136 Sentences With "bargello" | Random Sentence Generator

The Bargello, which has merged with four other small Florentine museums, also lacks staff, a collections catalog and a database.

Near the Uffizi is the Bargello, renowned for its Renaissance sculpture and one of the best collections of Islamic art in Italy.

The Bargello section of the exhibition focuses on more recent collections: treasures acquired in the 19th century by a number of Florence-based collectors, connoisseurs and dealers.

Yet to a 21st-century eye, the most challenging and surprising work here is a serpentine bronze statuette of Orpheus, done around 1471 and on loan from the Bargello in Florence.

Courtesy Museo Nazionale del Bargello, Florence I had an admittedly crazy sense, when encountering the white-painted life-size nude "Aluminum Girl," that it both stands apart from and is equivalent in significance to the whole rest of the show.

Held at the Uffizi and at the nearby Bargello Museum, it brings together some 257 objects — ceramics, carpets, silks, manuscripts, metalwork and glassware that were given to, commissioned or acquired by people in the city over a 210-year period.

Many of Pucci's color-saturated fabrics hang in four elegant rooms in the historic Palazzo Pucci, in Florence, not far from the National Museum of the Bargello, which occupies the building where Pandolfo Pucci, a distant ancestor, was hanged, after he was caught plotting to murder Cosimo I de' Medici, in 1560.

Bargello, Fehmi, Min hemstad Midyat. Linköping: 2015. Bargello, Fehmi, I flyktens kölvatten. Jönköping: 1998.

The Judgement of Paris (the Bargello tondo) Master of the Bargello Tondo (1400 - 1450), was an Italian painter.

Since the revival of Bargello in the 1960s, the technique has evolved in different directions. Although traditional Bargello is still stitched, modern designers have expanded the repertoire of design possibilities.

He was a painter of religious works who is known by a tondo in the possession of the Bargello. Master of the Bargello Tondo in the RKD He worked in Florence.

Most agree that traditional Bargello pieces incorporate a series of all vertical stitches (vs. diagonal stitches). The basic unit is usually a vertical stitch of four threads, but other heights are possible. Some Bargello pieces use only one height of stitch, but even the earliest pieces (such as chairs in the Bargello museum) combine different heights of stitches.

As with many traditional crafts, the origins of Bargello are not well documented. Although early examples are from the Bargello Museum in Florence, there does exist documentation that a Hungarian connection is possible. For one thing, the Bargello Museum inventory identifies the chairs in its inventory as "17th century with backs and seats done in punto unghero (Hungarian Point)." (Williams, 1967:5).

An open well is found in the centre of the courtyard. The Bargello opened as a national museum (Museo Nazionale del Bargello) in 1865, displaying the largest Italian collection of gothic and Renaissance sculptures (14–17th century).

It inspired Michelangelo in his portrait of Brutus at the Bargello in Florence.

The name Bargello was extended to the building which was the office of the captain.

Bargello patterns Embroidery techniques such as counted-thread embroideryGillow, John, and Bryan Sentance. World Textiles, Little, Brown, 1999. including cross-stitch and some canvas work methods such as Bargello make use of the natural pixels of the weave, lending themselves to geometric designs.Snook, Barbara.

Florentine Embroidery. Scribner, Second edition 1967.Williams, Elsa S. Bargello: Florentine Canvas Work. Van Nostrand Reinhold, 1967.

If vertical stitches are stepped down quickly, the design forms sharp points or zig-zags. This type of Bargello motif is often known as "flame stitch". Flame stitch can be found on the Bargello Museum chairs. If steps are gradual, then the design will appear to be curved.

The name originates from a series of chairs found in the Bargello palace in Florence, which have a "flame stitch" pattern. Traditionally, Bargello was stitched in wool on canvas. Embroidery done this way is remarkably durable. It is well suited for use on pillows, upholstery and even carpets, but not for clothing.

The marble bust of a lady with a bunch of flowers (Dama col mazzolino) in the Bargello at Florence is probably from the later 1470s. The identity of the lady is unknown.Passavent pp. 180–1. The relief for the funerary monument of Francesca Tornabuoni for Santa Maria sopra Minerva in Rome is also now in the Bargello at Florence.

Two works by Donatello are in other Florentine museums: St. George and its niche are in the Bargello, and St. Louis of Toulouse is in the museum of the Basilica di Santa Croce.

The present statue is a copy of the original now kept in the Bargello. Before the statue of Bacchus, the site had a statue of Centaurus, also by Giambologna, now moved to the Loggia della Signoria.

In 1867 he was made inspector of the Bargello museum in Florence. He returned to Rome in 1875 to become the chief of the art department at ministerial level under the Minister of Public Instruction, until 1893.

The Tristan Quilt in the collections of the Victoria and Albert Museum, London. Accessed 5-2-2010 There are at least two extant sections of the quilt, one of which is displayed in the Victoria and Albert Museum's Medieval and Renaissance Galleries, and the other in the Bargello in Florence. A third quilt, also depicting Tristan and Isolde, but not thought to be part of the V&A; and Bargello examples, is held in private hands. The Tristan Quilts are the only known surviving examples of medieval quilts.

Caption: ' ("How Morholt made the host go to Cornwall") The Bargello quilt has eight scenes and is made from three longitudinal strips joined together. Some of the scenes on the Bargello quilt portray Tristan leaving his foster-father's court to go to Mark of Cornwall; the meeting of Tristan with Morholt for combat; and their fight on horseback. A third quilt in a private collection, thought to be from the same atelier but not actually part of these two quilts, includes a central medallion showing Tristan and Isolde on a field of fleur de lis.

The V&A; quilt measures 320 cm high by 287 cm wide. These measurements were verified in 2006 when it was prepared for display in the new Medieval and Renaissance Galleries. The Bargello quilt measures 2.47m high by 2.07m wide.

Bargello refers not to just a stitching technique, but also to motifs created by the change of colors in the stitches. This section describes the vertical stitch, and how it is combined with color and "stepping" to create different motifs.

Bargello patterns are formed when vertical stitches are stepped or offset vertically, usually by two threads (i.e., halfway down a unit of four threads). The patterns in the steps combined with color changes determines how the overall pattern will emerge.

At one corner is an aedicule with a Madonna and Child by Desiderio da Settignano (original in the National Museum of the Bargello). At other corners are the coat of arms of the Panciatichi.Palazzo Spinelli website, Firenze Beni Culturali office.

This article is a loose translation of the biography printed on the back flap of Spallanzani's Ceramiche alla Corte dei Medici nel Cinquecento, (Modena: Panini, 1994). In 1982, he set up the Islamic Hall of the Bargello art museum in Florence.

The formerly lost right- hand panel of the Franks Casket is held by the museum. It also features the competing designs for The Sacrifice of Isaac (Sacrificio di Isacco) that were made by Lorenzo Ghiberti and Filippo Brunelleschi to win the contest for the second set of doors of the Florence Baptistery (1401). Honolulu Hale's interior courtyard, staircase, and open ceiling were modeled after the Bargello. The Islamic Hall at the Bargello was set up in 1982 by Marco Spallanzani and Giovanni Curatola at the direction of Paola Barocchi and Giovanna Gaeta Bertelà, then the director.

It is one of the earliest surviving quilts in the world and at least two sections survive, located at the V&A; Museum (London) and in Bargello palace (Florence). Another of the Tristan and Isolde story is held in a private collection.

In the 18th century, Queen Maria Teresa of Hungary stitched Bargello and her work has been preserved in the Hungarian National Museum Petschek (1997:7) also cites additional "legends" of Hungarian noblewomen practicing the craft, including a Hungarian princess marrying into the de Medici family, and a princess Jadwiga (Hedwig) of Hungary who married into the Jagiełło dynasty of Poland. It is unknown if those were distinct developments or if they influenced each other. Both Bargello and Hungarian Point tend to be colorful and use many hues of one color, which produces intricate shading effects. The patterns are naturally geometric, but can also resemble very stylized flowers or fruits.

Son of a docent at the college of Law at the University of Turin, he trained in painting in Tuscany, Switzerland and France. In Switzerland, he studied under Alexandre Calame.Borgo Medioevale Turin short biography. He worked briefly for a commission associated with the Bargello in Florence.

Byzantine examples, which are very rare, were religious icons. The best known shows the Twelve Great Feasts of the Greek Orthodox Church and is in the Bargello in Florence. Another is in Rome and was crucial in developing the iconography of the Man of Sorrows in the West.

His other works include the antependium in the Cathedral of Teramo, an illuminated prayer book from c. 1420 (now at the Musée Condé) and a Madonna dell'Umiltà at the Uffizi. A sculpted Annunciation, of debated attribution, is at the Museo del Bargello in Florence. He died at Guardiagrele around 1462.

Barberini Ivory on display at the Louvre. Ariadne, Bargello. In Late Antiquity, an imperial diptych is a theoretical type of ivory diptych, made up of two leaves of five panels each and each with a central panel representing the emperor or empress. They are so-named in contrast to consular diptychs.

David at Bargello, Florence Donatello's bronze David, now in the Bargello museum, is Donatello's most famous work, and the first known free-standing nude statue produced since antiquity. Conceived fully in the round, independent of any architectural surroundings, and largely representing an allegory of the civic virtues triumphing over brutality and irrationality, it is arguably the first major work of Renaissance sculpture. It was commissioned by Cosimo de' Medici for the courtyard of his Palazzo Medici, but its date remains the subject of debate. It is most often dated to the 1440s, but dates as later as the 1460s have support from some scholars. It is not to be confused with his stone David, with clothes, of about 1408–09.

The bas-relief on the pedestal, representing Perseus freeing Andromeda, is a copy of the one in Bargello. Benvenuto Cellini worked almost ten years on this bronze (1545-1554). His wax design was immediately approved by Cosimo I de' Medici. He met numerous difficulties which, according to his autobiography, almost brought him to the brink of death.

The inventories of the Guicciardini family do not include a definitive reference to the quilts, but do mention "three quilted bedcovers". The V&A; quilt, according to its museum number (1391-1904), was acquired in 1904. The Bargello acquired their quilt in July 1927 from Count Paolo Guicciardini, to whose family it is believed the quilt had always belonged.

However, he refused to reveal the many secrets he knew about the Borgias. He was liberated by Pope Julius II in 1505, and thanks to Niccolò Machiavelli's mediation, was hired by Florence as bargello. He held this position for two years, until 1507. He was killed in Milan in 1508 by fellow countrymen, although the instigator is unknown.

Isabelle Goldschmidt was born in Florence in 1869. Her parents were Isaac "John" Goldschmidt and Sophie Franchetti. Her uncle Giulio Franchetti was a textile collector, whose collection is partly kept at the Bargello in Florence and was the subject of an exhibition at the Palazzo Pretorio in Prato in 1981. Another uncle was politician and writer Baron Leopoldo Franchetti.

Antonio Medici was sent to deliver him from Istanbul. Bandini was hanged on 29 December at the Palazzo del Bargello. Baroncelli was drawn in a macabre sketch by Leonardo da Vinci in Florence in 1479. With dispassionate integrity Leonardo has registered in neat mirror writing the colours of the robes that Baroncelli was wearing when he died.

Randles' plan for the quilt suggests that the scenes would have been arranged clockwise in the border, with the central images paired and reading bottom to top. Ultraviolet light tests on the Bargello quilt revealed traces of calcium on the reverse, which could have come from its use as a wall hanging, though such use may not have been the original intention.

She uses several different techniques including gathering imagery from vintage magazines, digital collages with images collected from the internet, and her own photographs. After some manipulation, the images are embroidered by fusing traditional needlework techniques ranging from a simple Continental stitch to more complex Bargello and Florentine traditions, which lend rich texture with a modern painterly focus on light and color.

Artists from other regions who worked in Florence include Raphael, Andrea Pisano, Giambologna, Il Sodoma and Peter Paul Rubens. Brunelleschi's dome Picture galleries in Florence include the Uffizi and the Pitti Palace. Two superb collections of sculpture are in the Bargello and the Museum of the Works of the Duomo. They are filled with the creations of Donatello, Verrochio, Desiderio da Settignano, Michelangelo and others.

All of them studied in the workshops of both Paul Delaroche and later Charles Gleyre. Picou's style was noticeably influenced by Gleyre. While the rest of the group generally painted classical and mythological subjects, Picou also received commissions for large religious frescoes from many churches, including the Église Saint-Roch. Picou's Allegory of Spring, painted in 1871, now housed at the Museo Nazionale del Bargello.

The marble David statue is now displayed in the National Gallery of Art in Washington, and it is now felt to be a copy of the marble David by Donatello in the Bargello in Florence.The David of the Casa Martelli , c. 1461/1479 at National Gallery of Art, Washington DC, USA. Large parts of the house's artworks were sold over the past two centuries.

A bronze statue of David was commissioned by Piero de'Medici. On grounds of style and technique it was dated by Butterfield to the mid-1460s; he considered it a masterpiece of Verrocchio's early career.Butterfield pp. 18–31. It was purchased by the Signoria of Florence from Piero's heirs Lorenzo and Giuliano de' Medici in 1476 and is now at the Bargello in Florence.Passavent pp. 173–4.

It was harshly criticised by other Italian literary circles and magazines, including Il Selvaggio, Il Bargello and Il Frontespizio, due to its frequent coverage of Jewish writers. After producing a total of forty-one volumes Solaria ceased publication in 1936. The final issue was dated 1934, although it was published in 1936. In fact, it was banned due to the censorship exerted by the fascist authorities.

In 1891, he returned to Pisa to study medieval and ancient monuments for the Museo Civico, inaugurated two years later. He was named Inspector of Monuments of Pisa. He published his first articles about the Tuscan artists – Giovanni Pisano, Tino di Camaino, and Giambologna, among others – in the journal "Archivio Storico dell’Arte" founded by Adolfo Venturi. In 1896, he was named Inspector for the Museo Nazionale del Bargello.

For the next ten years he catalogued and researched the collections. In 1904 he was named Director of the Bargello, and commissioned as Associate Superintendent of the Florentine Galleries. He taught at the Istituto di Studi Superiori e pubblica, and published a number of monographs with photographs, including, among others, on Beato Angelico, Filippo Lippi, Botticelli, and Benvenuto Cellini. He worked in this regard with the Alinari brothers.

1476) in the Bargello, and the archangel Raphael in Tobias and the Angel (c. 1475). Donato Bramante's Heraclitus and Democritus (1477) is thought by some to portray Leonardo as Heraclitus. Some suspect that the lower-right attendant in Leonardo's Adoration of the Magi (1481) may be a self-portrait. A 1505 engraving by Marcantonio Raimondi may portray Leonardo playing a lira da braccio, but this has yet to be verified.

It is now in the Museo Nazionale del Bargello in Florence, Italy. Considered among the most personal of Bernini's work, the bust depicts Costanza Piccolomini Bonarelli, the wife of Matteo Bonarelli, one of Bernini's pupils and coworkers. Bernini fell passionately in love with her. It is an exceptional sculpture in that it breaks with the tradition of seventeenth century portrait sculpturing and previews the style of the next century.

Bargello Museum, Florence Among the most famous works of art employing the barbed quatrefoil are the bronze panels on the south doors of the Florence Baptistery (1330–36) by Andrea Pisano, the bronze panels of the north doors of the Florence Baptistery by Lorenzo Ghiberti, Filippo Brunelleschi's competition entry for the same doors (The Sacrifice of Isaac), as well as Head of an Angel by Piero della Francesca.

Saint George, after marble original by Donatello in the Museo Nazionale (Bargello), Florence. Early in the 20th century, there was something of a reaction against copying works of art and interest in the collection -- and other similar collections -- declined. Only more recently has revived interest in the collection led to its once again being fully appreciated. In recent years, the Cast Courts have been used to display the works of contemporary artists.

Also in 1480, with his brother Giuliano, he built and made the sculptures for the little oratory of the Madonna dell'Olivo, outside Prato. The adolescent St. John of the Bargello is ascribed to the year 1481. In 1489 Benedetto designed the Strozzi Palace in Florence which still stands (continued by Cronaca). It is believed he went to Naples in 1490, and there finished the works begun by Rossellino in the Sant'Anna church.

10.2 (Milan) 1936:548-52, noted by Hildegard Utz, "A Note on Ammannati's Apennine and on the Chronology of the Figures for His Fountain of Neptune" The Burlington Magazine 115 No. 842 (May 1973), pp. 295-300) p. 300. The Ganymede, usually attributed to Benvenuto Cellini, is conserved at the Bargello, Florence. In Rome he worked under the direction of Guglielmo della Porta, restoring antiquities for the Cortile del Belvedere and other Vatican projects.

In most traditional pieces, all stitches are vertical with stitches going over two or more threads. Traditional designs are very colourful, and use many hues of one colour, which produces intricate shading effects. The patterns are naturally geometric, but can also resemble very stylised flowers or fruits. Bargello is considered particularly challenging, as it requires very precise counting of squares for the mathematical pattern connected with the various motifs to accurately execute designs.

It still keeps rooms painted with mythological and architectural perspective. At the entrance stands on the right (if coming from Parma) is a monumental arched entrance, called the "L'Arco del Bargello" which marks the entrance to the park. Villa Meli-Lupi di Soragna, located in the Fortunato Nevicati park is an example of special architectural structures as it depicts a nut, with the front moved by small columns forming a portico, and a corner tower.

W. Dickey, Hart Wood, Robert Miller, and Rothwell Kangeter & Lester--but did not open for business until the following year. It was built in an Italianate Spanish Colonial Revival style that was popular in the islands at the time. Its interior courtyard, staircase, and open ceiling were modeled after the Bargello in Florence. Einar Peterson was commissioned to paint frescoes in the interior while Mario Valdastri was commissioned to install intricate stonework.

After defeating the exiles' army, Vitelli stormed the fortress, where Strozzi and a few of his companions had retreated to safety. It fell after only a few hours, and Cosimo celebrated his first victory. The prominent prisoners were subsequently beheaded on the Piazza della Signoria or in the Bargello. Filippo Strozzi's body was found with a bloody sword next to it and a note quoting Virgil, but many believe that his suicide was faked.

Then, in order to make room for the fountain, several buildings were demolished. However, the fountain arrived incompleted in Palermo. Some sculptures were damaged during the transport, others were maybe kept by Luigi de Toledo (probably the statues of two Divinities preserved in the Bargello Museum of Florence and other statues placed in Naples and then in the garden of Abadia, in the Spanish city of Cáceres). Therefore, in Palermo some adjustment were necessary.

On the accession of King Henry VIII Oxford continued in high favour, and officiated as Lord Great Chamberlain at the coronation. He resided at Wivenhoe and Castle Hedingham in Essex, and added to the 12th-century keep of the latter and constructed a new great hall and several towers. His jousting helm is in the Bargello in Florence. According to Gunn, he 'kept an outstanding chapel choir', and commissioned Caxton's edition of The Four Sons of Aymon in 1489.

The Byzantine lyra or lira () was a medieval bowed string musical instrument in the Byzantine (Eastern Roman) Empire. In its popular form, the lyra was a pear-shaped instrument with three to five strings, held upright and played by stopping the strings from the side with fingernails. The first known depiction of the instrument is on a Byzantine ivory casket (900–1100 AD), preserved in the Bargello in Florence (Museo Nazionale, Florence, Coll. Carrand, No.26).

Counted- thread embroidery is more easily worked on an even-weave foundation fabric such as embroidery canvas, aida cloth, or specially woven cotton and linen fabrics. Examples include cross-stitch and some forms of blackwork embroidery. While similar to counted thread in regards to technique, in canvas work or needlepoint, threads are stitched through a fabric mesh to create a dense pattern that completely covers the foundation fabric. Examples of canvas work include bargello and Berlin wool work.

Arco del Bargello. A major food-producing area, it is home to the multinational Italian dairy and food corporation Parmalat and Parma F.C.'s training complex, Centro Sportivo di Collecchio, and Il Collecchio Baseball Club, a baseball team established in 1974. Architecturally of note is the Pieve di San Prospero and Villa Paveri-Fontana, formerly Villa Dalla Rosa-Prati. Villa Paveri-Fontana was built in the late 17th century on a pre-existing 16th-century building.

While holding the signoria of Florence, Robert of Naples (1277-1343) had the eastern part of the Bargello in Florence constructed, where he had his vicar the Count of Battifolle reside.Elliott, 516. Villani writes in 1316 that Robert's vicar oversaw the construction of a large part of the new palace, which would suggest Robert's vicar had a great amount of influence in the construction of the eastern addition of the Palazzo del Podestà, including its Magdalen Chapel.

This sculpture is 11 feet tall, and is located on the second floor landing of the main staircase in the lobby. In 1933 Dreyer was again commissioned by Kansas City Life Insurance to complete a sculpture of Mercury. Dreyer chose to copy the Giambologna "Flying Mercury" at the Bargello National Museum in Florence, Italy (1580), but instead of using the breath of a zephyr to suspend Mercury (per Giambologna), Dreyer used a wave as he did with Goddess of Dawn.

Designed by architectural firm Holabird and Roach for capitalists Chester and Raymond Cook of Chicago, the Aquila Court Building was built in a "U" shape and designed after the Bargello in Italy. The faces of George and Aquila Cook were emblazoned on the front of the building. A mixed-use building from its inception, the building's interior courtyard featured extensive landscape gardening. The original garden design resembled an Italian formal garden with stone paths, pools with goldfish, canals and numerous plants.

Annunciation with St John the Baptist and St Andrew is a c.1485 oil-on-panel painting by Filippino Lippi. An early work by the artist, it shows an Annunciation scene between John the Baptist (left, patron saint of Florence) and Andrew (right, with his diagonal cross). In the background is a view of Florence, meaning it may have been commissioned for an individual or institution in the city – the view includes Santa Maria del Fiore, Giotto's Campanile, the Bargello and the Badia.

At the time of judging, only Ghiberti and Brunelleschi were finalists, and when the judges could not decide, they were assigned to work together on them. Brunelleschi's pride got in the way, and he went to Rome to study architecture leaving Ghiberti to work on the doors himself. Ghiberti's autobiography, however, claimed that he had won, "without a single dissenting voice." The original designs of The Sacrifice of Isaac by Ghiberti and Brunelleschi are on display in the museum of the Bargello.

When Leopold II, Holy Roman Emperor Peter Leopold was exiled, the makeshift Governor of Tuscany decided that the Bargello should no longer be a jail, and it then became a national museum. The original two-storey structure was built alongside the Volognana Tower in 1256. The third storey, which can be identified by the smaller blocks used to construct it, was added after the fire of 1323. The building is designed around an open courtyard with an external staircase leading to the second floor.

The word bargello appears to come from the late Latin bargillus (from Gothic bargi and German burg), meaning "castle" or "fortified tower". During the Italian Middle Ages it was the name given to a military captain in charge of keeping peace and justice (hence "Captain of justice") during riots and uproars. In Florence he was usually hired from a foreign city to prevent any appearance of favoritism on the part of the Captain. The position could be compared with that of a current Chief of police.

He may never have made any printed engravings from plates, as opposed to taking impressions from work intended to be nielloed. There are a number of complex niello religious scenes that he probably executed, and may or may not have designed, which were influential for the Florentine style in engraving. Some paper impressions and sulphur casts survive from these. These are a number of paxes in the Bargello, Florence, plus one in the Metropolitan Museum of Art, New York which depict scenes with large and well-organised crowds of small figures.

Portrait of a Man (Jan van Winckele?) (1462), National Gallery, London The Virgin and Child (c. 1465), National Gallery, London Many of Bouts's authentic works are small devotional panels, usually of the Virgin and Child. An early example is the Davis Madonna in New York (Metropolitan Museum of Art), excellent copies of which exist in the Bargello in Florence and the Fine Arts Museums of San Francisco. This composition follows the formula of the miraculous icon of Notre-Dame-des-Grâces, which was installed in the cathedral of Cambrai (France) in 1454.

The so-called Crucifix Gallino displayed at the Bargello In December 2008, the Italian government acquired from the antique dealer Giancarlo Gallino for €3.2 million another polychrome corpus for a crucifix in limewood;Gallery of pictures of the crucifix attributed to Michelangelo in 2009 this is less than half the size of the Santo Spirito figure. The figure had been previously exhibited in 2004 in the Museo Horne in Florence.Giancarlo Gentilini, Proposta per Michelangelo Giovane. Un Crocifisso in legno di tiglio, catalogo della mostra, Firenze, Museo Horne, 8 maggio - 4 settembre 2004, Torino, 2004.

Press release ; the sculpture was illustrated on the cover of The Burlington Magazine 139 No. 1137 (December 1997). At the time of the siege of Florence, 1528, he went to France, where he was pensioned by King Francis I but after the king's death died in poverty at Tours. Baccio Bandinelli apprenticed with Rustici. Some glazed terracotta bas-reliefs in the technique familiar from the della Robbia workshops, are attributed to Rustici, notably a Madonna and Child in the Bargello and a Saint John the Baptist in the Museum of Fine Arts, Boston.

Cast of a head in Bargello Museum until 1944, once attributed as Michelangelo's Head of a Faun Head of a Faun is a lost sculpture by Italian Renaissance master Michelangelo, dating from c. 1489. His first known work of sculpture in marble, it was sculpted when he was 15 or 16 as a copy of an antique work with some minor alterations. According to Giorgio Vasari's biography of the artist, it was the creation of this work that secured the young Michaelangelo the patronage of Lorenzo de' Medici.

Detail of the Tristan Quilt Stuffed quilting, or trapunto, was known in Sicily as early as the 13th century.The Tristan Quilt in the collections of the Victoria and Albert Museum, London. Accessed 5-2-2010 One of the earliest surviving examples of trapunto quilting is the 1360-1400 Tristan Quilt, a Sicilian quilted linen textile surviving as two fragments, representing scenes from the story of Tristan and Isolde; one part of which is housed in the Victoria and Albert Museum and the other in the Bargello in Florence.

Placement of Goliath's head has been a source of some debate for art historians. When exhibited at the National Gallery of Art, the head was placed between David's feet, as is the case in the statue's permanent home, the National Museum of the Bargello, in Florence, Italy. Another school of art historians have suggested that Verrocchio intended for Goliath's head to be placed to David's right, pointing to the diagonals of the ensemble. This placement was temporarily arranged at the National Gallery of Art, as well as Atlanta's High Museum, among others.

During the Renaissance, Florence was renowned throughout Europe as a centre of fine art, particularly in painting, gold gilding, bronze work, and furnishings inlaid with intricate designs in marble or rare wood. The fine craft traditions associated with some of these arts never entirely died out in Florence, and remained well-established up to the 19th century. Florence's craft guilds were a crucial force behind the survival of these trades. In an effort to boost Florence's economy, and promote its crafts to tourists, a museum of decorative arts opened in the Bargello in 1865.

It is also believed that there was an intellectual and affectionate bond between the elderly man and the young poet. It was perhaps Latini who induced Dante to read Cicero and Boethius, after the death of Beatrice. Many of the characters in Dante's Inferno are also mentioned in the legal and diplomatic documents Brunetto Latini wrote in Latin. There is a portrait of Latini in the Bargello in Florence, once reputed to be by Giotto, next but one to the side of Dante (between them is Corso Donati).

This Palazzo del Podestà, as it was originally called, is the oldest public building in Florence. This austere crenellated building served as model for the construction of the Palazzo Vecchio. In 1574, the Medici dispensed with the function of the Podestà and housed the bargello, the police chief of Florence, in this building, hence its name. It was employed as a prison; executions took place in the Bargello's yard until they were abolished by Grand Duke Peter Leopold in 1786, but it remained the headquarters of the Florentine police until 1859.

Originally it was intended to house a museum of works by Michelangelo, never realized. In the wall of the balcony, under the loggia, there is an epigraph in capital letters referring to his work: Poggi turned this into his monument in 1911. The view captures the heart of Florence from Forte Belvedere to Santa Croce, across the lungarni and the bridges crossing the Arno, including the Ponte Vecchio, the Duomo, Palazzo Vecchio, the Bargello and the octagonal bell tower of the Badia Fiorentina. Beyond the city are the hills of Settignano and Fiesole.

Pitture infamanti could appear in any public place, but some places were more frequently adorned with them; for example, the first floor exterior of the Bargello periodically contained numerous, life-size, pittura infamante frescoes. Florentine law required the Podestà have such caricatures painted, and accompanied by verbal identification those held in contempt of court for financial offenses (bad debt, bankruptcy, fraud, forgery, etc.). Pitture infamanti were far more common in Republican Florence than in autocratic city states, whose rulers often deemed them to be sources of "disrepute."Dean, 2000, p. 8.

Paolucci's first job as a supervisor was in 1968 at the National Museum of Bargello in Florence. He began working for the Soprintendenza per i Beni Culturali for Venice in 1969 and continued there until 1980. After working for the Mantova-Brescia-Cremona region from 1984-1986, he moved to the Department of Artistic Affairs of Tuscany in 1988. Prior to becoming Director of the Vatican Museums, Paolucci was, for nearly twenty years, the superintendent of the Polo Museale Fiorentino as well as the Director General for Cultural Heritage in Tuscany.

St George Freeing the Princess is a marble stiacciato bas-relief sculpture by Donatello, sculpted around 1416 or 1417 Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milan, 1999 ().. Originally under the same artist's St George on an external niche of Orsanmichele church, they are both now in the Bargello Museum in Florence, with replicas replacing them in their original position Paola Grifoni, Francesca Nannelli, Le statue dei santi protettori delle arti fiorentine e il Museo di Orsanmichele, Quaderni del servizio educativo, Edizioni Polistampa, Florence, 2006..

A stone thrown at the sculpture in 1858 broke its nose, and in 1892 Donatello's St. George was moved to the Bargello Museum in Florence. From 1892 to 2008 a bronze replica was placed in the original niche, to be replaced by a marble replica on 23 April 2008. The original sculpture was stolen from the Villa Medici in Poggio a Caiano, but in May 1945 it was recovered by Frederick Hart in Neumelans and returned to Italy on 20 July 1945. The box base was added back onto the statue in 1976.

The attribution of a group of nielli, in particular some in the Bargello, is complicated by problems arising from the matching up of documentary records, and the remarks of Vasari and Benvenuto Cellini, with the surviving works.Levinson, 2–7 goes into the question at some length As mentioned above, in 1452 Maso made a niello silver pax for the Florence Baptistery, commissioned by the Arte di Calimala. In 1455 the guild ordered a second pax from another goldsmith, Matteo Dei. The subject of neither piece is known from the records.

However, the fact that the Barberini ivory was almost certainly not a diptych, but some kind of imperial icon without a second panel is a serious argument against the existence of the imperial diptych type. The two panels representing the empress Ariadne, in the Bargello in Florence and the Kunsthistorisches Museum in Vienna, also belong to the hypothesized imperial diptych type. They are the only central panels of such a diptych (other than the Barberini ivory) to survive, since all other fragments of such diptychs are from side panels.

Recent research has suggested that the quilts were made as a pair of wall hangings, and subsequently altered. Some sources state that there was a third quilt, believed to have been made for the royal Capetian House of Anjou. This third fragment, known as the Pianetti or Azzolini quilt, is in private hands and is thought to come from the same source as the V&A; and Bargello quilts. The textile historian Sarah Randles argues that the two quilts were originally one large quilt, measuring a monumental 6 metres high by 4 metres wide, and that significant sections are missing.

It has a collection of Russian icons and works by various artists and painters. Other museums and galleries include the Bargello, which concentrates on sculpture works by artists including Donatello, Giambologna and Michelangelo; the Palazzo Pitti, containing part of the Medici family's former private collection. In addition to the Medici collection, the palace's galleries contain many Renaissance works, including several by Raphael and Titian, large collections of costumes, ceremonial carriages, silver, porcelain and a gallery of modern art dating from the 18th century. Adjoining the palace are the Boboli Gardens, elaborately landscaped and with numerous sculptures.

Igino was born to a prominent and erudite Jewish family of Pisa; his father, Moises, was a collector of medieval seals, coins and medals, who donated his collection to the Museum of Pisa.Short biography for retrospective at Bargello. After his lyceum education, he first studied first under the professor Alessandro Lanfredini in Pisa, then in 1883 at the Academy of Fine Arts of Florence, under professor Antonio Ciseri. At the Academy, Igino met the painters of the Macchiaioli movement, and developed close friendships with Fattori and Signorini, who appreciate his first paintings, displayed at Florentine exhibitions between 1885 and 1889.

The earliest mention of a prison in Florence refers to the Burellæ, the vaults under the ruins of the city's ancient Roman amphitheatre and theatre, which remained visible for most of the medieval period. Next the city built or adapted towers as prisons, such as the torre della Pagliazza. People were also imprisoned in the basement of the Palazzo del Capitano or the Bargello. A cramped but less spartan gaol known as the "Alberghetto" was sited in the Torre di Arnolfo of the Palazzo Vecchio - its 15th century inmates included Cosimo il Vecchio and Girolamo Savonarola.

The Palace of the Podestà in Florence, now the Bargello museum Podestà (, English: Potestate, Podesta) was the name given to the holder of the highest civil office in the government of the cities of Central and Northern Italy during the Late Middle Ages. Sometimes, it meant the chief magistrate of a city state, the counterpart to similar positions in other cities that went by other names, e.g. rettori ("rectors"). In the following centuries and up to 1918 the term was used to designate the head of the municipal administration in particular in the Italian-speaking territories.

The front side was done in his workshop, partially by Nicola Pisano himself but mostly by his assistant Lapo di Ricevuto. The rectangular sarcophagus was originally borne on caryatid figures. When the Ark was later redesigned, these supports were dispersed and are now tentatively identified in several museums: the archangels "Michael" and "Gabriel" (in the Victoria and Albert Museum, London), the statue "Faith" (Louvre, Paris), a group of three deacons (in the Bargello, Florence) and a similar group in the Museum of Fine Arts, Boston. The sarcophagus was relocated in the middle of the church in 1411.

Because of its huge collection, some of the Uffizi's works have in the past been transferred to other museums in Florence—for example, some famous statues to the Bargello. A project was finished in 2006 to expand the museum's exhibition space some 6,000 metres2 (64,000 ft2) to almost 13,000 metres2 (139,000 ft2), allowing public viewing of many artworks that had usually been in storage. The Nuovi Uffizi (New Uffizi) renovation project which started in 1989 was progressing well in 2015 to 2017. It was intended to modernize all of the halls and more than double the display space.

Bust of Benvenuto Cellini on the Ponte Vecchio, Florence Perseus with the Head of Medusa His first works in Rome were a silver casket, silver candlesticks, and a vase for the bishop of Salamanca, which won him the approval of Pope Clement VII. Another celebrated work from Rome is the gold medallion of "Leda and the Swan" executed for the Gonfaloniere Gabbriello Cesarino, and which is now in the Museo Nazionale del Bargello in Florence. He also took up the cornett again, and was appointed one of the pope's court musicians.Cellini, Vita, Book 1, Ch XXII.

Levinson, 2; Landau, 94–95 Two paxes with matching frames in the Bargello museum are thought to come from the baptistry, but their styles are considered too different to be by the same artist. One, of the Coronation of the Virgin is generally thought superior in quality and assigned to Finiguerra. The other shows a Crucifixion, and is often thought to be Dei's piece of 1456.Levinson, 2–3 The problem arises because Cellini praises a pax by Finiguerra with a Crucifixion scene with horses, and Vasari praises one with scenes of the Passion of Christ.

This painting of Dante Alighieri, painted by Giotto, is in the chapel of the Bargello palace in Florence. The Cronica has aided modern scholars in further studies of Villani's various contemporaries such as Dante. Historian J.K. Hyde states that the Nuova Cronica of Villani is representative of the strong vernacular tradition in Florence, appealing to the people of the time as a narrative that was "easy to read, full of human interest and occasionally spiced with novella-type anecdotes." Hyde also notes that Villani's criticisms of the commune politics in Florence promoted a trend of personal expression amongst later chroniclers that defied official conformity.Hyde (1979), 124–125.

Giovan Francesco Rustici, as depicted in the 1568 edition of Giorgio Vasari's Le Vite Anghiari Battle after Leonardo da Vinci, Bargello museum A Group of Warriors by Giovanni Francesco Rustici, Palazzo Vecchio Giovan Francesco Rustici, or Giovanni Francesco Rustici, (1475–1554) was an Italian Renaissance painterNo paintings securely attributed to him survive. and sculptor. __NOTOC__ He was born into a noble family of Florence, with an independent income. Rustici profited from study of the Medici sculpture in the garden at San Marco, and according to Giorgio Vasari, Lorenzo de' Medici placed him in the studio of Verrocchio,Other sculptors from Verrocchio's atelier included Francesco di Simone and Agnolo di Polo.

Together with the Palazzo dei Consoli and the Palazzo del Bargello in the same town, the palace is an examples of Umbria Gothic style, as later additions were removed by a restoration at the beginning of the 20th century. Its angled, monochromatic façade, built in the typical local grey limestone, is characterised by four ogival arches on the ground floor, four large ogival windows on the first floor and six smaller ogival windows on the second floor. Floors are marked by string courses running below the windows. The left part of the facade was not restored and still shows later alterations such as square windows and tampered arches.

He was born in Florence and apprenticed with Andrea Sansovino, whose name he subsequently adopted, changing his name from Jacopo Tatti. In Rome he attracted the notice of Bramante and Raphael and made a wax model of the Deposition of Christ for Perugino to use. He returned to Florence in 1511 where he received commissions for marble sculptures of St. James for the Duomo and a Bacchus, now in the Bargello. His proposals for sculpture to adorn the façade of the Church of San Lorenzo, however, were rejected by Michelangelo, who was in charge of the scheme, to whom he wrote a bitter letter of protest in 1518.

He is said to have studied under Donatello and is remarkable for the sharpness and fineness of his bas-relief. His most important works are the funeral monument of (1458) for the Blackfriar Church (today a museum), Forlì, and the monument of Infante James of Coimbra, cardinal of Portugal in the Basilica di San Miniato al Monte, Florence (1461–1467). The portrait bust of Matteo Palmieri in the Bargello is signed and dated 1468. In 1470 he made the monument for the Duchess of Amalfi, Mary of Aragon, in the Church of Monte Oliveto, Naples; the relief of the Nativity over the altar in the same place is also probably his.

A statue of John the Baptist as a boy is in the Bargello; also a delicate relief of the Madonna and Child, an Ecce Homo, and a bust of Francesco Sassetti. The so-called Madonna del Latte on a pillar in the Church of Santa Croce is a memorial to Francesco Nori, who fell by the stab intended for Lorenzo de' Medici. Other reliefs of the Madonna and Child are in the Via della Spada, Florence, and in the Victoria and Albert Museum, London. In the latter place is the bust of Giovanni di San Miniato, a doctor of arts and medicine, signed and dated 1456.

They form small panels on the exterior of buildings or are carved in wood beneath the folding seats of the quire. On the other hand, where artworks have been sponsored by major guilds, they may be masterpieces by renowned artists, such as the series of statues of Patron Saints that fill the external niches of the Church of Orsanmichele in Florence, of which Donatello's St George, commissioned by the armourers and now in the Bargello, is one of the best known statues of the Early Renaissance. These saints include among their number a blacksmith, a professional soldier, a doctor, a tax collector and four shoemakers. Notre Dame Cathedral, Paris.

1515 (Walters Art Museum) Baptismal font, Pistoia Cathedral Among his masterworks is the bas-reliefs surrounding the baptismal font at the Duomo of Pistoia. The marble reliefs depict scenes from the life of St John the Baptist and are contained in panels inside a temple front-like niche. Fiesole cathedral possesses a marble reredos from his hand, and the Bargello, Florence, has a Holy Family. Other works of Ferrucci are the tombs of the two Saliceti in San Martino Maggiore (1403) and San Domenico (1412), Bologna, decorations in San Martino, Naples, and the Strozzi tomb in Santa Maria Novella, Florence, begun by him and finished by Casini and Boscoli.

On July 21, the lower classes forcibly took over the government, placing the wool carder Michele di Lando in the executive office of gonfaloniere of justice, and showing their banner, the blacksmith's flag, at the Bargello, the palace of the podestà. On this day, thousands of armed wool workers (the Ciompi) and those from the Sotto posti, besieged the Signoria and pointedly hanged the public executioner by his feet in front of the Palazzo Vecchio. The Ciompi then compelled the governing body, the Signoria, to establish three additional guilds in order to grant them access to political office.Hibbert, Christopher "The House of the Medici: Its Rise and Fall" pp.

Compare with Brunelleschi's unsuccessful version. Both are in the Bargello "Cartoon", named for the sturdy cartone paper on which they were generally executed, is usually used of working drawings, often at full scale,Cartoons for tapestry were always at full scale; often cut into loom- width strips, they were set behind the warps of the loom as a direct guide for the weavers. The most famous tapestry cartoons are the "Raphael Cartoons" conserved in the Victoria and Albert Museum, for the Sistine Chapel tapestries; they were re-used in the 17th century in England to produce sets of Mortlake tapestries. but the distinction is not a firm one, and the terms cartoon and working drawing are often used interchangeably.

Marinelli Foundry remains to this day one of the last artistic workshops practicing this technique and a benchmark for Italian artisan excellence. In addition to important commissions received from foreign governments and private collectors, the Foundry produced on behalf of the City of Florence, a bronze posthumously of the ‘Porcellino’ by Pietro Tacca in the Loggia del Mercato Nuovo. The antique work was moved to the Museo Bardini in 2004. In addition, again for Florence, it executed posthumously of Giambologna's 'Bacchus' in Borgo San Jacopo (antique is, from 2006, in the Bargello Museum), and the ‘St. Matthew’ by Lorenzo Ghiberti for an external niche of the Church of Orsanmichele (antique in museum nearby).

Works attributed to Santi Buglioni include the Deposition in the St. Francis Museum of Greve in Chianti, the cyborium in the church of San Silvestro at Convertoie, the pavement of the Biblioteca Laurenziana and of Palazzo Vecchio of Florence. Around 1520-1530 he executed the Noli me tangere at the Bargello and the façade decoration of the Ospedale del Ceppo at Pistoia. From 1539 is the monument to the condottiero Giovanni dalle Bande Nere, together with Niccolò Tribolo, followed by a glazed pottery for the Abbey of Vallombrosa. Buglioni, who had become blind in his late years, died in 1576 and was buried in the church of Santa Maria Maggiore in Florence.

Born in Florence to Luigi and Assunta Papini, he graduated in literature from the Istituto di studi superiori di Firenze in 1902 and dedicated his life to archival research and study of the arts, which remained central to his work throughout his life. He began his career as an official for antiquity and fine arts following the passing of state law number 185 ("Conservation of monuments, art objects and antiquities") on 12 June 1902. From 1904 onwards he was inspector extraordinary to the Regie Gallerie in Florence then director of the Museo nazionale del Bargello from 1906 onwards and of the Uffizi from 1912 onwards. He also founded and co-edited the Rivista d'arte.

A Warrior Subduing Another, drawing Coronation of the Virgin, niello, 1452, Bargello Maso Tommasoii Finiguerra (1426–1464) was an Italian goldsmith, niellist, draftsman, and engraver working in Florence, who was incorrectly described by Giorgio Vasari as the inventor of engraving as a printmaking technique. This made him a crucial figure in the history of old master prints and remained widely believed until the early twentieth century. However, it was gradually realised that Vasari's view, like many of his assertions as to the origins of technical advances, could not be sustained. Typically, Vasari had overstated the importance of a fellow-Florentine, and a fellow-Italian, since it is now clear that engraving developed in Germany before Italy.

In the 1630s he engaged in an affair with a married woman named Costanza (wife of his workshop assistant, Matteo Bonucelli, also called Bonarelli) and sculpted a bust of her (now in the Bargello, Florence) during the height of their romance. She later had an affair with his younger brother, Luigi, who was Bernini's right-hand man in his studio. When Gian Lorenzo found out about Costanza and his brother, in a fit of mad fury, he chased Luigi through the streets of Rome and into the basilica of Santa Maria Maggiore, threatening his life. To punish his unfaithful mistress, Bernini had a servant go to the house of Costanza, where the servant slashed her face several times with a razor.

Joseph E. Widener had already given the museum a significant collection in 1942.Wilson, 6 The Wallace Collection in London has a good smaller display, as do the Victoria and Albert Museum, the Cabinet des médailles, Paris, the Hermitage Museum, the Ashmolean in Oxford, and a number of German museums, although the outstanding Berlin collection was lost in World War II.Bober, 593 Not much of the British Museum's important collection is on display, nor that of the Vatican Museums. The Bargello in Florence has some 400 plaquettes, about half from the collection of the Medici family, who played an important role in the development of the form. Most of the rest are from the collection of Louis Carrand, who bequeathed it to Florence.

Furthermore, the Museum of San Marco with masterpieces by Fra Angelico, the Accademia Gallery which houses among other works the David by Michelangelo (1501–1504), and the Piazza della Santissima Annunziata with the Loggia of the Innocenti by Filippo Brunelleschi. Heading south from the Duomo there is the political and cultural center of Florence with Palazzo Vecchio and the Uffizi Gallery nearby, near which are the Bargello Museum and the Basilica of the Holy Cross. Crossing the Ponte Vecchio we arrive at the Oltrarno district with the Pitti Palace and the Boboli Gardens. Still in Oltrarno, there are the Basilica of the Holy Spirit by Filippo Brunelleschi and the Church of Santa Maria del Carmine, with frescoes by Masolino, Masaccio and Filippino Lippi.

Versions of it exist in gold and in silver; the Grand Duke apparently got a silver one, now at the Bargello. Stosch is credited with making the monocle fashionable, but as a connoisseur, Stosch made his lasting impression with a great volume on the subject of Gemmæ Antiquæ Cælatæ (Pierres antiques graveés) (1724), in which Bernard Picart's engravings reproduced seventy antique carved hardstones like onyx, jasper and carnelian from European collections, a volume of inestimable value to antiquarians and historians. It immediately joined the repertory of books of engravings after antiquities of all kinds, which were an essential part of eighteenth century classical studies and informed the Neoclassical styles that got under way shortly after Stosch's death. In English translation by George Ogle it had several editions.

Cornelio Sozzini (died c. 1586) was an Italian humanist and early Unitarian.Aldo Stella, Dall’anabattismo al socinianesimo nel Cinquecento veneto, Liviana, Padova 1967Michaela Valente, I Sozzini e l’Inquisizione, in Lech Szczucki , Faustus Socinus and his Heritage, Polish Academy of Sciences, Kraków 2005, pp. 29-51 He was one of the sons of the law professor Lelio Sozzini.Bullettino senese di storia patria 1972 - Page 144 "... l'epigrafe in marmo collocata nell'antico palazzo dei Sozzini in Siena; i medaglioni di Lelio e Fausto sotto la « loggia ... Risulta infatti che Cornelio Sozzini fu catturato il 24 giugno 1571 dal Bargello senese, alle cinque del mattino, proprio ..."Aldo Stella, “Ricerche sul socianesimo: Il processo di Cornelio Sozzini e Claudio Textor (Bannière),” BSSV 3 (1961): 77–120.

His most famous work is the Fontana del Bacchino in the Giardino di Boboli, near the entrance to piazza Pitti in Florence. It shows a dwarf at the court of Cosimo I, ironically nicknamed Morgante (the giant of the poem Morgante by Luigi Pulci), portrayed nuded and sitting on a tortoise like a drunken Bacchus. Two more of Cioli's works (collaborations with Giovanni Simone Cioli) are to be found in the giardino di Boboli - the Uomo che vanga (digging man) and the Uomo che scarica il secchio in un tino (man emptying a bucket into a vat). Other works of his include a Satyr with a flask in the Museo del Bargello and sculptures of personifications of Painting, Sculpture and Architecture on the tomb of Michelangelo Buonarroti in the basilica of Santa Croce.

The painting is unusual for including the central saint in a separate frame, creating a sort of picture-within-a-picture. As described by art critic Charles Darwent, "By giving his picture-within-a-picture of St Jerome its own gilt frame, the artist (Botticini) sets up a sequence of overlapping realities. The framed image exists as a separate artwork for us, the viewer, but also for the painted saints who seem to study it: even holy martyrs, it says, can be moved by the power of art." A drawing once considered a study for the figure of the Saint Jerome in the altarpiece is now recognized as a work by Domenico Ghirlandaio and linked to a fresco of the saint at the Bargello, Florence, painted by Ghirlandaio's brother-in-law, Bastiano Mainardi.

The roots of needlepoint go back thousands of years to the ancient Egyptians, who used small slanted stitches to sew up their canvas tents. Howard Carter, of Tutankhamen fame, found some needlepoint in the cave of a Pharaoh who had lived around 1500 BC. Modern needlepoint descends from the canvas work in tent stitch, done on an evenly woven open ground fabric that was a popular domestic craft in the 16th century. Further development of needlepoint was influenced in the 17th century by Bargello and in the 19th century by shaded Berlin wool work in brightly colored wool yarn. Upholstered furniture became fashionable in the 17th century, and this prompted the development of a more durable material to serve as a foundation for the embroidered works of art.

The Marzocco now in Piazza della Signoria, a replica of Donatello's The Marzocco is the heraldic lion that is a symbol of Florence, and was apparently the first piece of public secular sculpture commissioned by the Republic of Florence, in the late 14th century. It stood at the heart of the city in the Piazza della Signoria at the end of the platform attached to the Palazzo Vecchio called the ringhiera, from which speakers traditionally harangued the crowd. This is now lost, having weathered with time to an unrecognizable mass of stone. The best known rendition is by Donatello, made in 1418-20\. Donatello’s Marzocco was placed in the Piazza della Signoria in 1812, but in 1885 it was moved to the Bargello, having been replaced by the copy we see to this day.

This work, a passionate, pagan, rhythmically conceived bacchanalian dance of half-nude putti, was the forerunner of the great Cantoria, or singing tribune, at the Duomo in Florence on which Donatello worked intermittently from 1433 to 1440 and was inspired by ancient sarcophagi and Byzantine ivory chests. In 1435, he executed the Annunciation for the Cavalcanti altar in Santa Croce, inspired by 14th-century iconography, and in 1437–1443, he worked in the Old Sacristy of the San Lorenzo in Florence, on two doors and lunettes portraying saints, as well as eight stucco tondoes. From 1438 is the wooden statue of St. John the Baptist for Santa Maria Gloriosa dei Frari in Venice. Around 1440, he executed a bust of a Young Man with a Cameo now in the Bargello, the first example of a lay bust portrait since the classical era.

The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1.. Retrieved on 2007-02-16 The shallow segmental arches, which require fewer piers than the semicircular arch traditionally used by Romans, enabled ease of access and navigation for animal-drawn carts. Another notable design element is the large piazza at the center of the bridge that Leon Battista Alberti described as a prominent ornament in the city. Damage shown shortly after liberation in August 1944 during World War II It has always hosted shops and merchants who displayed their goods on tables before their premises, after authorization by the Bargello (a sort of a lord mayor, a magistrate and a police authority). The back shops (retrobotteghe) that may be seen from upriver, were added in the seventeenth century.

Original of right panel, on display in Bargello Museum, Florence A monastic origin is generally accepted for the casket, which was perhaps made for presentation to an important secular figure, and Wilfrid's foundation at Ripon has been specifically suggested.Webster (2012a:97); Ripon was suggested by Wood, who was able to connect Ripon with Brioude through the Frankish scholar Frithegod "active in both areas in the middle tenth century (Wood 1990, 4-5)" - Webster (1991) from BM collection database. The post- medieval history of the casket before the mid-19th century was unknown until relatively recently, when investigations by W. H. J. Weale revealed that the casket had belonged to the church of Saint-Julien, Brioude in Haute Loire (upper Loire region), France; it is possible that it was looted during the French Revolution.Vandersall 1972:24 note 1.

In the last years of the 18th century, Vasari's account of Finiguerra's invention was held to have received a decisive and startling confirmation under the following circumstances. There was in the Baptistery at Florence (now in the Bargello) a beautiful 15th-century niello pax of the Coronation of the Virgin. The Abate Gori, a connoisseur of the mid-century, had claimed this conjecturally for the work of Finiguerra; a later and still more enthusiastic virtuoso, the Abate Zani, discovered first, in the collection of Count Seratti at Ligorno, a sulfur cast from the very same niello (cast now in the British Museum), and then, in the Bibliothèque nationale de France, Paris, a paper impression corresponding to both. Here, then, he proclaimed, was the actual material first fruit of Finiguerra's invention and proof positive of Vasari's accuracy.

Donatello, David (1440s?) Museo Nazionale del Bargello h.158 cm At his 1895 trial, Oscar Wilde cited the example of David and Jonathan in support of "The love that dare not speak its name": "Such a great affection of an elder for a younger man as there was between David and Jonathan, such as Plato made the very basis of his philosophy, and such as you find in the sonnets of Michelangelo and Shakespeare."Neil McKenna, The Secret Life of Oscar Wilde, London, 2004 In his Lambeth essay of December 2007, James Jones, the Bishop of Liverpool, drew particular attention to the "emotional, spiritual, and even physical" friendship between David and Jonathan: In 1993 a member of the Knesset in Israel, Yael Dayan, provoked controversy when she referred to David and Jonathan in a parliamentary debate in support of whether gay men and women could serve in the Israeli military.

Michelangelo's David Tuscany has a unique artistic legacy, and Florence is one of the world's most important water-colour centres, even so that it is often nicknamed the "art palace of Italy" (the region is also believed to have the largest concentration of Renaissance art and architecture in the world). Painters such as Cimabue and Giotto, the fathers of Italian painting, lived in Florence and Tuscany, as well as Arnolfo and Andrea Pisano, renewers of architecture and sculpture; Brunelleschi, Donatello and Masaccio, forefathers of the Renaissance; Ghiberti and the Della Robbias, Filippo Lippi and Angelico; Botticelli, Paolo Uccello, and the universal genius of Leonardo da Vinci and Michelangelo.Renaissance Artists The region contains numerous museums and art galleries, many housing some of the world's most precious works of art. Such museums include the Uffizi, which keeps Botticelli's The Birth of Venus, the Pitti Palace, and the Bargello, to name a few.

Bust of Niccolò da Uzzano Niccolò da Uzzano (1359 - 1431 in Florence) was an Italian politician, the Gonfaloniere of Justice in the government of Florence Florence's Palazzo Capponi alle Rovinate was built on his behalf in the first half of the fifteenth century (completed in 1426) by Lorenzo di Bicci, who always carried out Niccolò's wishes, including those for frescoes and a painting for the Church of Saint Lucia dei Magnoli, which though documented are now lost. Rinaldo degli Albizzi, a Florentine politician who was openly against the political rise of Cosimo de' Medici the Elder was held in check by Niccolò da Uzzano as long as he lived. Niccolò's family took its name from the Castle of Uzzano in Greve in Chianti. In the Bargello Museum in Florence, there is a polychrome terracotta bust of Niccolò, attributed to Donatello, dated to around 1432.

In addition, to hosting the entrance to the museum housed in the upper galleries, the loggiato is known for its display of statues of famous Tuscans housed in niches carved from the inner ground floor pilasters. It is stated that Cosimo I de Medici for his original plan for the Uffizi planned to display statues of famous Tuscans in the ground floor. In 1574, just before the death of Cosimo, the sculptor Vincenzo Danti had his statue of the former Duke placed in the ground floor.The statue of Cosimo I by Danti is presently in the Bargello of Florence. His son, Francesco, in 1584 substituted this statue with one by Giambologna, standing on a plinth on the second floor, above the arches of the interior of the river corridor, with Cosimo flanked by two figures, Rigor and Equity. However, not until the middle of the 19th century, was such an ambitious plan to display a statues of 28 famous Italians active in Tuscany was put into effect.

Pavolini was assigned tasks in the cultural field (including youth programs launched by the fascists), while contributing to fascist publications such as Battaglie fasciste, Rivoluzione fascista, and Critica fascista. Thanks to his acquaintance with Florentine fascist leader Luigi Ridolfi, he broke into active politics, becoming Ridolfi's deputy in 1927. From 1929 to 1934, he was local leader of the National Fascist Party (PNF) in Florence, as well as editor of the fascist publication Il Bargello (named after a military rank of the Middle Ages), which urged all intellectuals to contribute; Pavolini aimed for an image of Fascism as cultural and aristocratic – he initiated a series of cultural events that survived both Fascism and his death, including the yearly costumed re-enactment of the Italian Renaissance-era sport Calcio Fiorentino, the Maggio Musicale Fiorentino music festival and the Ponte Vecchio Artisans' Exhibit. Between 1934 and 1942, he was a regular contributor to Corriere della Sera as a "special guest".

They show the influence of the Neoplatonic Academy, harking back to classical art and interpreting Greek and Roman myth in the light of Christian philosophy. A letter from Antonio to Gentil Virginio Orsini dated 13 July 1494 records three square paintings of the Labours of Hercules commissioned from Antonio and Piero del Pollaiolo by Piero di Cosimo de' Medici, stating they had been produced thirty years earlier and that they were in the Palazzo Medici inventory after the death of Lorenzo the Magnificent. They were mentioned again in Raffaello Borghini's Riposo of 1584 before vanishing from the written record. Possibly produced for a private study, the two works now in the Uffizi may be sketches for two of the works mentioned in the letter, copies after two of the works in that series or original works in their own right, possibly produced for the Medici and possibly relating to Antonio's bronze sculpture Hercules slaying Antaeus, which was commissioned by Lorenzo around 1475 and is now in the Museo nazionale del Bargello.

Despite Kopanica being a Catholic Principality, Iakša being a knight of Order of the Holy Sepulchre and the Kopnik currency depicting the Patriarchal cross used by the Polish branch of the Order (established in 1163 by Iakša himself in Miechów, Kingdom of Poland), the Germans invaded the Principality using the pretext of christianization. Iakšas chappel of the Order of the Holy Sepulchre subsequently became Tempelhof of the Knights Templar and after the extermination of this mainly Celtic order in the beginning of the 14th century their property was taken by the Germanic Order of Saint John (Bailiwick of Brandenburg), known as Johanniterorden or simply Johanniter, which following strictly its germanization agenda became Lutheran. The Bargello in Florence displays a sword believed to be that of Iakša de Kopnik. Replica of the Eberswalde Hoard (containing a ducal cape) from Finów, next to Polish border, around 600 BCE; Neues Museum, Kopnik (Berlin) The Jakšić noble family of Serbia may be connected to Iakša's own clan Gryfici (Świebodzice) or their parent house the Spyra (Sperun, Pérnuš).

The Renaissance marked the rebirth of classical values in art and society as people studied the ancient masters of the Greco-Roman world; Art became focused on realism as opposed to idealism.Sculptures in the Loggia dei Lanzi Michelangelo's David Cimabue and Giotto, the fathers of Italian painting, lived in Florence as well as Arnolfo and Andrea Pisano, renewers of architecture and sculpture; Brunelleschi, Donatello and Masaccio, forefathers of the Renaissance, Ghiberti and the Della Robbias, Filippo Lippi and Angelico; Botticelli, Paolo Uccello and the universal genius of Leonardo da Vinci and Michelangelo. Their works, together with those of many other generations of artists, are gathered in the several museums of the town: the Uffizi Gallery, the Palatina gallery with the paintings of the "Golden Ages", the Bargello with the sculptures of the Renaissance, the museum of San Marco with Fra Angelico's works, the Academy, the chapels of the MedicisPeter Barenboim, Sergey Shiyan, Michelangelo: Mysteries of Medici Chapel, SLOVO, Moscow, 2006. Buonarroti's house with the sculptures of Michelangelo, the following museums: Bardini, Horne, Stibbert, Romano, Corsini, The Gallery of Modern Art, the Museo dell'Opera del Duomo, the museum of Silverware and the museum of Precious Stones.