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For instance, we possess a series of receipts by Piero Rosselli, acknowledging several disbursements for the plastering of the roof between May 11 and July 27. We learn from one of these that Granacci was in Rome before June 3; and Michelangelo writes for fine blue colours to a certain Fra Jacopo Gesuato at Florence upon the 13th of May.
While Giorgione and Correggio, to their own great credit and glory, were honouring the regions of Lombardy, Tuscany, on her part, was not wanting in men of beautiful intellect; among whom, not one of the least was Piero, the son of one Lorenzo, a goldsmith, and a pupil of Cosimo Rosselli, after whom he was always called Piero di Cosimo, and known by no other name.
And then, here are frescoes by Cosimo Rosselli, Andrea del Sarto, under glass too, a Nativity of Christ by Alessio Baldovinetti, not under glass, which seems unfair; and what if they be the finest work of Andrea, since you cannot see them. Within, the church is spoiled and very ugly.
In the Gherardi Chapel there is an Annunciation given to Giusto d'Andrea, while in another is a Madonna and Saints by Neri di Bicci. In the chapel of the Cecchini there is a fine fifteenth-century work attributed to Cosimo Rosselli. The old monastery is to-day partly the canonica and partly a villa.
Hence the absolute necessity that presented itself to the minds of the Triumvirs for filling the civil and military offices as far as possible with citizens of Rome or the Roman States. Unfortunately, no capable Roman commander-in-chief existed. Rosselli was chosen as the least incapable; but throughout, Garibaldi was regarded as the soul, the genius of the defence.
Vasari calls Sogliani a worthy religious man who minded his own affairs a good epitaph. His work is rarely met with in Florence, but he has a large fresco at S. Marco. This has good colour and twilight beauty, but it does not touch one and is not too felicitously composed. Over the door to the Venetian room is a Cosimo Rosselli with a prettily affectionate Madonna and Child.
After taking his leave of Cosimo Rosselli, he began to study with great devotion the works of Leonardo da Vinci; and in a short time he made such proficience and such progress in colouring, that he acquired the name and reputation of being one of the best young men of his art, both in colouring and in drawing.
The story goes that Rosselli went to Ragusa to deliver some paintings commissioned from him, and on his way back fell ill, and was obliged to land at Lesina, where the Franciscans took care of him and nursed him back to health; in gratitude he painted this picture for them. The great cypress, which spreads almost like an oak, he may have sat under during his convalescence.
On the wall of the same little chapel is a fresco by Cosimo Rosselli which must once have been a delight, representing a procession of Corpus Christi this chapel being dedicated to the miracle of the Sacrament and it contains, according to Vasari, a speaking likeness of Pico della Mirandola.
A good friend of Michelangelo, Pietro Rosselli, wrote this letter on the subject, May 6, 1506: "Last Saturday evening, when the Pope was at supper, I showed him some designs which Bramante and I had to test; so, after supper, when I had displayed them, he called for Bramante, and said: 'San Gallo is going to Florence to-morrow, and will bring Michelangelo back with him. Bramante answered: 'Holy Father, he will not be able to do anything of the kind.
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