On our second to last day of class in Florence, we first began with a short stop to Santa Felicità. Santa Felicità is one of the oldest churches in Florence, constructed on site in the fourth century. Right by the church is the Vasari corridor which Cosimo I de' Medici created so that he could walk from Palazzo Pitti to the Uffizi without being scrutinized by the public eye.
Walking into Santa Felicità, on the direct right is the Barbadori chapel which was built in 1435 and created by one of the most popular architects, Brunelleschi. The original chapel was dedicated to the Annunciation, memorialized by the later fresco on the counterfacade, similar to that in the Basilica della Santissima Annunziata, which we visited a few weeks ago. However in 1525 when the Cappoli family bought the chapel from the Barbadori, in addition to a new restoration there was a shift in the dedication from the Annunciation to the Pietà. The new altarpiece was then painted by Pontormo highlighting that Lamentation of Christ; the period of time after the deposition but before the entombment (both of which are depicted in the stained glass window from 1526). As Campbell tells us, Pontormo focuses on Christ's passion in the most unconventional way. Out of all the figures within the picture plane, the only two that could be made out are Christ, the Madonna, the other Mary figures, and Nicodemus. All of the other portraits are thought to be wingless angels, similar to those of Michelangelo. On the wall facing the inside of the Church is the stained glass window is the fresco of the annunciation. The altarpiece can be seen as a piece for extended devotion between the two scenes depicted in the stained glass window.In addition, the placement of the window is significant in relation to the fresco surrounding it. The window itself and the light passing through it signifies the realization of the incarnation. These three pieces relate to the cycle of Christ's life as a whole: from his conception to his physical death. Due to restoration that happened in the eighteenth century, we are unable to see the fresco of God the Father and patriarchs on the walls of the dome. However, before the pictures were destroyed, the chapel created a union of the holy trinity which is broken up throughout the chapel.
From Santa Felicità, we then strolled down the street to the Palazzo Pitti, constructed by Luca Pitti. Originally the Palazzo Pitti was the ground and first floors with three doors and four windows. It was considered the biggest palace in Florence with heavy rustication throughout the facade which gave it a fortress feel. In 1550 the heirs to the Pitti Palace sold it to the wife of Cosimo I de' Medici and it became the secondary place of residence for the Medici family. Finally in 1737, the Medici family died out and Palazzo Pitti went through a variety of owners until finally in 1919 when Italy as a unified state acquired it.Walking into the large palace, the works commissioned by the Medici family still reside because of a law which states that anything of Medici property could not be removed from the country of Italy. Afterward from Botticelli to Fra Bartolomeo, everyone chose a painting and explained to the class what exactly in the painting drew them to it. As each person discussed their painting a focus on the symbolism within the picture plane in addition to the changes made in female portraiture.
Finally, we walked through the exhibition that portrayed the 150th anniversary of Italy's formal unification. First focusing on Botticelli's Pallas and the Centaur, Minerva, goddess of wisdom, is seen pinching the centaur's head. This provides a symbolism of virtue over vice and reason over animalistic instinct because centaurs usually represent sensuality in art like Minerva represents wisdom and reason. The rings on Minerva's dress along with the laurel leaves surrounding her figure demonstrate the Medici commission in a subtle way.
Next to Botticelli's work is Verrocchio's rendition of a sculpture of David. In comparison to the other Davids we have seen, Verrocchio's is much younger in age and is in an all'antica style based on the pseudo-Roman military outfit he is wearing. In addition, unlike Donatello's version, David does not have as much interaction with Goliath's head. Originally the head of Goliath was placed next to David's right foot.
Today's class ended with a discussion of Michelangelo's Brutus, another unfinished work of art. Brutus is looking away, parallel to the broach on his robe. The figure of Brutus depicts anti-Medici feelings and was not politically ambiguous. Therefore owning it would be too politically dangerous because by 1540 the Medici were diffusing back into Florentine politics. The main reason Brutus was not finished is because owning it would show too strong of a stance with the republic, especially with the Medici coming back to power.
