Memorials

S. Girolamo in Fiesole 2a Altare de Martini–Salviati a

Situated In

Alternate Names

The Ferrucci Altarpiece

Rosselli Number	2.0
Memorial Type	altar
Status	extant
Current Repository	V&A, London
Primary Installation	na
Secondary Installation	na
Tomb Form	na
Liturgical Orientation	S
Height	3.658
Length	2.743
Documented Types	altare
Component Parts	sculpture in the round relief sculpture arch
Decorative Elements	angel Generic term for ministering spirits or divine messengers known in several theologies, forming an order of spiritual beings superior to man in power and intelligence. In Jewish, Christian, Islamic, and other theologies, the attendants and messengers of the Deity. Alternate Names: putto; cherub; seraph; archangel cross
Material
Database ID	32190

Dates

circa 1493 (date is approximate) b
1859 c

Individuals (2 total)

Salviati, Tita di Ruberto di Marco di M. Forese di M. Giovanni (uxor Girolamo di Piero Martini da Venezia)		circa 1493 (date is approximate)	d
Ferrucci, Andrea di Piero di Marco di Nanni di Sandro		circa 1493 (date is approximate) to circa 1497 (date is approximate)

Groups (2 total)

Martini da Venezia		circa 1493 (date is approximate) to 1859
Salviati		circa 1493 (date is approximate) to 1859

Related Memorials (4 total)

S. Girolamo in Fiesole 1 Altare de'Medici	circa 1493 (date is approximate) to 1859
S. Girolamo in Fiesole 2b Tomb of Girolamo di Piero Martini:	circa 1493 (date is approximate) to 1859
S. Girolamo in Fiesole 3 Altar grande:	circa 1493 (date is approximate) to 1859
S. Girolamo in Fiesole Altare della SS. Annunziata:	circa 1493 (date is approximate) to 1859

Sources (2 total)

Dizionario biografico degli Italiani	vol. 47 (1997) “Ferrucci, Andrea” by Sandro Bellesi
ASF, Manoscritti, 625, Rosselli, Sepoltuario Fiorentino, 1657 (copy)	pp. 1426, no. 2

Notes

[] "FERRUCCI, Andrea” by Sandro Bellesi in www.treccani.it/biografico
[a] Though Stefano Rosselli did not identify the two sets of arms on this altar, they have been identified in the Ceramelli Papiani archive as those of the Martini da Venezia family on the viewer's left, twice married into the Salviati family, whose arms appear on the predella's right-hand side. Though sometimes attributed to Cornelia Salviati, widow of M. Giovanni di M. Piero Martini (m. 1446), the commission came from her sister Tita, who married Giovanni's brother Girolamo (d. 1492).
[b] The sculpted altarpiece was provided by Andrea Ferrucci at the behest of Cornelia di Ruberto Salviati, the widow of M. Giorgio di M. Piero Martini da Venezia, whose arms adorn each side of the predella.
[c] At the secularization of San Girolamo, the altarpiece became the property of the Bardi di Vernio family and then the Ricasoli. In 1859 it was acquired by the Victoria and Albert Museum in London.
[d] After her husband's death in 1492, Tita added to his bequest of 25 florins for a tomb in S. Girolamo. 125 florins were spent to install a chapel (or really an altar) and another 180 florins for a splendid stone altarpiece, all from a bequest Girolamo had left for charitable causes. A 1507 document indicates Tita's identification of Girolamo as the source of the funds, even though she was the patron who contracted Andrea Ferrucci to do much of the work. For more on her chosen iconographic program and changes to it, see Apfelstadt, E., "Andrea Ferrucci's 'Crucifixion' altar-piece in the Victoria and Albert Museum," Burlington Magazine 135, no. 1089 (Dec. 1993), pp. 807–17.