{"id":872,"date":"2021-05-13T14:57:38","date_gmt":"2021-05-13T14:57:38","guid":{"rendered":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/?p=872"},"modified":"2021-05-21T21:11:38","modified_gmt":"2021-05-21T21:11:38","slug":"anonimo-magliabechiano-c-1540-1550","status":"publish","type":"post","link":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/anonimo-magliabechiano-c-1540-1550\/","title":{"rendered":"Anonimo Magliabechiano (c. 1540\/1550)"},"content":{"rendered":"
[vc_row][vc_column][vc_column_text]\"\"
\nThe anonymous author of the Codice Magliabechiano cl. XVII. 17 probably had close connections to the Medici court and the manuscript is the most comprehensive source for the biographies of artists in Italy before Vasari\u2019s <\/em>Vite. The manuscript has been attributed to many different authors. The author is likely to be Bernardo Veccietti (1514-1590), a Florentine humanist and art connoisseur. The manuscript belonged to the Gaddi family and, together with the <\/em>codices Gaddiani, it became part of the Bibliotheca Magliabechiana. This manuscript, with 128 pages made of paper, and dating to 1540\/1550, mainly focuses on Florentine artists, but the author also writes about artists from the antiquity. Vasari\u2019s <\/em>Lives contains some of the same information, but it is not clear if either Vasari or this author had consulted the other\u2019s work. Both authors seem to have had access to a manuscript of Antonio Billi\u2019s work from about 1515. The Codice Magliabechiano cl. XVII. 17 draws from other sources too. For the description of artists from antiquity, which makes up the first 42 pages, the author consulted Pliny\u2019s <\/em>Historia Naturalis and Eusebius\u2019 <\/em>Chronicus Canon. Cimabue\u2019s life comes directly after the lives of the artists from antiquity. For the biographies of Trecento and Quattrocento artists, he also made use of Lorenzo Ghiberti\u2019s <\/em>I Commentarii and Christoforo Landino\u2019s <\/em>Comento sopra la Comedia di Dante Aligheri. For Giotto\u2019s biography, he quoted from Boccacio\u2019s <\/em>Decamerone. He paraphrases his sources, combining them with his own comments. For some artists, he added an index of their followers. The manuscript is structured chronologically, is written in the vernacular, and seems to be incomplete. There are some empty pages, and it is written in a rushed and undisciplined style. The author added some notes and comments to the text and he was probably trying to complete his endeavor. But the manuscript was never printed and there are no sources indicating such a plan. Nonetheless, comments on artists working in Pisa such as Taddeo Gaddi, Bernardo di Cione, Buoanmico Buffalmacco and Antonio Veneziano make this work valuable for the study of the Camposanto, although his comments on painters in Pisa are rather brief.<\/em><\/p>\nAnonimo Magliabechiano_excerpt<\/a>\n

Edition<\/strong>: Il Codice Malgliabechiano cl. XVII. 17 contenente notizie sopra l\u2019arte degli antichi e quelle de\u2019 Fiorentini da Cimabue a Michelangelo Buonarrati, scritte da Anonimo Fiorentino, ed. Carl Frey (Berlin: G. Grote, 1892).<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]14.1. Taddeo Gaddi<\/strong><\/p>\n

\u201cE seguit\u00f2 il modello del campanile di San Giovannj, dal suo maestro Giotto incominciato. A Pisa in campo santo dipinse molte storie di Job.\u201d (55)<\/p>\n

 <\/p>\n

14.2. Bernardo [di Cione]<\/strong><\/p>\n

\u201cIn Pisa dipinse la chiesa di San Paulo a ripa d\u2019Arno et in campo santo lo inferno.\u201d (56)<\/p>\n

 <\/p>\n

14.3. Buonamico Buffalmacco<\/strong><\/p>\n

\u201cIn Pisa in campo santo fece detto Buffalmaccho molti lavorj. Dipinse a San Paulo a ripa d\u2019Arno historie del testamento vecchio e molte historie di verginj.\u201d (58)<\/p>\n

 <\/p>\n

14.4. Antonio Veneziano<\/strong><\/p>\n

\u201cA Pisa in campo santo le storie di San Rinierj sono di sua mano.\u201d (61)[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text] <\/p>\n

He followed the model of the Campanile of San Giovanni, which his teacher Giotto started. He painted many stories of Job in the Camposanto in Pisa.<\/p>\n

 <\/p>\n

 <\/p>\n

He painted the Church of San Paulo in Pisa on the bank of the Arno and in the Camposanto he painted Hell.<\/p>\n

 <\/p>\n

It is said that he did a lot in the Camposanto in Pisa. He painted the stories from the Old Testament and many stories of the Virgin Mary in San Paulo on the bank of the Arno.<\/p>\n

 <\/p>\n

 <\/p>\n

The stories of St. Ranieri are [painted] by his hand.[\/vc_column_text][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text] The anonymous author of the Codice Magliabechiano cl. XVII. 17 probably had close connections to the Medici court and the manuscript is the most comprehensive source for the biographies of artists in Italy before Vasari\u2019s Vite. The manuscript has been attributed to many different authors. The author is likely to be Bernardo Veccietti (1514-1590), […]<\/p>\n","protected":false},"author":541,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13,24,1],"tags":[],"class_list":["post-872","post","type-post","status-publish","format-standard","hentry","category-16th-century","category-art-and-artists","category-italian"],"_links":{"self":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/872","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/users\/541"}],"replies":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/comments?post=872"}],"version-history":[{"count":15,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/872\/revisions"}],"predecessor-version":[{"id":1066,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/872\/revisions\/1066"}],"wp:attachment":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/media?parent=872"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/categories?post=872"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/tags?post=872"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}