Free publication on www.friendsoftheuffizigallery.org Polistampa - Firenze

JOURNAL OF THE FRIENDS OF THE GALLERY N° 73 - December 2018 From the Uffizi to its Territory and Back

Preparations and initiatives are underway the “Hall of the Cinquecen- In the meanwhile, on April to”) in Palazzo Vecchio. We 15, Vinci will host an exhibit in and in , Anghiari and Vinci to now know that Leonardo only centered on Leonardo’s re- commemorate Leonardo on the fifth centenary of his death created a cartoon of the bat- nowned sketch of a Landscape, tle and the “Tavola Doria” is so well known among historians or the 2019 celebration of Uffizi in particular, have begun one of the pictorial versions that it is usually simply referred Fthe five-hundredth anniver- their tribute with a series of ini- of its central scene, probably to by the Uffizi inventory num- sary of the death of Leonardo, tiatives that also involve the sur- by the hand of Francesco Mo- ber, “8P”: dated August 5, 1473 one of the greatest geniuses in rounding territory. randini, called Poppi after by the artist himself, it is his ear- human history, preparations In August, in fact, the Cas- his native city. After the first liest drawing and is among the (and negotiations on loans of tle of the Conti Guidi in Poppi of September next year, the first autonomous landscapes in his works) have in practical- in Casentino inaugurated an “Tavola Doria” will be on ex- western art. A work of such wide ity been underway for years exhibit on the “Tavola Doria”, hibit in Anghiari as an iconic suggestion, with references so throughout the entire world. a sixteenth century copy of testimony of the place of the Meanwhile Florence, where the begun battle that in 1440 saw the the young artist came to study in 1503 for the “Hall of the troops of the Florentine coali- Eike D. Schmidt from his native Vinci, and the Grand Council” (later called tion defeat the Milanese. (continued on p. 2)

Leonardo, Landscape, Uffizi Galleries, Department of Prints and Drawings, inv. 8P recto.

IL GIORNALE degli UFFIZI 1 marvelously generalized as to is the dominating theme, and scientific accuracy we find in possibility of discovering new be identified (even in most re- nowhere else could the Codex the Codex Leicester: in the sea- imagery, of understanding cent times) with highly diverse Leicester have found such a scape in the background of the more profoundly the impor- specific locations scattered glorious presentation as in the , with vapors that tance of conservation, as in the across more than half of the Uffizi. rise to form clouds and fog the case of the Adoration whose res- Italian peninsula. It is nonethe- From the exhibit, one sim- view of the distance; in the wa- toration was feared to be so less probable that this extraor- ply has to go up one floor to be ters flowing between the legs of risky it was postponed for years dinary en plein air was made in the Hall of Leonardo, newly the protagonists of the Baptism, before getting off the ground by Leonardo thinking of his renovated thanks to the gener- studied with careful attention only to then reveal itself a tri- homeland, where in effect the ous contribution of the Amici to the encounter with obstacles umph. And finally, to appreci- folio will return, after 500 years, degli Uffizi and the Friends of and the plastic adaptation of ate the value of an exposition as evidence of the role the town the Uffizi Galleries. The new liquids to their container (in space like the Hall of Leonardo of Vinci had in the history of monitor-cases, designed by the this case, the rocks); and at last, in the Uffizi, completed in June and of the entire world. architect Antonio Godoli, dis- in a pond recently discovered 2018 once again thanks to the On October 28, the Uffizi play the three masterpieces of during restoration, at the foot support of the Amici degli likewise inaugurated an ex- the artist’s early period behind of the Madonna and Child in Uffizi and of the Friends of the hibit on the Codex Leicester high-tech protective glass in the Adoration of the Magi. Uffizi Galleries: it too debuted entitled “Water as Microscope conditions of safety and visibil- The circle thus closes, with in controversy and now reigns of Nature. Leonardo ’s ity that no other museum in the new gifts that Leonardo seems victorious because it democrati- Codex Leicester”, accompanied world can boast: the Annuncia- to offer us on the fifth centena- cally provides visitors with the by one of the finest didactic ap- tion, the Baptism of Christ created ry of his death: an invitation to opportunity of viewing the mas- paratuses ever seen in an exhi- with his master Verrocchio, and meditate on scientific discover- terpieces from a close distance, bition of this type. The visitor the Adoration of the Magi, newly ies over a half of a millennium in safety and tranquility, to ‘en- is immersed in the experience restored (once again, thanks to old that are still valid in times ter’ the painting, to study it, to thanks to visual and sonorous the generous contribution of like ours, as we face the impact observe, one by one, the brush- stimuli that create the illusion the Amici degli Uffizi). And in of climatic and environmental strokes of Leonardo. of taking Leonardo’s place and all three paintings, Leonardo change, of drought and fre- reliving his experiments. Water painted water, with the same quent flooding. And again, the Eike D. Schmidt An International Event The exhibit now artist’s death, Thomas Coke, showing in the Count of Leicester brought Magliabechiana Hall of the manuscript back to Flor- ence for the first time after the Uffizi, allows visitors the recent purchase in to decode the complex from the sculptor Giovan- reasoning recorded by battista della Porta. The Leonardo in the Codex English nobleman then left Leicester and to appreciate the codex in deposit with its visionary anticipations the Medicean Laurentian Library so that a copy could through innovative graphic be made that eased the dif- solutions, suggestive ficulty of reading the hand- special effects, digital films written text in Leonardo’s and 3D models impervious left-handed cal- ligraphy. On that occasion, however, the arrival of this t is not the first time that invaluable testimony went IFlorence has had the privi- completely unnoted. lege of hosting the Codex Another two and a half Leicester as a special guest. centuries had to go by before If we count Leonardo’s pro- longed sojourn during the years in which it was com- On this page and on page 3 above: piled (1504-1508), this is the , Codex Leicester, manuscript’s fourth time in diagrams of the Illumination of the Earth Florence. In 1717, almost and the Moon by the Sun two hundred years after the (Courtesy of /Cbg C3).

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designed to engage the pub- lic in a stimulating journey in knowledge. These innovative solutions make it possible to unravel even Leonardo’s most complex thinking and to appreciate his visionary anticipations. Visitors can also use touch screens to virtually page through every folio of the codex, to enlarge it, to obtain a mirror image of it, to access transcriptions and translations in English. The result is a synthetic yet rigorous in-depth explor- ation of the main topics Leonardo examined in the codex: the nature and com- position of water, the princi- pal agent in the continuous transformations that we ob- serve in nature; the elemen- tary structure of the Moon the precious manuscript re- present owner. This event of of notable elegance and ef- and of the entire cosmos; the turned to Florence in 1982, international importance, fectiveness, suggestive special affirmation that the Earth this time receiving an ex- fruit of the collaboration of effects (like virtual rivers that has a history incommensura- tremely vociferous welcome the Galileo Museum and the give visitors the impression bly longer than the less than and attracting just under Uffizi Galleries, inaugurates they are walking on water), as 4000 years before the com- 400,000 visitors in the three ing of Christ assigned to our months it was on exhibit in planet in the book of Gen- Palazzo Vecchio. Water as Microscope of Nature. Leonardo esis. An articulated web site As everyone knows, the (www.museogalileo.it) and a third visit of the Codex to the da Vinci’s Codex Leicester rich catalog edited by Giunti city of its baptism is now un- in both Italian and English, derway. Together with other Curator Paolo Galluzzi complete this ambitious op- spectacular folios by da Vin- Magliabechiana Hall of the Uffizi Galleries eration of dissemination of ci, this exceptional testimony the workings of Leonardo’s constitutes the beating heart mind. of the grand exhibit entitled Until January 20, 2019 I think we can say without “Water as Microscope of Na- doubt that on the Codex ture. Leonardo da Vinci’s the dense calendar of world- well as an extraordinary and Leicester’s third visit to Flor- Codex Leicester”, now show- wide events in program for dense sequence of videos ence, it has received a wel- ing in the Magliabechiana the celebration of the fifth and 3D models (made by the come worthy of the incredi- Hall of the Uffizi Galleries. centenary of the death of Multimedia Laboratory of ble audacity of the visions The exhibit was made pos- Leonardo (1519). the Galileo Museum, thanks and forerunning ideas Leo- sible by the generous loan Today’s exhibit is not a to the contributions of the nardo left on its pages. of the original manuscript passive remake of the 1982 Cassa di Risparmio Founda- on the part of Bill Gates, its showing. Graphic solutions tion of Florence), have been Paolo Galluzzi

Leonardo da Vinci, Machine for excavating canals, Atlantic Codex, Ambrosian Library, . Leonardo da Vinci, Map of the Val di Chiana, Royal Library of Windsor.

IL GIORNALE degli UFFIZI 3 Flora Commedia The Cai Guo-Qiang exhibit in Florence: from the intimism of painting with gunpowder to public pyrotechnical display

Cai Guo-Qiang, Bad Kid!, 2018, gunpowder on canvas (photo by Yvonne Zhao, courtesy of Cai Studio). he title of the exposi- Ttion designed for the portraits in the exhibit. And Uffizi Galleries by Cai Guo- “I Modi” – a small sixteenth Qiang - “Flora Commedia” century volume illustrated - declares its geographic ori- with prints by Marcantonio gins, calling to mind the two Raimondi after inventions by illustrious Florentines, Bot- Giulio Romano – inspires the ticelli and Dante. Inspired Cai Guo-Qiang, Flower Garden, 2018, gunpowder on canvas (photo by Erotic Garden, the room domi- by a visit to the Tuscan city in Yvonne Zhao, courtesy of Cai Studio). nated by a large painting that 2017, the exhibit is just one works into a single intense stop along a vast journey of Florentine creative journey and four meters high. This sensual embrace the sixteen profound exploration of Eu- is figurative research on an- is the preparatory cartoon positions of love-making the ropean art of the past: “An cient floral species present in (drawing) for the daytime volume proposed. Individual’s Journey through Renaissance paintings, some pyrotechnical display that Painting with gunpowder is still cultivated in the Boboli took place on November 18 a complex technique that re- Gardens where the artist has in Piazzale . quires absolute control of the been able to study them. Fire works are in effect an- medium and its support. Pre- Flora Commedia: Flowers become the pre- other medium used by the cisely this balance between text for experimentation in artist for decades with sur- technical control and a will to Cai Guo-Qiang the increasing refinement prising results that represent totally eliminate human inhibi- of the technique of painting the public face of an essen- tion in favor of the free expres- at the Uffizi with gunpowder invented tially intimate poetic expres- sion of the forces of the cosmos by Cai Guo-Qiang. He, in sion. is the essence of Cai Guo- fact, introduced new tech- References to Italian art Qiang’s poetic expression, in- Curators Eike Schmidt niques while creating works are not limited to floral mo- debted to western art but inex- and Laura Donati for the showing: washing tifs. In fact, the and tricably tied to the fundamen- gunpowder paintings with the Head of by Caravag- tals of Taoism, to the principle Uffizi Galleries water, sketching with ignited gio, on exhibit in the rooms of continuous change of the I- incense sticks, creating ex- adjacent the showing, spark Ching and to the geomancy of tremely fine lined silhouettes reflections on the role of the feng shui. Until February 17, 2019 inspired by Renaissance sil- contemporary artist, a consid- verpoint drawings. eration leading to the two self- Laura Donati Ensuing this theme, Cai Western Art History” that shifts the focus from the ob- will conclude in the East with servation of nature to the an exhibit that reassumes art of the great masters of the previous events: Moscow the past. Not by chance, the (Puškin Museum), Madrid Primavera by Botticelli, with (Prado Museum) and Flor- its profusion of flowers illus- ence (Uffizi Galleries). trated in detail, is the font of Most of the over sixty inspiration for a large draw- works on view in the east- ing executed with colored ern wing of the Uffizi are gunpowder on Japanese pa- being seen by the public per, twenty-four meters long for the first time and were conceived and created ex- pressly for the occasion. The Test with gunpowder, 2018 (photo by guiding line of this original Kazuo Ono, courtesy of Cai Studio).

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In the Name of Beauty The Friends of the Uffizi Galleries sixth visit to Florence brimmed with excursions to palaces, churches, museums, art collections. Common sentiments among patrons of the arts

n immersion in the beauty Aof art works and the Tuscan countryside, accompanied by the meaningful recognition of the important role patronage plays in the preservation of the collective artistic patrimony that represents our identity. This was, once again, the fil rouge of the sixth Florentine so- journ of our Friends of the Uffizi Galleries that took place from Veronica Atkins, chairperson of Atkins Young Artist Program, Applause for Maestro Valery Gergiev who directed the concert October 4 to October 9, 2018. V. Atkins Foundation, and Maria Vittoria Rimbotti at the concert of the St. Petersburg Mariinsky Orchestra dedicated to the An occasion for enjoyment and in the Sala Bianca (photo by Rocco De Ciantis). Friends (photo by Rocco De Ciantis). sharing beauty and good togeth- The Sala Bianca of filled er in an intense program that, with the Amici and the American Friends along with pleasurable social during the concert of the St. Petersburg interludes, included visits to pal- Mariinsky Orchestra, last October (photo aces, churches, museums, art col- by Rocco De Ciantis). lections. Our American Friends viewed the works of art restored and thus preserved for future – directed by Maestro Valery generations thanks to their gen- Gergiev with two young singers erous contributions: from the – that greeted all of the friends new layout of the former yellow with music: a coral embrace of halls in the Galleria degli Uffizi aesthetic pleasure for distinctive dedicated to Caravaggio and the cultures that allowed us to recon- painting of the Seicento to the tion of our common roots, so es- di Bona in Palazzo Pitti. I would firm our common values and new rooms of Raffaello, Michel- sential in today’s world if we are also like to thank her for making like conception of knowledge angelo and Leonardo, complete- to provide substance and conti- possible the concert by the St. and progress. ly renovated thanks to the dona- nuity for the future. Petersburg Mariinsky Orchestra tions of the Friends and the Ital- An eloquent example of true in the Sala Bianca of Palazzo Pitti Maria Vittoria Colonna Rimbotti ian Amici. And the same holds patronage can be found in Ve- true for the renovated setting for ronica Atkins, a benefactor who the Contini Bonacossi collection far from the clamor of publicity and the acquisition of the Armida chose to finance the restoration by Cecco Bravo, donated to the of the tapestry series the “Festivi- Uffizi at Christmas 2017. ties at the Court of the Valois” as All this to mention only a few well as all the frescoes in the Sala of the achievements in the histo- The group of Friends during ry of the long-term solidarity and a visit to the Uffizi in front of the common sentiments shared with painting they donated to the Gallery, the Friends of the Uffizi Galler- Armida by Cecco Bravo. At the center, ies; it’s the art that once again the president of the Amici degli Uffizi tells the tale of our continuous and of the Friends of the Uffizi Galleries, search for beauty, the recogni- Maria Vittoria Colonna Rimbotti.

IL GIORNALE degli UFFIZI 5 Resurrection of a Masterpiece The cleaning of the “Rest on the Flight into Egypt” by “Antonius Laetus”, called Correggio, has been concluded

rancesco Munari – a promi- Fnent dignitary in Correggio at the turn of the 15th century – commissioned the work for his family chapel in the Church of San Francesco dedicated to the Immaculate Conception. Paint- ed in 1520, the small altarpiece by Correggio – measuring just over a square meter – entered the Tribune of the Uffizi, the designated site for great master- pieces within the Medici collec- tions, on the request of Ferdi- nando II in 1649. The painting underwent a cleaning in 1935 for the Expo- sition de l’Art Italien at the Petit Palais in Paris and, subsequently up to the present, interven- tions of ordinary maintenance; these consisted in applications of natural resins and glue sizes to “refresh” or consolidate the painterly surface. The layering of these materials over time provoked traction in the strata of color that tended to rise in correspondence with the craque- lure causing fragmentary losses. Over time, the piling up of these filmy materials turned to a dark- ened amber-colored coating that transformed the painting The painting Rest on the Flight into Egypt by Antonio Allegri, called Correggio, after the restoration sponsored by the Friends of the into a flat and uniform image. Uffizi Galleries (photo by Angelo Latronico). Thanks to the donation of Howard Freedman and Rita methods of application adopted meters (photo 2). For this rea- Montlack for the Friends of the under the direction of Fran- son, in collaboration with Sa- Uffizi Galleries, in June 2018 the cesca de Luca freed the paint- brina Cassi, we limited our pic- work was brought to our restora- ing from the ageing materials of torial restoration to veils of col- tion laboratory where it under- previous restorations up to but or integration in the back- went a delicate cleaning. The not including the oldest strata ground landscape with no in- of varnish applied in direct con- tervention on the figures. Our Microscopic image of a detail of the root tact with the painterly surface intent was to safeguard the im- of the palm tree (photo 2). (photo 1). perceptible chromatic muta- As the restoration pro- tions of the single brushstrokes gressed, the luminous presence characteristic of the creative an intent narrative of the bibli- of a distinctive pictorial hand process in Correggio’s painting cal tale and its theological con- emerged like a breath of life: as now can be seen in the fig- cept so well known in the cul- vibrating, constructed and ures that once again pulsate tural environment animating composed directly on the can- with the breath of life in all of the early decades of the Italian vas, forged with chromatic vari- their carnal humanity. The Cinquecento. Cleaning tests on the painting ations visible under a micro- work now restores the poetic (photo 1 by Angelo Latronico). scope at a distance of two-milli- language of a great master in Lisa Venerosi Pesciolini

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in place of Saint Jerome a the leaves of the trees, in window opens onto a vast the white clouds painted and hilly landscape. The in the sky and in the subtle surface of the canvas is no- distinction of greys in the tably damaged and presents window frame. losses due to past interven- The restoration carried tions and in particular, the out by Elisa Todisco now An Artist date written on the white reveals a marvelous range cushion is missing its last of icy, glazed tonalities numeral (153..). Once held “of exceptional purity”, a to be the prototype of the weave of luminous passages Florentine painting, the previously obscured by yel- Holy Family in London has lowed varnishes and taint- of Modern subsequently been dated to ed repainting. The surface a few years later for its mi- shows signs of consumption nor quality and for stylistic in the red mantle of Saint characteristics. This correct Anne and in the blue gown chronological sequence of the Virgin, but on the can now be confirmed by whole, the work is in a good the preliminary testing on state of conservation as the the Florentine painting extraordinary pictorial pas- Sensibility that took place during the sages of the intensely ani- restoration sponsored by mated visages of Saint Anne The recent restoration of the “Holy Family with the Friends of the Uffizi and of Saint Joseph demon- Saints Anne and Jerome” by Lorenzo Lotto has confirmed Galleries (donor Trish Sav- strate. the correct chronological relationship between the painting ides). Infrared reflectogra- Spouse of the Virgin, nu- and its replica in the Courtauld Gallery of London phy has brought to light the tritor Domini (the cask at his

n 1798, Tommaso Puccini Ichose the Holy Family with Saints Anne and Jerome by Lorenzo Lotto, a possession of the Grand Prince Ferdi- nando in the XVII century, for the completion of his arrangement of the halls of the Royal Gallery of the Uffizi. It was there, nearly a century later, that Bernard Berenson saw the work, signed and dated 1534, and immediately adopted it in the first edition of his monographic study on the artist as an incontrovertible point of comparison in the reconstruction of the art- ist’s third sojourn in the Marches region. The paint- ing – in which the scholar vigorously noted the “exag- gerated expressivity” of the physiognomic representa- tions and a “grand agitation in movement” – also repre- sented for Berenson a per- Lorenzo Lotto, Holy Family with Saints Anne and Jerome, after restoration sponsored by the Friends of the Uffizi Galleries. fect example of that emerg- ing tendency on the part of Lotto, an artist of modern lection of London that he presence of a window open- side unequivocally alludes sensibility, to represent the considers “an autograph ing onto a distant land- to this title) and first wit- emotive complexity of his replica” of the painting in scape – similar to the one ness to the Incarnation of personages. But only in his the Uffizi. seen in the replica in Lon- Christ, Joseph exchanges a third edition, does Beren- The latter, now in the don – painted prior to the glance of intense adoration son finally make mention of Courtauld Gallery of Lon- figure of Jerome. The land- with the Christ Child. a canvas painting of similar don, presents a notable scape is furthermore highly subject in the Seilern Col- variation in composition: finished in detail as seen in Fausta Navarro

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Vita degli Uffizi ASSOCIAZIONE

President Countess Maria Vittoria Colonna Rimbotti n  Float for the Masquerade of the President Pio Fedi and the Rape Countess Maria Vittoria Colonna Rimbotti Vice-Presidents - Michael J. Bracci, of Polyxena last Thursday before Lent in Emanuele Guerra 1664 by Johann Paul Schor, Vice-President - Emanuele Guerra Executive Director - Lisa Marie Browne Until February 24, 2019, purchased at the last Bien- Executive Directors - Patrizia Asproni, the Sala del Camino of the nale dell’Antiquariato at Ginevra Cerrina Feroni, Andrea Del Re, Legal Counsel - Howard J. Freedman Uffizi hosts the exhibit “The Palazzo Corsini. Alessandra Fabrizio Guidi Bruscoli, Mario Marinesi (Treasurer), Treasurer - Bruce Crawford Rape of Polyxena. Pio Fedi, Griffo, curator of the collec- Elisabetta Puccioni (Secretary), a classical sculptor in the tion of tapestries, of the royal Oliva Scaramuzzi, Eike D. Schmidt, Secretary - Barbara Chamberlain years of Florence as capital”, and imperial apartments and Catterina Seia curated by Simonella Con- of eighteenth century paint- Auditors- Francesco Corsi, Directors - Diana M. Bell, Susan D. McGregor, demi and Elena Marconi. ings in Palazzo Pitti, will be Enrico Fazzini, Corrado Galli Madeleine Parker, Diann G. Scaravilli A recently purchased study appointed curator of the Alternate Auditors - Alberto Conti, for the monumental statue new museum. Valerio Pandolfi Honorary Member Eike D. Schmidt, Uffizi Galleries Director in the Loggia dei Lanzi of- Secretariat - Tania Dyer, Bruna Robbiani fers the opportunity to docu- n Important Acquisition c/o UnipolSai, Advisory Board ment the vast research artists via L.Magnifico 1, 50129 Firenze. of the period carried out on The Uffizi Galleries have Tel. +39 055 4794422 - Fax +39 055 4792005 Chairman - Diann G. Scaravilli [email protected] classical texts, and also puts purchased for the Galleria Vice Chairman - Daniela Di Lorenzo on public view other works d’Arte Moderna in Palazzo Welcome Desk - Luminita Cristescu Galleria delle Statue e delle Pitture degli Advisors - Linda Civerchia Balent, by Pio Fedi within the collec- Pitti the prestigious paint- Uffizi,Entrance 2 - Tel. +39 055 285610 Francine Birbragher-Rozencwaig, tions of the Uffizi Galleries. ing of Eve tempted by the snake [email protected] Marianne Caponnetto, by Giuseppe Bezzuoli (Fi- Scott Diament, n  triannual publication Gordon A. Lewis Jr., The Carriage Museum renze, 1784 -1855), a fresco of the Amici degli Uffizi Irvin M. Lippman, Ellen Stirn Mavec, master of historical subject Meredith A. Townsend, Work has begun on the matter and a creator of ro- Editor-in-chief Linda J. Tufo clearance of the northern mantic and academic imag- Maria Vittoria Colonna Rimbotti

Honorary Members rampart of Palazzo Pitti, once ery. The painting will not be Editorial board H.R.H Princess Maria Pia di Savoia the stables of the Lorraine on view in Palazzo Pitti until de Bourbon-Parma, dynasty and subsequently next spring as it is on loan President Eike D. Schmidt H.R.H. Prince Michel a warehouse after their de- until March 17, 2019 to the de Bourbon-Parma, Uffizi Coordinator Countess Chiara Miari Fulcis Ferragamo parture in 1859, when the Gallerie d’Italia in Milan for Royal Stables were moved to the exhibit entitled “Roman- Andrea Acampa Friends of the Uffizi Gallery the area of Porta Romana. ticism”. The work, which was Managing Editor 205 Worth Avenue Suite 201 These ample quarters will in the artist’s studio until Maria Novella Batini Palm Beach, Florida 33480 Tel.: 561.289.4090 soon become a new museum his death, was well known Contributors for this issue Fax: 561.391.1597 dedicated to the Galleries’ to critics of the nineteenth Maria Vittoria Colonna Rimbotti, [email protected] extraordinary collection of century. It reached its pinna- Laura Donati, Paolo Galluzzi, Fausta Navarro, Eike D. Schmidt, historical carriages. The mu- cle of fame at the Universal Lisa Venerosi Pesciolini HOW TO JOIN seum will also house presti- Exposition in Paris in 1855 THE FRIENDS OF THE gious works of art that are and was publicly acclaimed Translator Josephine Rogers Mariotti UFFIZI GALLERY related in focus, such as the at the Prima Esposizione Na- magnificent Parade of Prince zionale held in Florence in Assistant Editor Membership dues are integral Bruna Robbiani Giovan Battista’s Carnival 1861. to the mission of Friends Graphic design and layout of the Uffizi Gallery and Edizioni Polistampa - Firenze because the organization Via Livorno 8/32 - 50142 Firenze, Italy. Tel. +39 055 737871 is a 501(c)(3) they are tax Fax +39 055 7378760 deductible. For any questions about memberships, donations, corporate sponsorships, Sponsor of the Association planned giving or in-kind Amici degli Uffizi with their contribution: donations, please call at 561-289-4090 UnipolSai or email Assicurazioni S.p.a. Bologna [email protected] or visit https://www.friendsoftheuffizi gallery.org/memberships/

Giuseppe Bezzuoli, Eve tempted by the snake, Gallery of Modern Art, Palazzo Pitti.

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