Free publication on www.friendsoftheuffizigallery.org Polistampa - Firenze

JOURNAL OF THE FRIENDS OF THE GALLERY No. 75 - August 2019 Forged in Fire

On exhibit in celain, the so-called “white gold” der the Last Medici” that opens they additionally created oppor- discovered in Europe in the early in on September 18, tunities that led to the transmis- Palazzo Pitti the Settecento that in the Age of En- 2019, sets out to offer a view of sion of metalworking techniques European dimension of lightenment became a collector’s precisely this phase of Florentine and the expansion of raw mate- bronze in craze as well as a sign of wealth history, crucial to the magnifi- rial markets in Europe. and sophisticated taste. Not in cence of the Medicean Court Today Baroque bronzes, espe- Florence at least, where even in the late and cially those of Florentine prov- the Porcelain Manufactory of beyond. As diplomatic gifts, enance, occupy a consistent share Doccia continued to mod- bronze deter- of the antique art market: and he Florence Dance Festi- el their creations on mined the affirma- we must not forget that the ex- Tval, an important annual hibit in Palazzo Pitti opens in the modern dance competition, same period in September as the culminates with an award XXXI International Biennial that is emblematic for Flor- Antiques Fair at Palazzo ence: the “Flying Mercu- Corsini in Florence; there ry”, a bronze copy of the without a doubt, many famous invented splendid examples of this by in the genre will be on display. second half of the six- An exhibit exclusively teenth century, of which dedicated to Florentine the renowned version had yet dating to 1580 is today to take place despite their in the National importance in past centu- . Significantly, even ries, in recent scholarship the most talented dancers can- and in the dynamics of contem- not exactly replicate the pose of porary collecting. Consistent but the feather-light flight Mercury not comprehensive contributions is about to embark upon, defying were made during the impres- all the laws of gravity. The dance sive exhibit held at the Detroit of these bronzes is an impossible Museum in 1974, put on public and highly imaginative one that the bronze view in Florence at Palazzo Pitti only the elasticity of metal con- sculpture of with the title “The Twilight of the cedes to the fantasy of an artist, previous cen- Massimiliano Medici and the Late Baroque Art explaining in part the immense turies produced Soldani Benzi, Vase in Florence, 1670-1743”; bronzes popularity of this art form in the from cast moldings with Handles in the were again under study in the and the Baroque pe- of the sculptures of form of Swans and outstanding exhibit on the Flo- riods. Giovanni Battista Cupids, 1690 ca., rentine Seicento curated by Mina The fashion for bronzes on a Foggini, Massi- black jasper, gilded Gregori held in small and medium scale gained miliano Soldani silver and bronze. in 1986. And the topic was subse- popularity in Florence in the Benzi and their Palatine Gallery, quently given space but within a as a revival of An- pupils Giuseppe Uffizi Galleries. much wider context dedicated to tiquity, increasing above all in the Piamontini and production in all of Europe in the late Cinquecento – once again Antonio Montauti, with Giambologna – to reach its among others. tion of Florentine taste on an peak in the Seicento. It did not The exhibit “Forged in Fire. international scale; and within a Eike D. Schmidt wane with the discovery of por- Bronze Sculpture in Florence un- vaster socio-economic network, (continued on page 2)

IL GIORNALE degli UFFIZI 1 “Forged in Fire. Bronze Sculpture in Florence under the Last Medici”

Curated by Eike D. Schmidt, Sandro Bellesi and Riccardo Gennaioli

Treasury of the Grandukes, Palazzo Pitti, Uffizi Galleries

From September 18, 2019 to January 12, 2020

much more. Thus the time is ripe play: besides preparatory draw- for an exhibit that focuses on this ings (many recently purchased by argument, offering new stimulus the Uffizi and on public view for for future studies. the first time), paintings and art Once again, visi- objects, it will be the bronzes tors will be wel- themselves - more than a hundred comed to the - that celebrate with their dancing sublime and lithe poses the creativity and the magnificent cosmopoli- tanism of Florentine taste.

setting of Eike D. Schmidt Giovanni Battista Foggini, Crucifixion, bronze. Treasury of the Grandukes, Palazzo the Trea- Pitti, Uffizi Galleries. sury of the Grandukes exhibit “Von allen Seiten schön”, that widens the borders to a where the shown at the Altes Museum in European scale, multiplying glory of the Berlin in 1995-1996. personalities and opening new House of the This all took place, however, gen- perspectives on the circulation Medici frescoed erations ago. In the meanwhile, of works of art, on the figure on the walls be- scholarship has progressed with of the antique dealer, on the comes the themat- sensational discoveries and a new unsuspected mediator and ic container definition of the artistic milieu of contemporary businessmen, for a flour- Baroque Florence and beyond, on the role of models and ishing dis-

Giambologna, , , 1563-1564, bronze, Museo Civico Medievale, Bologna. Equestrian Monument of Carlo Emanuele I, Duke of Savoy, bronze, Museumslandschaft Hessen Kassel.

Giuseppe Piamontini, , bronze, , Oxford.

Massimiliano Soldani Benzi, Urn, bronze, Victoria and Albert Museum, London.

2 IL GIORNALE degli UFFIZI

A Refined Interpreter An exhibit at the patrons held his word in the Giovan Giacomo Caraglio, Uffizi presents a series of highest esteem. Portrait of with Motto, 1646-1655, burin, Department of Prints art works directly related Tracing his friendly relations (Raffaello, Giulio Romano, Se- and Drawings, Uffizi Galleries. to the life and works of bastiano del Piombo, Tiziano, Pietro Aretino, promoter Sansovino, Vasari…), his corre- and friend of the most spondence () and tua of the Gonzaga, the Leo X in and famous artists of his time commissions (), the of the Gritti Doge as well as the the door of the sacristy of San exhibit proposes to historically Florence of Dukes Alessandro Marco in Venice. reconstruct and to criti- and Cosimo, the of the This was not the triumph of cally review the events, Della Rovere, Perugia, an individual alone but that the context, the mo- and Spanish , without ne- of a way of living and speaking ments and the results of glecting the copious and clear about art that gave artists the a continuous discussion channels by which the word centrality that shortly thereaf- that became a veritable itself came to resound beyond ter the pages of Vasari would debate on the question ; for himself, certainly, but consecrate. of art that lasted with- also as support for the efforts of The works on the exhibit, all out interruption over his artist friends at the courts of intimately connected to the life forty years from the Francis I and, above all, Charles of the writer, are proof that art end of the first decade V and Philip II. found in him not only a refined of the Cinquecento to Therefore, not by chance Pie- interpreter but also a promoter the mid-1550s. This tro’s likeness is one of the most of great effectiveness; this means took place in precisely frequently reproduced at the that for us that same word can those places that then time – made known to all in the become a key of interpretation and from thereafter paintings of Sebastiano and Tiz- that guarantees a more intricate have always embodied iano, in the prints of Raimondi understanding of both that art Sebastiano Luciani, called Sebastiano del Piombo, the very idea of the Re- and Caraglio, in the reliefs of and that world. Portrait of a Lady, 1512, Gallery of and naissance: the of Sansovino and . Paintings, Uffizi Galleries. Agostino Chigi and the And his image appears again Paolo Procaccioli Medici popes, the Man- in public places like the Hall of

or the modern visitor, an Fexhibit on centered on a writer like Pietro Aretino might seem a “Pietro Aretino surprising initiative, even a provocation. Especially when and the Art the individual in question is a controversial figure first of the censured by the Index and subsequently by the judg- Renaissance” ment of moralists, and thus spurned for centuries. What we are proposing here, on Curated by the other hand, would have Anna Bisceglia, been a most obvious choice Matteo Ceriana for Aretino’s contemporaries. Then in fact everyone knew and Paolo Procaccioli that the writer’s home was the meeting place for the most Magliabechiana renowned artists and that those same artists and their Hall, Uffizi Galleries From November 27, Tiziano Vecellio, Portrait of Pietro Aretino, 1545, 2019 to March 1, 2020 Palatine Gallery, Uffizi Galleries.

IL GIORNALE degli UFFIZI 3 A Domestic Environment Retracing the history occasion and completed with Cosimo II) took his first steps. of the renowned Vasari a rapidity that doesn’t shy in The everyday use of the cor- comparison to ephemeral archi- ridor is also confirmed by the Francesca Funis Corridor, we learn about tectural apparatus. installation of a “bath” in 1598: a its everyday family use on Documentary evidence brings small private thermal chamber, the part of the Grandukes. to light the domestic use and located along the passage in Il Corridoio This is where Cosimo II the family atmosphere that correspondence to the archway learned to walk filled the air of the corridor: over via de’ Bardi, destroyed Vasariano: not just a mere connector but in 1944. una strada asari Corridor, named as Vsuch after , sopra la città its brilliant designer and con- structor, is an astonishing aerial passageway no less than 760 me- ters long. Built in nine months in 1565, it joins without inter- ruption Palazzo della Signoria, the first ducal residence hence named Vecchio (Old), to the ‘new’ residence of Palazzo Pitti. Exclusively reserved for the ducal family and their most intimate court members, the corridor follows a zigzagging course across the rooftops of the and shops of Florence, affording astonishingly beautiful Edizione Sillabe, , 2018. views of the city on both sides of the River. A view of from the recent past. The circumstances surrounding ridor as a container for works of its creation are well known: the art become more frequent, al- marriage between the prince of an extension of the private And to speed up movement though the works moved there Florence, Francesco de’ Medici, apartments of the two palaces along the lengthy distance of find their final placement else- and the Archduchess Joanna that, through it, became a single the corridor, we learn that car- where. The criteria for the dis- of Austria (1565). The ‘impe- residence embracing both parts riages were employed, from a play of works of art in the Cor- rial’ wedding was a sensational of the city. Letters of correspon- test recorded in 1592 on the ridor in use before November diplomatic success for Cosimo dence attest, for example, that capacity and compatibility of 2016 was very recent and fol- I, sanctioning the young duchy precisely within the corridor’s some reindeer – sent as a gift lowed the reordering devised by among the ranks of European measured and narrow space to Ferdinando I by the King of Luciano Berti, Director of the powers. Of all the building proj- delineated by two parallel walls, Sweden – to pull “one of the Gallery, in 1973. ects for the urban renewal of a child could easily be kept Corridor carriages” (ASFi, Medi- Florence, the corridor stood under care. It is there that in ceo del Principato, 831, c. 645) Francesca Funis out: an infrastructure on a grand 1591, in absence of any danger, With the passage of the Duchy scale, strategic and permanent, the young prince Cosimo (born from the Medici to the Lorraine, A section of Vasari Corridor along the but also something built for the in 1590 and future Grand Duke references to the use of the Cor- Arno and over . A completely new setting for the Self-portraits will soon be inaugurated in the west wing of the first floor of the Gallery. Ten rooms dedicated to the extraordinary collection begun by Cardinal The Faces of Art Leopoldo in the XVII tury within the Gallery itself, century where the Self-portraits now return. The paintings will be arranged in a chronological and the- rom Vasari Corridor to matic sequence with possible Fanother “corridor”: one alternations depending on the within the Gallery itself. A medium; a few of the rooms sequence of over ten rooms will be dedicated to sculpture, in the west wing of the first like the one crossing via Lam- floor of the Uffizi will be the bertesca that offers incompa- new showcase of the historic rable simultaneous panoramas and famed collection of Self- of the medieval fabric of via portraits initiated by Cardi- Lambertesca with its winding nal Leopoldo de’ Medici in facades and the striking moder- the XVII century, with works nity and sundering regularity arranged on various registers of the Uffizi imposed upon that (as seen in the painting of preexisting and highly con- the Room of Self-portraits trasting reality; another room with the sculpture of Car- dedicated to contemporaries dinal Leopoldo de’ Medici and mainly to sculpture will be from the Österreichische the large oblong hall that runs Nationalbibliothek of Vien- adjacent to the corresponding na dating to the mid-eighte- length of the back wall of the enth century). . The new layout echoes in a Following the same criteria sense the spirit of a walk down used for the halls of Tuscan Vasari Corridor where the and Venetian sixteenth-century artists’ countenances eyed painting inaugurated last May, one along the way, a sensa- the paintings will be mounted tion well known to visitors, on a background surface made Florentines or not, from af- of panels attached to the walls. ter the 1966 flood up to just The paneling – similar in color a few years ago; yet again, it to cardinal purple in homage A room on the third corridor of the Gallery, used for the Self-portraits of the Uffizi in the suggests what the Tribune to the Cardinal founder of the second half of the XIX century. of Self-portraits must have collection – will not cover the been like when Cosimo III entire wall surface and thus devised and created it at the maintain the stereometry of museographic layout will not side views; in particular, they beginning of the XVIII cen- the rooms; in this way, the interfere with the architectural frame Vasari’s facade with its space and the noble container metric rhythm of grey lime- that, as is known, was born for stone against white plaster in a different purpose than that tripartite modules. of an exposition hall. The two The artificial lighting on sus- spaces will thus live in sym- pended metallic bars directly biosis each maintaining their illuminates the works on dis- proper distinction. play as well as the ceiling vaults. The windows, opportunely Once again the lighting follows screened from direct sunlight the same criteria used in recent here as elsewhere in the Gal- interventions within the Gal- lery, can be opened to out- lery. The rooms with terraced windows have been equipped with oak benches that offer A XVIII century representation indispensable seating for visi- of the Tribune of Self-portraits in tors. the Uffizi. Vienna, Österreichische Nationalbibliothek. Antonio Godoli

IL GIORNALE degli UFFIZI 5 A Marvel of Art and Genius

An exhibit in the ing nearly forty me- ’s Aureus with hands of centuries of painters and Lemon House of Boboli tells ters in height at its Column, 113-114 A.D., sculptors. base. The merit Gold Coins Collection, Unfortunately, we will never know the tale of the technological of the Florentine Museo Nazionale all of the details of the various and artistic enterprise that exhibit entitled Romano, Rome. phases of the technological and led to the creation of the “Building a Mas- artistic endeavor that gave life to famed Trajan's Column terpiece: Trajan’s legged cranes that, us- this marvel of the ancient world. Column”, proposed ing the simple principle Nonetheless, we come closer and designed by Giovanni Di of the lever aided by pulleys, to understanding an aspect of ogether with the Colosseum, Pasquale and put on public view were capable of creating this Roman civilization previously TTrajan’s Column is one of in the Lemon House until Oc- monument symbol of the new overlooked or taken for granted Rome’s iconic monuments. Not tober 6, is to re-examine for the and magnificent forum of Trajan. thanks to the attentive examina- by chance in 1162 – centuries first time this authentic marvel Models up to six meters tall of the tion of the literary, archeologi- before humanists discovered the of art and architecture from an machines used by the Romans are cal, epigraphic, iconographic and value and beauty of the An- exclusively technical point on display together with reliefs numismatic sources explored in cient world – the Senate of of view. from the I and II centuries A.D. depth in this highly innovative Rome decreed to protect The visitor will be able to depicting cranes and construc- and original exhibit – that boasts the column “for all eternity, retrace the genesis of the tion sites that illustrate in an remarkable loans from over until the end of the world, column from the moment immediate and tangible way the twenty . Organizational in order to preserve the nineteen grandiose use and function of these power- efficiency, an effective system of the honor of the blocks from which ful lifting tools. In addition, a logistics, excellent operative ca- City of Rome for- it was constructed series of drawings inspired by pacities on the part of central ever”. Thereaf- the construction of the column and peripheral administration ter, antiquar- by the master draftsman Claudio were all postulates of the impe- ians, artists, Capotondi – to whom we also owe rial era that made the movement historians, Portrait of Trajan some of the ingenious models – of massive quantities of precious aesthetes and on a modern constitute a sort of counterpoint marbles from one end of the archeologists have bust, early II century to the exhibit itself, a manifesta- Mediterranean to the other pos- dedicated volumes of A.D., Gallery of Statues and tion of the power of inspiration sible, an efficiency unmatched literature to this bench- Paintings, Uffizi Galleries. the art of this impressive column until the beginning of the Indus- mark of western cul- has always held in the minds and trial Era. ture, enough to fill en- were extracted from the The Florentine exhibit can there- tire libraries. Fantiscritti quarries in the fore claim the enormous merit of Never however has sufficient at- Alpi Apuane to their shipment exploring from a new point of tention been given to this cen- by an over two-hundred nauti- view a previously neglected aspect tenary (one-hundred Roman cal mile sea voyage to the port of whose empire, feet high, that is) column as a of Marmorata at the foot of the created through warfare, reigned stupefying product of engineer- Aventine. for centuries thanks to an effi- The movement of cient and capillary administration these blocks, each and to the principle of good “Building a Masterpiece: weighing up to forty government that assured a pro- tons, and their place- longed period of prosperity and Trajan's Column” ment, one on top of peace for its inhabitants. the other, to a height Curated by Giovanni Di Pasquale of forty meters, was Fabrizio Paolucci in collaboration with Fabrizio Paolucci exclusively made pos- sible by the systematic Lemon House of Boboli and able exploitation of powerful machines Claudio Capotondi, Model of the Until October 6, 2019 like the rotae calcatoriae Scaffolding used for the Construction and the two or three- of Trajan’s Column, in scale 1:20.

6 IL GIORNALE degli UFFIZI

Boboli’s Spring Restorations, re-openings, renovations and planting. The historical garden is truly experiencing its own Renaissance

ust say: “Boboli’’. No need to thicket where the hunting of birds Jadd “Garden”. For centuries, took place), the wide “Viottolone” the name alone has evoked an lined with cypress trees that leads Eden, adorned with statues, foun- to the Isola pool; and again in tains, labyrinths, , places of the 1700s, the Garden of the Ana- marvel ordered by artists’ hands nassi, the botanical gardens, the initially reserved for the pleasure Kaffeehaus and the ‘Stanzone’ of Princes and later for the enjoy- Some views of the , now undergoing a massive restoration campaign. (large storage room) for the cit- ment of the people. And today it rus trees. is, as it should be, “the Garden An oasis within the city that “gifts of the Florentines’’, a stargate to always triggered the imagination. his own enjoyment grafting and delights and beauty worthy of a their personal fantasies, their his- It is not by chance that a few de- pruning walnut, chestnut and king to everyone”, as the old gar- tory and the true spirit of their cades ago the so-called “mothers cornelian cherry trees, juniper dener Baccani used to say (I have city. But not only. Crossing the of Boboli” went down in history and citrus. It was then put to the kept notes, March 20, 1991) as he gates to wander along the pebbled for their battle (won) for free en- genius of Ammannati and Buon- numbered off by memory the avenues and paths, captivated trance for children and resident talenti to enrich the scenography 4,464 trees in Boboli as though by the fascinating countryside families to “their” garden; and, with grottos, and other they were his own children: 3825 atmosphere of these 30 hectares like past generations, students garden features. In the Seicento, ilex, 328 cypress, 10 cedars of Leba- right in the heart of historical playing ‘hooky’ from school still in turn added laby- non, 70 plane trees, 61 linden trees, Florence, is an army of now over today choose this secret world as rinths, ‘ragnaie’ (area of planted 71 pines, 8 yew trees, 5 Ginkgo biloba, 1 million visitors a year. Attracted the setting for their first kisses and 15 nettle trees, and then oaks, elms, by the infinite variations within love-stories. ash trees, magnolias, chestnuts, the garden that is also a theater Boboli: a monument of architec- cork trees... It’s true: today Boboli and an oasis of play and fantasy, tural greenery, a weave of art and is a fragile open air museum in they discover, as in a game of botany, a survey manual for the need of restoration precisely be- Chinese boxes, screens of holm appreciation of beauty. Born to cause of the uniqueness of its his- oaks, rows of orange trees, green astonish, as Cosimo I desired: in tory and memory, its art and vegeta- lawns and the charm of encoun- 1549 he ordered “Tribolo”, Nic- tion. It must be preserved intact not ters with the countenances of colò di Raffaello, to create the only for the dutiful conservation of ancient sculptures and a variety of amphitheater of greenery from its historic-architectonic value, but earthly and air-born fauna: birds the quarry of “macigno” (the also in homage to its role as an in- and squirrels, lizards and wasps, sandstone used to pave the streets dispensable “tessera’’ in everyday pheasants and dormouse that in of Florence); a place of delight life and the very identity of the their fleeting appearance have for his spouse Eleonora and for Florentines, without mentioning the enjoyment it gives to each and everyone of its visitors, be they Works underway Florentine or not. This is some- Boboli’s Renaissance is already underway with the re-opening to the Restoration and consolidation of the Camellia Garden (fun- thing that Eike Schmidt, the Direc- public of the exotic Garden of the Ananassi (from Monday to Friday ded by the Region of ). tor of the Galleries, understood 9-13), a hectare of garden beds in the romantic style filled with a well when he initiated the garden’s variety of aquatic and tropical plants. Thanks to Gucci’s donation of 2 million euro, the draining of the garden has been continued, terra-cotta vases and ba- massive restoration campaign, a Works now underway in the entire park are: sins have been purchased; the Orchid Greenhouse and the project of recovery that Gucci en- pool in the Upper Botanical Garden have undergone restora- dorsed with a donation of 2 million The installation of 46 new benches in pietra serena (local grey tion; trees have been replanted along the Viottolone and the euro, a “Boboli Spring” that under- limestone) to which 14 more will soon be added. avenue of Plane trees, for a total of 53 new cypress trees and scores the rapport of reciprocity the 25 plane trees. Conservation interventions on many statues, on the 4 columns griffe shares with the city of Flor- of the Isola, on the historical baths of Annalena and of the Meri- The opening of a new Gelateria (Ice Cream Shop) and finally ence. diana, on the Fontana delle Scimmie ( of Monkeys). the reopening of the Kaffehaus as a place for refreshments. Mara Amorevoli

IL GIORNALE degli UFFIZI 7

Life at the Uffizi ASSOCIAZIONE

President Board of Directors Countess Maria Vittoria Colonna Rimbotti

President n A Special Homecoming Vice-President - Emanuele Guerra Countess Maria Vittoria Colonna Rimbotti Executive Directors - Patrizia Asproni, Vice-Presidents - Michael J. Bracci, After an absence of over Ginevra Cerrina Feroni, Andrea Del Re, Emanuele Guerra 75 years, the famous eighte- Fabrizio Guidi Bruscoli, Mario Marinesi (Treasurer), Executive Director - Lisa Marie Browne enth century painting of a Elisabetta Puccioni (Secretary), Oliva Scaramuzzi, Eike D. Schmidt, Legal Counsel - Howard J. Freedman “Vase of Flowers” by Jan van Huysum, stolen by the Nazis, Catterina Seia Treasurer - Bruce Crawford has returned to Florence; a Auditors- Francesco Corsi, Secretary - Barbara Chamberlain special exhibit dedicated to it Enrico Fazzini, Corrado Galli

Directors - Diana M. Bell, Susan D. McGregor, has been opened in the Mu- Alternate Auditors - Alberto Conti, Madeleine Parker, Diann G. Scaravilli sic Hall of Palazzo Pitti at the Valerio Pandolfi end of which the painting will Honorary Members Secretariat - Tania Dyer, Bruna Robbiani Veronica Atkins be returned to the Sala dei c/o UnipolSai, via L.Magnifico 1, 50129 Firenze. Eike D. Schmidt, Uffizi Galleries Director Putti in the Palatine Gallery, Wool Carpet, Cairo, Egypt, first quarter of Tel. +39 055 4794422 - Fax +39 055 4792005 where up to now it was substi- the XVI century, Jewish Heritage of Padua. [email protected] tuted by a good photographic Advisory Board reproduction that in a recent of the Uffizi, curated by Dora Welcome Desk - Giuliana Dini Galleria delle Statue e delle Pitture degli Chairman - Diann G. Scaravilli symbolic ceremony was con- Liscia Bemporad and Olga Uffizi,Entrance 2 - Tel. +39 055 285610 Vice Chairman - Daniela Di Lorenzo signed to the German Mini- Melasecchi, presents fabrics [email protected] ster of Foreign Affairs Heiko of Jewish manufactory for re- Advisors - Linda Civerchia Balent, Maas. The Director of the Uf- ligious and secular use that triannual publication Francine Birbragher-Rozencwaig, of the Amici degli Uffizi Susan Scholle Connor, fizi Galleries, Eike Schmidt, take us from the times of the Scott Diament, Bradley van Hoek, has underscored the impor- High Priest Aaron right up to Editor-in-chief Gordon A. Lewis Jr., Irvin M. Lippman, Maria Vittoria Colonna Rimbotti Ellen Stirn Mavec, Meredith A. Townsend, tance and the historic justice the fashions of the 20th cen- Linda J. Tufo tury and to modern texti- Editorial board le manufacturing; it ad- Honorary Members President H.R.H Princess Maria Pia di Savoia dresses key themes such Eike D. Schmidt de Bourbon-Parma, as the role of writing as a Contessa Chiara Miari Fulcis Ferragamo decorative motif, the use Uffizi Coordinator Andrea Acampa of textiles in the synago- Friends of the Uffizi Gallery gue, embroidery as a se- Managing Editor 205 Worth Avenue Suite 201 Maria Novella Batini Palm Beach, Florida 33480 cret labor and the role of Tel.: 561.289.4090 women. Open until Octo- Contributors for this issue Fax: 561.391.1597 ber 27, 2019. Mara Amorevoli, Francesca Funis, Antonio [email protected] Godoli, Fabrizio Paolucci, Paolo Procaccioli, Eike D. Schmidt HOW TO JOIN n Once again on exhibit THE FRIENDS OF THE Translator Josephine Rogers Mariotti UFFIZI GALLERY “La Madonna della gatta” by Federico Baroc- Assistant Editor Membership dues are integral ci, restored thanks to the Bruna Robbiani

to the mission of Friends Jan van Huysum, Vase of Flowers, generosity of the Amici Graphic design and layout of the Uffizi Gallery and 1720-1730 circa. degli Uffizi, after almost Edizioni Polistampa - Firenze because the organization Via Livorno 8/32 - 50142 Firenze, Italy. a decade in the museum Tel. +39 055 737871 is a 501(c)(3) they are tax of this act that he promoted deposits has been put on dis- Fax +39 055 7378760 deductible. with great determination, in- play in the Sala di Berenice in For any questions about dicating his desire “that this the Palatine Gallery of Palaz- memberships, donations, very important restitution is zo Pitti where, thanks to the corporate sponsorships, Sponsor of the Association the first in a long line of re- new layout, paintings by the Amici degli Uffizi with their planned giving or in-kind coveries of works of art to same artist have been gathe- contribution: donations, please call at come”. red. 561-289-4090 This masterpiece by the UnipolSai or email artist from Urbino, dating to Assicurazioni S.p.a. Bologna [email protected] n The Colors of Judaism circa 1598, was the object of or visit in Italy numerous copies, including https://www.friendsoftheuffizi a tapestry now in the Royal gallery.org/memberships/ A highly original exhibit Apartments of Palazzo Pitti, in the Aula Magliabechiana created by Pietro Fevère.

8 IL GIORNALE degli UFFIZI