Proceedings of the First International Congress on Construction History, Madrid, 20th-24th January 2003, ed. S. Huerta, Madrid: I. Juan de Herrera, SEdHC, ETSAM, A. E. Benvenuto, COAM, F. Dragados, 2003. The plans and the work-site of Sant' Antonino's chapel in Sto Mark's in Florence -the work of Giambologna- in a manuscript in the Salviati Archives Ewa Karwacka Codini The manuscript «Notebook of the building of Sanr' Antonino's chape] in St. Mark's in F]orence, ]579-1589»' kept in the Sa]viati Archives in Pisa,2 forms a particularly interesting testimony to the p]anning and realisation of an architectural work in the last two decades of the ]6th century in Florence. The «Notebook» be]ongs to a kind of writing that is rather rare in the historica] archives of noble families and of its kind it is extraordinari]y detailed, rich and organic in data. It is divided into two parts: the first contains the journal of the expenses of the period ]579-94, with some copies ofbills; the second -the memories of the work by masters and ]abourers who worked in the chapel from May ] 580 to June 1589. Figure l. The ana]ysis of the manuscript shows a number of interesting factors about the architect' s ro]e in the second half of the 16thcentury, on the process of joint design , on client's ro]e in conceiving the work, on drawings, plastic works and on yard organization. The subject of the «Notebook», the chapel of Sant'Antonio in the church of St. Mark's in F]orence,' commissioned from Giambologna by the Salviati family,4 is one of the fundamenta] prototypes of a series of magnificent, ce]ebratory chape]s built between the end of the 16th century and the first decades of the 17''', in the Roman area, like those Figure 1 dedicated to Popes Clement VIIl, Sixtus V and Paul Frontispiece 01' theNotehook al the buildinl? al V in the basilica of Santa Maria Maggiore in Rome. Sanr'Antonin's chapel in St.Mark's in Florence, ]579-1589 ]n its composition we find a close link between (Archives 01' Salviati, Libri di cornrnercio e di architecture, sculpture and painting. The chapel, a amministrazione patrimoniale, 11. 113) ]2]6 E. Karwacka Codini handsome architectural composition contrasting white and coloured marbles with great dark bronze plaques, assembles the small and rather idiosyncratic repertory 01'architectural details which recurs in all 01' Giambologna's architecture. Figure 2. Figure 3 Ferdinando Ruggeri. Pianta del Vestiboln, e del/a Cappel/a di S. Antoninn Arcivescovo di Firenze ( Gori 1728) The entry to the hallway is characterised by a great Figure 2 round arc in serene stone, sustained by composite View of the interior of the San!' Antonino's chapel, the present situation columns and pilasters, surmounted by the marble statue 01' San!' Antonino. In the hallway, the two couples 01' doors on the side walls are inserted in the frescos 01' Passignano, Traslazione del corpo di The construction 01' the chapel, devoted to S. Antonino on the right-hand side and Esposizione Antonino Pierozzi officially canonized in 1523 by del corpo di S. Antonino on the left-hand side. An arc Pope Clement VII, belonged to the renewal counter- having the same size as the one at the entry toward the reformist program, 01' the Dominican church 01' SI. central aisle, sustained by two couples 01' marble Mark.5 The decisive change 01' this church (after the pillars in composite style, separates the hallway from elimination 01'the choir di viding the men' s area from the effective chape!. Both inside the hallway and the women's) was introduced with the construction 01' in the adjoining chapel, the architectural body is the chapel 01' San!' Antonino which stimulated the made 01' marble. The altar niches in ionic style and total change 01'the interiors. other architectural structures are located in the clear The chapel is divided into two environments, one grate constituted by a system 01' composite pillars at the same level 01'the central aisle 01'the church and sustaining the trabeation, applied to niches or panels, the other one underground. The upper level is elements framing sculptural and pictorial decoration. composed 01'a hallway and 01'the chape!. Figure 3. Under the trabeation each ofthe three walls is divided The funeral oratory and the crypt are located into three parts: in the central area we can find the underground. Figure 4. marble altar, whereas marble statues and the bronze The plans and the work-site of SanfAntonino's chapel 1217 episodes of the Saint's life in the greatest segments and four virtues in the smaller spaces are united by grotesque decoration. Under the arches, the Sain]'s life stories; on the pendentives and on the sides of the windows -Prophets and Sybille. Finally the floor drawing in colored marbles reflects the dome's shape. Figures 5, 6. Figure 4 Ferdinando Ruggeri. Pianta del/'Oratorio sotterraneo (Gori 1728) bas-reliefs are located on the sides. Gn the central altar, Alessandro Allori's canvas with the Apparizione del Cristo is accompanied by statues by Saint Giovanni Battista and Saint Filippo Apostolo. Figure 5 The painting of the Vocazione da San Marco by Ferdinando Ruggeri. Taglio del prospetto principale del/a Giovanbattista Naldini is placed near Saint Domenico Cappel/a di S. Antonino Arcivescovo di Firenze, e and Saint Tommaso d'Acquino, while Francesco del/'Oratorio sotterraneo, corrispondente al/e piante sul/a Morandini's painting with Gesu che guarisce il linea C.D. ( Gori 1728) lebbroso is set near Sant'Antonino Abate and Sant'Edoardo. Bronze panel s above the statues tell the story of Sant' Antonino's life. In the modelling of The clients of the chape] were Averardo the walls, characterized by a great plasticity and (1542-1595) and Antonio Salviati (1554-1619) who chromaticity, the architecture is tightly connected to fulfilled the last wishes expressed in the will of their the painting and sculpture. In the middle of the father Filippo of A verardo (1513-1572) particularly chape!, the sarcophagus of Sant' Antonino rests on a attached to the Dominican order and great venerator of marble pedestal. Sant' Antonino.6 The construction of the oratory for the The chapel space is sealed by a segment dome with family, which had at that time in Florence a notable octagonal base, surmounted by a lantern in white importance in the economic life and a prestigious marble. The intermediate area with pendentives, the political rale at the grand-ducal court/ was not only a underside of the arches and the dome are entirely religious fact but also a symbol of munificence and decorated with frescos. The pictorial program of the prestige. The work was committed by the family to dome is devoted to the Storie di Sant'Antonio: four Giambologna at that time considered as the most 1218 E. Karwacka Codini been working as architects- used only his trained eye and his knowledge 01' the andent architecture. It's no wonder that he took part in the construction 01' architectural, even though small struetures, without being in fact an architect, because the solution 01' structural problems was generally remitted to master builders and carpenters. A1'ter all, according to Alberti, who claimed the prominent role of the ideation and planning in his essay De re aedijieatoria, the architect shouldn't necessarily be the direct performer of the works, but he had to manage its realisation with intelligence. The first experience of Giambologna in architecture was the Altare del/a Liberta in the church of Lucca (1577-79). Contemporarily to the task entrusted to him by the Salviati family, he was working at the Grimaldi chapel in the church 01'San Francesco di Castelletto in Genoa (where, after all, he used the same compositive scheme 01' statues, bas-reliefs, painting and architecture) and since 1584 he had been working at the chapel of the Soeeorso in Santissima Annunziata, Florence.9 The Quademo, in which Giambologna is expressly named «architector», clearly confirms that the architectura] ideation of the chapel of Sant' Antonino together with the plastic and figurative creation undoubtedly belong to him.!o The possible contribution in the planning and realization 01' artists such as Ammannati, Buontalenti and others, pointed Figure 6 out by some researchers!! is definitely overcome by Ferdinando Ruggeri. Taglio per/ial1co del Vestibo[o, e del/a the manuscript. Cappella di S. Al1tOl1illO Arcives('ovo di Firel1ze, e The two surviving drawings of Giambo]ogna for de/l'Oratorio sotterralleo, corrispolldel1te alle Piante s!tlla the Salviati chapel, one 01'the general p]animetry and ( [illea E.F. Gori 1728) the other of the wall with the main altar!1 do not have the form 01' a free-hand sketch, which was the most frequent type during the 16th century, but are famous artist at the grand-ducal court and, as reported performed with drawing tools (except 1'or the by Vasari, «much in grace 01' our principIes 1'or his decorative patterns) and have a metric scale in virtues . very rare young man».R Francesco 1, who Florentine braecio. Both in orthogonal projections, employed him exclusively for his works, granted the they are characterised by an extreme descriptive artist to the Salviati family thanks to the good clarity and cleaned lines. The minute and elegant relationships between the duke and the family. Su1'1'ice representation 01'the details is amazing. AIJ the parts it to remember on this subject the 1'amous sculptures, of the structure and the decorative body are well realised by him a 1'ew years before the assignment, for de1'ined: not only pillars, columns, capitals, example the Deeano for the Boboli Garden, the Venus mouldings 01'the tympanum and frames, bul also the in the Grotticella, the bronze Apol/o for Francesco I's entire iconographic program of the sculptures, 01' the private room and the Rape ofthe Sabine women 1'orthe bas-reliefs and 01' the pictorial panel.