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Francesco Salviati and the Horses of San Marco
by
GREGORY, SHARON
in
Camillus, Marcus Furius
/ Clement VII, Pope
/ Cosimo I, Grand Duke of Tuscany
/ Giannotti, Donato
/ Horses
/ Medici, Alessandro de
/ Medici, Giuliano de
/ Medici, Lorenzo de
/ Salviati, Francesco
/ Savonarola, Girolamo
/ Vasari, Giorgio
2024
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Francesco Salviati and the Horses of San Marco
by
GREGORY, SHARON
in
Camillus, Marcus Furius
/ Clement VII, Pope
/ Cosimo I, Grand Duke of Tuscany
/ Giannotti, Donato
/ Horses
/ Medici, Alessandro de
/ Medici, Giuliano de
/ Medici, Lorenzo de
/ Salviati, Francesco
/ Savonarola, Girolamo
/ Vasari, Giorgio
2024
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Do you wish to request the book?
Francesco Salviati and the Horses of San Marco
by
GREGORY, SHARON
in
Camillus, Marcus Furius
/ Clement VII, Pope
/ Cosimo I, Grand Duke of Tuscany
/ Giannotti, Donato
/ Horses
/ Medici, Alessandro de
/ Medici, Giuliano de
/ Medici, Lorenzo de
/ Salviati, Francesco
/ Savonarola, Girolamo
/ Vasari, Giorgio
2024
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Journal Article
Francesco Salviati and the Horses of San Marco
2024
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Overview
In 1539, Florence’s newly elected Duke Cosimo I de’ Medici began to turn the Palazzo della Signoria into his ducal residence. The first major artistic work he commissioned for the palazzo was a cycle of frescoes by Francesco Salviati (1543–48), with scenes from the life of Marcus Furius Camillus. Salviati’s Triumph of Furius Camillus fresco is discussed in light of a preparatory drawing, which shows a chariot drawn by an animated group of horses very like the famous horses of San Marco in Venice (where Salviati had worked from 1539 until 1541), and very unlike the regimented group that draws the chariot in the final fresco. In the wake of Savonarolan reforms to the Florentine government after the expulsion of the Medici, the Venetian quadriga cannot have been politically acceptable to Duke Cosimo. Salviati presumably altered his design to better accord with Cosimo’s self-association with imperial Rome.
En 1539, le duc Côme Ier de Médicis, nouvellement élu à Florence, commence à transformer le Palazzo della Signorina en sa résidence ducale. La première œuvre artistique majeure qu’il commande pour le palais est un cycle de fresques de Francesco Salviati (1543–48) montrant des scènes de la vie de Marcus Furius Camillus. Dans cet article, la fresque de Salviati représentant le Triomphe de Furius Camillus est examinée à la lumière d’un dessin préparatoire, qui montre un char tiré par un groupe de chevaux fougueux, fort semblables aux célèbres chevaux de San Marco à Venise (où Salviati avait travaillé de 1539 à 1541), et très différents de l’attelage maîtrisé qui tire le char dans la fresque finale. Au lendemain des réformes savonaroliennes du gouvernement florentin après l’expulsion des Médicis, le quadrige vénitien ne pouvait être politiquement acceptable aux yeux du duc. Salviati a vraisemblablement modifié son projet pour qu’il corresponde mieux à la volonté de Côme de s’associer à la Rome impériale.
Publisher
Renaissance and Reformation / Renaissance et Réforme,Renaissance et Reforme,Iter Press
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