By Janet Cox-Rearick
Do the sacred of a Florentine Renaissance chapel--saints, symbols, and scriptural stories--hold own and political meanings? Cox-Rearick's ground-breaking booklet explores the message hidden within the frescoes and altar panels of the Chapel of Eleonora di Toledo, painted within the early 1540s through Agnolo Bronzino for the Spanish-born spouse of Duke Cosimo I de Medici. Bronzino, then the executive painter to the Medici courtroom, was once mostly answerable for the discovery in Florence of the hugely self-conscious, based Maniera type. Cox-Rearick interweaves her account of the Medici biography with an exam of Bronzino's fee within the broader context of his oeuvre.Cox-Rearick finds the Chapel of Eleonora as an in detail devised ornamental software that transmits messages approximately its consumers and Medici rule. special colour photos of the newly restored artwork wonderfully rfile this early journey de strength of an immense artist whose works are nonetheless fairly unexamined.
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Extra resources for Bronzino's Chapel of Eleonora in the Palazzo Vecchio
Even the pomegranate pattern of her magnificent brocaded dress proclaims her genetrix, for the fruit was a common symbol of marriage and fertility, one that Bronzino used on the vault of Eleonora's chapel (see Plate 20). This suggestion of the domain of the Medici makes the work an image of both dynastic and territorial power—a true counterpart to Bronzino's duke with the broncone.
Vienna, Albertina. Loggia dei Lanzi. 112). Palazzo Vecchio, Sala di Cosimo. Furthermore, the most prominent artists in the work (the three in classical garb who are closest to the duke— Battista del Tasso, Tribolo, and Giovanni Battista da San Marino) were all dead; Vasari's real rivals, such as Bandinelli, Cellini, and Bartolommeo Ammannati, all in contemporary dress, are crowded uncomfortably in the background of the tondo. The activities of the duke's private secretary, later majordomo, Pierfrancesco Riccio (1499–1564), encouraged competition among the artists in Cosimo's service.
Another important Florentine precedent for Eleonora's chapel, from the artist's rather than the patron's point of view, was the Capponi Chapel of 1525–28 at S. Bronzino adapted certain features of this chapel for Eleonora's. Felicita, with the altarpiece of the LamentationEntombment and the Annunciation. Page 17 Figure 15 Baccio d'Angelo, Ridolfo Ghirlandaio, and Fra Mariano da Pescia, Palazzo Vecchio, Chapel of the Priors. These chapels served Page 18 Figure 16 Giorgio Vasari, Palazzo Vecchio, Chapel of Duke Cosimo de' Medici.