Built
at the turn between the 13th and 14th centuries
as the seat of the Priors, the oldest part of
Palazzo Vecchio was originally designed by Arnolfo
di Cambio (1245-1302). The later additions of
the 15th and above all of the 16th centuries changed
the scale of the rear part of the palace, without
however modifying the massive appearance of the
huge blocks, projecting gallery and asymmetrical
tower.
Initially, the seat of the Signoria was provisionally
used by the Grand Ducal family until 1540 when
Cosimo I de’ Medici moved the residence
to the newly built Palazzo Pitti (it was at that
time that the palace was referred to as “old”).
The transformations applied by Vasari date back
to this period (1550-65). He sumptuously redecorated
the newly reconstructed interiors taking into
account the new role of the palace, which was
to be used both as seat of the government and
as official residence of the ruling family (the
so-called “Monumental Quarters”).
The most important rooms of the palace are illustrated
in sequence. The first entrance courtyard with
white and gilded stucco work, redecorated with
frescoes in the 16th century, owes its elegant
structure to the second half of the 15th century.
The courtyard opens on to the ancient Armoury
now frequently used by the Town Council to organise
exhibitions.
On the first floor we find the grandiose Salone
dei Cinquecento, a work by Cronaca (1495), which
was used for the assemblies of the General Council
of the People, after the State reforms brought
about by Girolamo Savonarola. The walls of the
hall, originally decorated by Michelangelo and
Leonardo, owe their present-day monumental appearance
to Vasari and his pupils and date back to the
second half of the 16th century. The panelled
ceiling, the frescoes on the walls, the Udienza
(the raised section of the room with statues by
Bandinelli and Caccini), the sculptures of De’
Rossi featuring the Deeds of Hercules contribute
to the complex and rich symbolism and offer a
precise historical view of the glorious past of
the Medici family. The hall also exhibits the
Genius of Victory by Michelangelo.
In contrast with the grandness of this hall, but
equally sumptuous is the little Studiolo of Francis
I, a jewel of Mannerism art and sensitivity, where
the prince retired to meditate and gaze his treasures
(about 1570).
The visit can continue through the rooms on the
first floor, each dedicated to a personality of
the Medici family (Cosimo the Elder, Lorenzo,
Leo X…), all appropriately frescoed.
On the second floor we find the "Quarter
of the Elements" and the apartments of Eleonora
da Toledo, the wife of Cosimo I. Despite the rich
overall decoration, it is worth admiring the small
chapel of the princess that was magnificently
decorated by Bronzino (1503-1572). The visit can
continue through the official rooms, like the
Audience Chamber and the Lily Chamber with sumptuous
ceilings, decorations and doors dating back to
the 15th century.
The final section of the monumental apartments
preserves the Loeser Collection, donated to the
Town of Florence by the American art critic Charles
Loeser, who died in 1928. The collection includes
paintings and sculptures of the Tuscan school
ranging from the 14th to the 16th centuries (works
by Tino da Camaino, Berruguete, Rustici, Bronzino
and Cellini).
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