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Chap. XV. BUFFALMACCO. 389 was fresh; and that, when he set his mind to a task, he surpassed every other painter. Vasari, who copies Ghi berti, repeats after him, that: at Pisa, Buffalmacco painted many pictures for the town and in the Campo Santo, and that he executed im portant works; — at Florence, for S. Paolo Ripa d’Arno, and at Bologna, for at least one edifice. 1 On his own responsi bility he adds, that, at Florence, Buffalmacco worked in the Badia di Settimo, in the Certosa, in the Badia at Ognis- santi, and S. Giovanni fra l’Arcore; that, at Bologna, he painted the chapel of the Bolognini in S. Petronio; at Assisi, in 1302, the chapel of S. Catherine and the chapel of Cardinal Egidio Alvaro; 2 at Arezzo, the chapel of the Battesimo in the episcopal palace, and part of the church of S. Giustino; at Pisa, the four frescos of the Genesis in the Campo Santo; at Cortona, a chapel and an altar- piece in the episcopal palace; and at Perugia, the cappella Buontempi in the church of S. Domenico. Not a single picture, of all those he is said to have painted at Florence, Arezzo or Cortona remains. As for the rest: The frescos of the Bolognini chapel in S. Petronio of Bologna were painted after the building of the church in 1390, 3 and cannot have been executed by one who, accord ing to Vasari, was a master in 1302. 4 The chapel of S. Ca- terina in the Lower church of Assisi, and the chapel of Cardinal Alvaro, or more properly Albornoz, are one and 1 Ghiberti’s second Com mentary in Vas. Vol. I. p. XXI. 2 In 1304, according to Vasari, he arranged, on the Arno, a thea trical representation of the in fernal regions which had fatal con sequences. The bridge was burnt and many people perished. Buf falmacco, however, escaped. Vas. Vol. II. p. 56. 3 See the original record which certifies this fact in Gualandi, Memorie de Belle Arti. 8°. Bo logna 1842. Series 3. p. 93. It appears from the will of Barto lommeo della Seta, executed in 1408, that he ordered the paintings in the Bolognini chapel, with sub jects given by him, and carried out, as they may now be seen, to be produced at his expense. See note to Vas. Vol. II. p. 53, and the Graticola di Bologna of Lamo. ub. sup. notes to p. 39. 4 Hence a picture in the Bo logna gallery (No. 229), assigned to Buffalmacco because it is a copy of a part of the frescos in S. Petronio, cannot be by him. The latter can be assigned, indeed, with some certainty to Antonio da Ferrara who may be worthy of special mention in a notice of the early Ferrarese school.
