Commissioned by Girolamo di Lionardo di Filippo Frescobaldi (active c. 1484–1518), Florence, 1502;Frescobaldi Chapel, Church of Santo Spirito, Florence, 1502–May 1691; [1]Church of Santo Spirito Convent, Florence, May 1691–c. 1750; [2]Corsini Chapel of Saint Jacob, Church of Santo Spirito Cloisters, Florence, c. 1750–1875; [3]Prince Tommaso Corsini of Lajatico (1835–1919), Palazzo Corsini, Florence, 1875–1883; [4]Gift to the Italian State, Palazzo Corsini, Florence, 1883–1934; [5][Count Alessandro Contini Bonacossi, Florence, 1934–1939]; [6]Sold to the Samuel H. Kress Foundation, New York, September 1, 1939; [7]Gift to the National Gallery of Art, Washington, D. C., March 31, 1943;Returned to the Samuel H. Kress Foundation, New York, October 15, 1952;Gift to the M. H. de Young Memorial Museum, San Francisco, December 9, 1961;Administrative transfer to the Fine Arts Museums of San Francisco, 1972. [1] The inscription on the base of the throne next to Saint Bartholomew reads “RAPHAEL DE KROLIS. PIXIT A.D MCCCCCII.” Vasari 1913 (first ed., 1550), p. 177 notes that this is one of four paintings Raffaellino del Garbo executed for the Church of Santo Spirito in Florence: “For another chapel, lower down [than the sacristy where he painted two panels of S. Gregory], he executed a panel-picture containing Our Lady, S. Jerome, and S. Bartholomew. On these works he bestowed no little labor.” Bori 1906, p. 120 finds in the Frescobaldi family records a 1510 description (Frescobaldi, Stoldo di Lionardo, “Padronaggi a la caxa,” Specchietto di notizi n. 40, p. 24) of the four Frescobaldi chapels in Santo Spirito, including “one in the said nave, and it is the third one entering the church: and in the altarpiece there is a S. Jerome and it belongs to number 26 of the 70 Frescobaldi mentioned above … Our Lady and other saints.” The numbers refer to the 70 living members of the Frescobaldi family in 1509; number 26 refers to Girolamo di Lionardo di Filippo Frescobaldi. For more information on Girolamo di Lionardo di Filippo, see Guidi Bruscoli, Francesco, “Mercanti-banchieri fiorenti tra Londra e Bruges nel XV secolo,” in Tanzini, Lorenzo and Sergio Tognetti, eds., Mercatura è arte: uomini d'affari toscani in Europa e nel Mediterraneo tardomedievale (Rome: Viella, 2012), pp. 14, 30–31, 41. Capretti 1991, p. 51 lists the chapel as the thirty-seventh chapel of Santo Spirito. Bori 1906, p. 120, fn. 2 says the altarpiece “remained in this chapel until May 1691. At that time, the Augustinian Fathers, after deciding to replace it with another painting of Saint John San Facondo (a work by Giuseppe Nasini), moved it ‘above the door through which one enters the Chapter from the lower dormitory.’” For more information on the Frescobaldi provenance, see Paatz 1953, pp. 158, 207–208, fn. 295.[2] Borghini 1730, p. 313, fn. 13 annotated Borghini’s original 1584 text, which describes Raffaellino’s life and work, to state that of the four altarpieces Raffaellino painted for Santo Spirito, “only [the Madonna with Saint Jerome and Saint Bartholomew] remains now, but outside the church, in the transverse corridor before the large staircase that leads to the dormitory” in the second cloister.[3] Medici 1880, p. 68: “around 1750, it somehow passed into the original and ancient noble chapel that the Corsini Princes own in the second cloister of the Church of Santo Spirito.” Medici 1875, p. 30, describes the chapel: “On the wall behind the altar, under a large lunette that lights  this Chapel, there is an elevation with a stucco pediment, in the center of which a frame of the same material has until recently contained an ancient painting, which I will make the subject of a special discussion, after I have described this Chapel.”[4] Medici 1880, p. 68: “and finally in 1875, considering that this beautiful work by Carli was completely sacrificed and as if buried from the sight of scholars and admirers, remaining in a location not accessible to all, His Excellency Prince Don Tommaso Corsini decided to have it removed and transported to his gallery in Parione, [Florence].”[5] In 1883, Prince Tommaso Corsini sold the Palazzo Corsini and donated its contents to the Italian state. For more information, see Borsellino 2017.[6] The date 1934 is given in the Kress Foundation’s online cataloging.[7] Bill of sale, Samuel H. Kress Foundation Archive: “From the Corsini Gallery, Florence.”

Vasari, Giorgio, Le vite de' piu eccellenti pittori, scultori, et architettori (Florence: Appresso i Giunti, 1568, second ed.), part 3, vol. 2, p. 556.Borghini, Raffaello, Il Riposo, (Florence: Giorgio Marescotti, 1584), pp. 384-385.Borghini, Raffaello, Il Riposo, ed. Biscioni, Antommaria (Florence: Michele Nestenus e Francesco Moücke, 1730), p. 313, fn. 3.Medici, Ulderigo, La Cappella dei Principi Corsini in S. Spirito e un Quadro di Raffaello de Carli? (Florence: Pier Capponi, 1875), pp. 30, 55-79.Milanesi, Gaetano, Le vite de' piu eccellenti pittori, scultori, et architettori Scrite da Giorgio Vasari Pittore Aretino Con Nuove Annotazioni e Commenti (Florence: G. C. Sansoni, 1879), vol. 4, p. 252.Medici, Ulderigo, Catalogo della Galleria dei principi Corsini in Firenze, cat. (Florence: Mariani, 1880), cat. no. 200, pp. 66-68.Ulmann, Hermann, “Raffaellino del Garbo,” in Repertorium für Kunstwissenschaft, ed. Henry Thode and Hugo von Tschudi (Berlin and Stuttgart: W. Spemann and Wien, Gerold & Co., 1894), pp. 92–94.Lafenestre, Georges, La Peinture en Europe: Florence, cat. (Paris: Maison Quantin, 1894), p. 316.Ffoulkes, Costanza Jocelyn, "Le Esposizioni d'Arte Italiana a Londra," Archivio Storico dell'Arte 7 (1894), p. 163.Vittadini, G. B., “Novità artistiche del Museo Poldi-Pezzoli in Milano,” Archivio Storico dell’Arte 1, second series (1895), p. 208, repr. p. 203, fig. 6a.Gerspach, M., “La Galerie Corsini à Florence,” Les Arts 5, no. 52 (April 1906), pp. 19–20, repr. p. 18.Bori, M., “L’«Annunziazione» di Piero del Donzello in una cappella Frescobaldi nella chiesa di S. Spirito,” Rivista d’Arte 4, no. 7, (July 1906), p. 120, fn. 2.Karl Baedeker Firm, Italy; Handbook for Travellers: First Part (Leipsic: Karl Baedeker, 1906, 13th ed.), p. 535.Cruttwell, Maud, A Guide to the Paintings in the Churches and Minor Museums of Florence, cat. (London: J. M. Dent, 1908), p. 86.Gar
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Kodony and Selwyn Brinton (London: John Lane the Bodley Head, 1928), pp. 225, 227.Van Marle, Raimond, The Development of the Italian Schools of Painting (The Hague: Martinus Nijhoff, 1931), vol. 12, pp. 418, 431, repr.Scharf, Alfred, “Die Frühen Gemälde des Raffaellino del Garbo,” in Jahrbuch der Preussichen Kunstsammlungen, cat. (Berlin: G. Grote’sche Verlagsbuchhandlung, 1933), p. 165.Ciaranfi, Anna Maria, in Enciclopedia Italiana di Scienze, Lettere ed Arti (Rome: Instituto Giovanni Treccani, 1935), vol. 27.Berenson, Bernard, The Drawings of the Florentine Painters (Chicago: University of Chicago Press, 1938), vol. 1, pp. 112–115.Neilson, Katherine B., Filippino Lippi: A Critical Study (Cambridge: Cambridge University Press, 1938), pp. 186, 189, 201, 203, repr. fig. 99.Preliminary Catalogue of Paintings and Sculpture, cat. (Washington, D. C.: National Gallery of Art, 1941), no. 539, pp. 161–162.Book of Illustrations, cat. (Washington, D. C.: National Gallery of Art, 1941), no. 539, repr. p. 173.Smyth, Craig Hugh, “The Earliest Works of Bronzino,” Art Bulletin 31, no. 3 (September 1949), p. 187, fn. 28, p. 188, fn. 31.Paatz, Elizabeth and Walter Paatz, Die Kirchen von Florenz (Frankfurt: Vittorio Klostermann, 1953), vol. 5, pp. 158, 207–208, fn. 295.Fried, Alexander, “Great Kress Collection Goes on View Saturday,” The San Francisco Examiner, February 13, 1955, p. 192.Fried, Alexander, “Kress Gift Enriches Local Art Tradition,” The San Francisco Examiner, February 20, 1955, p. 176.Frankfurter, Alfred, “The Kress Gift to San Francisco,” Art News 54, no. 2 (April 1955), p. 57.Neumeyer, Alfred, “The Samuel H. Kress Collection of the M. H. de Young Museum in San Francisco,” The Art Quarterly 18, no. 3 (Autumn 1955), pp. 278–279.Suida, William E., The Samuel H. Kress Collection: M. H. de Young Memorial Museum, San Francisco, cat. (San Francisco: M. H. de Young Memorial Museum, 1955), p. 48, repr. p. 49.Berenson, Bernard, I Disegni dei Pittori Fiorentini (Milan: Electa Editrice, 1961), vol. 1, pp. 172–176.Berenson, Bernard, Italian Pictures of the Renaissance: A List of the Principal Artists and their Works with an Index of Places, Florentine School, cat. (London: Phaidon, 1963), vol. 1, p. 188; vol. 2, fig. 1168. Shearman, John K. G., Andrea del Sarto (Oxford: Clarendon Press, 1965), vol. 1, p. 21-22, fn. 1.European Works of Art in the M. H. de Young Memorial Museum, cat. (Berkeley: Diablo Press, 1966), repr. p. 62.Rusk Shapley, Fern, Paintings from the Samuel H. Kress Collection: Italian Schools, cat. (London: Phaidon, 1968), vol. 2, p. 117, fig. 283.Grazia Carpaneto, Maria, “Raffaellino del Garbo Part I,” Antichità Viva 9, no. 4 (1970), pp. 14–17, p. 15, fig. 17.Hugh Smyth, Craig, Bronzino as Draughtsman: An Introduction, with Notes on His Portraiture and Tapestries (Locust Valley, New York: J. J. 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Roberts, eds., Iconographic Index to New Testament Subjects Represented in Photographs and Slides of Paintings in the Visual Collections, Fine Arts Library, Harvard University: Christian Devotional Paintings of the Italian School, (New York: Routledge, 2020), vol. 2, p. 178.