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Updated: June 13, 2025
On returning to Florence, Baccio found that the marble had been conveyed into the Office of Works of S. Maria del Fiore by Pietro Rosselli, who had first placed on the ground some planks of walnut-wood planed square, and laid lengthways, which he kept changing according as the marble moved forward, under which and upon those planks he placed some round rollers well shod with iron, so that by pulling the marble with three windlasses, to which he had attached it, little by little he brought it with ease into the Office of Works.
The Virgin alone, separate from her Son, standing or enthroned before us, simply as the Virgine Dea or Regina Coeli, is rarely met with in modern art, either in sculpture or painting. I will give, however, one signal example. In an altar-piece painted by Cosimo Rosselli, for the Serviti at Florence, she stands alone, and in a majestic attitude, on a raised pedestal.
Peter probably in the centre. Lastly, below again, the great series of frescoes of the History of Christ and the History of Moses by Sandro Botticelli, Domenico del Ghirlandaio, Cosimo Rosselli, Pietro Perugino, Bernardino Pintoricchio, Luca Signorelli, and Bartolomeo della Gatta.
"I am gone this moment," said Baccio, rising with ready courtesy; "but keep up heart, brother." So saying, the good-hearted artist left the cell, and Agostino said, "I bring tidings to you of your kindred. Your niece and sister are here in Florence, and would see you. You will find them at the house of one Gherardo Rosselli, a rich citizen of noble blood."
And here, to all appearances, is Garibaldi's last letter written in Rome to Mazzini: "We have retaken our positions outside San Pancrazio. Let General Rosselli send me orders; this is now no time for change. Yours,
Rosselli and the regulars complained loudly that this disobedience to orders had prevented them from making the King of Naples prisoner, the Garibaldians maintaining on their side that this would have been effected had the regulars thought less about their rations and come to the rescue when first they heard the distant shots.
He has been accused of suggesting that Michael Angelo should paint the vault of the Sistine Chapel, in the hope that he would ignominiously fail in such an unusual task; but we do not think we can thank Bramante even for that indirect service, for Michael Angelo’s friend, Pietro Rosselli, wrote on May 6, 1506:—
The next speaker, Francesco Monciatto, a wood-carver, advanced the view that it ought to be placed in front of the Duomo, where the Colossus was originally meant to be put up. He was immediately followed, and his resolution was seconded, by no less personages than the painters Cosimo Rosselli and Sandro Botticelli.
I have given my reasons above for doubting the accuracy of this tradition; and what we have just read of Michelangelo's own hesitation confirms the statement made by Bramante in the Pope's presence, as recorded by Rosselli. In fact, although we may assume the truth of Bramante's hostility, it is difficult to form an exact conception of the intrigues he carried on against Buonarroti.
Much time has been spent in the vain search for documents relating to Signorelli's supposed visit, in 1484, to Rome, where, it is said, he was summoned to paint, with Perugino, Pintorricchio, Botticelli, and Cosimo Rosselli, the walls of the Sistine Chapel. Later criticism has perhaps accounted for the absence of such a record.
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