Colosso Hall

Visitors are welcomed into the Hall of the Colossus at the Galleria, a space that underwent a complete redesign in December 2013.

The first steps of the visitor to the museum's exhibition itinerary is within the Hall of the Colossus, an ample chamber whose centerpiece is Giambologna's stunning terracotta sketch of The Rape of the Sabine Women. This hall also contains a collection of Florentine paintings from the 15th and early 16th centuries. A newly created small room accessible from the Hall of the Colossus has been added solely to improve the approach to viewing these works, which is dedicated only to the 15th century. It will be possible to see such masterpieces in this space as Thebaid by Paolo Uccello and Cassone Adimari by Scheggia (the brother of Masaccio).

This room received its name in the nineteenth century when it displayed a plaster cast of an ancient statue, specifically one of the Dioscuri of Montecavallo (Castor and Pollux), which is no longer exhibited in the Gallery.

Currently, the center of the hall features the plaster model for Giambologna’s magnificent marble sculpture, “Rape of the Sabines,” created around 1580.

Giambologna crafted this model to showcase his virtuosity, marking the first instance of a tightly-knit trio of figures sculpted from a single large block of marble, providing observers with various perspectives. The original marble piece, finished in 1582, can be viewed beneath the Loggia dei Lanzi in Piazza della Signoria.

On the same wall of the entrance

Surrounding Giambologna’s plaster is an exceptionally valuable assortment of religious artworks dating from the 15th to the early 16th century. The abundance of small-format panel paintings adorning the wall will certainly catch your eye. This single wall features works by renowned artists such as Paolo Uccello, Perugino, Filippino Lippi, Domenico Ghirlandaio, and Botticelli.

At first glance, the sheer volume may feel overwhelming, so we recommend taking a moment to sit by Giambologna’s plaster. This way, you can comfortably appreciate this rich collection of Renaissance art and search for two of the most significant pieces on the wall before continuing your exploration of the Accademia.

At the forefront is the central piece: the rectangular front panel of a chest known as the Cassone Adimari.

This panel belongs to a wedding chest associated with the Adimari family and illustrates a quintessential Florentine Renaissance wedding celebration. It showcases medieval streets, notable monuments (with the Baptistery positioned on the left), and exquisite brocade garments that reflect the traditions and affluence of Florence’s noble families during the 1450s.

The Left Wall

To the left of the chest, you will find the second masterpiece, a small panel attributed to Botticelli known as The Madonna of the Sea. Its name derives from the faint seascape visible in the background, while its allure lies in the gold details and symbols that characterize the two figures. The pomegranate that baby Jesus holds symbolizes Christ’s passion. Additionally, the star, known as “Stella Maris,” sparkles against Mary’s dark blue robe, further linking the artwork to the sea. In the Middle Ages, the name “Maria” was thought to be associated with the sea, as the Italian word for sea is mare. Thus, the Stella Maris (star of the sea) serves as a representation of Mary, drawing from ancient interpretations of the Jewish name “Myriam” (Mary) and creating a connection to the ocean.

Today, the left wing of the Hall of the Colossus showcases six altarpieces from the 15th century, arranged in chronological sequence to illustrate the evolution of the Florentine school. The collection begins with a square panel created by Andrea di Giusto in 1437 and culminates with the mature artistry of the renowned Domenico Ghirlandaio at the series' conclusion.

At the heart of the composition is the significant work Trinity by Alesso Baldovinetti, created in 1470 and originally intended for the Church of Santa Trinita in Florence. Behind an elegantly draped fabric adorned with pearls, the mystery of the Trinity—comprising God the Father, Christ, and the Holy Spirit—unfolds, upheld by angels. Christ is depicted on the cross, supported by God the Father, while a white dove positioned between their heads represents the Holy Spirit. Surrounding these three figures is a vibrant assembly of cherubic angels, all framed within an almond shape. Beneath the cross lies a skull, a common religious symbol representing human redemption. Through Christ's sacrifice, His blood reaches Adam's skull, symbolizing the opportunity for all his descendants to be freed from original sin.

On the right side of the Trinity, Botticelli’s renowned Trebbio Altarpiece depicts a Holy Conversation. The Virgin Mary and child are magnificently illustrated within a grand space, accompanied by six saints from various eras. This panel originates from the Medici Villa of Trebbio and was likely commissioned by Lorenzo di Pierfrancesco Medici. The patronage of the Medici family is unmistakably evidenced by the inclusion of their saint protectors, S. Cosmas and S. Damian, adorned in long, elegant purple garments.

At the far end of this left wall, one can find Domenico Ghirlandaio’s dignified work featuring St. Stephen, flanked by St. James and St. Peter (1493). The grandeur of the three sculptural figures, which dramatically rise from the painted monumental niches in the background, clearly showcases the touch of the great Maestro. When Michelangelo was merely 14 years old, Ghirlandaio invited him to his workshop for a brief period. This connection proved to be essential for Michelangelo throughout his artistic journey, influencing his panel paintings and frescoes, particularly during the years he dedicated to the Sistine Chapel (1504-08).

The Right Wall

The freshly designed room offers visitors the opportunity to appreciate three expansive altarpieces arranged elegantly around Giambologna’s plaster cast model. Since December 2013, the right side of this space features Perugino’s magnificent panel illustrating the Assumption of the Virgin (1500), accompanied by Raffaellino del Garbo’s Resurrection and Filippino Lippi’s Deposition (1504-08).

The central panel, which is among the most remarkable pieces by Pietro Perugino, was commissioned in 1500 by the monks of the Abbey in Vallombrosa for the church's high altar. Clearly marked on the lowest level is the signature “PETRVS PERVGINVS PINXIT A.D. MCCCCC.” The primary theme depicts the Assumption of the Virgin Mary, encircled by a celebration of angels who sing and play various instruments, including harps, violins, and guitars, all set against soft, colorful draperies. Below this main depiction, Perugino portrayed four saints associated with the Camaldolese monks' devotion. Notably, on the far right, one can see the elegant Saint Michael the Archangel, adorned in opulent, shimmering armor. Upon close examination of the panel from below, the outlines of the long wooden beams that support the large wooden panel become visible. The painting was framed within an intricate structure that included a predella and two portraits of the Vallombrosa monks, with the final assembly completed in December 2013.

To the left of the Assumption, the gentle allure of the pink ribbons in Filippino’s Deposition will capture your attention. This panel, which was initially started by Filippino Lippi in 1504 and later finished by Perugino after Lippi's passing, was originally displayed in the Church of the Santissima Annunziata in Florence. Perugino was responsible for completing the entire lower section of the painting by 1507. The stylistic differences between the two levels distinctly create a sense of separation. The upper section showcases Filippino’s characteristic exploration of motion and movement, featuring numerous figures precariously balanced around the cross, accompanied by unmistakable 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.