1.
Romanesque architecture
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Romanesque Architecture is an architectural style of medieval Europe characterized by semi-circular arches. There is no consensus for the date of the Romanesque style, with proposals ranging from the 6th to the late 10th century. It developed in the 12th century into the Gothic style, marked by pointed arches, examples of Romanesque architecture can be found across the continent, making it the first pan-European architectural style since Imperial Roman Architecture. The Romanesque style in England is traditionally referred to as Norman architecture, each building has clearly defined forms, frequently of very regular, symmetrical plan, the overall appearance is one of simplicity when compared with the Gothic buildings that were to follow. The style can be identified right across Europe, despite regional characteristics, Many castles were built during this period, but they are greatly outnumbered by churches. The most significant are the great churches, many of which are still standing, more or less complete. The largest groups of Romanesque survivors are in areas that were less prosperous in subsequent periods, including parts of southern France, northern Spain and rural Italy. According to the Oxford English Dictionary, the word Romanesque means descended from Roman and was first used in English to designate what are now called Romance languages, Romance language is not degenerated Latin language. Latin language is degenerated Romance language, Romanesque architecture is not debased Roman architecture. Roman architecture is debased Romanesque architecture, the first use in a published work is in William Gunns An Inquiry into the Origin and Influence of Gothic Architecture. The term is now used for the more restricted period from the late 10th to 12th centuries, Many castles exist, the foundations of which date from the Romanesque period. Most have been altered, and many are in ruins. By far the greatest number of surviving Romanesque buildings are churches, the scope of Romanesque architecture Romanesque architecture was the first distinctive style to spread across Europe since the Roman Empire. In the more northern countries Roman building styles and techniques had never been adopted except for official buildings, although the round arch continued in use, the engineering skills required to vault large spaces and build large domes were lost. There was a loss of continuity, particularly apparent in the decline of the formal vocabulary of the Classical Orders. In Rome several great Constantinian basilicas continued in use as an inspiration to later builders, the largest building is the church, the plan of which is distinctly Germanic, having an apse at both ends, an arrangement not generally seen elsewhere. Another feature of the church is its regular proportion, the plan of the crossing tower providing a module for the rest of the plan. These features can both be seen at the Proto-Romanesque St. Michaels Church, Hildesheim, 1001–1030, the style, sometimes called First Romanesque or Lombard Romanesque, is characterised by thick walls, lack of sculpture and the presence of rhythmic ornamental arches known as a Lombard band
2.
Facade
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A façade is generally one exterior side of a building, usually, but not always, the front. It is a loan word from the French façade, which means frontage or face. In architecture, the façade of a building is often the most important aspect from a design standpoint, from the engineering perspective of a building, the façade is also of great importance due to its impact on energy efficiency. For historical façades, many local zoning regulations or other laws restrict or even forbid their alteration. The word comes from the French foreign loan word façade, which in turn comes from the Italian facciata, from faccia meaning face, the earliest usage recorded by the Oxford English Dictionary is 1656. It was quite common in the Georgian period for existing houses in English towns to be given a fashionable new façade, in modern highrise building, the exterior walls are often suspended from the concrete floor slabs. Examples include curtain walls and precast concrete walls, the façade can at times be required to have a fire-resistance rating, for instance, if two buildings are very close together, to lower the likelihood of fire spreading from one building to another. In general, the systems that are suspended or attached to the precast concrete slabs will be made from aluminium or stainless steel. In recent years more lavish materials such as titanium have sometimes been used, whether rated or not, fire protection is always a design consideration. The melting point of aluminium,660 °C, is reached within minutes of the start of a fire. Firestops for such building joints can be qualified, too, putting fire sprinkler systems on each floor has a profoundly positive effect on the fire safety of buildings with curtain walls. Some building codes also limit the percentage of area in exterior walls. When the exterior wall is not rated, the slab edge becomes a junction where rated slabs are abutting an unrated wall. For rated walls, one may also choose rated windows and fire doors, on a film set and within most themed attractions, many of the buildings are only façades, which are far cheaper than actual buildings, and not subject to building codes. In film sets, they are held up with supports from behind. Within theme parks, they are usually decoration for the interior ride/attraction/restaurant, by Ulrich Knaack, Tillmann Klein, Marcel Bilow and Thomas Auer. ISBN 978-3-7643-7961-2 ISBN 978-3-7643-7962-9 Giving buildings an illusion of grandeur Poole, the article outlines the development of the façade in ecclesiastical architecture from the early Christian period to the Renaissance
3.
Siena
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Siena is a city in Tuscany, Italy. It is the capital of the province of Siena, the historic centre of Siena has been declared by UNESCO a World Heritage Site. It is one of the nations most visited tourist attractions, with over 163,000 international arrivals in 2008, Siena is famous for its cuisine, art, museums, medieval cityscape and the Palio, a horse race held twice a year. Siena, like other Tuscan hill towns, was first settled in the time of the Etruscans when it was inhabited by a called the Saina. A Roman town called Saena Julia was founded at the site in the time of the Emperor Augustus, the first document mentioning it dates from AD70. Some archaeologists assert that Siena was controlled for a period by a Gaulish tribe called the Senones, according to local legend, Siena was founded by Senius and Aschius, two sons of Remus and thus nephews of Romulus, after whom Rome was named. Supposedly after their fathers murder by Romulus, they fled Rome, taking them the statue of the she-wolf suckling the infants. Additionally they rode white and black horses, giving rise to the Balzana, some claim the name Siena derives from Senius. Other etymologies derive the name from the Etruscan family name Saina, Siena did not prosper under Roman rule. It was not sited near any major roads and lacked opportunities for trade and its insular status meant that Christianity did not penetrate until the 4th century AD, and it was not until the Lombards invaded Siena and the surrounding territory that it knew prosperity. Siena prospered as a trading post, and the constant streams of pilgrims passing to, the oldest aristocratic families in Siena date their line to the Lombards surrender in 774 to Charlemagne. This ultimately resulted in the creation of the Republic of Siena, the Republic existed for over four hundred years, from the late 11th century until the year 1555. During the golden age of Siena before the Black Death in 1348, in the Italian War of 1551–59, the republic was defeated by the rival Duchy of Florence in alliance with the Spanish crown. After 18 months of resistance, Siena surrendered to Spain on 17 April 1555, the new Spanish King Felipe II, owing huge sums to the Medici, ceded it to the Grand Duchy of Tuscany, to which it belonged until the unification of Italy in the 19th century. A Republican government of 700 Sienese families in Montalcino resisted until 1559, the picturesque city remains an important cultural centre, especially for humanist disciplines. The city lies at 322 m above sea level, the Siena Cathedral, begun in the 12th century, is a masterpiece of Italian Romanesque-Gothic architecture. Its main façade was completed in 1380, the original plan called for an ambitiously massive basilica, the largest then in the world, with, as was customary, an east-west nave. However, the scarcity of funds, in due to war and plague, truncated the project
4.
Roman Catholic
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The Catholic Church, also known as the Roman Catholic Church or the Universal Church, is the largest Christian church, with more than 1.28 billion members worldwide. As one of the oldest religious institutions in the world, it has played a prominent role in the history, headed by the Bishop of Rome, known as the Pope, the churchs doctrines are summarised in the Nicene Creed and the Apostles Creed. Its central administration is located in Vatican City, enclaved within Rome, the Catholic Church is notable within Western Christianity for its sacred tradition and seven sacraments. It teaches that it is the one church founded by Jesus Christ, that its bishops are the successors of Christs apostles. The Catholic Church maintains that the doctrine on faith and morals that it declares as definitive is infallible. The Latin Church, the Eastern Catholic Churches, as well as such as mendicant orders and enclosed monastic orders. Among the sacraments, the one is the Eucharist, celebrated liturgically in the Mass. The church teaches that through consecration by a priest the sacrificial bread and wine become the body, the Catholic Church practises closed communion, with only baptised members in a state of grace ordinarily permitted to receive the Eucharist. The Virgin Mary is venerated in the Catholic Church as Queen of Heaven and is honoured in numerous Marian devotions. The Catholic Church has influenced Western philosophy, science, art and culture, Catholic spiritual teaching includes spreading the Gospel while Catholic social teaching emphasises support for the sick, the poor and the afflicted through the corporal and spiritual works of mercy. The Catholic Church is the largest non-government provider of education and medical services in the world, from the late 20th century, the Catholic Church has been criticised for its doctrines on sexuality, its refusal to ordain women and its handling of sexual abuse cases. Catholic was first used to describe the church in the early 2nd century, the first known use of the phrase the catholic church occurred in the letter from Saint Ignatius of Antioch to the Smyrnaeans, written about 110 AD. In the Catechetical Discourses of Saint Cyril of Jerusalem, the name Catholic Church was used to distinguish it from other groups that call themselves the church. The use of the adjective Roman to describe the Church as governed especially by the Bishop of Rome became more widespread after the Fall of the Western Roman Empire and into the Early Middle Ages. Catholic Church is the name used in the Catechism of the Catholic Church. The Catholic Church follows an episcopal polity, led by bishops who have received the sacrament of Holy Orders who are given formal jurisdictions of governance within the church. Ultimately leading the entire Catholic Church is the Bishop of Rome, commonly called the pope, in parallel to the diocesan structure are a variety of religious institutes that function autonomously, often subject only to the authority of the pope, though sometimes subject to the local bishop. Most religious institutes only have male or female members but some have both, additionally, lay members aid many liturgical functions during worship services
5.
Tuscany
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Tuscany is a region in central Italy with an area of about 23,000 square kilometres and a population of about 3.8 million inhabitants. Tuscany is known for its landscapes, traditions, history, artistic legacy, Tuscany produces wines, including Chianti, Vino Nobile di Montepulciano, Morellino di Scansano and Brunello di Montalcino. Having a strong linguistic and cultural identity, it is considered a nation within a nation. Tuscany is traditionally a popular destination in Italy, and the main tourist destinations by number of tourist arrivals are Florence, Pisa, Montecatini Terme, Castiglione della Pescaia and Grosseto. The village of Castiglione della Pescaia is also the most visited destination in the region. Additionally, Siena, Lucca, the Chianti region, Versilia and Val dOrcia are also internationally renowned, Tuscany has over 120 protected nature reserves, making Tuscany and its capital Florence popular tourist destinations that attract millions of tourists every year. In 2012, the city of Florence was the worlds 89th most visited city, roughly triangular in shape, Tuscany borders the regions of Liguria to the northwest, Emilia-Romagna to the north and east, Umbria to the east and Lazio to the southeast. The comune of Badia Tedalda, in the Tuscan Province of Arezzo, has an exclave named Ca Raffaello within Emilia-Romagna, Tuscany has a western coastline on the Tyrrhenian Sea, containing the Tuscan Archipelago, of which the largest island is Elba. Tuscany has an area of approximately 22,993 square kilometres, surrounded and crossed by major mountain chains, and with few plains, the region has a relief that is dominated by hilly country used for agriculture. Hills make up nearly two-thirds of the total area, covering 15,292 square kilometres, and mountains. Plains occupy 8. 4% of the total area—1,930 square kilometres —mostly around the valley of the River Arno, many of Tuscanys largest cities lie on the banks of the Arno, including the capital Florence, Empoli and Pisa. The pre-Etruscan history of the area in the late Bronze and Iron Ages parallels that of the early Greeks, following this, the Villanovan culture saw Tuscany, and the rest of Etruria, taken over by chiefdoms. City-states developed in the late Villanovan before Orientalization occurred and the Etruscan civilization rose, the Etruscans created the first major civilization in this region, large enough to establish a transport infrastructure, to implement agriculture and mining and to produce vibrant art. The Etruscans lived in Etruria well into prehistory, throughout their existence, they lost territory to Magna Graecia, Carthage and Celts. Despite being seen as distinct in its manners and customs by contemporary Greeks, the cultures of Greece, one reason for its eventual demise was this increasing absorption by surrounding cultures, including the adoption of the Etruscan upper class by the Romans. Soon after absorbing Etruria, Rome established the cities of Lucca, Pisa, Siena, and Florence, endowed the area with new technologies and development, and ensured peace. These developments included extensions of existing roads, introduction of aqueducts and sewers, however, many of these structures have been destroyed by erosion due to weather. The Roman civilization in the West collapsed in the 5th century AD, in the years following 572, the Longobards arrived and designated Lucca the capital of their Duchy of Tuscia
6.
Servite Order
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The Servite Order is one of the five original Catholic mendicant orders. Its objects are the sanctification of its members, preaching the Gospel, the members of the Order use O. S. M. as their post-nominal letters. The male members are known as Servite Friars or Servants of Mary, the Order of Servants of Mary is a religious family that embraces a membership of friars, contemplative nuns, a congregation of active sisters and lay groups. The Servites lead a community life in the tradition of the mendicant orders and these men are known as the Seven Holy Founders, they were canonized by Pope Leo XIII in 1888. These seven were, Buonfiglio dei Monaldi, Giovanni di Buonagiunta, Amadeus of the Amidei, Ricovero dei Lippi-Ugguccioni, Benedetto dell Antella, Gherardino di Sostegno and they belonged to seven patrician families of that city. As a reflection of the spirit of the times, it had been the custom of these men to meet regularly as members of a religious society established in honor of Mary. From the beginning, the members of the Order dedicated themselves to Mary under her title of Mother of Sorrows, dedicating their devotion to the mother of Jesus, they adopted Marys virtues of hospitality and compassion as the orders hallmarks. The distinctive spirit of the order is the sanctification of its members by meditation on the Passion of Jesus and the Sorrows of Mary, the Bishop of Florence approved the Friar Servants of Mary as a religious Order sometime between the years 1240 and 1247. The Servants decided to live by the Rule of St. Augustine, by 1250 there were a number of Servants who were ordained to the priesthood, thus creating an Order with priests as well as brothers. Pope Alexander IV, favored a plan for the amalgamation of all following the Rule of St. Augustine. This was accomplished in March 1256, and about the time a Rescript was issued confirming the Order of the Servites as a separate body with power to elect a general. Within five years two new provinces were added, Romagna and Lombardy, St. Philip Benizi was elected general on 5 June 1267, and afterwards became the great propagator of the order. In the year 1276 Pope Innocent V in a letter to St. Philip declared the order suppressed, St. Philip proceeded to Rome, but before his arrival there Innocent V had died. His successor lived but five weeks, finally Pope John XXI, decided that the order should continue as before. It was not definitively approved until Pope Benedict XI issued the Bull Dum levamus, of the seven founders, St. Alexis alone lived to see their foundation raised to the dignity of an order. Pope Boniface IX granted the Servites the power to confer degrees on 30 January 1398. The new foundation enjoyed considerable growth in the following decades, even in the thirteenth century there were houses of the order in Germany, France, and Spain. The disturbances during the Protestant Reformation caused the loss of many Servite convents in Germany, the Convent of Santa Maria in Via was the second house of the order established in Rome, San Marcello al Corso had been founded in 1369
7.
Bell tower
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A bell tower is a tower that contains one or more bells, or that is designed to hold bells even if it has none. Church bell towers often incorporate clocks, and secular towers usually do, the Italian term campanile, deriving from the word campana meaning bell, is synonymous with bell tower, though in English usage Campanile tends to be used to refer to a free standing bell tower. A bell tower may also in some traditions be called a belfry, though this term may refer specifically to the substructure that houses the bells. The tallest free-standing bell tower in the world, approximately 110 m high, is the Joseph Chamberlain Memorial Clock Tower, located at the University of Birmingham, bells are rung from a tower to enable them to be heard at a distance. Church bells can signify the time for worshippers to go to church for a communal service and they are also rung on special occasions such as a wedding, or a funeral service. In some religious traditions they are used within the liturgy of the service to signify to people that a particular part of the service has been reached. A bell tower may have a bell, or a collection of bells which are tuned to a common scale. They may be stationary and chimed, rung randomly by swinging through a small arc and they may house a carillon or chimes, in which the bells are sounded by hammers connected via cables to a keyboard. These can be found in churches and secular buildings in Europe and America including college. A variety of electronic devices exist to simulate the sound of bells, some churches have an exconjuratory in the bell tower, a space where ceremonies were conducted to ward off weather-related calamities, like storms and excessive rain. The main bell tower of the Cathedral of Murcia has four, in addition, most Christian denominations ring church bells to call the faithful to worship, signalling the start of a mass or service of worship. The Christian tradition of the ringing of bells from a belltower is analogous to Islamic tradition of the adhan from a minaret. In AD400, Paulinus of Nola introduced church bells into the Christian Church, by the 11th century, bells housed in belltowers became commonplace. Historic bell towers exist throughout Europe, the Irish round towers are thought to have functioned in part as bell towers. Famous medieval European examples include Bruges, Ypres, Ghent, perhaps the most famous European free-standing bell tower, however, is the so-called Leaning Tower of Pisa, which is the campanile of the Duomo di Pisa in Pisa, Italy. In 1999 thirty-two Belgian belfries were added to the UNESCOs list of World Heritage Sites, in 2005 this list was extended with one Belgian and twenty-three Northern French belfries and is since known as Belfries of Belgium and France. In the Middle Ages, cities sometimes kept their important documents in belfries, not all are on a large scale, the bell tower of Katúň, in Slovakia, is typical of the many more modest structures that were once common in country areas. Archaic wooden bell towers survive adjoining churches in Lithuania and as well as in parts of Poland
8.
Baldassare Peruzzi
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Baldassare Tommaso Peruzzi was an Italian architect and painter, born in a small town near Siena and died in Rome. He worked for years with Bramante, Raphael, and later Sangallo during the erection of the new St. Peters. He returned to his native Siena after the Sack of Rome where he was employed as architect to the Republic, for the Sienese he built new fortifications for the city and designed a remarkable dam on the Bruna River near Giuncarico. He seems to have moved back to Rome permanently by 1535 and he was a painter of frescoes in the Cappella San Giovanni in the Duomo of Siena. His son Giovanni Sallustio was also an architect, another son, Onorio, learned painting from his father, then became a Dominican priest in the convent of Santa Maria Sopra Minerva in Rome. He then stopped painting until requested by his superiors at San Romano di Lucca to paint the organ doors of the church, almost all art critics ascribe the design of the Villa Chigi in Rome, now known more commonly as the Villa Farnesina, to Peruzzi. In this villa, two wings branch off from a hall with a simple arrangement of pilasters, and a decorative frieze on the exterior of the building. Some of the paintings which adorn the interior rooms are by Peruzzi. One example is the Sala delle Prospettive, in which Peruzzi revived the perspective schemers of Melozzo da Forli and Mantegna, possibly under the influence of both. The walls of the room are painted so that when one stands toward the left, one has the illusion that one is standing in a terrace, lined by pillars. The decoration of the façade, the work of Peruzzi, has almost entirely vanished, Raphael designed the composition of the story of Amor and Psyche as a continuation of the Galatea. On a plate-glass vault Peruzzi painted the firmament, with the signs, the planets. The interior room has a use of illusionistic perspective Peruzzi had produced a mosaic ceiling for the church of Santa Croce in Gerusalemme, Rome. Other paintings ascribed to him are to be found in SantOnofrio, the exterior details display a Mannerist-style. He made significant but unspecified contributions to what would become the Seven Books of Architecture, published in installments after Peruzzis death by his pupil and this article incorporates text from a publication now in the public domain, Herbermann, Charles, ed. article name needed
9.
Gothic architecture
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Gothic architecture is a style of architecture that flourished in Europe during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture and its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the cathedrals, abbeys. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, for this reason a study of Gothic architecture is largely a study of cathedrals and churches. A series of Gothic revivals began in mid-18th-century England, spread through 19th-century Europe and continued, largely for ecclesiastical and university structures, the term Gothic architecture originated as a pejorative description. Hence, François Rabelais, also of the 16th century, imagines an inscription over the door of his utopian Abbey of Thélème, Here enter no hypocrites, slipping in a slighting reference to Gotz and Ostrogotz. Authorities such as Christopher Wren lent their aid in deprecating the old medieval style, the Company disapproved of several of these new manners, which are defective and which belong for the most part to the Gothic. Gothic architecture is the architecture of the medieval period, characterised by use of the pointed arch. As an architectural style, Gothic developed primarily in ecclesiastical architecture, the greatest number of surviving Gothic buildings are churches. The Gothic style is most particularly associated with the cathedrals of Northern France. At the end of the 12th century, Europe was divided into a multitude of city states, norway came under the influence of England, while the other Scandinavian countries and Poland were influenced by trading contacts with the Hanseatic League. Angevin kings brought the Gothic tradition from France to Southern Italy, throughout Europe at this time there was a rapid growth in trade and an associated growth in towns. Germany and the Lowlands had large flourishing towns that grew in comparative peace, in trade and competition with other, or united for mutual weal. Civic building was of importance to these towns as a sign of wealth. England and France remained largely feudal and produced grand domestic architecture for their kings, dukes and bishops, the Catholic Church prevailed across Europe at this time, influencing not only faith but also wealth and power. Bishops were appointed by the lords and they often ruled as virtual princes over large estates. The early Medieval periods had seen a growth in monasticism, with several different orders being prevalent. Foremost were the Benedictines whose great abbey churches vastly outnumbered any others in France, a part of their influence was that towns developed around them and they became centers of culture, learning and commerce
10.
Bernardino Fungai
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Bernardino Fungai was an Italian painter whose work marks the transition from late Gothic painting to the early Renaissance in the Sienese school. He maintained an archaic style in his works, which are mainly of a devotional nature. Fungais real name was Bernardino Cristofano di Niccolò dAntonio di Pietro da Fungaia and his family came originally from a village near Siena called Fungaia. He is recorded as a pupil of Benvenuto di Giovanni in 1482 while working on frescoes for the cupola in the Siena Cathedral, Fungai was commissioned in 1494 to decorate ceremonial banners with azure and gold. He also created an altarpiece in 1512 for a Sienese church and he is described as a retardataire follower of Sassetta and Giovanni di Paolo. His paintings evince an influence from local Sienese painters and contemporary artists such as Pietro Perugino, Pietro di Francesco degli Orioli, Luca Signorelli and Bernardino Pinturicchio. The many devotional paintings of Bernardino Fungai are rather conventional but his few cassone paintings, the quality of his landscapes is already clear in Bernardino Fungais earliest recorded work dated to 1495-97, a Stigmatisation of St Catherine in the Santuario Cateriniano at Fontebranda. The composition reveals a panorama of graceful buildings, gentle hills, media related to Bernardino Fungai at Wikimedia Commons
11.
Predella
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A predella is the platform or step on which an altar stands. In painting, the predella is the painting or sculpture along the frame at the bottom of an altarpiece, typically there would be three to five small scenes, in a horizontal format. They are significant in art history, as the artist had more freedom from conventions than in the main panel. As the main panels themselves became more dramatic, during Mannerism, predellas were no longer painted, predella scenes are now often separated from the rest of the altarpiece in museums. Examples of predellas include, Duccio – the predella of his Maestà – one of the earliest predellas, media related to Predellas at Wikimedia Commons
12.
Metropolitan Museum of Art
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The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
13.
York Art Gallery
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York Art Gallery in York, England is a public art gallery with a collection of paintings from 14th-century to contemporary, prints, watercolours, drawings, and ceramics. It closed for redevelopment in 2013, reopening in summer of 2015. It is managed by York Museums Trust, following the 1879 exhibition the renamed Yorkshire Fine Art and Industrial Institution aimed to create a permanent art exhibition. In 1888 the north galleries were leased to York School of Art, York City Council purchased the buildings and collection in 1892. The building was requisitioned for military purposes at the outbreak of the Second World War and closed, the gallery reopened in 1948 with a small temporary exhibition before a major restoration in 1951–52 after which began a major revival of fortune under the direction of Hans Hess. In 1963 the gallery was given Eric Milner-Whites collection of studio pottery and it was supplemented by other major donations and loans in the 1990s and 2000s, most notably those of WA Ismay and Henry Rothschild. The site for the 1879 exhibition was an area in the grounds of the medieval St Marys Abbey known as Bearparks Garden and it is fronted by what became Exhibition Square which was cleared by the demolition of a house and the former Bird in Hand Hotel. Designed by York architect Edward Taylor the art consisted of an entrance hall, central hall, north and south galleries. In 1888 the north wing was leased to York Art School which added a storey in 1905. Major works took place in 1951–2 to repair damage and rebuild the west end. The building is Grade II listed, the development enables the area to the rear of the building to be restored to public use as part of the Museum Gardens. The reopened gallery will house a new centre for British Studio Ceramics on the upper floor, the gallery has more than 1,000 paintings. Amongst York born artists the gallery has the largest collection of works by William Etty, Henry Keyworth Raine, the great nephew of William Powell Frith, gifted various works, including a portrait of George Kirby, the First Curator of York Art gallery. The gallery holds a collection of British studio ceramics with more than 5,000 pieces and they include works by Bernard Leach, Shoji Hamada, William Staite Murray, Michael Cardew, Lucie Rie, Hans Coper, Jim Malone and Michael Casson. Watercolour artists represented include Thomas Rowlandson, John Varley, Thomas Girtin, J. M. W. Turner, the gallery holds the William Etty archive
14.
Coppo di Marcovaldo
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Coppo di Marcovaldo is one of the better-known Duecento artists and is the first Florentine artist whose name and works are well documented. It is speculated by historians that Coppo was taken prisoner by the Sienese where he was then held at the church of Servi. It was here in 1261 that he painted his most famous work The Madonna del Bordone for the order of the Servites, assumed to be a prisoner of war, the question is raised as to why a Florentine artist was asked to execute such an important Sienese painting. It must be assumed that Coppo was already known and highly regarded at this time for the Sienese to have commissioned him within a year of the bloody conflict with Florence. The Madonna del Bordone is the only surviving documented work by Coppo and it is believed that his signature, the panel of the painting is unusually large for the time measuring 220 cm x 125 cm, approximately 7 ft x 4 ft. The painting depicts the Virgin and Child sitting on a high-backed throne, the Virgin looks at the viewer, although her body is slightly turned to the left and her head is bent towards the Child. Coppo is now accepted as the first to employ the angled throne in the representation of the Virgin. The clothing, different than the traditional Byzantine art style, is of northern origin, seen as well for the first time in Tuscan painting are a number of iconographic features. Extensive gilding has been used as well as a gold leaf background, as well, Coppo was strongly influenced by the Byzantine style characterized by its emphasis on light, shadow, and volume that in combination was used to create the illusion of life. The composition and style employed in the rendering of clothing, as seen in bulky, although the Madonna del Bordone is Coppo’s only surviving work today, there are many other works attributed to the artist. •1261 – Madonna del Bordone in the Sta, •1265 – Pistoia frescos in the chapel of St. James in the Cathedral of S. Zeno. • 1265–68 – Madonna and Child in Sta, • 1265–70 – Last Judgment mosaic at the Baptistery of Florence Cathedral. •1274 – Crucifix in the Cathedral of Pistoia
15.
Madonna del Bordone
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The Madonna del Bordone is a panel painting by the Italian painter Coppo di Marcovaldo, in the church of Santa Maria dei Servi in Siena, Italy. Signed and dated 1261, the work is the only certain attribution to the Florentine painter and it was painted after he had been taken prisoner in the Battle of Montaperti in 1260, when the Republic of Siena defeated the Republic of Florence. Coppo paid his ransom by executing the work and it portrays the Madonna enthroned with a halo and two small angels on her sides. She is enthroned, and supports the blessing Child, who is holding the Book of the Law in his hand and has a halo surrounded by a jewelled cross. The heads were painted in the year by a local artist, who added a sfumato style influenced by that of Duccio di Buoninsegna. X-Ray analyses have shown the original heads to be characterized by Coppos typical, the posture of the two figures is typical of Byzantine painting of the subject. La pittura a Firenze nel Duecento
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Duccio
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Duccio di Buoninsegna was an Italian painter active in Siena, Tuscany in the late 13th and early 14th centuries. He is considered to be the father of Sienese painting and, along with a few others and he was hired throughout his life to complete many important works in government and religious buildings around Italy. Duccio is credited with creating the painting styles of Trecento and the Sienese school, although much is still unconfirmed about Duccio and his life, there is more documentation of him and his life than of other Italian painters of his time. It is known that he was born and died in the city of Siena, other details of his early life and family are as uncertain, as much else in his history. One avenue to reconstructing Duccios biography are the traces of him in archives that list when he ran up debts or incurred fines, some records say he was married with 7 children. The relative abundance of archival mentions has led historians to believe that he had difficulties managing his life, another route to filling in Duccios biography are by analyzing the works that can be attributed to him with certainty. Information can be obtained by analyzing his style, the date and location of the works, due to gaps where Duccios name goes unmentioned in the Sienese records for years at a time, scholars speculate he may have traveled to Paris, Assisi and Rome. Nevertheless, his talents were enough to overshadow his lack of organization as a citizen. In the 14th century Duccio became one of the most favored, where Duccio studied, and with whom, is still a matter of great debate, but by analyzing his style and technique art historians have been able to limit the field. Little is known of his career prior to his first documented commission. In 1278, at the age of 23, he was hired to paint 12 wooden panels to cover government documents for The Nine, although Duccio was active from 1268 to about 1311 only approximately 13 of his works survive today. Furthermore, of Duccios surviving works, only two can be securely dated, Duccios known works are on wood panel, painted in egg tempera and embellished with gold leaf. Different from his contemporaries and artists before him, Duccio was a master of tempera and managed to conquer the medium with delicacy, there is no clear evidence that Duccio painted frescoes. Duccio’s style was similar to Byzantine art in ways, with its gold backgrounds and familiar religious scenes, however it was also different. Duccio began to break down the lines of Byzantine art. He used modeling to reveal the figures underneath the heavy drapery, hands, faces, duccio’s paintings are inviting and warm with color. His pieces consisted of many details and were sometimes inlaid with jewels or ornamental fabrics. Duccio was also noted for his organization of space
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Matteo di Giovanni
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Matteo di Giovanni was an Italian Renaissance artist from the Sienese School. Matteo di Giovanni di Bartolo was born in Borgo Sansepolcro around 1430 and his family relocated to Siena and he is firmly associated with the art of that city. Matteo was twice married—first in 1463 to a noble woman and, after her death, to a rich widow. Documentation concerning the early phases of Matteos life and career as an artist is scanty, the miniaturist Girolamo da Cremona and the Florentine painter Antonio del Pollaiolo also seemed to have contributed to Matteos distinctive style. In 1452, Matteo entered into partnership with the painter Giovanni di Pietro, Matteo and Giovanni also collaborated in the embellishment of organ shutters in the Siena Cathedral and in the decoration of the San Bernardino Chapel in that cathedral. For this prestigious commission Matteo painted three altarpieces, dating to the years 1460-62, these paintings offer a secure point from which to evaluate Matteos early style and to reconstruct his development as an artist. The three paintings in Pienza also help to explain the next phase in his style, the first of these altarpieces, a large Madonna and Saints signed Opus Matthei Johannis De Senis depicts the enthroned Madonna surrounded by Sts. During his mature period, Matteo began to paint idyllic and naturalistic landscape scenes employing delicate, Matteos brand of eclecticism tended to evolve from local taste and tradition. Matteo di Giovanni died in Siena in 1495 and he is credited with teaching Guidoccio Cozzarelli of Siena, an altarpice painter and miniaturist. Matteo di Giovannis lost altarpiece for SantAgostino, Asciano, pope-Hennessy, John & Kanter, Laurence B. The Robert Lehman Collection I, Italian Paintings, new York, Princeton, The Metropolitan Museum of Art in association with Princeton University Press. CS1 maint, Multiple names, authors list Herbermann, Charles, ed. Matteo da Siena
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Taddeo di Bartolo
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Taddeo di Bartolo, also known as Taddeo Bartoli, was an Italian painter of the Sienese School during the early Renaissance. He is among the artists profiled in Vasaris biographies of artists or Vite, vasari claims he is the uncle of Domenico di Bartolo. Taddeo di Bartolo was born in Siena, the exact year of Taddeo di Bartolos birth is unknown, but it’s been suspected to be between 1363-65. Around 1389 he entered the Sienese Guild of artists, where he mastered the art of painting among his Sienese colleagues, in 1389 Taddeo traveled to Collegarli, the San Miniato al Tedesco hills, and Pisa. The painting of The Virgin and Child Enthroned, signed and dated in 1390, in 1393, Taddeo traveled to San Gimignano, where he executed the altarpiece of the Virgin and Child and Saints for the Sardi and Campigli Chapel in San Francesco. The Virgin and Child With Saints showcases Taddeo’s earlier style, the thin, elegant figures, and flowing lines of the drapery patterns reflect influence from his Sienese predecessors, such as Simone Martini and Ambrogio Lorenzetti. From 1400-01, Taddeo worked at the Palazzo Pubblico in Siena where he created twelve small panels, of only nine exist today. These panels give reverence to Taddeo’s craftsmanship in smaller scale work, around 1401, Taddeo painted the celebrated altarpiece, Assumption of the Virgin and scenes from the Passion, in Montepulciano. The intention of this piece was for religious and devotional functions, Taddeo worked to accommodate the established conventions of altarpiece painting, while simultaneously stylizing the pieces to fit their respective site. In 1403, Taddeo was working in Perugia producing two works, now on display in their public gallery, the Virgin and Child with two Angels and St Bernard and Descent of the Holy Ghost. These two works showcase Taddeo’s superior talents, exhibiting delicate coloring and vast human expression, though, in 1406, Taddeo was commissioned to destroy all the paintings in the chapel of the Palazzo Pubblico, and repaint the inside. Many of these represent the Life of the Madonna, including the Death of the Virgin in which Jesus descends, takes her hand. In 1422 Taddeo di Bartolo died in Siena, much of his early work was in Pisa, where he was responsible for the frescoes of Paradise and Hell in the Cathedral there, and for paintings in the Palazzo Pubblico and the church of San Francesco. At the Collegiata di San Gimignano, Taddeo painted a fresco depicting The Last Judgment, the Museo Civico of San Gimignano, displays a painting by Taddeo depicting Saint Gimignano holding the town in his lap. A triptych of the Virgin and Child with St John the Baptist and St Andrew, a massive triptych, Assumption of the Virgin, painted in 1401, is displayed in the 16th-century Duomo of Santa Maria dellAssunta at Montepulciano. Taddeos Madonna with Child, Four Angels and Saint John the Baptist and Saint Andrew may be seen in the Oratory of the Company of Saint Catherine of the Night at Santa Maria della Scala, Siena. He also painted allegories and figures from Roman history, and the Funeral of the Virgin at the Palazzo Pubblico in Siena and his St Elizabeth of Hungry is on display in the Perkins Collection of the Basilica of St Francis in Assisi. A Madonna and Child, painted with tempera and oil on a panel, is located in the Wadsworth Atheneum
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Pietro Lorenzetti
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Pietro Lorenzetti was an Italian painter, active between c.1306 and 1345. Together with his younger brother Ambrogio, he introduced naturalism into Sienese art, in their artistry and experiments with three-dimensional and spatial arrangements, the brothers foreshadowed the art of the Renaissance. That the men were brothers was unknown to Vasari because he misread Pietros surname on a painting in Pistoias church of San Francesco as Laurati, thus the kinship between the artists was missed. Pietro worked in Assisi, Florence, Pistoia, Cortona, and Siena and his work suggests the influence of Duccio, Giotto, and Giovanni Pisano. According to Vasari, it was Pietros frescoes that adorned the facade of Sienas Ospedale della Scala that first bought him to the attention of his contemporaries. Unfortunately, the frescoes – now believed to be the work of both Lorenzetti brothers – were destroyed in 1720 and subsequently whitewashed over, many of his religious works may still be seen in churches and museums in the Tuscan towns of Arezzo, Assisi, and Siena. Although Lorenzettis integration of frame and painted architecture in the Nativity of the Virgin is usually thought to be unique, it is evident in the frescoes of Assisi some decades earlier. One probable conclusion can be made that he did not read Latin as there was documentation of a translator being paid in association with his work on The Birth of the Virgin. The narrative influence of Giottos frescoes in the Bardi and Peruzzi Chapels in Santa Croce, Sienese iconography, generally more mystical and fantastic than that of the more naturalistic Florentines, sometimes resembles a modern surrealist landscape. The gilded three-story altarpiece, the Arezzo Polyptych, was commissioned in 1320 by bishop Guido Tarlati for the Santa Maria della Pieve in Arezzo. At its centre is the Madonna and child, flanked by John the Evangelist, John the Baptist, Saint Matthew, the rich colours, graceful lines, decorative detail, and supple figures, endow the piece with a vivacity rare in contemporary Sienese art. The polyptych is Lorenzettis first dated work and one of four with verifiable documentation including the Carmelite Altarpiece, the Uffizi Madonna. “The dating has allowed scholars to identify with precision a specific stage of the painters activity, perhaps Lorenzettis most ambitious work is the Passion fresco cycle in the left transept of the Lower Church of San Francesco in Assisi. The conditions for the execution of the frescoes would have been difficult as very little natural light would be available and the lower church would be near darkness. The exact time line of the frescoes is in question, some believed the cycle was painted in sections over several years as the style had some similarities to Lorenzettis Carmelite Altarpiece. The reasons are varied, from painting only in the dry season to the skirmishes in the area at the time. The more recent technical and stylistic evidence presented by Maginnis poses strong arguments that Lorenzettis Passion Cycle was completed in one campaign between the years 1316 or 1317 and 1319. Believed to be one of his earliest works is the Madonna and Child with Saint Francis and John the Baptist, according to Maginnis the “finest and most complete realization of the ambition to conjoin real and painted space was left to Pietro Lorenzetti, working in the left transept
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Lippo Memmi
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Lippo Memmi was an Italian painter from Siena. He was the foremost follower of Simone Martini, who was his brother-in-law and he was one of the artists who worked at Orvieto Cathedral, for which he finished the Virgin of Mercy. Later he followed Martini to the Papal court in Avignon, where he worked until the mid-14th century, after his return to Siena, Memmi continued to work until his death in 1356. Memmis famed artwork, La Madonna della Febbre was the first venerated image of the Blessed Virgin Mary granted with a Canonical coronation by a Pope on 27 May 1631. The image has long been since held miraculous and is enshrined at the Sacristy chapel of the Blessed Sacrament inside Saint Peters Basilica in Rome, Memmis figures retain the static and generally frontal view found in the earlier generation of late Duecento masters such as Guido da Siena. A description of his St. Agnes panel shows how Memmis pictorial style was less severe and angular than the Duecento works his imagery recalled, “. has softer qualities and its spirit is tranquil”. Indeed, his depiction of emotion and realism is also subdued by this soft tranquility, leaving figures to read as somewhat archaic, Memmi is remembered for distinctive stamped tin halos with ray patterns in gold leaf. This interest in design carries over to Memmis observation of fabric patterns, Memmis interest in detail is evident in his innovative compositional devices using simple geometric shapes such as the circular arrangement of the angels in the Assumption of the Virgin. The term “Lippesque, coined by Joseph Polzer, describes the effect of Memmis visual devices found in several Madonna. “The seated Christ Child in the image, and especially his head which is axially and frontally ordered. Heads close to spheroid in shape and share a large forehead crowned by an identical centrally located whirl of hair”. Thus, a complete understanding of his style and artistic achievements continues to emerge. His status as an artist of personal expression, rather simply a craftsman. Research in the 1920s began to separate the works of Lippo Memmi from those of Guido da Siena and it was also accepted that an artist bearing the name Barna was a fellow student under Simone Martini and an artistic collaborator with Memmi. The New Testament cycle of frescos in the Collegiate Church of San Gimignano and this suggests that other works attributed to Barna could be works of Memmi and thus his stylistic adherence to Simone Martini is less binding. The Memmi workshop began with Lippos father, Memmo di Filippucci and its early works, such as the 1317 San Gimignano Maestà in the Palazzo Comunale, are a collaboration of the two. In the 1330s the shop produced the Orvieto Polyptych panels, Lippos brother Federigo Memmi belonged to the shop before 1343, during the time the New testament cycle and other works attributed to Barna of Siena were produced. Simone Martini was the brother-in-law of Lippo, after Lippo returned to Siena from Avignon there is little evidence of interaction with Simone Martini
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Francesco Vanni
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Francesco Vanni was an Italian painter of the Mannerist style, active in Rome and his native city of Siena. Vanni was part of a family of painters, including his half-brother Ventura Salimbeni and his stepfather died when Francesco was young, and as a 16-year-old went first to Bologna, then to Rome. In Rome, he worked later with Salimbeni, Bartolomeo Passerotti and he was commissioned by Pope Clement VIII to paint an altarpiece for the St. Peters, later transferred to mosaic, Simon Magus rebuked by St. Peter. Returning to Siena, where he died, he afterwards worked at Parma, Bologna. At Siena, he painted a S. Raimondo walking on the Sea for the church of the Dominicans, Vanni painted a Baptism of Constantine for the church of San Agostino in Siena. He painted a Christ appearing to St. Catherine for the chapel of il Refugio at the Sanctuary of Santa Caterina di Siena, and he painted an Immaculate Conception for the Montalcino Cathedral and an Annunciation for the church of Santa Maria dei Servi in Siena. He painted a Crucifixion with Father Matteo Guerra for San Giorgio, one of his pupils was Rutilio Manetti. His sons, Michelangelo and Raffaello Vanni were also painters, among his pupils was Astolfo Petrazzi. The painter from Perugia, Benedetto Bandieri, claimed to be a descendant of Vanni, the painter Francesco di Vanni was active in the 14th century. Walter Armstrong & Robert Edmund Graves, ed, dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell, domenico Sedini, Francesco Vanni, online catalogue Artgate by Fondazione Cariplo,2010, CC BY-SA. Media related to Francesco Vanni at Wikimedia Commons
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Jacopo di Mino del Pellicciaio
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Jacopo di Mino del Pellicciaio was an Italian painter, active in Siena. He is also called Giacomo di Mino and he appears to be a follower of Simone Martini. He was the contemporary of Lippo Vanni and Luca Thome, being in 1373 appointed to one of latters pictures. His name appears in the Sienese records from 1362 to 1389, in 1367 he aided Bartolo di Maestro Fredi at the Siena cathedral. He is known to have painted book-covers for the Biccherna, and was several times a member of the Grand Council of Siena and he frescoed for the Basilica of San Francesco. Milanesi mentions a Sienese painter Giacomo del Pellicciaio of the order of Friars Minor, dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
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Tourism in Italy
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With 48.6 million tourists a year, Italy is the fifth most visited country in international tourism arrivals. People mainly visit Italy for its art, cuisine, history, fashion and culture, its beautiful coastline and beaches, its mountains. Italy also contains more World Heritage Sites than any country in the world. Tourism is one of Italys fastest growing and most profitable industrial sectors, traders and merchants came to Italy from several different parts of the world. Pilgrims, for centuries and still today, would come to the city, the trade empires of Venice, Pisa and Genoa meant that several traders, businessmen and merchants from all over the world would also regularly come to Italy. In the 16th and early 17th century, with the height of the Renaissance, several came to Italy to study Italian architecture. Real tourism only affected in Italy in the half of the 17th century. This was a period in which European aristocrats, many of whom were British, visited parts of Europe, Italy, Greece and this was in order to study ancient architecture and the local culture. The Grand Tour was in essence triggered by the book Voyage to Italy, by Roman Catholic priest Richard Lassels, due to the Grand Tour, tourism became even more prevalent - making Italy one of the most desired destinations for millions of people. Once inside what would be modern-day Italy, these tourists would begin by visiting Turin for a short while. On the way there, Milan was also a stop, yet a trip to the city was not considered essential. If a person came via boat, then they would remain a few days in Genoa, yet, the main destination in Northern Italy was Venice, which was considered a vital stop, as well as cities around it such as Verona, Vicenza and Padua. Tourists rarely, yet occasionally, got to Trieste, as the Tour went on, Tuscan cities were also very important itinerary stops. Florence was an attraction, and other Tuscan towns, such as Siena, Pisa, Lucca. The most prominent stop in Central Italy, however, was Rome, later, they would go down to the Bay of Naples, and after their discovery in 1756, Pompeii and Herculaneum were popular too. Sicily was considered a significant part of the trail, and several, such as Goethe, throughout the 17th to 18th centuries, the Grand Tour was mainly reserved for academics or the elite. Nevertheless, circa 1840, rail transport was introduced and the Grand Tour started to fall out of vogue, hence. The 1840s saw the period in which the Victorian middle classes toured the country, several Americans were also able to visit Italy, and many more tourists came to the peninsula
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Siena Cathedral
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Siena Cathedral is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary. Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, the cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome, the dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini, the nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary citys founders, Senius and Aschius. The origins of the first structure are obscure and shrouded in legend, there was a 9th-century church with bishops palace at the present location. In December 1058 a synod was held in this resulting in the election of pope Nicholas II. In 1196 the cathedral masons’ guild, the Opera di Santa Maria, was put in charge of the construction of a new cathedral. Works were started with the north - south transept and it was planned to add the main, larger body of the cathedral later, by 1215 there were already daily masses said in the new church. There are records from 1226 onwards of the transport of black and white marble, probably for the construction of the façade, the vaults and the transept were constructed in 1259-1260. In 1259 Manuello di Ranieri and his son Parri carved some wooden choir stalls, in 1264, Rosso Padellaio was paid for the copper sphere on top of the dome. A second massive addition of the body of the cathedral was planned in 1339. It would have more than doubled the size of the structure by means of a new nave. The construction was begun under the direction of Giovanni di Agostino, construction was halted by the Black Death in 1348. Basic errors in the construction were already evident by then, however, the outer walls, remains of this extension, can now be seen to the south of the Duomo. The floor of the nave now serves as a parking lot and museum, and, though unfinished, the remains are testament to Sienese power, ambition. Underneath the choir of the Duomo, a narthex containing important late 13th-century frescoes was found, the frescoes depict scenes from the Old Testament and the life of Christ. This was part of the entrance of an earlier church, but when the baptistry was built, this under-church was filled with rubble
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Siena Cathedral Pulpit
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The prosperity of the city of Siena during the thirteenth century led to an increase in civic pride and interest in public works. In 1196, the masons guild, the Opera di Santa Maria, was commissioned to construct a new cathedral to take the place of the original structure that was built in the ninth century. Many artists were commissioned to gild the interior and the façade of the new cathedral, Nicola had earned fame from his work on the pulpit in the Baptistery in Pisa, which he had finished in 1260. This contract stipulated precise clauses such as the materials, times of work payment and it also stated that there were to be seven panels instead of five such as in Pisa and it also stated that Pisano needed to use the Sienese Carrara marble. For this labour Nicola, magister lapisorum, would receive eight Pisan soldi per day, nicoli was to receive four soldi per day, to be paid to his father. According to the Siena Cathedral archives, Nicola Pisano was born to Petrus de Apulia between 1200 and 1205 in the city of Apulia, frederick favoured the fusion of the classical and Christian traditions. Nicolas first recorded work was the pulpit inside the Baptistery in Pisa and this piece is the forerunner of the Sienese pulpit in multiple ways. One being the “Synthesis of French Gothic and Classical elements and incorporates a programme of great complexity, with the Pisan pulpit we see Nicola hone his classical style. The pulpit itself is octagonal and it has a column on a pedestal that is encircled with the carved figures of ‘Philosophy’. An aspect of these panels is that each one more than one subject, whereas. The panels of this monumental pulpit share the same style of the Late Antique. In between each of the panels on the corner sections Nicola chose to include Christian symbols to make the story line of the panels to flow more effortlessly. The many figures in each scene with their chiaroscuro effect show a richness of surface, motion, the seven scenes on the parapet that narrate the Life of Christ. At the Upper right, above the shepherds, intrudes the large head of a Roman Emperor, his beard, added with the flora sculpted above the magi, it can be seen that Nicola wanted to embrace naturalistic themes. The upper right hand holds the scene with Jesus being adored by the Magi while sitting on his mother’s lap. The fold of the robes that each character wears and the S-shape pattern in the hair denotes Roman stylistic influence, the temple sits in the upper left hand corner presiding over the Toga cloaked figures below. The Style of the building is yet again Gothic which is juxtaposed with the Roman style characters of the panel, on the bottom of the left side there is the narrative of Mary and Joseph with baby Jesus meeting Simeon outside the temple. Then immediately to the right of these there is the carving of the Holy family fleeing to Egypt on the back of a mule
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Basilica of San Domenico, Siena
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The Basilica of San Domenico, also known as Basilica Cateriniana, is a basilica church in Siena, Tuscany, Italy, one of the most important in the city. The church was begun in 1226-1265, but was enlarged in the 14th century resulting in the Gothic appearance it has now, however, aspects of the Gothic structure were subsequently destroyed by fires in 1443,1456 and 1531, and further damage later resulted from military occupation. It is an edifice built, like many contemporary edifices of the mendicant orders, in bricks. The interior is on the Egyptian cross plan with a nave covered by trusses. The church contains relics of St. Catherine of Siena. This is an old praying place of Dominican nuns, connected to numerous episode of sanctity of Catherine of Sienas life and it houses the Canonization of St. Catherine by Mattia Preti, flanked by two 1602 paintings by Crescenzio Gambarelli. Other works by the latter are also present, the main wall has a portrait of St. Catherine. Rutilio Manetti painted a St. Anthony Abbots Exorcism, Sebastiano Folli a St. Catherine of Alexandria and Francesco Vanni a St. Hyacinth Saving a Statue of the Madonna from a Fire. The altars on the side are decorated by a Appearance of the Virgin by Stefano Volpi, a Nativity of the Virgin by Alessandro Casolani. They are followed by the St. Catherine Chapel, with, in the centre, il Sodoma provided an Fainting and Ecstasy of St. Catherine and Death of Niccolò di Tuldo for the chapel, while by Francesco Vanni is a St. Catherines Exorcism. The 15th century marble pavement, featuring Orpheus and animals, is attributed to Francesco di Giorgio. The right wall has a fresco by Pietro Lorenzetti and the Adoration of the Shepherds by Francesco di Giorgio, completed by a lunette by Matteo di Giovanni, on the right transept is altar dedicated to Blessed Ambrogio Sansedoni, also portrayed in a canvas by Francesco Rustici. The fourth chapel has a Baroque canvas by Raffaello Vanni and a St. Anthony the Abbot from 1426. The Majesty by Guido da Siena is in the centre of the fifth chapel, the left transept ends with the altar of St. Dominic. The altar has a ciborium with two angels by Benedetto da Maiano, while in the apse is a Death of St. Peter Martyr by Arcangelo Salimbeni and St. Thomas, the crypt, in Gothic style, can also be visited. It houses a crucifix by Sano di Pietro and a Crucifixion signed by Ventura Salimbeni, media related to Basilica of San Domenico at Wikimedia Commons Official website
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Basilica dell'Osservanza
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The Basilica dellOsservanza is a church on the outskirts of Siena, region of Tuscany, Italy. Further expansion of the church was commissioned between 1495 and 1496 by Pandolfo Petrucci, built in the Renaissance style, the original complex was damaged during the Siege of Siena in 1554. It was rebuilt during the Baroque period and restored between 1922 and 1932, an inventory in 1840 recalls organ doors painted by Lorenzo Feliciati. The first chapel on the right had wall frescoes by Apollonio Nasini, the main altar had terra-cotta statues sculpted by Gioco di Gambassi. Other sculptures by Giuseppe Mazzuoli the Younger, four canvases were painted by Franellini, and the pilasters had terra cotta reliefs by Della Robbia depicting an Annunciation. In the choir were paintings by Pietro di Giovanni and Ansano di Pietro, the first chapel on the left had a painting of Santa Petronilla by Taddeo Bartoli, a Santa Filomena by Boschi, and frescoes by Franchini. Another chapel had a San Bernardino by Montorselli, with frescoes by Antonio Nasini, the third chapel had an altarpiece by Luca Della Robbia. In the sacristy were works by Cozzarelli and the tomb of Pandolfo Petrucci, the walls had paintings by Margaritone dArezzo, Stefano di Giovanni, Alessandro Casolani, and Ramacciotti. An elaborate urn by Francesco dAntonio contained the vestments of San Bernardino, the adjacent convents design was attributed to Peruzzi, and was said to have housed both Pius II and Pius VI during visits to Siena. The former cells of San Bernardino and San Giovanni di Capistrano were found here, the refectory had a Last Supper painted by Prete Franci
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Basilica of San Francesco (Siena)
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San Francesco is a basilica church in Siena, Tuscany, Italy. 1228-1255 and later enlarged in the 14th-15th centuries, the original Romanesque edifice being turned into the current large Gothic one, the current interior looks rather sober after a fire in 1655 and the restoration of 1885-1892, when many of the Baroque altars were demolished. The neo-Gothic façade, flanked by the 1763 campanile, dates to the early 20th century, the medieval marble decoration and the 15th century portal were removed in that occasion. Also visible is the ancient 15th century portal by Francesco di Giorgio Martini, in the right transept is a 14th-century marble of St Francis, from the ancient façade. Media related to Basilica of San Francesco at Wikimedia Commons
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Siena Baptistery of San Giovanni
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The Battistero di San Giovanni is a religious building in Siena, Italy. It is located in the square with the name, near the final spans of the choir of the citys cathedral. It was built between 1316 and 1325 by Camaino di Crescentino, the father of Tino di Camaino, the façade, in Gothic style, is unfinished in the upper part, such as the apse of the cathedral. The marble shrine on the font was designed by Jacopo della Quercia between 1427 and 1429, the five Prophets in the niches and the marble statuette of John the Baptist at the top are equally by his hand. Two of the angels are by Donatello, three by Giovanni di Turino. The frescoes are by Vecchietta and his school, Benvenuto di Giovanni, Vecchietta also painted two scenes on the wall of the apse, representing the Flagellation and the Road to Calvary. Michele di Matteo da Bologna painted in 1477 the frescoes on the vault of the apse
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Oratory of Sant'Antonio da Padova (Siena)
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The Oratory of SantAntonio da Padova is a small church on Via Tommaso Pendola in Siena, Italy. The oratory is property of the Ward of the Turtle or Contrada della Tartuca, Siena also has a separate church of SantAntonio da Padova located elsewhere in the city in the Contrada della Civetta. In the second half of the 17th century, inhabitants of this neighborhood, many of them sculptors, using a Baroque design by Jacomo Franchini. The bell tower was reconstructed in 1800, the cupola is decorated with murals depicting St Anthony in Glory by Vincenzo Dei. The lateral altars were built in the late 1700s by the local sculptor Gaspero Fineschi, the interior includes four oval paintings by members of the Mazzuoli and Nasini family, St Jerome and the Angel attributed to Giuseppe Nicola Nasini. St Ansano baptizes first Christians of Siena by Annibale Mazzuoli, martyrdom of St Bartholemew by Antonio Nasini. St Sebastian healed by St Irene by Annibale Mazzuoli, the main altarpiece depicts the legendary miracle when St Anthony of Padua restores an amputated leg. The miracle is depicted on the floor in the work in inlaid marble mosaics by Leopoldo Maccari. Official website of Cantrade della Tartuca Translated from Italian Wikipedia
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Sant'Agostino (Siena)
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SantAgostino is a Roman Catholic church in Siena, region of Tuscany, Italy. The construction of the church and its associated convent began in 1258, other renovations and reconstructions were carried out in the following centuries. The church had a fire in 1747. A few years after fire, the interior was redesigned by Luigi Vanvitelli. The stucco statues in the nave and in the date from the Vanvitelli renovation. The portico was constructed in the early 19th century by Agostino Fantastici
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San Martino (Siena)
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San Martino is a Roman Catholic church located on Via del Porrione, in the Terzo San Martino in central in Siena, region of Tuscany, Italy. Adjacent to the church is the Renaissance style Logge del Papa erected in 1462 by commission by Pope Pius II Piccolomini, a church at the site was present by the 12th century, but it was rebuilt and enlarged in the 16th century. The Baroque façade was built in 1613 and the tower completed in 1738. The interior, in the counterfaçade, has a canvas of the Immaculate Conception Protecting Siena during the 1526 Battle of Camollia by Giovanni di Lorenzo, commissioned by the citys commune in 1528. In the chapels are, among the others, the Circumcision of Jesus, one of Guido Renis masterworks, the Martyrdom of San Bartolomeo by Guercino, the presbyterys restoration in the 17th century was patronized by the de Vecchi family, who commissioned the decorations to the Mazzuoli family. Giuseppe Mazzuoli completed the statue of St. Thomas of Villanova, and he helped his brother Giovanni complete the main altar
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San Pietro alla Magione, Siena
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San Pietro alla Magione is an ancient church on Via Camollia in Siena, Italy. Documents attest to a church at the site since 998 and it is built in stone, and preceded by a stairs and a Romanesque bell portal. Rete Toscana Luoghi della Fede, entry on church
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San Raimondo (Siena)
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The church is dedicated to St Raymond of Pennafort. The church was commissioned in 1596 in the will of the Sienese noble Aurelio Chigi, the church was adjacent to a conservatory for children of impoverished nobility and thus known as di Refugio. In 1798, an earthquake caused some damage, during the 19th-century it served as a school for young women, called the Royal Conservatorio Riuniti, because it was joined to the adjacent Conservatory of Mary Magdalen. In 1660, Pope Alexander VII commissioned from Benedetto Giovannelli the design, the church facade has the correct superimposition of orders in the pilaster capitals, with doric, ionic, and finally corinthian. The lateral to the volutes on the story is the star-topped six mountains found in the heraldic coat of arms of the Chigi. The tympanum has the coat of arms with the crossed keys. The baroque interior decoration was completed by 1610 by Francesco Della Monna, the marble altars were designed by Flaminio Del Turco, with bronze bas reliefs and the sepulchral monument of Aurelio Chigi were completed by Ascanio da Cortona. The main altarpiece of the Nativity was painted by Alessandro Casolani, flanking this is an Adoration of the Magi by Astolfo Petrazzi. The lateral altarpieces are the Circumcision of Jesus by Giovanni Battista Giustammiani, an altar on the right has a Marriage of St Catherine by Vanni, the side canvases also depicting events in the life of Catherine of Siena are by Sebastiano Folli. On the left is an altar with a Death of San Galgano and it is flanked by a St Michael Archangel appears before San Galgano and Parents of San Galgano attempt to dissuade him from life as a hermit by Rutilio Manetti. A Miracle of St Raymond walks on water is attributed to Stefano Volpe, the church in 2014 was adjacent to the offices of the Faculty of Letters and Philosophy of the University of Siena. A few steps down the Via di Fiera Vecchia is the Palazzo San Galgano, in 2014, the facade of the Palazzo Galgano on Via Roma was designed by Giuliano Da Maiano
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San Sebastiano in Vallepiatta, Siena
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San Sebastiano in Vallepiatta is an ancient church found next to piazzeta della Selva in Siena, Italy. It is located in the Contrada della Selva, church construction began in 1492 and completed in 1656, under the patronage of the guild of weavers. Built in the shape of a Greek cross, it has a cupola with a cylindrical tambor, the design is attributed to Francesco di Giorgio Martini. Most of the brick façade has only a sliver of a cornice with architrave in travertine marble, the interior was frescoed in the 16th century by Giovanni Paolo Pisani, Raffaello Vanni, and Astolfo Petrazzi. The main altarpiece is a bas-relief in stucco and terracotta depicting the venerated Madonna della Selva, the Medici, Michelangelo, and the Art of Late Renaissance Florence
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Santo Spirito (Siena)
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Santo Spirito is a Renaissance style, Roman Catholic church located in piazza Santo Spirito, where Via dei Pispini meets Vicolo del Sasso, in the city Siena, region of Tuscany, Italy. Building at the site was begun by the Biccherna for monks of the Silvestrine order in 1345, in 1440 it was passed to the Benedictines of Santa Giustina, and soon after to the Dominican Order. They held the monastery till their suppression in 1782, the Benedictines were the first to erect a library. The church is largely a reconstruction from 1498-1504, the design is attributed to Francesco di Giorgio. The cupola was completed in 1504, but the church was not consecrated till 1513, the marble portal was designed by Baldassare Peruzzi. The interior houses the Funeral monument of a number of Spaniards, including Daniel Burgos, Ferdinando Alvarez, Pietro Crispo Spagnuoli, and a chapel which is one of Sodomas masterpieces. The chapel was painted in Renaissance style with tromp-doeil and architecture, and includes frescoes of Saints James, Anthony, and Sebastian, astolfo Petrazzi painted a San Francesco di Paola. The statue of St Vincent Ferrer is by Cozzarelli, other works in the church include a Jesus at Gesthemane, a Deposition, and a St Vincent by Giovanni Paolo Pisani. The main altar has a St Hyacinth painted by Francesco Vanni, the church once held the relics of Santa Orsina, once in the suppressed Monastery of Vita Eterna. The four saints painted alongside the altar were painted by Rutilio Manetti. The Tribune of the Choir has a Descent of the Holy Spirit by Giuseppe Nicola Nasini. The church also has a terracotta nativity scene or presepe by Ambrogio della Robbia. In the sacristy, located where once was the cloister, is a 1516 fresco by Fra Paolo da Pistoia
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Santo Stefano alla Lizza
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Santo Stefano alla Lizza is a Baroque style, Roman Catholic church located on Via dei Gazzani, in the city of Siena, region of Tuscany, Italy. It belongs to the Roman Catholic Archdiocese of Siena-Colle di Val dElsa-Montalcino, a Romanesque style building documented to exist since the 12th-century, was reconstructed in 1671-1675. The façade is crowned with a tympanum with an oculus, the interior once housed a Madonna with child and Saints by Andrea Vanni and a complete predella by Giovanni di Paolo, now in the Baptistery of Siena. On the right altar was a Visitation by Rutilio Manetti, the apse has a fragmentary Deposition by Antonio Buonfigli, guida dItalia, Touring Club Italiano, Milan 2003. ISBN 88-365-2767-1 Media related to Santo Stefano alla Lizza at Wikimedia Commons
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Fonte Gaia
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The Fonte Gaia is a monumental fountain located in the Piazza del Campo in the center of Siena, Italy. The first fountain in the Piazza del Campo was completed in 1342, underground pipes brought water to the site from 25 kilometers away. Legend holds that the fountain was met with joy, thus it was given the name Gaia or joyous. Others suggest the term Gaia refers to the Latin term for bride, and that the fountain was dedicated to the bride of God and patron of Siena, the Virgin Mary. The fountains, plates, and statues conflate Roman matrons cardinal virtues, with a depiction of Mary. In 1419, the fountain had the present decorative frame constructed by Jacopo della Quercia, in 1858, the original marble panels were replaced by copies sculpted by Tito Sarrocchi, under the supervision of architect Giuseppe Partini. The side reliefs depict episodes from Genesis, The Creation of Adam, the wolves spouting water, representing the mother-wolf of Remus and Romulus, form part of the reconstructed fountain. Two nude female figures once adorned the front two columns, traditionally believed to represent Rea Silvia and Acca Larentia, in celebration of Siena’s supposed links to ancient Rome. These were not added in the reconstruction but can be viewed along with the panels at a museum at Santa Maria della Scala. The long section of the fountain is adorned at the centre with a Madonna and Child, description on Siena on line website. La Fonte Gaia di Jacopo della Quercia, Storia e restauro di un capolavoro dellarte senese, Sara Dei, Enrico Toti Media related to Fonte Gaia at Wikimedia Commons
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Fortezza Medicea (Siena)
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Siena’s Fortezza Medicea is a fort built in the city between 1561 and 1563 on the orders of Duke Cosimo, a few years before he became the first Grand Duke of Tuscany. Construction of the fortress followed the Battle of Marciano which in 1554 marked the defeat of Siena by its long-standing rival. On 26 July 1552 the Sienese rose up against the Spanish, expelling them from the city, slightly less than three years later, on 21 April 1555, after more than a year under siege by Spanish and Tuscan troops, the city surrendered. The Republic of Siena, supported by its French allies, continued to defy the Spanish from Montalcino, four years later, in April 1559, the Peace of Cateau-Cambrésis was signed between France and Spain. This left the Republic of Siena without allies and led to total surrender, the city fell under the control of Spain’s regional ally, the Florentine Duke Cosimo. In order to prevent any attempt by the Sienese to recover their independence, the project was entrusted to Cosimo’s celebrated Urbino born architect, Baldassarre Lanci who had started his career as a military engineer. Construction commenced in 1561 and was completed just two later in 1563. The fortress was demilitarized only at the end of the eighteenth century, in 1937, following a major restoration, the fortress was transformed into its present condition as a public park. It houses an Enoteca and frequently hosts art exhibitions and it is also used for festivals and concerts and is home to the Siena Jazz foundation. Originally built on an “L” shaped footprint, the fortress was transformed into its current rectangular form. On each of the four corners is a brick built rampart. On the fourth, south facing corner, however, there is only the head of a lion, the fortress is a substantial structure, with internal dimensions of approximately 180 by 125 meters and external dimensions of about 270 by 200 meters. If the outer wall is included, the structure has a perimeter of approximately 1,500 meters. The entrance is on the north-east side, facing Florence, on the inside the hugely wide walls are topped with broad paths, lined with trees and benches. Within the walls a permanent theatre shaped structure has now created in order to support the public role of the fortress. On the outside, the fortress is positioned between the stadium and the Lizza Gardens. On the south-east side, which faces the city, a statue of the city’s saint, comune di Siena - La Fortezza Medicea
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Palazzo Chigi-Saracini
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The Palazzo Chigi-Saracini is a Gothic urban palace located on the Via di Città in the Terzo di Città in central Siena, region of Tuscany, Italy. In 2014 it housed the Accademia Musicale Chigiana and it was built by the Marescotti family in the 12th century. It was the house of Count Galgano Lucarini Saracini and then it became property of Fabio Chigi Lucarini Saracini, the palace is described as a Gothic beauty with a curved facade and back courtyard. In the mid-twelfth century, the aristocratic Marescotti family of Siena, owners of a castle at the site and their emblem is still visible on the trefoil windows of the facade. Subsequent reconstructions led to the Gothic structure visible now, in 1506, the Piccolimini-Mandoli family acquired the building and refurbished the palace interiors, cortile and loggia in a Renaissance style. In 1770, the owner Marcantonio Saracini undertook a restoration of the building lasted until 1824. Preserving the original Gothic façade, the matches the characteristic curvature of this narrow medieval street. The interior is renovated and modernized by Agostino Fantastici, and art collections are added, in 1877, after Galagano Saracini died, the palace was inherited by a Fabio Saracini, the new owner, who died in a hunting accident passing the castle on to his nephew Guido. Count Guido Chigi Saracini, the castle’s last owner, restored the exterior and interior with the help of architect Arturo Viligiardi. In 1932, he founded the Chigiana music academy to which he bequeathed the building after his death in 1965, media related to Palazzo Chigi Saracini at Wikimedia Commons
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Palazzo del Magnifico
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Palazzo del Magnifico, also known as Palazzo Petrucci, built as the residence of Pandolfo Petrucci, is located in Siena on Piazza San Giovanni at the corner of Via dei Pellegrini. Pandolfo Petrucci was a rich Sienese aristocrat and effectively ruled the city from 1487 to 1512, the palace was built in 1508 by Domenico di Bartolomeo to a design by Giacomo Cozzarelli and was among the most magnificent Italian mansions of the time. The main salon was decorated by the best artists then active in Siena, including Pinturicchio, Luca Signorelli, the decorations were probably completed in 1509 to mark the wedding of Petruccis son, Borghese Petrucci to Vittoria Piccolomini on 22 September. Pandolfo Petrucci died in 1512 and his son Borghese Petrucci was ousted from power in Siena only months later, starting in 1512 the precious interior decorations underwent dispersion, culminating in tearing out the frescoes and dismantling of decorations in the hall. The facade was decorated with bells and refined bronze bracelets. It included eight scenes on frescoed walls, which are now partly lost, the paintings were surrounded by a wooden structure carved by the famous Barili workshop and majolica tiles lined the floor. Overall, the theme of the decoration was derived from poetry, ancient history. The ceiling of the hall was divided into squares by gilded stucco with fresco figured panels of various shapes and it is now in the Metropolitan Museum of New York City. At the center is a coat of arms within a wreath, on the four sides of the central compartment are ovals with scenes of the Rape of Europa, Helle rides the ram, Nymph riding a seahorse and the Judgment of Paris. Two additional compartments depict Hercules and Omphale and the Calydonian boar hunt, the set, although updated to modern schemes, provided a refined antique effect. Other mythological figures were in the spandrels between the stucco, along with episodes of Roman history and heraldic eagles of Petrucci, designed by Pinturicchio, the execution was probably left to assistants including Sienese local Pacchiarotto and perhaps the young Genga. The layout for the decorating of walls of the main salon are known from the 18th-century descriptions made by Guglielmo Della Valle and Giovanni Girolamo Carli. Scipio and the girl Celtiberiana The fresco cycle celebrated Pandolfo Petrucci, the redemption of prisoners seems to be a hope that the virtuous Borghese will follow his fathers footsteps, as well as a dynastic theme also alludes to the Reconciliation of Coriolanus
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Palazzo Pubblico
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The Palazzo Pubblico is a palace in Siena, Tuscany, central Italy. Construction began in 1297 and its purpose was to house the republican government, consisting of the Podestà. The outside of the structure is an example of Italian medieval architecture with Gothic influences, the lower story is stone, the upper crenelatted stories are made of brick. The facade of the palace is curved inwards to reflect the outwards curve of the Piazza del Campo. The campanile or bell tower, Torre del Mangia, was built between 1325 and 1344 with its crown designed by the painter, Lippo Memmi. The tower was designed to be taller than the tower in neighboring rival Florence and it was fitted with a mechanical clock during the mid-14th century. Nearly every major room in the palace contains frescoes and these were unusual for the time in that they were commissioned by the governing body of the city, rather than by the Church or by a religious fraternity. They are also unusual in many of them depict secular subjects instead of the religious subjects which are overwhelmingly typical of Italian art of this era. The most famous of the frescoes are three panels in the series on government in the Hall of the Nine by Ambrogio Lorenzetti. These frescoes are collectively known as The Allegory of Good and Bad Government, the Allegory of Good Government depicts the personification of Justice as a woman. She gestures to the scales of balance, held by the personification of Wisdom floating over her throne, on the viewers left, a convicted criminal is beheaded, on the right, figures receive the rewards of justice. The men face towards the largest figure in the image, a located in the center right. The judge is surrounded by additional personifications including Peace, who is represented as a fashionable, the allegory carries a strong social message of the value of the stable republican government of Siena. It combines elements of life with references to the importance of religion in the city at the time. The figure of Justice resembles the figure of Mary, Queen of Heaven, the Judge reflects the tradition in the Christian Last Judgment to have God or Christ judging the saved on the left, the damned on the right. While classified as medieval or proto -renaissance art, these show a transition in thought. Flanking the Allegory are two paintings on perpendicular walls, Effects of Good Government and Effects of Bad Government. Both these frescoes depict a view of Siena and its countryside
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Palazzo Salimbeni
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Palazzo Salimbeni is a Gothic style urban palace located on the Piazza Salimbeni, just off Via Banchi di Sopra in the Terzo di Camollia of the city of Siena, region of Tuscany, Italy. The building, associated with an ancient mercantile family of Siena, currently houses the offices of the Banca Monte dei Paschi di Siena. It was built in the 14th century, likely above pre-existing 12th-13th century structures, in the 19th century it was remodeled in neo-Gothic style, with detail including the merlons, the Lombard bands under them, the ogival triple mullioned windows, inspired by Sienas Palazzo Pubblico. It was further renovated by architect Pierluigi Spadolini during the 20th century and it faces a square with a statue of the local religious figure Sallustio Bandini, dating to 1882. Neighboring palaces include the Palazzo Santucci, facing Palazzo Salimbeni, to the right stands the Palazzo Spannocchi, designed by Giuliano da Maiano. South along Via Banchi di Sopra are the Palaces Bichi Ruspoli, la sede storica del Monte dei Paschi
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Pinacoteca Nazionale (Siena)
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The Pinacoteca Nazionale is a national museum in Siena, Tuscany, Italy. Inaugurated in 1932, it houses especially late medieval and Renaissance paintings from Italian artists and it is housed in the Brigidi and Buonsignori palaces in the citys center, the former, built in the 14th century, it is traditionally identified as the Pannocchieschi familys residence. The Palazzo Bichi-Buonsignori, although built in the 15th century, has a 19th-century neo-medieval façade based on the citys Palazzo Pubblico, the gallery has one of the largest collections of Sienese paintings with gold backgrounds from the 14th and 15th centuries. Works in the include, Duccio di Buoninsegnas Polyptych N.28. Pinacoteca Nazionale di Siena - Scalarchives. com Pinacoteca Nazionale di Siena - Scolarsresource. com
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Santa Maria della Scala (Siena)
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Santa Maria della Scala is located in Siena, Italy. Now a museum, it was once an important civic hospital dedicated to caring for abandoned children, the poor, the sick, revenues were earned partially from bequests and donations from the citizens of Siena, particularly the wealthy. The head of the hospital was the rector who managed the lay brothers responsible for its operation, Santa Maria della Scala was one of Europes first hospitals and is one of the oldest hospitals still surviving in the world. It played a major role and is considered one of Sienas 3 main artistic hubs. The Hospital partially gets its name from its position, located across the Piazza del Duomo from Siena Cathedral, Santa Maria della Scala refers to its position across from the steps that lead into the Cathedral. The Hospital is made up of a complex of buildings, around the 13th and 14th centuries, the Hospital organized its land into large agricultural estates. This is said to have represented the largest concentration of land of the Sienese state and this agricultural land helped to financially support the Hospitals works. The Pellegrinaio is the hall where pilgrims were lodged. It also served as a location for public festivities and this hall, along with another specifically to house women was built around 1325. The church of the Santissima Annuziata, built during the 13th century, was enlarged during the part of the 15th century. Santa Maria della Scala was dedicated to its services, from at least as far back as 1193 up to the 18th century, the Hospital took on many philanthropic endeavors, Cast-off babies often found their way to the Hospital. Meticulous records were kept of the details relating to each child, the procedure for the childrens care was implemented according to age, As infants, they were given to wet nurses then later weaned and educated. At age 8, they were taught a trade and any profits made were kept for them. When they reached 18, the children had the option of leaving and those that chose to leave were given all their saved earnings, plus 100 soldi, a set of clothing, and furnishings for a house. Girls were given an additional 50 lire as a dowry, meals were served for the poor three times a week. The sick were also given free meals and treatment, the Hospitals treatment of the sick was unusual for the time, their policy was to have one bed for each sick patient, and the sheets were kept clean. Also, in what has been suggested as one of the earliest examples of such a therapeutic objective, the Hospital employed one normal doctor and one surgeon. In the 16th century, it added an additional surgeon, as the Hospital became a training ground for doctors, there was, for the 17th and 18th centuries, a unique emphasis on using a more hands-on learning approach
