Donatello
in Tuscany
To tie in with its Donatello, the Renaissance exhibition (19 March – 31 July 2022), the Fondazione Palazzo Strozzi has developed a special initiative entitled Donatello in Tuscany.
Explore the map and discover the itinerary, which begins in Palazzo Strozzi in Florence and goes on to take in fully sixteen sites and over fifty works of art throughout the region.
Discover the insightful factsheets describing the various points of interest and access the complete catalogue of Donatello’s works.
Looking for full immersion in Donatello’s world? Access the map and create your own itinerary!
Itinerary
Firenze
Palazzo Strozzi 
Museo Nazionale del Bargello
Orsanmichele
Basilica di San Lorenzo
Basilica di Santa Croce
Opera di Santa Maria del Fiore
Palazzo Vecchio
Museo Stefano Bardini
Chiesa di Santa Trìnita
Arezzo
Cattedrale dei Santi Pietro e Donato
Pisa
Museo Nazionale di San Matteo
Empoli
Chiesa di San Martino
Prato
Museo dell’Opera del Duomo
Museo di Palazzo Pretorio
Siena
Opera della Metropolitana di Siena
Torrita di Siena
Chiesa delle Sante Flora e Lucilla
Palazzo Strozzi
Donatello, The Renaissance
From 19 March 2022 the Fondazione Palazzo Strozzi and the Musei del Bargello will be hosting Donatello, The Renaissance, a historic, once-in-a-lifetime exhibition which sets out to reconstruct the astonishing career of one of the most important and influential masters of Italian art of any age, juxtaposing his work with masterpieces by artists who were his contemporaries such as Brunelleschi, Masaccio, Mantegna and Giovanni Bellini but also with the work of others who came after him such as Raphael and Michelangelo. Curated by Francesco Caglioti and devised as a single exhibition in two venues, Palazzo Strozzi and the Museo Nazionale del Bargello, the exhibition showcases over 130 outstanding works of art from more than fifty of the world’s leading museums and institutions. Set to become one of the key cultural events in Italy in 2022, the exhibition is designed to celebrate this great master, a ground-breaking artist who, with his experimental approach to materials, techniques and genres, stands out as one of the pioneers of the revolutionary age that was the Renaissance.
In Palazzo Strozzi the exhibition unfolds along both chronological and thematic lines, reconstructing Donatello’s artistic career in 100 masterpieces, such as his marble David and Attis-Amorino from the Bargello, the Spiritelli from the pulpit in Prato cathedral and the Crucifix, Miracle of the Mule and Dead Christ Tended by Angels (Imago Pietatis) from the Basilica
of Saint Anthony in Padua, in addition to numerous works from many foreign museums as the Musée du Louvre in Paris, the Metropolitan Museum in New York and the National Gallery in London, this will also be the first time in their history that the Feast of Herod, Faith and Hope from the baptismal font in Siena and the superb bronze doors from the Old Sacristy in San Lorenzo in Florence which are some of the numerous works that are the subject of the great restoration campaign carried out in connection with the exhibition.
Museo Nazionale del Bargello
Donatello, il Rinascimento
Starting from 19 March 2022, the Fondazione Palazzo Strozzi and the Musei del Bargello will be hosting Donatello, The Renaissance.
The exhibition in the Museo Nazionale del Bargello includes Donatello’s bronze Saint George and his David displayed alongside Andrea del Castagno’s detached frescoes depicting Filippo Scolari, known as Pippo Spano, and Farinata degli Uberti from the Gallerie degli Uffizi, Desiderio da Settignano’s Martelli David, an exceptional loan from the National Gallery of Art in Washington, the Madonna of the Clouds from the Museum of Fine Arts in Boston, the Dudley Madonna from the Victoria and Albert Museum in London and Michelangelo’s Madonna of the Stairs from the Fondazione Casa Buonarroti in Florence. The section hosting this latter masterpiece uses a series of extremely apt yet hitherto unseen juxtapositions to illustrate Donatello’s influence on Michelangelo and on Mannerism.
Orsanmichele
A loggia was built on the site of the ancient church of San Michele in Orto to house the municipal grain market, but the presence of a miraculous image of the Virgin soon turned it into a place of worship run by a charitable confraternity.
Aree
Orsanmichele external facade
Museo di Orsanmichele
Basilica di San Lorenzo
The long history of the church of San Lorenzo, consecrated by Saint Ambrose in 393 AD, is associated with Florence’s earliest days, having served as the city’s cathedral until the construction of Santa Reparata. The Medici, whose palazzo lay within the parish, acquired the patronage of the church in the 15th century and turned it into the family mausoleum.
Opere
Aree
Sagrestia vecchia
Sotterranei
Basilica di Santa Croce
The Franciscan complex of Santa Croce combines the Gothic style of the basilica built to a design by Arnolfo di Cambio in 1294–5, the loftiest examples of Florentine 14th century painting with major fresco cycles by Giotto and his pupils, the Renaissance perfection of Brunelleschi’s Pazzi Chapel, Renaissance and Counter-Reformation altarpieces, three sculptures by Donatello and the monumental tombs of such great Italians as Michelangelo, Galileo, Machiavelli and Alfieri whose virtues it was considered should serve as a model for the men of today.
Opere
Aree
Museo dell’Opera di Santa Croce
Opera di Santa Maria del Fiore
The Operai di Santa Reparata, elected to administer the funds earmarked by the Comune for an imposing project involving a new cathedral for Florence, are first mentioned in February 1296. From the early 14th century the civic element prevailed not only in relation to funding the work but also in managing the building site, and in 1331 the Florentine Republic ruled that the Arte della Lana guild should have sole control over the Opera di Santa Maria del Fiore.
Its main duties today include managing and promoting the monumental complex comprising the Cathedral of Santa Maria del Fiore, Brunelleschi’s Dome, Giotto’s Bell Tower, the Baptistery of San Giovanni, Santa Reparata and the Museo dell’Opera del Duomo.
Aree
Museo dell’Opera del Duomo
Cattedrale di Santa Maria del Fiore
Battistero di San Giovanni
Campanile di Giotto
Palazzo Vecchio
“Ringhiera”
The platform at the top of the stairs leading up to the Palace of the Florentine Priors, now Palazzo Vecchio, was known as the “ringhiera”. A public space used for solemn ceremonies, it hosted sculptures with a strong symbolic significance: the Marzocco, the city’s lion emblem, from 1377 and Donatello’s Judith (1457–64) from 1495 to 1504. The ancient Marzocco was replaced in 1812 by a version which Donatello had carved for the apartment of Pope Martin V in 1420, itself replaced by a copy in 1847. Moving to the Bargello in 1865, it was joined there in 1999 by the base carved by Benedetto da Maiano, The Judith (which returned to the ringhiera in 1919) was removed in 1980, restored and placed in the Sala dei Gigli. It was replaced by a copy in 1988.
Aree
Museo di Palazzo Vecchio
Museo Stefano Bardini
The museum occupies the palazzo that antique dealer Stefano Bardini built in the late 19th century, bequeathing it to the city along with a breathtaking collection of objets d’art and architectural fragments from Florence’s old city centre.
Opere
Chiesa di Santa Trìnita
The church, a Vallombrosan foundation, was built in the 11th century, enlarged in the early 14th and renovated several times thereafter.
Info
Open daily from 7.00 to 12.00 and from 16.00 to 19.00
Piazza di Santa Trìnita
Firenze
Opere
Cattedrale dei Santi Pietro e Donato
The Cathedral of Santi Pietro e Donato was built with a generous legacy of 30,000 florins bequeathed by Pope Gregory X who died in Arezzo in 1276. Work began in 1278, broke off on several occasions, and was only completed in 1511. The unfinished façade was completed between 1901 and 1914.
The interior is divided into three aisles by piers which, with their pointed arches, convey a strong sense of verticality. Of particular importance are the stained glass, largely the work of Guillaume de Marcillat, the Shrine of Saint Donatus, the work of artists from Arezzo, Siena and Florence, on the high altar and Piero della Francesca’s fresco of Saint Mary Magdalen. The baptismal font stands in the first chapel in the north aisle.
Opere
Museo Nazionale di San Matteo
The museum, which opened its doors in the former monastery of San Matteo in Soarta in 1949, is one of the foremost museums of Italian medieval art and has an outstanding collection of paintings by Giunta Pisano, Simone Martini, Masaccio, Gentile da Fabriano, Fra Angelico, Benozzo Gozzoli and Ghirlandaio, as well as sculptures by Nicola and Giovanni Pisano, Andrea and Nino Pisano, Donatello and Andrea della Robbia. It also houses over 600 pieces of decorated Islamic pottery of the 10th to 12th centuries and precious illuminated manuscripts of the 12th to 14th centuries.
Info
Tel. + 39 050 541865
Museo Nazionale di San Matteo
Piazza San Matteo in Soarta
Pisa
Opere
Chiesa di San Martino
The first recorded mention of the ancient church of San Martino outside the walls of Pontorme, near Empoli, dates back to the late 12th century. The church became very prosperous and its patronage was assigned in the 14th century to the Frescobaldi family. Restored in the Romanesque style in 1927, it houses a youthful work of Donatello, a terracotta Virgin and Child formerly attributed to Michele da Firenze or Brunelleschi. The statue is one of the very first instances of the Renaissance revival of terracotta as a sculptural technique harking back to Classical times. Such images were to prove immensely popular because they were both affordable on account of the low cost of the raw material and particularly attractive thanks to their colourful finish.
Opere
Museo dell’Opera del Duomo
The museum was established to house works of art associated with the Cathedral and with the cult of the Holy Girdle, which the Virgin is traditionally said to have given to Saint Thomas the Apostle at the Assumption. Opening in 1967 in two rooms between the square and the Romanesque cloister, it was extended in the ‘70s to host works from other churches in the diocese as well as the prestigious reliefs from Donatello’s pulpit, which were removed from their original outdoor setting for purposes of conservation in 1970. The museum has since been further extended and renovated.
Opere
Aree
Cattedrale di Santo Stefano
Museo di Palazzo Pretorio
The Museo di Palazzo Pretorio reopened to the public in 2014 after renovation lasting almost twenty years. The three floors of this 13th century palazzo, remodelled by Adolfo Natalini, Piero Guicciardini and Marco Magni, take the visitor on a journey through more than seven centuries of history, with masterpieces by – among others –Bernardo Daddi, Giovanni da Milano, Donatello, Filippo and Filippino Lippi, Santi di Tito, Alessandro Allori, Battistello Caracciolo and Lorenzo Bartolini. The palazzo is crowned by a panoramic terrace offering a breathtaking view of the city.
Info
Tel. +39 0574 1837859
Tel. +39 0574 1837860
Palazzo Pretorio
Piazza del Comune
Prato
Eventi
The Age of Donatello in the Museo di Palazzo Pretorio
Opere
Opera della Metropolitana di Siena
The Opera della Metropolitana di Siena, whose recorded activity goes back as far as 1180, is one of Italy’s and Europe’s oldest surviving institutions. Its main duties include preserving, managing and promoting the monumental complex comprising the Cathedral, the Piccolomini Library, the Baptistery, the Museo dell’Opera, the Oratory of Saint Bernardino and the Museo Diocesano di Arte Sacra.
Aree
Cattedrale di Santa Maria Assunta
Battistero di San Giovanni
Museo dell’Opera
Chiesa delle Sante Flora e Lucilla
Built in the 12th century and subsequently remodelled. The brick façade with the remains of a rose window is flanked by a bell tower. The church’s single nave with its trussed wooden ceiling leads to a square chancel housing an altarpiece from the workshop of the artist Sodoma while the side walls are adorned with paintings by Bartolo di Fredi, Michele di Matteo and Benvenuto di Giovanni.
Opere
DONATELLO, THE RENAISSANCE
Starting from 19 March 2022, the Fondazione Palazzo Strozzi and the Musei del Bargello will be hosting Donatello, The Renaissance. This historic, once-in-a-lifetime exhibition sets out to reconstruct the outstanding career of one of the most important and influential masters of Italian art of any age, juxtaposing his work with masterpieces by other Italian Renaissance masters such as Brunelleschi, Masaccio, Andrea Mantegna, Giovanni Bellini, Raphael and Michelangelo.
Curated by Francesco Caglioti and devised as a single exhibition in two venues, Palazzo Strozzi and the Museo Nazionale del Bargello, the exhibition is designed to celebrate Donatello in dialogue with institutions of Florence and indeed the whole of Italy, in addition to crucial international cooperation, in an effort to expand the debate on this master both in time and in space, in terms of materials, techniques and genres, in order finally to do justice to the artist’s universal dimension.
Promoted and organised by Fondazione Palazzo Strozzi and Musei del Bargello. In collaboration with the Staatliche Museen in Berlin and the Victoria and Albert Museum in London and with F.E.C. – Fondo Edifici di Culto.
Main Supporter: Fondazione CR Firenze. Supporters: Comune di Firenze, Regione Toscana, Camera di Commercio di Firenze, Comitato dei Partner di Palazzo Strozzi.
Main Partner: Intesa Sanpaolo.
With the support of: Maria Manetti Shrem, Bank of America, ENEL.
Supported by Città Metropolitana di Firenze.
Thanks to Beyfin S.p.A.
Donatello in Tuscany
IN THE FOOTSTEPS OF DONATELLO THROUGHOUT TUSCANY
To tie in with its Donatello, the Renaissance exhibition, the Fondazione Palazzo Strozzi has developed an initiative entitled Donatello in Tuscany designed to allow visitors to explore the region in the footsteps of this “master of masters” and his work.
Donatello, the Renaissance is a historic, once-in-a-lifetime event that uses over 130 works in two venues, Palazzo Strozzi and the Museo Nazionale del Bargello, to reconstruct the dazzling career of one of the most important and influential artists of all time, juxtaposing the exhibits with the work of artists of both his own and other periods. But with Donatello in Tuscany visitors have a chance to discover another 50 works by Donatello dotted throughout the region, providing them with an opportunity to explore Donatello’s world in even greater depth for the duration of the exhibition.
The journey begins in Palazzo Strozzi, moves into the city of Florence itself and from there takes visitors to the provinces of Arezzo, Pisa, Prato and Siena thanks to a special thematic map linking 16 different sites in a “multi-venue exhibition” concept.
The itinerary covers 16 points of interest, in Florence: Palazzo Strozzi, the Museo Nazionale del Bargello, Orsanmichele, the basilica of San Lorenzo, the basilica of Santa Croce, the Opera di Santa Maria del Fiore (with the Baptistery, the Cathedral and the Museo dell’Opera del Duomo), the Museo di Palazzo Vecchio, the Museo Stefano Bardini and the church of Santa Trìnita; in Arezzo: the Cathedral; inPisa: the Museo Nazionale di San Matteo; in Pontorme: the church of San Martino; in Prato: the Museo dell’Opera del Duomo and Cathedral, Museo di Palazzo Pretorio; in Siena: the Opera della Metropolitana di Siena (the Baptistery, the Cathedral and the Museo dell’Opera del Duomo); and in Torrita di Siena: the church of Sante Flora e Lucilla.
Info
The Donatello in Tuscany project complements the Donatello, the Renaissance exhibition.
The exhibition Donatello, the Renaissance is open to public from 19 March until 31 July 2022 in the two venues of Palazzo Strozzi and Museo del Bargello.
The exhibition at Palazzo Strozzi is open everyday (including holidays) from 10.00 to 20.00; Thursday until 23.00. Visitors admitted until one hour before closing time.
The exhibition at Museo del Bargello is open everyday (including holidays) from 8.45 to 19.00; Tuesdays from 10.00 until 18.00. Visitors admitted until 50 minutes before closing time.
PALAZZO STROZZI
ADMISSION
€ 15 Full price
€ 12 Museo del Bargello ticket holder and UAM Pass cardholders
€ 12/ € 10 Reduced price
€ 5 Young people aged 6 to 18
More info: palazzostrozzi.org
MUSEO NAZIONALE DEL BARGELLO
ADMISSION
€ 12 Full price
€ 9 Palazzo Strozzi ticket holders and Membership Palazzo Strozzi card holders
€ 2 Young people aged 18 to 25
€ 3 Booking fee
For free tickets and discounts, please check the page beniculturali.it/agevolazioni
More info: bargellomusei.beniculturali.it
For up-to-date information on opening hours, admission charges and access to the sites on the itinerary, we advise consulting the various sites’ individual websites or calling the phone number on the site’s entry on the map before setting out.
The Donatello in Tuscany project complements the Donatello, the Renaissance exhibition and is promoted and organised by the Fondazione Palazzo Strozzi with a contribution from the Città Metropolitana di Firenze and Beyfin S.p.A. Media partner: La Nazione.
Credits
The Donatello in Tuscany project is promoted and organised by the Fondazione Palazzo Strozzi with the support of the Città Metropolitana di Firenze and Beyfin. Media Partner: La Nazione.
Our gratitude for their precious cooperation goes to: Arcidiocesi di Firenze, Arcidiocesi di Siena – Colle di Val d’Elsa – Montalcino, Comune di Firenze, Comune di Prato, Istituto per la Valorizzazione delle Abbazie Storiche della Toscana, Musei del Bargello, Opera Medicea Laurenziana, Opera di Santa Croce, Opera di Santa Maria del Fiore, Opera del Duomo di Prato, Opera della Metropolitana di Siena and Polo Museale della Toscana.
Project Coordinator
Susanna Holm
Texts
Ludovica Sebregondi
Graphic design
RovaiWeber design
Communications and promotion
CSC Sigma
Programming and digital map development
Davide Giorgetta
Images and reproduction rights
Manuela Bersotti
Materials and printing
Stampa in Stampa s.r.l
Litografia IP
Translations
Stephen Tobin
Photographic credits
Courtesy: © 2022. Foto Scala, Florence; Direzione Centrale degli Affari dei Culti e per l’Amministrazione del Fondo Edifici di Culto del Ministero dell’Interno; Direzione regionale Musei della Toscana/courtesy Ministero della Cultura; Musei Civici Fiorentini; Museo di Palazzo Pretorio, Prato; Museo Nazionale del Bargello, Florence/courtesy Ministero della Cultura; Opera della Metropolitana, Siena; Opera di Santa Croce, Florence; Opera di Santa Maria del Fiore, Florence; Opera Medicea Laurenziana, Florence; Staatliche Museen zu Berlin – Preusischer Kulturbesitz. Skulpturensammlung und Museum für Byzantinische Kunst; Ufficio Beni Culturali Diocesi di Prato; and Ufficio Beni Culturali e Arte Sacra della Diocesi di Arezzo-Cortona-Sansepolcro.
Photographs: Ela Bialkowska, Bruno Bruchi, Foto Lensini Siena, Opificio delle Pietre Dure, Nicolò Orsi Battaglini, Paolo Parmiggiani, George Tatge, Filippo Tattini and Antje Voigt.
The project is designed to tie in with the Donatello, the Renaissance exhibition (Palazzo Strozzi and Museo Nazionale del Bargello, 19 March – 31 July 2022).
Curated by
Francesco Caglioti
Promoted and organised by
Fondazione Palazzo Strozzi and Musei del Bargello
In conjunction with
Staatliche Museen Berlin and Victoria and Albert Museum London
Main Supporter
Fondazione CR Firenze
Supporters
Comune di Firenze, Regione Toscana, Camera di Commercio di Firenze, Comitato dei Partner di Palazzo Strozzi
Main Partner
Intesa Sanpaolo
With the support of
Maria Manetti Shrem, Bank of America, ENEL
Privacy policy
Dear Data Subject,
Please be informed that the Fondazione Palazzo Strozzi, in its capacity as Data Controller – with registered office in Piazza Strozzi – 50123 Florence (FI) – will process the personal data provided by you for the purposes and methods set out below.
Purposes of the processing
The Data Controller will process your personal data for the following purposes:
- Contractual purposes: for visiting the web pages and availing of the services offered on the website donatellointoscana.palazzostrozzi.org.
- Legal obligations: for complying with the obligations provided for by regulations and applicable national and supranational laws.
Legal basis of the processing
The legal basis of the processing for the purposes referred to in point 1 of the section “Purposes of the processing” is the performance of a contract to which the Data Subject is a party (Article 6, subsection 1, letter b) of the GDPR).
The legal basis of the processing for the purposes referred to in points 2, 3, 4 is the Data Subject’s consent to the processing of his/her personal data (Art. 6, subsection 1, letter a) of the GDPR).
The legal basis for the processing for the purposes referred to in point 5 is the necessity to fulfil the legal obligations to which the Data Controller is subject (Art. 6, subsection 1, letter c) of the GDPR).
Type of data processed
The personal data processed for the purposes described above are the following: personal details, contact data, other data collected by the cookies installed.
Data processing methods
The processing is carried out by means of computer and/or telematic instruments, with organisational methods and logics strictly related to the purposes indicated, so as to guarantee the security and confidentiality of the data and, in any case, only for the duration necessary to fulfil the aforementioned purposes.
Obligation to provide data
The provision of personal data for the purposes referred to in point 1 is mandatory. Refusal to provide the above-mentioned personal data will not, therefore, make it possible to avail of the services/contents offered by the website.
The provision of personal data for the purposes set out in points 2, 3, 4 is free, optional, and revocable at all times.
Period of storage
The data collected will be stored for a period of time not exceeding the achievement of the purposes for which they are processed (art. 5 of the GDPR – “principle of restriction of storage”). Once the above-mentioned storage terms have expired, your personal data will be destroyed, deleted, or made anonymous, in compliance with the technical cancellation and backup procedures.
Communication and dissemination of data
The personal data provided by you will be processed by the staff of the Fondazione, insofar as “authorized to process”.
Within the limits relevant to the processing purposes indicated above, the data may be communicated to any third parties involved who are appointed as Data Processors, as they are required to participate in the performance of the activities.
The Data Processors are promptly identified and duly appointed. The complete and updated list of all Data Processors is available upon request by sending an email to the following address privacy@palazzostrozzi.org.
Personal data will not be disseminated but may possibly be transmitted to any Public Authorities if expressly requested for administrative or institutional purposes, in accordance with the provisions of current national and European legislation.
Rights of the Data Subject
At any time you may exercise your right of access before the Data Controller, pursuant to Article 15 of Regulation (EU) 2016/679, i.e. you may obtain confirmation of the existence of your personal data and request their communication in an intelligible form. You also have the right, pursuant to Articles 16 et seq. of the aforementioned Regulation, to obtain rectification, cancellation of data or restriction of processing. Finally, you have the right to object, in whole or in part, for legitimate reasons, to the processing of your personal data, even if pertinent to the purpose of collection.
These rights may be exercised through a specific request to be sent by registered mail to the Data Controller or by email to the following address privacy@palazzostrozzi.org.
You may also lodge a complaint with the competent supervisory authority pursuant to Art. 77 of the GDPR (Personal Data Protection Supervisory Authority), if you believe that the processing of your data is contrary to the regulations in force.
Cookie policy
Cookie Policy of Fondazione Palazzo Strozzi
This document informs Users about the technologies that help this Application to achieve the purposes described below. Such technologies allow the Owner to access and store information (for example by using a Cookie) or use resources (for example by running a script) on a User’s device as they interact with this Application.
For simplicity, all such technologies are defined as “Trackers” within this document – unless there is a reason to differentiate.
For example, while Cookies can be used on both web and mobile browsers, it would be inaccurate to talk about Cookies in the context of mobile apps as they are a browser-based Tracker. For this reason, within this document, the term Cookies is only used where it is specifically meant to indicate that particular type of Tracker.
Some of the purposes for which Trackers are used may also require the User’s consent. Whenever consent is given, it can be freely withdrawn at any time following the instructions provided in this document.
This Application uses Trackers managed directly by the Owner (so-called “first-party” Trackers).
The validity and expiration periods of Cookies and other similar Trackers may vary depending on the lifetime set by the Owner. Some of them expire upon termination of the User’s browsing session.
In addition to what’s specified in the descriptions within each of the categories below, Users may find more precise and updated information regarding lifetime specification as well as any other relevant information – such as the presence of other Trackers – in the linked privacy policies or by contacting the Owner.
Activities strictly necessary for the operation of this Application and delivery of the Service
This Application uses so-called “technical” Cookies and other similar Trackers to carry out activities that are strictly necessary for the operation or delivery of the Service.
How to manage preferences and provide or withdraw consent
There are various ways to manage Tracker related preferences and to provide and withdraw consent, where relevant:
Users can manage preferences related to Trackers from directly within their own device settings, for example, by preventing the use or storage of Trackers.
Additionally, whenever the use of Trackers is based on consent, Users can provide or withdraw such consent by setting their preferences within the cookie notice or by updating such preferences accordingly via the relevant consent-preferences widget, if available.
It is also possible, via relevant browser or device features, to delete previously stored Trackers, including those used to remember the User’s initial consent.
Other Trackers in the browser’s local memory may be cleared by deleting the browsing history.
Owner and Data Controller
Fondazione Palazzo Strozzi – Palazzo Strozzi, Piazza Strozzi – 50123 Firenze (Italia)
Owner contact email: privacy@palazzostrozzi.org
Definitions and legal references
Personal Data (or Data)
Any information that directly, indirectly, or in connection with other information — including a personal identification number — allows for the identification or identifiability of a natural person.
Usage Data
Information collected automatically through this Application (or third-party services employed in this Application), which can include: the IP addresses or domain names of the computers utilized by the Users who use this Application, the URI addresses (Uniform Resource Identifier), the time of the request, the method utilized to submit the request to the server, the size of the file received in response, the numerical code indicating the status of the server’s answer (successful outcome, error, etc.), the country of origin, the features of the browser and the operating system utilized by the User, the various time details per visit (e.g., the time spent on each page within the Application) and the details about the path followed within the Application with special reference to the sequence of pages visited, and other parameters about the device operating system and/or the User’s IT environment.
User
The individual using this Application who, unless otherwise specified, coincides with the Data Subject.
Data Subject
The natural person to whom the Personal Data refers.
Data Processor (or Data Supervisor)
The natural or legal person, public authority, agency or other body which processes Personal Data on behalf of the Controller, as described in this privacy policy.
Data Controller (or Owner)
The natural or legal person, public authority, agency or other body which, alone or jointly with others, determines the purposes and means of the processing of Personal Data, including the security measures concerning the operation and use of this Application. The Data Controller, unless otherwise specified, is the Owner of this Application.
This Application
The means by which the Personal Data of the User is collected and processed.
Service
The service provided by this Application as described in the relative terms (if available) and on this site/application.
European Union (or EU)
Unless otherwise specified, all references made within this document to the European Union include all current member states to the European Union and the European Economic Area.
Cookie
Cookies are Trackers consisting of small sets of data stored in the User’s browser.
Tracker
Tracker indicates any technology – e.g Cookies, unique identifiers, web beacons, embedded scripts, e-tags and fingerprinting – that enables the tracking of Users, for example by accessing or storing information on the User’s device.
Legal information
This privacy statement has been prepared based on provisions of multiple legislations, including Art. 13/14 of Regulation (EU) 2016/679 (General Data Protection Regulation).
This privacy policy relates solely to this Application, if not stated otherwise within this document.
Donatello in Toscana
VISITE GUIDATE GRATUITE A FIRENZE, AREZZO, PISA, PRATO E SIENA
Il progetto Donatello in Toscana, promosso e realizzato da Fondazione Palazzo Strozzi in occasione della mostra Donatello, il Rinascimento, grazie a Unicoop Firenze si arricchisce di 26 itinerari guidati alla ricerca delle opere del “maestro dei maestri” custodite nella nostra regione.
Le visite, della durata di mezza giornata, si svolgeranno il sabato e la domenica dal 7 maggio al 31 luglio 2022 nei seguenti luoghi, a Firenze: Orsanmichele, Chiesa di Santa Trìnita, Palazzo Strozzi, Museo Nazionale del Bargello, Basilica di San Lorenzo, Museo di Palazzo Vecchio, Museo Stefano Bardini, Museo dell’Opera del Duomo e Battistero, Basilica di Santa Croce; a Prato: Cattedrale, Museo dell’Opera del Duomo e Museo di Palazzo Pretorio; a Pisa: Museo Nazionale di San Matteo; a Arezzo: Cattedrale e Museo Diocesano; a Siena: Cattedrale, Battistero e Museo dell’Opera del Duomo.
Le visite sono gratuite per i soci Unicoop Firenze; biglietto di ingresso, prenotazione e auricolari se richiesti sono a pagamento per i partecipanti.
Di seguito il calendario completo degli itinerari:
Orsanmichele, Chiesa di Santa Trinita, Palazzo Strozzi: 7 maggio ore 16.30, 3 luglio ore 10
Palazzo Strozzi e Museo Nazionale del Bargello: 8 maggio ore 10.30, 28 maggio ore 15, 19 giugno ore 10, 31 luglio ore 10
Basilica di San Lorenzo e Palazzo Strozzi: 14 maggio ore 16.30, 12 giugno ore 15.30, 17 luglio ore 15
Museo di Palazzo Vecchio e Palazzo Strozzi: 22 maggio ore 16, 9 luglio ore 15
Palazzo Strozzi e Museo Stefano Bardini: 15 maggio ore 10.30, 26 giugno ore 10
Palazzo Strozzi, Museo dell’Opera del Duomo e Battistero di Firenze: 29 maggio ore 10, 10 luglio ore 10
Palazzo Strozzi e Basilica di Santa Croce: 4 giugno ore 10, 2 luglio ore 10
Museo dell’Opera del Duomo, Cattedrale e Museo di Palazzo Pretorio a Prato: 21 maggio ore 15, 5 giugno ore 15, 24 luglio ore 15
Museo Nazionale di San Matteo a Pisa: 11 giugno ore 15.30, 16 luglio ore 15.30
Cattedrale e Museo Diocesano di Arezzo: 18 giugno ore 10.30, 23 luglio ore 10.30
Cattedrale, Battistero, Museo dell’Opera del Duomo di Siena: 25 giugno ore 10.30, 30 luglio ore 15
PRENOTAZIONE OBBLIGATORIA
CSC SIGMA T. 055 0317740 dal lunedì al venerdì
orario 9.00-13.00/14.00-18.00
INFO donatellointoscana@palazzostrozzi.org
Orsanmichele
Orsanmichele external facade
Following a disastrous fire which damaged the building in 1304, the loggia was walled up and the upper floors were added in 1337. From the early 15th century each of the 14 Arti or Florentine guilds chose a pier and had a niche hollowed out of it to hold a sculpture of its patron saint. The oratory, which was used by both the Comune and the Guilds to host important occasions, highlights the close bond between religious and civic life in Florence.
Opere
Orsanmichele
Museo di Orsanmichele
The museum is reached via an arched passageway linking Orsanmichele to the Palazzo dell’Arte della Lana. The large hall on the first floor hosts eleven of the fourteen statues that, for conservation purposes, could no longer be left in their original outdoor niches. The statues or groups of statues in marble and bronze, now restored and replaced by copies, are displayed on platforms in this atmospheric 14th century space.
Opere
Basilica di San Lorenzo
Sagrestia vecchia
Donatello’s work in the Sacristy is one of his most important artistic achievements, in addition to being one of the few still intact and in situ. It comprises Episodes from the Life of Saint John the Evangelist in roundels in the pendentives; the Evangelists in roundels in the wall lunettes; Saints Lawrence and Stephen in the lunette to the left of the chancel, Saints Cosmas and Damian in the lunette to the right; the bronze doors (with Holy Martyrs on the left and Apostles on the right, on display in Palazzo Strozzi) and their architectural surround; and the Tomb of Giovanni di Bicci de’ Medici and Piccarda Bueri (with assistants, including Buggiano). The Basin from the Medici household in the space behind the Door of the Martyrs is a product of Donatello’s workshop.
Old Sacristy
1422–42
Florence, Basilica of San Lorenzo
Info
Tel. + 39 055 214042
Basilica di San Lorenzo (Sagrestia vecchia)
Basilica di San Lorenzo
Piazza di San Lorenzo, 9
Firenze
Opere
Basilica di San Lorenzo
Sotterranei
When Donatello died on 13 December 1466 he was buried in the undercroft of San Lorenzo close to the tomb of Cosimo de’ Medici, who had died two years earlier. The two men had been close friends and Vasari tells us that Cosimo determined “that his dead body be near him, even as he had been ever near him in spirit when alive”.
Info
Tel. + 39 055 214042
Basilica di San Lorenzo (Sotterranei)
Basilica di San Lorenzo
Piazza di San Lorenzo, 9
Firenze
Opere
Basilica di Santa Croce
Museo dell’Opera di Santa Croce
The museum currently occupies part of the former refectory, known as the Cenacolo, and the wing of the Franciscan convent sitting between the two cloisters. The refectory, a large rectangular space, was designed and built in the early 14th century, transformed into a museum in November 1900, renovated in 1959 and extended in 1962. During the terrible flood of 4 November 1966 the water level rose to over five metres and the museum was closed for many years. It reopened in 1975 but it was not until the following year, on the 10th anniversary of the flood, that Cimabue’s Crucifix, one of the symbols of the tragedy caused by the Arno breaking its banks, finally returned home. It was removed to the sacristy for safekeeping along with other important canvas and panel paintings in 2014.
Info
Tel. + 39 055 2466105
Museo dell'Opera di Santa Croce
Piazza di Santa Croce 16,
Firenze
Opere
Opera di Santa Maria del Fiore
Museo dell’Opera del Duomo
Reopening in 2015 after a major renovation programme, the new museum hosts works of art removed from the Cathedral of Santa Maria del Fiore, the Baptistery and Giotto’s Bell Tower for conservation purposes. “The current display sets out to tell their story in an intelligible and moving way, also by conjuring up the material and spiritual circumstances that first generated the masterpieces” created by such artists as Arnolfo di Cambio, Lorenzo Ghiberti, Nanni di Banco, Luca della Robbia, Michelangelo and, of course, Donatello.
Opere
Opera di Santa Maria del Fiore
Cattedrale di Santa Maria del Fiore
Florence’s present Cathedral was built over an earlier cathedral dedicated to Saint Reparata on a site that has hosted places of worship since Roman times. Arnolfo di Cambio worked on it from 1296 to 1302 while Giotto was appointed Master of the Works in 1334, devoting his energies chiefly to the Bell Tower. His successors were Andrea Pisano and Francesco Talenti, who completed the Bell Tower. The Cathedral was dedicated to Santa Maria del Fiore, a tribute to the city’s fleur de lys symbol, in 1412 and consecrated in 1436 once Filippo Brunelleschi’s dome had been completed. The façade, long left unfinished, was erected to a design by Emilio De Fabris in 1887.
Opere
Opera di Santa Maria del Fiore
Battistero di San Giovanni
The Baptistery, the city’s symbol and its religious and civic heart – Dante’s “bel San Giovanni” – was
thought in the Middle Ages to have been a temple of Mars converted into a Christian church. It is true
that most of the marble cladding, ancient fragments and inscriptions as well as the large columns inside
the Baptistery were taken from the ruins of Roman ‘Florentia’, possibly from some pagan building, but
what we see today is the result of an enlargement of an earlier, possibly 4th or 5th century baptistery.
Opere
Opera di Santa Maria del Fiore
Campanile di Giotto
The Bell Tower owes its name to the artist who designed it, although only the lowest register was finished by the time he died in 1337. Work continued under Andrea Pisano and then under Francesco Talenti, who completed it in 1359.
The cycle of statues of the Prophets was begun in the 14th century by Andrea and Nino Pisano, who carved eight of the figures. In 1415 Donatello and Bernardo Ciuffagni were commissioned to complete the task, but it was Donatello who carved most of the eight remaining Prophets in 1435–6. To pay tribute to Donatello’s talent during his lifetime, the Opera moved the recent figures to the most easily visible sides of the Bell Tower in 1464. The originals, replaced by copies, are on display in the Galleria del Campanile in the Museo dell’Opera del Duomo.
Opere
Palazzo Vecchio
Museo di Palazzo Vecchio
One of the city’s most iconic monuments and its seat of government for over 700 years, Palazzo Vecchio offers visitors examples of every phase in Florentine history and art, from the remains of a Roman theatre in its basement and the sumptuous rooms in the monumental quarters commissioned by Duke Cosimo de’ Medici to the wallwalk and the so-called “Tower of Arnolfo”.
Opere
Museo dell’Opera del Duomo
Cattedrale di Santo Stefano
First recorded in the 10th century as a parish church dedicated to Saint Stephen but in existence as least as far back as the 6th century, this was the main church in Borgo al Cornio, the ancient heart of Prato. It was remodelled in 1211 and on several occasions thereafter due to the growing popularity of the cult of the Holy Girdle, to which a chapel frescoed by Agnolo Gaddi (1392–6) was dedicated. Paolo Uccello and Andrea di Giusto began work on the fresco cycle in the Chapel of the Assumption in 1435, while Filippo Lippi was commissioned to fresco the choir with Stories from the Lives of Saints Stephen and John in 1452. The interior of the church also houses a number of important sculptures.
Opere
Museo di Palazzo Pretorio
The Age of Donatello in the Museo di Palazzo Pretorio
The atmospheric hall on the first floor of the Museo di Palazzo Pretorio houses works ranging from the mid-14th century to the core period of the Renaissance. The artists are not from Prato but they worked for the city, summoned by secular and religious institutions alike at a time when art flowered and commissions of quality were plentiful. Lorenzo Monaco’s superb polyptych (1410) and the equally astonishing polyptych by Andrea di Giusto (1435), while Late Gothic in style, testify to a crucial moment in Donatello’s formative years and early maturity. Almost twenty years later Filippo Lippi, possibly the most “Donatellian” painter of all, and his workshop produced the Virgin of the Ceppo, the Virgin of the Girdle, the Nativity and the small Annunication. The small room containing the sculptures of Benedetto Buglioni, Andrea della Robbia and Benedetto da Maiano’s workshop document the serial production of models inspired by Donatello’s work well into the late 15th century.
Opera della Metropolitana di Siena
Cattedrale di Santa Maria Assunta
One of Italy’s most illustrious examples of Romanesque-Gothic cathedral architecture, the church houses masterpieces of painting and sculpture from every era in addition to superb stained glass, refined wooden inlay work and a unique marble inlay floor. Donatello is reponsible for the Floor Tomb of Bishop Giovanni Pecci which he made c. 1448–50 while in Padua, and for a bronze Saint John the Baptist in the chapel of the same name, a masterpiece of his later years. In the summer of 1457 the Comune appointed a committee to handle relations with the sculptor, who had voiced the wish to “do some very singular work in honour of this city”, but an ambitious project for a bronze door for the Cathedral’s main portal never came to fruition.
Opere
Opera della Metropolitana di Siena
Battistero di San Giovanni
The parish church of San Giovanni Battista was built beneath Siena Cathedral between 1317 and 1325. Its interior is completely covered in frescoes by Sienese artists including Lorenzo di Pietro, known as Vecchietta.
Opere
Opera della Metropolitana di Siena
Museo dell’Opera
The collection is displayed in rooms created by walling up the first three bays of the south aisle of the so-called New Cathedral, on which building got under way in 1339 but was broken off after the Black Death of 1348. It is celebrated, among other things, for a Statue Gallery with Giovanni Pisano’s marble sculptures formerly on the Cathedral façade, for Duccio di Buoninsegna’s Maestà painted from 1308 to 1311 which graced the high altar until 1505, and for its collection of outstanding paintings by Sienese artists and its precious examples of the goldsmith’s and silversmith’s art.
Opere
