Giambologna – sculptor

Artist worked for three successive Medici Grand Dukes in Florence

Giambogna's Abduction of a Sabine
Woman in Piazza della Signoria

Giambologna, the last in the line of significant Renaissance sculptors, died on this day in 1608 in Florence.

He was considered so important by the Medici family that once he had started working for them, they would never allow him to leave their city. They feared he would be enticed away by either the Austrian or Spanish branches of the Habsburgs to work for them.

His best known works include Abduction of a Sabine Woman - often known as Rape of the Sabine Women - in Florence’s Piazza della Signoria, and his Neptune, atop the Fountain of Neptune, in Bologna’s Piazza Maggiore.

Although influenced by Michelangelo, Giambologna produced many beautiful works in marble and bronze in his own late-Mannerist style, with perhaps less emphasis on emotion, and more on the elegance of the figures.

The sculptor was also sometimes known as Giovanni da Bologna, or Jean de Boulogne in French, and Jehan Boulongne in Flemish.

Giambologna had been born in Douai in Flanders in 1529, which was then part of the Netherlands, but is now part of France. He studied in Antwerp with the architect and sculptor Jacques du Broeucq, before moving to live in Italy in 1550. 

There, he made a detailed study of the sculptures of classical antiquity in Rome. His first major commission was given to him by Pope Pius IV, who employed him to sculpt the colossal bronze Neptune and subsidiary figures, for the Fountain of Neptune in Bologna.

Giambologna moved to live and work in Florence in 1553. He had become established there within a few years and he was invited to become a member of the Accademia delle Arti del Disegno after it was founded by the Medici Duke, Cosimo I, in 1563, who was influenced by the painter and architect Giorgio Vasari.

Giambologna was so prized by the
Medici he was forbidden to leave

Among Giambologna’s most celebrated works are the Mercury, of which he did four versions. In his depictions of Mercury, the figure is poised on one foot, supported by a zephyr.

His marble sculpture Abduction of a Sabine Woman still stands in the Loggia dei Lanzi in Piazza della Signoria. The work includes three full figures and yet it was carved from a single block of marble. It was produced for Francesco I de’ Medici, Grand Duke of Tuscany.

The sculpture was inspired by a story from ancient Roman history of the mass abduction of women from other cities for the purposes of growing the population of Rome which, at the time of its foundation, had relatively few female inhabitants. The Latin word raptio, which occurs in accounts of the incident written by the Roman historian Livy, can be translated as ‘rape’ in certain circumstances, but in this context may more accurately be taken to mean ‘abduction’ or ‘kidnapping’.

Giambologna’s several depictions of Venus produced a canon of proportions for the female figure, and also set standards for artists making Venus their subject that were to influence many future sculptors in Italy and Europe.

He also produced sculptures and ornaments for the Boboli Gardens in Florence and the gardens of other Medici villas in Tuscany.

His pupils went on to influence other sculptors throughout Europe as well as in Italy. Giambologna’s style, which incorporated grace, strength, and movement in his figures, anticipated the Baroque sculptures that were later created by Gian Lorenzo Bernini.

After he died in Florence at the age of 79, Giambologna was interred in a chapel that he had designed for himself in the Basilica della Santissima Annunziata in the centre of the city.

He had been an Italian sculptor in all but birth, who had left his mark on Florence and helped to make it the refined, elegant city it is today.

The Loggia dei Lanzi in Piazza delle Signori 
houses a number of important statues

Travel tip:

Giambologna’s most famous work, the marble sculpture Abduction of a Sabine Woman, stands in the Loggia dei Lanzi on the south corner of the Piazza della Signoria in Florence, close to the Uffizi gallery. The 14th century Loggia is named after the Lancers, who were the bodyguards of Cosimo I de’ Medici and it now provides an open air sculpture gallery for visitors to Florence to enjoy. The back wall of the Loggia is lined with ancient Roman statues of priestesses. On the far left of the Loggia is the bronze statue of Perseus by Benvenuto Cellini. Giambologna’s Abduction of a Sabine Woman, stands on the far right. Including three separate figures, it is believed to have been worked from the largest block of marble ever to have been transported to Florence and it was designed so that it can be appreciated equally from all sides. It has stood in the Loggia since 1583. A plaster cast model of the sculpture can also be seen in the Accademia Gallery in Florence. 

The Basilica della Santissima Annunziata in
Florence, where Giambologna was buried

Travel tip: 

Giambologna was laid to rest in the Cappella della Madonna del Soccorso in the Basilica della Santissima Annunziata, the mother church of the Servite Order, in Piazza Santissima Annunziata in Florence. The sculptor designed the chapel between 1594 and 1598 for his own tomb and it is richly decorated with frescoes and statues. The most important work in the chapel is the large bronze Crucifix by Giambologna, showing the dead Christ with his head reclining and his eyes closed. It towers over everyone who enters the chapel and depicts the body of Christ as elegant and athletic, free from the marks of the Passion.  The church itself dates back to the laying of its foundation stone in 1250. Its richly decorated interior harks back more to Roman Baroque than to Tuscan religious tradition, being decorated with marble, stucco and gilding, with impressive ceiling frescoes by Volterrano.

Also on this day: 

1819: The birth of republican activist Aurelio Saffi

1868: The birth of electrical engineer Camillo Olivetti

1912: The birth of microbiologist Salvador Luria

1958: The birth of fashion designer Domenico Dolce

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Benvenuto Cellini – sculptor and goldsmith

Creator of the famous Perseus bronze had a dark history

Cellini's bronze of Perseus with the Head of
Medusa in Piazza della Signoria in Florence

The colourful life of the Renaissance artist Benvenuto Cellini ended on this day in 1571 with his death in Florence at the age of 70.

A contemporary of Michelangelo, the Mannerist Cellini was most famous for his bronze sculpture of Perseus with the Head of Medusa, which still stands where it was erected in 1554 in the Loggia dei Lanzi of the Piazza della Signoria in Florence, and for the table sculpture in gold he created as a salieri - salt cellar - for Francis I of France.

The Cellini Salt Cellar, as it is generally known, measuring 26cm (10ins) by 33.5cm (13.2ins), is now kept at the Kunsthistorisches Museum in Vienna, with an insurance value of $60 million.

His works apart, Cellini was also known for an eventful personal life, in which his violent behaviour frequently landed him in trouble. He killed at least two people while working in Rome as a young man and claimed also to have shot dead Charles III, Duke of Bourbon, during the 1527 Siege of Rome by mutinous soldiers of the Holy Roman Emperor, Charles V.

Cellini was also imprisoned for alleged embezzlement of the gems from the tiara of Pope Clement VII, famously escaping from jail at the Castel Sant’Angelo by climbing down a rope of knotted bedsheets, and for immorality.

He was a self-confessed bisexual, being found guilty of sodomy on a number of occasions.  One such charge, brought following accusations made by a male apprentice in his Florence workshop, led to a prison sentence of four years, commuted to house arrest following the intervention of the Medici family.

Cellini's extraordinary salt cellar in gold is insured
for a value of $60 million

Much of this is known because Cellini documented his life in an autobiography, the first by a significant Renaissance figure, in which he shared the details of his racy exploits. 

Cellini was apprenticed as a metalworker in the studio of the Florentine goldsmith Andrea di Sandro Marcone. He might have stayed in Florence had he not twice had to leave to escape the consequences of his violent behaviour.

After fleeing to Rome, he worked for the bishop of Salamanca, Sigismondo Chigi, and Pope Clement VII, which is how he came to participate on the side of the pontiff in defending Rome against the imperial forces in 1527, where he claimed not only to have killed Charles III of Bourbon but also to have shot, possibly fatally, the Prince of Orange, Philibert of Chalon.

Having survived the sack of Rome, he returned to Florence and in 1528 worked in Mantua, making a seal for Cardinal Gonzaga, which is now the property of the city’s Episcopal Archives.  Back in Rome, he then executed several works in gold for Clement VII, although apart from two medals made in 1534, which can be seen at the Uffizi in Florence, none survive.

His violent ways continued. After his brother, Cecchino, had killed a corporal of the Roman Watch and in turn received fatal wounds from the gun of another soldier, Cellini meted out his own justice by murdering his brother’s killer. He later murdered another man, this time a rival goldsmith.

A portrait bust of Cellini by Raffaello Romanelli
 can be found on Florence's Ponte Vecchio

Amazingly, he was absolved by Clement VII’s successor, Pope Paul III, but the following year, having wounded a notary, he fled from Rome and settled back in Florence.

He made his first visit to France as a guest of Francis I in 1538. It was two years later that he arrived at Fontainebleau, carrying with him an unfinished salieri, which he had originally offered to Cardinal Ippolito d’Este of Ferrara, and which he now completed in gold for the French king. The piece, which has the figures of a man and a women symbolising the sea and the Earth, and in which tiny models of a ship and a temple were intended to be receptacles for the condiments, is the only surviving fully authenticated Cellini work in precious metal. Modelled by hand rather than cast, it has been dubbed the Mona Lisa of small sculptures.

While in France, Cellini modelled and cast his first large-scale work, a large bronze lunette of the Nymph of Fontainebleau for the entrance to the Louvre.

He left Paris to return to Florence in 1545, at which point he was welcomed by Cosimo de’ Medici and entrusted with the commissions for the bronze Perseus in the Loggia dei Lanzi, and for a colossal bust of the Grand Duke of Tuscany, now at the Bargello museum, a short distance away.

Cellini’s other late works include his marble figures of Apollo and Hyacinth (1546) and of Narcissus (1546–47), which are also in the Bargello, as is a small relief of a greyhound made as a trial cast for the Perseus (1545).

There is a statue of Cellini in the
Piazzale degli Uffizi

After the unveiling of the Perseus, he began work on a marble crucifix originally intended for his own tomb in the Florence church of Santissima Annunziata, but now in the church of the royal monastery of the Escorial in Spain.

He began to write his autobiography in 1558 and completed it in 1562, dictating the text to an assistant in his workshop.

First printed in Italy in 1728, the book was translated into English in 1771. Composed in colloquial language, it is enormously valuable in providing a first-hand account of life in Clement VII’s Rome, the Paris of Francis I, and the Florence of Cosimo de’ Medici.

Michelangelo's David (left) and Bartolommeo Bandinelli's
Hercules and Cacus in Florence's Piazza della Signoria

Travel tip:

Florence’s Piazza della Signoria, situated right in the heart of the city, close to the Duomo and the Uffizi Gallery, is home to a series of important sculptures, including Giambologna’s The Rape of the Sabine Women and his Equestrian Monument of Cosimo I, Baccio Bandinelli’s Hercules and Cacus, the Medici Lions by Fancelli and Vacca, The Fountain of Neptune by Bartolemeo Ammannati, copies of Donatello’s Judith and Holofernes and Il Marzocco (the Lion), and the copy of Michelangelo’s David, at the entrance to the Palazzo Vecchio.

Hotels in Florence by Booking.com

The Palazzo del Bargello in Via del Proconsolo
is home to many masterpieces

Travel tip:

As well as works by Cellini, other great Renaissance sculptures can be appreciated in the Museo Nazionale del Bargello - the Bargello National Museum - situated just a short distance from Piazza della Signoria in Via del Proconsolo. The museum houses masterpieces by Michelangelo, Donatello, Giambologna, Vincenzo Gemito, Jacopo Sansovino, Gianlorenzo Bernini and many works by the Della Robbia family.

More reading:

Michelangelo's masterpiece - La Pietà

Bartolommeo Bandinelli - the rival Cellini mocked

The sculptor who broke Michelangelo's nose in a fight

Also on this day:

1539: The death of influential marchioness Isabella d’Este

1816: Fire damages Teatro di San Carlo

1912: The birth of poet Antonia Pozzi

1960: The birth of football referee Pierluigi Collina

(Picture credits: Perseus statue by Denise Zavala; Cellini Salt Cellar by Jerzy Strzelecki; Romanelli bust by Grzegorz Gołębiowski; Uffizi statue by Jebulon; Piazza della Signoria statues by Richard White; Palazzo Bargello by Kandi; all via Wikimedia Commons)

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Bartolommeo Bandinelli - Renaissance sculptor

Career scarred by petty jealousies

Bartolommeo Bandinelli - a self-portrait

The sculptor Bartolommeo Bandinelli, a contemporary and rival of Michelangelo and Benvenuto Cellini in Renaissance Italy, was born on this day in 1473 in Florence.

He left his mark on Florence in the shape of the monumental statue of Hercules and Cacus in the Piazza della Signoria and his statues of Adam and Eve, originally created for the Duomo but today housed in the Museo Nazionale del Bargello.

Also known as Baccio Bandinelli and Bartolommeo Brandini, he was skilled in small sculptures but became known and disliked for his antagonistic manner with other artists and his particular hatred of Michelangelo, of whom he was bitterly jealous.

Giorgio Vasari, the artist and sculptor who was the first to compile a written history of art and artists, and who was a student in Bandinelli’s workshop, recalled an occasion when Bandinelli was so enraged by the excitement that ensued when a Michelangelo drawing was uncovered in the Palazzo Vecchio that, as soon as an opportunity arose, he tore it up.

Where Michelangelo was revered for everything he did, Bandinelli’s critics said he lacked the skills required to tackle large sculptures.

Bandinelli's Hercules and Cacus

This only drove him to want to prove them wrong, and to this end it is thought that he persuaded the ruling Medici family to give him the commission for the statue of Hercules and Cacus – originally intended for Michelangelo, who was busy working on the Medici Chapel.

Yet when the work was unveiled in 1534 it attracted ridicule, in particular from Cellini.   Where Michelangelo, whose David already stood in the Piazza, had a gift for imbuing his creations with a sense of realism and drama, Bandinelli’s figures - in the eyes of his critics at least – lacked character and authenticity.

Much more favourably received were his bronze copy of the ancient Greek statue Laocoon and his Sons, his tombs of the Medici popes Leo X and Clement VII in Rome and his Monument to Giovanni delle Bande Nere, the Medici condottiero (professional soldier).

Bandinelli was the son of a prominent Florentine goldsmith. As a boy, he was apprenticed under Giovanni Francesco Rustici, a sculptor friend of Leonardo da Vinci.

Later in his career, he was a leader in the group of Florentine Mannerists who were inspired by the revived interest in Donatello.

Some of his works in terracotta were hailed as masterpieces and some of his drawings have been difficult to establish as not being by Michelangelo.

Bandinelli's Pietà in the Basilica della Santissima Annunziata

Yet he continued to attract scorn whenever he took on a large project, his Pietà in the Basilica della Santissima Annunziata being another example.  Bandinelli began work on it only after he heard about Michelangelo’s similar commission in Rome.

It was completed in 1559 and again brought unfavourable comments from other artists, some of whom said that it lacked refinement, his figures appearing somewhat awkward and oddly positioned compared with the grace and beauty of Michelangelo’s work.

The other complaint against Bandinelli, voiced by Vasari, was that he accepted commissions too hastily and failed to complete many of them, although there are enough examples of his work in museums and galleries to refute that claim.

However, Vasari’s detailed Lives of the Artists also gives praise where it was due and acknowledges Bandinelli was a sculptor of merit, and in recent years his talent has been better appreciated, culminating in the first exhibition devoted to his work alone, in the Bargello museum in Florence.

Cellini's Perseus with the Head of Medusa

Travel tip:

Florence’s Piazza della Signoria, situated right in the heart of the city, close to the Duomo and the Uffizi Gallery, is an open-air museum of Renaissance art, featuring a series of important sculptures, the most famous of which are Giambologna’s The Rape of the Sabine Women and his Equestrian Monument of Cosimo I, Cellini’s Perseus with the Head of Medusa (next to The Rape of the Sabine Women in the Loggia dei Lanzi), Bandinelli’s Hercules and Cacus, the Medici Lions by Fancelli and Vacca, The Fountain of Neptune by Bartolemeo Ammannati, copes of Donatello’s Judith and Holofernes and Il Marzocco (the Lion), and the copy of Michelangelo’s David, at the entrance to the Palazzo Vecchio.

The Bargello in Via del Proconsolo

Travel tip:

More Renaissance sculptures can be appreciated in the Museo Nazionale del Bargello - the Bargello National Museum - situated just a short distance from Piazza della Signoria in Via del Proconsolo, in a fortified 13^th century building that was once a prison. The museum houses masterpieces by Michelangelo, Donatello, Cellini, Giambologna, Vincenzo Gemito, Jacopo Sansovino, Gianlorenzo Bernini and many works by the Della Robbia family.

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Michelangelo’s David

Masterpiece emerged from an abandoned block of marble

A replica of Michelangelo's David now stands
 in front of the Palazzo Vecchio in Florence

A huge statue of the Biblical hero David, sculpted by Michelangelo, was unveiled in Piazza della Signoria in Florence on this day in 1504.

The 5.17m (17ft) high statue was placed outside the Palazzo Vecchio, the seat of civic government in Florence. The sculpture symbolised the defence of civil liberties in the republic of Florence, which at the time was an independent city state threatened on all sides by rival states. It was thought that the eyes of David were looking towards Rome and seemed to have a warning glare.

David is regarded as one of Michelangelo’s masterpieces. He was sculpted from a block of Carrara marble originally designated to be one of a series of prophets for Florence Cathedral. The marble was worked on by two artists before being abandoned and left exposed to the elements in the yard of the Cathedral workshop.

The original statue in its home in
Galleria dell'Accademia

After 25 years of neglect, the Cathedral authorities decided to find an artist to produce a sculpture from their expensive block of marble.

At the age of 26, it was Michelangelo who convinced the overseers of works for the Cathedral that he deserved the commission.

He began work early in the morning of September 13, 1501. The resulting statue of a nude David produced nearly three years later is thought to represent the hero after he had made the decision to fight Goliath but before the battle has actually taken place. It is one of the most recognised works of sculpture from the Renaissance period and is a symbol of strength and youthful beauty.

On completion, the statue was moved the half mile from Michelangelo’s workshop to Piazza della Signoria, a journey that took four days. It was to remain there for more than 300 years.

But in 1873 David was removed from the piazza, allegedly to protect the statue from damage, and put on display in the Galleria dell’Accademia in Florence, where it has attracted many thousands of visitors over the years. A replica of the original statue now stands outside the Palazzo Vecchia.

The L-shaped Piazza della Signoria in Florence

Travel tip:

Piazza della Signoria is an L-shaped square in the centre of Florence, important as the location of the 14th century Palazzo Vecchio, the focal point for government in the city. Citizens gathered here for public meetings and the religious leader Girolamo Savonarola was burned at the stake in the square in 1498. The piazza is a unique outdoor sculpture gallery filled with statues, some of them copies, commemorating major events in the city’s history.

Travel tip:

The Galleria dell’Accademia in Florence has become famous as the home of Michelangelo’s statue of David. It is the second most visited museum in Italy, after the Uffizi, the main art gallery in Florence. The Galleria dell’Accademia was established in 1784 in Via Ricasoli in Florence. For more information about the gallery visit galleriaaccademiafirenze.beniculturali.it

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Umberto Baldini – art restorer

Saved hundreds of artworks damaged by Arno floods

Umberto Baldini

Umberto Baldini, the art historian who helped save hundreds of paintings, sculptures and manuscripts feared to have been damaged beyond repair in the catastrophic flooding in Florence in 1966, died on this day in 2006.

Baldini was working as director of the Gabinetto di Restauro, an office of the municipal authority in Florence charged with supervising restoration projects, when the River Arno broke its banks in the early hours of November 4, 1966.

With the ground already saturated, the combination of two days of torrential rain and storm force winds was too much and dams built to create reservoirs in the upper reaches of the Arno valley were threatened with collapse.

Consequently thousands of cubic metres of water had to be released, gathered pace as it raced downstream and eventually swept into the city at speeds of up to 40mph.

More than 100 people were killed and up to 20,000 in the valley left homeless. At its peak the depth of water in the Santa Croce area of Florence rose to 6.7 metres (22 feet). 

The Basilica of Santa Croce partially
submerged under flood water

Baldini was director of the conservation studios at the Uffizi, the principal art museum in Florence and one of the largest and most well known in the world, where some of the most precious and valuable treasures of the Renaissance were kept, supposedly secure and protected.

The main galleries on the second floor of the Uffizi complex, situated just off Piazza della Signoria in the heart of the city and right by the river, escaped but the water – not only muddy but full of oil after tanks in its path were ruptured – poured into storerooms, where more than 1,000 medieval and Renaissance paintings and sculptures were kept.

Once the flood subsided, it was Baldini’s task to save what he could from the mess that remained, with everything in the storerooms covered in oily mud.  Similar scenes confronted the wardens and curators of churches, libraries and museums all over Florence.

It was estimated that between three and four million books and manuscripts were damaged, as well as 14,000 works of art.

Baldini not only oversaw a painstaking restoration project at the Uffizi, he was called on to advise in similar efforts taking place across the city, with almost every church possessing priceless works by one Old Master or another.

The bespectacled academic called in experts from around the world and rapidly organised the hiring and training of hundreds of volunteers – the so-called Mud Angels – to dry, clean and restore such damaged material as could be salvaged.

Baldini examines some of the restoration work

Books were washed, disinfected and dried, pages often removed to be later rebound. Paintings were dried with the application of rice paper, with techniques employed in some cases to remove entire paint layers and reapply them to a new surface.

The work went on for decades after the streets had been cleaned up and Florentine life restored to normal but by the mid-1980s it was thought up to two-thirds of all the damaged items had been repaired, including high-profile casualties such as Cimabue’s wooden crucifix in the Basilica of Santa Croce.

Others took much longer. For instance, work on Giorgio Vasari’s huge panel painting of The Last Supper, also housed in the Santa Croce basilica and submerged for 12 hours, was not completed until 2016, half a century after the flood.

Much of the successful restoration was down to the work by Baldini in the immediate aftermath of the catastrophe, when he reorganized the Uffizi’s conservation facilities under a single institute and put in place formal training programmes for students of conservation to provide a steady supply of highly-skilled staff.

In 1983, Baldini was appointed director of the Istituto Centrale per il Restauro in Rome, Italy’s most prestigious conservation body, in which capacity he led the project to clean and restore the 15^th- century Masaccio frescoes in the Brancacci Chapel of the Carmine Church in Florence.

Completed by Fillipino Lippi, the frescoes depict scenes from the life of St. Peter and the Book of Genesis. Baldini’s team discovered a virtually unspoiled portion of the fresco hidden behind an altar.

Born in 1921 at Pitigliano, near Grosseto in Tuscany, Baldini wrote books on the Brancacci Chapel, Masaccio and the restorations of Botticelli’s Primavera and Cimabue’s crucifix.

He died at his home in Marina di Massa, a Tuscan coastal town north of Viareggio, some 125km (78 miles) west of Florence, aged 84. His funeral took place at the church of San Giuseppe Vecchio in Marina di Massa and his body was interred at the Cemetery of the Holy Gate at the Basilica di San Miniato al Monte in Florence.

The church of San Miniato al Monte and adjoining cemetery

Travel tip:

San Miniato al Monte stands at one of the highest points in Florence and has been described as one of the finest examples of Romanesque architecture in Italy. Work on building the church began in 1013 at the sight of a chapel marking a cave supposedly occupied by Minas – later St. Miniato – an Armenian prince serving in the Roman army under Emperor Decius, who was denounced as a Christian after becoming a hermit. The Emperor ordered Minas to be thrown to the beasts in an amphitheatre outside Florence only for the animals to refuse to devour him, and instead had him beheaded, upon which he is alleged to have picked up his head, crossed the Arno and walked up the hill of Mons Fiorentinus to his hermitage.

Cimabue's partially restored crucifix in the
Basilica of Santa Croce

Travel tip:

The Basilica of Santa Croce, consecrated in 1442, is the main Franciscan church in Florence and the burial place among others of Michelangelo, Galileo, Machiavelli, the poet Ugo Foscolo, the philosopher Giovanni Gentile and the composer Gioachino Rossini.  It houses works by some of the most illustrious names in the history of art, including Canova, Cimabue, Donatello, Giotto and Vasari.

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