Free publication on www.friendsoftheuffizigallery.org Polistampa - Firenze

JOURNAL OF THE FRIENDS OF THE GALLERY No. 76 - December 2019 Homage to the Greatest

In the words of 1483–1520, these are the walking through the Venetian order that through chronological boundaries of poetically entitled palace cham- perspective unveils the visible , the Raphael’s existence. His earli- bers (the Throne Room, Jole’s truth. phases of the brief but est period was spent in Urbino Room, the Sweet Orange Room, The foundations of Rapha- intense life of Raphael. el’s training are Urbino and the artistic and literary culture The fleeting years of his of the court of the Montefel- glorious youth, filled with tro. Urbino taught the son of masterpieces two fundamen- tal concepts. First, the omni- presence and pervasiveness of aphael died on April 6, beauty found everywhere and R1520, shortly after his within everything. Still today, thirty-seventh birthday, having few other places in Italy give as come down some days earlier clear a demonstration of this with an “acute and continuous concept as the city of the Mon- fever”, probably malaria, en- tefeltro. Urbino taught the boy, demic and often fatal in Rome heir to his father’s workshop at the time. His funeral was held and trade, that beauty must be in the Pantheon. All Rome was modulated and represented present and all Rome cried – following a codified selection, as Vasari tells us – also because within protocols that find their the Transfiguration, today in the origins and justification within Vatican Pinacoteca, was placed the Court itself. No one among behind Raphael and at the sight the greats, not of “his body dead and his work Leonardo, not , alive”, no one could hold back was more of a ‘court’ artist than their tears. Raphael. Raphael rests in an ancient As a child in the small, re- Roman marble sarcophagus fined, paternalistic court of on which his poet friend Pietro Raphael, del Cardellino, Gallery of Statues and , Uffizi Galleries. Urbino, Raphael received the Bembo placed a dedication of imprinting that one day would two memorable Latin verses: where he was born and where the‘Gathering’ Room), entering allow him to dominate with per- “Ille hic est Raphael, timuit quo he learned the fundamentals the rigorous and melodious or- fect naturalism the papal court sospite vinci rerum magna pa- of art in the workshop of his der of Francesco di Giorgio, of in Rome. rens et moriente mori” (Here lies father Giovanni Santi. I imag- Benedetto da Maiano, of Luca The formative years in Ur- the famous Raphael. Nature, ine little Raphael inside the della Robbia; I imagine him bino are followed by Raphael’s the great mother of all things, Ducal Palace of Urbino in the gazing on the pictorial master- encounter with Perugino whose feared to be conquered when company of his father who pieces that filled the Palace: style he makes his own, never he was alive and to die now that was a familiar presence there. and Boc- again to forget the magic of the he is dead); verses of great beau- I imagine him standing in the cati, Giovanni Bellini and Justus rhythmic control of form, of the ty that capture with elegance courtyard of Laurana, perhaps of Ghent. On one hand, Flem- beauty that softens the heart. Af- and splendor the destiny of a the finest masterpiece of Ital- ish preciosity, the “minima”, the painter who – as his contempo- ian Renaissance architecture exquisite mimetic virtuosities of raries believed and we still do – for rhythm and harmonious truth and nature; on the other, Antonio Paolucci was the greatest of all times. majesty; I imagine the young the colored Florentine and (continued on page 2)

IL GIORNALE degli UFFIZI 1 Borghese Gallery, signed and Julius II and then Leo X Medici, dated 1507. that his genius truly takes flight. In 1508, he goes to Rome. The Stanze are Raphael’s Ro- The fame of his Florentine suc- man masterpiece. He worked cesses precedes him and he on them for twelve years, paint- is held to be a wonder of bra- ing first the Stanza della Segna- vura, virtually the marvel of the tura, then the Stanza of Helio- century. 1508 was a fated year, dorus, and finally, in succession, charged with the future for the the Stanza dell’Incendio di Borgo history of the arts. That year in (Burning of the Borgo), manag- fact Pope Julius II della Rovere ing before his death to design calls before him two artists: one, the Sala di Constantino (Hall of a young man 33 years in age, Constantine), finished by his Michelangelo Buonarroti from pupils under the direction of , who he asks to paint Giovan Francesco Penni and the vault of the Sistine Cha- . In the Stanze, pel; the other, a youth aged 25 named Raphael from Urbino, celebrates the triumph of Julius who he requests fresco the walls II, a pope who apparently loved of his private apartment. And politics, diplomacy and war so, the Stanze are born, the most more than art. famous rooms in the world, to- While the Stanza della Segna- day part of the visitors’ itinerary tura is the most lofty representa- within the . tion of human destiny in its di- Raphael is above all a Roman vision between Knowledge (the more so than a citizen of Urbi- School of Athens) and Religion no and Florence. It is in Rome (the Dispute over the Sacrament), Raphael, , Gallery of Statues and Paintings, Uffizi Galleries. Self-portrait at the court of two popes, first between the homage to Law ter Urbino, the young artist goes sari writes: Fra’ Bartolomeo and to Florence between 1504 and Mariotto Albertinelli from the 1508. This is when he sees the School of San Marco; Masaccio David standing at the entrance in Carmine; Beato Angelico, to and witness- Donatello and the melodious es Michelangelo and Leonardo white and blue brilliance of competing one against the oth- Luca della Robbia’s Madonnas. er for the decoration of the Hall This is the time of his Flo- of the Cinquecento, painting, rentine masterpieces: the respectively, the Battle of Cascina Portraits of Agnolo and Mad- and the Battle of Anghiari, from dalena Doni and the Madonna cartoons that become – in the del Cardellino in the Uffizi, the judgment of Madonna del Baldacchino and - the “school of the world”. Raphael the in with that extraordinary mimetic the Palatine Gallery, the Holy facility that characterizes him Family in the Alte Pinakothek from his earliest efforts looks to of Munich and the Holy Fam- one and then the other, privileg- ily with a Lamb in the Prado. ing the latter (the aerial sfumato, Raphael’s Florentine period the speculative intelligence, the comes to a close with the De- total humanism of Leonardo). position of Christ, today in the And beyond the works of the modern masters he also looks to those “de’ maestri vecchi” (of Raphael, Donna Velata, the old masters), as Giorgio Va- Palatine Gallery, Pitti Palace.

(the Birth of the Great Codices) and A Year of Exhibitions lery of the Marches in Urbino. In March, the Pina- the consolation of Beauty (the coteca Ambrosiana in Milan will present the newly Parnassus), the protagonist of In the fifth centenary of the death of Raffaello San- restored grand cartoon of the Vatican fresco of the the Stanza of Heliodorus is God zio (Urbino 1483 - Rome 1520), the artist from Ur- School of Athens (1509). Great expectations, again himself as he intervenes in His- bino will be celebrated by expositions throughout in March, for the opening of a foremost event held tory in support of his Church. Italy. The first has already opened in Urbino, the at the Scuderie del Quirinale in Rome in collabora- Here the sacrilegious robber artist’s birthplace, with the exhibition "Raffaello e tion with the Uffizi in Florence (March11-June 14, Heliodorus is expelled from the i suoi amici di Urbino" (Raphael and His Friends 2020, dates to be confirmed) in which Raphael’s Temple; there, Peter is liberated from Urbino) now showing at the National Gal- major works will be put on public display. from jail; Attila is halted at the gates of Rome by Pope Leo the

2 IL GIORNALE degli UFFIZI

Great and finally, a bareheaded world: from the Uffizi (thePor - Pope Julius kneels and fervently trait of Leo X with Two Cardinals) prays evoking the miracle of Bol- to the Palatine Gallery (the so- sena that took place three centu- called Velata, the portrait of his ries earlier. The pope is the cus- deepest love, the famed “For- todian of the “Corpus Christi”, for narina”); from the Louvre (the this reason the Most High will Portrait of Baldassarre Castiglione) never abandon him. The same to the Prado. Raphael is also concept is expressed in the Stan- appointed Conservator and Su- za of the Burning of Borgo where perintendent of the Antiquities ancient popes in the guise of of Rome. Friend of intellectu- Leo X, Julius II’s successor in als, antiquarians, archeologists 1513, put out the fire destroy- like Castiglione, his interests in- ing the neighborhood of Borgo clude the styles and techniques in Trastevere, consecrate Char- of classical civilization. All of lemagne Holy Roman Emperor Rome acclaims him, showering and defeat the Saracens at the him with honors. mouth of the Tiber River. In every man’s existence It is almost as though Ra- there is a moment of height, phael was aware of his own a zenith, when even the most destiny, given the plethora of daring hopes come true and masterpieces, endeavors and life hails with glory and splen- successes that fill the few years dor. Raphael reached this ze- of his glorious youth. He de- nith on December 26, 1519, vises and directs the decora- the feast of Saint Stephan, just tion of the grand Loggias of three months before his death. the Apostolic Palaces (1519) On that day Pope Leo X had and superintends the execu- the tapestries representing the tion of the Vatican Tapestries Acts of the Apostles, woven by the (1518-19); he frescoes the walls Flemish master Peter van Aelst Raphael, Portrait of Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi, of the Farnesina for his friend in Brussels after cartoons by Ra- Palatine Gallery, Pitti Palace. Agostino Chigi and for other il- phael and today in the Vatican lustrious patrons (from Bindo Museums, placed in the Sistine chronicler present at the cere- tation of Truth. No doubt, De- Altoviti to Cardinal Dovizi da Chapel. mony. What must have been cember 26, 1519 was Raphael’s Bibbiena and Francis I, King of “Sunt res quibus non est aliq- most striking then and still fas- “dies mirabilis”, the pinnacle of France), he multiplies master- uid in orbe pulchrius” (Nothing cinates today is the capacity in a his glory. pieces that today are the pride in the world surpasses them in fabric to imitate painting and of the greatest museums in the beauty) declared the Vatican even surpass it in the represen- Antonio Paolucci

The Room of Raffaello and Michelangelo in the Uffizi.

IL GIORNALE degli UFFIZI 3 Immutable like God The new setting in finally affords a worthy location for the prestigious collection of seventeenth and eighteenth century icons, excluded until now from public view

he new arrangement of when the conservator Giuseppe Tthe collection of icons in Querci decided to move them Palazzo Pitti, which in the early from the wardrobe of Palazzo months of 2020 will be placed Vecchio to the Uffizi Gallery. in rooms adjacent the Chapel Studies conducted a few years overlooking the ground floor ago by a team of Russian schol- courtyard, represents in a sense ars, published in the exhibi- a homecoming: the two most tion catalog of the ‘Mai Visti’ ancient icons, dating to circa promoted by the Amici degli 1600 (that unlike the others Uffizi in 2014, have demon- are adorned with a gilded sil- strated the substantial stylistic ver lamina) were in fact among and chronological homogene- the furnishings of the Chapel ity of the majority of the icons. of the Relics during the XVII Most date to the first half of the century, while the others were XVIII century, close in time to kept in the palace wardrobe the dates 1728 and 1733 that ap- until 1761. pear respectively on the icons We know even less about the of the Mother of God from Tichvin history of the approximately 70 and of the Mother of God, Joy of other icons. They are first men- All the Afflicted. Therefore, the tioned in the archives in 1771 majority of the icons must have Russian Workshop, Mother of God from Vladimir, c. 1725-1750.

reached Florence during the nando III, as part of the Lorraine government, perhaps renovation of the apart- by means of Leghorn’s popu- ments occupied during lous orthodox community. the Medicean period by Their entrance into the Uffizi, don Giovanni de’ Medici where they were on display un- (1557-1621) and later, after til 1796, can be related to the 1661, by the princely newly- rediscovery of ancient Chris- weds, Cosimo III and his wife, tian art and nascent interest in Margherita d’Orléans. the so-called ‘primitives’; even The majority of the icons so, the collection was soon re- in the Florentine collection moved from public view and are small in size and relegated to warehouses and destined for domes- peripheral locations, encoun- tic and personal tering difficulty in finding -ad devotion, rather equate accommodations even than ecclesias- in most recent times. tic iconostases. The new arrangement will The presence finally give proper recognition of various ex- to the Uffizi Galleries’ collec- emplars of al- tion of Russian icons, the old- most identical est in existence outside Rus- iconography, sian territory. They will be put color and for- on display in the rooms adja- mat clarifies cent the Palatine Chapel, the the signifi- oratory built during the reign cance of the of the Granduke Pietro Leo- icon, a door Russian Workshop, Mother of God from Kazan, c. 1725-1750. poldo and his successor Ferdi- to the celes-

4 IL GIORNALE degli UFFIZI

Russian Workshop, September-February Menologia, c. 1725-1750. Russian Workshop, Mother of God, Joy of All the Afflicted, 1733.

tial world that renders visible must therefore be faithful throughout the centuries that the divine; and since God is to the Holy Scriptures and renders icons of identical ico- immutable, so is the icon. not to human perception of nography, created in very dif- The icon reproduces the surrounding world. This ferent periods of time, very the world as God sees is the reason the painter of similar to the untrained eye. it, not from a human icons does not use perspec- The Uffizi Galleries’ collection standpoint. The icon tive, paints backgrounds with- boasts a few of the most well out depth, inserts landscape known Marian icons of the details only if related to the Russian orthodox world, such Vasilij Grjaznov, Mother of God subject, adopts a reduced and as the Mother of God from Tich- , 1728. from Tichvin conventional range of colors. vin, the affectionate but mel- The icon painter respects, ancholy Mother of God from in effect, a canon codified Vladimir, and the Mother of God from Kazan, a common gift for newly weds. Be- sides being cult objects for private devotion or for small communities, over the centuries icons became em- blems of Russian na- tional identity. Carried in battle or transferred by sovereigns to the capitals of Moscow and Saint Petersburg dur- ing wars and invasions, the history of icons is intimately interwoven with Russian history, contributing to their widespread distribu- tion. Workshop of the Palace of Armeria in Moscow, Saint Catherine of Alexandria, 1693-1694. Daniela Parenti

IL GIORNALE degli UFFIZI 5 Archeology, Cinema and Fashion

An exhibit in Palazzo Pitti clients. Seduction, after all, explores the infinite roles the shoe has always been closely associ- ated with this piece of cloth- played in western culture from ing. Not by chance, it held a antiquity to the present symbolic role of primary im- portance in ancient marriage rites. Classical authors tell us, in fact, that the bride, before A Child’s Pair of Shoes, beginning leaving her paternal home, of III cent. A.D., leather. Vindolanda Feet of an Ancient Statue, II cent. B.C., slipped on the nymphídes, a Museum, Northumberland (UK). terracotta. National Archeological special sandal that symbolical- Museum, Arezzo. ly sanctioned the passage from the home of her father to that rom the moment of her future husband, from Amphora from Attica with Women man attained they were girlhood to womanhood. F Latching their Sandals (detail), 520-510 erect posture, ideal for The figure of the cobbler B.C., ceramic red-figure ware. Musée du shoes became long march- itself held a particular fascina- Louvre, Paris. an indispens- es, while the tion in classical culture. Plato able accessory calcei, similar in “Theaetetus” goes so far for protection to low boots, as to recognize the art of the Classical Times to the Mod- against the rug- often vivaciously cobbler as a true and proper ern Era”, held in the Museum ged earth, enabling colored if worn by science. We also must not for- of Costume and Fashion in all of the activities that guaran- women, were distinctive get that the shoe had already Palazzo Pitti, explores this lit- teed survival. As a consequence, of the highest classes (patri- become the protagonist of fa- tle known aspect of the liter- shoes became an integral part cians, senators and emperors). bles in the ancient world, as in ary and artistic culture of the of clothing and, in a like man- Primary sources tell us that the tale of Rhodope, a direct classical world, underscoring ner, an indication of social sta- courtesans, instead, usually ancestress of Cinderella, told the influence it had on the tus of the owner. Shoes, past wore sandals with tiny nails on for the first time by Herodo- world of fashion and cinema and present, tell much about the bottom of the soles tus and later by Strabo. of the last century. the person who wears them: arranged so as Shoes have always Fragments of statuary, ce- gender, trade, economic condi- to leave an im- been protagonists ramics, stele and actual shoes tion and aesthetic preferences. print on the of idioms. Ci- from the Roman period found Especially in the classi- terrain as in the fortress of Vindolanda, cal world, the shoes one wore they passed near Hadrian’s Wall, will dia- were often restricted to a de- reading “fol- logue with models created by termined category: the nailed low me”, a the most famous contempo- caligae, for example, were used useful indica- rary designers and those made prevalently by soldiers because tion for their by “Pompei” for the cast and extras of famous epic films like Platform Sandal. Designed by Irene “Cleopatra”, “Ben Hur” and Sharaff, created by “Pompei” and “Gladiator”. worn by Elizabeth Taylor in the film “Worn by the Gods. The exhibition, with a rich “Cleopatra” directed by Joseph L. Mankiewicz (1963). display of over eighty works Footwear from Classical from Italian and foreign mu- seums, is enhanced by a multi- Times to the Modern Era” vision movie devised and di- cero, in his thirteenth Philip- rected by Gianmarco D’Ago- Curated by Lorenza Camin, Caterina Chiarelli pic uses the expression mutavit stino for Advaita Film, that and Fabrizio Paolucci calceos to declare the change in immerses the visitor in a uni- social status of Asinius, who had verse where archeology, cine- become senator. The calcei of se- ma and fashion work together Museum of Costume and Fashion, nators, in effect, differed from to reestablish the many roles Palazzo Pitti those of other Roman citizens the shoe has held in western for the two straps used to tie culture from antiquity to them that formed a single knot. modern times. From December 17, 2019 to April 19, 2020 The exhibition “Worn by the Gods. Footwear from Lorenza Camin

6 IL GIORNALE degli UFFIZI

In October the Friends of the Uffizi Galleries enjoyed an exclusive visit to the Uffizi, Palazzo Pitti and the witnessing Patrons on a Visit the progress of some of the important restoration and seventeenth centuries are of his mother: the Saint Am- Cinquecento, we will admire projects they have financed in need of restoration in order brose Altarpiece, a painting from through the large window the to function once again. the artist’s youth in which the Arno River, the monuments he Friends’ visit to Flor- Monday evening, an exclu- Virgin holds the Christ child and the hills. We may feel a bit Tence followed a busy sive visit to the Uffizi offered with infinite tenderness while like the Medici who from with- schedule filled with events and the opportunity to view the the surrounding saints seem in this enclosed space rich with surprises. The first day we went new Rooms of the Cinquecento to invite the observer to enter representations of their posses- to Palazzo Pitti to see the ad- in videoconference with the the sacred scene. The profound sions – the gigantic geographic vancement in the restoration Friends from Palm Beach. It commitment of J. Raskauskas in maps of Tuscany – could em- of the Sala di Bona, generously was a stirring moment during supporting the restoration of brace with their gaze the true financed by Veronica Atkins. which we admired the splen- this image of the Madonna is a beauty of their city. The gala We were impressed by the com- did new layout of the Room of sublime and loving act of devo- dinner was held in Palazzo Puc- plexity of the works underway Titian, financed by a group of tion to his mother. ci, thanks to the gracious hospi- and the veritable forest of scaf- sponsors from the American as- Our last appointment was tality of the Marchioness Cristi- folding necessary for the safety sociation. The paintings seem the visit to the Room of the na Pucci. The event, which of the workers and for the like jewels mounted on the Geographic Maps, where the took place in a truly magical transport of tools and instru- green walls – the same green restoration of the ceiling and setting, concluded this se- ments. Sharing in Director Eike often found in Titian’s paint- wall paintings has been under- quence of inspiring days dur- Schmidt’s enthusiasm, many of ings – and the Venus of Urbino way for some time. Thanks to ing which the Friends were

The group of Friends in front of Palazzo Pitti, during their visit to Florence last October. the most courageous climbed emerges at the center in all of test patches for preliminary able to see not only the fruits of the scaffolding to observe from her moving beauty. A bronze cleaning on the walls, we their generosity towards the mu- a close distance the ongoing plaque on the wall contiguous caught a glimpse of the bril- seum, but also the commitment procedures, already well on the the river Arno lists the names liance of the original colors, a of everyone at the Uffizi – from way to completion after prelim- of the Friends who generously sure indication that the final the director to the members of inary testing. That same morn- sponsored the renovation. results will no doubt be spec- the Italian Association, Amici ing, we continued our visit with The visit continued on tacular. In the next few months, degli Uffizi, from the museum a walk through the Boboli Gar- the second floor of the Uffizi, work will continue at a quick staff to the restorers – to assure dens where a number of struc- where a surprise was waiting pace and should be concluded that the enthusiastic patronage tural interventions are in prog- for us: the Botticelli Room now in time for the Friends’ next of the American Friends will ress and where the Renaissance boasts another very impor- visit. From this room conceived leave its indelible mark on the fountains decorated with sculp- tant work by the great Master, as a precious jewel box beneath history of Florence. tures by the greatest artists ac- thanks to a restoration funded a ceiling of allegories painted tive in Florence in the sixteenth by J. C. Raskauskas in memory mostly by Jacopo Zucchi in the Maria Vittoria Colonna Rimbotti

IL GIORNALE degli UFFIZI 7

Life at the Uffizi ASSOCIAZIONE

n The Return of the sance Florence and Rome” is President Board of Directors Contessa Maria Vittoria Colonna Rimbotti Madonna della Cesta the fascinating theme of the President exhibition held in the Sala Vice-President - Emanuele Guerra Contessa Maria Vittoria Colonna Rimbotti Following an accurate res- Detti and the Sala del Camino Executive Directors - Patrizia Asproni, Vice-Presidents - Michael J. Bracci, toration begun in 2016, the in the Uffizi from December Ginevra Cerrina Feroni, Andrea Del Re, Emanuele Guerra Madonna della Cesta (Madon- 10, 2019 to March 8, 2020. Fabrizio Guidi Bruscoli, Mario Marinesi (Treasurer), Executive Director - Lisa Marie Browne na of the Basket) by Rubens, The exposition is a re- Elisabetta Puccioni (Secretary), Oliva Scaramuzzi, Eike D. Schmidt, Legal Counsel - Howard J. Freedman has returned to the Hall of Ju- sponse to the devastating piter in the Palatine Gallery. collapse of the ceiling of the Catterina Seia Treasurer - Bruce Crawford The condition of the work, Church of San Giuseppe dei Auditors- Francesco Corsi, Secretary - Barbara Chamberlain Falegnami (Saint Enrico Fazzini, Corrado Galli

Directors - Diana M. Bell, Susan D. McGregor, Joseph of the Alternate Auditors - Alberto Conti, Madeleine Parker, Diann G. Scaravilli Carpenters) in Valerio Pandolfi Rome. The ob- Honorary Members Secretariat - Tania Dyer, Bruna Robbiani Veronica Atkins jective of the cu- c/o UnipolSai, Eike D. Schmidt, Uffizi Galleries Director rators – Claudia via L.Magnifico 1, 50129 Firenze. Tel. +39 055 4794422 - Fax +39 055 4792005 Conforti, Maria [email protected] Grazia D’Amelio, Advisory Board Francesca Funis, Welcome Desk - Giuliana Dini Chairman - Diann G. Scaravilli Lorenzo Grieco Galleria delle Statue e delle Pitture degli Uffizi,Entrance 2 - Tel. +39 055 285610 Vice Chairman - Daniela Di Lorenzo – is to familiarize [email protected] the public with Advisors - Linda Civerchia Balent, a relatively un- triannual publication Francine Birbragher-Rozencwaig, of the Amici degli Uffizi Susan Scholle Connor, known area of our Scott Diament, Bradley van Hoek, artistic patrimony, Editor-in-chief Gordon A. Lewis Jr., Irvin M. Lippman, Maria Vittoria Colonna Rimbotti Ellen Stirn Mavec, Meredith A. Townsend, through drawings, Linda J. Tufo models and por- Editorial board tions of ceilings Honorary Members President H.R.H Princess Maria Pia di Savoia carved and deco- Eike D. Schmidt Pieter Paul Rubens, Madonna della Cesta, dating circa de Bourbon-Parma, rated like jewels, 1615. Contessa Chiara Miari Fulcis Ferragamo coffered wooden Uffizi Coordinator Andrea Acampa masterpieces that Friends of the Uffizi Gallery as known, had been gravely in the Renaissance were in fact Managing Editor 205 Worth Avenue Suite 201 Maria Novella Batini Palm Beach, Florida 33480 compromised by drastic con- called “heavens”. Tel.: 561.289.4090 servation procedures of the Contributors for this issue Fax: 561.391.1597 past that had yellowed and Lorenza Camin, [email protected] dulled the painting with evi- n Morgante the Dwarf Maria Vittoria Colonna Rimbotti, Antonio dent rising of the color sur- Paolucci, Daniela Parenti HOW TO JOIN face. Following restoration, THE FRIENDS OF THE A team of specialists from the portrait of the most fa- Translator Josephine Rogers Mariotti UFFIZI GALLERY the Opificio delle Pietre Dure mous jester of the court of – Francesca Ciani Passeri and Cosimo I de’ Medici, Dwarf Assistant Editor Membership dues are integral Patrizia Riitano with Andrea Morgante, returns to the Pal- Bruna Robbiani

to the mission of Friends Santacesaria – carried out an atine Gallery in Pitti Palace. Graphic design and layout of the Uffizi Gallery and extremely delicate process This legendary personage, Edizioni Polistampa - Firenze because the organization Via Livorno 8/32 - 50142 Firenze, Italy. of restoration defined by the born Braccio di Bartolo, was Tel. +39 055 737871 is a 501(c)(3) they are tax Director of the Uffizi Eike immortalized by in Fax +39 055 7378760 deductible. Schmidt as “impeccable”. Ad- the guise of a ‘bird hunter’ For any questions about ditionally, during diagnostic in a curious painting that memberships, donations, testing traces of paper were captures him in two differ- corporate sponsorships, Sponsor of the Association found on the surface of the ent moments: on one side of Amici degli Uffizi with their planned giving or in-kind painting, most probably resi- the canvas, he is portrayed contribution: donations, please call at dues of the preparatory car- before the hunt as he holds 561-289-4090 toon used by Rubens. a leashed owl used as a decoy UnipolSai or email for the jaybird flying over- Assicurazioni S.p.a. Bologna [email protected] head; on the backside, we or visit n “Heaven in a Room” see him looking out towards https://www.friendsoftheuffizi the spectator, with in hand gallery.org/memberships/ “Heaven in a Room. the results of his hunting ex- Wooden Ceilings in Renais- ploits.

8 IL GIORNALE degli UFFIZI