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The mythological Graces.


The Uffizi, Italy's greatest art gallery, was built originally as offices for the Medici, but soon became the leading gallery with its matchless collection.

And in the Early Renaissance a new understanding of geometric perspective (not invention as some say) during the 15th century increasingly allowed artists to explore space and depth. (We saw early example with Ghiberti's baptistry doors, and Giotto's work.) These developed into a more realistic, much more humanistic reality expressed in developing art. Thinking and feeling. "Man is the measure of all things".

The ideas burst forward until the many great examples such as Botticelli's (1480) Primavera (spring) with the three muses. (Several shots). (Expressing an interest, not copying --- knowledge of Classical thinking and mythology.) The Primavera is one of the most enchanting of all paintings of classical myth; it has inspired many interpretations; Vasari described the subject simply as "Venus, whom the Graces deck with flowers, denoting spring." The painting shows little of the earlier Renaissance development of geometric perspective just absorbing, but looks back to mythological expression in new form. The figures, linked by linear rhythms, are spread out before a background of nature abundant with fruits and flowers.

It breaks with religious painting tradition by illustrating a pagan rite of spring.

Botticelli painted these works in which the Florentine sense of beauty appears in its most evolved form. In Primavera, the subject is derived from Ovid, but this classical inspiration is given a new slant perhaps with memories of the Middle Ages. The pagan divinities sway away humanly before a background of leaves like an old tapestry.


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Madonna and Child;
Madonna of the Goldfinch.
c. 1505 - 6
Oil on wood.
Vasari tells us that this picture was painted for a Florentine merchant. It was buried, but subsequently restored.
It illustrates Raphael's advanced contribution to a more realistic painting style as well as his gentle approach, including gentleness to nature.
The pyramidal composition is said to derive from Leonardo.

(Restored again 2010.)

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East/Trinita side.
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(1345 on..)


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The cathedral dome's Last Judgement frescoes were by Vasari, but completed by Zucarri.
See more....

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Giotto's campanile on the left, subsequent matching facing on the cathedral right.

Gothic Revival façade by Emilio De Fabris.

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