Abstract
Vasari’s incorrect statements have again given rise to some erroneous ideas about Pietro Lorenzetti. He did not know that this artist was a brother of Ambrogio’s, and miscalled him Laurati, which name is a misinterpretation of Laurentii, or son of Lawrence.
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References
Vasari-Milanesi, I, p. 471. Thode, Studien zur Gesch. der Ital. Kunst des XIV Jahrh., Repert. f. Kunstw., 1888. Schubring, Repert. f. Kunstw. 1899. O. Wolf, Zur Stilbildung der Trecento Malerei. G. Vasari, Vita di P. Laurati, ed. F. Mason Perkins, Florence, 1912.
L. Ghiberti, Denkwürdigkeiten, herausgegeben etc. von J. von Schlosser, Berlin, 1932, I, pp. 41 and 42.
A. Venturi, L’Arte, 1905, p. 428.
M. E. F. Mercier, in an article on the Gallery of Dijon in “L’art et les Artistes” Nov. 1922, announced that Signor Longhi attributed this picture to Pietro Lorenzetti. Unaware of this article, I came independently to the same conclusion.
G. De Nicola, Arte inedita in Siena, Vita d’Arte, July, 1912.
H. Thode, Repertorium f. Kunstwiss., 1888, p. 20. Dobbert’s attribution to Ambrogio Lorenzetti never met with any approbation.
Reprod. in C. Ricci, Il Palazzo Pubblico di Siena e la Mostra d’Antica Arte Senese, Bergamo, 1904, fig. 55.
F. M. Perkins, Rassegna d’Arte Senese, 1933, p. 3. Bargagli-Petrucci, Pienza, etc., p. 119.
The “L” of the date MCCCXLI is of rather a strange form and has frequently been read as V, making the date MCCCXVI. Arch. Storico dell’ Arte, I, 1888, p. 430; and Schubring in Zeitschr. f. Christl. Kunst, 1901, P. 375.
The attribution was first made by F. M. Perkins, Rassegna d’Arte, 1906, p. 15 and accepted by W. Suida, op. cit., p. 47.
O.H. Giglioli, Rivista d’Arte, 1906, p. 184. Other works by Pietro Lorenzetti, almost all of which I have seen, are: — Siena, Gallery, nos. 62 and 64, two panels each, containing two Apostles, and a prophet above, resembling the Arezzo Madonna; no. 90, St. Peter showing similarity to the St. Peter in the Vatican (early); Hospital, operating room near the entrance, St. Antony Abbot and another saint. In the environs of Siena; S. Galgano, church, Christ resurrected. In private collections: Amsterdam, Lanz coll., Madonna lowly seated and Child, centre of a small triptych (early); Boston, Mrs. Gardner’s collection, Madonna; Florence, coll. of Mr. F.M. Perkins, Madonna and saints; Count Serrestori’s collection, Madonna; Genoa, Mr. U. Jaeger’s collection, Madonna and donor; Palermo, Baron Chiaramonte Bordanone’s collection, polyptych; Rome, Stroganoff collection, two busts of prophets. As school works may be quoted: San Angelo in Colle, S. Michele church, half-length figure of the Madonna with the Child sucking His finger (fig. 249) (F. Bargagli Petrucci, Pienza Montalcino, etc., p. 143, attributes it to Lippo Memmi); Castiglione d’Orcia, Sta. Maria Maddalena, sacristy, damaged half-length figure of the Madonna; Cologne,Wallraf-Richartz Museum, no. 510, Madonna and Child with bird (weak); Cortona, S. Marco, crucifix; Frankfort, storeroom of the Städelsche Gallery, Madonna, saints, Nativity and Crucifixion (Rassegna d’Arte, 1906, p. 84); Paris, Louvre, no. 1317,Nativity of theVirgin, there attrib. to “le Maitre dit de St Humilité”; Rome,Vatican, no. 43, Madonna, many saints and the Annunciation, all in separate divisions on one panel (attributed to Pietro himself by Siren, L’Arte, 1906, p. 329, Perkins and Berenson); Idem, no. 24, Crucifixion (centre of a triptych); Siena, Gallery, no. 147, Crucifixion; no.50, polyptych, Madonna, four saints, eight Apostles and the Annunciation in the terminals; no. 105, Annunciation; Urbino, Cathedral, fragmentary fresco, Madonna and Child (L. Venturi, L’Arte, XVIII, 1915, p. 11). Among the many works wrongly attributed to Pietro we need only take into consideration the large polyptych in the Pinacoteca of Gubbio (Rassegna d’Arte Umbra, 1909, p 86; 1910, p. 22). As I explained in the same review (1921, p. 7 ), I believe it to be a product of Pietro’s Gubbian follower, Guiduc-cio Palmerucci. A Madonna in the church of Sta. Lucia, Rome, is modern, probably a copy of the original which this church once possessed. For other school works v. list at the end of the list of Ambrogio’s paintings.
J. Guthmann, Die Landschaftmalerei der Toskanischen und Umbrischen Kunst von Giotto bis Raphael, Leipzig, 1902, p. 73.
A. L. von Meyenburg, A. L., Zurich, 1903. L. Gielly, Les trecentistes siennois: A. L., Revue de l’Art Ancien et Moderne, Janvier-Février, 1912.
F. Bargagli Petrucci, Il mappamondo di A. L. nel Palazzo Pubblico di Siena, Rassegna d’Arte Senese, 1914, p. 3.
Lusini,Storia della Basilica di S. Francesco in Siena, Siena, 1894, pp. 214 and 264 (Crowe and Cavalcaselle,III, p. 109, note 3.)
De Nicola,Il soggiorno fiorentino di Ambrogio Lorenzetti, Bolletino d’Arte del Ministero della Pubbl. Istr., 1922, p. 49.
G. Cagnola,Dipinti ignorati, Rassegna d’Arte Senese, 1908, P. 45.
De Nicola,Vita d’Arte, July, 1912.
C. A. Nicolosi, La Montagna Maremmana, Bergamo, 1911, p. 63, wrongly attributes this to Ambrogio’s school.
Von Terey,op. cit. W. Suida,Alcuni quadri primitivi nella Gal-leria Nazionale di Budapest, L’Arte, X, 1907, p. 179. Pittura Senese a Budapest, Rassegna d’Arte Senese, 1907, p. 62.
F. M. Perkins,Alcuni opere d’Arte ignorate, Rassegna d’Arte, 1918, p. 106.
De Nicola,Bolletino d’Arte, etc., 1922, p. 53.
J. H. Edgell,Un opera inedita di A. L., L’Arte, XVI, 1913, p. 206, and Fogg Art Museum,Collection of mediaeval and Renaissance Paintings, Cambridge (U. S. A.), 1919, p. 102.
Schmarzow,Festschrift zur Ehren des Kunsthist. Instituts in Florenz, Leipzig, 1897, p. 153.
Published by F. M. Perkins in the Rassegna d’Arte, IV, 1904, p. 186 (De alcune opere poco note di A. L.) Rassegna d’Arte, XI, 1911, p. 4 (Dipinti italiana nella Raccolta Platt); Art in America, 1920, p. 209 (Some Sienese Paintings in American Collections).
The signification of the allegories has been explained by VasariMilanesi, I, p. 527. Giglioli,L’Allegoria politica negli affreshi di A. L., Emporium, 1904. Schubring,Das Gute Regiment, Zeitschr. für bildende Kunst. 1902.
F. M. Perkins,Art. in America, 1920, p. 209.
Perkins, op. cit., Rassegna d’Arte, 1904, p. 186. De Nicola, op. cit., Vita d’Arte, July, 1912.
Perkins,Art in America, 1920, p. 206.
Other works attributed to Ambrogio are: Siena,Accademia, no. 16i, half-length figure of the Madonna, considerably repainted, to which side panels of a later date have been added; Carmine church, righthand wall, head of the Madonna from an Annunciation (Rassegna d’ Arte, 1904, p. 191, attributed to Pietro); S. Pietro alle Scale, in the sacristy, a female saint and an archangel and high above the altar SS. Peter and Paul; the four together form an ensemble. They are very much restored and are probably early works. In Me region of Siena: Pomposa,near Murlo, Madonna (Perkins). Outside Italy: Vienna,Ourousoff collection, Holy Family; Lichtenstein collection, St. Agnes, (Oesterreich. Kunstschaetze herausg. von W. Suida I. Jahrg., Wien, 1910). London,National Gallery, nos. 3071 and 3072, two heads, frescofragments, I believe of the same origin as no. 1417 mentioned on p. 390. Some works wrongly attributed to Ambrogio Lorenzetti are:-Rome,Vatican Gallery, panels of the story of St. Laurence, which I ascribe to Bernardo Daddi (Meyenburg and others); Aix en Provence,diptych, Nativity of Christ and Adoration of the Magi (Meyenburg), which I define as possibly by Naddo Cecharelli; Berlin,panel from a predella with a scene from the life of St. Dominic, which I also attribute to Daddi (Venturi). Important school works of Ambrogio or Pietro are: — Siena,Accademia, no. 54, triptych, Crucifixion, between the Magdalene and another female saint, with figures on the terminals; no. 317, Nativity of the Virgin, both inferior works; Società di Pie Disposizione, Madonna between two angels with two adoring saints and the Saviour above, very near Ambrogio in his second manner (Rassegna d’Arte Senese, 1905, p. 50); S. Martino, fresco in the tower, Nativity and Baptism of a child, with Ducciesque elements; Palazzo Pubblico, panel of the Annunciation (free copy of the panel in the Gallery) with a halflength figure of the Lord in a medallion above; Milan,Ambrogiana, ivory diptych, on which the figures of the Lord, the Virgin, St. John and other saints are painted. London,Benson collection, Crucifixion and Entombment; Cambridge,Fitzwilliam Museum, no. 562, head of Christ; Berlin,Kaiser Friedrich Museum, nos. 1085 and 1086, scenes from the lives of the holy hermits Paul and Antony; no. 1428, Crucifixion; no. 1100, Virgin and Child, now in the Gallery at Bonn on loan; no. 1427, Crucifixion, on loan to the Gallery of Aix-la-Chapelle. Paris,Cluny museum, no. 1673, small panel of the Madonna resembling Pietro’s early manner.
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Van Marle, R. (1924). The Lorenzetti. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2798-9_5
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