Brunelleschi, Pazzi Chapel
Filippo Brunelleschi, Pazzi Chapel, Santa Croce, Florence, begun 1420s, completed 1460s Speakers: Dr. Beth Harris and Dt. Steven Zucker. Created by Beth Harris and Steven Zucker.
Florence: Santa Croce and The Pazzi Chapel
Aside from The Duomo, the two most important churches in Florence are Santa Maria Novella and Santa Croce. Both have marvelous artworks but the frescos in Santa Croce are most interesting. See the work of Giotto redefining painting and Brunelleschi redefine architecture with The Pazzi Chapel.
The Basilica is the largest Franciscan church in the world. Legend has it that Santa Croce was founded by St Francis himself. The neo-Gothic façade was constructed in the mid 1850’s. The architect Niccolo Mata, was Jewish, and included a Star of David at the top. Matas had wanted to be buried inside the church but because he was Jewish, he was buried under the threshold and honored with an inscription.
Artworks include:
Cimabue (Crucifixion, badly damaged by the 1966 flood and now in the refectory)
Andrea della Robbia (altarpiece in Cappella Medici)
Luca della Robbia (decoration of Cappella dei Pazzi)
Donatello (relief of the Annunciation on the south wall)
Agnolo Gaddi (frescoes in Castellani Chapel and chancel; stained glass in chancel)
Taddeo Gaddi (frescoes in the Baroncelli Chapel; Last Supper in the refectory, considered his best work)
Giotto (frescoes in Cappella Peruzzi and right hand Cappella Bardi; possibly Coronation of the Virgin, altarpiece in the Baroncelli Chapel, also attributed to Taddeo Gaddi)
Maso di Banco (frescoes in Cappella Bardi di Vernio) depicting Scenes from the life of St.Sylvester (1335–1338)
Andrea Orcagna (frescoes largely disappeared during Vasari's re-modelling, but some fragments remain in the refectory)
Bernardo Rossellino (Bruni's tomb)
Giorgio Vasari (Michelangelo's tomb) with sculpture by Valerio Cioli, Iovanni Bandini, and Battista Lorenzi.
The Medici Chapels - Florence Italy
???? “The Medici Chapels (Cappelle medicee) are two structures at the Basilica of San Lorenzo, Florence, Italy, dating from the 16th and 17th centuries, and built as extensions to Brunelleschi's 15th-century church, with the purpose of celebrating the Medici family, patrons of the church and Grand Dukes of Tuscany. The Sagrestia Nuova (New Sacristy) was designed by Michelangelo. The larger Cappella dei Principi (Chapel of the Princes), though proposed in the 16th century, was not begun until the early 17th century, its design being a collaboration between the family and architects.
The Sagrestia Nuova was intended by Cardinal Giulio de' Medici and his cousin Pope Leo X as a mausoleum or mortuary chapel for members of the Medici family. It balances Brunelleschi's Sagrestia Vecchia, the Old Sacristy nestled between the left transept of San Lorenzo, with which it consciously competes, and shares its format of a cubical space surmounted by a dome, of gray pietra serena and whitewashed walls. It was the first essay in architecture (1519–24) of Michelangelo, who also designed its monuments dedicated to certain members of the Medici family, with sculptural figures of the four times of day that were destined to influence sculptural figures reclining on architraves for many generations to come.
The octagonal Cappella dei Principi surmounted by a tall dome, 59 m. high is the distinguishing feature of San Lorenzo when seen from a distance. It is on the same axis as the nave and chancel to which it provides the equivalent of an apsidal chapel. Its entrance is from the exterior, in Piazza Madonna degli Aldobrandini, and through the low vaulted crypt planned by Bernardo Buontalenti before plans for the chapel above were made.
The opulent Cappella dei Principi, an idea formulated by Cosimo I, was put into effect by Ferdinand I de' Medici. It was designed by Matteo Nigetti, following some sketches tendered to an informal competition of 1602 by Don Giovanni de' Medici, the natural son of Cosimo I, Grand Duke of Tuscany, which was altered in the execution by the aged Buontalenti. A true expression of court art, it was the result of collaboration among designers and patrons.
For the execution of its astonishing revetment of marbles inlaid with colored marbles and semi-precious stone, the Grand Ducal hardstone workshop, the Opificio delle Pietre Dure was established. The art of commessi, as it was called in Florence, assembled jig-sawn fragments of specimen stones to form the designs of the revetment that entirely cover the walls. The result was disapproved of by 18th- and 19th-century visitors but has come to be appreciated for an example of the taste of its time. Six grand sarcophagi are empty; the Medici remains are interred in the crypt below. In sixteen compartments of the dado are coats-of-arms of Tuscan cities under Medici control. In the niches that were intended to hold portrait sculptures of Medici, two (Ferdinando I and Cosimo II) were executed by Pietro Tacca (1626–42).”
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I segreti della Cappella de' Pazzi / The secrets of the Pazzi Chapel
Giuseppe De Micheli speaks about the mysteries around the Pazzi Chapel at the Church of Santa Croce in Florence.
The loggia of the chapel requires restoration, see the Kickstarter campaign for this (until December 19, 2014):
Filippo Brunelleschi, Capella Pazzi, Florence
Pazzi Chapel, 1429-1443, Basilica di Santa Croce, Florence
Santa Croce – Pazzi Chapel – Florence – Audio Guide – MyWoWo Travel App
After visiting the church and its frescoes, you certainly won't mind taking a break outside in the beautiful greenery of the peaceful cloisters.
The exit onto the first cloister is along the right side of the basilica. Of irregular shape and kept as a garden, it offers a magnificent view of the entire, great Gothic church. This cloister has also been used over the centuries for burials, but now you can see several sculptures here, including a work by Henry Moore under the canopy in the middle.
In this cloister you can visit Pazzi Chapel, named after the powerful Florentine family connected to the famous conspiracy I discuss in one of the Cathedral audio files. It is a pure example of humanism, and among the finest and most refined masterpieces of Filippo Brunelleschi. Its construction began three years before the great architect's death; in fact, the façade decorated with delicate sculptures has remained unfinished. The rectangular interior is surmounted by a circular dome. Look at the beautiful inlaid panels that cover the doors and the stupendous colored terracotta tondi of the great sculptor Luca della Robbia.
After admiring this chapel's perfect proportions and pure beauty, go from the cloister to the grandiose refectory of the Franciscan convent. At the back of the noble, vast 14th-century hall you can see a beautiful fresco from the same period: in the lower part you can recognize the Last Supper, and near that a large painting celebrating the Franciscan order's devotion to the Holy Cross in a symbolic form…
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Pazzi Chapel, Florence
Interior of the Pazzi Chapel at Santa Croce, Florence, Italy. Designed by Brunelleschi.
Joyful, Joyful in the Pazzi Chapel at the Church of Santa Croce in Florence Italy
2014 Atlantis Mediterranean Cruise. Historical Florence and Accademia Museum tour group #2. Atlantis artist Telly Leung sings Joyful, Joyful in the chapel which our tour guide Ignazio described as God's Mandolin.
Restoration of the Loggia of the Pazzi Chapel Kickstarter video (ENG)
| #CrazyforPazzi Become part of the history of Santa Croce by participating in the crowdfunding campaign for the restoration of the loggia of the Pazzi Chapel, a gem of Renaissance architecture by Brunelleschi.
Pazzi Chapel, Florence
Exterior of the Pazzi Chapel at Santa Croce, Florence, Italy. Designed by Brunelleschi.
Italy, Florence Basilica San Lorenzo (Basilica of Saint Lawrence)
Photographer:Samuel Magal (samuel@sites-and-photos.com)
The Basilica di San Lorenzo (Basilica of St Lawrence) is one of the largest churches of Florence.
San Lorenzo was also the parish church of the Medici family. In 1419, Giovanni di Bicci de' Medici offered to finance a new church to replace the 11th-century Romanesque rebuilding. Filippo Brunelleschi, the leading Renaissance architect of the first half of the 15th century, was commissioned to design it, but the building, with alterations, was not completed until after his death.
360 video: Inside Basilica of the Holy Cross, Florence, Italy
Rebuilt in 1294 by Arnolfo di Cambio on the site of a former Franciscan oratory, the basilica is now the largest Franciscan church in the world. It features sixteen chapels decorated with marvelous frescoes by Giotto or Donatello.
Giotto depicted the life of Saint Francis in the six episodes that decorate the walls of the Bardi chapel. The design of the Pazzi chapel is often credited to Filippo Brunelleschi and it is one of the masterpieces of Florentine Renaissance architecture. The bell tower with marble facade was added to the basilica in 1842.
Although the church was consecrated in 1443, the facade remained unfinished until 1865. Designed in neo-Gothic style, it is covered with bichrome marbles and features David’s star with an inscription inside of it.
Many notable Italian figures are buried here such as Galileo, Niccolò Machiavelli or Gioachino Rossini. Michelangelo is buried in a tomb with allegorical figures designed by Giorgio Vasari. The basilica also features a cenotaph to Dante Alighieri.
Please dress appropriately and keep silence in the place of worship. The ticket purchased here allows entry to the Basilica, the Pazzi Chapel, the Museum of the Opera, the Refectory and three cloisters.
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The history of the Pazzi Family
crowdfunding.santacroceopera.it | The History of the Pazzi Family as told by Donata Grossoni, Opera di Santa Croce - Education and Promotional Activities
Understanding Florence’s Medici Chapel
Despite creating a Renaissance masterpiece like this during a time of upheaval and uprising, Michelangelo managed to complete the sombre mausoleum, unharmed by Medic vengeance.
How an Amateur Built the World's Biggest Dome
In 1418, Filippo Brunelleschi was tasked with building the largest dome ever seen at the time. He had no formal architecture training. Yet experts still don't fully understand the brilliant methods he used in contructing the dome, which tops the Santa Maria del Fiore cathedral in Florence, Italy.
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PRODUCER, EDITOR, AND WRITER: Hans Weise
ART DIRECTOR: Fernando G. Baptista
ART AND ANIMATION: Fernando G. Baptista and Matthew Twombly
MAP AND TYPOGRAPHY: Lauren E. James
ADDITIONAL WRITING: Jason Orfanon
NARRATOR: Paula Rich
RESEARCH: Fanna Gebreyesus and Elizabeth Snodgrass
SPECIAL THANKS: Riccardo Dalla Negra, Massimo Ricci, and Francesco Gurrieri
How an Amateur Built the World's Biggest Dome
National Geographic
Travels with Aunt Carol: Pazzi Chapel at Santa Croce, Florence, Italy
Visit Pazzi Chapel, an eminent example of Renaissance architecture. Learn why the building is so important. Long attributed to Filippo Brunelleschi, that continues to be debated by scholars.
The chapel exudes a sense of peace and tranquility.
One of a series introducing historic art sites of Europe.
Brunelleschi, Dome of the Cathedral of Florence.
Brunelleschi, Dome of the Cathedral of Florence, 1420-36. Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
Pazzi Chapel Loggi: interview with the restorers
| The loggia of the Pazzi Chapel requires restoration. Details of the work to be done are explained by those in charge.
Brancacci Chapel, Florence, Tuscany, Italy, Europe
The Brancacci Chapel is a chapel in the Church of Santa Maria del Carmine in Florence, central Italy. It is sometimes called the Sistine Chapel of the early Renaissance for its painting cycle, among the most famous and influential of the period. Construction of the chapel was commissioned by Pietro Brancacci and begun in 1386. Public access is currently gained via the neighbouring convent, designed by Brunelleschi. The church and the chapel are treated as separate places to visit and as such have different opening times and it is quite difficult to see the rest of the church from the chapel. The patron of the pictorial decoration was Felice Brancacci, descendant of Pietro, who had served as the Florentine ambassador to Cairo until 1423. Upon his return to Florence, he hired Masolino da Panicale to paint his chapel. Masolino's associate, 21-year-old Masaccio, 18 years younger than Masolino, assisted, but during painting Masolino left to Hungary, where he was painter to the king, and the commission was given to Masaccio. By the time Masolino returned he was learning from his talented former student. However, Masaccio was called to Rome before he could finish the chapel, and died in Rome at the age of 27. Portions of the chapel were completed later by Filippino Lippi. Unfortunately during the Baroque period some of the paintings were seen as unfashionable and a tomb was placed in front of them. In his frescos, Masaccio carries out a radical break from the medieval pictorial tradition, by adhering to the new Renaissance perspectival conception of space. Thus, perspective and light create deep spaces where volumetrically constructed figures move in a strongly individualised human dimension. Masaccio therefore continues on Giotto's path, detaching himself from a symbolic vision of man and propounding a greater realistic painting. The cycle from the life of Saint Peter was commissioned as patron saint from Pietro Brancacci, the original owner of the chapel.
The paintings are explained below in their narrative order. In contrast with Masaccio's Expulsion, this is a serene and innocent raffiguration. The cycle begins with this painting by Masolino, placed on the higher rectangle of the arch delimiting the Chapel, within the pillar thickness. This scene and the opposite one (the Expulsion) are the premises to the story narrated in the frescos, showing the moment in which man severed his friendship with God, later reconciled by Christ with Peter's mediation. The painting shows Adam standing near Eve: they look at each other with measured postures, as she prepares to bite on the apple, just offred her by the serpent near her arm around the tree. The snake has a head with thick blond hair, much idealised. The scene is aulic in its presentation, with gestures and style conveying tones of late International Gothic. Light, which models the figures without sharp angles, is soft and embracing; the dark background makes the body stand out in their sensual plasticity, almost suspended in space. Masaccio's application of scientific perspective, unified lighting, use of chiaroscuro and skill in rendering the figures naturalistically established new traditions in Renaissance Florence that some scholars credit with helping to found the new Renaissance style. The young Michelangelo was one of the many artists who received his artistic training by copying Masaccio's work in the chapel. The chapel was also the site of an assault on Michelangelo by rival sculptor Pietro Torrigiano, who resented Michelangelo's critical remarks about his draughtsmanship. He punched the artist so severely that he crushed his nose like a biscuit (according to Benvenuto Cellini) which deformed Michelangelo's face into that of a boxer's. The first restoration of the chapel frescoes was in 1481-1482, by Filippino Lippi, who was also responsible for completing the cycle. Due to the lamps used for lighting the dark chapel, the frescoes were relatively quickly coated in dust and dirt from the smoke. Another restoration was conducted at the end of the 16th century. Around 1670, sculptures were added, and the fresco-secco additions were made to the frescoes, to hide the various cases of nudity. Late 20th century restoration removed the overpainting and collected dust and dirt. Some critics, including professor and art historian James H. Beck, have criticised these efforts, while others, including professors, historians and restorers, have praised the work done on the chapel.
Florence: Live from the Piazza Santa Croce
Piazza Santa Croce in Florence has the largest Franciscan church in the world, the tombs of famous Italians from Michelangelo, Galileo and Machiavelli to Rossini, Fermi and Marconi, and gold and leather shops with tourists streaming in and out all day. Tony Page gives you a quick orientation around this popular Florentine square.
Well, here we are in Santa Croce Square in Florence and here in camera is the star of the show - Dante Alighieri. He looks a little disconcerted, to say the least, because although he stands in front of Santa Croce where Michelangelo, Galileo, Nicolas Machievelli and a few others I can't remember off-hand, are buried, he isn't. His body is in Ravenna, chiefly because they threw him out of Florence for writing nasty things in his books and so when he died Ravenna refused to give them his body back, saying you threw him out once so you're not getting him back even though now that he's famous and you'd like it.
But anyway there's the church, go in, all the famous graves are there, Gallileo is just there on the left as you walk in the main door. And don't forget to go through to Brunelleschi's Pazzi Chapel for the dome which is in fact next door. I find this one of the most attractive chapels. It is one of Michelangelo's, I gather, favourite chapels, but who knows.
Next to that, apart from all the tourists, is the Gold Market, gold shops, the Gold Corner - they bring all the tourists around here. This square, at Christmas time, has a nice Christmas market there actually - I was here the other Christmas.
I don't know if you can see this, I'll zoom in a bit as it's very bright at the moment. Down here, you'll find it familiar if you've been to Florence on a group tour because there's the Peruzzi leather company, who you are inevitably brought to. I don't find the standard of leather work, and certainly the shoes there, particularly good. You might like to look at the main street, I forget what it's called (Ed: via Calzaiuoli), the shopping street near the Duomo where you can see some really good quality shoes.
Well, not much happening in this square, apart from the tourists. So, I'll just zoom out, give you a last sweep and finish up on, really the only thing that's of interest to come and visit here, which is the Santa Croce Church and Brunelleshci's Pazzi Chapel (Capella de Pazzi) which is attached to it and you can go into the church and out at the far end on the right and exit that way. Don't miss that, it really is worth it as some people just come straight out.
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