4912 x 7360 px | 41,6 x 62,3 cm | 16,4 x 24,5 inches | 300dpi
Data acquisizione:
18 giugno 2015
Ubicazione:
The Palazzo Pitti is a vast, mainly Renaissance, palace in Florence, Italy
Altre informazioni:
The Palazzo Pitti, 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. King Victor Emmanuel III donated the palace and its contents to the Italian people 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, are 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, 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 that is generally credited. Besides obvious differences from the elder architect's style, Brunelleschi died 12 years before construction of the palazzo began. The design 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.
