Palazzo Corsini, Firenze

Originally, the magnificent Palazzo Corsini began as a casino (a small house surrounded by a large garden) that extended to the banks of the Arno River where Lungarno Corsini is located. The casino belonged to the Ardinghelli family, then to the Medici, and finally to the Corsini: in 1649 the wife of the Marchese Filippo Corsini, Maria Maddalena Macchiavelli, purchased the palace from the Grand Duke Ferdinando II de’ Medici. Today it is in the hands of the Corsini descendants: Miari Fulcis and Sanminiatelli.

The Palazzo today appears as a late Baroque building; one sees Baroque details throughout, from the roofs decorated with statues and terracotta vases – a novelty for Renaissance Florence – and the main, U-shaped courtyard that opens towards the riverbank. The two men responsible for the way the Palazzo Corsini looks today were Bartolomeo Corsini (1622-1685), the son of Filippo Corsini and Maria Maddalena Macchiavelli and, Filippo son of Bartolomeo’s son (1647-1705) who expanded the portion of the Palazzo that extends towards Ponte S. Trinita.

The construction continued non-stop for 50 years. The magnificent interior decorations, which were completed between 1692 and 1700, belong to one of the finest and most intense moments in Florentine painting.

The family commissioned several artists to decorate the noble apartment on the first floor, that includes Galleria Aurora, the Salone, the ballroom and other important rooms; the outstanding painters include Anton Domenico Gabbiani, Alessandro Gherardini and Pier Dandini.

Let’s start at the GROUND FLOOR: consisting of the Summer Apartments and Halls of the Nymph. The decorative scheme here reveals the most romantic and decadent side of the Palazzo with the impressive frescoes and of the evocative grotto built by architect Antonio Ferri.



One level up, the main floor: from the lower floor one reaches the “noble” floor through the imposing grand staircase. From the hallway open the doors to rooms and rooms filled with beautiful frescoes and stuccoes, perfectly preserved. The coup de gras is the majestic Throne Room (320 square meters) where you can feel the ambience of noble antiquity.

Una cornice sfarzosa che si affaccia direttamente sul Lungarni e una vista intrigante.  A magnificent setting overlooking the Lungarni and an intriguing sight.

The Throne Room
View from across the Arno

The Palazzo from the Arno River

Few among the private palaces of Florence are as gorgeous as the splendid Palazzo Corsini, also called “al Parione” and belonged to the famous Corsini family, in the 17th century the richest and most important of all Florence after the Medici. An ascent that culminated in 1740 with the election of Lorenzo Corsini to the papal throne with the name of Clemente XII.

With such prerequisites, it is not surprising that the building with its grandiose façade overlooking the Arno is an architectural masterpiece rich in precious jewels and a collection of paintings, the Galleria Corsini, which can be considered the most important private art collection in Florence. His style (the villla was built at the turn of two centuries, between 1656 and 1737, with at least fifty years of uninterrupted work) is that of a flourishing and decided baroque: each element is stunning scenery and decoration, with a grand façade to the front, from the terrace to the attics with balustrades, until reaching the perfect expression of the “marvelous” in the large helical staircase attributed to Gherardo Silvani.

The building is divided into three main bodies that surround a large courtyard, and among the first things that jump to the eyes there is the obvious asymmetry between the two side parts; according to the original project, in fact, the left wing had to be as big as the right one (ie about twice the current size). Also worthy of note is the crowning of the roof, with the terracotta crater vases and the balustrade decorated with stone statues, following suggestions similar to those that animated the classic “Italian gardens” destined to be famous throughout Europe.

The interiors of Palazzo Corsini at the Parione show once again the best and most fascinating insights of the baroque period, with a great work of stuccos and decorations; Particularly striking is the artificial grotto on the ground floor, designed by Antonio Maria Ferri, an artist who was also the architect in charge of permanently closing the villa’s works; to him the merit for today’s appearance of Palazzo Corsini. In addition to the Silvani helical staircase there is also a monumental staircase made by Ferri that culminates in the staircase of Pope Clement XII.

The rooms of the building are full of original decorations, with frescoes, stuccoes and decorations: especially the Salone del Trono and the Ballroom stand out, truly immense rooms (the Salone del Trono measures about 320 square meters) with rich frescoes on the ceilings, columns , eighteenth-century busts.



On the first floor, Galleria Corsini is a precious casket that holds masterpieces of timeless artists, especially relating to the seventeenth and eighteenth centuries Italian but not disdaining the Renaissance, with a prevalence of Roman, Neapolitan and Bolognese schools: among the exhibited painters, Rubens, Beato Angelico, Caravaggio, Van Dyck, Murillo, Filippo Lippi, Luca Signorelli, the Pontormo, Salvator Rosa, Luca Giordano, Gentileschi, and Giovanni Bellini. The Corsini Gallery also hosts bronzes and furniture from the eighteenth century.

Below is a history of the Palazzo Corsini from the 1905 book “Florentine Palaces, And Their Stories” by Janet Ross – some of the scholarship from that day may have changed since!  

PALAZZO CORSINI: MONUMENTAL STAIRCASES AND PRIVATE COLLECTIONS

The Corsini become a wealthy Florentine family in 1500: Palazzo Corsini, also known as the Parione, located on Lungarno Corsini, is still a family home. The building is the result of the acquisition and merger of many historic houses built by different architects: Alfonso Parigi the Younger, Ferdinando Tacca, Pierfrancesco Silvani – author of the beautiful spiral staircase, and Antonio Maria Ferri – who finished the project by drawing the current frame. In addition to the spiral staircase made by Silvani and the monumental one by Ferri, the interior of several rooms of Palazzo Corsini and its halls are filled with frescoes, decorations and period furnishings. The Corsini Gallery, inside the building, is the most important private art collection of Florence, with works dating back to the 1600s and1700s, both by Italian and European Renaissance artists.

Florence, wonderful Florence!

Oh, how I have missed you! Your hidden secrets and outward beauties!

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The Albizi family headquarters; they were the mortal enemies of the Medici family:

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The Valori Altoviti Palace was built in the 15th century by the Albizzi family. The palazzo was taken away from the family after the exile of Rinaldo Albizzi, who had opposed Cosimo il Vecchio in a frantic struggle for power.

The palazzo was purchased by the Valori, and the humanist Baccio Valori had a new palace constructed at the end of the 16th century, bringing together this palace, a Strozzi palace, and another residence.

On the new façade, Baccio Valori had the stelae painted by Giovan Battista Caccini with the busts of 15 illustrious men, but little known by the people, who called it the Palazzo Visacci  (nasty faces). The palazzo was restored in the 18th century, and later became the property of the Altoviti family.

 

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Vault of the blind.

 

Calendimaggio, May Day

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One of the oldest Florentine customs, well-known during the Renaissance, was the annual Calendimaggio Festival. On this day, young men got up early and decorated their sweethearts’ doors with branches of flowering shrubs, decorated with ribbons and sugared nuts.  The girls, wearing pretty frocks and carrying flowers and leaves, danced to the music of lutes in the very elegant Piazza Santa Trinita.

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According to Wikipedia:

“In Italy it is called Calendimaggio or cantar maggio a seasonal feast held to celebrate the arrival of spring. The event takes its name from the period in which it takes place, that is, the beginning of May, from the Latin calenda maia. The Calendimaggio is a tradition still alive today in many regions of Italy as an allegory of the return to life and rebirth: among these Piedmont, Liguria, Lombardy, Emilia-Romagna (for example, is celebrated in the area of the Quattro Province or Piacenza, Pavia, Alessandria and Genoa), Tuscany and Umbria.

This magical-propitiatory ritual is often performed during an almsgiving in which, in exchange for gifts (traditionally eggs, wine, food or sweets), the Maggi (or maggerini) sing auspicious verses to the inhabitants of the houses they visit. Throughout the Italian peninsula these Il Maggio couplets are very diverse—most are love songs with a strong romantic theme, that young people sang to celebrate the arrival of spring.

Symbols of spring revival are the trees (alder, golden rain) and flowers (violets, roses), mentioned in the verses of the songs, and with which the maggerini adorn themselves. In particular the plant alder, which grows along the rivers, is considered the symbol of life and that’s why it is often present in the ritual.

Calendimaggio can be historically noted in Tuscany as a mythical character who had a predominant role and met many of the attributes of the god Belenus. In Lucania, the Maggi have a clear auspicious character of pagan origin. In Syracuse, Sicily, the Albero della Cuccagna (cf. “Greasy pole“) is held during the month of May, a feast celebrated to commemorate the victory over the Athenians led by Nicias. However, Angelo de Gubernatis, in his work Mythology of Plants, believes that without doubt the festival was previous to that of said victory.”

Carnevale a Firenze

In ancient times, the Carnevale of Florence was among the most brilliant and noisy on the Italian peninsula.  From the Medici times forward, members of the same noble families wore the same kind of masks and went through the city until all hours, singing and carrying so many torches it was “as if it were full day.”

The carriages courses had not yet been invented, but the revelry and the noise that was made in the streets in those days made Florence the most carefree and gay city in the world.

Carnival goers would go to the Mercato Nuovo (where the silk merchants and drapery shops were located) with flasks, and also to the Mercato Vecchio, between ferrivecchi and pannilani sellers. The young of all the leading families all took part in this gazzarra of the ball, going around disguised in creative ways and playing pranks on the unsuspecting.

More than anything, however, they tried to throw big balls into the shops so that the merchants were forced to close and send their workers out to have fun too. As long as the matter remained within these limits, people enjoyed at it, especially when in the Old Market they were throwing a ball into the workshop of a iron smith, bringing down pans, tripods and jugs, with a deafening noise.

But, over time, the revelry became excessive and caused riots. When the young nobles threw out balloons that had been soaked in mota, they ruined the fabrics and drapes of the merchants, creating great economic damages.

Hence, quarrels arose and the people objected. If the nobles were creating such problems, the plebs wanted to give them a taste of their own medicine. The commoners  used bunches of rags that were drenched in pools and rivulets. These filthy bundles dirtied everything. Violence ensued in retribution.

After hundreds of arrests, the Eight of Guardia and Balìa issued a ban ordering, with the threat of severe penalties, that no one could get out with the ball before 10 pm and before the trumpets of the City had gone on the streets playing the trumpets to warn the merchants.

(Taken from Old Florence by Giuseppe Conti).