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.

The Bargello is re-opened

It’s been a long wait, but today I got a ticket and visited the museum.  It was like going home.  And, the crowds were normal, like pre-Covid levels.  That was a bit comforting as well.

Today I took an idiosyncratic group of photos, and skipped taking pictures of the usual suspects that I love so much (Donatello, Desiderio da Settignano et al).  So, enjoy this random group.

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And now, I get a bit more serious with great artwork:

Michelangelo:

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Giambologna:

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Cellini:

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Chiesa di Sant’ Ignazio, Rome

With the plethora of churches in Rome, you might think it would be hard to have a favorite.  But, for me, The Church of St. Ignatius of Loyola at Campus Martius is my favorite.

It is a Roman Catholic titular church dedicated to Ignatius of Loyola, the founder of the Society of Jesus.

What I love about it is the ceiling fresco:

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The story of this incredible building and its surroundings begins with the gift, in 1560, from Vittoria della Tolfa, the Marchesa della Valle. She donated her family isola, which was an entire city block and its existing buildings, to the Society of Jesus in memory of her late husband the Marchese della Guardia Camillo Orsini. This was also the founding the Collegio Romano and the beginning of the building of a church with a different name from the one that is discussed in this post.

Although the Jesuits received the marchesa’s land, they did not get any funds from her for completing the church. They were able to build a church, but it would later be dismantled so that this current church could be built on the site and was used by the Collegio Romano. Over time, the old church became insufficient for over 2,000 students of many nations who were attending the College at the beginning of the 17th century.

Pope Gregory XV, who was a former student of the Collegio Romano, was strongly therefore attached to the church. Following the canonization of Ignatius of Loyola in 1622, he suggested to his nephew, Cardinal Ludovico Ludovisi, that a new church dedicated to the founder of the Jesuits should be erected at this site.

The young cardinal accepted the idea, asked several architects to draw plans, among them Carlo Maderno. Cardinal Ludovisi finally chose the plans drawn up by the Jesuit mathematician, Orazio Grassi, professor at the Collegio Romano itself.

The foundation stone was laid on August 2, 1626, four years later, a delay which was caused by the fact that a section of the buildings belonging to the Roman College had to be dismantled. The old church was eventually demolished in 1650 to make way for the massive Church of St. Ignatius of Loyola, which was begun in 1626 and finished only at the end of the century. In striking contrast to the earlier Church of the Annunciation, which occupied only a small section of the Collegio Romano, the Church of St. Ignatius of Loyola took up a quarter of the entire block when it was completed.

The church was opened for public worship only in 1650, at the occasion of the Jubilee of 1650. The final solemn consecration of the church was celebrated only in 1722 by Cardinal Antonfelice Zondadari. The church’s entrance faces the Rococo Place of San Ignazio was planned by the architect Filippo Raguzzini.

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Andrea Pozzo, a Jesuit lay brother, painted the grandiose fresco that stretches across the nave ceiling (after 1685). The fresco celebrates the work of Saint Ignatius and the Society of Jesus in the world, presenting the saint welcomed into paradise by Christ and the Virgin Mary and surrounded by allegorical representations of all four continents.

Pozzo’s work seems to visually dissolve the actual surface of the nave’s barrel vault, arranging a perspectival projection to make an observer see a huge and lofty sky filled with floating figures.

A marble disk set into the middle of the nave floor marks the ideal spot from which observers might fully experience the illusion.

A second marker in the nave floor further east provides the ideal vantage point for the trompe l’oeil painting on canvas that covers the crossing and depicts a tall, ribbed and coffered dome. The cupola one expects to see here was never built and in its place, in 1685, Andrea Pozzo supplied a painting on canvas with a perspectival projection of a cupola. Destroyed in 1891, the painting was subsequently replaced.

Pozzo also frescoed the pendentives in the crossing with Old Testament figures: Judith, David, Samson, and Jaele.

Pozzo also painted the frescoes in the eastern apse depicting the life and apotheosis of St Ignatius. Pozzo is also responsible for the fresco in the conch depicting St. Ignatius Healing the Pestilent.

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It is, of course, the depiction of the American continent that delights me the most. I never tire of craning my neck to look up at this masterpiece.

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Uffizi, part 3

A stroll through the almost empty galleries in late June 2020 afforded me a slow and enjoyable experience with some fabulous artworks in Florence.  Here’s what else (along with Michelangelo and Leonardo) caught my eye.

 

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Looking left:

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Looking right:

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Looking center.  I want this space to be my permanent home:

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I’m a fan of Ghirlandaio:

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Another Ghirlandaio:

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I cut my teeth as an art historian in the study of classical art, as seen through Neo-Classical eyes, like Canova and Thorvaldsen.  I’m always a sucker for these appealing classical sculptures:

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Hey, is that a Bronzino I see way up there? I think it’s a copy of the real thing, which is hanging in a gallery.

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Oh, Giotto.  I’ve missed you so.

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And Rosso Fiorentino, how lovely you are still:

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Pontormo had his own distinct ideas about how (everything) the Expulsion from the Garden of Eden must have appeared:

 

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Still more to come.

Uffizi, the Leonardo da Vinci gallery

My recent first trip back to the Uffizi allowed me to enjoy the famed museum without the usual crowds.  This is my idea of heaven.  Just look:

 

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Come with me into the new Leonardo da Vinci and Andrea del Verrochio gallery. Look at the blissful moment capture below, during which I had the gallery almost to myself.

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Andrea del Verrochio’s painting of the Baptism of Christ.  Verrochio’s student, Leonardo da Vinci, assisted in painting. Most notably, the far left angel.

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Leonardo’s Annunciation in a virtually empty gallery. My idea of heaven.

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More to come from my June 25, 2020 visit.

Back to the Uffizi! Part 1, June 2020

What a joy to return to this wonderful museum.  Despite the fact that Americans still can’t travel to Italy because of the Covid 19, I was surprised by the line outside the Uffizi.  Once inside, however, the crowds thinned out after the first few galleries.

I had the new Michelangelo and Raphael gallery virtually to myself.  Speaking of joy.  It was so meaningful to me to be able to get up close and personal again with these amazing works of art.

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Michelangelo’s Doni Tondo:

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The Uffizi says of this painting:
This painting dates to when Michelangelo returned to Florence after his first stay in Rome, the same period when the great artist sculpted the famous David.

The work (c. 1506-1508) is the only painting by Michelangelo in Florence and is one of the masterpieces of the 16th century Italian art.

During the Renaissance, the “tondo” was a typical work for private clients. This tondo was commissioned by the wealthy banker Agnolo Doni, probably at the time of his marriage to Maddalena, member of the very important Strozzi family.

The figures of Mary, Joseph and the Child, are grouped in a single volume in which the rotation of the Madonna gives the composition a spiral movement that will later be used by many artists. In the background a group of young nudes brings to mind a classic theme, symbolizing the pagan humanity still ignorant of Christian doctrine. It is also interesting to notice the beautiful carved wooden frame, designed by Michelangelo himself.

From the artistic point of view, the Tondo Doni laid the foundations of the so-called Mannerism, the style of painting that preferred bizarre, unnatural poses and iridescent colors to the composed painting of the XV century.

The Tondo Doni is therefore a very important work of art because it is one of the few examples of Michelangelo’s painting, together with the magnificent frescoes in the Vatican’s Sistine Chapel.

 

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Raphael’s Madonna of the Goldfinch:

 

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Raphael’s portrait of Guidobaldo da Montefeltro, 1503-06:

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Raphael: Portrait of Elisabetta Gonzaga, 1503-06.

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Raphael: Portraits of Agnolo Doni and Maddalena Strozzi, 1504-06/

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The Uffizi has hung the Doni portraits in a manner allowing us to see the very interesting backs of the paintings:

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Today (June 25, 2020) was a great day in Florence!