Abstract
Concerning the lives of the brothers Pollaiuolo, there exists a great number of documents. They have been united together and in part published by Mrs. Cruttwell whose book is the only monograph that has as yet been written on these masters. Although this volume contains any amount of useful information, its importance is not in proportion to that of the brothers Pollaiuolo, particularly to that of Antonio who can be considered among the greatest genuises of this, the most illustrious period in the history of Italian art. Moreover Mrs. Cruttwell’s book is no longer up to date.
H. A. Barr. A drawing by A.P.. Art. Studies, edited by the Harvard and Princeton Universities, Cambridge, U.S.A., 1926. p. 73. Beltrami. Appunti di iconogr. artist., Rassegna d’Arte, I, 1901, P.53 B. Berenson, Due quadri inedite a Staggia, Rassegna d’Arte, V, 1905, p. 9. W. Bode. Recension on Mrs. Cruttwell’s book, Burlington Magazine, XI, 1907. p. 181. T. Borenius, Four early Italian Engravers, London, 1923, p. 5 L. Borsari, A. del P. e gli Orsini, Nozze Orsini-Varo, Rome, 1891 letter of 1494). J. Cartwright, The Painters of Florence, p. 182. M. Cruliwell, Quattro portate del Catasto etc. da A. P., dal fratello Giovanni e da Jacopo loro padre, L’Arte. VIII, 1905, p. 381. The Same, A. P., London-New York, 1907. L. Dami, Due nuove opere Pollaiolesche, Dedalo, IV. 1924, p. 695. G. De Nicola, Opere perdute del P., Rassegna d’Arte, XVIII, 1918, p. 210. J. Del Badia, Lettera d’A. del P, a Virgilio Orsini, Rivista d’Arte, 1905, p. 126. H. S. Me, Two drawings by A. P., Burlington Magazine, Vol. XLV, July 1924, p. 41. v Fabric y, Repert. f. Kunstwiss., XV, 1892, p. 284. P. N. Ferri, Text to first portfolio 3rd series of Drawings of the R. Gallery of the Uffizi, Florence, no date. Filangieri di Candida, Un bronzo di P. nel Museo Nazionale di Napoli, L’Arte, I, 1898, p. 188. Francesehini, II Dossale d’Argento del tempio di S. Giovanni, Florence, 1894. B. Haendcke,Durer’s Beziehungen zu J. da Barbari, P. u Bellini, Jahrb. K. Preus. Kunstsamml., XIX, 1898, p. 162. A. M. Hind, Noti su Mantegna e i P., L’Arte, IX, 1906, p. 303, B. M. Howland, Dürer and P., Burlington Magazine, IX, 1906, p. 63, M.Logan, Découverte d’une fresque de P., Chronique des Arts, 1897, p. 343. H. Mackowsky, Das Silberkreuz für dem Johannes Altar im Museo di S. Maria del Fiore zu Florenz, Jahrb. K. Preus. Kunstsamml., XXIII, 1902, p. 235. F. J. M(ather),The Newhaven P., Burlington Magazine, VIII, 1906, p. 440. J. Masud,Botticelli, les P. et Verrocchio, Rivista d’Arte, 1905, p. 4. The Same. Les figures des Vertus de la Mercatanzia, Miscellanea d’Arte, I, 1903, p. 43. R. A. Parker, The key to A. P.’s genius, International Studio, Jan. 1928, p. 39. M. Rermond, Le Buste de Charles VIII etc., Bull. Archéol. du Comité des tray. hist. et scient., 1895, p. 242. U. Rossi, Due pitture di P. P., Arch. Stor. dell’ Arte, 1890, p. 160. S. Schwabacher, Die Stickereien nach Entwürfe des A. P. in der opera di S. Maria del Fiore in Florenz, Strasbourg, 1911. Z. Takaes, Zur Dürer’s Studien nach P., Kunstchron, XVII, 1906,p 108. H. Ulmann, Die Thaten des Herkules: Wandgemälden im Palazzo di Venezia in Rom. Munich. 1894. The Same, Bilder u. Zeichungen der P., Tahrb. f. Preus. Kunstsamml.. 1894, p. 230. G. Vasari, Le Vite etc., ed. Milanesi. III, p. 285. A. V(enturi), A proposito del documento pubbl. del Borsari, Arch. stor. dell’ Arte, 1892, p, 208. A. Venturi. Il paliotto di Sisto IV nella basilica di Assisi disegnato del A. P., L’Arte, 1906, p.218. The Same. Romolo e Remo di A. P. nella lupa Capitolina, L’ Arte, XXII 1919, p. 133 The Same, Capolavoro del A. P. nella Galleria Nazionale di Londra, L’ Arte, XXIX, 1926, p. 56 (also in the Messagero, December 1925). The Same. Per A. P., L’ Arte, XXIX, 1926, p 179.
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References
Giuelli, Belezze di Firenze, Florence, 1678, p. 579, thinks that this denomination was taken from a place of this name near Pistoia (A. Chi-appelli, Arte del Rinascimento, Rome, 1925. p. 228 note 4).
G. Giai, Ricordi storici di Cino di Filippo di Cino Rinuccini. Florence. 1840, p. 251. Crnttwell, op. cit., p. 260. Colvin, A Florentine Picture Chronicle, p. 23.
In a cadastral declaration made in 1480, he affirms that he bought this property in 1469. Gare, Carteggio. I, p. 265.
De Nicola, op. cit. Borg bisai, Discorsi, ed. 1585, II, p. 162. gives a detailed account of the expenditure. De Nicola publishes the entire list after the manuscript of Borghini.
Bossarr; op. cit. Del Badia, op, cit. FaLrr’czy, op. cit.. L’ Arte, 1892, p. 208; 1909, p. 203.
Vasari, ed. Milanesi, III, p. 291, speaks, however, of a painting on canvas. Milanesi tells us that the picture was transported to the assembly hall of the Capitani of the church, that it was acquired by the Tolomei family, later bought by a Baron Garriod and in 1865 was sold to the Turin Gallery.
renittri, 11 paliotto. B. Kleinschutidt, I)ie Basilika San Francesco in Assisi. I. Berlin, 1915, p. 299.
G. Fratini, Storia della Basilica e del Convento di S. Francesco in Assisi, Prato, 1882, p. 260. Kleinschnridt, op. cit, p. 37.
A. Venturi, Frauen Bildnisse von A. P.. Pantheon.,jan. 1929. p. 12.
Photo Brogi, 1705. Berenson, Drawings, No. 1931, contemporary copy after Antonio.
G. Gronau. Aus Raphaels Florentiner Tagen, Berlin, 1902, IV, I1. Ch. Loeser, I_a coll. Beckerath au Cabinet d’ Estampes de Berlin. Gazette des Beaux Arts, XXIX, 1903, p. 56. F. Lipmann, Handzeichungen Alter Meister im Kupferstich Kabinet des K. Mus. zu Berlin, I, 191o, No. 12 and p. 156. De Nicola, op. cit.
Collezione di quaranta disegni scelti della raccolta del Senatore Giovanni Morelli, Milan, 1886, pl. II. F. Malaga zi Valeri. I disegni della R. Pinacoteca di Brera, Milan, 1912, No. J9.
Berenson, Drawings, No. T903.
Hoe/and, op. cit. M.(athez), op. cit. Loeser, Gazette des Beaux Arts. June 1903, p. 55. Rankin, American Journal of Archaeol., I1, 1895, p. 148.Sio4r, Descriptive Catalogue of the Pictures in the Jarves Coll., p. 111. R. Officer, Italian Primitives at Yale University, Newhaven, 1927, p. 30
G. Morelli, Italian Masters in German Galleries, London, 1883, p. 9o, y. also W. Schmidt, Handzeichungen Alter Meister in München. p. 89.
Vasari, ed. Milantesi, III, p. 297.
This sketch has been ascribed to Verrocchio by S. A. Strong, in his book on the drawings in the Pembroke collection, pl. 58. Berenson. Drawings etc, No L95ia, assigns it to the school of Antonio Pollaiuolo y. Burlington Magazine, XXX, 1917. p. 244.
Berenson, Drawings, No. 1899.
Idem, I, p. 17 and II, No. 1909.
An example of this print exists in the British Museum. Hind and Colvin, op. cit., p. 26 and pl. I). I. 16.
Haendcke, op. cit. Howland, op. cit. 11 Wö/lin,,Albrecht Dürer Handzeichungen, iota ed., Munich, 1923, p. 33, is even of the opinion that this drawing was made after a lost engraving by Pollaiuolo.
B. Berenson, Gazette des Beaux Arts, XV, 1896. p. 199.
G. Friz.zoui, Archiv. stor. dell’ arte, V, 1892, p. 222, ascribes it to the school of Piero della Francesca. In his Le Gallerie dell’ Accademia Carrara, Bergamo, 1907, p. 64, he is a little less affirmative, describing it as a production of the Tuscan school showing connexion with the art of Piero. Senator Morelli, himself, imagined it to be a work of the Ferrarese artist, Ercole Roberti to whom also A. Venturi, Storia dell arte Ital., VIP, p. 668 attributes it.
Ede, Florentine Drawings, No. 26, hesitatingly ascribes this drawing to Antonio.
Marangoni. Lin eclectico fiorentino del Quattrocento, L’ Arte, XXX, 1927, p. 256.
J. P. Richter, Catalogue of the Drury Lowe Collection, Locko Ilouse, London (1901), No. tor.
Sclaubring, op. cit., Nos. 333–337• H. Cook and T. Borenius, Catalogue of Paintings at Doughty House, Richmond, London, 1913.
Ede, op. cit., pl. 7, hesitatingly ascribes them to Masaccio. Colvin, op. cit., gives them to Finiguerra. Ferri, Miscellanea d’ Arte, p.27. Meder, op. cit., p. 38r, to the school of Pollaiuolo. Photo Alinari, drawings, 263, 264. Braun, 7711, 7712.
Ede, op. cit., assigns it to Antonio Pollaiuolo but with a point of interrogation. Photo Anderson, 2774.
Berenson, op. cit., No. 1926. Photo Braun, 76317; Brogi, 1701. Mr. Berenson thinks that a copy of the figure in profile by Pinturicchio is found in the Venetian sketchbook.
Berenson, op. cit., No. 1925. Photo Brogi 1699, 1545. Cruttze’ell, op. cit., p. 129, believes the drawing to be by Antonio himself and connects the nude figures with the reliefs of the Discord in the Victoria and Albert Museum.
Berenson. op. cit., No. 1949. Photo Girandon, 54. Cruttwell, loc. cit., gives it to Antonio.
A. Caabi, Raccolte Italiane di Stampe, II. Bolletino d’ Arte del Minist. della Pubbl. Istr., 2 series, VI, 1926, p. 54.
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van Marle, R. (1929). Antonio and Piero del Pollaiuolo and Their Followers. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2813-9_4
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