67 – Pazzi Chapel. Basilica Di Santa Croce. Florence, Italy Filippo

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67 – Pazzi Chapel. Basilica di Santa Croce. Florence, Italy Filippo Brunelleschi (architect). C. 1429-1461 C.E., Masonry (2 images) Video at Khan Academy Masterpiece of the Renaissance (architecture) Pazzi family – wealth second only to the Medici Function: o The main purpose of the building was as the cathedral chapter house (meeting room for the governing chapter) and use as a classroom for the teaching of monks and other religious purposes o There was also a chapel behind the altar where the commissioning family had the right to bury its dead Context: o The Pazzi's ulterior motive in building the chapel was probably to make their mark on the city of Florence and to emphasise their wealth and power o The fact that the city was at war with a neighboring city at the time and still acquired the funds to build this chapel showed the importance it had to the Pazzi family and the people of Florence Formerly considered a work of Filippo Brunelleschi, it is now thought that he was responsible for the plan, which is based on simple geometrical forms,[1] the square and the circle, but not for the building's execution and detailing o The main inspiration for this piece was the Dominican monastery of Santa Maria Novella, also located in Florence. The rondi of the seated Apostles are by Luca della Robbia, who also did the terracotta decorations in the cupola of the porch.[5] It has been suggested that the roundels of the Evangelists may have been the work of Donatello .

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March 27, 2018 RESTORATION of CAPPONI CHAPEL in CHURCH of SANTA FELICITA in FLORENCE, ITALY, COMPLETED THANKS to SUPPORT FROM
Media Contact: For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; +1 347-460-5566; [email protected]. March 27, 2018 RESTORATION OF CAPPONI CHAPEL IN CHURCH OF SANTA FELICITA IN FLORENCE, ITALY, COMPLETED THANKS TO SUPPORT FROM FRIENDS OF FLORENCE Yearlong project celebrated with the reopening of the Renaissance architectural masterpiece on March 28, 2018: press conference 10:30 am and public event 6:00 pm Washington, DC....Friends of Florence celebrates the completion of a comprehensive restoration of the Capponi Chapel in the 16th-century church Santa Felicita on March 28, 2018. The restoration project, initiated in March 2017, included all the artworks and decorative elements in the Chapel, including Jacopo Pontormo's majestic altarpiece, a large-scale painting depicting the Deposition from the Cross (1525‒28). Enabled by a major donation to Friends of Florence from Kathe and John Dyson of New York, the project was approved by the Soprintendenza Archeologia Belle Arti e Paesaggio di Firenze, Pistoia, e Prato, entrusted to the restorer Daniele Rossi, and monitored by Daniele Rapino, the Pontormo’s Deposition after restoration. Soprintendenza officer responsible for the Santo Spirito neighborhood. The Capponi Chapel was designed by Filippo Brunelleschi for the Barbadori family around 1422. Lodovico di Gino Capponi, a nobleman and wealthy banker, purchased the chapel in 1525 to serve as his family’s mausoleum. In 1526, Capponi commissioned Capponi Chapel, Church of St. Felicita Pontormo to decorate it. Pontormo is considered one of the most before restoration. innovative and original figures of the first half of the 16th century and the Chapel one of his greatest masterpieces.
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Stepping out of Brunelleschi's Shadow
STEPPING OUT OF BRUNELLESCHI’S SHADOW. THE CONSECRATION OF SANTA MARIA DEL FIORE AS INTERNATIONAL STATECRAFT IN MEDICEAN FLORENCE Roger J. Crum In his De pictura of 1435 (translated by the author into Italian as Della pittura in 1436) Leon Battista Alberti praised Brunelleschi’s dome of Florence cathedral, Santa Maria del Fiore [Fig. 1], as ‘such a large struc- ture’ that it rose ‘above the skies, ample to cover with its shadow all the Tuscan people’.1 Alberti was writing metaphorically, but he might as easily have written literally in prediction of the shadowing effect that Brunelleschi’s dome, dedicated on 30 August 1436, would eventually cast over the Florentine cultural and historical landscape of the next several centuries.2 So ever-present has Brunelleschi’s structure been in the historical perspective of scholars – not to mention in the more popular conception of Florence – that its stately coming into being in the Quattrocento has almost fully overshadowed in memory and sense of importance another significant moment in the history of the cathedral and city of Florence that immediately preceded the dome’s dedication in 1436: the consecration of Santa Maria del Fiore itself on 25 March of that same year.3 The cathedral was consecrated by Pope Eugenius IV (r. 1431–1447), and the ceremony witnessed the unification in purpose of high eccle- siastical, foreign, and Florentine dignitaries. The event brought to a close a history that had begun 140 years earlier when the first stones of the church were laid in 1296; in 1436, the actual date of the con- secration was particularly auspicious, for not only is 25 March the feast of the Annunciation, but in the Renaissance that day was also the start of the Florentine calendar year.
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Routing Sheet
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Nanni Di Banco and Donatello: a Comparison Paolo Vaccarino
New Mexico Quarterly Volume 22 | Issue 4 Article 7 1952 Nanni di Banco and Donatello: A Comparison Paolo Vaccarino Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Vaccarino, Paolo. "Nanni di Banco and Donatello: A Comparison." New Mexico Quarterly 22, 4 (1952). https://digitalrepository.unm.edu/nmq/vol22/iss4/7 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. r ," ~' Vaccarino: Nanni di Banco and Donatello: A Comparison II l. Paolo VaccaTino NANNI DI BANCO AND I DONATELLO: A COMPARISON 1 <. From the Foreword THE REI S a gap in our knowledge which no scholar has ever tried to fill. It is a gap which owes to the lack ofreal attention paid to the work of Nanni di Banco. To fill it is important not only be came of the fact of his amazing artistry, but because the lack of true familiarity with Nanni and his accomplishments has left a hole where a key should be in our knowledge of Renaissan~e art. The art history of the period has inevitably been somewhat in comprehensible, somewhere lacking in logical development. Without the key figure of Nanni, one is at a loss to explain the development of Donatello on one side and Luca della Robbia on the other; or to fill the gap between Giotto and Masaccio, and trace the history of later painters.
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Resurrecting Della Robbia's Resurrection
Article: Resurrecting della Robbia’s Resurrection: Challenges in the Conservation of a Monumental Renaissance Relief Author(s): Sara Levin, Nick Pedemonti, and Lisa Bruno Source: Objects Specialty Group Postprints, Volume Twenty-Four, 2017 Pages: 388–412 Editors: Emily Hamilton and Kari Dodson, with Tony Sigel Program Chair ISSN (print version) 2169-379X ISSN (online version) 2169-1290 © 2019 by American Institute for Conservation of Historic and Artistic Works 727 15th Street NW, Suite 500, Washington, DC 20005 (202) 452-9545 www.culturalheritage.org Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation (AIC). It is a conference proceedings volume consisting of papers presented in the OSG sessions at AIC Annual Meetings. Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Unless otherwise noted, images are provided courtesy of the author, who has obtained permission to publish them here. This article is published in the Objects Specialty Group Postprints, Volume Twenty-Four, 2017. It has been edited for clarity and content. The article was peer-reviewed by content area specialists and was revised based on this anonymous review. Responsibility for the methods and materials described herein, however, rests solely with the author(s), whose article should not be considered an official statement of the OSG or the AIC. OSG2017-Levin.indd 1 12/4/19 6:45 PM RESURRECTING DELLA ROBBIA’S RESURRECTION: CHALLENGES IN THE CONSERVATION OF A MONUMENTAL RENAISSANCE RELIEF SARA LEVIN, NICK PEDEMONTI, AND LISA BRUNO The Resurrection (ca.
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1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
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A Private Chapel As Burial Space: Filippo Strozzi with Filippino Lippi and Benedetto Da Maiano in Santa Maria Novella, Florence
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Design and Renovation Guidelines and Protocols
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Self-Guided Tour of the Basilica 13
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