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Updated: June 19, 2025
He was born between 1360 and 1370, and he settled at Florence about 1422, where he opened a bottega in S. Trinit
"Let us hope it will bring you only joy and triumph here," said his neighbor, who knew him to be an honest man and a true, if over-obstinate and too vain of his own place in Urbino. "Our lord the duke!" shouted the people standing in the street; and Ser Benedetto walked out with stately tread to receive the honor of his master's visit to his bottega.
It remained for Giotto Bondone, born at Vespignano in 1276, just at the date of Niccola Pisano's death, to carry painting in his lifetime even further than the Pisan sculptor had advanced the sister art. Cimabue, so runs a legend luckily not yet discredited, found the child Giotto among the sheep-folds on the solemn Tuscan hill-side, drawing with boyish art the outline of a sheep upon a stone. The master recognised his talent, and took him from his father's cottage to the Florentine bottega, much as young Haydn was taken by Renter to S. Stephen's at Vienna. Gifted with a large and comprehensive intellect, capable of sustained labour, and devoted with the unaffected zeal of a good craftsman to his art, Giotto in the course of his long career filled Italy with work that taught succeeding centuries of painters. As we travel from Padua in the north, where his Arena Chapel sets forth the legend of Mary and the life of Christ in a series of incomparable frescoes, southward to Naples, where he adorned the convent of S. Chiara, we meet with Giotto in almost every city. The "Passion of our Lord" and the "Allegories of S. Francis" were painted by him at Assisi. S. Peter's at Borne still shows his mosaic of the "Ship of the Church." Florence raises his wonderful bell-tower, that lily among campanili, to the sky; and preserves two chapels of S. Croce, illuminated by him with paintings from the stories of S. Francis and S. John. In the chapel of the Podest
Other pupils of Giovanni Bellini, beside Giorgione and Titian, are found here Palma Vecchio for instance in a poor picture of Judith with the Head of Holofernes ; Rondinelli in a Portrait of a Man and a Madonna and two Saints ; Sebastiano del Piombo in the Farnesina , long given to Raphael, and the Death of Adonis . All these men, whose work is so full of splendour, came under the influence of Giorgione after passing through Bellini's bottega.
Ridolfo, like his father, regarded art rather as a means of livelihood than with any aesthetic feelings, and this is probably the reason of his never attaining true excellence. His "bottega" was really a shop where any one might order a work of art, or of artisanship, and he gave as much attention to painting a banner for a procession as to composing an altar-piece.
There in that fantastic bottega he must have met Fra Bartolommeo, who later influenced him so deeply. Nor was Michelangelo, or at least his grand and tremendous art, without its effect upon one so easily moved, so subject to every passing mood, as Andrea.
Bowing to the ground, the master-potter led the way, walking backward into his bottega; the courtiers followed their prince; Giovanni Sanzio with his little son and a few other privileged persons went in also at due distance. At the farther end of the workshop stood the pupils and the artists from Pesaro and other places in the duchy whose works were there in competition.
I mean that of the Madonna degli Greci, a pompous image from Byzantium, which proceeded undoubtedly from the bottega of Saint Luke. Her holiness is past dispute; there are very few miracles which she could not perform if she chose. As well as burning a candle apiece before her face, we could lay our prayers and new love at her feet. Beyond question she will hear and bring us good luck.
The pupil first of his father maybe, though Giovanni died when his son was but eleven years old, and later of Timoteo Viti, we hear of Raphael first in the bottega of the greatest of the Umbrian painters, Perugino, at Perugia. Two works of Perugino hang to-day in the Pitti Gallery, the Madonna and Child and the Entombment , painted in 1495, for the nuns of S. Chiara.
Giuliano Bugiardini was his head assistant rather than pupil; Francia Bigio, then a boy, Visino, who afterwards went to Hungary, and Innocenzio da Nicola, besides Piero, Baccio's brother, were all scholars. Albertinelli's Bottega in Val Fonda gave some noble paintings to the world, works independently his own, though Fra Bartolommeo's influence is traceable in most of them.
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