Italian architect. A student of Ammanati, Dosio worked primarily in Florence, Rome, and Naples. Among his main works are the Gaddi Chapel in S. Maria Novella, Florence; Giacomini Palace (later called Larderel)in Florence; Tombs of Annibal Caro and Pacini in the church of San Lorenzo in Rome; Girolamini in Naples. He is the author of Urbis aedificiorum illustrium quae supersuni reliquiae (1569).
Pope Julius II chose Donato Bramante to express architecturally his vision of power. The earliest collaboration between Julius and Bramante resulted in the transformation of the existing papal palace by the addition of a huge enclosed courtyard uniting the medieval living quarters with a summer house, called the Belvedere because of its view, which Innocent VIII had built at the top of the Vatican Hill. The drawing by Dosio, also an architect who worked in Rome between 1548 and 1575, shows the courtyard under construction.
Dosio’s sculptural work in Rome includes a funerary monument with posthumous portrait bust for the poet Annibal Caro (1567-70) and another to Giovanni Pacini (1567-68; both San Lorenzo in Damaso).
Dosio’s sculptural work in Rome includes a funerary monument with posthumous portrait bust for the poet Annibal Caro (1567-70) and another to Giovanni Pacini (1567-68; both San Lorenzo in Damaso).
From 1575 to 1590 Dosio worked mainly in Florence, where he received increasingly prestigious appointments. In 1575-76 he rebuilt the Gaddi Chapel in Santa Maria Novella.
The photo shows the Gaddi Chapel with Bronzino’s altarpiece Raising of the Daughter of Jairus. At the sides are the tombs of Cardinal Niccolò Gaddi (left) and Cardinal Taddeo Gaddi (right) by Giovanni Bandini. The ceiling fresco was executed by Alessandro Allori.
In 1585 Dosio began work on the Niccolini Chapel in Santa Croce, Florence. The appeal of the chapel is exercised in part through is polychromy. In the centre of the lateral walls are tomb-chests with tabernacles over them, each containing a seated figure, on one side Aaron and on the other Moses. Beside them are the Virtues. All figures are signed by Pietro Francavilla.
In 1585 Dosio began work on the Niccolini Chapel in Santa Croce, Florence. The appeal of the chapel is exercised in part through is polychromy. In the centre of the lateral walls are tomb-chests with tabernacles over them, each containing a seated figure, on one side Aaron and on the other Moses. Beside them are the Virtues. All figures are signed by Pietro Francavilla.
The photo shows part of a lateral wall with the statue of Moses by Pietro Francavilla.
In 1585 Dosio began work on the Niccolini Chapel in Santa Croce, Florence. The appeal of the chapel is exercised in part through is polychromy. In the centre of the lateral walls are tomb-chests with tabernacles over them, each containing a seated figure, on one side Aaron and on the other Moses. Beside them are the Virtues. All figures are signed by Pietro Francavilla.
The photo shows part of a lateral wall with the statue of Moses between Chastity and Prudence.
In 1585 Dosio began work on the Niccolini Chapel in Santa Croce, Florence. The appeal of the chapel is exercised in part through is polychromy. In the centre of the lateral walls are tomb-chests with tabernacles over them, each containing a seated figure, on one side Aaron and on the other Moses. Beside them are the Virtues. All figures are signed by Pietro Francavilla.
The photo shows part of a lateral wall with the statue of Moses by Francavilla.
In 1585 Dosio began work on the Niccolini Chapel in Santa Croce, Florence. The appeal of the chapel is exercised in part through is polychromy. In the centre of the lateral walls are tomb-chests with tabernacles over them, each containing a seated figure, on one side Aaron and on the other Moses. Beside them are the Virtues. All figures are signed by Pietro Francavilla.
The photo shows part of a lateral wall with the statue of Aaron by Pietro Francavilla.
In 1585 Dosio began work on the Niccolini Chapel in Santa Croce, Florence. The appeal of the chapel is exercised in part through is polychromy. In the centre of the lateral walls are tomb-chests with tabernacles over them, each containing a seated figure, on one side Aaron and on the other Moses. Beside them are the Virtues. All figures are signed by Pietro Francavilla.
The photo shows the portal of the Niccolini Chapel.
In 1586 Dosio took part in a competition organized by Francesco I de’ Medici, Grand Duke of Tuscany, for the fa�ade of the Florence Cathedral. The picture shows the model presented by Dosio.
Giovanni Battista de’ Cavalieri included Dosio’s 50 views of Roman architectural ruins in his collection of engravings, Urbis Romae aedificiorum illustrium (1569).
The picture shows Plate 21 of the collection: the ruins of the Roman Forum near the Capitol.
Giovanni Battista de’ Cavalieri included Dosio’s 50 views of Roman architectural ruins in his collection of engravings, Urbis Romae aedificiorum illustrium (1569).
The picture shows the title page (Plate 1) of the collection: a triumphal arch with Egyptian figures, who hold a cloth with a dedication to Cosimo de’ Medici.
The series consists of 50 small oblong plates, all engraved by Giovanni Battista de’ Cavalieri after drawings by Dosio, of the ruins of ancient Rome as they appeared in the sixteenth century, without any attempt at reconstruction.
