Inscriptions

Inscription #2534, Angeli 01.2 Cappella maggiore a

Diplomatic Transcription

hEC• TABULA• FACTA• EST• PRO: AnIMA• ÇENOBII• CECChI• FRASChE• ET• SVO4• In• RECOMPEnSATIOnẼ• UnIVS• ALTERI• TABVLE• PER• EUM• In• hOC• [TEMPLO• POSITA• EST• PER• OPERAM• LA]VRENTII• IOhIS• E• SVO4• MOnACI• hVI• ORdInIS• QVI• EAM• dEPInXIT• AnO• dñI• MCCCCXIII• MĒSE• FEBR• TPORE• dÕnI• MAThI• PRIORIS• h• MONASTER

Critical Transcription

H(a)ec tabula facta est pro anima Zenobii Cecchi Frasch(a)e et suo(rum) in recompensatione(m) uni(us) alteri(us) tabul(a)e per eum in hoc [templo posita(e) est per operam La]urentii Ioh(ann)is e(t) suo(rum) monaci hui(us) ordinis qui eam depinxit an(n)o D(omi)ni MCCCCXIII me(n)se Febr(uarii) t(em)pore do(mi)ni Math(e)i prioris h(uius) monaster(ii)

Regularized Transcription

Haec tabula facta est pro anima Zenobii Cecchi Fraschae et suorum, in recompensationem unius alterius tabulae per eum in hoc templo positae est, per operam Laurentii Iohannis et suorum, monaci huius ordinis qui eam depinxit anno Domini MCCCCXIII mense Februarii tempore domini Mathei prioris huius monasterii

Translation

This painting was made for the soul of Zanobi di Cecco del Frasca and of his own [family], in compensation for another painting placed in this church by him, through the work of Lorenzo di Giovanni and of his own [assistants], a monk of this order who painted it in the year of the Lord 1413 [o.s.], in the month of February, at the time of messer Matteo, prior of this monastery.

Memorial	Angeli 01.2 Cappella maggiore
Taken From	monument
Position
Text Direction
Letterform	Gothic
Languages	Latin
Keywords	artist named commissioner named date day/month Florentine family named honoree named year
Database ID	2534

Notes

[a] The inscription runs continuously in one line between the main panel and the predella. The portion of the transcription in brackets is a modern replacement, likely from Ettore Franchi's 1878 restoration of the painting, as noted by Anneke de Vries and Victor M. Schmidt in the catalogue from the exhibition held at the Galleria dell'Accademia in 2006. Noting imperfect Latin in the restored part, de Vries and Schmidt offered several options to correct it, including as the genitive "positae est," thus referring to the previous genitive "unius alterius tablul(a)e," which we follow here. See de Vries and Schmidt, "The Coronation of the Virgin for the main altar of Santa Maria degli Angeli: Iconography and purpose," in Lorenzo Monaco: A Bridge from Giotto’s Heritage to the Renaissance, editd by Angelo Tartuferi and Daniela Parenti (Florence: Giunti, 2006), p. 42n5.