Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

La Résurrection (Piero della Francesca)

Artiste	Piero della Francesca
Date	1463-1465
Type	fresque et détrempe
Technique	Fresque
Dimensions (H × L)	225 × 200 cm
Mouvement	Première Renaissance
Localisation	Museo Civico di Sansepolcro, Sansepolcro (Italie)

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Lignes de force de la composition.

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Autoportrait de Piero dans un des personnages

La Résurrection (La Resurrezione) est une œuvre de Piero della Francesca réalisée entre 1463 et 1465, de 2,25 2,00 ^m, figure toujours sur le lieu de sa création : un des murs de ce qui est aujourd’hui le Museo Civico di Sansepolcro et qui était la sala magna de la Residenza où se tenaient les réunions du Conseil.

C’est une fresque avec ajouts à la détrempe. Après une restauration pendant trois ans elle est de nouveaux visible en mars 2018 ¹.

Thème

Jésus, après sa mort sur la Croix et enseveli, est vu sortant de son tombeau ou sarcophage, des soldats endormis sont allongés autour (ils peuvent être éveillés et surpris de l’apparition), le mont Golgotha de son supplice peut être visible avec les trois croix. Le Christ apparaît en buste ou s’élève dans les airs arborant sa bannière. La présence d’anges témoins de la scène est possible.

Description

Le Christ debout, sortant du tombeau, fait face au spectateur, portant la bannière symbolique de la Résurrection, blanche à croix rouge (celle des Croisés),

Avec sa main qui relève la toge rose et le pied posé sur le rebord du tombeau, toutes ses plaiessont apparentes.

Le Christ en entouré d’arbres de part et d’autre d’un paysage de collines. Les deux troncs d’arbres et la hampe de la bannière forment une grille verticale ; la ligne passant par la hampe croise l’horizontale, du dessus du sarcophage, par la tête du soldat adossé de face.

Les soldats endormis par terre sont séparés du Christ par la ligne horizontale du sarcophage.

Le cadre peint continue le support architectural des moulures² et fait la transition entre l’espace mural et l’espace pictural.

Analyse

La composition se pose en profondeur sur trois plans : le paysage au fond, le Christ sortant du tombeau au milieu, les soldats endormis en premier plan.

Une composition est pyramidale avec à la base, l’alignement des soldats endormis, et au sommet le Christ debout.

Le Christ en entouré d’arbres morts de l’hiver, symbolisant la mort, à sa droite et d’arbres feuillus, vivants à sa gauche du printemps, symbolisant la nouvelle naissance.

L’autoportrait supposé de l’auteur du tableau est la rencontre de la verticale de la hampe de la bannière et de l’horizontal du dessus du sarcophage.

Anecdotes

Aldous Huxley, l’auteur du Meilleur des Mondes, fait allusion à cette œuvre dans son livre de voyages Chemin faisant³.

Lui qui qualifiait la fresque de la Résurrection « de plus belle peinture jamais réalisée » (the greatest painting in the world), l’a sauvé indirectement au plus fort de la Seconde Guerre mondiale : En 1944, Sansepolcro se trouvait sur la ligne de front. Anthony Clarke, officier dans l’artillerie, qui avait lu le livre de voyage de Huxley, n’entendait pas endosser la responsabilité de la destruction de la fresque de Piero della Francesca. Il donna l’ordre de cesser temporairement le feu. Le lendemain, les forces alliées purent s’emparer de la bourgade sans coup férir. Clarke demanda ensuite qu’on lui indique où se trouvait la fresque et la trouva intacte.

Albert Camus dans Noces, (dans la nouvelle intitulée Le désert) s’émeut ainsi de La Résurrection à la suite d’un voyage en Toscane : « C’est sur ce balancement qu’il faudrait s’arrêter, singulier instant où la spiritualité répudie la morale, où le bonheur naît de l’absence d’espoir, où l’esprit trouve sa raison dans le corps. S’il est vrai que toute vérité porte en elle son amertume, il est aussi vrai que toute négation contient une floraison de « oui ». Et ce chant d’amour sans espoir qui naît de la contemplation peut aussi figurer la plus efficace des règles d’action : au sortir du tombeau, le Christ ressuscitant de Piero della Francesca n’a pas un regard d’homme. Rien d’heureux n’est peint sur son visage – mais seulement une grandeur farouche et sans âme, que je ne puis m’empêcher de prendre pour une résolution à vivre. Car le sage comme l’idiot exprime peu. »

Notes et références

1. ↑ (it) « La Resurrezione torna a splendere: il capolavoro di Piero della Francesca prima e dopo il restauro » [archive], sur La Repubblica, Repubblica, 22 mars 2018 (consulté le24 mars 2018).
2. ↑ le cadrage serré n’en rend pas compte sur l’image de cette page (un peu en haut)
3. ↑ Le texte d’Huxley : [archive]

À noter

Aldous Huxley qui admirait les œuvres de Piero de la Francesca exposées à Sansepolcro, disait du Christ de la Résurrection qu’il était « athlétique ».

Sources

• Daniel Arasse, Note sur La Résurrection du Christ de Piero della Francesca, 8 min 28 s, entretien réalisé en 2001 par Olivier Capparos et Pascal Gibourg, enregistré par Laetitia Coïa, montage : Eric Beauron

 

The Resurrection is a frescopainting by the Italian Renaissance master Piero della Francesca, painted in the 1460s in the Palazzo della Residenza in the town of Sansepolcro, Tuscany, Italy.

Piero was commissioned to paint the fresco for the Gothic-style Residenza, the communal meeting hall^[1] which was used solely by Conservatori, the chief magistrates and governors, who before starting their councils, would pray before the image. « The secular and spiritual meanings of the painting were always intimately intertwined. »^[2][3] Placed high on the interior wall facing the entrance, the fresco has for its subject an allusion to the name of the city (meaning « Holy Sepulchre »), derived from the presence of two relics of the Holy Sepulchre carried by two pilgrims in the 9th century. Piero’s Christ is also present on the town’s Coat of Arms.^[4]

Composition

Jesus is in the centre of the composition, portrayed in the moment of his resurrection, as suggested by the position of the leg on the parapet of his tomb, which Piero renders as a classical sarcophagus. His stern, impassive figure, depicted in an iconic and abstract fixity (and described by Aldous Huxley as « athletic »), rises over four sleeping soldiers, representing the difference between the human and the divine spheres (or the death, defeated by Christ’s light). His figure in the commune’s council hall « both protects the judge and purifies the judged » according to Marilyn Aronberg Lavin.^[5] The landscape, immersed in the dawn light, has also a symbolic value: the contrast between the flourishing young trees on the right and the bare mature ones on the left alludes to the renovation of men through the Resurrection’s light. Andrew Graham-Dixon notes that apart from the wound, Christ’s « body is as perfectly sculpted and as blemish-free as that of an antique statue. But there are touches of intense humanity about him too: the unidealised, almost coarse-featured face; and those three folds of skin that wrinkle at his belly as he raises his left leg. Piero emphasises his twofold nature, as both man and God. »^[6]

The guard holding the lance is depicted sitting in an anatomically impossible pose, and appears to have no legs. Piero probably left them out not to break the balance of the composition.^[7]

According to tradition and by comparison with the woodcut illustrating Vasari‘s Lives of the Painters, the sleeping soldier in brown armor on Christ’s right is a self-portrait of Piero. The contact between the soldier’s head and the pole of the banner^[8] carried by Christ is supposed to represent his contact with the divinity.

The composition is unusual in that it contains two vanishing points. One is in the center of the sarcophagus, because the faces of the guards are seen from below, and the other is in Jesus’s face. The top of the sarcophagus forms a boundary between the two points of view, and the steepness of the hills prevents the transition between the two points of view from being too jarring.^[9]

Near-destruction

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.

Sansepolcro was spared much damage during World War 2 when British artilleryofficer Tony Clarkedefied orders and held back from using his troop’s guns to shell the town. Although Clarke had never seen the fresco, his diary records his shock at the destruction in Monte Cassino and, apparently remembering where he had read of Sansepolcro, ordered his men to hold fire just as methodical shelling had begun. Clarke had read Huxley‘s 1925 essay describing the Resurrection, which states: « It stands there before us in entire and actual splendour, the greatest picture in the world. »^[10] It was later ascertained that the Germans had already retreated from the area — the bombardment had not been necessary, though Clarke had not known this when he ordered the shelling stopped. The town, along with its famous painting, survived. When the events of the episode eventually became clear, Clarke was lauded as a local hero and to this day a street in Sansepolcro bears his name.^[11]

References

1. Jump up^ The residenza was returned by Florentine authorities to the citizens of Sansepolcro, Tuscany, in 1459 as a sign of the restoration of some measure of autonomy to the Borgo. Dates as given in Marilyn Aronberg Lavin, 2002. Piero della Francesca 234ff: « a document of 1474 concerning structural repairs to the building mentions the painting ».
2. Jump up^ http://www.andrewgrahamdixon.com/archive/itp-157-the-resurrection-by-piero-della-francesca.html
3. Jump up^ In moving of the fresco, an inscription was lost (Lavin 2002:241).
4. Jump up^ A large chunk of stone stands in the lower right hand of the fresco. « and thus we are told to recognize this stone as the founding relic carried here from the Holy Land by Saints Arcano and Egidio » (Lavin 2002:243).
5. Jump up^ Lavin 2002:244.
6. Jump up^ http://www.andrewgrahamdixon.com/archive/itp-157-the-resurrection-by-piero-della-francesca.html
7. Jump up^ The Private Life of a Masterpiece – Piero della Francesca’s « The Resurrection » (2006). Quote: « You are totally absorbed into reality, in a way, of the image, and you don’t notice — it’s perfectly true — that one of the guards has no legs. The arrangement of the guards is so perfect, so clever, so symmetrical, so balanced — in terms of colour, in terms of form — that actually the fact that he’s got no room to put these legs in ceases to important, and you don’t notice for ages and ages and ages that he’s legless. »
8. Jump up^ The banner of a red cross on a white field was a convention observed by both Andrea Mantegna (in his San Zeno altarpiece) and Giovanni Bellini (in his Resurrection in Berlin); illustrations, for example, in Lavin, 2002, figs 154, 155.
9. Jump up^ Kline, Morris (1953). Mathematics in Western Culture. Great Britain: Pelican. p. 166.
10. Jump up^ Huxley, Aldous. « The Best Picture », 1925.
11. Jump up^ Butcher, Tim (24 December 2011). « The man who saved The Resurrection ». BBC News. Retrieved 24 February 2012.

Bibliography

• Zuggi, Stefano (1991). Piero della Francesca. Milan: Elemond.
• Manescalchi, Roberto (2008). Il Cristo Risorto di Piero immagini rare e desuete. Sansepolcro: Aboca Museum.
• Manescalchi, Roberto (2008). Amintore Fanfani e Giulio Gambassi, Il Cristo Risorto di Piero della Francesca: Una battaglia per l’arte. Firenze: Grafica European Center of Fine Arts.

https://fr.wikipedia.org/wiki/La_R%C3%A9surrection_(Piero_della_Francesca)

http://www.giacobbegiusti.com

Giacobbe Giusti, GIOTTO: Road to Calvary

Giacobbe Giusti, GIOTTO: Road to Calvary

Scenes from the Life of Christ – 18. Road to Calvary

Andata al Calvario Giacobbe Giusti, GIOTTO: Road to Calvary
Autore	Giotto
Data	1303–1305 circa
Tecnica	sconosciuto
Dimensioni	200×185 cm
Ubicazione	Cappella degli Scrovegni, Padova

L’Andata al Calvario è un affresco (200×185 cm) di Giotto, databile al 1303–1305 circa e facente parte del ciclo della Cappella degli Scrovegni a Padova. È compreso nelle Storie della Passione di Gesùdel registro centrale inferiore, nella parete sinistra guardando verso l’altare.

Descrizione e stile

La scena, in cattivo stato di conservazione, mostra Gesù che, reggendo la croce in spalla, esce dalla porta di Gerusalemme spintonato da armigeri che stanno davanti ai sommi sacerdoti Anna e Caifa. Più indietro viene la Madonna che geme drammaticamente, forse la figura più riuscita dell’intera scena.

La porta urbica è la stessa che si ritrova, ruotata, nella scena dell’Ingresso a Gerusalemme.

Gli studiosi riferiscono la stesura in larga parte agli aiuti.

Bibliografia

• Maurizia Tazartes, Giotto, Rizzoli, Milano 2004. ISBN non esistente
• Edi Baccheschi, L’opera completa di Giotto, Rizzoli, Milano 1977. ISBN non esistente

https://it.wikipedia.org/wiki/Andata_al_Calvario_(Giotto)

http://www.giacobbegiusti.com

Giacobbe Giusti, Palais des Doges

Giacobbe Giusti, Palais des Doges

 

Giacobbe Giusti, Palais des Doges

Drunken Noah (Palazzo Ducale, Venice)

 

Giacobbe Giusti, Palais des Doges

Peter Broster – Bridge of Sighs

The Bridge of Sighs is a bridge located in Venice, northern Italy. The enclosed bridge is made of white limestone and has windows with stone bars. It passes over the Rio di Palazzo and connects the New Prison to the interrogation rooms in the Doge’s Palace. It was designed by Antoni Contino and was built in 1602. The view from the Bridge of Sighs was the last view of Venice that convicts saw before their imprisonment.

Doge’s Palace

Palazzo Ducale Giacobbe Giusti, Palais des Doges
Established	1340
Location	Piazza San Marco 1, 30124 Venice, Italy
Type	Art museum, Historic site
Director	Camillo Tonini
Website	palazzoducale.visitmuve.it

The Doge’s Palace (Italian: Palazzo Ducale; Venetian: Pałaso Dogal) is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice in northern Italy. The palace was the residence of the Doge of Venice, the supreme authority of the former Republic of Venice, opening as a museum in 1923. Today, it is one of the 11 museums run by the Fondazione Musei Civici di Venezia.

History

Drawing of the Doge’s Palace, late 14th century

In 810, Doge Agnello Participazio moved the seat of government from the island of Malamocco to the area of the present-day Rialto, when it was decided a palatium duci(Latin for « ducal palace ») should be built. However, no trace remains of that 9th-century building as the palace was partially destroyed in the 10th century by a fire. The following reconstruction works were undertaken at the behest of Doge Sebastiano Ziani (1172–1178). A great reformer, he would drastically change the entire layout of the St. Mark’s Square. The new palace was built out of fortresses, one façade to the Piazzetta, the other overlooking the St. Mark’s Basin. Although only few traces remain of that palace, some Byzantine-Venetian architecturecharacteristics can still be seen at the ground floor, with the wall base in Istrian stoneand some herring-bone pattern brick paving.

Political changes in the mid-13th century led to the need to re-think the palace’s structure due to the considerable increase in the number of the Great Council’s members. The new Gothic palace’s constructions started around 1340, focusing mostly on the side of the building facing the lagoon. Only in 1424 did Doge Francesco Foscari decide to extend the rebuilding works to the wing overlooking the Piazzetta, serving as law-courts, and with a ground floor arcade on the outside, open first floor loggias running along the façade, and the internal courtyard side of the wing, completed with the construction of the Porta della Carta (1442).

In 1483, a violent fire broke out in the side of the palace overlooking the canal, where the Doge’s Apartments were. Once again, an important reconstruction became necessary and was commissioned from Antonio Rizzo, who would introduce the new Renaissance language to the building’s architecture. An entire new structure was raised alongside the canal, stretching from the ponte della Canonica to the Ponte della Paglia, with the official rooms of the government decorated with works commissioned from Vittore Carpaccio, Giorgione, Alvise Vivarini and Giovanni Bellini.

Another huge fire in 1547 destroyed some of the rooms on the second floor, but fortunately without undermining the structure as a whole. Refurbishment works were being held at the palace when on 1577 a third fire destroyed the Scrutinio Room and the Great Council Chamber, together with works by Gentile da Fabriano, Pisanello, Alvise Vivarini, Vittore Carpaccio, Giovanni Bellini, Pordenone, and Titian. In the subsequent rebuilding work it was decided to respect the original Gothic style, despite the submission of a neo-classical alternative designs by the influential Renaissance architect Andrea Palladio. However, there are some classical features — for example, since the 16th century, the palace has been linked to the prison by the Bridge of Sighs.

As well as being the ducal residence, the palace housed political institutions of the Republic of Venice until the Napoleonic occupation of the city in 1797, when its role inevitably changed. Venice was subjected first to French rule, then to Austrian, and finally in 1866 it became part of Italy. Over this period, the palace was occupied by various administrative offices as well as housing the Biblioteca Marciana and other important cultural institutions within the city.

By the end of the 19th century, the structure was showing clear signs of decay, and the Italian government set aside significant funds for its restoration and all public offices were moved elsewhere, with the exception of the State Office for the protection of historical Monuments, which is still housed at the palace’s loggia floor. In 1923, the Italian State, owner of the building, entrusted the management to the Venetian municipality to be run as a museum. Since 1996, the Doge’s Palace has been part of the Venetian museums network, which has been under the management of the Fondazione Musei Civici di Venezia since 2008.

Description

Exterior

Giacobbe Giusti, Palais des Doges

Facing the Grand Canal on the Piazzetta San Marco, with Doge’s Palace on the left.

Palazzo Ducale, south colonnade, Venice, Italy. Brooklyn Museum Archives, Goodyear Archival Collection

The oldest part of the palace is the wing overlooking the lagoon, the corners of which are decorated with 14th-century sculptures, thought to be by Filippo Calendario and various Lombard artists such as Matteo Raverti and Antonio Bregno. The ground floor arcade and the loggia above are decorated with 14th- and 15th-century capitals, some of which were replaced with copies during the 19th century.

In 1438–1442, Giovanni Bon and Bartolomeo Bon built and adorned the Porta della Carta, which served as the ceremonial entrance to the building. The name of the gateway probably derives either from the fact that this was the area where public scribes set up their desks, or from the nearby location of the cartabum, the archives of state documents. Flanked by Gothicpinnacles, with two figures of the Cardinal Virtues per side, the gateway is crowned by a bust of St. Mark over which rises a statue of Justice with her traditional symbols of sword and scales. In the space above the cornice, there is a sculptural portrait of the Doge Francesco Foscari kneeling before the St. Mark’s Lion. This is, however, a 19th-century work by Luigi Ferrari, created to replace the original destroyed in 1797.

Nowadays, the public entrance to the Doge’s Palace is via the Porta del Frumento, on the waterfront side of the building.

Courtyard

Giacobbe Giusti, Palais des Doges

Courtyard of the Doge’s Palace, facing the San Marco basilica.

Giacobbe Giusti, Palais des Doges

The Scala dei Giganti, flanked by Mars and Neptune.

The north side of the courtyard is closed by the junction between the palace and St. Mark’s Basilica, which used to be the Doge’s chapel. At the center of the courtyard stand two well-heads dating from the mid-16th century.

In 1485, the Great Council decided that a ceremonial staircase should be built within the courtyard. The design envisaged a straight axis with the rounded Foscari Arch, with alternate bands of Istrian stone and red Verona marble, linking the staircase to the Porta della Carta, and thus producing one single monumental approach from the Piazza into the heart of the building. Since 1567, the Giants’ Staircase is guarded by Sansovino’s two colossal statues of Marsand Neptune, which represents Venice’s power by land and by sea, and therefore the reason for its name. Members of the Senate gathered before government meetings in the Senator’s Courtyard, to the right of the Giants’ Staircase.

Museo dell’Opera

Over the centuries, the Doge’s Palace has been restructured and restored countless times. Due to fires, structural failures, and infiltrations, and new organizational requirements and modifications or complete overhaulings of the ornamental trappings there was hardly a moment in which some kind of works have not been under way at the building. From the Middle Ages, the activities of maintenance and conservation were in the hands of a “technical office”, which was in charge of all such operations and oversaw the workers and their sites: the Opera, or fabbriceria or procuratoria. After the mid-19th century, the Palace seemed to be in such a state of decay that its very survival was in question; thus from 1876 a major restoration plan was launched. The work involved the two facades and the capitals belonging to the ground-floor arcade and the upper loggia: 42 of these, which appeared to be in a specially dilapidated state, were removed and replaced by copies. The originals, some of which were masterpieces of Venetian sculpture of the 14th and 15th centuries, were placed, together with other sculptures from the facades, in an area specifically set aside for this purpose: the Museo dell’Opera. After undergoing thorough and careful restoration works, they are now exhibited, on their original columns, in these 6 rooms of the museum, which are traversed by an ancient wall in great blocks of stone, a remnant of an earlier version of the Palace. The rooms also contain fragments of statues and important architectural and decorative works in stone from the facades of the Palace.

Doge’s apartments

The rooms in which the Doge lived were always located in this area of the palace, between the Rio della Canonica – the water entrance to the building – the present-day Golden Staircase and the apse of St. Mark’s Basilica. The disastrous fire in this part of the building in 1483 made important reconstruction work necessary, with the Doge’s apartments being completed by 1510. The core of these apartments forms a prestigious, though not particularly large, residence, given that the rooms nearest the Golden Staircase had a mixed private and public function. In the private apartments, the Doge could set aside the trappings of office to retire at the end of the day and dine with members of his family amidst furnishings that he had brought from his own house (and which, at his death, would be promptly removed to make way for the property of the new elected Doge).

• The Scarlet Chamber possibly takes its name from the color of the robes worn by the Ducal advisors and counsellors for whom it was the antechamber. The carved ceiling, adorned with the armorial bearings of Doge Andrea Gritti, is part of the original décor, probably designed by Biagio and Pietro da Faenza. Amongst the wall decoration, two frescoed lunettes are particular worthy of attention: one by Giuseppe Salviati, the other by Titian.
• The “Scudo” Room has this name from the coat-of-arms of the reigning Doge which was exhibited here while he granted audiences and received guests. The coat-of-arms currently on display is that of Ludovico Manin, the Doge reigning when the Republic of St. Mark came to an end in 1797. This is the largest room in the Doge’s apartments, and runs the entire width of this wing of the palace. The hall was used as a reception chamber and its decoration with large geographical maps was designed to underline the glorious tradition that was at the very basis of Venetian power. The two globes in the center of the hall date from the same period: one shows the sphere of heavens, the other the surface of Earth.
• The Erizzo Room owes its name to Doge Francesco Erizzo (1631–1646) and is decorated in the same way as the preceding ones: a carved wood ceiling, with gilding against a light-blue background, and a Lombardy-school fireplace. From here, a small staircase leads up to a window that gave access to a roof garden.
• The Stucchi or Priùli Room has a double name due to both the stucco works that adorn the vault and lunettes, dating from the period of Doge Marino Grimani(1595–1605), and the presence of the armorial bearings of Doge Antonio Priùli(1618–1623), which are to be seen on the fireplace, surmounted by allegorical figures. The stucco-works on the walls and ceiling were later commissioned by another Doge Pietro Grimani (1741–1752). Various paintings representing the life of Jesus Christ are present in this room, as well as a portrait of the French King Henry III (perhaps by Tintoretto) due to his visit to the city in 1574 on his way from Poland to take up the French throne left vacant with the death of his brother Charles IX.
• Directly linked to the Shield Hall, the Philosophers’ Room takes its name from the twelve pictures of ancient philosophers which were set up here in the 18th century, to be later replaced with allegorical works and portraits of Doges. To the left, a small doorway leads to a narrow staircase, which enabled the Doge to pass rapidly from his own apartments to the halls on the upper floors, where the meetings of the Senate and the Great Council were held. Above the other side of this doorway there is an important fresco of St. Christopher by Titian.
• The Corner Room’s name comes from the presence of various paintings depicting Doge Giovanni Corner (1625–1629). The fireplace, made out of Carrara marble, is decorated with a frieze of winged angels on dolphins around a central figure of St. Mark’s Lion. Like the following room, this served no specific function; set aside for the private use of the Doge.
• The Equerries Room was the main access to the Doge’s private apartments. The palace equerries were appointed for life by the Doge himself and had to be at his disposal at any time.

Institutional chambers

Interior of the Doge’s Palace (Venice) by zone.

Palazzo Ducale, Sala del Senato, Venice, Italy. Brooklyn Museum Archives, Goodyear Archival Collection

• The Square Atrium served as a waiting room, the antechamber to various halls. The decoration dates from the 16th century, during the reign of Doge Girolamo Priuli (1486–1567), who appears in Tintoretto’s ceiling painting with the symbols of his office, and accompanied by scenes of biblical stories and allegories of the four seasons, probably by Tintoretto’s workshop, Girolamo Bassano and Veronese.
• The Four Doors Room was the formal antechamber to the more important rooms in the palace, and the doors which give it its name are ornately framed in precious Eastern marbles; each is surmounted by an allegorical sculptural group that refers to the virtues which should inspire those who took on the government responsibilities. The present decoration is a work by Antonio da Ponte and design by Andrea Palladio and Giovan Antonio Rusconi. Painted by Tintoretto from 1578 onwards, the frescoes of mythological subjects and of the cities and regions under Venetian dominion were designed to show a close link between Venice’s foundation, its independence, and the historical mission of the Venetian aristocracy. Amongst the paintings on the walls, one that stands out is Titian’s portrait of Doge Antonio Grimani (1521–1523). On the easel stands a painting by Tiepolo portraying Venice receiving the gifts of the sea from Neptune.

Neptune Offering Gifts to Venice(1748–1750) by Giovan Battista Tiepolo

• Antechamber to the Hall of the Full College was the formal antechamber where foreign ambassadors and delegations waited to be received by the Full College, delegated by the Senate to deal with foreign affairs. This room was restored after the 1574 fire and so was its decorations, with stucco-works and ceiling frescoes. The central fresco by Veronese shows Venice distributing honors and rewards. The top of the walls is decorated with a fine frieze and other sumptuous fittings, including the fireplace between the windows and the fine doorway leading into the Hall of the Full College, whose Corinthian columns bear a pediment surmounted by a marble sculpture showing the female figure of Venice resting on a lion and accompanied by allegories of Glory and Concord. Next to the doorways are four canvases that Tintoretto painted for the Square Atrium, but which were brought here in 1716 to replace the original leather wall panelling. Each of the mythological scenes depicted is also an allegory of the Republic’s government.
• The Council Chamber: the Full College was mainly responsible for organizing and coordinating the work of the Venetian Senate, reading dispatches from ambassadors and city governors, receiving foreign delegations and promoting other political and legislative activity. Alongside these shared functions, each body had their own particular mandates, which made this body a sort of “guiding intelligence” behind the work of the Senate, especially in foreign affairs. The decorations were designed by Andrea Palladio to replace that destroyed in the 1574 fire; the wood panelling of the walls and end tribune and the carved ceiling are the work of Francesco Bello and Andrea da Faenza (it). The paintings in the ceiling were commissioned from Veronese, who completed them between 1575 and 1578. This ceiling is one of the artist’s masterpieces and celebrates the Good Government of the Republic, together with the Faith on which it rests and the Virtues that guide and strengthen it. Other paintings are by Tintoretto and show various Doges with the Christ, the Virgin and saints.
• The Senate Chamber was also known as the Sala dei Pregadi, because the Doge asked the members of the Senate to take part in the meetings held here. The Senate which met in this chamber was one of the oldest public institutions in Venice; it had first been founded in the 13th century and then gradually evolved over time, until by the 16th century it was the body mainly responsible for overseeing political and financial affairs in such areas as manufacturing industries, trade and foreign policy. In the works produced for this room by Tintoretto, Christ is clearly the predominant figure; perhaps a reference to the Senate ‘conclave’ which elected the Doge, seen as being under the protection of the Son of God. The room also contains four paintings by Jacopo Palma il Giovane, which are linked with specific events of the Venetian history.
• The Chamber of the Council of Ten takes its name from the Council of Ten which was set up after a conspiracy in 1310, when Bajamonte Tiepolo and other noblemen tried to overthrow the institutions of the State. The ceiling decoration is a work by Gian Battista Ponchino, with the assistance of a young Veronese and Gian Battista Zelotti. Carved and gilded, the ceiling is divided into 25 compartments decorated with images of divinities and allegories intended to illustrate the power of the Council of Ten that was responsible for punishing the guilty and freeing the innocent.
• The Compass Room is dedicated to the administration of justice; its name comes from the large wooden compass surmounted by a statue of Justice, which stands in one corner and hides the entrance to the rooms of the Three Heads of the Council of Ten and the State Inquisitors. This room was the antechamber where those who had been summoned by these powerful magistrates waited to be called and the decoration was intended to underline the solemnity of the Republic’s legal machinery, dating from the 16th century. The ceiling paintings are by Veronese and the large fireplace was designed by Sansovino. From this room, one can pass to the Armoury and the New Prisons, on the other side of the Bridge of Sighs, or go straight down the Censors’ Staircase to pass into the rooms housing the councils of justice on the first floor.
• In the Venetian language, Liagò means a terrace or balcony enclosed by glass. This particular example was a sort of corridor and meeting-place for patrician members of the Great Council in the intervals between their discussions of government business.
• The Chamber of Quarantia Civil Vecchia: originally a single 40-man-council which wielded substantial political and legislative power, the Quarantia was during the course of the 15th century divided into three separate councils. This room was restored in the 17th century; the fresco fragment to the right of the entrance is the only remnant of the original decorations.
• The Guariento Room’s name is due to the fact it houses a fresco painted by the Paduan artist Guariento around 1365. Almost completely destroyed in the 1577 fire, the remains of that fresco were, in 1903, rediscovered under the large canvas Il Paradiso which Tintoretto was commissioned to paint.
• Restructured in the 14th century, the Chamber of the Great Council was decorated with a fresco by Guariento and later with works by the most famous artists of the period, including Gentile da Fabriano, Pisanello, Alvise Vivarini, Vittore Carpaccio, Giovanni Bellini, Pordenone and Titian. 53 meters long and 25 meters wide, this is not only the largest chamber in the Doge’s Palace, but also one of the largest rooms in Europe. Here, meetings of the Great Council were held, the most important political body in the Republic. A very ancient institution, this Council was made up of all the male members of patrician Venetian families over 25 years old, irrespective of their individual status, merits or wealth. This was why, in spite of the restrictions in its powers that the Senate introduced over the centuries, the Great Council continued to be seen as bastion of Republican equality. Soon after work on the new hall had been completed, the 1577 fire damaged not only this Chamber but also the Scrutinio Room. The structural damage was soon restored, respecting the original layout, and all works were finished within few years, ending in 1579–80. The decoration of the restored structure involved artists such as Veronese, Jacopo and Domenico Tintoretto, and Jacopo Palma il Giovane. The walls were decorated with episodes of the Venetian history, with particular reference to the city’s relations with the papacy and the Holy Roman Empire, while the ceiling was decorated with the Virtues and individual examples of Venetian heroism, and a central panel containing an allegorical glorification of the Republic. Facing each other in groups of six, the twelve wall paintings depict acts of valor or incidents of war that had occurred during the city’s history. Immediately below the ceiling runs a frieze with portraits of the first 76 doges (the portraits of the others are to be found in the Scrutinio Room); commissioned from Tintoretto, most of these paintings are in fact the work of his son. Each Doge holds a scroll bearing a reference to his most important achievements, while Doge Marin Faliero, who attempted a coup d’étatin 1355, is represented simply by a black cloth as a traitor to the Republic. One of the long walls, behind the Doge’s throne, is occupied by the longest canvas painting in the world, Il Paradiso, which Tintoretto and his workshop produced between 1588 and 1592.
• The Scrutinio Room is in the wing built between the 1520s and 1540s during the dogate of Francesco Foscari (1423–57), facing the Piazzeta. It was initially intended to house the precious manuscripts left to the Republic by Petrarch and Bessarione (1468); indeed, it was originally known as the Library. In 1532, it was decided that the Chamber should also hold the electoral counting and/or deliberations that assiduously marked the rhythm of Venetian politics, based on an assembly system whose epicenter was the nearby Great Council Chamber. After the construction of Biblioteca Marciana though, this room was used solely for elections. The present decorations date from between 1578 and 1615, after the 1577 fire. Episodes of military history in the various compartments glorify the exploits of the Venetians, with particular emphasis on the conquest of the maritime empire; the only exception being the last oval, recording the taking of Padua in 1405.
• The Quarantia Criminale Chamber and the Cuoi Room were used for the administration of justice. The Quarantia Criminal was set up in the 15th century and dealt with cases of criminal law. It was a very important body as its members also had legislative powers.
• The Magistrato alle Leggi Chamber housed the Magistratura dei Conservatori ed esecutori delle leggi e ordini degli uffici di San Marco e di Rialto. Created in 1553, this authority was headed by three of the city’s patricians and was responsible for making sure the regulations concerning the practice of law were observed.
• The State Censors were set up in 1517 by Marco Giovanni di Giovanni, a cousin of Doge Andrea Gritti (1523–1538) and nephew of the great Francesco Foscari. The title and duties of the Censors resulted from the cultural and political upheavals that are associated with Humanism. In fact, the Censors were not judges as such, but more like moral consultants, their main task being the suppression of electoral fraud and protection of the State’s public institutions. On the walls of the Censors’ Chamber hang a number of Domenico Tintoretto’s portraits of these magistrates, and below the armorial bearings of some of those who held the position.
• The State Advocacies’ Chamber is decorated with paintings representing some of the Avogadori di Común venerating the Virgin, the Christ and various saints. The three members, the Avogadori, were the figures who safeguarded the very principle of legality, making sure that the laws were applied correctly. They were also responsible for preserving the integrity of the city’s patrician class, verifying the legitimacy of marriages and births inscribed in the Golden Book.
• The « Scrigno » Room: the Venetian nobility as a caste came into existence because of the “closure” of admissions to the Great Council in 1297; however, it was only in the 16th century that formal measures were taken to introduce restrictions that protected the status of that aristocracy: marriages between nobles and commoners were forbidden and greater controls were set up to check the validity of aristocratic titles. There was also a Silver Book, which registered all those families that not only had the requisites of “civilization” and “honor”, but could also show that they were of ancient Venetian origin; such families furnished the manpower for the State bureaucracy – and particularly, the chancellery within the Doge’s Palace itself. Both books were kept in a chest in this room, inside a cupboard that also contained all the documents proving the legitimacy of claims to be inscribed therein.
• Chamber of the Navy Captains: made up of 20 members from the Senate and the Great Council, the Milizia da Mar, first set up in the mid-16th century, was responsible for recruiting crews necessary for Venice’s war galleys. Another similar body, entitled the Provveditori all’Armar, was responsible for the actual fitting and supplying of the fleet. The furnishings are from the 16th century, while the wall torches date from the 18th century.

Old Prison or Piombi

Prior to the 12th century there were holding cells within the Doge’s Palace but during the 13th and fourteenth centuries more prison spaces were created to occupy the entire ground floor of the southern wing. Again these layouts changed in c.1540 when a compound of the ground floor of the eastern wing was built. Due to the dark, damp and isolated qualities of they came to be known as the Pozzi (the Wells).^[1] In 1591 yet more cells were built in the upper eastern wing. Due to the position of their position, directly under the lead roof, they were known as Piombi.^[2] Among the famous inmates of the prison were Silvio Pellico and Giacomo Casanova. The latter in his biography describes escaping through the roof, re-entering the palace, and exiting through the Porta della Carta.

Bridge of Sighs and the New Prisons

 

Giacobbe Giusti, Palais des Doges

Capital #12 in the porch (counting as #0 the one at the corner near the Bridge of Sighs): « Allegories of Virtues and Vices » – « Falsa fides in me semper est ».

A corridor leads over the Bridge of Sighs, built in 1614 to link the Doge’s Palace to the structure intended to house the New Prisons.^[3] Enclosed and covered on all sides, the bridge contains two separate corridors that run next to each other. That which visitors use today linked the Prisons to the chambers of the Magistrato alle Leggi and the Quarantia Criminal; the other linked the prisons to the State Advocacy rooms and the Parlatorio. Both corridors are linked to the service staircase that leads from the ground floor cells of the Pozzi to the roof cells of the Piombi.

The famous name of the bridge dates from the Romantic period and was supposed to refer to the sighs of prisoners who, passing from the courtroom to the cell in which they would serve their sentence, took a last look at freedom as they glimpsed the lagoon and San Giorgio through the small windows. In the mid-16th century it was decided to build a new structure on the other side of the canal to the side of the palace which would house prisons and the chambers of the magistrates known as the Notte al Criminal. Ultimately linked to the palace by the Bridge of Sighs, the building was intended to improve the conditions for prisoners with larger and more light-filled and airy cells. However, certain sections of the new prisons fall short of this aim, particularly those laid out with passageways on all sides and those cells which give onto the inner courtyard of the building. In keeping with previous traditions, each cell was lined with overlapping planks of larch that were nailed in place.

Madonna col bambino, the painting stolen on 9 October 1991 by Vincenzo Pipino after he hid in a cell in the New Prisons

The only art theft from the Doge’s Palace was executed on 9 October 1991 by Vincenzo Pipino, who hid in one of the cells in the New Prisons after lagging behind a tour group, then crossed the Bridge of Sighs in the middle of the night to the Sala di Censori. In that room was the Madonna col bambino, a work symbolic of « the power of the Venetian state » painted in the early 1500s by a member of the Vivarini school.^[4]By the next morning, it was in the possession of the Mala del Brenta organized crime group. The painting was recovered by the police on 7 November 1991.^[5]

Influences

Azerbaijan

The Ismailiyya building in Baku, which at present serves as the Presidium of the Academy of Sciences of Azerbaijan, was styled after the Doge’s Palace.^{[citation needed]}

Romania

The Central rail station, in Iași, built in 1870, had as a model the architecture of the Doge’s Palace. On the central part, there is a loggia with five arcades and pillars made of curved stone, having at the top three ogives.

United Kingdom

The western façade of Templeton’s Carpet Factory

There are a number of 19th-century imitations of the palace’s architecture in the United Kingdom, for example:

• the Wool Exchange, Bradford,
• the Wedgwood Institute, Burslem,
• the Scottish National Portrait Gallery, Edinburgh
• the Templeton’s Carpet Factory, Glasgow.

These revivals of Venetian Gothic were influenced by the theories of John Ruskin, author of the three-volume The Stones of Venice, which appeared in the 1850s.

United States

19th-century imitations

National Academy of Design (1863–65), one of many Gothic Revival buildings modeled on the Doge’s Palace

The Montauk Club in Park Slope, Brooklyn (1889) imitates elements of the palace’s architecture, although the architect is usually said to have been inspired by another Venetian Gothic palace, the Ca’ d’Oro.

The elaborate arched facade of the 1895 building of Congregation Ohabai Shalome in San Francisco is a copy in painted redwood of the Doge’s Palace.

20th-century imitations

The ornate gothic style of the Doge’s Palace (and other similar palaces throughout Italy) is replicated in the Hall of Doges at the Davenport Hotel in Spokane, Washington by architect Kirtland Cutter.

The facade of the building is replicated at the Italy Pavilion in Epcot at the Walt Disney World Resort in Orlando, Florida.

Along with other Venetian landmarks, the palace is imitated in The Venetian, Las Vegas and its sister resort The Venetian Macao.

21st-century imitations

The Doge’s Palace was recreated and is playable in the 2009 video game, Assassin’s Creed II. In the game, one of the objectives is to get protagonist Ezio Auditore da Firenze to fly a hang-glider built for him by Leonardo da Vinci into the Palazzo Ducale in order to prevent a Templar plot to kill the current Doge, Giovanni Mocenigo. Though he arrives too late to prevent the Doge from being poisoned, he does manage to kill the assassin, Carlo Grimaldi, who was a member of the Council of Ten.

The interior of the Doge’s Palace taken c. 1900.

Giacobbe Giusti, Palais des Doges

A « Lion’s Mouth » postbox for anonymous denunciations at the Doge’s Palace. Text translation: « Secret denunciations against anyone who will conceal favors and services or will collude to hide the true revenue from them ».

References

1. Jump up^ Geltner, G., 2008. The Medieval Prison: A Social History. Princeton: Princeton University Press. (pp.12)
2. Jump up^ Geltner, G., 2008. The Medieval Prison: A Social History. Princeton: Princeton University Press. (pp.12)
3. Jump up^ Geltner, G., 2008. The Medieval Prison: A Social History. Princeton: Princeton University Press (pp. 13)
4. Jump up^ Davis & Wolman 2014.
5. Jump up^ Davis, Joshua; Wolman, David (26 October 2014). Bearman, Joshuah, ed. « Pipino: Gentleman Thief ». Epic Magazine. Retrieved 20 January 2015.

External links

Doge’s Palace (Venice).

• Official website
• Palazzo Ducale on Smarthistory

Palais des Doges

Palazzo Ducale.

Palais des Doges
Palazzo Ducale

Giacobbe Giusti, Palais des Doges

Le palais des Doges.

Présentation

Type	Palais
Destination initiale	Siège de l’administration vénitienne
Style	Architecture gothique/Byzantine
Architecte	Nicolò Barattieri (en)
Construction	1340
Reconstruction	1340
Site web	www.palazzoducale.visitmuve.it

Localisation

Pays	Italie
Région	Vénétie
Commune	Venise

Coordonnées	45° 26′ 02″ N, 12° 20′ 25″ E

Le palais des Doges ou palais Ducal est un palais vénitien de styles gothique et Renaissancesitué sur la place Saint-Marc. Ce bâtiment fut la résidence officielle des doges de la République de Venise, ainsi que le lieu de représentation de ses institutions majeures.

Géographie

Le palais des Doges est situé entre le Rio della Paglia, la petite place Saint-Marc (Piazzetta San Marco), la basilique Saint-Marc et les canaux de San Marco. Il borde l’entrée du Grand Canal. Visible depuis la mer Adriatique, il est situé sur le côté méridional de la place Saint-Marc.

Histoire

Plan du palais des Doges, en italien.

Cour du palais des Doges, avec au fond la basilique Saint-Marc

L’escalier des géants, et les statues de Mars et Neptune.

Un premier palais des Doges exista durant la République de Venise. Il fut détruit par un grand incendie en 976, qui détruisit également la première basilique Saint-Marc.

Le 28 décembre 1340, débute la construction de la Sala Nuova du Grand Conseil qui ne sera achevée qu’en 1366. En 1365 le doge Marco Cornaro avait fait venir Guariento di Arpo de Padoue pour la décorer. Ce peintre avait réalisé autour du tribunal un monumental Couronnement de la Vierge au Paradis qui fut malheureusement gravement endommagé par l’incendie de 1577 et tomba dans l’oubli. On en retrouva des fragments en 1903, derrière Le Paradisdu Tintoret. Ils furent alors détachés et placés dans la salle d’Armes¹.

Après l’incendie de 1577, les autorités vénitiennes décidèrent d’ouvrir un concours pour l’exécution d’une représentation du Paradis. Le programme iconographique fut élaboré par deux patriciens de Venise : Jacopo Marcello et Jacopo Contarini. Ce concours eut lieu entre 1578 et 1582. Les artistes vénitiens les plus importants tels que Le Tintoret et Palma le jeuney participèrent. C’est Véronèse qui fut déclaré lauréat avec Francesco Bassano. Il ne réalisa pas ce projet, et un nouveau concours fut organisé à la mort de Véronèse. C’est Jacopo Tintoretto qui réalisa le travail « in situ » avec son fils².

Les doges de Venise y ont habité jusqu’en 1797. Ce palais fut pendant de nombreux siècles le siège de l’administration vénitienne. Les pouvoirs législatif, exécutif et judiciaire y étaient centralisés entre les mains du doge.

Jusqu’au xvi^e siècle, le palais abritait les prisons de Venise situées sous les toits. Elles sont appelées les plombs (i piombi) car leur couverture était faite de plaques de plomb. En été, leur visite est d’ailleurs interdite à certaines heures de la journée car les visiteurs ne pourraient supporter la température qui y règne (plus de 50 °C). C’est dans cette prison que fut détenu Giacomo Casanova. Le 1^er novembre 1756, il s’en évada avec l’aide de son voisin de cellule, un prêtre nommé Marino Baldi. Ce fut l’unique évasion qu’ait connu cette prison.

Puis une autre prison de 19 cellules fut construite à côté du palais (la prison des puits) appelée comme cela car elle était non plus sous les toits, mais au rez-de-chaussée et en sous-sol. Les conditions de détention n’y étaient pas meilleures car, si les prisonniers ne souffraient plus de la chaleur intense, ils étaient constamment dans l’humidité et le froid, voire dans l’eau lors des crues, avec tout ce que de telles conditions entraînent en termes d’hygiène. Cette nouvelle prison et le palais ne sont séparés que par le Rio della Paglia, le seul lien entre ces deux bâtiments étant le pont des Soupirs, un petit pont de pierre entièrement fermé que les prisonniers traversaient après leur jugement pour gagner leurs geôles.

Les prisons des plombs faisaient partie d’une aire cachée du palais dont personne ne connaissait l’existence. Toute une administration secrète y réglait les affaires politiques et judiciaires de la République. De nombreux hauts fonctionnaires y travaillaient et leurs activités se déroulaient souvent la nuit. On considère d’ailleurs que c’est là que le pouvoir s’exerçait réellement, qu’il s’agisse d’affaires d’espionnage, de fiscalité, de législation, de commerce ou de bonnes mœurs, tout était du ressort de ces fonctionnaires et de leur police secrète.

Pour éviter que les ambassadeurs et hauts dignitaires ne découvrent cette administration cachée, la République de Venise avait installé ses bureaux dans des demi-étages du palais. De l’extérieur, on ne distinguait que de grandes fenêtres fermées semblables à celles des grandes salles du palais, mais en fait un plancher avait été installé à mi-hauteur de ces fenêtres; abritant ainsi de nombreux bureaux, salles de conseils, salle de torture, cachots en toute confidentialité^{[réf. nécessaire]}.

Architecture

Ce palais représente la plus grande œuvre d’imagination de Venise. Il est une réussite du mariage de l’art gothique et de l’art byzantin dans un décor coloré qui dissout les surfaces (art vénitien). Pendant une longue série d’années, les meilleurs architectes dirigèrent sa construction, les meilleurs peintres sa décoration. Le chantier du palais débute dans le courant de l’année 1340, sous la direction de l’architecte Pietro Baseggio (?-1354)³. Celui-ci s’entoure de Filippo Calendario (avant 1315-1355) , un ancien tailleur de pierre devenu architecte et sculpteur, et c’est ensemble qu’ils travaillèrent à la construction d’un bâtiment donnant sur la Riva degli Schiavoni (Rive des Esclaves). Calendario éleva d’autre part les six premières arcades en retour d’équerre sur la Piazzetta et, en tant que sculpteur, réalisa deux œuvres statuaires d’angle : Adam et Ève, côté Piazzetta et L’Ivresse de Noé, côté Rio della Paglia⁴.

Les façades, l’une donnant sur la mer et l’autre sur la Piazzetta se composent d’une épaisseur de murs massifs et polis soutenus par deux étages de piliers posés l’un sur l’autre.

La cour intérieure du palais ne présente aucune unité, contrairement aux façades extérieures. La salle du Grand Conseil, qui comporte la plus ancienne façade, fut commencée dès 1340. C’est lors de sa reconstruction, de 1400 à 1410, que fut aménagée la grande fenêtre gothique centrale, située côté lagune, au-dessus de la porta Frumento . Cette réalisation, ainsi que celle du balcon central, est due aux frères Jacobello et Pierpaolo dalle Masegne. L’aile du Scrutin fut construite à partir de 1424, elle fut complétée quelques décennies plus tard par les structures qui remplissent l’espace entre le Palais et la Basilique. Située entre la Basilique Saint-Marc et le palais, la porte della Carta fut élevée pour l’essentiel par les architectes Giovanni Bon et son fils Bartolomeo auxquels se joignit Antonio Bregno (vers 1400-1457) . Ce dernier collabora par la suite avec Antonio Rizzo (vers 1440-1499) à l’édification du passage Foscari. Ce même Antonio Rizzo eut à remanier l’aile orientale, à la suite d’un incendie ayant endommagé en 1483 cette partie du bâtiment riveraine du Rio della Paglia. C’est à cette occasion qu’il réalisa l’Escalier des Géants, qui permettait l’accès à l’édifice nouvellement créé⁵. Cependant le chantier ne fut achevé que vers le milieu du siècle suivant. En raison des variantes du projet et des nouveaux architectes, la façade devint un mélange composite de style Renaissance et de style gothique. Cela se traduisit par de nombreuses fenêtres et plusieurs sculptures sur la façade mais la loge supérieure conserva son style gothique afin de respecter la tradition. Enfin, en 1577, le palais eut à subir un nouvel incendie. Pour assurer sa restauration, on fit appel à l’architecte-ingénieur suisse-italien Antonio da Ponte. La réalisation de cette entreprise donna au palais son aspect d’aujourd’hui.

Pour monter vers les appartements du doge et les salles institutionnelles, on emprunte l’escalier d’Or : les stucs de la voûte y sont entièrement recouverts de feuilles d’or. L’ouvrage fut réalisé par Jacopo Sansovino, cependant c’est son fils Francesco qui en acheva la décoration. Les scènes peintes au plafond représentent Vénus, Neptune (dieu de la mer donc lié aux Vénitiens) et les vertus nécessaires pour gouverner. On y trouve également des grotesques réalisés par Battista Franco, un peintre maniériste.

Les appartements du doge sont situés contre l’abside de la basilique Saint-Marc. La proximité des salles institutionnelles accordait peu de place à la vie privée du doge.

Décoration intérieure

Le palais est surtout un musée magnifique avec ses salles entièrement décorées par les plus grands peintres en particulier Véronèse, installé à Venise en 1553, et Le Tintoret. Certaines œuvres sont aujourd’hui déplacées dans des musées.

Œuvres de Véronèse 

Années 1554-1556 :

• Salles du conseil des Dix : Junon dispensant ses dons à Venise, 1554-1556 de 365 × 147 cm
• Salle des audiences : Jupiter foudroyant les Vices un médaillon qui décorait, en son centre, le plafond
• Salle de la Boussolla : Saint Marc couronnant les Vertus à présent au musée du Louvre

Années 1575-1578 :

• Salle du Grand Conseil : Triomphe de Venise
• Salle du Collège :
  • Les Allégories de la Vertu
  • Mars et Neptune de 250 × 180 cm
  • La Dialectique ou L’Industrie de 150 × 120 cm
  • Venise, la Justice et la Paix de 250 × 180 cm
• Salle du Magistrato : Venise recevant l’hommage d’Hercule et de Cérès⁶ de 309 × 328 cm conservée aux Gallerie dell’Accademia de Venise

On peut y voir également aujourd’hui L’Enlèvement d’Europe⁷, peint par Véronèse en 1580, toile de 240 × 303 cm qui provient du Palais Contarini à San Samuele⁸

• 

  Cheminée du palais ducal

   

Giacobbe Giusti, Palais des Doges

• 

  Junon dispensant ses dons
  Salle du Conseil

Giacobbe Giusti, Palais des Doges

• 

  Triomphe de Venise
  Salle du Grand Conseil

Giacobbe Giusti, Palais des Doges

• 

  Mars et Neptune
  Salle du Collège

Giacobbe Giusti, Palais des Doges

 

• 

  Dialectique
  Salle du Collège

Giacobbe Giusti, Palais des Doges

• 

  Justice et paix
  Salle du Collège

Giacobbe Giusti, Palais des Doges

• 

  Ariane, Vénus et Bacchus
  Le Tintoret

Giacobbe Giusti, Palais des Doges

• 

  Le Paradis, par Le Tintoret

Œuvres du Tintoret 

• Quatre Allégories à la gloire des doges de Venise, 1577
• Ariane, Vénus et Bacchus
• l’immense toile du Paradis, datée de 1588, réalisée avec l’assistance de son fils Domenico Tintoretto, dans la salle du Grand Conseil (Maggior Consiglio), passant pour être le plus grand tableau au monde, avec ses 22 m de long

Photographies

Giacobbe Giusti, Palais des Doges

• 

  Façade donnant sur le bassin de saint Marc.

   

Giacobbe Giusti, Palais des Doges

• 

  Une « bouche de lion »⁹.

   

Giacobbe Giusti, Palais des Doges

• 

  Puits du palais. Photo de Domenico Anderson.

   

Giacobbe Giusti, Palais des Doges

• 

  Pozzo dell’Alberghetti

   

Giacobbe Giusti, Palais des Doges

• 

  Détail du toit du Palais des Doges.

Cliquez sur une vignette pour l’agrandir.

Vu par les peintres

• Le palais des Doges vu par les peintres

 

Giacobbe Giusti, Palais des Doges

• 

  Venise (Le Palais des Doges), Anonyme vers le xviii^e ou xix^e siècle.

   

Giacobbe Giusti, Palais des Doges

• 

  Vue sur le palais des Doges, la place Saint-Marc et le campanile de Johann Gottfried Steffan(de)vers le xviii^e ou xix^e siècle

   

Giacobbe Giusti, Palais des Doges

• 

  Vue de Venise (Le Palais des Doges), Pierre-Auguste Renoir, 1881.

   

Giacobbe Giusti, Palais des Doges

• 

  Vue sur Venise par Alfred Pollentine, 1885.

   

Giacobbe Giusti, Palais des Doges

• 

  Le Palais des Doges, Claude Monet, 1908.

   

Giacobbe Giusti, Palais des Doges

• 

  Venise de Marco Grubacs vers 1910

Voir aussi

Sur les autres projets Wikimedia :

• Le Palais des Doges, sur Wikimedia Commons

Bibliographie

• Luigi Serra, Le Palais des Doges de Venise, La libreria dello Stato, Rome, 1952.

Articles connexes

• Doge de Venise
• République de Venise
• Chronologie de Venise

Liens externes

• Site officiel [archive]
• Fiche sur le site Structurae [archive]
• Reportage culturel sur le Palais des Doges [archive]
• Catalogue photographique de tous les chapiteaux du palais des doges [archive]

Notes et références

1. ↑ Giovanna Nepi Sciré, La Peinture dans les Musées de Venise, Editions Place des Victoires, 2008 (ISBN 978-2-8099-0019-4), p. 24 et 582
2. ↑ Marie-Hélène Lavallée, Guides Collections : Palais des Beaux Arts de Lille, Réunion des Musées Nationaux, 1997 (ISBN 2-7118-3516-2), p. 158
3. ↑ Elena Bassi: Dizionari Biografico degli Italiani – Volume 7 – 1970
4. ↑ http://www.campiello-venise.com/artistes-venitiens/filippo-calendario.htm [archive]
5. ↑ http://www.campiello-venise.com/artistes-venitiens/antonio-rizzo.htm [archive]
6. ↑ Hommage à Venise, Gallerie dell’Accademia
7. ↑ L’Enlèvement d’Europe, Véronèse
8. ↑ Giovanna Nepi Sciré, La Peinture dans les Musées de Venise, Editions Place des Victoires, 2008, 605 p. (ISBN 978-2-8099-0019-4), p.316-340
9. ↑ boîte aux lettres pour les dénonciations anonymes. Traduction de l’inscription dans la pierre : « Dénonciations secrètes contre toute personne qui dissimule des faveurs ou des services, ou qui cherche à cacher ses vrais revenus »

https://fr.wikipedia.org/wiki/Palais_des_Doges

http://www.giacobbegiusti.com

 

 

 

 

 

Giacobbe Giusti, ANDREA di BARTOLO

Giacobbe Giusti, ANDREA di BARTOLO

Le Portement de Croix, 1415-1420 Musée Thyssen-Bornemisza

Giacobbe Giusti, ANDREA di BARTOLO

Vierge d’humilité du musée des beaux-arts de Montréal.

 

Giacobbe Giusti, ANDREA di BARTOLO

Joaquim quitte la ville
v. 1400, Keresztény Múzeum

 

Giacobbe Giusti, ANDREA di BARTOLO

• Le Christ fait prisonnier
  v. 1400, Collection privée

Giacobbe Giusti, ANDREA di BARTOLO

Couronnement de la Vierge 1405-1407, Ca’d’Oro

 

Giacobbe Giusti, ANDREA di BARTOLO

Joaquim et les mendiants
v. 1400, Washington

Giacobbe Giusti, ANDREA di BARTOLO

Le Portement de Croix, 1415-1420
Musée Thyssen-Bornemisza

Giacobbe Giusti, ANDREA di BARTOLO

Couronnement de la Vierge
v. 1410, Pinacothèque de Brera.

Andrea di Bartolo Cini (entre 1360 et 1370 – 1428), actif entre 1389-1428) est un miniaturiste et un peintre de l’école siennoise de la fin Trecento et du début du Quattrocento (les xiv^e et xv^e siècles italiens).

Fils de Bartolo di Fredi, il travailla d’abord sur des commandes passées à son père.

Il travaille à la Cathédrale de Sienne en réalisant deux panneaux pour les chapelles San Giacomo et San Crescenzio, ainsi que les cartons pour les vitraux de la sacristie. Il travailla aussi avec ses fils Ansano et Giovanni.

Ses œuvres diffusent la manière paternelle, revue à travers la leçon de Spinello Aretino¹. Son style resta largement imprégné de ceux des grands maîtres du Trecento comme Simone Martini et Duccio di Buoninsegna.

Œuvres

Fin du xiv^e siècle

• Polyptyque du Couronnement de la Vierge, avec son père, Montalcino
• Massacre des Innocents², v. 1380, Walters Art Museum
• L’Annonciation, v. 1383, Dyptyque, Musée des beaux-arts de Budapest
• L’Assomption de la Vierge avec saint Thomas et deux donateurs (seigneur Palamedes et son fils Matthieu), v. 1390, tempera sur bois, 203 × 85 cm, (MOFA)³
• Crucifixion, v. 1390, tempera et or sur bois, 45 × 27 cm, Musée national de Varsovie (MNW)
• Vierge à l’Enfant avec des saints, 1395-1400, triptyque, Lindenau Museum, Altenburg
• Nativité, Résurection et Saints, 1397, triptyque, 53 × 53 cmPinacothèque nationale de Sienne
• Vierge d’humilité (1400), musée des beaux-arts de Montréal

• 

  L’Annonciation
  v. 1383, Budapest
• 

  Assomption de la Vierge
  v. 1390, Virginie
• 

  Triptyque, 1395-1400
  Lindenau Museum
• 

  Triptyque de Sienne
  1397
• 

  Vierge d’humilité du musée des beaux-arts de Montréal.

Quatre saints de 1389 à 1406

Ils pourraient faire partie de la série de tableaux superposés, à la droite d’un pilastre d’un retable non identifié, mentionné dans la description du Saint Étienne du Victoria & Albert Museum⁴.

• Saint Benoît, Christie’s
• Sainte Lucie, Ashmolean Museum, Oxford
• Saint Étienne, Victoria and Albert Museum
• Sainte Catherine d’Alexandrie, Lindenau museum Altenburg

• 

  Saint Benoît
  Vente Christie’s
• 

  Sainte Lucie
  Ashmolean Museum
• 

  Saint Étienne
  Victoria & Albert Museum
• 

  Sainte Catherine
  Lindenau Museum

Début xv^e siècle

• Joaquim quittant la ville, v. 1400, Christian Museum, Esztergom, Hongrie
• Joachim et les mendiants, v. 1400, National Gallery of Art, Washington
• Nativité de la Vierge, v. 1400, National Gallery of Art, Washington
• Le Christ fait prisonnier, v. 1400, Collection privée, Paris
• Le Portement de croix, v. 1400, Musée Thyssen-Bornemisza, Madrid
• Crucifixion, v. 1400, Metropolitan Museum of Art
• La Résurrection⁵, 1400, Walters Art Museum
• La Présentation de la Vierge, v. 1400, National Gallery of Art, Washington
• Le Couronnement de la Vierge, 1405-1407, bois, 106 × 74 cm, Ca’ d’Oro, Venise
• Crucifixion et saints⁶, 1400-1410, Triptyque, 55 × 45 cm, Pinacothèque nationale de Sienne
• Vierge à l’Enfant avec les quatre évangélistes, 1400-1410, tempera et feuille d’or sur panneau, 55 × 85 cm, Walters Art Museum

• 

  Joaquim quitte la ville
  v. 1400, Keresztény Múzeum
• 

  Joaquim et les mendiants
  v. 1400, Washington
• 

  Nativité de la Vierge
  v. 1400, Washington
• 

  Présentation de la Vierge
  v. 1400, Washington
• 

  Le Christ fait prisonnier
  v. 1400, Collection privée
• 

  Crucifixion
  v. 1400, Metropolitan
• 

  Couronnement
  de la Vierge
  1405-1407, Ca’d’Oro
• 

  Vierge et Évangélistes
  1400-1410
  Walters Museum

Œuvres de 1410 à 1420

• Vierge d’humilité, v. 1410, triptyque de dévotion personnel, tempera et or en feuilles sur peuplier, panneau central de 42 × 18 cm, panneaux latéraux de 40 × 8 cm, Brooklyn Museum, New York. Un des tableaux identiques, réalisés pour chacune des cellules des sœurs du couvent des Dominicains de Venise.
• Couronnement de la Vierge, v. 1410, polyptyque, huile sur panneau, 160 × 65 cm, Pinacothèque de Brera
• Vierge à l’Enfant, 1410-1415, 110 × 50 cm, Musée d’art de l’université de Princeton
• Le Portement de Croix, v. 1415-1420, 54 × 49 cm, Musée Thyssen-Bornemisza, Madrid, en dépôt au Musée national d’art de Catalogne (presque une copie servile du tableau du même thème de Simone Martini).
• Saint Paul, v. 1420, huile sur panneau, 29 × 20 cm, collection particulière
• La Cène, v. 1420, tempera sur panneau, 48 × 32 cm, Pinacothèque nationale (Bologne)

• 

  Vierge d’humilité
  v. 1410, Brooklyn
• 

  Madone, 1410-1415
  Princeton
• 

  Saint Paul, v. 1420
  Collection privée

Non daté

• Catherine de Sienne pour Murano, pinacothèque de Brera, Milan

Notes et références

1. ↑ Giovanna Nepi Sciré, « Biographies », dans La Peinture dans les Musées de Venise, Paris, Editions Place des Victoires, 2008(ISBN 978-2-8099-0019-4), p. 573.
2. ↑ Massacre des Innocents, Walters Museum.
3. ↑ Virginia Museum of Fine Arts [archive].
4. ↑ Victoria & Albert Museum [archive].
5. ↑ Résurrection, Walters Museum.
6. ↑ Triptyque de la Crucifixion, Sienne.

 Giacobbe Giusti, ANDREA di BARTOLO

Crucifixion

Andrea di Bartolo or Andrea di Bartolo Cini (1360/70 – 1428, in Siena) was an Italian painter, stained glass designer and illuminator of the Sienese Schoolmainly known for his religious subjects. He was active between 1389–1428 in the area in and around Siena.^[1][2]

Life

Andrea di Bartolo was the son and pupil of Bartolo di Fredi, a very prominent painter in Siena. His youth was spent working in his father’s workshop which received many prestigious orders.

Massacre of the Innocents

He collaborated with his father and Luca di Tommè on an altarpiece (now lost) for the altar of the shoemaker’s guild in the cathedral of Siena in 1389. This is his first documented work.^[3] However, it is believed that his hand can be discerned in works of his father painted between 1380 and 1389, such as in the Massacre of the Innocents (Walters Art Museum).^[2]

Andrea likely set up his own workshop around 1390. He was extremely successful in Siena and obtained numerous commissions even from as far as Veneto. His patrons were drawn from the same monastic circles as his father such as the Franciscans of Montalcino and the Dominicans of Siena.^[2] From his studio he produced a large number of works, some of which have survived and are found in various museums around the world. Like Simone Martini he travelled far to execute work for patrons, including the Marches, Veneto and Treviso.^[4]

It is possible Andrea was the father of the painter Giorgio di Andrea di Bartolo (active 1409 to 1428).^[5]

Work

Most of Bartolo’s works are religious works of art. Throughout his career Andrea imitated his father’s paintings.^[1] While he worked on projects jointly with his father, he developed an independent style. Other collaborations were with Luca di Tommè.

Coronation of the Virgin

Andrea di Bartolo’s creativity is a continuation of the work of his father, who in turn drew on the tradition of Siena, begun by Duccio and Simone Martini. Still Andrea’s own style can also be recognised early on. Andrea had a more summary drawing style and a softer modeling technique than his father and paid less attention to naturalistic detail and expressionism.

Generally speaking Andrea’s style remained solidly rooted in the Sienese traditions. However, if required he could absorb foreign influences, in particular in his commissions from the Venetian region. For instance, his Coronation of the Virgin (Venice, Ca’ d’Oro) shows in its iconography and rich ornamental elements the influence of Venetian painting.^[2]

Madonna of humility

His later work shows the influence of Taddeo di Bartolo, Martino di Bartolomeo and Spinello Aretino.^[1] This is also evident in his manuscript illuminations, in which he showed himself more independent from the style of his father.^[2]

References

1. ^ Jump up to:^a b c Federico Zeri, with the assistance of Elizabeth E. Gardner, Italian Paintings: Sienese and Central Italian Schools, A Catalogue of the Collection of The Metropolitan Museum of Art, The Metropolitan Museum of Art, 1980, p. 1-2
2. ^ Jump up to:^{a b c d e} Colum Hourihane, The Grove Encyclopedia of Medieval Art and Architecture, Volume 2, Oxford University Press USA, 6 Dec 2012, p. 96-98
3. Jump up^ Joseph Archer Crowe, Giovanni Battista Cavalcaselle, A history of painting in Italy, Umbria, Florence and Siena, from the second to the sixteenth century, Volume 3, J. Murray, London, 1903, 2001 ISBN 0-543-97422-7, p. 134-137
4. Jump up^ Gaudenz Freuler, Andrea di Bartolo, Fra Tommaso d’Antonio Caffarini, and Sienese Dominicans in Venice, in: The Art Bulletin Vol. 69, No. 4 (Dec., 1987), pp. 570-586
5. Jump up^ Andrea di Bartolo, in: Benezit Dictionary of Artists

https://en.wikipedia.org/wiki/Andrea_di_Bartolo

http://www.giacobbegiusti.com

Giacobbe Giusti, Magi Chapel

Giacobbe Giusti, Magi Chapel

Giacobbe Giusti, Magi Chapel

Giacobbe Giusti, Magi Chapel

Pseudo Pier Francesco Fiorentino, copia della Natività di Filippo Lippi

 Giacobbe Giusti, Magi Chapel

Magi Chapel.

The Magi Chapel is a chapel in the Palazzo Medici Riccardi of Florence, Italy. Its walls are almost entirely covered by a famous cycle of frescoes by the Renaissance master Benozzo Gozzoli, painted around 1459 for the Medici family, the effective rulers of Florence.

The chapel is on the piano nobile of the palace and was one of the first rooms to be decorated after the completion of the building, designed by Michelozzo. In its original appearance the chapel was perfectly symmetrical and had its entrance through the central door, which today is closed. Inside, the chapel is divided into two juxtaposed squares: a large hall and a raised rectangular apse with an altar and two small lateral sacristies. Begun around 1449-50, the chapel was probably completed around 1459 with the precious ceiling of inlaid wood, painted and generously gilded by Pagno di Lapo Portigiano, according to Michelozzo’s design.^[1] The latter also designed the flooring of marble mosaic work divided by elaborate geometric design, which due to the extraordinary value of the materials (porphyries, granites, etc.) affirmed the Medicis’ desire to emulate the magnificence of the Roman basilicas and the Florentine Baptistry.

Giacobbe Giusti, Magi Chapel

Fiorentino‘s Adoration (after Lippi).

The first pictorial element in the chapel was the altar panel bearing Filippo Lippi‘s Adoration in the Forest. This painting is now in Berlin after being sold in the 19th century, while a copy by a follower of Lippi remains in the chapel.

Giacobbe Giusti, Magi Chapel

Apse, Detail of the choir of angels.

The chapel is famous for the series of wall paintings by Benozzo Gozzoli, with the Angels in Adorationin the rectangular apse and the Journey of the Magi in the large hall. The latter is covered in three large frescos, each showing the procession of one of the Three Magi on their way to Bethlehem to see the Nativity of Jesus. The religious theme was combined with a depiction of several members of the Medici family, their allies and some of the important figures who arrived in Florence for the Council of Florence (1438-1439) several decades earlier. On that occasion the Medici could boast to have facilitated the (abortive, as it turned out) reconciliation between the Catholic and the Eastern Orthodox churches. The luxury of the Byzantine dignitaries is manifest, and shows the impression they would have at the time on the Florentine population.

In the apse, the side walls are painted with saints and angels in adoration, where Gozzoli followed the style of his master, Fra Angelico. There are also three thin vertical fresco sections showing the shepherds of the nativity.

Gozzoli’s Journey of the Magi

Giacobbe Giusti, Magi Chapel

East Wall.

Background

Having begun the work in the spring-summer of 1459, Benozzo probably completed the work rapidly over the space of a few months, with the help of at least one assistant, under the supervision of Piero di Cosimo de’ Medici. It was probably Piero who suggested that the artist should use Gentile da Fabriano‘s Adoration of the Magi as a model for the frescoes. The extraordinary complexity and subtlety of the technique of execution, in which true fresco alternated with dry fresco, permitted the painter to work with meticulous care, almost as if he was engraving, like the goldsmith he had been in Ghiberti‘s workshop. This sheer craftsmanship is evident not just in the precious materials of jewelry, fabrics, and harnesses, but even in the trees laden with fruit, the meadows spangled with flowers, the variegated plumage of the birds, and the multicolored wings of the angels. Finally, leaves of pure gold were applied generously to shine in the dark, in the dim light of the candles.

The painting is dedicated to a sacred subject but rich in traces of pomp and secular elegance. Hosts of angels sing and adore while the magnificent procession of the Three Kings approaches Bethlehem, accompanied by their respective entourages as they enjoy the scene of a noble hunting party with falcons and felines along the way. The sumptuous and varied costumes with their princely finishing make this pictorial series one of the most fascinating testimonies of art and costume of all time.^[2]

The procession

Giacobbe Giusti, Magi Chapel

West Wall, Page with a leopard – possibly Giuliano.

Melchior, the oldest Magus, rides on the west wall leading the procession. Traditionally, his features have been read as those of Joseph, Patriarch of Constantinople, who died in Florence during the Council; but they could also be those of Sigismund, Holy Roman Emperor, who helped end the Great Schism by convoking the Council of Constance in 1414. Like Cosimo, he is shown as a peacemaker riding on a donkey. He is preceded by a page in blue with a leopard on his horse – this figure is by some argued to represent an idealized Giuliano de’ Medici.

Bearded Balthasar, the middle Magus, rides a white horse on the south wall. He is portrayed with the same facial features as Byzantine emperorJohn VIII Palaiologos. It is thought by some that the three pages behind him represent Piero‘s daughters, Nannina, Bianca and Maria, while others argue that the faces of those young women are more likely to be amongst the rest of the Medici portraits.

East Wall, Caspar, the youngest Magus – possibly Lorenzo.

On the east wall, Caspar, the youngest Magus, leads the end of the procession on a white horse. This figure has often been taken for an idealized Lorenzo il Magnifico, who was born in 1449 and so was still a boy when the fresco was completed. Closely following Caspar are the contemporary head of the family, Piero the Goutyon a white horse, and devout family founder Cosimo on a humble donkey. Then come Sigismondo Pandolfo Malatesta and Galeazzo Maria Sforza, respectively lord of Rimini and Milan. They did not take part in the Council, but were guests of the Medici in Florence in the time the frescoes were painted. After them is a procession of illustrious Florentines, such as the humanists Marsilio Ficino and the Pulci brothers, the members of the Art Guilds and Benozzo himself. The painter looks out at the viewer and can be recognized for the scroll on his red hat, reading Opus Benotii. Little Lorenzo il Magnifico is the boy directly below him with the distinctive snub nose; Lorenzo’s younger brother Giuliano is next to him.

Giacobbe Giusti, Magi Chapel

West Wall (cut clearly visible).

With rich Tuscan landscapes filling the rest of of the pictorial space, this fresco was designed like contemporary tapestries, a new type of courtly art destined for wealthy patrons.The fortress, in the style of medieval castles, which appears at the highest point of the picture and is the point from which the king’s pilgrimage has set out, is similar to the Medicis’ country seat in Cafaggiolo, which was again designed by Michelozzo. It is interpreted as Jerusalem, where the procession of the magi started. This was where King Herod had instructed the wise men to search for the child.

Gozzoli’s patron, Piero de’ Medici, felt some of the seraphim were unsuitable, and wanted them painted over. Although the artist agreed to do this, it was never actually done.^{[citation needed]} In 1659, the Riccardi family bought the Palazzo Medici and undertook some structural changes. This included, in 1689, the building of an exterior flight of stairs leading up to the first floor. For this purpose the entrance to the chapel had to be moved. During the process, two sections of wall were cut out of the south western corner, in the Procession of the Oldest King. After the stairs were finished, the cut out elements were mounted on a corner of the wall projecting into the room. During the course of this, the oldest king’s horse was cut up and mounted on two different segments of the wall.

• Interior
• 

  Chapel ceiling

• 

  Chapel floor

• 

  Decorations

• 

  Decorations

• 

  Carved wooden stalls

• Apse and altar
• 

  The original altarpiece, Lippi’s Adoration

• 

  Angels in Adoration (left)

• 

  Angels in Adoration (right)

• Procession
• 

  Melchior

• 

  Balthasar

• 

  Caspar

• 

  Sigismondo Malatesta and Galeazzo Maria Sforza

   

Giacobbe Giusti, Magi Chapel

• 

  Byzantine wealth

• Medici and Gozzoli
• 

  Cosimo and Piero

• 

  Nannina, Bianca and Maria.

• 

  Lorenzo and Giuliano

• 

  Gozzoli, self-portrait.

• 

  Gozzoli (centre), self-portrait

• Nature
• 

  Hunting scene

• 

  Falcon and hare

• 

  Birds in flight

• 

  Exotic felid

• 

  Jerusalem/Cafaggiolo

References

• Cardini, Franco (2001). The Chapel of the Magi in Palazzo Medici. Florence: Mandragora.
• Davisson, Darrell D., Secrets of the Medici Palace and Its Private Chapel: Six Studies in the early Italian Renaissance, 2014, San Bernardino, Createspace.

https://en.wikipedia.org/wiki/Magi_Chapel

http://www.giacobbegiusti.com

Giacobbe Giusti, SANDRO BOTTICELLI: Madonna in Glory with Seraphim

Giacobbe Giusti, SANDRO BOTTICELLI: Madonna in Glory with Seraphim

 

Giacobbe Giusti, SANDRO BOTTICELLI: Madonna in Glory with Seraphim

Artist	Sandro Botticelli
Year	1469-1470
Medium	Tempera on panel
Dimensions	120 cm × 65 cm (47 in × 26 in)
Location	Galleria degli Uffizi, Florence

Madonna in Glory with Seraphimis a painting by the Italian Renaissance painter Sandro Botticelli, executed c. 1469-1470. It is housed in Galleria degli Uffizi, Florence.

Some panel paintings of the Madonna by Botticelli remain from the years around 1470 which are striking expressions of Botticelli’s stylistic development. Two full figure pictures of the Madonna – the Madonna in Glory and the Madonna of the Rosegarden – are in the Uffizi. They represent monumental seated figures filling the entire picture.

Mary is enthroned on clouds in a glory of seraphim. The Christ Child, with the cruciform nimbus, is looking towards the observer and raising his hand in blessing. Botticelli has succeeded in expressing the tensions in this theme with sensitivity: the mother, who is fully aware of the Passion her son will suffer, is holding him protectively in her arms.

https://en.wikipedia.org/wiki/Madonna_in_Glory_with_Seraphim_(Botticelli)

http://www.giacobbegiusti.com

Giacobbe Giusti, DANIELE da VOLTERRA: Portrait de Michel-Ange

Giacobbe Giusti, DANIELE da VOLTERRA: Portrait de Michel-Ange

Portrait de Michel-Ange, par Daniele da Volterra, Musée Teylers, Haarlem

https://fr.wikipedia.org/wiki/Daniele_da_Volterra

http://www.giacobbegiusti.com

Giacobbe Giusti, Domenico di Bartolo: Madone de l’Humilité, Sienne

 

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Giacobbe Giusti, GIOTTO DI BONDONE

Giotto, Polittico Stefaneschi (part.)

http://www.arte.it/foto/a-milano-la-grande-mostra-dedicata-a-giotto-413/4

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Giacobbe Giusti, Mosaiques de la coupole du baptistère Saint Jean, Florence

Giacobbe Giusti, Mosaiques de la coupole du baptistère Saint Jean, Florence

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Le baptistère Saint-Jean (battistero di San Giovanni) à Florence est situé sur la place du Dôme, à l’ouest du Dôme de Florence, la cathédrale Santa Maria del Fiore.

Jusqu’à la fin du XIX^e siècle, tous les Florentins y étaient baptisés^{[réf. nécessaire]}.

Histoire

Si le baptistère est bâti sur d’anciennes constructions romaines du I^er siècle (peut-être un temple de Mars), sa construction initiale, qui remonte au IV^e siècle, en fait un des plus vieux bâtiments de la ville : la première basilique San Lorenzo consacrée par saint Ambroise en 393. Ce n’est pas encore un baptistère et elle deviendra cathédrale au IX^e siècle.

Rebâti sur un plan octogonal et revêtu de marbre blanc et vert et puis rose sur son extérieur, et coiffé d’une toiture pyramidale, son rôle de baptistère est officiel en 1128, reconnu comme bel exemple d’architecture romane de Toscane. Son abside rectangulaire, la Scarsella (la bourse ou l’escarcelle) est ajoutée au XIII^e siècle.

Le sol est carrelé et la voûte et les parois sont couvertes de mosaïques de style byzantin. Le plafond pyramidal commencé au XIII^e siècle n’est achevée qu’au XIV^e siècle et comporte un Christ du Jugement dernier monumental et des panneaux des épisodes de l’Ancien Testament et du Nouveau Testament, ainsi que de la vie de Jean le Baptiste. De nombreux artistes s’y sont succédé de Gaddo Gaddi jusqu’à Cimabue.

Les fonts baptismaux de 1371 et le tombeau de l’antipape Jean XXIII qui mourut en 1419, ont été réalisés par Donatello, Portigiani et Michelozzo.

Le baptistère est particulièrement connu pour ses magnifiques portes de bronze ornées de bas-reliefs.

Celle du Sud est la première qui fut réalisée, par Andrea Pisano entre 1330 et 1338 ; il établit des modèles en cire avant de faire venir des artistes de Venise. En 1401, Lorenzo Ghiberti, artiste très en vogue de son temps, remporte le concours de la porte Nord, très similaire à celle du Sud, organisé par l’Arte di Calimala. Il lui est confié également la porte Est, nommée depuis Porte du Paradis par Michel Ange ; toujours ornée de bas-reliefs, elle se distingue des deux autres par la forme de ceux-ci et par sa couverture d’or ; Lorenzo Ghiberti s’y est consacré pendant 25 ans.

Filippo Brunelleschi y invente en 1425 la perspective conique.

https://fr.wikipedia.org/wiki/Baptist%C3%A8re_Saint-Jean_(Florence)

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