Museo Di Palazzo Vecchio, Florence, Italy
Found in 32 Collections and/or Records:
Annunciation to the Virgin Mary, Lunette depicting the annunciation to the Virgin Mary.
Vanderbilt photo identifier: SC.MSS.088.FLOR.3942; Public Notes:
Brazen Serpent, This painting is an arched panel that may have once been in a church's interior. This chaotic scene shows a narrative from the Book of Numbers chapter 21. After the Israelites become impatient and complain against the Lord, the Lord sends venomous snakes that kill people when they are bitten. The people repent and ask Moses to ask the Lord for relief. The Lord commands Moses to make a bronze snake, and to hold it up so that people can be healed when gaze at it. In this rendering of the scene, many people have been or are being bitten by snakes. They writhe on the ground in pain and suffering. In the central background, the relief of the bronze snake on a pole, here a cross-shaped pole, stands high above so they all can see and find relief. The composition's style, with the vibrant gestures and movement of the people, along with the bright style, and the flanking compositions all leading the eye toward the cross, show a Baroque influence or precursor to the movement. This is a basic record created to enable public access to scanned images. Full research on this image is pending., 1540-1546
Vanderbilt photo identifier: SC.MSS.088.FLOR.10724; Public Notes: The caption correctly attributes the artist, title, and the repository. The work is in the Chapel of Eleanor of Toldeo in the Palazzo Vecchio.
Ceiling of the Chapel of Eleonora of Toledo with Saint Jerome, This work is one portion of an entire ceiling fresco of four different saints. The saint shown in this photograph is Saint Jerome, identified by his red robe, sunken appearance, and lion at his right side. On his left is his cardinal's hat and tassle. The saint kneels and looks up to heaven with his arms outstretched. The fresco's location on the ceiling and the clouds in the background make it appear to be in the heavenly realm. On either side are putti or youthful nude figures, who hold on to stalks of ripe and luscious fruit. These stalks flank either side of the four saints. Other elements, including the realistic and almost exaggerated, vibrant rendering of the human body and bright, pastel colors give it stylistic qualities of the Baroque period or shortly before. This is a basic record created to enable public access to scanned images. Full research on this image is pending., 1540-1545
Vanderbilt photo identifier: SC.MSS.088.FLOR.10726; Public Notes: The caption notes the artist, the repository, and the subject. This work is located in the Chapel of Eleanor of Toledo in the Palazzo Vecchio.
Crossing of the Red Sea and Moses Appointing Joshua, This chaotic scene has an immense amount of detail that give significance to those smaller details, but that are unimportant overall to the composition's whole. It is entirely framed within an arched panel that may have originally been painted directly onto the wall in the palace. Moses is leading the Israelites across the Red Sea as they flee from the Egyptians and Pharaoh. This narrative comes from Genesis 14. Moses stands in the far right in an orange cloak, holding a staff in his right hand; he is signified by the horns on his head. This may be before he parts the seas, or after, when the last of the peoples are crossing and the waters have returned. The scene's bright colors and energetic postures of the characters date it to the Baroque style or slightly before. This is a basic record created to enable public access to scanned images. Full research on this image is pending., 1540-1545
Vanderbilt photo identifier: SC.MSS.088.FLOR.10723; Public Notes: The caption correctly attributes the artist, title, and the repository.
Detail from the Ceiling of the Chapel of Eleonora, This work is a small detail from a ceiling fresco of four saints. The oval composition is divided into four parts, so that two vertically opposite sides are smaller than the other two vertically opposite sides. Each saint is flanked by putti, or nude winged infants, holding onto stalks of fruit. This image is a detail of one of the puttoi, who is situated with Saint Francis on his right side and Saint Jerome on his left. The composition is done in a Baroque or early Baroque style due to the energetic and vibrant quality of the body and the bright colors used. This is a basic record created to enable public access to scanned images. Full research on this image is pending., 1540-1545
Vanderbilt photo identifier: SC.MSS.088.FLOR.10727; Public Notes: The caption notes the artist, the repository, and the subject. This work is located in the Chapel of Eleanor of Toledo in the Palazzo Vecchio.
Detail from the Ceiling of the Chapel of Eleonora, This work is a small detail from a ceiling fresco of four saints. The oval composition is divided into four parts, so that two vertically opposite sides are smaller than the other two vertically opposite sides. Each saint is flanked by putti, or nude winged infants, holding onto stalks of fruit. This image is a detail of one of the puttoi, who is situated with Saint John the Evangelist on his right and Saint Michael the Archangel on his left. The composition is done in a Baroque or early Baroque style due to the energetic and vibrant quality of the body and the bright colors used. This is a basic record created to enable public access to scanned images. Full research on this image is pending., 1540-1545
Vanderbilt photo identifier: SC.MSS.088.FLOR.10728; Public Notes: The caption notes the artist, the repository, and the subject. This work is located in the Chapel of Eleanor of Toledo in the Palazzo Vecchio.
Detail of the Archangel Gabriel from the Lamentation, This image shows a detail of the Archangel Gabriel; he and the Virgin Mary flank the central scene in two smaller arched panels. The overall composition is an arched panel with a central Pieta scene and two flanking columns that both include two saints in arched panels and two Biblical figures atop in the remaining space between the arches. The photographic record looks as if this image has been or was at one time removed from the larger scene, but it emerges from the following. The bigger picture shows a scene of the Pieta in an arched panel. On either side two full length portraits of saints are shown, and in the top left and right on either side are renderings of Biblical figures labeled and looking down at the scene. The Pieta scene consists of the following is a copy of a Bronzino composition. This painting shows Christ after his death on the cross. He is held by Saint John the Evangelist on the far left in a yellow cloak, who holds up his head and chest; Saint Mary Magdalene in a blue gown and red cape has hit feet on the far right; and Mary the Mother of Christ in blue veil and cloak holds her son's chest and has him seated on her lap. Surrounding the scene are various saints, identified by their attributes. Above there are putti--winged, nude infants--flying the cross, nails, and spears--the instruments of the Passion--away from the scene. This is a devotional image, meant to conjure emotion with its dramatized emotion rendered in the figures. The scene's composition in the Baroque style with its hunched and cramped figures in an awkward style that is meant to increase the increase the intensity and energy of the scene. Furthermore, since all of these saints were believers in Christ after his death, they could not have been present for the deposition. Instead, they are shown to venerate the scene in the spiritual sense. The surrounding scenes of this arched painting give evidence that it is from a section of an interior wall. This is a basic record created to enable public access to scanned images. Full research on this image is pending., 1545-1555
Vanderbilt photo identifier: SC.MSS.088.FLOR.10721; Public Notes: This work was originally located in the Chapel of Eleanor of Toledo in the Palazzo Vecchio within a larger composition of Christ's Death.
Holy Family, Madonna and Child with Francis of Assisi
Vanderbilt photo identifier: SC.MSS.088.FLOR.8195; Public Notes:
Il Cimarosa, A portrait of composer Domenico Cimarosa at his desk with a pile of instruments at his side.
Vanderbilt photo identifier: SC.MSS.088.VENI.5160; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu
Il Senatore Pisani, A portrait of a senator standing up in elaborate attire.
Vanderbilt photo identifier: SC.MSS.088.VENI.5159; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu
Judith with the Head of Holofernes, Image depicts the bronze sculpture of Judith beheading the Assyrian general Holofernes from the deuterocanonical biblical book of Judith. Judith appears in Florentine clothing, beautifully draped and her head covered. In her right had she holds a large sword and in the left he holds the head of Holofernes. Holofernes sits on a pillow with his eyes closed, wearing only shorts. The statue rests on a pedestal decorated with reliefs, dizzy with movement., ca. 1455-1460, Photographed in 2484
Vanderbilt photo identifier: SC.MSS.088.SCUL.0393; Public Notes: Commissioned by Cosimo de' Medici between 1455 and 1460 for the garden of Palazzo Medici-Riccardi
Lamentation, The composition is an arched panel with a central Pieta scene with two flanking columns; the Annunciation is shown by the two arched panels with the Archangel Gabriel on the left of the Pieta scene and the Virgin Mary on the right. Above in the space between the overarching frame and the other arches are two other Biblical figures. The Pieta scene consists of the following is a copy of a Bronzino composition. This painting shows Christ after his death on the cross. He is held by Saint John the Evangelist on the far left in a yellow cloak, who holds up his head and chest; Saint Mary Magdalene in a blue gown and red cape has hit feet on the far right; and Mary the Mother of Christ in blue veil and cloak holds her son's chest and has him seated on her lap. Surrounding the scene are various saints, identified by their attributes. Above there are putti--winged, nude infants--flying the cross, nails, and spears--the instruments of the Passion--away from the scene. This is a devotional image, meant to conjure emotion with its dramatized emotion rendered in the figures. The scene's composition in the Baroque style with its hunched and cramped figures in an awkward style that is meant to increase the increase the intensity and energy of the scene. Furthermore, since all of these saints were believers in Christ after his death, they could not have been present for the deposition. Instead, they are shown to venerate the scene in the spiritual sense. This is a basic record created to enable public access to scanned images. Full research on this image is pending., 1545-1555
Vanderbilt photo identifier: SC.MSS.088.FLOR.10720; Public Notes: The Pieta scene is a replica of that which is in the Musee des Beaux Arts, Besançon, France. This work is located in the Chapel of Eleanor of Toledo in the Palazzo Vecchio.
Lamentation, This image shows a detail of the Virgin Mary as she is given the Annunciation by the Archangel Gabriel; the two flank the central scene in two smaller arched panels, with her on the right of the central arched panel. This contains the overall composition with a central Pieta scene and two flanking columns that both include two saints in arched panels and two Biblical figures atop in the remaining space between the arches. This photographic record shows a saint with her hair in a bun, kneeling and holding her cloak close. This may be a donor or the namesake of the chapel, Eleanor of Toledo. The bigger picture shows a scene of the Pieta in an arched panel. On either side two full length portraits of saints are shown, and in the top left and right on either side are renderings of Biblical figures labeled and looking down at the scene. The Pieta scene consists of the following is a copy of a Bronzino composition. This painting shows Christ after his death on the cross. He is held by Saint John the Evangelist on the far left in a yellow cloak, who holds up his head and chest; Saint Mary Magdalene in a blue gown and red cape has hit feet on the far right; and Mary the Mother of Christ in blue veil and cloak holds her son's chest and has him seated on her lap. Surrounding the scene are various saints, identified by their attributes. Above there are putti--winged, nude infants--flying the cross, nails, and spears--the instruments of the Passion--away from the scene. This is a devotional image, meant to conjure emotion with its dramatized emotion rendered in the figures. The scene's composition in the Baroque style with its hunched and cramped figures in an awkward style that is meant to increase the increase the intensity and energy of the scene. Furthermore, since all of these saints were believers in Christ after his death, they could not have been present for the deposition. Instead, they are shown to venerate the scene in the spiritual sense. The surrounding scenes of this arched painting give evidence that it is from a section of an interior wall. This is a basic record created to enable public access to scanned images. Full research on this image is pending., 1545-1555
Vanderbilt photo identifier: SC.MSS.088.FLOR.10722; Public Notes: The caption is translated "Bronzino: To the Right of the Altar in the Chapel of Eleanor." It refers to this work's location in the Chapel of Eleanor of Toledo.
Leda and the Swan, Leda, nude and leaning toward the swan, with a servant in the background. Depicting the mythological story of Zeus, in the form of a swan seducing/raping and impregnating Leda., circa 1551-1555
Vanderbilt photo identifier: SC.MSS.088.VENI.3553; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu.
Leda and the Swan, Leda, nude and leaning toward the swan, with a servant in the background. Depicting the mythological story of Zeus, in the form of a swan seducing/raping and impregnating Leda., circa 1551-1555
Vanderbilt photo identifier: SC.MSS.088.VENI.3554; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu.
Luneta col ritratto di cosimo I de Medici, Picture depicts Cosimo and Medici in three quarter view and decorated by pictures of different saints and angels.
Vanderbilt photo identifier: SC.MSS.088.FLOR.10780; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu
Luneta col Ritratto di Eleonora da Toledo, Depiction of Luneta with the portrait of Eleonora of Toledo and decoration of Poppi. Eleonora in the middle three quarter view.
Vanderbilt photo identifier: SC.MSS.088.FLOR.10779; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu
Madonna and Child, Madonna and Child.
Vanderbilt photo identifier: SC.MSS.088.FLOR.9765; Public Notes:
Madonna and Child, Madonna and Child.
Vanderbilt photo identifier: SC.MSS.088.FLOR.7460; Public Notes:
Madonna and Child, Mosaic of the Madonna and child with angels.
Vanderbilt photo identifier: SC.MSS.088.FLOR.2851; Public Notes:
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