Archive for Category: Masterpieces

Displayed in the Sala di Saturno at Palazzo Pitti is one of Raffaello Sanzio’s most celebrated works: the Madonna col Bambino e san Giovannino, commonly known as Madonna della Seggiola. Set in an ornate seventeenth-century frame, the painting captivates for its deeply intimate tone – almost like a window into a tender moment of family life.
Still considered one of the Urbino master’s finest creations, little is known about its origins.

Between 1338 and 1339, the Sienese magistracy of the Nove (citizens chosen to administer the city) commissioned Ambrogio Lorenzetti (1290–1348) to paint the walls of the Sala della Pace in the Palazzo Pubblico, where government meetings were held. The result is a monumental cycle of frescoes, for a long time titled La Pace e la guerra but now known as L’allegoria del buon governo. It depicts the metaphor of just versus unjust government and their respective effects on the city and countryside: a remarkable political painting that has much to say, both symbolically and historically. Let’s take a closer look.

It was discovered on November 15, 1553, just outside the gates of Arezzo, during excavations for the construction of new city walls. It was rusted and dirty, its tail in fragments, two legs broken, and both eyes and jaws missing. And yet, there was no doubt: it was an Etruscan sculpture – and a magnificent one.
From the moment it was unearthed, the Chimera of Arezzo has sparked interest, admiration, and even a certain sense of awe. Today, it is kept in the Museo Archeologico Nazionale of Florence, where it continues to astonish and captivate visitors. Let’s find out more about this extraordinary historical artifact.

There are many aspects that make the Museo di San Marco in Florence a truly unique place. Originally established as a convent, it was partially secularized in the latter half of the 19th century when it was declared a national monument.
Inside, it now houses the largest collection of works by Beato Angelico – the friar-artist who lived and worked here for many years, creating an impressive cycle of frescoes. Among these, the Annunciazione – a recurring theme in his art – enchants viewers with its imposing yet refined simplicity, a true masterpiece of the early Renaissance.

An emblem of Florence, the dome of Santa Maria del Fiore towers over the city and, six centuries after its construction, still dazzles with its unsurpassed grandeur. Indeed, it remains the largest masonry dome ever built – a testament to the brilliance of Filippo Brunelleschi, a visionary architect with a fiery temperament.
At the time of its construction, few would have bet on the project’s success, which – according to Vasari¹ – nearly failed on multiple occasions…

It happens almost every day. Someone, while visiting the Uffizi, finds themselves spellbound before the Battaglia di San Romano by Paolo Uccello – not only because it’s the first non-religious subject in the Galleria’s display, but also for its strikingly unusual appearance. Its colors, composition, and style stand apart from everything around it. Indeed, it’s one of the most accomplished works by that curious and singular personality that was Paolo Uccello. Driven by “whims” and “oddities” (as Vasari1 says), he managed to unite mathematical precision with a sense of fantasy, narrating a real historical event through images.

Under the right arch of the monumental open-air museum that is the Loggia dei Lanzi in Florence stands a sculptural group of unparalleled dynamism and expressive intensity. Created in marble in 1582, the Ratto delle Sabine by Giambologna still amazes today with its colossal dimensions and bold composition: three nude bodies intertwined in a scene filled with violence and sensuality.
An eloquent work born from the ingenuity and ambition of one of the protagonists of Mannerism – let’s unveil its history and ambition together.

In our guide to museums to visit in Siena, the Museo Civico is certainly not missing, which houses – among others – the marvelous Maestà by Simone Martini. An imposing fresco that surprises visitors not only for its size but also for the uniqueness of its style and message. An emblem of Italian Gothic painting, the Maestà stands out for the innovations it introduces: let’s explore them together.

It’s impossible not to know it: the Nascita di Venere (circa 1485, Florence, Uffizi) is one of the most admired and emblematic works of the Italian Renaissance. Yet, what we know today about Sandro Botticelli’s masterpiece is very little compared to the fame that accompanies it.
An aura of mystery indeed surrounds the canvas: the date of execution, patronage, and content are still uncertain. Even the title is imprecise.
But none of this diminishes its charm – on the contrary! Let’s retrace the information we have to try to reconstruct its genesis and meaning.

Entering the Sala delle Maestà at the Uffizi in Florence, one cannot help but be struck by the imposing works that occupy the walls. The essential arrangement allows one to fully appreciate, without distractions, the three panels by Duccio da Buoninsegna (Madonna Rucellai, 1285), Cimabue (Maestà di Santa Trinita, 1290-1300), and Giotto (Maestà di Ognissanti, 1305-1310).
It is the latter, prominently displayed on the central wall, that first welcomes the visitor and stands out significantly – even to less expert eyes – from the other two.
We focus here on the Maestà by Giotto to understand its origin, meaning, and exhibition history.