Raphael's Altar-Piece Patrons in Città Di Castello

TOM HENRY

Raphael'saltar-piece patrons in Cittd di Castello*

RAIHAEL's earliestdocumented actMty as a painter wasin ture from the city - Signorelli painted the MarErdom 0f St Citta di Castello, where he painted three altar-piecesand a Sebastianfor Tommaso Brozzi's chapel in S. Domenico confraternity banner. Investigation of the individuals who (Fig.7),further discussedbelow.s This appears to have been commissionedthe altar-piecessheds new light on Raphael's Signorelli's last commission in Citta di Castello for twenty work in the city and revealsthat the artist's private patrons years,as he waslured awaybyprestigiousfresco commissions there formed a close-knit coterie whose commissionsshould at Monteolive to Maggiore and Orvieto. His departure left be seenas part of the extensiverenovation of chapelsin the something of an artistic vacuum, soon to be filled by the city's churchesin the late fifteenth and early sixteenth cen- young Raphael. turies. The account of Raphael's activity in Cittd di Castello that Cittn di Castello is a small city in the upper Tiber valley,' appears in Vasari's Liues,with its perceptive comments on fifteen miles south of Borgo Sansepolcro,with good accessby the young artist's stylisticdevelopment, has been the corner- road to Florence,Urbino and Perugia,thirty-five miles to the stonefor all subsequentdiscussions, but Vasari provides rela- south (Fig.l). In this period it was part of the Papal States, tively little detailed information. He mentions the three but was elfectively ruled by the Vitelli family and their asso- altar-piecespainted for S. Agostino, S. Domenico and S. ciates.Documentation for the period c.1485-1505gives evi- Francescoin such away that two of the three can be secure- dence of a high level of artistic patronage in the city with a ly identified, but doesnot identify their patrons or give their concertedprogramme of altar renewal.For most of the 1490s dates.sHe does not refer at aII to the double-sided banner the local artistic scene was dominated by the presence of depicting the TiiniQ with StsSebastian and Roch and The Creation Luca Signorelli (c.1450-1523),who painted altar-piecesfor of Eue,'onor does he offer any explanation of how the artist many of the same churches as Raphael and whose patrons came to the attention of the citizens of Cittd di Castello were closelylinked to his. Signorelli was first documented in (although he does add the interesting, and verifiable, infor- Citti di Castello in 1486,'?and was granted local citizenship mation that the artist came to the city 'conalcuni amici suof). in 14BBwhile painting a processionalbanner (now lost) for Vasari's account has been supplementedby information the most important local confraternity, S. Maria della Pietd.3 from the pictures themselvesand their frames, and by the He subsequentlypainted portraits of three members of the researchesof various scholars,especially Giovanni Magheri- ruling family, and an unpublished letter of l6th December ni Graziani, who identified the patrons of Raphael's three l49B demonstrateshis intimacy with the Vitelli and with the altar-pieces,and made a first attempt to reconstruct their political6lite of Citti di Castello.aSignorelli alsopainted five biographies." The two documents he found for the altar- altar-piecesfor the city between 1493 and 1498: the high piece that Raphael painted for Andrea Baronci in S. Agosti- altar-piecesof S. Maria dei Servi and S. Agostino (the latter no (1500-01)have been republishedon various occasions," now in the Louwe) for which he was paid two hundred and but, with the exceptionof a small study of Baronci,r3there has 150 florins in 1493 and 1494 respectively,'and other altar- been no attempt until now to investigatethe links between piecesin S. Agostino (for Luca Feriani'schapel, probably the Raphael'svarious patrons. Natiuigtnow in Naples),uand in S. Francesco(the NatiuiE now The documents for the Baronci painting Raphael's first in the National Gallery London, apparendy for the Tiberti altar-piececommission in Cittd di Castello,remains the only family, 1496).'In 1497-98 - immediately prior to his depar- direct archival evidencefor his activity in the ciry.In Decem-

*For the great kindnesses a{forded to me in Cittd di Caste11o,I would like to thank r. HENRvand r.. xarlrr,t: Iaca Signorelli.The CompletePaintings, London 12002], cat. Anna Maria Traversini, Alba Ghelli, Corrado Rosini, Don Paolo Schivo, Olita nos.4244. Franceschini,Donal Cooper and the lateJoyce Plesters.For opportunities to discuss 'The documents for these comissions are transcribed in rn'nnv 1996, pp.422-29 this material, I am grate{ir.l to Nicholas Penny, CarolPlazzotia,Marreen Banker and and 437-39 (and seepp.145-62). uSee Lee Hendrix. I would also like to thank David Steel andJos6 Luis Porfirio for infor- nrl'nv and reNren , op.cit. at note 4 above, no.45. mation about Raphaei's panels in Raleigh and Lisbon. The Archivio Storico, 'Ibil., no.5l. Archivio Notarile and Archivio Vescovile in Cittd di Castello are hereafter referred oSeenpxny 1996, pp.1 73-81 and rmrny and xewrnr., op.cit. at note 4 above,no.55. to in thesenotes as CDCAS. CDCAN and CDCAV nc. vesanr: Za Wtede'pii unllmti pittori, vultori e architeftorinelleredazioni del 1550 e 1568, 'Cittd di Castello may well be representedin the background of the Mond Crucifaion, ed. n. sertAx-tr\'rand e. renoccHr, Florence [1976], I! pp.158 59. The substantive as first suggested in c. uecrm,nnr cRAzrAM: LAxe a Ciad di Castel/a,Cittd di Castello inlormation is unchanged between the two editions. ll8s7l,p.237. 'oThisbanner, probably Raphael'sfirstwork for the city, is first mentioned in the con- '?Thedetached and fragmentary lresco ofthe Wgin and Child mthronedwith StsPaul and fraternity church of S. Triniti in 1627 (a. comr: fiori aaghidelk uitade'Santi e Beati fulla jeromztrt the Pinacoteca Comunale, Cittd di Castello, is usually acceptedas a docu- Chiesae reliquiedtlk Cittddi Castelk,Cittd di Castello [1627], p.179). For the painting mented and dated work by Signorelli of 1474, but he is not in fact named in the which is now in the PinacotecaComunale, seee. MARABoTTIM,in r.r. rueNcnn,ed.: 'Signorelli contempomry documents; see r. HENRv: e Perugino', Aai del Conugno PinacotecaComunale di Cittddi Castelll:Dipinti,PertgSa [1989], pp.1 70-72. intnnazionalen PietroVannucci detto il Puugino,Pmqia 25-28.10.2000,Perugia,2003, "MAGHERInGRAZTAM, op. cit. at note 1 above, pp.236-37, and idem:'Documenti forthcoming. inediti relativi al "San Niccold da Tolentino" e allo "Sposalizio" di RaJfaello', .Bof 3The documents for this processionalbanner and Signorelli's receipt oflocal citi- kttino dellatugin Depunaionedi StorinPahia per I'Umbria,XfV [1908], pp.83-95. ''lCDCAN, zenship are transcribed in r. HENRv: The Caren of Luca Signorelliin the 1 490s, tnpub- 48.8, Gentile di Ser Giovanni Buratti, fo1s.94vand 211 (fust published lished doctoral dissertation, University oflondon, 1996 (hereafter referred to as by uecnr,nnn cn-ezl.tttt, loc.cit. at note 1 1 above, and again in v. cor-zro: Rffiello nei uornv 1996),pp.396 and 40M4. docummti,nellz testimonianzefui contanporaneie nella Letttraturadel suosecolo, Vatican City 'Luca Signorelli to Corrado Salimbeni, 16th December 1498 (Pierpont Morgan [1e36],pp.7-B). Library New Yo*, MS MA 4261, gift of Mrs Landon K. Thorne,Jq 1985).I wiII "F,. rrtr-r.ce:rrAndrea Baronci e gli altri committmtitfrnati di Rffiello. Condocummti inediti, discussthis letter (the text of which can be found in rnxpv 1996, pp.458-59) in a Cittd di Castello f19941. forthcoming article in PagineAltotiberine. For Signorelli's portraits of the Vitelli, see 268 RAPHAEL,S ALTAR.PIECE PATRONS IN CITTA DI CASTELLO

,4 .. X.&l P.e a. u.btu&Xstu.9tu&Xst&.|@ &.t.@ , ?te.t?t, a tn ti,antu a Ll. ld &N.i,& N.i, ttil4ktt,&k a ?i.,r4.1Pi tl ,tu yeh-^4, ,!.4 J.. hr+lnaltu , tu!?a 4) v.e 't , . l..r'+i*br 14 a tuJ l' . 6..Mt,tk./ia/,&46.Mr,rk.ta/i1,r |I nr.taQ..,tr6,te.rn t&..,trdie.t ;.....fdlLytl4rt? relL". '' t, *d*J^PuL t.,:.t U, r Jabr' ,, , tu*M b' :-LUae 4.nua.!^.t4t\ _.;&id*dii;r:t.tu4ra+, art. t,eituil,bi (W-' . it /\t/l&'dt k, t r&rltr-';t;'. ta. fr &bn& , ?,i &.alAfr.4 ,t t . . !;'::!:4f::. -, .. .'- *::'f:1",':.::Y-| I. Map of Cittd di Castello,by Filippo Titi. c.1675(?).Engraving. (Biblioteca Comunale, Cittd di Castello).North is at bottom dght. The churcheswhich housed works byRaphael are nos.1I (S.Agostino), 13 (S. Domenico), 14 (S. Francesco)and 43 (S.Trinitd).

ber 1500 Andrea Baronci commissioned an altar-piece from in 1505for an unidentifiedpatron.'6 This argumentis based Raphael and another painter, Evangelista di Pian di Meleto, on seventeenth-and early eighteenth-century descriptions for his chapel in the church of S. Agostino. The two artists of the Coronation,which sometimesstate that the picture was were to receive thirty-three ducats, a small sum compared painted in 1505, together with some residual di{ficulties in with the fees paid to Signorelli in the preceding years, but connecting Baronci to the chapel of St Nicholas, which one commensurate with their reputation and experience. had been constructedby another patron, Berto Vanni, a few Raphael, who was not yet eighteen, is described as'magktef yearsearlier.tT and had therefore presumably matriculated into a painter's Assessmentof the Coronationis complicated by the severe guild. Evangelista, who had worked with Giovanni Santi, was damageit sufleredin an earthquakein September1789.'' considerably older but nonetheless plainly the junior part- S. Agostino was largely destroyed(the church of S. Francesco ner.14Baronci's advance was guaranteed by Battista Floridi, a di Salesnow occupiesits site), and the then owners of the prominent silversmith in Cittd di Castello. Nine months lateq chapel agreed that the picture should be sold to pay for the in September 1501, the parties made a final quittance, con- church's rebuilding.'nIt was evidently acquired by Pope Pius firming the fee. VI, and subsequentlydismembered and dispersed.ibur frag- The now dismembered and fragmentary Coronationof St ments survive in Naples, Paris and Brescia (Figs.2and 3).'?0 Nicholas of Tblmtino (Figs.2 and 3) described in S. Agostino Our knowledge of its original appearanceis supplemented from 1627 on is usually associatedwith these documents." by a partial copy made in Rome in l79l by Ermenegildo However, the contract does not specify the subject-matter of Costantini (Fig.4),by Luigi Lanzi's sensitivedescription,2l and the painting (to be determined by Baronci), or the chapel's by a number of preparatory drawings (the most important of dedication, and Enrico Mercati has recently argued that the which is a double-sidedsheet in Lille; Fig.5)." St Nicholas of Baronci altar-piece is lost and that the Coronationwaspainted Tolentino (flankedby four angels)wasshown trampling on a

''On 16th October I4B3 Evangelistawas described asfomulus IoannisSanctis pictoris Argelo di Battista di Angelo, fols.l98v 200v and 46.2, Pietro Laurenzi, fol.226r-u 'Due ''c. deUbino' (seen. scausse: opere sconosciutedi Evangelistadi Pian di Meleto', MUZr:Memorie Ciuili d; Cifid di C6tell0,Cittit di Castello [844], II, pp.155-56. Rassegnabibli.ogrfua dell'arte italiana,Iv [1901], p.197). Seealso the crucial, but large- Gavin Hamilton had attempted to acquire the picture the previous year (rraecrnnnr 'Di ly overlooked, article ofa. arrppr: Maestro Evangelistada Piandimeleto pittore', eRAZTANT)0p. cit. atnote 1 above,pp.266 and 371). NuouaRiaista Misena, IV [1891],pp.5 1 53. "'MAGHERNTcRAZrANr, ibid. The owners were Giovan Vincenzo and Niccold 'The ''The fullest discussionis s. n6cuw: St Nicholas of Tolentino Altarpiece', in Domenichini-Trovi. 'oFor Raphaelbefore Rome, Studies in theHi:tor2 0fAr\X\,\I [1986], pp.15 26. v.r.sa.nI(lor. rdL a discussionofthe fragrnents,see n6cunv, Ioc.cit. atnore 15 above.For the pro- at note 9 above),mentions a panel by Raphael in S. Agostino in Cittd di Castello ir venanceof the NapJ.espanels, see c. Ira.q.ornrnuand n. crov.tcNor-r:1z PrimaGioainez- 'same the manner' as the Vatican Coronation,without giving its subject. za di Rffiello, Citti di Castello [1927], pp.60-61, and n. spNosa: Mzsei e Gallerie 'UMERCATT, 0p.cit. at rote 13 above,pp. 13-1 5. Na

2. Angel,by Raphael. c.1500-01. Panel, 58 by 36 cm. (I\4us6edu Louwe, Pari$.

devil with, above, God the Father, the Virgin Mary and St Augustine.Although the iconography is unusual, St Nicholas himself was a common Augustinian subject, with some po- tentially relevant plague associations.tuAll the various recon- structionsimply that Raphael's altar-piecewould have been very large indeed, measuring c.390 by 230 cm.'uExamina- tion of the individual fragments and the preparatory drawings makes it impossibleto accept Mercati's conclusion that the Coronationcould have been painted in 1505 (i.e. after the Sposaliaio;Fig.t3), and the traditional associationwith the Baronci documents should be maintained. Andrea di Tommaso Baronci, the oldest of Raphael's patrons, is documented from 1466 and died between May 3. HeadofGodtheFathn,byRaphael. c.1500-{1. Panel,112 by 75 cm. (lMuseo 1503andJuly 1505.*He wasa wool merchant(several docu- Nazionale di Capodimonte, Naples). ments were drawn up in his bottega),26and was involved in numerous property transactions.2THe lived in the quarter of 1512 that his estatepassed to her (seethe Appendix below, the Porta Santa Maria (in the south eastof the ciry) and had Document 1). This also establishesthat Andrea was buried a chapel in S. Domenico, as well as maintaining strong con- in S. Domenico - not S. Agostino as had been commonly nexionswith the more northerly S. Agostino in Porta S. Gia- supposed- and that the couple were childless.Domenico como. In addition to commissioninghis own altar-piecefrom Gavari, patron of Raphael's Crucifixionwith Saints,was named Raphael, Baronci had held sums earmarked for Signorelli's as Clara's universal heiq and numerous documents point to high altar-piece in S. Agostino,'uand had performed a simi- the intimacy betweenBaronci and Gavari.3' lar r6le n 1497 in S. Maria Nuova;'nit appearsthat he con- Gavari's Crucifxion,now in the National Gallery London cerned himself with getting pictures painted. He was also (Fig.6),was the secondof Raphael's altar-piecesfor Cittd di active in city politics, serving as one of the rectors of the Fra- Castello.This large panel is signed'napuenr,,/vnnrN/as/p'in ternity, as a member of the Consiglio del X\{I, Consiglio del a prominent and highly original way at the foot of the cross. XXXII and the Officiali della Mercanzia, and he was a Prior Vasarimentioned the picture in S. Domenico - adding acute- of Citti di Castello on numerous occasionsbetween 1466 ly that had Raphael's name not been on it, no-one would and 1502.'oAlthough I have been unable to locate his will,3' have believed it was not by Perugino - and it was subse- it is clear from the testamentof his widow Clara Baronci, of quently recorded in most of the published and manuscript

"G. wrzr: Memorie Ecclesiastichedi Cittd di Castello,Cittd di Castello [1842-43], IV florins, deposited with Andrea Baronci, to be spent on the high altar-piece of S. pp.238 39, refers to the city giving S. Agostino money for a processionon the feast Agostino (CDCAN, 29.11, Angelo di Battista di Angelo, fo1s.53v 54v, 7th Novem- ofSt Nicholas ofTolentino in 1455. ber 1492:'rehquisw et legasseuclesfu Sancti Augustini Ciuitatis CastellifrorcnosLtu pro tabula 'nSeeo. nlsctmr-:'Ralfaels erstesAltarbild, die KrOnung desHI. Nikolaus von Tolen- maiorisaltaris . . . depecuniis fupositis pmes Andream Baronci dt dicta ciuitate. . .'). 'nMERCArr, dno' , Jahrbuchder Kiniglith PreussischmKunstsammlungm, XXXIII [ 9 12] , pp. 105 2 l, 0p.cit. at note 13 above,pp.74-75 (CDCAN, 49. 1, Maccario Paciucchel- and w. scnoxe: 'Rapha€ls Kronung des Heiligen Nicolaus von Tolentino', in.Eeza li, fo1.38v,2ndJuly 1497).The individual involved here was called Marco di Maria. 'uFor Gabedn Freundej)rCarl GeorgHeise lum 28.V1.1950,Berlin [950], pp.I l3-36. his political career from 1495, seeMERcATT, 0p. tit. at note 13 above,pp.32-34; " CDC AS,Rforman4, I 466-7 2, fo1.9r(26th February 1466); CDCAN, 52. 1, Battista for the earlier period see CDCAS, Riformm4, 1466-72, fols.9r, 16r, 170v, 169r et di Ser Battista, fols.241r4Ir (24thMay 1503)and 5l.2,Lattanzio diSerBiagio Lat- passimn vo1s.5054 (I+7 2 1,504). tanzi, fols.65v-67r (30thJuly 1505; published in l,m,ncanr,0P. cit. at note 13 above, "It was apparently drawn up by Ser Antonio di Domenico, for whom only one pp.77 8l). protocol, of 1473-83, suwives (CDCAN, 39.I). 'uSee,for example, CDCAN, 52.1, Battista di Ser Battista, fols.102v-03r (15th May 3'?Inaddition to those mentioned below, seeCDCAN, 52. 1, Battista di Ser Battista, 14e8). fols.240r-41r (24thMay 1,503);+8.7, Gentile di Ser Giovanni Buratti, fol.122r-v "E.g. CDCAN, 29.13,Angelo di BattistadiAngelo, fols.lr-v,4r, 22v,40r (1500-01). (13thAugust 1499). '8In a codicil to his will of November 1492, Baldo di Mariotto Lucarini left fifty 270 RAPHAEL'S ALTAR-PIECE PATRONS IN

4. Copy after Raphael's Coronation of StNicholas,by Ermenegildo Costan- tid. 1791.310 by 176 cm. (Pinacoteca Comunale, Cittd di Castello).

.: '1 ,'l ii i: .; i..:{ : t:i ,',.i, ;:..r&* ,. it .:.;t :1i :$ . .:rt rft ":a? . ii. ,.,r! :l* 'ti*Lr! t;:

5. Compositional study for the Coronation of StNicholas,by Raphael.c.1500 01. Black chalk and stylus

on paper, squared for -i,ll, transfer, 39.4 by 26.3 cm. $4us6e des Beau-Arts, Lil1e). guides to the city.33The inscription on the picture's frame, the frame for Signorelli's MarQrdom 0f St Sebastian(Fig.7), which survives'in situ, establishes that the patron wasDomeni- discussed below. co Gavari. The Gavari chapelwas acquiled sometimebefore The patron of the Crucfixion, Domenico di Tommaso di I726by the Gualterotti family who sold Raphael's Crucifixion Giovanni Gavari, Iived, like Baronci, in the quarter of the to Cardinal FeschinJuly 1B0Bfor 2500 scudi.'nLord Ward Porta S. Maria, near S. Domenico (probably in the modern- (ater Earl of Dudley), acquired the picture soon after the day Via dei Gauri a corruption of Gavari)..' Domenico Fesch sale in 1845; it was purchased by Ludwig Mond in Gavaricanbe tracedfrom 1486, anddiedbetween l52l and lB92 and bequeathed by him to the National Gallery in 1524.38He too was a wool merchant and various documents 1924.3' refer to his shop, and to the bales of wool and woollen gloves '[he Crucfixionwas painted for a chapel at the top of the that were part of his stock-in-trade.3s References to loans south aisle of S. Domenico, just to the right of the high altar being repaid to Gavart rrray indicate that he was also a and altar-wall chapels.The survivingpietrasuenaframe (Fig.B) banker.noHe was certainly a significant land-owner, complet- 'Hoc still bears the Gavari stemmaand the inscription: opvs ing numerous property deals in the years 1500-02.n' Gavari FrERrFEcrr n fonre]Nrcvs,/ THOMEDE GAVARTS MDrrr'. The pre- married Angela di Christofano di Jacopo (Sellari?) before sent church of S. Domenico was built between 1400 and March 1497; they appear to have had no children. Angela l+24,'uand someremnants ofits fifteenth-centurydecoration can be traced untilJuly 1505,n2but must have died before survive, the most significant element for our purposesbeing 1511, by which date Gavari was remarried, to Mariecta

'oA.AscANr: "'vAsARr,llc.cit.atnote 9above;coNTr,0l cit.attote 10above,p.156;n.r.r,AzzARr: ChiesadiSanDomenicoaCittddiCastello,CittddiCastello[1963],pp.2 23. Serhdi Vescouie breae storia di Cittd di Castello,Foligno[1693], p.286; cmrnrr, MS cited "vecrmnnu eR-qzrANr,op. cit. at note 1 above,pp.236-37, published some biograph- at note 17 above, fol.52r v. ical material relating to Domenico Gavari, much ofwhich is unfortunately incorrect, 'nThe Gualterotti were granted a papal dispensationto sell the altar-piece to Car- and I have had to reconstruct his biography lrom scratch. 'Documenti dina.l Feschon BthJuly 1808 and did so three days later (e. nossr: ris- *CDCAN, 29.9, Angelo di Battistadi Angelo, fol.34, lor the 1486 mention; 51.5, guardanti le vicende delle tre tavole di Raffaele che erano in Cittd di Castello', Lattanzio di Ser Biagio Lattanz| fo1.548,for that of l52l; Gavari was describedas 'defunct'in Gornalcdtll'Erudizione Artistica, NS., I. 1 [1883], pp.8 16, esp.pp. 11 13). A copy was 51.6,fol.29Br (2nd Rbruary 1524). installed in the Gavari chapel (uercnu, 0p.cit. at note 10 above,p.248). For confir- *CDCAN, 50.2, Pietro PaoloPacisordi, fol.76v (9th October 1501);29.12, Angelo 'in mation of the acquisition date of 1808, usually incorrecdy given as lBlB, see o. di Battista di Angelo, fols.178v 79v (1 1th May 1498).His worlshop was locodetto rlerilnrur: Ajaccio,musie lbsch. Izs Primitlfsitalims, Paris [1987], p.2 1, note I 28. la loggia'(50.2, fol.l98, SthJanuary 1504). n"See "For the Fesch sale, see Galeriede lbu S.E. le CardinalFesch,Rome [18a5], pp.1 a CDCAN, 51.4, Lattanzio di Ser Biagio Lattanzi, 1510-17, passim. (no.479-700). The National Gallery had consideredbidding lor the Crucfixionbttit "E.g. CDCAN, 29.13,Angelo di Battistadi Angelo,fols.lr-v (12thMarch 1500),4r was eventually bought by the Principe di Canino for ten thousand srzdi (National (23rdMarch 1500),52v (sthJune 1501). Gallery Archive, Minutes of the Board of Trustees, 19th February 1844 and 4th *CDCAN, 51.2r Lattanzio di Ser Biagio Lattanzi, fols.65v-66r (30thJuly 1505; August 1845). For the subsequentprovenance ofNG 3943, seec. cout:o: National published in uoncttr, op.cit. at note 13 above,pp.77 79). Galkrl Cataloguu.The Si-xtemth-CenturlItalian Schools,London 119751,pp.222 23. 9'71 RAPHAEL-S ALTAR-PIECE PATRONS IN CITTA DI CASTELLO

6. Crucfixionuith Sazts,by Raphael, c. I 502 03. Panel, 283.3 by 167. 3 cm 7. MarQrdomof St Sebutian,by Luca Signorelli. c.1498. Panel, 288 by 175cm Q\ational Gallery, London). (PinacotecaComunale, Cittd di Castello).

B. Pietra serenaframe for Raphael's Crucfuion uith Sainh.Dated 1503 (S.Domenico, Ciud di Castello).

9. Pietra serenaframe for Sienorelli's Marlrdon of St Sebulian.OriginalJy dated l49B (S. Domenico, Citti di Castello). 272 RAPHAEL'S ALTAR-PIECE PATRONS IN CITTA DI CASTELLO

Andreocci (seeAppendix, Document 2). Gavari servedregularly as a Prior of Cittd di Castello and was a Rector of the Confraternity, as well as serving on the Consiglio del XVI and del XXXII, and on four or five other governmental committees.n3In brief, his civic profile wasvery similar to that of Andrea Baronci. Confirmation of the close ties between the two families can, as we have seen, be found in Clara Baronci's will of September 1512 (drawn up in Gavari's chapel at the foot of Raphael's Cruc!{txion),which nuunes Domenico Gavari as her universal heir (Appendix, Docu- ment 1). It seemsreasonable to suggestthat Baronci provided the link between Raphael and Domenico Gavari. Domenico Gavari made at least six wills, and the changes in his circumstancesthey revealshed light upon his choicesas a patron. In his first testament,of March 1497,herequested burial in S. Domenico, named his wife as his heir in first instance,and left fifty florins to each of the major churchesof the city and twenty-five to the principal confraternity (S. Maria della Pietd).His two brothers were to receiveone hundred florins each, but the bulk of his estatewas promised - after his widow's death - to the friars and chapter of S. Domenico.*'His secondwill followed fourteen months later in May 1498.Again specifyingburial in S. Domenico, he bequeathed the friars a specific, inalienable property, and left them a further ten florins for a new chalice and a black altar- cloth." Most interesting for our purposesis Gavari's third will of May 1511 (Appendix,Document 2). Burial in S. Domenico is now specified as'in sepulcroeius capelh sancti Hieronimf to which the property first mentioned in 1498 is now attached. His bequeststo other churchesin the city are greatly reduced, 10. Crucfuionuith Salz4 by Perugino and workshop. c.1502 {6. Panel, 240 by 180 but two new confraternities are added to the beneficiaries: cm. (Galleria Nazionale dell'Umbria, Perugia). the local Hieron),rynites,and the confraternity of S. Maria in the church of S. Domenico. His new wife, Mariecta, was to associatedwith the altar-piecesince l90B (Figs.l1 and 12) be the beneficiary for life of his estateand his only son by heq depict posthumous incidents from his life.n'Both have been Girolamo, who cannot have been more than five years old, cut at the sidesand there must originally have been at leasl was instituted as his universal heir. By the time of the fourth one other panel in the predella.soThe two episodesof Eusebia will, inJuly 1514,Domenico and Mariecta now had a daugh- of Crmnnaresuscinting three dead mm with Stjerome's chak (Fig.ll] ter, Angela, to be provided with a dowry of four hundred and St Jeromesauing Siluanus and punishing the Heretic Sabinianu florins.*uThe most significantchange in his fifth will, made in (Fig.l2) originated in the apocryphal letter of St Cy'ril to St 1519, is that his universal heir is now named as a previously Augustine and had been popularisedby the Hierorrymianum,a unmentioned son, Bernardino, Girolamo having evidently short text written by Giovanni d'Andrea di Bologna (d.l34B] died in the meantime; another daughter, Giovanna, is also which was frequently published, often in translation, in the ( provided for." By August I 52 I , Gavari is describedas clrpnre fifteenth century and appears to have been the principa.J languens',but the final will's provisions remain basically sourcefor the predellasof otherJerome altar-pieces,such as unchanged.nt thoseby Sano di Pietro, Luca Signorelli and Perugino." It comesas little surpriseto learn that Gavari's chapel in S. Although the altar in S. Domenico may already have Domenico was dedicatedto StJerome. Not only is that saint been dedicated to St Jerome, whose cult was promoted by presentat the foot ofthe crossin the Mond Crucftxion,but the the Dominicans,s2we may suspect that Domenico Gavarj two predella panels in Lisbon and Raleigh, North Carolina, personally choseits dedication. His later wills show that he

"'In 1503 alone he served on the XVI and as a Prior; see CDCAS, Rlforman4, Bevilacqua who was legate in Perugia from 1600 to 1627 (ueonnn-nr GRAzrANr,0p 1+91-150+, fols.232v and 247v. For some of these olfices, see unxcerl, ibid., cit. atnote I above,p.241). FrancescoAndreocci, on the other hand, recorded thal pp.32-34. the friars of S. Domenico gave'un gradino cheera sotto questo quadro e chesi credtdipintt *CDCAN, 29.12, Angelo di Battista di Angelo, fol.1 14r-v (16th March 1497). da Rffielk' to Cardinal Rasponi when he visited the city on 27th October 1668 +5lbid.,fols.I7\v-79v(1 lthMay 1498):'.. .Itanreli4ui;tdhtteccltsizfurmosdectmprouna(c. narcnn: Istruzionestorico-pittnrica pw aisinre h Chiesee i Palnzzi di Citk di Cdstello, calicede nouofiendo pro dicta eccleiaet unumparimenhlm altaris panni lnnenigri.' Perugia[1832], I, pp.236 37). *CDCAN, trc. Sl. ,Lzttanzio di Ser Biagio Lattanzi, fols.299v-301v (TthJuly 1514). D'enoxre: Il DeaotoTransin dzl Gkrioso SanctoHinorrymo ridocto in knguaFiorentina, 'CDCAN, 46.11, Pietro Lanrenzi, fols.219r-20r (2OthJuly 15i9). Florence [1490], unpaginated, chs.XXD( and XXXI. For discussionsofthis icono- *CDCAN, 5l.6,Lattanzio di Ser Biagio Lattanzi, fols.90r-91r (19th August 1521). graphy, see L. pLLroN:'La L6gende de SaintJ6r6me d'aprds quelques peintures n'These 'Zwei predella panels were first associatedwith the Crucfuionin c. cnoNau: italiennes du XVe sidcle au Mus6e du Louwe', Gazettedzs Beaux-Arts,sOl [1908], 'St. 'St. Predellenbilder von Raphael', Monatshefuf)r Kunstutissnschafi,I[1908], pp.l071- pp.303-18; and s. nogenrs: Augustine in Jerome's Study': Carpaccio's 79, and a.lthoughthe provenance has not been fumly established,it has not been Painting and its Legendary Source',Art Bulktin,Xll [1959], pp.283-97. t'See challenged since. noernrs, Inc.cit. abwe, p.297, and E. TRrMpr:"'Iohannem BaptGtam Hier- 5oThere are tlvo, apparently conflicting, versions ofhow the predella was separated onl,rno aequalem et non maiorem": a predella for Matteo di Giovanni's Placidi from the main panel. FrancescoVitelli (1582-1646) recorded thatilte'ornammtino altarpiece', rHE Br,'RLrNGroNMAGAZTNE, CXXV [1983], pp.45747. . . . conalcunefigurine bellissime'was given by the chapel patrons to Cardinal Bonifazio 273 RAPHAEL'S ALTAR-PIECE PATRONS IN CITTi. DI CASTELLO

Il. Eusebiusof Cremonaresuscitating thru dradmm aitlt StJnome'schak,by Raphael. c.1502-03. Panel, 25.1 by 43.2 cm. (tr4useu Nacional de Arte Antiga, Lisbon). was a supporter of the local Hieron)rmites (seeAppendix, c.1502-04.56He hasalso questioned the reliabilityof the dat Document 2) and when his secondwife finally bore him a furnished by the inscription on Gavari's frame, and this scep son, the boy was namedJerome.Such practiceswere encour- ticism plays into the hands of those scholarswho have doubl agedby the writings and example of Giovanni d'Andrea and ed the traditional date of c.1503 for the picture (usuall suggesta specialrelationship with the saint.53 preferring a datec.1500-01, although Shearmanraised th StJerome was, of course, famous for his meditations on possibility that it could postdate 1503).'7Howeveq there wer the Passionand devotion to the crucifx. The choice of the severalexperienced masons and sculptorsin Cittd di Castel Crucifixion may also reflect specialfamily associations- the lo at the turn of the fifteenth and sixteenth centuries,s8and i Gavari arms as seenin the altar-piece frame (Fig.B)show a seemsmost unlikely that the Brozzi frame, which once car hand clasping a cross- as well as a possiblesecondary dedi- ried a date of 14985'g- ayeat fully in accord with the stylisti (altare cation of the chapel, which is sometimesdescribed as character of Signorelli'sMarfitrdomuo - could have been con Crucftxi' in the documents (seeAppendix, Document l).5' structedas late as 1502.Moreover, the changesthat Tomma The particularly eucharisticcharacter of Gavari's Crucifxion, so Brozzi made to his will between l49l and 1498 confirn with angelscatching the blood of Christ in chalices,is often that his chapel was constructed in these years,6'ruling ou noted, and its promise of resurrection is perfectly fitting for Raphael's participation. There is every reason for treatinl a funerary chapel where masseswould have been said for both the datesinscribed on thesetwo frames as broadly reli Gavari'ssoul; his earlier wills included legaciesto pay for new able indicators of the datesof the paintings they contained. chalicesfor S. Domenico and other churchesin the city.55 The last of Raphael'saltar-pieces for Cittd di Castellowa The pietra sererlasurround (Fig.B)is one of the few original the Sposalizioor Marriage of the Wgin now in the Brerr frames to survive for an altar-piece by Raphael. It matches (Fig.l3).nThe picture is signedand dated 1504 (narnem the one opposite in Tommaso Brozzi's chapel (Fig.9)which vRBINAS.M Drrrr),and was first recorded in the church of S housed Signorelli'sMarfrdom of St Sebastinn.John Sh.ur-urt Francescoby Vasari in 1550.63It stood as an altar-piece or has describedthe two frames as identical, and has suggested the left-hand side of the nave, almost opposite the sid that they mrght both have been designed by Raphael, entranceto the church, and was recorded by most publisher

"See E.F. xrcn: SaintJerome in theRenaissanra, Baltimore and London [1985], p.65; tradition attributes the design ofthese capitals - along with numerous doorrn'aysan Laudatu IoannesAndreas, Basel [514], fols.16ff (reprinted n the Acta Sanctorum, lavabo to Raphael; see F. Trrr: Ammaestramtntoutilz e curiosodi pitnra, scolnra Antwerp and Brussels [1643 1894], Septnnbis2111, pp.659-60):'Imponifui nomen architettura ne lle chies e di Roma,Rome [1686], p.439. 5eThe 'Trrorras ipsiuscntis pueis in catechismo. . . In dfursis ncbsiis ad ipsiushonorem altaia nigi procuraai.' Brozzi frame was once inscribed: or sRozzlsEl FuNCrsoAuxoR FrEr 'CDCAN, 51.4, Lattanzio di Ser Biagio Lattanzi, fol.155r-v (17th September FEcrr Mccccr,xxxx!'rrr'; seecnnrntr, MS cited at note I 7 above,fols.45v-46r. 1512). See also the document of 1505 (commissioningan altar-piece for the Maga- uoSeenote B above. 'Raffaello o'On lotti chapel in S. Domenico), published in r.p. uarcnr: e Frmcesco l6th May 1491 Brozzi left twenty florins to the church, and a further fifty 'coa Tifernate: un documento e alcune precisazioni', Anthhifd tr/i:ua,XXI, 5-6 11983], rrtmdis in effitium site in structionmtcapell"e sui alnris positein ditn uclesia'(CDCAN, 48. 1 pp.27-34. Gentile di Ser Giovanni Buratti, fol.132r-v). By 4th November 1498 the chapel I 55See note 45 above. described as'constructz'(48.7, fols.lv-4r), and only the costs ofproviding it with 'f 'The . src,eruren: Born Archltect?' , in Raphaelb{ore Rome,cited at note 15 above, chalice, missal and liturgical vestrnents remained. 6'lFor pp.203-10, esp.p.209. See a.lsow. scHoNE:Raphael,Berkn md Darmstadt [1958], Raphael's altar-piece,acquired by the Brera in 1806 from the OspedaleMag pp.35 and 48. The tryo frames me not quite identical: there are sma.llbut marked giore in Milan, see c. BERTELLT,in r. zrm, ed.: Pinacotecadi Brua: Scuoledell'Itali differences for instance in the carving ofthe seraphim, and in the decorative detail cmhalee mnidionale,MlJan[1992], pp.192-200. Scanda"lously,the picture had beer (where the Brozzifrme has suns, the Gavari frame has rosettes). given by the Comune of Cittd di Castelloin 1798to General GiuseppeLechi ofBres 'J. srmarurax: 'On Raphael's Chronology 1503 1508', in Ars naturamadiuuans. cia (r. oo wccrr Lo Sposali{odella Vngine,Milan [1996], pp.9-19), and attempts tl FestschrififirMatthias Winnn,Mainz [1996], pp.201-07, esp.p.201. get it back were vain (uacrmnmn GRAzrANr,op. cit. at note I above, pp.352-69; u.c tuCompare 'Breve the capitals carved for the nave of the Cathedral in the late 1490s MIGNTMoNoFRr and u.r. zANcHrpulcr: storia delle rivendicazioni dello Soo (rra-l.crrnnwrcRAzrAM, op. cit. at note I above, II, pl.\T), perhaps by the Florentine salizio della Vergine di Raffaello Sanzio', PagineAltl)tiberine,Il.5 [1998], pp.23-32). stone-masonsClemente di Taddeo Rinaldi and Geremia di Francesco; a local uuvASARr,lnc. cit. atnote 9 above. 274 RAPHAEL'S ALTAR-PIECE PATRONS IN CITTA DI CASTELLO

12. StJerome sauing St Siluanusand punishing the heretic Sabinianus,by kaphael. c.1502-03. PaneI,24.7 by 42 cm. (I',lorthCarohna Museum of Art, Ra.leigh). and manuscript guidesto the city until its removal in 1798.6n Filippo Albizzini acquired the chapel in S. Francescoin Feb- While a Ranciscan church existed in Cittn di Castello ruary 1501.The act wasdrawn up in the churchin the pres- from 1267, the present building in the north-easternpart of enceof the community of friars and of the provincial vicar o{ the city in the quarter of the Porta S. Egidio dates from the the Order, Luca da Siena.Albizzini promised to redecorate early fifteenth century. The last fifteen years of the century the chapel,which he wished to dedicateto StJosephand the witnessed a concerted programme of altar renewal in this Holy Name ofJesus, and to provide the necessaryfurnish- conventual church, which may have been stimulated by Viteili ings, while for their part the friars agreed to celebrate St interest.6slJnfortunately, the interior of the church was re- Joseph'sfeast day (l9th March) at this altar. modelled betvveen17 07 and 1727 , andvery few vestigesof its Filippo Albizzini was a notary (who on at least one occa- Quattrocento decoration remain. sion had a document drawn up in his chapel in S. Frances- Despite this restructuring, and the removal of Raphael's co).67He lived in the quarter of the Porta S. Egidio (in the east picture to Milan, a certain amount is known about the of the city, near S. Francesco),where he gradually built up patronage of the Sposaliaio,largelyas a result of the interestin the site that was to become the PafazzoAlbizzini.68 In one acquiring it expressedby Guidobaldo II della Rovere,Duke of the severalproperty deals he transacted in the 1490s,he of Urbino, in 1571.Local enquirieson that occasionestab- (like Baronci and Gavari) is describedas a cloth merchant.6s lished that the painting had been commissionedby Filippo Albizzini had married (GelomiaRanuti Peri)by 1515,'oand Nbizzini, who was said to have died about thirty yearsearli- was active in local politics. He was Captain of Scalocchioin er. The duke did not securethe picture, and a descendantof 1490and servedregularly as a Prior bet\,veenl49l and 1527, the original patron - Aibizzino Albizzuri- was able to renew aswell ason the councilsofthe XVI and XXXII." His record his family's patronage of the chapel in l633.uuAt this time ofpublic serviceis almost identical to thoseofAndrea Baron- the chapel was said to be dedicated to StJoseph, and it has ci and Domenico Gavari, and it comesas no surpdseto find generally been assumedthat Filippo di Lodovico Albizzni that he and Gavari appear together in severalnotarial acts.72 (whom Magherini Grazianiidentffied as the probable patron Magherini Graziani stated that Albizzini died in 1541 (pre- of the altar-piece) commissioned Raphael's Marriageof the sumably working from the claim made in l57l that he had Wrgintoreflect this dedication.A newly discovereddocument died thirty years previouslr.'u I have found no mention of (Appendix, Document 3) confirms this, and establishesthat him after 1527.I have not located his win. but he is said in

6nSee,inter alia, coNTr, op cit. at note 10 above, p. 157; ueononnr cRAzrANr,op. cit. at lB2v (30thJuly 1515).The building now housespart ofthe Burri collection. note 1 above,pp.340 and 358. For a plan ofthe church, seeibin.,p.47, and o. coop- oo'uenditorpannorum lanl (CDC4N,43.15, Antonio Fidanzi, fo1.274, 21st August on: 'Spinello Aretino in Citti di Castello: The lost model for Sassetta'sSansepolcro r+94). roCDCAN, poll.'T,tych',Apoll\, CLIV fAugust 20011,pp.22-29, esp.p.25. 48.16, Gentile di Ser Giovanni Buratti, fol.182v (3OthJuly 1515). uoForthe church and Vitelli patronage there, seel escu'n:. Tilogia Francescana,CittiL ''See o. pezzl: Istoria Geneakgicafulk FamiglinAlbizzini, 1739, CDCAV MS LI, di Castello [196a], pp.29, 35, 45 and 49, and wsz4 0p. cit. at note 23 above, ! fols.36,f-65, a. cnsrrr:n: Istoria di Xvlfamigfu de Cittd di C6tello, CDCAV MS XXDq pp.1BB-202. See also J. TRA-EGER:Rmaissance und Religion:Die lQtnstdes Glaubens im fol.1l; CDCAS, Rlforman4, 1491 1504, fol.lSr (30th August 1491) et passim; .QitalterRaphaek, Munich [1997], pp.263 66. 1504 13,fol.II3r(3OthJune |507)apassim;151tt-30,fol.34r(ZTthJune I5I4)etpas- 66Seethe notarial document of 1633 oublished in ru.c,cHERrxrGRAzrANr. ob. cit. at note sim;CDCAS, Riformanze,l49I-15O4,fo1.24r(l2thJanuary 1492)etpassim: 150,$-13, I above,p.358, where the altar is deicribed as'Altaresub titull Sctillrepii and'Altare fol.57r (30th December 1505) etpassim; 15 14-30, fol.70v (29th Augxt l5l5) etpas- sub tinlo S. Iosph, siueSS.mi Sponsalitii Beatissime Virginis cum Diuo Josepho'. slm. He first appears in the lessercouncils in 1489 (CDCAS, Rlformarye,I4B9-gI, u'Only one ofAlbizzini's protocols, of 1496 97, survivesas CDCAN, 54.1. On 14th firl.l5v, 17th May 1489). December 1508 Albizzini transferred some land to a cousin in a document dram ?'E.g.CDCAN,48.7, Gentile di Ser Giovanni Buratti, fols.67r-68r (17th April 1499, up'in nclesiltS.ti Francisciaidelicet in altaredicti SerPhelippi' (CDCAN, 5 1.3, Lattanzio di when Albizzini's purchase of some land was drarnmup in Gavari's shop and was Ser Biagio Lattanzi, unfoliated). witnessedby him), and CDCAN,50.6, Pietro Paolo Pacisordi,fol.llr-v (19th ooForAlbizzini's p afazzo on rhe 'uicoloS.te Margaite' in the parish of S. Fortunati, see November 1507). CDCAN, 48.16, Gentile di Ser Giovanni Buratti, fols.70r (1st February 1514) and "MAGHERIrr GRAZTANT[1908], /oc.cit. atnote 11 above,pp.94-95. 275 RAPHAEL,S ALTAR-PIECE PATRONS IN CITTA DI CASTELLO

13. Marriageof the Virgin,by Raphael. 1504. Panel, 170 by I 18 cm. (Pinacotecadi Brera, Milan).

1571 to have endowed his chapel with a piece of land, and Albizzini's dedication of his chapel to StJoseph explair to have askedthat massbe celebratedon the anniversary of the choice of subject for Raphael's altar-piece.Its probabl his death (aswell as on StJoseph'sday); thesemasses were model, Perugino'sMarriage of the Virginnow in Caen (Fig.l4 renewedin 1633.^ was painted for an altar dedicatedto the Virgrn Mary and S The chapel Albizzini acquired in 1501 was described as Joseph on the retro-faEadeof Perugia Cathedral.'uThe cit 'suptus ' tabernaculumlrganlrum in capitecori ipsius ecclesituusus had acquire d the SantoAnello' - said to be the ring with whic altaranmailrem', and a copy of Raphael's altar-piece is still Joseph had married the Virgin Mury - n 1473, and prid found today in that location, on the fourth altar on the left of in the ownership of this relic bolstered the cult ofJosep the nave. Ranciscan church interiors in Umbria were origi- in Umbria. The chapel in Perugia Cathedral was sponsore, nally subdivided between the choir (for the friars), the upper by the Franciscanpreacher, Bernardino da Rltre (l+39-9+ nave (for the lay-men), and the lower nave (for female wor- and communal funds were voted for it in 1486.It housedth shippers)." Raphael'spicture was in the upper nave,close to Holy Ring and (in spite of its full dedication) it was subse the screendividing the upper and lower parts of the church, quently referred to as the chapel of StJoseph. A lay confra and the placement of the Virgin Mary and the group of ternity dedicated to the saint grew up around the chapet women on the left of his composition (reversingthe arrange- commissioning an altar-piece depicting 'istorinmet sponsali ment in Perugino'sprotot)?e in Perugia Cathedral; Fig.14, SantiJoseph cum Beata VngineMari"a', first from Pintoricchir discussedbelow) can be seento reflect the actual division of (1489)and subsequentlyfrom Perugino(1499). Fra Bernardi the congregationwithin the church. no da Feltre'ssupport for this new chapel was crucial, anr

'rlbid., pp.9I-93. (forthcoming). 'Franciscan 'uFor "See o. coopnn: Choir Enclosures and the function ofDouble-Sided the documents relating to this commission, see F. cANUTT:Il Pnugino, Sien Altarpieces in Pre-Tridentine Umbia' , journal of the Warburgand Courauld Irctitutes 119311,II, pp.199 203 (andI, pp.167-72). 276 RAPHAEL'S ALTAR-PIECE PATRONS IN CITTA DI CASTELLO

The origins of Raphael's Umbrian altar-piecesin Perugi- no's repertoire have alwaysbeen clear (the connexionsmay indeed have been requested by his patrons), and the very closesimilarities between the two artists' compositionshave inevitably featuredin the debateabout the nature and dateof Raphael'sapprenticeship with Perugino,and who influenced whom. It is now generally acceptedthat Raphael's Sposaliaio (Fig.l3), which Vasari already selectedas the prime example of how the younger artist surpassedhis maste!7ewas devel- oped from Perugino's altar-piece for Perugia Cathedral (Fig.14,although the opposite has sometimesbeen argued). Indeed, the comparison between the two paintings has become one of the most common exercisesin the study of renaissanceart Raphael can be seen as adding physicality, convincing narrative and a greater senseof spaceto Peru- gino's original idea.'oSimilar observationscan be made of the relationship between Perugino'saltar-piece for S. Francesco a Monteripido (Fig.10)and Raphael's Mond Crucifxion@ig. 6). Raphael borrowed the foreground setting,the basiccom- positional solution, the essentialposes of the Virgin Mary St John and the Magdalen (whosepose is reversed),as well as the golden sun and silvermoon, and the flutteringbanderoles of the two angels.B'In addition to thesedetails, the mannered angling of the figures' heads, the cast of the faces and the expressivenature of the hands come straight out of Perugi- no's corpus. The greater spatial, pattern-making and figural sophisticationof the Mond Crucfixionagain appear to reflect Raphael'stranslation of a Perugino composition into his own idiom.u2 14. Mmriageof theVirgin,byPerug1no. c.1500-04. Panel,234by lB5 cm. (I\{us6e des Beaux-Arts, Caen). Perugino'sSposalizio was commissionedin April 1499.He had still not completed the painting by December 1503,but probably deliveredit in the courseof 1504.The Monteripido Joseph'scult was actively promoted in Umbria by the Fran- altar-piecewas commissionedfrom Perugino in September ciscans.It seemsclear that the dedicationsof the two chapels 1502 (for delivery by Easter 1503),but completion is usually in Perugia and Cittd di Castello are related, and it is not dated c. 150,1-06on the grounds that Peruginowas extreme- without significance that the concessionof the chapel in ly busy c.1502-03 and was not in a position to deliver the S. Francescoto Albizzini was authorised by Ihe'Rruuntdus picture on time.B3Nevertheless, i{ as it has often been argued, paterministzr prouincie (Jmbre', who was responsiblefor both the the picture was executedin Perugiaby one of Perugino'sbest provincial centre of Perugiaand for the satellite-towns. assistants,this could have taken place within a year of the The chapel'ssecondary dedication alsohas strongFrancis- commission (with Perugino overseeingcompletion on the can associations,since devotion to the HolyName, embodied various occasionson which he returned to Perugiain 1503).u' in his celebratedsign of an IHS within a sunburst,had been At all events,it seemsin the casesof both the Sposali/oand promoted by S. Bernardino; an oratory to the saint was built the Crucfixionthat Raphael had knowledge of Perugino's beside the church of S. Francescoin Citte di Castello. It is compositionsbefore they were unveiled (which suggeststhat additionally worth noting that S. Bernardino was the patron he had accessto the older artist's workshop in the Ospedale saint of the notaries' confraternity in Cittd di Castello to della Misericordia in Perugia).85As it happens,Raphael was which Filippo Albizzini must have belonged." Moreoveq as documentedin PerugiainJanuary and March 1503,when he Jorg Traeger has recently pointed out,Joseph had a recog- was named as the local representativeof an Urbinate mer- nised r6le in the naming of Christ, and the two dedications chant who neededto collect a debt there,B6strongly i-ply-g were probably related.TB that he wasbased in Perugiaat the time. This runs againstthe

"e. cBccrm.n:ZArchiu;o Nltaile eilNltaiatl in Cittddi Cntelll,CittiLdrcastello [899], note 80 above,pp.106-07. p.14. snForPerugino's movements in 1502 03, seescAReELLIM) ibi.d.,p.65. 85This "IRA.EcER,op. cit. at note 65 above,pp.5 1-53. conclusion regarding the relationship between the Monteripido altar-piece - - "vAsARr, loc. cit. at note 9 above, and for his knowledge of Perugino's picf.lre ed. and the Mond Crucifxion undermines attempts to see the latter (Raphael's most cit.,Il 119711,p.607 . Peruginesquework) as the artist's first independent work of c.1500-0 1, since it fol- 'uFor a resum6 of this debate, seep. scARpELLrNr:Pmtgino, Milan [1984], pp.107-08. Iows that Raphael'spicture was probably not desigred until late 1502 at the earliest. stRaphael'saltar-piece has alsobeen compared withthe CrucfuionPeruginopainted A terminusante quern for Raphael's altar-piece of November 1505 is establishedby for the Chigi chapel in S. Agostino, Siena (commissionedAugust 1502; delivered Francesco Tifernate's commission to paint m altar-piece for Ludovica Magalotti's 1506), but this is a much less successfi.rlcomposition and the connexions with chapel in S. Domenico (an Annunciation,now in the PinacotecaComunale, Cittd di 'ad Raphael are generic (scanrnr.r.nr, 0p.cit. atnote 80 above,pp.1 12-13 and fig.233). Castello): instar et simil:indinan quoa.dmagniadirwn tabulecrucfici Dominici Thomedt 82See,inter a/ios, n. nnren voN eAERTRTNGEN:Rffiels Izrnefahrungmin dn Werkstau Gauariisexistentis in capellaipsius Dominici in dicta ecchda' (rraaNcwr,hc. cit. at note 54 Pnuginos.Kartonaerumdung und Motiuiibunahmeim Wandnl,Munich and Berlin [1999], aDovel. pp.46-54. His diagram on pp.52-53 shows how the compositional precedentslor uuF.F.r.rA.xcnu: Rffadlo in Umbria. Cronologiae committmza.Nuoui Studie docummti,Peru- the Monteripido altar-piece can aII be found in Perugino'sown work of the 1490s. gia [1987], pp.33-37. The networks ofFranciscan patronage in Perugia apparendy "'For the documents of commission, and discussionof the picture and its date, see played an important r61ein Raphael's early successin the city. cANUrr,0p cit. at note 76 above, I, pp. 179-80, Il, p.237, and scanprr.r.nu, 0p.cit. at 277 RAPHAEL,S ALTAR-PIECE PATRONS IN CITTA DI CASTELLO

prevailing view that Raphael took up residencein Cittd di moriatur corpus suum sepelliri in ecclesia S.ti Dominici in sepulcro eius cape. Castello while painting his altar-piecesfor the city.B'Crowe sancti Hieronimi cui reliquit iure legati unum petium terre laboiatir,um positm 'there fvocabulo?] el peglio in parrochia S.ti Petri de Petriolo cui a duobus vie vicinal and Cavalcaselle'ssuggestion that is nothing to prevent aliter strata communis et a-1iterbona canonice vel siqui wlgariter dicto el campo i us from assumingthat the masterpieceswhich Raphael cre- Barzocto. Item reliquit episcopatui pro omni eius canonica portione solidosvigir denariorum. Item reliquit iure legati ecclesie ated ffor Cittd di Castello] were executedat Perugia' should conventui et fratribus S.Johanni Ba tiste extra muros de observantiaflorenos [fol.49u]decem monete curentis castellar therefore be considered afresh, and indeed Raphael's base Item reliquit iure legati ecclesieconventui et frahibus S.ti Augustini florenos decer may have been in Perugiafor much of the period c.1500 Item reliquit iure legati ecclesieS.te Marie maioris florenos quinque. Item reliqr 07." This would also explain why he did not leavemuch of a iure legati sotietati sive confraternitati S.te Marie apud S.ti Dominicum floren quinque. Item reliquit iure legati capelle et sotietati corpus christi in ecclesiaS documentary trace in Citta di Castello, and might suggest Floridi florenos quinque. Item reliquit iure legati monia"libusmonasteri Paradisifl that it was his connexion with Perugino (then the most renos quinque. Item reliquit iure legati fratribus ingesuatisS.ti Hieronimi floren sought-afterartist in Central ltaly) that helped him securehis quinque. Item reliquit iure legati fratribus et conventui S.ti Rancisci floren quinque. Item reliquit iure J.egatiser Francescoser Pierpaulo de Pacesordisfloren earliestaltar-piece commissions in Umbria. centum dicte monete castellane.Item reliquit dominam Mariectam eius uorem Oxford Broo lv s UniaersiEt essevoluit dominam et usufructuariam omnium et sineuLorum suorum bonoru mobilium et imobilium presentium et futurorum et tutricem infrascripti sui filii heredis et que habeat victum et vestimenta et ex eius domo non possit aliquo mo< Appendix expelli dummodo vitam honestam et vidua-1emservaverit. In omnibus autem al suis bonis mobilibus et imobilibus iuribus et actionibus lfol.49r] tacis et expresl l. Will of Clua Baronci, 17th Septernber 1512 suum heredem universa-lemfecit et essevoluit Hieronimum eius filium legiptimu (Cittd di Castello, Archivio Notarile fhereafter CDCANI,5l.4, Lattanzio di Ser et natumlem qui si decederetin pupillari etate vel sine filiis legiptimis et naturalib Biagio Lattanzi, fol.155r v) tunc substituit heredespro medietate omium suorum bonorum lratres et conve tum S.ti Dominici et pro quarta parte fratres et conventum S.tiJoannis Baptiste r Die wii Septembris observantiaextra muros et pro alia quarta pmte fraternitatem pauperum S.teMar Honesta mulier domina Clara uxor olim Aldree Thome de Baruntiis de Civitate de Civitate Castelli. Item reliquit et essevoluit essevoluit eius fidei commisarios Castelli vidua sana dei [gratia] mente et intellectu ac bone valitudinis licet sit etiam exequtorespresentis sui testamenti ser Blasium Nieri de Silice canonicum catedra in decrepita etate constituta et quia nihil est certius morte nilque incertius hora eius ecc.eS.ti Floridi, Petrum [Angele] de Meglioratis e1ser Franciscum ser Pierpauli. et ne inter posteros suos aliqua lis seu questio horiatur hoc presensnuncupatiuum post mortem domine Mariecte eius uoris [et] tutores et curatores prefati sui filii testamentum facereprocuravit et fecit et quia anima est nobilior corpore ideo ipsam heredestunc essevoluit et hanc voluit esseeius ultimam voluntatem et eiusultimu omnipotenti deo a quo creata extitit commendavit et voluit quando mori contigerit testamentum quam et quod voluit valere iure codicillorum sive cuiuscumque don corpus suum sepelliri in ecclesiaScti. Dominici cui ecclesieet conventui reliquit iure tionis inter vivos et ultime sue voluntatis. Cassanset cancellans omne aliud test legati medietatem unius poteris positi in villa montis Roselli infra suos confines ex mentum et omnem aliam eius ultimam voluntatem per dictum testatorem hacten latere et parrochias posite. Item reliquit ?liam medietatem dicti poderis Cesari alevo factm er hoc voluit cunctisaJiis prevalere erc. lfo!.4b[ Andree Thome de Baruntiis dummodo dictum potere sive dictam medietatem dic- Actum factum et conditum fuit dictum testamentum oer dictum testatorem tus Cesar non possit vendere nec pignorare .t ridi.tr. Cesar morietur absquefiliis Civitate Castelli videlicet in conventu ecclesieS.ti Augusiini in loco que dicitur Iegiptimis tunc dicta medietas recadat et diveniat ad dictum conventum Scti capitulo dicti conventus.Presentibus ibidem fratre Benedicto Michaelis de Serad Dominici et quod dictum potere teneat laborare BarnabeusJacobi de Corneta pre- vicario dictorum fratruum, lratre Gabriele Thome de Florentia, fratre Luchir senslaborator qui non possit aliquo pacto donec vixerit expelli. Item reliquit iure Ioannis de Marchetis de Brissia,fratre Antonio Ioannis de Hostiano, fratre Salvato legati domile Bartolomee Rentii sue alevateflorenos quatraginta in tot terreno ibi Bernardini de Brissia, fratre Sebastiano Stephani Pecci de Florentia et Don Pie ad Pa"lazectumdicti olim Andree. Item reliquit iure legati domine Marine sue ale- nicola Francisci de Civitate Castelli testibus ad predicta habitis vocatis et ab io vate florenos decem in pecuniis sive in terreno. Item reliquit iure legati bisocharis testatorerogatrs. S.te Cecilie florenos decem monete currentis castellane.Item voluit ut heresAndree ^Ihome lfol.155r] Andree de Baruntiis et eius r.rxoret exposuit dictis fratribus sancti 3. Acquisition ofthe Chapel ofStJoseph in S. Francesco, Cittir di Caste Dominici eos etiam humiliter rogando quod in sepultura dicti olim Andree aliquo lo, by Filippo Albizzini,2TthFebruary 1501 pacto non intret nec intrari permittetur aliquod cadaver Hieronimi Peri Turris sive (CDCAN, 50.2, Pietro Paolo Pacisordi,fols.29r-30r) alicuius de eius familia etc. ln omnibus auiem aliis suis bonis mobilibus et immo- bilibus iuribus et actionibus tacitis et expressiseius heredem universalemfecit et esse lmargin] Ser Felippi de Albezinis) voluit Dominicum Thome de Gavaris de dicta civitate et etim exequtorem sive MCCCCCI Inditione quarta tempore pontificatus sanctissimi in Christo patris fideicommissarium presentistestamenti fecit et essevoluit etc. Cassansit cancellans domini domini Alexandri divina providentia pape sesti die vero wigesimaseptin omne aliud testamentum per eam hactenusforsitan factum etc. Et hoc voluit cunc- mensisfebruari. tis aliis propterea lectis et [ . . . ] valeret iure testamentivalere voluit iure codicillorum Congregato et coadunato capitulo fratrum minorum Sancti Francisci de Civita sive donationis causa mortis sive cuiuscumque alterius donationis etc. Et hanc Castelli in curia dicti Sancti Francisciad sonum campanelle ut moris est.In quo qr asseruitet voluit esseeius ultimam voluntatem etc. dem capitulo infrascripti fuerunt Magister Bernardinus Antonii de Fratta pat Actum in ecclesiaS. Dominici videlicet apud altare Crucifixi presentibusibidem guardianus dicte ecclesia,frater Antonius Spinonis Gallus, frater Claudius franci fratre Luminato Bartolomei, frarre Mariano magistri Bartolomei de Riguriis de sus, frater Bernardinus de Gaeta, frater Michelangelus de Castello, lrater Hier Castello, lratre Felice Martini de Lucha, fratre Matthia Luce de Forosemproni, nimus de Plebe Sancti Stefani, frater AndreasJohanni Marci, frater Bartolomeus< fratre Alexandro Stephani de Castello, fratre PetroJohannesBaptiste de Perusiaet Castello, frater Lodovichus de Corigis, frater Battista Hieronimi de Castello, frat fratre Mariotto Alexandri de Cava prioris [...... ] habitis vocatis et rogatis. Daniel Ser Caruli de Castello fratres et sacerdoteshabitantes in dicto convenr Sancti Francisci duo partes et plus de tribus partibus fratrum dicti conventusfaciet 2. Will of Domenico Gavri. l3th Mav l5ll infrascriptam de presentis consensu et voluntate lfol.29a] mzgSsttiLuce de Sen (Ibid., fols.4Br49v) Reverendi patris ministri provincie IJmbre et Sacre Theologie doctoris ac etiam r consensuet voluntate spectabilium virorum Mariotti Anselmi et Caruli Pauli sind Die xiiiu Maii 1511 Indiction: XIIIIU corum de Civitate Castelli procuratorum dicti conventus Sancti Francisci pro bor Spectabilis Vir Dominicus Thome de Gavaris de Civitate Castelli et porte Ste commodo et utilitate dicti conventus Sancti Francisci et omni meliori modo et Marie sanusdei gratia mente corpore et intellectu volensprovidere saluti anime sue dederunt et tradiderunt et concesseruntSer Felippo Lodovici de Albezzinis de dic et ne inter eius posterosaliqua lis seu questio de bonis suis horiatur. Ideo hoc suum Civitate Castelii tunc presenti et acceptanti stipulanti et recipienti pro se et su presensnuncupatiuum testmentum quod de [vero] dicitur sine scriptis in hunc qui heredibus quamdam Capellam existentem in dicta ecclesiaSancti Rancisci suptr sequitur modum facere procuravit et fecit. Et quia nihil est certius morte nihilque tabernaculum organorum in capite cori ipsius ecclesieversus altarem maiorem pr, incertius hora eius et quia anima est nobilior corpore ideo eam omnipotenti deo a fate ecclesie.Et hoc ideo fecerunt dicti fratres cum consensudicti Reverendi patr quo creata extitit commendavit et voluit quando casus evenerit quod [?quo] ministri quod prefatus Ser Felippuspromixit et solempniter convenit dictam cape lam bene et ornate reatere et em bonis et ornatis lapidibus conicere et de pert nenctis pro altari et ca-1iceet de indumentis pro sacerdoteeam lLlcire et decorari, alia faciesse] ad decus et ornamentum dicte capelle quamquidem capellam appe lari et nuncupari voluit Ia capella de Sancto Yoseph et sanctissiminominis Yhesu 87For the assumption that Raphael executed the pictures in Cittd di Castello, see In qua quidem festo sancti Yosephi idem Ser Feiippus promixit piatanzamfzcet 'The MAGHERTNTand crovacNor-y op. cit. at note 20 above, p.26; n. wuxowrn: dictis fratribus et conventui prout fieri solet in festivitatibus celebrandis ab a.li Young Raphael', Allm Memorial Ail MuseumBulletin, XX 11963],pp.150-68; and c. civibus dicte Civitatis etc. ad habendum, tenendum etc. lfol.30r] Que omnia et, cTLBERT:'Signorelli and the Young Raphael' in Raphatl beforeRome, cited at note 15 Promittentes etc. Renumptiantes etc. Rogantes me notario etc. Quibus quider above,pp. I 09-24, esp. 10. It p.1 should be noted that Evangelistadi Pian di Meleto omnibus prefatus Reverenduspater minister Lucas provincialis minister fsenarun was in Urbino on 29th and 30th March 1501 (Jrbino, Archivio di Stato, Div I, et sancteromane ecclesiainde potiut autem et decretum etc. Cas.7,N.153, Ser Matteo Geri, fol.6; seeAtrrppr) loc. cit. atnote 14 above). Actum in Civitate Castelli et in ecclesiaSancti Francisci de dicta civitate oreser ";.a. cnom and c.n. cAvAr-cAsELLE:Raphael, Life and Works,London [1882-85], I, tibus Ser Nicole Ser Antonii Ser Nicole PSJ et Batista alias Pebonisde Burgo Sanr p.1.2+. ti Sepulcri calderario habitantibus de dicta civitate testibusetc. 278