The Grand Duke Francesco I de’ Medici Table-Top “Il ......Il ne fault oublier à veoir la maison...
Transcript of The Grand Duke Francesco I de’ Medici Table-Top “Il ......Il ne fault oublier à veoir la maison...
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TheGrandDukeFrancescoIde’MediciTable-Top“IlTavolinodigioie”Florence,circa1568-1577AlmostcertainlyexecutedbyBernardinoPorfiriodaLeccio(documented1557-1588),
designedbyGiorgioVasari(1511-1574)Hardstones(PietraDura)setintoawhitemarblesupportNowonanEnglish17thcenturystylegiltwoodstand
Length:160cm.(63in.)Width:107cm.(421/8in.)Depth:8cm.(31/8in.)(thetabletop)
Length:141.5cm.(5511/16in.)Width:87cm.(34¼in.)Height:70.5cm.(27¾in.)(thestand)
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InventoryresearchbyDr.EnricoColle,astotalconfirmationofourattribution.PROVENANCEMadeforFrancescoIde’Medici,GrandDukeofTuscany(r.1574-1587),asdescribedbyVasariinthe1568editionofhisLives;recordedafterhisdeathin1588intheCasinodiSanMarco,FlorenceInheritedonFrancesco’sdeathbyhisillegitimateson,DonAntoniode’Medici(1576-1621),recordedin1621stillintheCasinodiSanMarcoOnhisdeath,revertstothemainMedicipossessionsofFrancesco’sgreat-nephew,FerdinandoIIde’Medici,GrandDukeofTuscany(r.1621-1670),andsubsequentlyrecordedin1638and1663inthePittiPalace,FlorenceBydescenttoAnnaMariaLuisade’Medici,ElectressofthePalatinate(1667-1743),whobequeathedtheMedicicollectionstotheTuscanstatein1737FrancescoIIStefanoofHabsburg-Lorraine,GrandDukeofTuscany(r.1737-1765),recordedin1761inthePittiPalaceHisson,LeopoldoIofHabsburg-Lorraine,GrandDukeofTuscany(r.1765-1790),recordedin1771inthePittiPalaceHisson,FerdinandoIIIofHabsburg-Lorraine,GrandDukeofTuscany(r.1790-1801),recordedin1793inthePittiPalace,andin1800inthePalazzoVecchio,FlorenceLudovicoIofBourbon-Parma,KingofEtruria(r.1801-1803)Hisson,LudovicoIIofBourbon-Parma,KingofEtruria(r.1803-1807),recordedin1805inthePalazzoVecchioandshortlyafterwardsinthePittiPalace,inventorynumber2970asinscribedonthebackofthetable-topElisaBonaparte,GrandDuchessofTuscany(r.1807-1814)FerdinandoIIIofHabsburg-Lorraine,GrandDukeofTuscany(r.1814-1824),recordedin1815and1819inthePittiPalace,inventorynumber290Hisson,LeopoldoIIofHabsburg-Lorraine,GrandDukeofTuscany(r.1824-1859),recordedundernumber480in1829,undernumber860in1846,andin1858inthePittiPalaceTransferredtotheOpificiodellePietreDure,Florence,in1858SoldbytheItalianStatein1870to“GuglielmoSpencer”(WilliamBlundellSpence(1814-1900)),for47000Lire,almostcertainlyonbehalfofHughLupusGrosvenor,3rdMarquess(later1stDuke)ofWestminster(1825-1899),photographedinJuly1889inthegalleryofGrosvenorHouse,Mayfair,London,andbydescentSoldbytheExecutorsofHughRichardArthurGrosvenor,2ndDukeofWestminster(1879-1953),Sotheby’sLondon,10July1959,lot166SoldFinarte,Rome,PalazzodelDrago,ViadelleQuattroFontane,10-12December1975,lot279AntichitàAlbertodiCastro,Rome,bywhomsoldin1976toEuropeanPrivateCollectionuntilthepresentdayWithBurzio&Robilant+VoenaGalleries,LondonLITERATUREAlvarGonzález-Palacios,MosaiciePietreDure,II.Firenze–PaesiGermanici–Madrid,Milan,1982,p.14(ill.)FilippoM.Tuena,‘CosimoIelepietredure’,inA.González-Palacios(ed.),AntologiadiBelleArti,Turin,1990,p.147(ill.)AlvarGonzález-Palacios,IlGustodeiPrincipi,vol.II,Milan,1993,p.361,ill.703
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ImportantItalianandFrenchFurnitureandTapestries,Sotheby’sLondon,15December1999,p.46,fig.3AlvarGonzález-Palacios,LasColeccionesRealesEspañolasdeMosaicosyPiedrasDuras,Madrid,2001,p.62(ill.)AnnaMariaGiusti,PietreDureandtheArtofFlorentineInlay,London,2006,p.29SimonSwynfenJervisandDudleyDodd,RomanSplendour,EnglishArcadia:TheEnglishTasteforPietreDureandtheSixtusCabinetatStourhead,London,2015,p.50COMPARATIVELITERATUREGiorgioVasari,Levitede'piùeccellentipittori,scultorietarchitettori,vol.3,Florence,1568UlisseAldrovandi,ItinerariumFlorentiae,1586,unpublishedmanuscript,BolognaUniversityLibrary,MS136/11JohnFleming,‘ArtDealingintheRisorgimentoII’,TheBurlingtonMagazine,vol.121,no.917(Aug.,1979),pp.492-494+497-500+502-508JohnFleming,‘ArtDealingintheRisorgimentoIII’,TheBurlingtonMagazine,vol.121,no.918(Sep.,1979),pp.568-573+575-580NicolasAudebert,Voyaged'Italie,AdalbertoOlivero(ed.),vol.1,Rome,1981FilippoM.Tuena,‘Appuntiperlastoriadelcommessoromano:Il'franciosino'maestroditavoledelcardinaleGiovanniRicci’,inA.González-Palacios(ed.),AntologiadiBelleArti,Rome,1988,pp.54-69SuzanneB.Butters,‘”Unapietraeppurenonunapietra”:pietredureelebotteghemediceenellaFirenzedelCinquecento’,inG.FossiandF.Franceschi(eds.),LaGrandeStoriadell’Artigianato,III:IlCinquecento,Florence,2000,pp.133-185MariaAlbertaZuffanelli,‘L'Opificiodellepietredureelesuediversesedi:trasferimentievicendecostruttivedalsecoloXVIalsecoloXIX’,OPDRestauro,no.17(2005),pp.317-332AnnaMariaGiusti,‘“Lapietranonmaiabbastanzalodata”nellamanifatturaGranducalediFirenze’,inV.Conticellietal.(eds.),Lapislazzuli,MagiadelBlu,exh.cat.,9June–11October2015,MuseodegliArgentiandMuseodiStoriaNaturale,Florence,Livorno,2015,pp.101-109ASTARTLINGDISCOVERY
“HadatosuaEccellenziaprincipioancoraafareun’tavolinodigioieconricchoornamentoperaccompagnarneun’altrodelDucaCosimosuopadre…”
(HisExcellency[Francescode’Medici]hasalsocausedabeginningtobemadewiththeexecutingofatablewithpreciousstones,richlyadorned,asanaccompanimenttoanotherbelongingtohisfather,DukeCosimo...)-GiorgioVasari,1568.
PortraitofFrancescode’Medici,mid-1560s,byBronzino,Privatecollection,NYC.
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“Veramentebellissimacosadavedere,fattadipezzidicorniuola,dielitropia,de
lapis,diaspro,diagataetd’altremoltepietre,moltobencommesso,etèestimataunacosamoltorara...etnonèancorafinita”
(Trulyamostbeautifulthingtosee,madeofpiecesofcarnelian,heliotrope,lapislazuli,jasper,agateandmanyotherstones,verywellsettogetherandesteemedamostrarething…andit
remainsunfinished)-HercoleCortile,FerrareseEsteambassador,
CasinodiSanMarco,Florence,1575INTRODUCTIONPreviouslyonlyknownthroughatantalisingmentioninVasari’sLivesandtwobriefcontemporarysightings,newdiscoveriesbyEnricoColleintheMedici-Lorrainerecordshaveconfirmedthatthistable-topisinfacttheonemadeinFlorenceforFrancescoIde’Medici,GrandDukeofTuscany.(ApublicationbyDr.EnricoColleitwillcomingsoon)
(HisExcellency[Francesco]hasalsocausedabeginningtobemadewiththeexecutingofatablewithpreciousstones,richlyadorned,asanaccompanimenttoanotherbelongingtohisfather,DukeCosimo,finishednotlongagoafterthedesignofVasari,whichisararework,beingoforientalalabasterallinlaidwithgreatpiecesofjasper,
heliotrope,cornelian,lapislazuli,andagate,withotherstonesandjewelsofpricethatareworthtwentythousandscudi.ThistablewasexecutedbyBernardinodiPorfirioofLecciointheneighbourhoodofFlorence,whoisexcellentinsuchwork,andwhomadeforMesserBindoAltovitianoctagonaltableofebonyandivoryinlaidlikewisewith
jaspers,afterthedesignofthesameVasari;whichBernardinoisnowintheserviceoftheirExcellencies.)1A truly iconicworkof art, amasterpiece in all decorative art field, the table-top is composedentirely out of hardstones (pietra dura), making it exceptionally rare. Only two others areknown,includingthePradoonecitedinnote2below.ThevastmajorityofRoman16thcenturytable-topsaremadewithcolouredmarbleswhicharesofterandeasiertocut.Additionally,theFrancescoIde’Medicitopistheonlyoneofthethreetoretainits16thcenturyappearancewiththeoriginalbordersandtheinlaidapronbelow.This tophas fascinated the leading scholars in the field startingwithAlvarGonzález-Palacioswhofirstsawitatthe2ndDukeofWestminster’s1959Sotheby’sauctionandpublisheditforthefirst time in 1982.2 Two important articles by Filippo Tuena, in 1988 and 1990, raised thepossibilitythattheWestminstertablemightinfactbetheonecommissionedbyFrancescode’Medici.
1Vasari1568,vol.3,p.8712Pleaserefertothebibliographylistedabove.Morerecently,AnnaMariaGiusti,theforemostauthorityattheOpificiodellePietreDure,Florence, reiteratedGonzález-Palacios’sconclusionofaRomanorigin forthepiece and its close similarity to theother great table-topgiven toPhilip II in1587. Finally, SimonJervis inhismagisterialstudyofRomanpietradura inEnglishcollectionssupports thisattributionandrelatesthetabletoaseriesofpenandinkdesignsbyGiovanniVicenzoCasale,circa1570.
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The Florentine archival evidence confirms that this table-top was recorded in the MedicicollectionsasearlyasMarch1588whenitappearsintheCasinodeSanMarcoinaninventorytaken after the death of Francesco. Its subsequent history down to its disposal in 1858 isconfirmedinaseriesofdetaileddescriptionsinMediciandthenLorrainedocumentswhichissetforthbelow.ATTRIBUTIONTuenain1988exploredcorrespondencebetweentheleadingpatronofcut-stonespecialistsinRome, Cardinal Giovanni Ricci (1498-1574), and the Medici secretary, Bartolomeo Concini.Early in1568 the twowere in earnest discussion about a table tobemade for Francescode’Medici, then theheir to theGrandDukedomofTuscany.This project, in all likelihood,wouldappeartobetheverysamereferredtolaterthatyearbyGiorgioVasariinthesecondeditionofhis Lives. According to Vasari, we know that the table was started in 1568. Two furthercontemporary accounts confirm that it took many years to be made, most likely due to thedifficultyinobtainingtherarehardstones.Whatisunusualaboutthedesignofthistableisthelargesizeofthelapislazulipanels,whichwereespeciallyhardtoobtain.3In1575theDukeofFerrara’sambassador toFlorence,HercoleCortile,visited theCasinoandlaterrecordedthathehadbeenshownatablewhichwas:
Veramentebellissimacosadavedere,fattadipezzidicorniuola,dielitropia,delapis,diaspro,diagataetd’altremoltepietre,moltobencommesso,etèestimataunacosamoltorara...etnonèancora
finita4
(Trulyamostbeautifulthingtosee,madeofpiecesofcarnelian,heliotrope,lapislazuli,jasper,agateandmanyotherstones,verywellsettogetherandesteemedamostrarething…anditremainsunfinished)
A year later,NicolasAudebert ofOrléans, on an educative trip through the Italianpeninsular,visitedtheCasinoandleftthissuperlativedescriptionofthetable:
IlnefaultoublieràveoirlamaisonoùlegrandDucfaicttravaillerenpierreries,etlàveoirlatabledemarbrecouvertedepierrespretieusesrapportéesensemble,cequin’estencoresachevé,etcombienqu’il
yrestepeuneantmoinsnesepeult–cedicton–parfairepourquarantemilescutz5
(OnemustnotomittoviewthehousewheretheGrandDukehasgemstonesworked,andseetherethemarbletablecoveredinpreciousstonessettogether,whichisnotyetfinished.Howeverlittleremains[tobedone],
neverthelessitcannotbe,Isay,broughttoperfectionfor[lessthan]40,000scudi)
ThisindicatesworkwasstillinprogressinearlyOctober1576.AnnaMariaGiustirecentlyre-publishedthesenotices,6whichprovideaterminusantequemofc.1577forthetopnowlocatedintheinventories.
3 For the table made for Cosimo I, Vasari was supplied with larger pieces of lapis direct from Ducalsupplies.On19March1562,hewrote:“MandoinquestaunmodanettodicartaperchéV.E.Ill.macimandiper il tavolino otto pezzi di lapislazzuli di questa grandezza” (I enclose a card mould for Your MostIllustrious Eminence to send us for the tavolino eight pieces of lapis lazuli of this large size); cited inTuena1990, p.143. Vasari indicated a cost of 20000 Scudi for it, half amount than our top ten yearsbefore)4CitedinButters2000,p.1535Audebert1981,vol.I,p.2596Giusti2015,p.109,n.4-5.
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A third, and hitherto unpublished, sighting of the table in the Casino is recorded by theBolognesenaturalistUlisseAldrovandi,inJune1586:7
Tabulaaliaquadrangularisexmultishisquediversismarmorumgeneribuscontextainbasietadlateraexcyano,ametisto,eliotropioorientali,achateetaliispreciosissimislapillislongitudine8
dodrantumlatitudine5cumdimidiotantadiligentiaconiunctautvideaturcontinuusunicusquelapis
(Anotherrectangulartable,inlaidinthebaseandonthesideswiththesemanyandvarioustypesofmarble:cyano[lapislazuli]8,amethyst,orientalheliotrope,agateandotherextremelypreciousstones,8dodranslongby5.5wide,9joined
togetherwithsuchgreatcaresoastoappearcontinuousandonlyofstone)
Thetable-topbelongstothesamegroupofworksastheonereferredtobyVasariascommissionedbythebankerBindoAltovitiand,liketheoneownedbyCosimoI,executedtohisdesignbyBernardinoPorfiriodaLeccio(fig.1).
Fig.1–GiorgioVasariandBernardinoPorfiriodaLeccio,Ebonytable-topinlaidwithpreciousstonesandivory,before1557.Rome,BancodiRomaCollection
In design, the Francesco I de’ Medici top is most similar to another in the Hermitage alsoconsideredFlorentine(fig.2),whichhasonoccasionbeendiscussedinconnectionwithVasari’ssummaryof theMedici tavolino commissions.Whatdistinguishes thisone, and takes itoutofthereckoning,isitsbeingonawooden,andnotmarble,support.
Fig.2–Wooden(ebony)table-topinlaidwithpietredureandivoryfillets.Florentine,thirdquarter16thc.StPetersburg,HermitageMuseum
7UlisseAldrovandi,ItinerariumFlorentiae,1586,ff.51v.-r.8HistoriaNaturalediFerranteImperato…,Venice,1672,p.545:“DelCyano,cap.XL|Nelchemanifestamenteveggiaino,comeinnanzihabbiamdetto,chelapietraLazuleafussedagliantichichiamatasottoilnomediCyano…”(OnCyano,chapter40|Inwhichweclearlysee,aswehavesaidbefore,thattheLazuleastonewascalledbytheancientsCyano)9ThedodransintheRomansystemofmeasurementsequalled¾ofafoot.Thesedimensionsthusapproximatetothistable’s,withtheirwidth-lengthratioof1:1.45pleasinglyclosetoitsactual1:1.495
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Athirdimportantcomparanda–theonlyotherexclusivelypietreduretopknownfromthe16thcentury–istheonestilllocatedinthePittiPalace,withintheMuseodegliArgenti(fig.3).
Interestingly,itisinscribedonitsreversewiththenumber859(fig.4),sequentiallyadjacenttothe‘860’assignedtotheFrancescoIde’Medicitableinthe1846inventoryreproducedbelow.
Tuenain1990thoughtthatstylisticallythisonewasclosertoBuontalentithanVasari.10
Figs.3and4–Table-topinlaidwithpietredure,Florence,c.1570-1585.Florence,PalazzoPitti,MuseodegliArgenti,andtheinventorynumberinscribedonitsrevers
MEDICI-LORRAINEPROVENANCEThistable-topisfirstsightedin1575andagainin1577byvisitorstotheCasinodiSanMarco(figs.5-7).Thisvillaneartheeponymousmonasticcomplexinthecity’snorthernreacheswasnewly-erected in Mannerist style around 1570 by Bernardo Buontalenti, on the site of thequattrocentoMediceansculpturegardens.ConstructedforFrancescode’Medici, itservedasalaboratoryforscientificexperimentationand,from1588,afirsthometotheOpificiodellePietreDure.
Fig.5–FlorenceinthetimeofFrancescoIde’Medici:111)TheSanMarcodistrict,centredaroundtheDominicanmonastery(seeenlargementbelow);2–ThePittiPalaceandBoboliGardens
10Tuena1990,p.14411StefanoBuonsignori,NovapulcherrimaecivitatisFlorentiaetopographiaaccuratissimedelineate,1584(revised1594)
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Figs.6and7–TheSanMarcodistrictin1584.Onthemap’skey#49=“CasinodelGranD.”,andBernardoBuontalenti,PortaldecorationofCasinodiSanMarco,Florence,1570-74We know from the eye-witness accounts that Francesco’s table, coevalwith the building,wasthereforeprobablyconstructedforthespaceindicatedintheinventoryrecordsinwhichitfirstappears,littlemorethanadecadelater.Itmustalsobenotedthatthroughoutthetwo-and-a-halfcenturyinventorytrailwhichfollows,thetable’sbaseamazinglyremainsunchanged,testamenttoitspre-eminentprestigewithintheroomsitgraces:CasinodiSanMarco,1588Inventory
InventariodellaGuardarobadellaCasaedelPalazzodelCasino,acustodiadiPieroElmicominciato
oggiquestodi’8diMarzo1587(InventoryoftheWardrobeoftheHouseandPalaceoftheCasino,inthecustodyofPieroElmi,beguntoday,8
March158812)
Seguenellaprimacameraterrena(Inthefollowingground-floorroom)
UnotavolinodigioiecommessolungoB.trelargoB.2consuopianodinocesuQuattrocolonnesimile
commessed.o[dorato?](Aninlaidjewelledtable,3braccialongby2bracciawide,withitswalnutstandonfourcolumns,similarly
inlaid,andgilded(?))ItnextappearsinaninventoryoftheestateofFrancesco’sillegitimateson,DonAntoniode’Medici(1576-1621),takenintheyearofhisdeathCasinodiSanMarco,1621Inventory
Inventariodeglioggettiappartenentiall’eredita’diDonAntoniode’Medici1621(InventoryofobjectsappertainingtotheestateofDonAntoniode’Medici,1621)
Nellasestacam.rachesegueallatoallaGalleria(Inthesixthroomwhichrunsalongside(?)theGallery)
UntavolinodimarmocommessoconpietrefineconLapis,diaspri,CrognoleAgataetsimilea’ovati,et
altriscompartimenti,consuoipiedi,etornamentdinoceprofilatod’orolungotreb.aincirca
(Aninlaidmarbletablewithfinestones,withlapis,jasper,carnelian,agateandsimilar,oval-shapedandinothercompartments,withitslegsanddecorationofwalnutfilletedwithgold,around3braccialong)
12Until1750,theFlorentineyearendedon25March,theFeastoftheAnnunciation
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Theseearlyinventories’dimensionsareapproximatebutclearlyevoketheproportionsofthistable-top.The threeand twobraccia givenaboveequate to175and117cm(versus the top’sactual160x107cm).Measurementwillbecomesuccessivelymorepreciseover time– in thenextinventoryentry,forinstance,thelengthismoreaccuratelystatedas2¾braccia(163cm).ThisnextrecordisfromageneralinventorycompiledfortheMediciGrandDuke,bythisstageFerdinandoII.Here,thetableistakenfromtheCasino,asDonAntonio’spossessions,inheritedpersonallyfromhisfatherFrancesco,arere-incorporatedintotheMedicifamilycollectionsCasinodiSanMarco,1618-1624Inventory
InventarioGeneralediS.A.S.1618-1624(GeneralInventoryofHisSereneHighness,1618-1624)
Untavolinodimarmocommissoconpietrefinecioe’lapislazziricorniole,agateediaspriealterpietresimiliindiversiscompartimentilungoB.a23/4conpiededinoce,atelaioabalaustritornititocchi
d’oroh.ti[havuti?]dallaGalleriadelCasinoa15Aprile1621
(Aninlaidmarbletablewithfinestones,i.e.lapislazuli,carnelian,agateandjasper,andthelike,invariouscompartments,23/4braccialong,withitslegsaframeworkofturnedwalnutbalusters,touchedwithgold,had
fromtheCasino’sGalleryon15April1621)Itnextappears,andwillcontinuetodoso–exceptingabriefperiodintheguardarobaduringtheyearsofFrenchoccupation–forovertwocenturies,ininventoriesofthePalazzoPitti,theseat of Medici, and later Habsburg-Lorraine, Grand Ducal power in Tuscany. Acquired andenlargedbytheMediciinthemid-16thcentury,withthecreationofapartmentwings,courtyard,grottoand therenownedBoboligardens, itwasextended laterallyand internallyredecoratedfromtheearly17thcenturyonwards.The first of these inventory citations, in 1638, is so extraordinarily precise, in its numbering,descriptions and measurements of elements, that there can be no doubt whatsoever that itreferstothistable-top:PittiPalace,1638InventoryInventariodituttiIMobilichesononelPalazzode’PittidiS.A.S.inconsegnaaBiagioMarmicominciato
questodi26Feb.1637
(InventoryofallfurnitureinHisSereneHighness’sPittiPalaceentrustedtoBiagioMarmi,begun26February163813)
Nellaquartacameradell’appartamentonuovoversolapiazzadiSAS
(InthefourthroomofthenewapartmentoverlookingHisSereneHighness’spiazza)
Untavolinodipietrecommesseconpiùediversispartimentituttiproffilatidifilettidimarmobianco,concinqueaovatidilapislazzeroinmezzo,e4pezzidilapislazzerosimileinformadivaso,con
seangoliequadridell’istessolapislazzero,confregettoattornolargobraccia0/6listratodallebanded’amatistaopietrasimile,concornicedimarmointorno,commessonelfregiodiessacorniole,
lapislazzeriealtridiaspri,consuapiediatelaiodinoceabalaustro,conprofilid’oro,lungobraccia2¾largobraccia1¾
(Aninlaidstonetable,withmultipleandvariouscompartments,alldelineatedwithfilletsofwhitemarble,withfiveovalsoflapislazuliinthemiddle,fourvase-likepiecesofsimilarlapis,hexagons[aslightinaccuracy,theyareactuallyeight-sided]and
quadrangles,likewiseoflapis,withasurroundingfrieze0/6inwidth,borderedbybandsofamethystorsimilarstones,andthatframedaroundbymarble;inlaidinthefriezearecarnelian,lapisandotherjaspers.Withitslegsaframeworkofbalusteredwalnut,
withgoldinsertions.2¾braccialongby1¾bracciawide) 13Seefootnote12,abouttheFlorentinecalendar
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The‘newapartment’inthefirsthalfofthe17thcenturycomprisedtheextensionofthepalace’sleft-handside.The‘fourthroom’indicated,assumingagroundfloorplacing(asthroughoutthe19th century),would be the Salotto dipinto dal detto Colonna, in today’sMuseo degli Argenti,named after Michelangelo Colonna (1604-87), who frescoed this part of Ferdinando II’squartiereestivofromNovember1637(RoomG;fig.8).
Fig.8–GroundfloorofthePittiPalace,1663
Thenextinventorycitationlocatesthetableonthepalace’sthirdfloor,amongsttheroomsdesignatedfortheGrandDuke’schildren,mostlikelyintheCameradiAudienza(RoomD;fig.9):PittiPalace,1663Inventory
InventariodituttiimobilichesiritrovanonelPalazzodiPittidiS.A.S.consegnatiaJacintoMariaMarminuovoGuardaroba,1663
(InventoryofallfurniturefoundinHisSereneHighness’sPittiPalaceentrustedtoJacintoMariaMarmi,the
new[Masterofthe]Wardrobe,1663)CamerachesegueperaudienzadelSer.moPrincipeconlaportasulballatoio…Appartamentodel
Se.moPrincipeCosimoTerzoeSer.maPrincipessaSposa
([Inthe]roomwhichfollows,foraudiencesoftheMostSerenePrince,withthedoorontothelanding,[inthe]apartmentoftheMostSerenePrinceCosimoIIIandthemostSerenePrincesshiswife)
Unatavoladipietredurecommesselavorateaspartimenti,dipiu’,ediversepietre,cioe’lapislazzeroorientale,Agate,Cornioleetalterconpieditornitidinoceabalaustrofilettatid’orolungoB:a2¾
largaB:a15/6
(Aninlaidpietreduretableworkedintocompartments,withmultipleandvariousstones,i.e.orientallapislazuli,agate,carnelianandmorebesides,withturned,balusteredwalnutlegsfilletedwithgold.2¾braccialongby15/6
bracciawide)
163819thC
1761
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Fig.9–ThirdfloorofthePittiPalace,1663
When the table is next clearly identified, in the later18th century, it hasbeen returned to thegroundfloor, inoneof theroomsof thepresent-dayMuseodegliArgentiwhichfacesontotheunfinishedcourtyard,mostlikelyintheCameradelConsiglio(RoomL;fig.8):PittiPalace,1761Inventory
InventariodeIMobilieditutt’altrochesiritrovanell’ImperialPalazzode’PittidiFirenzefattoperla
consegnaaCarloGillesGuardarobadelmedesimoatuttoildi’30maggio1761
(InventoryoffurnitureandallelsefoundintheImperialPittiPalaceofFlorence,completedforCarloGilles[Masterofthe]Wardrobethere,30May1761)
QuartaCamerachesegueconcortilenonfinito…AppartamentodettoGranducale,doveabitavail
SerenissimoDucaGio.Gastone
([Inthe]fourthroomwhichfollows,withtheunfinishedcourtyard…[makinguppartoftheformer]so-calledGrandDucalApartment,wheretheMostSereneDukeGianGastoneresided)
UnatavoladimarmobiancoimpiallacciatadiLapis,AgatadiFrancia,diasprodiSicilia,Diaspro
Orientale,eCornioleLungaB:a2.¾largaB:1.5/6ConsuopiededinoceconQuattrocolonnetornite,contrebalzedivellutoCremisicontornatedifrang:nadiSeta,eOro,etuttamacchiatafod:editela
(Awhitemarbletableveneeredwithlapis,Frenchagate,Sicilianjasper,orientaljasper,andcarnelian,2¾braccialongby15/6bracciawide,withitsfeetofwalnutwithfourturnedcolumns,withthreecrimsonvelvetflouncesedgedwithalittlefringe(frangina?)ofsilkandgold,allofwhicharestainedandlined(foderate)withcloth
1663
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Tenyearslater,thetablehasbeenmovedtotoday’sSaladell’Iliadeattheextremeleftendofthepianonobile,namedafteritsearly-19thcenturyfrescos(RoomE;fig.10):
Fig.10–Secondfloor(pianonobile)ofthePittiPalace,1663PittiPalace,1771Inventory
InventariodelR.Palazzode’Pitti1771(InventoryoftheRoyalPittiPalace,1771)
SestastanzadettadeNovissimiconduefinestresullaPiazzaeTerrazzinodiBoboli
([Inthe]Sixthroom,called‘oftheNovissimi’,14withtwowindowsoverlookingthepiazzaandterraceoftheBoboliGardens)Unatavoladimarmobiancoinformaquadra,tuttacommessanelpianodiPietredurediverse,cioe’Lapislazzuli,Agate,corniole,ealter,aformelle,eovatidipiu’grandezze,lungaB:a2.14lungaB:1.16
conpiededinoceacolonnettetornite(Awhitemarble,square-shapedtable,itssurfaceentirelyinlaidwithvariouspietredure,i.e.lapislazuli,agate,carnelian,andmorebesides,mouldedandinovalsofgreatsize,214/20braccialongby116/20bracciawide,
withwalnutcolumnatedlegs)Twentyyearson,thetableremainsonthepianonobile,mostlikelybehindthefamoussuiteofroomsdecoratedbyPietrodaCortona:
14 Novissimi here refers to the Sala dell’Iliade‘s late-17th century decoration, on the theme of death,judgement,heavenandhell(theFourLastThings).
1771
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PittiPalace,1791Inventory
InventariodeiMobilieBiancheriadelRealPalazzoPitti1791(InventoryoffurnitureandlinenintheRoyalPittiPalace,1791)
Adi25settembre1793?/StanzachesegueSeg:adiN:o143…RetroQuartiereaquellodettodiPietro
daCortonacompostdiOttostanze…(25September1793?/[The]roomwhichfollows,designatedasnumber143[locatedinthe]
quartersbehindthatcalled‘byPietrodaCortona’composedofeightrooms)
UnaTavoladimarmobiancoinformaquadratuttacommessanelpianodiPietredurediversecioe’Lapislazzuli,Agate,Corniole,ealter,eformelleeaovatidipiu’grandezze,lungaB:a2.14largaB:a
1.16conpiediacolonnettetorniti,tintibianchi,efilettatid’oro.(Awhitemarblesquare-shapedtable,itssurfaceentirelyinlaidwithvariouspietredure,i.e.lapislazuli,agate,carnelian,andmorebesides,mouldedandinovalsofgreatsize,214/20braccialongby116/20bracciawide,
withwalnutcolumnatedlegs,paintedwhiteandfilletedwithgold)WiththeFrenchRevolutionaryoccupationofFlorence,thetableentersaperiodofguardaroba:PalazzoVecchio,1799InventoryInventariodeimobilietutt’altrocheesistenelleStanzedelMagazzinodellaR.GuardarobaGenerale,
1799(InventoryoffurnitureandallelseinthestoreroomsoftheRoyalWardrobeGeneral,1799)
Adi’28Marzo1800StanzaaTerrenoperusogia’delMagistratoSupremo(On28March1800,thegroundfloorroomonceusedbytheSupremeMagistrate)
UnaTavolaQuadrilungadimarmobiancocommessovipietredurediversecioe’Lapislazzuli,Agate,Corniole..aformelle,eovatidaB:a24/5EB:a14/5,esuopiedeacolonnetteintelaiatotintobiancoe
filettatod’oro(Anoblongquadrilateraltableofwhitemarble,inlaidwithvariouspietredure,i.e.lapislazuli,agate,carnelian,etc.,mouldedandoval-shaped,24/5braccialongby14/5bracciawide,withcarvedcolumnatedlegs,painted
whiteandfilletedwithgold)PalazzoVecchio,1804InventoryInventariodeimobileetutt’altrocheesistenellestanzedelMagazzinodellaR.GuardarobaGenerale,
1804(InventoryoffurnitureandallelseinthestoreroomsoftheRoyalWardrobeGeneral,1804)
Adi’22detto(1805)StanzaaTerreno/Perusogia’delMagistratoSupremo
(Onthe22ndofthesaidmonth,1805,thegroundfloorroomonceusedbytheSupremeMagistrate)
UnatavolaquadrilungadimarmobiancocommessoviPietredurecioe’lapislazzuliagate,cornioleecc.AformelleeovatidaB.24/5perB..a14/5epiedeacolonnetteintelaiatobiancoefilettatodiOro
(Anoblongquadrilateraltableofwhitemarble,inlaidwithvariouspietredure,i.e.lapislazuli,agate,carnelian,etc.,mouldedandoval-shaped,24/5braccialongby14/5bracciawide,withcarvedcolumnatedwhitelegs,
filletedwithgold)
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OncethetablereturnstoregaluseinthePitti,theinventorycitationsareitemisednumerically,andhappily,throughoutthefirsttwo-thirdsofthe19thcentury,theseinventorynumbersmatchthosewrittenonthetop’sunderside(fig.11).
Fig.11–Partofthetable-top’sreverse
PittiPalace,1804Inventory,n.2970(fig.12)UnatavolaquadrilungadimarmobiancocommessoviPietredurecioèlapislazzuli,agate,corniolea
formelleeovati…epiedeacolonnetteintelaiatobiancoefilettato…guasto(Awhitemarblerectangulartable,inlaidwithmouldedandovalpietredure,i.e.lapislazuli,agate,
carnelian…and[with]carvedwhitecolumnatedfeet,filleted…damaged)
Fig.12–Inventoryno.2970ontheundersideofthetable-top
From1815,wecanlocatethetablepreciselyinallsubsequentinventoryrecords.Itisplacedonthegroundfloor,inoneoftheaudiencechambersnamedafterMichelangeloColonna(RoomG,fig.8):PittiPalace,1815Inventory,n.290(fig.13)InventariodeiMobilieBiancheriedell’I.eR.PalazzoPittiallaconsegnadelGuardarobamedesimo
1815(InventoryoffurnitureandlinenoftheImperialandRoyalPittiPalaceinthecustodyofthe[Masterofthe]
Wardrobe,1815)
StanzacheseguedipintadalColonnaconfinestraaltasullaPiazzaesegnatadiN.12(ThefollowingroompaintedbyColonnawithatallwindowoverthepiazza,andnumbered12)
290UnaDettaquadrilungadimarmobiancolungaB2esoldi16=largaB1esoldi16commessovidipietraduracioè,LapislazzoliAgatecornioleaformelleeovati,conpiedeacolonnettaintagliatotinto
biancoefilettatod’oro(290.Awhitemarblerectangular[table],216/20braccialongby116/20bracciawide,inlaidwithmouldedandovalpietredure,i.e.lapislazuli,agate,carnelian,withcarvedcolumnatedfeet
colouredwhite,andfilletedingold)
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PittiPalace,1819Inventory,n.290(fig.13)Inventariodeimobili,GeneriNobili,Biancheria,Rami,Ottoniesistentineinell’IeR.Palazzo
Pitti1819(Inventoryoffurniture,nobleproducts,linen,copperandbrassintheImperialandRoyalPitti
Palace,1819)
StanzacheseguedipintadalColonnaconfinestraaltasullaPiazzasegnatadiN.12/=13=(ThefollowingroompaintedbyColonnawithatallwindowoverthepiazza,numbered12/=13=)
480ac.20.290.UnaDettaquadrilungadimarmobiancolungaB.a2soldi16largaB.a
1soldi16commessovidipietradura,cioèLapislzzuli,Agate,cornioleaformelleeovali,conpiedeacolonnettaintagliato,tintobianco,efilettatod’oro
(480ac.20.290.Awhitemarblerectangular[table],216/20braccialongby116/20bracciawide,inlaidwithmouldedandovalpietredure,i.e.lapislazuli,agate,carnelian,withcarvedcolumnated
feetcolouredwhite,andfilletedingold)
Fig.13–Inventoryno.290ontheundersideofthetable-top
PittiPalace,1829Inventory,n.480(fig.14)N.13/StanzadipintadalColonnaconfinestraaltasullaPiazzasegnatanelVecchioInventariodiN.
12(No.13/RoompaintedbyColonnawithatallwindowoverthepiazza,numbered12intheold
inventory)
480UnaTavolaQuadrilungadiMarmobiancolungaB:a2per¾largaB:a15/6commessovidiPietredure,cioèlapislazzuli,Agata,Corniole,SardonicheOrientaliLaoratea
formelleovali,conPiediaColonnettaintagliatotintobianco,efilettatod’oro.290(480[newnumber]Awhitemarblerectangulartable,23/4braccialongby15/6bracciawide,inlaidwithpietredure,i.e.lapislazuli,agate,carnelian,andorientalonyx,fashionedintoovalmoulds,
withcarvedcolumnatedfeetcolouredwhite,andfilletedingold.290[oldnumber])
Fig.14–Inventoryno.480ontheundersideofthetable-top
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PittiPalace,1846Inventory,n.860(fig.15)
StanzaN.24/ConfinestrasullaPiazzadipintadaColonnasegnatanelVecchioInventariodiN.13
(Roomno.24/Withatallwindowoverthepiazza,paintedbyColonna,numbered13intheoldinventory)
860UnadettalungaB.2e3/4largaB.1e5/6commessovidipietredure,lapislazzuliagate,corniolesardonicheorientali,lavorateaformelleovaliconpiediacolonnettaintagliatotinto
biancoefilettatod’oro.480(860[newnumber].A[whitemarblerectangulartable],23/4braccialongby15/6bracciawide,inlaidwithpietredure,i.e.lapislazuli,agate,carnelian,andorientalonyx,fashionedintoovalmoulds,withcarvedcolumnatedfeetcolouredwhite,andfilletedingold.480[oldnumber])
Fig.15–Inventoryno.860ontheundersideofthetable-top
Finally,inApril1858,itleavesthePittiPalaceandistransferredtotheGalleriadeiLavori(nowtheOpificiodellePietreDure inViaAlfani),whichunder itsdirectorAntonioLandihadbeenphysicallyembellishedinadvanceofanofficialvisitbyGrandDukeLeopoldoIIinJuneofthatyear:15
MovedtotheGalleriadeilavori(nowtheOpificiodellepietredure)in18581858,14aprileIncreditoperGiustif:N1308eN.600passataall’InventariodellaGalleriadei
LavoriallaconsegnadeldirettoreLandiGiustiì.N.1308(14April1858,incredittoaccountfor:N1308,andN.600haspassedovertotheGalleriadei
Lavoriinventory,onitsdeliverytothedirectorLandi,accountedfor.N.1308)
From this point on, wider political events overtake the fate of our table. As the ItalianRisorgimento (unification) infolds, the new state authorises its sale. In 1870, with theannexationofRometotheKingdomofItalyandtheendingofFlorence’sstatusasitscapital,the
15Landihadbeendirectorfrom1853,andbegantherestructuringofthemanufactory’sheadquartersthefollowingyear,asexplainedinZuffanelli2005,pp.324-9.
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sale of the table-top by the Opificio to the Anglo-Italian artist and dealer William BlundellSpence–thebillmadeoutto“GuglielmoSpence”–isauthorisedbythenewstate.GallerieFiorentine,23July1870,no.1031
VenditadioggettiinPietreDure./IlSignorMinistrodelleFinanzehaautorizzatoilRicevitoreDemanialediFirenzeariscuoteredaLeilelire47milaprezzodeglioggettiinpietredurevendutealSignorGuglielmoSpence./Pregodieseguireilversamentodella
sommaragguagliandomenepermiogoverno./IlMinistroG.Cantoni
(Saleofobjectsinpietredure|TheFinanceMinisterhasauthorisedtheReceiverofFlorentineStatePropertytocollectfromyouthe47,000lire,thepriceoftheobjectsinpietreduresoldtoMr.Guglielmo[William]Spence|
Pleasepaythesum,informingmeofitformygoodgovernance|TheMinisterG.Cantoni)
[Underneathisthelistingofworkssold,whereatno.1031appearsthedescription:]
Unpianoditavolarettangolarelungom.i1,61largo,m.i1,06commessoviformelledi
lapislazzulo,agateecornioleedconcornicedimarmobianco,sorrettodapiedeacolonnettedilegnotintobiancoefilettatod’oro,descrittoall’Inventariosottonumero1031
(Arectangulartable-top,1.61mlongand1.06mwide,inlaidwithmouldedpiecesoflapislazuli,agateandcarnelian,enframedinwhitemarble,supportedbycolumnatedwoodenlegs,colouredwhiteandfilletedingold,describedintheinventoryundernumber
1031)
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WilliamBlundellSpence,Self-portrait,1862.Florence,GalleriadegliUffizi
AfteraperipateticContinentalupbringingandartistictraining,SpencemovedpermanentlytoFlorencein1836,andsoonafterbegantodealinOldMasters.In1860,alargeinheritanceallowedhimtopurchasetheVillaMediciinthesurroundingFiesolehills,asplendidsettingbefittinghisstatusastheleadingBritishmarchand-amateuractiveinthecity,whichhasbeenamplydocumentedbyJohnFleminginapairofBurlingtonMagazinearticlespublishedin1979.ThroughouttheRisorgimentoyears,hehostedleadingcollectors,andfiguresrepresentingLondon’sgreatmuseums,supplyingthemwithimportantpaintings,sculpture,anddecorativearts.SpencecountedHughLupusGrosvenor(1825-1899)amongsthismanyaristocraticclients.In1870alone,hesoldthethen3rdMarquessofWestminsterportraitsbyMoretto,Moroni,TitianandthepaintingofGrandDukeFrancescoII'sdogsanddwarfintheBoboliGardensbyTiberiodiTito.16ItnowseemslikelythattheacquisitionoftheFrancescoIde’Medicitable-topwasmadeonbehalfofthe3rdMarquess.
GROSVENORPROVENANCE
ThetablenextappearsillustratedinEngland,19yearslater,inthepossessionofthe1stDukeofWestminster (figs.16and17).Whenwasphotographed in thegalleryofGrosvenorHouse, inJuly1889,theyearinwhichtheDukeelectrifiedhispalatialhomeinLondon’sMayfairdistrict(fig.18).Theearly1870shadseenthethen3rdMarquessofWestminsterextensivelyrenovatethe house,with furniture and furnishings supplied byHolland and Sons to the value of some£6,481. This table-top was acquired specifically in order to amplify the magnificence of theGrosvenors’enlargedandmodernisedLondonseat.
16Fleming1979,III,p.570,n.25
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Figs.16and17–JohnEverettMillais,HughLupusGrosvenor,1stDukeofWestminster(1825-1899),1872(CollectionoftheDukeofWestminster),andthearmsoftheGrosvenorDukesofWestminster
Fig.18–TheGallery,GrosvenorHouse,Mayfair,London,inJuly1889;detailofthetableatleft
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Thetablepasseddirectlyfromthe1stDuketohisgrandson,HughRichardArthurGrosvenor,2ndDukeofWestminster(1879-1953).EducatedatEton,andfollowingserviceinboththeBoerandFirstWorldWars, the 2nd Duke became known for his sociable affairs, counting Coco Chanelamongsthismanylovers(fig.19).Onhisdecease,then-recorddeathdutiesof£18mledtoasaleofhisproperty,heldbySotheby’sin1959,wherethistableappearedaslot166.
Fig.19–The2ndDukeofWestminsterandCocoChanel,1924November2017,NewYorkandLondon,LUCABURZIOandSTEPHENWRIGHT.APPENDIX–PITTIPALACEFLOORPLANSThefloorplansreproducedinfigs.8-10abovearetakenfrom:IacintoMariadiFrancescoMarmi,NormaperilguardarobbadelGranPalazzodellacittadiFiorenzadovehabitailSer.moGranDucadiToscana,Florence,n.d.[1663]Thekeyemployed,butnotherereproducedforthesakeofbrevity,isthatcompiledin:SergioBertelli,‘PalazzoPittidaiMediciaiSavoia’,inAnnaBellinazziandAlessandraContini(eds.)LaCortediToscanadaiMediciaiLorena:AttidelleGiornatediStudio,Firenze,ArchiviodiStatoePalazzoPitti,15-16dicembre1997,Florence,2002,AppendixV,pp.77-92.Marmi’sfloorplanscanbeconfidentlydatedto1663asfollows:
• Marmiisdescribedinthe1663Pittiinventoryasthe‘new’MasteroftheWardrobe• Theroommarked‘R’ontheleft-handsideofthethirdflooristhatofthe‘bambino’
PrinceFerdinando’sroom.TheeldestsonofGrandDukeCosimoIII,FerdinandowasborninAugust1663
• WhereastherearenoroomsdesignatedforPrincipeGianCarlo,thesecondsonofGrandDukeCosimoII,whodiedinJanuary1663,thereareseveralforPrincesMattiasandLeopoldo,CosimoII’sthirdandfifthsons,whowerebothstillaliveatthistime