Giacobbe Giusti, Basilique Santa Croce, Florence

Giacobbe Giusti, Basilique Santa Croce, Florence

 

Giacobbe Giusti, Basilique Santa Croce, Florence

 

Giacobbe Giusti, Basilique Santa Croce, Florence

Giotto, Cappella Bardi

Giacobbe Giusti, Basilique Santa Croce, Florence

Giotto, Cappella Peruzzi

Giacobbe Giusti, Basilique Santa Croce, Florence

 

Giacobbe Giusti, Basilique Santa Croce, Florence

Il Crocifisso di Cimabue

Giacobbe Giusti, Basilique Santa Croce, Florence

Il Cenacolo di Taddeo Gaddi

Giacobbe Giusti, Basilique Santa Croce, Florence

Andrea Orcagna

 

Giacobbe Giusti, Basilique Santa Croce, Florence

La façade de l’église depuis la Piazza Santa Croce
Présentation
Nom local	Basilica di Santa Croce
Culte	Catholicisme
Type	Basilique mineure
Début de la construction	1294
Fin des travaux	Rénovation au xixe siècle
Style dominant	Architecture néogothique
Site web	www.santacroceopera.it [archive]
Géographie
Pays	Italie
Région	Toscane
Ville	Florence
Coordonnées	43° 46′ 07″ nord, 11° 15′ 44″ est
Géolocalisation sur la carte : Florence (Voir situation sur carte : Italie) (Voir situation sur carte : Toscane)

L’église Santa Croce est une basilique italienne située à Florence(en Italie). Sa construction commença le 3 mai 1294 sur les fondations d’une petite église érigée en 1252par des franciscains peu après la mort de saint François d’Assise.

Histoire de la basilique

Basilique Santa Croce

L’édification de la basilique de Santa Croce à Florence débuta en 1294 sur les plans d’Arnolfo di Cambio ; il s’agit de la plus grande église franciscaine au monde. Construite aux frais du peuple et de la République florentine, elle s’éleva sur les fondations d’une petite église bâtie en 1252 par les frères peu de temps après la mort de saint François, hors des murs de la ville. Les restes de l’ancien édifice ne purent être localisés qu’en 1966 quand, à la suite des inondations qui envahirent et dévastèrent la ville, une partie du pavement de l’église actuelle s’effondra.

Dès son origine, l’histoire de Santa Croce est très intimement liée à l’histoire même de Florence. Au cours des sept siècles qui se sont écoulés depuis sa fondation, elle a constamment fait l’objet de remaniements et de nouveaux projets de modernisation, acquérant ainsi au fur et à mesure de nouvelles connotations symboliques : de sa nature primaire d’église franciscaine jusqu’à acquérir le rôle de municipe religieux pour les grandes familles et les corporations de la Florence médicéenne, de laboratoire et d’atelier artistique – humanistetout d’abord puis Renaissance – jusqu’à centre théologique, de panthéon des gloires italiennes jusqu’à muer en un lieu de référence, au xix^e siècle, de l’histoire politique de l’Italie pré et post-unitaire.

Un symbole de l’art florentin

Monument à Dante au coin gauche du parvis de l’église Santa Croce.

De tous temps, Santa Croce fut un symbole prestigieux de la ville de Florence et un lieu de rencontre pour les plus grands artistes, théologiens, religieux, hommes de lettres, humanistes et hommes politiques. Mais elle le fut également pour les puissantes familles qui, dans le bonheur comme dans l’adversité, participèrent à la création de l’identité de la Florence de la fin du Moyen Âge et de la Renaissance. Son couvent offrit l’hospitalité à des personnages célèbres de l’histoire de l’Église, saint Bonaventure, saint Antoine de Padoue, saint Bernardin de Sienne, saint Louis d’Anjou, évêque de Toulouse. Elle fut aussi un lieu de repos et d’accueil pour plusieurs papes, Sixte IV, Eugène IV, Léon X, Clément XIV. Avec son architecture gothique imposante, ses merveilleuses fresques, ses retables d’autel, ses précieux vitraux, ses nombreuses sculptures, cette église représente l’une des pages les plus importantes de l’histoire de l’art florentin dès le xiii^e siècle.

On peut y découvrir des œuvres de Cimabue, Giotto, Brunelleschi, Donatello, Vasari, Ghiberti, Andrea Orcagna, Taddeo Gaddi, Della Robbia, Giovanni da Milano, Bronzino, Michelozzo, Domenico Veneziano, Maso di Banco, Giuliano da Sangallo, Benedetto da Maiano, Canova et bien d’autres encore.

La présence, notamment, de Giotto, et de toute son école, en fait un ouvrage très complet, précieux témoignage de l’art florentin du xiv^e siècle.

Modifications de la basilique

Les vicissitudes historiques et politiques qui ont accompagné la vie de Santa Croce jusqu’à nos jours ont toujours laissé une trace précise, que ce soit sur le plan des interventions artistiques et architecturales (par exemple les transformations radicales effectuées par Vasari à la moitié du xvi^e siècle, ou les efforts déployés au xix^e siècle pour transformer le complexe de Santa Croce en un grand mausolée de l’histoire italienne) ou dans les témoignages précieusement conservés dans ses archives retraçant les étapes de la construction quotidienne au fil des siècles d’un grand projet, avec ses artisans, ses ressources, ses objectifs et ses difficultés.

Le corps principal de la basilique

La façade

Elle est d’abord définie par les dessins de Simone del Pollaiolo, mais les travaux sont interrompus en raison d’un différend entre le donateur, Castello Quaratesi, et les ouvriers du chantier. Les travaux ne reprennent que le 22 août 1857, en présence du pape Pie IX et la façade est inaugurée le 3 mai 1863, dessinée par Niccolò Matas en style néogothique. Elle présente trois pointes alignées sur les trois portails, quatre piliers culminant en flèche. Elle est recouverte de marbre blanc et de marbre vert de Prato.

Dans le tympan central, c’est Giovanni Duprè qui en sculpte Le triomphe de la Croix, soutenue par une étoile de David ornée du monogramme du Christ. L’artiste exécute également la statue de Notre Dame des Sept Douleurs, sous la rosace. Le tympan de gauche représente la Découverte de la Croix, par Tito Sarrocchi, et celui de droite la Vision de Constantine, par Emilio Zocchi (en).

La sacristie

Très impressionnante sacristie avec des scènes de la crucifixion. À noter également une relique de la bure et de la ceinture de saint François d’Assise.

La nef

Sa largeur (38 m) a rendu impossible l’usage des arcs de pierre d’où la couverture par charpente en bois. Santa Croce a été définie comme le Panthéon des gloires italiennes car l’église accueille les sépultures de personnages aussi illustres que Nicolas Machiavel, Galilée, Michel-Ange, Gioachino Rossini, Michał Kleofas Ogiński, Vasari, Ghiberti, Vittorio Alfieri et Niccolò Ugo Foscolo, sans oublier le cénotaphe de Dante Alighieri.

Abside ou chapelle majeure

• Légende de la sainte Croix d’Agnolo Gaddi (1390)

La chapelle Bardi

Chapelle Bardi (Santa Croce).

Retable et fresques de la chapelle Bardi

• Fresques dans la chapelle de la famille Bardi de la vie de saint François par Giotto (1318), recouvertes de chaux au xviii^e siècle¹, redécouvertes en 1852 mais mal restaurées.
• Retable de Scènes de la vie de saint François par le Maestro del San Francesco Bardi

La chapelle Peruzzi

• Fresques dans la chapelle de la famille Peruzzi des Scene della vita di San Giovanni Evangelista e di San Giovanni Battista par Giotto di Bondone

 Chapelle Peruzzi.

La chapelle Bardi di Vernio

• Vie du pape Sylvestre et de l’empereur Constantin de Maso di Banco (1340)

La chapelle Baroncelli

Chapelle Baroncelli.

• Scènes de l’Histoire de la vie de Marie de Taddeo Gaddi
• Le Couronnement de la Vierge, école de Giotto

À l’extérieur

La chapelle des Pazzi

 Chapelle des Pazzi.

La chapelle, œuvre de Filippo Brunelleschi, décorée jusqu’en 1478 par Giuliano da Maiano, Luca della Robbia, Donatello, Salvi d’Andrea et Michelozzo, est restée inachevée à la suite de la conjuration des Pazziqui bannit cette famille opposée aux Médicis de Florence. Elle est restée vide depuis.

Musée de l’Œuvre de Santa Croce

Crucifix de Cimabue.

• Crucifix de Cimabue(grandement endommagé par les inondations de Florence en 1966), restauré en partie et exposé
• Fresques du Jugement dernier d’Andrea Orcagna
• L’Arbre de la Croix et La dernière Cène de Taddeo Gaddi
• …

 Musée de l’Œuvre de Santa Croce.

Notes et références

1. ↑ L’art médiéval y est reconnu comme barbare

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

http://www.hiacobbegiusti.com

Giacobbe Giusti, Sant’Agostino, Rome

Giacobbe Giusti, Sant’Agostino, Rome

La « miracolosa » Madonna del parto di Jacopo Sansovino

Giacobbe Giusti, Sant’Agostino, Rome

Il Profeta Isaia, affresco di Raffaello

Giacobbe Giusti, Sant’Agostino, Rome

 

Sant’Agostino St. Augustine (in English) Sancti Augustini (in Latin) Giacobbe Giusti, Sant’Agostino, Rome
Facade of Sant’Agostino, by Giacomo di Pietrasanta (1483)
Basic information
Location	Rome, Italy
Affiliation	Roman Catholic
District	Lazio
Province	Rome
Year consecrated	1960
Ecclesiastical or organizational status	Titular church
Leadership	Jean-Pierre Ricard
Architectural description
Architect(s)	Baccio Pintelli Luigi Vanvitelli
Architectural type	Church
Groundbreaking	1483

Giacobbe Giusti, Sant’Agostino, Rome

Interior of S. Agostino, Rome, with nave and High Altar

Sant’Agostino is a Roman Catholicchurch in the piazza of the same name near Piazza Navona, in the rione Sant’Eustachio, of Rome, Italy. It is one of the first Roman churches built during the Renaissance. Adjacent to the church is the Biblioteca Angelica, a library founded in 1605.

History

The construction the church was funded by Guillaume d’Estouteville, Archbishop of Rouen and Cardinal Camerlengo (1477-1483).^[1] The façade was built in 1483 by Giacomo di Pietrasanta, using travertine taken from the Colosseum. The design of the church is attributed to the late 15th century architect Baccio Pintelli, with later 18th century restorations of the interior by Luigi Vanvitelli.^[2] It is a plain work of the early Renaissance style.^[3]

The Titulus S. Augustini has been held by Cardinal Jean-Pierre Ricardsince 2006. Furthermore, it is the station church of the first Saturday in Lent.

Artwork

Giacobbe Giusti, Sant’Agostino, Rome

Madonna di Loreto, by Caravaggio

A very prominent work of art presently in the church is the Madonna di Loretoin the Cavalletti Chapel (first chapel on the left), an important early Baroque painting by Caravaggio.^[4]

The church also contains a Guercino canvas of Saints Augustine, John the Evangelist and Jerome; a fresco of the Prophet Isaiah by Raphael on the third pilaster of the left nave^[5]; and the statues of the Saint Anne and Virgin with Child, by Andrea Sansovino.

The sculpture of the Madonna del Parto (Our Lady of Childbirth) by Jacopo Sansovino based, according to a legend, on an ancient statue of Agrippina holding Nero in her arms, is reputed by tradition to work miracles in childbirth. The statue is laden with thank-offerings and always surrounded by offerings of flowers and candles.

In 1616, the 17th-century Baroque artist Giovanni Lanfranco decorated the Buongiovanni Chapel (in the left transept) with three canvases and a ceiling fresco of the Assumption.

The church also houses Melchiorre Caffà‘s sculpture « St. Thomas of Villanova Distributing Alms », completed by his mentor Ercole Ferrata.

Tombs

The church contains the tomb of Saint Monica, mother of Saint Augustine, that of Fiammetta, lover of Cesare Borgia and a famous courtesan, and that of Olav Trondsson, archbishop of Norway 1459 – 1473. His tombstone has the inscription « CVI DEDERAT SACRAM MERITO NORVEGIA SEDEM HIC TEGIT OLAVI FRIGIDVS OSSA LAPIS », meaning: « Here a cold stone covers the bones of Olav, to whom Norway rightly gave the holy chair. »^[6]

The inscriptions found in S. Agostino, a valuable source illustrating the history of the church, have been collected and published by Vincenzo Forcella.^[7]

In 1741, Pietro Bracci designed and sculpted the polychrome tomb of Cardinal Giuseppe Renato Imperiali, who died on 15 January 1737.^[8]

List of Cardinal-Protectors

Pope Sixtus V (1585-1590) established the church as a cardinalate title in April 1587.

• Gregorio Petrocchini, OESA, (23 March 1590–28 May 1608)
• Fabrizio Veralli, (10 December 1608–17 November 1624)
• Berlinghiero Gessi, (19 July 1627–6 April 1639)
• Ottaviano Raggi, (10 February 1642–31 December 1643)
• Niccolò Albergati-Ludovisi, (24 April 1645–25 June 1646)
• Fabrizio Savelli, (16 December 1647–26 February 1659)
• Antonio Bichi, (1 December 1659–14 November 1667)
• Federico Borromeo (iuniore), (23 February 1671–8 August 1672)
• Francesco Lorenzo Brancati di Lauria, (22 September 1681–1 December 1681)
• Carlo Stefano Anastasio Ciceri, (7 July 1687–24 June 1694)
• Enrico Noris, OESA, (2 January 1696–23 February 1704)
• Carlo Agostino Fabroni, (25 June 1706–19 September 1727)
• Angelo Maria Quirini, OSB Cas., (22 December 1727–8 March 1728)
• Gregorio Selleri, OP, (10 May 1728–31 May 1729)
• Marco Antonio Ansidei, (6 July 1729–14 February 1730)
• Bartolomeó Massei, (8 January 1731–20 November 1746)
• Giorgío Doria, (15 December 1745–3 January 1757; 3 January 1757–31 January 1759)
• Gaetano Fantuzzi Gottifredi, (19 November 1759–6 April 1767)
• Mario Marefoschi Compagnoni, (12 December 1770–23 December 1780)
• Paolo Massei, (11 April 1785–9 June 1785)
• Diego Innico Caracciolo Di Martina, (20 October 1800–26 September 1814; 26 September 1814–24 January 1820)
• Cesare Brancadoro, (29 May 1820–12 September 1837)
• Friedrich Johannes Jacob Celestin von Schwarzenberg, (27 January 1842–27 March 1885)
• Antolín Monescillo y Viso, (10 June 1886–11 August 1897)
• Antonio María Cascajares y Azara, (24 March 1898–27 July 1901)
• Sebastiano Martinelli, OESA, (9 June 1902–4 July 1918)
• Aleksander Kakowski, (18 December 1919–30 December 1938)
• Agustín Parrado y García, (22 February 1946–8 October 1946)
• Fernando Quiroga y Palacios, (29 October 1953–7 December 1971)
• Marcelo González Martín, (5 March 1973–25 August 2004)
• Jean-Pierre Ricard, (24 March 2006– present)

• Burials at the Basilica of Sant’Agostino

References

Sant’Agostino (Rome).

1. Jump up^ S. Miranda, list of Cardinal Chamberlains of the Holy Roman Church. Retrieved: 2016-03-21.
2. Jump up^ New Guide of Rome, Naples and Their Environs, By Mariano Vasi and Antonio Nibby, page 105.
3. Jump up^ Rendina, Claudio (2000). La grande enciclopedia di Roma. Rome: Newton Compton.
4. Jump up^ John Varriano, Caravaggio: The Art of Realism (University Park, PA: Penn State Press, 2010), pp. 44-46. John T. Spike, Caravaggio: Catalogue of Paintings (New York-London: Abbeville Press, 2010), pp. 148-150.
5. Jump up^ Restored by Daniele da Volterra as quoted in A Handbook of Rome (1871), page 128.
6. Jump up^ Fjellbu, A., et al. (eds.) (1955). Nidaros erkebispestol og bispesete 1153 – 1953. Oslo, Land og kirke. Forcella, p. 15, no. 31.
7. Jump up^ V. Forcella, Inscrizioni delle chiese e d’ altre edifici di Roma, dal secolo XI fino al secolo XVIVolume V (Roma: Fratelli Bencini, 1875), pp. 1-112. [in Italian and Latin]
8. Jump up^ Forcella, p. 103, no. 307.

Bibliography

• P Antonino Ronci and D. Torre, S. Agostino in Campo Marzio, Roma (Roma: D. Torre, [1950?])

https://en.wikipedia.org/wiki/Sant%27Agostino,_Rome

http://www.giacobbegiusti.com

Giacobbe Giusti, Church of St. Francis, Prato

 

Giacobbe Giusti, Church of St. Francis, Prato

Giacobbe Giusti, Church of St. Francis, Prato

Giacobbe Giusti, Church of St. Francis, Prato

Giacobbe Giusti, Church of St. Francis, Prato

Giacobbe Giusti, Church of St. Francis, Prato

Monumental Church of St. Francis Chiesa di San Francesco (Prato) Conventus Sancti Francisci Prati Etrurie Giacobbe Giusti, Church of St. Francis, Prato
San Francesco’s church.
Basic information
Location	Prato, Italy
Affiliation	Roman Catholic
Year consecrated	1508
Website	http://www.diocesiprato.it/sanfrancesco
Architectural description
Architectural type	Church
Architectural style	Romanesque, Gothic
Groundbreaking	1281
Completed	1331
Specifications
Length	65 metres (213 ft)
Width	20 metres (66 ft)
Width (nave)	15 metres (49 ft)
Height (max)	30 metres (98 ft)
Materials	bricks

Giacobbe Giusti, Church of St. Francis, Prato

Facade

San Francesco is a church in Prato, Tuscany, central Italy. San Francesco’s church, in the homonym square (XII–XIV sec.), it is located in the nucleus of the Oldest City of Prato and an Important Place of Catholic worship and one of the first Franciscan Churches with his big convent built on the ground that was donated by the municipality to the friars minor only eight days after the canonization of the saint, in 1228.

History and architecture

The edifice was begun in 1281, next to an oratory of the Franciscan convent, which had been built in 1228. It was finished in 1331, the first building in Prato built in brickwork instead of stone. The façade is divided in bichrome stripes in alberese and serpentinite with a central portal, and ends with a 15th-century triangular tympanum with a stucco frieze by Andrea Della Robbia, depicting the Stigmata of St. Francis.^[1] The 18th-century bell-tower was designed by Antonio Benini (1799-1801).

Internal Architecture

The large interior was restored to a neo-medieval state in 1902–04.

Among the arworks are the funerary monument of Geminiano Inghirami (c. 1460), attributed to Pasquino da Montepulciano(and stylistically similar to Antonio Rossellino), who also executed the small cyborium on the presbytery wall.

Next to a Renaissance pulpit in pietra serenais a 15th-century panel with Christ’s Monogram, which is traditionally considered to have been brought to Prato by San Bernardino; above the high altar is a 14th-century polychrome wooden Crucifix, donated by the merchant Francesco Datini(who was buried next to the altar). The latter’s tomb in white marble (work of Niccolò di Pietro Lamberti, 1411–12) portrays him within an elaborated Gothic tabernacle.

Regnadori’s Chapel

The door below the choir, on the left of the presbytery, we can enter into the Chapel Regnadori, protruding from the side of the church. Realized in the first half of the fourteenth century, it is covered by two cross vault with ribs; the wall to the left of the entrance is decorated with a cornice in pietra serena late renaissance, with arch on fluted pilasters, with that, we can access to another chapel coeval (of employers Spighi) demolished in 1903. The wall in front of the entrance retains traces of frescoes seventeenth century ; and on the semipilaster is carved out the family crest fourteenth Regnadori ( From which chapel takes this name ) . A Right surmounted by a lancet window and there while the neo-Gothic altar ciborium is the Same that adorn one time an altar. Side of the altar there are niches with statues had : on the left a “Ecce Homo” century in colored wax, opposite a sorrow rifined.

The Cloister

The cloister, dating to 1438–1440 and featuring Ionic columns, is the first Renaissance architectural work in the city. It has several coat of arms from the 15th-19th centuries, and several frescoes: a lunette with the Madonna and Child and a tabernacle with the Madonna Enthroned and Saints from the early 14th century.

Migliorati’s Chapel

Giacobbe Giusti, Church of St. Francis, Prato

The Chapter (or Migliorati’s Chapel)

The Chapter (or Migliorati’s Chapel) was entirely frescoed around 1400 by Niccolò Gerini, with figures inspired by Giotto. The scenes include a ruined Cricifixion, the Stories of St. Matthew and Stories of St. Anthony (the latter also damaged) and, on the vault, the Evangelists.

Images gallery

Giacobbe Giusti, Church of St. Francis, Prato

        

References

1. Jump up^ Comune of Prato, short introduction and photo.

San Francesco (Prato).

https://en.wikipedia.org/wiki/San_Francesco,_Prato

http://www.giacobbegiusti.com

Giacobbe Giusti, JACOPO SANSOVINO: Ca’ Corner della Ca’ Granda

Giacobbe Giusti, JACOPO SANSOVINO: Ca’ Corner della Ca’ Granda

Giacobbe Giusti, JACOPO SANSOVINO: Ca’ Corner della Ca’ Granda

Giacobbe Giusti, JACOPO SANSOVINO: Ca’ Corner della Ca’ Granda

 

Giacobbe Giusti, JACOPO SANSOVINO: Ca’ Corner della Ca’ Granda

Palazzo Corner della Ca’ Granda by architect Jacopo Sansovino in Venice. Facade on Grand Canal.

Palazzo Corner.

Palazzo Corner della Ca’ Granda, also called Ca’ Corner della Ca’ Granda or simply Palazzo Corner or Palazzo Cornaro, is a Renaissance-style palace located between the Casina delle Rose and the Rio di San Maurizio (Venice), across the Grand Canal from the Palazzo Venier dei Leoni (Peggy Guggenheim Collection), in the city of Venice, Italy. It is the current seat of the province of Venice and of the city’s prefect.

History

The palace was designed by Jacopo Sansovino, after a fire that in 1532 had destroyed the previous residence of the Corner family. It was one of the very first commissions received by the architect in Venice.

In 1817, after another fire, Andrea Corner sold the palace to the Austrian Empire, which installed here the Provincial Delegation and, later, the Imperial Lieutnancy. Once the Veneto was annexed to Italy in 1866, the palace was chosen as the seat of both the province of Venice and of its prefect.

Description

The palace is located not far from St. Mark’s Square. It has a façade divided into two horizontal orders. The lower part has a rustication decoration, while the upper floors feature a series of large arcades.

In the centre, at the Canal Grande level, is a portico with three arcades, sided by two couples of square windows.

• Palazzo Corner Spinelli

Sources

• Brusegan, M. (2005). La grande guida dei monumenti di Venezia. Rome: Newton Compton. ISBN 88-541-0475-2.

https://en.wikipedia.org/wiki/Palazzo_Corner_della_Ca%27_Grande

http://www.giacobbegiusti.com

Giacobbe Giusti, Basilique San Lorenzo de Florence

Giacobbe Giusti, Basilique San Lorenzo de Florence

Le ciel astronomique de la Vieille Sacristie

attribué à Giuliano Pesello — book: Elena Capretti, Brunelleschi, Giunti Editore, Firenze 2003.

Pesello (attr.) emisfero celeste, 1442 circa, sagrestia vecchia, firenze.jpg

Giacobbe Giusti, Basilique San Lorenzo de Florence

The cruciform basilica with the vast domed apsidal Medici Chapel; in the cloister is the Laurentian Library.

Giacobbe Giusti, Basilique San Lorenzo de Florence

Basilica di san Lorenzo a Firenze. È visibile in primo piano il monumento a Giovanni dalle Bande Nere.

Giacobbe Giusti, Basilique San Lorenzo de Florence

 Église San Lorenzo.

 

Cet article est une ébaucheconcernant une église ou unecathédrale et Florence.Vous pouvez partager vos connaissances en l’améliorant (comment ?) selon les recommandations des projets correspondants.

Giacobbe Giusti, Basilique San Lorenzo de Florence
L’église depuis la place San Lorenzo servant de marché et la statue du condottière Jean de Médicis
Présentation
Culte	Catholicisme
Type	Basilique mineure
Début de la construction	1424
Fin des travaux	1446
Architecte	Filippo Brunelleschi et Antonio Manetti
Style dominant	Architecture Renaissance
Géographie
Pays	Italie
Région	Toscane
Ville	Florence
Géolocalisation sur la carte : Florence

La basilique de San Lorenzo est l’un des principaux lieux de culte catholiques de Florence, situé sur la place du même nom dans le centre historique de la ville. Elle possède le titre de basilique mineure. Elle comprend notamment des constructions ou œuvres de Brunelleschi, Donatello, Michel-Ange, Verrocchio, Benozzo Gozzoli, Filippo Lippi et Bronzino. Elle est accolée aux chapelles des Médicis qui contiennent les sarcophages de la famille régnante de Florence.

Historique

La basilique visible aujourd’hui a été édifiée à l’emplacement d’une église consacrée en 393 par Ambroise de Milan, celle-ci étant considérée comme le plus ancien édifice religieux de la ville. La construction de l’édifice actuel a été entamée en 1424 par Filippo Brunelleschi et poursuivie par Antonio Manetti après la mort de Brunelleschi en 1446. L’intérieur de sa façade est de Michel-Ange ; celle-ci, malgré les plans de celui-ci, reste inachevée.

Description

L’intérieur.

On distingue :

• la façade ;
• dans une chapelle à droite, le Mariage de la Vierge (it) de Rosso Fiorentino, qui représente Joseph en jeune homme contrairement à la tradition ;
• deux chaires (1460-1466) de Donatello (Pulpito della Resurrezione et Pulpito della Passione), dont celle utilisée par Savonarole ;
• le cénotaphe à Donatello de Raffaello Romanelli (1896) ;
• la chapelle Martelli avec l’Annonciation de Fra Filippo Lippi ;
• l’ancienne sacristie (Sagrestia Vecchia, 1422-1428) au fond gauche du transept, ornée d’une fresque représentant le ciel astronomique du 4 juillet 1442 peint sur la voûte de la chapelle de l’abside par Giuliano Pesello. On y trouve le monument funéraire de Pierre le Goutteux et de son frère Jean ;
• les chapelles des Médicis, aujourd’hui accessibles par une entrée séparée derrière la basilique :
  • la chapelle des Princes, au premier étage (commandée en 1568, commencée en 1605, achevée en 1929) avec les six sarcophages surmontés des statues des grands-ducs en bronze doré de Pietro Tacca et de son fils Ferdinando Tacca et ses mosaïques florentines, marqueteries de marbre de l’Opificio delle pietre dure, atelier-manufacture créé pour ces réalisations en 1588 ;
  • la Nouvelle Sacristie (Sagrestia Nuova, 1521), accessible par la précédente. Elle contient les tombeaux des Médicis, sculptés par Michel-Ange : celui duc d’Urbin Laurent et celui du duc de Nemours Julien, et le sarcophage unique de Laurent le Magnifique et de son frère Julien ;
  • la chapelle du Trésor, dans la crypte, avec ses reliquaires et ses objets d’orfèvrerie ;
• le cloître ;
• la bibliothèque Laurentienne et son escalier à triple montée dessiné par Michel-Ange auquel on accède par le cloître, et qui donne accès à la salle de lecture ;
• le petit campanile de Ferdinando Ruggieri (1740), en remplacement du précédent détruit par un incendie en 1423.

Plan général

Vieille Sacristie Nouvelle Sacristie Chapelle des Princes Premier cloître Second cloître Bibliothèque Laurentienne Chaire de Donatello Chaire de Donatello Tabernacle de Desiderio da Settignano Chapelle Martelli Chapelle du transept gauche Chapelle du transept gauche Martyre de saint Laurent, Bronzino Le Mariage de la Vierge, Rosso Fiorentino

Environs

On remarquera en vis-à-vis de la façade de l’église, de l’autre côté de la place San Lorenzo, l’observatoire Ximenes, premier observatoire astronomique de Florence.

Galerie

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  Le dôme de la chapelle des Princes.

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  La façade inachevée.

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  Le cloître.

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  La nef, en direction de l’entrée.

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  La nef, en direction du chœur.

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  Chapiteau d’une colonne de la nef.

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  La voûte, peinte par Vincenzo Meucci.

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  Le ciel astronomique de la Vieille Sacristie

   

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

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, Couvent Sainte-Marie-des-Anges (Florence)

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

 

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

 

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

 

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Lunetta del chiostro degli Angeli, Bernardino Poccetti, La creazione di Eva

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

 

43° 46′ 28″ nord, 11° 15′ 39″ est

Sainte-Marie-des-Anges.

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Le cloître des anges et le clocheton du couvent.
Présentation
Nom local	Convento Santa Maria degli Angeli
Culte	Catholique romain
Type	église conventuelle
Rattachement	Archidiocèse de Florence
Début de la construction	1295
Fin des travaux	xvie siècle
Architecte	Brunelleschi (au xve siècle)Gherardo Silvani et Bartolomeo Ammannati (au xvie siècle)
Style dominant	Renaissance italienne
Géographie
Pays	Italie
Région	Toscane
Province	Florence
Commune	Florence
Coordonnées	43° 46′ 28″ nord, 11° 15′ 39″ est
Géolocalisation sur la carte : Florence

Le couvent Sainte-Marie-des-Anges(en italien  : Convento Santa Maria degli Angeli) est un ancien couvent de Florence, situé sur la via degli Alfani. Ayant été un des plus importants et des plus riches de Florence, il comprend d’importantes créations architecturales et picturales du xvii^e siècle s’inspirant de la Renaissance italienne. Supprimé comme les autres lieux des ordres monastiques par Napoléon en 1808, sa destination devient communale. Ses bâtiments hébergent aujourd’hui la Faculté de Lettres et de Philosophie de l’Université de Florence.

Histoire

Le couvent est fondé en 1295 par Antonio Viva Guittone d’Arezzo. Il s’inspire de l’ermitage de l’ordre camaldule.

En 1434, l’architecte Brunelleschi réalise l’église, s’articulant autour d’un octogone central. C’est le premier bâtiment de la Renaissance à plan centré.

L’édifice est rénové au xvii^e siècle par Gherardo Silvani et Bartolomeo Ammannati. Bernardino Poccetti peint les fresques du cloître des Anges.

Le couvent est supprimé en 1808 sur ordre de Napoléon. Utilisé par l’Hôpital de Santa Maria Nuova, il est ensuite transféré à l’Université de Florence en 1940, qui en prend usage à partir de 1964.

Architecture

Église

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Façade de l’église.

Grande cloître

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Grande cloître.

Cloître des Anges

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Cloître des Anges.

Cette section est vide, insuffisamment détaillée ou incomplète. Votre aide est la bienvenue ! Comment faire ?

Le cloître des Anges est imposant, situé au milieu de la structure du couvent.

Les fresques de la Crucifixion et saints, d’Andrea del Castagno réalisées entre 1440 et 1444, décoraient ce petit cloître. Elles sont aujourd’hui conservées à l’Hôpital Santa Maria Nuova.

Cloître des Morts

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Cloître des Morts.

• La Cène, œuvre de Ridolfo del Ghirlandaio sur le mur du fond du réfectoire.

Rotonde de Brunelleschi

Rotonde de Brunelleschi.

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Rotonde de Brunelleschi.

Notes et références

Bibliographie

• Divo Savelli, Il Convento di Santa Maria degli Angeli a Firenze, Editoriale Tornatre, Firenze 1983.
• Divo Savelli, Rita Nencioni, Il Chiostro degli Angeli, Storia dell’antico monastero camaldolese di Santa Maria degli Angeli a Firenze, Edizioni Polistampa Firenze 2008

维基百科，自由的百科全书

Giacobbe Giusti, 天神之后堂 (佛罗伦萨)

学者圆形堂

天神之后堂（Santa Maria degli Angeli）是意大利佛罗伦萨一个现已解散的天神之后修道院的教堂。它属于卡马尔多利修会，是本笃会的一个分支。该修会由圣罗穆亚尔德于1012年在阿雷佐附近的卡马尔多利创立，因此而得名。该建筑历经多次改建，已经很少保留中世纪建筑原貌。

该修道院在文艺复兴初期曾是一个主要研究中心，这里的写字间以出产高品质的手稿而著称，今天被收藏在世界各地的博物馆。画家洛伦佐·摩纳哥，曾有一段时间以修道为职业，但最终他还俗离开了。然而，他在修道期间及之后，都为该修道院和卡马尔多利修会其他机构创作了一系列的艺术品。

“学者圆形堂”（Rotonda degli Scolari）是修道院建筑群的一部分，1434年，由美第奇家族委托菲利波·布鲁内莱斯基设计。在其核心，有一个八角形的圆顶空间，周围环绕着八个附属空间^[1]。

参考

https://fr.wikipedia.org/wiki/Couvent_Sainte-Marie-des-Anges_(Florence)

http://www.giacobbegiusti.com

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

 Chiesa della Madonna di Vitaleta.

Giacobbe Giusti, Cappella della Madonna di Vitaleta
Esterno
Stato	Italia
Regione	Toscana
Località	San Quirico d’Orcia
Religione	cattolica
Arcidiocesi	Siena-Colle di Val d’Elsa-Montalcino
Consacrazione	1590
Stile architettonico	Rinascimentale

La cappella della Madonna di Vitaleta è un edificio sacro che si trova nella località rurale di Vitaleta, nel territorio comunale di San Quirico d’Orcia, in provincia di Siena. La chiesa, di proprietà privata, è inclusa nel territorio dell’Arcidiocesi di Siena-Colle di Val d’Elsa-Montalcino.

Storia

La chiesa, di probabile origine tardo-rinascimentale, è ricordata per la prima volta in un documento del 1590.

L’edificio religioso venne in seguito riprogettato sia esternamente che internamente dall’architetto Giuseppe Partini nel 1884, ispirandosi a modelli cinquecenteschi.

Da essa proviene la statua della Madonna attribuita ad Andrea della Robbia, dal 1870 in poi conservata all’interno della chiesa della Madonna di Vitaleta nel centro storico di San Quirico d’Orcia, che si dice acquistata nel 1553 in una bottega a Firenze.

Descrizione

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Madonna di Andrea della Robbia, originariamente posta nella cappella

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Chiesetta della Madonna di Vitaleta

La cappella della Madonna di Vitaleta si trova su una strada sterrata che porta da Pienza a San Quirico d’Orcia ed è posta sotto tutela dall’UNESCO.

L’edificio religioso si presenta ad aula unica, con la facciata principale rivestita in pietra di Rapolano che si caratterizza per un piccolo rosone che si apre al di sopra del portale architravato; lateralmente, la stessa facciata è delimitata da lesene, una a destra e l’altra a sinistra, sulle quali poggia il frontonesommitale, nel cui timpano è collocato uno stemma gentilizio.

Le facciate laterali sono rivestite in pietra, così come la parte posteriore dell’edificio religioso alla cui sommità si eleva un campanile a vela con due celle campanarie contigue ad arco tondo.

•  cappella della Madonna di Vitaleta

https://it.wikipedia.org/wiki/Cappella_della_Madonna_di_Vitaleta

http://www.giacobbegiusti.com

Giacobbe Giusti, High Renaissance

Giacobbe Giusti, High Renaissance

The Creation of Adam, a scene from Michelangelo‘s Sistine Chapel ceiling.

 

Giacobbe Giusti, High Renaissance

The Last Supper
Il Cenacolo or L’Ultima Cena Giacobbe Giusti, High Renaissance
Artist	Leonardo da Vinci
Year	1490s (Julian)
Medium	fresco-secco
Dimensions	460 cm (180 in) × 880 cm (350 in)
Location	Convent of Santa Maria delle Grazie in Milan

Giacobbe Giusti, High Renaissance

Michelangelo’s Pietà in St. Peter’s Basilica in the Vatican.

 

Giacobbe Giusti, High Renaissance

Mona Lisa, by Leonardo da Vinci

Mona Lisa or La Gioconda (1503–05/07)—Louvre, Paris, France

Giacobbe Giusti, High Renaissance

The Creation of Adam, a scene from Michelangelo‘s Sistine Chapel ceiling.

Giacobbe Giusti, High Renaissance

Frescos by Raphael in the Stanza della Segnatura in the Vatican Palace

Giacobbe Giusti, High Renaissance

Mona Lisa or La Gioconda (1503–05/07)—Louvre, Paris, France

In art history, the High Renaissance is the period denoting the apogee of the visual arts in the Italian Renaissance. The High Renaissance period is traditionally taken to begin in the 1490s, with Leonardo’s fresco of the Last Supper in Milan and the death of Lorenzo de’ Medici in Florence, and to have ended in 1527 with the sacking of Rome by the troops of Emperor Charles V. This term was first used in German (Hochrenaissance) in the early nineteenth century, and has its origins in the « High Style » of painting and sculpture described by Johann Joachim Winckelmann.^[1] Over the last twenty years, use of the term has been frequently criticized by academic art historians for oversimplifying artistic developments, ignoring historical context, and focusing only on a few iconic works.^[2]

Overview

Giacobbe Giusti, High Renaissance

Giorgione‘s Tempest, c. 1507-8.

Since the late eighteenth century, the High Renaissance has been taken to refer to a short (c. 30-year) period of exceptional artistic production in the Italian states, principally Rome, capital of the Papal States, under Pope Julius II. Assertions about where and when the period begins and ends vary, but in general the best-known exponents of painting of the High Renaissance, include Leonardo da Vinci, early Michelangelo and Raphael. Extending the general rubric of Renaissance culture, the visual arts of the High Renaissance were marked by a renewed emphasis upon the classical tradition, the expansion of networks of patronage, and a gradual attenuation of figural forms into the style later termed Mannerism.

The paintings in the Vatican by Michelangelo and Raphael are said by some scholars such as Stephen Freedberg to represent the culmination of High Renaissance style in painting, because of the ambitious scale of these works, coupled with the complexity of their composition, closely observed human figures, and pointed iconographic and decorative references to classical antiquity, can be viewed as emblematic of the High Renaissance.^[3] In more recent years, art historians have characterised the High Renaissance as a movement as opposed to a period, one amongst several different experimental attitudes towards art in the late fifteenth and early sixteenth century. This movement is variously characterised as conservative;^[4] as reflecting new attitudes towards beauty;^[5] a deliberate process of synthesising eclectic models, linked to fashions in literary culture;^[6] and reflecting new preoccupations with interpretation and meaning .^[7]

Architecture

Giacobbe Giusti, High Renaissance

Bramante’s Tempietto, designed 1502, San Pietro in Montorio, Rome.

 Renaissance architecture

High Renaissance style in architecture conventionally begins with Donato Bramante, whose Tempietto at S. Pietro in Montorio at Rome was begun in 1510. The Tempietto, signifies a full-scale revival of ancient Roman commemorative architecture. David Watkin writes that the Tempietto, like Raphael’s works in the Vatican (1509–11), « is an attempt at reconciling Christian and humanist ideals ».^[8]

Painting

The High Renaissance was traditionally viewed as a great explosion of creative genius, following a model of art history first proposed by the Florentine Giorgio Vasari. Even relatively minor painters of the period, such as Fra Bartolomeo and Mariotto Albertinelli, produced works that are still lauded for the harmony of their design and their technique. The elongated proportions and exaggerated poses in the late works of Michelangelo, Andrea del Sarto and Correggioprefigure so-called Mannerism, as the style of the later Renaissance is referred to in art history.^{[citation needed]}

The serene mood and luminous colours of paintings by Giorgione and early Titian exemplify High Renaissance style as practiced in Venice. Other recognizable pieces of this period include Leonardo da Vinci‘s Mona Lisa and Raphael‘s The School of Athens. Raphael’s fresco, set beneath an arch, is a virtuoso work of perspective, composition and disegno.

Sculpture

Giacobbe Giusti, High Renaissance

Michelangelo‘s Pietà, 1498–99.

High Renaissance sculpture, as exemplified by Michelangelo‘s Pietà and the iconic David, is characterized by an « ideal » balance between stillness and movement. High Renaissance sculpture was normally commissioned by the public and the state, this becoming more popular for sculpture is an expensive art form. Sculpture was often used to decorate or embellish architecture, normally within courtyards where others were able to study and admire the commissioned art work. Wealthy individuals like cardinals, rulers and bankers were the more likely private patrons along with very wealthy families; Pope Julius II also patronized many artists. During the High Renaissance there was the development of small scale statuettes for private patrons, the creation of busts and tombs also developing. The subject matter related to sculpture was mostly religious but also with a significant strand of classical individuals in the form of tomb sculpture and paintings as well as ceilings of cathedrals.

References

1. Jump up^ Jill Burke, « Inventing the High Renaissance from Winckelmann to Wikipedia: an introductory essay« , in: Id., Rethinking the High Renaissance: Culture and the Visual Arts in Early Sixteenth-century Rome, Ashgate, 2012
2. Jump up^ Marcia Hall, “Classicism, Mannerism and the Relieflike Style” in The Cambridge Companion to Raphael, Cambridge: Cambridge University Press, p. 224.
3. Jump up^ Stephen Freedberg, _Painting of the High Renaissance in Rome and Florence, 2 vols., Cambridge MA; Harvard University Press
4. Jump up^ Alexander Nagel, « Experiments in Art and Reform in Italy in the Early Sixteenth Century », in Kenneth Gouwens and Sheryl E. Reiss eds., The Pontificate of Clement VII: History, Politics, Culture, Ashgate 2005, 385–409
5. Jump up^ Elizabeth Cropper, « The Place of Beauty in the High Renaissance and its Displacement in the History of Art », in Alvin Vos ed., Place and Displacement in the Renaissance, 1995, 159–205
6. Jump up^ David Hemsoll, ‘The conception and design of Michelangelo’s Sistine Chapel ceiling: ‘wishing to shed a little light upon the whole rather than mentioning the parts’, in Jill Burke ed., Rethinking the High Renaissance, Ashgate, 2012
7. Jump up^ Jill Burke, ‘Meaning and Crisis in the Early Sixteenth Century: Interpreting Leonardo’s Lion’, Oxford Art Journal, 29, 2006, 77–91
8. Jump up^ D. Watkin, A History of Western Architecture, 4th ed., Watson Guptill (2005) p. 224.

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

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

 

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Présentation

Type	Villa

Localisation

Pays	Italie
Commune	Carmignano

Localisation sur la carte de Toscane

Cet article est une ébaucheconcernant l’architectureou l’urbanisme, l’Italie et laRenaissance.Vous pouvez partager vos connaissances en l’améliorant  selon les recommandations des projets correspondants.

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Vue générale

Façade principale

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Fresques de la loggia du Passignano et de Poccetti

La Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini (« la villa des cent cheminées »¹), est une villa médicéenne qui se situe dans le paysage d’Artimino, frazionemédiévale de la commune de Carmignano en province de Prato. Elle héberge aujourd’hui le Museo Archeologico di Artimino, un centre de congrès et un accueil hôtelier.

Histoire

Elle a été construite pour le grand-ducFerdinand I^erde Médicis qui avait repéré² les lieux au cours d’une battue de chasse sur le Monte Albano, avec son architecte, alors âgé, Bernardo Buontalenti.

La villa fut construite en quatre années, de 1596 à 1600, et est le chef-d’œuvre de la maturité du célèbre architecte qui, âgé, dirigea les travaux depuis sa maison de la via Maggio à Florence, guidant sur place, ses collaborateurs Santi Maiani et Gherardo Mechini.

Elle représente une somme stylistique des autres villas médicéennes et complète la circulation tout au long des saisons de l’année par les Médicis dans leurs possessions régionales. Commandité par le Grand-Duc Ferdinand, le peintre flamand Giusto Utens peignit la série de 17 médaillons en demi-lune des villas médicéennes (dont seulement 14 sont conservées aujourd’hui au Museo di Firenze com’era) et celui de cette villa a été perdu pendant leur dispersion.

Cette villa, favorite de Frédéric pour ses séjours d’été, comporte un piano nobile décoré de fresques par Domenico Passignano et Bernardino Poccetti avec des scènes mythologiques et allusives aux vertus du Grand-Duc. Celles du salon central, des appartements granducaux, de la chapelle et de la loggia sont encore visibles.

La Guardaroba, décorée des portraits de Pietro Aretino du Titien et du Bacchus du Caravage, se trouve aujourd’hui conservée aux Offices.

En 1782, la villa fut vendue par le grand-duc Pierre-Léopold de Lorraine au marquis Lorenzo Bartolomei, puis par héritage au comte Passerini (1848), qui l’a vendue ensuite en 1911 à la famille Maraini.

Vers 1930, quelques modifications à l’architecture de la villa ont été effectuées, en reconstruisant de nouveaux scalone et en restructurant les jardins.

À l’automne 1944 la villa fut gravement endommagée par l’artillerie militaire, et elle fut restaurée dès le printemps de 1945.

En 1972 le compositeur américain Charlemagne Palestine y réalise la seconde partie de Body Music. Performance qui met en dialogue le son, l’espace et le corps.

D’autres propriétaires se succédèrent depuis et, en 1979, la famille Riva effectua une vente aux enchères qui dispersa les décorations et les peintures de la villa.

Aujourd’hui elle est transformée en centre de congrès et accueil hôtelier, et les souterrains accueillent le Musée Archéologique Communal d’Artimino.

Notes et références

1. ↑ En fait, une quarantaine correspondant chacune à une pièce différente
2. ↑ Philippe Baldinucci, chroniqueur de cette époque

Bibliographie

• Le ville medicee. Guida completa, Isabella Lapi Ballerini, Giunti 2003.

• Villa Medicea di Artimino,

Articles connexes

• Museo Archeologico di Artimino

Sources

• (it) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en italien intitulé « Villa medicea di Artimino » 

 

http://www.giacobbegiusti.com