tabernacolo taddea-ginori – Luoghi Parlanti

Tabernacles of Florence

Via Taddea corner of Via de' Ginori

THE TABERNACLE THE STREET AUTHOR PICTURES

THE TABERNACLE

Crocifisso

The artist models a compassionate death of Christ, between Madonna San Giovanni Evangelista and some Angels. With a collected symmetry of figures, restrained in the pietism of the mourners, more vivid in the rendering of the angels, who "appear really vivid as reliefs" (Bruno Santi). He vigorously set the figures and delicately treated the tones, giving harmony overall and expressiveness to the feelings.

Tabernacle

The tabernacle, embellished with a pietra serena frame and a slightly projecting tympanum, from the side of Palazzo Taddei, was moved to the wall of the house on the opposite side of the street when the Levi family, Israelites, in the early 1800s, succeeded in ownership of the palace, which had meanwhile passed to the Pecori Giraldi family.

THE STREET

VIA TADDEA

The street was formerly called Via di Sant'Orsola (from the convent of Sant'Orsola), then Via del Bisogno. The present name comes from the Taddei family. Along its straight, Via Taddea is lined by the walls of noble palaces that alternate with more modest facades, on some of which poignant epigraphs have been placed in memory of important events that occurred. A sad example is the plaque commemorating the assassination of Spartaco Lavagnini, which occurred on February 27, 1921. Further on is another plaque, indicating the birthplace of Carlo Lorenzini, known as “Collodi, father of Pinocchio."

AUTHOR

Giovanni Antonio Sogliani

(Florence, 1492 - Florence, July 15, 1544) His early artistic training took place in Lorenzo di Credi's workshop. There was a friendship between them that lasted until the death of the master (1531), who named him among his executors. Sogliani maintained the workshop at the cathedral until 1541, when he turned it over to his pupil Zanobi Poggini.

The artist

(Florence, 1494 - Florence, July 15, 1544) The influence of Leonardo, found in early altarpieces and private devotional paintings, was also decisive for Giovanni Antonio's artistic training. The profound interest in the painting of Andrea del Sarto led Giovanni Antonio to a decisive stylistic turning point: he gained sharpness in the construction of the figures through an attenuated use of Leonardo's sfumato, so the draperies became more defined and complex, organized in broad broken and geometric folds, and the colors moved toward a range of vivid Mannerist tone.

Curiosity

The relocation of the tabernacle to the opposite side of the street caused a misunderstanding in the affixing of the plaque relating to Raffaello Sanzio's stay in the Taddei palace. It was placed next to the tabernacle without considering that it had been moved to the wall of a modest dwelling while Sanzio had been a guest in the luxurious palace across the street.

OTHER INFORMATION

Info

AMICI DEI MUSEI FIORENTINI ODV - COMITATO PER IL DECORO E IL RESTAURO DEI TABERNACOLI - Card by Giuliana Righi and Lorenzo Manzani - Restorer: Martina Calmanti - Restored by Donato Massaro; In memory of their parents (2019)