Bartolomeo Caporali Author(s): Stanley Lothrop Source: Memoirs of the American Academy in Rome, Vol. 1 (1915/1916), pp. 87-102 Published by: University of Michigan Press for the American Academy in Rome Stable URL: http://www.jstor.org/stable/4238501 Accessed: 16-02-2016 04:04 UTC
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This content downloaded from 132.239.1.231 on Tue, 16 Feb 2016 04:04:14 UTC All use subject to JSTOR Terms and Conditions BARTOLOMEO CAPORALI.
STANLEY LOTHROP.
(PLATES 20-48)
THE careerof the Perugianpainter, Bartolomeo Caporali, has up to thistime receivedbut slight attention from students of Umbrianart, and hisworks have neverbeen completely catalogued'. Although a provincial artist whose influence counted forlittle in thegeneral development of painting outside his nativecity, the factthat manyof his workshave beenwrongly attributed to Fiorenzo di Lorenzoand other Umbrians,and hisevident close contact with Bernardino Pinturicchio, would seem to makesome study of Caporali'spersonality desirable. His smilingsaints and lively trans- parentcolouring cannot fail to pleasethose who admirethe freshnessand decorative charmof thelesser Umbrian artists of thefifteenth century. The earliestdocumentary2 record of BartolomeoCaporale, or Caporali,is hisma- triculationin the Guild of Paintersat Perugiain the year 1442; whichmakes it probable thathis birth took place during the second decade of the 15thcentury. In 1454 he receivedfive florins for executing a Pietai and Maesta for the Sala of theGuild of Perugian Shoemakers.His nameappears under the form of Bartolomeodi Segnolo alias Caporale in 1456 in regardto thepurchase of a housein thevicinity of San Martinoat Perugia; in 1458 he becametreasurer of thePainters' Guild; and in 1462 Prioreof his native city. In Augustof thisyear he decoratedan altar-baldacchinoforthe Municipality, and in Septemberhe was againappointed treasurer of theGuild for the remainder of the year. Two yearslater the Monastery of San Pietroat Perugiapaid himin grainfor paintingtwo tabernacles.
I Bibliography:BOMBE, WALTER, Geschichteder vistad'Arte, Vol. 11, 1904, p. 38. PeruginerMalerei; Italienische Forschungen, Band V, Berlin 2 Documents:BOMBE, op. cit.,p. 324; GNOLI, 1912, p. I 13; MARIOTTI, ANNIBALE, Lettere"'Pittoriche UMBERTO, DocumentiInediti sui PitoriPerugini, Bollet- Perugine,Perugia, 1788, p. 82; RIcci, CORRADO, Ri- tinod'Arte, IX, No. V, Maggio 1915, p. 121.
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In documentsdated 1467 and 1468 Caporaliin companywith Benedetto Bonfigli acknowledgedtwo half payments of fiftyflorins each for a triptychpainted in the church of San Domenicoat Perugia.This partnershipof two painters of nearlyequal age, andthe strong resemblance existing between their earlier works, would tend to show thatboth had beeneducated under like influences, if not in the studioof the same master.In 1469Caporali was electedCapitano del Popolo for six months; in the next yearhe purchasedland, and jointly with his brotherGiacomo, the miniature painter, boughta housein theparish of S. Fortunato.In 1471 theApostolic Camera at Pe- rugiapaid him sixty florins for painting the armsof SixtusIV on the Palazzo Pub- blicoand on thecity gates; and in 1472 a sumfor trumpet-banners. He was again electedtreasurer of thePainters' Guild for the firsthalf of thisyear. He purchased a housein theparish of San Savinoin 1473; hisname appears in 1474; andin 1476 he wasappointed Electionarius Capitanei for six months. The following year he received a commissionfrom the heirs of Niccolodi serJacopo to painta Pietafor their chapel in thecathedral at Perugia'. On thedeath of hisbrother Giacomo in 1478 BartolomeoCaporali was appointed to completethe former's term of office as treasurerof theGuild of Miniaturists. Thisfact has led a recentwriter 2 to includeour artist among Perugian miniature- painters,and to attributeto him a miniaturerepresenting theAnnunciation in the choral booksof theMonastery of San Pietroat Perugia.Although what remains to us of
I n ActumPerusii in fundicoheredum Nicolai ser chedepingera la dictatavola a faredoi altretavolette Jacobiet sociorummercatorum presentibus etc. Spec- percanto depinte cum doi agnoliper terra. Si chein tabilisvir Franciscus Petri de Randulisde Perusiop(orte) tuctosieno agnoli octo facteal dictomodo et cumdicte h(eburnee)tutor testamentarius Severi filiiolim et heredis coloreet oro. Itemche sia tenutoaverlo fornito tucte Guasparisfilii olim et heredisNicolai ser Jacobi de Pe- le dictedepinture per tempo de mesediciocto proxime rusioetc. Spectabilisvir AngelusJohannis quondam da venirecomenzando el tempo a di primode setembre JuntiniMactheoli de Perusiop. s. p. actordomine Mar- proximoda venire1477 et da finirecomo segueta. Item gariteeius filieet tutricisJacobi filii olim et heredis chele dicteherede sieno tenute a dareet pagareal predictiNicolai ser Jacobide Perusioetc. dederuntet maestroche depingera le dictetavole fiorini vintocinque locaveruntmagistro Bartolomeo Caporalis de Perusio a bolognini40 (pro)fl. de tempoin temposecondo lui porteheburnee pictori presenti stipulanti et recipientipro lavorera.Item che el legnameche intreraper farele se et suis heredibusetc. ad fabricandumet pingendum dictetavole et predolala mitavada a le spesede le quamdamtabulam ponendam super altare capelle heredum dicterede et l'altra mita a spese d'esso maestroche le Nicolaiser Jacobierigende in ecclesiaSanti Laurentii lavorera. modoforma et pactisinfrascriptis videlicet. Et promiserunteidem magistro Bartolomeo ex parte Che sopralo altare de la dittaCapella se debbia et pro partesponte adimplere et observareet solvere fareuna Tavola de legnamebuono et sufficientesimile modoet formaprout in dictacedola continetur. Et hoc el lavoriola quale sia lunghapiei cinqueet mezzoo feceruntpro eo quia dictusmagister Bartolomeus perse circhaet alta piei doi et mezzovel circha. Et ne la et suos heredesobligando etc. promisitet convenitdictis quale sia depintain mezzola pieta cumdoi figureper Franciscoet AngeloJohannis etc. onmia in dicta scripta lati sichein tuctosieno figurecinque tucte lavorate a et capituliscontenta adimplere et observare.Renump- uso de buonoet valentemaestro cum buone et fineco- tiantesetc. etc. n (Arch.ATot. Rog. Francesco di Gia- lore e cola predolaa la dictatavola et tuctoel campo comoProt. 1477, c. 302t). sia de oro fino.Item che sia tenutoel dicto maestro 2 SERAFINI,ALBERTO, L'Arte, April 1912, p. 106.
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Bartolomeo'swork displays the minute care in detail,and the delicacy of finishpeculiar to theearly Umbrian School, neither his technique nor the above document would seem sufficientevidence to provehim a miniaturist;andthe Annunciation inquestion has nothing in commonwith his forms, but rather resembles closely other miniatures in the same choralbooks attributed to Pierantonio di Niccolo. Caporaliheld the office of Priorea secondtime in 1480,and in 1483 thatof FancellusMassariorum Civiitatis Perusii. In 1484 hisname occurs in the accountsof theCommune for such unimportant works as banners,panels for a baldacchinoand the decorationof a Z bancogrande del cantorino'l. In thislatter commission a young as- sistant,a certainLattanzio is alsomentioned. In 1485he was again appointed Fancellus Massariorum;and in this,and in thefollowing two years he boughtland and houses at Corciano,Castel Fratticciola, and Perugia.The polyptych'painted for Castiglione del Lago,the fragments of which exist in Perugiaand Udine, formerly bore the date 1487 and Caporali'ssignature. In thesame year, at the orderof the Commune,he paintedsixty trumpet-banners, forwhich he receivedtwenty seven florins and twenty soldi. Caporaliis frequentlynamed in the sacristy accounts of the Monastery ofSan Pietro, in 1487 he paintedarms and thehead of San Giovanni,and in 1488he repainted the towerclock, completed a Madonna in frescoleft unfinished by Pietro di Galeottoover themonastery doorway, and received two florinsin paymentfor the figureof a St. Justina.In theseaccounts the name of hisassistant Lattanzio again appears. There are severalrecords concerning the dowries of Caporali'stwo daughters; in Marchof 1488 he boundhimself to payto hisson-in-law, the tailor, Ippolito di MaestroGiovanni, the remainderofhis daughter Candida's dowry, and at theend of the same month one hundred florinsto Felicedi Domenicodi Puccioas themarriage portion of his otherdaughter Lucrezia.More banners were painted at theorder of the Commune in 1488 and1489, and inthe latter year he assistedin thevaluation of Pinturicchio'sSposalizio in theca- thedral.In 1490 he paidthirty-five florins as themarriage portion of his niece, Angela Briganti.The frescoin San Francescoat Montonebearing Caporali's signature is dated 1491,and in thisyear there is alsorecord of workexecuted in the palace of the Papal treasurer.In 1492 he heldoffice in thePainter's Guild, and executedbanners for the Commune;in 1493 he did otherwork for the Papal treasurer;in 1495 he decorated lances for the Priori; and in 1496 he boughtland jointlywith his son Pierlorenzoin the neighborhoodof Villanova. Upon the deathof his daughterLucrezia's husband in thisyear, Caporali recoveredfifty florins of her dowry,and in 1497 he promisedto pay her secondhusband Ludovico di Francescodi Saluzioone hundred florins. In November
I See MARIOTTI,op. cit.
This content downloaded from 132.239.1.231 on Tue, 16 Feb 2016 04:04:14 UTC All use subject to JSTOR Terms and Conditions 90 STANLEY LOTHROP of thisyear he is namedReveditore delle Ragioni of the Fraternityof San Pietroin Perugia;and in 1499 hisopinion is quotedby Fiorenzo di Lorenzoin judgmentofwork executedby GiannicolaManni in the Palace of thePriori. His daughterCandida marrieda secondtime in thisyear, taking for her second husband another Ippolito from Montefalco. BartolomeoCaporali's death must have occurred before the 8th of October,1505, sincea documentof thatdate describes his son, a canonof San Lorenzo,as Ser Ca- millusquondam Bartholomei Caporalis'. In the year 1509 his heirsbrought action againstthe heirs of Filippode' Piccinellito obtainpayment for six painteddrappelloni whichBartolomeo Caporali had supplied for the funeral of thelatter. In thetestament of Caporali'swidow, Brigida di GiovanniCartolari, dated 1521 she statedthat she desiredto be buriedin San Agostinoin Perugiabeside her deceased husband; settled legacieson herdaughters Claudia, Lucrezia and Laura; and mentionedas sole heirs her sons,Ser Camillo,Giampaolo, Giambattista, the artist,Eusebio, and the children of her deceasedson Ser PierLorenzo. In authenticatedpictures for the identification ofthe artistic personality ofour painter we are lessrich than in documents,and thefew existing works are bothfragmentary, andin a poorstate of preservation. Besides the ruined panels of the polyptychfrom Castiglionedel Lago,which formerly bore Caporali's signature, and hissigned fresco at Montone,there is stillpreserved in theMunicipal Gallery at Perugiathe triptych, which he paintedtogether with Benedetto Bonfigli for San Domenicoof thatcity. We can also withreasonable certainty attribute to Caporali the Piet"a in the cathedral at Perugia, andthe angels bearing the symbols of the Passion,which in all probabilityformed a partof thesame Pieta. Thereexists likewise documentary evidence to provethat Ca- poralidesigned the fresco at La Rocchicciolanear Assisi. Howevera comparisonwith thepictures mentioned above, and with other works to be attributedto him on accountof similarityof style, would tend to provethat the execution of thisunimportant fresco was leftto someassistant, probably the Lattanzio mentioned in the documents. Theearliest of these authenticated pictures is the San Domenico altar-piece 2, payments forwhich were made equally to Caporaliand Bonfigli.The triptychas it nowexists withoutits frame, consists of a centralpanel representing theMadonna and Childen- thronedand fourmusical angels; two side panels,to the leftand rightof the Madonna containingrespectively St. Peterand St. Catherineof Alexandria,and SaintsPaul and PeterMartyr; and twosmaller panels representing theAnnunciation. The Madonnaand angelsof thecentral panel possess the formsand thecolour peculiar to BenedettoBon- 1 Documentpublished by ADAMO Rossi, Arch. Stor. 2 Perugia,Municipal Gallery, Sala VIII, Nos. 3-7. dell'Arte,Rome, 1890, p. 465.
This content downloaded from 132.239.1.231 on Tue, 16 Feb 2016 04:04:14 UTC All use subject to JSTOR Terms and Conditions BARTOLOMEO CAPORALI 91 figli,and appearto be entirelythe work of that painter. And, although the four saints are somewhatmore strongly modelled than is usualwith Bonfigli, they are so likehis otherfigures as to makeit difficultto affirm that they belong wholly to Caporali,or to distinguishwhat parts were painted by him. He musthowever have had somethingto do withtheir execution as thepainting of the twopanels of theAnnunciation would notexplain the equal division of theprofits 2. In thetwo small figures of the Annunciation3 we can distinguishdetails and a methodof colouring,unlike other portions of thisaltar-piece, or any pictures which can be attributedto Bonfigli; and it wouldseem certain that we havehere genuine works of BartolomeoCaporali. In thepanel to theright, the Madonna with arms crossed on breast,head bowed, and melancholy eyes half veiled by darkheavy lids, kneels, a timid reverentfigure. In frontis placeda readingdesk with open book, and to theextreme righta portionof a throne.The background,reminiscent of designs of Benozzo Gozzoli andother followers of theBeato Angelico, consists of a colouredmarble bench and low panelledwall with flower vase against gold. The longconverging lines of the pavement givespaciousness to the composition. The childlikeAngel in theleft panel with fluttering rose-coloured drapery kneels beforethe Virgin, and makes the usual gesture with the curiously long right hand, while supportingthe emblematic lily in theleft. A panelledwall and bench similar to those behindthe other figure are herebroken by a smalldoorway, giving a viewof a roofed cloisterand two infinitesimal cypresses. Althoughboth figures resemble the types developed by Bonfigli,they are truerin theiranatomy, and are modelledwith stronger chiaroscuro. We do notfind here the elaboratelyarranged head-dresses or the garments 'a' la modepeculiar to the former artist. The brilliantblue mantleand simplered tunicof the Virginfall in longparallel folds,and thehead is coveredwith a thinwhite veil. It is howeverin theexpression of thefaces, and in thepeculiar transparency of colour, with its strong hint of goldin theflesh, that Caporali differs noticeably from Bonfigli. The largeinfantile eyes with hardblackish line under the upper lids, the sensitive mouth with trembling lower lip, the richyellow hair executed with long parallel brushstrokes, and in the caseof theangel finishinginspirals, the incised circular nimbus, lettered in black, and the overlong tapering fingers,are all detailswhich we shalldiscover to be peculiarto Caporali. Here thenwe finda master,who was a close followeror companionof Bonfigli, and likehim developed underthe new influence emanating from Benozzo Gozzoli and the school of painters of Foligno.
' PI. 20, Figs. 1-2. ItalianPainters, p. 154. 2 Bombeascribes these saints to Caporali,op. cit., 3 See Pi. 21. p. 113; Berensonto Caporali and Bonfigli,Central
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The secondauthenticated work by ourpainter is representedby the fragmentsof thegreat ancona painted for the church of S. M. Maddalenaat Castiglionedel Lagoin theyear 1487. Thisaltar-piece as describedby Annibale Mariotti ' in 1788contained theMadonna and Childenthroned, and at thesides the Magdalen, St. AnthonyAbbot, St. Sebastianand St. Roch. Abovewere four angels crowning the Madonna.The anconabore the inscription: PIXIT BARTHOLOMEUSCAPORALIS DE PERUSIA. And below:QUESTA OPERA ANO FACTO FARE CACCIADOREDE CA- STIGLIONEDE LAGO A. D. MCCCCLXXXVII. Threefragments2 of this altar- piece,the heads of the Magdalen, St. Johnthe Evangelist, and an angel,the latter two nowunfortunately placed one abovethe otherand framedtogether, are preservedin thePerugia Gallery. Two halffigures I representing St. Anthony Abbot and an angel, whichcertainly formed a part of the same composition, were lately discovered inthe Palazzo Civicoat Udine. The ruinedhead of theMagdalen, with a tracebelow of her ver- milionrobe, still shows the fineness ofexecution and childlike expression of the figures in theAnnunciation panels. The formsare rounderand better modelled, and resemble less thoseof Bonfigli;but the treatment of the rich reddish hair with its stronglights, the largeeyes almost concealed, and theform of the nimbus are the same as inthe earlier work. Behindthe figure is a portionof stylobatewith frieze, a Florentinemotive, also used by Bonfigli2; and in thelower corner of the panel an arrowconfirming Mariotti's description of a St. Sebastian. The fragmentcontaining the head of St. Johnthe Evangelistwith incised nimbus and namein blackcharacters is perhapsthe finestin executionof anyof theworks attributableto Caporali. The headthrown against a variegatedmarble background has fleshtints of extraordinarytransparency andfusion. The blond hair terminating in spirals is plainlyderived from Benozzo. The headof theangel in thethird fragment of theCastiglione ancona is repre- sentedagainst a brocadebackground ofred and incised gold pattern. This figure, gazing downwardand bearing the inscription: ADORAMVS TE CRIS, was probablyone of thefour angels crowning the Madonna described by Mariotti,and thebrocade formed thebackground ofthe throne. The St. Anthonyappears coarser in techniquethan the fragmentsof the Perugia Gallery. Howeverour artist is easilyrecognizable in theheavily marked eyes, the small smilingmouth with short lower lip, and in thehair and beard executed with long parallel brushstrokes. The figurecarries in the righthand the symbolic staff and bell, behind
I Op. cit. 3GCp.U. GNOLI, Una tacola di B. Caporali, Bol- 2 See Pls. 22, 23. Perugia,Pinacoteca, Sala IX, lettinod'Arte, 1916. 11, 12.
This content downloaded from 132.239.1.231 on Tue, 16 Feb 2016 04:04:14 UTC All use subject to JSTOR Terms and Conditions BARTOLOMEO CAPORALI 93 whichis a fragmentof drapery,probably the robeof an angelat a higherlevel. The backgroundshows the samestylobate with decorative frieze that appears in the fragmentof the Magdalen. The expressionand poseof theangel in theUdine panel repeat almost exactly the lattersaint, and the hands raised in adorationhave the sametapering fingers as the angelof theSt. Domenicoaltar-piece. Passingover for the moment the Pietai in theCathedral at Perugiaand the Madonna atLa Rocchicciola(Assisi), the only other authenticated work of our master is thefresco in SanFrancesco at Montonenear Umbertide, which bears the inscription: - CARROLVS BRACCI GENIT: OB NATV SIBI FILIVM EX VOTO: DIVO ANT ARAM: & SACELLV ERIGI INSTITVIT.QVO EXTINCTO: BERNARDINVFIL: OPV COMPLERI MANDAVIT. 1491 - BARTOLOMEVS CAPORALIS PIN. CarloFortebraccio, lordof Montone, vowed at the birth of his son Bernardino todedicate a chapelto St. Anthonyof Padua. Thevow, however, was not fulfilled until after Carlo's deathby Bernardinohimself, who called Bartolomeo Caporali to execute the decorations. The fresco' in theform of a lunetterepresents St. Anthonyin glory,flanked to theleft and rightby St. Johnthe Baptist and the Archangel leading the little Tobias; floatingangels with arms crossed on breastfill the space above; and at the feet of the saint,kneeling putti support an inscription.St. Anthonyis surrounded bya conventional mandorlawith border of seraphimheads, an Umbrianmotive peculiar to Perugino. The figureis badlyconstructed, and the coarsefeatures, injured by repainting,lack the delicatetransitions between the lights and darks, and fusionof tones to be foundin Ca- porali'searlier pictures. The Baptistand Archangelare drawnwith more accuracy, andboth the little Tobias clinging with one chubbyhand to thefinger of theArch- angel,and grasping a huge fish with the other, and theplump putti of theforeground, wouldseem to be studiesfrom life. The floatingangels however still resemble the typesof Bonfigli,and the Archangelhas the sameconventional arrangement of hair terminatingin spirals, and childlikefeatures as in thelittle figures of theAnnunciation panels.The yellowmantle of thisfigure, and the gold nimbuses and parti-coloured wings of theangels contrast pleasantly with the azure background, and givedominating notes of blue and yellowto thecomposition. In thisfresco more than in the Castiglionefragments Caporali modified his earlier mannerin an effortto followPerugino and hisSchool, but notwithstanding his improve- mentin the constructionand chiaroscuroof thefigures, his executionhere lacks the refinementin details and vivacityof tintswhich constituted the charm of his earlier work.
PIs. 25, 26, Figs.1, 2.
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Througha comparisonwith these few authenticated pictures we are ableto recognize BartolomeoCaporali's spirit and peculiarconventions in many other paintings. Earliest in sucha list,because of itsclose relationship to the School of Bonfigli,I would place thelittle panel picture in temperanow in theUffizi Gallery1, representing theMadonna andChrist Child adored by fourangels. The Madonnaseated on cloudssupports the Infantwith the right hand, and delicately clasps his footwith the left. The Child entirelynude, except for a thinveil thrownabout the limbs,raises his hand in bene- diction.The fouradoring angels, two and twoon either side, form with their long wings a frameto thecentral group against a backgroundof gold. Althoughthe figures of thispanel resemble closely Bonfigli's Madonna and Angels of theSan Domenicotriptych, they are lessslender, are modelledwith stronger relief, and havemore facial expression. The ratherfull curve to thecheek, short chin, large eyeswith dark lids, and very small mouth give to the faces the almost infantile character peculiarto Caporali'sheads. As in thekneeling Virgin of the Annunciation panels the Madonna'sdeep blue mantle,bordered with a narrowline of ermine,falls in long straightfolds over a simplecrimson tunic, and thehead is furthercovered with a trans- parentveil. The angelin theupper left hand corner reproduces the Announcing Arch- angel,and suchdetails as the arrangementof hair in minutecurls, and thedrawing of thehand with exaggerated length of fingers,and thumbof oversmall diameter, are repeatedin bothpictures. The PerugiaGallery contains a fresco, which was removedtocanvas from the walls of theConvent of St. Giuliana,and whichhas been rightly ascribed to Caporali. The picture2, whichis in theform of a lunetteelevated on a baseimitative of marble, rep- resentsthe glorified figures of Christand theMadonna enthroned in a rainbow-coloured mandorla,supported by fourfloating angels. At thefeet of the sacred group is a sug- gestionof hillsand rocks, and in theforeground theempty tomb with growing roses. The baseis decoratedwith three quatrefoil panels containing half figures of St. Giuliana,St. Benedictand St. Bernardwith their names inscribed. Below these figures is the date: A.D. MCCCCLXVIIII; and theinscription: HOC OPUS FECIT FIERI SOROR BENEDITTA SOROR MONASTERII SCE IVLIANAE. The youthfulRedeemer with his handraised in benediction recalls Bonfigli's Christ 3 and St. Bernardinoof the bannerin thesame gallery, but Caporali has giventhe figure
I Pi. 27, Florence,Uffizi. 3 Perugia,Pinacoteca, Sala IX, 1. 2 P1s. 28, 29, Figs.2, 3. Pinacoteca,Sala IX, 8.
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strongerrelief, and has arrangedthe rose coloured mantle in simplerand more natural folds. The Madonnain whitebrocade robe bordered with gold and black,and the childishheads of theangels with polychrome wings are counterpartsofthe figures ofthe Annunciationand Uffizipanels. The detailsrepeat the peculiarities already described; thelarge eyes with dark lids and thedeep crimson lips contrast strongly with the warm flesh;the hands have long attenuated fingers; and thegold hair is arrangedin conven- tionalringlets. AlthoughCaporali is herenot altogether successful in his attempts toexpress violent movementin the floating figures, he has succeededin givingthem a veryreal senseof youthfulvitality. Thereis alsopreserved on canvasin thesame gallery a portionof thefresco dec- oration1 of thechapel vault in St. Giulianawhich represents the Heavenly Father in benediction.The figure,wrapped in a rose-colouredmantle, is encircledby a heavy laurelwreath against a backgroundof greenwith black stencil pattern. The rather youthfulhead with abundant white hair resembles closely the Christ in thelunette. In thesefrescoes and in thesmall panel at FlorenceCaporali follows so nearlythe inventionof Bonfigli, as to suggestthe possibility that they may have been produced in thelatter's studio. The frescoeshowever seem slightly later, and showmore strongly Bartolomeo'sown peculiar personality. A panelof extraordinaryfineness, which, because of itsresemblance to the Casti- glionefragments, may have been painted after the St. Giulianafresco, is theCrucifix2 existingin theparish church on IsolaMaggiore in theTrasimene Lake. The armsof thecross terminate in small panels representing theMadonna, now nearly destroyed, and St. Johnthe Evangelist; at thetop, above the sacred initials, are the half figures ofthe ArchangelMichael, St. Jeromeand St. Leonard;and embracingthe base a kneeling Magdalenand St. Francis.The figureof Christis woodenand badly articulated; the armsare extendedat rightangles, and hold the body stiffly upright. In Sant'Antonioat Deruta a halfruined chapel contains frescoes 3 usually ascribed to Fiorenzodi Lorenzo,but which undoubtedly should be listedamong the earlier works of ourmaster. Over the altar is a representationof the Madonnadella Misericordia, withthe iconography peculiar to theUmbrian gonfaloni. The Madonnaprotects inher amplemantle the little inhabitants ofDeruta, grouped about their miniature town, against the vengeanceof Heaven; and in theforeground the kneelingSt. Francisand St. Ber- nardinosupplicate Our Lady in behalfof thefaithful. The frescois framedby a band of laurelleaves, a motiveadopted from the gonfaloni, and frequently used by Caporali.
I PI. 29, Fig. 1. Perugia,Pinacoteca, Sala IX, 14. 3 Pls. 31-34. 2 PI. 30.
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The Madonnahas the high forehead, great staring eyes, and receding chin of the Virginin theSt. Giulianafresco, and theavenging angels sweep forward with exactly thesame forced movement as thelower figures in thatpicture. Caporali copied the typesof St. Francisand St. Bernardinofrom a panel'which Niccolo da Folignopainted forthe church of S. Francescoat Derutain theyear 1457. It representstheMadonna andChild surrounded bya choirof Angels, and adored by St. Francisand St. Bernardino kneelingin thesame attitude as in theSant'Antonio fresco. Caporali however has im- provedon hismodels, giving to theSaints better proportions, more natural gestures, and strongerrelief. The smallcitizens of Derutaare executedwith great care and individ- ualityof expression.The figuresto theleft are repainted. In thecentre of thevault the Eternal Father is representedin a polycromeaureola againsta background of blue, studded with gold stars, and inthe angles are the four Evan- gelistswith their appropriate symbols. The centralfigure however is entirelyrepainted, and theEvangelists with the exception of St. Lukeretain little of theiroriginal colour. The headof thelatter, which resembles the Christ in theSt. Giulianafresco, preserves itsoriginal golden tints. Possessingas it doesBartolomeo Caporali's forms and gamut of colours,this fresco has nothingwhatever to associateit withthe workof Fiorenzodi Lorenzo.The fig- ureslack this artist's force of reliefand are lessnervous in outline.The fleshtones are entirelywithout the element of verde,and theharsh contrasts of light and shade to be foundin all of Fiorenzo'spictures. Although as yet unaffectedby influencesfrom PietroPerugino or his followers, Caporali already displays in this fresco an understanding offigure painting beyond Bonfigli and othercontemporary Umbrian artists, and mayin somedegree be consideredas theprecursor of Perugino's School. AnotherMadonna della Misericordia 2, this time a gonfalonein tempera,bearing thedate of 1482,is preservedat Montonein thesame church as thelater signed fresco of St. Anthony.Although the banner has been variously attributed toBonfigli and Fio- renzodi Lorenzo,both in itsgeneral conception and in thecharacterization of the in- dividualfigures it repeatsthe Deruta fresco, and mustobviously be thework of the sameartist. As in Derutathe Madonna protects with her blue mantle the citizens of Montone againstthe arrows of an avengingChrist and angels. To the leftSt. Sebastian,St. Francis,St. Biagioand theBaptist; and to theright St. Bernardino,St. Anthony,St. Nicholasof Baniand St. Gregorymake intercession for the faithful; and at thebase is
' Preservedin the MunicipalGallery at Deruta. withSaints Francis and Bernardino now in theHofmu- NiccolOda Folignoin his turnprobably borrowed this seumat Vienna. motivefrom Benozzo Gozzoli's panel of theMadonna 2 Pls. 35; 36, Figs.1-3.
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repeateda viewof Montone, with visions of the Madonna and St. Francis,its protectors, and thesymbolic figure of Deathwith his scythe. The Madonnais typicalof Caporali'sother representations, and St. Bernardino reproducesthe same saint at Deruta. The designfor the St. SebastianCaporali bor- rowedfrom a gonfaloneof Bonfigliexisting in thechurch of St. Francescoat Perugia, and a comparisonof the two figuresshows clearly how far our painterhad advanced beyondhis contemporary. As in thesmall figures in theDeruta fresco he treatedthe littleinhabitants of Montone with considerable variety and charm, and hemay well have portrayedindividual personages. Although the figures in thispicture retain the naive expressions,dark prominent eyes, and overlong fingers of Caporali'searlier works, their betterproportions and strongerchiaroscuro make it seemprobable that he had already had somecontact with Perugino. We alsofind Caporali's peculiar tonality in thehalf figure of theMadonna' bearing thedate 1484 in theNaples Museum. Although reversed this group repeats the early2 Madonnaof Pinturicchioin London. In thecartoon of both pictures the Madonna sup- portsthe Child erect in attitudeof benedictionon a low panelledbalustrade. In Ca- porali'scomposition however an elaborate brocade pattern takes the place of thelandscape background.The similarityof types with the Montone fresco is everywhereapparent; thehead of theDivine Infant repeats the little Tobias and the putti of thisfresco, and theawkwardness in the drawing of theright hand of theVirgin occurs in thegesture of theArchangel. Underneath the thick repainting of the panel in the foregroundthe formsof lettersof an inscriptionor signature can stillbe discerned. The heirsof Niccolodi Ser Jacopo,as wehave seen, gave to BartolomeoCaporali thecommission foran altar-pieceonwood for their chapel in SanLorenzo, the cathedral of Perugia,desiring him to representa Pieta in thecentre, with two saints on either sideagainst a backgroundof gold; and to paintfour small panels with two angels lbearing theSymbols of thePassion in each. The termsof thecontract, which was datedthe 12thof August 1477, demanded that the work be completedwithin eighteen months. The fourpanels3 in thePerugia Gallery representing angels with the Instruments of OurLord's Passion, although generally attributed to Banfigli, answer exactly to the requirementsof Caporali's commission, and theverses exposed on scrollswould seem to provethat they belonged to a Pieta. Originallyall of thesepanels were of the same dimensions,and each containedtwo angels,but two havebeen reduced in size and the figuresmutilated. While repeatingBonfigli's types the improved proportions and exag-
I P1. 37, Fig. 2. 3 Pi. 38, Figs.1-4. Perugia,Pinacoteca, Sala IX, 2 P1. 37, Fig. 1. London,National Gallery, No. 2, 7, 9, 17. 703. An unfinishedreplica is also preservedat Trevi.
This content downloaded from 132.239.1.231 on Tue, 16 Feb 2016 04:04:14 UTC All use subject to JSTOR Terms and Conditions 98 STANLEY LOTHROP geratedfacial expressions of theseangels correspond to our painter'sfresco at Deruta, and recallthe little St. Johnin theIsola del Lago Crucifix. In San Lorenzoitself there still exists a Pieta' on panelwithout Saints. It is of differentproportions from the measurement demanded by thecontract, and bears the date 1486. Althoughthis picture has beengenerally attributed to Fiorenzodi Lorenzo,its formsare impossibleto reconcilewith the signed tabernacle of thatartist executed the followingyear; and its manifestsimilarity to the works that we have alreadyexamined is sufficientto prove beyond a doubtCaporali's authorship. A recentwriter2 therefore maintainsthat the Pietah together with the four small panels of the Perugia Gallery formed thealtar-piece mentioned in the contractof 1477; and that,like so manyother com- missionsfor which documents exist, the work was not undertaken until several years after the originalcontract, the terms of whichwere modified. The principalargument against suchan hypothesisis the moreprimitive character of theangels, which would seem to have beenexecuted at aboutthe time of theonrginal contract. The Pieta3 representsthe Madonna seated on a marblebench, and gazingwith greatmelancholy eyes on theyouthful form of her DivineSon supportedon herknees. In thebackground is the usualbrocade drapery, and a marblepanelled stylobate bearing thedate MCCCCLXXXVI. Althoughthe Christ in thispicture is stillwooden and badly proportioned,the featuresof bothfigures have a new softnessand roundness,the hands are less attenuated,and thedrapery falls in broadsimple folds. As in the earlierpic- tures,the details are executedwith exquisite delicacy; the rubydrops of bloodsparkle likegems, and a varietyof tinyflowers sprinkle the foreground. In a fresco4on canvasremoved to thePerugia Gallery from the Convent of S. Giu- liana,Caporali repeated the groupof the CathedralPieta witha landscapebackground, and addedto the compositionthe figures of St. Johnand theMagdalen. The striking likenessexisting between these saints and theCastiglione fragments, especially the panel containingthe head of the Magdalen,is yetanother proof for the attributionof the Pieta to ourmaster. Resulting perhaps from the difference between fresco and tempera painting,the nude figure of Christseems less stiff,and theexpression of the Madonna moresuave than in theCathedral picture. The figuresare no longerthe meagreangular modelsof Bonfigli,and theirsofter outlines, derived from the new and moregracious school,accord well withCaporali's gentle spirit. Here he makesno attempt to express vividemotion, and theinnocent faces of St. Johnand theMagdalen half smile through theirjewel-like tears. On the26th of November 1487 BartolomeoCaporali received payment of nineand
I PI. 39. 3 Pl. 39. 2 BOMBE, op. cit. 4 Pls. 40; 44, Fig.2. Perugia,Pinacoteca, Sala X, 8.
This content downloaded from 132.239.1.231 on Tue, 16 Feb 2016 04:04:14 UTC All use subject to JSTOR Terms and Conditions BARTOLOMEO CAPORALI 99 one-halfflorins from the Notary Evangelista di Francescode' Rossifor a Pieit, which he hadpainted on theoutside of thelatter's house at Petrignano(Assisi), and fora Madonnaand saints in thesmall church of theneighbouring Castello della Rocca (now La Rocchicciola). In thevilla which formerly belonged to theRossi family an outdoorshrine contains a 16thcentury Madonna in a squareniche, and at thesides traces still remain of half concealedfigures in thestyle of Caporali.It seemsprobable that the present wall was constructedin front of Caporali'sPieta in orderto createa freshsurface for the later Madonna. The fresco' in San Francescoat La Rocchicciola,representing theMadonna and Childenthroned with Saints Jerome and Anthony of Padua,and thekneeling figure of theblessed Johannes de Lucca, remainsintact; and bearsthe arms of theRossi family, andthe ruinedinscription: EVANGELISTA DE R[ubeilS. Howeverwithout the recorded fragment and inscription,the designof thisfresco wouldbe easilyrecognized as belongingto ourpainter. The Madonnaresembles the Madonnadella Misericordia of Montone; and thefeatures and proportionsofthe Christ Childrepeat those of theNaples panel, and occuragain on a laterbanner at Civitella d'Arnonear Perugia. The arrangementof bench and draperyrecalls the motiveof theCathedral Pieta, and even the stenciled background was employedbehind the Pa- ternalFather which decorated the vault of St. Giuliana. It wouldseem, nevertheless, that Caporali left much of theexecution of thisfresco to somestudio assistant, possibly the Lattanzio mentioned inthe archives ofthe Monastery of St. Pietroat Perugia.The attenuatedfigures, almost without relief, and headschar- acterizedby staring,almond-shaped eyes, and largeears, do notoccur in otherworks attributableto Caporali. This assistantalso painted in frescoa votiveSt. Magdalen in thesame church. Althoughalmost entirely repainted, a fresco 2 in thechurch pertaining to the Mon- asteryof Montel'Abate near Perugia shows Caporali's characteristic types and arrange- ment.An architecturalniche with pediment and pinnaclescontains the Madonna and Childsurrounded by a mandorla,and flankedby St. AntonyAbbot and St. Dom- inic,while beneath St. Sebastianand St. Rochkneel in the midstof thetiny wor- shippers.The splayof thearch is decoratedwith medaillions containing half figures of Christ,prophets and sibyls,and twolarger medaillions in the spandrelsfigure the An- nunciation,reversing the usual positions. The pedimentcontains God the Fatherin the act of benediction,encircled by seraphim.
i Pl. 41. 2 Pls. 42, 43; 44, Fig. 1.
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Caporalihere combines Perugino's motive of the Glorified Madonna adored by saints withthe traditional banner of the Misericordia.The groupsof penitentsrepeat the compositionsof the Madonnas of Derutaand Montone,while the twokneeling saints, althoughbetter proportioned, reproduce the Saint Sebastian in the,latter picture. The wholecomposition is framed by laurelleaves. Notwithstandingtherepainting, the Madonna and Childresemble Caporali's other representations,butboth figures are moreimitative ofthe manner of Pinturicchio.The likenessto thisartist is veryclearly marked in thegraceful and well-proportioned Virgin and Angelof the Annunciation,recalling his treatmentat a laterdate of thesame subjectin theS. Mariadei Fossialtar-piece ', and we findamongst the supplicants a curiouscaricature-like profile of an old woman,which occurs in Pinturicchio'sAracoeli frescoes. At Montel'Abate, corresponding to the Caporali Madonna, is a secondniche fres- coedwith a Crucifixionin the manner of Fiorenzodi Lorenzo,which bears the date 1492. As thescheme and decorationof bothniches are the same,it wouldappear probablethat they were executed at aboutthe same date. ProfessorZampi in his com- prehensivemonograph on Monte l'Abate cites a documentrelating to thisfresco and dated14882, which seems to provethat Caporali invented the motive. Anotherwork to be attributedto our master is thebanner', figuring the Madonna withSt. Johnthe Baptist, St. Sebastian,and adoringangels, preserved in theparish churchat Civitellad'Arno near Perugia. On thesteps of thethrone is the inscription; FRA-ER SA1KESFECIT FIERI A-D-M-CCCCLXXXXII. Thegeneral arrangement of thispicture is likethe fresco at La Rocchicciola,and theDivine Infant has the same featuresinboth representations. TheMadonna repeats the type of the Misericordia banner at Montone;and the St. Johnaccords closely with the sameSaint in theGlorification of St. Anthonyat Montonepainted in 1491. The athleticand well proportioned St. Sebastianof theCivitella banner was evidentlymodelled from Perugino's saint at Cerqueto. In thechapel of thehospital atCorciano is a Madonna4adoring her sleeping Child withSaints Sebastian and Nicholas,which, although ruined by repainting,still suggests thetypes peculiar to Caporali.The centralgroup repeats the cartoonof theVirgin betweenangels in the Palace of theConservatori at Rome,attributed by a recentwriter to Antonioda Viterbo4, butforms and colourare dissimilar,and bothartists may well have borrowedthis motive which became very popular in Umbriaat the end of the
Perugia,Pinacoteca, Sala XVII, No. 1. 3PI. 45,4 6. 2 The authorhas been unableto verifythis doc- 4 ADOLFO VENTURI, Storiadell'Arte Italiana, Vol. ument. Vil, Part11, p. 714.
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15thcentury, from some greater original ?. The Corcianofresco bears the dateA.D. MCCCCLXXXXIIII. Duringthe latter part of his career Caporali inspired several imitators, who followed moreor lessclosely the master's models. We havealready suggested that he was as- sistedin thefresco at La Rocchicciola,and that this assistant painted votive figures ofthe Magdalenand St. AnthonyAbbot in thesame church. Another fresco of a Madonna andangels2 at La Rocchicciolareflects Caporali's manner, and this other follower prob- ablyexecuted a largeMadonna enthroned in the church of S. Antonioat Bastia(As- sisi). Anotherinferior disciple executed the Virginand Saints3 on panel in thechurch of S. Francescoat Corciano,and maywell have assistedour master in thehospital of thattown, as thetwo Saints flanking Caporali's Madonna, and a votiveSaint Anthony Abbotin the samechapel appear badly designed under the repainting, and have the sameangular features and misshapenhands as thefigures in theSan Francescopanel 4. Althoughit is notdifficult to trace influences which affected Caporali's development, we haveno certainknowledge concernilng hisearlier education. Little is knownof Pe- rugianartists of thepreceding generation, and theirfew existing pictures appear weakly imitativeof Sienesecontemporaries, who probablyexecuted the moreimportant com- missions.In theyear 1403 we findTaddeo di Bartoloat Perugia,painting a Descent of theHoly Gbost5 for the church of Sant'Agostino,and completing other works for the churchesof San Francesco6and San Domenico7;and again in 1438 hispupil Dome- nicodi Bartolopainted an altar-piece8for the Conventof St. Giuliana.But while imbuedwith the decorative sense of the Sienese School, Caporali could not have studied theworks of theFlorentine painters, Fra Angelicoand DomenicoVeneziano, without benefitingfrom their greater knowledge of figurepainting, and the laws of perspective. Fra Angelicopainted a largeancona9 for San Domenico,which probably belongs to the thirties,and Domenico Veneziano worked in thePalace of theBaglioni in 1438. 1 The same compositionreversed is repeatedin of BenozzoGozzoli). the Virginwhich formerly occupied the lunetteon the Florence,Mr. HerbertP. Horne,Madonna - (At- PortaS. Giacomoof Assisi, (removed to thePinacoteca) tributedby B. Berenson). and in the fragmentby F. Melanzioin S. Francescoat Horsmorden,Capel Manor,Mrs. Austen, Madonna Montefalco. withMusical Angels - (Attributedby B. Berenson). P1. 47. London,Mr. HenryWagner, Madonna and Angels 3 P1. 48. - (Attributedby B. Berenson). 4 Otherworks which have been ascribedto Barto- Passignano,S. M. in Valle, fresco,Madonna and lomeoCaporali: Angels- (Schoolof Bonfigli). Berlin,Kaiser Friedrich Museum, No. 137a, Ma- Perugia,Municipal Gallery, Madonna and Angels donna- (Attributedby B. Berenson). - (Schoolof BenozzoGozzoli). Boston,Mrs. Gardner's Col., Death of the Virgin- 5 Perugia,Pinacoteca, Sala V, 18. (FlorentineSchool). 6 Perugia,Pinacoteca, Sala V, 21 and 23. Caslelnucvo(Assisi), frescoes - (Follower of Pintu- 7 Frescoes-destroyed. ricchio). 8 Perugia,Pinacoteca, Sala VI, 1. Fanciullata(Deruta), Madonna and Angels - (School 9 Perugia,Pinacoteca, Sala VII, 1-18. 13
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As the conventionscommon to bothCaporali and Bonfigli at the periodof their partnershipin San Domenicowere retained by Bonfiglithroughout hiscareer, it would seermiprobable that his was at firstthe dominating influence. Benozzo's frescoes at Mon- tefalcoexecuted in 1452,must have furnished models for both painters, and Caporali was also attractedby theexaggerated emotion of Benozzo'smost apt pupil in Umbria, Niccoloda Foligno,and attempted unsuccessfully to give to hisfigures the agonized ex- pressionsof thatartist. Caporalimust also havecome in closecontact with Fiorenzo di Lorenzoto whom manyof his important pictures are stillattributed. The poseand peculiarform of the ChristChild in the votivefresco at La Rocchicciolaappear in Fiorenzo'spicture at Frankfort'and in a detachedfresco2 attributable to him in Perugia. PietroPerugino and Pinturicchioinfluenced our painter throughout hislater career, butlike many lesser Umbrian artists he understoodbetter the prettiness and intimacy of Pinturicchio'sstyle than the more abstract conceptions ofPerugino3. A recentbiographer of Pinturicchiohas thereforesuggested the probabilitythat Caporali was thatpainter's master,and if we couldprove the NaplesMadonna to be earlierthan Pinturicchio's representationsof the same subject in Londonand Trevi, we mightassume some such relationshipbetween them. It seemsmore likely that Caporali, who did nothesitate to borrowmotives from his other contemporaries, reproduced the designsof Pinturicchio. Howeverthe colouring and techniqueof thesetwo painters is strikinglysimilar, and it is notimprobable that Caporali may have exerted some influence over the youthful Pin- turicchio,who later became in histurn the instructor ofhis master. But however little ourpainter may have moulded the style of theillustrious Perugians of thenext gene- ration,he improvedupon the angularmodels of his contemporaries,and gave to his compositionsboth sincere feeling and decorative charm.
I Frankforton Main, Stadel Gallery, Madonna St. Catherine. and Saints. 3 CORRADORicci, Pinturicchio, Perugia, 1912, p. 8. 7 Perugia,Pinacoteca, Sala X, 10, Marriage of
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