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Palazzo Pubblico - Siena
The
Palazzo Pubblico in Siena is one of the main
palaces of the city, built between 1288 and 1342
in the prevailing Gothic style of the time. The
Palazzo Pubblico has always hosted the city
government, it was the seat of the Government
of the Nine, the famous government that in 1300
radically changed the appearance of the city. It was
precisely these nine regents who designed and built
it, making it last until the present day.
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When the city government issued an ordinance, for which, on
Piazza del Campo, only palaces could be built that had
the same style as the Palazzo Pubblico and none of them had to exceed the
size of this place. Today the palace is home to the municipal
administration and the Civic Museum. Absolutely to admire is the
Salone del Gran Consiglio and the arches that support the entire lower floor
of the palace. These are particular arches, typical of Siena, that are
embellished by an ogiva.
The façade is made up of four central orders and three orders on the sides
and a huge rose window stands out in the centre. This rose window depicts
the Trigram of Christ, designed by St.Bernardino of Siena and made in
1425 by Battista di Nicolò. Analyzing the facade it is easy to
understand the various periods in which the facade was built, in fact we
have a first block up to the triforium, entirely made of stone, then,
instead, we find the brick. The windows of the palace are typical of Siena,
with three arches resting on small columns, on each window we find a
white and black balzana, which is the symbol of the city itself. It is
considered by tourists and residents to be one of the most beautiful
buildings in our country, very harmonious, despite its greatness.
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Facade
On
the façade, the majesty and elegance of the Palazzo Pubblico unfolds, whose
front and one of the most celebrated Gothic civil architecture in Italy.
Built between 1297 and 1310, perhaps on a project by Agostino di Giovanni
and Agnolo di Ventura, it included, at that time, the central part
that rose like the towers on the lateral wings perceived from the ground
floor and on the first floor of the three-forest, up to the height of the
blind arches, still visible today. From 1327 the palace was enlarged with
the addition, on the right side, of the prisons, then three 1330s and 1342
of the council hall of the bell three 1680s and 1681 was added the second
floor of triphone.
The primitive facade of the Palazzo Pubblico
served as a model for many of the following fourteenth-century palaces, and
even fifteenth-century of the city Siena. In it, the typical elements of the
Sienese Gothic style coexisted: the acute arch including a lowered sixth
arch, called the "Sienese arch", which conforms to the windows doors on the
ground floor; the triforium with trilobed arches of the windows on the first
floor; the use of travertine in the lower area and the terracotta above.
The two extremes of the central tower are
surmounted by bell cells now empty: the right cell is the oldest; the
opposite one is an eighteenth-century addition. The symbol of St
Bernardino of Siena appears on the top floor of the tower: a large
copper disc with Christ's monogram, painted in 1425 by the baptist of
Nicholas of Padua; at the edges, two wolves are made of stone. The coat of
arms of the Medici family, in the middle of the triphone of the first floor
was added in 1560, after the conquest of Siena by the Medeghino
troops, the cruel Milanese leader sent by
Carlo V.
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Torre del Mangia
From
the left corner of the palace, the agile and elegant tower stands out: by
Lippo Memmi, brother-in-law of Simone Martini, who designed the
profile of the tower in 1341,88 meters high, which was built between 1338
and 1348 by the brothers Minuccio and Francesco di Rinaldo da
Perugia; the crowning, which reaches 102 meters, with lightning
protection, was carried out (on a project, as has been said, by Memmi) by
Agostino di Giovanni. The bell cell that is located in the middle of
this crowning, houses a large bell, cast in 1666, called Campanone (big
bell) or Sunto, the Sienese abbreviation of the Assumption Virgin to
which Siena had voted before the Battle of Monteaperti. The name of
the tower's ate comes from Mangiaguadagni, nickname of Giovanni di Duccio,
who was initially entrusted with the task of beating the hours, and then
became legendary creatures. Later on, until 1780, a machine was used that
continued to be called "eat"... Read on the
Torre del Mangia.
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Cappella di Piazza
(Chapel Square)
Under
the Torre del Mangia, leaning against the public palace is the Cappella
di Piazza, erected by the Sienese as the dissolution of a vow made
during the plague of 1348. Originally between 1352 and 1376, Domenico di
Agostino and then Giovanni di Cecco had erected only the pillars
covered by a flat roof. About a century later, from 1463 to 1468, Antonio
Federighi gave a more monumental appearance, adding the Renaissance
arches is a new covering. The statues of the saints placed in the niches
hollowed in the pillars were executed by Mariano di Angelo and
Bernardino di Tommè except for St. Bartholomew, in the left pillar
below, modelled by Lando Di Stefano. The sides of the
thirteenth-century marble chapel, with reliefs of Pisan taste, others more
recent, placed in 1848 are by Enea Bacheroni close the front. The
fourteenth-century wrought iron gates made by Pietruccio di Betto is
by Conte di Lello Orlandi.
In ancient times, in the Chapel of the Square, the daily mass was celebrated
and at the Sanctus (Saint, saint, holy the Lord God of the universe |
The heavens and the earth are full of your glory | Osanna at the top of the
heavens | Benedict the one who comes in the name of the Lord | Osanna at the
top of the heavens), As Michel de Montaigne recalls, a trumpet was
played to solicit the devotion of those present. For one of the doors that
flank the Cappella di Piazza, you enter the Courtyard of the
Podestà, so arranged around 1325. From here, like a dolomitic spire, the
Tower of the Eat, looming on the structures. The walls bear the coats of
arms of ancient regiments of the city. One of them is joined by the
mutilated statue of Mangia, more or less like the statue of Pasquino in
Rome, which was said to be joking jokes. On the wall behind the statue, 14th
century frescoes in a poor state of preservation are on display.
From the courtyard is the access to the Teatro Comunale dei Rinnovati
(Municipal Theatre), originally Sala del Gran Consiglio della Repubblica
(Grand Council of the Republic Hall), originally adapted to the ground
theatre by the Sienese Bartolomeo Neroni known as Il Riccio
(The hedgehog) in 1560, but renewed, after fires, by the famous Antonio
Galli known as the Bibiena in 1753.
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Interior
The
entrance to the Palazzo Pubblico is through the right-hand portal
embellished with a foliage frieze surmounted by a statue, near which a
column bears a copy of the Golden She-wolf pond by Giovanni and Lorenzo
Torino, the original of which is located inside. You enter the atrium
where are on display two bracelets with bronze bells from the Palazzo del
Magnifico, executed by Giacomo Cozzarelli. From the atrium you pass
to the vestibule (the vestibule is a room or passage between the entrance
door and the interior of a building) divided into four bays, whose walls are
placed two stone wolves and showers (or ornamental motifs) perhaps by
Giovanni Pisano or his school of the fourteenth century, flanked by a
statue of Moses of the Federighi. On the right wall of the third span, there
is a fresco by Sano di Pietro in 1446, Pietro Alessandrino and
the blessed Sienese Ambrogio Sansedoni and Andrea Gallerani.
The rooms on the sides of the vestibule are
offices and therefore difficult to visit (only with special permission).
Also decorated with plastic paintings, they welcome, among other things, one
of the most spectacular compositions by Sano di Pietro, the
Coronation of the virgin and saints of 1445, in the Biccherna Room,
as well as paintings of Vecchietta, of Siena masters of the 300 and
400 and in particular, of the Sodoma of the XVI century that excels
in a meditated Resurrection of 1535, ornament of the hall of the Secretary
General.
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Sala del
Mappamondo (Globe Hall)
On
the first floor of the Palazzo Pubblico there is the large hall where the
Council of the Republic of Siena, known as Sala delle Balestre or
more commonly known as Sala del Mappamondo, met. The name derives
from the ancient presence in the hall of a rotating disc, the globe,
probably in parchment wood and depicting possessions of the Sienese State,
painted in 1344 by Ambrogio Lorenzetti and dispersed in the
eighteenth century. On the wall in front of Simone Martini's
Majesty, in the upper part, there is a famous civil theme fresco, also
linked to the name of the great Sienese artist, who represents
Guidoriccio da Fogliano, captain of the Sienese army, to the siege of
Montemassi, a Maremma castle conquered by the city in 1328... Continue
reading on the
Sala del
Mappamondo.
Torna su
Sala della Pace
(Peace Hall)
Next
to the Sala del Mappamondo, in the Palazzo Pubblico of Siena, there is the
equally beautiful Sala della Pace (Peace Hall), which was the
historic public seat of the Government of the Nine, to which we have
already mentioned in these pages of our guide of the city. The walls of this
room are entirely covered by the most famous cycle of frescoes in the city,
the Allegoria del Buono e del Mal Governo (Allegance of the Good and
Bad Government), painted by Ambrogio Lorenzetti between 1338 and
1340. A universal masterpiece...Read more about the
Sala della
Pace.
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Sala dei Pilastri
(Pillars Hall)
In
the room of the pillars, from the left there is a fresco with St.
Bernardino that frees an ostessa and St. Bernardino who preaches in
the field, diptych of Neroccio di Bartolomeo Landi. Then a
beautiful Scyola sense triptych of the 13th century with Saints Stephen,
Magdalene and Anthony, probably by Martin of Bartolomeo of about
1465, and the Cross painted by Massarello of Gilio in 1306 together
with a rare fragment of glass with a San Michele Arcangelo attributed to
Ambrogio Lorenzetti. Following a 14th century Annunciation, a Madonna
and child is a painting by a thirteenth-century master. In the shop windows
there are precious examples of Sienese art history since 400 600. From here
you go back to the globe hall and pass to the room called the old chapel.
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Anticappella
The
room called Anticappella, so called because it precedes the Chapel of
Palazzo, was once used as an antechamber of the Consistory, a formal
meeting of some governing bodies of the Sienese republic, hosting its
offices. Precisely for these functions, Taddeo di Bartolo was
commissioned in 1415, to build a cycle of paintings that began with the
depiction of Allegories of Virtue necessary for the good exercise of power
(Justice, Magnanimity), Strength, Prudence and Religion) under which he
proposed a gallery of characters who for their deeds and their history had
contributed to the formation of Ancient Rome, such as Cato, Muzio
Scevola, Scipione and others. On the arch at the entrance to the Sala del
Mappamondo, Taddeo then depicted the plan of Rome of the time, still
surrounded by the most imposing characters of ancient culture. The recovery
of classical culture in the Enlightenment period had brought important
fruits to Siena so much so that the city was reconstructed through the
suppositions of some brave scholars, a history as illustrious as it was
unlikely that was rooted in the very origin of the Eternal City, as
evidenced by the choice as a symbol of the city of the Roman She-wolf.
On the elevation of the opposite side to the
entrance there is a monumental San Cristoforo, always the work of Taddeo.
The representation of this saint was customary, especially in cities that
were the destination of pilgrims, because his sight had to give them
security and protection. For this reason, but also because of the tradition
that wanted it to be of gigantic proportions, it was usually painted in
large format, because its view was easy even for the most distracted. In our
case, probably, the grandeur of the representation is also due to a sort of
debt that the City Council paid to the Saint who had long hosted in his
Church, placed right in the center of the city, activities and public
meetings, before the construction of the Palazzo Pubblico. In the showcase
there are some sacred furnishings used over time for religious ceremonies
that took place here, the most important of which is certainly the Gold
Rose, work by Simone da Firenze, masterpiece of the Renaissance
goldsmith's art, donated by Pope Pius II Piccolomini to the city in
1458.
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Cappella di
Palazzo (Palace Chapel)
The
gate placed at the entrance to the Cappella del Palazzo in wrought
iron and tinned, in boxes, each containing nine quadrilobles, is a work of
1437 by the Sienese Giacomo di Giovanni and his son Giovanni di
Giovanni. Also in this environment continues the series of frescoes by
Taddeo di Bartolo of 1407 that in the vault, on the left wall, on the
lunettes, evoked Episodes of the life of the Virgin, including
Death and Assumption. The small bronze stoup with small figures of the
Savior and angels is the work of Giovanni di Turino of 1434; the rich
gothic wooden chandelier, gilded and painted, sculpted by Cecco di Nanni
del Ciucca and painted by Cristoforo da Cosona in 1370.
The finely worked altar was designed by Lorenzo di Mariano Fucci
called Il Marrina, and preserves the table of the Holy Family with
San Leonardo del Sodoma of 1530, one of the most happy
compositions, here transferred from the Duomo in the seventeenth century.
The very fine wooden choir, carved and inlaid, the culmination of Sienese
wooden art was performed by Domenico di Niccolò between 1415 and 1428
and counts 21 stalls running along the walls. For this work the artist was
nicknamed "dei Cori".
To the right, under the arch, is the organ embedded in beautiful carvings of
Giovanni Di Pietro and Igino da Antonio from 1524. Set on the walls, 21
carved choir stalls with inlaid backrests, making up the head of the opera
chief of the art work Sienese line, was author Domenico di Niccolò
called since then in honor of his marvelous master of choirs.
Close to the altar, there is the recessed pipe organ, in beautiful
carvings by Giovanni di Pietro and Igino da Antonio. The
rogano in itself was the work of Giovanni di Antonio called Il
Piffaro, built between 1519 and 1525, has a richly carved case, with
decorations by Giovanni di Pietro and Ghino d'Antonio. The
instrument, with its fully mechanical transmission, has a single 44 note
keyboard and a 12 note pedalboard, constantly combined with the manual.
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Sala dei Cardinali
(Cardinals Hall)
Entering
the Sala dei Cardinali, or Anticamera del Concistoro, above the
entrance we find a crucifix on board of three hundred; on the pillar, a
tabernacle of Guidoccio Cozzarelli (or Matteo di Giovanni).
This room is decorated with various frescos detached from the' 300 and' 400
that come from external walls or other rooms of the palace. On the right
wall there are two statues in wood, the saints Ambrose and Anthony Abbot,
judged (with some doubt) by Antonio Federighi, along with a fragment
of frescoes perhaps by Ambrogio Lorenzetti, Tre Santi and the client.
Further up, on this wall and on the opposite side there are other frescoes
with figures of saints painted "ex voto" by the Sienese in the 14th and 15th
centuries. A showcase at the centre contains some relics of the ancient
activity of the Municipality, including carved and inlaid boxes, boxes for
votes and the picca (pike) of the Capitano del Popolo.
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Sala del
Concistoro (Consistory Hall)
The
entrance portal of the Sala del Concistoro is an elegant work in
marble with gilding by Florentine Bernardo Gambarelli known as
Rossellino (who was also an architect); the wooden doors with inlays
perhaps come from Domenico Niccolò. The Sienese rulers gathered here
at the time of the Republic. The frescoes that decorate the vault,
illustrated illustrating episodes of civic virtue taken from Greek and Roman
history, are admirable works of the maturity of Domenico Beccafumi
executed between 1529 and 1535. Very beautiful the radiance of colors, the
richness of shades, the mastery of architectural perspectives (in the centre
of the vault there are Justice, Brotherhood and Amor Patrio).
Three large seventeenth-century tapestries of the Manufacture of Gobelins
(Earthly Allegories, of the area of fire) and five smaller ones of
Florentine manufacture (other allegories) adorn the walls; above the portal,
Giudizio di Solomone, considered by Luca Giordano of the
seventeenth century.
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Sala di Balia
La
Sala di Balia e detta così perché era sede
dei magistrati di balia. Divisa da un arco, alle pareti interamente
ricoperte dagli affreschi eseguiti nel 1407 da Spinello Aretino e da suo
figlio Parri. Questi affreschi illustrano, in 15 riquadri, i più importanti
episodi della vita di Papa Alessandro III, il senese Rolando
Bandinelli, che fu Papa da 1159 al 1181, è che fu fiero nemico di
Federico Barbarossa, alleato dei comuni lombardi, fondatore di
Alessandria,
crudele repressore dei Catari. L'opera ha un interesse, più che per
qualità estetiche, per la documentazione sui costumi, sulle attività, e
sugli artigiani del tempo. Nella volta della sala si trovano le Allegorie di
16 virtù di Marino di Bartolomeo del 1408. La porta destra è stata
intarsiata da Domenico di Niccolò mentre il balcone in legno e opera di
Barna
di Turino del 1410.
Sala di Balia
(Balia Hall)
The
Sala di Balia is so called because it was the seat of the magistrates
of the nanny. Divided by an arch, the walls are entirely covered with
frescos painted in 1407 by Spinello Aretino and his son Parri. These
frescoes illustrate, in 15 boxes, the most important episodes of the life of
Pope Alexander III, the Sienese Rolando Bandinelli, who was Pope from 1159
to 1181, is that he was proud enemy of Frederick Barbarossa, ally of the
Lombard municipalities, founder of Alexandria, cruel repressive of the
Catarians. The work has an interest, rather than for aesthetic qualities, in
the documentation of costumes, activities and craftsmen of the time. The
vault of the hall contains the Allegories of 16 virtues of Marino di
Bartolomeo in 1408. The right door was inlaid by Domenico di Niccolò while
the wooden balcony and work of Barna di Turino from 1410.
Torna su
Sala del
Risorgimento
Nella
Sala del Risorgimento troviamo gli affreschi di pittori
senesi e toscani del tardo ottocento che narrano episodi salienti della vita di
Vittorio Emanuele II, dall'incontro con Radetzky, dopo la sfortunata
Battaglia di Novara, alle esequie del Pantheon. Inoltre: busti in marmo di
personalità politiche e artistiche del secolo passato sempre opera di scultori senesi.
Attigua alla Quadreria del Palazzo Pubblico,
che comprende dipinti appartenenti principalmente all'arte senese tra i secoli
XVI e XVIII, la Sala del Risorgimento, un tempo Sala delle Udienze del
Podestà, costituisce l'ultima grande impresa decorativa eseguita all'interno
dell'edificio comunale. L'esecuzione fu eseguita sul finire del XIX secolo,
e affidata alla scuola del cosiddetto "purismo senese", fondato da
Luigi
Orsini, figura di punta del movimento, allora a capo dell'Istituto di belle
arti di Siena. Gli esponenti del purismo sono gli autori di una vera e
propria rifioritura delle imprese pittoriche di grande respiro a Siena
eseguendo molte opere su commissione pubblica ed ecclesiastica. Il movimento
purista, avviato all'inizio dell'ottocento a Roma con il movimento dei
"Nazareni", si distingue per il costante rifarsi alla tradizione del quadro di
storia, dando vita a grandi composizioni, principalmente a tema storico o
sacro, ineccepibili dal punto di vista della tecnica pittorica, ma che non
sfuggono alla freddezza, generalmente caratteristica dell'opera di stampo
accademico. Le scene
celebranti episodi della vita di Vittorio Emanuele II, sono dipinte da Amos Cassili,
Pietro Aldi, Cesare Maccari; Alessandro Franchi ha
dipinto sulla
volta l'Allegoria dell'Italia libera. Nella sala sono stati conservati anche
altri dipinti e sculture ottocentesche, tra cui opere di Tito Ciarrocchi,
Luigi Mussini, Giuseppe Sabattelli e Giovanni Dupré.
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La Loggia (The
Lodge)
From
a staircase decorated by the fresco of a Madonna di Neroccio di
Bartolomeo Landi in 1481, we arrive at three rooms on the second floor,
where the originals of the Fonte Gaia di
Jacopo della Quercia
were once exhibited and which are now in the Complex of the Museum of
Santa Maria della Scala. From here you climb up to the Loggia, with its
four pillars, which has an extraordinary view of the market square and the
southern half of the city. Beautiful panorama from the Loggia.
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