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73-627: Originally called the Palazzo della Signoria , after the Signoria of Florence , the ruling body of the Republic of Florence , this building was also known by several other names: Palazzo del Popolo , Palazzo dei Priori , and Palazzo Ducale , in accordance with the varying use of the palace during its long history. The building acquired its current name when the Medici duke's residence was moved across

146-541: A building. The earliest and most notable variation of frontispieces can be seen in Ancient Greek Architecture which features a large triangular gable , known as a pediment , usually supported by a collection of columns . However, some architectural authors have often used the term "frontispiece" and "pediment" interchangeably in reference to both large frontispieces decorating the main entrances, as well as smaller frontispieces framing windows which

219-524: A modest sum to cover their expenses and were provided with green-liveried servants. The Priori had a uniform of crimson coats, lined with ermine and with ermine collars and cuffs. In undertaking their governmental duties, the Signoria was required to consult two other elected councils collectively known as Collegi . The first was the Dodici Buonomini , with twelve members, while the second,

292-510: A pupil of Vasari. On the walls are Florentine tapestries with hunting scenes, from cartoons by Stradanus. Beginning in 1540 when Cosimo moved the seat of government here, these rooms were refurbished and richly decorated to be the living quarters of Eleonora. This room served as Eleonora's bedchamber and was called the Green Room because of the color of the walls. The decorations on the ceiling are by Ridolfo del Ghirlandaio . A small door in

365-411: A triangular gable, more specifically called the pediment of the building, which sat atop columns. Elaborate frontispieces were often only present on the façades of sacred buildings such as temples and tombs. Especially seen in ancient Greece and Rome, frontispieces were often used to depict mythological gods or even important figures in society depending on the purpose and patrons of the building. In

438-606: Is enhanced by the simple tower with its clock. Giovanni Villani wrote that Arnolfo di Cambio incorporated the ancient tower of the Foraboschi family (the tower then known as "La Vacca" or "The Cow") into the new tower's facade as its substructure; this is why the rectangular tower (height 94 m) is not directly centered in the building. This tower contains two small cells, that, at different times, imprisoned Cosimo de' Medici (the Elder) (1435) and Girolamo Savonarola (1498). The tower

511-562: Is named after its designer Torre d'Arnolfo . The tower's large, one-handed clock was originally constructed in 1353 by the Florentine Nicolò Bernardo , but was replaced in 1667 with a replica made by Georg Lederle from the German town of Augsburg (Italians refer to him as Giorgio Lederle of Augusta) and installed by Vincenzo Viviani . Duke Cosimo I de' Medici (later to become grand duke) moved his official seat from

584-516: Is named for the fresco on the ceiling. On the walls are Florentine tapestries made from cartoons by Stradanus (16th century). On the ceiling, the Triumph of Cybele and the Four Seasons . Against the walls are cabinets in tortoise shell and bronze. The floor was made in 1556. From the window one can see the third courtyard. The room gets its name from the motif on the ceiling, by Doceno ,

657-464: Is now a museum , it remains as the symbol and center of local government; since 1872 it has housed the office of the mayor of Florence, and it is the seat of the City Council. The tower currently has three bells; the oldest was cast in the 13th century. Above the front entrance door, there is a notable ornamental marble frontispiece , dating from 1528. In the middle, flanked by two gilded lions,

730-700: Is often characterised by the rejection of ornament and the ‘emphasis on rational use and function’ and popularised in the late 1980s in London and New York with buildings combining clean lines and architectural profiles usually tied to iconic geometry . These moves towards minimalism can be seen in the proliferation of the Wabi-sabi aesthetics, popularised in Japan which translates roughly to ‘the elegant beauty of humble simplicity’, encapsulating Taoist and Buddhist ideologies of accepting nature and ‘favouring

803-422: Is often used as one of the distinguishing features between frontispieces of different architectural periods. Another distinguishing feature of frontispieces is the style of pediments used which can range from triangular pediments, segmental pediments, open pediments to broken pediments. Triangular pediments , often the most commonly used style of pediment features a triangle framed by a cornice or ledge, with

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876-543: Is slightly raised from the rest of the building’ using engaged columns with lighter ornamentation. Frontispieces during the neoclassical era commonly consisted of simple geometric shapes with a large emphasis on the use of columns, especially Doric columns . In the 20th century post-modernism era , buildings such as the Marco Polo House designed by Ian Pollard and the 550 Madison Avenue building designed by Philip Johnson feature large scale broken pediments at

949-518: Is the Monogram of Christ , surrounded by a glory, above the text ( in Latin ): "Rex Regum et Dominus Dominantium" (translation: "King of Kings and Lord of Lords". This text dates from 1851 and does not replace an earlier text by Savonarola as mentioned in guidebooks. Between 1529 and 1851 they were concealed behind a large shield with the grand-ducal coat of arms. Michelangelo's David also stood at

1022-473: Is the largest hall in Italy by volume. However, Padova’s Palazzo della Ragione is 81,5 m long, 27 m wide and 24 m high. Even though Salone dei Cinquecento with its flat ceiling is close to parallelepiped and Palazzo della Ragione ’s hall with open roof is not, the latter's bounding box at 52 800 cubic m is 145% bigger than the 21 500 cubic m of Salone di Cinquecento (and likely to be larger even accounting for

1095-406: Is traditionally known as a pediment. Frontispieces in pre-20th century architecture were considered decorative and ornamental structures used predominantly to dignify the façades of the building rather than for any structural or practical purpose. With the proliferation of minimalistic ideas in 21st century architecture, a large emphasis is placed on simplicity and practicality when designing

1168-505: The Battle of Cascina by Michelangelo , and the Battle of Anghiari by Leonardo da Vinci . Leonardo was commissioned in 1503 to paint one long wall with a battle scene celebrating a famous Florentine victory. He was always trying new methods and materials and decided to mix wax into his pigments. Da Vinci had finished painting part of the wall, but it was not drying fast enough, so he brought in braziers stoked with hot coals to try to hurry

1241-529: The "Salone dei Cinquecento" . The Salone dei Cinquecento ('Hall of the Five Hundred') is the most imposing chamber, with a length of 52 m (170 ft) width of 23 m (75 ft), and height of 18 m (59 ft). Another source: https://www.persee.fr/doc/mefr_1123-9891_2003_num_115_1_9979 page 54 footnote 6 specifies the measurements as width 22,15 m, length 51,61 m along east wall but 53,47 m along west wall The Salone dei Cinquecento

1314-687: The Arno River to the Palazzo Pitti . In 1299, the commune and people of Florence decided to build a palace that would be worthy of the city's importance, and that would be more secure and defensible in times of turbulence for the magistrates of the commune. Arnolfo di Cambio , the architect of the Duomo and the Santa Croce church, began construction upon the ruins of Palazzo dei Fanti and Palazzo dell'Esecutore di Giustizia , once owned by

1387-635: The Sedici Gonfalonieri , consisted of sixteen people. Other councils, such as the Ten of War, the Eight of Security and the Six of Commerce, were elected as the need arose. Frontispiece (architecture) In architecture , the term frontispiece is used to describe the principal face of the building , usually referring to a combination of elements that frame and decorate the main or front entrance of

1460-535: The Sistine Chapel , and the master's sketches were destroyed by eager young artists who came to study them and took away scraps. The surviving decorations in this hall were made between 1555 and 1572 by Giorgio Vasari and his helpers, among them Livio Agresti from Forlì . They mark the culmination of mannerism and make this hall the showpiece of the palace. It has been stated that the Salone dei Cinquecento

1533-810: The Vasari corridor , from the Palazzo Vecchio , through the Uffizi , over the Ponte Vecchio to the Palazzo Pitti. Cosimo I also moved the seat of government to the Uffizi. The palace gained new importance as the seat of united Italy's provisional government from 1865 to 1871, at a moment when Florence had become the temporary capital of the Kingdom of Italy. Although most of the Palazzo Vecchio

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1606-549: The priori (priors) representing the guilds of Florence . The Audience Chamber or Hall of Justice used to house the meetings of the priors. It contains the oldest decorations in the palace. The carved coffer ceiling, laminated with pure gold, is by Giuliano da Maiano (1470–1476). On the portal to the Chapel of the Signoria is an inscription in honor of Christ (1529). The doorway to the Hall of Lilies has marble mouldings sculpted by

1679-480: The "decorated entrance of a building" and is historically derived from the Medieval Latin word frontispicium meaning the façade or exterior of the building. The word frontispicium stems from the latin frons meaning ‘forehead or front’ and specere meaning ‘to look at'. As a whole, the word took on the meaning: ‘a view of the forehead, judgement of character through facial features’. Incorporated into

1752-631: The 15th century, Michelozzo di Bartolomeo Michelozzi added decorative bas-reliefs of the cross and the Florentine lily in the spandrels between the trefoils. The building is crowned with projecting crenellated battlements , supported by small arches and corbels . Under the arches are a repeated series of nine painted coats of arms of the Florentine republic. Some of these arches can be used as embrasures ( spiombati ) for dropping heated liquids or rocks on invaders. The solid, massive building

1825-424: The 17th century, the word "frontispiece" became synonymous to the small illustrations facing the title page of a book or the ornaments on the title page itself. Illustrations creating the frontispiece of a book would often borrow stylistic elements from architecture such as drawings of columns and architectural ornaments . Following this development, authors began using the frontispieces of books, usually one of

1898-401: The 21st century, frontispieces were more commonly used in reference to small frontispieces above windows and doors serving the pure purpose of ornamentation. The smaller frontispieces of this period often feature engaged columns , which are partly embedded in the wall of the façade. The style of the columns, often known as the architectural orders , found bracketing the entrance of buildings,

1971-697: The Medici palazzo in via Larga to the Palazzo della Signoria in May 1540, signalling the security of Medici power in Florence. When Cosimo later removed to Palazzo Pitti , he officially renamed his former palace the Palazzo Vecchio , the "Old Palace", although the adjacent town square, the Piazza della Signoria , still bears the original name. Cosimo commissioned Giorgio Vasari to build an above-ground walkway,

2044-592: The Old Somerset House comprised a gateway in the form of a triumphal arch with superimposed orders and columns flanking windows the structure of which can be traced back to the arch in Castel Nuovo , Naples, borrowing the triumphal arch motif from Roman antiquity . In contrast to the predominantly decorative functions of frontispieces in the Classical Era, the sixteenth century also brought

2117-591: The Room of Ceres) and two loggias . The commission for these rooms was originally given by Cosimo I to Giovanni Battista del Tasso . But on his death, the decorations were continued by Vasari and his helpers, working for the first time for the Medicis. These rooms were the private quarters of Cosimo I. The walls in the Room of the Elements are filled with allegorical frescoes Allegories of Water, Fire and Earth and, on

2190-522: The School of Vasari and represent the four elements : fire, water, earth, and air. The portrait of Cosimo I and his wife Eleonora of Toledo was painted by Bronzino . The delicate bronze sculptures were made by Giambologna and Bartolomeo Ammanati . From a peep-hole, Francesco spied on his ministers and officers during meetings in the Salone dei Cinquecento. Dismantled within decades of its construction, it

2263-459: The Uberti family. Giovanni Villani (1276–1348) wrote in his Nuova Cronica that the Uberti were "rebels of Florence and Ghibellines ", stating that the palazzo was built to ensure that the Uberti family homes would never be rebuilt on the same location. The cubical building is made of solid rusticated stonework, with two rows of two-lighted Gothic windows, each with a trefoil arch. In

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2336-575: The apex at the top, two symmetrical straight lines sloping to the ends of the horizontal cornice. Segmental pediments , also called round or curved pediments have a rounded cornice replacing two sides of the traditional triangular pediment. Open pediments can be distinguished by the absent or nearly absent strong horizontal line (cornice) of the pediment. Broken pediments , made prominent in Baroque Architecture , can be identified by their non-continuous triangular outline, usually open at

2409-532: The architectural sphere, it signifies the physical characteristics of the exterior of a building, especially pertaining to the architectural ornaments surrounding the entrance. Traditionally according to The Complete Dictionary of Arts and Sciences , frontispieces should be used in reference to ornaments and structures specifically on the principle face of the building, while pediments should be used to describe smaller ornamentation above gates, windows, doors, etc. especially ones with 'a triangular space that forms

2482-522: The architectural system of using different styles of columns for each storey of a building, was introduced and often used for decorative functions in classical architecture. One of the most popular examples of superimposed orders was on the classical façade of the Colosseum . Built in 70AD, the Colosseum featured an arrangement of orders on a classical frontispiece of several storeys , set one above

2555-596: The brothers Giuliano and Benedetto da Maiano . The inlaid woodwork ( intarsia ) on the doors was carved by Del Francione and depicts portraits of Dante and Petrarch . The large frescoes on the walls portraying the Stories of Furius Camillus by Francesco Salviati were made in the middle of the 16th century. Since Salviati had his schooling in the circle around Raphael in Rome, these frescoes are based on Roman models and not typical of Florentine art. Marcus Furius Camillus

2628-555: The ceiling Penelope at the loom , in the frieze, episodes from the Odyssey . On the walls: Madonna and Child and a Madonna and Child with St. John by Botticelli . This room is dedicated to Virtue as personified by Gualdrada . The ceiling painting of Gualdrada is by the Flemish painter Stradanus , better known under his Italian name Stradanus. Against the wall is a cabinet with Florentine mosaic designs. These rooms were used by

2701-638: The ceiling, represents Saturn . The original statue "Boy with a Fish" by Verrocchio is on exhibit in one of the smaller rooms (the copy stands on the fountain in the first courtyard). Named for the fresco on the ceiling. Has a fabulous view of Florence. There is a southeastern view to Piazzale Michelangelo and the Fortress Belvedere . Also visible are the remains of the Church of San Piero Scheraggio . This room (the Sala di Ercole) gets its name from

2774-449: The church of Santa Croce , where they were ordinarily kept, and in a short ceremony drawn out at random. Only men who were not in debt, had not served a recent term, and had no relation to the names of men already drawn, would be considered eligible for office. Immediately after they were elected, the nine were expected to move into the Palazzo della Signoria , where they would remain for the two months of their office. There they were paid

2847-528: The eldest son of Cosimo I de' Medici , to Archduchess Johanna of Austria , sister of the Emperor Maximilian II . Amongst the cities depicted are Graz , Innsbruck , Linz , Vienna , Bratislava (Pozsony), Prague , Hall in Tirol , Freiburg im Breisgau and Konstanz . Some were damaged over the course of time. The harmoniously proportioned columns, at one time smooth, and untouched, were at

2920-561: The entrance from its completion in 1504 to 1873, when it was moved to the accademia Gallery . A replica erected in 1910 now stands in its place, flanked by Baccio Bandinelli 's Hercules and Cacus . The statuary present at the entrance of the Palazzo Vecchio is a testament to the fluctuating political atmosphere in Florence from 1504 to 1534, when Michelangelo's David and Bandinelli's Hercules and Cacus were created, respectively. The statuary in front of this political building

2993-498: The entrances to some important houses and some collegiate buildings. In the late 1520s to early 1530s, there was a revival of the heavy use of dense classical ornaments on the frontispieces which can be seen on the facade of Hengrave Hall , Suffolk, England built in 1538, as well as the addition of elements distinctive of the Italian Renaissance such as the use of terracotta moulded decorative elements featured on

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3066-541: The façade of the hall entrance to Richard Weston ’s Sutton Place, Surrey , built in 1533. In the mid-16th century, the building of Old Somerset House was considered one of "the first deliberate attempts to build, in England , a front composed altogether in the classical taste" and was "unquestionably one of the most influential buildings of the English Renaissance ." Although there was nothing new about

3139-411: The façades of buildings. Traditional decorative frontispieces are rarely used in the designing of post-modern buildings. Frontispieces from different eras can be distinguished by the different variations of pediments used (triangular, segmented, open or broken pediments), as well as the ornamentation of the columns corresponding to a particular architectural era . The word frontispiece describes

3212-405: The gable of a low-pitched roof and that is usually filled with relief sculpture in classical architecture '. In modern day architecture, the frontispiece of a building is often referred to as the "façade" of the building. Some architectural authors have also interchangeably used "frontispiece" with the word "pediment" in recent years given the similar nature of the ornaments involved. From

3285-622: The garden of the Villa Medici at Careggi . The water, flowing through the nose of the dolphin, is brought here by pipes from the Boboli Gardens . In the niche , in front of the fountain, stands Samson and Philistine by Pierino da Vinci . The frescoes on the walls are vedute of the cities of the Austrian Habsburg monarchy , painted in 1565 by Giorgio Vasari for the wedding celebration of Francesco I de' Medici ,

3358-464: The immense political power and social prestige, and by academics who wished to give permanent expression to the distinction of their college and university'. Frontispieces of this nature were purely for applied and decorative functions, even the 'fullest extent of the role of the columns in their load-bearing capacity was to hold up each other and not the building'. In baroque architecture , frontispieces also took on semi-oval structures which decorated

3431-601: The introduction of the first classical portico to England at St Paul's Cathedral , which was design by Inigo Jones . The portico served the more practical and structural purpose of providing a covered walkway at the entrance of the building. It was noted by Richard John Riddell, who analysed entrance - porticos in English Renaissance architecture, that the most impressive and architecturally sophisticated frontispieces were often set against houses 'by men who enjoyed or aspired to preferment and high office, with

3504-419: The next. The first courtyard was designed in 1453 by Michelozzo. In the lunettes , high around the courtyard, are crests of the church and city guilds. In the center, the porphyry fountain is by Battista del Tadda . The Putto with Dolphin on top of the basin is a copy of the original by Andrea del Verrocchio (1476), now on display on the second floor of the palace. This small statue was originally placed in

3577-447: The niches are sculptures by Bandinelli: in the center the statue of the seated "Leo X" (sculpted assisted by his student Vincenzo de' Rossi ), and on the right a statue of "Charles V crowned by Clement VII". The six statues along the walls that represent the "Labors of Hercules" are by de' Rossi. In the central niche at the south of the Hall is Michelangelo's noted marble group The Genius of Victory (1533–1534), originally intended for

3650-465: The north side of the hall, illuminated by enormous windows, is the raised stage called the Udienza , built by Bartolommeo Bandinelli for Cosimo I as a place to receive citizens and ambassadors. Above are frescoes of historical events; among these, that of Boniface VIII receiving the ambassadors of foreign States and, seeing that were all Florentines, saying: "You Florentines are the quintessence." In

3723-405: The only illustrations in the books during that period, to imply and communicate their perspectives and intentions as it was seen as the reader’s first gateway and glimpse into the book — namely to put their literary stamp in their book as artists did with their works of art during that period. During the classical era between the 8th century BC and 6th century AD, frontispieces often consisted of

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3796-586: The other with each storey corresponding to a particular architectural order . The move from the typical triangular pediments to segmental, curved pediments is seen in the carvings on the imperial sarcophagi in Rome which depicts the architecture of the era. Romanesque architecture also popularised the use of smaller, ornamental frontispieces surrounding windows. Many well-preserved examples of Roman influenced frontispieces can be found in Provence , France due to

3869-450: The principle face of the building and were predominantly used above large columns in the entrance, making up a large part of the façade of the building. In Greek architecture , frontispieces can refer to both large ornamentation on the triangular tops of buildings as well as smaller frontispieces. Larger frontispieces found on the front façades of sacred buildings often depicted mythological gods or important figures in history depending on

3942-454: The principle features of the façade, the stylistic attempts at consistency and symmetry in the structure of the frontispiece showed the growing awareness, during the late renaissance era in England, for 'regularity in planning and greater visual unity and symmetry' and a 'consistent use of the classical orders '. The three-storey frontispiece prominently placed at the centre of the façade of

4015-501: The process. A legend exists that Giorgio Vasari, wanting to preserve Da Vinci's work, had a false wall built over the top of The Battle of Anghiari before painting his fresco. Attempts to find Da Vinci's original work behind the Vasari fresco have so far been inconclusive. Michelangelo never proceeded beyond the preparatory drawings for the fresco he was commissioned to paint on the opposite wall. Pope Julius II called him to Rome to paint

4088-680: The purpose, and patronage , of the building. The Parthenon , built in Ancient Athens , is one of the most recognisable examples of a classically designed frontispiece. Built in 447BC, the ionic pediments of the Parthenon primarily featured Greek mythology and lore surrounding the Greek goddess, Athena , who was the patron of the Ancient city of Athens and the Parthenon. Classical elements such as superimposed orders , which refers to

4161-445: The roof). On the walls are large and expansive frescoes that depict battles and military victories by Florence over Pisa and Siena : The ceiling consists of 39 panels constructed and painted by Vasari and his assistants, representing Great Episodes from the life of Cosimo I , the quarters of the city, and the city itself. Toward the center is the apotheosis : Scene of His Glorification as Grand Duke of Florence and Tuscany . On

4234-605: The room indicates the beginning of the Vasari corridor , a passageway to the Palazzo Pitti built by Vasari for Cosimo I. The small, richly decorated chapel adjoining the Sala Verde is painted in fresco by the mannerist Angelo Bronzino and includes some of his masterpieces including the Crossing the Red Sea . It was built by Tasso to be Eleonora's private chapel. It was named because of the ceiling decoration. At one time it

4307-446: The same time richly decorated with gilt stuccoes. The barrel vaults are furnished with grotesque decorations. The second courtyard, also called "The Customs", contains the massive pillars built in 1494 by Cronaca that sustains the great "Salone dei Cinquecento" on the second floor. The third courtyard was used mainly for offices of the city. Between the first and second courtyard the massive and monumental stairs by Vasari lead up to

4380-468: The subject of the paintings on the ceiling. Also the tapestries show stories of Hercules . The room contains a Madonna and Child and an ebony cabinet called a stipo inlaid with semi-precious stones. Cosimo the Elder kept a menagerie of lions in a dedicated lion house in the palazzo. He often fought them or baited them against other animals in large festivals for visiting Popes or dignitaries. The room

4453-483: The tomb of Julius II . The statue was placed in this hall by Vasari. In 1868 it was removed to the Bargello Museum , but was returned in 1921 by officials. At the end of the hall is a small side room without windows. The studiolo was a small secret study designed by Vasari in a manneristic style (1570–1575). The walls and the barrel vault are filled with paintings, stucco and sculptures. Most paintings are by

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4526-475: The top apex. One of the prominent variations of a broken pediment is a swan-necked or ram's head pediment which has a highly ornamented S-shape. In its classical form, the frontispiece of a building is commonly used to describe the ‘gable surmounting the façade of an ancient temple in classical architecture’ which is now often known as a pediment and used as ornaments to the entrance of a building. During this era, frontispieces were used to describe ornaments on

4599-510: The top of their buildings providing a post-modern take on broken pediments often found in baroque architecture . Though some architects have designed buildings modernising on architectural styles and structures of the past, architecture of the 21st century seems to be moving in the direction of minimalism , contrary to grandiose nature of frontispieces seen from the Classical Era to the Neoclassical Era . Minimalism in architecture

4672-461: The tops of the entrances with added embellishments synonymous to the household or building. Frontispieces during this period featured more opulent and theatric style in ornamentation and grandeur as was common during the era. During this period, the use of broken frontispieces and heavy ornaments was featured in many of the buildings. This is seen in Palácio do Freixo designed by Nicolò Nasoni , who

4745-414: The use of smaller, decorative frontispieces with curved pediments. Renaissance Architecture , which ushered a revival of ancient Greek and Roman classical architectural forms, saw the introduction and proliferation of classical elements, which included the frequent usage of large columns and pediments. Classical elements, such as superimposed orders , were reintroduced in the sixteenth century to dignify

4818-498: The use of ‘fine quality building stone’ while others constructed with a decorative veneer were quickly lost. Romanesque influences in frontispieces can also be seen in the aerarium , treasury of ancient Rome, which features classical Roman architecture with both traditional triangular pediments as well as elaborate broken pediments. The Tombs of Lorenzo and Giulano de’Medici sculpted by Michelangelo also features etchings of frontispiece styles popular during this era which include

4891-595: Was a Roman general mentioned in the writings of Plutarch . A small doorway leads into the adjoining small chapel dedicated to St. Bernard , containing a reliquary of the Saint. Here the priors used to supply divine aid in the execution of their duties. In this chapel, Girolamo Savonarola said his last prayers before he was hanged on the Piazza della Signoria and his body burned. Signoria of Florence Timeline The Signoria of Florence ( Italian : "lordship")

4964-564: Was built in 1494 by Simone del Pollaiolo , on commission of Savonarola who, replacing the Medici after their exile as the spiritual leader of the Republic, wanted it as a seat of the Grand Council ( Consiglio Maggiore ) consisting of 500 members. Later, the hall was enlarged by Giorgio Vasari so that Grand Duke Cosimo I could hold his court in this chamber. During this transformation, famous (but unfinished) works were lost, including

5037-476: Was commissioned under two different rulers in Florence, David under Piero Soderini and Hercules and Cacus under the Medici . These statues, thus engage in a fierce dialogue with each other as well as the Florentine public about the socio-political state of Florence under each of the rulers. The statues at the entrance were installed next to each other to perpetuate different political agendas depending on their patron and demonstrate superiority from one regime to

5110-403: Was heavily influenced by the baroque architecture . Another known example of this is seen in Andrea Palladio ’s Church of San Giorgio Maggiore , in Venice which features an unusual broken pediment as it is the result of superimposing two temple fronts. In the late 18th century to the 19th century, neoclassical frontispieces were often described as ‘a portion of the façade of a building, that

5183-486: Was re-assembled in the 20th century. The other rooms on the first floor are the Quartieri monumentali . These rooms, the Residence of the Priors and the Quarters of Leo X, are used by the mayor as offices and reception rooms. They are not accessible to the public. A staircase designed by Vasari leads to the second floor. This floor contains the Apartments of the Elements, Priori, and Eleonora of Toledo. These apartments ( Sala degli Elementi ) consist of five rooms (such as

5256-562: Was the government of the medieval and Renaissance Republic of Florence , between 1250 and 1532. Its nine members, the Priori , were chosen from the ranks of the guilds of the city: six of them from the major guilds, and two from the minor guilds. The ninth became the Gonfaloniere of Justice . The names of all guild members over thirty years old were put in eight leather bags called borse . Every two months, these bags were taken from

5329-547: Was used for the Ladies-in-waiting at the court of Eleonora di Toledo . It contains Portraits of Medici Princes by Sustermans , statues by a Florentine art school and a tapestry by Fevère . On the ceiling is the Coronation of Esther decorated by Stradanus , with an inscription in honor of Eleonora di Toledo . The room contains a lavabo and two tapestries by Van Assel representing Spring and Autumn . On

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