The
National Museum has its setting in one of the
oldest buildings in Florence that dates back to
1255. Initially the headquarters of the Capitano
del Popolo (Captain of the People) and later of
the Podestà, the palace became, in the
sixteenth century, the residence of the Bargello
that is of the head of the police (from which
the palace takes its name) and was used as prison
during the whole 18th century. Its walls witnessed
important episodes of civic history. It was the
meeting place of the Council of the Hundred in
which Dante took part. It witnessed sieges, fires,
executions, the most famous perhaps being that
of Baroncelli, involved in the Pazzi plot against
the Medici, which Leonardo also witnessed. During
the 14th and 15th century, the palace was subjected
to a series of alterations and additions, still
preserving its harmonious severity, best seen
in the beautiful courtyard, the balcony and the
large hall on the first floor.
The building's use as National Museum began in
the mid-19th century. Today it is the setting
for works of sculpture, mainly from the grand
ducal collections, and for many examples of "minor"
Gothic decorative arts.
The large 14th century hall on the first floor
displays some works by Donatello (1386-1466) including
the early marble David, the St. George moved to
this location from the niche in Orsammichele,
the more mature and ambiguous bronze David, the
Atys and the Marzocco, originally installed on
the battlements of Palazzo Vecchio. The works
of the master are surrounded by the most delicate
works of his pupils Desiderio da Settignano (c.
1430-1464) and Antonio Rossellino (c. 1427-1479).
The collection also includes the two panels entered
by Lorenzo Ghiberti and Filippo Brunelleschi for
the Baptistery door competition of 1401. The Renaissance
repertoire comprises the glazed terracottas by
Luca della Robbia (c.1400 -1482) that include
a very extraordinary group of Madonnas with Child.
The rooms on the ground floor exhibit Tuscan 16th
century works, focusing in particular on four
masterpieces by Michelangelo (1475-1564): Bacchus,
the relief representing a Madonna with Child,
Brutus and David-Apollo. The assortment is then
followed by works of Andrea Sansovino (1460-1529),
Jacopo Sansovino (1486-1570), Baccio Bandinelli
(1488-1560), Bartolomeo Ammannati (1511-1592),
Benvenuto Cellini (the model of Perseus and the
small bronze sculptures were moved to this location
from the Loggia dell'Orcagna), down to Giambologna
(1529-1608) with his admirable Mercury. The bronze
animals that were originally placed in the grotto
of the Medici villa of Castello are now displayed
on the staircases.
The museum stores however many other treasures:
fine works of art enriched by the Carrand, Ressman
and Franchetti collections comprising decorative
or “minor” arts are distributed among
the several rooms of the Palace, both on the first
and second floor. From ivories that include several
Roman and Byzantine examples, down to medieval
glazes and Limoges porcelain; from German and
French gold works, Renaissance jewels down to
Islamic examples of damascened bronze; from grand
ducal collections down to Venetian glass. The
museum displays several treasures including very
unique panel pieces and wooden sculptures. Of
note are also the majolicas, arms and small bronze
statues.
Two rooms on the second floor are dedicated to
the glazed terracottas created by Andrea and Giovanni
Della Robbia, besides displaying the bronze David
and the Lady with Posy by Verrocchio in the room
named after the artist, which displays also an
extraordinary collection of busts of Florentine
personalities made by some of the most important
15th century artists. One of the most important
sculptures is the portrait of Costanza Buonarelli
by Gian Lorenzo Bernini. It is also worth visiting
the very lavish collection of medals belonging
to the Medici family.
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