Chap. VI. FIORENZO DI LORENZO 161 nel, deposited of old in the Santa Trinita Museum at Madrid, a noble head of the Redeemer between SS. Peter, John the Baptist, John the Evangelist, and a female martyr. 1 But having done this, our list is all but exhausted, and we are led to inquire how it comes that one whose career may be traced for so long a period, should have left so few examples behind. We must remember that there is proof of Fiorenzo’s existence in 1499, when he assisted Bartolommeo Caporali in valuing a picture by Giannicola of Perugia; and that if Mariotti, from whom this fact is taken, is further correct, our artist was companion to Tiberio d’Assisi in a similar valuation as late as 1521. 2 A space of more than thirty years yields absolutely nothing. Is it possible that Fio renzo’s labours in that interval should have remained con cealed under another name? Perugian history is cumbered with the presence of one Andrea Alovigi, commonly called L’Ingegno. We have examined the records illustrative of the person so named. They are the same which Rumohr had occasion to comment, and they had already suggested to him the following well-grounded remarks: Vasari relates 3 that Ingegno learnt the art from Pietro Perugino, in whose atelier he competed with Raphael; that he acted as his master’s journeyman in the Cambio of Perugia, where he did some fine things which are not further distinguished. It might be hard to point out figures which Vasari himself was unable to describe with precision; yet comparatively modern writers have decided that these are the sybils and prophets which are the finest of the series. 4 Vasari adds that 1 This picture is Umbrian in character, and suggests no other name than that of Fiorenzo di Lo renzo. It has something of Be- nozzo too. 2 Mariotti, Lett. Pitt. ub. sup. p. 82. 3 See Vas. life of Perugino, VI. 55. 4 Pungileoni (Elogio storico di Timoteo Viti, 8°. Urbino, 1835, note to p. 34) quotes from Padre Fran cesco Maria Angeli’s “Collis Para- disi amcenitas” published atMonte- falco in 1704, a passage in which the four prophets in the chapel of S. Lodovico at Francesco of Assisi are assigned to Ingegno who is supposed -to have painted on the walls previously covered by Buffal macco, the frescos of the latter having, in 1490, gone to ruin. The same statement according to Pun gileoni is to be found in the regis ters of S. Francesco of Assisi. 11 VOL. III.
