Via Boccaccio
The tabernacles of FLOrence
THE TABERNACLE
Tabernacle
Inside the stone niche, enclosed by an iron grille with twisted cords, until recently, traces of the original mural painting were visible, depicting a Madonna with Child holding a flower, inspired by sixteenth-century models. Now, the inside of the niche houses a delightful panel, painted using the fresco technique, executed by Emanuele Capozza.
Fresco
The artwork, placed above the original fresco that inspired it, stylistically aligns with the 19th-century purist movement, also drawing from Renaissance art. In the center, the Madonna, dressed in her traditional blue cloak, with only a few strands of hair visible, fastened in the center of her chest by a precious yet simple clasp, is seated on a chair with a decorated armrest (reminiscent of some works by Antonio Rossellino, found in copies in other Florentine roadside tabernacles). The Virgin Mary, portrayed with a contemplative expression on her face, holds the Child on her lap. The Child, with a fairly robust build and a livelier attitude, is depicted with a bouquet of white lilies in hand (a symbol of virginity, purity, and innocence). He gazes to the right, towards the viewer, and perhaps beyond. The scene is set in a domestic interior, but through the window, you can see a beautiful hilly landscape with trees and a watercourse, reminiscent of the slopes of the Fiesole hill, where Villa Palmieri-Benelli stands with its park, and the valley of the Mugnone stream below.
THE STREET
Villa Palmieri-Benelli
Continuing along Via Boccaccio, heading north, on the right, you'll find the property of Villa Palmieri-Benelli. In the 14th century, the ancient Palagio alla Fonte dei Tre Visi stood here (possibly named for a fountain adorned with a three-faced Janus head), owned by the Fini family. This might be the beautiful villa with a garden where Boccaccio set his Decameron, the place where the young protagonists of the work took refuge to escape the terrible plague of 1348. In 1454, the villa was purchased by Marco Palmieri, the owner of the apothecary at the Canto alle Rondini (current Via Pietrapiana, at the corner of Via Verdi, in the Sant'Ambrogio area), and the father of the more famous Matteo, author of the poem "Città di vita." In 1697, Palmiero Palmieri expanded the building and the surrounding garden, creating a five-arched loggia, a terrace facing south, and curved staircases.
After having various owners, including Grand Duchess Maria Antonia of Tuscany, in 1873, the villa was acquired by the Scottish Alexander Lindsay, Earl of Crawford and Belcarres. Lord Crawford had the large English-style romantic park created (quite fashionable at the time), with exotic plants, architecturally impressive structures, and a neo-baroque chapel. There are plaques on some trees in the park that commemorate the stays of the famous Queen Victoria of England at the villa during the springs of 1888 and 1893. Previously, the villa was also inhabited by the writer Alexandre Dumas père, who dedicated a work to the place, "Villa Palmieri" (1843), and the Prince of Montfort. The villa's facade, now whitewashed, in the 18th century featured a possibly brown terracotta decoration on a yellow background, along with a Baroque fresco around the central doorway; this decoration disappeared during post-World War II renovations.
Location
The road, which is now Via Boccaccio, originally passed through a tunnel beneath the front terrace of the villa. However, Lord Crawford diverted it downstream. He also built, at his own expense, a small hospice on the new route. This hospice served as a resting place for the members of the Misericordia of Fiesole and Florence, who would exchange the transport of the sick here, operating in a relay fashion.
THE AUTHOR
Emanuele Capozza
Coming from a family of artists (his paternal great-uncle, Arnolfo Testi, was an excellent 20th-century painter whose works adorn some historic Florentine churches, and the Testi family had a sculpture workshop in Florence from the 19th century until 1929), Emanuele Capozza, a native of Florence, has been passionate about drawing and painting from a young age. He earned a degree in Architecture, and from 2006, he began creating works in mortar, plaster, and stucco applied to wooden panels. Starting in 2012, he also learned the technique of fresco from expert restorers such as Guido Botticelli and Fabrizio Bandini, as well as accomplished painters like Silvestro Pistolesi and Gigi Gheri. Capozza also delved into this ancient Florentine art form, which he passes on to his students at the School of Sacred Art in Florence, where he teaches.
As a member of the International School of Fresco Technique, the artist has further honed his skills in drawing from life and portraiture since 2018, aiming to capture the true essence and expressiveness of the subjects he portrays. Therefore, the tabernacle of Villa Palmieri-Benelli is reborn and becomes a source of comfort for passersby, thanks to the care of the owners, the Benelli family, and the skillful work of Emanuele Capozza, a versatile artist who has succeeded in developing his own personal artistic style.
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FURTHER INFORMATION
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