Author: RedFilo Cultura

BORGO SAN LORENZO (pieve di San Lorenzo) – The fresco is located at the top of one of the pillars of the right nave. Perhaps it is this position that has hindered a careful study of the work that appears to be of good quality. The pyramidal composition strongly influenced by the illustrious Florentine models of the early sixteenth century, such as those of Andrea del Sarto, however, the brilliance of the brushstroke, combined with an extremely accurate and solid design, led to the search of its author in the vicinities of authors such as Francesco Granacci or Giuliano Bugiardini.© Il…

BORGO SAN LORENZO (pieve di San Lorenzo) – The stone baptismal font, of polygonal form, seems to date back to the work campaign executed during the sixteenth century by Damiano Manti da Imola© Il Filo – Idee e Notizie dal Mugello

BORGO SAN LORENZO (pieve di San Lorenzo) – This work, of remarkable expressive quality, is the only known work (signed and dated) by the painter Cesare Veli, who executed it in 1591 on commission of the Cocchi family. The painting is clearly influenced by the late-mannerism style, for the sharp shapes and the shiny and cool colors, and also for references to the style of painting typical of northern Europe, but also derives from the important model that Bartolomeo had performed at the beginning of the sixteenth century (now preserved in the Gallery Palatina in Florence) and presents a sensible…

BORGO SAN LORENZO (Pieve di San Lorenzo) – Placed significantly on the same pillar as the Madonna of Giotto, this centrally-shaped table, represents again the central panel of a dismembered polyptych, of which the side facades have been identified and kept in foreign museums (actually, only one is preserved, while the other three went lost during 1913). The piece depicts the Madonna and the Child, in the same attitude as seen in the table of Giotto but in this case with a different outcome: the figure of the Virgin, with her sweet face and the almost grateful smile, very different…

BORGO SAN LORENZO (Pieve di San Lorenzo) – This canvas, with the archangel Michael dressed in a classical armor in the act of crushing Satan under his feet, is the work of the local painter Pietro Paolo Colli, who was active between the Eighteenth and the Nineteenth Century. The style is clearly similar to the beginning of the nineteenth century for the still classical details combined with a certain pathos that seems already to feel the romanticism period.© Il Filo – Idee e Notizie dal Mugello

© Il Filo – Idee e Notizie dal Mugello

SCARPERIA (Propositura dei Santi Jacopo e Filippo) – A fragment of balustrade is placed in a room on the left wall of the church and manufactured with pieces coming from the one that delimited the presbytery, at least until the sixties of the twentieth century before its removal. However, this is an elegant example of liturgical furnishings with eighteenth-century taste.© Il Filo – Idee e Notizie dal Mugello

SCARPERIA (Propositura dei Santi Jacopo e Filippo) – The first altar on the left wall is a monumental example of a stone artifact, with two large columns and capitals supporting a rectangular architrave with the inscription “Oportebat pati Christum” (“It was necessary for Christ to suffer”). On the columns’ base there are two coats of arms referring perhaps to the Lorenzi family. In the middle of the lower panel there is a marble coat of arms of the Medici family, with triple tiara and keys of St. Peter. The relief, probably not relevant to the altar, alluded to the brief…

SCARPERIA (Propositura dei Santi Jacopo e Filippo) – Inside the chapel on the left side of the rostrum, there is an interesting tabernacle in marble, whose execution is attributed to Domenico Rosselli, a sculptor originally from Pistoia, active also in Florence and in the Ducal Palace of Urbino. Such liturgical furniture had the aim to preserve the Eucharist and belonged to a very widespread practice among the Florentine environment during the fifteenth century and attended by all the greatest sculptors of the time, from Donatello to Desiderio da Settignano to Mino da Fiesole. This tabernacle can be dated to the…

AUDIOGUIDA (Waiting for downloading…)SCARPERIA (Propositura dei Santi Jacopo e Filippo) – Proceeding along the left wall there is a second altar made of stone with similar architectural lines. On this altar there are two coats of arms of the Landi family. In fact, the Augustinian Friar, who donated the altar in 1727 according to the inscription, was himself a member of the Landi Family. The painting on it is obviously not relevant to the altar itself and its original location is still unknown. It was painted by Giovanni Balducci, who was also known as the Cosci and was active between…