Christianity and the Renaissance: Image and Religious Imagination in the Quattrocento

By Timothy Verdon; John Henderson | Go to book overview

APPENDIX 2

Minutes from the meeting of the Company of Gesù Pellegrino for the new altarpiece, January 1347 (n.s.)

Compagnie Religiose Soppressi 910, no. 6, fol. 90v

" January 1346/7

In the name of God and of His blessed mother, Amen.

Here and following we make a record of the altarpiece which is to be placed above the altar and who will pay for it and the painter who will make it and how much it will cost.

The wood for the altarpiece with the predella and with the columns cost five gold florins. Filippo himself paid Niccholi for the love of God.

And the said Piero painter had from the said Piero Rinaldi three gold florins.

Also the said Piero had from the said Piero [Rinaldi] two gold florins.

It [the commission] to paint the said picture was given to Piero di Civiliari known as Chiozzo [and] Filippo Nicholi and Piero Rinaldi made an agreement with him concerning the said picture and predella and columns [for which] he asked twenty gold florins and it all [is to be] made with fine gold, that is the picture and the predella, and the columns other gold and not fine. . . ."

fol. 91r

"[In] memory of those of the company who will contribute to the said picture to have it painted . . .

Filippo Nicholi has requested to haw painted for him in the said picture two saints, that is St. Philip and St. Zanobius. He gave [to Piero] and Piero Rinaldi received [from him] four gold florins.

Ser Ciuto Ciechi and Piero Rinaldi have requested to have painted for them the section in the middle of the altarpiece . . . Our Lady with [Her] Son. Ser Ciuto and Piero gave one gold florin . . .

Lapo di Cione has requested to have painted a section in the said picture and to have painted St. Simon. Neri Guiducci requested [2nd] wants to have placed in the other section St. Taddeus . . . Neri gave and Piero Rinaldi had one gold florin."


NOTES
1.
The only general studies on artistic images of flagellant confraternities are Adriano Prandi , "Intorno all'iconografia dei Disciplinati," in Il Movimento dei Disciplinati net settimo centenario dal suo inizio ( Perugia 1260), Appendix 9 to Bollettino della Deputazione di storia patria per l'Umbria ( Spoleto, 1962), 496-508 (hereafter Il Movimento), and idem, "Arte figurative per le Confraternite dei Disciplinati," in Risultati e prospettive della ricerca sul Movimenti dei Disciplinati. Convegno internazionale di studio, Perugia 1969 ( Perugia: Arti Grafiche, 1972), 266-90. Inventories of art objects used as scenery, props, or costumes in festival plays have attracted the

-357-

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