The Florentine Painters of the Renaissance

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The Florentine Painters of the
Renaissance, by

Bernhard Berenson This eBook is for the use of anyone anywhere at no
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Title: The Florentine Painters of the Renaissance With An Index To
Their Works
Author: Bernhard Berenson
Release Date: December 28, 2005 [EBook #17408]
Language: English
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[Illustration: _Portrait of a Lady._

_From the Painting, possibly by Verrocchio, in the Poldi Museum at
Milan._]

THE FLORENTINE PAINTERS OF THE RENAISSANCE
WITH AN INDEX TO THEIR WORKS
BY BERNHARD BERENSON
AUTHOR OF "VENETIAN PAINTERS OF THE RENAISSANCE,"
"LORENZO LOTTO," "CENTRAL ITALIAN PAINTERS OF THE
RENAISSANCE"
THIRD EDITION, REVISED AND ENLARGED
G. P. PUTNAM'S SONS NEW YORK AND LONDON The
Knickerbocker Press

COPYRIGHT, 1896 BY G. P. PUTNAM'S SONS _Entered at
Stationers' Hall, London_
* * * * *
COPYRIGHT, 1909 BY G. P. PUTNAM'S SONS (For revised edition)
Made in the United States of America

PREFACE TO THIRD EDITION
Years have passed since the second edition of this book. But as most of
this time has been taken up with the writing of my "Drawings of the
Florentine Painters," it has, in a sense, been spent in preparing me to
make this new edition. Indeed, it is to that bigger work that I must refer
the student who may wish to have the reasons for some of my

attributions. There, for instance, he will find the intricate Carli question
treated quite as fully as it deserves. Jacopo del Sellajo is inserted here
for the first time. Ample accounts of this frequently entertaining
tenth-rate painter may be found in articles by Hans Makowsky, Mary
Logan, and Herbert Horne.
The most important event of the last ten years, in the study of Italian art,
has been the rediscovery of an all but forgotten great master, Pietro
Cavallini. The study of his fresco at S. Cecilia in Rome, and of the
other works that readily group themselves with it, has illuminated with
an unhoped-for light the problem of Giotto's origin and development. I
felt stimulated to a fresh consideration of the subject. The results will
be noted here in the inclusion, for the first time, of Cimabue, and in the
lists of paintings ascribed to Giotto and his immediate assistants.
B. B.
_Boston, November, 1908._

PREFACE TO THE SECOND EDITION
The lists have been thoroughly revised, and some of them considerably
increased. Botticini, Pier Francesco Fiorentino, and Amico di Sandro
have been added, partly for the intrinsic value of their work, and partly
because so many of their pictures are exposed to public admiration
under greater names. Botticini sounds too much like Botticelli not to
have been confounded with him, and Pier Francesco has similarly been
confused with Piero della Francesca. Thus, Botticini's famous
"Assumption," painted for Matteo Palmieri, and now in the National
Gallery, already passed in Vasari's time for a Botticelli, and the
attribution at Karlsruhe of the quaint and winning "Nativity" to the
sublime, unyielding Piero della Francesca is surely nothing more than
the echo of the real author's name.
Most inadequate accounts, yet more than can be given here, of Pier
Francesco, as well as of Botticini, will be found in the Italian edition of

Cavalcaselle's Storia della Pittura in Italia, Vol. VII. The latter painter
will doubtless be dealt with fully and ably in Mr. Herbert P. Horne's
forthcoming book on Botticelli, and in this connection I am happy to
acknowledge my indebtedness to Mr. Horne for having persuaded me
to study Botticini. Of Amico di Sandro I have written at length in the
Gazette des Beaux Arts, June and July, 1899.
FIESOLE, November, 1899.

CONTENTS.
PAGE THE FLORENTINE PAINTERS OF THE RENAISSANCE 1
INDEX TO THE WORKS OF THE PRINCIPAL FLORENTINE
PAINTERS 95
INDEX OF PLACES 189

THE FLORENTINE PAINTERS OF THE RENAISSANCE
I.
Florentine painting between Giotto and Michelangelo contains the
names of such artists as Orcagna, Masaccio, Fra Filippo, Pollaiuolo,
Verrocchio, Leonardo, and Botticelli. Put beside these the greatest
names in Venetian art, the Vivarini, the Bellini, Giorgione, Titian, and
Tintoret. The difference is striking. The significance of the Venetian
names is exhausted with their significance as painters. Not so with the
Florentines. Forget that they were painters, they remain great sculptors;
forget that they were sculptors, and still they remain architects, poets,
and even men of science. They left no form of expression untried, and
to