Ammannati Courtyard - Palazzo Pitti - Piazza Pitti, Florence - statue near the Caffeteria

After our morning visit to Boboli Gardens in Florence, was time to leave via the Palazzo Pitti (Pitti Palace) at Piazza Pitti again. We thought about going to the cafeteria in the palace, but we decided to get a drink elsewhere in Florence that day.

So we left and headed to a bridge to cross back over the Arno.

The Palazzo Pitti (Italian pronunciation: [paˈlattso ˈpitti]), in English sometimes called the Pitti Palace, is a vast, mainly Renaissance, palace in Florence, Italy. It is situated on the south side of the River Arno, a short distance from the Ponte Vecchio. The core of the present palazzo dates from 1458 and was originally the town residence of Luca Pitti, an ambitious Florentine banker.

The palace was bought by the Medici family in 1549 and became the chief residence of the ruling families of the Grand Duchy of Tuscany. It grew as a great treasure house as later generations amassed paintings, plates, jewelry and luxurious possessions.

In the late 18th century, the palazzo was used as a power base by Napoleon and later served for a brief period as the principal royal palace of the newly united Italy. The palace and its contents were donated to the Italian people by King Victor Emmanuel III in 1919.

The palazzo is now the largest museum complex in Florence. The principal palazzo block, often in a building of this design known as the corps de logis, is 32,000 square metres. It is divided into several principal galleries or museums detailed below.

The construction of this severe and forbidding building was commissioned in 1458 by the Florentine banker Luca Pitti (1398-1472), a principal supporter and friend of Cosimo de' Medici. The early history of the Palazzo Pitti is a mixture of fact and myth. Pitti is alleged to have instructed that the windows be larger than the entrance of the Palazzo Medici. The 16th-century art historian Giorgio Vasari proposed that Brunelleschi was the palazzo's architect, and that his pupil Luca Fancelli was merely his assistant in the task, but today it is Fancelli who is generally credited. Besides obvious differences from the elder architect's style, Brunelleschi died 12 years before construction of the palazzo began. The design and fenestration suggest that the unknown architect was more experienced in utilitarian domestic architecture than in the humanist rules defined by Alberti in his book De Re Aedificatoria.

Though impressive, the original palazzo would have been no rival to the Florentine Medici residences in terms of either size or content. Whoever the architect of the Palazzo Pitti was, he was moving against the contemporary flow of fashion. The rusticated stonework gives the palazzo a severe and powerful atmosphere, reinforced by the three-times-repeated series of seven arch-headed apertures, reminiscent of a Roman aqueduct. The Roman-style architecture appealed to the Florentine love of the new style all'antica. This original design has withstood the test of time: the repetitive formula of the façade was continued during the subsequent additions to the palazzo, and its influence can be seen in numerous 16th-century imitations and 19th-century revivals. Work stopped after Pitti suffered financial losses following the death of Cosimo de' Medici in 1464. Luca Pitti died in 1472 with the building unfinished.

The building was sold in 1549 by Buonaccorso Pitti, a descendant of Luca Pitti, to Eleonora di Toledo. Raised at the luxurious court of Naples, Eleonora was the wife of Cosimo I de' Medici of Tuscany, later the Grand Duke. On moving into the palace, Cosimo had Vasari enlarge the structure to fit his tastes; the palace was more than doubled by the addition of a new block along the rear. Vasari also built the Vasari Corridor, an above-ground walkway from Cosimo's old palace and the seat of government, the Palazzo Vecchio, through the Uffizi, above the Ponte Vecchio to the Palazzo Pitti. This enabled the Grand Duke and his family to move easily and safely from their official residence to the Palazzo Pitti. Initially the Palazzo Pitti was used mostly for lodging official guests and for occasional functions of the court, while the Medicis' principal residence remained the Palazzo Vecchio. It was not until the reign of Eleonora's son Francesco I and his wife Johanna of Austria that the palazzo was occupied on a permanent basis and became home to the Medicis' art collection.

Land on the Boboli hill at the rear of the palazzo was acquired in order to create a large formal park and gardens, today known as the Boboli Gardens. The landscape architect employed for this was the Medici court artist Niccolò Tribolo, who died the following year; he was quickly succeeded by Bartolommeo Ammanati. The original design of the gardens centred on an amphitheatre, behind the corps de logis of the palazzo. The first play recorded as performed there was Andria by Terence in 1476. It was followed by many classically inspired plays of Florentine playwrights such as Giovan Battista Cini. Performed for the amusement of the cultivated Medici court, they featured elaborate sets designed by the court architect Baldassarre Lanci.

Ammannati Courtyard

Saw this statue near the Cafeteria.

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Taken in: Italia / Toscana / Firenze / Giardino di Boboli (show map)

Taken on: June 27, 2018

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Florence

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Italia

Tuscany

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birthplace of the Renaissance

the Athens of the Middle Ages

UNESCO

World Heritage Site

UNESCO World Heritage Site

historic centre of Florence

Piazza Pitti

Pitti Square

Piazza de' Pitti

Palazzo Pitti

Pitti Palace

Renaissance palace

Luca Pitti

Medici family

Grand Duchy of Tuscany

Cosimo de' Medici

Giorgio Vasari

Brunelleschi

Luca Fancelli

Buonaccorso Pitti

Eleonora di Toledo

Cosimo I de' Medici

Vasari Corridor

Francesco I

Boboli hill

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Niccolò Tribolo

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Cafeteria

Ammannati Courtyard « less

Sets appears in: • Palazzo Pitti, Florence • Florence

Groups appears in: • Sculpture • At the museum more » • Stately Homes, Palaces and Castles • Outdoor Statues • heroic statues • Italian sculptures « less

Camera: Panasonic DMC-FZ72, f/4.4, 1/60 sec, 13.5mm, ISO 400 (more info) (hide info)

Camera:	Panasonic DMC-FZ72
Aperture:	f/4.4
Exposure Time:	0.017 sec (1/60)
Focal Length:	13.5mm
ISO:	400
Exposure Bias:	0 EV
Flash:	Off, Did not fire
Exposure Program:	Program AE
Exposure Mode:	Auto
Metering Mode:	Multi-segment
White Balance:	Auto
Gain Control:	High gain up
Color Space:	sRGB
Software:	Ver.1.0
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