Drawings Related to the Unexecuted Frescoes for S. Maria delle Lagrime (SS. Annunziata), Arezzo.<\/p>\n
1528-1529 and 1529<\/p>\n
The document that records the commission of the series of frescoes that Rosso was to execute for the church of S. Maria delle Lagrime (SS. Annunziata) in Arezzo on 24 November 1528, preserved in the State Archives, Florence, Notarile antecosimiano<\/em> G 48 (ser Lorenzo Galli, 1527-1529), fol. 398r<\/sup>-399r<\/sup> gives:<\/p>\n (in the margin) \u201clocatio volte Anumptiate\u201d<\/p>\n “Eisdem anno, indictione et pontificatu, die vero XXIIII mensis novembris [1528].\u00a0 Actum Arretii, in contrata Isachini et Bongianni et in domo mei notrarii infrascripti, presentibus ibi Nicholao Rafaelis Francicsi de Terranova, cauponis [sic<\/em>] et habitatore Arretii, Francisco Andree Mariotti de Castranovo et Benedicto Bernardini Benedicti de Spadaris de Arretio, testibus etc.<\/p>\n “Pateat omnibus evidenter qualiter Cosimus Ser Michelangeli de Lippis de Arretio, prior ad presens societatis disciplinatorum Sancte Marie Annumptiate de Arretio, Franciscus Antonii Pauli Freschi de Arretio, vicarius ad presens dicte societatis, Bernardinus Benedicti de Spadaris, Ser Contes Johannis de Marsuppinis notarius, Carolus Gregorii de Berghignis, Jeronimus Jacobi de Albergottis, Jeronimus Antonii de Bonuccis, omnes cives arretini et operarii dicte Societatis, per se igitur dictis nominibus et eorum in offitio successores, et omni alio meliori modo, locaverunt ad pingendum spectabili viro Magistro Rubeo Jacobi Gasparis, pictori et civi florentino, presenti et conducenti pro se tantum, voltam existentem in ecclesia Sancte Marie Lacrimarum de Arretio super altare prefate Marie Virginis gloriose, cum tribus faciebus seu fianchis subtus dictam voltam, in quibus faciebus sunt tres fenestre lapidee seu, ut vulgo dicitur, tre mezi tondi con tre finestre in dicti mezi tondi, cum imaginibus Beate Marie semper Virginis et eius istoriis, et eo modo et forma et prout et sicut dicto Magistro Rubeo videbitur et placebit, et com coloribus recipientibus, omnibus sumptibus et expensis dicti Magistri Rubei.\u00a0 Et pro salario et mercede dicte picture ducatorum trecentorum auri ad libras VII pro quolibet ducato de monetis currentibus, et cum infrascriptis pactis, condictionibus et terminis, videlicet.\u00a0 Quod dictus [398v<\/sup>] Magister Rubeus teneatur et obligatus sit et sic promisit dictis locatoribus ut supra stipulantibus, perficere et finitam et perfectam dare dictam picturam dicte volte et fiancorum eius infra tempus et terminum duorum annorum proxime futurorum, omnibus suis sumptibus et expensis ut supra, et casu quo etiam per duos menses vel circa post dictor duos annos dicta pictura tunc non esset finita et perfecta, quod non imputetur sibi Magistro Rubeo in calumpniam neque ad iniuriam dictorum locatorum.\u00a0 Et cum hoc etiam pacto, quod dicto Magistro Rubeo liceat infra dictum terminum accipere alias operas ad pingendum in civitate Arretii et alibi, sed non illas pingere nisi prius finita dicta pictura dicte volte et faciarum sive fiancorum existentium ut supra in dicta ecclesia Sancte Marie Lacrimarum, preter unam tabulam quam ad presens pingit in Civitate Castelli, quam perficere possit infra dictum tempus duorum annorum et duorum mensium suprascriptorum.\u00a0 Et dicti prior et vicarius at operarii, per se at ecrum in officio successores teneantur et obligati sint, et sic promiserunt, dare et solvere dictor Magistro Rubeo dictos ducator trecentos auri largos ad dictam rationem, hoc modo videlicet: ducator quinquaginta ad presens, et alios ducatos quinquaginta pro quolibet quatrimestri.\u00a0 Et insuper voluerunt dicta partes quod dictis priori, vicario et operariis seu eorum successoribus liceat retinere in manibus ultimos quinquaginto ducatos dicte sue mercedis donec et quousque dicta opera dicta picture integraliter finita et perfecta fuerit infra dictum terminum duorum annorum et duorum mensium postea ad plus.\u00a0 Cum pacto tamen quod casu quo dictus magister Rubeus isto iterim infra dictum ternimum decederet (quad Deus avertat) quod tunc temporis debeat extimari totum opus quod facxtum fuerit per dictum magistrum Rubreum tam in pictura quam in cartone seu designo dicte picture per duos amicos comunes et peritos in arte picture, et pro tanto quanto indicatum fuerit per eos dictum magistrum Rubeum lucrasse, tantum ipse et eius heredes habere et consequi [399r<\/sup>] possint a dictis locatoribus et eorum in officio successoribus.\u00a0 Et si plus reciperet ab hominibus dicte societatis, in dicto casu mortis teneantur et obligati sint heredes dicti magistri Rubei ad restituendum et solvendum illud plus hominibus dicte societatis, et in casu predicto, precibus et mandatis dicti magistri Rubei, Iohannes Antonius Mattei ser Iacopi de Lappolis de Arretio extitit fideiussor penes dictos locatores ut supra stipulantes, eisdemque presentibus et stipulantibus ut supra promisit facere et curare ita et taliter cum effectu quod dictus magister Rubeus faciet et obervabit quantum supra per eum promissum est, alias reficere de suo proprio illud plus quod dictus magister Rubeus acciperet de eius mercede usque in summam ducatorum ducentorum quinquaginta, detracta mercede per eum lucrata secundum extimationem ut supra fiendam de eo quod ipse pingisset in dicta volta et faciebus seu, ut vulgo dicitur, tre mezi tondi di lune.\u00a0 Que omnia et singula suprescripta dicti locatores dicti nominibus, ex una, et dictus magister Rubeus et Iohannes Antonius eius fideiussor, ex alia, promiserunt sibi invicem et vicissim antedicta observare etc. et contra non dare, facere etc., sub pena dupli totius eius quod veniret in litem, que pena etc., qua Pena etc.\u00a0 Pro quibus etc. obligaverunt dicti locatores bona dicte Societatis tam presentia quam futura, et dicti condu[c]tor et fideiussor obligaverunt se et eorum heredes et bona omnia presentia et futura, renumptiaverunt etc.\u00a0 Quibus [per] guarantigiam precepi etc. Rogantes me notarium infrascriptum etc.”1<\/sup><\/a><\/p>\n An abbreviated record of this commission in Italian is preserved in the State Archives, Florence, Compagnie religiose soppresse. Diocesi di Arezzo<\/em>, A CLXXXVIII, vol. 2202\/2, Libro di Partiti e Ricordi, 1491-1584<\/em>, fol. 65r<\/sup>:<\/p>\n “+ Yesus. Ad\u00ec 24 nove[m]bre 1528.”<\/p><\/blockquote>\n (in the margin) “Alogagione a maestro Rosso a dipignere la volta”<\/p>\n “Congregati ad\u00ec detto di sopra il priore e operai, bene ch\u2019assente messer Girolimo Berardi, in chasa di ser Lorenzo Galli nostro concielieri, cio\u00e8 Cosimo di ser Michelagnolo Lippi e Francesco di Pavolo di Fresco vichario e ser Conte Marsupini e Bera[r]dino di Benedetto Spadari e Carlo di Grigoro Bergigni e Girolimo di Jacopo Albergotti e Girolimo d\u2019Antonio Bunucci, operari dela nostra compagnia, alogoreno a dipigniere la volta con tre mezzi tondi di sopra ala Madonna, a maestro Rosso di Jacopo pitore fiorentino, per prezo di duchati treciento a lire sette per duchato, cio\u00e8 duchati 300, e detto maestro Rosso abbi avere al presente duchati 50 e resto di quatro mesi in quatro mesi, e detto Maestro Roso abbi finito detta volta e fianchi in termine di due anni gominciando a d\u00ec detto, e al\u2019ultimo di detti due anni, finita detta volta e finachi, resti avere di detta somma duchati cinquanta, cio\u00e8 duchati 50, e finita e schoperta detta volta abbi avere detti duchati 50 di suo resto.\u00a0 E in chaso che detto Maestro Rosso si morise fra detto tempo Giovan Antonio di Jacopo Lapoli pitore, citadino aretino, \u00e8ne tenuto e obrigato a rifare li nostri denari che detto maestro Rosso avesse auto, faciendoli buono tuto quello che detto maestro Rosso averse fatto.\u00a0 Item detto maestro Rosso non abbi a mettere mano in altra opera fino a tanto che detta volta e faccie non abbi finito.\u00a0 E altri capitoli, come piue largamente si po vedere per mano di Ser Lorenzo Galli, nostro cancielieri, rogato detto di ________.”2<\/sup><\/a><\/p>\n Payments to Rosso for this project, and other ledger entries of the confraternity at SS. Annunziata related to this project and also to a payment for garments and wax for Rosso\u2019s initiation ceremony into this confraternity [on his election, see DOC.12a<\/a>], 29 November 1529 to 1 December 1530, are found in the State Archives, Florence, Compagnie religiose soppresse. Diocesi di Arezzo<\/em>, A CLXXXVIII, vol. 2207, Debitori e Creditori, segnato I<\/em>, 1526-1530, fol. 162 both sides:<\/p>\n [left] “A d\u00ec 29 di Nove[m]bre 1528<\/p>\n “Maestro Rosso di Iacopo di Guaspari, fiorentino, pitore, de\u2019dare a di sopra lire treciento cinquanta, ebbe per polizza di numero 152, da Niccola di Niccol\u00f2, nostro camarlingo, posto avere in questo, a c.160 — lire 350<\/p>\n “E de\u2019dare a d\u00ec 25 Marzo 1529 lire tre, sono per la sua bene entrata di li nostri fratelli di la Compagnia, per la veste e per la ciera — lire 3<\/p>\n “E de\u2019dare a d\u00ec 8 d\u2019Aprile 1529 lire trecientoquaranta sette, ebbe per polizza di numero 334, da Niccola di Niccol\u00f2, nostro camarlingo, posto die avere in questo, c.195 — lire 347<\/p>\n “E da\u2019dare a d\u00ec 26 Giugnio 1529, lire otto soldi cinque, sono per la valuta di staia tre di grano fornito, ebbe per lire due soldi quindici staio, da Girolimo di Iacopo Albergotti, nostro camarlingo, posto die avere in questo, a c.213 — lire 8 soldi 5<\/p>\n “E de\u2019dare a d\u00ec 24 Luglio 1529 lire treciento quarantuno soldi quindici, ebbe per poliza di numero 29 da Girolimo di Iacopo Albergotti, nostro camarlingo, posto die avere a suo conto in questo, c.221 — lire 341 soldi 15<\/p>\n “1050.00<\/p>\n [right] \u201cMaestro Rosso di Iacopo di rinconto di\u2019avere lire 1050 soldi -, che di tanti lo port\u00f2 debitore M, c.87 \u2013 1050”<\/p>\n (fol. 305 right)<\/p>\n “Messer Iacopo di Rosso nostro avocato die avere a d\u00ec primo di Diciembre 1530 lire due soldi due, sono per avere risposto per la casa port\u00f2 contanti di Giovanni Antonio Lapoli malevadore di maestro Rosso pitore di duchati 150, come apare debitore maestro Rosso in quest c.161 — lire 2 soldi 23<\/sup><\/a>”<\/p>\n A document of 14 June 1530 (State Archives, Florence, Compagnie religiose sopuresse, Diocesi di Arezzo<\/em>, A CLXXXVIII, vol. 2203\/1 Di Ofitii e Partiti, Segnato B<\/em>, 1517-1550, fols. 115v<\/sup>-116r<\/sup>) records the confraternity\u2019s election of members to deal with the case of Rosso\u2019s abandonment of the project leaving Giovanni Antonio Lappoli responsible for the return of 150 ducats paid to Rosso.4<\/sup><\/a><\/p>\n Another document, of 11 April 1531, that concerns the collection of Lappoli\u2019s debt to the confraternity as the guarantor of Rosso\u2019s contract, is found in the State Archives, Florence, Compagnie religiose soppresse, Diocesi di Arezzo<\/em>, A CLXXXVIII (dal no. 4 al no. 6), no. 4, fols. 117v<\/sup>-118r<\/sup>:<\/p>\n “Auctoritas exigendi V 150 a Ioanne “In Dei u?ruiue amen.\u00a0 Anna Domini nostri Yesu Christi ab eius saluti fera incarnations millesimo quingentesimo trigesimo primo, indictione quarta, tempore pontificatus Sanctissimi in Christo patris et domini, domini Clementis diving providentia pape VII anno octavo, Carolo Quinto Romanorum imperator regnante, die vero XI mensis aprilis.<\/p>\n “Congregatis et convocatis collegialiter priore, Operariis, vicario et aliis hominibus Societatis disciplinatorum Sancte Marie Annumptiate civitatis Arretii in sufficienti numero, in novo oratorio dicte Societatis ubi alias congregari et coadunari [118r<\/sup>] solent homines dicte societatis pro negociis eiusdem utiliter pergendij, citatis tamen heri pro hac die et hora per Niccolaum Iohannis de Gavardellis, ad presens numptium dicte societatis, de mandato tamen et ad requisitionem supradicti Baptiste de Spadariis, moderni prioris dicte societatis, servatis que servandi, per eorum legitimum partitum inter eos obtentum per totas fabas nigras, dederunt atque concesserunt plenum et omnimodam au[c]toritatem et tantum quantum habet totum corpus dicte societatis, priori et Operariis presentibus seu presenti officio et futuro dumtaxat, exigendi a Iohanne Antonio de Lappolis, pictori et civi arretino, florenos centum quinquaginta auri in auro ad rationem librarum 7[?] pro quolibet floreno, de quibus est debitor vigore fideiussionis per eum facie ergs et penes dictaru societatem de magistro Rubes pictore, et agitandi contra eundem Iohannem Antonium eo modo et forma et prout et sicut dictis priori et Operariis proximis et futuris dummodo deveniant ad aliquam compositionem casu quo ita de facili ab eo dictos florenos 150 exigere non possent, et componenti ut aupra infra quod tempus sit soluturus et solvere debeat eosdem omni meliori modeo etc.”<\/p>\n Documents of 25 March 1531 and of 11 April 1531, again concerning the selection of a procurator and two lawyers to deal with the matter, are found in the State Archives, Florence, Compagnie religiose soppresse, Diocesi di Arezzo<\/em>, A CLXXXVIII, vol. 2202\/2, Libro di Partiti e Ricordi<\/em>, 1491-1584, fol. 72v<\/sup>, 73v<\/sup>:<\/p>\n “25 Marzo 1531\/Convocati, il priore e operai e altri fratelli in sufficienti numero otenuto il partito a tute fave nere derono auturit\u00e0 al\u2019ufisio che \u00e8 al present e quello che ver\u00e0 di potere rescotere squdi 150 da Giovanni Antonio Lapoli pitore, come malevadore di maestro Rosso di Iacopo, di compore con detto Giovanni Antonio infra quanto tempo lui ci abi a pagare detti scudi 150 o altramente fare.<\/p>\n “[73v<\/sup>] 11 d\u2019Aprile 1531\/Congregati il priore e operai in suficiente numero otenuto it partito elosino per loro proquratore ser Niccolo di ser Vinccenso [sic<\/em>] Guadagnioli e per avocati messer Francesco Bisdomini e Messer Bartolomeo Berardi contra a Giovanni Antonio Lapoli per conto di la promisione c[h]e lui fecie per maestro Rosso dipentore.5<\/sup><\/a>”<\/p>\n The inventory made on 12 March 1532 (DOC.13<\/a>) of the possessions that Rosso left behind in two strongboxes at S. Maria delle Lagrime when he fled from Arezzo, probably in September 1529, lists, among other items, two that were very probably related to this project:<\/p>\n “Undici pezzi de cartoni in quattro guluppi,” (see L.26<\/a>) and<\/p>\n “doi desegnetti in carta in uno guluppo, per la Cappella magiore” (see\u00a0L.24<\/a>).<\/p>\n As discussed below, one other entry in this inventory could possibly also be related to this project:<\/p>\n \u201cDoi Sibille in carta verde\u201d (see\u00a0L.29<\/a>).<\/p>\n A letter written in Rome on 20 May 1535 and sent from the bishop and aldermen of Arezzo to Paul III that requests the pope to forbid Rosso, as living in Avignon, to exercise his art and to force him to pay his Aretine debts is preserved in the Archivio dell Curia Vescovile of Arezzo, Benefiziale<\/em> (dal 1535 at 1543), fol. 11r-v<\/sup>:<\/p>\n “Paulus PP. III.\u00a0 Dilecti filii salutem et apostolicam benedictionem.\u00a0 Mittimus vobis supplicationem presentibus introclusum manu venerabilis fratis Thome episcopi Feltrensis, in presentia nostra signatam, volumusque et vobis commictimus et mandamus ut vos vel alter vestrum vocatis vocandis ad illius exequutionem procedatis juxta eius continentiam et signaturam.\u00a0 Datum Romae, apud sanctum Petrum sub annulo piscatoris die XX maii MDXXXV, pontificatus nostri anno primo.\u00a0 Intus.\u00a0 Hieronimus Venturus. Extra:<\/p>\n “Dilectis filiis primicerio Cathedralis et archipresbitero plebus arretine ecclesie vel eorum alteri.<\/p>\n “Beatissime Pater.\u00a0 Alias de anno 1528 prior vicarius operarij et alii officiales societatis disciplinatorum sancte Marie [11v<\/sup>] Annuntiate de Aretio locarunt ad pingendum cuidam magistro Rubeo magistri Gasparis pictoris clerico florentino voltam existentem super altare Marie Virginis in ecclesia sancte Marie lacrimarum dicte civitatis pro ducatis tercentis auri largis, perficiendam infra cerium terminum iam diu elapsum, et de dicta mercede tunc actualiter in contantis certam summam recepit et pro eo devotus Sanctitatis vestre orator Iohannes antonius de Lappolis tantum de verbo fidejussit et quia dictus magister Rubeus inde ad certos dies dicto opere mon aliter inchoato recessit et Parisium se contulit nec aliter curat ad faciendum dictum opus reverti nec minus pecunias per sum receptas restituere curat, in non modicum salutis anime sue gravamen et dicte societatis prefatique oratoris, qui a dictis officialibus quotidie molestatur, dammum et preiudicium.\u00a0 Ideo ne dictus orator bona fide ductus ex dicta sua fidejussione maius incommodum patiatur, placeat Sanctitati Vestre alinquibus viris in partibus illis commorantibus commictere et mandare quatenus causam et causas quam et quas dictus orator habet et monet, habereque et movere intendit et vult contra et adversum dictum magistrum Rubeum amnesque alios sua communiter interesse putantes de et super observatione dictae locationis ac relevatione sue indemnitatis damnis expensis et interesse per ipsum propterea passis et patiendis rebusque aliis in actu causae et causarum latius deducendis et illarum occasione et pro ut in beneficialibus, audiant cognoscant terminent et dicidant, partibus iustitiam ministrent cum potestate, tam dictum Rubeum quam alios sua, ut prefertur, interesse putantes in civitate Avinionis in qua dictus adversarius moram tenere dicitur, citandum eisdemque ac quibus et quotiens opus fuerit inibendum et alia faciendum exercendum et exequendum que in premissis et circa ea necessaria fuerint seu quomodo libet opportuna.\u00a0 Constitutionibus et ordinationibus apostolicis ceterisque in contrarium facientibus non obstantibus quibuscumque.<\/p>\n “Concessum ut petitur in presentia domini nostri Pape.\u00a0 Thomas Feltrensis.<\/p>\n “Datum Romae apud Sanctum Petrum quarto nonas maij anno primo.”6<\/sup><\/a><\/p>\n That the case was still open sixteen years after Rosso left Arezzo and almost five years after his death is indicated by a document of 24 May 1545 located in the State Archives, Florence, Compagnie religiose soppresse, Diocesi di Arezzo<\/em>, A CLXXXVIII, vol. 2202\/2, Libro di Partiti e Ricordi<\/em>, 1491-1584, fol. 155r<\/sup>:<\/p>\n “A d\u00ec 24 di Maggio 1545 \/ Otenuto el partito di chiamare 4 homeni che abbino a ffare vedere el contratto fra Giovanni Antonio Lappoli et la compagnia circa la pittura di la volta alogata a maestro Rosso, et trovando non a ffare debitore, abbino autorit\u00e0 di cancellarlo inseime col’ofitio del desco se si non trovando debitore, lo debbino referire al\u2019ufitio del desco.\u00a0 Gli omeni chiamati sono questi: messer Paolo Bonucci \/ messer Bartolomeo Berardi \/ Nicola Spadari \/ ser Niccolo Guadagnoli \/ Otenuto el partito per 35 fave nere e una biancha, rafermorono ser Angelo d\u2019Ansano nostro sagrestano.”7<\/sup><\/a><\/p>\n Vasari stated, in his “Life” of Lappoli (Vasari-Milanesi,VI, 12), of Lappoli\u2019s plight that \u201cse gli amici, e particolarmente Giorgio Vasari, che stim\u00f2 trecento scudi quello che avea lasciato finito il Rosso, non lo avessero aiutato, sarebbe Giovann\u2019Antonio poco meno che rovinato, per fare onore ed utile alla patria.\u201d\u00a0 There is no record to confirm this estimation of Rosso\u2019s work and the settlement of Lappoli\u2019s debt.\u00a0 In 1583 Rosso\u2019s account was still open.8<\/sup><\/a><\/p>\n The S. Maria delle Lagrime project is described by Vasari, 1550, 801-803 (Vasari-Ricci, IV, 248-250), in the “Life” of Rosso immediately after the account of Rosso\u2019s stay in Pieve S. Stefano: \u201ctrasfer\u00ec… ultimamente in Arezzo: dove fu tenuto in casa di Benedetto Spadari.\u00a0 Stando egli a\u2019suoi servigi oper\u00f2 il mezo di Gio.\u00a0 Antonio, e [sic<\/em>] Lappoli Aretino, e di quanti amici e parenti essi avevanano; accioche egli facesse alla Madonna delle Lagrime una volta allogata gi\u00e0 a Niccolo Soggi pittore.\u00a0 Et perche tal memoria si lasciasse in quella citt\u00e0, gliele allogarono per prezzo di tre cento scudi d\u2019oro.\u00a0 Onde il Rosso cominci\u00f2 cartoni in una stanza, che gli avevano consegnata in un luogo detto Murello; e quivi ne fin\u00ec quattro.\u00a0 In uno fece i primi parenti, legati allo albero del peccato; e la Nostra donna, che cava loro il peccato di bocca, figurato per quel pomo, e sotto i piedi il serpente, e nella aria, volendo figurare ch\u2019era vestita del Sole e de la Luna, fete Febo et Diana ignudi.\u00a0 Nell\u2019altra fece quando l\u2019arca federis \u00e8 portata da Mose, figurata per la Nostra donna, che le virt\u00f9 la cingono.\u00a0 In un\u2019altra il trono di Salomone, a cui i voti si porgono, somigliata pur per lei, signifcando quei che ricorrono a lei per ritrarne aiuto e grazia: con altre bizarrissime fantasie, che dal pellegrino, e bello ingegno di M. Giovan Pollastra canonico Aretino, e amico del Rosso furono trovate.\u00a0 Laquale opera egli cosi ordinando, non restava pero per sua cortesia di far del continuo disegni a tutti coloro, che di Arezzo e di fuori, o per pitture o per fabbriche n\u2019avevano bisogno. Entr\u00f2 mallevadore di questa opera Gio.\u00a0 Antonio Lappoli Aretino, e amico suo fidatissimo, che con ogni modo di servit\u00f9 gli us\u00f2 termini di amorevolezza.\u00a0 Avvenne l\u2019anno MDXXX. essendo l\u2019assedio intorno a Fiorenza, e essendo gli Aretini per la poca prudenza di Papo de gli Altoviti rimasi in libert\u00e0, essi combatterono la cittadella, e la mandarono a terra.\u00a0 Et perche que\u2019 popoli mal volentieri vedevano i Fiorentini, il Rosso non si volle fidar di essi, e se ne\u2019 and\u00f2 al Borgo San Sepolcro, lasciando i cartoni e i disegni del l\u2019opera serrati in Cittadella: perche quelli che a Castello gli aveva allogato la tavola, volsero che la finisse: e per il male, che avea avuto a Castello, non volle ritornarvi, e cosi al Borgo fin\u00ec la tavola loro.\u201d\u00a0 After an argument with a priest on Maundy Thursday, 14 April 1530, Rosso decided to flee from Borgo Sansepolcro.\u00a0 Vasari continued: \u201cPerlaqualcosa, finita la tavola di Castello, non cur\u00f2 piu del lavoro d\u2019Arezzo, ne del danno, che\u2019faceva a Gio.\u00a0 Antonio, avendo egli avuto piu di cento cinquanta ducati: ma si parti di notte, e facendo la via di Pesaro, arriv\u00f2 a Vinegia,…\u201d\u00a0 A few months later Rosso left for France.\u00a0 The account of this project in the “Life” of Rosso in Vasari, 1568, II, 208-209 (Vasari-Milanesi, V, 164-167) is fundamentally the same except for one slight change in the description of the composition of one of the cartoons and the addition of a passage.\u00a0 The second cartoon is described as showing \u201cquando l\u2019Arca federes \u00e8 portata da Mos\u00e8, figurata per la nostra Donna, da cinque virtu circondata.\u201d\u00a0 The added passage appears after the mention of Pollastra: \u201cA compiacenza del quale fece il Rosso un bellissimo modello di tutta l\u2019opera, che \u00e8 hoggi nelle nostre case d\u2019Arezzo.\u00a0 Disegn\u00f2 anco uno studio d\u2019ignudi per quell\u2019opera, che \u00e8 cosa rarissima: onde fu un peccato, ch\u2019ella non si finisse perche se egli l\u2019havesse messa in opera, e fattala a olio, come haveva a farla in fresco, ella sarebbe stata veramente un miracolo.\u00a0 Ma egli fu sempre nemico del lavorare in fresco, e per\u00f2 si and\u00f2 temporeggiando in fare i cartoni, per farla finire a Raffaello dal borgo, e altri tanto ch’ella non si fece\u201d (see L.23-L.26).<\/p>\n In the “Life” of Niccol\u00f2 Soggi, Vasari, 1568, II, 390-391 (Vasari-Milanesi, VI, 23-25) wrote of this project: “M. Giuliano [Bacci] adunque, huomo ingegnoso, e che desiderava abellire la sua patria [Arezzo], e che in essa fussero persone, che attendessero alle virtu, oper\u00f2 di maniera con gl\u2019huomini, che allora governavano la compagnia della Nuntiata [S. Maria delle Lagrime], iquali havevano fatto di quei giorni murare una volta grande nella lor chiesa, con intentione di farla dipignere, che fu allogato a Niccolo\u2019un\u2019Arco delle faccie di quella, con pensiero di fargli dipignere il rimanente, se quella prima parte, che haveva da fare allora piacesse a gl\u2019huomini di detta compagnia.\u00a0 Messosi dunque Niccolo intorno a quest opera con molto studio, in due anni fece la met\u00e0, e non piu di un archo, nelquale lavor\u00f2 a fresco la Sibilla Tiburtina, che mostra a Ottaviano Imperadore la vergine in cielo col figliuol Giesu Christo in collo, e Ottaviano, che con reverenza l\u2019adore.\u00a0 Nella figura delquale Ottaviano ritrasse il detto M. Giuliano Bacci, e in un giovane grande che ha un panno rosso, Domenico suo creato, e in altre teste, altri amici suoi.\u00a0 In somma si port\u00f2 in quest\u2019opera di maniera, che ella non dispiacque a gl\u2019huomini di quella compagnia, ne a gl’altri di quella citt\u00e0.\u00a0 Ben\u2019\u00e8 vero, che dava fastidio a ognuno il verderlo esser cosi lungo, e penar tanto a condurre le sue cose.\u00a0 Ma con tutto cio gli sarebbe stato dato a finire il rimanente; se non l\u2019havesse impedito la venuta in Arezzo del Rosso Fiorentino, pittor singolare: alquale, essendo messo inanzi da Giovan\u2019Antonio Lappoli pittore Aretino, e da M. Giovanni Polastra, come si \u00e8 detto in altro luogo, fu allogato con molto favore il rimanente di quell\u2019opera.\u00a0 Di che prese tanto sdegno Niccolo, che se non havesse tolto l’anno inanzi donna, e havutone un figliuolo, dove era accasato in Arezzo, si sarebbe subito partito.”\u00a0 In the “Life” of Lappoli, Vasari, 1568, II, 384 (Vasari-Milanesi, VI, 11-12), immediately after speaking of the drawing of an Adoration of the Magi<\/em> that Rosso gave to Lappoli for his altarpiece in San Francesco in Arezzo (L.21<\/a>), wrote: “Non molto dopo, essendo entrato Giovan\u2019Antonio mallevador\u2019al Rosso per trecento scudi, per canto di pitture, che dovea il detto Rosso fare nella Madonna delle Lacrime, fu Giovan\u2019Antonio molto travagliato: perche, essendosi partito il Rosso senza finir l\u2019opera, come si \u00e8 detto nella sua vita, e astretto Giovanni Antonio a restituire i danari: se gl\u2019amici, e particolarmente Giorgio Vasari, che stim\u00f2 trecento scudi quello che havea lasciato finito il Rosso, non l\u2019havessero aiutato, sarebbe Giovan\u2019Antonio poco meno, che rovinato, per fare honore, e utile alla patria.”<\/p>\n Bottari, in Vasari-Bottari, II, 1759, 298, n. 2, said that the cartoons remained in the rooms of the Compagnia della Madonna delle Lagrime, “ma parte sono pariti, e parte sono quasi svaniti.”\u00a0 Milanesi, in Vasari-Milanesi, V, 164, n. 2, and 165, n. 1, gave the date of the commission to Rosso and stated that the now lost cartoons, after having been owned by the Compagnia della Nunziata [S. Maria delle Lagrime] for several years, were, in 1583, given by the Compagnia to don Giovanni de\u2019Medici, the illegitimate son of Cosimo I (on the documents related to this gift and its return, see L.26<\/a>).\u00a0 Kallab, 1908, 31, 44-45, no. 13, 47, no. 19, gave Vasari\u2019s history of the project but corrected the date of the assault on Arezzo as September 1529; he also stated that Vasari\u2019s evaluation of Rosso\u2019s cartoons must have taken place after 27 May 1530 when the citadel was surrendered.<\/p>\n Mancini, 1909, 69, n. 4, mentioned the Lagrime project and listed the archival references of the documents related to it.\u00a0 Del Vita, 1913, 321 and n. 4, mentioned Rosso\u2019s contract and repeated the archival references given by Mancini.\u00a0 Ubaldo Pasqui, Di Bartolomeo dell Gatta Monaco Camaldolese miniatore pittore e architetto<\/em>, Arezzo, 1926, 36, n. 3, mentioned Rosso\u2019s contract, but partially transcribed instead the contract for the Cesi Chapel frescoes (see P.17<\/a>).\u00a0 Colnaghi, 1928, 237, gave a brief account of the history of the project.\u00a0 Kusenberg, 1931, 34, 190, ns. 90, 93, 94, gave a brief account of the project but discussed only the Uffizi drawing of the Allegory of the Immaculate Conception<\/em>.\u00a0 Venturi, IX, 5, 1932, 196, referred to the contract for this project.\u00a0 Barocchi, 1950, 70-72, mentioned the project and discussed the Uffizi and Bayonne drawings related to it.\u00a0 Coradini, 1960, 125-126, 136-137, mentioned the project and published the document of 1535 transcribed above.\u00a0 Carroll, 1961, 446, 450, 453, 454, discussed the project and the drawings related to it.\u00a0 Hirst, 1964, 121, 125-126, published a copy of Rosso\u2019s contract and mentioned the drawings for the project.\u00a0 Carroll, 1964 (1976), I, Bk. I, 183-200, II, Bk. II, 291-308, D.28-D.30, Bk. III, Figs. 85-88, discussed the drawings.\u00a0 Shearman, 1966, 171, n. 39, mentioned the project.\u00a0 Carroll, 1966, 169.\u00a0 Fagiolo dell\u2019Arco, 1970, 65-66, 110, believed that Rosso\u2019s compositions reflect his interest in alchemy and myths, although he referred specifically only to his Allegory of the Immaculate Conception<\/em>.\u00a0 Salmi, 1971, 123, 135, n. 24, mentioned the project and the Uffizi and Bayonne drawings.\u00a0 B\u00e9guin, \u201cMa\u00eetre Roux,\u201d 1972, 103, mentioned the project.\u00a0 Boase, 1979, 13-14.\u00a0 Giorgio Vasari<\/em>, 1981, 22, 87, 103-104, under no 1, and no. 2 (Alessandro Cecchi), 106, under no. 3, 108, under no. 107 (Julian Klieman), 323, 326 (Maria Maetzke).\u00a0 Darragon, 1983, 24, 25, 46, n. 2, 51, 52, 53-54, n. 8, 54-55, ns. 9-15, discussed the project and Pollastra, the inventor of the program.\u00a0 Rosini, 1986, 71.\u00a0 Carroll, 1987, 25, 26, Fig. 3 (Throne of Solomon<\/em>).\u00a0 Ciardi and Mugnaini, 1991, 10, 27, 128, commented on the project in relation to Rosso not wanting to paint in fresco.\u00a0 Franklin, 1994, 229-252, gives a full account of the documentation related to Soggi\u2019s and Rosso\u2019s work on the frescoes for S. Maria delle Lagrime, and of the program of Rosso\u2019s projected cycle.\u00a0 Franklin, 1994, 229-252, discusses all the sources, documents, and visual evidence related to this project and reconstructs the arrangement of the surviving scenes in the atrium of the church [different from my reconstruction below].\u00a0 Ciardi, 1994, 72, 85, 88, Fig., 97, n. 159, with themes, especially the Throne of Solomon<\/em>, favored by Dominicans, but mostly in Northern Europe.<\/p>\n The history of Rosso\u2019s work for S. Maria delle Lagrime needs to begin with the initial allocation of this project to Niccolo Soggi on 24 May 1527.9<\/sup><\/a>\u00a0 The Compagnia della Nunziata commissioned him to paint for 150 ducats the vault of the chapel of S. Maria delle Lagrime – actually the center bay of the atrium, completed by 1523,10<\/sup><\/a> of the church known by that name but also called SS. Annunziata – along with the walls flanking the vault.\u00a0 These walls are the three lunettes immediately beneath the vault.\u00a0 Each lunette has a window in the center – a Palladian window (a tripartite serliana<\/em>) in the fa\u00e7ade wall at the east, and a rectangular one with a pediment in the lunettes at the north and south.\u00a0 Soggi was to paint \u201cstories,\u201d or figures the subjects of which would be determined by the Sindaci della Compagnia elected to oversee the work.\u00a0 The artist was to paint one picture on one of the flanking walls by 15 July 1527 and was to continue this project only if his picture pleased the syndics who would, it seems, obtain the judgment of other artists.\u00a0 Soggi executed a fresco of Augustus and the Tiburtine Sibyl<\/em> (Fig.Soggi, Arezzo<\/a>) at the right side of the south lunette (Fig.Arezzo, Annunziata<\/a>),11<\/sup><\/a> with payments going back to even before the date of his contract and continuing until 1530.12<\/sup><\/a>\u00a0 On 22 March 1528 the syndics voted 33 to 4 against allowing Soggi to continue the project,13<\/sup><\/a> a vote taken before his work was actually assessed and the final payment made.<\/p>\n It is not known on whose advice this decision was reached.\u00a0 On 6 January 1531 Soggi received a final payment of 15 ducats (or scudos) for this work, the sum arbitrated by Guglielmo de Marcillat, whom Soggi had selected to settle the price.14<\/sup><\/a>\u00a0 Rosso paid a short visit to Arezzo sometime after 1 March 1528 and before 20 April 152815<\/sup><\/a> and it is possible that he was there on or slightly before 22 March when the syndics voted against Soggi\u2019s continuance of the project.\u00a0 Vasari\u2019s account in his “Life” of Soggi of that artist\u2019s activity at S. Maria delle Lagrime indicates that the project would not have been taken from him had Rosso not arrived in Arezzo.\u00a0 However, the commission was not formally given to Rosso until eight months later, when he had again come to Arezzo from Pieve S. Stefano after leaving Citt\u00e0 di Castello, where he had been allocated an altarpiece on 1 July 1528 (P.20<\/a>).\u00a0 The situation is not clear and it is possible that the decision on the firing of Soggi was not actually considered final by him until Rosso received the commission in November.\u00a0 As noted above, even after Rosso\u2019s departure from Arezzo in September 1529, Soggi was still making claims for payment.\u00a0 But there is no evidence to indicate that Soggi thought he might get the project back after Rosso moved to France.\u00a0 So far as the syndics were concerned their decision on 22 March 1528 would appear to have been irrevocable.\u00a0 Rosso may not have had anything to do with this decision, but circumstantial evidence suggests that he might have.<\/p>\n In any case the commission of this project was transferred to Rosso on 24 November 1528.\u00a0 He was to be paid 300 ducats and the project was to be completed in two years, with the possibility of extending that time by two months.\u00a0 Should Rosso die, Lappoli, as guarantor, was to be responsible for the completion of the project.\u00a0 Until it was completed Rosso was to take on no other work, although he was allowed to finish the altarpiece for Citt\u00e0 di Castello that he was in the process of painting.<\/p>\n Rosso was offically commissioned to paint exactly the same areas that had been assigned to Soggi, the vault and the three lunettes beneath it, with images of the Virgin and “stories.”\u00a0 However, in the “Life” of Soggi, Vasari said that Rosso was given the remainder of the project, which would mean that Soggi\u2019s fresco was not to be destroyed.\u00a0 There is no certain evidence as to what Rosso intended for the vault.16<\/sup><\/a>\u00a0 The walls present six half-lunette areas, one on each side of the three windows, the areas on the north and south walls being slightly broader than those alongside the Palladian window of the fa\u00e7ade wall.\u00a0 Vasari said that Rosso completed four cartoons but he described only three.\u00a0 He also said that Rosso made a now lost model of the entire work for Pollastra, which Vasari owned (L.23<\/a>).\u00a0 Although none of the cartoons survive, there are drawings that present four of Rosso\u2019s half-lunette compositions, two of which clearly match two that Vasari described, the so-called Allegory of the Immaculate Conception<\/em> (D.32<\/a>)17<\/sup><\/a> and the Throne of Solomon<\/em> (D.34<\/a>).\u00a0 Another composition (D.33A, B<\/a>) would seem to be the third that Vasari described as showing “quando l\u2019Arca federes \u00e8 portata da Mos\u00e8, figurata per la nostra Donna, da cinque virtu circondata.”\u00a0 The phrase “figurata per la nostra Donna” means, as in Vasari\u2019s use of the same phrase with the Throne of Solomon<\/em>, that the \u201cArcs federes\u201d – the Ark of the Covenant – stood for the Virgin and not that the Virgin actually appeared in the scene.\u00a0 However, the composition preserved fully in one drawing (Fig.D.33Aa<\/a>) does not show the ark, but it does depict five young women, each with an accompanying putto, four holding each an uninscribed plaque and one an uninscribed banderole, all of which would most certainly have borne significant texts in the executed fresco, probably with reference to the ark or the contents of the ark in relation to the Virgin.\u00a0 These five women would be the “cinque virtu” specified by Vasari.\u00a0 Instead of showing the ark, the composition would represent a stairway leading up to the ark beyond the area of the drawing where, in the church, is a pedimented window.18<\/sup><\/a>\u00a0 From this direction, at the upper left, a radiant dove descends.\u00a0 That Rosso composed another picture for this series also showing five female personifications is unlikely.19<\/sup><\/a>\u00a0 If, then, this composition represents what Vasari described, it would appear that Rosso was given the remainder of Soggi\u2019s project and Soggi\u2019s scene was to be preserved.\u00a0 Three of Rosso\u2019s known compositions that can be related to Vasari\u2019s descriptions have proportions that indicate they were made for the north and south walls, and their shapes are such as to fill the three half-lunettes that remained blank after Soggi executed his fresco on the south wall.20<\/sup><\/a>\u00a0 If not, Rosso\u2019s fourth composition for the space where Soggi\u2019s fresco still exists is lost, although the number of copies of the other three makes one wonder why at least a single copy of the supposed fourth has not turned up and why a fourth was not actually described by Vasari.\u00a0 He may simply have erred in saying that four cartoons had been made.<\/p>\n Except for a fourth composition that is an early version of the Allegory of the Immaculate Conception<\/em> (Fig.D.31<\/a>), planned, it would seem, for the fa\u00e7ade wall (on which, see below), the drawings that survive for the Lagrime project would seem to be those from which the three cartoons described by Vasari were made.\u00a0 Eleven pieces of cartoons are recorded in the inventory of 1532 that lists the items that Rosso left behind in Arezzo (see DOC.13<\/a> and L.26<\/a>).\u00a0 These would have been sections of the cartoons that Vasari mentioned.\u00a0 He may also have known the smaller compositional drawings from which the cartoons were made and which are our only visual sources of them.\u00a0 Two of these may be those listed in the 1532 inventory as \u201cdoi desegnetti in carta in uno guluppo, per la Cappella magiore\u201d (L.24<\/a>).\u00a0 Other unspecified drawings listed in the inventory could also have been for this project.\u00a0 One listing gives “ventiotto carte de designi ignudi” (L.30<\/a>) and another states “un altro ingnudo rosso” (L.31<\/a>), which might bear a relation to Vasari\u2019s comment that Rosso “Disegn\u00f2 anco uno studio d\u2019ignudi per quell\u2019opera” (L.25<\/a>).<\/p>\n According to Vasari, Rosso made for Giovanni Pollastra a model for the entire project (L.23<\/a>).\u00a0 Hence it may be concluded that he devised scenes and figures for all the walls that Rosso was commissioned to fresco.\u00a0 Other than the references to nude studies, only one item in the inventory specifies a subject: “Doi Sibille in carta verde” (L.29<\/a>). This could mean either one drawing of two sibyls or two drawings of one each.\u00a0 Sibyls could very well have found their places in the iconographic scheme devised by Pollastra.\u00a0 Soggi\u2019s fresco shows the Tiburtine Sibyl.\u00a0 Sibyls could have been on the vault, and or on its four pendentives, reflecting possibly their appearance on the Sistine Ceiling.\u00a0 Or they could have been planned for the smaller half-lunettes of the fa\u00e7ade wall flanking Marcillat\u2019s window of the Annunciation<\/em>, after a change of program that seems to have been made and that will be considered below.<\/p>\n The cartoons that Giovanni de\u2019Medici temporarily acquired in 1583 are probably related to the “Undici pezzi de cartoni in quattro guluppi” listed in the inventory of 1532.\u00a0 This acquisition also included a \u201cCatino\u201d that may have been the model mentioned by Vasari (L.23<\/a>).\u00a0 In 1759, Bottari commented that the cartoons remained (after their return from Giovanni de\u2019Medici) in the rooms of the Compagnia della Madonna delle Lagrime, but, at the time that Bottari wrote, some were visible (“pariti” for “appariti”) and some were almost entirely faded or deteriorated (“quasi svaniti”).\u00a0 None of the cartoons survive.<\/p>\n Of the three compositions described by Vasari that are known from drawings, two are arched at the left and one at the right.\u00a0 Two show the light falling from the upper left while in the third it falls from the upper right.\u00a0 As the proportions of Rosso\u2019s drawings indicate that they were made for the north and south walls it may be assumed that the light was related to the direction of light entering from the window in the fa\u00e7ade wall.\u00a0 In this case, the three spaces for Rosso\u2019s scenes can be precisely determined.\u00a0 The Allegory of the Immaculate Conception<\/em> (Fig.D.32<\/a>), with the light falling from the upper right, would have been intended for the space to the left of Soggi\u2019s fresco, where the figures are also illuminated from the upper right.\u00a0 The other two scenes would have been for the north wall, with the Throne of Solomon<\/em> (Fig.D.34<\/a>) at the left and the Allegory of the Virgin as the Ark of the Covenant<\/em> at the right.<\/p>\n This arrangement, the only one that seems possible on the basis of the fall of the light in these scenes, leaves Soggi\u2019s fresco untouched.\u00a0 Although Vasari said that Rosso was commissioned what remained of the project, the documents indicate that Rosso was assigned all the same spaces that Soggi had been given.\u00a0 The fourth composition, mentioned above, that can be related to this project may indicate what the circumstances were that allow for both of these possibilities.\u00a0 The drawing of it, actually a copy in the Louvre, shows an Allegory of the Immaculate Conception<\/em> (Fig.D.31<\/a>) partly of the same composition as the scene that Vasari described.\u00a0 But it shows Eve in another position, bent forward with both her arms behind her, tied to a tree, her posture conforming to the curved left edge of the scene.\u00a0 It also wholly lacks any indication of the figures of Diana and Apollo, and in particular, given that the drawing is cut at the top, the extended left arm of Diana that almost touches Eve\u2019s raised left arm in the other version of this scene.\u00a0 The Louvre drawing is a smaller version of this allegory and is contained within a half-lunette that is narrower than that of the other version of this subject.\u00a0 This smaller format coincides with the areas that were available at either side of the fa\u00e7ade window.\u00a0 As the arc of this smaller scene is at the left, it would appear to have been planned for the area to the left of the window.\u00a0 It is not known what was intended for the area at the right.\u00a0 But subsequently it must have been decided to move the Allegory of the Immaculate Conception<\/em> to the left half-lunette of the north wall, that is, to the left of Soggi\u2019s fresco.\u00a0 For this space the composition had to be enlarged, as it was by the addition of the figures of Apollo and Diana, their inclusion certainly determined by Pollastra.\u00a0 This shift may well indicate that while originally Rosso was meant to replace Soggi\u2019s fresco, it was finally decided to keep it.\u00a0 Perhaps sibyls were then devised by Pollastra and Rosso for the spaces at the sides of the fa\u00e7ade window, the sibyls mentioned in the inventory of 1532.\u00a0 The fourth undescribed cartoon mentioned by Vasari could have been for such a figure in one of the fa\u00e7ade spaces.21<\/sup><\/a><\/p>\n One other circumstance might be mentioned.\u00a0 The cartoons Vasari described were for the walls flanking the vault.\u00a0 As this was a fresco project one might think that the work was planned to be executed from the vault down.\u00a0 Hence, it would seem to follow that the cartoons for the vault would have been done first.\u00a0 Maybe they were and Vasari simply did not mention them.\u00a0 Or just possibly none were made because, in spite of the requirements of the commission, Rosso had decided not to fresco the vault.\u00a0 If he also decided, or it was decided for him, to retain Soggi\u2019s fresco, then the project would have become considerably smaller than the documents indicate.\u00a0 Vasari stated that Rosso kept procrastinating in the making of the cartoons because of his dislike of fresco painting.\u00a0 The frescoes were, in fact, and again according to Vasari, going to be executed by Raffaellino del Colle (da Borgo Sansepolcro) and others, a circumstance that does not appear in the documents, where the implication is that Rosso would paint them himself.22<\/sup><\/a>\u00a0 The two drawings on panel mentioned above (L.27<\/a>) could possibly have been colored oil sketches made to serve those who would execute the fresoes.\u00a0 Perhaps quite early in his work on the project Rosso began to think of reducing it, but the litigation following his departure from Arezzo does not suggest this.23<\/sup><\/a><\/p>\n It is not specifically known that the unrecorded program that Soggi was to paint was devised by Pollastra.\u00a0 Soggi\u2019s sole fresco has an unusual subject that could have been part of an early scheme by the learned Aretine canon.\u00a0 But Soggi\u2019s Augustus and the Tiburtine Sibyl<\/em> gives no appearance of having the ingenuity of Pollastra behind it.\u00a0 It might, however, have prompted the canon to include other Sibyls in his program for Rosso in his inventing richer allegorical subjects for the more talented Florentine painter to paint.<\/p>\n <\/a>1<\/sup> Franklin, 1994, 292, n. 36, specifies this Latin version of the document as the notary\u2019s master copy.\u00a0 Franklin, 1994, 233, 292, n. 36, 312-313, Appendix H, DOCUMENT 5, transcribed, as the painter\u2019s copy of it, another copy: State Archives, Florence, Corporazione religiose soppresse<\/em>, 20 (S. Orsola detto la SS.ma Annunziata di Arezzo), 18<\/em> (filza seconda di memorie della Vener.\u00a0 Compagnia della SS.ma Annunziata), c. 101r-v <\/sup>(cited by Milanesi, in Vasari-Milanesi, V, 164, n. 2, and Del Vita, 1913, 321; published by Hirst, 1964, 125-126). Another copy of the contract in Latin is found in: State Archives, Florence, Compagnie religiose soppresse, Arezzo, A CLXXXVIII<\/em>, Vol. 220\/1 (dal no. 4 al no. 6), Di Ofitii e Partiti, Segnato B<\/em>, 1517-1550, no. 4, fol. 93v<\/sup>-94v<\/sup> (mentioned, along with other S. Maria delle Lagrime documents, in Mancini, 1909, 69, n. 4; and in Silvano Pieri, \u201cLa Compagnia della SS. Annunziata dal XIV al XVIII Secolo,\u201d in Annunzanta Arezzo<\/em>, 1990 [1993], 39 and n. 54; see also Franklin, 1994, 292, n. 37).<\/p>\n<\/div>\n <\/a>2<\/sup> Franklin, 1994, 233, 292, n. 37, 313, Appendix H, DOCUMENT 6.<\/p>\n<\/div>\n <\/a>3<\/sup> From Franklin, 1994, 235, 293, ns. 45-46, 313, Appendix H, DOCUMENT 7, as containing on 24 July 1529 Rosso\u2019s third and final graduated payment of 50 ducats for this project.\u00a0 In n. 46, Franklin states to see also ASF, Comp. RS, Arezzo, A188, vol. 2219, Entrata e Uscita, Segnato C<\/em>. 1522-1534, fol. 234v<\/sup>: 29 November 1528; folio 238v<\/sup>: 8 April 1529; fol. 241v<\/sup>: July 1529 undated, but falling between entries of the twenty-first and twenty-fourth of the month.<\/p>\n<\/div>\n <\/a>4<\/sup> Mentioned in Franklin, 1994, 235, 293, n. 47.\u00a0 Silvano Pieri, “La Compagnia della SS. Annunziata dal XIV at XVIII Secolo,” in Annunziata Arezzo<\/em>, 1990 (1993), 40, n. 55, refers to another document naming the sum of “ducati 150” (A.S.F. 33, c. 305 and 162).<\/p>\n<\/div>\n <\/a>5<\/sup> Unchecked from Franklin, 1994, 235, 293, n. 48.<\/p>\n<\/div>\n <\/a>6<\/sup> Published by Coradini, 1960, 136-137, Doc. V, with the month wrongly as June.\u00a0 Mentioned in Carroll, 1987, 212, n. 5, under no. 67, with Coradini\u2019s mistake repeated, and in Franklin, 1994, 235, 293, n. 49, and in Silvano Pieri, \u201cLa Compagnia della SS. Annunziata dal XIV al XVIII Secolo,\u201d in Annunziata Arezzo<\/em>, 1990 (1993), 40, and n. 55.<\/p>\n<\/div>\n <\/a>7<\/sup> From Franklin, 1994, 235, 293, n. 50.<\/p>\n<\/div>\n <\/a>8<\/sup> See Franklin, 1994, 235, and 293, n. 52, with reference to ASF. Comp.RS, Arezzo, A188, vol. 2213, Debitori e Creditori, Segnato T<\/em>, 1577-1585, fol. 271 left.<\/p>\n<\/div>\n <\/a>9<\/sup> The contents of the document of this commission are reported by Milanesi in Vasari-Milanesi, V, 164, n. 2, and VI, 24, n. 1; Franklin, 1994, 231, 311-312, Appendix H, DOCUMENT 3, transcribes the text.\u00a0 Silvana Pieri, \u201cLa Compagnia della SS. Annunziata dal XIV al XVIII Secolo,\u201d in Annunziata Arezzo<\/em>, 1990 (1993), 39, n. 53, gives the date as 21 May 1527; stating also that \u201cIl 16 Dic.1526 l\u2019ufficio del Desco fa una commissione per locare ad pingendum voltas in oratorio dicte societatis super Capellam Virg. M. Lacrimarum\u201d (A.S.F. 4-77v).\u00a0 For an extensive account of this fresco, see Luciana Borri Cristelli, \u201cLa Leggenda d\u2019Augusto e la Sibilla Tiburtina nella Redazione di Niccol\u00f2 Soggi,\u201d in Annunziata Arezzo<\/em>, 1990 (1993), 151-168.<\/p>\n<\/div>\n <\/a>10<\/sup> See Coradini, 1960, 117-118, Marchini, 1961, 116, 118, 119, Fig. 14, Dezzi Bardeschi, 1964, 54, 57, 60-65, 68, 70, 74-75, 95, including excellent views of the atrium, and Franklin, 1994, 230-231, 292, n. 10.<\/p>\n<\/div>\n <\/a>11<\/sup> See Del Vita, 1913, 320-324, and Franklin, 1994, 227, 232-233, 241, 251-252, 259, Pl. 183.\u00a0 Soggi\u2019s fresco, approximately four meters high, was whitewashed over at some time, it would seem, after the second edition of Vasari\u2019s Lives<\/em>.\u00a0 It was uncovered in 1910.<\/p>\n<\/div>\n <\/a>12<\/sup> See Franklin, 1994, 231-232, 311, Appendix H, DOCUMENT 2, the text transcribed.\u00a0 Coradini, 1960, 125, said Soggi was paid 105 lire on 24 December 1530; in the document published by Franklin the payment on this date is \u201clire tredici soldi sei.\u201d<\/p>\n<\/div>\n <\/a>13<\/sup> The contents of the document recording this vote is reported by Milanesi in Vasari-Milanesi, VI, 24, n. 1; see Franklin, 1994, 232, 312, Appendix H, DOCUMENT 4, the text transcribed.\u00a0 Mentioned also by Silvano Pieri, \u201cLa Compagnia della SS. Annunziata dal XIV al XVIII Secolo,\u201d in Annunziata Arezzo<\/em>, 1990 (1993), 39.<\/p>\n<\/div>\n <\/a>14<\/sup> See Mancini, 1909, 69, and n. 4; the document of 25 April 1529 on the selection of the experts is transcribed by Franklin, 1994, 314, Appendix H, DOCUMENT 10; the payment of 6 January 1531 is transcribed in Franklin, 1994, 314, Appendix H, DOCUMENT 11.\u00a0 The latter document is also mentioned in Silvano Pieri, \u201cLa Compagnia della SS. Annunziata dal XIV al XVIII Secolo,\u201d in Annunziata Arezzo<\/em>, 1990 (1993), 39, n. 53, who also notes that the fresco was appraised by Lapppoli for the Compagnia (A.S.F. 2, c. 66v).<\/p>\n<\/div>\n <\/a>15<\/sup> See L.22<\/a>.<\/p>\n<\/div>\n <\/a>16<\/sup> Franklin, 1994, 249, Pl. 198 has suggested that a drawing of the Meeting at the Golden Gate<\/em> in the Uffizi (Fig.Florence, 6470F<\/a>; see L.17<\/a>) may be a copy of a lost drawing by Rosso for the vault.\u00a0 But this drawing is closely related to Rosso\u2019s Florentine Sposalizio<\/em> of 1523, as Franklin recognized, and hence the supposed original of it by Rosso would date from the time of his first visit to Arezzo on his way to Rome toward the middle of 1524.\u00a0 There is no evidence of such a scene having been invented by Rosso at the time of the Lagrime project.\u00a0 It is doubtful that the contract\u2019s reference to \u201cimaginibus Beate semper Virginis et eius istoriis\u201d specifies anything more than that the frescoes should deal with the Virgin.<\/p>\n<\/div>\n <\/a>17<\/sup> Franklin, 1994, 241-246, prefers to see the subject as The Virgin as the Second Eve<\/em>, although he concedes that it might be related to the Immaculate Conception.\u00a0 But without inscriptions or the presence of God the Father indicating his special selection of the Virgin, Franklin commented that the latter connection cannot be proved.\u00a0 Nevertheless, the salvation of Adam and Eve that is indicated in the drawing by showing the Virgin removing the apple from Adam\u2019s mouth is made possible because of the Virgin\u2019s immaculacy or freedom from original sin.\u00a0 As Franklin recognized, the allegorical representation of this subject was at this very time coming into being.\u00a0 It was again and more elaborately depicted by Rosso in another drawing (Fig.D.30<\/a>) which possibly dates before the Lagrime project.\u00a0 There is also a slightly later version by Rosso (Fig.D.39<\/a>).\u00a0 Both of these altarpiece designs show Adam and Eve.\u00a0 The Lagrime scene is part of a program with other allegories of the Virgin which may account for the differences between what Rosso depicted here and what appears in the more iconographically complex allegories of the Immaculate Conception.\u00a0 Franklin is correct in seeing in the Lagrime scene the Virgin as the Second Eve, the role she has also in Rosso\u2019s other compositions.\u00a0 But her action in the Lagrime composition refers to her immaculacy in the absence of God-the-Father and inscriptions.<\/p>\n<\/div>\n
\nAntonio de Lappolis fideiussore
\nmagistri Rubeus pictoris<\/p>\n
\n