Conservation Palace Medici-Riccardi - Florence ex Via Larga edited by Lorenzo Pagnini
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Paper of Restoration
New Code BB.CC.
Legislation
Visibility
District S.Giovanni
Historical note
Photo yard
The garden
 
Themes
Conservation
Projects
Multimedia
Credits
 

 

The case

The restoration of the facade of Palazzo Medici: the first cleaning operation of the unit from the wall postwar

"Have been dismantled scaffolding along the front of the building on Via Larga (now Via Cavour) upon completion of a long restoration of the east wall of the building. The cleanup has affected the stone quoins Forte strongly eroded by weather phenomena and carbon residue of vehicular traffic. It 's the first restoration that covers the exterior of the building wall unit Michelozzo. The apparent contradiction of this conservative, however, concerns the traffic plan of the town that continues to allow the massive passage of vehicles in front of the palace of Cosimo the Elder ... The situation of the Palazzo Medici and the Renaissance of the whole area around it, priceless historical and artistic prestige, is for 40 years now infamous: the palace has always been subjected to storage conditions and habitable urban "nevrotizzanti".

Intended use

"All of the fourteenth-century urban axis of Via Cavour , despite the introduction of the LTZ , is in a state of preservation of all evidence. The high value of the monumental area that does not just cover the appurtenances of the buildings has never been taken into consideration by municipalities, provincial it nor from the Tuscany region that nevertheless has always shown attention to the means of protection and conservation of heritage town. This urban space remains, therefore, like many other cities of Brunelleschi, a strong contradiction in the exercise of remedies and in full recognition of the cornerstones of Italian culture of conservation: " the same things can not be put to uses that are not compatible with the character historical or artistic , or injurious to their preservation , " and again," the Minister has the power to direct arrangements for the necessary works to ensure the conservation and prevent the deterioration of the things mentioned in the articles ... and also " has the right .. to impose , for the things of which article 14 , all the measures needed to ensure the conservation and prevent deteriorationento". Art. 11, capo II della 1089 del 1\6\39.

Palaces sec. XV
Palace Medici

Fig. 1 - Palace Medici-Riccardi Firenze. Statement of the left side of the building. The original relief was treated in 1:50 scale. Are visible: the loggia corner - on the left - with the kneeling windows closed, the three bands of ashlar sloping, the heavy cornices on which to support the renaissance of Michelozzo mullioned windows with central column and the Medici arms on the archivolt. The windows of the 'palace fortress' are of considerable size and depart from the tax of the arches of the portals. Photogrammetric survey of the forehead on via Cavour, Lamberto Ippolito, 1990. (By the province of Florence).

Fig. 2 - Palace Medici-Riccardi Firenze. Plan of the nucleus of the fifteenth-century Medici palace with an adjoining rooftop garden. On the left corner, the texture of the pavement of the old corner loggia, then buffered for serious reasons static windows with Michelangelo's 'kneeling'. At the center of the main entrance to the Courtyard of Honour marked by three arches on each side.

Fig. 3 - Palazzo Medici-Riccardi Firenze. View Francesco Granacci with the entry of Charles VIII into Florence in 1494. To the left is clearly visible Palazzo Medici in its original proportion (before enlargement Riccardiano) with the corner loggia still open, the bench warrant, the ashlar and the original color of the stone Forte. Deep proportions of Via Larga with all the other "buildings" popular truism that obviously stand out for modesty and constructive statements plaster.

Archive

The new Palace of Cosimo il Vecchio: the wall ashlar and Renaissance courtyard make their entrance in the Florence of the Medici

"Chronologically, the theme of the Palazzo Medici preceding the year for Giovanni Rucellai , we're talking 1444. The construction of the new residence of Cosimo will be preceded by a complex negotiation between client and designer in which the model presented by Filippo Brunelleschi provide an element of fundamental importance for the subsequent developments . In the birth of the Florentine Renaissance palace constructs humanities Brunelleschi had a decisive if not absolute , and the theme that Philip devised for the most influential person in the city of Florence contains a key imperative . Even in ' hypothesis for the award of the project of building Busini it is clear that the solutions architecturally revolutionary in that period in the late Gothic atmosphere heavy with many who were " models vs." could only come from the mind of Filippo Brunelleschi. The model developed around 1440 for Cosimo therefore , beyond the dell'aneddoto is passed as an idea Brunelleschi and this project , no matter what the story was handed down by reporters , had much influence on the architectural genesis of the Medici palace and other sites of ' era including the solution of the same palazzo Pitti.

Brunelleschi

"Even in the event of award of the project building Busini is evident that the solutions architecturally revolutionary in that period in the late Gothic atmosphere heavy with many who were " models vs." could only come from the mind of Filippo Brunelleschi. The model developed around 1440 for Cosimo therefore , beyond the dell'aneddoto handed down the main track which can be the following: "Fecie uno modello della casa, o vero palazo di Cosimi de' Medici, la quale aveva a essere situata in sulla piaza di S.to Lorenzo: che la porta del palazo si riscontrasse con la porta di S.to Lorenzo: edifitio forse che pochi ne sarebbe sopra la terra oggi, se si seguitava l'ordine di detto Filippo: ma parendo a Cosimo troppo sumptuosa spesa, lasciò detto ordine indrieto, ancora che poi se ne pentissi fortemente: perché Filippo avendo messo in quello tutto il suo ingegno, per sdegnio lo spezò: dicendo, che sempre a sua dì haveva desiderato di fare una opera rara, et li pareva essersi abattuto a uno, che la voleva, et poteva farla: et si dicie che mai fu visto tanto allegro, quanto nel tempo che fabbricava detto modello. Cosimo si pentì fortemente di non havere eseguitolo: et diceva, che non li parve mai parlare a huomo di maggiore intellighenzia: et molto di sé stesso si dolse".

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