Halls 25 through 32 were recently renovated in 2015 as part of the “Nuovi Uffizi” project. During the renovation, the walls were painted green, which denotes exhibitions dedicated to 15th century art (i.e. 1400s, or Quattrocento).
Hall 24. Cabinet of Miniatures.
After Duke Ferdinando de’Medici married Christina of Lorraine, he constructed this room to hold the immense amount of gems and precious stones Christina brought with her as her dowry. Today, the room houses more than 400 miniatures.
Hall 25. Baldovinetti and Ghirlandaio
The view thence of Florence is most beautiful—far better than the hackneyed view of Fiesole. It is the view that Alessio Baldovinetti is fond of introducing into his pictures. That man had a decided feeling for landscape. Decidedly. But who looks at it to-day? Ah, the world is too much for us.E.M. Forster, A Room with a View.
Hall 25 focuses on work painted by Alesso Baldovinetti and his pupil Domenico Ghirlandaio. Baldovinetti was himself the pupil of Domenico Veneziano, a connection which is made manifest in Baldovinetti’s Annunciation when compared with the loggia depicted in Veneziano’s Santa Lucia dei Magnoli Altarpiece.
The Annunciation was likely produced during Baldovinetti’s early phase of work and is characterized by slender figures, columns, and trees. Like most depictions of the Annunciation, Baldovinetti sticks to the traditional conventions: the walled garden (hortus conclusus), symbolizing Mary’s separation from the material world; Mary’s blue robe, alluding to her role as the Queen of Heaven, not only due to the color of the sky, but also due to the great expense of the blue pigment derived from lapis lazuli; and the central column dividing the space, prefiguring the column of flagellation (the column upon which Christ was flogged prior to his crucifiction). The central column also signifies the separation of Mary from the world and her untouched purity. In fact, even the beams of light (presumably representing the Holy Spirit, which impregnates Mary) do not penetrate the Virgin’s sacred space, thereby demonstrating the impenetrability (and therefore purity) of Mary’s body.
The cypruses in the background harken to the Garden of Eden. Baldovinetti is credited with introducing attention to landscapes to Florentine art, which is clear here in the lush landscape he created for this painting. Giorgio Vasari, artist and art critic, wrote of Baldovinetti, “He took much delight in making landscapes, copying them from the life of nature exactly as they are; wherefore there are seen in his pictures streams, bridges, rocks, herbs, fruits, roads, fields, cities, castles, sand, and an infinity of other things of the kind.” Giorgio Vasari. Lives of the Most Excellent Painters, Sculptors and Architects. Studium Publishing, 2018.
Another Baldovinetti that hangs in this room is an allegory of Justice, which, as its name implies, depicts the personification of the virtue of Justice.
She is pictured with her traditional attributes, the sword, the sphere, and the scales of justice, which denote both the two sides of Justice (the distributive, which rewards and punishes, and the commutative, which mediates disputes and symbolize the weighing of evidence) as well as the weighing of evidence. Justice, like most of his figures, is characterized by her slender appearance and pale/pinkish skin.
Baldovinetti’s pupil, Domenico Ghirlandaio, is also exhibited in this room. He painted this Adoration in 1487. Based on the circular shape of the work (known as a tondo), it is likely that this work was commissioned for a private palazzo. Some scholars link it to a tondo listed in the inventory of the Tornabuoni family and therefore believe it was painted on the occasion of the birth of Giovanni Tornabuoni, first born of Lorenzo Tornabuoni and Giovanna degli Albizi, in 1487.
Ghirlandaio links the classically inspired composition so favored during the Italian Renaissance with the detailed realism of the Netherlandish school that was favored in Northern Europe at the time. Here, Mary sits on a dais that Ghirlandaio decorated with an antique leaf relief surrounded by the adoring Magi. In front of the scene is a travel bag, sack, and inscribed ashlar (square-cut stone) while the background demonstrates an acute attention to minute details characteristic of Northern European painting.
The Adoration became a popular subject during the Fifteenth Century in Florence, in part because its feast day, January 6, was also the day of celebration for Christ’s baptism, an event during which Florence’s patron saint, John the Baptist, was obviously integral (John the Baptist baptized Christ, hence his moniker). This connection between Florence and the Adoration was furthered by the ruling family, the Medici, who closely identified with the cult of the Magi. Moreover, the Magi were associated with Eastern scholarship/the inheritors of men such as Hermes Trismegistus, Pythagoras, and Plato, i.e. ancient wisdom that had been “lost” to the West during the so-called “Dark Ages.” Along that vein, beginning in the late Fifteenth Century, Adorations started to be commonly set amongst the ruins of ancient temples rather than the more traditional barn/cave. Compare Ghirlandaio’s Adoration with that of Gentile Fabriano, where Mary sits in front of a barn and a cave, not ancient ruins.
Placing the Adoration among ruins signified the triumph of Christianity over paganism both physically, as Christian churches replaced the crumbling temples, and socially. It also allowed Renaissance artists to harken to the classical era from which so much of their art was inspired, yet still express the utter sense of loss of the ancient past.
Hall 26 – Cosimo Rosselli
Cosimo Rosselli is mainly known for his work in the Sistine Chapel, which he did alongside Sandro Botticelli, Pietro Perugino, and Domenico Ghirlandaio. Unlike the others, however, he is known for using bright colors and much more gold in his works, as is evident in this Madonna and Child Enthroned With Angels, St. Nicholas, and St. Anthony the Abbot.
A cloth of honor is fastened to a number of trees, whose tops are visible and allude to the Garden of Eden. On the Virgin’s right is St. Nicholas while on the left is St. Anthony the Great.
Rosselli’s other work in this room is his Adoration. In this work, Christ is holding a bird, a goldfinch, which symbolizes the soul because, like a bird, it was believed that the soul would fly away after death. The use of the goldfinch specifically is due to the belief that the red spot on a goldfinch’s chest was acquired when a goldfinch removed one of the thorns from Christ’s head and was splashed with blood.
By this time, landscapes have become common background in paintings as opposed to the traditional Byzantine gold, yet the ground where the figures stand in this work still resembles the artificial ground in a tapestry rather than real earth, which feels and reacts to figures’ weight on it.
Hall 27 – Perugino
Like Cosimo Rosselli, Pietro Perugino worked on the Sistine Chapel alongside Sandro Botticelli and Domenico Ghirlandaio.
In Perugino’s rendition of the Crucifixion, he has placed St. Jerome on the far left of the work, identifiable by the lion by his feet and his red cardinal’s hat, which Jerome has thrown to the ground as a symbol of his rejection of earthy honors. Next to St. Jerome is St. Francis, identifiable by the stigmata on his hands and his monk’s habit. At Jesus’ feet is Mary Magdalene with her traditional attribute, ointment, on the ground in front of her. Next to Mary Magdalene is Blessed Giovanni Colombini, founder of the Jesuati (not to be confused with the Jesuits, founded by Ignatius of Loyola), and St. John the Baptist in his hair shirt.
The figures all give off shadows, indicating a single light source, a relatively new innovative concept in art. Additionally, the deep perspective and the infinite background that it creates is typical of Perugino.
Also located in this room is Mater Dolorosa (“Mother of Sorrows”), a copy of Hans Memling’s painting. It is here because it was likely copied by a Perugino follower. The painting itself is quintessentially Netherlandish. The Virgin is depicted as indisputably human, not as a creature of Heaven. The only acknowledgement of her holy status is her thin, almost nonexistent halo that fades into the dark background.
Hall 28 – Piero di Cosimo and Filippino Lippi
The next room features work by two artists: Piero di Cosimo, student of Cosimo Rosselli, and Filippino Lippi, son of Fra Filippo Lippi.
In the first piece, Piero di Cosimo depicts the mythical story of the hero Perseus and Andromeda. According to the myth, Perseus was traveling back after killing the gorgon Medusa when he spotted the Princess Andromeda chained to a rock. Andromeda was the daughter of King Cepheus and Queen Cassiopeia of Ethiopia, who had boasted that she was more beautiful than the Nereids, the daughters of the sea god Nereus. To avenge Nereus, the king of the sea, Poseidon, sent his sea creature to attack Queen Cassiopeia’s country. Cassiopeia consulted an oracle, who told her that by sacrificing her daughter, the sea creature would be appeased. Instead, Perseus flies in and saves the day, killing the sea monster and marrying Andromeda.
Perseus is shown three times in the painting: flying in the winged sandals loaned to him by the god Hermes in the top right hand corner; standing atop the sea monster; and celebrating with Andromeda in the bottom right corner. His multiple appearances indicates that this work is intended as a narrative piece, not a static picture.
The background is as interesting as the narrative in the foreground:
Here, Piero depicted three altars to the gods (from left to right) Hera, Zeus, and Hermes. While the mountain behind the altars takes the shape of a man, specifically the titan Atlas. (Titans were the children and grandchildren of the primordial gods Gaia, or Earth, and Uranus, i.e. Sky.) According to the Perseus myth, after killing Medusa, Perseus asked the titan Atlas if he would give him shelter from Medusa’s sisters, but Atlas refused. So Perseus pulled Medusa’s head out of the bag that he had been carrying it in, and when Atlas looked into her face, he turned into a mountain.
Given the timing and the subject of the painting, scholars believe that it was commissioned for the marriage of Filippo Strozzi the younger and Clarice de’ Medici. Multiple Medici emblems occur throughout the work. First, in the center is a laurel branch, which is capable of regenerating (like a phoenix, another Medici emblem), which reflects the Medici’s return to the city of Florence after a brief exile. Near the branch is Perseus’ shield, the top of which is shaped like a diamond, another Medici emblem. (They are the original proprietors of the phrase “Diamonds are forever.”)
The Medici also liked to identify themselves with Perseus. In fact, the family commissioned this statue of Perseus with the Head of Medusa from Benvenuto Cellini when they returned from exile. Perseus was the son of Zeus, King of the Gods, and a princess and therefore descended from royalty, a status for which the Medici had always been grasping until they finally achieved it in 1569 with Grand Duke Cosimo I. Thus, identifying the family with Perseus signified that they too had royal status. Additionally, if the Medici could identify as Perseus, then it could be inferred that they swooped in to save Florence from the “sea monster” (i.e. the Republic) just as Perseus did to save Andromeda.
To ensure that these underlying messages were not missed, Perseus, and therefore Medusa’s head, were placed so that Medusa is looking straight at Michelangelo’s David, a symbol of the Republic, “turning” him to stone.
The other artist represented in this room is Filippino Lippi, son of the famous Fra Lippi. One of Lippi’s (the younger) works housed here is an Adoration of the Magi (1496), which was commissioned by the Convent of San Donato in Scopeto because the original Adoration that they had commissioned was never finished. (Perhaps not a surprise to anyone, but the original commission had been given to Leonardo da Vinci, who had run off to Milan without finishing it.)
Some scholars have posited that the misty lake in the top left is a homage to Leonardo’s famous sfumato technique since it was his Adoration that this one replaced. Compare the unfinished Leonardo with the Lippi:
In the left corner of the work kneels a man holding a globe, alluding to the magis’ astrological knowledge. This man is believed to be Pierfrancesco de’ Medici, whose sons (Lorenzo and Giovanni) are supposedly depicted as the king being crowned and the young blonde holding a vase. Such a statement was bold in a republican Florence, but the Medici had long been identified with the Magi.
Like Ghirlandaio’s Adoration, Lippi’s Adoration places the main characters in the center of the work rather than off to one side. Previously, artists would place the Virgin and the Three Kings in a corner of the work to emphasis the movement of the kings’ procession. But, with the advent of perspective, artists like Filippino Lippi were able to convey movement with shadows and light and therefore were able to focus the main action in the center without losing the movement of the Magis’ trains/processions they wanted to convey.
The other work in this room by Filippino Lippi is St. Jerome Penitent, which depicts St. Jerome kneeling before a crucifix. This painting is one of the first times that we see a saint dressed in rags and depicted old in a grizzled, downtrodden way rather than the more usual aged, but venerable and wise.
Beneath the saint’s left elbow trots his lion, his usual attribute, while in the cave lays his cardinal’s hat, left unnoticed and without care, demonstrating Jerome’s retreat from earthly pleasures.
Also in this room is Lippi’s Madonna degli Otto (1486), painted for the Sala degli Otto di Pratica, a room in the Palazzo Vecchio. This commission, like so many others, had first gone to Leonardo da Vinci, who, once again, failed to finish, and so the commission ended up resting with Lippi.
The niche that holds the Virgin is in the shape of a scallop shell, a symbol which had been appropriated from the classical world, wherein the scallop shell was a symbol of fertility. The Christian tradition limited the meaning from “all births” to simply the birth of Christ. Mary, therefore, was dubbed as the “new Venus.” Mary is surrounded by the patron saints of Florence, from left to right, St. John the Baptist, St. Vittore, St. Bernard of Clairvaux, and St. Zanobi. St. Bernard is holding open a book, on which pages are written his homily to Mary.
Above Mary are two angels holding garlands of roses. The roses allude to charity, Christ’s passion, and Mary herself, who was and is known as “a rose without thorns,” an epithet which is itself an allusion (to the garden of eden where roses grew without thorns). Crowning the entire scene is the Croce del Popolo, a symbol of the Florentine Municipality.
Hall 29 – Lorenzo di Credi
Hall 29 is dedicated to Lorenzo di Credi, who was a pupil of Andrea del Verrocchio (Leonardo da Vinci’s teacher) and took over Verrocchio’s workshop after he died.
Hall 30 – Doriforo
In Hall 30 is a sculpture from the early First Century AD known as the Doryphoros (“Spear-Bearer”) Torso. The Doryphoros Torso is one of the most well preserved copies of the Doryphoros of Polykleitos. The original Doryphoros of Polykleitos no longer survives, but it was a Greek marble from the 5th Century B.C. Polykleitos earned his fame because he “solved” the issue of reproducing the ideal male body in motion.
Hall 31 – Signorelli and Florence
This room is known as “Signorelli and Florence” because it gives the visitors a splendid view of Florence through a window next to one of Signorelli’s tondos.
Hall 32 – Signorelli
One of the more striking works in this room is Signorelli’s Madonna with Child (c. 1490), which features Mary and Christ with male figures in the background. The Tondo is framed in a false frame with two prophets flanking a bust of St. John the Baptist. The monochromatic frame brings the Madonna into stark realization. Madonna and the Christ Child are sitting among ancient ruins.