Abstract
We have a very large number of documents concerning the life of Benozzo Gozzoli (1). His real name was Benozzo di Lese di Sandro and whether or not his family name was Gozzoli seems rather doubtful because, although we find this name with the date 1423 in the register of the corporation of painters, the writing is not contemporary and in the first edition of his “Vite” Vasari does not even mention this surname. In a declaration for taxation that be makes in 1480, Benozzo appears to have been sixty years of age, from which we gather that he was born in 1420; in 1470, however, his father affirms in a similar declaration that Benozzo was forty-six, which makes, the date of his birth 1424 but as in records of 1430 and 1433 the father Lese gives his son’s age as ten and twelve respectively, the year of his birth must have been 1420. In January 1444 Benozzo signs a contract with Lorenzo and Vittorio Ghiberti engaging himself to work with them for three years on the bronze doors for the baptistery of Florence and in this contract he is already spoken of as a painter. Cavalcaselle thinks that he was a gold-smith at the beginning of his career and that in all probability he fulfilled his contract with the Ghiberti, at least there is no further mention of him until the three years have expired, that is to say in March 1447 when we find him working with Fra Angelico on the frescoes in the chapel of the Holy Sacrament in the church of S. Pietro, Rome, in which enterprise the holy monk was assisted by many painters (1).
P. Bacci, Gli affreschi inediti di B. G a Legoli, Bolletino d’ Arte del Minist. della Pubbl. Istr., 1914, p. 387. N. Baldoria, Monumenti artistici in San Gimignano, Arch. Stor. dell’Arte. 1890, p. 35. Becchelloni, Le pitture di G. B. nella chiesa di S. Francesco a Montefalco, Perugia. 1892. G. B. Benvenuti, Gli affreschi di B. G. nella cappella del Palazzo Riccardi. Florence. 1901. G. Biasiotii, Affreschi di B G. in S. Maria Maggiore, Roma, Bolletino d’ Arte del Minist. della Pubbl. Istr., 1913. p. 76. Burroughs, An Altar-piece by B G., Bullet. of the Metropolitan Museum, Nov. 1915, p. 224. N. Carnevali. Un affresco di B. G., Rassegna d’Arte, 1909, p. 24. C. Carotti, Una tavoletta di B. G., Rassegna d’Arte, 1901, p. 72. The Same, L’ Arte, Ill, 1900, p. 424. J Cartwright, The Painters of Florence etc., London, 1910, p. 161 A. Chiappelli, In quale anno e in qualo luogo mori G. B., Arch. Stor. Ital., XXXIV, pp. 146, 158. E. Contaldi, B G., Milan, 1928. F. Cristofani, La vita di S. Rosa dipinta a fresco da B. G. nel 1453, Miscellan francesc, III, fasc. 1. G. Cristgfani, L’ Arte, X, 1907, p 297 the Madonna at Terni. L. Cust and H. Horne, The History of Simon Magus, part of a predella painted by B. G., Burlington Magazine, 1905, p. 377. R. H. Cast, Gli affreschi di B G. e della sua scuola a Castelfiorentino, Rassegna d’Arte, 1905, p. 149. P. D’Acchiardi, Il ristauro degli affreschi di B. G. nel Campo Santo di Pisa, L’Arte, 1903, p. 121. The Same, Una tavola di B., L’ Arte, VI, 1903, p. 122. P Egidi, I disegni degli affreschi di B. G in S. Rosa a Viterbo, Nozze, Hermanin-Hausmann, Perugia, 1904 N. Erichsen, Un nuovo affresco di B. G., Rassegna d’ Arte, VIII, 1908, p. 75 C v. Fabriczy, Neue Daten zur Biographie B. G.’s, Repert. f. Kunstwiss., 1905, p. 538. M. Faucon, B. G. à San Gimignano, L’ Art. 1881, pp. 125, 189, 301. G. C. G., Ein bisher unbekanntes Werk des B. G. and des Giusto di Jacopo in Certaldo, Repert. f. Kunstwiss., 1876, p. 348. G. Grassi, Intorno ad un anconetto attrib. a B. G.. Riv. Crit. d’ Arte May-June, 1919 P. Guidi Emiliani, Les fresques de B. G. à San Gimignano, Gazette des B.A., May, 1859. J. G. Hoogewerff, B. G., to be published in Paris, 1928. C. Lazinio, Pitture a fresco del Campo Santo di Pisa disegnati a incise, Florence, 1812. M. Lazzaroni, Osservazioni sopra alcuni monumenti principali di Roma, etc., dipinti a fresco da B G., Rome, 1883. A. Letalle, Les fresques du Campo Santo de Pise, Paris, no date Ch. Loeser, Note intorni ai disegni conservati nella R. Galleria di Venezia, Rassegna d’ Arte, III, 1903, p. 177. U. Mengin, La chapelle du Palais de Medicis, Florence et sa décoration par B. G., Revue de 1’ art ancien et moderne, May, 1909, p. 367. The Same, B. G., Paris, 1909. J. Mesnil, Sigismondo Malatesta e G. M. Sforza in un affresco del G. etc., Rassegna d’ Arte, 1909, p 74. E. Müntz, Procès verbaux de la Soc. Nation. des Antiq. de France, 21st April 1880. G. Pacehioni, Gli inizie artistiche di B. G., L’ Arte, XIII, 1910, p. 423. The Same, Un affresco di B. G. in S. Paolo fuori, L’ Arte, XII, 1909, p. 447. R. Papini v. Vasari. The Same, Due opere di B. G., Bolletino d’ Arte del Minist. della Pubbl. Istr., 1921, p. 36. The Same, Dai disegni di B. G., L’ Arte, XIII, 1910, p. 288. The Same, L’ opere di B. G. in S. Rosa a Viterbo, L’ Arte, XIII, 1910, p. 35. C. Ricci, B. G. e la palla della Compania della Purificazione, Rivista d’ Arte, 1904. p 1. G. Rosivi, Descriz. delle pitture del Campo Santo di Pisa (text to Lazinio), Pisa, 1816. G. Rosivi e De Rossi, Lettere pittoriche sul Campo Santo di Pisa, Pisa,:1810. A. Rossi, Gentile da Fabriano, l’ Angelico e B. al Vaticano e al Duomo di Orvieto, Giornale d’ Erudizione artistica, VI, 1877, p. 149. The Same, Una tavoletta di B. G., L’ Arte, III, 1900, p. 424. The Same, Un affresco di B. G., L’ Arte, V, 1902, p. 252. G. Sortais, Fra Angelico et B. G.. Lille, Paris, no date. H. Stokes, B. G., London, 1906. I. B. Smino, Le opere minore di B. G. in Pisa, Arch. Stor. dell’ Arte, 1894. The Same. il Campo Santo di Pisa, Florence, 1896. L. Tanfani Centofanti, Della chiesa di Sta. Maria della Spina, Pisa, 1871. The Same, Sopra alcune pitture di B. G., La Provincia di Pisa, 1882, p. 17. The Same, Notizie di artisti tratte da documenti pisani, Pisa, 1897. H. Thode, Arch. Stor. dell’ Arte, new series II, 1889, p. 53 (the Madonna at Cologne). G. Tosi, L’ Oratorio della Madonna della Tosse, presso Castelfiorentino, Castelfiorentino, 1895. The Same, L’ Edicola della Visitazione presso Castelfiorentino dipinta da B. G., Miscel. Stor. di Val d’ Elsa, VI, Serie 17, No. 3 and published separately. Castelfiorentino. 1898. G. Vasari, ed. Milanesi, III, p. 45. G. Vasari, Vita di B. G. ed. R. Papini, Florence, 1912. A. Venturi, Beato Angelico e B. G., L’Arte, 1901, p. 1. M. Wingenroth, Die Jugendwerke des B. G., Heidelberg, 1897. A. Wurm, Meister u. Schulerarbeit in Fra Angelico’s werk. Strasbourg, 1907. Zanobi e Bicchierai, Alcuni documenti artistici non mai stampati, Per nozze Farinola-Vai, Florence. 1855, III, IV.
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References
A. Rossi, Gentile da Fabriano etc, op. cit. E. Mot Un document inédit sur Frate Angelico, Chronique des Arts, 1876, The Saine, Les Arts à la Cour des Papes, I, Paris, 1878, p. 226. v. Vol. X, p. 37.
L. Fumi, Il Duomo di Orvieto e i suoi restauri, Rome, 1891, p. 394.
S. Colvin, A Florentine Picture Chronicle, London, 1898, p 23 note T.
A. Venturi. Storia dell’arte italiana, VIII, p. 7o. Pacchioni, L’Arte, XIII, 191o, p. 425.
J. Wickhoff, Münchener jahrb d. Bild Kunst, I, 1908, p. 30 f. Bred“. Rassegna d’ Arte, IX. 1909. p 170. Fogg Art Museum Collection of Mediaeval and Renaissance Paintings, Cambridge (U.S.A.), 1919, p. 66.
Wiugenroth, op. cit, 51. C. Ricci, Lorenzo da Vite[bo, Arch. stor. dell’ Arte. I, [888, p 64 C. L. (Ceccotti Luca). Descrizione di nove storie di S Rosa dipinti da Benozzo nel 1453, Viterbo. 1873. R. Papini, op. cit., L’ Arte, 191o, p. 35. Pacclio’,i, up. cit., L’ Arte, 1910.
A. Mariotti, Lettere pittoriche Perugine, Perugia, 1788. D. 66
I am ignorant of the actual destination of this picture which did not figure in the von Tucher sale held in Berlin in 1925.
J. Cristo/ ani. L’ Arte, X, 1907, p. 293. U Gaoti, L’ Arte umbra alla mostra di Perugia, Bergamo, 1908, p. 109.
Fi R. Martin, A terracotta Bust by Verrocchio, Burlington Magazine, XLIII, 1923, p. 3.
J. P. Richter. Repert. f. Kunstwiss.. 1884, p. 240. I fonikes. Archiv. Stor. deli’ Arte, 1894, p. 158. Burroughs, op. cit.
halcdoria, op. cit. Farrcorr, op. cit. Guidi Errailiaui op. cit. Grayer, Gazette des Beaux Arts, nouv. ser, IV, 187o, p. 162. R. Vischer, Zeitschr. f Bild Kunst, X, 1875, p. 308 L. Pecori, Storia della terra di San. Gimignano, Florence, 1853.
Le Gallerie Nazionali Italiane, IL Rome. 1896, p.197. G. Cristofani, op. cit., p. 297
Vasari Society, III, pl. 3. J. Maier, Die Handzeichnung, Vienna, 1919, p. 612, fig. 296, mentions this drawing as a typical example of unsymmetrical construction.
The documents are given by S. Ciampi, Notizie inedite della sagrestia pistoiese etc., Florence, 1810, p. 110. The Same, Notizie della sacrestia dei begli arredi del Campo Santo di Pisa, Florence, 1810, p. 153., Tanfani Centojanti, Notizie etc. Hoogea erff, op. cit.
D’Acchiardi, op. cit., L’Arte, 1903, p. [2].
Supino, Arch. stor. dell’ Arte, 1894, p. 233, raises a chronological difficulty against this collaboration because according to the opera register, Machiavelli does not appear in Pisa until 1475. Yet there is a picture executed by him in 147o in Pisa; the frescoes in question were finished in 1472.
Supino, Arch. Stor. dell Arte, 1894, p. 247. According to Crowe and Cavalcaselle, ed. Langton Douglas and De Nicola, IV, p. 362, it is by Giusto di Andrea.
K Thode, Archiv. Stor. dell’Arte, II, 1899, p. 53.
A. Da Morrona, Pisa illustrata nella arte del disegno, 2nd ed., I, Livorno, 1812, p. 304..
This is the opinion of Villot in his catalogue; it is repeated by Seymour de Ricci, Description raisonnée des peintures du Louvre, Paris, 1913, p. 69; in this case the figure under the feet of St. Thomas must be Guillaume de Saint-Amour but the fact that the corresponding figure in Traini’s picture hears the name of Averroës makes it certain that it was the latter that lienozzo wished to represent.
Burlington Magazine, Advertisement supplement, Dec. 1927. Apollo. 1927, p. 279.
Some other paintings that can be attributed to Benozzo are: a half-length figure of the Virgin with the Child in an affectionate attitude at the Sedelmeyer sale. Paris, 1907, No. 90, later acquired by Böhler, the art. dealer. Munich. Vienna, Lowy Collection, Presentation in the Temple, Oesterr. Kunstschatze, I, pl. XI (a late production). Philadelphia, Widener coll., Resurrection, a late work, once for sale in London. Munich, for sale, recently, afterwards in Amsterdam. Madonna, seated with the Child. two angels to the sides and two angels holding a crown over her head, slightly restored In his list of Benozzo’s paintings Mr, Berensonmentions still the following works which I do not know: London, C. N. Robinson coll., Madonna and angels. Meiningen, Grand Ducal Palace, St. Ursula. Paris. Baroness d’Adelsward’s coll.. four saints, 1471 (already mentioned). Philadelphia, P. Widener, coll., the Raising of Lazarus. Wingenrotk, op. cit. mentions a Madonna with angels and saints, once in the collection Gzell, Vienna.
v. The Drawings of the Royal Gallery of the Uffizi, 5th series, 4th portefolio, pl. 6. H. S. Ede, Florentine Drawings of the Quattrocento, London, 1926, p. 16, who claims for Benozzo a head of a boy in the Uffizi which Berenson, op cit., No 1871, gives to Pierfrancesco Fiorentino. (7) v. also Wingenroth, op. cit., p. 196.
Albertina Handzeichungen, X. 1086, school of Gozzoli C. F Lind-ber{, Handzeichungen alter Meister, Stockholm, 1889. 0 Sirén, Dessins et tableaux de la Renaissance italienne dans les collections de Suède, Stockholm, 1902, pp. 18, 119, Angelico. The Same, Italienska Handtechningar i National museum, Stockholm (1917), p. 1, Benozzo.
C. Fry. Il libro di Antonio Billi, Berlin, 1892, p. 5o. The Same, Il Codice Magliabechiano, Berlin, 1892, p. 103
Ch. Diehl, La peinture orientaliste en Italie au temps de la Renaissance, Revue de 1’ art ancien et moderne, XIX, 1906. G. Soulier, Les influences persanes dans la peinture florentine du I5L,m, siècle, Atti del X Congresso internaz. di storia d’ arte a Roma, Rome, 1922, p. 194, compares certain frescoes by Benozzo with Persian miniatures. The Same, Les influences orientales dans la peinture toscane, Paris, 1924; passim.
Supino, op. cit., Arch. stor. dell’ Arte, 1894, p. 234.
Pacchioni. op. cit.. L’ Arte, 1910, p. 436 note 3.
U. Gno/i, Pittori e Miniatori nell’ Umbria, Spoleto, (1923), p. 65, attributes it to Benozzo himself.
Relazione of 1861, Gallerie Nazionali Italiane, II, Rome, 1896, p. 292.
Supino, op. cit., Arch. Stor. dell’ Arte, 1894, attributes it to Benozzo himself.
W. Weisbach, Zeitsch. f. Bildende Kunst., 1913, p. 254. P. Schubriiig, Vespasiano di Bisticci, Jena, 1914, p. 120. The Saine, Cassoni. Nos. 291. 292, 293.
C. F. Bell, Drawings of the Old Masters in the Library of Christ Church, Oxford, 1914, pl. XLIV.
Without any reason the following works have been included among the productions of Benozzo’s school: the head of a holy monk from the della Genga chapel at Spoleto, now in the Pucci della Genga palace, Vita Artistica, I, February 1926, p. 30; a cassone panel showing a duel and the reconciliation between two families at Eastnor Castle, Somerset. Schubring, op. cit., Nos. 286–289, v. Vol. N, p. 56o. and a miracle of St. Jerome in the Ca d’ Oro. Venice.
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van Marle, R. (1929). Benozzo Gozzoli. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2813-9_2
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