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existed in S. Domenico of Pistoia is affirmed by Vasari, who quotes the inscription by which it was authenticated. 1 In addition to the fragment in the choir of S. Fran cesco the frescos in the chapel of S. Lodovico (S. Fran cesco) are assigned to the master; but these are not unlike the productions of a local artist, Giovanni di Bar tolommeo Christiano; 2 whilst in the chapterhouse of the same convent, a crucifixion and root of Jesse, to which Puccio’s name also clings, recal the same subjects in the great refectory (carpet factory) of S. Croce at Florence. 3 Other works alluded to by Vasari, may be dismissed with out comment. 4 * Vas. Yol. I. p. 337. 2 These frescos lately rescued from whitewash represent the cru cifixion with the usual attendant groups and, in front, a lady kneel ing supposed to he Donna Lippa di Lapo. This lady died in 1386, leaving a will in which she or dered the chapterhouse of S. Fran cesco to he painted and the ceil ing of the sacristy to he “into- nacata”. The communication of this will which mentions the name of no artist, is due to the kind ness of the Superior Bernardino del Torto. It is Vasari who sta tes that the chapel of S. Lodo vico was painted by Puccio with subjects drawn from the life of S. Louis. No such subjects exist, and it is obvious that if Donna Lippa be really portrayed in the crucifixion, she can hardly have been limned by Puccio who was registered at Florence as early as 1349. The subjects in S. Lodo vico (chapel in S. Francesco) are, besides the crucifixion, two scenes at its sides — the nativity and deposition from the cross. On an opposite wall, traces of S. Francis receiving the Stigmata. In the ceiling, more modern and rude, are figures of S.S. Peter, Paul, Louis and Lawrence, the 2 first restored; — scenes from the life of S. Louis may be under whitewash. 3 In the chapterhouse the usual fainting Virgin, the Evangelist. Yet a bishop writing and other saints, a kneeling man and a nun in the foreground supposed to be Donna Lippa, form part of the crucifixion. In two side compart ments, the transfiguration and an other sacred incident seem the product of a painter of the close of the 14 th century. The ceiling represents the Presepio reproduced at Greggio by S. Francis, the burial and ascension of S. Francis, the resurrection of Christ, and an other subject, rude and in part re painted works of the 14 th or 15 th centuries. 4 Vasari mentions paintings abo ve the door of S. Maria Nuova at Pistoia (3 halffigures). The Virgin and child between S. Peter and S. Francis in S. Francesco of Pistoia, both absent. Vol. I. p. 337. The chapel of S. Martin in the Lower chnrch of Assisi is by Simone Martini as may be seen hereafter. Vas. Vol. II. p. 337. In S. Maria degli Angeli near Assisi no paintings exist which can be assigned to a pupil of Giotto. Ibid, same page. The Vir gin and child between S.S. Chiara, M. Magdalen, Catherine, Francis, Lawrence, Anthony the Abbot,