Palazzo Vecchio
The Palazzo Vecchio is the town hall of Florence, Italy. This massive,
gothic, crenellated building is among the most impressive town halls of
Tuscany. Overlooking the Piazza della Signoria with its famous statues
and the collection of statues in the adjacent Loggia dei Lanzi, it is
one of the most significant public places in Italy.
It was originally called the Palazzo della Signoria, after the Signoria of
Florence, who were the ruling body of the Republic of Florence. It was
also given several other names : Palazzo del Populo, Palazzo dei Priori
and Palazzo Ducale, in accordance with the varying use of the palace
during its long history.
The building is attributed to Arnolfo di Cambio who began constructing it
in 1299, incorporating the ancient tower of the Foraboschi into its
facade. It is the result of three successive building stages between the
13th-16th centuries, the actual construction of Arnolfo's palace,
overlooking the square and placed next to the Loggia dei Lanzi. After
the death of Arnolfo in 1302, the palace was finished by other artists
in 1314. The solid cubicle shaped building is enhanced by the simple
tower with its Lederle clock.
History
Tower, seen from the Uffizi
At the end of the 12th c. the city of Florence decided to build a palace,
deserving its importance and giving greater security, in times of
turbulence, to the magistrates. The building is attributed to Arnolfo di
Cambio, the architect of the Duomo and the Santa Croce church, who began
constructing it in 1299. The palace was built upon the ruins of Palazzo
dei Fanti and Palazzo dell'Esecutore di Giustizia, once owned by the
Uberti family. He incorporated the ancient tower of the Vacca family as
the substructure of the tower into its facade. This is the reason why
the rectangular tower (height 94 m) is not in the middle of the
building. This tower contains two small cells, that, at different times,
imprisoned Cosimo the Elder (1435) and Girolamo Savonarola (1498). The
tower is named after its designer Torre d'Arnolfo.
The large, one-handed clock was originally constructed by the Florentine
Nicolò Bernardo, but was replaced in 1667 by a clock made by Vincenzo
Viviani.
This palace is the result of three successive building stages between the
13th-16th centuries. After the death of Arnolfo in 1302, the palace was
finished by other artists in 1314. By that time, it was the seat of the
Signoria, the city council consisting of guild masters (priori) (among
them Dante in 1300), and the chief justice (gonfaloniere della
giustizia).
The solid cubicle-shaped building is built in rustic stonework, with two
rows of two-lighted Gothic windows, each with a trefoil arche.
Michelozzo Michelozzi added decorative bas-reliefs of the cross and the
lily in the spandrels between the trefoils. The building is crowned with
projecting crenellated battlement, supported by small arches and
corbels. Under the arches are a repeated series of nine painted coats of
arms of the Florentine republic. Some of these arches can be used as
embrasures (spiombati) for dropping boiling oil or rocks on eventual
invaders.
It has served as government seat for numerous leaders, including the Duke
of Athens, Walter VI of Brienne. He started with the first alterations
(1342-1343), giving the palace the aspect of a fortress. But the most
alterations were made during 1440-60, under Cosimo de' Medi (the elder),
with renaissance-style decorations in the Hall of the Two Hundred and
the first courtyard (by Michelozzo). The Hall of the Five Hundred was
built during the republic of Savonarola. From 1540 to 1550 it was the
home of Cosimo I de' Medici, who had Vasari enlarge the palace to fit
the delicate tastes of the grand-ducal court. The palace was more than
doubled by the addition of a new block onto the rear.
The name was officially changed after Cosimo moved to the Pitti Palace,
renaming his former palace the Palazzo Vecchio, the "Old Palace",
although the adjacent town square, the Piazza della Signoria, still
bears the old name. Vasari also built an above-ground walkway from the
palace, through the Uffizi, above the Ponte Vecchio to the Palazzo
Pitti.
Cosimo I also moved the seat of government to the Uffizi. The palace
gained new importance as seat of United Italy's provisional government
from 1865-71, at a moment that Florence had become the capital of the
kingdom of Italy.
Although much of the Palazzo Vecchio is now a museum, it remains the
symbol of local government, and still houses, since 1872, the office of
the mayor of Florence and is the seat of the City Council.
Entrance
Entrance with frontispiece
Above the front entrance door, there is a notable ornamentive marble
frontispiece, dating from 1528. In the middle, flanked by two gilded
lions, is the Monogram of Christ, surrounded by a glory, above the text
(in Latin): "Rex Regum et Dominus Dominantium" (translation: Jesus
Christ, King of Kings and Lord of Lords". This text dates from 1851 and
does not replace an earlier text by Savonarola, as mentioned in many
guidebooks. Until 1851 they had been concealed since 1529 behind a large
shield with the grand-ducal coat of arms.
Michelangelo's David also stood at the entrance from its completion in
1504 to 1873, when it was moved to the Accademia. A replica erected in
1910 now stands in its place, flanked by Baccio Bandinelli's Hercules
and Cacus.
The Courtyards
First Courtyard
Courtyard with "Boy with a Fish" by Verrocchio
The first courtyard was designed in 1453 by Michelozzo. In the lunettes,
high around the courtyard, are crests of the Church and City Guilds. In
the center, the porphyry fountain is by Battista del Tadda. The Winged
boy with a Dolphin on top of the basin is a copy of the original by
Verrocchio (1476), now on display on the second floor of the palace.
This small statue was originally placed in the garden of the villa of
the Medici in Careggi. The water, flowing through the nose of the
dolphin, is brought here by pipes from the Boboli gardens.
In the niche, in front of the fountain, stands "Samson and Philistine" by
Pierino da Vinci.
First courtyard
The frescoes on the walls, representing scenes of the Austrian Hapsburg
estates, were painted in 1565 by Giorgio Vasari for the wedding
celebration of Francesco, the eldest son of Cosimo I de' Medici and
Johanna of Austria, sister of the Emperor Maximilian. The harmoniously
proportioned columns, a one time smooth, and untouched, were at the same
time richly decorated with gilt stuccoes.
The barrel vaults are furnished with grotesque decorations.
Second Courtyard
The second courtyard, also called "The Customs", contains the massive
pillars built in 1494 by Cronaca to sustain the great "Salone dei
Cinquecento" on the second floor.
Third Courtyard
The third courtyard was used mainly for offices of the city. Between the
first and second courtyard the massive and monumental stairs by Vasari
lead up to the "Salone dei Cinquecento".
Salone dei Cinquecento
Salone dei Cinquecento
This most imposing chamber has a length of 52 m (170 ft) and 23 m (75 ft)
broad. It was built in 1494 by Simone del Pollaiolo, called "il Cronaca"
(the Chronicle), on commission of Savonarola who, replacing the Medici
after his exile as the spiritual leader of the Republic, wanted it as a
seat of the Grand Council (Consiglio Maggiore) consisting of 500
members.
Later the hall was enlarged by Vasari so that Grand Duke Cosimo I could
hold his court in this chamber. During this transformation famous (but
unfinished) works were lost, including the "Battle of Cascina" by
Michelangelo (on line), and the "Battle of Anghiari" by Leonardo (copy
by Rubens in the Louvre (on line), with which the artists were supposed
to decorate the walls of the room.
When Florence was the capital of Italy, representatives held their
meetings there (1865-1871).
The decorations in this hall were made by Giorgio Vasari and his helpers
(1555-1572): among them Livio Agresti from Forlì. They mark the
culmination of mannerism and make this hall the showpiece of the palace.
Defeat of the Pisans at San Vincenzo
On the walls are large and expansive frescoes that depict battles and
military successes of Florence over Pisa and Siena :
"The taking of Sienna",
"The Conquest of Porto Ercole",
"The victory of Cosimo I at Marciano in Val di Chiana",
"Defeat of the Pisans at the Tower of San Vincenzo",
"Maximillian of Austria attempts the conquest of Leghorn",
"Pisa attacked by the Florentine Troops"
The ceiling consists of 39 panels also constructed and painted by Vasari
and his assistants, representing "Great episodes from the life of Cosimo
I", the quarters of the city and the city itself and towards the center
is the apotheosis : "Scene of his glorification as Grand Duke of
Florence and Tuscany"
On the north side of the hall, illuminated by enormous windows, is the
raised stage called the "Udienza", built by Bartolommeo Bandinelli for
Cosimo I to receive citizens and ambassadors. Above are frescoes of
historical events; among these, that of Boniface VIII receiving the
ambassadors of foreign States and , seeing that were all Florentines
said these famous words, "You Florentines are the quintessence".
In the niches are sculptures by Bandinelli: in the center the statue of
the seated "Leo X" (sculpted assisted by his scholar Vincenzio Rossi),
and on the right a statue of "Charles V crowned by Clement VII".
There are also numerous bombastic Medicean tapestries on the walls,
including "Stories of the life of St. John the Baptist", taken from the
frescoes of Andrea del Sarto.
The six statues along the walls that represent the "Labors of Hercules"
are by a rather obscure sculptor Vincenzo de' Rossi, a pupil of
Bandinelli.
In the central niche at the south of the Hall is Michelangelo's famous
marble group The Genius of Victory (1533-1534), originally intended for
the tomb of Julius II. The statue was taken from the Bargello Museum.
Studiolo
At the end of the hall is situated a small sideroom without windows. This
masterpiece, the Studiolo or the Studio of Francesco I de' Medici was
also designed by Vasari in a manneristic style (1570-1575). The walls
and the barrel vault are filled with paintings, stucco and sculptures.
Most paintings are by the School of Vasari and represent the four
elements : water, fire, earth and air. The portrait of Cosimo I and his
wife Eleonora of Toledo was made by Bronzino. The delicate bronze
sculptures were made by Giambologna and Bartolomeo Ammanati. Dismantled
within decades of its construction, it has only been re-assembled in
this century.
The other rooms on the first floor are the "Quartieri monumentali". These
rooms, the Residence of the Priors and the Quarters of Leo X, are used
by the mayor as offices and reception rooms. They are not accessible to
the public.
Second Floor
A staircase, designed by Vasari leads to the second floor. This floor
contains the Chapel of Signoria, the Hall of Justice ("Sala delle
Udienze"), the Room of the Lilies (Sala dei Gigli), the Study Room and
the Apartments of the Elements.
The Apartments of the Elements
These apartments (Sala degli Elementi) consist of five rooms (such as the
Room of Ceres) and two loggias. The commission for these rooms was
originally given by Cosimo I to Battista del Tasso. But on his death,
the decorations were continued by Vasari and his helpers, working for
the first time for the Medicis. These rooms were the private quarters of
Cosimo I.
The walls in the Room of the Elements are filled with allegorical frescoes
"Allegories of Water, Fire and Earth" and, on the ceiling, represents
"Saturn".
The original statue "Boy with a fish" by Verrocchio is on exhibit in one
of the smaller rooms (the copy stands on the fountain in the first
courtyard).
Terrace of Saturn
This splendid Loggiato of Saturn, called because of the ceiling motif,
with its Florentine roof. From there one has a wonderful southeastern
view on Piazzale Michelangelo and the Fortress Belvedere. One can also
see the remains of the Church of Saint Pietro Scheraggio.
The Hercules Room
This room (the Sala di Ercole) gets its name from the subject of the
paintings on the ceiling. Also the tapestries show stories of Hercules.
The room contains a "Madonna and Child" and an ebony cabinet called a
stipo inlaid with semi-precious stones.
The Room of Jupiter
The room is named for the fresco on the ceiling. On the walls are
Florentine tapestries made from cartoons by Stradano (XIV century).
The Room of Cybele
On the ceiling, the "Triumph of Cybele" and the "Four Seasons". Against
the walls are cabinets in tortoise shell and bronze. The floor was made
in 1556. From the window one can see the third courtyard.
The Ceres Room
The room gets its name from the motif on the ceiling, by Doceno, a pupil
of Vasari. On the walls are Florentine tapestries with hunting scenes,
from cartoons by Stradano.
Sala Verde
Called the Green Room because of the color of the walls. With decorations
on the ceiling by Ridolfo del Ghirlandaio. On the right is the Chapel
frescoed by Bronzino (1564) with the "Stories of Moses". Also by
Bronzino is the large Pietà on the altar. The small door in the room
indicates the beginning of the passageway built by Vasari with orders
from Cosimo I to the Pitti Palace.
The Room of the Sabines
It was named because of the ceiling decoration. At one time it was used
for the Ladies-in- waiting at the court of Eleanor de Toledo. It
contains portraits of Medici Princes by Susterman, statues by a
Florentine art school and a tapestry by Fevère.
Dining Room
On the ceiling is the Coronation of Esther decorated by Stradano, with an
inscription in honor of Eleanor of Toledo. The room contains a lavabo
and two tapestries by Van Assel representing Spring and Autumn.
The Room of Penelope
On the ceiling Penelope at the loom, in the frieze, episodes from the
Odyssey. On the walls: Madonna and Child and a Madonna and Child with
St. John by Botticelli.
Private Chamber of Eleanor
Originally called the '"Room of Gualdrada"' from the subject of the
ceiling painting, this room was one of the private rooms of Eleonora of
Toledo, wife of Cosimo I de' Medici. The paintings are by the Flemish
painter Jan Stradan (1523-1605), better known under his Italian name
Stradone. Against the wall is a cabinet with Florentine mosaic designs.
The adjoining, richly decorated chapel is painted in fresco by the
mannerist Angelo Bronzino, among his masterpieces.
Sala dell' Udienza
"Life of Furius Camillus" in the Sala della Udienza
The Audience Chamber or Hall of Justice used to house the meetings of the
six priori (guild masters of the arts). It contains the oldest
decorations of the palace.
The carved coffer ceiling, laminated with pure gold, is by Giuliano da
Maiano (1470-1476).
On the portal of the Chapel is an inscription in honor of Christ (1529).
The door, communicating with the Hall of Lilies, is a marvel. The marble
mouldings of this portal were sculpted by the brothers Giuliano and
Benedetto da Maiano. Its inlaid woodwork (intarsia) was carved by Del
Francione. They give us portraits of Dante and Petrarch
The large frescoes on the walls, of a decorative value representing
"Stories of Furius Camillus", by Francesco Salviati, were made in the
middle of the 16th c. Since Salviati had his schooling in the circle
around Rafael in Rome, these frescoes are mirrored on Roman models and
therefore not typical of Florentine art. Furius Camillus was a Roman
general, mentioned in the writings of Plutarchus.
Chapel of the Signoria
A small doorway leads into the adjoining small chapel dedicated to St.
Bernard, containing a reliquary of the Saint. Here the priors used to
supply divine aid in the execution of their duties. In this chapel,
Girolamo Savonarola said his last prayers before he was burned to death
on the Piazza della Signoria.
The marvellous frescoes on the walls and ceiling, on a background
imitating gold mosaic, are by Ridolfo Ghirlandaio. Of particular
interest are "The Holy Trinity" on the ceiling and "The Annunciation" on
the wall facing the altar. On the altar was a painting representing the
Holy Family by Mariano Graziadei da Pescia, a pupil of Ridolfo
Ghirlandaio. it is now on exhibition in the corridor of the Uffizi
Gallery. Instead, there is a good painting of St. Bernard by an unknown
artist.
Sala dell Orologio
The carved ceiling of the Hall of the Lilies, as this room is usually
called, decorated with fleur-de-lys, and the Statue of St. John the
Bapist and Putti are all by Benedetto da Maiano and his brother
Giuliano. The goldenfleur-de-lys decorations on blue background on the
ceiling and three walls refer to the (short-lived) good relations
between Florence and the French Crown.
Ceiling with fleur-de-lys
On the wall are frescoes by Domenico Ghirlandaio, painted in 1482. The
apotheosis of St. Zenobius, first patron saint of Florence, was painted
with a perspectival illusion of the background. In this background one
can see the Cathedral, with the original Giotto's facade and his bell
tower. In the lunette above is a bas-relief of the Madonna and Child.
This fresco flanked on both sides by frescoes of famed Romans, on the
left '"Brutus, Muzio Scevola and Camillus", and on the right "Decius,
Scipo and Cicero'". Medaillons of Roman emperors fill the spandrils
bewteen the sections.
The door in this wall leads to the Stanza della Guardaroba (Hall of
Geographical Maps). This door is flanked by two dark marble pillars,
originally from a Roman temple.
After its lengthy restoration, the (original) statue "Judith and
Holofernes" by Donatello was given a prominent place in this room in
1988.
Stanza del Guardarobe
The Hall of Geographical Maps or Wardrobe is where the Medici Grand Dukes
kept there precious belongings. The cabinets and carved ceiling are by
Dionigi Nigetti.
The doors of the cabinets were decorated with 53 remarkable maps of
scientific interest, oil paintings by the Dominican monk Fra Ignazio
Danti (1563-1575), brother of the sculptor Vincenzio Danti, and Stefano
Buonsignori (1575-1584). They are of great historical interest and give
a good idea of the geographical knowledge in the 16th century. Danti
followed the Ptolemaic system, while already using the new
cartographical system of Gerardus Mercator.
In the center of the room is the large globe "mappa mundi" ruined by
excessive restorations.
Old Chancellery
This was Macchiavelli's office when he was Secretary of the Republic. His
polychrome bust in terracotta and his portrait are by Santi di Tito.
They are probably modelled on his death mask. In the center of the room,
on the pedestal is the famous Winged Boy with a Dolphin by Verrocchio,
brought to this room from the First Courtyard.
The Study
The room was used by Cellini to restore the treasures of the Medici
princes. From the little window in the wall , Cosimo I spied on his
ministers and officers, during meetings in the Salone dei Cinquecento.
|
