Mariotto Albertinelli died on 5 November 1515 in Florence. He was 41 years old. Albertinelli trained with Cosimo Rosselli and then worked in partnership with Fra Bartolommeo, a fellow apprentice, often completing his designs in color. Albertinelli also received independent commissions and earned extra income from a tavern he owned near the Ponte Vecchio. Giorgio Vasari characterized the artist as quite the ladies’ man and gourmand, but one wonders if this is not an exaggeration used to create contrast between him and Fra Bartolommeo, who was a Dominican friar.

Reference: Ludovico Borgo and Margot Borgo. “Albertinelli, Mariotto.” Grove Art Online. Oxford Art Online. Oxford University Press. <>.

Triptych, 1500, panel, Milan: Museo Poldi Pezzoli, inv. 1116: Back: Skull (memento mori); Closed: Annunciation; Open: Virgin and Child with Saints Catherine and Barbara

Visitation, main panel from the S Martino Altarpiece, 1503, oil on canvas, Florence, Galleria degli Uffizi.

With Fra Bartolomeo, Altar of the Madonna del Rosario, Volterra Duomo: Angel Gabriel, 1495

Remember that part of your ear called the Eustachian tube? It was discovered by the person who wrote this book. 

Bartolommeo Eustachi conducted extremely meticulous dissections and executed very detailed illustrations. In the course of this work, Eustachius identified, described, and illustrated a number of important human anatomical structures, such as the Eustachian tubes, the cochlea of the inner ear, and the adrenal glands.

Eustachius published Opuscula Anatomica in 1564, which included eight anatomical plates, mainly focusing on the kidneys and vascular system. More than a century later, a number of his unpublished illustrations were discovered by the anatomist and epidemiologist Giovanni Maria Lancisi, who first published the plates with his own explanatory text in 1714 under the title Tabulae Anatomicae Bartholomaei Eustachii. The edition on display here comes from 1722.

- Kelli

Eustachi, Bartolomeo, -1574.  Tabulae anatomicae clarissimi viri Bartholomaei Eustachii. Amstelaedami: apud R. & G. Wetstenios, 1722.
MU Health Sciences Library Rare Book Room QS .Eu79t 1722


Italian painter and draughtsman Giuliano Bugiardini was born in Florence on 29 January 1475. He received his artistic training in the workshop of Domenico Ghirlandaio and also drew inspiration from Raphael, Franciabigio, Michelangelo, Fra Bartolommeo and his partner Mariotto Albertinelli, with whom Bugiardini collaborated in the first decade of the sixteenth century. Bugiardini joined the artist’s Compagnia di S. Luca in 1503, a testament to his place in the artistic world of early cinquecento Florence. Giorgio Vasari lists Bugiardini among the painters who went to Rome in 1508 to help Michelangelo (another Ghirlandaio student) with the Sistine Ceiling project, though, according to the author, they were almost immediately sent home. Bugiardini continued to have a successful career in Florence, working also in Bologna in the 1520s. He died in his hometown on 17 February 1554.

Bugiardini's well-preserved altarpiece, now at the Metropolitan Museum of Art, was possibly commissioned by Bindo Altoviti. Typical of High Renaissance painting, Bugiardini creates a believable space infused with light, showing the influence of Raphael and Fra Bartolommeo. Like Raphael, Bugiardini kept busy creating religious works and portraits.

The frame is the original one and was probably designed by the architect/woodworker Baccio d'Agnolo and painted by Andrea di Cosimo Feltrini. On the base of the pilasters are the arms of the Altoviti family.

Reference: "Bugiardini, Giuliano.“ Grove Art Online. Oxford Art Online. Oxford University Press,

Adam and Eve, oil on canvas, ca. 1520. New York, Metropolitan Museum of Art, Bequest of Edward Fowles, 1971

Virgin and St Mary Magadelene with St John the Baptist, tempera and gold on wood, ca. 1510–15. New York, Metropolitan Museum of Art, Fletcher Fund, 1930; photo © The Metropolitan Museum of Art

Leonardo de’ Ginori, oil on panel, c. 1528. Washington, National Gallery of Art, Widener Collection, 1942.9.36.

Portrait of a Young Woman, oil on canvas, c. 1525. Washington, National Gallery of Art, Samuel H. Kress Collection, 1939.1.31.

Madonna and Child with the Infant Saint John the Baptist, oil with traces of tempera, originally on panel, 1510/1512. Kansas City, The Nelson-Atkins Museum of Art, William Rockhill Nelson Trust, 68-10.

Palazzo Pitti, Italy

Originally built by a banker, the Pitti Palace was purchased in 1549 by Eleanor of Toledo, the wife of Cosimo de’Medici, then Duke of Florence. The purchase of the palace accorded with Medici ambitions to transform themselves into aristocrats. In 1569 Cosimo became the first Grand Duke of Tuscany; his son and successor Francesco married the daughter of the Holy Roman Emperor. The Palace’s location on what was then the edge of the city enabled Eleanor and her architects, who included Niccolò Tribolo, Bartolommeo Ammannati, and Giorgio Vasari, to build the Boboli garden, which ascends up the hill behind the palace. Along with Ammannati’s Cortile, at the back of the original building, this provided outdoor spaces for court festivities and for an important sculpture collection as well as for informal socializing in a protected setting at a time when assassination was rightly feared. 

Discover some of Europe and Asia’s most breath-taking garden palaces with our interactive map.

Image by Stefan Bauer, CC BY-SA 2.5 via Wikimedia Commons.


Piero di Cosimo was born on this day in 1462 in Florence. The son of toolmaker Lorenzo di Piero d'Antonio, Piero took the name of his teacher – Cosimo Rosselli – as his own.  Piero was working in Rosselli’s shop by 1480 and accompanied him to Rome the next year to help fresco the walls of the Sistine Chapel. Piero seems to have been working independently by the end of the decade, though he maintained a relationship with his mentor and several of students, including Fra Bartolommeo and Mariotto Albertinelli, through Cosimo’s death in 1507.

Piero was acclaimed for his painting of landscapes as well as his creative approach to both mythological and Christian subjects. He had a number of students go on to great success, including Jacopo Pontormo and Andrea del Sarto. He is best known, perhaps, for the colorful biography written by Giorgio Vasari, describing him as an eccentric, forgetful loner who subsisted on hard-boiled eggs.

Reference: William Griswold. “Piero di Cosimo.” Grove Art Online. Oxford Art Online. Oxford University Press.<>.

Further reading: Dennis Geronimus, Piero di Cosimo: Visions Beautiful and Strange

External image

Portrait of Simonetta Vespucci, oil on panel painting, c. 1480, Musée Condé, Chantilly, France

The Young St. John the Baptist, tempera and oil on wood. The Metropolitan Museum of Art, New York, The Bequest of Michael Dreicer, 1921.

Perseus Rescuing Andromeda, oil on canvas, 1510 or 1513, Florence, Galleria degli Uffizi.

Madonna and Child Enthroned with Sts. Peter, John the Baptist, Dominic, and Nicholas of Bari, c.1481–85, St. Louis Art Museum, 1: 1940


Andrea del Sarto: The Renaissance Workshop in Action opens 23 June 2015 at The Getty Center, Los Angeles, where it will remain on view through 13 September. 

This exhibition, the first major monographic show on the artist in the United States, celebrates the transformation of the art of drawing by Andrea del Sarto (1486–1530) through nearly fifty drawings borrowed from the Louvre, the Uffizi, the British Museum, and other major collections. Moving beyond the graceful harmony and elegance of his elders and peers, such as Leonardo da Vinci, Raphael, and Fra Bartolommeo, Andrea del Sarto brought unprecedented realism and immediacy to his art through the rough and rustic use of red chalk and the creation of powerful life and compositional studies. Exhibiting rare drawings and panel paintings, the exhibition illuminates Andrea del Sarto’s inventiveness, creative process, and workshop practice. 

The exhibit was co-organized by the J. Paul Getty Museum and the Frick Collection, New York, where it will be on view from 7 October 2015 through 10 January 2016.

Study of the Head of a Young Woman, ca. 1523. Red chalk. Galleria degli Uffizi, Gabinetto dei Disegni e delle Stampe 

The Medici Holy Family, 1529. Oil on panel. Palazzo Pitti, Galleria Palatina 

Study of a Kneeling Figure with a Sketch of a Face (recto), 1522-23. Red and black chalk. J. Paul Getty Museum, Los Angeles, 84.GB.7

Study of Figures Behind a Balustrade (recto), ca. 1525. Red chalk. J. Paul Getty Museum, Los Angeles, 92.GB.74


By Anne Leader

The painter Giuliano Bugiardini died on 17 February 1554 in Florence. A student of Domenico Ghirlandaio, Bugiardini joined the painters’ guild in 1503 and formed a partnership with Mariotto Albertinelli that lasted until 1509. Bugiardini’s work also shows the influence of Fra Bartolommeo and Raphael with classical, balanced compositions, bright, clear colors, and even light.

Madonna and Child Enthroned with Saints Mary Magdalen and John the Baptist, ca. 1510-15, oil on panel, New York, The Metropolitan Museum of Art, Fletcher Fund, 1930

Portrait of a Young Woman, c. 1525, oil on canvas, Washington, DC: Samuel H. Kress Collection, 1939.1.31

Portrait of Leonardo de'Ginori, c. 1528, oil on panel,  Washington, DC:   Widener Collection, 1942.9.36

Adam and Eve, oil on panel, New York, The Metropolitan Museum of Art, Bequest of Edward Fowles, 1971

Reference: "Bugiardini, Giuliano.“ Grove Art Online. Oxford Art Online. Oxford University Press.<>.