The Medici Chapel in Florence is located on the territory of the church of San Lorenzo and is considered one of the most beautiful and sad places in the city. Thanks to the great masters of the Renaissance, the luxury of the earthly existence of the Medici clan was embodied in the decoration of their last shelter. Crypts and tombstones, made by famous masters of the Renaissance, remind of the perishability of earthly existence and the eternity of the universe.
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The church of San Lorenzo, founded in 393 by Saint Ambrose, was reconstructed in the 11th century, after which it acquired the appearance of a rectangular basilica with columns of different sizes at the base. The architect Filippo Bruneleschi, commissioned by Cosimo the Elder Medici, added a building in the form of a hemispherical dome to the medieval church in the 15th century and covered it with red tiles.
The long rectangular room of the Basilica of San Lorenzo ends with a bifurcation, on the left side of which there is an old sacristy (sacristy) and a passage to the Laurenziano library building, on the right side is the Medici Chapel, and at the end rises the Chapel of the Princes. The rough facing of the outer surface of the church contrasts with its magnificent interior decoration.
Interior decoration
The Church of San Lorenzo is the tomb of many prominent Florentine painters, historians and politicians. For the most famous personalities, sarcophagi were installed on the marble floor and on the upper tiers of the walls. The pillars of the basilica end with Gothic ceiling vaults made of gray stone. In huge vertical niches there are paintings by the great Florentine painters Pietro Marchesini "Saint Matthew" 1723, "The Crucifixion" 1700 by Francesco Conti, "The Crucifixion and Two Sorrowers" Lorenzo Lippi.
Part of the wall is decorated with a huge fresco depicting the Great Martyr St. Lawrence by the artist Bronzino, and a musical organ is installed on a dais. Through the bronze lattice, under the altar of the church, one can see the burial place of Cosimo the Elder Medici, which was arranged by the townspeople themselves, expressing deep gratitude and appreciation to the philanthropist and ruler of Florence.
In the center of the hall, on high supports, there are two pulpits resembling sarcophagi. They are decorated with bronze reliefs depicting scenes from the life of Christ. These are the last works of Donatello, a unique master of bronze casting, the founder of a sculptural portrait and a round statue, who spent the last years of his life in Florence and rests under a marble slab in the church of San Lorenzo.
old sacristy
The sacristy (sacristy) serves to store church supplies and prepare priests for worship, but in the Basilica of San Lorenzo it has a different purpose. The old sacristy has turned into a crypt of the founder of the Medici family - Giovanni di Bicci. Designed by the architect Filippo Brunneleschi, the tomb is an ideal square room, the architecture of which is dominated by strict geometric lines.
Influenced by ancient masters, Brunneleschi uses columns and pilasters in the interior, which are characteristic of Roman architecture. The walls are decorated with gray-green marble overlays, which, in combination with beige plaster, emphasize the regular forms of the sacristy. A corridor under the gloomy vaults leads to the lower burial chambers and to the tomb of the Medici Cosimo the Elder. The walls of the crypt are decorated with red altar velvet with patterns of silver ornate plates.
Bronze busts of the reposed Medici and precious church utensils are placed everywhere. The silver cross for processions of 877, the reliquary of the Saints of the Dead of 1715, the golden tabernacle of Lorenzo Dolci of 1787 deserve special attention. The wooden doors of the crypt are elaborately carved.
New sacristy
The New Sacristy, or Chapel, was designed and recreated by the architect Michelangelo commissioned by Giulio de' Medici of Pope Clement VII in 1520. The room was intended for the burial places of the great Tuscan dukes from the Medici family. Michelangelo at that time was in a rather difficult position, being, on the one hand, a supporter of the Republicans, who fought a fierce struggle with the Medici, on the other hand, he was a court sculptor working for his enemies.
The master erected a temple and a crypt for the family, which, in case of victory, could severely punish their architect. The road to the Medici Chapel leads through the entire Basilica of San Lorenzo and turns right, where going down the stairs you can get to the room with the tombs.
Sarcophagus of the Duke of Neymour
The muted colors of the room and the thin rays of light breaking through a small window in the ceiling create a feeling of sadness and peace in the ancestral tomb. In one of the niches on the wall there is a marble sculpture of Giuliano Duke of Neymour, the youngest son of Lorenzo de' Medici. The figure of a young man sitting on a throne, dressed in the armor of a Roman soldier, and his head thoughtfully turned to the side. On both sides of the sarcophagus, majestic statues are reclining, personifying the day and night of the work of Michelangelo.
Sarcophagus of the Duke of Urbino
On the opposite side of the wall, opposite the coffin of Giuliano, there is a sculpture of Lorenzo, Duke of Urbino, grandson of Lorenzo Medici. The Duke of Urbino, Lorenzo, is depicted as an ancient Greek warrior sitting in armor over his tomb, and majestic sculptures recreating morning and evening are located at his feet.
Sarcophagi of the brothers Lorenzo the Magnificent and Giuliano
The third burial of the Chapel is the graves of Lorenzo the Magnificent and his 25-year-old brother Giuliano, who died at the hands of the conspirators in 1478. The tombstone is made in the form of a long tabletop, on which are marble statues of "Madonna and Child" by Michelangelo, "Saint Cosmas" by Angelo di Montorsoli and "Saint Domian" by Rafael di Montelupo. The entire composition of the Chapel is united by the rapidly running moments of life and the endless flow of time.
Chapel of the Princes
The entrance to the Chapel of the Princes is possible from Piazza Madonna del Brandini, which is located on the opposite side of the Church of San Lorenzo. This sumptuous room houses the six tombs of the hereditary Grand Dukes of Tuscany. The Hall of the Princes was designed in 1604 by Mateo Nigetti, and decorated by Florentine artisans from the Pietra dura workshop, which belonged to the Medici family.
Various types of marble and semi-precious stones were used for wall cladding. Thin stone plates were selected according to the ornament and tightly fastened at the joints. The installed sarcophagi are decorated with the Medici family coats of arms. The dukes were moneylenders and the founders of the extensive banking system of Western Europe.
On their coat of arms there are six balls, which were considered the value of the interest rate on loans issued. Mosaic tiles in the lower part of the wall are represented by coats of arms of Tuscan cities. Only two sculptures are installed in the recesses - these are Dukes Ferdinand I and Cosimo II. Due to the fact that the Chapel was not finally completed, other niches were left empty.
What else to see
The most valuable collection of books and ancient manuscripts is in the Laurenziano Library. The library building and the magnificent gray staircase leading to it are the work of Michelangelo. The beginning of the collection of the manuscript collection was laid by Cosimo the Elder Medici and continued by Lorenzo I Medici, after whom the literary repository is named. To get to the library, you need to cross the well-groomed churchyard.
Excursions
The reign of the Medici dukes lasted about 300 years and ended in the middle of the 18th century. The Medici skillfully used art and architecture to demonstrate their wealth and power. Court sculptors, architects and artists received orders for the construction of palaces and the production of paintings. At the beginning of the 15th century, several Medici families chose the church of San Lorenzo as a burial place for members of their family.
Each of the branches of the dynasty paid for the construction and reconstruction of a certain area in the basilica. Someone from the clan was honored to be in the Chapel of the Princes, and someone rests in the niches of the crypt. All the subtleties and interweaving in the biography of the most famous Tuscan family will be explained to travelers by competent guides who have extensive experience in conducting excursions in Florence and are fluent in historical material.
Mysteries of the Medici Chapel
The clan of the Medici dukes from the 15th to the 18th century created the history of Florence. Their families included popes and two queens of France. The Medici were not only influential rulers, but also patrons who patronized the great creators of the Renaissance. Possessing great power and untold wealth, the Medici dukes, according to historical evidence, tried at first to buy, but when they were refused, they made several attempts to steal the Holy Sepulcher from Jerusalem in order to place it in the middle of the Chapel of the Princes.
Who is buried in the Chapel of the Princes of the Basilica of San Lorenzo? What gems are used to decorate the octagonal tomb of the Dukes? Who owned and how were the jewelry and granite workshops of Florence used? How were the mosaic surfaces of various rocks connected to each other, and why are the connecting seams not visible on the wall cladding? Curious tourists will get answers to these and many other questions by taking advantage of an individual tour with a professional guide.
Great Tombs of the Medici
Two years after the death of Pope Leo X, the grandson of Lorenzo the Magnificent, Pope Clement XVII, continued to finance the construction of the chapel in the new sacristy of San Lorenzo. The sculptor Michelangelo and his apprentices worked on the design of the Medici Chapel for more than 10 years. Michelangelo's favorite material was white marble from the Carrara quarries. The master himself was often present at the selection of blocks for his work.
The allegorical sculptures of Day, Night, Morning and Evening in the Medici Chapel are also made by the architect from white Carrara marble and carefully polished to a shine. Explore all corners of the Church of San Lorenzo and not get lost in the corridors of the tombs, learn a lot of interesting information in a short period of time and see the iconic sights of Florence and the Medici Chapels - this is possible only with the help of competent guides and individual excursions.
Medici and Renaissance
Freedom of creative choice was possible in Republican Florence, but since the 15th century, all talented craftsmen were completely dependent on the Medici court. Michelangelo was a supporter of the Republicans and opposed the tyranny of the Medici, while fulfilling multiple orders of the family. Fearing the ducal wrath, the sculptor continued to decorate the church of San Lorenzo, the Laurenziano library and the new sacristy.
After the defeat of the Republicans, Michelangelo hid from his masters in the sacristy under the chapel of San Lorenzo and stayed there until the Pope forgave his rebellion. After these events, in 1534 the master moved to Rome without completing the design of the Medici Chapel. Work on the tomb of Lorenzo the Magnificent was continued by Vasari, and the sculptures of Cosimo and Domiano were completed by the students of Michelangelo. The great Michelangelo himself (1475-1564), a sculptor, poet, painter and engineer, is buried in the marble tomb of San Lorenzo.
A special role in the design of the Basilica of San Lorenzo was played by the genius of sculpture Donatello (1386-1466). Two huge pulpits, each standing on four columns, are decorated with bronze overlays made by the master. The plot for their design was the biblical themes that describe the life of St. Lawrence, the Garden of Gethsemane and the Descent from the Cross. Being an unpretentious man, Donatello did not work for the sake of money, he was content with modest food and did not wear rich outfits.
One-pillar chamber of the Patriarchal Palace
On May 20, 2011, a unique exposition called "The Treasury of the Medici" will open in the One-Pillar Chamber of the Patriarchal Palace. For the first time at an exhibition in Russia, masterpieces from the collection of the famous Florentine dynasty will be presented. Over time, the magnificent Medici collection was dispersed among various museums in Florence - most of it is now kept in the Silver Museum of the Palazzo Pitti, as well as in the Bargello National Museum, the Palatine Gallery, the National Archaeological Museum, the Uffizi Gallery and the Florentine Mosaic Museum (“Opificio delle pietre dure ”). All of them have come together in an impressive exhibition project of the Kremlin Museums to give the Russian audience the most complete picture of the splendor and splendor of the Medici court. Never before has our country hosted exhibitions of such a level dedicated to Italian arts and crafts. The current exposition is part of the program "Royal and Imperial Treasuries in the Kremlin", carried out by the Moscow Kremlin Museums since 2004, and is dedicated to the year of the Russian language and Russian culture in Italy and the year of the Italian language and Italian culture in Russia.
Representatives of the Medici dynasty ruled Florence from the 15th to the 18th centuries. The ascent of the family to the heights of power began with Cosimo the Elder, who managed to subjugate the entire city without even being recognized as its official head. The reign of Cosimo, and later - his grandson Lorenzo, nicknamed the Magnificent, became the "golden age" of Florence, which turned into one of the main centers of the Italian Renaissance. The power of the Medici was briefly interrupted after the death of Lorenzo, but already in the first decade of the 16th century the dynasty returned to its lost positions. With the help of Emperor Charles V, the Medici received the title of grand duke and continued to rule Florence (and later all of Tuscany) in this capacity for the next two hundred years. Only in the 17th century their authority began to weaken, and the accidental death of Gian Gastone, who left no heirs, the last representative of the family, cut off the dynastic line.
The Medici collection began under Giovanni di Bicci, father of Cosimo the Elder. The passion for collecting was inherited by all subsequent generations. Unable to boast of a high origin (according to legend, they descended from the court physician of Charlemagne), the Medici realized that the possession of exquisite and valuable things strengthens their status, demonstrating the education and culture of the owners and, as a result, contributes to the strengthening of political power. The Medici treasury includes crystal goblets, the most valuable antique vessels and cameos, coins and medals, precious vases, ivory objects with the finest carvings, small bronze sculptures, bizarre sculptures from shells, nautilus goblets in a precious frame, all kinds of jewelry. This world-famous collection became a model for subsequent rulers-collectors, a kind of "proto-museum" and a prototype of future European cabinets of curiosities.
Visitors to the exhibition at the Kremlin Museums will be able to see the best items carefully selected from the collection of Florentine rulers, to follow the formation and development of the collection. The exposition will be deployed in chronological order, representing the collecting interests of the Medici, starting with Lorenzo the Magnificent and ending with Anna Maria Luisa, who transferred her family treasures to Florence on the condition that they never leave the city. The objects shown in the exhibition associated with specific representatives of the dynasty are not only important as works of art, but are valuable historical evidence that allows one to penetrate into the character of their owners and better understand the historical environment in which they lived.
Thus, the first Medici preferred ancient monuments (or things “in antique taste”), which was very characteristic of the Renaissance as a whole. Representatives of the Italian ruling families wanted to see themselves as the successors of the Roman Republic, and the Medici were no exception. An important part of the exhibition will be a collection of gems. Visitors will see magnificent works of glyptics created in the ancient era, as well as cameos made on the basis of ancient samples, with portraits of Florentine rulers who dreamed of being immortalized in accordance with the ancient Roman cult of famous men. One of the most interesting and unexpected monuments of this series is the portrait of Savonarola, a fanatical monk who preached in Florence at the end of the 15th century. After the death of Lorenzo the Magnificent, for some time he actually concentrated power over the city in his hands, but was subsequently executed. The cameo with the image of Savonarola, carved from carnelian by the famous master Giovanni delle Corniole (also called Carnelian), was kept in the collection of Cosimo I among the most valuable items. Of no less interest are gems with mythological images and scenes from Roman history - such as, for example, "The Fall of Phaethon" or "The Sacrifice of Mucius Scaevola". Another unique exhibit is connected with the influence of ancient mythology - a seal with a relief image of Hercules (considered the founder of Florence), one of the most significant symbols of the power of the Medici family.
Under the sons of Cosimo I, Francesco and Ferdinando, the collection was replenished with magnificent samples of "pietra dure" - products made of semiprecious stones, including vases of bizarre shapes in the form of various animals and birds. Grand Duke Francesco organized a manufactory, where the best Italian and foreign craftsmen worked, producing inimitable items from rock crystal, vessels from semiprecious stones and even porcelain. Subsequently, these disparate workshops were united under one roof of the Uffizi Gallery, reaching their peak during the reign of Ferdinand I and becoming the center of production of the so-called Florentine mosaic. Moscow viewers will be able to see magnificent examples of works in this technique - real stone paintings, including a portrait of Ferdinand I himself.
The Medici of the 17th century no longer resembled their glorious ancestors, being engaged not so much in the affairs of state and culture as in their own amusements, but the passion for collecting remained unchanged. Under Cosimo II, the next Duke of Florence, and his sons, in addition to traditional cameos, medals, vases and figurines, a large number of ivory works appeared in the family collection - from elegant figurines (for example, the figurine of the beloved dog of Mary Magdalene of Austria, the wife of Cosimo II, admiring the subtlety of execution ) to complex religious compositions.
Jewels associated with the name of the last representative of the Medici family, Anna Maria Louise, deserve special attention. Pendants and jewelry made of baroque pearls, gold, enamels and precious stones are real miniature sculptures, among which there are episodes from the commedia dell'arte, ancient mythology, figures of animals and birds. One of these sculptures is a golden cradle, inside of which is fixed a large baroque pearl depicting a duvet, from under which a baby's head is visible. This was a symbolic gift to Anna Maria Louise from her husband with the wish for the birth of a son and heir (a dream that never came true).
All items belonging to different representatives of the powerful dynasty will be displayed next to the portraits of the Medici family, not only the immediate rulers of Florence, but also their famous relatives - including Pope Leo X and the French queens Catherine and Maria Medici.
Simultaneously with the exposition in Moscow, the Palazzo Pitti will host the Treasury of the Kremlin exhibition. Thus, the Italian audience will also have the opportunity to get acquainted with the best exhibits stored in the collection of the Armory. Such an exchange of masterpieces will undoubtedly contribute to the rapprochement of our cultures.
Painting - Sculpture - Architecture in museums, churches and palaces in FlorenceThe main museums these can be dedicated to a separate tour or sometimes added to a tour of the city, in order to deepen your acquaintance with Florence and its heritage. Always excursion we conduct taking into account the interests of different audiences: from schoolchildren to more sophisticated connoisseurs.
As everyone knows, Florence is one of the first cities in the world in terms of the concentration of art monuments. Many of the sights of past centuries are still located where they were originally installed, in squares or in churches, others have been moved to different places. museums cities. Some of these museums were formed as collections of works of art, others are palaces whose walls and interiors testify to their history. In addition to the famous Uffizi Gallery, Florence exhibits its treasures in other equally important museums.
Palatine Gallery - the residence and collection of the Medici
Palatine Gallery Palazzo Pitti is a collection of paintings born from a collection and enlarged over the centuries. The refined taste of the Grand Dukes and other representatives of this family determined the choice of works of the 16th and 17th centuries. The heart of the collection are 11 famous masterpieces Raphael. No other museum in the world can be proud of such an extensive collection of his paintings. The excursion takes place in the luxurious chambers of this royal residence, which in themselves have become masterpieces of the Baroque style, where the most important works are exhibited Caravaggio, Titian, Andrea del Sarto, Giorgione, Rubens, Van Dyck.
National Bargello Museum - Renaissance Sculpture
Florence is the birthplace of many great sculptors. IN Bargello Museum masterpieces that allow you to trace the path of the birth of the art of sculpture in the 15th century, in which Donatello was the main character. His "David" And "St. George", next to his other works, they reveal how the concreteness of the sculptural form becomes an expression of the new ideal of the Renaissance. Verrocchio also represented by his young "David". In the halls of the Bargello you can meet the second generation of sculptors, among whom the absolute genius rises Michelangelo. Here are five of his statues, among which his early sculpture "Bacchus" and mature work "Brutus". Benvenuto Cellini And Giambologna invite us to rise to the heights of perfection and craftsmanship they achieved in the 16th century. The collections of ceramics of the workshop are also significant. Della Robbia, medals, antique weapons, ivory works and much more, which will allow us to learn about the art of different centuries, from the 10th to the 18th centuries, and different cultures: Byzantine, Lombard, French and Moorish.
Museum "Opera del Duomo" - Museum of the Cathedral
"Opera del Duomo" - and to this day the functioning institution of the self-government of the cathedral - was founded along with the start of construction of the cathedral in 1296. Museum "Opera del Duomo", the Cathedral of Santa Maria del Fiore and the Baptistery are an inseparable part of a single whole. The very name of the museum suggests that works from the Duomo (cathedral) and the Baptistery are exhibited in its halls. For the sake of their safety, bronze gilded high reliefs are exhibited here. Heaven's Gate by Lorenzo Ghiberti, magnificent in terms of skill, perspectives and sophistication of the figures; sculptures Donatello, among which Mary Magdalene, striking in her asceticism; moving and tragic "Pieta", conceived by him for his own tombstone, is an eloquent, albeit premature testament. In the halls of this museum you can also see, restored in full size, a model of the first facade, and what will illustrate the process of building a dome designed by a genius Brunelleschi, and the creation of today's facade of the Cathedral at the end of the century before last. An excursion to the Opera del Duomo Museum is a journey through the world of sculpture and architecture from the 13th to the 19th century.
Museum of the Palazzo Vecchio - where is the Hall of Five Hundred
Palazzo Signoria or Palazzo Vecchio- the symbol of Florence since 1302. The Palace of the Government of the Republic, today the city government, has always been the civic center of the city. Its mighty walls erected Arnolf di Cambio, saw the apotheosis of the Florentine Republic and the change of power with the establishment of the Duchy of the Medici. In the chancery hall of this palace Machiavelli"weaved" the policy of the republic, here Cosimo I Medici at the beginning of his reign, he moved the court and established the Duchy. The interiors - courtyards, apartments, reception halls - show how the design changes with the change of the political system and how art becomes the mouthpiece of various ideals, for example Hall of Five Hundred. The Palazzo Vecchio Museum is a unique opportunity to visit the interiors of the 15th and 16th centuries. Many masterpieces are exhibited in these halls: among them "Judith" Donatello And "The Genius of Victory" by Michelangelo. The Palace, and more specifically the Hall of Five Hundred, has become the backdrop for numerous films and works of literature, among them: "Hannibal" by Ridley Scott and " Inferno by Dana Brown.
The Medici Chapels - the tomb of a great family
Created in different eras, like tombs for burial at the church of San Lorenzo, Medici Chapels allow you to walk through the two-hundred-year history of this illustrious family. The first one is New Sacristy, place of burial Lorenzo the Magnificent, is the only place in the world where a genius Michelangelo found his realization both as a sculptor and as an architect. Only here is there an opportunity to see his sculptures in an architectural frame conceived by them, and for them. "Morning", "Day", "Evening" and "Night" harmoniously intertwined with space, enclosing the entire universe. The second tomb Chapel of the Princes, a memorial to the Grand Dukes of the Medici family, demonstrates how marble and semi-precious stones serve as a representation of the eternal glory coveted by royalty. Particularly noteworthy are the samples Florentine mosaic.
Academy Gallery – David!
The gallery was formed as a collection of the Academy of Arts and consists of icons, paintings and sculptures. Plaster models are also richly presented, allowing you to understand the process of creating sculptures. But since the end of the 19th century David" Michelangelo was transferred to these walls from Piazza della Signoria, academy gallery has become synonymous with the sculpture museum of the great Buonarroti. Also exhibited here are "St. Matvey" and four "Slave". These six works by Michelangelo make this collection one of the most important in the world. It allows you to trace the creative path that led the sculptor from the ideals of the Renaissance, expressed by "David", to more mature visions of human destiny, approved in the mighty "Slaves".
San Marco - art and spirituality
A rare example of a 14th century monastery that has been remarkably preserved. . He himself was a monk of the Dominican order, lived within the walls of this monastery and painted cells for his brothers. In the rooms, illustrating the strict lifestyle of the monks, were collected works created by Fra Angelico over the decades for various churches. San Marco - the most important collection of works by Fra Angelico- a master whose brush transforms form into spirit and, at the same time, reveals the invisible to the eyes. Altar parts, frescoes in the cells show how the Renaissance ideal turned out to be fruitful not only for secular works, but also for works of a deeply spiritual content. San Marco is also the monastery of Savonarola, and keeps the memory of its abbot, who embodied in his fate both the fire of political passion and the pinnacle of faith.
One of the most visited in the world. Here you will find many masterpieces from the most famous Italian masters, whose works we remember from school textbooks. One of the oldest and most popular museums in the world, you will find the world's finest collection of Italian Renaissance paintings.
The main problem with museums in Florence is the insane queues. Quite a few sites offer to buy tickets online in advance, but this will of course be with a surcharge (the surcharge is between 5 and 10€ per ticket).
Save?
1st Sunday of every month- all public museums in Italy free for visiting! Including the Uffizi Gallery, the Accademia Gallery, etc. You can’t book tickets for these days, visiting museums is on a first-come, first-served basis (very long queue, sometimes). Unless you have Firenze Card.
Tickets to museums in Florence:
You can book online, avoiding long queues at the box office, but it will be more expensive.
Prices are as of September 2016.
:
€ 8,00
:
€ 8,00
:
€ 8,50
:
€ 8,00
Musée Bargello:€ 8,00
Museum of San Marco:€ 4,00
Archaeological Museum:€ 4,00
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€ 7.00 including Costume Museum, Silver Museum and Porcelain Museum)
Palazzo Strozzi:€ 12,00
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from 18 € (museum + archaeological site + towers) to 10 € (museum only)
:
5 € (with Duomo, bell tower, Baptistery - 15 €)
Museo di Orsanmichele: for free
Cappella Brancacci: 6 €
Museo Stefano Bardini: 6 €
Museo Novecento: 8.50 €
Forte di Belvedere: for free
Fondazione Salvatore Romano: 4 €
€ 6,00
Addresses of museums in Florence:
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Piazzale degli Uffizi - Firenze
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Via Ricasoli, 60 - Firenze
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c/o Palazzo Pitti, Piazza Pitti, 1 - Firenze
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Piazza Madonna degli Aldobrandini, 6 - Firenze
Musée Bargello: Via del Proconsolo, 4 - Firenze
Museum of San Marco: Piazza San Marco, 1
Archaeological Museum: Piazza Santissima Annunziata - Firenze
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Piazza de' Pitti, 1 - Firenze
Palazzo Strozzi: Piazza Strozzi - Firenze
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Piazza della Signoria - Firenze
Ponte Vecchio - Firenze
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Piazza Duomo - Firenze
Orsanmichele Museum: Via dell'Arte della Lana, 3
Cappella Brancacci: Piazza del Carmine 14
Museo Stefano Bardini: Via dei Renai, 37
Museo Novecento: Piazza Santa Maria Novella, 10
Forte di Belvedere: via San Leonardo, 1
Fondazione Salvatore Romano: P.zza S.Spirito 29
Museo di Palazzo Davanzati - Museo dell'Antica Casa Fiorentina: via Porta Rossa, 13
Museums of Florence on the city map:
Museums that are fully covered by the Firenze Card:
Emperor offering sacrifice to Hope (cameo). II-IV century AD Onyx, metal, gilding. National Archaeological Museum.
Hermaphrodite lying under a tree, and three erotes. 3rd century AD - cameo, 16th century - setting. Chalcedony, garnets, emeralds, gold, enamel. National Archaeological Museum.
Salt bowl. Bowl - mid-16th century; setting - 1560-1567 Setting - Francois Krevkuer (dates of life are not known, mentioned in 1555-1567).
Mother-of-pearl, covered with carvings and engravings, painted, silver casting with chasing and gilding.
Rafael Santi. Pope Leo Tenth with Cardinals Giulio de' Medici and Leon Rossi. 1518. Uffizi Gallery. Florence.
The son of Lorenzo the Magnificent Giovanni will reach the pinnacle of spiritual power - he will become a pontiff under the name of Pope Leo the Tenth. And he will treat this very philosophically: "We will enjoy the papacy, since God has given it to us." This is how Raphael will portray him, an Epicurean with a magnifying glass in his hands, examining a miniature adorned with jewels. Beloved Florence will also not be forgotten. On his behalf, Michelangelo will begin work on the family tomb in the Medici family church of San Lorenzo.
Baccio Bandinelli. Bust of Cosimo I Medici. 1558, bronze. Palatine Gallery
The title of Grand Duke of Tuscany, which will equate him with European crowned persons, will be received by a representative of the secondary line of the Medici, Cosimo the First. He will act as a collector of Italian lands, prove himself a talented military leader and organizer - he will become the founder of the Tuscan fleet. .His wife, the Spanish aristocrat Eleanor of Toledo, will bring him a huge dowry and acquire a new residence for the family - Palazzo Pitti. Now here is the Silver Museum, which stores the lion's share of the treasures of the Medici.
Domenico Campagni. Portraits of Cosimo I and Eleanor of Toledo. Cameo. About 1574. Palazzo Pitti. Silver Museum. Florence.
Portrait of Girolamo Savonarola. Giovanni delle Corniole. Intaglio. 1498-1616. Palazzo Pitti. Silver Museum. Florence
And women from the Medici clan will get to the royal throne. The throne will be French, and the first Medici queen will be Catherine. Despite the fact that the French will meet the Italian "upstart" with hostility, Catherine will not only "take root" in France, but will also be able to retain the throne after the death of her husband for her children in very difficult times for France during the religious wars. She will have to show both prudence, and wisdom, and deceit and cunning. But Catherine will cope, that's why she and the Medici.
Portrait of the Queen of France Catherine de Medici 1547-1559.
Canvas, oil.
Germain Le Mannier
Marie de Medici will become the mother of King Louis XIII. Both queens will make the French court more elegant and sophisticated. Catherine will bring into fashion court ballet and Tuscan cuisine, which became the basis of the famous French cuisine, and Maria will order to build an elegant Luxembourg Palace and lay out a beautiful Luxembourg Garden. She will patronize Poussin and Rubens.
Portrait of the Queen of France Marie de Medici. Canvas, oil.
Frans Pourbus the Younger (Antwerp, circa 1569 - Paris, 1622).
Florence, Palazzo Pitti.
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About 1640
Follower of Justus Suttermans (Carlo Bossi?) (active between 1633-1655).
Canvas, oil.
Florence, Uffizi Gallery.
Matteo Piatti, Armor of Francesco I. Steel; coinage. Florence, Bargello National Museum
Workshops of the Grand Dukes of Tuscany. Ex Voto Cosimo II Medici. 1617-1624. Ornamental stones, diamonds, gold, bronze, gilding, enamel. Silver Museum, Palazzo Pitti
The relief depicting Cosimo II de' Medici is the central part of the sumptuous paliotto (decorative frontal panel covering the altar). The duke intended to decorate the throne of the Church of St. Charles Borromeo in Milan as a votive offering (ex voto) in the hope of getting rid of a serious illness - tuberculosis. Cosimo II Medici died at the age of 31, without having had time to transfer the relief to the temple
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Workshops of the Grand Dukes of Tuscany. Portrait of Ferdinand I de Medici. Late 16 - early. 17th century colored glass mosaic. Florence, Florentine Mosaic Museum
Plate with a parrot on a pear branch. 17th century
Florence, Florentine Mosaic Museum.
The mosaic is predominantly made of soft stones on a background of black marble.
Workshops of the Grand Dukes of Tuscany. Sunflower panel. Mid 17th century, semi-precious stone mosaic. Florence, Florentine Mosaic Museum
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The Medici line will end in the 18th century. Anna Maria Luisa will be the last Medici. She will not have children. Even a gift-talisman from her husband will not help. Magnificent baroque pearl, reminiscent of a baby in a cradle. After the death of her husband Cosimo III, the Spaniards will come to the lands of Tuscany, and then the army of Francis of Lorraine, the future Holy Roman Emperor Franz II.
But she will be able to make her beloved Florence a royal gift worthy of the glorious Medici family, bequeathing to her native city the property of her family: art collections, a collection of antiques and jewelry, books and manuscripts, on the condition that they never leave the city.
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Putto blowing soap bubbles. 17th century
Circle of François Du Quesnoy (1597-1643).
Ivory, wooden stand.
Florence, Palazzo Pitti, Silver Museum
Around 1559-1562
Jacopo Nizzolla da Trezzo. (Trezzo, 1514 - Madrid, 1589).
Onyx, gold, colored enamel.
Head of Medusa. 16th century
Milan workshop.
Chalcedony, gold, enamel.
Florence, National Archaeological Museum
Adoration of the Magi. Johann Christian Braun (1654-1738).
17th century
Ivory.
Florence, Palazzo Pitti, Silver Museum
Mask. Setting - the first quarter of the XVII century.
French jeweler.
Turquoise, diamonds, gold, gilded silver, enamels.
Florence, Palazzo Pitti, Silver Museum.
Pendant in the form of a gondola. Around 1568
Giovanni Battista Scolari.
Gold, colored enamel, pearls, rubies, emeralds, diamonds.
Florence, Palazzo Pitti, Silver Museum
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Shoemaker. End of the 17th century
German jeweler.
Pendant with dragon and bee.
German jeweler. Around 1580
Gold, enamels, rubies, baroque pearl
Florence, Palazzo Pitti
Flemish workshop. Dragonfly. 17th century
Gold, enamels, diamonds, rubies, baroque pearl, silver
Dutch master. Cradle with baroque pearl in the form of a baby. Around 1695
Here they are, these Medicis, who "appeared" in the Kremlin, in the one-pillar chamber of the Patriarchal Palace with their treasures. The exhibition "Treasures of the Medici" opened in May. Some of the friends who saw it liked the exhibition, some scolded it. The most strict verdict was issued by the advanced son of a friend: “Nonsense (he said differently), crowded, dark, no masterpieces, sheer Renaissance glamor! Better go to the Pushkin Museum to see “Lady with a Unicorn”! We rushed to the one-pillar chamber the very next day for an audience with the "glamorous" Medicis.
And they didn't regret it. There were masterpieces. What was, for example, a portrait of Pope Leo the Tenth, painted by Raphael. But, most importantly, the spirit of the Medici family clearly hovered in the one-pillar chamber. "Tightness and darkness" did not interfere, but in a mystical way "worked" for this idea. Mysteriously gleaming portraits in the semi-darkness created the "presence effect" of the members of the great dynasty.
The Medici did not "hide" behind the brilliant works of great compatriots. From painting - only family portraits. And "personal items" - a unique collection of precious artifacts, arranged in chronological order. From the cups and antique vases of Cosimo the Elder, cameos and gems of Lorenzo the Magnificent, the delightful Florentine mosaics of the Dukes of Tuscany, to the baroque jewels of Marie Luisa de' Medici, jewelry, pendants made of pearls, gold and multicolored enamels.
Florentine workshop, Hans (Giovanni) Domes. Bowl. 1579, lapis lazuli, gold, bronze, enamel, gilding. Silver Museum, Palazzo Pitti.
Florentine workshop, Hans Domes. Jug for ablution. 1577-1578, lapis lazuli, gold, bronze, enamel, gilding. Silver Museum, Palazzo Pitti.
Vincenzo di Rossi. Heracles. OK. 1560-1574, marble. Silver Museum, Palazzo Pitti
Pier Maria Serbaldi de Pesha. Venus and Cupid Early 16th century. Porphyry. Silver Museum, Palazzo Pitti
Florentine workshop. Ring with intaglio with a portrait of Christina of Lorraine. after 1592, carnelian, gold. Silver Museum, Palazzo Pitti
Pendant with Venus and Mars.
Last quarter of the 16th-17th centuries.
German workshop.
Gold, colored enamel, pearls, rubies, emeralds.
Florence, Palazzo Pitti, Silver Museum
Cup. Middle of the XVII century.
Florentine workshop (?).
Oriental agate, gilded silver.
Florence, Palazzo Pitti, Silver Museum
River landscape. First quarter of the 17th century.
Workshops of the Grand Dukes of Tuscany.
Mosaic made of solid stone.
Florence, Florentine Mosaic Museum.
Seal with Hercules. Around 1532
Unknown Florentine jeweler; Domenico di Polo (Florence, 1480 - about 1547).
Dark green chalcedony, bronze, gilded silver, partly enamelled.
Florence, Palazzo Pitti, Silver Museum.
Bowl for sprinkling holy water. 1513-1521
Valerio Belli (Vicenza, circa 1468-1546).
Rock crystal, gold, transparent enamel.
Florence, Palazzo Pitti, Silver Museum.
