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Chap. XIV. MARIOTTO ALBERTINEELI. 401 At the very last, and when one might think that Alber- tinelli must have surrendered all hope of receiving useful inspirations from the study of great cotemporary master pieces, he was induced to proceed to Rome, whither, ac cording to Vasari, he journeyed by way of Viterbo, after having finished there a picture begun by Fra Barto lommeo in S. M. della Quercia. He had scarcely given the final touch to a Marriage of S. Catherine for Fra Mariano at S. Salvestro, when he was seized with an illness which so prostrated him that he was brought back on a litter to Florence, where he died on the 5 lh of November 1515. 1 Some doubtful classifications in public and private col lections make the following list desirable. Florence. Uffizi. No. 1183. The dead Christ, on the ground, at the foot of the cross, surrounded by the Evangelist, the Marys and other females. Unimportant, but suggesting memories of Raphael’s studies for the same subject. Not certainly by Mariott'o. Florence. Prince Corsini. No. 20. Wood. Painted from a car toon assigned to Raphael (No. 22) in the Academy of Arts at Flo rence, by an artist subsequent to Ridolfo Ghirlandaio. S. Petersburg. Hermitage. No. 21. Named M. Albertinelli. Mar riage of S. Catherine in the presence of SS. John Evangelist, Ni cholas, Stephen, Francis, Jerom, John Baptist, and two others. Wood, oil, figures large as life; formerly in the Brasclii Palace at Rome. In its present condition, being much restored, this is a mixture of Sogliani and Bazzi, the style of the latter especially clear in the Virgin and four principal saints at her sides, and in the sky with its dark cloud; the rest more Florentine, the S. Ca therine particularly cciarse and heavy. Age and retouching have changed the colour. Hence lack of harmony and transparence. S. Petersburg. Leuchtenberg gallery. No. 43. Named Gaudenzio Ferrari. Wood, oil, ligures almost life size. Virgin and child be tween S. Joseph and the sleeping infant Baptist, in a landscape, with angels playing instruments in the air to the left. Here the stamp of Mariottp is more marked than in the foregoing, but the 2 Vasari VII. 186. His death on that day and his burial in S. Piero Maggiore are proved by the regis ter of deaths ad ann. See Tav. Alfab. ub. sup. — Of his works at Rome and Viterbo not a trace remains.