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Memorials

S. Procolo 03.1 Altare di S. Antonio de Pannocchia a

Situated In

S. Procolo -- sanctuary

Alternate Names

  • Altare de Panochi intitolata in S. Antonio
  • Cappella della Nunziata
  • Cappella di Sant'Antonio
Rosselli Number 3.0
Memorial Type altar
Status lost
Current Repository na
Primary Installation na
Secondary Installation na
Tomb Form na
Liturgical Orientation S
Documented Types
  • altare
  • cappella
Component Parts
  • mensa
Decorative Elements
  • Virgin Mary
Database ID 340

Dates

circa 1409 (date is approximate) b
1622 c
destroyed

Individuals (6 total)

Baldovini Riccomanni, Antonio di Andrea di Pannocchia di Manno di Jacopo
circa 1409 (date is approximate)
 d
Lorenzo Monaco (don) (OSB Cam)
circa 1409 (date is approximate)
Baldovini Riccomanni, Antonio di Andrea di Pannocchia di Manno di Jacopo
by April 6th, 1413
Baldovini Riccomanni, Biagia di Antonio di Andrea di Pannocchia di Riccomanno (uxor Niccolaio di Manetto da Filicaia)
on or slightly before April 6th, 1413
 e
da Filicaia, Piero di Niccholaio di Manetto di Spigliato di Aldobrandino
circa 1415 (date is approximate)
 f
Baldovini Riccomanni, Ginevra di Piero di Raffaello di Piero di Francesco (uxor Jacopo di Giovanni Battista Ricciardi)
March 14th, 1583 g

Groups (1 total)

Baldovini Riccomanni
circa 1409 (date is approximate) to 1622
 h

Related Memorials (5 total)

S. Procolo 03.2 Altare della Nunziata de Ricciardi e Baldovini del Pannocchia:
1622
S. Procolo 04.2 Altare della Visitazione de Capponi-Salviati:
S. Procolo 05.1 Altare di S. Niccolò de Valori (ca. 1332) i
circa 1409 (date is approximate) to 1622
S. Procolo 05.1 Altare di S. Niccolò de Valori (ca. 1332): j
circa 1490 (date is approximate) to 1622
S. Procolo 18 sepoltura Jacopo di Giovanni Battista Ricciardi 1599:
1599 to 1622

Sources (4 total)

Accademia online Annunciazione e i santi .... Lorenzo Monaco
ASF, Catasto, 1427 vol. 37, fol. 1049v and 1051v and vol. 73, fol. 172v
ASF, Corp. Rel. Soppr. GF, 78, 386: Badia, Privilegiorum fol. xxxiiii
A. Tartuferi and D. Parenti, Lorenzo Monaco pp. 179-184 (D. Parenti) and appendix (A. Lenza)

Notes

  • [a] An altar in San Procolo was endowed through the testamentary bequest of Antonio d'Andrea del Pannocchia as indicated in the 1427 catasto declaration of his widowed daughter Biagia and her son Piero di Niccolaio di Manetto da Filicaia. They listed the family chapel's numerous obligations as part of their deductions (ASFi, Catasto, 37, fol. 1051 and 73, fol. 172v). Antonio died on or just before 6 April 1413, the day on which the proceeds from one of the properties left to his daughter began flowing to the hospital of Santa Maria Nuova per Antonio's bequest (Cat. 37: 1049v and 73: 171v). The 1427 declaration also noted that payments related to the chapel's many obligations–a daily mass celebrated by the friars of San Piero del Murrone; continuously burning candles and a perpetually lit oil lamp; an extra 100 pounds of wax for a special mass said on the feast of the Annunciation; two additional special masses on certain saints' feast days, including Anthony's; and two extra anniversary masses for Antonio's soul and those of his kinfolk–had been ongoing for fourteen years, further confirming Antonio's death in 1413.

    An inventory of San Procolo dated about 1445 (CRS, 78:386), indicates that the altar was dedicated to the patron's name saint, Anthony Abbot, who stands in the place of honor to the immediate proper right (viewer left) of the dramatic narrative in the Accademia's Annunciation with Saints by Lorenzo Monaco, which has been convincingly identified as the altar's original decoration and described in the inventory as beautiful (tavola bella da altare). The inventory also itemizes an old altar cloth and a pair of iron candlesticks, corresponding to Antonio's testamentary stipulation that two large candles (cerotti) were to be continuously lit on the chapel's altar. Antonio surely had secured patronage rights prior to his death, and likely was the patron of Lorenzo Monaco's altarpiece, which was reported in the late seventeenth century to carry the date 1409. While several scholars have raised doubts about the accuracy of this date, including the proposal by Parenti (p. 184) that MCCCCXIIII (1414) was misread as MCCCCVIIII (1409), it is tempting to think of Antonio as the patron of his chapel and its adornment in 1409. Moreover, there is no mention of payments for an altarpiece or other furnishings in the 1427 list of expenses, making it very likely that the altar had been completely outfitted by Antonio himself and that after his death in 1413, his heirs were only responsible for its upkeep.

    Reports from a visitation to the church on 18 June 1575 indicate that the altar was "sub titolo Annuntiate," but says nothing of St. Anthony, and that it had been erected out of devotion by the "Spannocchi" family (Lenza 2006, p. 184). The report also mentions the altarpiece noted in 1445 with more detail as a "tabula deaurata et imagine Anuntiationis depicta" (a gilded panel with a painted image of the Annunciation), further solidifying the identification of Lorenzo Monaco's altarpiece. The altar seems to have carried a double dedication all along, for Antonio del Pannocchia had specified an annual mass on the Feast of the Annunciation (March 25), as well as that of Saint Anthony, in perpetuity. (Catasto 37, fol. 1051) It is not surprising that over time the altar became more associated with the Annunciation featured so prominently in the center of its altarpiece.

    A subsequent visitation in 1727 indicates that the altar had maintained its dedication to the Annunciation but that patronage now belonged to the Ricciardi family. Stefano Rosselli indicates that by his day, rights to the altar had passed to the Ricciardi family through marriage, which can be identified as that of Jacopo di Giovanni Battista Ricciardi to Ginevra di Piero Baldovini Riccomanni del Pannocchia in 1576. Jacopo installed a tomb at the foot of the altar in 1599. During the dramatic reorientation of the church in 1622, the altar was renovated to include both the Ricciardi and Baldovini del Pannocchia arms, at which time the gold-ground altarpiece seems to have been moved to the sacristy, where it was recorded in the 1727 visitation (Lenza 2006, p. 184). Ginevra became the last surviving Baldovini Riccomanni del Pannocchia heir upon the death of her brother on 28 March 1628.
  • [b] Antonio d'Andrea del Pannocchia endowed an altar dedicated to his name saint, funded through his testamentary bequest beginning on 6 April 1413. Given that he would have received patronage rights while still living, work on the altar and its decoration likely started prior to his death, giving credence to the date of 1409 for its altarpiece as reported by Giovanni Cinelli in 1677. Scholars disagree on the date of Lorenzo Monaco's Annunciation with Saints, but current consensus is between about 1410 and 1415 (Accademia online). Given that Antonio's heirs did not include expenses for an altarpiece in their long list of financial obligations related to what they called a "chapella" (a term frequently interchangeable with "altare" in the period), it seems highly likely that Cinelli did not misread an inscription but was correct to provide the date of 1409 as the completion date for the altarpiece and thus the chapel as well.
  • [c] The church was significantly restored in the early seventeenth century, when it was reoriented to place the entrance where the high altar had been. A new high altar was installed opposite the entrance, oriented to the west. Stefano Rosselli describes the new Ricciardi-Baldovini del Pannochia altar (no. 3), which maintained a dedication to the Annunciation and carried the coats of arms of both families. They commissioned a new altarpiece showing the same subject, which Cinelli says was by Jacopo Pontormo (p. 388). He also notes that Lorenzo Monaco's panel had been moved (p. 389), possibly to the sacristy where it was seen in 1727 (Lanza, p. 184)
  • [d] Piero di Niccolaio da Filicaia notes in his 1427 catasto declaration (37, fol. 1051) that his grandfather Antonio had founded the family chapel in San Procolo ("sua chapella la quale fecie in san Brocolo di Firenze"). Whether he had secured patronage rights in San Procolo before or after his 1384 commission to install a tomb in Santa Croce is not known, but his testamentary wishes for masses at the family altar seem to have gone into effect on April 6th, 1413. Given that his heirs make no mention of paying for furnishings in their detailed declaration of chapel expenses in 1427, it seems likely that the painting, and thus the altar, was completed in 1409, the date reported by Giovanni Cinelli (p. 389).
  • [e] In their 1427 catasto declaration Biagia and her son Piero included the San Procolo family chapel founded by her father among their deductions (incarichi), for the responsibilities for its many obligations had passed to her. Biagia's list of credits in the public debt (monte) suggests that she had received her inheritance by 6 April 1413, and that her father had died on or slightly before that date. He is not listed in the city burial records dated through September 1412, after which there is a large lacuna until 30 June 1424.
  • [f] Piero was still a minor when his mother Biagia inherited rights to the family chapel in San Procolo. Based on the age he provided in his 1427 catasto declaration, he would have turned 18 in about 1415.
  • [g] Ginevra's father died on March 14th, 1583. Her husband installed a tomb at the foot of her family's altar in 1599, and they fully restored it in 1622 even though she only became sole heir to the Baldovini dl Pannocchia family estate in 1628 at the death of her brother Filippo.
  • [h] Evidence of Antonio di Andrea del Pannocchia's patronage of the altar chapel comes from the 1427 catasto declaration of his grandson and widowed daughter (37, fol. 151) as well as an inventory drawn up around 1445 (CRS, 78:386). Giovanni Cinelli noted that its altarpiece was dated 1409.
  • [i] The del Panocchia family chapel likely remained in the same place from its installation to its restorations in 1622 and 1739, that is, on the southern wall of the church towards the west wall. After the radical reorientation of the church in 1622, this meant the altar was then to the left of the high altar, where it was seen by Stefano Rosselli and Giuseppe Richa.
  • [j] The del Panocchia family chapel likely remained in the same place from its installation to its restorations in 1622 and 1739, that is, on the southern wall of the church towards the west wall. After the radical reorientation of the church in 1622, this meant the altar was then to the left of the new high altar, where it was seen by Stefano Rosselli and Giuseppe Richa.