Volltext Seite (XML)
(ib. ib. ib.). Virgin, child, and two saints in Casa Lelio Torelli (ib. ib. ib.). S. George and the Dragon, Casa Pier’ del Pngliese (ib. ib. ib.). Compagnia de’ Contemplanti, later in possession of Ottaviano de’ Medici, a panel of wich no subject is given (ib. ib. 1G9). Palazzo Niecolini. Holy Family (Richa, Cliiese, VIII. 48). Badia di Settimo. Virgin giving the breast to tlio infant (ib. ib. IX. 225). Arezzo. Badia de' Monad Neri. Monochrome, head of Christ (Vas. VII. 169). Viterbo. S. M. della Quercia. Resurrection of Christ and Coro nation of the Virgin (Vas. XI. 30, and Marchese II. 87). Before taking leave of S. Marco, in which so many masterpieces were produced in the course of a century, we pause for a moment to say a few words of Fra Pao- lino, who has become inseparable from his superior Fra Bartolommeo. He was born about 1490 at Pistoia, 1 and received the first rudiments from his father Bernardino d’Antonio del Signoraccio, a local artist of the feeblest kind, to whom some works are still assigned. 2 He be came a novice at a tender age, and is supposed to have taken orders in S. Domenico of Prato; from whence he was transferred with Della Porta to S. Marco. There he was the helpmate of the Frate and of Mariotto, assist ing them in the execution of pictures which still bear the monogram of the atelier. Of these, the earliest and best are: — one under his name dated 1510, a Virgin and child• amidst saints in the Belvedere of Vienna; and two saints in the Academy of Sienna (1514), catalogued as by Fra Bartolommeo. 3 Equally early, but of less value, are: a Nativity of 1511 in the Palazzo Borghese, a Virgin, child, (outside). Virgin and saints with the signature: “Bernardinus An- tonii de Pistorio pinsit. 1502. 8. Gio. Fuorcivitas. S. Rocli with the words: “Bernardino Vecchio. 1532. Pistoriensis, Prete Giuliano d’Antinoro fecit fieri” (Tolomei, Guida, ub. sup. p. 79. 102. 198. 9). 3 See antea p. 473.