DOCSLIB.ORG

A Taste of Florence

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Taste of Florence TRAVEL ©Fototeca ENIT Florence A TASTE OF FLORENCE A fair chunk of the action in Dan Brown’s latest blockbuster, Inferno, WHAT TO SEE... takes place in Florence. The ‘Da Vinci Code Phenomenon’, which propelled You can’t fit all the thrills of Florence into one trip, however long your Rosslyn Chapel into the spotlight, stay. There’s only so much extreme seems set to blaze its trail through the beauty even the most seasoned of Mediaeval streets and Renaissance minds (not to mention feet) can take corridors of Florence as tourists – not before collapsing in a heap of cultural all of them American – sign up for the overload. The technical term is ‘Stendhal Syndrome’. ‘Inferno Tour’. Allow time to throw away the Not that the city was any stranger guidebook and be seduced by to tourism before Robert Langdon the charm of the place as Lucy came along. Florence suits people. Honeychurch learns to in ‘A Room As one of the original mercantile with a View’. Many Florentine gems can be soaked up from the outside: hubs, it thrives on buzz and bustle. To the riot of pink, green and white avoid the stampede, it’s best to visit marble that makes up the façade of during winter and invest in a Firenze the Duomo, the intimidating stone Card (www.firenzecard.it) for cheaper, surrounds of the Renaissance palaces, easier access to most attractions. the ancient Ponte Vecchio bridge with The Gozzoli frescoes in the Medici its balancing-act jewellery stores. But Chapel at Palazzo Medici Ricardi LUCY HOLLOWAY there’s a lot on the inside too. ©Turismo, Provincia di Firenze H ere’s my ‘not to miss’ top ten in no particular order: 1. The Uffizi: but of course. The world’s oldest art gallery with arguably more greatest hits than any other. 2. The Vasari Corridor: the Medici family’s far-from-secret secret- passage that connects the Uffizi to the Pitti Palace. You need to book a A room with a view at the Hotel Brunelleschi tour to visit. Florence Town (www. florencetown.com) offer informed small group tours of both the Uffizi WHERE TO STAY... and the corridor which bypass queues. DAN Brown’S HEro DOESN’T DO A lot OF 3. The monastery of San Marco with SLEEPING, BUT HE MAKES A FINE CHOICE WHEN HE cell frescoes by resident monk Fra CHECKS IN to THE HotEL BRUNELLESCHI Angelico. Architecturally splendid – part Byzantine tower (the oldest building in the 4. The Pazzi Chapel at Santa Croce by historical centre) and part converted church – it enjoys a fabulous location Brunelleschi, the architect who gave in the historical centre close to the Duomo. Décor is modern but classical, the Duomo its dome. inspired by the architect from whom the hotel takes its name: doors are 5. Also at Santa Croce, the beautifully surrounded by his signature grey stone architraves and glass panels are decorated chapels and frescoes by engraved with drawings of his work. The Pool Suite has a roof terrace with a Giotto. hot tub and wonderful views across the city. The Pigliazza Tower Suite, located in the old mediaeval tower, is a 6. Michelangelo’s unfinished slaves in favourite amongst honeymooners. the Accademia, alongside the even Generous helpings of Dr Vranjes The Hotel Brunelleschi more famous Goliath-sized David. reed diffusers ensure that the hotel smells as good as it looks. 7. More Michelangelo, more marble, again unfinished: the Medici tombs As the name suggests, The Antica at San Lorenzo. Torre di via Tournabuoni n. 1 also has a tower and a great location 8. The perfectly formed Gozzoli at the end of Florence’s famous Chapel in the Palazzo Medici Ricardi. designer boutique street and next to 9. Santa Maria Novella: the Spanish the river. chapel with more beautiful frescoes Rooms are spacious and the by Bonaiuti and the pharmacy in the extensive roof terraces of this cloisters. former palace offer a peaceful escape from the bustle below and 10. The small but stunning Brancacci panoramic views of the city as it Chapel across the river at Santa spreads into the hills. Breakfast is Maria del Carmine with frescoes by served on these terraces but Antica Masolino, Masaccio and Filippino Torre doesn’t have a restaurant: Lippi. just one of the things that make it feel more like a selection of private Contact the extremely helpful local apartments than a hotel. tourist board for more ideas and inspiration: www.firenzeturismo.it. A rather grander home from home. A rooftop terrace at Antica Torre Baldovino WHERE TO EAT... THE HotEL BRUNELLESCHI OFFErs two RESTAURANTS, THE MORE FORMAL SANTA ElisabETTA IN THE towER AND THE casual OSTERIA DElla PagliaZZA WHICH HOTEL BRUNELLESCHI is a SERVES typical Tuscan DISHES AND OPENS OUT onto member of Great Hotels of the World Luxury Collection. THE PIAZZA Rooms start from £205. One of the highlights of our stay was an outstanding Caprese salad that would happily www.ghotw.com/Hotel- serve six back home at Casa Holloway. Sadly, I had to leave some to make way for Brunelleschi some fine pistachio ladened bread and a delicious suckling pig. If you’ve got any room or call 020 7380 3658. left, the chef is an award-winning ice cream maker. ANTICA TORRE DI VIA Baldovino is full of flavour, tucked down the side of Santa Croce it offers a warm TORNABUONI N. 1: Rooms start welcome and an embracing, easy going atmosphere: managing (somehow) to be from £150. www.tornabuoni1. both romantic and family friendly and com or call + 39 055 265 8169. to appeal to locals and visitors alike. FLORENCE TOWN offer small Lovingly chosen artisan produce forms group or private tours. the basis of the varied, generous and www.florencetown.com or call reasonably priced menu with special ++39 055 012 3994. antipasti, melting beef casseroles, hearty osso bucco and a wide selection of the Trattoria & Pizzeria BALDOVINO: pizzas that they’re famous for. Via San Giuseppe 22r. Our evening at Il Caminetto is off to www.baldovino.com or call a fabulous start with dishes that get lost +39 055 241773. in translation: Tuscan cheese wrapped If you have time to explore beyond Florence, take a look at in delicate dried beef to form little Il Caminetto parcels served with sweet and spicy Baldovino’s sister villa-hotel and green tomato and ricotta filled courgette flowers cooked in local artisan beer. Florence restaurant in the hills of Chianti: is a meat eater’s paradise (fish rarely gets a look in on the menu) and at Il Caminetto, www.villabordoni.com. Florentine favourite `Fiorentina` (Porterhouse-style steak) is spot on. We finish the Ristorante IL CAMINETTO : evening on their terrace with views of the Duomo and a memorable pairing of 30 year Via dello Studio 34r. old sherry (like liquid liquorice) and chocolates handmade by the manageress of this www.ilcaminettofirenze.com or family-run restaurant. call +39 055 239 6274. The restaurant owns two Sony has bought the rights to ‘Inferno’ and the film is due out in excellently located and December 2015. With Ron Howard directing and Tom Hanks reprising appointed rooms run on a B&B his role as Robert Langdon it promises to be fast-paced and action- basis: www.lestanzedicaterina.it. packed. But no thriller could ever be as thrilling as Florence itself..
Load more

Recommended publications
  • Routing Sheet
    LC 265 RENAISSANCE ITALY (IT gen ed credit) for May Term 2016: Tentative Itinerary Program Direction and Academic Content to be provided by IWU Professor Scott Sheridan Contact [email protected] with questions! 1 Monday CHICAGO Departure. Meet at Chicago O’Hare International Airport to check-in for May 2 departure flight for Rome. 2 Tuesday ROME Arrival. Arrive (09.50) at Rome Fiumicino Airport and transfer by private motorcoach, May 3 with local assistant, to the hotel for check-in. Afternoon (13.00-16.00) departure for a half- day walking tour (with whisperers) of Classical Rome, including the Colosseum (entrance at 13.40), Arch of Constantine, Roman Forum (entrance), Fori Imperiali, Trajan’s Column, and Pantheon. Gelato! Group dinner (19.30). (D) 3 Wednesday ROME. Morning (10.00) guided tour (with whisperers) of Vatican City including entrances to May 4 the Vatican Rooms and Sistine Chapel. Remainder of afternoon at leisure. Evening (20.30) performance of Accademia d’Opera Italiana at All Saints Church. (B) 4 Thursday ROME. Morning (09.00) departure for a full-day guided walking tour including Piazza del May 5 Campidoglio, Palazzo dei Conservatori, Musei Capitolini (entrance included at 10.00), the Piazza Venezia, Circus Maximus, Bocca della Verità, Piazza Navona, Piazza Campo de’ Fiori, Piazza di Spagna and the Trevi Fountain. (B) 1 5 Friday ROME/RAVENNA. Morning (07.45) departure by private motorcoach to Ravenna with en May 6 route tour of Assisi with local guide, including the Basilica (with whisperers) and the Church of Saint Claire. Check-in at the hotel.
    [Show full text]
  • Looking at the Pazzi Chapel's Umbrella Vault from Its Oculus
    Looking at the Pazzi Chapel’s umbrella vault from its oculus Nevena RADOJEVIC DiDA: Dipartimento di Architettura – Università degli Studi di Firenze, Italy Abstract: The subject of the research is the umbrella vault in the Pazzi Chapel in Santa Croce church in Florence. In some previous researches done by the author, attempts were made to formulate new hypotheses on the form-finding processes that could have determined the shape of umbrella’s vault sail. The analyses were done by correlating detailed surveys and geometric analyses of the vault, comprising the curves, surfaces and the possible masonry texture with the hypothesized form. The hypothesized form of the inner sail is obtained by a three-dimensional transformation of a toric surface, with respect to the fixed point (dome’s oculus) and constant length (torus radius), like the conchoid of Nicomedes in 2d. The vault is made by the inner sail (the conchoid surface) and the outer sail that is not visible in this moment (the hypothesized toric surface). The results were verified by overlapping the hypothesized inner sail’s form with the laser scanner data, and only 4% of points were out of the 3 cm range. This very particular form, even though it explains the building process in a very satisfactory manner, is not actually something that the visitors can see (with the naked eye). Actually, the conchoid surface (that is a solid central projection of torus), could be perceived like a transformation of torus only under certain conditions. First condition: the inner conchoidal sail’s surface should be mapped by the elements that represent the projection of the torus’s peculiar elements (circumferences for example) onto the conchoid surface from the fixed point (oculus).
    [Show full text]
  • Notes on a Florence Visit
    Notes on A Florence Visit For Great Views of Florence without the Steps Frescoes of the Last Supper in Florence Roof of the Rinascente Department store Roof of the Ospedele degli Innocenti Upper floor of the Orsanmichele Church Recectory at San Marco Piazzale Michelangelo – take the #12 or #13 bus Refectory at St. Maria del Carmine Roof of the Oblate Library – 2 blocks from Duomo Refectory of Ognissante Church Take the bus from San Marco up to Fisole Refectory at Santa Maria Novella -painted by a nun- Sister Trattoria Le Mossacce Nelli Refectory at Santa Croce Videos to View Refectory of San Salvi Refectory at Sant’Apollonia Cenacolo of Fuligno The Medicis – on Netflick Rick Ruggiero on Road Scholar’s Virtual Lecture Medici: Godfathers of the Renaissance -PBS YouTube – 3 hour walking tour of Florence Room With a View Secrets of Florence (on Hoopla) Books To Read Brunelleschi’s Dome – Ross King The Lives of the Artists – Vasari The Stones of Florence – McCarthy Birth of Venus – Dunant Looking at Painting in Florence – Paterson The Light in the Piazza - Spencer Places Not to Miss Mercato Centrale –Market, Food Court, Cooking School Grom Gelato Badia Fiorentina - for Night Vespers Duomo – inside without line – side entrance for English Mass on Sat. PM or Sun. Amici Card at the Uffizi for immediate entry Officina Profumo-Farmaceutica di Santa Maria Novella Ognissante Church – tomb of Botticello Giotto Crucifix Pazzi Chapel next to Santa Croce Leather School and Factory behind Santa Croce Vasari Corridor – expected to be opened this year Galileo Museum San Miniato Church Santissima Annunziata Church – painting of Mary completed by an angel Museum of Precious Stones Riccardo- Medici Palace – Chapel of the Magi San Maria dell Carmine Church -Brabcacci Chapel Santo Spirito Church – Michelangelo’s Crucifix .
    [Show full text]
  • 1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
    Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church.
    [Show full text]
  • A Private Chapel As Burial Space: Filippo Strozzi with Filippino Lippi and Benedetto Da Maiano in Santa Maria Novella, Florence
    A PRIVATE CHAPEL AS BURIAL SPACE 215 A Private Chapel as Burial Space: Filippo Strozzi with Filippino Lippi and Benedetto da Maiano in Santa Maria Novella, Florence ITO Takuma Keywords: Renaissance art, Medieval art, private chapels, funeral monu- ments, fresco painting Introduction Chapel decoration as burial space in Renaissance Florence had two dis- tinct tendencies, apparently opposing but not necessarily mutually exclu- sive. On the one hand, there was a growing demand for spatial coherence in religious buildings, especially in churches newly built in the Renaissance style, such as San Lorenzo and Santo Spirito. Chapels in these churches indeed generally entailed commissioning a few choice objects, such as an altarpiece or a painted window, and the funeral monuments were rather modest, comprised in many cases only of simple tomb-slabs. Chapels with a greater degree of spatial independence, on the other hand, permitted the patrons to develop highly personalized burial settings. One such example is the Sagrestia Vecchia in San Lorenzo, where Cosimo de’ Medici had a sarcophagus installed under the table at the center of the space as a funeral monument for his parents. In traditional gothic churches, too, family cha- . See for example E. Capretti, “La cappella e l’altare: evoluzione di un rapporto,” in C. Acidini Luchinat ed., La chiesa e il convento di Santo Spirito a Firenze (Florence, 996), 229-238. Research Fellow of the Japan Society for the Promotion of Science 216 pels, especially those in transepts, were decorated with lesser regard for the cohesion and unity of the church structures, and often involved sumptuous funeral monuments.
    [Show full text]
  • Art 232: History of Western Art II David Mccarthy Rhodes College, Fall 2006 414 Clough, Ext
    Art 232: History of Western Art II David McCarthy Rhodes College, Fall 2006 414 Clough, Ext. 3663 417 Clough, TTH: 12:30-1:45 Office Hours: MW: CRN: 17056 2:00-4:00 and by appointment. COURSE OBJECTIVES AND DESCRIPTION The objectives of the course are as follows: (1) to provide students with a comprehensive overview of the major images, artists, and movements of Western art from the Renaissance to the present; (2) to integrate these images with the broader social and intellectual history of their respective period; and (3) to help students develop the visual and analytical skills needed for further study in the history of art. Among the themes we will examine are the following: the development of naturalism in Renaissance art and its eventual abandonment in the late nineteenth century, the use of art as a form of political or spiritual propaganda, the continuing debt to classical ideals and styles, the effect of new technologies and materials on architecture, the development of new styles over the past century, and the changing status of the artist within Western society. Art 232 is the second half of a survey designed to introduce students to the history of Western art from its beginnings in the prehistoric period to the twenty-first century. Students are not expected to have had any previous experience with art history. Art 232 is a lecture course with some classroom discussion. TEXTBOOKS Sylvan Barnet. A Short Guide to Writing About Art, 8th edition. New York: Longman, 2005. Marcia Pointon. History of Art: Student’s Handbook, 4th edition.
    [Show full text]
  • Course Syllabus: “The Glory of the Renaissance”
    Course Syllabus: “The Glory of the Renaissance” Long title: “The Glory of the Renaissance: How Music, Painting and Architecture Thrived at the Nexus of Spiritual, Political and Intellectual Power in Fifteenth- Century Italy” LS 770-73 Summer 2017 Thomas Brothers, Professor of Music 071 Mary Duke Biddle Dept. of Music [email protected]/Office hours by appointment “The disciplines are interconnected, and a person cannot master one unless he seeks light from another.” Aeneas Silvius Piccolomini, 1450. Course overview You can lose yourself in the magnificent Duomo of Florence, completed by the great fifteenth-century architect, Filippo Brunelleschi. You can also lose yourself in a painting by Piero della Francesca, or in Guillaume Dufay’s brilliant music for the Catholic liturgy, pieces like the Missa Se la face ay pale—lose yourself in the sense of tasting a vast and brilliant world that leaves the petty concerns of day-to-day life behind. Fifteenth-century Italy enjoyed a strong tradition of art designed with this in mind. Composers, painters and architects used the full range of intellectual and emotional power available to them to create a transcendent world, and they did so through the patronage of powerful people who expected something in return. That is how the themes of art, spirituality, intellectual inquiry and politics intersect, and that is how some of the greatest art in the European tradition was created. Much of it is still around for us to enjoy and understand today. This course covers music, painting, architecture, religion and politics in the 15th Century, primarily in Florence and Rome.
    [Show full text]
  • MICHELANGELO: Los Angeles/Italy Professor Frank ARTH 373 Fall 2013/14 Course Description This Course Is Designed As an I
    MICHELANGELO: Los Angeles/Italy Professor Frank ARTH 373 Fall 2013/14 Course Description This course is designed as an introduction to the life and work of Michelangelo Buonarroti (1475-1564). We will investigate his painting, sculpture and architecture, while considering its context within the major urban cultural centers in which he worked: Florence and Rome. The course will proceed chronologically, but will vary from week to week as to relevant themes and methodological approaches to the career of arguably the most influential of all Renaissance artists. Among those topics to be examined during the course are: development and dissolution of a classical vocabulary; relationships between style and technique; art, biography and self promotion; the relationship between Christianity and sexuality for Michelangelo and the Cinquecento; patronage and context in Florence and Rome; the development of classical form; meaning and controversy in the cleaned Sistine Chapel Ceiling. Course Outcomes Students in this course should have a good understanding of the relationship between the cultural, political and artistic context that Michelangelo was a part of and how this affected his art. Changing geographic locations and differences in patronage also should be clearly understood throughout this course. How Michelangelo’s visual expression is related to his poetry should also be clear. The evolution of his style from about 1480 until his death is 1564 should also be clearly understood. Finally, the role that Vasari’s writing has in establishing Michelangelo’s reputation, should be understood. Course Requirements Paramount to the successful completion of this course is attendance at each lecture. The development of the materials in this class derives from the weekly lectures: you will be lost if you rely only on the reading.
    [Show full text]
  • Chapter 21 HUMANISM and the ALLURE of ANTIQUITY 15Th Century Italian Art
    Chapter 21 HUMANISM AND THE ALLURE OF ANTIQUITY 15th Century Italian Art Summary: This chapter acquaints the student with the scope of the renaissance or rebirth as this period is labeled. This chapter also develops the argument that the renaissance was born in the 14th century. Much of the artistic formulations had been developed in the fourteenth century, the focus on humanism and its expansion into education and rediscovering the works of ancient Greece and Rome. Humanism also emphasized commitment, responsibility and moral duty. This in turn became the foundation for civic leadership, which also promoted commissions to extol the virtues of the city and the individual. It was during this century that the German, Johann Guttenberg developed movable type that streamlined the printing press and made books more readily available. There was a concerted effort to acquire information in a very diversified range of topics from geology and optics to engineering and medicine. The economic fluctuations in Italy also forwarded the development of artists and schools, the condottieri became power brokers and set individual cities as centers of humanism and learning which was reflected in the art commissions. I. Lecture Model The social and iconographic methodologies can be useful in gaining an understanding of the work commissioned. These approaches can help to establish the importance of the religious commissions and the alignment of the secular patron with the religious interpretation as a tool to fix political authority. Patronage would be a very useful approach, as well, to explain the diversity of the representational work. 1) While religion had been the focus of much of medieval thought, the Italians of the fifteenth century were very much interested in humanity.
    [Show full text]
  • 67 – Pazzi Chapel. Basilica Di Santa Croce. Florence, Italy Filippo
    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 .
    [Show full text]
  • 59. Early Renaissance Architecture
    HUMANISM and the CLASSICAL TRADITION: EARLY ITALIAN RENAISSANCE ARCHITECTURE: (Brunelleschi and Alberti) Filippo Brunelleschi created the transition in architecture from the Middle Ages to the Renaissance. According to Vasari, after losing the competition of 1401 to Ghiberti, Brunelleschi accompanied Donatello to Rome to study ancient ruins. In contrast to Donatello, however, Brunelleschi was said to have renounced sculpture and to have turned his genius to architecture. By 1417, he had returned to Florence. There he designed the dome (or cupola) for the cathedral and submitted a model of it the following year. Filippo Brunelleschi. Plan of Santo Spirito (Florence) begun c. 1436 Brunelleschi’s mature style is best known from his last major commission- namely, rebuilding the church of Santo Spirito, located to the south of the Arno River. Although it was barely started before Brunelleschi’s death in 1446, both the plan and the existing nave reveal his intentions. The plan is a unified Latin cross with a symmetrical transept the same size and shape as the choir. The Florentine humanists thought that geometric principles could unlock mysteries at the heart of the universe and reveal the intentions of a God who was, if one only knew how to go about it, eminently understandable and had created the universe for human enjoyment. Brunelleschi identified a mathematical unit that served to determine the dimensions of every aspect of Santo Spirito. This unit, repeated throughout the interior, creates a rhythmic harmony. For example, the nave is twice as high as it is wide; the arcade and clerestory are of equal height, which means that the height of the arcade equals the nave’s width; and so on.
    [Show full text]
  • The Ornamentation of Brunelleschi's Old Sacristy of San Lorenzo in Florence Jessica Lynne Clinton Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 The ornamentation of Brunelleschi's Old Sacristy of San Lorenzo in Florence Jessica Lynne Clinton Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Clinton, Jessica Lynne, "The ornamentation of Brunelleschi's Old Sacristy of San Lorenzo in Florence" (2010). LSU Master's Theses. 3506. https://digitalcommons.lsu.edu/gradschool_theses/3506 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE ORNAMENTATION OF BRUNELLESCHI’S OLD SACRISTY OF SAN LORENZO IN FLORENCE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Jessica Lynne Clinton B.A., Louisiana State University in Shreveport, 2007 August 2010 ACKNOWLEDGMENTS I would like to dedicate this thesis to Nick Camerlenghi for his knowledge and guidance and to Julia Adkins for her passion for teaching that inspired me to pursue this degree. I would also like to thank Tyler Baronet, Christine Morgan, my parents, Melissa and Harvey Clinton, Jr., and all of my family and friends for their love and unwavering support. ii TABLE OF CONTENTS ACKNOWLEDGMENTS.......................................................................................................... ii LIST OF FIGURES...................................................................................................................
    [Show full text]