete. R. Istituto delle Signore Montalve. H., 0.36m.; 
 W., 2.20m. Photo., Alinari, 17013. 
 
 In two sections, each containing four cherub heads set between cornu- 
 copias, with fruit and doves, accompanied by foliage, scrolls and palmettes 
 (Fig. 14). White on blue. 
 
 
 mm 
 
 Fig. 14. — Frieze. Rifredi, L.\ QuitiE. 
 
 Bibl. 
 
 Carocci, A. I. D. I. ¥1(1897), Tav. 46; C-M., 208 No. 16; Cr., 353. 
 
 SAME SUBJECT. London. British Museum. 
 
 From the Franks Collection. A portion of a frieze similar to that at 
 Rifedi. 
 
 Bibl. : 
 
 Br. Mus. Guide, 209. 
 
26 GIOVANNI BELLA ROBBIA 
 
 SAME SUBJECT. Newport, R. I. 
 
 In the collection of Airs. Ogden Goelet there is said to be a frieze of 
 this type. 
 
 SAME SUBJECT. New York. P. \\\ French and Co., in 1917. 
 
 Two fragments of a frieze of the Rifredi type. 
 
 SAME SUBJECT. Paris. Louvre. 
 
 Similar to the frieze at Rifredi, the British Museum and elsewhere. Set 
 beneath the altarpiece of the Ascension. 
 
 SAME SUBJECT. Paris. Gavet Collection (formerly). H., 0.36m.; 
 W., 0.52m. 
 
 Portion of a frieze of the same design as that of Rifredi. 
 
 Bibl. : 
 
 Molinier, Cat. Gavet, No. 5 and Frontispiece. 
 
 SAME SUBJECT. Paris. Seilliere Collection (formerly). H., 0.37m. ; 
 W., 1. 60m. 
 
 Bibl. : 
 
 Seilliere Collection, 14 Nos. 8-9. 
 
 16 S. FRANCESCO SPREADS HIS ORDER OVER THE WORLD. 
 Volterra. S. Girolamo. Altarpiece. H., 2.32m. ; W., 1.90m. Photo., 
 Alinari, 8747. 
 
 The frame of this altarpiece (Fig. 15) shows so many correspondencies 
 with that of the Last Judgment altarpiece in the same church that we must 
 assign it also to Giovanni della Robbia. In fact the garland of the lunette 
 is composed in stricter accord with that on the lavabo of S. Maria Novella, 
 and the decoration of the pilasters are similar enough to those of the lavabo 
 to be casts from the same moulds. The predella, unbroken except for the' 
 projections beneath the pilasters, shows figures of S. Bernardino of Siena, 
 S. Girolamo, the Mater Dolorosa, Christ in the Sepulchre, S. Giovanni, 
 S. Antonio of Padua, and S. Jacopo Maggiore, in strict accord with Rob- 
 bian tradition. 
 
GIOVANNI BELLA ROBBIA 
 
 27 
 
 The central relief, which appears to be by another hand, represents S. 
 Francesco, standing upon the inhabited world, extending the rule of his 
 order to a sainted king, now transformed into a monk, with a crown at his 
 feet, and to a sainted nun, with roses at her feet. The king is S. Lodovico 
 
 Fig. 15. — S. Francesco Spreads his Order. Volterra, S. Gieolamo. 
 
 of France, who died in the cowl and cord of S. Francis. He receives a 
 scroll inscribed ACCIPE DISCIPLINA(M ) P(AT)RIS TVI. The nun, 
 S. Elisabetta of Hungary, known as Mater Pauperum, was like a second 
 S. Chiara. She receives a scroh inscribed HEC EST VIA SALVTIS ET 
 VITE. 
 
 Overhead fly the three monastic virtues, wearing polygonal nimbuses. 
 
28 
 
 GIOVANNI BELLA ROBBIA 
 
 CASTITAS bearing a lily, PA\T(ER)TAS with a palm and wreath, and 
 OBEDIE(N)TIA with a yoke. 
 
 Bibl. : 
 
 Bertaux, Etudes. 89-90; B. J-, 93; B., Kf., 25; C-M., 258 No. 344; 
 Cr., 357; R., D. R., 227, 235; Sc. FL, IV, 52, 54; Vas., II, 196-197. 
 
 17 S. MARTA AND ADORING ANGELS. Florence. lAIuseo Nazi- 
 onale. No. 60. Lunette. H., 0.77m. ; W., 1.50m. Photo., Brogi, 9476. 
 
 This lunette (Fig. 16) was transferred from the Convent of S. Marta 
 to the Museo Nazionale on Nov. 30, 1882. It represents S. Marta in light 
 yellow habit and black hood, carrying a blue book with yellow trimmings 
 
 Fig. 16. — S. Marta. Florence, Museo Nazioxale. 
 
 and holding by her girdle a very leonine dragon. The dragon is tamer 
 than that which Giovanni represented with S. Marta at the Certosa. The 
 angels, with hands folded or crossed, clad in white tunics with blue sleeves 
 and yellow collars, have wings coloured on a different principle from that 
 used by Giovanni. All the faces are coloured to imitate flesh. The figures 
 are set against a light blue background enclosed by garlands of continuous 
 triplex bunches of fruit and flowers rising from the base and meeting at 
 the top. 
 
 Bibl. 
 
 Burl., hi; C-M., 255 No. 322; Cr., 339; Supino, 449 No. 60. 
 
GIOVANNI DELLA ROBBIA 29 
 
 18 S. AIARTA. London, Victoria and Albert Museum. No. i090-'55. 
 Statuette. H., 0.45m. 
 
 The saint holds a book, violet and yellow. At her feet is a dragon swal- 
 lowing a child. 
 
 Bibl. : 
 
 Burl., 120; C.J\I., 271 No. 416; Robinson, 68 No. 1090. 
 
 19 S. LUCIA ADORED BY ANGELS. Darmstadt. Grossherzogliches 
 Museum. Lunette. H., 0.43m.; \V., 0.83m. 
 
 This lunette is attributed to Giovanni della Robbia by Dr. Bach and by 
 Miss Cruttwell. I have been unable to secure a photograph of it. Should 
 it resemble the S. Lucia at the Certosa, it may well be by Giovanni ; but 
 should it resemble more closely the lunette of S. Lucia between two angels 
 at S. Lucia dei Magnoli, Elorence, or the S. Lucia in the lunette over the 
 entrance of the Ognissanti, or the S. Lucia in the church at Bolsena it is 
 probably a work by Santi Buglioni. 
 
 Bibl. : 
 
 Bach, 50; Cr., 337. 
 
 20 STEMMA OF THE SQUARCIALUPI EAMILY. New York. Col- 
 lection of Mr. George Blumenthal. Medallion. Diam., 0.66m. 
 
 Formerly in the von Lanna Collection, Prague. 
 
 Within a polychromatic garland of fruit and flowers (Fig. 17) of triplex 
 composition surrounded by a white band inscribed 
 
 ARMA + PATRONORVM + DESQVARCIALVPIS+it' 
 is a white fluted disk on which is a kite shaped shield containing the Squar- 
 cialupi arms : Per fess, in a chief Or a wolf passant azure, in base gxtlcs six 
 plates, 3, 2 and i. 
 
 Bibl. : 
 
 C, s.v. Squarcialupi ; von Lanna Sale of 1909, Cat., Vol. II, No. 575, 
 Taf. 41. 
 
 21 THIRTY-NINE CASKS. 1507. Florence. S. Maria Nuova (for- 
 merly). 
 
 The annexed documents dated August 20, 1507 show that Valore di 
 Zanobi Valore, apothecary to the hospital of S. Maria Nuova possessed 
 
30 
 
 GIOVANNI DELLA ROBBIA 
 
 Fig. 17, — Squaecione Stemma. Blumenthal Collection, N. Y. C. 
 
 three dogli or large jars made by Giovanni della Robbia. Bishop Leonardo 
 Buonafede who was "spedaHngo" or governor of the hospital then ordered 
 thirtj'-six "dogli" of like character, glazed outside and inside, ornamented 
 with scale pattern or with such design as the Bishop might select. They 
 were to be i J<3 bracchia in height, to cost 4 libre, 10 soldi each, and to be 
 completed by the end of October. 
 
 The first document (Fig. 18) is a notable one in that it contains Gio- 
 vanni's own signature. 
 
 I. 
 
 'Mdvij 
 
 In margine : Mercato chon G' dalla Robia 
 
 Richordo chome oggi questo di XX dachosto 1507 Giovanni 
 dandrea di marcho dalla Robbia a tolto a fare da 
 questo spedale et per llui dall nostro reverendo padre 
 messer leonardo buonafe al presente spedalincho di 
 questo spedale trentasei dogli di tenuta di barili 
 due et mezzo In circha dalltezza di braccia i V^ di terra 
 Invetriata di dretto et di fuori a schalandroni Inve- 
 triatj et di diverse maniere le pitture di detti dogli 
 chome para all nostro padre spedalingo et nell modo et 
 forma che na dato una mostra di tre dogli che Hi a 
 Vallore et debbono essere In tutta perfettione si di qualita 
 
GIOVANNI BELLA ROBBIA 
 
 si di tenuta et debba avere delluno libre quarto e soldi X 
 piccioli et debbansi avere chonsegniati finiti per tntto ell 
 mese dottobre prossimo avenire Et In chaxo che all detto 
 tempo noUi avessi fatti et chonsegniati (then four words written 
 and cancelled) 
 
 31 
 
 o 
 
 'V 
 
 
 \-^L<r1 
 
 « 8 J" 
 
 
 
 'f; 
 
 t^ -rm 7;!*' .^rnv-r^T 9<^r-t' 
 
 
 .il P-v «^ 
 
 / 
 
 1^ ■w^''i^ J-jr^^Kn^i^-^O/rry 
 
 
 
 
 
 ^ /i.- C ori /V77 ■ A«-V>"<K^ 
 
 ^ l-yr 
 
 \vvtl -7VV I 
 
 
 ^ yi t 
 
 ^ 
 
 -c/. 
 
 
 ^/^, 
 
 jL-.-Jir~ ir-c^ tr^-Vf^ ' V^'J -^v^ii i/a r^t'-tuvv 
 
 ■»»7 ' / 
 
 
 
 f? l^lr^^l^O h» C^ ^t^ 
 
 Fig. 18. — Document with Giovannis Signature. 
 
 allora vvuole et de chontento 
 
 che noi gli possiamo far fare a ongni sua spesa et a 
 
 fede dellavoro si socriverra essere chontento et obrighato 
 
 a quanto di sopra si chontiene 
 
 lo govannj dandrea dimarcho dellarobia sono chonteto 
 
 obrigomj a quato disopra e detto et a fede 
 
 del vero misono sochritto dimia propia mano 
 
 questo dj detto disopra . . ." 
 
 [Archiv. di Sa Maria Nuova, Ricordi A (1505-1519) a. c. 31.] 
 
 2. " + MDVII 
 
 Venerdi adi 20 dogosto 
 A giovanni dandrea di marcho della robbia f dua 
 
32 GIOVANNI DELLA ROBBIA 
 
 li do 1 5 p(or)to lui d" chontanti p(er) conto di vasi 
 
 ci fa p(er)lla spezeria al(li)b(r)o g" (giornale) b 198 f 2 1 - 
 
 [Archivio dell'Arcispedale di Santa Maria Nuova, Uscita B 1 506-1 508 
 a c. 79t.] 
 
 3. " + MDVII 
 
 Mercholedi adi 10 dinovenbre 
 A giovanni dandrea di marcho della robbia f quatro 
 
 li do i 6 p(or)to lui d° Al g" b c 198 {41.. 
 
 [Idem, a c. lOOt.] 
 
 4. " + Mdvij 
 
 Giovanni dandrea di marcho della Robbia de dare adi 
 XX dachosto 1507 f dua larghi doro 1 oro p(or)to e detto 
 chontanti p{er) chonto di Vasi 26 a fate p(er) 11a nostra 
 spetieria a u(scita)b 79 f > — -1 14 
 
 E de dare adi X di novebre 1507 f quatro larghi 
 
 doro jnoro p(or)to chontanti a u b 100 - f — 1 28 
 
 Anne dato f sej larghi doro jnoro p(er) tanti 
 
 debba dare all g (giornale) C -- 109 f — 1 42 
 
 [Archiv. idem, Giornale B 1506-1508 a c. 198.] 
 
 5. " + Mdviij 
 
 Giovanni dandrea dimarcho dalla Robbia de dare f sej 
 larghi doro inoro p(er) tanti abbia dato all g' b 198 sono 
 p(er) chonto di vasi 26 a fate p(er) 11a nostra spetieria chome 
 
 apare alle R" (Richordanze) ac. 31 f-l42s- 
 
 E de dare adi vj di gg° (giugno) 1509 f 1 tre piccioli 
 
 p(er) Uuj a giovanni di tubio dasanta m" jnp(r)uneta 
 
 p(or)to e detto chontanti a u° s'° c - 88 f - 1 3 s 
 
 E de dare adi xij di settebre 1 una s viii piccioli 
 
 p(er) Uui a simone di pascjuino sono pCer) valutta duna 
 
 chatasta di lengna di toppi se gli madorono a 
 
 chasa a u° s" c 117 f - 1 i s 8- 
 
 E de dare adi detto 1 xiiij sono p(er) 11a valluta 
 
 duna chatasta di toppi auti danoj jnsino adj 
 
 III di settebre jn q° 122 . . . . f - 1 14 s . 
 
 E de dare adi xxvj di novenbre 1 xiiij p(er) 
 
 11a valluta di una chatasta di toppi 
 
 auti danoj chome apare 1 q° 144 f - 1 14 s . 
 
 E de dare adi xx di djcenbre 1 dodjci s x 
 
 piccioli p(or)to e detto chontanti a u" c 141 f - 1 12 s 10. . 1.8. 18. 
 
 E de dare adi vj di Marzo f uno largho doro 
 
 i oro chontanti au°ci50. f-l7s 
 
GIOVANNI DELLA ROBBIA 33 
 
 E de dare adi xx dap(r)ile 1510 f iino largho doro 
 i oro sono p(er) 11a valluta duna niezza chatasta 
 
 di lengna grossa auta danoj i q° 179 f - 1 7 s 
 
 Anne dato 1 veti s xviii piccioli p(er) tanti 
 dare 1 q° 226 1 100 18 
 
 [Idem, a c. 2091.] 
 
 6. " + MDVIIir^ 
 
 Mercholedj adi 6 di gugnio 
 A giovanni dandrea di pagolo (sic) della roJjbia 1 tre 
 p(iccio)li p(er) lui a giovanni di tobbio da santa maria 
 Ipruneta p(or)to lui detto contanti al(Ii)b(r)o gle s(egnato) c. .209 f. .. 
 
 l3-- 
 [Archivio idem, Uscita C 1508-15 10 a c. 88.] 
 
 7. " +xpo Mdvnij" 
 
 Martedj addj ii dj settenbre 
 A govanni dandrea della robia 1 una s viij° 
 p(er) luj a simone di paschuino ghallj sono p(er) 
 vettura dvma chatasta di legne di toppi 
 
 p(ort)o a chasa ilsop(r)adetto giovannj al(Ii)br(o) g" s'° C a 209 f . .1 i 
 s 8. 
 [Idem a c. ii7t.] 
 
 8. " + yhs Mdvnn" 
 
 govedj addj xx dj djcenbre 
 A govannj dandrea della robbia 1 xii s 10 
 
 p(iccio)li p(or)to luj detto chontantj al(li)b(r)o gornale s" C...209 
 f . . .1 12 s 10. . 
 [Idem, a c. I4it.] 
 
 9. " Mdx 
 
 Meo chastj vetturale avvochato da monte migniano. . . . 
 
 E de avere adi detto (xviiij dap(r)ile) 1 tre s x piccioli 
 sono p(er) 11a valuta duna mezza chatasta di lengna 
 p(or)to a giovanni dandrea della Robbia debe avere 
 
 di chont° 1 3 10 
 
 E de avere adi detto f uno largho doro i oro 
 sono p(er) 11a valutta duna chatasta di lengna 
 p(or)to nella chorte p(er) llospetiale levati da mote 
 
 migniano .... 1 7 
 
 [Archiv. idem, Giornale C 1508-1510 a c. I78t.] 
 
 10. "Mdx 
 
 Giovanni dandrea dalla Robbia de dare adi xx 
 
34 
 
 GIOVANNI DELLA ROBBIA 
 
 dap(r)ile 1510 f uno largho doro ioro sono p(erj 11a 
 valluta duna mezza chatasta di lengna grossa 
 auta danoj et p(or)to Meo di Jacopo chasantj di 
 chont" .... 
 
 anne dato p(er) tanti debba dare i q" . . . .209 
 [Idem, a c. 179.] 
 
 II. "Mdx 
 
 Giovanni dandrea della Robbia de dare adi x.x 
 dap(r)ile 1510 1 cento s xviii pli (piccioli) sono p(er) 
 tanti abbia dati i q° 209 p(er) chonto di vasi 
 
 fa alia nostra spetieria 
 
 E de dare adi detto f quatro doro 1 oro 
 
 auti p(er) noj dalla spetieria jnsino adi xviiij di 
 
 maggio 1509 alio quad" s'° b .... yj 
 
 E de dare adj detto f dua larghi doro i oro 
 
 p(er) noj dalla detta spetieria Isino adi iiij 
 
 febraio 1509 all(ibro) q" s'" b. .77 f . .1 14 
 
 Anne dato adj xxii di maggio 1510 f undjci 
 
 larghi doro I oro p(er) llui dalla spetieria di 
 
 nostro spedale dare al(li)b(r)o v(er)de s'" c 
 
 c 288 sono p(er) Ua valluta di xj ^'asi 
 
 jnvetriati autj dalluj et fatti dachordo chon 
 
 vallore nostro detto dj chonputatj et fessi et 
 
 salldi 
 
 Anne dato 1 sesanta cinque s xviij p(iccio)li 
 
 tanti debba dare all g' s'" d 245 p(er) Resto 
 
 di suo chonto 
 
 1 7 
 1 7 
 
 f . . 1 100 s 18. 
 
 f . . 1 28 s . 
 
 142 . 18 
 
 1 'J^ 
 
 f 
 
 165 
 1 142 
 
 ifc 
 18 
 
 [Idem, a c. 226t,] 
 
 12. " MDX J 
 
 Gio\anni dandrea della Robbia de dare adi X\'II di 
 L" 1 sesantacinque s X\'III p(iccio)li p(erj tanti abbia dato 
 all g' C 226 che di tanti fu sop(rap)aghato p(er)li chonto 
 
 delli vasj a fatti alia spetieria f . 
 
 che e paghato di xj (di) 26 (vasj ) fattj a 1 7 luno 
 
 dachordo 
 
 Anne dato 1 lx\' s xviii p(iccio)li tanti dare all g" e c 381 
 
 [Archiv. idem, Giornale D 1511-1513 a c. 245t] 
 
 I65. 18. 
 
 f . 1 65 18. 
 
 Bibl. 
 
 Bacci, ///. Fior., 1908, 140-144 (Doc.) ; R. G. M., L'Artc, XXI, (1918), 
 202-203 (Doc.) 
 
GIOVANNI DELLA ROBBIA 
 
 35 
 
 22 TWO BLUE VASES WITH BUNCHES OF ERUIT. New York 
 City. Collection of Mr. John T. Pratt. li., 0.45m. Photo., Private. 
 Formerly in the collection of Mrs. Philip M. Lydig. 
 
 Two blue ^■ases with dolphin handles, similarly decorated lip with leaf 
 pattern, neck with scales, upper body with a deep set frieze capped with 
 egg and dart moulding and showing the three pattern interlacing, lower 
 body with godrons, base with pearl and rope mouldings (Fig. 19). This 
 
 
 rmiil^ 
 
 Fig. 19. — Blue Vase. Lydig Collection. 
 
36 GIOVANNI BELLA ROBBIA 
 
 three pattern interlacing occurs on the border of the cope of S. Zanobi 
 in Andrea della Robbia's lunette of 1496 in the Opera del Duomo. At 
 the same date the interlacing motive was used by Perugino and a little later 
 by Raphael, Leonardo da Vinci and others. 
 
 The bunches of fruit and flowers and small animals were intended to be 
 set in the vases and serve as permanent ecclesiastical or household deco- 
 rations. Giovanni della Robbia frequently used dolphin handled vases as 
 the starting point of his garland frames. 
 
 Bibl. : 
 
 Cat. of Rita Lydig Collection, No. 36; M., D. R. A., 127-128, Fig. 54. 
 
 23 TWO BLUE VASES WITH BUNCHES OF FRUIT. London. 
 British Museum. 
 
 The British Museum possesses two blue glazed Robbia vases, dolphin 
 handled (repaired), with scale pattern on neck, central frieze of interlac- 
 ing pattern, godrons on base of body. Two bouquets of fruit, polychro- 
 matic, are associated with these vases. 
 
 Similar to the Lydig vases. 
 
 24 BLUE VASE. New York. Metropolitan Museum of Art. 
 
 Blue vase with dolphin handles, decorated on the lip with leaf pattern, 
 on neck with scales, on upper body with three pattern interlacings and 
 lower body with godrons. Base with pearl and rope mouldings. Similar 
 to the Lydig vases. 
 
 25 TWO BLUE DOLPHIN HANDLED VASES WITH BOUQUETS 
 OF FRUIT. New York City. Bardini Sale of April 1918. 
 
 (i) Light blue. Neck, scale pattern (?), body with deep set frieze of 
 three pattern interlacings, base with godrons. Contains bouquets of fruit. 
 (2) Darker blue. Similar to the Lydig vases. 
 
 Bibl. : 
 
 Bardini Sale of 1918, Cat. Nos. 284, 285. 
 
 26 TWO BLUE VASES AND FRUIT. Paris. Collection of Mr. 
 Maurice Kann (formerly), No. 201. LI., 0.45m. 
 
 In the collection of Mr. Maurice Kann, sold in 1910, are catalogued two 
 
GIOVANNI DELLA ROBBIA ZJ 
 
 vases and two bouquets of fruit. The decorations tally exactly with the 
 pair of vases formerly in the Lydig Collection, New York. 
 
 Bibl. : 
 
 Cat. Collection Maurice Kann, No. 204. 
 
 27 BLUE VASE. Sevres. Musee ceramique. 
 
 Blue vase with dolphin handles. Similar in decoration to the Lydig vases. 
 
 28 BLUE VASE. Paris. Musee de Louvre. Salle de Trocadero. 
 
 In the Salle de Trocadero of the Louvre is a Robbia blue vase, acquired 
 with the Donation Sauvageot, 1856. It has dolphin handles and is deco- 
 rated on the neck with godrons, on the upper body with three patterned 
 interlacings, and below with scale pattern. Base plain. 
 
 Bibl. : 
 
 Fortnum, Maiolica, 123; Michel, III, 833, Fig. 485. 
 
 29 TWO BLUE VASES. Oxford. Ashmolean Museum. 
 
 (i) Blue vase with dolphin handles, decorated with godrons, three pat- 
 tern interlacings and scales. Similar to the Sauvageot vase in the Louvre. 
 H., 0.28m. 
 
 (2) Blue vase with dolphin handles, decorated with scales, three pattern 
 interlacings, and godrons. Similar to the Lydig vases. Cf. also Cantagalli, 
 No. 376. H., 0.28m. 
 
 Bibl. : 
 
 Fortnum, Maiolica, 123; Michel, III, 833, Fig. 485. 
 
 30 TWO BLUE VASES. Florence. Bardini Collection (1899), Nos. 
 114, 118. 
 
 In 1899 Bardini published a Sale Catalogue in which were figured two 
 blue dolphin handled vases similarly decorated on the neck with scale pat- 
 tern, on the body with a frieze of interlacings forming two patterns, at- 
 tached by loops to horizontal strings above and below, in the lower body 
 by flat godrons. The bases contain no moulded decoration. 
 
 Bibl. : 
 
 Bardini Cat. of 1899, Nos. 114, 118; Bardini, Cat. of 1918, Nos. 284, 
 285 are different. 
 
38 GIOVANNI BELLA ROBBIA 
 
 31 BLUE VASE. H., 0.27m. Berlin. Kunstgewerbe Museum. 
 
 Blue vase with dolphin handles, decorated with scale pattern, interlacings 
 and godrons. 
 
 Similar to the Bardini vases published in if 
 
 Bibl. : 
 
 Bardini Cat. of 1899, Nos. 114-118; C-M., 263 No. 367;, von Falke, yj. 
 
 32 BLUE VASE AND FRUIT. Braunschweig. Collection of Frau 
 
 b- 
 
 Vieweg. 
 
 Dolphin handled blue vase, with scale pattern on neck, frieze of inter- 
 lacing, lower body of godrons, base channelled. 
 
 In type not unlike the Bardini vases of 1899, Nos. 114, 118. With the 
 vase is a boucjuet of polychromatic fruit. 
 
 33 FIVE BLUE VASES. Paris. Collection of Baron Achille Seilliere 
 (1890), No. 18-20. 
 
 ( 1 ) Blue vase with dolphin handles, neck decorated with scales, upper 
 body with upper frieze of rectilinear maeander and lower frieze with pal- 
 mettes alternately up and down, lower body with godrons. H., 0.26m. 
 
 (2) Similar to (i). 
 
 (3) Analogous to (i) and (2). H., 0.26m. 
 
 (4) Analogous to (i) and (2). 
 
 (5) Similar to preceding. H., 0.28m. 
 
 Bibl. : 
 
 Cat. Coll. Seilliere, Nos. 18-20. 
 
 34 THREE BLUE VASES. Paris. Collection M. fimile Gavet (1897), 
 Nos. 201-203. 
 
 In the collection of M. fimile Gavet sold in 1897 were three Robbia vases. 
 
 ( 1 ) Blue vase with dolphin handles, neck ornamented with scales, upper 
 body with a frieze of three pattern interlacings, lower body with godrons, 
 base with rope and other mouldings. Similar to the Lydig vases. H., 0.27m. 
 
 (2) Blue vase with dolphin handles, neck ornamented with scales, up- 
 per body with upper frieze with rectilinear maeander and lower frieze with 
 palmettes alternately upright and falling, lower body with godrons. H., 
 0.28m. 
 
GIOVANNI DRLLA ROBBIA 39 
 
 (3) Similar to (2). The vases (2) and (3) currespoiul to tlie descrip- 
 tion of the SeiUiere vases sold in 1890. 
 
 Bibl. : 
 
 Cat. Collection Emile Gavet, Nos. 201-203. Molinier, Collection 
 Emile Gavet, Nos. 455, 456. 
 
 35 ONE WHITE AND EOUR BLUE VASES. London. Victoria and 
 Albert Museum, Nos. 2534-'56, 48i-'64, i97-'89, 41-91, 642-97. 
 Photo., Private. 
 
 The \'ictoria and Albert Museum possesses five Robbia vases, one is 
 glazed white, the rest blue. 
 
 1. No. 4 1 -'9 1 white glazed vase with dolphin handles, the lip decorated 
 with bead and reel, neck with scale ornament, upper body with double rec- 
 tilinear maeander, lower body with garlands upheld by lion heads and sur- 
 rounded by cherub heads, lowest part of body with highly plastic godrons, 
 base w'ith rope and pearl ornament. H., 0.40m. Similar to Cantagalli 
 No. 377. 
 
 2. No. 2534-'56. Dark blue glazed vase, with dolphin handles, neck 
 decorated with scale ornament, upper body capped by egg and dart with 
 frieze of three pattern interlacings, lower body with godrons, base with 
 pearl and rope mouldings. H., 0.31m. Similar to Lydig vases. Cf. Can- 
 tagalli, No. 376. 
 
 3. No. 48 1 -'64. Gray blue vase with dolphin handles, decorated as the 
 preceding. Base repaired, H., 0.28m. 
 
 4. No. i97-'89. Blue glazed vase, with dolphin handles, neck decorated 
 with scales, upper body with guilloche, lower body with godrons, base with 
 pearl and rope mouldings. H., 0.28m. 
 
 5. No. 642-'97. Similar to preceding, but darker blue, with gilding well 
 preserved. H., 0.28m. 
 
 Bibl. : 
 
 Guasti, Cafaggiolo, 162-163; Solon, It. Maiolica, Fig. 5; Wallis, Ital. 
 Ceramic Art, XXI-XXII. 
 
 36 VASES— TWO TYPES. Florence. Cantagalli Manifattura, Nos. 
 376, 377- 
 
 The Cantagalli manufactory reproduces two types of Robbia vases. 
 
40 
 
 GIOVANNI BELLA ROBBIA 
 
 No. 376. Dolphin handles, scale pattern on neck, deep frieze with com- 
 plicated interlacings, lower body with godrons, base with rope moulding. 
 
 No. 377. Dolphin handles, lip ornamented with bead and reel moulding, 
 neck with scale pattern, frieze with double rectilinear maeander, body with 
 a garland upheld by lion heads accompanied by cherub heads, lower body 
 with highly plastic godrons, base with rope and pearl moulding. 
 
 Bibl. : 
 
 Cat. of Cantagalli Co., Nos. 376, 377. 
 
 37 STEMMA OE GIOVANNI DI LAPO NICCOLINI. 1509. San 
 Giovanni in Valdarno, Palazzo Pretorio. Photo., Alinari, No. 9845. 
 
 Within a wreath of continuous bunches of fruit and flowers of partially 
 triplex composition, surrounded by an egg and dart moulding and set against 
 a flat plate is a Tuscan shield (Fig. 20) bearing the Niccolini arms : Azure, 
 a lion rampant, guardant, argent, debruised of a bend gules; in chief, a 
 
 Stemma of Giovanni Niccolini. 
 
GIOVANNI BELLA ROBBIA 41 
 
 label of four points gulcs enclosing two fleurs-de-lys or and in the centre a 
 papal tiara and two keys crossed in saltire or. 
 
 Below, on a curved scroll upheld by two hands is : 
 G(I)0VANNIJ'DI 
 LAPO y NICHO 
 LINI r VIC(ARI)0 J' MDVIII 
 ETMDVIIII 
 Giovanni di Lapo di Giovanni Niccolini was a Prior in Florence in 1504 
 and 1 5 14. 
 
 Bibl. : 
 
 C, s.v. Niccolini; M., R. H.. 176-177; P., 435-437; W., 58. 
 
1510-1520 
 
I5IO— 1520 
 
 38 THE RESURRECTION. 1510. Florence. 
 51. Rectangular. H., 1.22m.; W., 0.94m. 
 Brogi, 9484. 
 
 Museo Nazionale, No. 
 Photo., Alinari, 2778; 
 
 From the suppressed monastery of Monte OHveto, Florence, this relief 
 (Fig. 21) came to the museum June 27, 1867. The cornice is of wood, but 
 the remainder is well preserved, except a few details. 
 
 The Verrocchian Christ is characteristic of Giovanni della Robbia, re- 
 minding us of the risen Christ on the orphry of the cope of S. Lino at 
 Volterra. Characteristic also is the mustard yellow used to colour the 
 image of Sol, the radiance about the Dove, and all the haloes. The back- 
 ground is a light blue, and the face of the sarcophagus a crude violet. There 
 are no sleeping soldiers about the sepulchre, on which are seated two angels 
 
 Fig. 21. — The Resurrection. Florence, Museo Nazionale. 
 
46 
 
 GIOVANNI DELLA ROBBIA 
 
 raising the slab on to which Christ appears to have descended from the 
 skies. Not the fact of the Resurrection, but the Vision of the Risen Christ, 
 in the presence of the Holy Dove and of Sol and Luna. A large cherub 
 head appears in front of the sarcophagus with scroll inscribed: 
 
 ^ SEPVLCHRVAI y CHRISTI y VIVENTIS ^ ET GLORIAM 
 y VIDI y RESVRGENTIS • 
 The pilasters, decorated with candelabra involving characteristically Gio- 
 vanni motives, are terminated with capitals also in his style. The pilaster 
 to the right is inscribed : 
 
 A(NNO)- DO(MINI)- S(ALVATORIS ) • MDX 
 
 Bibl. : 
 
 Burl., no; C-M., 216 No. 65; Cr., 339; Supino, Cat., No. 51. 
 
 39 S. LINO. Volterra. Duomo. Bust. H., 0.90m. 
 8721; Lombardi, 2603. 
 
 Photos., Alinari, 
 
 Fig. 22. — S. Lino. Volterra, Duumo. 
 
GIOVANNI DELLA ROBBIA 
 
 47 
 
 Over the side door of the cathedral at VoUerra is a bust (Fig. 22) in- 
 scribed on the base 
 
 •B- LINO- VOLATERRANO- PETRI SVCCESSOR- 
 Linus of VoUerra, the first Bishop of Rome, was made Pope about 67 
 A.D. This bust is strong and portrait Hke, but does not merit the praise 
 given it by JMiss Cruttwell. 
 
 Clad in an alb with broad bhie apparel, S. Lino wears a heavy cope of 
 blue lined green with a broad orphry on which are relief figures in white 
 against violet, of prophets bearing scrolls, the Madonna, prophetesses, and 
 the risen Christ blessing with right hand and carrying a banner in his left. 
 ,(Cf. the Resurrection relief Museo Nazionale No. 51). S. Lino wears 
 the Papal triple crowned tiara and holds a green book. 
 
 Bibl. : 
 
 Cr., 198-199; 327; Ricci, J'oltcrra, 118. 
 
 40 THE ASCENSION. Florence. Museo Nazionale, No. 45. Rectan- 
 gular. H., 1.40m.; W., i.iom. Photo., Brogi, 9490. 
 
 From the monastery of S. Vivaldo, transferred in 1874 (Fig. 23). Simi- 
 
 Fig. 23. — The Ascension. Florence, Museo Nazionale. 
 
48 
 
 GIOVANNI BELLA ROBBIA 
 
 lar in type to the Resurrection from Monte Oliveto (1510). Apparently 
 by the same assistants of Giovanni della Robbia who were engaged on the 
 larger altarpiece of the Ascension at S. Vivaldo. Somewhat restored and 
 overpainted. 
 
 Bibl. : 
 
 Burl, no; C-M., 218 No. 80, 237 No. 201; Cr., 338; Supino, 446 
 No. 45. 
 
 41 STEMMA OF GIOVANNI GAETANI AND ALESSANDRA 
 MINERBETTI. Florence, Museo Nazionale, No. 43. Photo., 
 Brogi, 9482. 
 
 From Montaione, formerly in the refectory of the suppressed monastery 
 of S. Vivaldo. 
 
 In a wreath, composed chiefly of triplex, continuous groups of fruit and 
 flowers separated into cjuadrants by fluted yellow ribbons crossing each 
 other, with an inner egg and dart moulding framing a blue fluted disk is a 
 Tuscan shield (Fig. 24) bearing the combined Gaetani and Minerbetti 
 
 Fig. 24. — Stemma of the Gaetani and Minerbetti. 
 Florence, Museo Nazionale. 
 
 arms. The dexter arms are those of the Gaetani family : Per pale, dexter, 
 quarterly argent and gules, sinister, paly or and gules. The sinister arms 
 are those of the Minerbetti family: gules, three swords in pale fanwise 
 argent, in chief a crosslet of the same. 
 
GIOVANNI DELLA ROBBIA 49 
 
 This stemma commemorates the marriage of (iiovanni di Piero di Gio- 
 vanni Gaetani with Alessandra di Ruys^ero di Tommaso Minerljetti in 1493. 
 Both famihes were interested in S. Vivaldo. Bartolommeo di Ruggero 
 A'linerbetti, brother of Alessandra, was Podesta at Montaione in 1490, and 
 Oddo Gaetani presented a tine entrance door to the church of the monastery 
 
 in 1525- 
 
 A similar stemma, formerly in the Frescolialdi and in the J. P- Morgan 
 collection, was sold in 1916 to the Duveer Brothers, New York. 
 
 Document : 
 
 A 144 1493 
 Ioh(ann)es olim Pieri Ioh(ann)is de Gaetanis 
 Alex' Ruggeri Tomasi de Minerbettis 
 
 [Bibl. Nazionale, Zibaldone del Migliore, segnato Magliab. CI. xxvi, cod. 
 142, c. 46.] 
 
 Bibl. : 
 
 C. s.v. Gaetani, Minerbetti ; C-M., 237 No. 200; C, 338; M., R. H., 
 183-184; P., 72-74; Supino, 446 No. 43; W., 155. 
 
 42 THE LIFE OF S. GIOVANNI BATTISTA. 151 1. Cerreto 
 Guidi, S. Leonardo. Font. Photos., Alinari, 10106-10113. 
 
 This font (Fig. 25), hexagonal in form, designed doubtless for this 
 church, as a gift from a member of the Rucellai family, was for a long 
 time in the garden of the Casa Maggi, formerly Orsini, at Cerreto Guidi. 
 It was transported back to the church in sections and most carelessly re- 
 constructed. Being pictorial and elaborate and comparatively inexpensive, 
 repetitions or copies of this font were made for churches at Galatrona, 
 S. Piero a Sieve and S. Donato in Poggio. 
 
 The base has a series of offsets in place of the six angles of a regailar 
 hexagon. These and the intervening spaces receive a form of decoration 
 new to the Robbia school — leafy Sirens alternating with palmettes. The 
 main body of the font consists of six pictorial reliefs, set between pilasters 
 decorated with grotteschi of two patterns, each used thrice. Those adorned 
 with cornucopias have also tablets inscribed A(nno) N(ostri) S(alvator- 
 is) M- D • XL Their capitals are quite similar to those of the lavabo at 
 S. Maria Novella. The entablature is broken at the angles, where are set 
 broad shields with apices bent forward, bearing the Rucellai family arms : 
 Per bend, in a chief gules a lion passant argent, a base barry indented aztire 
 and or. The individual donor was possibly Antonio di Giovanni Rucellai 
 who was Podesta at Pistoia in 1508. The frieze shows cherub heads bear- 
 
50 
 
 GIOVANNI BELLA ROBBIA 
 
 Fig. 
 
 -Font at Cerreto Guidi, S. Leonarho. 
 
 iiig garlands, between them are space filling rosettes. The mouldings are 
 richly decorated. The reliefs, with figures in white against polychromatic 
 backgrounds, are as follows : 
 
 1. The Annunciation to Zacharias (Luke I, 5-23), The aged Zacharias 
 is in the temple burning incense when the angel Gabriel appears to him 
 and predicts the birth of a son. The angel is of the Verrocchian type to 
 which Giovanni della Robbia clings for years to come ; the golden table be- 
 trays the same influence ; but the scroll bearing angels in the spandrels are 
 rather Donatellesque. The violet brown pavement and the yellow globules 
 (stars!) in the blue semi-dome show Giovanni's indift'erence to the refine- 
 ments of colour and form hitherto traditional in the Robbia school. The 
 composition of this panel, as of several others in the series, seems to have 
 been influenced by Ghirlandaio's frescoes in the tribune of S. Maria Novella. 
 
 2. The Naming of the Child (Luke I, 59-63). On the eighth day the 
 "neighbors and cousins" came for the circumcision, and insisted on naming 
 the child Zacharias. But the aged priest, who had been struck dumb, asked 
 
GIOVANNI DELLA ROBBIA 51 
 
 for a writing tablet and wrote "His name is Jolin." Zacharias, with his 
 right leg resting on his left is surrounded by his friends one of whom car- 
 ries the child wrapped in swaddling clothes. The scene takes place in the 
 Golden Porch of the Temple with light blue sky and lightly sketched trees 
 in the background. Above on a white frieze is inscribed lOHANNES EST 
 NOMEN EIVS. 
 
 3. The Birth of John the Baptist (Luke I, 57, 68-79 j. This scene his- 
 torically should have preceded the scene of the Naming of the Child, and 
 may have originally been so placed. If we follow the inscriptions only we 
 should call this the Benedictus and consider it in its proper order. But in 
 spite of the inscription BENEDICTVS DOMINVS DEVS ISRAEL 
 QVTA VISITAVI(T), we have here no figure of Zacharias chanting his 
 gratitude but the traditional birth scene. Elizabeth is in bed covered with 
 a violet brown blanket; her maid brings provisions; the midwives prepare 
 to wash the child while a neighbor brings a basket of fruit. We note in the 
 background the gray blue cvu'tain decorated with lilies and on the mantel- 
 piece blue vases bearing flowers. The composition is not very closely 
 related to Ghirlandaio's celebrated fresco of this scene. 
 
 4. S. Giovannino in the Desert (Luke I, 80). The youthful S. John is 
 here shown "in the desert" which consists of a thicket of palms and decidu- 
 ous trees, rocks and various animals; a stag, frog, chicken, lizard, etc. 
 Garish rays of light are emitted through a cloud in the light blue sky. S. 
 Giovanni carries a yellow cross and a scroll inscribed : PARATE VIAM 
 DOMINI. 
 
 5. The Baptism of Christ (Matth. Ill, 13-17; Luke III, 21-22). This 
 composition is only slightly reminiscent of Verrocchio's celebrated painting 
 in the Accademia. According to a very old tradition, Christ is in the mid- 
 dle of the Jordan, S. John on one bank, and two angels on the other. 
 Christ's feet are enveloped in a whirpool of greenish blue water. Rocks, 
 trees, the river, mountains and a city are in the background. The heavens 
 open above his head, where are seen yellow clouds, but the Dove in this re- 
 lief seems to be absent. S. John carries a yellow cross and a scroll in- 
 scribed : ECCE AGN VS DE ( I ) . 
 
 6. The Beheading of John the Baptist (Matth. XIV, 3-12; Mark, VI, 
 14-29; Luke III, 19-20; IX, 9). The beheading is here represented not 
 "in the prison" but outside on the green sward with a fruit tree and crude 
 landscape in the background. S. John is on his knees, while the Pollaiuo- 
 lesque executioner with yellow handled, blue bladed sword proceeds to his 
 task, while Salome waits, platter in hand, to bear back to her mother the 
 head of the saint. 
 
52 
 
 GIOVANNI BELLA ROBBIA 
 
 Bibl. : 
 
 Bacci, ///. Fior., 1908, 146; Burl, 113; Carocci, // Valdarno, 104-105; 
 C-M., 148-161, 158, 230 No. 159; C. s.v. Rucellai; Cr., 231-232, 336; 
 M., R. H., 192-193; Milanesi, Misc. 32, III, P, a c. 207; P., 256-260; 
 Repetti, s.v. Cerreto Guidi; R., D.R., 251-252; Sc. Fl, IV, 58, 61; S., 
 135, Abb. 144; Vas., II, 198; Wills, 170-171. 
 
 43 BAPTISM OF CHRIST. Settimo (near Cascina), S. Casciano. 
 Rectangular. H., 0.58m.; W., 0.48m. Photo., Private. 
 
 A version of the Baptism panel in the font at Cerreto Guidi. Figures 
 white, background polychromatic, with modifications of landscape details. 
 The Dove above the head of Christ is also absent. 
 
 Bibl. : 
 Cr., 355- 
 
 44 S. GIOVANNINO IN THE DESERT. New York. Volpi Collec- 
 tion of 1917. H., 0.325m.; W., 0.42m. Photo., Private. 
 
 A repetition (Fig. 26) with modified background, of the S. Giovannino 
 relief in the font at Cerreto Guidi. 
 
 Bibl. 
 
 Volpi Sale of 191 7, Cat.. No. 48. 
 
 Fig. 26. — S. Giovannino. Volpi Collection. 
 
GIOVANNI DELLA ROBBIA 
 
 53 
 
 SAME SUBJECT. Paris. Musee de Cluny, No. 2800. Statuette. H., 
 o.^8m. Photo., Leroy & So., No. 976. 
 
 The figure of S. Giovannino and the hair-cloth garment are unglazed, the 
 rest glazed in natural colours. In the rocky background are seen a lamb, 
 two rabbits, flowing water, a lizard, etc. The young Saint holds a scroll 
 coarsely inscribed 
 
 y ECCE : AGNVS DEI ECCE 
 
 Bibl. : 
 
 C-M., 274 No. 427; Du Sommerard, Cat. 216 No. 2800. 
 
 45 STEMMA OF FILIPPO D'OTTO SAPITI. 15 12. Sesto, Palaz- 
 zo Pretorio. Photo., Private. 
 
 Within a white fluted disk surrounded by a white tgg and dart moulding 
 is a Tuscan shield (Fig. 27) bearing the Sapiti arms: Azure, three bend- 
 lets gules, fimbriated or. 
 
 Fig. 27. — Stemm.j, of Filippo Sapiti. Sesto, Pal.\zzo Pretorio. 
 
 Below is a slightly curved scroll held open by two hands exhibiting the 
 inscription : 
 
 y FILIPPO y DOTTO 
 SAPITI y PODFSTA 
 
 yMyccccyxii + '^ 
 
 A Filippo di Otto Sapiti was a Prior of Florence in 1412 just a hun- 
 dred years before his namesake was Podesta al Sesto. 
 
 Bibl. : 
 
 Carocci, I, 312; C-M., 248 No. 268; C, s.v. Sapiti; M., R. H., 198; 
 P-, 513-514- 
 
54 GIOVANNI BELLA ROBBIA 
 
 46 FONT WITH RELIEF OF S. GIOVANNI BATTISTA. 1513 
 S. Donate in Poggio (near S. Casciano), Pieve. Hexagonal. H., 
 0.86m. Photo., Private. 
 
 A repetition with variations of the Cerreto Guidi font, lacking the entab- 
 lature. Polychromatic backgrounds. The order of the scenes is changed, 
 perhaps so that the Baptism of Christ should occupy the post of honour. 
 The alternate pilasters bear the date A(NNO) • N(OSTRI) • S(ALVA- 
 TORIS) • M-D-XIII. 
 
 Bibl. : 
 Cr., 354. 
 
 47 MADONNA AND CHILD AND SAINTS IN NICHES. Candel- 
 abrum bearing Angels. 1513. Arcevia. S. Medardo. Cappella del 
 Rosario. Altarpiece. Photo., Moscioni, 4957-4958. 
 
 This altarpiece (Fig". 28) designed for the Eremo of S. Girolamo del 
 Sasso Rosso, outside of Arcevia, stood there until 1625 when the Eremo 
 was suppressed. Then the altarpiece was removed to the church of S. 
 Medardo in Arcevia. On its removal it was made broader by the addition 
 of two pilasters, one on either side in the background, and higher by being 
 set upon a lofty base consisting of eight sections of pilasters distributed 
 equally on either side of a central medallion. I am inclined to believe that 
 these additions were derived from the "transenna," or balustrade originally 
 in front of the altar, and that the medallion now in the centre of the base 
 was the "occhio," mentioned in the Documents. The "Santo Hieronimo 
 picholo" and the "S. Maria Magdalena picholo" may refer to the small 
 reliefs of those saints on the predella, or perhaps have disappeared. 
 
 The altarpiece itself is known by documentary evidence, as well as by 
 its style, to be by Giovanni della Robbia. Its date, inscribed both on the 
 monument and in the archives of the Eremo, is 15 13. 
 
 The predella contains a series of panels more or less closely related to 
 S. Girolamo. There are (i) S. Maria Maddalena, holding a yellow 
 vase and a blue book, (2) the Communion of S. Girolamo in the desert, 
 (3) S. Girolamo and his lions, (4) the Nativity, (5) S. Girolamo, (6) S. 
 Girolamo extracting a thorn from the lion, (7) S. Maria Egiziaca. Here 
 the predella ends. 
 
 The main portion of the altarpiece consists of three niches set between 
 four pilasters. The pilasters are decorated with white grotteschi on blue 
 (an extension of the design used in the font at Cerreto Guidi) and are in- 
 scribed : 
 
 (i) >AN(N)0- S(ALVATORIS)J' 
 
 (2) A(NNO)- N(OSTRI)- S(ALVATORIS) • MDXIII- 
 
 (3) J'AN(N)0 S(ALVATORIS)> 
 
 (4) J' MDXIII- 
 
GIOVANNI DET.LA ROBBIA 
 
 55 
 
 Fig. 28. — Altarpifxe. Arcevia, S. Meuardo. 
 
 The three niches contain statuettes of (i) S. Giovanni Battista with 
 scroll inscribed ECCE AGNUS DEI. (2) A Madonna with nude Child 
 across her lap. Above her are two angels and the Sacred Dove from whom 
 stream golden rays of light. The vault is cofifered with yellow rosettes on 
 blue, and its supports are decorated with a pattern of cubes each showing 
 yellow, green and blue sides. The archivolt is adorned with a garland of 
 fruit and flowers. (3) S. Girolamo, with bared breast, holding a crucifix. 
 At his feet a lion. Behind him a yellow tree against blue background. 
 
56 GIOVANNI BELLA ROBBIA 
 
 Over the capitals of the pilasters are incongruously placed blocks orna- 
 mented with Sirens and palmettes — these should undoubtedly be placed be- 
 low the pilasters, as in the S. Lucchese altarpiece near Poggibonsi, where 
 on the predella is an Annunciation similar to that in the two medallions 
 here. The entablature, broken by projections corresponding to the pilasters 
 below, is adorned with cherubs and garlands and yellow disks, like those on 
 the fonts at Cerreto Guidi and at Galatrona. Above the entablature is a 
 small lunette containing a iine bust of God the Father, somewhat Verroc- 
 chian but characteristic of Giovanni della Robbia. This is set against a blue 
 ifluted shell and surrounded by a frame adorned with arabesques. On 
 either side of this lunette were probably set the candelabrum bearing angels, 
 now on a lower level. The inscription on the bases of the angels justify the 
 interpretation of the bust in the lunette as God the Father, rather than 
 Christ. The inscriptions read : 
 (i) J^BENEDICAMVRP(AT)REM ET FILIV(M) CV(M) S(AN) 
 
 C(T)0 SP(IRIT)V 
 (2) LAVDEM(VR) ET SVP(ER)EXALTEM(VR) EV(M) I(N) 
 
 S(A)CRA(MENTO) : 
 
 Documents : [Copied by Anselmo Anselmi, A. S. A., I (1888), 370-371.] 
 
 1. "Anno Dni MDXIII 
 
 Et piu ha dato la Comunita fiorini dodici contanti pelle figure 
 facte infiorenza a perfecto nostro sindaco li quali pago Tomaxo 
 di bianco et suoi compagni ogi questo di 17 di luglio 15 13 
 
 fior : 12 bol: 00 
 Et piu ha dato la Comunita al veturale che porto ditte figure 
 da florenza fiorini quattro 
 
 fior : 4 bol : 00." 
 [Libro della Edificazione della Chiesa di S. Girolomo, etc., scritto di 
 mano di Francesco di Mariano Formosi da Siena, c. 8'.] 
 
 2. "Anno Dni MDXIII 
 
 Et piu pella cona delaltare magiore facta di preta cotta in 
 florenza da m° Giovanni di m° Andrea della rubbia : costo 
 
 infiorenza la prima compra fiorini 22 contanti 
 
 fior : 22 bol : 00 
 Et piu per uno occhio per la chiesia di terra-cotta (sic) : et 
 uno santo Hieronimo picholo pur di terracotta fatti in fiorenza : 
 et una santa Maria Magdalena pichola di terra : montorno tutte 
 sopra ditte cose .... fior : 6 bol : 00 
 
 Et piu intra vecture et cabelle montorno sopra ditte figure 
 avenire da fiorenza in fino a qua a santo Hieronimo contanti 
 
 .... fior : 9 bol : 00 
 
GIOVANNI BELLA ROBBIA 57 
 
 Et piu per murare sopra ditte figure muro m° donate sopra- 
 ditto (Lombardo) opere 2 et 2 di manuale montorno ditte 
 opere bolognini 24 contanti .... fior : 00 bol : 24" 
 [Idem, c. 132.] 
 
 3. "Anno Dni MDXIIII 
 
 Et piu per opere 3 amurare dinanti alle figure una Trasanna 
 mur° m° Ambrosio (Lombardo) con 3 manuali montorno sopra ditte 
 opere in tutto. . . . fior : 00 bol : 36" 
 
 [Idem, c. 132'.] 
 
 4. "Anno Dni MDXV 
 
 Et piu per oro pelle figure compramo in fiorenza 
 
 fior : 2 bol : 4 
 
 Et piu per oro compramo da giovanfelice monto 
 
 fior : I bol : 20 
 
 Et piu per oro compramo da ser ciecho spetiale 
 
 fior : o bol : 20 
 
 Et piu per manifattura di metter a oro le sopra ditte figure 
 
 le quali messe a oro Pierfrancesco da Saxoferrato monto in 
 
 tutto fior : 4 bol : 00" 
 [Idem, c. 133'.] 
 
 Bibl. : 
 
 Anselmi, A. e S., 11(1883), 204; 111(1884), 10, 21/23; VI(i887), 
 233; VII(i888), 234(Doc.); A. S. A., I (1888), 369-371 (Doc); 
 /. A. E. I., I, 167; A^. Riv. Mis., I(i888), 4i-42(Doc.); B. J., 98; 
 B., A. S. A., 11(1889), 2; Kf., 20; Burl., 112; C-M., 160; Cr., 234, 
 311 (Doc), 327; Lazari, 43; R., D. R., 252-254; Sc. Fl., IV, 60-62; 
 Ricci, II, 158; Vas., II, 190 note 2. 
 
 48 S. LUCIA. Arcevia. S. Medardo (Sacristy). Statue. 
 
 When in Arcevia some years ago I noticed in the sacristy of S. Medardo 
 a poorly glazed statue of S. Lucia, which I then attributed to the school of 
 Giovanni. Giovanni himself made the medallion of S. Lucia for the Cer- 
 tosa. She was not infrequently represented in the works of the Buglioni, 
 as in the Coronation lunette at the Ognissanti, and in the Nativity in the 
 Pollak gallery, Rome. 
 
 49 CANDELABARUM BEARING ANGELS AND A PREDELLA. 
 1 5 13. Florence. S. Ambrogio (Sacristy). Two statuettes. H., 
 0.54m. Photo., Private. 
 
58 
 
 GIOVANNI DELLA ROBBIA 
 
 According to the archives, Giovanni della Robbia made two angels and a 
 predella for the altar of the Sacrament of S. Ambrogio in 15 13. These 
 angels (Fig. 29, 30) glazed white, are essentially repetitions of those on the 
 altarpiece in S. Medardo, Arcevia. They show the influence of Benedetto 
 da Maiano rather than of Andrea della Robbia. They have violet linear 
 
 if ^^ \r\ ^ M A-ri' 
 
 Fig. 
 
 Fm 
 
 30. — Candel,m!rum be.\rixg Angels. Florence, S. Ambrogio. 
 
 brows, lashes, and pupils with no distinction of irises. They are set on 
 
 polygonal bases inscribed : 
 
 (i) + REFICIT CIBVS HIC MVNDO CORDES VT MENTES + 
 
 (2) +POLLVTO AVTEM IDEM INFICIT DENTES + 
 
 The predella is no longer in this church. Obviously it served as a cibo- 
 
 rium, and may have resembled the predella in S. Piero Maggiore. 
 
 Document: [Copied by Mr. R. G. Mather.] 
 "M. DXIIJ 
 Giovannj dandrea della robbia debbe havere 
 f (iorini) 2 larghi et I/2 doro in oro per 
 dua angieli ci ha fatti con la predella 
 dello altare di terra cotta dove sta 
 il Sacramento che cosi siamo 
 dacordo lui con il p(riore) 
 Lire 17 soldi 10 d- 
 
 M DXIIJ 
 Giovanni dandrea 
 contrascripto de dare lire 
 dicasette et soldi 10 
 havuti in piu partiti 
 per insino adi 12 doctobre 
 1 5 13 a uscita s (segnato) 
 lac. 319 
 Lire 17 soldi 10 d-" 
 [Archiv. di Stato, Chiesa di S. Ambrogio, Libro Debitori e Creditori, 
 Anni 1512 a 1519- segnato Comp. Relig. Soppresse No. 79, Cod. 61 a c. 7.] 
 
 Bibl. : 
 
 C-M., 130; Cr., 340; R. G. M., L' Arte (1918), 206 XIV 1-2 (Doc); 
 Vas., II, 182 note 2. 
 
GIOVANNI BELLA ROBBIA 59 
 
 50 TWO CANDELABRUM BEARING ANGELS. Florence. S. 
 J\Iaria della Misericordia. Statuettes H., 0.80m. Photo., Brogi, 4898- 
 4899. 
 
 These angels (Figs. 31, 32), glazed in white and set on rounded bases 
 
 Fig. 31, 32. — Candelabrum bearing Angels. Florence, Misericordia. 
 
 are to be assigned to Giovanni's atelier. They lack the expression of his 
 candelabrum bearers at Arcevia, Galatrona, and in S. Ambrogio, Florence. 
 
 Bibl. : 
 
 C-M., 210 No. 31 ; Cr., 341. 
 
 51 TWO CANDELABRUM BEARING ANGELS. Florence. Pal- 
 azzo Frescobaldi. Statuettes. Photo., Private. 
 
 Glazed white, on violet bases, also violet haloes. Kneeling with one hand 
 to breast, the other holding on knee the box-like base of a candlestick. 
 
 52 CANDELABRUM BEARING ANGEL. Florence. Bardini Collec- 
 tion (formerly). Statuette. Photo., Private. 
 
 On a console of rounded form, capped with egg and dart and leaf mould- 
 ings, and bearing a beribboned, late Tuscan shield, with coat of arms now 
 effaced, stands a candelabrum bearing Angel glazed white. 
 
 53 CANDELABRUM BEARING ANGEL. Florence. Bardini Collec- 
 tion (formerly). Statuette. H., 0.65m. 
 
6o GIOVANNI BELLA ROBBIA 
 
 Polychromatic. Gown blue, mantle yellow lined green, sleeves white, 
 crossing ribbons on breast white. 
 
 54 CANDELABRUM BEARING ANGEL. Berlin. Kaiser-Friedrich- 
 Museum (formerly) No. 133. Statuette. H., 0.85m. 
 
 Acquired in 1861 from the Alinutoli collection. White glaze. Eyes 
 dark, irises left white. 
 
 Bibl. : 
 
 Bode-Tschudi, 44 No. 133; C-M., 261 No. 355; Cr., 333. 
 
 55 CANDELABRUM BEARING ANGEL. Berlin. Collection Herr 
 Adolph von Beckrath. Sta'tuette. H., 0.79. 
 
 In the collection of Herr von Beckerath in 1895 was an unglazed candel- 
 abrum bearing angel which then appeared to me to be attributable to Gio- 
 vanni della Robbia. 
 
 Bbl. : Fabriczy, /. k. p. K., XXX (1909). Beiheft, 25 No. 59. 
 
 56 TWO CANDELABRUM BEARING ANGELS. Boston. Collec- 
 tion of Mr. J. Lindon Smith. Statuettes. H., 0.32m. 
 
 White figures on green bases. 
 
 Bibl. : 
 
 M., D. R. A., 128. 
 
 57 TWO CANDELABRUM BEARING ANGELS. London. Donald- 
 son's Gallery. Statuettes. H., 0.43m. 
 
 Glazed white, on violet bases. Kneeling. One has no glaze on face or 
 hair. 
 
 58 TWO CANDELABRUM BEARING ANGELS. Paris. Louvre 
 No. 438 (old no. G. 747, 748). Statuettes. H., 0.55m. Photo., 
 Private. 
 
 From the Campana Collection. Nudes unglazed. Robes white, collars 
 and sleeves green, mantle blue edged yellow. The angels kneel and hold 
 the white bases for candles. Similar angels occur beside the Nativity al- 
 tarpiece of 1521 in the Museo Nazionale, No. 25. 
 
 Bibl. : 
 
 C-M., 277 No. 446; Cr., 350. 
 
GIOVANNI DELLA ROBBIA 6i 
 
 59 TWO CANDELABRUM BEARING ANGELS. Paris. Louvre, 
 No. 454 (old no. G. 758, 759). Statuettes. H., 0.66m. Photo., 
 Private. 
 
 From the Campana Collection. Nudes unglazed. White robes with blue 
 (Collars ; mantle blue lined green. 
 
 Bibl. : 
 
 C-M., 278 No. 453; Cr., 350. 
 
 60 TWO CANDELABRUM BEARING ANGELS. Paris. Louvre, No. 
 455 (old no. G. 760, 761). Statuettes. H., 0.47m. Photo., Private. 
 
 From the Campana Collection. The angels are glazed white. They are 
 kneeling, each with both hands holding a baluster shaped candlestick. 
 
 Bibl. : 
 
 C-M., 278 No. 454; Cr., 351. 
 
 61 TWO CANDELABRUM BEARING ANGELS. Paris. Collection 
 M. fimile Gavet. Statuettes. H., 0.38m. 
 
 Unglazed. Possibly originally associated with the unglazed medallion of 
 the Madonna and Child in the Berwind collection, Newport. 
 
 Bibl. : 
 
 Gavet, Sale Cat., 1897, Nos. 210-211; Molinier, Cat. Gavet, Nos. 17- 
 18. PI. 8. 
 
 62 CANDELABRUM BEARING ANGEL. Paris. Musee de Cluny, 
 No. 2797. Statuette. H., 0.72m. Photo., Leroy 969. 
 
 Nudes unglazed. Tunic white with yellow sleeves, mantle blue lined 
 green, base mottled violet. 
 
 Bibl. : 
 
 Burl., 85; C-M., 273 No. 424; Cr., 351; Du Sommerard, Cat., No. 
 2797- 
 
 63 TWO CANDELABRUM BEARING ANGELS. S. Amato. (near 
 Pistoia). L'Assunta. 
 
62 GIOVANNI BELLA ROBBIA 
 
 Large, polychrome angels. Probably candelabrum bearers and from 
 Giovanni's atelier. 
 
 Bibl. : 
 
 Burl., 117; C-M., 249 No. 279; Cr., 353. 
 
 64 CANDELABRUM BEARING ANGELS. S. Casciano. S. Maria 
 a Casavecchia. Statuettes. H., 0.62m. 
 
 On two brackets at the entrance to the choir are two kneeling candela- 
 brum bearing angels. Glazed white. 
 
 Bibl. : 
 
 Carocci, 5. Case, 62. Cr., 354. 
 
 ;65 TWO CANDELABRUM BEARING ANGELS. S. Gimignano 
 
 (near). Compagnia della Madonna del Carmine alia Canonica. 
 Statuettes. 
 
 Brogi catalogues two candelabrum bearing angels, which he describes as 
 small, kneeling, broken, and badly restored. 
 
 Bibl. : 
 
 Brogi, Inv., 510. 
 
 66 PILASTER AVITH CANDELABRUM DECORATION. Paris. 
 Musee de Cluny No. 2803. Photo., Leroy, 807. 
 
 This pilaster (Figs. 33, 34), designed for the frame of a niche or of an 
 altarpiece, is glazed white against a blue background. Its panelled surface 
 is surrounded by an egg and dart moulding and is decorated by an elabo- 
 rate design in which occur griffins, putti, a siren, a vase, cornucopias, etc., 
 leading up to a basin ablaze with tongues of fire. The capital shows Gio- 
 vanni's favorite motive of the two dolphins drinking from a vase. Gio- 
 vanni's imagination was full of such motives as these when he made the 
 altarpiece at Arcevia (1513) and the font for Galatrona (1518). 
 
 Bibl. : 
 
 C-M., 273 No. 422; Cr., 351 ; Du Sommerard, Cat, 2803. 
 
GIOVANNI BELLA ROBBIA 
 
 63 
 
 Fi.0. a, 34. — Pilaster. Paris, Cluny Museum. 
 
 67 THE NATIVITY, MADONNA AND TWO ANGELS. 1513. 
 Buonsollazzo, Monastero (formerly). Altarpiece. 
 
 The following documents relate to an altarpiece by Giovanni della Rob- 
 bia, formerly in the monastic church at Buonsollazzo. Its whereabouts is 
 no longer known. 
 
 It represented the Nativity and was set above the principal altar. Upon 
 its cornice, apparently, stood free-standing figures of the Virgin Mary and 
 two Angels. 
 
 The Virgin was provided with a cloth mantle bordered with lace, a veil, 
 and a gilded crown. A figure of S. Bernardo appears to have been asso- 
 ciated with the altarpiece. 
 
 Whether it was provided with a framework is not stated. But some 
 device it certainly possessed to contain the chalice and sacred host, for it 
 formed part of a Corpus Domini. 
 
 Documents: [Copied by Mr. Rufus G. Mather.] 
 I. "Adi 28 di maggio 1513 
 
 Et adj 15 di decto (luglio) 1 3 - s 10 da matteo sancto 
 n(ost)ro cdmesso p(er) coto di messe di s° gregorio decte dame: 
 
64 GIOVANNI BELLA ROBBIA 
 
 dequali danari ne debbo' conperare una vergine Maria p(er) 
 
 tener(e) in sullo altare magg(i)or(e) come costuma lordine n(ost)ro - 
 
 1 3 s 10 dj - 
 Et adj veti sette di decto (luglio) dal padre Don 
 Hyeronimo in presete priore dj cestello 1 3 - s 13 sono 
 p(er) helemosina che sua paternita fa alia Nativita che 
 io ho dato a Joha(n)nj della robia a far far(e) 1 3 - s 13" 
 
 [Archivio di stato, Monaster© di Buonsollazzo, Libro di Entrata e Uscita 
 di Sagrestia 15 — al 15 — segnato Compagnie Soppresse C, XVIII n° 515, 
 Entrata di Sagrestia a c. 6'.] 
 
 2. "adj 7 di maggio 1518 + 
 Ricordocome adj 13 di novembre 
 
 passato decti staia di grano octo a gova(n)nj della 
 Robbia p(er) parte del pagamento della tavola 
 quale dovea fare del corpus D(omin)j : quale grano 
 metto qui ad entrata lire octo et soldi sedicj et 
 piu et mancho (piu e meno) lo potra metter(e) 
 anchora el sagrestano che verra secondo che si 
 potra informar(e) si vende in quel tempo, perche 
 decta tavola no Ando inhanzi p(er) suo defecto 
 unde neresta debitor (e) come appariscie al libro 
 
 de ricordj a carte 9 — 1 8 s 16 dj -" 
 
 [Idem a c. 15'.] 
 
 3. "AD MDXIIJ 
 
 Et adj 13 di septembre 1 8 pagai a Johan(n)j dj 
 Andrea della robia p(er) coto dj una Vergine maria 
 et dua angeli che lui mi ha facti p(er) tener(e) in sullo 
 altar(e) maggor(e) — 1 8 s- dj-" 
 
 [Archiv. idem, Uscita di Sagrestia a c. 2.] 
 
 4. "MDXIIJ 
 
 Et adj decto (22 di octobre) pagai: a gova(n)ni 
 
 della robia 1 10 s 10 p(er) coto della nativita - 1 10 s 10 dj - 
 
 Et adj 29 di decto (octobre) 1 i s 6 dj 10 pagai 
 
 al detto gova(n)nj p(er) una ocha et altre cose che 
 
 gli mandaj come appare al coto suo alibro de ricordj' — 1 i s 6 dj 10 
 
 E adj decto (8 di novembre) s 2 spesi in colori 
 
 p(er) lo smalto dello altare della nativita — 1 - s 2 dj - 
 
 Et adj 20 di decto (novembre) conperai un paio 
 
 di capponi p(er) presentar a quelli che mi hano facto 
 
GlOViVNNI DELLA ROBBlA 65 
 
 la qual montava. 1 14 
 haver (e) la gabella della capanuccia in done (so written in original) 
 costorono s 27 - 1 i s 7 dj - 
 
 Et adj 18 di deeto (Dicembre) pagai a francescho di pintor(e) 
 1 sedici et soldj sedici p(er) ogni suo resto che havessi haver (e) 
 da me p(er ) eCtto del colorire parte della Nativita - 1 16 s 16 dj - " 
 
 [Idem, a c. 2'.] 
 
 5. "MDXIIIJ 
 
 Et adj 24 di sopradecto (Dicembre 15 13) 1 dua et s sedicj 
 pagai p(er ) il vecturale a gova(n)nj della robia - 1 2 s 16 
 
 Et adj decto (24 di Dicembre 15 13) ho facto conto com(e) 
 apparisce al libro de ricordi haver (e) speso in piu volte 
 tra colori, oro et altre cose necessarie aldipinger(e) et 
 adornar(e) la Nativita 1 sette et soldj sedici et danarj ij -1 7 s 16 dj 11 
 Et adj 15 di febraio ( 1513) in braccia octo et mezo dj 
 drappo p(er) far(e) el mantellino alia Vergine maria spesi 
 lire diciassette I 17 s - dj - 
 
 Et piu adi decto in veli p(er) decta gloriosa Vergine 
 
 lire una et soldj dieci - 1 i s 10 dj - 
 
 Et adj decto in Trina p(er) orlar(e) el mantellino lira 
 una soldj sei — 1 i s 6 dj - 
 
 Et adj 18 di sopradecto in oro p(er) dorar(e) la corona 
 della Vergine soldj cinque — 1 - s 5 dj - " 
 
 [Idem, a c. 3.] 
 
 6. "+ 1517 
 
 Et piu adj decto (12 di luglio) p(er) gabella dj una 
 soma dj in vetriatj della Robia - 1 - s 6 dj 8 
 
 Et adj 20 di decto (luglio) in uno papero mandaj 
 a gova(n)nj della Robia p(er) coto dj uno s(an)cto ci ha 
 facto soldj undicj et danarj diecj - 1 - s 1 1 dj 10" 
 
 [Idem, a c. 7.] 
 
 7. "Et adj sopradecto (21 di luglio 15 17) a govannj della 
 Robia lire dua p(er) conto dj lavoro hauto da luj 
 
 porto el vecturale n(ost)ro — 1 2 s - dj - 
 
 Et adj 5 di decto (agosto) a domenicho dipintore 
 p(er) colorj ha logoro in dipinger(e) el s(an)cto Bernardo 
 fece far(e) el padre Don Raphaello p(er) se soldj nove — 1 - s 9 dj - " 
 
 [Idem, a c. 7'.] 
 
66 GIOVANNI BELLA ROBBIA 
 
 8. _ "1517 
 
 Et adj 10 di decto (agosto) p(er) vecture pagate 
 a don philippo dj legne che mandaj al gova(n)nj 
 della Robia : p(er) coto di dua angoli che gli fo 
 far(e) p(e) mettere in mezo el sacramento lira 
 
 una et soldj qnattordicj pagaj ad Inj contanti — 1 i s 14 dj - 
 
 [Idem, a c. 8.] 
 
 9. "Et piu adj decto ( 16 di Octobre ) soldj cinquanta decti ad 
 Angelo di polo p(er) conto dj go\'a(n)nj della robia equalj 
 
 Va(n)no in conto del pagamento della tavola del Sagrameto. 1 2 s 10 dj - " 
 [Idem, a c. 8'.] 
 
 10. "Adj 19 di Novembre 1517 
 
 Et adj 22 di decto ( No\'embre ) lire dua a Simone 
 cerchiaio sono p(er) coto dj legne ha dato a gova(n)nj della 
 robia p(er) mio conto — 1 2 s - dj " 
 
 [Idem., a c. 9.] 
 
 11. "Adj 6 di Rlaggio 15 18 
 
 Ricardo come adj 13 di Novembre passato dicti st. 
 8 di grano a govanni della Robia come apparisce 
 allibro de ricordj a carte 9 le quale metto hora qui 
 ;id uscita perche nolo messe prima 
 
 p(er) qualche bon rispecto 1 8 s 16 dj -" 
 
 [Idem., a c. 10.] 
 
 Bibl. : 
 
 Amati, s. v. Buonsollazzo ; Guasti, di Cafaggiolo, 167 note (Doc). 
 
 68 NATIVITY WITH SS. STEFANO E LORENZO, c. 1513. Pes- 
 cina (near A^aglia), S. Stefano. Altarpiece. 
 
 When in 191 1 I sent a photographer to Pescina to reproduce this altar- 
 piece he brought me word that it was no longer there. When I saw it some 
 years earlier it had been removed to a location behind the high altar, only 
 the predella remaining in front. Cavallucci describes the predella as ex- 
 hibiting the Virgin between S. Niccolo da Bari, S. Sebastiano, S. Felicita( ?) 
 and S. Antonio Abate. In conversation with me he added that at the end 
 were displayed the Davanzati and the Pazzi arms. The Davanzati arms 
 are: Aciirc, a lion rampant or. and the Pazzi arms: Azure, two dolphnis 
 addorsed or accompanied by four (five or six) crosslets fitchy of the same. 
 
GIOVANNI BELLA ROBBIA 67 
 
 This altarpiece was probably a votive oiTerint;- of Giovanni di Niccolo Da- 
 vanzati and his wife Caterina di Ghinozzo Pazzi who were married in 1512. 
 
 The altarpiece was divided into three sections by narrow pilasters deco- 
 rated with garlands of triplex fruit rising from blue vases and terminating 
 in dolphin capitals. To the left was S. Stefano patron saint of the church, 
 clad in white tunic and wearing a mantle of blue lined violet. Face and 
 hands unglazed. On his breast a rectangular pectoral representing Christ 
 bearing the Cross. A similar rectangular decoration on the lower portion 
 of the tunic represented S. Stefano preaching. Behind his head was a blue 
 conch; below him was inscribed SA(N)CTVS STEPHANVS ^-^ 
 Above the niche, as in the altarpiece at Arcevia, was a medallion with S. 
 Gabriele in white with sleeves of blue and green and with pol}-chromatic 
 wings striated horizontally. 
 
 The central relief represented the Nativity. The nude Child lay on yel- 
 low straw, S. Giovannino near him. S. Giuseppe was robed in blue edged 
 yellow and wore a yellow mantle; the Madonna wore a tunic of violet edged 
 yellow and a mantle of blue lined green. Faces and hands unglazed. 
 There were present the ox and ass, and two shepherds, one with fruit, the 
 other bearing a lamb. The stable was built of violet bricks and angels with 
 the inscription GLORIA IN EXCELSI(S) DEO ET IN TERRA 
 (PAX) HOMINIBVS BONAE VOLVNTATIS from Luke II, 14. In 
 the centre above a yellow star was an angel with the inscription ANVMTIO 
 VOBIS. At the angles a head of David crowned with a scroll inscribed 
 LAVDATE PVERI D(OMI)N(V)M LAVDATE, and of Isaiah with 
 ECCE VIRGO CONCIPIET (Is. VII, 14). At the base of the central 
 relief between egg and dart mouldings was inscribed PVER NATVS 
 E(S)T NOBIS ET FILIVS DATVS E(S)T NOBIS (Is. IX, 6). 
 
 To the right was S. Lorenzo robed in white with a mantle of green orna- 
 mented in black lined violet, edged yellow. Face and hands not glazed. 
 His pectoral was inscribed with a picture of the Resurrection of Christ, 
 and the rectangular decoration on the lower portion of his robe represented 
 S. Lorenzo distributing alms to the poor. His inscription read 
 SA(N)CTVS LAVRENTIVS. Above him was a medallion of the 
 Annunziata, robed in violet edged yellow with a mantle of Ijlue lined green, 
 kneeling. In the background a white curtain. 
 
 The entablature of the altarpiece consists of an architrave ornamented 
 with pearls and capped with a flat leaf moulding, a frieze of white cherub 
 heads, polychrome garlands and yellow disks, and a cornice ornamented 
 with egg and dart, channelling, bead and reel, and leaf mouldings. 
 
 Bibl. : 
 
 Burl., 118; C-M., 253 No. 306; C, s.v. Davanzati, Pazzi; Cr., 355; 
 M., R. H., 206; Litta, s.v. Pazzi, Tav. 4. 
 
68 
 
 GIOVANNI DELLA ROBBIA 
 
 69 ENTOMBMENT OF CHRIST. Florence. S. Salvatore al Monte. 
 Lunette. H., 1.30m., without, and i.Qom. with finial; AV., 2.50m. 
 Photo., Brogi, 9373. 
 
 Over the north door (interior) of the httle church of S. Salvatore, for- 
 merly S. Francesco, on the hill of S. Miniato, is a lunette of the Entomb- 
 ment (Fig. 35), one of Giovanni della Robbia's most characteristic works. 
 This church, much admired by ^lichelangelo, was built by the architect 
 Simone del Pollaiuolo, known as II Cronaca, through funds supplied by Cas- 
 tello di Piero di Bernardo di Neri Quaratesi, a wealthy friend of the Medici. 
 Castello Quaratesi had held high official position in Florence, having been 
 
 Fig. 35. — The Entombment. Florence, S. S.^lvatore. 
 
 Prior in 1428 and both Prior and Gonfaloniere in 1441 and 1447. Late 
 in life he became a benefactor of the monastery of S. Francesco dell'Os- 
 servanza. In 1465 he enlarged the cloister, but little was done for the 
 church until 1487. By 1493 the walls were ready and in 1504 the church 
 was dedicated. In 1508 Castello died and in 1509 the Universita dell' Arte 
 dei Mercatanti, to whose charge he had left the building of the church, set 
 up an inscription on the triumphal arch of the church, "In memoria di 
 
GIOVANNI DELLA ROBBL'V 69 
 
 Castello Ouaratesi ediiicatore di detta chiesa." The lunette of the Entomb- 
 ment bears his coat of arms painted on two shields held Ijy two putti seated 
 on either side of the flaming vase, a motive used by Benedetto da Maiano 
 on the P'orta dell' Udienza of the Palazzo Vecehio in 1476 to 1481. The 
 Ouaratesi arms: Or. a ehief aciirc eharged with an eagle argent, painted 
 on the shields are now almost effaced. 
 
 The group in the lunette consists of seven figures about the dead Christ. 
 These are from left to right Joseph of Arimathaea, two Maries, the Mater 
 Dolorosa, S. Giovanni, the Maddalena, and Nicodemus. From the eyes 
 of ever}- one tears are falling, Imt there is no evidence of emotion as in 
 Donatello's representations of the same subject. The figures are coloured 
 with oil paint, not glazed. 
 
 Bibl. : 
 
 B., a:/., 2i;/rt/!r., Vni (T887), 218-220; Fl. Bihlli.. 329-331; Fl. Sc, 
 198-200; Dcnkm., 89, Taf. 281; Burckh., 435; Cr., 239, 328; Eab- 
 riczy, /. k. p. K., XXX ( 1909), Beih., 34 No. 113; Geymuller, V. // 
 Cronaca, 2: S., 141, Abl). 153; \'as., IV, 448. 
 
 70 THE ENTOMBMENT OF CHRIST. Faenza. Museo Pasolini 
 (formerly in). 
 
 Malagola mentions amongst the Robbia works at Faenza, a Crista morto 
 fra le Marie, composed of figures of two }ilaries supporting the sorrowing 
 Virgin, another Mary, S. Giovanni, Nicodemus, Joseph of Arimathaea, and 
 the dead Christ extended on a richly decorated sarcophagus, the front of 
 which displays an escutcheon, with the letter G in Gothic characters, set 
 within a garland. Delange mentions a similar monument dated MCCCC- 
 LXXX\T. 
 
 Bibl. : 
 
 Argnani, ly note 5 ; Delange, Appcndicc alFIstor., 258; Frati, 11 N^o. i ; 
 Guasti, Cafaggiolo. 154; Malagola, 103, 464. 
 
 71 LAMENTATION OVER THE DEAD BODY OF CHRIST. 1514- 
 1515. Florence. Museo Nazionale, No. 64. Altarpiece. H., 2.91m.; 
 W., 2.35m. Photos., Alinari, 2752 ; Brogi, 9474. 
 
 In the Via della Scala, at the corner of the Via degli Oricellari, is a 
 building labelled "Pia Casa di Patronato pei minorenni corrigendi." Here 
 formerly stood a hospital for foundlings established in 13 13 by Clone di 
 Lapo di Gherardo Pollini, a high official in the Arte della Lana. After the 
 isiege of Florence in 1529 the hospital came under the care of the Augus- 
 
70 GIOVAN'NI BELLA ROBBIA 
 
 tinian nuns of S. Martino dalle Panche, and in 1536 became amalgamated 
 with the Lmocenti Hospital. The nuns, however, continued to occupy a por- 
 tion of the building until their suppression in 1868. At that time this 
 altarpiece (Fig. 36), which stood in a chapel in the garden of the mon- 
 astery, was transferred to the Museo Nazionale. 
 
 Some indication of the history of the altarpiece is contained on its pre- 
 della. On either side of the central relief of the Annunciation are the bam- 
 bini in swaddling clothes — inferior by far tO' the bambini of the Innocenti 
 Hospital made not so many years earlier by Giovanni's father. At the 
 ends of the predella are coats of arms, ordinarily indicative of the donors. 
 At the dexter end are the Accolti arms : Barry argent and gules, a bordure 
 azure charged with eight estoiles or. Cardinal's hat above, gules. The Car- 
 dinal's hat refers us undoubtedly to Pietro de Benedetto Accolti who was 
 made a Cardinal by Julius H on March 10, 15 10. As we have documentary 
 evidence that this altarpiece was made in 1514 and 1515, the arms cannot 
 refer to the only other Cardinal of the Accolti family, Benedetto di Michele, 
 who did not receive his appointment until 1527. Pietro was a near relative 
 of Bernardo Accolti, prior of the monastery at the time when the altarpiece 
 was made, and a poet much favored by Leo X, during whose Papacy many 
 commissions fell to the lot of Giovanni della Robbia. At the sinister end 
 of the predella are the Pollini arms : Azure, three mill wheels or, two and 
 one, separated by a fess of the same charged with a ladder of three rungs 
 gules. The ladder in this case was omitted or has been worn away. The 
 descendant of the founder here indicated was probably Niccolo di Clone 
 di Niccolo, one of the twelve who ruled the Arte della Lana from 151 5 to 
 1528, or possibly his brother Girolamo who served as Gonfaloniere di Com- 
 pagnia in 1521. 
 
 On the predella is set a frame exhibiting between rope and egg and dart 
 mouldings, blue vases with S shaped handles from which rise against a 
 white background garlands of fruit and flowers, meeting at the top in a 
 medallion containing a white dove. The bunches are rectangular, the fruit 
 for the most part forming triplex compositions crossed by white flowers. 
 The bunches are separated from each other and fastened together by rec- 
 tilinear, transverse ribbons. 
 
 The central relief represents the Pieta or Lamentation over the Dead 
 Body of Christ and consists of four figures. To the left is S. Giovanni on 
 his knees, with his right hand upholding the shoulders of the dead Christ. 
 He is clad in green tunic edged with yellow, over which is a light blue 
 mantle lined yellow. His eyes have yellow irises, but violet brows, lashes 
 and pupils. The Madonna wears over a brownish tunic a violet cloak lined 
 with green and fastened with a cherub brooch. Over her knees is the dead 
 Christ, not so stiff as at Moulins and at Berlin, but somewhat relaxed as in 
 
GIOVANNI DELLA ROBBIA 
 
 71 
 
 ^^^ia^fi&iiafc,. -, -,„,.^ __ _ _. 
 
 Fig. 36.— Lamentation. Florence, Museo Xazionale. 
 
72 GIOVANNI BELLA ROBBIA 
 
 Michelangelo's Pieta in S. Peters. The IMaddalena in light blue edged yel- 
 low, with a mantle of green lined yellow kneels to the right. In the back- 
 ground is represented a wooden cross crudely grained, bearing the crown 
 of thorns, capped by a tabclla ansata inscribed -I-N-R-I- for Jesus 
 A^a::arciiiis Rex JiiJacoriiiii, which in turn is surmounted by the Pelican 
 feeding her young from her blood, a symbol of the atonement (Evans, 
 Anitiml Synibolisui, p. 128). Above the transverse portion of the cross 
 are the sun and inoon ; below, angels in green and yellow robes and with 
 polychromatic wings, bearing a spear and a sponge. The garish sky is 
 a brutal attempt to render the atmospheric disturbances which attended the 
 crucifixion. Below is an extensive landscape in which we may detect in 
 the distance Jerusalem, horsemen on a plain, the empty crosses, the empty 
 sepulchre, and trees, with strange disregard of the laws of perspective. 
 Giovanni was certainly not a great painter. 
 
 Documents: [Copied by JMr. Rufus G. Mather.] 
 
 1. "+ MDXIIII 
 
 Giovanni dandrea della robia M° (maestro) di lavorare 
 di terra e di rilievo de' avere fior. dodici larghi doro 
 in oro sono perlla monta duna piata e altre fighure e 
 un festone intorno di terra chotta bene ismaltate cholorite 
 ellavorate nel modo efforma fumo dachordo chon detto 
 Giovanni e nel modo efforma del disegno di dette e chosi ci 
 promesse dachoro dar ffate dette ftighure per detto preg(i)o 
 per insino per tutto il mese daghosto 15 14 le cjuale Ifghure 
 s'anno a mettere nellortto di cjuesto ispedale in uno taber- 
 nacholo nuovamente fatto levato dal giornale segnato m c. 112, 
 lire 84 s- d- " 
 
 [Archivio della Spedale degli Innocenti : Scala di Firenze, Serie III, num. 
 36. Libro di Debitori e creditori, Segnato M, dal 1509 al 1526. c. 82.] 
 
 Note. The few archives that remain of the Hospital established by 
 Cione Pollini are now preserved with those of the Innocenti Hospital. 
 
 2. " + jMDXHIJ 
 
 Giovanni dandrea della robia di chontro de dare 
 fiorini quatro doro in oro larghi e soldi cjuatro piccholi 
 levati dal giornale segnato m c. 113 1 28 s 4 d- 
 
 E dde dare addi xv di settenbre 15 16 lire nove 
 et soldi dieci per lui e di sua volonta a 
 bernardo chaponi per una promessa fattagli 
 per il detto giovanni della robia porto 
 
GIOVANNI DELLA ROBBIA yz 
 
 bernardo di L° (Lorenzo) Chapponi chonttro 
 levati dal gioniale segiiato m c. 160 1 9 s 10 d- 
 
 E dde dare addi xv di settenbre 151 5 
 lire sedici porto giovanni detto di 
 chontro per parte della chagione di 
 
 chontro Cam(erario) L(orenzo) c. 2 1 16 s- d - 
 
 E dde dare adi xij di dicenbre 1515 
 fiorini uno doro in oro porto G. detto 
 
 di chonttro Cam. L(orenzo) c. 6 1 7 s- d - 
 
 E de dare adi xv di dicebre lire sei 
 soldi cinque per ogni resto delle fighure 
 ante da luj per il tabernacholo 
 
 dellorto Cam. L(orenzo) c. 6 1 6 s 5 d- 
 
 E de dare adi per insino primo di 
 dicenbre lire dicassette soldi uno 
 porto giovannj detto di chontro per 
 ogni resto delle dette iighure del ta- 
 bernacholo dellorto per ora si disse in cjuesta partita per resto Cam. 
 L(orenzo) c. 4 1 17 s i d - 
 
 1 84 s o dj o 
 [Idem, c. 82.] 
 
 Bibl. : 
 
 B., Kf., 18, 24; Jahrh. VIII (1887), 220-221; Fl. Bildh., 333; Fl. Sc, 
 200; Burl., Ill; C-^I., 216 No. 67; Ciacconius, III, col. 290-295, 477- 
 478; C, s.v. Accolti, Pollini; Cr., 238-239, 328; M., D. R. A., 119, 
 Fig. 49; R. H., 211-213; Poggi, Burl. Mag., XXVIII, 129 note 4 
 (Doc.) ; R., D. R., 246-247; Sc. Fl, IV, 57, 60; Richa, III, 327-351; 
 Rosselli, II, c. 879; Supino, 450 No. 64; Vaughan, 164-166. 
 
 72 LAMENTATION OVER THE DEAD BODY OF CHRIST. Bos- 
 ton. Collection of Mrs. John L. Gardner. Altarpiece. H., 2.40m.; 
 W., 1. 60m. Photo., T. E. Marr, Boston. 
 
 This altarpiece (Fig. T^y) was formerly in the collection of the Rev. Dr. 
 Nevin, Rome. It was probably made for a country Dominican church, as 
 we may infer from the half figures of S. Antonio Abate (a favorite with 
 rustics) and S. Domenico in the predella. Between them is an elongated 
 tabella ansata inscribed : 
 yO VOS^OMNES OVI^TRA(N)SITIS^PER VIAM^ ATEND 
 
 (I)TE 
 ET^VIDETE^SI EST ► DOLORS SIMILIS ► SICUT DOLOR 
 MEVS. 
 
)i:ijm^Mmi 
 
 i </il[;T\''lDFTI: SI ■. ST D LG iRSl MILISSICXai >J 
 
 ** i-u.,_-.:s^.,,^-iay--g .iij. ' jii>it»i iii i. '" ji i w. ; ^ tum < !xi < !&.is '. ' "» ' ' ijyw 
 
 Fig. 37. — Lamentation. Boston, Mrs. Gardner's. 
 
GIOVANNI DELLA ROBBIA 75 
 
 The inscription, except for the insertion of the word siinilis, is taken from 
 the Lamentations of Jeremiah I, 12. The bahister in the centre was prob- 
 ably inserted to hide the juncture of tlie two parts of the predella. 
 
 This aharpiece is a variant of Giovanni's Pieta now in the Museo Nazio- 
 nale No. 64. The central gioup is doubtless by Giovanni's own hand. The 
 types are the same as in the Florentine example, but the composition is 
 more freely conceived, the body of the dead Christ being more relaxed and 
 more livid in colour. The colouring of the draperies are also slightly 
 changed. 
 
 The framework was probably left to an assistant as it is cruder in work- 
 manship and shows changed proportions. So was doubtless the back- 
 ground. The pelican is omitted, the inscription is painted only, the sun 
 and moon are vertical not inclined, the cross is broader, the angels of the 
 new type carry a sudarium as well as the spear and sponge, the skull and 
 cross bones are introduced beneath the cross, the landscape is quite differ- 
 ently conceived, and finally every figure in the relief, whether important 
 or unimportant is given a halo. 
 
 Bibl. : 
 
 M., D. R. A., 1 19-120, Fig. 48. 
 
 73 PIETA. New York. Gallery of E. F. Bonaventura (in 1912). Al- 
 tarpiece. H., 0.80m. ; W., 0.75m. Photo., Private. 
 
 This is an abbreviated variation (Fig. 38) of Giovanni's Lamentation in 
 the Museo Nazionale, No. 64. The Madonna wears a yellow halo, a violet 
 tunic, a blue mantle lined green, and yellow socks. The Christ, in relaxed 
 position across her knees, has a violet and yellow halo, and a violet loin 
 cloth. The cross is suggested behind the Madonna and the hill of Calvary 
 crudely represented. Below is the usual inscription : 
 
 O VOS OMNES- OVL TRANSITIS- PER VIAM • ATTENDITE- 
 ET ■ VIDETE • SI EST • DOLOR • SICVT • DOLOR MEVS . 
 The punctuation marks are reduced here to simple dots. 
 
 The fruit and flower frame, broad and heavy, is not subdivided into con- 
 ventional bunches. The garlands originate at the top and fall to left and 
 right. Besides the usual grapes, pine cones, apples, lemons, and pomegra- 
 nates one sees here a sliced cucumber, green almonds, bean pods, walnuts, 
 and flowers. 
 
 Bibl. : 
 
 M., D. R. A., 120 Fig. 50. 
 
76 
 
 GIOVANNI DELLA ROBBIA 
 
 Fig. 38. — Lamentation. New York, Bonaventura's. 
 
 74 PIETA OR LAMENTATION 0\'ER THE DEAD BODY OF 
 CHRIST. Berlin. Kaiser-Friedrich Museum No. 112 (I, 160). 
 Statues. H., of Madonna, i.ioni. ; W., of group 2.30m. Photo., 
 Private. 
 
 This group ( Eig. 39), acquired by the Museum in 1887 from the owner 
 of a Villa near Florence, was originally in the Monastery of the Cap- 
 puccini. The figures are not glazed but painted in oil. The Madonna hold- 
 ing across her knees the stiff body of Christ recalls the group at Moulins 
 and enables us to restore the full composition of that group. In type, how- 
 ever, neither the Madonna, the S. Giovanni nor the Maddalena are closely 
 enough related to Giovanni's works to be certainly attributed to his own 
 hand. When the group stood in the church of the Cappuccini we may 
 well believe from analogy of the group at Moulins that it stood on a pre- 
 della inscribed O VOS OMINES, etc. 
 
GIOVANNI DELLA ROBBIA 
 
 ■17 
 
 Bibl. 
 
 Fiii. 39, — Lamentation. Berlin, Museum. 
 
 B., ]ahr. VIII (1887), 217-223; Ital. PL. 95; Dcnkm., 80; Taf. 282; 
 Fl. Bildh., 332, Fig. 175; Fl. Sc, igy, PI. 84; Cr., 239, 327; Fabriczy, 
 Jahr., XXX (1909), Bcih., 22-23; i^Icrtcns, I, No. 35; Schottmuller 
 49, Abb. 112; S., 142, Abb. 155. 
 
 75 LAMENTATION OVER THE DEAD BODY OF CHRIST. Lon- 
 don. Victoria and Albert Museum, No. 8882-1862. Group of statues. 
 Photo., Museum. 
 
 From the Gigli-Campana collection, a composition, as at Moulins and in 
 the Berlin Museum consisting of the Madonna bearing across her knees the 
 
 Fig. 40. — Lamentation. London, Victoria and Albert Museum. 
 
 Stiff body of Christ, with S. Giovanni supporting his head and the Madda- 
 lena his feet (Fig. 40). Unglazed and unpainted. The types appear to be 
 Giovanni's although more animated than usual. A new motive is found 
 in the Madonna's raising the lifeless hand of the Christ. 
 
 Bibl. : 
 
 B., Jahrh., VIII (1887), 219; Fl. Bildh.. 330; Fl. Sc, 199; Fab- 
 riczy, /. k. p. K.. XXX (1909), 45 No. 173. 
 
78 GIOVANNI BELLA ROBBIA 
 
 76 THE KNEELING MADDALENA. London. Victoria and Albert 
 Museum. Statue. H., 0.95m. 
 
 Almost a replica of the Maddalena in the unglazed Pieta in the same 
 museum. 
 
 Bibl. : 
 
 B., Fl. Bildh., 331; Fl. Sc, 199; Robinson, 109, No. 4499; Fabriczy 
 /. k. p. K.. XXX (1909), 45 No. 174. 
 
 77 LAMENTATION OVER DEAD CHRIST. Fiesole. La Doccia 
 (Villa Cannon). 
 
 In 1 41 4 Niccolo Davanzati erected below Fiesole a retreat for Era Eran- 
 cesco da Scarlino, who in turn raised the funds for the church which was 
 dedicated to S. Michele Arcangelo. In i486 the Erati Minori Osservanti 
 came into possession, established a monastery and chapel in the wooded 
 estate and retained control until their suppression in 1808. The monas- 
 tery is now the \'illa Cannon. 
 
 On the road leading to the monastery was once an altarpiece represent- 
 ing the Lamentation over the dead Christ. It is now gone, but in 1869 
 D. Maccio described it as representing the V'irgin Mary seated by the cross 
 carrying on her lap the dead Christ between S. Francesco and S. Michele 
 Arcangelo. This description suggests a composition like that in the Monte- 
 doglio Chapel at La Verna or at S. Salvatore al Monte, perhaps of simpler 
 character. Its present whereabouts is not known. 
 
 Bibl. : 
 
 Burl., 114; Carocci, I, 111-112; C-M., 233 No. 177; Maccio, 30. 
 
 78 LAMENTATION OVER THE DEAD BODY OF CHRIST. La 
 A^erna. Monastery. Cappella Montedoglio. Altarpiece. H., 3m. ; 
 W., 2.15m. Photos., Alinari, 9825a; Agostini, 576. 
 
 In the loggia between the Chiesa Maggiore and the Stimate is found the 
 Cappella Montedoglio known also as the Cappella della Pieta. The chapel 
 was begun by Conte Francesco Montedoglio in honour of his patron saint 
 S. Francesco in 1532 and completed after his death by his wife Alessandra. 
 It is adorned with the altar of the Pieta or Lamentation over the Dead 
 Body of Christ (Fig. 41). 
 
 The central group of S. Giovanni, the IMadonna, the Dead Christ, and 
 the Maddalena are almost a replica of Giovanni della Robbia's Pieta of the 
 year 15 14 now in the Museo Nazionale, No. 64. The body of Christ is 
 
GIOVANNI DELLA ROBBIA 
 
 79 
 
 slightly more relaxed, hut all the types remain the same. S. Giovanni is 
 robed in blue with mantle of violet-brown lined green, the Madonna wears 
 a blue mantle over a violet brown robe, the flesh of the Christ is a livid 
 green, while the Maddalena is in yellow with mantle of green lined blue. 
 Behind them stand S. Francesco in light gray, S. Michcle holding his sword, 
 
 Fig. 41. — L.AMENTATioN. La Verra, Monastery. 
 
 S. Antonio of Padua also in gray, and S. Girolamo in brown lined 
 green. In the background is an extremely ill proportioned cross inscribed 
 Jf ly ]>i yK^ l^ on a scroll and scourges hanging from either end of the 
 cross. It may be noted also that the golden sun and silver moon, with their 
 hard, spike-like rays, have no sympathy with the scene of sorrow portrayed 
 below. 
 
 The frame is composed, as Giovanni might have directed it, with poly- 
 chromatic garlands in triplex bunches separated by fluttering ribbons ris- 
 ing from blue dolphin handled vases decorated with scales, interlacings 
 and godrons. The predella consists of five reliefs separated by pilasters 
 decorated with candelabra. The terminal reliefs contain the Montidoglio 
 arms : Argent, an eagle displayed azure. The central reliefs represent the 
 
8o 
 
 GIOVANNI BELLA ROBBIA 
 
 Annunciation, the Nativity, and the Adoration of the Magi. The Annun- 
 ciation is manifestly influenced by Benedetto da Maiano's composition in 
 the church of Montohveto, Naples. 
 Bibl. : 
 
 Beni, 360; C-M., 256 No. 326; Cr., 358; M., Sc. Mag., 1893, 697; 
 
 R. H., 287-288; iMcnchcrini, 70, 134-136; R., D. R., 247; Sc. Fl. IV, 
 
 60; Vas., II, 198. 
 
 79 LA MADDALENA. Boston. Museum of Fine Arts. Half figure. 
 H., 0.35m. Photo., Private. 
 
 This was once part of a statuette of the Maddalena like that which Ag- 
 nolo di Polo made in 1495 for the Ospedale della Morte at Pistoia; but 
 less Verrochiescjue and almost certainly from the hand of Giovanni 
 della Robbia (Fig. 42). She once carried a box of ointment. This has 
 now broken away and only the book remains. Both symbols are borne 
 by La Maddalena in the Pulci Chapel altarpiece in S. Croce, but here the 
 type is less gracious, more akin to the Maddalena in the Entombment lun- 
 
 FiG. 42. — La Maddalena. Boston, Museum of Fine Arts 
 
GIOVANNI DELLA ROBLilA Si 
 
 ette in S. Salvatore al Monte. Like the latter it was unglazed, although 
 originally it may have received a coating of oil paint. It came to the 
 JMuseum from the collection of the late Charles C. Perkins. 
 
 Bibl. : 
 
 M., D. R. A., I20 Fig. 51. 
 
 80 LA MADDALENA. London. Victoria and Albert Museum. 
 Bust. Photo., Thompson. 
 
 Unglazed bust. Similar to the unglazed La RIaddalena in half figure in 
 Boston Museum of Fine Arts. 
 
 81 S. MARIA MADDALENA. Paris, Heilbronner Galleries. Statu- 
 ette. H., 0.84m.; A\'., 0.50m. 
 
 Nudes unglazed. Tunic green,, with neck border and sleeve bands un- 
 glazed, girdle blue; mantle brown lined yellow. She holds a box in her 
 left hand, her right is against her breast. 
 
 82 THE IMMACULATE VIRGIN AND SAINTS. 1514. Poggibon- 
 si (near). S. Lucchese. Altarpiece H., 3,36m.; AA\, 2.25m. Photo., 
 Lombardi, 1778. 
 
 This altarpiece (Fig. 43) in a church named S. Lucchese near Poggi- 
 bonsi, in general construction follows that at S. Medardo, Arcevia. It issued 
 from Giovanni della Robbia's studio one year later. 
 
 The predella indicates that it was presented by Daddo di Tommaso di 
 Simone Calcagni and his wife Tommasa di Gabriele Riccobaldi, since at the 
 dexter end are the Calcagni arms: Argent, a hound salient, azure, col- 
 lared gules, and at the sinister end the Riccobaldi arms : Vert, three estoiles 
 or, 2 and i, divided by a fess of the same. Daddo Calcagni was married to 
 Tommasa Riccobaldi in the year 1503. Besides the coats of arms the 
 predella has reliefs representing (i) S. Francesco receiving the stigmata, 
 (2) S. Bonaventura with staff and book, cardinal's hat and mantle adorned 
 with cherub heads, (3) the Annunciation, (4) S. Lodovico da Tolosa, with 
 staiT and book, in a mantle adorned with fleurs-de-lys, and (5) S. Anton-o 
 of Padua preaching to the fishes. These saints were specially cherished by 
 the Osservanti. 
 
 The figured decoration of the altarpiece relates to the Immaculate Con- 
 ception of the Virgin. In the central niche is S. Anna, robed in brownish 
 violet, with mantle of blue lined green, presenting the immaculate infant 
 

 
 
 Fig 43 — The Iaim\cll\te Conleptkim Poggiponsi S Lucche«;e 
 
GIOVANNI DELLA ROBBIA 83 
 
 Virgin arrayed onl_y with a golden erown and necl<lace. She stands on a 
 pedestal adorned w ith sphinxes and garlands with a tabclla aiisuta inscribed : 
 
 QVl ELVCIDANT ME 
 
 VITAM ETERNAM 
 
 HABERVNT + 
 The sides of the niche are decorated with the cube pattern, as at Arcevia, 
 and its background with the familiar Robbia tile pattern. The conch con- 
 tains an image of God the Father blessing and holding an open book in- 
 scribed A Q surrounded by brownish violet and blue winged cheruljs. It has 
 a coffered vault and an archivolt adorned with fruit garlands meeting at 
 the top. 
 
 To the left is S. Francesco robed in greenish gray, holding a yellow 
 cross, a book and a scroll inscribed: VIRGO ALT(ISSIMA) REGINA 
 POL(0)R(V)M CAPE VOTA PRECANTIS. He is somewhat older 
 than the S. Francesco in the altarpiece of the Last Judgment at Volterra. 
 Above him, separated by a Greek maeander is a medallion framed in egg 
 and dart moulding with cherub heads at the four angles. In it is a poly- 
 chromatic bust of S. Ambrogio holding a scroll inscribed 
 • HEC • EST • VIRGA ■ IN ■ OVA • NEC • NODVS 
 ORIGINALIS ; NEC • CORTEX ■ VENIALIS • CVLPE • FVIT 
 This inscription is attributed to S. Ambrogio in the altarpiece of the Im- 
 maculate Conception in the Pinacoteca at Empoli. 
 
 To the right is S. Antonio of Padua robed in gray holding a violet flame, 
 a book and a scroll inscribed 
 
 jcvnq(ve)- tvo- nato- sis- memor- 
 alma" svi ■+■ 
 
 Above the niche in which he stands is a medallion with a bust of S. Agos- 
 tino, in polychromatic episcopal robes, holding a scroll inscribed : 
 J'SVP(ER) CVNCTOS- RESERVASTI - 
 EAM - AB OMNI - LABE - PECCATI - 
 The four pilasters are similarly decorated with grotteschi — a new ar- 
 rangement of patterns used already by Giovanni della Robbia. On one the 
 date remains AN(N)0- S(ALVATORIS) • M - D - XIIII. 
 
 The entablature is elaborately decorated as elsewhere in Giovanni's 
 works, the frieze of grotteschi as in the Madonna della Cintola at S. Gio- 
 vanni Valdarno, and the architrave and cornice as at Lamporecchio (1524). 
 Above the entablature the praise of the Virgin is continued by (i) putti 
 playing on the tambourine, cithara, pipe, and psaltery and (2) by David 
 and Solomon with scrolls inscribed 
 
 QVERETVR PECCATA ILLIVS 
 NOfN) INVENIETVR + (Ps. X, 15) 
 
84 GIOVANNI BELLA ROBBIA 
 
 and 
 
 TOTA PVLCRA • ES ■ A:MICA 
 
 MEA- ET MACVLA NO(N) EST IN TE (Song of Solomon, IV, 7). 
 In the lunette framed by cherubs is represented the last of the glorious 
 mysteries — the Coronation of the Virgin. God the Eather, in violet brown 
 with mantle of blue lined green places a golden crown on the head of the 
 Virgin who is robed in brownish violet with a mantle of pure white lined 
 with green. Above the lunette is a blue vase filled with fruit. The sur- 
 rounding background consists of the Robbia tile pattern beneath loops of 
 a mustard yellow curtain here set upside down. 
 
 Bibl. : 
 
 B. J., 95-96; B., Kf., 19, 25; A. S. A., II (1889), 2, Note i; Brogi, 
 Iin'. 420-421 : C-M., 244 No. 238; Cr., 352; M., R. H., 214; Del Mig- 
 liore, Ms. in Bibl. Magliabec. Classe XXVI, Cod. 131, c. 139; Priorista 
 Ridolfi, s.v. Calcagni; Vas., II, 198. 
 
 83 S. ANNA HOLDING THE MADONNA AND CHILD. Berlin. 
 Kaiser-Eriedrich-Museum, old No. 134. Statuette. H., 0.47m. 
 
 This polychromatic statuette was acquired in 1828 from the Bertholdi 
 collection and is not mentioned in Eraulein Schottmiiller's catalogue. Anna 
 wears a violet mantle edged with yellow. On her lap is seated the Madonna 
 in violet robe edged yellow and mantle of blue lined green. The nude Child 
 is seated on a yellow cushion. Nudes unglazed. 
 
 Bibl. : 
 
 Bode and Tschudi, 44 No. 134; C-M., 262 No. 362; Cr., 333; Tieck- 
 Gerhard, No. 628; Tieck, 81. 
 
 84 CHERUB HOLDING TAMBOURINE. Florence. Galleria Buon- 
 arroti. Statuette. H., c. 0.50m. Photo., Alinari, 3537. 
 
 This musical cherub (Eig. 44) may have been designed for the summit 
 of some altarpiece and could have occupied a position similar to that of the 
 flute playing putto at S. Lucchese near Poggibonsi, or possibly it was in- 
 tended as an independent genre figure, in which case he could have been 
 seated more comfortably than on the console now used for this purpose in 
 the museum. His eyes have linear black upper lashes and large pupils with 
 no irises. 
 
 Bibl. : 
 Cr., 340. 
 
GIOVANXI DiaJ.A ROHBIA 
 
 85 
 
 Fig. 44. — Musical Chekub. Florence, Galleria Buonarroti. 
 
 85 TWO GARLAND BEARING PUTTI. Lucca. Museo Civico. 
 Statuettes. H., 0.60m. Photos., Alinari, 8361-8362. 
 
 These two seated putti (Figs. 45, 46) were long conserved in a building 
 belonging to the Dominican monastery at Lucca, which was used as a store 
 house for the archives of the Notaries. They were possibly designed to 
 decorate the top of some large altarpiece. They are not reclining as in the 
 case of the ciborium in SS. Apostoli or the lavabo in S. Maria Novella, but 
 seated back to back, probably on either side of a vase as on the lunette of 
 the altarpiece at S. Lucchese, Poggibonsi. 
 
 They show ruffled and flat golden hair, the irisless eyes and rings of fat 
 on legs and arms, signs of Giovanni's modelling. The altarpiece for which 
 these were designed must have been one of his masterpieces. 
 
 Burl., 67, C-M., 236 No. 195; S., 143, Abb. 163. 
 
 86 MADONNA DELLA CINTOLA AND SAINTS, c. 1514. S.Gio- 
 vanni Valdarno. Oratorio della Madonna della Grazie. H., 2.85m.; 
 AV., 2.80m. Photo., Alinari, 9841. 
 
 Over the entrance door of the Oratorio delle Madonna, founded in 1484 
 is an Assumption by Giovanni della Robbia, which dates from about 15 14 
 
86 
 
 GIOVANNI DELLA ROBBIA 
 
 Fig. 45, 46. — Garland bearing Putti. Lucca, Museo Civico. 
 
 (Fig. 47). It was probably the joint gift of Bartolommeo di Rosso Buon- 
 delmonti and of Jacopo Salviati. At the dexter end of the predella are the 
 Buondehnonti arms, here displayed: Per fess aciirc (in chief), and argent 
 (in base), a cross gules on a mount of six tops azure. The Salviati arms 
 at the sinister end of the frame are; Argent, bendy bretisse gules. Both 
 Bartolommeo and Jacopo were relatives of the Pope. After Leo's trium- 
 phal entry into Florence, Nov. 30, 1515 Jacopo Salviati had the right to 
 display in his arms a Medici palla and the letters L X. The rest of the 
 predella is filled with grotteschi — the same composition repeated five times — 
 of the pattern used in the frieze of Giovanni's altarpiece at S. Lucchese near 
 Poggibonsi. 
 
 In a recess or niche the Madonna is seen in a rayed mandorla, which is 
 supported by four angels or archangels clad in blue, green, violet and yel- 
 low and with polychromatic wings (the colours horizontally striated). She 
 is robed in lilac with a mantle of pure white lined green, and wears a large 
 cross hanging from her neck. Gherubim aloove, laelow, and at either side. 
 Below her in a landscape, partly plastic, chiefly painted only, is a sarcopha- 
 gus panelled blue with yellow rosettes and filled Avith lilies and roses. In 
 front of it on their knees are S. Giovanni Battista, patron saint of the town, 
 in yellow haircloth and violet lined green mantle, S. Tommaso robed in 
 green with violet mantle, awaiting the descent of the girdle, and S. Lorenzo, 
 patronymic saint of the then reigning Lorenzo di Medici, in diaconal robe 
 of green elaborately ornamented with palmette and scrolls, holding a book 
 and a green palm branch. Near S. Lorenzo is a black gridiron. 
 The frame of the niche, on its inner face, displays at the top the out- 
 
GIOWVXXI DELLA ROiSlUA 
 
 87 
 
 spread arms of God the Father, the Hol_\' Dove separated by elierulj heads 
 from musieal angels with tamljourines, e_\'ml)als, pipes, or wreaths, and ar- 
 raj'cd in yellow, A'iolet or green. On its outer face, between a gnilloche 
 and egg and dart moulding, there spring from a blue vase on each side gar- 
 
 FiG. 47. — Madonna della Cixtola. S. Giovanni in Valdarno. 
 
 lands of rectangular, triplex bunches of fruit, flowers, and wheat, sepa- 
 rated or fastened by blue ribbons tied in horizontal bow knots, against a 
 white background. 
 
 Bibl. : 
 
 E. J., 82; Burl., 117: C-:^!., 250 Xo. 2S3 ; C, s.v. Bondelmonti, Sal- 
 viati; Cr., 354; M., R. H., 195-197; Demmin, 219; Litta, II, s.v. Buon- 
 delmonte, Tav. 11; von Rumohr, II, 296 note. 
 
 87 FOUR AXGELS SUPPORTIXG A MAXDORLA. 
 Kunstgewerbe Museum. Lunette. 
 
 Cologne, 
 
 The Madonna della Cintola at S. Giovanni in Valdarno was the proto- 
 type from which the lunette at Cologne is an abbreviated study. The frame 
 
88 GIOVANNI BELLA ROBBIA 
 
 is similarly constructed with egg and dart and guilloche mouldings enclos- 
 mg garlands of triplex bunches of fruit and flowers separated by transverse 
 ribbons and rising from blue vases. Against a blue sky appears a yellow 
 rnandorla or gloria radiata from which the Madonna has been abstracted. 
 She could be restored, however, from the lunette at S. Giovanni. Here 
 also at the top and base of the rnandorla is a cherub head, and between them 
 four Verrocchian supporting angels with horizontally striated wings and 
 garments of Ijlue, green, yellow and violet. Evidently from Giovanni's 
 atelier about 15 14. 
 
 Bibl. : 
 
 Cr., 336; Fabriczy, A. S. A., Ill (1890), 162; Springer, III, 71, 
 Fig. 83. 
 
 88 MADONNA BELLA CINTOLA. Volterra. Seminario a S. An- 
 drea in Postierla. Fragment of altarpiece. Photo., Brogi, 13045. 
 
 These almost unnoticed fragments (Fig. 48) are from an altarpiece said 
 to have been presented to the monastic church of S. Andrea by some de- 
 scendant of Guelfuccino Mannucci of Volterra who was a great benefac- 
 tor of this Olivetan monastery in the year 141 7, as is recorded on a tablet 
 beneath his portrait in the sacristy of the church. Beneath the relief is a 
 medallion containing the Mannucci (or possibly the Pulci) arms: Argent, 
 three pallets gules. 
 
 The central composition should be restored after comparison with the 
 altarpiece at S. Giovanni Valdarno by the addition to the foreground of 
 two kneeling saints, possibly S. Andrea and the patronymic saint of the 
 donor, a landscape background and an appropriate frame. As at S. Giovan- 
 ni Valdarno the supporting angels are robed in blue, green, violet and yel- 
 low; the Virgin's mantle however, is not pure white but covered with Rob- 
 bia pavement pattern. S. Tommaso, robed in blue edged yellow with a 
 mantle of violet lined green, recalls in type the archangel Gabriele in the 
 Annunciation of the Casa Sorbi, Florence. Faces and hands of all the 
 figures are unglazed. The white sarcophagus is panelled in blue and deco- 
 rated with yellow rosettes. 
 
 Bibl. : 
 
 C., s.v. Mannucci, Pulci; M., R. H., 197; Repetti, V, 819; Ricci, Vol- 
 terra, 143, 145. 
 
 89 THE ASSUMPTION OR THE MADONNA IN GLORY. Ash- 
 bridge Park, Apsbridge House. Lord Brownlow. Lunette. W., 
 1.85m. Photo., The Connoisseur. 
 
 This lunette represents the Madonna in a mandorla radiata of mustard 
 yellow. Two cherubs only, one above, one below. Two supporting angels. 
 
GIOVANNI DELLA ROBBIA 
 
 89 
 
 Fig. 48. — Madonna della Cintola. Volterra, S. Andrea. 
 
90 GIOVANNI BELLA ROBBIA 
 
 All figures are white against blue background. The angels may have been 
 cast from the same mould as those at S. Giovanni Valdarno, but the Ma- 
 donna is different, more like the Madonna in Glory of the Campo Santo at 
 Pisa. She sits with folded hands on a throne of clouds and is not letting 
 down a girdle. There is no S. Tommaso below. 
 
 The frame consists of pendent garlands of fruit and flowers arranged in 
 a series of contiguous, triplex bunches. At the top is a coat of arms, cjuar- 
 tered (i) and (4) vairy, gnlcs and argent, (2) and (3) argent, a rod bend- 
 wise, or beribboned azure. Mr. R. G. Mather writes that (i) and (4) may 
 be the arms of the Tori family of Siena (Blasone Senese, III, 52). 
 
 Bibl. : 
 
 Gregory, Tlie Connoisseur, XIII (1906), 4, 7; M., R. H., 197. 
 
 90 THE TEMPTATION OF ADAM. 15 15. Baltimore. Collection 
 of Mr. Henry Walters. Rectangular altarpiece. H., 2.70m. ; W., 
 2.08m. Photo., Private. 
 
 In 1884 this altarpiece (Fig. 49) was in the hands of a Florentine dealer, 
 Angelo Capelli, in the Via Borgo Ognissanti. Then it figured in the Le- 
 iOng collection, Paris, until Dec. 1902 when it was purchased by Mr. Wal- 
 ters. What its history may be is unknown, except so much as may be in- 
 ferred from the monument itself. The inscription suggests a change of 
 purpose. We may presume that it was originally intended to bear only 
 rhe trivial rhyme ADAM PRIMVS HOMO DA(M)NAVIT SECMVLA 
 (sic) POMO, but, as an afterthought, was made a memorial of the trium- 
 phal entry of the Medici Pope Leo X into Florence and the inscription ad- 
 ded in another hand, 
 
 J'LEO^ X^ PON(TIFEX)K MAXdMVS)^ INGRES(S)VS^ 
 EST^ FLORENTIA(M)^XXX^D(IE) 
 
 We note that Leo X is written Leo X'" (for Decimus), and that the final 
 w^ord was probably intended for DIE, here represented by the letter D con- 
 taining the letter P. It may be recalled that the triumphal entry of Leo X 
 into Florence occurred on the 30th day of November 15 15. Unfortunately 
 space was insufficient for the date in full. 
 
 The predella appears to have been designed after the change in purpose, 
 for it contains, in the centre, the Papal tiara and a gold and silver key above 
 a shield containing the Medici arms, Or, six balls, one azure, five gules, in 
 orle; at the dexter end is the Buondelmonti (?) stemma; Azure, a mount 
 of six tops or surmounted by a cross gules; at the sinister, the Salviati 
 stemma : Argent, bendy bretisse gules, in chief are the letters L and X 
 gules between a palla azure, a badge of honour presented to Jacopo Salviati 
 
r.ioxAxxi i)1':lla robbta 
 
 91 
 
 
 Fig. 49. — The Temptation. Baltimoee, Walters' Collection. 
 
92 GIOVANNI BELLA ROBBIA 
 
 who was then Gonfaloniere. Similar honours are found <jn the Spina, Ot- 
 taviani and other arms. The two donors appear to have been Bartolom- 
 meo Buondelmonti and Jacopo Salviati. 
 
 Bartolommeo di Rosso Buondelmonti married Alessandra daughter of 
 Guglielmo de'I'azzi and of Bianca di Piero de'Medici in 1483 and in 1489 
 paid Andrea della Robbia for a lunette now in the Museo dell'Opera del 
 Duomo. The Salviati here indicated was probably Jacopo Salviati whose 
 mother Lucrezia de'Medici was the Pope's sister, and who himself was the 
 recipient of many favors from the Pope. His son Giovanni was made a 
 cardinal in 15 13. 
 
 The central composition of Adam and Eve in the Garden may have been 
 inspired by Albrecht Diirer's well known print of 1504 which was copied in 
 Italy by Marcantonio in 15 10 or 15 12. The introduction of a white dove, 
 green parrot, yellowish sciuirrel, and dark coloured owl and blackbird sug- 
 gest the compositions of Giovanni della Robbia. The Eve, with yellow 
 hair is cjuite as Giovanni might have designed her, but the Adam is more 
 advanced in modelling and his head more classic in type than we should 
 have expected. His right arm appears to be modern. His eyes are col- 
 oured in violet, the irises being left white. He is very different in type 
 from the Adam which Giovanni designed for the Certosa. The female 
 head of the serpent is however essentially the same in both cases. 
 
 The mouldings, pilasters, and decorations of the predella may be paral- 
 leled in Giovanni's works. The frame of the central relief appears un- 
 finished. Originally, as in the Casa Sorbi relief, it probably had at the top 
 a frieze corresponding to that of the sides. These are composed in alter- 
 nately long and short panels decorated with bunches of fruit dos-a-dos or 
 with yellow rosettes on blue ground, a reflection of Andrea's composition in 
 the vault of the Cathedral porch at Pistoia (1505). The yellow outlines 
 of the frame are also characteristic of Giovanni's atelier. 
 
 Note. — The date Nov. 30, 1515 given by Vaughan, Roscoe and others is the date usually 
 given for the triumphal entry of Leo X into Florence. Mr. Rufus G. Mather, 
 however, sends me the following quotation from a Barhcrini Ms. in the Vatican which 
 gives the date as Dec. 13, 1515. The citation is interesting as explaining how a Salviati 
 came to have the Medici palla and the letters L and X in his coat of arms. 
 
 Bibl. Vat. Fondo Barberino, Lat. No. 5002. Memorie per la Storia Fiorentina- 
 Anonimo. p. IV. 
 
 "1515. Addi 13 Dice(m)bre entro in fir(en)ze Papa Leone con 18 Card(ina)li, e 
 molti Principi secolari e ecclesiastici con tutta la corte di Roma p(er) la Porta a 
 S. P. Gattolini con gra(n)d(issi)ma pompa, e honore, ando a S. M. del fiore, e si ritiro 
 alia sua habitazione a S. M. Novella; et il terzo giorno si parti p(er) Bologna p(er) 
 ricevere il Re di fra(n)cia che veniva p(er) renderli obidienza. E il 22 d(ett)o torno 
 a fire(n)ze et il giorno di Natale canto la Messa in S. M. del fiore e dette la sua Arme 
 al Gonfaloniere e lo fece Conte Palatino, e anco li suoi successori, et alii Sig(no)ri 
 Priori dette una palla della sua Arme, e concesse privelegii de Conti Palatini a tutti 
 li Podesta di firenze. Stette in firenze sino a febbraio, che si parti p(er) Roma li 8 
 
GIOVANNI BELLA ROBBIA 93 
 
 febb(rai)o 1515, dovo yiunto concessc i)(cr) sue Bollc alia Republica che potessc porre 
 le Decinic sopra li Beni tcclcsiastici." 
 
 Bibl. : 
 Anc 
 Gras 
 
 cisa, MM., c. 465; C-M., 230; C, s.v. Buondelnionti, Salviati ; P. de 
 vjiassis, quoted by Roscoe, I App. I, II; Lelong, 31 ; Litta, Buondel- 
 nionti; M.,D.R.A., 111-116, Fig. 45; Vaughan, 144; Roscoe, I, 33-37- 
 
 91 A MIRACLE BY S. BENEDETTO (?). Elorence. Museo Nazio- 
 nale. No. 54. Rectangular. H., 0.86m.; AV., 1.15m. 
 
 This rectangular relief is said to represent a miracle by S. Benedetto. 
 It does not suggest any of the compositions representing the life and mira- 
 cles of S. Benedetto, as listed by Mrs. Jameson, in her Legends of the Mon- 
 astie Orders, pp. 18-24. S. Benedetto, is moreover, usually rolled either in 
 black or altogether in white. Here is to be seen a monk clad in a white 
 tunic and black mantle — the Dominican costume. He is accompanied by 
 two acolytes, one carrying bread, the other a tiasco of wine. These em- 
 blems are about to be presented to a knight, in pale blue with a green cloak, 
 attended by armed men and a woman. Their faces are glazed in flesh 
 tones. The sky is light blue. The relief is framed with garlands of fruit 
 separated by bows of blue rililion. At each angle is a yellow rosette. The 
 conventions are those of Giovanni della Robbia. 
 
 Bibl. : 
 
 Burl., hi; Cr., 339; Supino, 448 No. 54. 
 
 92 THE VISION OE S. BERNARDO, c. 151 5. Rome. Vatican. 
 Sala Borgia. Round-headed relief on console. H., i.22ni. ; \V., o./Oni. 
 Photo., Brogi, 16411. 
 
 This composition (Eig. 50) is based on Eilippino Lippi's Vision of S. 
 Bernardo in the Badia. The wearied Saint was writing his homilies on a 
 rustic desk when the Blessed Virgin, the subject of his writings, appeared 
 before him and strengthened him. The poses of the saint, the Virgin and 
 of the four angels are essentially the same in the relief and in the painting. 
 Behind the saint may be recognized the Devil in a cave, and on the rocky 
 background a dove, a stag, and scjuirrels. A grove of conifers against the 
 blue sky completes the landscape. The angels clad in violet, blue, yellow 
 and white with their horizontally striated wings are such as Giovanni della 
 Robbia was accustomed to portray. The Virgin, as we might expect, is 
 robed in violet edged yellow and wears a mantle of blue lined green. S. 
 Bernardo, the patron saint of the Cistercians, is robed in white. The book 
 
94 
 
 GIOVAXXI DELLA ROBBIA 
 
 Fig. 50. — The Visiox of S. Bernardo. Rome, V.\tican. 
 
 before him is inscribed ECCE \^IRGO. Another book opened against the 
 rocks displays the text from Isaiah VII, 14 and Luke I, 31, ECCE VIRGO 
 CONCIPIES ET PARI(E)S FILIVM ( ET ) VOCABIS NOMEN 
 (EIVS lESVM). As these words were spoken by the angel of the An- 
 nunciation, S. Bernardo may be presumed to be writing his homily De 
 Beata Maria Vergine (Migne, Patr. No. 691). 
 
 The frame shows within egg and dart and rope mouldings a garland 
 
GIOVANNI DELLA ROBBIA 95 
 
 composed of triplex bunches of fruit separated by transverse blue bows 
 of ribbon and terminating in a medallion with the monogram Y li S. 
 
 The console with blue cornucopias of polychromatic fruit and wheat 
 enclosing a wreath with coat of arms is not unlike the console of the taber- 
 nacle dated 1515 in the same apartment of the Vatican. The coat of arms : 
 Per fess giilcs (chief) and or (base) may be either that of the Paoli of 
 Siena or of the Simonetti or Benozzi families of Florence. 
 
 Bibl. : 
 
 Cr., 353; Farabulini, Afti di Accad. Rom. pout, di archcologia, Vol. 
 IX; Jameson, Leg. Mou. Orders, 144; M., R. H., i73-i74- 
 
 93 SEATED MADONNA AND CHILD. Prague. Collection of Herr 
 Adalbert von Lanna. Tabernacle. H., i.i8m. ; W., 0.65m. Photo., 
 Sale Catalogue. 
 
 ^tj'- 
 
 The prototype of this Madonna was formerly in the von Beckerath Col- 
 lection, thence passed to the Berlin Museum, No. 72 (I. 2939). The 
 Prague example (Fig. 51), like that in the Victoria and Albert Museum, is 
 a subsequent replica. It was apparently executed in Giovanni's atelier, as 
 is indicated by the frame similar to that of the Vatican tabernacle of 1515. 
 Beneath the central relief is a tablet inscribed 
 
 y REGINAM y VENERARE 
 POLIJ' REGEMO(VE) T PRECA(N)DO 
 POSTO(VAM) > PRECES y TVVM 
 CARPE y VIATOR y ITER + 
 
 Bibl. : 
 
 M., L. D. R., Nos. 1 17-120; Sammlung Lanna, II, 76 No. 581, Taf. 
 40. 
 
 94 MAGALOTTI CIBORIO. c. 1515. Florence. Museo Nazionale, 
 No. yy. H., 2m.; W., 0.82m. Photo., Alinari, 2779; Brogi, 9502. 
 
 This ciborio (Fig. 52) is representative of a series which emanated from 
 the atelier of Giovanni della Robbia. It came in 1868 from the house of 
 the Fathers of the Oratory of S. Filippo Neri, an annex tO' the church 01 
 S. Firenze. It of course antedates the Oratory, founded only in 1624 by 
 Pietro Bini. Filippo Neri himself was not born until 1515. 
 
 The console between two blue cornucopias of fruit, flowers, and wheat, 
 contains a wreath of fruit enclosing a shield with the combined arms of 
 Filippo Magalotti and of Cassandra di Giuliano Maria di Jacopo Rinuccini, 
 
96 
 
 GIOVANNI BELLA ROBBIA 
 
 ■■ ^d ife^a» a> iiti wi ig wi w m i a jit ii< inn ttmrtf 
 
 V 9^:}' I f, r/^'fj.i UC-*^, 
 
 
 S) ^ \ t 
 
 Fig. 51. — Madonna. Prague, von Lanna Collection. 
 
 who were married on Oct. 15, 1506. The dexter arms are those of the 
 Magalotti family; Barry sable and or. in chief giilcs LIBERT.\(S) or. 
 The sinister arms are those of the Rinuccini ; Argent, a bend fusilly azure, 
 in chief a label gules. 
 
 Above the console enclosed in an architectural moulding is a tabella 
 ansafa (the Disk enclosed in a fruit garland in the centre) probably once 
 inscribed Hie est panis z'k'us qui de celo ciescendit. AboA'e this two pilas- 
 ters adorned with heavy bunches of fruit from blue dolphin handled vases 
 
GIOVANNI DELLA ROEBIA 
 
 97 
 
 frame in the sportello disclosed by two curtain lifting angels who admit the 
 Holy Dove, who pours out yellow tongues of fire. The Papal tiara beneath 
 the vault is unusual. We are tempted to think that it may reflect the Flor- 
 entine pride in Leo X, who made his triumphal entry into Florence in 
 1 51 5. A similar ciborio in the Borgia apartments bears the date 151 5. 
 
 Vjr-i 
 
 ^fif^t^ffllSMUif^I^fpiK^^ 
 
 Fig. 52. — M.SlGalotti Ciborio. Florence, Mused Nazionale. 
 
 The entablature is decorated with the cherub and garland and disk 
 ifrieze, above which is Giovanni's customary lunette with the Christ Child 
 on a yellow chalice adored by angels. 
 
 NoTE.^The exact date of the marriage of Filippo Magalotti to Cassandra Rinuccini, 
 Oct. IS, 1506, is found in the Fondo Barberino Cod. Lat. 2672. Sec. XVII, FamiHae 
 Florentinae alphabetico ordine dispositae, p. 119. Copied from the Gabella di Contratti 
 Libro B 157,76. 
 
98 
 
 GIOVANNI DELLA ROBBIA 
 
 Bibl. : 
 
 Burl, III; C-M., 218 No. 75; C, s.v. Magalotti, Rinuccini; Cr., 340; 
 M., R.H., 244-245 (Doc.) ; Del Migliore, 570; Pucci, Fam. Magalotti 
 (Carte Pucci in Arch, di State, Florence) ; Rosselli, Scpoltuario, I, 
 c. 586; Supino, 453 No. yy. 
 
 95 GINORI CIBORIO. Florence. Museo Nazionale (not on exhibi- 
 tion). Photo., Museum. 
 
 This tabernacle, (Fig. 53), incomplete in part, is preserved in a closet 
 
 r, - ; 
 
 Fig. 53. — GiNiiRi Ciborio. I'Yorence, Museo Nazionale. 
 
GIOVAXXI DELLA ROBBIA 99 
 
 and is not exhibited to the public. It resembles the Magalotti ciborio, 
 IMuseo Nazionale, No. j"], and was apparently made at the same time. 
 
 The console bore between two white cornucopias of fruit a wreathed me- 
 dallion with the Ginori arms: Azure, a bend or charged with three stars 
 of eight points of the first. Above the console, the base of the cihorium, 
 similar to that of the Magalotti tabernacle, is inscribed 
 J^HIC^EST^PA(N)IS VIVA'S 0(\' I) DE CELO DESCE(N)DIT. 
 The pilasters, cornice, lunette and central sportello difTer but slightly from 
 those of the Vlagalotti tal^ernacle. 
 
 Bibl. : 
 
 JM., R.H., 246. 
 
 96 TAA'O CIBORIA. Florence. S. Michele in Palchetto o delle Trombe, 
 later S. Elisabetta or Congrega di Preti della X'isitazione (formerly). 
 
 According to Richa there were two tabernacles at the sides of the high 
 altar, decorated with garlands of fruit and flowers. Like the lunette these 
 are likely to have come from the atelier of Giovanni della Robbia. Pos- 
 sibly one of these tabernacles appeared in the Da\-anzati sale in New York, 
 Nov., 19 1 6. 
 
 Bibl. : 
 
 Richa, Vni, 268. 
 
 97 CIBORIO. Florence. Cav. Carlo AI. Girard. 16 \"ia degli Orti 
 Oricellari. Photo., Private. 
 
 The central relief resembles that of the Louvre ciljorio (No. 448), but 
 here is polychromatic. Alcove it is a lunette of God the Father blessing 
 between two cherubs. The outer round-headed frame is ornamented with 
 triplex groups of fruit and flowers separated by bows of ribbon. Aljove is 
 the monogram Y H S. Below is a console with the pelican group between 
 two cornucopias of fruit. 
 
 98 CIBORIO. Borgo S. Lorenzo (near). S. Stefano a Grezzano. 
 
 Described by Cavallucci and Alolinier as a ciborivmi flanked by two 
 adoring angels. The frame has a semi-circular lunette containing a statu- 
 ette of the Christ Child, a frieze wdth fine cherub heads, and a console with 
 a pelican set between two cornucopias. 
 
 Bibl. : 
 
 Burl., 113; C-AL, 229 No. 1J^G\ Cr., 335. 
 
100 GIOVANNI DELLA ROBBIA 
 
 99 CIBORIO. Cerreto Giiidi (near), S. Maria Assunta. 
 
 Not far from Cerreto Guidi in the village of Bassa, formerly Confienti 
 or Colle alia Pieta, is S. Maria Assunta, a priory church dating from the 
 XIII century. It is a branch of the Pieve at Cerreto Guidi. The ciborio 
 or tabernacle mentioned by Cavallucci-Molinier and others is not described, 
 but it is probably to be attributed to Giovanni's atelier. The two angels 
 have blue and green sleeves. In the lunette is a yellow chalice against a 
 blue shell. 
 
 Bibl. : 
 
 Burl., 113; C-M., 230 No. 160; Cr., 336; Repetti, s.v. Cerreto Guidi. 
 
 100 BUONAFEDE CIBORIO. New York. Bardini Sale of 1918. 
 
 This ciborio (Fig. 54) follows the model set by Giovanni della Robbia 
 in the tabernacles in Rome (Borgia apartments), Paris (Louvre) and else- 
 where. The lunette should be amplified by a second adoring cherub. The 
 Christ Child standing on the chalice was omitted. The frieze appears to be a 
 substitute for a cherub and garland frieze. The sculptor further strayed 
 from Giovanni's example in varying the capitals of the pilasters and in 
 ornamenting the pilasters with garlands of fruit hanging from rings. The 
 scalloped kite shaped shield bears the arms of the Abbot Leonardo Buona- 
 fede : Or, a bull rampant gules on a mount of six summits vert; an Abbot's 
 mitre above the shield. 
 
 Bibl. : 
 
 Bardini Sale of 1918, Cat., No. 373; M., R. H., 227-228. 
 
 101 CIBORIO. New York. Davanzati Palace Sale. Nov. 21, 1916. 
 H., 1.90m.; W., 0.92m. Photo., Private. 
 
 Very similar to one in the Museo Nazionale No. yy. The sportello con- 
 tains a figure of S. Michele slaying the Dragon, on which account I have 
 suggested that it may have been one of the two tabernacles in S. Michele 
 in Palchetto mentioned by Richa. The console bears a coat of arms be- 
 tween cornucopias of fruit. 
 
 Bibl. : 
 
 Davanzati Sale, Cat., No. 114; Richa, VIII, 268. 
 
GIOVANNI DELLA ROBBIA 
 
 lOI 
 
 Fig. 54. — Buonafede Ciborio. Bardini Sale of 1918, N. Y. C. 
 
102 GIOVANNI BELLA ROBBIA 
 
 102 CIBORIO. Oliveto (near Rignano). S. Niccolo. H., 1.50m.; 
 W., 0.75m. 
 
 A tabernacle of the Panzano type with pilasters decorated with fruit gar- 
 lands. Here, however, the console bears the Altoviti arms : Sable, a wolf 
 rampant. The base above the console is also inscribed Hie est panis vivus 
 q(it,i) de celo descendit. 
 
 We may note that the stemma of Francesco di Guglielmo di Bardo Alto- 
 viti occurs in Robbia ware at Lari in 1524, and at Certaldo in 1525. 
 
 Bibl. : 
 
 C, s.v. Altoviti; M., R. H., 247; P., 16-22, Wills, 125. 
 
 103 CIBORIO. Panzano. S. Leolino. H., i. 80m. ; W., 0.69m. Photo., 
 Private. 
 
 Designed for the Sacred Host, but reserved for Extreme Unction (Fig. 
 55). Console adorned with leafy and floral scrolls; pilasters with candel- 
 abra designs like those of the predelfe with saints in niches in the Museo 
 Nazionale No. 69; central relief with sportello now inscribed Oleum In- 
 firniorum flanked by two angels beneath a coffered vault, with curtains, 
 Dove and Disk; entablature with frieze of cherub heads and garlands; 
 lunette with Christ Child on yellow chalice (flanking angels are absent) 
 tframed with the usual rosette frieze. 
 
 The console bears a shield displaying a crutch, the emblem of the Hospital 
 of S. Maria Nuova, Florence to which this church was united in 1508 un- 
 der Julius II. 
 
 Bibl. : 
 
 Cr., 350; Del Migliore, 355, 570. 
 
 104 CIBORIO. Panzano. S. Leolino. H., i.7Sm. ; W., 0.65m. Photo., 
 Private. 
 
 A crude variant of the S. Filippo Neri tabernacle in the Museo Nazionale, 
 No. yy. The console here has the pelican motive between the cornucopias; 
 the sportello is flanked by adoring instead of curtain lifting angels; the 
 papal tiara is omitted ; and at the base of the console in an oval shield is the 
 crutch, emblem of the Hospital of S. Maria Nuova, to which this church 
 was united in 1508. 
 
 Cr., 350; Del Migliore, 355, 570. 
 
GIOVANNI DELLA ROBBIA 
 
 103 
 
 Fig. 55. — CiBORio. Panzano, S. Leolino. 
 
 105 CIBORIO. Paris. Louvre No. 448 (G. 751). H., i.66m. ; W. 
 0.66m. Photo., Alinari, 22382. 
 
 From the Sauvageot Collection (Fig. 56). The console shows two 
 white cornucopias with polychromatic fruit, flowers, and wheat, between 
 which is a pelican feeding her brood with her own blood. Blue back- 
 ground. Above are pilasters decorated with grotteschi (two patterns), 
 dolphin capitals. Before the sportello two adoring angels on a tiled pave- 
 ment beneath a coffered vault from which parted curtains reveal the Holy 
 
104 
 
 GIOVANNI BELLA ROBBIA 
 
 F(G. 56. — CmORio. Paris, Lol'vre. 
 
 Dove. The entablature has cherub and garland frieze, the lunette a blue 
 shell against which appears the youthful Christ on a yellow chalice blessing 
 
GIOVANNI DELLA ROBBIA 105 
 
 and holding a green crown of thorns. He is adored by angels. Frame 
 of lunette has a frieze with rosette pattern, acroteria with yellow palmettes. 
 
 Bibl. : 
 
 C-M., 278 No. 452; Cr., 350; Marryatt, 9. 
 
 106 FRAGMENT OF A CIBORIO. Paris. Louvre No. 449 (old No. 
 G. 752). H., 0.27m.; W., 0.15m. Photo., Alinari, 22382. 
 
 From the Sauvageot collection. A fragment from the left side of a 
 ciborio or tabernacle for the eucharist, showing a group of three angels. 
 Glazed white. 
 
 Bibl. : 
 
 C-M., 278 No. 451; Cr., 350. 
 
 107 CIBORIO. Pescina. S. Stefano. 
 
 A tabernacle for the eucharist. I noted that it was similar in style to the 
 altarpiece formerly in the same church. Probably a replica of the ciborio 
 in the Sala Borgia of the Vatican (1515). 
 
 Bibl. : 
 
 C-M., 253 No. 306. 
 
 108 CIBORIO. 1515. Rome. Vatican. Sala Borgia. H., i.8om.; 
 W., 0.87m. Photos., Alinari, 11875; ^^ogi, 16413. 
 
 In general similar but inferior to the tabernacle in the Louvre No. 448 
 (Fig. 57). We may note that the console shows in a wreath the stemma 
 del Capitolo, a cherub head, that the pilasters similar in design are in- 
 scribed AN(N)0 DO (MINI) M-D-XV As on Nov. 30 of this year 
 Leo X entered Florence as Pope, possibly this tabernacle was a gift to him 
 from the Opera of the Cathedral. 
 
 Bibl. : 
 Cr., 353- 
 
 109 CHRIST CHILD IN A MANDORLA. Fiesole. S. Ansano. 
 Oval. Photo., Brogi, 9827. 
 
 The nude Christ Child (Fig. 58) blesses with his (restored) right hand 
 
io6 
 
 GIOX^ANXI BELLA ROBBL\ 
 
 Fig. 57. — CiBORio. Rome, Vatican. 
 
 and in his left holds a wreath and the crucifixion nails. He is surrounded 
 by a mandorla with alternately straight and flame like rays. 
 
 Bibl. : 
 
 Carocci, I, 118; C-M., 250 No. 282; Cr., 344. 
 
GIOVANNI DELLA ROBP.IA 107 
 
 Fig. 58. — Christ Child. 
 FiEsoLE, S. Ansano. 
 
 110 S. AMBROGIO. Florence. Piazza di S. Ambrogio. Statue in 
 niche. Photo., AHnari, 3697. 
 
 On the corner of the Via dei Macci and the Borgo la Croce, facing the 
 Piazza di S. Ambrogio is placed a decorative niche containing a statue of 
 S. Ambrogio (Fig. 59). 
 
 This monument contains elements, such as the cornucopias in the con- 
 sole and the pattern of the grotteschi in the pilasters similar to those found 
 in the Sauvegeot tabernacle in the Louvre (No. 448), assigned to the year 
 15 15. And if we suppose that it may have been made for the church of 
 S. Ambrogio we should naturally think of a date not far from the year 
 1 5 13 in which Giovanni made the candelabrum bearing angels and a pre- 
 della for that church. 
 
 The console contains between two blue cornucopias a laurel wreath the 
 emblem of the Potenza della Citta Rossa di S. Ambrogio; a church with 
 campanile argent, set within a walled town of three towers gules. 
 
 The grotteschi of the pilasters and lunette are plastically in strong re- 
 lief, rendered more so by being coloured yellow against blue. 
 
 The saint stands against a blue fluted shell and wall, holding a book 
 (and pastoral staff, modern) and blessing. He wears a white dalmatica, 
 blue stole and green mantle, edged with yellow, lined and superficially orna- 
 mented with violet. His face is of a dark flesh colour and his eyeballs 
 plastically as well as colouristically treated. He wears a white mitre set 
 with gold and sapphire. 
 
 Bibl. : 
 
 Bigazzi, 13-17; Cr., 342; M., R. H., 250-251. 
 
io8 
 
 GIOVANNI BELLA ROBBIA 
 
 Fig. 59. — S. Ambrogio. Florence, Pl\zz.\ di S. Ambrogio. 
 
 Ill MADONNA AND CHILD ENTHRONED WITH S. GIOVAN- 
 NINO. Cornocchio (near Scarperia). S. Agata. Photo., Private. 
 
 Seated on a throne with large lateral sphinxes the polychrome Madonna 
 carries on her left knee the nude Child, who seated on a cushion is blessing 
 with his right hand (Eig. 60). On one knee to the left is S. Giovannino, 
 in dark haircloth with a scroll inscribed ECCE ■ AGNVS • The back- 
 ground imitates a wall covering of leather. 
 
 The polychrome tabernacle has a lunette with Holy Dove between two 
 pilasters based on those of the S. Ambrogio tabernacle, a predella with 
 
GIOVANNI BELLA ROBBIA 
 
 109 
 
 two coats of arms (i ) A:::urc, or tree eradicated or and (2) Or, an eagle 
 displayed sable and a tablet inscribed 
 
 J'SVB TVVM PRESIDIUM CONFVGIMVS + 
 
 SANCTA DEI GENETRIN +'^'~ 
 
 Fig. 60. — Madonna. Cornocchio, S. Agata. 
 
 The console shows S. Agata enwreathed between two cornucopias of fruit 
 and flowers. 
 
 Bibl. : 
 
 Burl., 118; C-M., 253 No. 309; Cr., 336; M., R. H., 251. 
 
no GIO\'AXXI BELLA ROBBL-\ 
 
 112 .AL-\DONNA AND CHILD WITH S. GIOVANNINO. Roslyn, 
 N. Y. Collection of Mr. Stanley Mortimer. Statuette. H., 0.82m. 
 
 Nudes and tunic unglazed. The Madonna, wearing a blue mantle lined 
 green, holds a ]5omegranate, green with violet seeds, in her left hand. On 
 her right arm is the Child, nude, blessing with his right hand, his left in his 
 mouth. His hair is glazed a gray brown. S. Giovannino to the right, 
 with hair and haircloth glazed gray brown, holds a scroll inscribed ECCE 
 AGNV(S). 
 
 113 INSIGNIA OF BARTOLINI-SALIMBENI FA^^IILY. Dicomano, 
 Casa Bartolini Salimbeni Vivai. Photo., Private. 
 
 The large courtyard stemmi, of which Luca della Robbia made several 
 during the XV century, were less in fashion in the XVI century. 
 
 A fine example, however, may be seen at Dicomano (Fig. 61) set into a 
 
 Fig, 61. — BAKTOLiNi-S.\LrMBK."^i Insigkia. 
 
 wall where it is surrounded ]jy a painted imitation of a wreath. The origi- 
 nal garland ( b'ig. 62 ) fell to the lot of the ^Marchese Torrigiani in whose 
 palazzo in Florence it still exists. 
 
 The central medallion shows a comljination of the emblems of the Medici 
 and Bartolini-Salimbeni families against a plain field. Here are the three 
 Medici feathers, white, red. and green, the ^iledici diamond ring, and motto 
 SEMP(ER), and the Bartolini Salimbeni poppies with the motto P(ER) 
 
GIOVANNI BELLA ROBBIA 
 
 III 
 
 NON DORMIRE. It seems not unlikely that the medallion commemorates 
 the marriage of Bartolommeo di Andrea di Medici and Alessandra di Leon- 
 ardo Bartolini Salimbeni. Bartolommeo, known as II Mucchio, served un- 
 der the Grand-duke Cosimo, I, liecame Capitano at Arezzo and later at Pisa, 
 
 Fig. 62. — Frame for the precedino. 
 
 and died in 1555. Alessandra's father was Gonfaloniere at Florence in 
 15 16, her brother Commissario at Castigdione-Fiorentino in 1494. Another 
 intermarriage between these families took place when Giovenco di Giuliano 
 de Medici married Giovanna di Stefano Bartolini. Giovenco was Vicario 
 at Pieve San Stefano in 1506. 
 
 The garland, in each of the six sections of which are found the seedpods 
 of poppies, is unusually decorative and well modeled. 
 
 Eibl. : 
 
 C., s.v. Bartolini, Salimbeni, Medici; Litta, VI, s.v. A'ledici, Tav. V, 
 XVII; M., R. H.. 219-221; P., 531-533. 
 
 114 STEMMA OF NICCOLO DE'PAZZI. 1516. S. Giovanni in VaL 
 darno, Palazzo Pretorio. Photrj., Private. 
 
 Within a wreath of fruit, flowers, beans (on which may be seen a frog 
 and a lizard), and an inner agg and dart moulding, set against a white 
 fluted disk is a Tuscan shield (Fig. 63) bearing the Pazzi arms : Azure, two 
 
112 
 
 GIOVANNI BELLA ROBBIA 
 
 dolphins hauriant, embowed, addorsed or, and four crosses botonny fitched, 
 of the same. 
 
 VPIERO-DIMF-S- ; 
 ANOHCA-DfJKZZ' 
 
 Fig. 63. — Stem MA of Niccolo Pazzi. 
 
 Below is a horizontal scroll inscribed : 
 
 y NICHOLO r DI ME 
 
 S(SER) PIERO J' DI MES(SER) 
 
 ANDREA y DE PAZZ 
 
 I V(ICARI)OJ MDXV E MDXVI 
 Niccolo di Messer Piero de'Pazzi was born in 1462, imprisoned at Volterra 
 in 1478, released in 1480, made a Commissario in the Val di Sieve and in 
 the Casentino, a Prior of Florence in 1509, Consul of the Mint in 15 10, 
 Vicario in S. Giovanni in Valdarno in 15 15 and 15 16, Capitano at Pistoia in 
 15 17, and died in 15 19. 
 
 Bibl. : 
 
 C., s.v. Pazzi; Litta, s.v. Pazzi, Tav. 8; M. 
 W., 162-164. 
 
 R. H., 223; P., 146-147; 
 
 115 LIFE OF S. GIOVANNI BATTISTA. 1518. Galatrona (near 
 Montevarchi), S. Giovanni Battista. Font. H., i.i6m. ; Diam., 
 1.25m. Photo., Alinari, 9855-9856. 
 
 This font (Fig. 64) is in part a replica and in part a copy of the font of 
 1 51 1 at Cerreto Guidi. The base and entablature may have been cast from 
 the same moulds, greater height being secured by the additional mouldings 
 at the top. Polychromy, even blue backgrounds, are here omitted. The pat- 
 tern of the pilaster decorations are more complicated and set in recessed 
 panels ; the capitals however, remain the same. 
 
GIOVANNI DELLA ROBBIA 
 
 "3 
 
 The six panels here oceur in a different order and are not historically ar- 
 ranged, the order being: (i ) Annnnciation to Zacharias, (2) The Birth, 
 (3) Baptism of Christ, (4) The Naming, (5) S. Giovanni in the Desert, 
 (6) The Beheading. The compositions are the same as at Cerreto Guidi, 
 
 Fig. 64. — Font at G.^L.'\TRON.■\. 
 
 but the forms of the figures are slenderer and plastic details have been 
 added. In the scene of the Baptism, the Dove is clearly seen; in the Nam- 
 ing, the pilasters of the porch have candelabra decorations. The inscrip- 
 tions are the same, though with slightly different spelling. 
 
 At the angles of the entablature are set tournament shields bearing the 
 arms of Abbot Leonardo di Giovanni Buonaf ede : Or, a bull passant gules 
 on a mount of six tops vert. For the life of Leonardo Buonafede, consult 
 Ughelli, Italia Sacra. 
 
 Document: [Copied by Mr. Rufus G. Mather.] 
 I. "Carta 227 YHS MdXVII 
 
114 
 
 GIOA'AXXI DELLA ROBBIA 
 
 f 5. 8. 2 lire 
 
 f 2-lire 
 
 Giovanni dandrea dellarobbia de dare 
 
 f cinc^ue s viij d ij larghi per tanti 
 
 fattolo chreditore aliljro azurro segnato doro 
 
 e ac. 254 
 
 1 518 E a di xiij dagosto f dua doro larghi Inoro 
 
 porto lui contanti de quali ne servito 
 
 sopra a uno battesimo a fare alia pieve 
 
 di galatrona a uscita ac 168/9. -■ 6 
 
 I'^ de dare per insino a di xiij daprile 15 10 
 
 f due larghi doro Inoro per noi da messer 
 
 leonardo di giovanni buonafe chome 
 
 apare al sue quadernucio ac 61 posto 
 
 deto messer leonardo a uscita alibro 
 
 Roso segnato g ac 367 
 
 E a di xiiij di gienaro 1520 f uno largo 
 
 doro Inoro porto marcho suo figluolo 
 
 chontanti a uscita g ac 240 
 
 E a di xxviiij daprile 1521 1 iij s x 
 
 pice, porto marche suo figluolo chontanti 
 
 a uscita h ac 8 
 
 E a di 30 di deto 1 iij s x pice, porto 
 
 marcho suo figluolo chontanti a uscita 
 
 h ac 8 f-io 
 
 f 13.2.6" 
 [Archiv. di S. Maria Nuova, Libro Giallo (1516-1518) segnato F. c. 
 227.] 
 
 2. "Carta ccxxvii. YHS MDXVII 
 
 giovanni di contro de avere per tanti 
 
 posto dare alibro Y( crutch, emljlem of hospital of S. Maria Nuovo) secondo 
 
 f 13. 2. 6" 
 
 [Idem, idem, ccxxvii.] 
 
 f 2- 
 
 f I- 
 
 f-io 
 
 Bibl. 
 
 Bacci, ///. Fior., 1908, 144-149 (Doc), Carloni, DaU'Arno al Tehro; 
 C-M., 233 No. 182; Cr. 232, 344: M., Sc. Mag., XIV (1893), 692, 
 697; R. H.. 227-229; A. J. A., XXII (1918) 373 (Doc); Ughelli. 
 Italia Sacra, I, col. 629, VII, col. 867. 
 
 116 LIFE OF GIOVANNI BATTISTA. S. Piero a Sieve (near Borgo 
 S. Lorenzo). Pieve, S. Piero. Hexagonal font, H., i.iim. ; Diam., 
 i.i6m. Photo., Alinari, 9859. 
 
GION'ANNl Dia.LA ROlUSIA 
 
 IJ5 
 
 This font (Fig. 65) is a repetition of the Galatrona font of 1517. White 
 with details tonehed witii yeUow. At the angles of the entablatnre are the 
 Mediei arms: Or, tive torteaux in orle, in ehief a palla with the ( 'roce del 
 Popolo [Argent a eross (/iilrs). 
 
 Fig. 65. — Font at S. Piero a Sieve. 
 
 The Aledici family owned a tower in the vicinity and had at one time the 
 exclusive patronage of the church. 
 
 Bibl. : 
 
 Burl., 118; C-M., 252 No. 302; Cr., 232, 355; Marcotti, 373; M., 
 R. H., 230; Repetti, V, 108. 
 
 117 CHRIST AND SAINTS IN NICHES. Galatrona (near Monte- 
 varchij. S. Giovanni Battista. Hexagonal ciborio. H., 2.20m. 
 Photo., Alinari, 9858. 
 
 This ciborio (Fig. 66) appears also to have been the gift of the Ab- 
 bot Leonardo Buonafede, judging from his coat of arms near the base: 
 
Ii6 GIOVANNI BELLA ROBBIA 
 
 Or, a bull passant gules on a mount of six tops vert. Like the font it is 
 finished in white enamel. In form it perhaps was inspired by Benedetto da 
 Maiano's ciborium in S. Domenico, Siena. The lowest base on which it 
 reposes is ornamented by a rich decoration of rosettes and palmettes within 
 scroll work, a pattern which Giovanni used again in the altarpiece of 1520 
 now in the Campo Santo, Pisa. Then follows a block decorated with 
 cherub heads and garlands, and a vase-like support on which rests the hexa- 
 gonal body of the ciborium. This is ornamented at the angles by doubled 
 pilasters (candelabra panels, dolphins capitals) which frame a series of 
 niches containing (i) the sportello, then statuettes of (2) S. Leonardo, the 
 Abbot's patron saint, with his emblem, shackles, (3) S. Giovanni Battista, 
 patron of the church, (4) Christ with cross and emblems of his body and 
 blood, (5) S. Girolamo with his lion, and (6) S. Maria Maddalena. 
 
 Above a characteristic entablature is a hexagonal cupola adorned with 
 a scale ornament and surmounted by a block ornamented with a blind ar- 
 cade and supporting a superstructure and cross of wood. 
 
 Bibl. : 
 
 Burl., 114; C-M., 234 No. 184; Cr., 344; R. H., 229. 
 
 118 TWO CANDELABRUA/I BEARING ANGELS. Galatrona (near 
 Montevarchi). S. Giovanni Battista. Statuettes. H., 0.56m. Photo., 
 AHnari, 9858. 
 
 These angels (Figs. 67-68), at one time set on brackets on either side of 
 the statue of S. Giovanni Battista, were probably intended for the position 
 they occupy in Alinari's photograph. The ciborio here replaces the an- 
 cona or altarpiece and the angels are set on either side of it. In type they 
 resemble the candelabrum angels in S. Ambrogio and at Arcevia (both 
 1 5 13), but have slightly more complex draperies and each wears a cross 
 on the breast. 
 
 Bibl. : 
 
 C-M., 234 No. 184. 
 
 119 BASE FOR STATUETTE. Florence. Bardini collection (for- 
 merly). Rectangular. Photo., Bardini. 
 
 The base set beneath the statuette of Judith was evidently made for an- 
 other purpose as is indicated by the sockets at the angles of the upper sur- 
 face. Each side shows a white cherub head above a polychromatic gar- 
 
GIOVANNI DELLA ROBBIA 
 
 117 
 
 
 «^-'f^-j^ 
 
 mKSSSmi 
 
 
 -""■"■"•-f^'^'i 
 
 ' 
 
 *ki>. 
 
 4 
 
 ■-*?. 
 
 
 Figs. 66-68. — Ciborio and Angels, Galateona. 
 
 land. A base of this form occurs beneath the ciborio of 15 18 made 
 Giovanni della Robbia for Galatrona. 
 
 by 
 
 Bibl. : 
 
 Bardini Sale Cat. of 1902, No. 515, PL 23; Bardini Sale Cat. of 1918 
 No. 371. 
 
ii8 
 
 GIO\\\NNI BELLA ROBBL\ 
 
 120 S. GIOVANNI BATTISTA. Galatrona (near Montevarchi). S. 
 Giovanni Battista. Statue. Photo., Alinari, 9857. 
 
 S. Giovanni (Fig. 69), arrayed in hair cloth and mantle, white with yel- 
 low sandals, girdle, and rayed nimbns, is blessing with his right hand and 
 
 
 Ik ( ) — s (ii \ \N \i i \ I I I \ ( \i \n 
 
 in his left carries the scroll inscribed: (ECC)E AGNVS DEI. His eyes 
 have violet brows, lashes and pupils, with no distinguished irises. This is 
 a representative example of Giovanni's best work. He stands in a niche 
 within which are painted trees. The frame is distinctly a patchwork, pos- 
 
GIOX'ANNI DI'.LLA J-^OIiUlA 119 
 
 sibly put together from parts of an altarpicce. Certainly the base is no 
 predella, but a cornice with cherub lieads l)caring coloured garlands over 
 which are yellow disks, resembling the cornice of the altarpiece at S. Me- 
 dardo, Arcevia. The pilasters have the Siren and palmette bases, panels 
 decorated with grotteschi of the pattern used at Cerreto Guidi and S. 
 Donato in Poggio, but lengthened by repeating a portion in a second panel. 
 The capitals are of the dolphin and vase type while the entablatures above 
 contain Buonafede's stemma; Or, a bull rampant gules on a mount of six 
 tops z'ert. The archivolt and cherub head are in plaster. 
 
 Bibl. : 
 
 Burl, 114; C-AL, 234 No. 183; Cr., 344; M., R. H., 229. 
 
 121 STEMMA OF LEONARDO DI GIOVANNI BUONAFEDE. 
 Galatrona (near Montevarchi). S. Giovanni Battista. 
 
 A stemma of Leonardo Buonafede : Or, a bull passant gnlcs, on a mount 
 of six tops, -Z'ert, is said to have been executed by Giovanni della Robbia for 
 the vault of the Cappella Maggiore of the church at Galatrona. It was sur- 
 rounded with a garland of fruit and flowers. 
 
 Bibl. : 
 
 Bacci, ///. Fior., 1908, 148, M., R. H., 229. 
 
 122 PREDELLA WITH SAINTS IN NICHES. Florence. Museo 
 Nazionale, No. 69. Rectangular. H., 0.80m.; W., i.86m. Photos., 
 Alinari, 2754; Brogi, 9471. Casts, Lelli, 1161. 
 
 This predella fFig. 70) reached the Museo Nazionale in ^larch 1868 
 from the suppressed monastery of the Cappuccini of Montaglio. It would 
 appear to have contained originally two niches more, one at either end. 
 
 The base, pilasters types, form of the niches, statuettes, and entablature 
 resemble those of the ci])orio at Galatrona sufficiently closely to have been 
 cast from the same moulds. Here, however, polychromatic takes the place 
 of purely white enamel. The Saints are (i) S. Sebastiano, (2) S. Maria 
 Maddalena, (3 ) Christ, (4) S. Giovanni Battista, and (5) S. Matteo. 
 
 Bibl. : 
 
 Burl., Ill : Carocci, A. I. D. I.. V (1896), Tav. 20; C-M., 217 No. 70; 
 Cr., 339; Supino, 450 No. 69. 
 
I20 
 
 GIOVANNI BELLA ROBBIA 
 
 Fig. 70. — Predella with Saints. Florence, Museo Nazionale. 
 
 123 THE LAST SUPPER. London. Victoria and Albert Museum, 
 No. 3986-'56. H., 0.60m.; W., 1.64m. Photo., Private. 
 
 A long table is spread with a white cloth. The twelve are arranged in 
 groups of three with Christ in the centre. Their tunics are in general 
 edged yellow and their mantles varied in colour show reverses variously 
 coloured. The faces are tinted to imitate flesh. A dog crouches beneath 
 the table. The background is white and the deep frame is edged with 
 yello\\'. Similar in type to the predella in the Museo Nazionale, No. 69. 
 
 Bibl. : 
 
 Burl., 120; C-M., 271 No. 412; Cr., 246; Robinson, 67 No. 3 
 
 124 CHRIST AND ANGELS IN NICHES. Florence. S. Piero Mag- 
 giore (Cloister). Rectangular. W., i.iSm. Photo., Private. 
 
 An abbreviated, also polychromatic, version of the predella of the Christ 
 and Saints in the Museo Nazionale, No. 69. Here (Eig. 71) in the central 
 niche is the Redeemer with cross, chalice and host; on either side, also in 
 niches, are adoring angels. Crude workmanship. The sections of the 
 cornice are cut from stock regardless of the design. This may very well 
 have served the Confraternita as an altarpiece for their chapel. 
 
 Bibl. : 
 
 C-M., 212 No. 44; Cr., 341. 
 
GIOVANNI BELLA ROBBIA 
 
 121 
 
 >'**^'2?flE!2^32S2^' 
 
 Isrm^s^s^rism^^^^roKiE, 
 
 
 msM^mmmmmssm 
 
 JiMisa^SU 
 
 Fig. 71. — Small Altarpiece. Florence, S. Piero Maggiore. 
 
 125 GRADING OF ALTAR WITH STATUETTES. Palaja. Pieve di 
 S. Andrea. 
 
 Catalogued without details by Miss Cruttwell, p. 349. Possibly like that 
 of S. Piero Maggiore, Florence. 
 
 126 CHRIST. Citta di Castello. Montani's (formerly). Statuette. 
 
 Graziani notes, on the authority of a painter David Valenti, that a dealer 
 in antiquities named Montani had a Robbia statuette of the Redeemer, 
 holding in his hand the cross and with the other pointing to the chalice and 
 sacred wafer set below. The type corresponds with the representations of 
 the Redeemer on the altar front at S. Piero Maggiore, and on the ciborio 
 at Galatrona (1518). 
 
 Bibl. : 
 
 Graziani, 153, note 2. 
 
 127 THE ANNUNCIATION. London. Victoria and Albert Museum 
 No. 7235-'6o. Round-headed relief. H., 2.30m ; W., 1.30m. Photo., 
 Private. 
 
 This relief (Fig. 72) in white enamel, acquired in i860, is to be classed 
 with the works of Giovanni della Robbia at Galatrona (1518) where we 
 see very similar architectural decoration. The central relief reverses the 
 positions of angel and Virgin customary in Giovanni's compositions of this 
 subject. However, in type the Annunziata suggests that of the Virgin in 
 the Visitation altarpiece at Lamporecchio, and S. Gabriele was evidently 
 
122 
 
 GIOVANNI BELLA ROBBIA 
 
 modelled by the sculptor of the Annunciation on the exterior of the Casa 
 Sorbi. The elaborate bedstead and its decorative motives evidently pro- 
 ceeded from Giovanni's atelier. 
 
 Bibl. : 
 
 B., Kf., 26; Burl, 120; C-M., 268 No. 393; Cr., 346; Robinson, 68 
 
 No. 7235. 
 
 Fig. 72. — The Annunciation. London, Victorj.\ a.nu Albert Museum. 
 
 128 A-IADONNA AND CHILD HOLDING A DOVE AND BLESS- 
 ING. New York. Jacques Seligman Galleries (1918). H., 1.40m.; 
 W., 0.95m. Photo., Private. 
 
 This Madonna (Fig. jt,) came from the monastic church at Castellina, 
 near Castello, erected between 1500 and 1506 by the Carmelite monks. 
 
GIOVANNI BELLA ROP.EIA 
 
 1-^3 
 
 In general composition it resenil)les the Madonna of Andrea della 
 Robbia at S. Egidio, Florence, at Rickmansworth and elsewhere. Here the 
 Child is transposed to the right of the Virgin, he is blessing with his right 
 hand, as in the lunette of S. M. della Quercia at Viterbo, and one of the 
 Madonna's hands covers his knee. 
 
 The frame, with its cherub and garland frieze and the heavy pilasters, 
 is to be classed with Giovanni's works at Cerreto Guidi and Galatrona, 
 
 
 Fig. 73. — Madonna. New York, Selicman Galleries. 
 
124 GIOVANNI BELLA ROBBIA 
 
 while the cherub head in the console recalls that of Lorenzo Pucci's ciborio 
 at Certaldo (1500). 
 
 The relief was once in the Yolpi Galleries, Florence, then at Agnew's, 
 London, then at Seligman's, Paris, and New York (1918). 
 
 Bibl. : 
 
 Burl., 113; C-M., 230 No. 156; Carocci, I, 201-202; Cr., 335; Paris 
 Herald, April 5, 1914, illustrated. 
 
 129 CONSOLE WITH CHERUB HEAD AND CORNUCOPIAS. 
 Florence (near). Villa Palmieri. Photo., Private. 
 
 Partially polychromatic, this console resembles that which sustains the 
 Seligman Madonna and Child with a bird. 
 
 130 THE ANNUNCIATION, CANDELABRUM ANGELS, CHRIST 
 CHILD. Florence. Casa Sorbi ( Borgo S. Jacopo, 17). Rectangular 
 relief. Photos., Alinari, 1923; Brogi, 8550-8552. 
 
 On the exterior of the Casa Sorbi may be seen a relief representing the 
 Annunciation, two candelabrum bearing angels which may originally have 
 stood on either side of it, a statuette of the Christ Child blessing, and two 
 cherub heads. An inscription set beneath the Annunciation indicates that 
 it was placed in its present position by Giuseppi Sorbi in 1830. 
 
 (i) TJie Annunciation. This composition (Fig. 74) may be provision- 
 ally assigned to Giovanni della Robbia. The background — a loggia dis- 
 playing through its openings a plain blue sky instead of an elaborate land- 
 scape, its piers with Brunelleschian rather than dolphin capitals, a simple 
 white curtain instead of a complicated bedstead — is more severe and simple 
 than we should expect from Giovanni. S. Gabriele robed in blue (upper) 
 and yellow (lower), with polychromatic wings, vertically not horizontally 
 striated, wearing a wreath of flowers is more stately than we should ex- 
 pect, and yet in type he is the same as in the Annunciation of the Victoria 
 and Albert Museum (No. 7235) and not unlike the S. Tommaso in the 
 Cintola fragment at S. Andrea at Volterra. The Annunziata, robed in 
 maroon edged white, with a blue mantle of which the lining also is blue, 
 recalls Giovanni's Madonna in the lavabo of 1497. Faces and hands are 
 unglazed. 
 
 The frame is imperfectly preserved — the lower portion or predella being 
 absent. The fruit garlands are composed in triplex branches and rising 
 from vases are set between two egg and dart mouldings. The corner roset- 
 tes are similar to those on the sarcophagus of the Cintola altarpiece at Vol- 
 
GIOVANNI di<:lla robbia 
 
 125 
 
 ^^m^m^^m^m' 
 
 w^^^s^^ 
 
 >. 4 ►Tiw. ^-K«5raririir»w» » . 
 
 ^. , -f»^.**^, '^^J^^Sv^^f--? 
 
 Fig. 74. The Annunciation. Florence^ Casa Sorbi. 
 
 terra. Manifestly the outer stone border decoration witli fleur-de-lys is 
 modern. 
 
 (2) The two Candelabrum bearing angels (Figs. 75, 76), with their 
 slashed robes and horizontally striated wings are manifestly the product of 
 Giovanni's atelier. 
 
 (3) The two Cherubs, beneath the Angels, based on Andrea's prototypes, 
 may also have come from Giovanni's atelier. 
 
 (4) The Christ Child blessing, holding a scroll inscribed Ego sum lux 
 mundi, and the Cherub head below were produced in the same atelier. 
 
 Bibl. : 
 
 B., Kf., 24; Burl., 108; C-M., 213 No. 50; Cr., 229-230, 326, 329, 342; 
 R., D. R., 247-248; 5c. Fl, IV, 58-60; Vas., II, 192. 
 
 131 CANDELABRUM BEARING ANGELS, 
 onale, Nos. 63, 66. Statuettes. H., 0.45m. 
 
 Florence. Museo Nazi- 
 
 These two angels, acquired in 1867 from the suppressed monastery of 
 Monte Oliveto, are robed in blue edged yellow, with sleeves white and 
 green. Their wings are striated horizontally with various colours. They 
 kneel (on either side of a ciborio or altar) and hold the box-like bases of 
 
126 
 
 GIO\'AXXI DELLA ROBBIA 
 
 ^«- ^ '^^•■ 
 
 Fig. 75. — Angel. Casa Suebi. 
 
 Fig. 76. — Angel. — Casa Sorbi. 
 
 candlesticks. For pose, compare the candelabrum bearing angels on the 
 exterior of the Casa Sorbi. 
 
 Bibl. : 
 
 Burl., Ill ; Cr., 339; Supino, 449 No. 63, 450 No. 66. 
 
 132 CANDELABRUM BEARING ANGEL. Princeton, N. J. Grad- 
 uate School. Statuette. H., 0.55m. 
 
 Presented by Mr. Thomas Shields Clarke. The right arm, candelabrum 
 and end of wing are restorations. The Angel kneels on a green base, wears 
 a blue lined green mantle over a white tunic. His wings are striated green, 
 blue and yellow. School of Giovanni della Robbia. 
 
 Bibl. : 
 
 M., D. R. A.. I2i 
 
1520-1530 
 
i5^o - 1530 
 
 133 ASSUMPTION OF THE MADONNA, WITH PROPHETS 
 AND SAINTS. 1520. Pisa. Campo Santo. Altarpiece. H., 4m. ; 
 W., 2.65m. Photo., Alinari, 8618. 
 
 The design or model of this altarpiece (Fig. "]■]') was accepted and the 
 contract for it signed on August 18, 15 18. It was to be executed in Flor- 
 ence by Giovanni della Robbia on or before the fifteenth of March 15 19. 
 The monument itself shows that some delay occurred as it bears the date 
 1520. It was designed for the chapel or parish church of S. Marco at Cal- 
 cesana, near Pisa, and paid for by the people of the parish through their 
 representative, or opcrariiis, Agostino di Gherardo Urbani of Pisa, and with 
 the consent and approbation of the priest or rector Francesco di Pierantonio 
 of Pontadera. 
 
 The central relief, unglazed but painted in oils, represents the Assump- 
 tion, not in the hesitating form of a Madonna della Cintola, but as an 
 achievement in which the attendant saints show no direct concern. Her 
 sarcophagus with lilies is barely visible and above it is her soul, a diminutive 
 Madonna, in the air. She herself sits with folded hands in a flaming 
 mandorla, which is upheld by four angels, listening to the music from the 
 pipe-, violin-, cithara-, and tambourine bearing cherubs about her. Over- 
 head is God the Father with outstretched arms separated by cherubs from 
 a group of prophets among which may be recognized ( i ) David, with 
 crown and harp, (2) Jeremiah with a saw, (3) Moses horned, with a book, 
 (4) John Baptist in hair cloth, (5) Abraham, with flame and knife, (6) 
 Jonah, with sea monster, and (7) Daniel, with a lion. Several carry scrolls 
 bearing their names. In the foreground are four large, standing saints 
 (i) S. Jacopo Maggiore, with stafi and book, (2) S. Pietro, with his keys, 
 (3) S. Marco, patron saint of the church, with his lion, and (4) S. Ansano, 
 with palm and banner. 
 
 The predella has at either end a shield inscribed OPE(RA), indicating 
 that the altarpiece was commissioned by the Operai of the church, and four 
 reliefs relating to the standing saints (i ) S. Pietro freed from prison by an 
 angel, (2) S. Jacopo and the man possessed of three devils, (3) S. Marco 
 dragged to judgment through the streets of Alexandria, and (4) S. Ansano, 
 beheaded and burned. 
 
Fig. 77. — AssuMi'TioN with Saints. Pisa, Campo Santo. 
 
GION'AXXI D1-:L].A ROIUUA 131 
 
 The pilasters are broken intu panels slmwint;- lignres of S. Gabricle and 
 the Annnnziata, S. Giovanni Battista and S. Antonio Abate with his pig. 
 In the centre of the pilaster to the left is a white disk inscriljecl TE(M) 
 PORE P(RE)SBITERI FRANGESCi Al D XX ; that to the right is 
 inscribed A\'G\'STEXI A'RBAXI OP(ER)ARn. Above the usual dol- 
 phin capitals are abbreviated entablatures with cherub heads and an archi- 
 volt with an arabescjue like that on the liase i:)f the ciborio at Galatr(jna 
 (151S). Between the frame and the central relief is a broad guilloche. 
 The contract also called for pendent garlands, a vase at the top and 
 upper and lateral putti. This would have given to this monument some- 
 thing of the character of the lavabo at S. Maria X^jvella, but this feature of 
 the design seems never to have been executed. 
 
 Document: [Copied by Air. Rufus G. Mather.] 
 
 "1518 Indictione AT et die decima octava mensis augusti. Actum 
 Elorentie in p(o)p(u)lo sancti stephanj abbatie florentini. 
 
 Presentibus ser baldassare albertj de jjondoniljus et ser laurentio vivaldj 
 angelj notarj florentinj testilnis, etc. 
 
 In margine : locatio operis . I). C. 
 
 Cum sit Cjuod homines cappelle et sen parrochie sancti marci della cal- 
 cesana site in civitate pisarum et etiam infrascriptus augustinus operarius 
 cappelle predicte desiderent et a dicta cappella in et pro altarj maiorj dicte 
 cappelle ponere et sive construere et sive ponj et construj facere cpiandam 
 tabulam in qua sculpta sit assumptio beate marie virginis in quodam nube 
 prout sculpi solent cum pluribus figuris angelorum ut supra sculptorum 
 circum dictam figuram et sen imaginem et ipsius beate virginis et cum 
 figure seu imagine dei patris et octo profetarum et seu patriarcharum etiam 
 et supra sculpta seu sculptis desuper figuris et seu nubem assumptionis pre- 
 dicte et cum quattuor imaginibus et seu figuris etiam ut supra sculptis sub 
 imaginibus sanctorum petri jacobi et marci apostolarum dei et sancti ansani 
 martiris ad pedes ipsius tabule et cum quodam ornamento et seu festone et 
 quodam vase in capite dicti festonis et pluribus figuris et imaginibus puero- 
 rum in dicto festone desuper et a lateribus dicte tabule et cum predella seu 
 base ipsius tabule et columnis et aliis ornamentis ipsius tabule altitudinis 
 anime ipsius tabule computate altitudine predelle et seu basis predicte brachi- 
 orum sex et dicti festonis et vasis ut supra in capite tabule apponende alti- 
 tudinis brachij unius et sic in totum brachiorum septem ; latitudinis vero 
 ipsius tabule et columnarum et ornamentorum ipsius brachiorum quattuor 
 et unius quarti alterius brachii. Et que omnes figure et seu imagines cum 
 ornamentis festone vase et aliis predictis sint sculpte de terra cocta ismaltata 
 et invetriate et adorata ad oleum et cum colorijjus perspectis et auro brunito 
 et a mordente prout conveniente oportuerit prout apparet pro quoddam. 
 
132 GIOVANNI DELLA ROBBIA 
 
 disegnum et seu figuratum de predictis factum existens penes dictos homi- 
 nes et seu penes dictum augustinum operariuni predictuni prout asseruit 
 prefatus augustinus operarius antedictus coram me notario infrascripto et 
 testibus supra scriptis. Et cum sit ctiam c|uod dictus augustinus volens dic- 
 tum opus ad iinem perducere cjuesiverit in civitate florentie et invenerit in- 
 frascriptum joannem sculptorem idoneum ad predicta. Hinc est quod hodie 
 hac presenti suprascripta die dictus augustinus glierardi urbani de pisis 
 operarius et ut operarius dicte cappelle sancti marci alia calcesana de pisis 
 de presentia consensu et voluntate presbiterj f rancesci pierantonj del ponta- 
 dera moderni rectoris dicte cappelle presentis et omnj meliori modo, etc., 
 dictum opus ut supra perficiendum locavit, etc., joanni andree della robbia 
 civi et sculptori florentino present j et acceptantj. Et cjui Joannes sculptor 
 predictus promisit pro se et suis heredibus, etc., dicto augustino operario 
 predicto presentj et pro opera et lavoribus dicte cappelle ricipientj, etc., 
 sculpsisse dictas figuras et imagines et dictam tabulam cum omnibus supra- 
 scriptis perfecisse et ad dictam civitatem pisarum et in loca altaris predicte 
 posuisse omnibus suis sumptibus etiam muramentorum pro predictis faci- 
 endorum cum materia coloribus ornamentis et auro et in omnibus et per 
 omnia de quibus et prout supra et in dicto disegno et figuratione predictis 
 constat et apparet per totum diem XV mensis martii proxime futurj pre- 
 sentis annj domini 1518. Et ex adverso dictus augustinus dictis nominibus 
 promisit, etc., eidem joannj sculptorj presente et pro se et suis heredibus 
 etc., ricipientj, etc., dare solvere et pagare propretio et premio operis et 
 ornamentj predicti florenos triginta septem auri largos in auro de libris 
 septem florenorum parvorum pro quolibet floreno cum dimidio alterius 
 florenj similis hoc modo vid. ad presens florenos sex et sic solvit dictus 
 augustinus dictos florenos sex aurj largos in auro d(omi)no joannis pre- 
 sente et ad se trahentj et totum premium essere confitientj in presentia mei 
 notari et testium, etc., residuum vero per totam dictam diem XV mensis 
 martij proxime futurj et si dictum opus perfectum erit prius et immediate 
 post perfectionem dicti operis predicte si prius perfectum fuerit. Quod 
 omnia dicte partis dictis nominibus promiserunt, etc., attendere, etc., sub pena 
 florenorum centum aurj larg. inauro qua pena, etc., qua pena, etc., proqui- 
 bus, etc., etc. Et dictus Joannes iuravit, etc., omnia soprascripta observare 
 etc., etc. . . ." 
 
 [Arch. de'Contratti di Firenze. Rogiti di Gio. Antonio degli Ottaviani 
 da Pulicciano. Protocollo dal 151 1 al 1522; Milanesi Misc. 32 III P c. 
 387-] 
 
 Bibl. : 
 
 A.eS., IV (1885), 240; B. J., 96-97; B., Kf., 25; A. S. A., II (1889), 
 2; C-M., 130, 194-195 (Doc), 242 No. 229; Cr., 237-238, 312-313 
 
GIOVANNI DELLA ROBBIA 133 
 
 (Doc). 330; M.. Sc. Mag., 1893, 6S3 ; R. H., 244; Milanesi, Misc. 32 
 III P c. 387 (Doc. ) ; Morrona, III, 182 (2 ed. p. 197) ; R., D. R., 245- 
 246; iV. /■/., IV, 57, 59; Vas., II, 194. 
 
 134 BUST OF CHRIST. New York Cit.y. Tolentino Sale of 1920. 
 
 This fine bust (Fig. 161) was formerly in the collection of the Marchese 
 Viviani della Robbia at Settignano. The face and neck are unglazed ; the 
 hair and beard are glazed yellow, the tunic violet with yellow border, the 
 mantle blue lined green. The type shows still the influence of Verrocchio's 
 Christ (1483) on the exterior of Or San Michele, a type which Giovanni 
 had freely copied in the relief of the Incredulity of S. Tommaso at Rifredi. 
 It is probably to be assigned to a somewhat later period, perhaps as late as 
 1520. It is altogether to be preferred to Giovanni's bust of Christ of the 
 Certosa (1522). 
 
 Bibl, : 
 
 Burl., 60, 109; Cr., 234 Note i, 330; R., D. R., 269; Tolentino Sale 
 of 1920, Cat., no. 794. 
 
 135 BUST OF CHRIST. Paris. Louvre. Salle de Trocadero. H., 
 o.4Sm. 
 
 Gift of RI. Georges Berger. The head unglazed. The robe is glazed 
 violet, the mantle blue, lined green. Similar to the Christ in the Viviani 
 della Robbia collection. 
 
 136 HEAD OF CHRIST. Boston. Museum of Fine Arts. Fragment. 
 H., 0.15m. Photo., B. Coolidge, 8841. 
 
 This head (Fig. 78) thinly glazed is to be classed with the heads of 
 Christ from the atelier of Giovanni della Robbia. 
 
 Bibl. : 
 
 M., D. R. A., 116, Fig. 47. 
 
 137 NOLI ME TANGERE. Florence. S. Maria Novella. Cloister. 
 H., 2.40m.; VV., 2.44m. Photo., Brogi, 5638. 
 
 Although not so Verrocchian in character this relief (Fig. 79) is closer 
 to Giovanni's stylistic peculiarities than are the reliefs of the same subject in 
 the Museo Nazionale. The open mouthed cherub head indicates that it was 
 designed as a lavabo. 
 
134 
 
 GIOX'AXNI DET.LA ROBBIA 
 
 Fig. 78.— Head of Christ. Boston Museum of Fine Arts. 
 
GIO\'ANNI BELLA ROBBLV 
 
 135 
 
 The Aladdalena, with yehow hair, )'ellu\v rolje, violet mantle lined i^reen, 
 is on her knees before the Christ whom she mistakes for the gardener. He 
 , stands with mattock over his shoulder and with raised hands bids her 
 N'oli !}tc taiigcn- (John jo, ii-iS). He is clad in a tunic (^f violet lined 
 yellow over which is a mantle of blue lined green. His hair is yellow. The 
 landscape with its sharply defined trees and flowers indicates Giovanni's 
 handiwork. 0\'erhead are birds against a light blue sky. The upper and 
 lower portions of the landscape do not compose well. This may be due to 
 a restoration. Certainly the frame has been reset badly without reference 
 to the direction of the triplex bunches of fruit separated by crossing bands 
 which issue from the Idue and violet vases below. It represents Andrea's 
 rather than Giovanni's methods, and ma^• have been made by one of Gio- 
 vanni's brothers. 
 
 Bibl. 
 
 B. J., 89; C-AL, 211 No. 3T,; Cr., 341. 
 
 Fig. So. — Nni 1 \ii iwuri Iiukini? Mi-lo \ \/iiinale. 
 
 138 SAME SUBJECT. Florence. Museo Nazionale, No. 57. Altar- 
 piece. H., 2.30m. ; W., 2m. Photo., Brogi, 9486. 
 
 This altarpiece (Fig. 80) came from the Convento di S. Onofrio, known 
 also as the Conservatorio della Concezione di Foligno in the Via Faenza. 
 
136 GIOVANNI BELLA ROBBIA 
 
 Like the preceding it represents a Noli me tangere. The Maddalena on her 
 knees, robed in bhie lined yellow and with a mantle of yellow lined violet 
 brown, is carrying her box of ointment. Christ, with bared breast elabo- 
 rately modelled, wears a mantle of blue lined green, and carries a mattock 
 over his shoulder. Llence he is mistaken for a gardener (John 20, 15). 
 He addresses her "Touch me not; for I am not yet ascended to my Father." 
 The background with its crude landscape, ill proportioned trees and 
 plants and gaudy picket fence link this with the Noli me tangere No. 19 in 
 the same museum. 
 
 Bibl. : 
 
 B. J., 80; Burl., Ill; C-M., 211 No. 38; Cr., 339; Supino, 449 No. 57. 
 
 139 JESUS CHI^IST. Florence. S. Onofrio in Foligno. 
 
 Demmin, p. 218, mentions a "Jesus Christ" as in the chapel of the con- 
 vent of S. Onofrio. Can this refer to the Noli me tangere now in the 
 Museo Nazionale, No. 57, which he does not otherwise mention? 
 
 140 NOLI ME TANGERE. Florence. Museo Nazionale, No. 19. 
 Round-headed altarpiece. H., 2.30m., W., i.6om. Photo., Alinari, 
 20388. 
 
 This composition (Fig. 81) shows the influence rather than the hand of 
 Giovanni della Robbia. Christ does not draw back suddenly as in the relief 
 at Rifredi, but almost touches the forehead of the Maddalena, as if to as- 
 sure her of the reality of his presence. He is not represented as the garden- 
 er, whom she supposed him to be, but as the Christ of the Resurrection 
 holding the crusader's banner. She wears a mantle of blue lined green 
 over a yellow robe, and he a violet brown robe edged yellow, over which is 
 a white mantle. In features she resembles the Maddalena at Rifredi, and 
 still more the round faced Madonna at Finalpia. The Christ is semi-Ver- 
 rocchian and semi-Angelican in character. A bright yellow picket fence 
 takes the place of Giovanni's rose covered trellis, and the trees are poorly 
 proportioned and ill defined. A lizard, scjuirrel, owl and other birds are 
 present. The predella shows three panels (i) S. Francesco and the Stig- 
 mata, (2) Resurrection of Christ and (3) The Maries at the Sepulchre. 
 
 Bibl. : 
 
 Burl, 109; Cr., 338; Supino, 439 No. 19. 
 
GIOVANNI DELLA ROBBIA 
 
 137 
 
 Fig. 81. — Noli me tancere. Florexce, Museo Nazionale. 
 
 141 MADONNA AND CHILD IN A NICHE. Scandicci. S. Maria 
 a Greve. H., 1.50m.; W., im. Photo., Private. 
 
 The Madonna in violet brown robe and a bkie lined green mantle which 
 has an ornamental yellow border, is seated on a yellow throne with lion's 
 claw and acanthus leaf supports (Fig. 82). Her mantle is clasped by a 
 cherub head brooch. She holds to the left a nude Child standing on a 
 cushion, blessing with his right hand and holding a bird in his left. The 
 conch above her head is violet brown. The predella is inscribed 
 y SVB TVVM PRESIDVM CONFVGI 
 MVS SANCTA DEI GENETRIX ^-^ 
 The round headed frame is capped with a cherub head from which hang 
 
138 
 
 GIOVANNI BELLA ROBBIA 
 
 to right and left garlands of fruit and flowers arranged in separate triplex 
 bunches. The base shows a double rectilinear maeander between bead and 
 reel and egg and dart mouldings. 
 
 Bibl. : 
 
 Burl., 62, 116; Carocci, Di)it., II, 411; C-M., 248 No. 266; Cr., 355. 
 
 Fig. 82. — Madonna. Scandicci, S. Maria a Greve. 
 
 142 MADONNA WITH NUDE STANDING CHILD. Luco in Mu- 
 gello. S. Pietro. Photo., Private. 
 
 This half figure of the Madonna, clad in violet, with a mantle of blue 
 lined green, holds to the left a nude Child who blesses with his right hand 
 and in his left holds a bird. 
 
 Bibl. : 
 Cr., 347. 
 
 143 MADONNA ENTHRONED WITH DRAPED CHILD BLESS- 
 ING. Elorence. S. Barnaba. Photos., Alinari, 3693; Brogi, 4728. 
 
 This relief (Fig. 83), set over the door of S. Barnaba, shows a depend- 
 ence on Giovanni's forms though lacking his quality. The Madonna, in 
 
GIOVANNI BELLA ROBBIA 
 
 139 
 
 violet robe edged yellow and a bine mantle, enthroned on an acanthns deco- 
 rated bench, holding the Child, who is clad in a green tunic and stands on a 
 cushion blessing, is not unlike the ^ladonna of S. Maria a Greve, Scandicci. 
 The background is ilecorated with a pattern similar to that of the Madonna 
 and Child and S. Giovannino in the Museo Nazionale, No. 44. The violet 
 
 "msi,^ 
 
 Fig. 83. — Madonna. Florence, S. Barnaba. 
 
 columns with spiral flutings are provided with Giovanni's typical dolphin 
 and vase capitals. The base or predella constructed like that of the Maga- 
 lotti ciborium is inscribed : 
 
 >SUB GVBER(N)ATIOfN)E ARTIS AROMATAR(I)OR(VM). 
 The Aromatarii were incorporated in the Guild of the Doctors and Apothe- 
 caries whose stemma was a Madonna seated in a Tabernacle. Luca della 
 Robbia executed their stemma for the exterior of Or San Michele. 
 
 Bibl. : 
 
 B. J., 87: Bigazzi, 21 ; B., Kf., 23; Burl, 107; C-M., 206 No. 4; Cr., 
 341; Richa, VII, 57; Vas., II, 191. 
 
I40 GIOVANNI DELLA ROBBIA 
 
 144 THE FOUR EVANGELISTS. 1520-1521 ( ?). Galatrona (near 
 Montevarchi), S. Giovanni Battista. Statuettes. H., 0.42m. Photo., 
 Alinari 9855 shows two of them. 
 
 Set on brackets on the wall are four small, white statuettes of the Evange- 
 lists, set diagonally on their bases which are inscribed 
 !(i) J' S(an) • MATHEE. • P(ROPHETA) ET EVA(N)GELISTA 
 
 (2) >S(an)- MARGE- EVA(N)GELISTA 
 
 (3) J'S(an) -LVGA- EVA(N)GELISTA 
 
 (4) J'S(an) -IHOANCNjES • AP(OSTOLO) ET EVA(N)GELISTA 
 It is barely possible that these statuettes were made by Giovanni's son 
 
 Marco, who received payments in 1520 and 1521 in the accounts con- 
 cerning Giovanni della Robbia and his work for Messer Leonardo 
 di Giovanni Buonafede at Galatrona. However, the receiver of payments 
 is usually an agent, not necessarily a co-worker. 
 
 Document: [Copied by Mr. Rufus G. Mather.] 
 "E a di xiiij di gienaro 1520 f uno largo 
 doro Inoro porto marcho suo figluolo 
 chontanti a uscita g ac. 240 f i- 
 
 E a di xxviiij daprile 1521 1 iij sx 
 pice, porto marcho suo figluolo chontanti 
 a uscita h ac 8 f-io 
 
 E a di 30 di deto 1 iij sx pice, porto 
 marcho quo figluolo chontanti a uscita 
 h ac 8 f-io" 
 
 [Archiv. di S. Maria Nuova, Libro Giallo (1516-1518) segnato F. c. 
 227.] 
 
 Bibl. : 
 
 Bacci, ///. Flor., 1908, 144 (Doc); M., A. J. A., XXII (1918), 373 
 (Doc). 
 
 145 MADONNA AND CHILD WITH SS. GIOVANNI BATTISTA 
 AND GIROLAMO. Berlin. Kaiser-Friedrich Museum, 113 (I. 
 161). Medallion. Diam., 1.44m. Photo., Private. 
 
 This medallion (Fig. 84) was acquired in Rome in 1846. It was then 
 entirely white, was so published in the Museum's early catalogues, and was 
 still entirely white when in 1894, I took the photograph here published. 
 The latest catalogue publishes the garland as polychromatic, the background 
 
GIOVANNI DELLA ROBBIA J41 
 
 as blue on which are streaks of golden glory. The Director had found this 
 monument "sehr niichtern," but now the compiler of the official catalogue 
 calls attention to the naturalistic colouring of the fruit, the preservation for 
 the most part of the gilding in the background and describes the whole as 
 
 Fig. 84. — Madonna and Saints. Berlin Museum. 
 
 a characteristic work of Giovanni's about 1500! Alas, that German poly- 
 chromy should invade the field of sculpture! Had it been left white it 
 would have been equally characteristic, for at Galatrona there are several 
 monuments which Giovanni made in 15 18 for Leonardo Buonafede, and 
 there is a Madonna of 1520 in the Seminario at Fiesole very similar to the 
 Berlin medallion in type and devoid practically of polychromy. 
 
 The Madonna, robed in a close fitting robe covered by a mantle held to- 
 gether by a cherub headed brooch, holds on her lap the curly haired Child 
 who, as usual, is holding a bird and blessing, but lacks the customary 
 cushion. To the left and right are SS. Giovanni Battista and Girolamo, 
 the same saints that flank the Madonna in the altarpiece at Arcevia, but 
 the types have changed somewhat. They are here more conscious of the 
 fate in store for the happy Child. 
 
 The garland, set between egg and dart and leaf mouldings, is composed 
 
142 GIO\'AXXI BELLA ROBBL\ 
 
 of contiguous, chiefly triplex Ijunches of fruit, flowers and wheat, with no 
 frogs, lizards or other animals. Altogether, the medallion is an unusually 
 careful example of Giovanni's workmanship. 
 
 Bibl. : 
 
 B., /v7,, 26:Ital. PL, 95 ; B-T., No. 129; C-M., 261 No. 354; Cr., 333; 
 Schottmuller, 48-49, No. 113; Tieck Gerhard, No. 661A; Z. f. b. K., 
 XXIV (1889), 122. 
 
 ;146 RL^DONNA AND CHILD ENTHROXED, WITH SAINTS. 
 1520. Fiesole. Seminario. Altarpiece. H., 2.40m., W., 1.80m. 
 Photos., Alinari, 3292; Brogi, 9862. 
 
 From the Castello or Palazzo Episcopale at Fiesole this altarpiece (Fig. 
 85) was transferred to the Seminario. At that time doubtless the lunette 
 was raised above its original level. The name of the donor Guglielmo del 
 Folchi and the date, 1520, are inscribed on the predella of the Madonna's 
 throne. 
 
 The central relief represents the Madonna seated holding on her right 
 knee the nude child, who seated on a cushion holds a bird and is blessing. 
 Above her two lily bearing angels hold a golden crown, beneath which is 
 the Holy Dove. The predella of her throne shows two putti upholding a 
 tabella ansafa inscril^ed : 
 
 r GVLILEMVS ► DE ► FOL 
 
 CHIS^ EP(ISCOPV)S^ FESVLANVS^ 
 
 FIERI ► FECIT ► AN(N)0 
 
 + D(OMIN)I^M-DXX + 
 Standing to the left are S. Pietro, with keys and book, and Bishop S. 
 Donato of Scotland (Duns Scotus) ; to the right S. Giovanni Battista, with 
 cross and scroll inscribed ECCE AGfN)VS), and Bishop S. Romolo with 
 the wild beast at his feet. Their names are inscribed below 
 <i) PETRVS • APPOSTOLVS • 
 
 (2) SfANCTVS) DONATVS DE SCOTIA- EP(ISCOPV(S- FESV- 
 
 LANVS +''^ 
 
 (3) TS(ANCTVS)- lOHANNES BATISTA- 
 
 (4) >S(ANCTVS) ROMVLVS- EP(ISCOPV)S- FESVLANVS '^ 
 On the predella at either end are the arms of Bishop Guglielmo dei Fol- 
 chi ; Chequy argent and sable, a diminished fess gules, from which issues 
 an eagle argent in a chief sable. Between them are scenes relating to the 
 saints above (T) the angel releases S. Pietro from prison, (2) S. Donato 
 performs a miracle, (3) The Presepio, (4) The Birth of S. Giovanni Bat- 
 tista, (5) The Beheading of S. Romolo at the well. 
 
GIOVANNI DKI.LA R01!i;iA 
 
 143 
 
 The frame has pilasters decorated with thick set hunches of triplex fruit 
 and flowers separated hy ril)l)(>iis tied in horizontal hows, the usual dolphin 
 capitals, entahlature with chenih heads, garlands and disks, and lunette with 
 God the Father hiessing and holding an tjpen hook, set hetween two cherubs 
 and enclosed in a cherub frame at the top of wdiich again appears Bishop 
 Folchi's coat of arms. 
 
 ssrsffisaiTBimcKcssE^^ssa^ 
 
 
 Fig. 85. — Madonna and Saints. I^'iesole, Skmin,' 
 
 Bibl. : 
 
 B., Kf., 24; Burl., 114; C-M., 232 No. 176; C., s.v. Folchi; Cr., 182, 
 208, 309; M., R. H., 249-250; Perkins, T. S., I, 199; R., D. R., 257; 
 Sc. Fl, IV, 62; V. Rumohr, II, 295 note; Vas., II, 193. 
 
144 
 
 GIOVANNI BELLA ROBBIA 
 
 147 MADONNA AND CHILD, AND S. GIOVANNINO. Florence. 
 Museo Nazionale No. 44. Medallion. Diam., i.iom. Photos., Ali- 
 nari, 2768; Brogi, 9489. 
 
 From the suppressed monastery of the Ognissanti this medallion (Fig 
 86) reached the Museum on May 9, 1866. The Madonna, robed in dark 
 violet with mantle of blue, holds to the left the Child, nude, holding a bird, 
 blessing. He stands on a cushion of which a small portion is glazed white. 
 
 Fig. 86. — Madonna. Florence, Mused Kaziunale. 
 
 S. Giovannino, with flaming nimbus, is to the left. All nudes unglazed. 
 The background is covered with a Robbia pavement pattern done in blue 
 and green against yellow ground. 
 
 The frame has a heavy egg and dart moulding within a polychromatic 
 garland composed of contiguous, triplex and quinqueplex bunches of fruit 
 interspersed with flowers, among which may be seen also a frog and a 
 lizard. 
 
 Bibl. : 
 
 Burl., no; C-M., 217 No. -jz; Cr., 338; Supino, 446 No. 44. 
 
 148 S. ROMOLO ENTHRONED. 1521. Fiesole. Duomo, over 
 entrance (interior). H., i.6om. Photo., Alinari, 20350. 
 
 From the Castello or Palazzo Episcopale was transferred to the Cathe- 
 
GIOVANNI BELLA ROBBIA 
 
 145 
 
 dral the statue of S. Romolo (Fig. 87) and the Fulchi stemma now above 
 the entrance door (interior). 
 
 
 
 Fig. 87. — S. Romolo. Fiesolk, Duomo. 
 
 S. Romolo is seated on a throne flanked by yellow female sphinxes, cov- 
 ered with a white mantle heavily bordered with yellow, and wearing an 
 elaborately decorated mitre. He is blessing and carries a blue book with 
 yellow fittings. At his feet is a brown beast. Back of his head a fluted 
 blue shell. The niche is framed by pendent garlands of continuous bunches 
 of fruit and flowers irregularly composed. The predella is inscribed : 
 7S(AN)C(TV)S^R0MVLVS^EP(ISC0PV)S>'FESVLANVS + 
 The stemma of Bishop Folchi above and the cartello below, dated 1521, 
 though made at the same time were not designed to form a part of this 
 monument, which was probably capped by the palmette now below the 
 
146 GIO\\VNNI DELLA ROBBIA 
 
 cartello. This palmette is similar to tliat which caps the frame of the altar- 
 piece formerly in the \'ia Nazionale (1522). 
 
 Bibl. ; 
 
 B. ]., 81-82; B., Kf., 24; Burl., 64, 114; C M, 232 No. 173; Cr., 
 208, 329; M., R. H.. 250; \^as., II, 193. 
 
 149 STEMMA OE BISHOP GUGLIELMO DEI EOLCHI. 1521. 
 
 Fiesole, Duomo, over entrance door (interior). 
 
 W'ithin a wreath of continuous, irregularly composed fruit and flowers, 
 on a Tuscan shield set in a blue fluted disk is the stemma of Bishop Gugli- 
 elmo dei Eolchi : checjuey sable and argent, a diminished fess gxiles from 
 which issues in a chief sable an eagle argent. 
 
 The stemma is now set al:)0ve the statue of S. Romolo. Below that statue 
 is a rectangular tablet, originally connected with the stemma, inscribed : 
 J' TEMPORE ►R(EVEREN)DI^ EP(ISCOP)I^ EESVLANI ► 
 GVLIELMI ► DE FOLCHIS ^'^ 
 ANNO ► DOMINI ► M^D^NXI ^'^ 
 
 Bibl. : 
 
 C-M., 232 No. 173; C., s.v. Eolchi; Cr., 329; M., R. H., 250; Vas. 
 
 n, 193- 
 
 150 EIVE STATETETTES. Eiesole. Duomo. 
 
 Milanesi (Vas., II 193-194) reports as in the Confessione of the Cathe- 
 dral at B^iesole five glazed terra-cotta statuettes by Giovanni della Robbia. 
 They are no longer there. 
 
 151 VISIT BY THE MARIES TO THE SEPULCHRE. 1521. Elor- 
 ence. Museo Nazionale, No. ^y. Lunette. H., 0.90m.; W., 2m. 
 Photos., Alinari, 2751; Brogi, 9493. 
 
 This lunette (Eig. 88) came to the Museo Nazionale in March 1868, 
 from the suppressed convent of the Annunziata. It is signed by Giovanni 
 della Robbia and dated 1521. The central portion of the composition is 
 closely related to Perugino's Entombment (1439) in the Accademia and 
 Era Bartolommeo's Pieta, (1515) in the Pitti Gallery. This composition, 
 known as a Deposition or Pieta, represents properly the day of "prep- 
 aration" or the first visit of the Maries to the sepulchre (Matth. 27, 57-62; 
 Mk. 15, 42-47; Luke 23, 50-56). Here is the tomb which Joseph of Ari- 
 
GIO\'ANNI DI<:LLA ROCl'JA 
 
 147 
 
 mathaea hatl "hewn out of the rock," wherein "never man Ijefore was 
 laid," co\ered in places with moss and occni)ied \)y lizards, frogs, 
 and snails. Here is the "clean linen cloth" in which tlie IkxU' of Christ had 
 been laid. S. Giovanni luangelista and the JMater Dolorosa, both robed in 
 
 Fig. 88. — M.vries visit the Sepulchre. Florence, .Museu Xazion.\le. 
 
 maroon with mantles of blue, are raising the head and shoulders of the 
 dead Christ, while jMary the mother of James the Less, in yellow robe and 
 maroon mantle leans o\-er in adoration, and the Aladdalena, in a light blue 
 edged yellow robe and green lined yellow mantle, with the box of spices 
 and ointment, is at his feet. We may notice that the flesh colour of Christ 
 is of a darker hue than that of the three women. On the edge of the white 
 linen cloth is inscribed : 
 
 HOC OPVS- FECIT- lOHANfNjES- ANDREE- DE ROBIA- 
 AX(N)0 D(0:MI)XI- AI-D-XXI+ 
 
 The frame consists of an inner egg and dart moulding and an outer gar- 
 land of fruit and flowers chiefly in double file rising from the sides to the 
 top, which is terminated Ijy a band of white Annunciation lilies. 
 
 Eibl. : 
 
 B., Kf.. 18, 24: Fl. Sc. 200, PI. 85: Dcnk. 88, Taf. 280: Burl, no; 
 C-AI., 132; Cr., 328; S., 141, Abb. 154: Supino, 445 Xo. ^y : Vas., II, 
 193- 
 
 152 THE ANXUXCIATIOX. Florence. Museo Xazionale, No. 78. 
 Lunette. H., 0.90m.; W., 2m. Photos., Alinari, 2749; Brogi, 9501. 
 
 This lunette (Fig. 89) was a companion piece to the one just described, 
 and was transferred to the Aluseo X^azionale on the 9th of March 1868 from 
 
148 
 
 GIOVANNI DELLA ROBBIA 
 
 the convent of the Annunziata. The subject of the lunette was especially 
 appropriate to the location. The archangel Gabriel robed in white with 
 mantle of yellow lined green, kneels, holding a lily branch, and announces 
 his message to the Annunziata, who in violet edged yellow robe and mantle 
 of blue lined green is seated on a yellow throne before a highly decorated 
 
 Fig. 89. — The Annunciation. Florence, Museo Nazionale. 
 
 curtain. Between the two figures is a dolphin handled vase full of roses 
 and lilies, above which amid the golden light of heaven is seen the Holy 
 Dove, and a bed with curtains and bolster of pure white. 
 
 The frame has a wider garland than that of its companion piece, com- 
 posed of fruit and flowers, rising from the sides toward the top where is a 
 row of Annunciation lilies. The fruit is composed of contiguous, triplex 
 bunches interspersed at irregular intervals alternately with pairs of white 
 roses or white lilies. 
 
 Bibl. : 
 
 B., Kf., 18, 24; Burl., Ill; C-M., 217 No. 69; Cr., 340; Supino, 453 
 No. 78. 
 
 153 S. FRANCESCO. Florence. Museo Nazionale, No. 59. Medallion. 
 Diam., 1.40m. Photo., Brogi, 9478. 
 
 This medallion (Fig. 90) came from the abandoned church now known 
 as the Manifattura dei Tabacchi, in the Via Panicale. S. Francesco is here 
 represented in three quarter figure, with yellow nimbus, flesh coloured face, 
 yellow brown beard, gray cowl and gown, holding a yellow cross and blue 
 book. His eyes have light yellow irises. The background is white. 
 
 The frame has an inner tgg and dart moulding and an outer heavy 
 
GIOVANNI BELLA ROBBIA 
 
 149 
 
 wreath of contiguous, triplex bunches of fruit with white flowers at regular 
 intervals. 
 
 Bibl. 
 
 Burl, III ; Cr,, 339; Supino, 449 No. 59. 
 
 Fig. 90. — S. Francesco. Florence, Museo Nazionale. 
 
 154 S. FRANCESCO. Florence. S. Croce (Cappella Medici). Half 
 figure. Photos., Alinari, 2164; Brogi, 5826. 
 
 S. Francesco (Fig. 91) is here portrayed in a gray habit carrying a 
 
 Fig. 91. — S. Francesco. Florence, S. Crock. 
 
ISO 
 
 GIOVANNI BELLA ROBBIA 
 
 yellow cross and a blue book with )'ello\v fittings. He shows exaggerated 
 
 stigmata on hands and side. 
 
 Bibl. 
 
 B., Kf., 2^; Burl, 107; C-^l., 206 No. 8; Cr., 341. 
 
 155 A MONASTIC SAINT. Florence, S. Croce ( Capella Medici). 
 Half figure. H., 0.70. Photos., Alinari, 2163; Brogi, 5827. 
 
 This Saint (Fig. 92), called S. Bernardo by Bode, S. Bonaventura by 
 Cavallucci-Molinier and ]\Iiss Cruttwell, and Beato Gherardo da Villa- 
 
 FiG. 92. — Monastic Saint. Florence, S. Croce. 
 
 magna by Alinari, wears a brown habit over a white tunic and displays a 
 book inscribed Undc z'os fili{a)c pulsate iiiatrcni prccibtis pulsate ad 
 ostium vim tantis arnicis. 
 
 Bibl. : 
 
 B., Kf., 2^; Burl., 107; C-M., 206 No. 8; Cr., 341. 
 
 156 S. ORSOLA. Florence. Museo Nazionale No. 55. Medallion, 
 Diam., 1.40m. Photo., Brogi, 9479. 
 
 This medallion (Fig. 93), a companion piece to No. 153, is also from 
 the Manifattura dei Tabacci. S. Orsola, who was stabbed in the neck, 
 
(;iO\\\XXl Dh:i.LA kOlMllA 
 
 ItI 
 
 is here represented with a wnuiid in lier thmat. IJer lace is eiianiclled 
 to imitate tlesh culour. A1)()\e her ,t;(ilden hair rests a gohleii erown, and 
 o\'er her shnulders is east a rich mantle Ijordered with jewels. She carries 
 
 Fig. 93. — S. Ors(il.\. Flijrknxe, Mi/seo X.\ziiixale. 
 
 a green palm and a bine and yellow bonk. The backgr(jund is a white disk; 
 the frame a white egg and dart moulding surrounded by a polychromatic 
 wreath of triplex and quincjueplex bunches of fruit irregularly interspersed 
 with flowers. A lizard may be seen near the grapes. 
 
 Bibl. : 
 
 Burl., Ill; Cr., 339; Supino, 448 No. 55. 
 
 157 BUST OF S. ORSOLA. Florence. Museo Nazionale, No. 72. 
 H., 0.60m. Photos., Alinari, 2"/^"]; Brogi, 9466. 
 
 This bust (Fig. 94) catalogued as S. Caterina should be known as S. 
 Orsola, for in the Berlin A-Iuseum there was formerly an atelier copy of 
 it which shows the wound in the neck, as is the case with the medallion in 
 the Museo Nazionale No. 55, and in the S. Orsola bust at the Certosa. 
 She wears a yellow, for golden, crown and necklace with pendant or brooch 
 which imitates a sapphire surrounded by pearls. 
 
 Bibl. 
 
 Burl, hi; Cr., 339; Supino, 451 No. 72. 
 
152 GIOVANNI BELLA ROBBIA 
 
 Fig. 94. — S. Orsola. Florence, Museo Nazionale. 
 
 158 S. ORSOLA. Berlin. Kaiser-Friedrich-Museum, No. 133 A(for- 
 merly). Photo., Private. 
 
 This bust, almost a replica of a bust No. 72 in the Museo Nazionale, 
 Florence, is in white enamel with yellow crown and necklace with pendant 
 above which is the usual sapphire brooch. Her neck shows a violet wound. 
 This identifies her as S. Orsola. 
 
 Cavallucci and Molinier give the museum number as 619; when I photo- 
 graphed it in 1894 the number had been changed to 133 A. In Fraulein 
 Schottmiiller's official catalogue it is omitted altogether. 
 
 Bibl. : 
 
 C-M., 263 No. 365; Tieck-Gerhard, No. 619. 
 
 159 THE PRESEPIO, OR NATIVITY WITH GLORIA. 1521. 
 Florence. Museo Nazionale, No. 25. Altarpiece. H., 2.80m.; W., 
 1.55m. Photos., Alinari, 2776: Brogi, 9500. 
 
 This altarpiece (Fig. 95) was formerly in the church of the convent of 
 S. Girolamo delle Poverine suppressed in 1865. There is no indication on 
 the monument itself that it was designed for that church, It bears, how- 
 ever, the name of the donor Filippo di Tommaso di Filippo dei Panichi, 
 that of the sculptor Giovanni di Andrea della Robbia, and the date 1521. 
 
 Bad in composition and garish in colour as is this monument — one of the 
 first to bear Giovanni's signature — its effectiveness would be improved if 
 we bear in mind ( i ) that the candelabra bearing and musical angels were 
 
GIOVANNI BELLA ROBBIA 
 
 153 
 
 originally lateral decorations of a niche and set either at right angles to 
 the central relief, as in the Assumption at S. Giovanni Valdarno or at ob- 
 tuse angle to it, as in the Madonna and Saints altarpiece in the Via Nazi- 
 onale; (2) that the fruit garland originally sprang from the top and hung 
 down on either side, as in the altarpiece at S. Girolamo, Volterra (1501), 
 the shrine of S. Romolo at Fiesole (1521 ), and other monuments; and (3) 
 that the central relief must ha\e originally contained an Annunciation 
 angel and probably lacked the medallion with God the Father. 
 
 The central group represents the Presepio, usually called the Nativity. 
 
 Fig. 95. — The Nativity. Florence, Museo Nazionale. 
 
154 GIOVANNI BELLA ROBBIA 
 
 Llere the infant Christ, nude, unglazed, rests on Hght green hay; over him 
 leans S. Giovannino in 3'ello\vish brown hair cloth; at his sides S. Giuseppe 
 in robe of blue, edged )'ellow, and cloak of yellow, and S. Maria in violet 
 robe with yellow borders, and mantle of light blue lined green. Behind 
 them are the heads of the ox and ass, a shepherd carrying a lamb; the 
 thatched stable; hill sides with trees, birds, and animals; shepherds watch- 
 ing their flocks, dazzled l^y the light from the Annunciation angel (possibly 
 the small angel here used to support the enormous medallion) ; and three 
 angels singing the Gloria in Excelsis. The huge star in the East and the 
 medallion of God the Eather in yellow flames of light, surrounded by blue 
 and violet winged cherubs alternating with golden stars, seems an intrusion 
 into the composition, diverting attention from the principal theme. 
 
 The predella shows at either end the stemma of the Panichi family: 
 Gules, a griffin segreant or debruised of a bend sable. Between the two 
 stemmi is a long relief representing the procession and adoration of the 
 Magi, the donor and a Dominican monk, and cartellini inscribed : 
 (i) HOC- OPVS- EECIT EIERI • PHILIPPA'S- DICTVS THOME 
 PANICVSand (T) AN(N)0 MDXXI 
 The fruit frame is a continuous series chiefl}' of triplex bunches of fruit 
 interspersed with white flowers. 
 
 The lateral decorations consist of ( i ) inscriptions on palmette-handled 
 tablets ; to the left, 
 
 J HOCK OPVS ► FECIT 
 
 EIERI PHILIPPVS ► 
 
 THOME PHILIPPI ► 
 
 DE PANICHIS^ AN(N)0 D(OMI)NI^ 
 
 M^D^ XXI + 
 to the right. 
 
 >HOC OPVS^FECITKOA(NN)ES 
 
 ANDREE^DE ► ROBIA^AC>- APO 
 
 SVIT^ HOC*- IN TEMPORE 
 
 DIE ► VLTIMA ► LVLII 
 
 AN(N)Ok D(0MI)NI^ M^D^XXI+; 
 (2) candelabra bearing angels in honour of the new born Child, the two 
 lowermost in robes of blue with green collars and wings of wood, bearing- 
 candlesticks and kneeling on polygonal pedestals inscribed respectively 
 +'^'^PVER^ NATVS^ EST*- NOBIS+'^v- and 
 +.'7^ EVLIVS ► DATVS ► EST ► NOBIS+'?*- ; 
 the smaller ones above clad in violet browm with mantles of blue; (3) four 
 cherubs, winged alternately in violet and in blue, serving as punctuation 
 points or resting places before we reach (4) the musical angels who with 
 cithera, tambourine, psaltery, flageolets and violin unite in the Gloria in 
 Excelsis. 
 
CilO\Ai\Nl di<:l].a ROBBIA 155 
 
 Document: [Copietl 1)\- Mr. Kufiis (i. Aiather.] 
 "Alonasterio Le Poverine 
 A mezzo la chiesa altro Altaro della l-'amiglia de ranichi con La loro /\rme. 
 Vi e una Nativita del Sig'" di Terra cotta colorita molto bella con alcune 
 storiette di figure piccole nell' imbasaniento e molti altri ornamenti di Fes- 
 toni, fogliami et altro molto lielli sonovi (|ueste due Inscrizicjni (ij Hoc 
 opvs fecit fieri Thilippus Thome Philippi de Panichis Anno Dni 1521 
 (2) Hoc opus fecit loannes Andree de Robia ac posuit hoc in tempore die 
 Ultima Julii 1521." 
 
 [Archivio di Stato, Sepoltuario Rosselli Cod. Carta Sec. XVTI Parte 
 Prima c. 460.] 
 
 Bibl. : 
 
 B.J., 47-48, 77-79: B., A"/., 18, 24; A. S. A., II (1889), 2; Burl., no; 
 C-]\I., 123, 132-134: Cr., 238, 328; Demmin, 218; ^L, R. H., 252; 
 R., D. R.. 222. 244: Sc. Fl.. IV, 50, 58; Richa, II, 301-302; Roselli, 
 Sepoltuario. I, 460; Supino, 441 No. 25; Vas., II, 182 note 2. 
 
 160 iMADOXXA EXTHROXED WITH SAIXTS. 1522. Elorence. 
 Via Xazionale. Known as the Tabernacolo delle Fonticine. Photos., 
 Alinari, 3 192-3 193; Brogi, 4695. 
 
 This elaborate tabernacle (Fig. 96) was set up in 1522 by the "Men of 
 the Kingdom of Bethlehem," an organization of semi-religious character 
 which represented one of the districts of Florence. It stands in the Via 
 X'azionale ( Gia Tedesca) and is affixed to the wall of the former Con- 
 vento di Foligno. 
 
 Here are represented the [Madonna enthroned amid Saints. The Ma- 
 donna, in robe of violet edged yellow and mantle of blue lined green, is 
 seated on an elaborate throne panelled in coarse imitation of variegated 
 marble and with arms adorned with yellow grotteschi. Her eyes ha^'e violet 
 brows, lashes, pupils, and yellow irises. She carries on her right knee on 
 a cushion the nude Child who holds a bird and blesses. Behind her are 
 (i) S. Jacopo ]Maggiore, in blue edged yellow and mantle of violet lined 
 green, holding a book and a staff with a shell attached, a patron of such 
 organizations as that of the Men of Bethlehem, and (2) S. Lorenzo, in 
 green edged yellow with a rectangular patch of blue on his breast, holding 
 a book and palm. Behind him is his gridiron. To the left and right, at 
 an obtuse angle to the central relief, stand in niches {3) S. Barbara, robed 
 in white embroidered with Persian pattern with mantle of violet lined blue, 
 carrying a stepped tower-like reliquary and a palm, on a pedestal inscriljcd 
 y SANCTA + BARBERA + and (4) S. Caterina, in blue edged yellow 
 
156 
 
 GIOVANNI DELLA ROBBIA 
 
 with mantle of j'ellow lined green, holding a book and palm, her symbol a 
 toothed wheel at her side, on a pedestal inscribed ^ SANCTA +CHATER- 
 INA + Above their heads are blue and violet winged cherubs separating 
 them from a medallion of God the Father with open arms. Below him 
 
 Fig. 96. — Tabernacolo delle Fonticine. Florence, Via Nazionale. 
 
 the Holy Dove emitting golden light through a golden crown held high 
 above the Madonna's head by two lily bearing, polychromatic angels. The 
 polygonal pedestal of the Madonna's throne is inscribed: 
 J^ SALVED VIRGO ► PARENS ► TERRARVM^ CVN(C)TA RE- 
 
 GENTIS + 
 SALVE SPES HOMINVM GRATIA VITA SALVS + 
 and further below 
 
GIOVANNI BELLA ROBBIA 157 
 
 J'QVESTO^ DEVOTO TABERNACHOLO ► AN(N)0 FATTO 
 
 FARE GL(I)VOMINI 
 DEL REAME DI BELIEM(M)E^ POSTO IN VIA^ SANCTA 
 
 CHATERINA 
 
 ► M^D^XXII + 
 
 The latter inscription explains the introduction of S. Caterina into the com- 
 position. In the same district was a Compagnia di S. Barbara, a favourite 
 society for Germans and Flemings. 
 
 The frame, in gross imitation of Ghiberti's bronze gates, shows a series 
 of heads associated with fruit and flowers. To the left is ( i) S. Sebastiano 
 in a niche, (2) S. Antonio Abate, his name inscribed on his nimbus, (3) 
 S. Domenico, a star on his nimbus, (4) S. Stefano, a stone on his head, 
 (5) a Bishop, S. Zanobi or Ambrogio, (6), S. Francesco, (7) S. Filippo 
 Benizzi, a restoration of the year 1885 when the head in this position (prob- 
 ably of some other saint) was through carelessness broken to pieces, and 
 (8) S. Rocco. The fruit bunches, chiefly triplex, are arranged dos-a-dos 
 and separated by blue ribbons tied in horizontal bows. 
 
 Bibl. : 
 
 A. e S., IV, 289; Baldinucci, V, 220; B. J., 48, 79; Bigazzi, 285-286; 
 B., Kf., 24; A. S. A., II (1889), 2; Burl, 108; C-M., Frontispiece, 
 124-126, 136, 213 No. 51 ; Cr., 213, 239, 329; Demmin, 215; R., D. R., 
 256-257; Sc. Fl., IV, 62; Richa, IV, 186; vonRumohr, II, 295 note; 
 Vas., II, 191 ; Z. /. b. K., XX (1885), 20, 720. 
 
 161 MADONNA ENTHRONED AND SAINTS. Florence. S. Croce. 
 Cappella Bardi-Serzelli. Round-headed altarpiece. H., 2.45m. ; W., 
 1. 60m. Photos., Alinari, 2093; Brogi, 5882. Cast, Leili, 11 74. 
 
 In S. Croce, the chapel formerly known as the Pulci, now as the Cappella 
 Bardi-Serzelli, contains an altarpiece (Fig. 97) in style characteristic of 
 Giovanni della Robbia's work of 1521 or 1522. Brogi's photograph shows 
 that the sides of the chapel were once painted with Giottesque frescoes, 
 which as Alinari's photographs show, were entirely concealed by plaster so 
 as to make the altarpiece fit against the wall. This suggests that the altar- 
 piece was not originally designed for this position. We become convinced 
 of this when we consider the question of a frame. Here is only an egg 
 and dart moulding with no crowning ornament and no lateral acroteria, in 
 fact no termination. This now frameless altarpiece was in all probability 
 completed in a manner similar to that of the Tabernacolo delle Fonticine, 
 where an analogous tgg and dart moulding rests on inadequate architectural 
 support. The central relief represents the Madonna enthroned amid stand- 
 
158 
 
 GIOVANNI BELLA ROBBIA 
 
 ing saints. Possiljly two more saints occupied niches in the sloping sides 
 of the frame, and a Ijust of God the Father at the summit gave to the monu- 
 ment the customary Trinitarian character. The iMadonna roljed in violet 
 
 Fig. 97. — Madonna and Saints. Florence, S. Ceoce. 
 
 edged yellow and a mantle of blue lined green, carries on her knees the 
 nude Child seated on a cushion. Her throne has yellow mouldings and 
 acroteria, blue frieze and archivolt, and a predella inscribed : 
 
GI0\'A\X1 DF.LLA ROEUIA 159 
 
 JREGINA^ CELI^ LETARE^ ALLELVIA^ QIVA (tor Ouiaj 
 QVE(An^ MERVISTI^ PORTARE^ ALLE(LVLV)^ RESV(R)- 
 
 REXI ► 
 SICVT^ DIXIT ► ALL(EL\TA)- ORA P(RO) NOBIS- DEVM • 
 
 ALLE(L\TA). 
 The Child holds a bird and is blessing. 
 
 To the left stands S. Giovanni, robed in blue with mantle of dark violet 
 lined green. He is blessing and carries a yellow chalice covered Ijy a green 
 dragon. To the right S. Alaria Maddalena, in violet robe and green lined 
 yellow mantle, carries a yellow box of ointment and a book. 
 
 Two angels behind them hold jasper vases. Above the throne lily Ijear- 
 ing angels hold the golden crown set with jewels while a white dove floats 
 against the light blue sky. All nudes are unglazed. 
 
 The predella of the entire relief consists of an upper member broken so 
 as to throw the central part into relief and decorated with a network of 
 cubes with black, yellow and green sides ; and a lower memljer showing be- 
 tween white mouldings a blue frieze on which are represented S. Domenico, 
 in black mantle over white tunic, holding a book and lily branch, S. Lucia 
 with palm and platter with eyes on it, S. Gabriele, the Holy Do\'e and vase 
 with lilies, the Annunziata, S. Caterina with palm branch and wheel, and 
 S. Tommaso d'Ac]uino rolled in black mantle over white, holding an open 
 book. The Dominican character of the predella is a further indication that 
 the altarpiece was not originally designed for a place in the great Fran- 
 ciscan church of S. Croce. 
 
 Eibl. : 
 
 B. J., 80-81; B., Kf., 18, 23; A. S. A., II, 1889, 2; Burl., 107; 
 C-M., 206 X'o. 5; Cr., 239-240, 328; Demmin, 218; R., D. R., 254- 
 256; Sc. F!., IV, 61-62; Ruskin, XXXVUI, 329. 
 
 162 BUST OF A WOMAN. New York. Davanzati Sale, Nov. 21, 
 1916. Medallion. Diam., 0.965m. Photo., Private. 
 
 Within a polychromatic wreath composed in six divisions of fruit and 
 flowers arranged in groups of five and separated by blue fluted ribbons is 
 a fine bust of a young woman (Fig. 98) set against a blue background. 
 Disks of dark violet indicate the eyes. On three of the divisions of the 
 wreath is seen a frog, on two a snail. Possibly the wreath is by Girolamo 
 della Robbia; the bust however is certainly by Giovanni; and in date not far 
 removed from that of the altarpiece on the Pulci chapel in S. Croce. 
 
 Bibl. : 
 
 Davanzati Sale Cat., No. 115. 
 
i6o 
 
 GIOVANNI DELLA ROBBIA 
 
 Fig. 98. — Bust of a Woman. New York, Davanzati Sale. 
 
 163 MADONNA AND 
 Photo., Private. 
 
 CHILD. Cascio. SS. Stefano e Lorenzo. 
 
 The Madonna stands in a niche erect with the nude Child on her left 
 arm and holds his right wrist in her right hand. She wears a light blue 
 mantle over her violet brown gown. Two angels hold a crown over her 
 head. The original crown is now concealed by a modern metal one and a 
 similar modern crown has been set on the head of the Child. 
 
 The frame displays on the archivolt a winged cherub head with pendent 
 bunches of polychromatic fruit against a white ground. The pilasters, also 
 white, decorated with pendent garlands consisting of triplex bunches of 
 fruit and flowers. The predella shows a heavy egg and dart cornice, a blue 
 frieze formerly inscribed, and an undecorated base moulding. 
 
 By a pupil of Giovanni della Robbia. 
 
 Bibl. : 
 Cr., 335. 
 
 164 MADONNA AND CHILD, WITH S. GIOVANNINO. 
 Chateau, Chapelle. Photo., Neuerdein. 
 
 Usse. 
 
 This is a puzzling relief. The Madonna holding the nude Child blessing, 
 and the kneeling S. Giovannino clad in hair cloth and his scroll inscribed 
 
GIOX'ANNl BELLA ROHLIA 
 
 i(>i 
 
 ECCE AGNVS DFJ, sui^gests the inlluencc of (iinvanni dclla Roljbia. The 
 polycliroinatic cherubs in the lunette, the console with the cherul) head and 
 the cornucopias, and the sphinxes in the Madonna's tlirone als(j recall his 
 work of 1 52 1. The background with its rosettes in circles seems too sche- 
 matic and its extension below the console most unusual. The outer frame 
 with the fruit garland about the lunette and the dolphin capitals over the 
 pilasters suggest also his influence, but the pendent bunches of wheat in 
 triplex bunches is a new departure — possil^ly designed by Girolamo della 
 Robbia. However, I have not seen this relief and it may be in great part 
 modern. 
 
 165 TWO ANGELS HOLDING A CROW^N. Florence. Museo Nazi- 
 onale No. 48. JMedallion. Diam., 1.37m. Photos., Alinari, 2769; 
 Brogi, 9487. 
 
 This medallion (Fig. 99), brought from the Cappuccini monastery on 
 April 5, 1867, has long been recognized as a combination of unrelated 
 parts. The central relief of a Mad(jnna adoring the Child, not to be at- 
 tributed to Giovanni della Rol)bia, originally had no connection with this 
 
 Fig. 99. — Angels holding Crown. Florence, Museo Nazionale. 
 
 frame. Nor was the frame designed for this relief, as the ground on which 
 the angels stand has no relation to that on which the Madonna is kneehng. 
 The angels holding a yellow crown, through wliich a white dove pours 
 tongues of flame, are clad in yellow robes and have blue collars. In all 
 
i62 GIOVANNI BELLA ROBBIA 
 
 details they reflect the work of Giovanni della Robbia between the years 
 1520 and 1525. The original design is not perfectly clear. Had the central 
 relief been a Madonna enthronetl we should ha\'e expected smaller angels 
 flying above her head. For an Assumption the angels would have been 
 represented as supporting a mandorla. Here they are standing on the 
 ground, too large in scale even for a ciborio to have occupied the middle 
 ground. Possibly they were designed to enframe a painting by another 
 artist on a different scale. Evidently the central portion of the composi- 
 tion has been lost and another of con\'enient size put in its place. 
 
 The garland is composed of irregularly triplex continuous bunches of 
 fruit and flowers on which are seen a snail and a lizard. 
 
 Bibl. : 
 
 Burl., 50, no; C-M., 217 No. "j},; Cr., 339; Supino, 447 No. 48. 
 
 166 STEMMA OF ARCANGELO SPIGLIATI. 1522. Florence, 
 Rluseo Nazionale, No. 42. Photo., Private. 
 
 On a painted plaque (Fig. 100) a beribboned tournament shield bears the 
 Spigliati arms: Gules, a tower argent surmounted by tv.-o lions rampant 
 
 ■*' ,/► » 
 
 Fig. 100. — Stem MA of Arc.angelo Spigliati. 
 
 or. Around the arms is inscribed : S(ER) ARCHANGIOLO DI LORE- 
 (N)ZO SPIGLIATI ► E SVORVM ► AN(N)0^ S(ALVATORIS)^ 
 MN>DXXII +'?^ 
 
GION'ANNI 1)F.LLA KOISIUA 
 
 1^3 
 
 Several members of the Spigliati family were priors of Florence in the 
 XIY century. 
 
 Bibl. : 
 
 Cr., 338: M., R. H.. 257-258; P., 558; Supino, 446 No. 42. 
 
 167 JNIADOXNA luXTHRONED, CROWNED P.Y ANGELS. Monte 
 Oliveto Mag-giore. Abbazia ( over entrance ). W., 1.25m. Photos., 
 Alinari, 9152: Lombardi, 1543. 
 
 
 Fig. ioi. — Madonna Enthroned. Monte Oliveto Magciore. 
 
 In a niche over the entrance to the grounds of the monastery at Monte 
 Oliveto is the Madonna enthroned (Fig. loi). She wears a violet robe, 
 blue mantle lined green with a large yellow star on the right shoulder. Her 
 hair is brown, her eyes have black brows, lashes and pupils without distinc- 
 
i64 GIOVANNI BELLA ROBBIA 
 
 tion of irises. The Child, nude, liolding a bird, blessing, is seated across her 
 lap on a cushion. The throne is faced with panels decorated with grot- 
 teschi yellow on blue and bear on each side the Montolivetani arms : a mount 
 of three tops or, with olive branches vert, surmounted by a cross gules. The 
 predella is inscribed : 
 ?SVB TVVM^ PRESIDIVM CONFVGIMVS^ SANCTA^ DEI ► 
 
 GE(N)ET(RIX). 
 Above the head of the Madonna two polychromatic angels, with many 
 coloured wings, bear a yellow, jewelled crown through which the Holy 
 Dove pours out yellow tongues of fire. 
 
 Bibl. : 
 
 B., Kf., 25; Brogi, Inv.. 38; C-M., 238 No. 205; Cr., 240, 329; M., 
 R. H., 147; R., D. R., 257; Sc. FL, IV, 63. 
 
 168 MADONNA AND CHILD BLESSING. Florence (near). Cas- 
 tello di Vincigliata. Chapel. 
 
 From the Palazzo Corsi, Florence. I have not seen this Madonna, but it 
 appears to be by Giovanni della Robbia and may be associated with the 
 Monte Oliveto and the Scandicci Madonnas. Like them it is inscribed : 
 SVB TVVM PRESIDIVM CONFVGIMVS SANCTA DEI GENETRIX 
 
 The frame work appears to be modern. The pilasters and archivolt are 
 not Robbiesque; the base inscribed > A(N)NO ► DOMINI M^D^XXVI + 
 follows the type of a ciborium base like that in the Museo Nazionale No. yy. 
 The console is too small for the tabernacle. 
 
 Bibl. : 
 
 Cr., 342; R., D. R., 257, 265. 
 
 169 S. BENEDETTO ENTHRONED. Monte Oliveto Maggiore. Ab- 
 bazia (over entrance, inner side). W., 1.25m. Photos., Alinari, 9153; 
 Lombardi, 1542. 
 
 Over the inner side of the main entrance to the grounds of the monastery 
 at Monte Oliveto is a statue of S. Benedetto (Fig. 102) under whose rule 
 the monastery was placed by its founder S. Bernardo dei Tolomei. The 
 throne is similar to that of the Madonna on the outer side of the entrance, 
 but its low predella bears no inscription. 
 
 The dark bearded saint clad in white monastic robes blesses with his 
 right hand; in his left is an open book inscribed: AVSCVLTA^- O FILI- 
 
GIOVANNI DELLA ROBBIA 
 
 165 
 
 (I) PRECEPTA JNIAGISTRI ET ► INCLINA AVREM, the first words 
 of his famous Rule. 
 
 Bibl. : 
 
 B., Kf., 25; Brogi, Inv., 38; C-M., 238 No. 206; Cr., 240, 348; Jame- 
 son, Leg. Moil. Orders, 15, 148-149. 
 
 Fig. 102. — S. Benedetto Enthroned. Monte Oliveto Maggiore. 
 
 170 S. ANTONIO ABATE. Berlin. Kaiser-Friedrich Museum, No. 
 118 (I. 167). Statuette. H., i.o6m. Photo., Museum. 
 
 Purchased in Florence in 1846. S. Antonio is here seated on a throne 
 (Fig. 103) ornamented with sphinxes, as is S. Romolo in Fiesole Cathedral 
 (1521). He is blessing with his right hand and in his left holds a book 
 inscribed : 
 
 y O vol CHE 
 
 SIATE NEL 
 
 QVORfi.e. CVORE) MIO 
 
 AVERTISCO 
 
1 66 
 
 GIO\\\NXI BELLA ROBBL\ 
 
 CHE NO(N) 
 
 R(I)P(V)DL\TE 
 
 LA EATICA 
 
 DI TANTO 
 
 TEMPO +. 
 The nudes are unglazed, as also the cowl. The mantle is decorated with 
 a pattern resembling that on the Madonna in the Assumption medallion in 
 
 Fig. 103. — S. Antonio Abate. Berlin Museum. 
 
 the fagade of the hospital at Pistoia (1525), and has a yellow border on 
 which at intervals appears one of S. Antonio's symbols, the T cross. At 
 his feet is the pig wearing a bell about his neck. 
 
 Bibl. : 
 
 B., A'/., 26; It. PL, 95; Bode and Tschudi, 44 No. 135; C-M., 262 
 No. 363; Cr., 333; SchottmiiUer, 51 No. 118; Tieck-Gerhard, No. 
 628A. 
 
 171 S. ANTONIO ABATE. Paris. Louvre, No. 451. Round-headed 
 relief. H., 1.50m.; W., 0.59m. 
 
 S. Antonio, clad in brown monastic robe, is seated holding a crutch in 
 
GIOVANNI BELLA ROBBIA 
 
 167 
 
 his right hand and in his left a book and cross. The steps of the throne 
 have yellow treads and green facings. 
 
 Bibl. : 
 
 C-M., 279 No. 463; Cr., 350 No. 451. 
 
 172 PROPHETS, APOSTLES AND SAINTS. 1523. Florence 
 (near). Certosa in Val d'Ema. Sixty-six medallions. Photos., Ali- 
 nari, 37-26-3733; Brogi, 4731-4742. 
 
 According to Milanesi the heads in the medallions at the Certosa (Eig. 
 104) were made by Giovanni della Robbia in 1522 (error for 1523). He 
 publishes no documents for this assertion. In style they are certainly to be 
 
 Fig. 104. — The Certosa. Florence (ne.ar). 
 
 attributed to Giovanni, many of them to his own hand, and their docu- 
 mented date 1523 brings them into close relationship with the medallions of 
 the Tabernacolo delle Eonticine. Eor a while they were transferred to the 
 Accademia in Elorence, but in 1892 returned, not without some damage, to 
 the Certosa. They are set in the spandrels of the arcade which surrounds 
 the large cloister, and are sixty-six in number. Their present arrangement, 
 probably not the original one, roughly classifies them into ( i ) Old Testa- 
 ment characters, (2) Apostles, (3J Male Saints, (4) Eemale Saints. At 
 the corners are set the four Evangelists. 
 
1 68 
 
 GIOVANNI BELLA ROBBIA 
 
 Old Testament characters. West side. 
 
 1. Corner medallion. S. ^^latteo with angel. 
 
 2. Adam, with a child (Abel) and a serpent, female headed (Fig. 105). 
 
 3. Eve, with a child, and serpent. 
 
 4. Noah, with ark and dove carrying branch. 
 
 5. Abraham, with Isaac, flaming altar and knife (Eig. 106). 
 
 Fig. 105. — Adam 
 
 Fig. 106. — Abraham. 
 
 6. Moses, with sword hilt (deliverance) and flaming nimbus and flames 
 (burning bush). 
 
 7. Joshua, with sword and sun (standing still). 
 
 8. David, with harp and head of Goliath and stone. 
 
 9. Melchisedek, with ephod and crown. 
 
 10. Judith, with head of Holophernes. 
 
 11. Jonah, with sea monster. 
 
 12. Daniel, with two lions. 
 
 13. Elijah, with flames. 
 
 Fig. 107. — S. Giovanni Battista. 
 
 Fig. 108. — S. Taddeo. 
 
GIOVANNI BELLA ROBBIA 
 
 169 
 
 14. John Baptist, clad in hair cloth, flaming nimbus (Fig. 107). 
 
 15. Stephen, stone on head. 
 
 J- 
 4- 
 
 5- 
 6. 
 
 /• 
 8. 
 
 II. 
 12. 
 
 13- 
 14- 
 1.5- 
 
 108). 
 
 II. Apostles. North side. 
 
 1. Corner iMedallion. S. Marco, with lion. 
 
 2. S. Mattia (repeated), with sword. 
 S. Taddeo, nimbus inscribed 5". Tliadciis Ap. (Fk 
 S. Simone, without attributes. 
 S. Bartolommeo, with a knife. 
 Giovanni Evangelista (repeated), without symbol. 
 T. Tommaso, nimbus inscribed ^. Thomas Ap. 
 S. Andrea, nimbus inscribed 5". Andreas Ap. 
 
 9. S. Pietro, with keys. 
 10. Christ. 
 
 S. Maria, inscribed Ava Regina Celo. 
 
 S. Paolo, with sword hilt. 
 
 S. Giovanni Evangelista, nimbus inscribed .S". lohannis Evangel. 
 
 S. Jacopo Maggiore, with staff and shell. 
 
 S. Filippo, with cross, nimbus inscribed 5". F/nVi/';/^- . -I /'/i'. (Fig. 109). 
 
 16. S. Matteo, with angel. 
 
 17. S. ]\Iattia, with dagger, nimbus inscribed S. Matthias Apis. 
 
 18. S. Jacopo Minore, with club. 
 
 III. Male Saints. South Side. 
 
 1. Corner medallion. S. Giovanni Evangelista with eagle. 
 
 2. S. Lorenzo, with gridiron. 
 
 3. S. Ugo of Grenoble, with crozier and swan (Fig. no). 
 
 S FiLippo. 
 
 Fig. 1 10. — S. Ugo. 
 
 4. S. Bruno, with mitre and crozier (Fig. in). 
 
 5. S. Benedetto, in white monkish cowl (Fig. 112). 
 
170 
 
 GIOVANNI BELLA ROBBIA 
 
 6. 
 
 7- 
 8. 
 
 9- 
 10. 
 II. 
 
 12. 
 
 18. 
 14- 
 
 15- 
 16. 
 
 17- 
 18. 
 
 Fig. III. — S. Bruno. 
 
 Fig. 112. — S. Benedetto. 
 
 S. Zanobi, with monogram of Christ and crozier. 
 
 S. Niccolo da Bari, with three gold bahs (Fig. 113). 
 
 S. Girolamo, with cardinal's hat and lion (Fig. 114). 
 
 S. Gregorio, with dove (Fig. 115). 
 
 Christ (Fig. 116). 
 
 Pope Urban II, with icons of SS. Pietro and Paolo. He confirmed 
 
 the order of the Carthusians (Fig. 117). 
 
 Fig. 113. — S. Niccolo 
 
 Fig. 114. — S. GiROL.\jio. 
 
 S. Agostino, with mitre and crozier, also an aedicula, signed 5". Aug- 
 
 ustini Eps. ( Fig. 118). 
 
 S. Giorgio, with dragon (Fig. 121). 
 
 S. Martino, nimbus signed. 
 
 S. Francesco, with crucifix. 
 
 S. Domenico, with lilies, star on nimbus (Fig. 120). 
 
 S. Antonio Abate, with a devil at his side. 
 
 S. Georgio, with dragon (Fig. 121). 
 
GIOVANNI BELLA ROBBIA 
 
 171 
 
 Fig. 115. S. Gregorio. 
 
 Fig. 116. — Christ, 
 
 Fig. 117. — Pope Urban II. 
 
 Fig. 118. S. Agostino. 
 
 Fig. 119. S. Ambrogio. 
 
 Fig. 120. — S. DoMENico. 
 
 Fig. 121. S. Giorgio. 
 
172 
 
 GIOVANNI BELLA ROBBIA 
 
 IV. Female Saints. East Side. 
 
 1. Corner Medallion. S. Luca with ox. 
 
 2. S. Sebastiano, three arrow wounds. 
 
 3. S. Orsola, arrow wound in neck, crown. 
 
 4. S. Barbara, with palm and tower. 
 
 5. S. Cecilia, with palm, crown of roses, and name on nimbus. 
 
 6. S. Caterina, with wheel. 
 
 7. S. Agata, with palm and breasts. 
 
 8. S. Apollonia, with palm and tweezers (Fig. 122). 
 
 9. S. Lucia, with palm and eyes on salver (Fig. 123). 
 
 S. Apollonia. 
 
 Fig. 123. S. Lucia. 
 
 Fig. 124. S. Marta. 
 
 10. S. Marta, with lilies and monster (Fig. 124). 
 
 11. S. Margareta, with cross and monster. 
 
 12. S. Maria Maddalena, long hair, name on nimbus (Fig. 125). 
 
 13. Saint, with gridiron and torch. 
 
 Fig. 125. — La Maddalena. 
 
 Fig. 126. S. Ansano. 
 
 14. S. Veronica, with Christ face on her breast. 
 
 15. S. Ansano, with palm, and flames, nimbus signed S. Ansanus (Fig. 
 126). 
 
GIOVANNI DELLA ROBBIA 173 
 
 Documents: [Copied by Mr. Rufus G. Mather.] 
 
 1. "Adi detto (16 di febraio 1523) 
 Spexe de la n(ost)ra fabricha deono dare 
 
 205 Ducatj vintidua Isei s quatordicj 
 202 sono p(er) teste . 66 . e uno ysaia postj 
 
 nel claustro de monaci pagamo 
 
 a m" giovanj dala robia come si vede 
 
 in quaderno di cassa s'" k c 62 Due- 22 1 6 s 14 dj-" 
 
 [Archiv. di Stato, La Certosa, Giornale K 15 16-1523, segnato Corp. 
 Sopp. No. 51 Cod. 15 a c. 136.] 
 
 2. "Yhs m' F(ilius) Adi 13 di febraio 1523 
 Capsa controscripta de avere 
 
 A spexe dette (di fabricha) Ducatj vintidua 
 
 1 sei s quatodicj e fu adi 12 di decto sono p(er) teste • 66. poste 
 
 nel claust" de monacj et lo ysaia 
 
 supra ala cisterna el qualle montj 
 
 1 24 s 10 et le teste a s 40 luna 
 
 pagamo a m" giovanj da la robia 
 
 in firenze e 1 4 s 4 hebe di piu che 
 
 no(n) doveva avere e quallj hebe 
 
 in dono in tuto Due- 22 1 6 s 14 dj-" 
 
 [Idem, idem, Quaderno di Cassa Entrata e Uscita E 1520-1531, segnato 
 Corp. Sopp. No. 51 Cod 40 a c. 62.] 
 
 3. "Yhs maria adsint MDXXIJ adi 24 di zugno 
 Capsa antescripta dj havere 
 
 A spese di fabricha due dua lire sei e 
 s V dj p(er) libr 1350 di marmor biacha 
 29 a 1 15 el miaro (migliaio) p(er) elcapitelo 
 e la bassa de la colona de la cisterna 
 
 c5pro m" franc" scarpelino in firenze - Due- 2 1-6 s-5 dj-" 
 
 [Idem, a c. 42.] 
 
174 GIOVANNI BELLA ROBBIA 
 
 4. "Yhs MD 
 
 Capsa controscripta dj haver(e) adj 10 di dixembre 1522 - 
 
 13 di dixebre 
 
 A spese di fabrica due tre lire 
 una e s iiij dj p(er) uno ferro 
 delacarucula e p(er) una catena di 
 ferro p(er) la cisterna nova pagati 
 
 a m" piero fabro- Due- 3 1 i s-4 dj' 
 
 [Idem a c. 48.] 
 
 "yhs.m\ F. M. D. XIIJ 
 Capsa controscripta de avere p(er) insino adj 
 24 di ap(ri)lle 1523 
 
 9 detto (maggio) 
 
 A spese di fabricha Idua s dua 
 sono p(er) aconzatura di una carrucula 
 
 di ottone porto mariotto fabro al noci- Due- 1 2 s-2 dj-" 
 
 [Idem a c. 55.] 
 
 Bibl : 
 
 A. S. A., V (1893), 75; B. J., 81 ; Burl., 114; Cahier, I, 305; Carocci, 
 Gallucco, 109; C-M., 140, 221 No. 96; Cr., 209, 240 243, 343; Dem- 
 min, 218; R. G. M., L'Arte, (1918), 206 XIII 1-2 (Doc.) ; R., D. R., 
 258-259; Sc. Fl, IV, 63-64; Vas., II, 182 note, 192. 
 
 173 STATUE OF ISAIAH. Florence (near). Certosa in Val d'Ema. 
 Statue over the cistern. 
 
 Documents i and 2 relating to the heads of prophets, apostles and saints 
 for the Certosa mention that Giovanni della Robbia in 1523 was also paid 
 for a statue of Isaiah placed above the cistern in the cloister. An iron 
 grill now covers the cistern. The statue has disappeared. 
 
 Bibl. : 
 
 R. G. Mather, L'Arte, XXI (1918), 206, XIII (Doc). 
 
GIOVANNI DELLA ROBBIA 175 
 
 174 MEDALLIONS OF VARIED CHARACTER. Lisbon. Museo 
 Nacional des Bellas Artas. 
 
 In the Exposition Retrospective of 1882 Mr. Yriarte reports five (jr six 
 Robbia medallions. Three were from the Convent Madre de Dios. One 
 contained a portrait of a member of the Gonzaga family. Another was like 
 those in the cortile of the Accademia Florence, i. e. the series of heads by 
 Giovanni della Robbia now restored to the Certosa outside of Florence. 
 
 Bibl. : 
 
 Yriarte, Gac. B. A., XXVI (1882), 27. 
 
 175 AN EVANGELIST. Paris. Louvre. Old No. G. 765. Statuette. 
 H., 1.22m. 
 
 Set on a violet base the Evangelist clad in blue edged yellow with mantle 
 of violet lined green, holds a feather pen in his right hand and an open 
 book in his left. From the Campana collection. 
 
 Bibl. : 
 
 C-M., 280 No. 468. 
 
 176 S. JACOPO MAGGIORE. Paris. Louvre No. 437 (old No. G. 
 745). H., 1.12m.; W., 0.41m. 
 
 S. Jacopo, clad in green robe with mantle of violet lined yellow, holds in 
 his right hand a yellow pilgrim's staft" and in his left a blue book. 
 From the Campana collection. 
 
 Bibl.: 
 
 C-M., 274 No. 440; Cr., 350. 
 
 177 S. DOMENICO. Paris. Louvre (old No. G. 766). Statuette, 
 H., 1.12m. 
 
 S. Domenico, clad in black mantle over white tunic holds a stem of lilies 
 in his right hand and a blue book ornamented yellow in his left. Set on 
 a violet base. From the Campana collection. 
 
 Bibl. : 
 
 C-M., 280 No. 469. 
 
176 GIOVANNI DELLA ROBBIA 
 
 178 S. MICHELE. Paris. Louvre No. 436 (old No. G. 746). H., 
 1.17m. ; W., 0.39m. 
 
 S. Michele, in gray blue armour and a mantle of violet lined green, holds 
 a sword in his right hand, scales in his left. From the Campana collection. 
 
 Bibl. : 
 
 C-M., 274 No. 441 ; Cr., 350. 
 
 179 S. MICHELE. Rovezzano. H., 0.65m. 
 
 Set in a niche on the exterior of a house. No. 13, is a relief statue of S. 
 Michele. His nimbus and hair are yellow; his wings striped with blue, 
 white, yellow, green, violet; his armour is blue ornamented with yellow; 
 his cloak brown; his socks yellow. In his right hand is a sword, in his 
 left scales. The dragon is green with black and yellow spots. 
 
 Bibl. : 
 
 Burl., 116; C-M., 248 No. 265; Cr., 353. 
 
 180 THE MADONNA AND CHILD BETWEEN SAINTS. Flor- 
 ence. S. Jacopo di Ripoli (Via della Scala). Lunette. H., 1.50m.; 
 
 W., 2.45m. Photos., Alinari, 2515; Brogi, 4660. Cast, Lelli, 410. 
 
 The church of S. Jacopo di Ripoli was an early Dominican foundation, 
 which found special patrons in the Antinori family during the latter half 
 of the XV and the early XVI century. Within this church were the two 
 lunettes by Giovanni della Robbia removed to La Quiete at Rifredi. The 
 lunette on the exterior (Fig. 127) would appear also to have been executed 
 by Giovanni while strongly influenced by Verrocchio. 
 
 The Madonna, unusually slender in proportion, carries in her arms the 
 nude Child who is blessing. She wears a large star on her right shoulder, 
 similar to that worn by the Madonna at Monte Oliveto. To the left is the 
 patron saint of the church, S. Jacopo Maggiore with his staff and a book 
 ornamented with his shells. The type is a fairly close parallel to the S. 
 Giovanni Battista at Galatrona (1518) and at the Certosa (1522). S. 
 Domenico resembles Giovanni's representation of that saint at the Cer- 
 tosa. A continuous wreath of fruit with white flowers at intervals sur- 
 rounds the lunette. 
 
 Bibl. : 
 
 B. J., 64; Becchi, ///. Fior., V (1908), 97-106; B., Kf., 23; Burl., 53- 
 
GIO\'ANNl BELLA ROBIUA 
 
 1/7 
 
 54; loS; C-AL, 49, J07 No. 15; Cr., 234-235, 354; Foville, 116; M,, 
 b. R. A.. 127 Fig. 53; R., D. R., 218; i'f. Fl. Ill, 181-182; Richa, 
 IV, 305; \'as.,II, 192. 
 
 Fig. 127. Madiinxa and Saints, Florence, S. Jacopo di Ripoli. 
 
 181 MADONNA AND CHILD. Unglazed. Newport. Collection of 
 
 iVIr. E. J. Berwind. 
 Cast Lelli, 410. 
 
 Medallion. Diam., 0.86m. Photo., Private. 
 
 This unglazed relief is said to have come froin the Ga^'et Collection, in 
 which case its Robbia-like frame was discarded and one of a quite different 
 character substituted. The Child also in its change of location accjuired a 
 loin cloth. Some accidental markings in the Berwind relief are not visible 
 in the illustration of the Gavet relief. It appears to me probable that both 
 the Gavet and the Berwind medallion are modern casts from the mould 
 taken by Lelli from the Madonna in the lunette of S. Jacopo a Ripoli. 
 
i/S GIOVANNI BELLA ROBBIA 
 
 Bibl. : 
 
 M., D. R. A.. 127, Fig. 52: Molinier, Cat. Gavct. No. 16, Plate 8. 
 
 182 MADONNA AND SAINTS JACOPO AND DOMENICO. Flor- 
 ence. S. Jacopino in P^olverosa (formerly). Lunette. H., 0.70m.; 
 W., im. 
 
 This church, like S. Jacopo di Ripoli, belonged to the Dominican church 
 S. Maria Novella. Over the door, on the exterior, then removed to the in- 
 terior, was a lunette with narrow fruit frame containing a composition 
 similar to that at S. Jacopo di Ripoli but somewhat modiiied and rendered 
 in polychromy. Here S. Jacopo in green robe and violet mantle held his 
 staff in his right hand and a book in the left; the Madonna, in violet and 
 blue holds the Child to the left. S. Domenico looked more natural in his 
 black gown. The faces were glazed flesh colour. The lunette was stolen 
 in 1905. 
 
 Bibl. : 
 
 A. c. S., NXIV (1905), 142; C-M., 250 No. 287; Rass. bibl. arte ital., 
 VIII (1905), 175. 
 
 183 MADONNA AND CHILD, S. GIOVANNINO, ANGFLS WITH 
 CROWN. 1523. Paris, Lowengard Gallery (formerly). Altarpiece. 
 H., 2.07m.; W., i/iym. Photo., Private. 
 
 This altarpiece (Fig. 128) was set up in 1523 in honour of Giovachino 
 di Filippo Macinghi, probably by his wife Francesca di Manfredi de'Rossi, 
 to whom he was married in 1482. 
 
 The central relief shows the Madonna, in violet with mantle of blue 
 lined green, a cherub brooch and a star on her shoulder, seated on a yellow 
 throne panelled in imitation of variegated marble, holding a nude Child 
 who stands on a cushion holding a bird, and blessing. In front of the 
 throne is the kneeling S. Giovannino with flaming nimbus, holding a scroll 
 inscribed ECCE AGNVS DEI ; back of it a curtain embroidered with 
 Robbia pavement pattern, over which two angels, in white with horizontally 
 striated wings, holding lilies, bear a jewelled crown over which is the Holy 
 Dove emitting yellow tongues of fire. The base of the throne is inscribed 
 y SVB TVVM PRESIDIVM CONFVGIMVS • SANCTA • DEI • GENE- 
 
 TRIX 
 The predella at either end contains enwreathed the Castello di Vinci or the 
 Rossi arms: Argent with castle embattled and flanked by a tower gules; 
 
GIO\'ANNI DI':i.LA ROBBIA 
 
 179 
 
 in the centre, also in a wreath of fruit and ilowers, the Macinghi stemma : 
 Gules, three moons increscent or, 2 and i, crossed by a liend a."ure charged 
 with three lihes or; on either side of the central stemma is a tahclla ansata 
 inscribed respectively 
 
 Fig, 128. M.\DO.\x.\. Paris, Lowengard Gallery. 
 
 (i) J^AL TEMPOS DI^ 
 GIOVACHINO 
 MACIGNI + 
 and (2) :'P(ODEST)A^AN(N)0^ D(OMI)NI^ NO 
 STRI^ IHlESjV*- XR(IST) ► 
 /M^D^XXIII + 
 The frame has an inner tgg and dart moulding and an outer garland of 
 fruit and flowers rising from the base toward the top where is the usual 
 
i8o GIOVANNI BELLA ROBBIA 
 
 garland holder, from which the fruit emanates as if for pendent garlands. 
 The composition of the garland shows an unbroken series of chiefly triplex 
 bunches with transverse white flowers at irregular intervals. 
 
 Giovachino Macinghi had been Capitano at Livorno in 1502, and Po- 
 desta at Fiesole and Sesto in 1503. In 1523 he was Podesta at the Cas- 
 tello di Vinci, as is shown by the annexed Document. 
 Document : 
 
 "Potas Vincis Cu Duobus Notorijs 
 
 Tribus familis cu sal(ario) 
 
 uno equs lib. 500 a d(i)c(t)a 
 
 p(otestate) 
 Jhoachinus filippi Johachinj d(e) macinghis p(er) 6 mensibus 22 junii 
 
 1523" 
 
 [Arch, di Stato. Registrum Extrinsecorum, 1505-1529, segnato Tratte 
 Cod. 71 c. 61.] 
 
 Bibl. : 
 
 Ancisa, DD, 291 ; C., s.v. Macinghi ; Deneken, Z. f. chr. K., VI (1893), 
 354; M., R. H., 258-259; P., 368; 707; Wins, 150. 
 
 184 MADONNA AND CHILD AND SAINTS. Finalpia Savona. 
 Church. Niche and lateral figures. H., 1.62m.; W., 2.25m. Photo., 
 Private. 
 
 Within a niche framed with continuous pendent garlands of coarse fruit 
 is a full length seated Madonna, holding on her lap and suckling a nude 
 Child seated on a cushion (Fig. 129). To the left of the niche is a kneel- 
 ing figure of S. Matteo, holding a book open, to the right also kneeling, S. 
 Giovanni holding book open. The figures and frame are polychromatic. 
 
 By a pupil of Giovanni della Robbia. 
 
 185 MADONNA AND CHILD AND SAINTS. Pratovecchio. Borgo 
 di Mezzo. 
 
 A crude polychromatic relief of the seated Madonna and Child between 
 standing figures of S. Giovanni Battista and S. Sebastiano. 
 
 Bibl. : 
 
 Burl., 116; C-M., 246 No. 258; Cr., 353. 
 
GIOVANNI DI'.LLA ROIUSIA 
 
 i8i 
 
 Fig. 129. Madonna and Saints, Finalpia Savoxa. 
 
 186 MADONNA AND CHILD WITH S. GIOVANNINO. Pratovec- 
 chio. Piazza Aurora and Via Maestro, Casa Brocchi. H., c. 0.60m. ; 
 W., c. 0.40m. 
 
 The Madonna seated, wears a maroon tunic and mantle of blue lined 
 green. Faces imitate flesh colour. Clouds are dark blue and yellow. To 
 the left S. Giovannino in green hair cloth kneeling. A winged cherub on 
 each side of the Madonna. 
 
 Bibl. : 
 
 Burl., 116; C-M., 246 No. 257; Cr., 253. 
 
 187 MADONNA AND CHILD AND S. GIOVANNINO. Finalpia- 
 Savona. Church. Round-headed altarpiece. H., 2.40m., W., 1.23m. 
 Photo., Private. 
 
 Here is represented by a follower of Giovanni della Robbia a seated 
 Madonna, three quarter length, holding to left a nude Child seated on a 
 cushion (Fig. 130). To the right is a half figure of S. Giovannino in 
 hair cloth, holding a scroll inscribed ECCE AGNVS DEI. Above the 
 Madonna's head is a Dove emitting flames through a crown upheld by two 
 
1 82 
 
 GIOVANNI BELLA ROBBIA 
 
 ang-els who also liold lilies. Compare the Lowengard Madonna of 1523. 
 The frame has pendent garlands springing from a central holder and com- 
 posed of fruit arranged in groups of five. A coarse inner rope moulding 
 completes the frame. The predella shows at either end the Olivetani arms : 
 Aciirc, a mount of three tops argent surmounted by a cross gules, and two 
 
 Fig. 130. M.MioNN.A, Fin.'\lpi.\ Savon.\. 
 
 lateral olive trees natural. Between them are three reliefs (i) S. Benedet- 
 to, (2) Christ in the Sepulchre upheld by his mother and S. Giovanni, (3) 
 S. Bernardo. Below is a console with winged cherubs upholding the 
 Olivetani arms between two cornucopias of fruit. 
 
 Above all is the inscription : 
 NON SCA(N)DAT SCA(N)DENS NON SCANDENS SCANDIT IN 
 
 .... TVM .... 
 DISCITO NON SCANDENS SCANDERE SCANDIT IN .... 
 The monastery at Einalpia belonged to the Olivetani from 1477-1845. 
 
 Bibl. : 
 
 M., R. H., 274. 
 
GIOX'ANNI DELLA KOBTUA 183 
 
 188 MADONNA. S. Ouirico d'Orcia. Cullegiata, SS. Quirico e Giulit- 
 ta. Statue. 
 
 Brogi describes this as a Madonna della GMisolazione, hoWing a book 
 in her left hand and pressing her right to her breast, and as of the manner 
 of Giovanni della Robbia. 
 
 Bibl. : 
 
 Brogi, Inz:, 532. 
 
 189 NATIMTY AND ADORATION BY THE SHEPHERDS. Ca- 
 sole in Val d'Elsa. Collegiata. Altarpiece. H., 3.10m.; W., 2.45m. 
 Photo., Brogi, 13613. 
 
 The Collegiata at Casole is dedicated to S. Maria Assunta. It is how- 
 ever, not the Assumption Ijut the early history of the Virgin that are repre- 
 sented here ( Fig. 131 ). In the predella are depicted: ( i ) the meeting of 
 S. Gioacchino and S. Anna at the Golden Gate, (2) their marriage and 
 the rejected suitors, and (3) the Birth of the Virgin. These are followed 
 chronologically by the Annunciation and the Nativity — whicli share the 
 central space of the altarpiece. These two scenes are brightly painted, but 
 not glazed. The Annunciation recalls Giovanni's lunette in the Museo 
 Nazionale (No. 78), and the Nativity, his signed and dated (1521 ) altar- 
 piece in the same museum (No. 25). The decorative mouldings which 
 separate the two scenes recall the architrave of the altarpiece at Lampo- 
 recchio. 
 
 The glazed frame shows a strong influence from Giovanni, in the blue 
 dolphin handled vases, the quadrangular bunches of triplex fruit and flow- 
 ers against a white ground laetween a guilloche and egg and dart mould- 
 ings. But the sculptor here was even keener for the introduction of ani- 
 mal life. We find amid the fruit and flowers birds, lizards, frogs, a snake, 
 a crab and a snail. 
 
 At either end of the predella are undetermined arms : Giilcs. a bend a::iire 
 charged with a leaf z'crt, accompanied by two cross ])ows. 
 
 Bibl. : 
 
 Brogi, Inv., 53; M., R.H., 275. 
 
I 04 
 
 GIOX'ANNI DELLA ROBBIA 
 
 
 
 1/ ' 
 
 Fig. 131. The Nativity and Shepherds, Casole, Collegiata. 
 
GIOVANNI DELLA ROBBIA 185 
 
 190 GARLAND. Colle di Val d'Elsa. S. Maria allc Grazie. 
 
 Brogi catalogues a polychromatic garland of fruit and flowers about a 
 window in S. Maria alle Grazie, at Colle di Val d'Elsa. Because of its prox- 
 imity to Casole, where there is a fine altarpiece by some associate of Gio- 
 vanni della Robbia, we may suppose this garland to be in all probability 
 of the same style and period. 
 
 Bibl. : 
 
 Brogi, Inv., 168; Cr., 336. 
 
 191 THE NATIVITY. Fiesole. Monastery of S. Francesco. 
 
 According to Cavallucci-]\Iolinier, over the entrance to the monastery of 
 the Cappuccini, and to Carocci, over an inner door of the monastery of S. 
 Francesco there is a polychromatic Nativity, attributed to the atelier of 
 Giovanni della Robbia. 
 
 Bibl. : 
 
 Carocci, I, 142; C-M., 232 No. 175. 
 
 192 THE VISITATION AND SAINTS. 1524. Lamporecchio. S. 
 Stefano. Altarpiece. H., 3.30m.; W., 2.90m. Photos., Alinari, 
 10288; Brogi, 4877-4878. 
 
 A document copied by Pasquale Cecconi in 1587 shows that on the 30th 
 of March 1524 the people of the Pieve of S. Stefano at Lamporecchio regis- 
 tered a vow, after a pestiferous visitation of the plague, to erect an altar- 
 piece to S. Maria as "madre di misericordia, speranza dei peccatori, con- 
 solazione degli afflitti," and, as assistant intercessors, to S. Sebastiano and 
 S. Rocco, and to make special festivals of the days set apart for the re- 
 membrance of the Visitation and of the Assumption. Methods of provid- 
 ing the money to pay for the altarpiece were also decided upon. The con- 
 tract with the artist is not preserved, but we must believe that not long after 
 the registration of this vow Giovanni della Robbia received a commission 
 to make the altarpiece (Fig. 132). 
 
 The central relief shows the Visitation, based on Luca's Visitation at 
 Pistoia, but in Giovanni's style, with faces and hands unglazed, and col- 
 oured in his manner. The Virgin Mary is robed in brownish violet with 
 cloak of blue edged yellow held together by a characteristic form of brooch. 
 S. Elisabetta wears also a violet robe, over which is a mantle of yellow 
 lined green. To the left is S. Sebastiano, pierced with six arrows, stand- 
 
>3rmiKiTL% 
 
 
 'a j„i ). I ). t >. 1 1, 
 
 >n.1Srrife^->-'»v_ < tTWltH < Ntit li\ 1AI\, \iKl Ml kix mSIMCI ^^f'' " 
 
 <'**W ^ 'iff » ^=^^ tV ••"'¥. J '^ i 'A fi 
 
 Fig 132. The \isit\tion and S^int^, Lamporecchio^ S Stefano. 
 
GIOVANNI BELLA ROBBIA 187 
 
 ing against a tree looking upward serenely. A polychromatic angel places 
 a crown and palm branch on the head of the martyr. Even the colouring of 
 his eyes, linear eyebrows and lashes of dark violet and no distinction of 
 pupil and iris are in Giovanni's style. To the right is S. Rocco, dear to 
 those who had suffered from the plague, dark haired, robed in violet lined 
 green, and wearing lilue socks and soft brown boots. An angel flies toward 
 him with a loaf of bread. Above the Visitation group is the Holy Dove 
 emitting yellow tongues of flame. Above this panel a narrow band l^ears 
 this inscription : 
 
 y ET VNDE^HOC^MIH>VT VENIAT^MATEI>DOMINI 
 ME>AD ME^-^ (from Luke I, 43). 
 The predella shows at the extremities representations of S. Stefano 
 patron saint of the church, and S. Giovanni Battista, patron of Florence. 
 The central portion shows two tabcllac ausafac inscribed : 
 
 (i) ^^ MAGNIFICAT A(N)IMA MEA 
 
 DOMINVM^ET EXVL 
 
 TAVIT SPIRITVS MEVS 
 
 I(N) DEO SALVTARI MEO+ (St. Luke, I, 46-47) ; and 
 
 (2) JBENEDICTA T\> 
 
 INTER MVLIERES^ET 
 
 BENEDICTVS FRVCTVS 
 
 VENTRIS TVI + (Luke I, 42) ; 
 being the exclamation of the Virgin and of S. Elizabeth at the time of the 
 Visitation. Between the tablets is a relief of the Annunciation between 
 figures of S. Pietro and S. Paolo. 
 
 The pilasters are adorned in front in a very unusual manner with abbre- 
 viated scenes of the Passion, (i) to the left, Washing of hands by Pilate, 
 Blindfolding of Christ, Denial of Peter, Capture of Christ, Peter cuts off 
 ear of Malchus, Betrayal and kiss of Judas, Gethsemane; (2) to the right, 
 Gethsemane, S. Veronica's handkerchief, Christ bearing His cross, the two 
 thieves bound, the hammer and pincers, Christ bound and led away to be 
 crucified. The exterior sides of the pilasters are ornamented with fruit 
 and flower garlands, arranged chiefly in triplex contiguous groups rising 
 from blue dolphin handled vases ; the inner sides show yellow candelabra of 
 complex design. The capitals are of Giovanni's usual dolphin and vase 
 type, and the entablature while its architrave and cornice recalls that at 
 S. Luchese near Poggibonsi, has a frieze of cherub heads, garlands, and 
 yellow shells in the execution of which Fra Mattia della Robbia may have 
 had some share. 
 
 On the top of the entablature are two adoring angels in blue green and 
 yellow, on either side of the Resurrected Christ, blessing, above a sarco- 
 phagus adorned with yellow and blue. 
 
i88 GIOVANNI BELLA ROBBIA 
 
 Document: [Quoted from Anselmi, Arte c Storia, 1886, 185.) 
 
 "In nomine dni nostri lesu Christi anno ab ejus de 
 incarnatione MCCCCCNXIIII die trit^esima martii. Con- 
 siderado el populo di Santo Stefano alia pieve di 
 lamp" essere agravato per la moltitudine de 
 peccati e vededo li circustati populi p(er) loro 
 peccati essere da pestifero flagello p(er) cossi at 
 cotinamete da pesti tormetati et afflitti. Temedo 
 loro che idio p(er) li esi lor peccati no habbia 
 ancora a cjuelli serbato el sopradetto fiagello 
 videlice di peste dapoiche personalmete ciascheduno 
 a piedi del sacerdote anno humilmete le loro 
 inicjuita confessate e dipoi beche idegniamete 
 al sacratissimo corpo di Jesu nro salvatore si 
 sono acostati hanno finalmete nelle loro meti 
 deliberate e fermo proposito fatto accioche Iddio 
 quelli da tato flagello habbia a guardare apresso esso 
 salvatore nro mettere un nuovo itercessore et 
 Cosiderado loro, no hanno trovato ne pensare 
 potuto essere alcuno degniamete da Dio esaldito et 
 cosi sia. 
 
 O Maria dolcissima impero che tu se madre di 
 misericordia speraza de' peccatori consolatione degli 
 aflitti e che piii Madre del Nro Salvatore alia cjuale 
 sappiamo il tuo figlio niente negare et pertato a te 
 ricoriamo come pecore senza guida et nave seza 
 nochieri te preghiamo che per noi cotinuamenti 
 apresso al tuo diletto fig. Interceda e accio che piu 
 degniamete da lui e da te siamo esauditi il ss° detto 
 populo fa voto a te Maria dolcissima adi due 
 di luglio Inperpetuum la festa sacratissima della 
 tua santissima Visitazione ad Elisabet come la festa 
 della tua Santissima Assunzione Guardare e tal di a 
 honor tuo detta festa celebrare devotamete co quel 
 n° de preti chi si potra. Et ancora fa voto di 
 fare una tavola a honore tuo e delli Satissimi 
 Sebastiano e Rocco i quali teco Maria saranno 
 itercessori apresso el tuo fig. el ss. detto populo. 
 
 Et per tanto fare i p° p(er) la ss. festa sobbriga 
 Ciascheduno capo di casa videlice per ciascheduno 
 fuoco pagare per ciascheduno anno i tai di soldi 
 due et ancora ogni ultima domenica del mese si 
 
GIOVANNI BELLA ROBBIA 189 
 
 pigliera I'offerta per detta festa alia quel cosa 
 preghiamo ciascheduno da parte della Gloriosa Vergine 
 Maria no neghi essere alcuna cosa a questo repugniante. 
 
 In quato a fare dette tavuole al presete si costituira 
 due huomini quali andrano cercando elemosine per 
 dette tavole i quali preghiamo huomini e done 
 che quello che desidera da simil flagello esse libero 
 si degni di quelle faculta che Dio glia cocesso fame 
 partecipi li ss. satissimi baroni videlice Mari 
 Vergine gloriosa et Sebastiano e Rocco et quelle limosine 
 che si raccorano al presete si darano per arra 
 al dipintore overo M° che fara detta tavola di 
 poi aricolta si andra sulaie acattare per esse 
 tavole, et ancora i sularicolta dell' olio medesi- 
 mete sadra acattare intato che essa tavola si paghi 
 et se alcuna cosa ci manchera si mettera in tato 
 per huomo tato che si finisca di pagare pregado 
 chiascheduno da parte di Dio e della sua cara 
 madre Maria e delli santissimi baroni Bastiano 
 e Rocco, ciascheduno che desidera come e detto 
 di sopra essere da tato flagello libero a tutte le 
 sopradette cosa dar favore e co ogni sua possibilita 
 quelle aiutare." 
 
 The original decree is not known to exist, but its contents as above given 
 were copied July 2, 1587 by Pievano Pascjuale Cecconi of Lamporecchio. 
 He notes that the original was written by the priest Dante Masi the prede- 
 cessor of the priest Nettore di Piero Torrigiani, Rector of Porciano. 
 
 Bibl. : 
 
 Anselmi, A. e S., 1886, 185 seq. (Doc.) ; Burl., 114: Carocci, // Val- 
 darno, 103; C-M., 138, 235 No. 189; Cr., 345; R., D. R., 248; Sc. FL, 
 IV, 60; S., 89, Abb. 99; l^as., II, 198. 
 
 193 STATUES OF (i) S. SEBASTIANO (H., 1.30m.) and (2) S. 
 ROCCO (H., 1.55m.). Campi. S. Martino. Photo., Private. 
 
 These two statues are similar to Giovanni's statues of the same saints 
 on the Tabernacolo delle Fonticine (1522) or on the altarpiece at Lampo- 
 recchio (1524). S. Sebastiano wears a loin cloth of violet striped yellow. 
 His hair is brown. S. Rocco wears a blue mantle with green collar edged 
 yellow. He wears tight fitting violet trousers, lined white, and boots of 
 mottled green and violet. 
 
I90 GIOVANNI BELLA ROBBIA 
 
 The nudes of both statues are crudely overpainted but it is probable that 
 they were originally glazed. 
 
 Bibl. : 
 
 Burl, 113; C-M., 230 No. 154; Cr., 335. 
 
 194 (i) CIBORIO. (2) FRIEZE WITH SYMBOLS OF THE PAS- 
 SION. Convertose (near Greve). SS. Silvestro e Cristofano. 
 
 Cited by Miss Cruttwell. The frieze with symbols of the Passion sug- 
 gests the altarpiece at Lamporecchio. Possibly from Giovanni's atelier. 
 
 Bibl. : 
 
 Cr., 336; Repetti, s.v. Convertose. 
 
 195 THE RESURRECTION. Brooklyn. Museum of Brooklyn Insti- 
 tute. Lunette. H., 1.56m.; W., 3.64m. Photo., Museum. 
 
 This lunette (Fig. 133) came from the Villa Antinori at Colombali, or 
 Le Rose, a few miles out of the Porta Romana, Florence. This villa for- 
 merly belonged to the de'Rossi family, but in 1487 passed into the possession 
 of Niccolo di Tommaso Antinori and has remained in the hands of the 
 Antinori family to this day. Niccolo was one of the Priors of Florence in 
 1483, 1497, 1 501 and Gonfaloniere in 15 14. His son Alessandro was a 
 Prior in 1523. Hence the donor with folded hands behind the sarcophagus 
 is likely to have been either Niccolo or possibly his son Alessandro. 
 
 The central relief represents the risen Christ in the presence of the donor 
 and of the soldiers. Christ, whose body forms a Praxitelean curve, is bless- 
 ing and holding a crusader's banner. His hair is mustard yellow, his face 
 whiter than that of his attendants, his robe brown, and his mandorla has 
 tongues of yellow flames against a light blue ground. His eyes have dark 
 linear brows, lashes and pupils without distinction of irises. In type he 
 resembles the statuette set above the altarpiece at Lamporecchio (1524). 
 Of the four soldiers, one is still slumbering, one just awakened, one like 
 Laocoon struggling, a fourth prepared for defense. Their breastplates and 
 shields are covered with heavy ornament. The yellow haired donor clad in 
 brown cloak with sleeve bands of white fur is adoring with folded, be- 
 ringed hands. In the background is a carelessly modelled and painted land- 
 scape and two polychromatic adoring angels with wings striated in Gio- 
 vanni's customary manner. 
 
 The frame consists of garlands of triplex or quinqueplex bunches of 
 fruit interspersed with flowers, lizards, snakes and squirrels. On the frame 
 
GIO\^'\NNI BELLA ROllBTA 
 
 191 
 
192 GIOVANNI BELLA ROBBIA 
 
 also is a white Dove descending toward the risen Christ. At each lower 
 extremity of the frame is the Antinori stemma : Or, a chief lozengy of four 
 tracks azure and of the field. The stemmi, framed in egg and dart mould- 
 ings, are the starting points from which the garlands proceed until they 
 meet at the summit and at the centre of the base. 
 
 Bibl. : 
 
 Carocci, II, 310; GaUu::£o, 114; C, s.v. Antinori; Cr., 329; M., D. R. 
 A., 106-111, Fig. 44; R. H., 266-267; Wills, 126. 
 
 196 STEMMA OF RAFFAELLO CORBINELLI. 1524. Certaldo, 
 Pretorio. Photo., Alinari, 8534. 
 
 *i.->i(y\i\T>.>ii->'%,> 
 
 Fig. 134, Stemma of Raffaello Corbinelli. 
 
 Within a wreath composed of triplex branches of fruit and flowers and 
 an inner tgg and dart motilding, set against a fluted disk is a Tuscan shield 
 (Fig. 134) bearing the Corbinelli arms: Azure, a stag salient argent. Be- 
 tween the forelegs of the stag an escutcheon gules, bearing a cross crosslet. 
 Below, a winged cherub unfolds a curved scroll inscribed : 
 
 y RAPHAELLO 
 
 DI PANDOLFO 
 
 CORBINELLI 
 
 VIC(ARIO)^ M^DXXIIII + -9^ 
 Raffaello di Pandolfo Corbinelli was a Prior in Florence in 1515 and 
 1518. 
 
 Bibl. : 
 
 C, s.v. CorbinelH; M., R. H., 263 264; W., 186. 
 
GIOVANNI DELLA ROBBIA 193 
 
 197 THE VISITATION. Fiesole. S. Ansano. Lunette. H. ,0,80m.; 
 W., 1.25m. Photos., Alinari, 3283; Brogi, 9836. 
 
 Fig. 135. The Visit.'Vtion, Fiesole, S. Ansano. 
 
 This lunette (Fig. 135) is one of the works brought to S. Ansano by 
 Canon Angelo Maria Bandini. The frame consisting of triplex bunches of 
 fruit and flowers rising from blue vases was evidently broken and enlarged. 
 The central group consists of S. Maria clad in brown with long blue mantle 
 saluted by S. Elisabetta in green robe and brown mantle, her head covered 
 with a white cloth. The pose of both figures is copied from Albertinelli's 
 painting of the Visitation (T503), now in the Uffizi. Albertinelli was at 
 work at S.AIarco under Fra Bartolommeo from 1508-1512 at the same 
 time that some of the Delia Robbias were in that monastery. 
 
 Bibl. : 
 
 Burl., 64, 114; Carocci, I, 118; Cr,, 344; R., D. R., 24S; Sc. Fl., IV, 
 60; V. Rumohr, II, 295 note; Vas., 194. 
 
 198 THE VISITATION. Florence. S. Michele in Palchetto delle 
 Trombe, later known as S. Elisabetta or Congrega di Preti della Visita- 
 zione. 
 
 The old church of S. Michele in Palchetto, known also as delle Trombe, 
 since the trumpets of S. Michele resounded there every Saturday evening, 
 was given over in 1517 by Pope Leo X to the Congrega di Preti della 
 
194 
 
 GIOVANNI BELLA ROBBIA 
 
 Carita, also known as della Visitazione. The frieze of the entrance door 
 was inscribed CONGREGATIO VISITATIONIS PRESBITERORVM 
 and the tympanum contained a relief of the Visitation attributed by Del 
 Migliori, Richa, and Cocchi to y\ndrea della Robbia. The high altar was 
 decorated with a painting of the Visitation by Albertinelli. This little 
 church was suppressed and destroyed in 1785. It is possible that the lunette 
 was rescued and is to be identified with that now preserved at S. Ansano, 
 Fiesole. 
 
 Bibl. 
 
 Cocchi, 199; Del Migliore, 404; Richa, VIII, 268. 
 
 199 STEMMA OF ANTONIO PAZZI. 1525. 
 darno, Palazzo Pretorio. Photo., Private. 
 
 S. Giovanni in Val- 
 
 
 ;sa';^„.-.. .i^-gggga 
 
 Fig. 136. Stemma of Anton;o Pazzi. 
 
 Unframed, on a late Tuscan shield (Eig. 136) are the Pazzi arms : Azure, 
 two dolphins hauriant, embowed, addorsed or, and five crosses botonny, 
 fitched of the same. 
 
 Below is a rectangular tablet, framed with plain mouldings, inscribed : 
 
GIOVANNI DELLA ROBBIA 19S 
 
 y ANTONIO DI 
 GVGLIELMO DE 
 
 PAZZI^ V(I)C(ARI)0^ M^D^XXV 
 Antonio di Guglielmo di Antonio di Messer Andrea dei Pazzi was born 
 in 1460, became a banker in Rome, was Prior in Florence in 1516, Gonfalo- 
 niere in 1521, \'icario at S. Giovanni in Valdarno in 1525, and died in 1528. 
 
 Bibl. : 
 
 C., s.v. Pazzi; Litta, s.v. Pazzi, Tav. 9; M., L. D. R.^ 161-163; R. H., 
 273; P., 146-147; W., 162-164. 
 
 200 ANNUNCIATION, ASSUMPTION, VISITATION, STEMMI. 
 1525-1529. Pistoia, Ospedale del Ceppo. Medallions. Diam., 1.20m. 
 Photos., Alinari, 10276-10280; Brogi, 4561-4563. 
 
 The Ceppo Hospital at Pistoia was an offshoot of the S. Maria Nuova 
 Hospital in Florence. Messer Lionardo di Giovanni Buonafede, Spedalingo 
 of S. Maria Nnova became the first superintendent of the hospital at Pis- 
 toia. In 1 5 12 the Ceppo Hospital was provided with a loggia, which in 
 its general lines follows those of the Innocenti and S. Paolo Hospitals in 
 Florence. I am inclined to believe that the terra-cotta decoration was at 
 first limited as in Florence, to medallions for the spandrels of the arches. 
 These medallions are manifestly by Giovanni della Robbia and differ both 
 in style and colour from the frieze, which seems to have been entrusted to 
 Santi Buglioni, who had previously been employed by Messer Buonafede 
 for various works made in 1521 for the church at Badia Tedalda. 
 
 Fig. 137. Stemm.v of Ceppo Hospital. Fig. 138. Stemma of Pistoia. 
 
 We may describe these medallions beginning on the short side to the left, 
 where we see : 
 
 I. Half medallion (Fig. 137), with frame composed of an inner egg 
 and dart and outer fruit and flower garland of quinqueplex, contiguous 
 bunches, within which against a blue fluted disk is a kite-shaped shield on 
 which is painted in chief, the Ceppo insignia. Argent six sprouting ceppi, 
 brown; in base, the crutch of S. Maria Nuova, brown and green. 
 
196 
 
 GIOVANNI BELLA ROBBIA 
 
 2. Half medallion (Fig. 13S), similar frame and disk, a kite shaped 
 shield bearing the insignia of Pistoia, Cheque}^ argent and gules. 
 
 On the faqade, still reading from left to right we see: 
 
 3. Half medallion, similar to No. i, with Ceppo and S. Maria Nuova 
 insignia combined. 
 
 4. Medallion (Fig. 139) with frame of egg and dart and garland of 
 
 Fig. 139. Stem MA of Ceppo Ho.spital. 
 
 quinqueplex, contiguous bunches of fruit and flowers, an inner frame of 
 Pistoia checks, a blue fluted disk and a scallopped shield with the Ceppo 
 arms : Or, a mount of sprouting olive stumps vert. 
 
 5. Medallion of the Annunciation (Fig. 140). The frame consists of 
 quinqueplex, contiguous bunches of fruit and flowers and an inner egg and 
 dart moulding. S. Gabriele on his knees is robed in yellow with blue collar 
 and sleeves, wears a wreath of roses, has polychrome wings horizontally 
 striated and carries a heavy branch of lilies. The Annunziata is standing 
 holding a book, robed in violet with mantle of blue lined green, trimmed 
 with yellow. Behind her is a curtain with (restored) ornament of Persian 
 pattern and a high bedstead with frieze inscribed y ECCE (ANCILLA) 
 (D)OMINI (St. Luke, I, 38). The Holy Dove is overhead in a blaze of 
 yellow glory. The exergue of the medallion is inscribed 
 
 y AN(N)0^ D(OMI)N> M^D^XXV + 
 
 6. The Medallion of the Assumption (Fig. 141 ). The hospital was dedi- 
 cated to S. Maria del Ceppo and the church to the Assunta, hence the As- 
 
Fig. 140. The Annunciation. 
 
 I \ 
 
 ;7T-^lutT?iSK^!;?t«Er?i;^IBHB^R^jp^ 
 
 Fig. 141. The Assumption. 
 
198 
 
 GIOVANNI BELLA ROBBIA 
 
 sumption has the post of honour. The Madonna robed in violet edged yel- 
 low and mantle of white decorated with a Persian ornament is seated in a 
 yellow mandorla upheld by four polychromatic angels and surrounded by 
 blue and red winged cherubs. The frame consists of a garland of irregu- 
 
 FiG. 142. The \'isitation. 
 
 larly quinqueplex, contiguous bunches of fruit and flowers. On the An- 
 nunciation frame may be detected a lizard and a frog; here beside a lizard 
 and frog there are three snails. 
 
 7. Medallion of the Visitation (Fig. 142). A coarsely modelled repre- 
 sentation of the meeting of the Virgin and S. Elizabeth in the presence of 
 two friends, polychrome against a light sky daubed with clouds. In the 
 exergue is inscribed laeneath the Virgin : 
 
 TM(AGNIFICAT)+ A(NIMA)+ M(EA)+ D(OMINUM)+ (St. Luke, 
 
 1,46). 
 
 and below S. Elizabeth : 
 
 B(ENEDICTA) + I( N ) + M(VLIERIBVS) + E(ST) + F(RVCTVS) + 
 
 V(ENTRIS) •^T(VI) (St. Luke, I, 42). 
 
 The garland is composed of quinqueplex, contiguous bunches of fruit and 
 flowers, with no animals. 
 
 8. Medallion with the Medici Stemma (Fig. 143). The outer garland 
 consists chiefly of quinqueplex, contiguous bunches of fruit and flowers 
 
GIOVANNI DELLA ROBBIA 
 
 199 
 
 amongst wliich may be seen a lizard and a frog. Within this an egg and 
 dart moulding frames concentric bands of white and red (not glazed) which 
 serve as a background for a scallopped shield containing the Medici stemma : 
 Or, fi\'e torteaux in orle, in chief a hurt charged with three lilies or. 
 
 9. Half medallion with Pistoia stemma similar to No. 2. On the short 
 side to the right there are no half medallions with Ceppo and Pistoia arms 
 corresponding to the short side on the left, but on the upper level a com- 
 bined Ceppo-Pistoia stemma, a flucumented work by Benedetto Buglioni. 
 
 Fig. 143. Sthmma hf the Medici. 
 
 Document: [Copied by Mr. Rufus G. Mather.] 
 
 1. "c. 199 c. CLXXXXVIIIJ 
 
 + yhs MdXXV + yhs MdXXV 
 
 Giovanni dandrea della Robbia Giovanni dandrea 
 
 de dare dj primo di settembre di chontro de avere 
 
 1 tre s X posto f a uscita c. 48 posto avere a libro f c. 105 
 
 1 3 s 10." 1. 3 — s 10" 
 
 [Archiv. dello Spedale del Ceppo, Libro del Proveditore (Debitori e 
 Creditori), 1524-1525, segnato E c. 199 e CLXXXXVIIIJ.] 
 
 2. "c. 105 "c. CV 
 
 + yhs MDXXV + yhs MDXXV 
 
 Giovanfnjj dandrea dla Robbia Giovanni di chontro de 
 
 da spese de dare per uno avere posto dare 
 
 suo chonto alibro e c. 199 1. 3 sio" 
 
 alibro g c. 95 
 
 1 3 SIO.' 
 
200 GIOVANNI BELLA ROBBIA 
 
 [Archiv. idem, Libro idem, 1525-1526, segnato F c. 105.] 
 
 3. "c. 95 "c. LXXXXV 
 
 + MDXXVJ + MDXXVJ 
 
 Giovan(n)j dandrea dela robbia Giovanni di chontro de 
 
 de dare per resto di suo avere posto dare 
 
 chonto allibro F c 105 1 3 s 10" alibro h c 95 1 3 s 10" 
 
 [Idem, idem, 1 526-1 527, segnato G c. 95.] 
 
 4. "Adi 5 di Febraio (1527) 
 
 Alo spedale di s m" n° 1 quaranta nove madatj 1. 49 
 
 loro p(er) lazero commesso p(er) conto di quelle della robbia — 147 — 1 49 
 
 A spese di Casa 1 quatro s 17. 6 p(er) gbla fgabella) di 
 lib 200 di Carco di firenze 3 zane i° quato di 
 castro 6 st(aia) di fave i° tondo dalla ruble da 
 firenze porto lazero detto — 197 1 4 17 6" 
 
 [Idem, Entrata e Uscita H. 1526-1527 c. 48'.] 
 
 5. "+ yhs MDXXV 
 
 Spedale del ceppo di pistoia di chonto de avere .... 
 
 E addi iii° di febraio 1526 (Florentine style) f sette doro Inoro 
 recho lazero fattore e pacchollj (pago li) a giovanni 
 dandrea della robia debitore alibro debitorj 
 segnato I ac 163 f 7 s — " 
 
 [Archiv. di S. Maria Nuova, Libro Bianco, 1524-1535, segnato I c 
 CCLXXXIL] 
 6. "c. 147 
 
 + yhs MDXXVJ 
 Spedale di s m" n" di chontro deon dare 
 
 1527 E adi V di febraio (Modern style) f sette oro mandati 
 loro a firenze per lazero chomesso per 
 
 chonto di quelle dela robia a Uscita c 48 1 49 oro." 
 
 [Archiv. dello Spedale del Ceppo, Libro del Proveditore, 1 526-1 527, seg- 
 nato G c. 147.] 
 
 Note. The above record from the Ceppo Hospital books is the same 
 transaction recorded in Doc. 5. 
 
GIOVANNI DELLA ROBBIA 201 
 
 7. "+ yhs MDXXVIJ 
 Spedale di santa maria del ceppo di Pistoia 
 de dare 
 
 E deono dare addj detto (21 di novebre 1527) 
 f trenta cinque doro Inoro fatti buoni p(er) loro 
 a G' dandrea della robbia creditore allibro 
 debitore segnato f ac 163 f 35-s" 
 
 [Archiv. S. Maria Nuova, Libro Azzuro (1526-1534), segnato K c. 52.] 
 
 8. "c. 93 "c. LXXXXIII 
 
 + yhs MDXXVIJ + yhs MDXXVIJ 
 
 Giovanni dandrea dela robbia Giovanni di chontro de avere 
 
 de dare a uno suo chonto per tanti posto addare 
 
 alibro G c 25 1 3 s 10" alibro segnato I c 94 1 3 s 10" 
 
 [ Archiv. dello Spedale del Ceppo, Libro del Proveditore, 1 527-1 528, seg- 
 nato H c. 93.] 
 
 9. "+ yhs MDXXVIIJ "+ yhs MDXXVIIJ 
 Giovanni dandrea della Robbia Giovanni dandrea di chontro 
 de dare per tantj posto avere de avere posto dare 
 
 alibro h ac. 93 1 3 s 10" alibro K ac. 92 1 3 s 10" 
 
 [Idem, idem, 1528- 1529, segnato I c. 94.] 
 
 10. "-f yhs MDXXVIIIJ 
 Giovanni dandrea della Robbia 
 
 de dare per uno suo chdto 
 alibro segnato I ac 94 1 3-s 10 
 
 [Idem, idem, 1529-1530, segnato K c. 92.] 
 
 Bibl. : 
 
 B. J., 49-52, 83-87 ;Carocci, /J. /./}./., V (1896), Taf. 21; C-M., 125, 
 127, 129, 150, 243 No. 235; Contrucci, 277-280; Cr., 244-253, 330; 
 Giglioli, Pistoia, 87-94; Gualandi, Menwric di B. A., Ser. VI, 33; M., 
 Sc. Mag., 1893, 690, 693; Br. (1902), 222; R. H., 267-270; A. J. A., 
 XXII (1918), 361-377 (Doc); R. G. M., L'Arte, XXI (1918), 196 
 IV (Doc.) ; R., D. R., 246, 248, 263; Sc. Fl., IV, p. VII, 59-60; Rus- 
 kin, IV, 300; XX, 286; Tigri, Discorso de'plastici dello spedale di 
 Pistoia, Prato, 1833; Guida di Pistoia, 196-200; Vas., II, 197 Note. 
 
 201 STEMMA OF BONGIANNI DI GHERARDO GIANFIGLIAZZI 
 AND CATERINA DI PIERO ADIMARI. New York, Metropoli- 
 tan Museum of Art. Diam., 1.92m. Photo., Museum. 
 
202 GIOVANNI BELLA ROBBIA 
 
 Within a polychromatic frame composed of quinqueplex groups of fruit, 
 flowers, and animalcuh, and an inner white egg and dart moulding, is a 
 white fluted shell containing a beribboned late Tuscan shield (Fig. 144) 
 with the Gianfigliazzi and Adimari arms. The dexter, Gianfigliazzi, arms 
 
 Fig. 144. Marriage Stemma of Gianfigliazzi and Adimari. 
 
 are: Oi', a lion rampant azure. The sinister, Adimari, arms are: Per fess 
 or (chief) and azure (base). A marriage between Bongianni Gianfigliazzi 
 and Caterina Adimari took place in 1509, but this stemma appears to be 
 of later date. 
 
 Document: [Copied by Mr. Rufus G. Mather.] 
 "Bongianni di Gherardo di Messer Bongianni Gianfigliazzi 
 Caterina di Piero Adimari 1509" 
 
 [Arch, di Stato, Carte Pucci, Sec. XVIII. Albero della Famiglia Gian- 
 figliazzi.] 
 
GIOVANNI DRLLA ROBBIA 
 
 203 
 
 Bibl. 
 
 Bardini Sale of 1918, Cat., No. 374; Bull. Met. Mus., XIII (1918), 
 144-146; C, s.v. Adiniari, GianfioHazzi ; M., R. H., 269-271; VV., 124, 
 142. 
 
 202 THE ANNUNCIATION. S. JMiniato al Tedesco. S. Domenico. 
 Photo., Alinari, 19267. 
 
 This Annunciation (Fig. 145) is based on the Annunciation at the Ceppo 
 Hospital, Pistoia. 
 
 S. Gabriele follows its prototype in most details, but is more masculine 
 and less intelligent. The Annunziata also resembles the Ceppo Hospital 
 
 Fig. 145. The Annux'ci.xtion, S. Mi.\i.\to al Tedesco. 
 
 Virgin. The composition is staged in a room with coffered ceiling and a 
 window through which is seen a landscape and a bust of God the Father 
 surrounded by cherubs. The Holy Dove is scarcely visible, but the painted 
 rays of light suggesting his location is just alcove the branch of lilies car- 
 ried by S. Gabriele. Beside the stately bedstead, the room contains a prie- 
 dieu, marriage chest, a wardrobe. The frame consists of an outer garland 
 of triplex, contiguous bunches of fruit interspersed with other fruit and 
 flowers, and an inner bead and reel moulding. 
 
204 
 
 GIOVANNI BELLA ROBBIA 
 
 Bibl. : 
 
 B., Kf., 25; Burl., 117; Carocci, // J'aldanw, 90, 94; C-M., 252 No. 
 298; Cr., 355; Meyer, Mittclitalicn, 498. 
 
 203 THE ANNUNCIATION. Paris. Spitzer Collection (formerly). 
 H., 0.66m.; W., 0.65m. 
 
 According to the description this polychromatic relief corresponds in 
 composition to that of the medallion in S. Domenico at S. Miniato. 
 
 Bibl. : 
 
 Spitzer Cat., No. 1295. 
 
 204 STEMMA UNDETERMINED. New York City. Collection of 
 Mr. George Blumenthal. Medallion. Diam., 0.72m. Formerly in 
 the von Lanna Collection, Prague. 
 
 Within a garland of fruit and flowers of triplex composition and an 
 inner white egg and dart moulding is a blue fluted disk (Fig. 146) against 
 which is set a late Tuscan shield bearing the arms : Or, a bull salient gules, 
 hoofed and horned argent. 
 
 Fig. 146. Stem MA Undetermined. 
 
 Bibl. : 
 
 V. Lanna Sale of 191 1, Cat. Vol. II, No. 574, Taf. 41. 
 
GIOVANNI DELLA ROBBIA 
 
 205 
 
 205 MADONNA AND CHILD HOLDING A BIRD. 1525. Lari. 
 Castello, Cappella dei Carceri. Round-lieacled relief. H., i.6om.; 
 W., 0.80m. Photo., Alinari, 8711. 
 
 Fig. 147. Madonna, Castello di Lari. 
 
 This rehef (Fig 147), the prototypes of which are Andrea's Madonna 
 at S. Egidio, and at Rickmansworth, follows more closely the Shaw Ma- 
 donna. The forms, however, are heavier and the base on which the Child 
 is standing imitates red porphyry. The eyes, which in earlier representa- 
 tions followed Andrea's conventions, here are marked only with dark 
 
2o6 GIOVANNI BELLA ROBBIA 
 
 violet spots, with no colour for brows, lids, or irises. Below the group 
 is a tablet inscribed AVE • MARIA • GRAZIA PLENA punctuated 
 with dots. 
 
 The frame consists of a broad fruit and flower hanging garland of close 
 triplex composition with no separating" ribbons, but with yellow palmettes 
 and semi-palmettes at the summit and springing points of the arch, and at 
 the base on each side a shield bearing the Segni arms : Azure, a fess or, 
 with three roses of the same, two in chief, one in base. 
 
 The console shows two white cornucopias with polychrome fruit, be- 
 tween them a laurel wreath, tied with yellow ribbons, enclosing the Segni 
 arms. In the cortile of the Castello a similar coat of arms shows that 
 Alessandro di Piero di Mariotto Segni was Vicario in 1524 and 1525. As 
 Andrea della Robbia died, August 4, 1525, in his eighty-ninth year, the 
 relief was undoubtedly executed under Giovanni's administration. 
 
 Bibl. : 
 
 Bald., VI, 17-18; B. J., 97; Burl, 115; C-M., 134-136, 236 No. 190; 
 Cr., 345; M., ^r. Mag., 1893, 684; D. R. A., 35; R. H., 270-272; 
 Repetti, s.v. Lari; R., D. R., 203; Sc. Fl. Ill, 174; Vas., 194. 
 
 206 STEMMA OF ANDREA AND PARTICINO PARTICINI. 1526. 
 Poppi. Castello, Cortile. Photo., Alinari, 9793; Cast, Cantagalli, 
 425 (detail). 
 
 Within a continuous wreath composed of triplex and quiniqueplex 
 bunches of fruit and flowers and an inner egg and dart moulding a red 
 winged cherub supports two kite shaped shields (Fig. 148), which rest on 
 either side of a lily plant against a blue concave plate. Both shields bear 
 the Particini arms : Per pale, dexter azure, two fleur-de-lys or; sinister, 
 bendy sinister or and gules. 
 
 Below are two inscriptions : ( i ) On a tahella ansata supported by a 
 winged bust of a cherub is inscribed 
 
 J' ANDREA- DI 
 GIVLIANO 
 PARTICINI 
 
 V(ICARI)0 • M-D-XXVI 
 At the end of the date is a small letter G (Giovanni?). (2) A second 
 tahella ansata supported by a winged cherub bust is inscribed 
 J' PARTICINO • DI 
 GIVLIANO PAR 
 TICINI- V(I)CARIO 
 CCCCLXXXVIIII 
 Andrea di Giuliano Particini was a Prior of Florence in 1476. 
 
GIOVANNI BELLA ROBBIA 
 
 207 
 
 NDPEADI I 
 VLIANO 
 T ART I C INI 
 'MDXXVI 
 
 CCCCLXXX'- 
 
 Fig. 148. Stem MA of the Particini Family. 
 
 Bibl. : 
 
 M., R. H., 277-278; P., 738. 
 
 207 STE.MMA OF HIPPOLITO BUONDELMONTI. 1526. Pistoia, 
 Palazzo Pubblico. Photo., Private. 
 
 Within a continuous wreath of fruit and flowers arranged in triplex 
 bunches a white egg and dart moulding surrounds a yellow fluted disk on 
 which is a Tuscan shield (Eig. 149), with pointed head, bearing the Buon- 
 delmonti arms: Per fess azure (chief) and argent (base). This is the 
 ancient as distinguished from the modern stemma of this family. Both 
 forms occur in combination on the shield of Antonio di Lorenzo Buondel- 
 monti at S. Giovanni in Valdarno in 1474-1475. 
 
 Below, a winged cherub holds a curved scroll inscribed : 
 J'HIPPOLITO- DI- 
 GIOVA(NNI) BATISTA 
 BVO(N)DELMONTI 
 P(ODEST)A- M • D • XXVI ''^ 
 Hoppolito di Giovanni Battista di Ghino Buondelmonti was a Prior in 
 Florence in 1509. 
 
208 
 
 GIOVANNI BELLA ROBBIA 
 
 Fig. 149. Stemma of Hippolito Buondelmonti. 
 
 Bibl. : 
 
 C, s.v. Buondelmonti; M., R. H., 276-277; P., 827-828, W., 131. 
 
 208 STEMMA OF LORENZO LAPI. 1526. Scarperia, Palazzo di 
 Vicariato. Photo., Private. 
 
 Fig. 150. Stemma of Lorenzo Lapi. 
 
 Within a continuous wreath composed chiefly of triplex bunches of fruit 
 and flowers, and an inner egg and dart moulding, set against a fluted disk 
 
GIOVANNI BELLA ROBBIA 209 
 
 is a late Tuscan shield (Fig- 150) bearing the Lapi arms: Gules, a fess 
 argent charged with a lion passant sable. 
 
 Below, a w/'nged cherub upholds a horizontal scroll inscribed : 
 
 J' LORENZO- DI 
 
 TOMASO LAPI • 
 
 V(ICARI)0- E CHOMESARIO 
 
 J' M • D • XXVI + '^^ 
 
 Bibl. : 
 
 C, s.v. Lapi; M., R. H., 279. 
 
 209 BUST OF A CHERUB. London, Victoria and Albert Museum. 
 No. 72-'66. Photo., Private. 
 
 Bust of a cherub placed above a cartouche or tablet. The uninscribed 
 tablet has a blue moulded frame and in form has the appearance of being 
 the two wings of a tabella ansata brought together. 
 
 Bibl. : 
 
 C-M., 268 No. 388; Cr., 345. 
 
 210 DOVIZIA. ^^linneapolis. Institute of Arts. Statuette. H., 0.67m. 
 Photo., Private. 
 
 This statuette (Fig. 151), formerly in London, passed from the posses- 
 sion of Mr. Charles Butler into that of Mr. Langton Douglas, from whom 
 it was accjuired in 1915 by the Art Museum at Minneapolis. It was pos- 
 sibly inspired by the marble statue of Pomona now in the Uffizi Museum. 
 
 She carries on her head a basket of polychromatic fruit and in her left 
 hand a cornucopia also of fruit. Her face and hands are white, her hair 
 brown, her overrobe blue with yellow neckband and girdle. To the right 
 is a nude child playing with a dog, somewhat similar to a stucco group in 
 the Berlin Museum, No. 102. 
 
 The pedestal has a light yellow top, violet edged, yellow leaves at the 
 corners, and white sides, the front inscribed 
 
 > GLORIA- ET DIVITIE IN- DOMO TVA '^ 
 
 Bibl. : 
 
 Breck, Bull. Minn. Inst, of Arts, IV (1915), 110-112. M., A. in Am., 
 
 V (1917). 195-199- 
 
210 
 
 GIOVANNI DELLA ROBBIA 
 
 1%. 
 
 IM-DOMOTVA'^^^^ " 
 
 Fig. 151. DoviziA, Minneapolis Museum. 
 
 211 BOY WITH PUPPIES. Berlin. 
 102(1.1891). Statuette. H., 0.43m. 
 
 Kaiser-Eriedrich Museum, No. 
 Photo., Berlin Museum. 
 
 This statuette (Fig. 152) in stucco may have been derived from an 
 original by Andrea della Robbia, but is not far removed in style from the 
 boy and a puppy in the Do\'izia statuette in the Minneapolis Museum. The 
 boy carries two puppies in the folds of his shirt and gazes down upon their 
 mother who is suckling two others. It was purchased in 1891 in Florence 
 and presented by Graf Donhoff-Eriedrichstein. 
 
GIOVANNI DELLA ROBBIA 
 
 211 
 
 Fig. 152. Boy with Puppies^ Berlin Museum. 
 
 Bibl. : 
 
 B., Denk., 88, Taf. 265; F/. Bildli. 230, Fig. 126; Fl. Sc, 157, Taf. 70; 
 Fabr., /. k. p. K., XXX (1909) Beiheft, 20 No. 27; Schottmiiller, 
 44 No. 102; v., VI., 597, Fig. 404. 
 
 Fig. 153. Judith, New York, Bardini Sale of 1918. 
 
212 
 
 GIOVANNI BELLA ROBBIA 
 
 212 JUDITH. New York. Bardini Sale of 1918. Statuette. H., 
 0.50m. 
 
 Glazed white, set on an oval base on which is inscribed ^ IVDIT + 
 In pose and style this statuette (Fig. 153) resembles the Minneapolis Do- 
 vizia. Her right arm is raised to balance the heavy head of Holophernes 
 which she carries in her left hand. 
 
 Bibl. : 
 
 Bardini Sale Cat. of 1902, No. 515, PI. 23; Bardini Sale Cat. of 1918; 
 No. 371. 
 
 213 DOVIZIA. Paris, Heilbronner Galleries. 
 
 Glazed in white, but carrying a basket of polychromatic fruit on her 
 head. She carries no cornucopia, but some fruit in her right hand. At 
 either side is a putto, one seated, the other standing. This suggests that 
 children as well as the fruits of the earth make up the conception of Riches, 
 
 Bibl. : 
 
 M., A. in Am., V (191 7), 199. 
 
 214 DAVID WITH THE HEAD OF GOLIATH. Berlin. Kaiser- 
 Friedrich Museum, No. 117 (I. 169). Statuette. H.. 0.55m. Photo., 
 Museum. 
 
 Fig. 154. David, Berlin Museum. 
 
GIOVANNI DELLA ROBBIA 
 
 213 
 
 Acquired in 1828 from the Bartholdi collection. David holds a stone 
 in his left hand and the hilt of a sword or dagger in his right (Fig. 154). 
 At his feet is the head of Goliath. Nudes unglazed. Breastplate and skirt 
 arc blue, ornamented with yellow ; mantle green. The white oval base is 
 inscribed DAVIT P(RO)P(HETA) This may be considered as a free 
 variant of A'errocchio's bronze David in the Museo Nazionale. 
 
 Bibl.: 
 
 B., Kf. 26; Bode and Tschudi, 44 No. 137 Taf. 5; C-M., 156 No, 
 358; Cr., 333; Schottnuiller, 50 No. 117; Tieck-Gerhard, No. 671. 
 
 215 BUST OF BACCHUS. 
 1902). H., 0.49m. 
 
 Florence. Bardini Collection (Sale of 
 
 Fig. 155. Bust of Bacchus, Florence, Bardini Collection. 
 
 This fine bust (Fig. 155), possibly representing some young Florentine 
 as a Bacchus, is to be attributed to Giovanni della Robbia. The poly- 
 chromatic wreath of ivy leaves, flowers and grapes, was borrowed from 
 some classic head of Bacchus, whereas the yellow scale armour with the 
 lion head on the breast plate and the corrugated shoulder pieces are Floren- 
 tine. The tabella ansafa at the base suggests Giovanni's method of decora- 
 tion. 
 
 Eibl. : 
 
 Bardini Sale Cat. of 1902, 
 
 No. 517, PI. 24. 
 
 216 BUST OF BACCHUS. Paris. Spitzer Collection (Sale 1893) No. 
 1292. H., 0.68m. 
 
 The description tallies with that in the Bardini Sale of 1902, except that 
 
214 GIOVANNI BELLA ROBBIA 
 
 the height is given in the Bardini catalogue as 0.49m. and in the Spitzer 
 catalogue as 0.68m. 
 
 Bibl. : 
 
 Spitzer Cat., 216 No. 1292. 
 
 217 BUST OF BACCHUS. Florence. Museo Nazionale No. 70. 
 
 This bust represents Bacchus with a wreath of violet grapes and green 
 leaves on his head wearing a yellow breastplate ornamented with a lion's 
 head. 
 
 Bibl. : 
 
 Burl., Ill; Cr., 339; Supino, 451 No, 70. 
 
 218 RELIEF BUST OF A WARRIOR. Berlin. Kaiser Friedrich 
 Museum No. 188 (I. 2014). Rectangular relief. H., 0.59m.; W., 
 0.415m. 
 
 This relief in Verrocchian style purchased at the Leclanche sale in Paris, 
 1893, was probably designed by Giovanni della Robbia, as the details — 
 dolphin, scale ornament, cherub head, etc., indicate. The face is milder 
 than that of the Bartolommeo Colleone, the helmet and breastplate a dim 
 reflection of Leonardo da Vinci's relief of Scipio. The head is set against 
 a blue background and surrounded by Giovanni's characteristic egg and 
 dart moulding, white touched with yellow. Variants in medallion form 
 are in the Louvre, and in the Palazzo Frescobaldi, Florence. 
 
 Bibl. : 
 
 Schottmiiller, 79, No. 188. 
 
 219 HEAD OF WARRIOR. Paris. Louvre. 
 
 A variant of the Scipio relief in the Louvre (Reymond, Verrocchio, p. 
 57), and finer than the similar head in a rectangular frame in the Berlin 
 Museum, No. 188. It is surrounded by an inner band of scale ornament 
 and an outer narrow wreath of fruit and flowers. 
 
 Bibl. : 
 
 Miiller-Walde, 71 ; Schottmiiller, 78 No. 188. 
 
GIOVANNI DELLA R015BIA 
 
 215 
 
 220 HEAD OF WARRIOR. Florence. Palazzo Frescobaldi. Inner 
 hall. 
 
 A variant of the Warrior head in the Berlin Museum, No. 188, but in 
 medallion form ; set against blue background and surrounded by a fruit 
 frame. 
 
 221 TWO CONSOLES. Paris, Louvre, No. 438 (old Nos. G. 756, 
 757). H., 0.25m. Photo., Private. 
 
 From the Campana Collection. Decorated with egg and dart, plain blue 
 frieze, cherub heads with cornucopias, lanceolate leaves and scale motive. 
 Set beneath candelabrum bearing angels No. 438. 
 
 Bibl. : 
 
 C-M., 280 No. 466; Cr., 350. 
 
 222 MADONNA AND CHILD AND SAINTS. 1526. Arezzo. SS. 
 Annunziata. Statues in niches and predella. Photo., Alinari, 9713. 
 
 In the church of the Annunziata built by Fra Bartolommeo della Gatta 
 and finished by Antonio da Sangallo Vecchio about 1525, in the Spadari 
 
 F;g. 156. Madonna and Saints, Arezzo, SS. Annunziata. 
 
2i6 GIOVANNI BELLA ROBBIA 
 
 chapel is an altarpiece of unusual form (Fig. 156). On a segment of a 
 circle are three niches in which are set statues. To the left S. Francesco 
 pointing to his wounded side, in type not unlike the same saint in the Lam- 
 entation group in the Osservanza at Siena. In the centre is the Madonna 
 enthroned holding on her knees a chubby, curly headed Child. To the right 
 is S. Rocco pointing to his plague stricken leg. The Madonna and the S. 
 Rocco show the influence of Giovanni della Robbia. Compare the altar- 
 piece in the Seminario at Fiesole, the Tabernacolo delle Fonticine, and the 
 altarpiece at Lamporecchio. 
 
 The predella contains two coats of arms : dexter, those of the Compagnia 
 dell'Annunziata : a cross set on an omega above a large letter M ; sinister, 
 the Spadari arms : gules, three swords in pile fanwise argent, in chief a 
 label of Anjou. The accompanying document shows that the altarpiece was 
 ordered by Nicolo Spadari on May 22, 1526, to be paid for one half by him 
 and one half by the Compagnia dell'Annunziata at Arezzo. 
 
 Document : 
 
 U° Tavola Otenuto el patito vesoro buono 
 +yhs adj 22 dj maggio 1526 
 
 di ter(r)a dj gj(giovannj) bonuccj bart° di franc" cabonatj nic' 
 
 cotta spadarj aiq(u)ali dedero autorita dj fare fare u° tavola 
 
 di ter(r)a cotta a laltare dj nic° spadarj colamj 
 dj la n(ost)ra comp" amano ritta e lasva amano macha 
 e q(ua)l tanto che si spedara abia apagare nic" 
 spadarj dj svo elaltra meta lan(ost)ra comp' e 
 abiano aftare p(er) lan(ost)ra meta lostaziameto qsti(qvesti) 
 3 sop(r)'' dettj hominj" 
 [Arch, di Stato, Confraternite e Compagnie Soppresse di Arezzo segnato 
 
 A. CLXXXAail No. 2, c. 47.] 
 
 Bibl. : 
 
 C, s.v. Minerbetti; Cr., 331; Geym. V, Antonio Sangallo, 4-8; M., 
 R. H.. 275-276; P., 72; R., D. R., 257; Sc. FL, IV, 61-62. 
 
 223 STEMMA OF FRANCESCO DI CASAVECCHIA. 1528. Scar- 
 peria, Palazzo del Vicariate. Photo., Private. 
 
 Within a rectangular, nearly square, frame surrounded by a white and 
 yellow egg and dart moulding, set in a concave plate is a late Tuscan shield 
 (^'^g- 157) with bordure and convex centre, bearing the Casavecchia arms: 
 Azure, three fleurs-de lys, two and one, or. 
 
GIOVANNI DELLA ROBBIA 
 
 217 
 
 
 Fig. 157. Stem MA of Franceco Casavecchia. 
 
 Below, a rectangular tablet with filleted border supported by an Ionic 
 scroll is inscribed : 
 
 J'FRANCCESC)© DI PELLEGRINO 
 
 DA CHASAVECHIA ^ 
 >V(ICARI)0 y M^DJ'XXVIIIJ^ 
 
 Pellegrino di Erancesco di Banco da Casavecchia was a Prior of Flor- 
 ence ni 1487 and 15 11. 
 
 Bibl. : 
 
 M.,i?.//., 283-284; P., 645. 
 
 224 BASKET OF FRUIT. New York City. 
 
 (i) Three baskets imitating yellow wicker work, containing polychro- 
 matic fruit and flowers (on one a lizard) were sold in the Bardini Sale of 
 1918. 
 
 (2) Two baskets imitating wicker work, filled with cucumbers and other 
 fruit (lizard, snails, frog), were sold in the Tolentino Galleries Sale, May, 
 1919. 
 
 Bibl. : 
 
 Bardini Sale of 1918, Cat., Nos. 273-275. Tolentino Sale of 1919, 
 Cat., Addenda No. 416. 
 
2i8 GIOVANNI BELLA ROBBIA 
 
 225 THREE BOUQUETS OF FRUIT AND FLOWERS. New York 
 City. Bardini Collection Sale, April 1918. Diam., 0.33m. 
 
 Polychromatic fruit, flowers, with a frog and a lizard. Two somewhat 
 similar bunches are carried by two cream coloured vases bearing Medici 
 arms. 
 
 Bibl. : 
 
 Bardini Sale of 1918, Cat., 276, 301. 
 
 226 BUNCH OF FRUIT. Rome. Castellani Sale 1884. H., 0.14m.; 
 W., 0.130m. 
 
 The Sale catalogue of the Castellani collection includes a bunch of fruit 
 polychrome. The description "Pendentif-applicjue" suggests that it was a 
 fragment of a pilaster. 
 
 Bibl. : 
 
 Castellani Cat., No. 225. 
 
 227 BUNCHES OF FRUIT. Florence. Bardini Collection (formerly). 
 Five bunches of fruit. 
 
GIOVANNI DELLA ROBBIA 
 
 219 
 
 ADDENDA 
 
 228 PIETA OR LAMENTATION OVER THE DEAD BODY OF 
 CHRIST, c. 1514. S. Vivaldo (Com. di Montaione). Near the 
 church. Photo., Alinari, 10098. 
 
 The oratory or hermitage of S. Vivaldo, near Montaione and Campo- 
 rena, became a monastery for the Frati Minori Osservanti in 1497. It was 
 doubtless at this time or a httle later that the chapels on a wooded path 
 near the church began to be filled with scenes relating to the Life and Pas- 
 sion of Christ. These are popularly attributed to Giovanni Gonnelli known 
 as II Cieco da Gambassi, a blind sculptor of the XVII century. They are, 
 
 PlET.\, S. V'lVALDO. 
 
 however, to be referred to the early years of the XVI century. The Pieta 
 and the Madonna dello Spasimo appear to be by a different hand from 
 the rest and may be attributed to Giovanni della Robbia. 
 
 The Pieta or Lamentation scene (Fig. 158) is confined to the Madonna 
 and the Dead Christ with S. Giovanni at the head and the Maddalena at 
 the feet of Christ. The S. Giovanni, the weakest of the group, is by the 
 hand of an assistant. The other figures are in style not far removed from 
 the lunette of the Entombment in S. Salvatore al Monte (Fig. 35), and the 
 Pollini altarpiece of 15 14 in the Museo Nazionale (Fig. 36). The repre- 
 sentation of tears occurs in the eyes in both groups. The Madonna is here 
 
220 GIOVANNI BELLA ROBBIA 
 
 provided with seven daggers, symbolic of the seven Sorrows. Compare 
 Simeon's prophesy "A sword shall pierce through thy own soul also" (St. 
 Luke, II, 35). By the XV century the Sorrows of the Virgin had become 
 fixed as seven in number and were symbolized by seven swords. 
 
 Bibl. : 
 
 Angelelli, CCXXIX; Cr., 348 note; Repetti, s.v. Montaione, S. Vi- 
 valdo. 
 
 229 LO SPASIMO OR THE SWOON OF THE VIRGIN, c. 1514. 
 S. Vivaldo (Montaione). Near the church. Photo., Alinari, loioi. 
 
 In scenes of the Deposition, also in the stations of the cross where the 
 Virgin Mother encounters her son she is represented as fainting. Here 
 (Fig. 159) she is supported by S. Giovanni and the Maddalena and the 
 
 Fig.. 159. Swooning of the Virgin, S. Vivaldo. 
 
 holy women. The types are not far from those in the PoUini altarpiece of 
 1 5 14 in the Museo Nazionale (Fig. 36). The figures are painted but not 
 glazed and are located in one of the chapels on a wooded path near the 
 church. There are said to have been originally as many as thirty of these 
 chapels, of which sixteen survived when Angelelli published his Memorie 
 Storiche di Montaione in 1875. Alinari photographed seven of them. 
 
 Bibl. : 
 
 Angelelli, CCXXIX; Cr., 348 note; Repetti, s.v. Montaione, S. Vi- 
 valdo. 
 
GIOVANNI BELLA ROBBIA 
 
 221 
 
 230 LO SPASIMO OR THE SWOON OE THE VIRGIN. Princeton, 
 N. J., Collection of Mr. Erank J. Mather, Jr. 
 
 Professor Mather possesses a small unglazed terra-cotta study of this 
 composition. 
 
 231 Montescalari (formerly). 
 
 In the ancient Badia at Montescalari were at one time some terra-cottas 
 by Giovanni della Robbia. Mr. Rufus G. Mather writes : "Among Mila- 
 nesi's notes I found a folder on the front of which was written that it for- 
 merly contained notes showing that Giovanni della Robbia made the reliefs 
 for the Abbey, but that the notes had been lost." He adds: "I have tried 
 to rediscover the documents but so far without success." 
 
 This once flourishing Vallombrosan Abbey had dwindled in 1787 to a 
 dependency of the Pieve di S. Romolo a Gaville, and is today a fattoria be- 
 longing to the Del Turco family. The Vice-parroco della Cura annessa 
 air Ex-Abazia at Montescalari writes that the Marchese G. B. Rosselli del 
 Turco possesses some fragments of Robbia workmanship, which, however, 
 have not been reassembled. However, enough remains to show that here 
 was represented the Vallombrosan stemma : a monk's arm holding a crutch 
 (cf. Robbia Heraldry, 202-203, Eig. 189). 
 
 There are said to be no other Robbia works at Montescalari. The char- 
 acter and whereabouts of the terra-cottas noted by Milanesi are now un- 
 known. 
 
 232 BUST OE CHRIST. London, Victoria and Albert Museum, No. 
 476 '64. 
 
 Fig. 160. Bust of Christ. London, 
 
222 
 
 GIOVANNI BELLA ROBBIA 
 
 An unglazed bust of Christ (Fig. i6o) somewhat similar to the Viviani 
 della Robbia bust (Fig. i6i). The facial type is slenderer and the hair 
 more complicated. 
 
 Bibl. : 
 
 C-M., 270 no. 402; Cr., 329. 
 
 Fig. 161. Viviani della Robbia Bust of Cheist. (See above, No. 134.) 
 
GIOVANNI DELLA ROBBIA 223 
 
 233 NEW DOCUAIENT FOR THE CICIT'O HOSPITAL MEDAL- 
 LIONS. 
 
 A new and important docnnient, which reached me just in time to be 
 inserted in tliis place, concerns the five medalhons and four half medallions 
 made by Giovanni della Robbia for the Geppo Hospital, Pistoia, during the 
 years 1 525-1 527. The document indicates that two medallions were to be 
 delivered during 3darch 1525 and the rest by May 1526; also that Giovanni 
 should be paid at the rate of four and a half ilorins for each medallion. 
 This rate may not have been final ; the documents we have published imply 
 that the price of the medallions was augmented to seven florins each. Pay- 
 ments for work at the Geppo Hospital were received by Giovanni delta 
 Robbia up to 1529, the year of his death. 
 
 Document: [Disco\'ered and copied by 'Mr. Rufus G. Mather.] 
 "1525 Indict (done _) 14 
 
 ,( In margine : Locatio sculture) 
 
 Item postea dictis a(n)no Jndict(ioni) loco et die x mensis martij 
 p(rese)nt{ i )bus Paulo olim Nicci (Niccolai) d(e) I)encis et Bartolo olim 
 franc' Savellis civibus fiorent testibus etc 
 
 R(everen)dus in xpo(cristo) p(ate)r dfomi)n(u)s L'"'" bonafidej hos- 
 pitalarius et rector hospitalis S"' Marie Gippi d(e) Pistorio p(er)se et suos 
 in d(i)c(t)o hospital i successor( i )s et o(mn)i met{iori) mofdo) etc loca- 
 \"it Johan(n)j olim Andree marci d(ella) robbia scultori d(e) florentia 
 1525 Indict 14* 
 
 p(rese)nti et conducenti etc ad laborandum et intagliandum c]uinque 
 rotu(n)dos terre cocte i(n)vetriate integros cu(m) intagliatione figurarum 
 et armorum eo mo (do) et forma et scultura et eadem magnitudine unius ro- 
 tundj que d(e)dit scultu et Ttagliatu dicto dno L^° dicto no(m)i(n)e Item 
 quatuor medios eiusdem sortis q(ui) omnes circulj ascendunt ad su(m)- 
 ma(m) no\'e rotundorum qui Johan(n)es conductor p(ro)misit et 
 so]e(m)ni stipulatione convenit dicto dno L"" dicto no(m)i(n)e p(rese)nti 
 et stipulati eidem dare et tradere duos ex dictis rotudis itagliatos et p(er)- 
 fectos p(er) tu(tum) pfrese )nte(m ) mese martij relicpios v(er)o p(er) 
 tutii mese maij p(ro)ximi futuri 1526 et p(ro) eius labore et scultura 
 ]>('rojmisit dictus dns L""' dicto no(mi(n)e dare et solvere eidem Johan- 
 (nji pfresejnti et stipulatj ut s(upra) flor aurj cjuatuor cu dimidio lar 
 d(e)auro 1 auro p(ro)q"lbet('quolibet ) rotundo cum pacto inito inter dcas 
 2j(ar)tes q(uod) si dictus Johannes no daret eidem dno L"° dictos rotudos 
 
224 GIOVANNI BELLA ROBBIA 
 
 ]j( er")fectos dictis temporilxis possit dictus L'"" ut s(iipra) liceat locare alijs 
 (]uibus voluerit et placuerit inipensa dicti Johaii(n)is que o(mn)ia etc 
 p(ro)misit etc atteiidere etc siil) pena flor xxv auri larg d(e)auro i anro 
 i|ue pena etc (|"(qua) pena etc p(ro) quibus etc obligavit etc renCitiavit etc 
 cui etc p(ro)garantigia etc R(ogans) etc." 
 [Arcliivio del R. Arcispedale di S. J\I. Nuova. Rogiti di Ser Antonio di 
 
 ^lichele di ser Migliore ^ligliorati, Protocolli 1524-1526, segnato F. 
 
 II c. 100' e loi.] 
 Bibl.: 
 
 See above, p. 201. 
 
 '•'heading of p. loi. The first word of the page is "p(rese)nti." 
 
III. BIBLIOGRAPHY AND INDEX 
 
III. BIBLIOGRAPHY AND INDEX 
 
 I. BlBLIOGKAPIIICAL ABBREVIATIONS 
 
 Amati = Amati, Llicionano coroyrafico- 
 
 iUustrato dell' Italia. 10 vols. n. d. 
 Anselmi, .-J. r. 5., VII (1888) = Anselmo 
 Anselmi, Sul rinvcnimcnto di uii prczioso 
 codicc contincntc iiuovi documcnti dell' 
 aliarc robbiano di Arcevia e del Senes'i 
 fondator'i dell' Erenio di S. Girolamo, in 
 Arte e Storia, VII (1888), 233-234. 
 Anselmi, A. e. S.. Ill (1884) = Anselmo 
 Anselmi, Tesori artistiei d'Arcevia, in 
 Arte e Storia, III (1884), 10, 21-23. 
 Anselmi, A. S. A., I (1888) = Anselmo An- 
 selmi, Nuovi docuinenti still' altare rob- 
 biano nella ehiesa di S. Medardo in Ar- 
 eevia, in i\rchivio storico dell' arte, I 
 (.1888), 369-371. 
 Anselmi, Inventario =^ Anselmo Anselmi, 
 Inventario dei beni ecclcsiastiei trovati 
 nella CJiiesa di S. Girolamo, chiamata 
 I'Heremita. I'l si parla di nn altro altare 
 in niaioliea ogyi perdiito. Arcevia, 1894. 
 Anselmi, Le inaiolichc robbiane nelle 
 Marelie. in Italia Artistica e Industrialc, 
 I (1894-1895), 167. 
 Anselmi, jV. Riv. Mis., I (1888) = Anselmo 
 Anselmi. Lettera al Cav. Guido Carocci, in 
 Xuova Rivista Misena, I (1888), 38-43. 
 Argnani = Federigo Argnani, Le cerannehc 
 e niaioliehc faentine dalla loro origine 
 fino al pruietpio del seeolo XI'I. Faenza, 
 1889. 
 A. e S. = .^rte e Storia. Florence, 1881- 
 A. S. A. = .A-rchivio storico dell' arte. 
 
 Rome, 1888-1897. 
 Bacci, ///. Fior. 1908 ^ Peleo Eacci, Docu- 
 menti seonoscinti su Giovanni della Rob- 
 bia, in L'lllustratore Fiorentino, N. S. 
 (1908), 140-149. 
 Bach = Direktor Bach, Fi'ihrer dureh die 
 Kunst- und historischen Sammlungen des 
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 GIOVANNI BELLA ROBBIA 
 
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C.IO\'.\NNT DELLA ROP.P.IA 
 
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 Malagola ^ Carlo Makigola, Mciimric 
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 Meyer, Mittelitalien = Theodor Gsell-Fels, 
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2?sO 
 
 GIOVANNI BELLA ROBBIA 
 
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 Wallis, Ital. Ceramic Art = Henry Wallis, 
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 Index of Subjects 
 
 Abraham, 129, 168. 
 
 Acciaiuoli stemma, 17. 
 
 Accolti stemma, 70. 
 
 Adam, 168. 
 
 Adam and Eve, 90. 
 
 Adimari stemma, 201. 
 
 Adoration by the Shepherds, 183. 
 
 Altoviti stemma, 102. 
 
 Angels, 
 
 adoring, 6, 63, 120. 
 
 candelabrum bearers, 54, 57-62, 116, 125, 
 126, 154. 
 
 with crown, 161, 164, 178. 
 
 with garland, 12. 
 
 with mandorla, 87. 
 
 musical, 154. 
 Annunciation, 81, 121, 124, 131, 148, 158, 196, 
 
 203. 
 Antinori stemma, 192. 
 Ascension, 47. 
 Assumption, 88, 129, 195. 
 Bacchus, 213, 214. 
 Baptism, 51, 52, 113. 
 Bartolini-Salimbeni stemma, no. 
 Base, 116. 
 
 Benozzi stemma, 95. 
 Betrayal, 187. 
 Birth of the Virgin, 183. 
 Blindfolding, 187. 
 Buonafede stemma, 100, 115, 119. 
 Buondelmonti stemma, 86, 90, 207. 
 Calcagni stemma, 81. 
 Capture of Christ, 187. 
 Casavecchia stemma, 217. 
 Casks, 29. 
 Ceppo hospital stemma, 196. 
 
 Chastity, 27. 
 
 Cherub, 125, 133, 154, 209. 
 
 and cornucopia frieze, 25, 26. 
 
 with tambourine, 84. 
 Christ, 55, 56, 115, 119, 120, 121, 133, 136, 
 170, 221. 
 
 child, 105, 124. 
 
 bearing cross, 187. 
 
 led away, 187. 
 
 dead, 68-80. 
 
 entombed, 68, 69. 
 
 in the sepulchre, 26, 182. 
 Ciborio, 15, 95, 98, 99, 100, 102, 103, 105, 190. 
 Console, 124, 215. 
 Corbinelli stemma, 192. 
 Coronation, 84. 
 Daniel, 129, 168. 
 David, 83, 129, 168, 212. 
 Denial by Peter, 187. 
 
 Documents, 7, 10, 30-34, 56, 58, 63-66, 72, 92, 
 131, 140, 155. 173-174. 180, 188-189, 199- 
 201, 202, 216. 
 Dovizia, 209, 212. 
 Elijah, 168. 
 Entombment, 68, 69. 
 Evangelists, 140, 168-171. 
 Eve, 168. 
 
 Folchi stemma, 146. 
 Fruit basket, 217. 
 
 bunches, 218. 
 Gaetani stemma, 48. 
 Garland, 185. 
 Gethsemane, 187. 
 Gianfigliazzi stemma, 201. 
 Ginori stemma, 99. 
 God the Father, 84. 
 
GIOVANNI BELLA ROBBIA 
 
 ^31 
 
 Goliath head, 212. 
 Hammer and pincers, 187. 
 Holy Water Stoup, 11. 
 Immaculate Conception, 81. 
 Incredulity of S. Tommaso, 24. 
 Isaiah, 174. 
 Jeremiah, 129. 
 Jonah, 129, 108. 
 Joshua, 168. 
 Judith, 108, 212. 
 Lamentation, 09-80, 219. 
 Lapi stemma, 208. 
 Last Judgment, 21. 
 Last Supper, 120. 
 La\abo, 3. 
 Leo X, 90. 
 
 Macinghi stemma, 179. 
 
 Madonna, 5, 8, 9, 10, 54, 55, 95, 108, no, 123, 
 137. 138, I4'-I44. 155-160. 163, 164. 171. 
 176-183, 20s, 215. 
 
 della Cintola. 85, 88. 
 Magalotti stemma, 96. 
 Malchus, 187. 
 Mannucci stemma, 88. 
 ^Maries visit the sepulchre, 146. 
 Mater Dolorosa, 26, 69-80, 147. 
 Minerbetti stemma, 48. 
 Tiloses, 129, 168. 
 Montidoglio stemma, 79. 
 Montoliveto stemma, 164. 
 Nativity, 54, 63, 66, 153, 183, 185. 
 Niccolini stemma, 40. 
 Nicodemus, 69. 
 Xoah, 168. 
 
 Noli me tangere, 23, 133-136. 
 Obedience, 27. 
 Olivetani stemma, 182. 
 Panichi stemma, 154. 
 Paoli stemma, 95. 
 Particini stemma, 206. 
 Passion, symbols of, 190. 
 Pazzi stemma, in, 194. 
 Pieta, see Lamentation. 
 Pilaster decorated, 62. 
 Pistoia stemma, 195. 
 PoUini stemma, 70. 
 Poverty, 27. 
 
 Predella with Saints, 119, 120. 
 Puppies, 210. 
 Putti, 83, 85. 
 Quaratesi stemma, 69. 
 Resurrection, 45, 190. 
 Rinuccini stemma, 96. 
 Salviati, 86, 90. 
 S. Agata, 172, 
 
 Agostino, 83, 170. 
 
 Ambrogio, 83, 107, 170. 
 
 Andrea, 169. 
 
 Anna, 81, 84, 183. 
 
 Ansano, 129, 172. 
 
 Antonio Abate, 66, 73. 131, 157, 165, 166, 
 170. 
 
 Antonio of Padua, 26, 79, 81, 83. 
 
 Apollonia, 172. 
 
 Barbara, 155, 172. 
 
 Bartolommeo, 169. 
 
 Benedetto, 93, 164, 169, 182. 
 
 Bernardino, 26. 
 
 Bernardo, 93, 182. 
 
 Bonaventura, 81. 
 
 Bruno, 169. 
 
 Caterina, 155, 159, 172. 
 
 Cecilia, 172. 
 
 Domenico, 14, 73, 157, 159, 170, 175, 178. 
 
 Donato, 142. 
 
 Elisabctta, 185, 193. 
 
 Elisabetta of Hungary, 27. 
 
 Filippo, 169. 
 
 Filippo Benizzi, 157. 
 
 Francesco, 26, 78, 79, 81, 83, 148, 149, 170. 
 
 Gabriele, see Annunciation. 
 
 Gioacchino, 183. 
 
 Giorgio, 170. 
 
 Gio\anni Battista, 55, 86, n6, 118, ng, 
 129, 140, 142, 169, 180, 187. 
 Life of, 49, 54, 112, 114. 
 
 Giovanni Evangclista, 26, 69-80, 140, 147, 
 159, 169, 180. 
 
 Giovanni, 49, 52, 53, 54, 113, 115, 144, 
 178, 181. 
 
 Girolamo, 26, 54, 55, 79, 116, 140, 170. 
 
 Giuseppe d'Arimatea, 69. 
 
 Tacopo Maggiore, 26, 129, 1S5, 169, i7t, 
 178. 
 
 Jacopo Minore, 169. 
 
 Leonardo, 116. 
 
 Lino, 46. 
 
 Lodovico, 27, 81. 
 
 Lorenzo, 66, 155, 169. 
 
 Luca, 140, 171. 
 
 Lucia, 10, 29, 57, 159, 172. 
 
 Marco, 129, 140, 169. 
 
 Margareta, 172. 
 
 Maria Egiziaca, 54. 
 
 Maria Maddalena, 54, 69-80, 81, 116, 119, 
 147, 159. 17-'- 
 
 Marta, 28, 29, 172. 
 
 Martino, 170. 
 
 Matteo, 119, 140. 168, 180. 
 
 Mattia, 169. 
 
 Michele, 78, 79, i;6. 
 
 Niccolo, 66, 170. 
 
 Orsola, 150-152, 172. 
 
 Paolo, 169. 
 
 Pietro, 129, 142, 169. 
 
 Pietro Martire, 13, 14. 
 
 Rocco, 157, 185, 189. 
 
 Romolo, 142, 144. 
 
 Sebastiano, 66, 119, 157, 172, 180, 185, 
 189. 
 
 Simonc, 169. 
 
 Stefano. 66, 157, 187. 
 
 Taddeo, 169. 
 
 Tommaso, 86, 88, 169. 
 
 Tommaso d'Aquino, 159. 
 
 Ugo, 170. 
 
 Veronica, 172, 187. 
 
 Zanobi, 157, 170. 
 .Sapiti stemma, 53. 
 Spasimo, 220, 221. 
 Scgni stemma, 206. 
 Simonetti stemma, 95. 
 Solomon, 83. 
 Spigliati stemma, 162. 
 Sposalizio, 183. 
 Squarcialnpi stemma, 29. 
 
232 
 
 GIOVANNI DELLA ROBBIA 
 
 Stemma, 0, 17, 29, 40, 4^!, 53, 69, ;o, 79, 81, 
 86, 88, go, 95, 96, 99, 100, 102, 119, 140, 154, 
 162, 164, 178, 182, 192, 194, 195, 19C, 199, 
 201, 204-208, 216. 
 
 Stoup for Holy Water, 11. 
 
 Tiles, 5. 
 
 Two thieves, 187. 
 
 Urban II, 170. 
 Vases, 35-40. 
 Visitation, 185, 193, 19S. 
 Visit to Sepulchre, 146. 
 Warrior, 214, 215. 
 Washing of hands, 187. 
 Woman, 159. 
 
 Index of Places 
 
 Arcevia, 54, 57. 
 Arezzo, 13, 21 s. 
 Ashridge Park, 88. 
 Baltimore, 90. 
 Berlin, 
 
 Kaiser Friedrich Museum, 60, 76, 84, 
 140, 152, 165, 210, 212, 214. 
 
 Kunstgewerde Museum, 38. 
 
 Beckerath Collection, 60. 
 Borgo S. Lorenzo, 99. 
 Boston, 
 
 Aluseum of Fine Arts, 80, 133. 
 
 Linden Smith Collection, 60. 
 
 Mrs. Gardner Collection, 73. 
 Braunschweig, 38. 
 Brooklyn, igo. 
 Buonsollazzo, 63. 
 Campi, 189. 
 Cascio, 160. 
 Casole, 183. 
 
 Cerreto Guidi, 49, 100. 
 Certaldo, 192. 
 Certosa, 167. 
 Citta di Castello, 121. 
 Colle, 185. 
 Cologne, 87. 
 Convertose, 190. 
 Cornocchio, 108. 
 Darmstadt, 29. 
 Dicomano, no. 
 Empoli, 10. 
 Faenza, 69. 
 Fiesole, 
 
 Duomo, 144, 146. 
 
 La Doccia, 78. 
 
 S. Ansano, 11, 12, 105, 193. 
 
 S. Francesco, 185. 
 
 Seminario, 142. 
 Finalpia-Sa\'ona, 180, 181. 
 Florence, 
 
 Museo Nazionale, 14, 28, 45, 47, 48, 69, 
 g3, gs, g8, iig, 125, 135, 136, 144, 146- 
 148, 150-152, 161-162, 214. 
 
 Galleria Buonarroti, 84. 
 
 S. Ambrogio, 57. 
 
 SS. Apostoli, 15. 
 
 S. Barnaba, 138. 
 
 S. Croce, 150, 157. 
 
 S. Jacopo di Ripoli, 176. 
 
 S. Jacopino in Polverosa, 178. 
 
 S. Maria della Misericordia, 5g. 
 
 S. !Maria Novella, 3, 133. 
 
 S. Maria Xuovo, 2g. 
 
 S. Michele in Palchetto, 99, 193. 
 
 S. Onofrio, 136. 
 
 S. Piero Maggiore, 120. 
 
 S. Salvatore, 68. 
 
 Alessandri Collection, 14. 
 
 Bardini Collection, ^7, 59, 116, 212, 213, 
 218. 
 
 Cantagalli, 39. 
 
 Frescobaldi, 59, 215, 
 
 Girard's, 99. 
 
 Palmieri, Villa, 124. 
 
 Sorbi, Casa, 124. 
 
 Piazza S. .Ambrogio, 107. 
 
 Via Nazionale, 155. 
 
 (near) Certosa, 167. 
 
 Vincigliata, 164. 
 Galatrona, 112, 115, 116, llS, lig, 140. 
 Lamporecchio, 185. 
 Lari, 205. 
 Lisbon, 175. 
 London, 
 
 British Museum, 25, 36. 
 
 Victoria and Albert Museum, 29, 39, 77, 
 78, 81, 120, 121, 209, 221. 
 
 Donaldson's, 60. 
 Lucca, 85. 
 
 Luco in Mugcllo, 138. 
 Alinneapolis, 2og. 
 
 Alonte Oliveto Maggiore, 163, 164. 
 Newport, R. I., 26, 177. 
 New York, 
 
 Metropolitan Museum, 8, 36, 201. 
 
 Bardini Sale, 36, 100, 217, 218. 
 
 Blumenthal Collection, 29, 204. 
 
 Bonaventura's, 75. 
 
 P. W. French & Co., 26. 
 
 Davanzati Sale, 100, 159. 
 
 Lydig Collection, 35. 
 
 Pratt Collection, 35. 
 
 Seligman Galleries, 122. 
 
 Thaw Collection, 8. 
 
 Tolentino Sale, 133. 
 
 Volpi Collection, 52. 
 Oliveto, 102. 
 O.xford, 37. 
 Palaja, 121. 
 Panzano, 102. 
 Paris, 
 
 Cluny, 53, 61, 62. 
 
 Louvre, 26, 37, 60, 61, 105-107, 133, 166, 
 175-176, 214, 215. 
 
 Gavet Collection, 26, 38, 61. 
 
 Heilbronner's, 81, 212. 
 
 Kann Collection. 36. 
 
 Lowengard's, 178. 
 
 Seilliere Collection, 26, sS. 
 
 Spitzer Collection, 204, 215. 
 
GIO\'ANNI BELLA ROBBL\ 
 
 '-3i 
 
 Pescina, t>6. 105. 
 Pisa, 129. 
 Pistoia, 195, -O". 
 Poggibonsi. 81. 
 Poppi, 206. 
 Prague, 05. 
 
 Pratovecchio, 180. iSi. 
 Princeton, ij6, jji. 
 Rifredi, La Quiete, 2,^ 
 Rome, 
 
 \'atican, 93, 107. 
 
 Castellaiii's, 218. 
 Roslyn, no. 
 Rovezzano, 176. 
 S. Amato, 61. 
 S. Casciano, 62. 
 
 -4. ^5. 
 
 S. Donate in Poggio, 54. 
 
 S. Gimignano, 62. 
 
 S. Giovanni in Valdarno, 40, 85, in, 194. 
 
 S. Miniato al Tcdesco, 203. 
 
 S. Piero a Sieve, 114. 
 
 S. Quirico d'Orcia, 183. 
 
 S. Vivaldo, 219, 220. 
 
 Scandicci, 137. 
 
 Scarpcria, 208, 216. 
 
 Sesto, 53. 
 
 Scttimo, 52. 
 
 Sevres, 37. 
 
 Usse, 160. 
 
 LaVerna, 78. 
 
 Vincigliata, 164. 
 
 Volterra, 9, 21, 26, 46, &8.