Colosso Hall

Os visitantes entram no Hall of the Colossus na Galleria, que foi totalmente reformulado desde dezembro de 2013.

O primeiro passo que o visitante dá no itinerário de exposição do museu é dentro do Hall of the Colossus, uma vasta sala cuja peça central é o belo esboço em terracota de Giambologna de The Rape of the Sabine Women. Nesse salão, é possível ver pinturas florentinas do século XV e do início do século XVI. Uma pequena sala recém-criada, que vem do Hall of Colossus, foi trabalhada para ver essas obras abordadas somente para ver obras dedicadas apenas ao século XV. Obras-primas como Thebaid, de Paolo Uccello, e Cassone Adimari, de Scheggia (irmão de Masaccio), poderão ser vistas aqui.

A sala recebeu esse nome no século XIX, quando exibiu uma cópia em gesso de uma estátua antiga, especificamente uma dos Dioscuri de Montecavallo (Castor e Pólux), que não está em exibição na Galeria.

Atualmente, o meio do saguão tem o modelo em gesso da grande escultura em mármore de Giambologna, "Rape of the Sabines", feita por volta de 1580.

Giambologna fez esse modelo para mostrar sua grande habilidade; foi a primeira vez que um conjunto de três figuras esculpidas em um grande bloco de mármore foi visto de diferentes ângulos. A peça original completa foi concluída em 1582 e vista sob a Loggia dei Lanzi na Piazza della Signoria.

Na mesma parede da entrada

O gesso de Giambologna está imprensado entre um enorme tesouro de arte religiosa que remonta ao período gótico tardio e ao início do Renascimento, do século XV ao início do século XVI. O formato minúsculo dos inúmeros painéis de pintura pendurados na parede certamente atrai a atenção. Essa única parede contém obras de mestres como Paolo Uccello, Perugino, Filippino Lippi, Domenico Ghirlandaio e Botticelli.

À primeira vista, pode parecer um pouco grande, mas não se preocupe, pois para absorver melhor essa impressionante coleção, há duas peças principais que vale a pena procurar na parede em meio ao mar de arte renascentista: uma é a peça central; o painel retangular frontal de um baú, Cassone Adimari.

Esse painel faz parte de um par de cofres de casamento ligados à família Adimari e representa um arquétipo de casamento renascentista florentino. Ele apresenta ruas centrais, monumentos famosos, todos com o Batistério à sua esquerda, e brocados suntuosos que personificam a tradição e a prosperidade das famílias nobres de Florença na década de 1450.

The Left Wall

On the left of the chest, one finds the second masterpiece: a small panel, attributed to Botticelli, which is known as The Madonna of the Sea. This title comes from a faint seascape that can be made out in the background; its real beauty lies in the golden details and symbols that make up the two figures. The pomegranate held by baby Jesus signifies Christ’s passion. The star — “Stella Maris” — which Mary wears on her dark blue robe, gives another link of this work to the sea. In Medieval times, it was believed that when one spoke of “Maria,” they were referring to the sea, for mare is the Italian word for sea. Therefore, Stella Maris becomes a symbol for Mary based on ancient views of this Jewish name “Myriam” (Mary) and also relate her with the ocean.

The present-day left wing of the Colossus Hall displays six altarpieces of the 15th century set up in a time sequence to show how the Florentine school developed. This starts with a square panel done by Andrea di Giusto in 1437 and ends with the fully grown skill of the famous Domenico Ghirlandaio at the end of the set.

Essential to the whole work is the great Trinity by Alesso Baldovinetti, painted in 1470 for the Church of Santa Trinita in Florence. Behind elegantly draped pearl-ornamented veils, there unfolds the mystery of the Trinity—God the Father, Christ, and the Holy Spirit—supported by angels. The figure of Christ on the crossposé before God the Father. Between their heads a white dove represents the Holy Spirit. Vibrant cherubic angels surround these three central figures all framed within an almond shape. A skull lies beneath the cross; this is a normal religious symbol of human redemption. Through His sacrifice, may that blood reach Adam's skull so that all his descendants might have that same opportunity to be freed from original sin.

To the right of the Trinity, in a work famous enough to come down to us by name, is Botticelli’s Trebbio Altarpiece depicting a Holy Conversation, in which the Virgin and Child stand magnificently within great architectural space beside six saints of different eras. This panel comes from the Medici villa at Trebbio and was probably commissioned by Lorenzo di Pierfrancesco Medici. The patronage of the Medici family is unmistakably signified through the inclusion of their saint protectors S. Cosmas and S. Damian, here portrayed in long elegant purple robes.

At the extreme end of this left wall is the dignified work of Domenico Ghirlandaio showing St. Stephen, with St. James and St. Peter beside him (1493). The great Master’s touch is evident in the grandeur of these three sculptural figures which dramatically rise out painted monumental niches backgroundU. Ghirlandaio invited Michelangelo into his workshop for a very short period when Michelangelo was just 14 years old. This relationship turned out to be crucial for Michelangelo throughout his artistic life and influenced his panel paintings and frescoes, especially during the years he worked on the Sistine Chapel (1504-08).

The Right Wall

The newly conceived space allows guests to view three large altarpieces laid out tidily around Giambologna’s plaster cast model. From December 2013, the right side of this room has housed Perugino’s superb panel showing the Assumption of the Virgin (1500) in company in Raffaellino del Garbo’s Resurrection and Filippino Lippi’s Deposition (1504-08).

The main altarpiece, one of Pietro Perugino's finest works, was ordered in 1500 by the monks of Vallombrosa for their church. It bears inscribed signatures at the foot, plainly visible in the lowest panel: “PETRVS PERVGINVS PINXIT A.D. MCCCCC.” The principal subject is the Assumption of the Virgin Mary surrounded by a concert of angels who sing and play on diverse instruments such as harps, violins, and guitars against softly colored draperies. Below this principal theme are four saints painted by Perugino as patrons of devotion related to Camaldolese monks.

His right side presents beautifully Saint Michael Archangel in armor very rich and shining. Long wooden beams visible from below panel outline support large wooden panel. Painting framed within predella and two portraits of Vallombrosa monks; final assembly December 2013 completed.

At the left of the Assumption, a soft charm of pink ribbons in Filippino's Deposition will catch your eye. This panel was first begun by Filippino Lippi in 1504 and later completed by Perugino after Lippi had died; it stood originally in the Church of the Santissima Annunziata in Florence where Perugino finished off the whole lower part by 1507. The different styles between the two levels mark out quite distinctly a sense of division.

The upper part shows that typical exploration by Filippino into pu motion and dynamism with no less than several figures precariously balanced around the cross as well as unmistakably fluttering ribbons.

Were it not for the temporary closure and then later relocation of the works, this would not have allowed an in-depth review of the environment and documentation on the conservative status of the pieces. The museum also took advantage of that period to plan specific conservation-oriented maintenance and restoration where necessary. Indeed, these had to be carried out by expert restorers working under a maintenance plan of action drawn up and coordinated by Eleonora Pucci, director restorer at the Accademia Gallery. Three pieces had to stay because of their size and fragility— the sculptural group of the Rape of the Sabine Women, Pietro Perugino's large altarpiece of the Assumption of the Virgin, and Giovanni Antonio Sogliani's Dispute of the Church Fathers on the Immaculate Conception; these were protected by custom-designed structures. All other works were secured and moved into areas where temporary exhibitions are held, but in such a way that people could go on viewing them. Thus, despite closing down, access to the artworks was not impeded.

In addition to the dusting interventions, some of the valuable panels, noted for their fragile conservation status and small dimensions, were protected with display glass that is unnoticeable to the eye. This glass effectively keeps the external climate agents away from the artwork, thus risking no alterations on the pictorial surface and damage on support. Among the works under restoration, attention is explicitly drawn to Raffaellino del Garbo's Resurrection of Christ with a large wooden frame, which has recently come back into the museum's possession and tempera su tavola di Giovan Francesco da Rimini raffigurante San Vincenzo Ferrer

The gilded frames were also highly considered, and three particularly underwent restoration after the proper evaluation regarding their preservation state and the related issues. These were the frame for the Madonna of the Sea by Sandro Botticelli, the round painting frame of Franciabigio's Madonna and Child with St. Joseph and St. John, and that completes Lorenzo di Credi's Adoration of the Child with Two Angels and St. Joseph. Restoration measures carried specifically to conservation needs included cleaning for a uniform surface appearance, consolidation of both gilded film and intaglio elements, minor plaster repairs, and integration of gold leaf where required techniques related to original gilding in as feasible manner according to Management guidelines of Museum.

In the structural work led by architect Claudia Gerola, the project began with restoring and reinforcing the wooden trusses of the hall. During this phase, modifications, and replacements were made to the existing systems, notably anti-intrusion specialized fire detection, electrical and mechanical systems together with UTA - Air Treatment Unit. Also done was the removal of water accumulations which had previously caused notable seepages into the hall below, as well as taking out two layers of vault movable plaster. After finishing technological and architectural tasks, there was revision work regarding the electrical system and emergency systems that preceded setting up a new layout. Fabric-covered panels were applied to walls and then painted subsequently, with arrangements of works following a new design overseen by Director Hollberg. The new lighting system was installed within the perimeter walls and in the central section of the vault. Just like in the rest of the museum, ultra-modern LED technology was used to improve visibility of the works and at the same time ensure energy saving.