Cosimo Rosselli, Zanobi Machiavelli, Giusto di Andrea and Fra Diamante

  • Raimond van Marle


Cosimo Rosselli (1) was born in 1439 in the via del Corncomero in Florence and in 1453 became one of the numerous students of Neri di Bicci whom he left however in 1456, that is to say the year Benozzo Gozzoli came to Florence and it is highly likely that during a certain length of time Cosimo worked with this artist.


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  1. (1).
    Vasari, ed. Milanesi, III Gaie, Carteggio, II, p. 457. F. Knapp, Pier di Cosimo, Halle, 1897, p. 9. G. Gronan, Uber die frühere Thätigheit des C. R., Repert. f. Kunstwiss., 1897, p. 7o. J, Cartwright, The Painters of Florence, p. 171.Google Scholar
  2. (2).
    B. Supino. Arch. Stor. dell’ Arte, 1893, p. 421.Google Scholar
  3. (1).
    Mr. Berenson judges this fresco, which Vasari attributes to Cosimo, to be the work of Pier. Dr. Steinmann is of the opinion that it is by Pier and a helper, while Prof. Venturi gives it to Fra Diamante. Clmann, jahrb. K. Preus. Kunstsamml., 1896, p. 54 and Knapp. op. cit., p. 21, ascribe it to Benedetto Ghirlandaio.Google Scholar
  4. (2).
    J. P. Richter, La collezione Hertz e gli affreschi di Giulio Romano nel Palazzo Zuccari, (Rome), 1928, p. 33. The picture seems to originate from Pisa.Google Scholar
  5. (3).
    Milanesi, note on Vasari, III, p. 186. von Runiohr, op. cit., thought that the date 1456 could be distinguished after the signature “Cosimo Rosselli F:”, but this is naturally impossible because at that moment Cosimo was only seventeen years old.Google Scholar
  6. (3).
    Exhibited at the Loan Exhibition of Italian Primitives held in the Kleinberger Galleries, New York, November 1937, No. 31.Google Scholar
  7. (4).
    The document is published by Milanesi, note on Vasari, III, p. 184.Google Scholar
  8. (1).
    A. Venturi, La Galleria Sterbini in Roma, Rome, 1906, No. 26, ascribes it to Fra Diamante. L. Venturi, Alcune opere della collezione Gualino esposte nella R. Pinacoteca di Torino. Milan, Rome, 1928, No. 24, hesitatingly gives it to Cosimo Rosselli.Google Scholar
  9. (1).
    Berenson, Drawings, I, p. 126; If, Nos. 2384–2387.Google Scholar
  10. (2).
    In the collection of drawings in Christ Church, Oxford, there is a sheet showing on one side a youth and a woman and on the other a Coronation of the Virgin which in old times is said to have been ascribed to Cosimo Rosselli. Bell, Drawings by the Old Masters etc., p. 82.Google Scholar
  11. (1).
    D’ Ancona, La miniat. fior., Vol. I, p. 6o and pl. 72; Vol. II, No. 805. The Same, La miniature italienne, Paris-Brussels, 1925, p. 78 and pi. LXXIII, ascribes these miniatures to the collaboration of Francesco di Antonio and Zanobi Strozzi, although he remarks that they are diffèrent from the other works which he attributes to these two artists.Google Scholar
  12. (1).
    Milanesi, note 3 on Vasari, III, p. 53. S. Reinacli, Un tableau de M. au Musée National de Dublin, Gazette des Beaux Arts, 1900, I, p. 278. M. Salmi, M. e il “Compagno del Pesellino”, Rivista d’Arte, IX, 1916, p. 49. G. Poggi, Z. di Jacopo M., Idem, p. 67. P. Bacci, Z. M. a Pisa, Idem, X, 1917, p. 125.Google Scholar
  13. (1).
    v. also Taufani Centofanli, Notizie di artisti tratti dai documenti pisani, Pisa, 1893, p. 416. Supino, Arch. Stor. dell’Arte, 1894, p. 234• The Same, Campo Santo, p. 199.Google Scholar
  14. (3).
    Milanesi, commentary on Vasari’s Life of Pesellino, III, p. 43. In Vol. X, p. 471, I erroneously say that it is Vasari who makes this affirmation, an affirmation which is confirmed by H. Home v. Salmi, op. cit., p. 55 note 1.Google Scholar
  15. (4).
    De Nicola, Di alcuni dipinti nel Casentino, L’Arte, XVII. 1914, p. 260.Google Scholar
  16. (1).
    N. Baldoria, Arch. stor. dell’Arte, III, 1890, p. 53.Google Scholar
  17. (2).
    Gaye, Carteggio, I, p. 209; v. p. 115 of this vol.Google Scholar
  18. (3).
    G. Carocci, I dintorni di Firenze, II, Florence, 1907, p. 259.Google Scholar
  19. (4).
    O. H. Grglioli, Rivista d’ Arte, III, 1905, p. 258. Carocci, op. cit., I, P. 347.Google Scholar
  20. (2).
    Vol. X, p. 514. Attributed to Giusto by Pantini, San Gimignano, Bergamo, 1908, p. 78, also in the gallery and in Thieme Becker, loc. cit.Google Scholar
  21. (1).
    C. Ricci, Volterra, Bergamo, no date, p. ioo. Thieme Becker, loc. cit.Google Scholar
  22. (3).
    G. Poggi, in G. Danuielli e G. Poggi, Toscana (Itin. Automob.), Florence, 1924, p. 255. P. L. Occhini, Valle Teberina, Bergamo, 191o, p. 58, to the manner of Giusto.Google Scholar
  23. (4).
    Poggi, op. cit., p. 239.Google Scholar
  24. (1).
    Berenson, Drawings, II, No. 906. Other attributions to Giusto di Andrea are: Cambridge, U.S.A., Fogg Art Museum (No. 6), St. Jerome between SS. John the Baptist and Thecla(?). Fogg Art Mus. CollectionGoogle Scholar
  25. (1).
    Guasti, I quadri della galleria di Prato, Prato, 1888, p. 107.Google Scholar
  26. (2).
    Gior. Stor. degli archivi toscani, II, p. 248.Google Scholar
  27. (3).
    The documents have been published by Milanesi, ed. Vasari, Il, p. 641, who by mistake gives the date as 1492 instead of 1482. Steinmann, op. cit., p. 203. U1mann, op. cit.. Horne, op. cit., does not think that this record refers to works carried out in the Sixtine chapel but of this there can be no doubt, v. Venturi, op. cit., VII’, p. 579 note q.Google Scholar
  28. (1).
    Baldanzi, op. cit., p. 52. Milanesi, note on Vasari, II, p. 627’. Crowe and Cavalcaselle, ed. Langton Douglas, IV, p. 179. Fogg Art Museum Coll. of Mediaeval and Renaissance Paintings, p. 58.Google Scholar
  29. (3).
    G. Poggi, Rassegna d’Arte, VIII, 1908. p. 43Google Scholar

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  • Raimond van Marle

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