BUONTALENTI, Bernardo

In the Boboli Gardens, the Buontalenti Grotto (also known as the Grotta Grande) is named for its architect. The entrance fa�ade reveals the rustic style of the interior whose walls are heavily encrusted with a spongy stone that glistens when water runs over it.

The grotto represents the transformation of material into creatures of the living world.

The Buontalenti Grotto (also called “Grotta Grande” in Italian) is located in the far north of the Boboli Gardens alongside the entrance to the Vasari Corridor. The Grotto’s origins are linked to the construction of the aqueduct coming from the Ginevra spring, whose construction began in 1551 for the purposes of supplying water first to the Boboli Gardens and then to Palazzo Vecchio. In addition to the pipeline leading from the Gardens to the Palace, a reservoir was built to ensure a continuous water supply even during dry periods. The first works began in 1557 under the direction of Davide Fortini, son-in-law of architect and sculptor Niccolò Tribolo who oversaw the first project of the Boboli Gardens. The same year the task was passed to Giorgio Vasari, who created the fa�ade with Tuscan columns and pilasters supporting an architraved pronaos.

In its lower part, the fa�ade has an opening with two columns supporting a trabeation. Above, an archway decorated with stalactites is topped with the Medici coat of arms. At the sides, the figures of Peace and Justice are represented in mosaic. At the base of the sides there are two niches with the sculptures of Apollo and Ceres, while panels with mosaic decorations embellish the upper part. The top of the fa�ade is closed by a gable decorated with stalactites and sponge-like material.

In the Boboli Gardens, the Buontalenti Grotto (also known as the Grotta Grande) is named for its architect. The entrance fa�ade reveals the rustic style of the interior whose walls are heavily encrusted with a spongy stone that glistens when water runs over it.

The church of Santa Tr�nita was founded by the Vallombrosians in the 11th century (when it was outside the city walls), and subsequently patronized by many of Florence’s wealthiest families; as a result it was rebuilt many times, and could now serve as the text for a good course on Italian art history. To begin on the outside, the elegant Mannerist fa�ade was designed by Buontalenti.

The church is home to the Sassetti Chapel, containing 15th-century frescoes by Domenico Ghirlandaio, and the Bartolini Salimbeni Chapel, with frescoes by Lorenzo Monaco.

Bernardo Buontalenti, the Florentine architect and sculptor, created also scenery for feast and spectacles. On the occasion of the marriage of Fernando I de’ Medici to Cristina of Lorraine in 1589, he designed the scenery, costumes, ornaments and chariots for the six Intermezzi (Intervals) in Gerolamo Bargagli’s play, Pellegrina.

In the pen drawing painted in watercolour on folios 30v and 31r, the Hamadryad nymphs are shown on the slopes of a steep hill. According to the plan shown in the sketch, the nymphs entered the stage on an engine that was seven metres in height, greatly amazing the spectators.

Bernardo Buontalenti, the Florentine architect and sculptor, created also scenery for feast and spectacles. On the occasion of the marriage of Fernando I de’ Medici to Cristina of Lorraine in 1589, he designed the scenery, costumes, ornaments and chariots for the six Intermezzi (Intervals) in Gerolamo Bargagli’s play, Pellegrina. The scene on folio 29 is for the first Intermezzo. In the pen drawing painted in watercolour four gods are shown: Mercury, Apollo, Jupiter and Asteria.

This stairway was transferred from the church of Santissima Trinità.

The Large Grotto (two smaller ones are located behind it) was completed under Buontalenti’s supervision between 1583 and 1593. The four corners housed Michelangelo’s unfinished sculptures of the four Slaves intended for the tomb of Pope Julius II in Rome, which had been acquired by Cosimo I from the sculptor’s heirs. The originals were later moved to the Accademia in Florence and replaced by copies. Natural rock formations of stalactites as well as a ceiling fresco by Bernardino Poccetti evoke a natural setting, creating the illusion of a bucolic refuge for shepherds.

The Large Grotto (two smaller ones are located behind it) was completed under Buontalenti’s supervision between 1583 and 1593. The four corners housed Michelangelo’s unfinished sculptures of the four Slaves intended for the tomb of Pope Julius II in Rome, which had been acquired by Cosimo I from the sculptor’s heirs. The originals were later moved to the Accademia in Florence and replaced by copies. Natural rock formations of stalactites as well as a ceiling fresco by Bernardino Poccetti evoke a natural setting, creating the illusion of a bucolic refuge for shepherds.

The grotto represents the transformation of material into creatures of the living world. From stalactites we move to figures that emerge from the stone.

This lapis lazuli vase in the shape of a classic urn stands out for its sheer size as well as its extraordinary design, supplied by the court architect Bernardo Buontalenti. Two unique handles are formed by winged, fish-tailed sphinxes, on which have been mounted two elegant female figures, united by a band of enamelled gold around the vase’s neck. The metalwork was done at the Medici workshop by the Flemish goldsmith Jacopo Bilivert, while the stone carving was executed by Gian Stefano Caroni.

The Tribune was realized between 1581 and 1583 by architect Bernardo Buontalenti “to keep jewels and embellishments of the Grand Duke”, Francesco I de’ Medici. According to the concept of museum in that period, the Tribune did not just display works of art, such as sculptures and paintings, but also extraordinary natural items, including precious stones. It was a cabinet of curios, containing a condensate of knowledge.

The structure is octagonal because according to Christian tradition eight is the number which draws near Heaven. Besides, in ancient times octagonal plans were recurrent in the construction of important buildings as well as of baptisteries and basilicas. The dome, symbol of the Vault of Heaven, has an external lantern with a weathervane whose movements are internally reproduced on a painted wind rose. The lantern also works as a sundial: during both equinoxes and solstices the Sun passing through a hole displays the celestial mechanics also to “those who are inexperienced with planets and the motion of heavenly bodies”. Francesco I conceived the iconography of the Tribune’s decorations and furniture as a full cosmos featuring the four elements.

The Villa Medicea, constructed by Bernardo Buontalenti, was commissioned by the Grand Duke Ferdinando I de’ Medici. The building is also called as the villa of hundred chimneys after the great number of chimneys seen on the roof.

The villa was the favourite summer house of the Grand Duke.