File:Antonio Pollaiuolo (1907) (14742040646).jpg

Identifier: antoniopollaiuol00crut (find matches)
Title: Antonio Pollaiuolo
Year: 1907 (1900s)
Authors: Cruttwell, Maud
Subjects: Pollaiolo, Antonio, 1426?-1498 Pollaiolo, Piero, ca. 1443-1496
Publisher: London : Duckworth and Co. New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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onio during the years in which he was occupiedon the designs for the embroideries, yet it is unlikelythat these took up much of his time or were even theprincipal work on which he was employed. These werethe years of his full maturity, and it may be presumedthat a great part of them was devoted to his specialinterests and studies of the nude in action. A superbexample of this may by inference be placed about thistime—the frescoes discovered in 1897 ^^ ^^^ Villa dellaGallina in the grounds of the Torre del Gallo, Arcetri,near Florence.* The frescoes decorate one wall of aroom on the ground floor of the Villa, and represent aBacchic Dance of nude figures, two-thirds the size oflife. At the date of their discovery they were supposedto be by Botticelli, and it was Mme. Mary Logan whofirst attributed them to Antonio.f * Formerly in the possession of Count Galletti, now of SignorBardini. + Mme. Mary Logan,*Decouverte dune Fresque de Pollaiuolo,•• Chronique des Arts, 1897, p. 343. XXII
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Anderson FRESCO OF TORRE DEL GALLO Face p. 117 PAINTINGS AND STUDIES 117 The Villa belonged to the Lamberteschi, but in 1464it was bought by the brothers Jacopo and GiovanniLanfredini, the latter of whom was the intimate friendof Lorenzo de Medici and filled the post of FlorentineOrator at the Papal Court. It is probable that theycommissioned Antonio to decorate the hall at the timeof their purchase of the Villa, and in any case we maytake these figures as the centre of a group of nudes inaction, which must certainly date from his most matureand self-expressive years. The frescoes are in a state of the utmost ruin. Intheir present condition the visitor to the Villa sees, notthe work of Antonio, but of the restorer, who, shortlyafter they were discovered, repainted the whole of thefigures, coarsening the delicate outline, which was nearlyall that remained, and adding a coloured background inorder to give them prominence. The author had thegood fortune to study them at the time of their

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