Showing posts with label Michelozzo. Show all posts
Showing posts with label Michelozzo. Show all posts

7 October 2023

Michelozzo - architect and sculptor

Designs became a template for Renaissance palaces

A detail from a Fra Angelico painting is taken to be a depiction of Michelozzo
A detail from a Fra Angelico painting is
taken to be a depiction of Michelozzo 
The influential Florentine architect and sculptor Michelozzo di Bartolomeo Michelozzi died on this day in 1472 in his home city.

Known sometimes as Michelozzi but more usually Michelozzo, he is most famous for the palace in the centre of Florence he built on behalf of one of his principal employers, Cosimo de’ Medici, the head of the Medici banking dynasty, for which he developed original design features that became a template for architects not only of the Renaissance era but in later years too.

He was similarly innovative in his work on the ruined convent of San Marco in Florence, also on behalf of Cosimo, which he completely rebuilt.

Such was the influence of these two buildings on many projects during one of the busiest periods of architectural development in Italy’s history that the Palazzo Medici Riccardi, as it became known to reflect its ownership by the Riccardi family after 1659, came to be called ‘the first Renaissance palace’ and San Marco ‘the first Renaissance church’.

His other notable works in Florence include the renovation of the Basilica of della Santissima Annunziata and some additions to the Basilica di Santa Croce, while outside the city he built or renovated a number of villas for the Medici family, including the Castello di Caffagiolo at Barberino di Mugello, the Villa del Trebbio at Scarperia and the Villa Medici at Fiesole.

Michelozzo also worked outside Italy, in the Greek islands, and notably in what is now Croatia, primarily on the city walls of Dubrovnik and Ston.

In his early career, he was apprenticed to Lorenzo Ghiberti, the goldsmith and sculptor, and worked closely with the classical sculptor, Donatello. 

Michelozzo's Palazzo Medici Riccardi set the standard for Renaissance palaces
Michelozzo's Palazzo Medici Riccardi set the
standard for Renaissance palaces
Michelozzo was born in around 1396. His father, Bartolomeo di Gherardo Borgognone, was a tailor of French origin who lived and worked in the Santa Croce neighbourhood. The family moved to the San Giovanni quarter, the heart of the city, and later established a family home in Via Larga - now Via Camillo Cavour - which Michelozzo kept after his parents died.

His first employment, at the age of about 14, is thought to have been as a die-engraver for the Florentine mint. He became apprenticed to Ghiberti, who is best known as the creator of two of the three sets of sculpted brass doors of the Florence Baptistry, one of which - the east doors - was dubbed the Doors of Paradise by Michelangelo. 

He collaborated with Donatello on several projects, including the sacristy of Santa Trinita and an open-air pulpit at the cathedral in Prato. He was responsible for the architectural frames of a number of funerary monuments sculpted by Donatello.

Cosimo de’ Medici worked with Filippo Brunelleschi, another pioneer of Renaissance architecture and the architect of the enormous brick dome of the Florence Duomo, but is said to have found Michelozzo more receptive to his wishes than the more temperamental Brunelleschi.

Such was Michelozzo’s loyalty to Cosimo than when the latter was exiled to Venice in the 1430s as a result of political rivalries in Florence, Michelozzo went with him.

Soon after Cosimo’s exile ended, Michelozzo began the rebuilding of the ruined monastery of San Marco, where his elegant library became the model for subsequent libraries throughout 15th-century Italy. He directed the reconstruction of the large complex of church buildings at Santissima Annunziata and temporarily succeeded Brunelleschi as architect for the Duomo after the latter died in 1446.

He began work on the Palazzo Medici in 1444. The palace, a short distance from Michelozzo’s own home in Via Larga, is characterised by an elevation consisting of three storeys of decreasing height, divided by horizontal string courses, the lowest storey finished in rustic masonry, the uppermost in highly refined stonework, the middle one somewhere in between. 

The walled old city of Dubrovnik with Michelozzo's cylindrical Fort Bokar guarding over the western harbour area
The walled old city of Dubrovnik with Michelozzo's cylindrical
Fort Bokar guarding over the western harbour area
With influences of classical Roman architecture and some of the principles Michelozzo learned from Brunelleschi, Palazzo Medici came to be seen as one of the finest examples of early Renaissance architecture, and a template to which future architects referred.

In addition to the Medici villas, Michelozzo worked on the restoration of the Palazzo Vecchio - originally the Palazzo della Signoria - and undertook a number of projects abroad, including a guest house in Jerusalem for the use of Florentine pilgrims.

In 1461, at the age of 65, Michelozzo was invited by the government of what was then the Republic of Ragusa - an independent maritime trading republic with ties to Venice - to work on the city walls of Dubrovnik and Ston, now part of Croatia.  His cylindrical Fort Bokar, which defended the western gate of Dubrovnik, was hailed as a masterpiece. 

Michelozzo might have remained there longer, but a dispute over his ideas for rebuilding the Rector's palace - the seat of the republic's government - after an explosion left it badly damaged led him to cut short his stay and return to Florence. 

With his wife, Francesca, who was 20 to his 45 when they were married, Michelozzo had seven children, two of whom, Niccolò and Bernardo, were educated by the Medici and grew up to occupy important positions in Medici households.

After his death, Michelozzo was buried at the monastery of San Marco.

Part of the beautiful frescoes by Gozzoli in the Magi Chapel at Palazzo Medici Riccardi
Part of the beautiful frescoes by Gozzoli in
the Magi Chapel at Palazzo Medici Riccardi
Travel tip:

For all its architectural significance, the Palazzo Medici Riccardi, which can be found on Via Camillo Cavour about halfway between San Marco and Piazza della Repubblica, has a relatively modest appearance from the outside, which is probably as a result of the laws in existence at the time governing public displays of wealth. It was completed in 1484 and remained a Medici property until it was sold to the Riccardi family in 1659, after which it was renovated and the magnificent gallery frescoed with the Apotheosis of the Medici, by Luca Giordano, was added. The palace was sold to the Tuscan state in 1814. Since 1874, the palace has been the seat of the provincial government of Florence and has housed a museum since 1972. As well as the gallery, the palace is also noted for the Magi Chapel, which was frescoed by Benozzo Gozzoli and also contains an altarpiece by Filippo Lippi. Two statues by Donatello - a David in the courtyard and a Judith and Holofernes in the garden - are other notable works.

Piazza San Marco in Florence with the facade of the church of San Marco, part of the convent complex
Piazza San Marco in Florence with the facade of
the church of San Marco, part of the convent complex
Travel tip:

The Museo Nazionale di San Marco, which houses the world’s most extensive collection of works by Fra Angelico, the early Renaissance painter and Dominican friar, is an art museum housed in the monumental section of the mediaeval Dominican convent of San Marco, situated in Piazza San Marco. Situated in the oldest part of the building, which was modernised by Michelozzo between 1436 and 1446, it has been a museum since 1869. It also houses works by Fra Bartolomeo, Domenico Ghirlandaio, Alesso Baldovinetti and Jacopo Vignali. Michelozzo’s library, on the first floor, was the first of the Renaissance to be opened to the public, representing the humanist ideal of the Florentines. 

Also on this day:

304: The execution of Santa Giustina of Padua

1468: The death of condottiero Sigismondo Pandolfo Malatesta

1675: The birth of Venetian portraitist Rosalba Carriera

1972: The birth of celebrity cook Gabriele Corcos


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10 February 2021

Luca della Robbia - sculptor

Renaissance ‘genius’ famed for glazed terracotta

Della Robbia's Resurrection over the door of
the northern sacristy in the Florence duomo
Luca della Robbia, whose work saw him spoken of in the same breath as Donatello and Lorenzo Ghiberti among the great sculptors of the Renaissance, died on this day in 1482 in Florence.

Della Robbia worked in marble and bronze initially but enjoyed considerable success after inventing a process for making statuary and reliefs in terracotta decorated with a colourful mineral glaze.

Thought to be around 82 or 83 years old, he had shared the full details of the process only with his family. On his death, his nephew Andrea della Robbia inherited his workshop and other members of the family, notably his great-nephews Giovanni della Robbia and Girolamo della Robbia, continued to employ his methods with success into the 16th century.

Terracotta literally means cooked earth and Della Robbia’s technique involved the application of colourful glazes made using lead, tin and other minerals to the fired clay. 

Sculpting in terracotta was not new, having been invented in the ancient world, but Della Robbia’s idea to coat the terracotta with a glaze that fused with the clay below gave the surface a brightness and shine and made the sculpture particularly durable. 

Della Robbia decorated the dome of Brunelleschi's Pazzi Chapel in the Basilica of Santa Croce
Della Robbia decorated the dome of Brunelleschi's
Pazzi Chapel in the Basilica of Santa Croce
It took him many years to perfect his technique. The clay itself came from riverbeds, where Della Robbia would look for a light-colored, chalky variety of clay that bound particularly well with his glazes, cleaning and sifting it before adding soft river sand to achieve optimal consistency.  The blend of minerals in the glaze itself was a closely guarded secret.

The first commissions for which Della Robbia used the technique were in the Duomo of Florence, where between 1442 and 1445 he sculpted a lunette of the Resurrection over the door of the northern sacristy and a relief of the Ascension over the southern sacristy door.

He went on to execute many more works in the medium, of which some of the most important are the roundels of the Apostles in Filippo Brunelleschi’s Pazzi Chapel in the Basilica di Santa Croce in Florence, the roof of Michelozzo’s Chapel of the Crucifix in the Basilica di San Miniato al Monte, Florence, and a lunette over the entrance of the Church of San Domenico at Urbino.

His final major work was an altarpiece in the Palazzo Vescovile at Pescia, a small town just over an hour from Florence, near Montecatini Terme.

Della Robbia's bust in the Pincio Gardens in Rome
Della Robbia's bust in the Pincio
Gardens in Rome
It was the Renaissance polymath Leon Battista Alberti who compared Della Robbia to fellow sculptors Donatello and Ghiberti, ranking him also alongside the architect Brunelleschi and the painter Masaccio in terms of their artistic genius. This assessment took into account more than just his work in glazed terracotta, although his use of bright colours gave his work in the medium a particular charm that was very popular.

In the early part of his career, Della Robbia, who may have trained as a goldsmith, worked with Ghiberti on the famous bronze doors of the Florence Baptistry - the so-called Gates of Paradise.

Brunelleschi often used him for sculpture on his buildings. His important commission was for the Cantoria - a singing gallery - in Florence's Duomo, for which he was probably chosen by the Medici family.  The project took seven years and his depictions in the 10 panels of children singing, dancing and making music, the figures lively and finely observed in the manner of Renaissance naturalism, established him as a major Florentine artist.

Della Robbia’s other important works in marble include a tabernacle carved for the Chapel of San Luca in the Santa Maria Nuova Hospital in Florence, and the tomb of Benozzo Federighi, bishop of nearby Fiesole.

Florence's magnificent Duomo towers above the skyline of Della Robbia's city
Florence's magnificent Duomo towers above
the skyline of Della Robbia's city
Travel tip:

The Florence Duomo - the Cattedrale di Santa Maria del Fiore - with its enormous dome by Filippo Brunelleschi and campanile by Giotto, is one of Italy's most recognisable and most photographed sights, towering above the city and the dominant feature of almost every cityscape. From groundbreaking to consecration, the project took 140 years to complete and involved a series of architects. Arnolfo di Cambio, who also designed the church of Santa Croce and the Palazzo Vecchio was the original architect engaged and it was to his template, essentially, that the others worked.  When he died in 1410, 14 years after the first stone was laid, he was succeeded by Giotto, who himself died in 1337, after which his assistant Andrea Pisano took up the project.  Pisano died in 1348, as the Black Death swept Europe, and a succession of architects followed, culminating in Brunelleschi, who won a competition - against Lorenzo Ghiberti - to build the dome, which remains the largest brick-built dome ever constructed.

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Piazzo Mino is the main square in the centre of Fiesole, in the hills to the northeast of Florence
Piazzo Mino is the main square in the centre of
Fiesole, in the hills to the northeast of Florence
Travel tip:

Fiesole, a town of about 14,000 inhabitants situated in an elevated position about 8km (5 miles) northeast of Florence, has since the 14th century been a popular place to live for wealthy Florentines and even to this day remains the richest municipality in Florence.  Formerly an important Etruscan settlement, it was also a Roman town of note, of which the remains of a theatre and baths are still visible.  Fiesole's cathedral, built in the 11th century, is supposedly built over the site of the martyrdom of St. Romulus. In the middle ages, Fiesole was as powerful as Florence until it was conquered by the latter in 1125 after a series of wars.

Fiesole hotels by Booking.com

More reading:

Lorenzo Ghiberti and the 'Gates of Paradise'

Filippo Brunelleschi, the genius who designed the dome of the Florence duomo

Gian Lorenzo Bernini, the Florentine who made his mark in Rome

Also on this day:

1791: The birth of painter Francesco Hayez

1918: The death of Nobel Peace Prize winner Ernesto Teodoro Moneta

1941: The birth of author and politician Raffaele Lauro

1953: The founding of the giant oil and gas company ENI

1966: The birth of footballer Andrea Silenzi

(Picture credits: Resurrection by Sailko; Pazzi Chapel ceiling by Mattis; bust of della Robbia by Lalupa; via Wikimedia Commons)


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17 November 2016

Giovanni Pico della Mirandola – philosopher

Writer of the 'Manifesto of the Renaissance' met an early death


Giovanni Pico della Mirandola: this portrait by Cristofano dell'Altissimo hangs in the Uffizi
Giovanni Pico della Mirandola: this portrait by
Cristofano dell'Altissimo hangs in the Uffizi
Renaissance nobleman and philosopher, Giovanni Pico della Mirandola died on this day in 1494 in Florence, sparking a murder mystery still not solved more than 500 years later and that led to the exhumation of his body in 2007.

Pico became famous for writing the Oration on the Dignity of Man, which was later dubbed the Manifesto of the Renaissance.

At its heart, the Oration proposed that man is the only species of being to which God assigned no specific place in the chain of being and that man could ascend the chain through the exercise of his intellectual capacity, and for that reason it stresses the importance of the human quest for knowledge.

Renowned for his memory as well as his intellect, he could recite Dante’s Divine Comedy line-by-line backwards and by the time he was 20 he has mastered six languages.

But he made enemies and it his thought that his death at the age of just 31 was the result of poisoning because of concerns that he had become too close to hellfire preacher Girolamo Savonarola, an enemy of Florence's ruling Medici family.

It was Savonarola himself who delivered the funeral oration when Pico was buried at the Convent of San Marco in Florence where he was the Prior.

The philosopher was born into a noble family at Mirandola, near Modena, in 1463. He was the youngest son of Gianfrancesco della Mirandola, Count of Concordia, who lived in the Castle of Mirandola and was closely related to the Sforza, Gonzaga and Este dynasties.

Pico studied at the University of Padua, where he wrote sonnets in Latin and Italian, which because of the influence of Savonarola, who encouraged his followers to burn possessions that might tempt them into sin, he destroyed towards the end of his life.

Portrait of Lorenzo de' Medici by the Flemish Baroque painter Peter Paul Rubens
Portrait of Lorenzo de' Medici by the Flemish
Baroque painter Peter Paul Rubens
He travelled to Paris, the most important centre in Europe for Philosophy and Theology and it is thought while he was there he began writing his celebrated 900 Theses on religion, philosophy and magic, and came up with the idea of defending them in a public debate.

When he returned to Florence in 1484 he met for the first time Lorenzo de' Medici, also known as Lorenzo the Magnificent, who seems to have been charmed by him and wished to help him.

On his way to Rome, where he intended to publish his 900 Theses and debate them with other scholars, Pico stopped off in Arezzo, where he had a love affair with the wife of one of Lorenzo de' Medici’s cousins. He attempted to run away with her but was caught, wounded and imprisoned. He was released only after the intervention of Lorenzo himself.

While recovering from his wounds he became interested in Hebrew writings, which he believed educated people should study. He travelled to Rome to publish his 900 Theses and offered to pay the expenses of any scholars who came to Rome to debate them publicly.

But Pope Innocent VIII halted the proposed debate and condemned part of his 900 Theses as heretical.

Pico fled to France where he was arrested and imprisoned but at the instigation of Lorenzo de Medici he was released and allowed to move back to Florence. He settled in a villa near Fiesole provided by Lorenzo and carried on writing.

After the death of Lorenzo, Savonarola became increasingly influential. This led to a wholesale destruction of books and paintings in Florence.

Pico was determined to become a monk and destroyed his own poetry and gave away his fortune.

When he fell ill in 1494, the King of France, Charles VIII, whose armies would take control of Florence on the day of Pico's death, driving the Medici into exile, sent his own physicians to tend to him but after two weeks of suffering he passed away.

The Castello dei Pico in an image from a 1940s postcard
The Castello dei Pico in an image from a 1940s postcard
It was rumoured that Pico was poisoned by his own secretary, who is said to have made a confession to that effect two years later after being arrested by Savonarola, who by then had taken control of Florence from the French.  Some historians believe it was Piero de' Medici, the son of Lorenzo, who ordered his killing.

Another theory was that Pico had died of syphilis but when his body was exhumed in 2007, as part of a project led by Giorgio Gruppioni, a professor of anthropology from Bologna, tests showed toxic levels of arsenic in his remains.

Travel tip:

The small city of Mirandola, which is about 30km north-east of Modena in Emilia-Romagna, developed as a fortress city in Renaissance times and was once an independent principality.  The Palazzo Communale and the Castello dei Pico can both be found in Piazza della Costituente.  The castle was forced to close its door to the public because of damage sustained in an earthquake in 2012.

Hotels in Mirandola from Hotels.com

Fra Angelico's stunning Last Judgment
Fra Angelico's stunning fresco The Last Judgment
Travel tip:

The Convent of San Marco in Florence, which holds the major collection of the works of Giovanni of Fiesole, known as Fra Angelico, stands on the site of a 12th century monastery. It was rebuilt in 1437 by Cosimo il Vecchio de’ Medici, who entrusted the work to Michelozzo, with the decoration of the walls carried out by Fra Angelico and his assistants, who included Benozzo Gozzoli.   His masterworks are considered to be the The Last Judgment and the The Crucifixion.

Hotels in Florence from venere.com


More reading:



Girolamo Savonarola and the 'Bonfire of the Vanities'

Cosimo de' Medici - banker who founded the dynasty

Why Cosimo II de' Medici was the patron of Galileo

Also on this day: 


1878: Umberto I survives assassination attempt



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1 August 2016

Cosimo de' Medici

Banker who founded the Medici dynasty


This portrait of Cosimo by Jacopo da Contormo  can be viewed in the Uffizi Gallery in Florence
This portrait of Cosimo by Jacopo da Contormo
 can be viewed in the Uffizi Gallery in Florence
The first of the Medici rulers of Florence, Cosimo di Giovanni de' Medici, died on this day in 1464 in Careggi in Tuscany.

Cosimo had political influence and power because of the wealth he had acquired as a banker and he is also remembered as a patron of learning, the arts and architecture.

Cosimo, who is sometime referred to as Cosimo the Elder (il Vecchio) was born into a wealthy family in Florence in 1389. His father was a moneylender who then joined the bank of a relative before opening up his own bank in 1397.

The Medici Bank opened branches in Rome, Geneva, Venice and Naples and the Rome branch managed the papal finances in return for a commission.

The bank later opened branches in London, Pisa, Avignon, Bruges, Milan and Lubeck, which meant that bishoprics could pay their money into their nearest branch for the Pope to use.

In 1410, Baldassarre Cossa, who was on one side of a power struggle within the Catholic Church, borrowed money from the bank to buy himself into the office of Cardinal and in return put the Medici in charge of all the papal finances.   This gave the Medici family the power to threaten defaulting debtors with excommunication.

Cosimo and his younger brother Lorenzo took over the running of the bank from their father in 1420 and Cosimo established power over Florence using his wealth to control votes. He was described at the time as ‘king in all but name'.

The Villa Medici in Careggi near Florence, where Cosimo died in 1464
The Villa Medici in Careggi near Florence, where
Cosimo died in 1464
Eventually his enemies had him imprisoned him in the Palazzo Vecchio for the crime of ‘failing to conquer Lucca’ but he managed to have his sentence changed to exile. He went to live in Padua and then to Venice, taking his bank with him.

When the order of banishment was lifted he was able to return to Florence, where effectively he was to govern the city for the next 30 years.

Cosimo worked to create peace in northern Italy by establishing a balance of power between Florence, Venice and Milan, which allowed for the development of the Renaissance.

The architects Brunelleschi and Michelozzo carried out Cosimo’s building projects in Florence and artists such as Ghiberti, Donatello and Fra Angelico were commissioned to produce works of art for him.

Cosimo also organised a methodical search for ancient manuscripts in Europe and the East and the books and documents procured by him are now housed in the Laurentian Library (Biblioteca Medicea-Laurenziana), which was built in a cloister of the Basilica di San Lorenzo.

Cosimo had married Contessina de' Bardi, who was from another wealthy banking family, in about 1415 and the couple had two sons, Piero and Giovanni.

On his death on 1 August 1464 Cosimo was succeeded by Piero, who later became the father of Lorenzo the Magnificent.

The Government of Florence awarded Cosimo the title Pater Patriae, Father of the Country, which is carved on his tomb in the Church of San Lorenzo.

Travel tip:

Cosimo died in 1464 at the Villa Medici at Careggi, in the hills above Florence. The villa had been purchased in 1417 by Cosimo’s father as a working farm to make his family self sufficient. Cosimo employed the architect Michelozzo to remodel it around a central courtyard overlooked by loggias. Cosimo’s grandson, Lorenzo, later extended the terraced garden and the shaded woods.

The interior of the Basilica of San Lorenzo in Florence
The interior of the Basilica of
San Lorenzo in Florence
Travel tip:

The Basilica of San Lorenzo, where Cosimo is buried, is in the centre of the market district and is one of the biggest churches in Florence. It also claims to be the oldest in the city as it dates back to 393. Cosimo’s father offered to pay for a new building to replace the 11th century Romanesque structure there at the time and commissioned Brunelleschi to design it. Michelangelo later designed the Biblioteca Medicea-Laurenziana to house the Medici family’s collection of manuscripts.

More reading:


How Cosimo II maintained the family tradition

Grand designs of Cosimo I


(Photo of Villa Medici by Sailko CC BY-SA 3.0)
(Photo of San Lorenzo Basilica by Stefan Bauer CC BY-SA 2.5)

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