Free publication on www.friendsoftheuffizigallery.org Polistampa - Firenze

JOURNAL OF THE FRIENDS OF THE UFFIZI GALLERY No. 74 - April 2019 Cosimo’s Adventure The rise, consolidation of power, and ambitious in August, Cosimo’s authority no proof to support this, and it would be confirmed by the em- is much more likely that the two objectives of the first Medici Grand Duke who, with the peror at the end of September saw each other for the first time support of his mother, Maria Salviati, and his wife, Eleonora 1537 and the search for an ap- only when she disembarked at of Toledo, expanded and completely reformed his state propriate consort would begin. Pisa in 1539, already his bride His first attempt was unsuccess- following a proxy marriage. The marriage would be exceptionally n June 12, 1519, Cosimo I well matched. The two worked Ode’ Medici was born. Dur- together with shared objectives ing the 37 years of his reign, he to insure the success of their line. transformed Florence into a court Eleonora brought with her impor- city, while expanding the territory tant family ties, her knowledge of over which he ruled almost to the Spanish court protocol, and a sin- modern borders of the region of gular sense of luxury. Gifted with Tuscany. Two women stand out a natural talent for management, among those who accompanied Cosimo could count on her sup- him on this adventure, for both port, leaving the rule of the duchy contributing to his formation and in her hands whenever his own to his conception of the modern health or diplomatic missions state. The first was his mother, Ma- kept him from doing so himself. ria Salviati, granddaughter of Lo- Together they would have 11 chil- renzo the Magnificent, through dren while massively increasing whom Cosimo could claim de- their landholdings, leaving a solid scent from the main branch of state to their descendants. the family and not just the “popo- Cosimo’s politics are charac- lano” line to which his father, the terized by his notable pragma- celebrated condottiere Giovanni tism, which allowed him to realize delle Bande Nere, belonged. virtually all of his most ambitious Giovanni died in battle when objectives. He transformed the Cosimo was only seven years old. Tuscan countryside, promoting The following year, with the Sack land reclamation projects along of Rome, the Medici would be ex- the coast and encouraging the iled again from Florence and Ma- planting of olive trees to the ben- ria sent Cosimo to Venice for his efit of his subjects, who would Giovanni Battista Naldini, Portrait of Cosimo I de’ Medici, 1585, Gallery of Statues and protection. Accompanying him Paintings, Uffizi Galleries. nonetheless be increasingly ex- was his tutor, Pierfrancesco Ric- cluded from large portions of the cio, the future majordomo of his Margaret of Austria, the illegiti- ful: to claim the hand of Marga- territory, transformed into prince- court who would play such an im- mate daughter of Charles V. Here ret of Austria, by now too valu- ly hunting reserves. He expelled portant role in the choice of the Cosimo would see how the impe- able in the complex world of in- the Dominicans from the friary at artists that would work for Cosimo rial court functioned, its splendor ternational affairs, in which she San Marco, risking papal interdict in the first decades of his rule, the and its cosmopolitanism. was already destined for Ottavio against the city, but then allowed infamous “sect” criticized by Vasa- Less than a year later Alessan- Farnese, grandson of Paul III. Eleonora to invite the Jesuits to ri. On his return to Florence, Co- dro was assassinated by another Negotiations followed for other establish a presence in the capital, simo entered the court of the first cousin, Lorenzaccio, rendering prestigious princesses, but it was Vasari to use the basilicas of S. Ma- Duke of Florence, Alessandro, possible what was previously un- Eleonora of Toledo who would ria Novella and S. Croce as the as a page. He would be among imaginable, the succession of become Duchess of Florence. first laboratories for the architec- those who accompanied him to the 17-year-old Cosimo, heavily Part of Cosimo’s legend is Naples in the winter of 1535-6 for promoted by Maria Salviati. Fol- that he saw Eleonora during his Bruce Edelstein the engagement of his cousin to lowing the battle of Montemurlo journey to Naples, but there is (continued on p. 2)

IL GIORNALE degli UFFIZI 1 tural reform of churches promot- ed by the Council of Trent, and, together with Pius IV, would him- self found the Order of the Tribute to Knights of St. Stephen. He estab- lished Pisa as a city of exceptional Cosimo I. freedoms for Jews long before the emanation of the famous Boboli’s First “Livornina” by Ferdinando I, but then established the first Jewish Statue. ghetto in Florence. In art, he coopted the symbols of the Flo- The Peasant rentine republic as his own to then embrace a more explicit evo- cation of Augustus and the splen- Restored dor of imperial Rome in Medici Florence. Cosimo did not succeed Curator: in getting his title raised to King Alessandra Griffo of Etruria but he did obtain the title of Grand Duke of Tuscany Palazzo Pitti from Pius V. He died shortly be- fore his 55th birthday, leaving his children to rule over a completely From June 6 transformed state. to September 29, 2019 Giovanni Antonio De’ Rossi, cameo with Cosimo I de’ Medici, Eleonora of Toledo and five children, 1556-1558, Tesoro dei Granduchi, Palazzo Pitti, Uffizi Galleries. Bruce Edelstein Tribute to Cosimo at Pitti A tapestry series able with the Giovio series. But, Giovanni di Paolo Fancelli after the created in his honor and the above all, he noted the elaborate design of Baccio Bandinelli, Peasant with a Barrel, white marble. Boboli Gardens, first statue for the Boboli array of velvets, damasks, silks, gold and silver fabrics along Uffizi Galleries. Gardens are the centerpieces with as many as three series of of two of the exhibitions tapestries and, in the “sixteenth series – woven under the direc- celebrating the fifth centenary chamber better known as the tion of Pietro Févère, Giovanni of the birth of the future grand hall”, a collection of an- Pollastri and Bernardino van As- Grand Duke cient sculpture representing selt before 1664 and in part origi- not only a wide sampling of the nally designed for the Hall of Sat- Olympian gods, but also two sta- urn, now the heart of the Palatine alazzo Pitti celebrates the tues portraying peasants, works Gallery – recalls that the birth of Pfifth centenary of the birth commonly defined as secular or the Florentine tapestry works was of Cosimo I de’ Medici with two genre in nature. an initiative of the young duke exhibitions centered on a statue The “Peasant Emptying a Wa- which he pursued with extraor- and a tapestry series. The choice ter Barrel” on exhibit in the Hall dinary determination and con- was not made by chance. of the Niches from June 6 to the spicuous expenditure. Three years after the death end of September and the nine Ferdinando II commissioned of Cosimo in 1577, the ambassa- tapestries representing salient the tapestry series based on dor of the Serenissima (Venice), episodes of the life of Cosimo, drawings and cartoons of some a guest of Francesco I in the likewise divided between that of the best Tuscan painters of Grand Ducal palace, expressed same hall and the Sala Bianca, the period: Agostino Melissi, his amazement at the magnifi- recreate in part the guise of the Giacinto Gimignani, Cosimo Uli- cence of the dwelling. He walked sixteenth century layout. velli and Vincenzo Dandini. He through the rooms describing Additionally, as a homage also chose to hang the tapestries them as having only a few pieces within the homage, the Peasant celebrating his ancestor and the of furniture with polychrome created for Boboli underscores founder of the Grand Duchy of marble or imperial porphyry the fundamental role Cosimo Tuscany in the Secret Audience tops and a fairly limited number and his spouse Eleonora of To- Hall of His Most Serene High- of paintings – portraits of illustri- ledo played in the realization of ness - the last in the sequence of ous men and women, identifi- the Gardens; just as the tapestry rooms in the enlarged and reno-

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Agostino Melissi (drawing and cartoon), Sabatino Galeazzi and Matteo Benvenuti, under the direction of Giovanni Pollastri: Cosimo I takes Possession of Siena (1666-1667), wool and silk tapestry. Tapestry Deposits of Palazzo Pitti, Uffizi Galleries.

ated by Giovanni Fancelli before of Pitti, purchased in the mid- 1557 after a design of the master sixteenth century and destined Baccio Bandinelli, has also been to become a prime example for put on exhibit following the re- Renaissance and Baroque palace cent restoration carried out by gardens. Stefano Landi, Anne Kathrin The restoration, the history Potthoff, Piero Caliterna and of the statue within the Boboli Filippo Tattini. The conserva- Gardens, its unique patronage tive intervention that was above and its role in the further devel- all structural in nature freed the opment of Florentine sculpture statue from a disfiguring metallic are topics discussed in the cata- support, rendering it once again log, once again a Sillabe publica- visible from its backside where a tion, with contributions by Bruce rustic agricultural tool thus re- Edelstein, Mara Visonà, Daniele gains its role as protagonist. This Angelotti, Alessia Sisi and Vero- was the way Eleonora of Toledo nica Carpita as well as Alessandra envisioned it near Vasari’s lost Griffo in collaboration with the Agostino Melissi, attributed (drawing and cartoon), Pietro Févère (woven in the fishpond, where Buontalenti’s conservators. workshop in San Marco): Cosimo I Appointed Grand Master of the Order of Saint Grotto would later be built, then Stephen (1653-1655), wool, silk and yarn tapestry. Tapestry Deposits of Palazzo Pitti, the water reserve of the Gardens Alessandra Griffo Uffizi Galleries. vated representational wing on Ferri portray Saturn at the cen- Tribute to Cosimo I. A Woven Biography. the ‘piano nobile’ of Pitti named ter, the god who reigned over after the Planets in correspon- the Golden Age, in an allegorical Seventeenth Century Tapestries in His Honor dence with the vault decorations parallel with Cosimo, the ideal by Pietro da Cortona and his Prince and initiator of a prosper- Curators: Alessandra Griffo and Lucia Meoni équipe. As Lucia Meoni explains ous Golden Age for Florence, in the catalog published by Sil- whose woven biography splen- Palazzo Pitti labe, also containing a contri- didly unfolds in the tapestries bution of the historian Alessio recently restored in the Opera From June 6 to September 29, 2019 Assonitis, the frescoes by Ciro laboratories. The Peasant, cre-

IL GIORNALE degli UFFIZI 3 The Lanzi of the Loggia Among the celebrations in honor of Cosimo I, the Uffizi exhibit recounts history and curiosities of the German Guard instituted by Cosimo I in 1541 and abolished by the Lorraine in 1738

rganized by the Uffizi in Ocollaboration with the Medici Archive Project as one of many celebrations for the fifth centenary of the birth of Cosimo I de’ Medici, the exhib- it Tribute to Cosimo I: One-hundred Lanzi for the Prince owes its name to the numeric consistency of the Medici’s German Guard A Soldier of the German Guard and his Family, detail of the famous The Fair in Impruneta by Jacques Callot. (‘Guardia de’ Lanzi’ in Floren- tine dialect), their total num- ber being officially set at one- contrast with the “golden age” hundred, officers included. of fifteenth-century Florence Cosimo I de’ Medici estab- and the Republic), the Lanzi Tribute to lished the German Guard in today have practically been 1541 and for almost two-hun- forgotten. In effect, few know Cosimo I dred years, these halberdiers that the name for which one of in full array were a constant Florence’s most iconic monu- One-hundred presence of great prestige in ments (the ‘Loggia de’ Lanzi) Lanzi for the the midst of Medici court life, is best known originates from guaranteeing the security its use as headquarters of the Prince of the Grand Dukes and German Guard during the their families. The Ger- Medicean reign. man Guard came to an The exhibition, fitting- Curators: Maurizio end only in 1738 when ly located in rooms on the Arfaioli, Marco Merlo the Lorraine, the new East Wing of the Uffizi and Pasquale Focarile dynasty ruling over Flor- that share a view over the ence, replaced them Loggia itself, offers a re- with the Swiss Guard. construction of the role Gallery of Statues Coming from a these German soldiers and Paintings, ‘Germany’ whose bor- held in Florence during Uffizi Galleries ders at the time extend- their centuries of service ed from the Low Coun- to the Medici Dukes of tries to the region of Tren- Florence and Gran Dukes From June 6 tino, and from Lorraine of Tuscany. Beginning with to Bohemia, the soldiers of the their foundation at the time of to September 29, 2019 German Guard and their fami- Corslet of the German Guard, Bargello Cosimo I, the exhibit unfolds lies had a profound impact on National Museum. along a path of paintings, en- the culture and history of Flor- gravings, drawings, armor, ob- yond) from major points of ence for nearly two centuries. jects, documents and sounds view: social, cultural, military, Despite this, because they were that the Risorgimento and na- that illustrate the history of the artistic and literary. considered foreigners and tional historiography painted presence of the ‘Lanzi of the also the symbol of a regime as tyrannical and decadent (in Loggia’ in Florence (and be- Maurizio Arfaioli

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The Creation of the Ghetto of Florence 2753 florins. None of the sellers are paid in cash: instead they are invited to loan the sum re- ceived to the Monte di Pietà, a Causes, reasons, intrigues communal debt fund, in ex- change for an annual interest of 5% on the accounts opened in Research by Ippolita their name. This clever finan- Morgese sheds light on the cial maneuver is Carlo Pitti’s do- ing. He is the one who directs figure of Carlo Pitti, a the building site, he decides the shrewd and powerful man rental fees, he studies the ghet- at the time of Cosimo I toes of Rome, Venice, Ferrara and Mantua to regulate the norms to be established for dai- lorence 1567. Cosimo I’s ly life in the ghetto of Florence. Fpolicy of liberality towards A faithful courtier and an astute the Jewish population suddenly mediator working in the shad- changes. To obtain the title of ows, Pitti holds important offic- Grand Duke, opposed by the es in almost every sector of pub- majority of European powers, lic life together with the conse- he cedes to the pressure of Pope quent power: owner of a luxuri- Pius V who is willing to support ous palace located on via Mag- him in exchange for the founda- gio, near the better-known pal- tion of the ghetto. ace of Bianca Cappello, he was Working behind the scenes senator in 1575, Head of the is a member of the Magistrato Su- Nine in 1576, Accoppiatore (coun- premo, the Supreme Court and cilman) from 1575 to 1579 and highest judicial power of the that same year, Captain of the Medicean state: Carlo Pitti. Parte Guelfa, He then became Who is Carlo Pitti? The dis- Procurator in 1581 and for covery of his archives allowed many years the Superintendent me to reconstruct the history of of the Arch-confraternity of the birth of the ghetto of Flor- Mercy. However, his ascent ence in 1571 and to trace the In this page, the Palace of Carlo Pitti in via Maggio and a detail of the façade with the eventually comes to an end, if, profile of a key personage in the bust of Cosimo I, placed there with the concession of the Grand Duke himself as a clear as Giuliano De’ Ricci writes in power system of the time. sign of the special relations linking Carlo Pitti to the reigning family. his Chronicle dating to the early He was the one who in- seventeenth century, he dies of vestigated the Jewish bankers state; he who redacted the draft tral and commercial zone of ‘sorrow’ at age 64 on May 22, operating in Tuscany; he who for the decree of expulsion. His Florence. Carlo Pitti closes the 1586. ordered the census of the Is- dossier brings Cosimo I to an- negotiations in fifteen days. The raelites living in the Medicean nul their rights, to hunt them total cost of the purchase is Ippolita Morgese down and relegate them to con- finement. The ghetto was to be created north of No one the Old Market in an area today located knows between Piazza della Repubblica, via dei about him Pecori and Piazza Carlo Pitti, the true dell’Olio. At the time, it was one of founder of the the most disreputa- Jewish Ghetto ble zones in the city. The Medici had pre- in Florence cise objectives: buy up all of the proper- by Ippolita Morgese ty, renovate and rent to the Jewish popula- Publisher Le Lettere tion, improve a cen-

IL GIORNALE degli UFFIZI 5 Two Prestigious Victories

Ferdinando I’s political and cultural testimony in favor of his son Cosimo II, the fresco cycle depicting victories over the infidels at Bona and Preveza in Palazzo Pitti’s Hall of Bona, will soon be restored thanks to the generosity of the Friends

The pictorial cycle in the a kind of last political and cul- Hall of Bona is part of a vast tural testament on the part of decorative program com- Ferdinando in favor of his son. menced in the last decade of the The rapidity of execution sug- Cinquecento involving the en- gests the participation of pupils tire right wing of the Medicean and collaborators that included royal palace, Palazzo Pitti. The Ulisse Ciocchi and Pandolfo chamber, the reception hall of Sacchi, the former identified The Hall of Bona, Palazzo Pitti, Uffizi Galleries. the apartments assigned to for- as author of the Virtues in the eign rulers, was painted by the western portion of the vaulted of the decoration follows both paigns, although he skillfully Florentine master Bernardo ceiling and the large southwest documentary and apologetic emphasizes the prominence Barbatelli, also known as Ber- lunette and of the Hermes and intents: the exaltation of resolve of the protagonists of the two nardino Poccetti, between Sep- Athena, the latter, of the vases of in the defeat of the infidels and, conquests in their foreground tember 16, 1607, the year of the flowers crowning the scene. The consequently, the celebration of placement within the scenes. capture of Bona (today Annaba series of fictive landscape paint- the Medicean dynasty. The symbolic value of the two in Tunisia) and, presumably, ings are by another hand. The two main scenes rep- prestigious victories – both October 1608, the year Co- Benedetto Buonmattei is resented on the long walls, the Christian and political-cultural simo II and Maria Maddalena perhaps the inventor of the Conquest of Bona and the Battle – should also not be forgotten: d’Austria were married. In ef- iconographic program where of Preveza (today Amvrakia) il- Saint Augustine was the Bishop fect, a payment dated August 20, painting simulates an architec- lustrate two military operations of Bona; Preveza was the an- 1609 attests to the completion tural framework studded with of the Order of the Knights of cient Nicopolis founded by Au- of the works. statues, ornaments, golden mo- Saint Stephen. Poccetti faithful- gustus. The chamber’s iconograph- saics and large battle and land- ly references prints used in the The parallel with ancient ic message can be interpreted as scape scenes. The central theme official account of the two cam- Rome, a motif of political pro- paganda already dear to Ferdi- nando, recurs many times in the representation: in the barreled vault, Cosimo II is portrayed as Jupiter; along the walls, the painted statues, the panoply decorating the pilasters as well as the busts of the two Grand Dukes and the armor on some of the soldiers are clear refer- ences to the antique. The paral- lel between the Knights of Saint Stephen and the Argonauts is also reintroduced, both partak- ing in the struggle against bar- barians, a paragon found again in the theatrical productions performed for the wedding of Cosimo II. These two battles, af- ter all, enjoyed an iconographic, literary and critical fortune for

Bernardino Poccetti, The Conquest of the City of Preveza, fresco. Hall of Bona, Palazzo Pitti, Uffizi Galleries.

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Bernardino Poccetti, The Conquest of Bona, fresco. Hall of Bona, Palazzo Pitti, Uffizi Galleries.

point of view” in a programma- tic intent to show works already completed and those planned for the future. The fictive niches with statues (Apollo and Diana on the short Northeast walls and Paris and Juno just opposite at the end of the long walls) have been carefully chosen and serve beyond the evocation of the an- tiquarian passion of the Grand Dukes: the love of the arts and the passion for the hunt tie Francesco I and Ferdinando I respectively to Apollo and Di- ana, while Paris and Juno are a probable wish for fecundity for Cosimo I and his spouse. To complete the narration: the base that runs along the four walls is decorated with the majority of the century, pro- flanked by Minerva and by the government. In the main scene scenes in brown monochrome moted by Ferdinando himself. Glory of Princes surrounded below, the crowning political tonalities. These have been re- The commitment to the de- by six allegories of the Virtues message can be identified in the painted. The only ones that can fense of Christianity is transfig- of a good leader. In the North- group of soldiers who present be attributed to the workshop ured into a divine mission that east lunette, the figure of King Ferdinando with prisoners and of Poccetti are the scenes with Ferdinando inherited from his David, the sovereign appointed war booty in an explicit refer- Diana Surprised by Actaeon and father Cosimo I who, following by God, embodies the “model” ence to ancient triumphs and Apollo with the Muses on Helicon, the iconological theories of Ce- for the providential manner in also to the historical figure of which are therefore contempo- sare Ripa, is portrayed on the which both Cosimo and Ferdi- Godfrey of Bouillon, general of rary to the entire decorative cy- vault as the allegory of Justice, nando assumed the reins of the the first Crusade. cle. Thanks to a generous dona- The opposite wall instead tion on the part of the Friends is dedicated to Peace and its of the Uffizi Galleries and, in acclaim that can be rightly ob- particular, Veronica Atkins – tained thanks to the military vic- the cycle will soon be restored. tories; Peace brings wealth and But that will be the topic of sub- abundance to the ducal reign. sequent, more in-depth consid- This justifies the image of the erations. port of Leghorn and the plan of the city “seen from a bird’s eye Maria Cristina Improta

Bernardino Poccetti, View of the Port of Leghorn, fresco. Hall of Bona, Palazzo Pitti, Uffizi Galleries.

Bernardino Poccetti, Allegorical Representation of Cosimo I de’ Medici, fresco. Hall of Bona, Palazzo Pitti, Uffizi Galleries.

IL GIORNALE degli UFFIZI 7

Life at the Uffizi ASSOCIAZIONE

n A Letter from the States Tribune and be able to admire President Board of Directors Countess Maria Vittoria Colonna Rimbotti the works from a close distance. President We willingly publish this letter Even if I understand perfectly Vice-President - Emanuele Guerra Countess Maria Vittoria Colonna Rimbotti that the Association received from an the motivation is to protect the Executive Directors - Patrizia Asproni, Vice-Presidents - Michael J. Bracci, American friend, Claudia Quentin, magnificent marble pavement… Ginevra Cerrina Feroni, Andrea Del Re, Emanuele Guerra a well-known collector of Renais- I still consider it a shame! Fabrizio Guidi Bruscoli, Mario Marinesi (Treasurer), Executive Director - Lisa Marie Browne sance and Baroque sculpture. My thanks to the Director of Elisabetta Puccioni (Secretary), Legal Counsel - Howard J. Freedman the Uffizi, Dr. Eike Schmidt, to Oliva Scaramuzzi, Eike D. Schmidt, the President of the Amici degli Catterina Seia Treasurer - Bruce Crawford November 2018 Uffizi, Countess Maria Vittoria Auditors- Francesco Corsi, Secretary - Barbara Chamberlain Rimbotti, and to all of the Ameri- Enrico Fazzini, Corrado Galli I have been visiting the Uffizi can Friends of the Uffizi for their Directors - Diana M. Bell, Susan D. McGregor, Alternate Auditors - Alberto Conti, Madeleine Parker, Diann G. Scaravilli Gallery for over fifty years now contributions to making a visit Valerio Pandolfi and I have spent many hours to this museum a truly unforget- Honorary Member admiring the works, enriching table experience. Secretariat - Tania Dyer, Bruna Robbiani Veronica Atkins c/o UnipolSai, Eike D. Schmidt, Uffizi Galleries Director my understanding thanks to via L.Magnifico 1, 50129 Firenze. this superb collection. Over the Claudia Quentin Tel. +39 055 4794422 - Fax +39 055 4792005 course of time, I have witnessed [email protected] Advisory Board the various changes made by the Welcome Desk - Giuliana Dini Chairman - Diann G. Scaravilli successive Directors in their ef- n Tony Cragg at Boboli Galleria delle Statue e delle Pitture degli Uffizi,Entrance 2 - Tel. +39 055 285610 Vice Chairman - Daniela Di Lorenzo forts to intensify the value and the emotion of a visit to this From May 7 to October 13, [email protected] Advisors - Linda Civerchia Balent, unique collection, engendered 2019, the Boboli Gardens will Francine Birbragher-Rozencwaig, triannual publication Scott Diament, by the Medici, the true and veri- host the works of the sculptor of the Amici degli Uffizi Gordon A. Lewis Jr., table fathers of Florence. Tony Cragg, an artist of inter- Editor-in-chief Irvin M. Lippman, Ellen Stirn Mavec, During my last visit to Flor- national fame and one of the Maria Vittoria Colonna Rimbotti Meredith A. Townsend, ence in May 2018, I was particu- personages most open to experi- Linda J. Tufo larly impressed by the renova- mentation with the formal and Editorial board Honorary Members tions, the improvements in light- technical potential of the plastic President H.R.H Princess Maria Pia di Savoia ing and the new wall colors that arts. Since 1977, Cragg has been Eike D. Schmidt de Bourbon-Parma, give the gallery a pleasing mod- living and working in Germany, Contessa Chiara Miari Fulcis Ferragamo Uffizi Coordinator ern look. I was also pleasantly sur- in Wuppertal, where he founded Andrea Acampa Friends of the Uffizi Gallery prised at the fact that the custodi- the Waldfrieden Sculpture Park, 205 Worth Avenue Suite 201 ans of the museum are now very a famous center of contempo- Managing Editor Palm Beach, Florida 33480 Maria Novella Batini Tel.: 561.289.4090 welcoming and well informed, rary sculpture in dialogue with Fax: 561.391.1597 capable of giving proper advice nature: his investigation of the Contributors for this issue Maurizio Arfaioli, Bruce Edelstein, [email protected] to those searching out particular rapport between a work of art Alessandra Griffo, Maria Cristina works of art. As a collector and and natural space is very evident Improta, Ippolita Morgese HOW TO JOIN lover of ancient sculpture, I was in the exposition in Boboli – THE FRIENDS OF THE Translator disappointed not to enter the which is in effect a public space Josephine Rogers Mariotti UFFIZI GALLERY – a theme that has been the focus of his attention in most recent Assistant Editor Membership dues are integral Bruna Robbiani Tony Cragg, Industrial Nature, years. The exhibit is curated by to the mission of Friends aluminum, 2015. Eike Schmidt and Jon Wood. 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 Amici degli Uffizi with their planned giving or in-kind 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/

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