CACCINI, Giovanni Battista

Caccini’s garden sculptures Summer and Autumn (1592-93), commissioned by Alessandro Acciaioli, were later purchased by Ferdinando I to ornament the Ponte Santa Trinita with statues of the Four Seasons on the occasion of the marriage of Cosimo II de’ Medici to Maria Maddalena of Austria in 1608. Spring by Pietro Francavilla and Winter by Taddeo Landini complemented the series.

In August 1944 the Ponte Santa Trinita was one of the three ancient bridges that were blown up by the retreating German forces. It was rebuilt between 1952 and 1958, using the same stones wherever possible.

The four statues were also fished out of the river, reassembled and replaced on the bridge. Unfortunately, the head of the statue of Spring, which stands on the north-eastern side of the bridge, could not be found. A local antiquarian offered a reward for its discovery and in 1961 it was finally retrieved and returned to its owner.

Suggested listening (streaming mp3, 11 minutes):

Vivaldi: Concerto in F major RV 293 op. 8 No. 3 (Autumn)

Caccini’s garden sculptures Summer and Autumn (1592-93), commissioned by Alessandro Acciaioli, were later purchased by Ferdinando I to ornament the Ponte Santa Trinita with statues of the Four Seasons on the occasion of the marriage of Cosimo II de’ Medici to Maria Maddalena of Austria in 1608. Spring by Pietro Francavilla and Winter by Taddeo Landini complemented the series.

In August 1944 the Ponte Santa Trinita was one of the three ancient bridges that were blown up by the retreating German forces. It was rebuilt between 1952 and 1958, using the same stones wherever possible.

The four statues were also fished out of the river, reassembled and replaced on the bridge. Unfortunately, the head of the statue of Spring, which stands on the north-eastern side of the bridge, could not be found. A local antiquarian offered a reward for its discovery and in 1961 it was finally retrieved and returned to its owner.

In 1597 Caccini was commissioned to provide reliefs for the bronze doors of Pisa Cathedral, designed by Raffaello Pagni (active 1588–97). The project involved all the foremost sculptors in Tuscany, including Pietro Francavilla, Hans Reichle and Pietro Tacca. Caccini was asked to provide 20 reliefs, more than any other sculptor, but his other commitments allowed him to model only four. For the frames Caccini designed and made wax models of figurines, emblem and motto reliefs, foliage, cartouches and architectural niches, for which he received payment between May 1599 and May 1600.

In 1597 Caccini was commissioned to provide reliefs for the bronze doors of Pisa Cathedral, designed by Raffaello Pagni (active 1588–97). The project involved all the foremost sculptors in Tuscany, including Pietro Francavilla, Hans Reichle and Pietro Tacca. Caccini was asked to provide 20 reliefs, more than any other sculptor, but his other commitments allowed him to model only four. For the frames Caccini designed and made wax models of figurines, emblem and motto reliefs, foliage, cartouches and architectural niches, for which he received payment between May 1599 and May 1600.

In 1597 Caccini was commissioned to provide reliefs for the bronze doors of Pisa Cathedral, designed by Raffaello Pagni (active 1588–97). The project involved all the foremost sculptors in Tuscany, including Pietro Francavilla, Hans Reichle and Pietro Tacca. Caccini was asked to provide 20 reliefs, more than any other sculptor, but his other commitments allowed him to model only four. For the frames Caccini designed and made wax models of figurines, emblem and motto reliefs, foliage, cartouches and architectural niches, for which he received payment between May 1599 and May 1600.

This bust of Christ was part of the tabernacle of the Benedetti family in the church of Santa Maria Novella in Florence. With the Saviour’s gentle expression, Caccini distanced himself from the traditionally cool style of the day. The sculpture is pervaded with something of the forthcoming Baroque style.

Caccini’s garden sculptures Summer and Autumn (1592-93), commissioned by Alessandro Acciaioli, were later purchased by Ferdinando I to ornament the Ponte Santa Trinita (in situ) in 1608 for the wedding festivities of Prince Cosimo.

Suggested listening (streaming mp3, 10 minutes):

Vivaldi: Concerto in G minor RV 315 op. 8. No. 2 (Summer)

Caccini’s garden sculptures Summer and Autumn (1592-93), commissioned by Alessandro Acciaioli, were later purchased by Ferdinando I to ornament the Ponte Santa Trinita (in situ) in 1608 for the wedding festivities of Prince Cosimo.

The photo shows Pietro Francavilla’s Spring (in the foreground) and Caccini’s Summer at the entrance of Ponte Santa Trinita.

The identity of the statue can be determined by the items she holds: a bridle in one hand and dividers and ruler in the other. Clutching the bit with its bold bosses and its strap wrapped around her forearm like a defensive weapon, she admonishes us with pointed finger to follow her lead. The two mathematical instruments stand for the restraint of reason, which shapes a life measured by intellect, in contrast to the bridle, which signifies control over physical urges. Befitting her character, Temperance is poised and contained, her body tightly wrapped in thick drapery, her hair carefully braided. Her look is stern, and her gesture suitable simple and direct.

Caccini was one of Giambologna’s closest followers, his Temperance is based on Giambologna’s lifesize bronze Temperance made for the chapel of Luca Grimaldi in the church of San Francesco in Genoa.

Originally the statue was placed in the small garden of a Florentine house.

In 1594 Caccini contracted to execute a relief of the Trinity for the fa�ade of Santa Trinita, Florence, in collaboration with Pietro Bernini.

In the early seventeenth century, Caccini designed and executed the chancel and high altar with baldachin of the church of Santo Spirito. The octagonal ground plan of the chancel revealed theatrical features that were functional between frames and ornamental accessories, with the introduction, in the practice of worship, of the sentiment of the stately and the striking that were typical of the seventeenth century.