Palazzo Tolomei Biffi
| Palazzo Tolomei Biffi | |
|---|---|
 |
|
| Data | |
| place | Florence |
| Client | Antonio Taddei |
| Coordinates | 43 ° 46 '35 .7 " N , 11 ° 15' 20.7" E |
Palazzo Tolomei Biffi , also Del Chiaro , is a historic building in Florence , at Via de 'Ginori 19-21.
history
The Taddei
The palace has a facade with architectural features from the 16th century, which was probably built between the third and fourth decades of this century, when it was still a "great house" by Antonio Taddei.
There was a lot of confusion between this palace and the nearby Palazzo Taddei. This building was also built by the same family who owned many houses in the area after which Via Taddea was named, but the client of this building was Antonio, not the patron and friend of writers and artists Taddeo Taddei.
The misunderstandings were also compounded by Antonio Sogliani's relocation of a tabernacle from Palazzo Taddei to the house next to Palazzo Tolomei Biffi when the Israeli Levi family came into possession of Palazzo Taddei. When an attempt was made to identify the place where Raffael Sanzio was a guest, the building was identified as number 17 across Via Taddea based on Vasari's description and the presence of a tabernacle, ignoring the relocation of the aedicula in the first half of the 19th century has been. The plaque commemorating Raphael's stay is therefore in the wrong place. Not only did the artist not live in the little corner house, not even in Taddei, but in a palace on the opposite side of Via Taddea.
In 1561 the Taddei family rented the palace to Lelio Torelli, the lawyer who managed to settle the lawsuit between Cosimo I and Lorenzino de 'Medici by handing over the family property to the first.
The Del Chiaro
In 1564 the palace was sold to the Baglioni from Perugia , who sold it on to the Galli in 1584 . After about twenty years it passed to the Martelli family and ten years later ( 1620 ) the Del Chiaro were the new owners of the building. The Del Chiaro family, called Albizzelli in ancient times, were silk merchants, were knights of the Order of Santo Stefano and used the church of Santa Maria Maggiore as a burial place.
In the years 1692–1694, important architectural work was carried out in view of the marriage between Leon Battista del Chiaro and Maria Ugolini, including the integration of a neighboring house. Antonio Maria Ferri was entrusted with the construction work. The latter unifies the existing building with the recently acquired one by extending the front from five to seven axes (with the new addition on the right), and only rearranging the elements of the 16th century that already characterize the oldest part, everything "in the spirit of the architectural camouflage that characterizes other interventions of the Florentine 17th century" (Martelli). With the extension, the original portal was in an asymmetrical position. On the ground floor, three large Finestra inginocchiata with curved tympanums were also built on architraves , which are decorated with decorative nails and triglyphs . The inner courtyard with its niches and grottos has also been modernized. At the end of the work, the family coat of arms was attached to the facade, three "waxing moons" red and blue on a silver field.
In the last phase of the work (1694) the representative rooms were decorated with new frescoes.
The Del Chiaro family owned the building until 1742 when the family died out.
The Tolomei Biffi
In 1743 the luxurious palace passed to the Compagnia di San Marco , which shortly afterwards sold it to the Tolomei family of Florence. This old Florentine family (not to be confused with the Tolomei from Siena ) originally comes from Legri in the Val di Marina and has been known for the chapel and tombs in the church of Santo Stefano since 1246, as well as for their first priory in 1300. They were Tolomei Gucci called, with the name Tolomeo di Guccio. They operated the silk trade and had economic interests with many banking companies. They became nobles in 1591 after establishing a Commenda of the Order of the Knights of St. Stephen .
Neri di Baccio Tolomei married Margherita Frescobaldi , who brought three thousand scudi as a dowry , thanks to which the house adjoining the palace at 23 Via de 'Ginori was bought and expanded. The two houses, one with number 19 and the other with number 23, are called the big house and the small house (now also called Palazzo Tolomei).
The Tolomei Gucci became Tolomei Biffi because the will of Girolamo Biffi, uncle of Neri Maria Tolomei, also included the obligation to change the family name. After this inheritance, the piano nobile of the palace was painted with frescoes on behalf of Neri Maria and decorated with gilded stucco, which also had the two coats of arms of Tolomei and Biffi attached, the first three grape leaves with a gold band on a blue background with the head of the shield from Anjou and the second depicted a black eagle on a golden background. The coat of arms of Tolomei Gucci, consisting of three leaves and three lilies, are attached to four pendants and that of Biffi is also visible on the wrought iron gate after the door.
In 1850, Paolo di Neri Maria di Jacopo sold the two buildings to Giuseppe Garzoni Venturi, who came from a family originally from Lucca , who became the MP, Mayor of Florence and Senator of the Kingdom . After the death of Garzoni Venturi, the palaces were taken over by his daughter, the wife of Gian Paolo Poschi Meuron, who kept the two palaces until the First World War . It later passed to the Isola family, who with great dedication successfully carried out a long and persistent restoration of the entire building.
The palace is on the list drawn up in 1901 by the General Directorate of Antiques and Fine Arts as a monumental building classified as a national art heritage.
description
Outside
The front of the building is of remarkable beauty and extends over three floors arranged on seven axes. The architectural elements of the facade are all made of stone and stand out against the background of light plaster in the traditional Florentine style. On the ground floor, on the axis of the oldest facade, there is the door framed by stone blocks, flanked by two large finestre inginocchiate ; on the right there is a second entrance (with the number 21) and then another window. On the upper floors, the windows are curved and just as rustic. In the center there is a large shield with the coat of arms of the Del Chiaro family. The riveted door from the 17th century and the opening for the wine are also remarkable.
court
From the portal, which is lined with radially arranged cuboids and the cuboid of the corner stone ("drops"), one arrives at the vaulted entrance hall, which leads to the stairwell (with Hercules statues in the niches) and the inner courtyard. The inner courtyard, which dates back to the Taddei period (first half of the 16th century), has a loggia with two connected sides, with stone pillars from the 16th century supporting round arches and a ribbed vault . The other two sides have a bulging structure and are supported by bezels and vault segments that are connected on the consoles. Both the gables and the capitals are Florentine craftsmanship and date back to the turn of the 15th and 16th centuries.
The facade facing the inner courtyard has a cornice and a row of windowsill; here the "eaves windows" date from the time of Del Chiaro. On one wall of the courtyard is a walled fireplace with the Del Chiaro coat of arms from the early 16th century and from another family residence.
The remarkable marble statue of Diana the huntress with the dog was created by Giovanni Baratta around 1690 . It is the most valuable element of the inner courtyard, which is located in a niche-like tympanum and serves as a perspective focus from the portal.
Behind a gate on the south side there is a small grotto, which consists of a niche decorated with spongy rocks and a dolphin statue. This, too, was made by Leon Battista Del Chiaro at the end of the 16th century according to the fashion prevailing among aristocratic families at the time.
Inside
The Del Chiaro family had late Baroque frescoes painted in the reception rooms of the palace . In the gallery by Giuseppe Nicola Nasini the allegory of the merchant activities of the Del Chiaro family and in the double-height ballroom by Alessandro Gherardini the triumph of the sun god Apollo (in a stucco frame by Giovanni Battista Ciceri), with a clear reference to the surname Del Chiaro.
On the ground floor there is also a frescoed room with grotesques and scenes from the late 16th century relating to the circle of Michelangelo Cinganelli and a 19th century room used as a piano nobile .
gallery
The latticework
Hercules statues in the stairwell
The grotto
Panel of Raffaell Sanzio
credentials
- ↑ Adsi 2009/2
literature
- Federico Fantozzi: Pianta geometrica della città di Firenze alla proporzione di 1 a 4500 levata dal vero e corredata di storiche annotazioni . No. 184 . Galileiana, Floren 1843, p. 87 (Italian).
- Giuseppe François (ed.): Nuova guida della città di Firenze ossia descrizione di tutte le cose che vi si trovano degne d'osservazione, con piante e vedute . last edition edition. Vincenzo Bulli, Florence 1850, p. 256 (Italian).
- Ministero della Pubblica Istruzione (Ed.): Elenco degli EdIERTi Monumentali in Italia . Tipografia ditta Ludovico Cecchini, Rome 1902, p. 254 (Italian, Direzione Generale delle Antichità e Belle Arti).
- Walther Limburger: The Buildings of Florence: Architects, Streets and Squares in alphabetical lists . FA Brockhaus, Leipzig 1910, p. 686 .
- Augusto Garneri: Firenze e dintorni: in giro con un artista . Guida ricordo pratica storica critica. No. XX . Paravia & C., Turin et old 1924, p. 185 (Italian).
- Walther Limburger: Le costruzioni di Firenze, traduzione, aggiornamenti bibliografici e storici . Ed .: Mazzino Fossi. No. 686 . Soprintendenza ai Monumenti di Firenze, Florence 1968 (Italian, Soprintendenza per i Beni Architettonici e per il Paesaggio per le province di Firenze Pistoia e Prato, 4/166).
- Touring Club Italiano (Ed.): Firenze e dintorni . Touring Editore, Milan 1974, p. 256 (Italian).
- Piero Bargellini, Ennio Guarnieri: Le strade di Firenze . No. 4 . Bonechi, Florence 1977, p. 44 (Italian).
- Marcello Vannucci: Splendidi palazzi di Firenze . Le Lettere, Florence 1995, ISBN 88-7166-230-X (Italian).
- Maria Cecilia Fabbri: Gherardini, Nasini e altri artisti in palazzo Del Chiaro a Firenze . In: Nuovi Studi . tape III , no. 6 , 1998, pp. 159-182 (Italian).
- Toscana esclusiva . ADSI, Florence 2003, p. 30–32 (Italian, published on the occasion of the “Florence: Courtyards and Open Gardens” initiative, May 18 and 25, 2003, by the Associazione Dimore Storiche Italiane, Sezione Toscana, texts by the Associazione Culturale Città Nascosta).
- Franco Cesati: Le strade di Firenze . Storia, aneddoti, arte, segreti e curiosità della città più affascinante del mondo attraverso 2400 vie, piazze e canti. tape 1 , no. 2 . Newton & Compton editori, Rome 2005, p. 287 (Italian).
- Touring Club Italiano: Firenze e provincia . Touring Editore, Milan 2005, p. 289 (Italian).
- Antonio Fredianelli: I palazzi storici di Firenze . Newton Compton Editori, Rome December 2007 (Italian).
- Mario Bevilacqua, Giuseppina Carla Romby (eds.): Atlante del Barocco in Italia. Toscana / 1st Firenze e il Granducato. Province di Grosseto, Livorno, Pisa, Pistoia, Prato, Siena . De Luca Editori d'Arte, Rome 2007, p. 40-42 (Italian).
Web links
- Claudio Paolini, page of the Repertorio delle architetture civili di Firenze ( it ) (texts, in GFDL ).