Memorials

Carmine 017.1 Altare di S. Niccolò vescovo di Bari

Situated In

S. Maria del Carmine -- chiesa nuova -- nave -- right side -- Rosselli 17

Alternate Names

  • Carmine Altare di San Niccolò di Bari
Rosselli Number 17.0
Memorial Type altar
Status lost
Current Repository na
Primary Installation na
Secondary Installation na
Tomb Form na
Liturgical Orientation W
Documented Types
  • altare
Component Parts
  • mensa
Database ID 30911

Dates

August 4th, 1377 a
June 7th, 1395 to November 12th, 1397 b
1398 to 1400 c
decoration

Individuals (1 total)

no surname used, Chiaro di Ardinghello (ritagliatore di panni del pop. S. Friano)
August 4th, 1377 d

Groups (1 total)

Compagnia di San Niccolò

Related Memorials (1 total)

Carmine 017.2 Altare di Bernardino Poccetti:
circa 1590 (date is approximate) to 1609

Sources (6 total)

Catalogo generale dei Beni Culturali rec. 0900191228
ASF, Corp. Rel. Soppr. GF, 113, 13: Carmine, Libro de Padronati pp. 85
ASF, Corp. Rel. Soppr. GF, 113, 7: Carmine, Libro de' Oblighi pp. 83
ASF, Corp. Rel. Soppr. GF, 113, 7: Carmine, Libro de' Oblighi pp. 4, no. 4; 83, no. 160
G. Poggi, "La compagnia del Bigallo" pp. 199-201; 235-238
A. Tartuferi and D. Parenti, Lorenzo Monaco pp. 120-127

Notes

  • [a] Chiaro d'Ardinghello ritagliatore di panni del popolo San Frediano endowed a second chapel in the Carmine to be built and dedicated to Saints Nicholas, Martin, Margaret, and Catherine. The Captains of the Bigallo were responsible for carrying out his testamentary wishes.
  • [b] Arnaldo Cocchi (1903) published payments to maestro Matteo di Bernardo di Duccio, hired by the Captains of Santa Maria del Bigallo, between June 1395 and November 1397. Ninety-five gold florins were spent to build the chapel. Why there was a delay of almost two decades between Ardinghelli's bequest and the chapel's construction remains unclear.
  • [c] Cocchi (1903) was the first to publish documents for payments between 1398 and 1400 by the Bigallo Confraternity to Lorenzo di Salvi, who painted the walls of the chapel, and Lorenzo Monaco, who painted the altarpiece built by the carpenter maestro Andrea di Giovanni. The murals were destroyed in late-sixteenth-century renovations, while the altarpiece was moved to the Novitiate Oratory. It seems to have been lost in the 1771 fire.

    Giovanni Poggi (1904) published additional documents from the Compagnia del Bigallo, responsible for building and furnishing Chiaro's new chapel, indicating that it was to be in honor of Saints Nicholas, Martin, Margaret, and Catherine. Chiaro's testament also provided for a special mass to be celebrated in perpetuity on the feast of Saint Nicholas (Libro Oblighi, p. 4).

    Federico Zeri (1965) and Angelo Tartuferi (2006) propose a reconstruction of panels by Lorenzo Monaco showing the Virgin and child between Saints Jerome, John the Baptist, Peter, and Paul, now dispersed among collections in Toledo Ohio, Florence, Leicester, Berlin, Baltimore, Princeton, and Braunschweig, as the "Carmine Polyptych." Given that none of these saints match the honorees dictated by Chiaro d'Ardinghello, we must rule out the reconstructed altarpiece as the one Lorenzo Monaco painted for Chiaro d'Ardinghello's chapel of St. Nicholas.

    Unfortunately, the payment records make no mention of the specific images adorning the chapel's altarpiece and walls, but those scholars who have doubted that the reconstructed polyptych is the one formerly in the Ardinghelli Chapel (Eisenberg, Czarnecki, Gordon) seem to be correct that the documented altarpiece does not correspond to Zeri's reconstruction, though they do not provide an alternative provenance for the polyptych. See Tartuferi "Carmine Polyptych" (2006), pp. 120-127.
  • [d] testament