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542. The left scene takes place in 549, where the soldiers gather around an ox. This ox was thrown over the city walls by St. Herculanus to convince the army the city still had provisions, but the trick was ruined by a cleric who revealed the lie. The right side of the fresco shows a few citizens of
Perugia laying a beheaded St Herculanus and a young boy into a grave after the city had fallen. The city in the background provides a depiction of the Colle Landone, a hill in Perugia occupied by the Etruscans in the 4th century B.C., before the building of the Roman wall Rocca Paolina in 1540. The fresco shows historical buildings of Perugia, including the Porta Marzia, the church of Sant' Ercolano, and the towers of Baglioni palaces.
284:. The commission was altered later, and the fresco of the Crucifixion on the altar wall was not painted. The other four scenes of St Louis of Toulouse were arranged counter-clockwise from the right of the altar wall. One scene shows St Louis professing the Franciscan Rule before Pope Boniface VIII; another shows St Louis posthumously reuniting a merchant, with the church of San Domenico in Perugia clearly visible in the background; the third, badly damaged, depicts a miracle performed by St Louis; and the fourth shows St Louis's burial in a church resembling the church of St Pietro in Perugia. This half of the Priori chapel was finished in 1461, and the artist
469:, his fellow pupil under Gozzoli. As Bernhard Berenson writes in his book, "far was it from to harbour a feeling... for what in painting is more essential than charming faces and pretty colour". Berenson describes the painter as "a much more dependent person", and more "imitative". Others argue that much of Bonfigli's work was critical in the birth of the Umbria school of art, that had lagged behind Florence and Northern Italy until the mid 15th century, but quickly rose as a first rank with Perugino, his student, and then Raphael.
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in the greater, more earthly areas of the sky and textiles worn by Mary and the angel. This use of gold is often attributed to an earlier Gothic style, but does not detract from the sense of depth or reality in the scene. Bonfigli contrasts the Gothic details of the piece with classical ones, including the low wall separating the foreground and background which appears to be more modern in material and design.
25:
110:. His attention to detail in smaller areas of his paintings, as well as his use of gold to highlight both sacred and earthly elements, can be attributed to Fra Angelico. Bonfigli frequently used backdrops of forestry and cityscapes to provide an additional sense of depth to his pieces. His backgrounds are often said to have been influenced by
377:
The commission was supposed to be completed in two years, but the work took far longer because of a delay of payment by the
Commune for the first commission. The contract was renegotiated in 1469 with a debt owed by one Bartolomeo di Gregorio to Bonfigli. The frescoes were not completed by Bonfigli's
413:
Bonfigli demonstrates his style by combining gold elements with gothic features, contrasting the divine halos and wings with the Gothic windows of the double loggia, presumed to be the Virgin's house, on the right. Bonfigli uses gold not only to accentuate the divine elements in the piece, but also
405:
depicts Mother Mary receiving two small flames into her heart from the Dove of the Holy Spirit, sent down by God surrounded by cherubs. The work is believed to have been executed between 1440 and 1445. The Virgin Mary appears to pray on the right next to the
Archangel Gabriel with gold wings on the
162:
We know
Bonifgli was held in high regard by the pope due to his high salary at the time (seven ducats a month). Other works, such as Fra Angelico's Cortona Polyptych commissioned in 1437, and the works of Domenico Veneziano in Perugia also heavily influenced Bonfigli's style. A close interpretation
321:
This wildly active fresco is divided into two scenes, with the siege of Totila depicted on the left and the scene after the city has fallen on the right. The left side shows Totila's army camped out around the ruins of the amphitheatre outside Porta Marzia which effected the siege when it began in
158:
for a chapel near S. Pietro, Perugia on 7 March 1445. He was influenced by the works of Fra
Angelico, particularly during his employment in the Vatican by Pope Nicholas V in 1450, where many of Angelico's frescoes were displayed in the Cappella Niccolina of the Palazzo Vaticano, the pope's private
365:
The whole of the left wall of the Chapel was covered with a scene that has been badly damaged. The frescos depict the translation of the relics of St. Herculanus in 936 from San Pietro to the Duomo. The surviving fragments show three different scenes; a group of
Dominicans entering the Duomo, the
122:
Most of
Bonfigli's frescos use softer colours in the fabrics on his figures, but typically highlights the Virgin Mary in blue, an expensive dye attributed with royalty and sanctity, with a gold halo. He often incorporates historical architecture from his home town Perugia in his works, sometimes
409:
Within the open terrace enclosed by the decorated parapet is Mary's lectern and wooden chair in the middle distance. An open prayer book rests on the lectern, which has an open cupboard containing various books. The background depicts a walled city on the shores of a lake, active with merchant
316:
The second half of the chapel was also commissioned to
Bonfigli to decorate. The frescoes in the second half depict the scenes from the life of St Herculanus. The original commission was for four frescoes, but Bonfigli only painted three. The right of the back wall was painted with the fresco
464:
Benedetto
Bonfigli is notable in that he is one of the Renaissance's earliest notable painters native to Perugia, granting the city artistic credibility before Raphael began his works. Bonfigli did not rank as high as other Renaissance artists of his time, including
366:
Palazzo dei Priori with city magistrates passing along the side; and a group of women passing alongside the San
Domenico Vecchio. These scenes are logically the last scenes of the story of St Herculanus, but Bonfigli placed them in clockwise sequence between the
350:
The scene takes place after the fall of Perugia to Totila and the martyrdom of Herculanus. A procession carries the uncorrupt body of Herculanus, having passed Sant’ Ercolano and San Domenico and about to enter San Pietro. Herculanus is carried on a
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belonged to the collection of Thomas Pelham Hood in Ulster during the 19th century, and was passed to another private collection in Rome before being sold on the Italian art market. In 1977, the first year the piece was on the market, it was purchased by
445:. The painting has suffered wear; the colours are rubbed and the modelling in the faces has suffered damage, and vertical cracks exist in the painted surface. The draperies and other colour losses have since been retouched.
406:
left. Gabriel is kneeling with a lily in his left hand, and his right hand raised in blessing while he pronounces the phrase on the marble-panelled parapet, "AVE MARIA GRATIA PLENA," or "Hail Mary full of grace."
127:, who had been Fra Angelico's assistant and had worked in Umbria from 1450 to 1456, in that he uses softer colours on the garments of his figures that brings additional depth to his paintings.
272:
Chaplain Bartolomeo da Siena commissioned Bonfigli in 1454 to decorate half of the Priori Chapel. The chaplain intended to have the chapel painted with the Crucifixion with the Virgin and SS
114:, who used rolling hills and trees as backdrops to make his paintings more realistic. These stylistic influences of Angelico and Veneziano's are particularly pertinent in Bonfigli's
98:, a Perugian style using banners painted on canvas or linen. Little is known of his personal life, but he was an esteemed painter in Perugia before Perugino, who is said to be his pupil.
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Bonfigli trained in Perugia from 1430 to 1440, while the late-Gothic style was still dominant. Bonfigli's earliest surviving work is a dismembered polyptych, depicting
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429:, held in the Gemäldegalerie in Berlin, where Bonfigli derived the sense of depth created by the pine trees in the middle of the painting.
425:, another Renaissance painter who worked in Perugia from 1438 to 1454. This piece is often compared with Veneziano's earliest dated work,
252: or banner, was painted in 1465 for the brotherhood of San Bernardino, and represented the deeds of their patron saint. Another
433:'s influence can also be noticed in the fine details of the work in the immediate foreground, such as the glass vase filled with roses.
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Bonfigli reached maturity as an artist after returning to Perugia from Rome between 1453 and 1470. During this period, he painted the
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in S. Cristoforo, Passigano; this piece, likely not the work of Bonfigli, demonstrates the influence the painter had on the region.
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248:; the frescoes were commenced in 1454 and not finished in 1496, in which year Bonfigli's will is dated. One
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260: (1478) for the church of the Commenda di Santa Croce. All of these works comprised a collection of
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death in 1496, but the painter dedicated the outstanding debt to complete the rest of the chapel frescoes.
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adjudicated the work and priced it at 400 Florentine florins. The works are now held in the
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Adoration of the Child, Benedetto Bonfigli, Berenson foundation Settignano, Florence
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meshing buildings of different eras. Bonfigli's method is also similar to his teacher,
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256: was painted for the brotherhood of San Fiorenzo in 1476. He painted the
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Lives of St. Louis of Toulouse and St. Herculanus (1454- 61; Perugia, G.N. Umbria)
201:, a Florentine Renaissance painter; his stylistic method is evident in Bonfigli's
860:
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633:
530:
Christ Hurling Thunderbolts on Perugia with the Virgin and Saints Interceding
193:, a smaller piece but among his most well-known and preserved, held in the
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The Adoration of the Kings, and Christ on the Cross, Benedetto Bonfigli,
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One of his masterpieces is a series of frescoes in the chapel of the
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90:, but his masterpiece is the decoration of the chapel of the
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23:
352:
684:
Dictionary of Painters and Engravers, Biographical and Critical
496:
Episodes from the Life of Christ and a Miracle of St Nicholas
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Episodes from the Life of Christ and a Miracle of St Nicholas
835:"Biography of BONFIGLI, Benedetto in the Web Gallery of Art"
686:. Vol. I: A-K. Covent Garden, London. pp. 154–155.
154:
The painter's first commissioned work is attributed to the
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Left of the altar wall in the Priori Chapel is the fresco
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of Bonfigli's style is evident in a fresco dated 1446 of
197:
in Madrid. Bonfigli was influenced by the style of
859:
Meissner, GĂĽnter; Verlag, K. G. Saur (1 January 2001).
225: in 1466 for the chapel of San Vincenzo in
106:
Bonfigli as a painter was heavily influenced by
961:. London: Oxford University Press. pp. 192–193.
715:. London: Oxford University Press. pp. 192–193.
280:
on the altar wall; and four scenes from the life of
823:. London: National Gallery Catalogues. p. 72.
724:
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571:St Bernard Interceding for the Citizens of Perugia
455:Benedetto Bonfigli, Galleria Nazionale dell'Umbria
374:likely because of the expanse of the left wall.
485:Adoration of the Kings, and Christ on the Cross
246:Lives of St Louis of Toulouse and St Herculanus
8:
646:: CS1 maint: multiple names: authors list (
401:One of Bonfigli's best-preserved works, the
143:on another wing, and what is believed to be
213: in Perugia, Italy. According to
696:: CS1 maint: location missing publisher (
536:Crucifixion with SS Francis and Herculanus
50: (c. 1420 – 8 July 1496) was an
887:"Bonfigli [Buonfigli], Benedetto"
614:M., Knowles, Elizabeth (1 January 2009).
595:Virgin and Saints Interceding for Perugia
579:(Late 15th century; Perugia, G.N. Umbria)
175:Madonna and Child with Angels (ca. 1450),
385:
294:
62: school of painters including
36:
959:The Italian Painters of the Renaissance
713:The Italian Painters of the Renaissance
606:
421:is also attributed to the influence of
217:, the Perugian artist painted the
54: Renaissance painter born in
771:. Sotheby's Publications. p. 214.
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639:
453:Gonfalon of San Bernardino (ca. 1465),
443:Baron Hans Heinrich Thyssen-Bornemisza
221: coupled with a predella of
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616:Oxford dictionary of phrase and fable
538:(restored 1565; Perugia, G.N. Umbria)
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784:"Why blue is the costliest colour"
561: (1473; Perugia, G.N. Umbria)
74:. Influenced by the style of
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520:(Madrid, Mus. Thyssen-Bornemisza)
862:Saur allgemeines KĂĽnstlerlexikon
782:Holmes, Rachel (17 April 2015).
769:Early Italian painting 1290–1470
583:Virgin and Child with Two Angels
507:Adoration of the Magi (ca. 1466)
309:
177:Altarpiece, Benedetto Bonfigli,
156:Virgin and Child with Two Angels
555:(Perugia, S Francesco al Prato)
141:St Sebastian and a Bishop Saint
94:. Bonfigli specialized in
565:Sant Ercolano and San Ludovico
532:(1472; Perugia, S Maria Nuova)
511:Galleria Nazionale dell'Umbria
334:Galleria Nazionale dell'Umbria
304:Galleria Nazionale dell'Umbria
290:Galleria Nazionale dell'Umbria
211:Galleria Nazionale dell'Umbria
179:Galleria Nazionale dell'Umbria
1:
1011:15th-century Italian painters
567:(1454; Palazzo del Consiglio)
1016:Italian Renaissance painters
573:(1465; Perugia, G.N. Umbria)
544:(1465; Perugia, G.N. Umbria)
957:Berenson, Bernhard (1948).
821:The Earlier Italian Schools
618:. Oxford University Press.
597:(1476; Perugia, S Fiorenzo)
244:, which represent the
70:. He is also known as
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767:Boskovits, MiklĂłs (1990).
711:Berenson, Bernard (1948).
542:Gonfalon of San Bernardino
372:Totila's siege of Perugia,
348:Translation to San Pietro.
330:Translation to San Pietro,
319:Totila's siege of Perugia.
300:Totila's Siege of Perugia,
229:, collaborating with
207:Virgin and the Four Saints
203:Annunciation with St. Luke
165:SS Catherine and Clement I
131:Early life and first works
577:Totila's siege of Perugia
524:Annunciation with St Luke
481:(1450; Florence, I Tatti)
368:Translation to San Pietro
341:Translation to San Pietro
311:Totila's siege of Perugia
195:Thyssen-Bornemisza Museum
933:"Key to Umbria: Perugia"
908:"Key to Umbria: Perugia"
734:Museo Thyssen-Bornemisza
395:Museo Thyssen-Bornemisza
360:Translation to the Duomo
209:, both held in the
31:National Gallery, London
819:Davies, Martin (1951).
682:Bryan, Michael (1886).
553:Madonna of Misericordia
487:(1465–75; London, N.G.)
120:Adoration of the Child.
58:, and part of the
591:(Perugia, G.N. Umbria)
589:Virgin and Four Saints
585:(El Paso, TX, Mus. A.)
559:Miracles of St Bernard
526:(Perugia, G.N. Umbria)
513:
509:, Benedetto Bonfigli,
498:(Perugia, G.N. Umbria)
479:Adoration of the Child
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268:The Palazzo dei Priori
264: across Perugia.
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145:St Bernardino of Siena
139:on the central panel,
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34:
1026:Italian male painters
1021:Quattrocento painters
1006:Painters from Perugia
662:"Bonfigli, Benedetto"
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494:with the predella of
492:Adoration of the Magi
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427:Adoration of the Magi
417:The landscape in the
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219:Adoration of the Magi
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973:"Benedetto Bonfigli"
393:Benedetto Bonfigli,
332:Benedetto Bonfigli,
302:Benedetto Bonfigli,
282:St Louis of Toulouse
979:. 28 February 2017.
937:www.keytoumbria.com
912:www.keytoumbria.com
865:(in German). Saur.
274:John the Evangelist
231:Bartolomeo Caporali
730:"The Annunciation"
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467:Niccolo da Foligno
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423:Domenico Veneziano
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238:Palazzo dei Priori
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112:Domenico Veneziano
92:Palazzo dei Priori
76:Domenico Veneziano
48:Benedetto Bonfigli
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977:Oxford Art Online
666:Oxford Art Online
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137:Virgin and Child
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788:The Guardian
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490:Altarpiece
473:Major works
82:, and
990:Categories
839:www.wga.hu
602:References
278:Herculanus
250:gonfalone,
72:Buonfiglio
66: and
796:0261-3077
692:cite book
642:cite book
634:823652311
410:vessels.
262:gonfaloni
254:gonfalone
96:gonfaloni
917:25 April
801:25 April
739:25 April
397:, Madrid
185:Maturity
159:chapel.
68:Perugino
942:7 March
844:7 March
242:Perugia
199:Gozzoli
78:,
64:Raphael
56:Perugia
52:Italian
869:
794:
632:
622:
460:Legacy
60:Umbria
102:Style
944:2017
919:2017
867:ISBN
846:2017
803:2017
792:ISSN
741:2017
698:link
648:link
630:OCLC
620:ISBN
436:The
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