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Uva-DARE (Digital Academic Repository) UvA-DARE (Digital Academic Repository) Sassetta's Madonna della Neve. An Image of Patronage Israëls, M. Publication date 2003 Link to publication Citation for published version (APA): Israëls, M. (2003). Sassetta's Madonna della Neve. An Image of Patronage. Primavera Pers. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 PAPERWORK SURROUNDING THE REALISATION OF THE MADONNA DELLA NEVE AND ITS CHAPEL The next bulk of documents dates to the 1430s and pertains to Ludovica's commissioning of Sassetta's altarpiece and to her own testament. In this chap­ ter we shall follow donna Ludovica through these notarial acts to see how she formulated and realised her desires regarding the chapel. The documents concerning the commission of the Madonna della Neve form part of the archive of the Sienese church of San Francesco (plate xi).55 The reason that the papers regarding the commission were originally kept in this II convent must have been that Ludovica took the vows of the Franciscan Third Order in her wid­ owhood, although she apparently became a secular member as she Commission retained control of her possessions. In her testament, Ludovica appoint­ ed the guardian of the Franciscan and completion conventuals and the guardian of the Franciscan tcrtiaries as her testa­ mentary executors and fidcicom- missaries (Appendix I, doc. A.Vll).5 The provenance of the documentation for Sassetta's Madonna della Neve therefore does not mean that the friars of San Francesco were involved in its commission.57 Ludovica's Franciscan background indicates one of the ways in which Sassetta may have caught her attention as a candidate to decorate the cathe­ dral chapel. The lives of both Sassetta, and of Ludovica as a tertiary, centred around the church of San Francesco, which contained works by the painter. We know that on 20th June 1427 Sassetta had been paid by its Opera a sum of little more than 11 florins for 'la tavola di Santo Lodovico', possibly an instalment for an altarpiece.5& Also in the church of San Francesco, Sassetta 55 Giovanni Antonio Pecci in 1731 saw these Sassetta documents 57 C.B. Strehlke, 'Art and Culture in Renaissance Siena', in in the convent of San Francesco, survivors of the devastating fire CHRISTIANSEN, KANTER & STREHLKE 10,88, p. 45, who presents that raged in the church in 1655; PECCI 1731, fol. i.sr nr. 66, 32V nr. it as a commission by the friars, paid for by Ludovica. 276; his notes published by A. I.isini in BORGHESI & BANCHI 1898, 58 '... al presente di 20 di giugno 1427 da Batista di Bartalomeo di pp. 144-45 note t0 nr- 82. They are now kept in the ASV, which pre­ Buonsigniorc banchiere et camarlingo de l'Uopera...Item Stefano serves a lot of archival material from this Sienese convent; LAU­ dipentore avuto in prestanza per la tavola di Santo Lodovico L. 46, RENT 1935, pp. 257-258. sol. 12'; BONUCCI 2001, pp. 26-27, who suggests a relation between 56 The tcrtiaries were actually organised that way. In 1428 the donna Ludovica and the image, because of the presence of her male abbess of the tertiaries, Petra of the late Angelo di Meo di Vanno name-saint. Considering that Ludovica was still alive and would Zondadari, had created Margarita di Pietro of Condorgiali gov­ easily have been able to pay herself, the work must have been erness of the tertiaries: 'rectricem et gubernatricem bonorum omni­ ordered by the friars themselves in honour of a saint that was of um dictarum mantellatarum' and entrusted her with the 'curam, general interest to their order. At the most, the remuneration may diligentiam et administrationem bonorum omni ipsorum mantel­ have been the friar's handling of a private bequest. It was probably latarum'; ASV, Fondo Veneto 1, 16190 (dated 2nd July, notary an intermediate payment. The work itself may have been a single Cristoforo di Domcnico Salvi of Abbadia Isola). panel, but more likely an altarpiece. An altar dedicated to Saint COMMISSION AND COMPLETION 25 had painted an altarpiece for the Petroni family, which will be discussed in more detail below. The initial contacts with the Franciscan convent in Borgo Sanscpolcro for their double-sided altarpiece, painted by Sassetta in the vears 1437-1444, may also have been mediated by the Sienese house.5'' As we have seen, Franciscan sympathies were shared by many of Ludovica's friends, amongst them two consecutive bishops of Siena. The first, Antonio Casini, counsellor of Ludovica as well as patron of Sassetta, left money for a perpet­ ual office to be said in the memory of two of his sisters in the church, as we shall see later.60 We have seen that the second, Carlo Bartoli, also came from a Franciscan background and was well known to the protagonist of the Franciscan Observance, Saint Bernardino.6' The saint would in turn become a patron of Sassetta, whom he commissioned to paint an Assumption of the Virgin for the high altar of his convent church.62 In addition to this, Sassetta had a personal affiliation with the Franciscans, as it is probable that his sister Caterina Maria professed to the order.6-' Furthermore, at the time of the commission, both Ludovica and Sassetta lived in the vicinity of San Francesco, in the neighbourhood of San Pietro a Ovile. Ludovica lhed on the Piazza del Sale (sec Appendix 1, doc. A.VII), while Sassetta was registered as gonfaloniere of the Compagnia di San Pietro a Ovile di Sotto in 1431.64 When Ludovica commissions the altarpiece to Sassetta on the first day of the Sienese new year, 25th March 1430, she is in fact referred to not only as the daughter of Francesco Bertini and the widow of Turino but also, for the first time, as 'clamidata ordinis Sancti Francisci de Scnis\6-S She entrusts Sassetta with the task of painting an altarpiece to go over the altar of San Bonifazio near the Porta del Perdono, 'Stefano Iohannis Consoli de Senis, pictori ad pingendum unam tabulam'. She commissions the painter directly, without intervention of the opcraio that was in office, as had previously been usual practice as, for instance, in the case of the Pietd ordered by Caterino di Corsino for the chapel of Galgano di Cerbone (fig. 35).66 This attests to an unprecedented degree of direct influence in the formation of the chapel of Louis, with an 'old' altarpiece with the Virgin and saints, its 61 BERNARDINO 1427, p. 1205 (sermon xi.l-19), praised the patronage just passed from the Palmieri to the Rossi, did exist in newly elect bishop in a sermon on the Campo. the time of liossio 1575, fol. 672V (p. 988): 'Visitavit cappellam 62 ISRAELS 1994, pp. 7, 12-13; CARLI I976, pp. I 58, I 58-1 59 note Sancti Ludovici [...] Icona vcro erat parum antiqua cum figura 3- bcatas Mariae Virginis et aliorum sanctorum. Cappella est testudi- 63 ISRAELS 2OO3. nata et videtur minari ruinam ut apparet et est, ut dixcrunt, illo- 64 ASS, Concistoro 2372, fol. 52V: 'Magister Stefanus Johannis rum de Rubeis sed modo de Palmeriis.'. It does not appear in pictor. G|onfaloniere|'; POPE IIKNMSSY 1939, p. 87 note 9; CHIGl (BACCl) 1625-1626, pp. 318-310. The identification with ROMAGNOLI 1835, vol. IV. p. 420. Sassetta seems warranted as there was only one painter by the 65 ASV, Fondo Toscano 1, 16192; published by LAURENT 1935, name of Stefano inscribed in the Sienese guild of painters. pp. 260-261. The contract is written by notary Luca di Nanni of 59 Some parchments were originally kept in the convent's Siena and is made up in Ludovica's house in the presence of (her?) archives, see PECC1 1731, Ibis. 34T nr. 294, 37r nr. 330. The con­ two bankers, Agabiio d'Ambrogio di Antonio and Pietro di Angelo tract is now in the ASV (Fondo Veneto 1, 16201), see BANKER di Pietro. 1991, p. 51, suggesting the Vatican contract was the painter's copy; 66 SANl 1987, p. 491-492; see p. 77 below. Similarly, the Opera DAVIES 1961, pp. 368-570 (transcription). acted as intermediary for the decoration of the chapels of 60 See Appendix 1, doc. E.43. Referred to as 'Cardinale di S. Francesco di Biagio and Giorgio di Andrea di Pietro Tolomei loo; Marcello': LUSIN1 1894, P- I0°; DE ANGELIS 1827, p. 48. sec pp. 82, 85. 26 CHAPTER II Santa Maria della Neve. In any case, Ludovica's choice of Sassetta would also have pleased the Opera del Duomo as, in the years following Turino's death, Sassetta had been employed by the cathedral works particularly for his skills as draughtsman. He probably made the design for the pavement panel with Joshua's Defeat of the Amorite Kings in 1426.67 He also made a grand-scale drawing on a wall of the baptistery of San Giovanni, beneath the cathedral, in preparation for the work by some of the most advanced artists of his day.
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