Chapter VII: General Character (2)

The saint, in white, in centre of a large hall, hands a book
in either hand to groups of his disciples. To left is faintly
visible half the figure of a man in red cap and gown.

CHRIST BEARING THE CROSS.

Three-quarter figure, crowned by thorns, turned towards
right, turning face towards spectator. Soldier from behind
strikes Him.

CHRIST BOUND TO THE COLUMN.

Figure nude, save for slight muslin drapery. Bound to column
with hands behind Him. Mauve sky and green hills.

1505-1506.

MADONNA WITH ST. PETER AND ST. MICHAEL.

Over the door of the Father-General’s room.

PIETÀ.

On one of the staircases.

TURIN, GALLERY.

MADONNA ENTHRONED. Panel. 2.25 × 1.54 = 7.6 × 5.2. [No. 63.]

The Virgin, in red robe, with indigo mantle turned back with
orange, is seated upon a throne with curtains held back by
two flying _putti_. Beneath her are grouped St. Catharine of
Alexandria in emerald green, St. Jerome with his lion, and
St. John with his eagle, in shades of red brown, and St. Lucy
in emerald green.

The latter and the two _putti_ seem to have been very much
retouched, and the whole panel is highly varnished. The
Virgin, however, seems to be in fairly good condition.

About 1512.

_Brought from Colle in Val d’Elsa, and sold to the gallery by
Cav. Rosselli Del Turco of Florence for 1200 scudi._

HOLY FAMILY. Panel. 0.64 × 0.45 = 2.2 × 1.6. [No. 56.]

Madonna, in crude red and blue robes, before olive-green
canopy. Christ Child playing with bird. St. Joseph,
clean-shaven, peers over her left shoulder.

_From Casa Tolomei, Siena. Sold to the gallery by Baron
Garriod._

LUCREZIA. Panel. 0.99 × 0.76 = 3.4 × 2.7. [No. 59.]

Lucrezia, in bluish green robe and white vest, with red hair,
holds the dagger in her right hand ready to strike. Eyes
raised; mouth, with square corners, slightly open. Collatinus
to her left in dark green. To right a figure in a turban,
which might be that of a female, but which is believed to be
her father. Bust of Tarquin behind.

Very cold in colour, flesh-tints blue.

_From Royal Palace._

TREQUANDA, CASTELLO DI, COLLEGIATA.

ASCENSION. Fresco.

This fresco is doubtfully admitted to be by Sodoma by
Frizzoni, who holds it one of his least successful works.

VAPRIO, VILLA MELZI.

MADONNA AND CHILD. Fresco.

A colossal figure of the Virgin, visible to waist only, with
parted flowing hair, holding the infant Christ upon her left
arm and clasping His right hand with her right. Very unequal
in its drawing.

Ascribed to Sodoma by Morelli and Frizzoni.

Date between 1518 and 1525.

VENICE, LAYARD COLLECTION.

MADONNA AND CHILD. Panel.

VERCELLI, COLLECTION OF SIGNOR AVOCATO ANT. BORGOGNA.

HOLY FAMILY. Circular.

Madonna and St. Joseph adoring infant Christ, with kneeling
angel and little St. John. Much damaged. Formerly attributed
to Cesare da Sesto.

Early work.

_Bought at the Scarpa sale._

CHRONOLOGICAL LIST OF WORKS

1501 Madonna and Child with Saints. Described
by Landi, quoted by Della
Valle, disappeared by end of sixteenth
century

Madonna and Child

Madonna and Child. Placed above the _Found recently,
organ in S. Francesco and now in the
possession of
Mrs. Richter_

1502-3 Deposition _Siena Gallery_,
No. 343

Nativity _Siena Gallery_,
No. 444

Nativity _Vercelli_

Holy Family with Two Angels _Dorchester House,
Park Lane_

Charity. A tondo consisting of two
women and four children, formerly
in the possession of the Chigi, now
belonging to Count Bobrinski

Portrait of Pandolfo Petrucci _Lost_

Portrait of a Saracini Lady _Lost_

Portrait of a Toscani Lady _Lost_

Portrait of a Lady _Frankfort, Städel
Institute_

1503 Frescoes--St. Anne in Creta _Pienza_

Christ multiplying Loaves and Fishes

Distribution of Loaves and Fishes

Bishop with Six Olivetans

Pietà

Saint Anne enthroned with Virgin

Bust of Redeemer

1505-6 Frescoes of life of St. Benedict around _Mount Oliveto_
cloister. The frescoes in the cloister
are twenty-six in number, and were
painted in the following order, turning
to the left, and entering the
cloister from the atrium:

1. Saint Benedict who set out from
Norcia to Rome

2. The Roman School with Master in
Chair and Scholars attending

3. The Nurse’s broken Bushel

4. St. Benedict taking Monastic Habit

5. St. Deodato who hands food over
a rock to St. Romano

6. St. Benedict’s Easter Dinner

7. Shepherds who present the Saint
with Fruit and Vegetables

8. Devils tempt Saint, who throws
himself in a Bed of Thorns

9. Various Ecclesiastics with Saint
Benedict

10. The Poisoned Cup breaks at Sign
of Cross by St. Benedict

11. Building of Monastery of Subiaco

12. St. Maurus and Placidus on Horseback

13. Saint healing a Youth possessed by
a Devil

14. St. Benedict raising Water from the
Rock

15. Miracle of the Hatchet

16. Placidus saved by Maurus from
Drowning

17. Youth stealing Bread and Wine

18. Fiorenzo’s attempt to poison the Saint

19. Fiorenzo introduces the Bad Women

20. The Peasant Liberated

21. Monk pursued by a Dragon

22. Saint Dead with Weeping Disciples

23. Obsequies sung over Saint

24. Apparition of St. Benedict

25. Multiplication of Bread

26. Barbarians burning Monte Cassino

_About the Corridors_

Christ bearing Cross

Christ bound to Column

St. Benedict giving his Order

Coronation of the Virgin

1506 Panel of Christ bearing the Cross
Made for S. Francesco, Siena, where
it perished in the fire of 1655

1507 Fresco of Dancing Cherubs, and work _Rome, Camera della
on ceiling Segnatura_

Madonna _Milan, Brera_

Fresco of St. Ives _St. Gemignano,
Prison Chapel_

1512 Fresco of House-front for Agostino Bardi _Siena_
Quoted by Vasari, “Alla Postierla
dipissue a fresco la facciate della casa
di Messer Agostino de’ Bardi senese,
nella quale erano alcune cose lodevoli,
ma per lo pin sono state consumate
dell’ aria e del tempo”

Madonna and Child with Five Saints _Turin_

1513 Madonna with SS. Gemignano and _S. Gemignano_
Nicolo of Bari

Alexander’s Marriage _Rome, Villa
Farnesina_

Alexander and Darius _Rome, Villa
Farnesina_

1513-14 Vulcan _Rome, Villa
Farnesina_

1513-15 St. Christopher _Rome, Spada
Gallery_

Panel. Believed to be either a Rape of _Prince Mario
the Sabines or the casting out of Rhea Chigi, Rome_
Silvia--described in the list quoted by
Della Valle

Madonna and Child with St Joseph _Turin_

1513-15 Leda. Believed by Richter to be an _Rome, Borghese
old copy of an original, now lost, Gallery_, No. 434
form attributed to the school of
Leonardo

1515 Last Supper _Florence, Monte
Oliveto_

Model of two Apostles in Bronze

1517 St. George and the Dragon _Richmond, Doughty
House_

The Flagellation _Siena_, No. 374

Charity. Attributed originally to _Berlin Gallery_
Baldassare Peruzzi, recognised as
Sodoma’s by Morelli

1518 Fresco of Presentation of the Virgin _Siena, Oratory of
St. Bernardino_

Fresco of Salutation _Siena, Oratory of
St. Bernardino_

Fresco of Assumption _Siena, Oratory of
St. Bernardino_

Adoration of the Magi _Siena_

1518 Lucrezia Romano given to Pope Leo X.

1518-25 Magdalen _Dr. Frizzoni,
Milan_

Madonna and Child _Ginoulhiac Family_

Madonna and Child. Assigned by _Vaprio_
Morelli and Frizzoni to Sodoma, but
still doubtful

Portrait of a Man _Bergamo, Morelli
Collection_

1525 Fresco of Gethsemane _Siena Gallery_,
No. 2

Descent into Limbo _Siena Gallery_,
No. 46

Christ bearing the Cross _Siena, Chapel of
Villa Griccioli_

1525 Bier of the Company of Sta. Trinita. _Siena, S. Donato_
Believed at one time to be by
Beccafumi and Marco de Siena

1525 St. Sebastian _Uffizi_, No. 1279

1526 Bier of S. Giovanni della Morte _Siena, Church of
SS. Giovanni and
Gennaro_

1526 Fresco of St. Catharine _Siena, S. Domenico_

1527 Drawings for Pavement of Cathedral

1529 Fresco of St. Ansano _Siena, Palazzo
Pubblico, Sala
del Mappamondo_

St. Victor _Siena, Pal.
Pubblico, Sala
del Mappamondo_

1530 Frescoes of St. James and Madonna _Siena, St.
Spirito_

Fresco of St. Christopher _Siena, Arte dei
Calzolai_

Dead Christ with Two Angels _London, Dr.
Richter_

1531 Fresco of Nativity _Siena, Gate of St.
Viene_

1532 Fresco of Coronation of Virgin _Siena, S.
Bernardino_

1534 Fresco of St. Bernardo Tolomei _Siena, Pal.
Pubblico, Sala
del Mappamondo_

1535 Fresco of Resurrection _Siena, Palazzo
Pubblico, Sala
dei Matrimoni_

Resurrection _Naples Gallery_

Madonna with St. Leonard

1537 Madonna with SS. Ansano and Galgano _Siena, Palazzo
Pubblico, Sala
della Biccherna_

1538 Panel of James V. of Piombino _Not preserved_

Phaeton falling from his Chariot _Lost, or mistaken
for work by
another master_

1539 Fresco of Madonna and Saints _Siena, Capella dei
Nobili_

1541-42 Sacrifice of Isaac _Pisa Cathedral_

Pietà _Pisa Cathedral_

Madonna and Saints _Pisa Gallery_

QUOTATIONS FROM CERTAIN CONTEMPORARY DOCUMENTS RELATIVE TO THE LIFE OF SODOMA

ST. ANNA IN CRETA

Extract from the Archives of the Monastery:

“L’ anno 1503 a di 1 Luglio, D. Andrea Coscia da Napoli, cellerario di S. Anna, convenne con maestro G. A. da Vercelli, pittore, delle pitture da farsi in refectorio di S. Anna, per sc. 20 d’ oro e le spese. E del tutto ne appare una scritta di mano del detto cellerario segnata con questo segno * ... sc. 140¼.”

_Libro Lungo. Segnato O. fol. 95 a tergo._

MONTE OLIVETO

Document referring to the appointment of Sodoma:

“Habitu tamen hoc tertia ejus electionias (Anno 1505 idibus aprilis), aliquanta et temporis inter capedine et pecuniarum commoditate ... incoeptum, ut sapientis est, tandem opus complere decrevit. Et orientalem merdionalemque claustri partem, etsi diverso pictore, haud tamen inferiore pictura decoravit. Et nisi pictoris incuria adfuisset, universum ut optabat, jam jam perfectum esset opus.” _M. I._ p. 75.

Document referring to payment:

1505 Giovan Antonio dipentore del nostro claustro deve havere per una historia, quale ha facta ne la faccia verso l’ uscio del Refectorio, civè la prima dove sonno le donne che ballano, ducati due d’ accordo: cosi £70.

Item deve havere per septe altre historie ne la medesima facciata, a rasone di ducati septe la historia: lire 343.

E più deve havere ducati septanta sette per undici historie, quali ha facte nel claustro verso el dormitorio de’ vecchi: che sono lire, 539.

E più de’ havere docati otantaquatro d’ oro che sono per dodici storie che lui ha fate nel claustro soprascripto: che sono lire 588. _Partite tratte gia dai Libri dell’ Archivio del Monastero di Mont’ Oliveto Maggiore._

Document referring to his Marriage:

1. 1510 28th October.

Johannes Antonius Jacobi de Bazis, pictor de Verzé fuit confessius habuisse et recepisse pro dotibus domine Beatricis, olim filie Luce Bartolomei Egidii, et sorori Bartholomei et Nicholai filiorum dicte Luce--florenos 450 de libri quatuor pro floreno. _Arch. de’ Contratti di Siena. Rogito di Ser Alessandro della Grammatica filza dal 1507 al 1515, No. 61._

2. Same date.

Johannis Antonius Jacobi de Bazis, pictor habitator civitatis Senarum, fuit confessius habuisse pro dotibus domine Beatricis filie. Luce Bartolomei Egidii alias Luce de Galli flor 450 de libri quatuor pro floreno. _Arch. del Registro da Siena. Libro delle Gabelle de’ Contratti ad annum, a. c. 103._

A descriptive list of the horses which Sodoma ran the palio of St. Ambrogio, 1513:

Soddome: unus equos leardus moscatus, ragazzius: Baptista.

Soddome: unus equos morellus, ragazzius: Betto.

1527, unus equos leardus pomellatus sfregiatus: ragazzius, Tempestino di Modena.

_Arch. de’ Contr. di Siena. Sessione dei quattro di Biccherna, tra le carte di Ser Achille Bertini._

Document relating to the figures of the Apostles to be cast for the Cathedral. 1515 22 di Giugno.

Deliberaverunt locare ... magistro Johanni Antonio alias Sodoma pictori, ad faciendum unam figuram unius apostoli brunzii in Ecclesia Cathedrali cum illis conditionibus prout locata fuit Jacobo Cozzarelli. Item locaverunt aliam figuram, et hoc ad beneplacitum operariorum, si ipsis videbitur. Et quod ipse Johannis Antonius teneatur docere quatuor pueros dicti Operis Gratis, et sine ullo premio ad pingendum. _Arch. dell’ Opera del Duomo._ _Libro di Memorie segnato E-G._ a. c. 28 verso.

Documenti--San Bernardino:

1518-31 Dicembre.

Il di detto (31 dic.) ducati trenta si fanno buoni a Messer Giovantonio detto Soddoma per sua Manifattura della Storia de l’oferta del tempio della Vergine Maria fatta più di fa.

_Ducati_ 35 si fanno buoni a Messer Giovannantonio detto che sonno per sua Manifattura de la storia de la incoronazione della Vergine Maria.

_Ducati_ 10 a Messer Giovannantonio detto Soddoma per sua Manifattura della Storia di S. Francesco de la finestra.

_Duc._ 14 a Messer Giovannantonio detta per la sua manifattura di St. Lodovico chola finestra.

_Duc._ 8 per la Manifattura della Storia di S. Antonio di Padua.

_Archivio del patrimonio ecclesiastico. Compagnia di S. Bernardino. Registro C. Entrata e Uscita. Carta 28._

S. BERNARDO TOLOMEI

1534.

Ultimamente per haver ancora noi procurato che la pittura del beato Bernardo ne la sala del Mappamondo fusse finita dal Soddoma dipentore de la quale ne ha gia avuto scudi otto, sicome da’ precessori nostri ne era stato lassato in notula; et havendo esso Sodoma a esser satisfatto del restante di detta opera quale ne ha condotta a perfettione: piacerà a V. S. Magnifiche fare che detto Soddoma sia fatto satisfare de la lodevole opera da Messer Francesco Tholomei dignissimo operaio de la Chiesa Cathedrale, si come esso a noi et ad detto Sodoma ne ha largamente promesso.

_Arch. delle Riformagioni di Siena._ _Scritture Concistoriali_, No. 51. _Notula ai sucessori della Signoria ad annum._

CAPPELLA DEI NOBILI

1536-37, 14 di Marzo.

Per parte de li spettatissimi quattro cittadini operari e comissari del l’ illustrissimo concistoro dei Magnifici Signori ... a fare dipingere l’ altare della Cappella della piazza pubblica deputati--voi Crescenzio Turamini, date e pagate al generoso cavaliere messer Giovannantonio Soddoma, pittore, deputato a dipengere decto altare, scudi 15, cioè scudi quindici quali se li danno a buon conto, e per dar principio alia detta opera, secondo le convenzioni fatte con detti operai.

_Arch. dotto Scritture Concistoriali. Filza 55, ad annum._

1537.

Spese si faranno e fecionsi a la Cappella di Piazza per dipignerla a di XVII. di Setembre Lire tre che se li fan buoni a Ugo Berti nostro Camerlingo che li pagò a Pier Giovanni scarpellino per rompere el archo del nicchio.

1539, 2 Aprile.

Lire cinquantasei, se li fan buoni a Ugo Berti camerlingo che li pagò â Messer Giovannantonio Sodoma, dipentore, per resto de la dipegnitura de la chapelle di Piazza.

_Arch. dell’ Opera del Duomo, libro giallo detto dell’ assunta a carte, 369._

FOOTNOTES:

[1] Quoted by Lanzi, _History of Painting_, vol. i. p. 295.

[2] Rogito di Guidetto Pelliparis, _Notul_ 4, fol. 334.

[3] Baldinucci, _Notizie dei professori di disegno_, ii. p. 117.

[4] Milanesi, _Documenti per la Storia dell’ arte Senese_, iii. p. 182.

[5] Don Luigi Bruzza, _Notizie intorno alia patria di Sodoma. Misc. Storia Italiano._ Tomo i.

[6] Ugurgieri, _Le Pompe Sanesi_, ii. p. 353.

[7] Lanzi, _Descrizione del Duomo di Siena_, MS.

[8] _Rogiti di Guidetto di Pelliparis._ Notul 18, fol. 592, Doc. C.

[9] An inscription on the frame of one of his early panels is dated 1501.

[10] Vasari. Ed. Sansoni. Florence, 1879. p. 101.

[11] Bottari. _Lettere pittoriche_, vol. v. n. 42.

[12] Della Valle. _Lettere Senesi_, iii. p. 330.

[13] Arch. del Monastero. Libro Lungo, o fol. 95, a tergo.

[14] xii. Heft. 1, p. 72.

[15] Morelli. _Borghese and Doria Pamphili Galleries_, p. 152.

[16] Morelli. _Borghese and Doria Pamphili Galleries_, p. 152.

[17] “13 Ottobre 1508 il Magnifico Sigismondo Chigi fa sicurta per Giovanni Antonio dei Bazzi di Vercelli, a cui è commesso da fare alcune pitture nelle camere superiori del Pontefice nel Palazzo Vaticano.” Arch. Della Soc. Romana di Storia Patria, a. 1879, p. 486.

[18] Archivio del registro da Siena. Libro delle gabelle dei contratti, 1510, a. c. 103.

[19] Arch. dei Contratti. Filza dei rogiti di ser Nicaolo Posi dal 1508 al 1512.

[20] Arch. dei Contratti. Rogiti di ser Mariano Benucci. Filza 7, No. 62.

[21] _Arte Italiana del Rinascimento._ p. 135.

[22] Luigi Pecori. _Storia della terra di San Gemignano_, p. 563.

[23] _Lib. di Prov. di San Gemignano._ Lettera G. No. 64.

[24] Frizzoni. “_Intorno alla dimora del Sodoma a Roma giornale di erudizione artistica._” Perugia, 1872. Vol. i. p. 208.

[25] _Aretino’s Letters._ Paris, 1609. Book iii. p. 163.

[26] Oxford, Clarendon Press, 1870. p. 311.

[27] _Lettere Senesi_, iii. p. 267.

[28] _Italian Painters._ _Borghese and Doria Pamphili Galleries_, p. 155.

[29] Carta privata dei Medici. Arch. di stato di Firenze, filza 114. c. 191.

[30] Arch. dei deliberagioni della Balia, vol. 47, 7th November 1514.

[31] Arch. dei Contratti di Siena, Rogiti di Ser Alessandro di Ser Francesco Martini, 1516.

[32] Vasari, vi. p. 634.

[33] Arch. dei Contratti di Siena. Filza S dei lodi di Ser Francesco Figliucci.

[34] “22 Novembre, 1518. Actum Regii in Ecclesia S. Jacobi præsenti ibidem Magistri Joanne Antonio de’ Bazzi de Parma pictore ad præsens habitatore Regii,” etc.

[35] Rio, _Léonard da Vinci et son école_, p. 150. Mündler, _Beiträge zu Jacob Burckhardt’s Cicerone_, p. 32. Amoretti, _Trattato della pittura di L. da Vinci_, p. 101.

[36] Archivio del Patrimonio Ecclesiastico d’Entrata e Uscita della detta Compagnia. Reg. C. 1. a. c. 38, A.

[37] E. Schurè. _Le drame musicale_, vol. i. p. 180.

[38] Angelo Mosso. _La Fatica_, Chap. viii. p. 228.

[39] Arch. dell Opera del Duomo. Libro di tre angeli. a. c. 465.

[40] Arch. delle Riformagioni di Siena. Scritture Concistoriali, filza, 41.

[41] Ricordi del Convento di Santo Spirito conservati nell’ Archivio del Patrimonio Ecclesiastico nell’ opera del Duomo.

[42] Arch. dei Contratti. Rogiti di ser Galgano Faleri.

[43] Reproduced in the collection of heliotypes from the Morelli Gallery edited by Dr. Frizzoni. (Milan, Hoepli, 1886.)

[44] First quoted by Ugurgieri, and then by Della Valle. _Lettere Senesi_, ii. p. 244.

[45] Arch. dei Contratti. Fra i rogiti di Ser Sigisimondo Trecerchi.

[46] Arch. delle scritture, Concistoriali. Filza, 55, 1538.

[47] Della Valle, iii. 267.

1. Una Madonna del Sodoma con ornamento dorato, alta braccia due e mezzo. sc. 150.

2. Quadro del Sodoma per lungo, che rappresenta Numitore, che condanna alla morte da Madre di Romolo e Remo con i Bambini, etc. sc. 100.

3. Due quadri del Sodoma compagni alti un braccio e mezzo, lunghi due braccia e mezzo, rappresentati in uno la caduta di Fetonte dal Carro, nell’ altro Dafne segnita da Apollo, convertita in alloro.

4. Una resurrezione del Sodoma.

[48] Par. xvii. 56.

[49] It was painted in 1542, and he was paid 526 lire and 10 soldi.

[50] Arch. delle Riformazioni di Siena. Filza 35, delle lettere.

[51] Vasari, _Le Opere_, iii. 685.

[52] _Italienische Forschungen_, ii. 386.

INDEX

_Adoration of the Magi_ (S. Agostino, Siena), 50, 80, 91, 116, _ill._
50

_Alexander, Family of Darius before_ (Farnesina), 35, 114, _ill._ 34

_Alexander, Marriage of_ (Farnesina), 33, 114, _ill._ 32;
_sketches for_, 34, _ill._ 32

Arduini, The, their lawsuit against Sodoma, 80, 91

Aretino, Pietro, his friendship with Sodoma, 33

_Ascension_ (Trequanda), 81, 131

_Assumption of the Virgin, The_ (San Bernardino), 49, 117, _ill._ 50

Balducci, apprenticed to Sodoma, 47

Bazzi, Giovanni Antonio. _See_ Sodoma

Beccafumi, 3, 71;
associated with Sodoma, 48

Bernazzano, 14

Biers, Panels for, by Sodoma, 62

Biringucci, Vannoccio, 80

_Birth of the Virgin_ (Carmine), 82, 118

Bramantino, 27

Brazzi, Lorenzo, pupil of Sodoma, 47

Bruzza, Don Luigi, on Sodoma’s early life, 3-6

Camera della Segnatura, Sodoma’s decorations in, 27, 28, 113, _ill._
26

Carracci, Annibale, 3, 81

Cesare da Sesto, 14

_Charity_ (Berlin), 46, 62, 107

Chigi, Agostino, 3, 26, 27, 29, 32

Chigi, Prince Mario, 36

_Christ bearing the Cross_ (Monte Oliveto), 19, 130

_Christ bound to the Column_ (Siena Gallery), 2, 21, 43, 116, _ill._
44;
(Monte Oliveto), 19

_Christ, Head of_ (Nat. Gallery), 92, 104

_Christ in Hades_ (Siena Gallery), 21, 61, 115, _ill._ 60

_Circumcision, The_, by Signorelli, 86, 93;
the Child repainted by Sodoma, 86, 93

_Coronation of the Virgin, The_ (Monte Oliveto), 19, 129;
(San Bernardino, Siena), 117, _ill._ 50

_Darius, the Family of_, 35, 114, _ill._ 34

Della Quercia, Jacopo, 10

Del Piombo, Sebastiano, 23, 32

_Descent from the Cross, The_ (Siena Gallery), 12, 115, _ill._ 12

_Descent into Hades_ (Siena Gallery), 21, 61, 115, _ill._ 60

Farnesina, Building of the, 32;
frescoes in, 32, 33

_Female Portrait_ (Frankfort), 23, 107

Ferrara, Alfonso, Duke of, 52, 54

_Flagellation of Our Lord, The_, 43

_Gethsemane_ (Siena Gallery), 61, 115

Gianpietrino, 14, 46

Giovanone, 7

Gonzaga, Marquis Francesco, 45, 53

_Holy Family_ (Vercelli), 13, 131

_Holy Family with S. John_, etc. (Capt. Holford), 14, 105;
(Col. Cornwall Legh), 14, 105;
(Villa Borghese), 80, 113, _ill._ 82

_Holy Family_ (Genoa), 94, 111;
(Hospital, Siena), 95, 123

_Judgment of Pilate, The_, 43

_Last Supper, The_ (Monte Oliveto, Florence), 41, 110, _ill._ 40

_Leda_ (Villa Borghese), 21, 37, 113;
_drawings for_, 37, 62

Leo X., 3, 40

Leonardo da Vinci, Influence of on Sodoma, 7, 35;
picture of _Leda_ attributed to, 37;
_drawings of Leda_, 37, 38;
at Piombino, 40

Lorenzetti, Ambrogio, 70

Lorenzo di Credi, 14

_Lucretia, Paintings of_, by Sodoma, 45, 46

_Madonna and Child_ (Brera), 28, 29, 111, _ill._ 28;
(San Gemignano), 32;
(Turin), 38, 130;
(Munich), 39, 107;
(Ginoulhiac collection, Milan), 57, 112;
(Vaprio), 55, 131;
(Villa Borghese), 81, 113, _ill._ 82;
(Nat. Gallery), 92, 104;
(Bergamo), 94, 108;
(Layard collection), 94, 131;
(Mrs. Richter), 10, 96, 106;
(Asina-Lunga), 81, 108

_Madonna and Child with Saints_ (Turin), 31, 130, _ill._ 30;
(Pisa), 88, 113, _ill._ 88

_Madonna in Glory with Saints_ (Uffizi), 60, 109, _ill._ 60

_Madonna and S. Leonard_ (Palazzo Pubblico), 80, 81, 121, _ill._ 80

_Madonna and Child with S. John_ (Palazzo Pubblico), 81, 121, _ill._
82

_Madonna with S. Peter and S. Michael_ (Monte Oliveto), 20

Magagni, Girolamo, pupil of Sodoma, 47, 67, 68

_Male Head_ (Bergamo), 94, 108

Melozzo da Forlì, 28

Melzi, Francesco, 55

Michelangelo, 9, 27, 32, 35

_Miracle of the Loaves and Fishes_ (S. Anna in Creta, Siena), 16, 124

Monte Oliveto (Siena), Frescoes by Sodoma at, 18-23

Morelli, Analysis of Sodoma’s characteristics by, 23-25

_Nativity, The_ (Siena Gallery), 13, 115, _ill._ 14;
(Porta San Viene, Siena), 76, 123

Pacchia, Frescoes in San Bernardino by, 48, 50

Pacchiarotto, fresco of _San Bernardino_ by, _ill._ 56

_Penitent Magdalen_ (Dr. Frizzoni, Milan), 56, 111

_Persecution of Rhea Silvia, The_ (Chigi Palace, Rome), 36, 114

Peruzzi, Baldassare, 32, 46, 65, 85

Petrucci, The, of Siena, 53, 57

_Phaeton, The Fall of_ (lost picture), 85, 96;
_drawings for_, 85, 86

Piccolomini, Portraits of the, 51

_Pietà_ (Pisa Cathedral), 13, 87, 112;
(S. Anna in Creta, Siena), 17, 124;
(Monte Oliveto), 20;
(Villa Borghese), 63, 113;
(Casa Bambagini), 64, 123;
_drawings for_, 63, _ill._ 62;
(Costa collection), 94, 110;
(San Tommaso, Milan), 94, 112

Pinturicchio, 9, 26

Piombino, Prince of, 3, 40, 83, 96

_Presentation in the Temple, The_ (San Bernardino), 48, 117, _ill._ 48

_Procession to Calvary, The_ (Siena, Villa Griccioli), 61, 124

Raphael, Portrait of Sodoma in the _School of Athens_ by, 3, 28;
frescoes in the Farnesina, 32;
influence of on Sodoma, 35, 36, 72;
portrait drawing of Timoteo Viti wrongly attributed to, 93

_Resurrection_ (Palazzo Pubblico), 78, 121, _ill._ 76;
(Naples), 79, 112;
_study for_, 94

Riccio, son-in-law of Sodoma, 30, 47, 71, 87

_Roxana, Alexander and_, 33, 114, _ill._ 32;
_study for_, _ill._ 32

_Sacrifice of Isaac_ (Pisa), 87, 112, _ill._ 86

S. Anna in Creta, Siena, frescoes by Sodoma at, 16, 124

_S. Anne Enthroned_ (S. Anna in Creta, Siena), 17, 125

_S. Ansano_ (Palazzo Pubblico), 71, 120, _ill._ 72

_S. Benedict, Scenes in the Life of_ (Monte Oliveto), 18-22,
125-129, _ill._ 16, 18, 20

San Bernardino, Frescoes in the Oratory of, 48, 117

_San Bernardino_, by Pacchiarotto, _ill._ 56

_San Bernardo instituting his Order_ (Monte Oliveto), 20, 130

_S. Catherine, Scenes in the Life of_ (San Domenico), 64, 66,
_ill._ 64, 66, 68

_S. Catherine, The Vision of_, 2, 65, 119, _ill._ 64

_S. Christopher_ (Spada Gallery, Rome), 36, 114;
_study for_, 94

San Domenico, Siena, Sodoma’s work in, 64-67, 119

_S. George and the Dragon_ (Sir F. Cook), 46, 51, 54, 105

_S. Ives_ (San Gemignano), 31, 111

_S. Louis of Toulouse_ (San Bernardino, Siena), 118, _ill._ 54

_S. Sebastian_ (Uffizi), 2, 21, 58, 109, _ill._ _Front._, 58;
(Spanish Chapel, Siena), 74, 122

_S. Victor_ (Palazzo Pubblico), 70, 71, 120, _ill._ 70

_Salutation, The_ (San Bernardino), 49, 117, _ill._ 48

_School of Athens, The_, by Raphael, 3, 28

Scorel, Jan, 23

Signorelli, Frescoes at Monte Oliveto, by, 18;
his _Circumcision_, 86, 93

Sodoma, disliked by Vasari, 2, 3;
highly esteemed by contemporaries, 3;
his birth, 3;
apprenticed to Spanzotti, 6;
influence of Leonardo on, 7;
work at Siena, 8;
his love of animals, 10, 22;
early works, 10-14;
portraits, 15;
frescoes at S. Anna in Creta, 16;
frescoes at Monte Oliveto, 18-22;
female portrait at Frankfort, 23;
Morelli’s analysis of the characteristics of, 23-25;
taken to Rome by Chigi, 27;
decorations in the Camera della Segnatura, 27, 28;
return to Siena and marriage, 29;
second visit to Rome, 32;
friendship with Aretino, 33;
frescoes in the Farnesina, 33-36;
influence of Leonardo and Raphael on, 35, 36;
visit to Piombino, 40,
and Florence, 40;
fresco of the _Last Supper_, at Monte Oliveto (Florence), 41;
origin of his name, 42, 43;
frescoes at San Francesco, 43;
_Christ bound to the Column_, 43, 45;
his treatment of the human figure, 44, 45;
_Lucretia_, 45;
made Cavalliere di Cristo by Leo X., 45;
_Charity_, 46;
his pupils, 47;
the San Bernardino frescoes, 48;
the _Adoration of the Magi_, 50;
_S. George and the Dragon_, 51;
disappearance from Siena, 53;
doubtful works at Milan, 55;
return to Siena, 57;
_S. Sebastian_, 58-60;
frescoes in San Domenico, 64-67;
action against Magagni, 67-68;
decorations in the Palazzo Pubblico, 70 _et seq._;
frescoes in the Spanish chapel, 72, 73;
made a Count by the Emperor, 75;
other frescoes in Siena, 75;
later works, 80-88;
comic list of his possessions, 82;
last commission from the Signoria of Siena, 83;
friendship of the Prince of Piombino for, 84;
at Volterra, 85,
and Pisa, 87;
his death, 88;
portraits of himself, 90-92;
works in English collections, 92, 93;
minor works, 94;
lost pictures, 95, 96;
general character, 97

_Sodoma, Portraits of_, by himself, 90, _ill._ 90

Spanzotti, Sodoma apprenticed to, 6

Tamagni, Vincenzo, 30

_Tolomei, San Bernardo_, 64, 72, 77, 121

Tizioni, The, 6

Vasari, his dislike of Sodoma, 2, 3;
account of Sodoma’s eccentricities, 10;
his injustice to Sodoma, 43

W. H. WHITE AND CO. LTD. RIVERSIDE PRESS, EDINBURGH

Transcriber’s notes.

Italic text is indicated with _underscores_, bold text with =equals=. Small/mixed capitals have been replaced with ALL CAPITALS.

Evident typographical and punctuation errors have been corrected silently. Some inconsistent spelling/hyphenation has been normalised.

The author uses both STAEDEL and Städel.

An index reference to non-existent page 172, has been amended to 117.

Half-titles and reiterations of chapter titles have been discarded.

End of page footnotes have been sequentially numbered and relocated to the end of the book.

Illustrations have been relocated between paragraphs.

New original cover art included with this eBook is granted to the public domain.