Firenze San Miniato al Monte 3

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Firenze
San Miniato al Monte
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Construction on the temple, one of the finest
examples of pure Florentine Romanesque
architecture, first started in 1018, thanks to
Bishop Ildebrando, and continued until 1207. The
facade was carried out in white Carrara and green
Prato marble (12th-13th centuries). The
spectacular facade of San Miniato was to inspire
Alberti's completion of the facade of Santa Maria
Novella in the 15th century and the covering of
the facades of the Duomo and Santa Croce in the
19th century.
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According to tradition, the martyr St Miniatus,
who was suffered during the persecution of Decius
in the 3rd century, was buried on the hill where
the church bearing his name now stands.
San Minias by Della Robbia in the Sacresty
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Fresco - Annunciation
Linger, however, your eyes also on the step
behind the first door on the left (facing the
front) on which is engraved the inscription in
Latin "Haec est Porta Coeli" (This is the gate of
heaven).The inscription, taken from Genesis,
refers to the words spoken by Jacob, after seeing
the famous ladder of angels who descend and
ascend to God, and reported in various Christian
churches. In this case the inscription referred
to the fact that this was the Holy Door, the door
through which the Florentines could get in touch
and make peace with Heaven.
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Under the Church a monumental cemetery with
valuable statues
Under the Church a monumental cemetery with
valuable statues, officially known as the
Cimitero delle Porte Sante, was created around
1839.
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Statue in the cemetery
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San Miniato al Monte Cimitero Monumentale delle
Porte Sante
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The only tomb in the church is the Renaissance
Chapel of the Cardinal of Portugal (1461-66) in
the left-hand nave was built by Brunelleschi's
pupil Antonio Manetti for Jacopo di Lusitania,
the Cardinal Archbishop of Lisbon, who died in
Florence in 1459.
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The five medallions on the ceiling are by Luca
della Robbia (14001482) The Four Hinges of the
Moral Life surrounding the Holy Spirit
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The enameled terra-cotta ceiling (1466) of the
Chapel of the Cardinal of Portugal The
cardinal virtues are the four principal moral
virtues. The English word cardinal comes from the
Latin word cardo, which means "hinge." All other
virtues hinge on these four prudence, justice,
fortitude, and temperance
Luca della Robbia died in Florence during
February of 1483, taking most of his secrets of
tin-based glaze with him
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A white-glazed maiolica tondo with
Temperance, painted in blue and manganese. The
ceramic slightly concave with relief, fired as
one. The front with crescent-shaped firing crack
to lower third, reverse with old stapled
restoration, chips.After Luca della Robbia's
design for the vault of the Cappella del
Cardinale del Portogallo
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Alessio Baldovinetti (1425-1499) Annunciazione
(The Annunciation)
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The Cappella del Cardinale del Portogallo, "one
of the most magnificent funerary monuments of the
Italian Renaissance, was built in 1473 as a
memorial to Cardinal James of Lusitania, who died
in Florence, to which he was Portuguese
ambassador, in 1459.
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The chapel is a collaboration of outstanding
artists of Florence it was designed by
Brunelleschi's associate, Antonio Manetti, and
finished after his death by Giovanni Rossellino.
The tomb was made by Antonio and Bernardo
Rossellino. The chapel decoration is by Alesso
Baldovinetti, Antonio and Piero del Pollaiuolo,
and Luca della Robbia.
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Alessio Baldovinetti (1425 1499) Annunciazione
(The Annunciation)
Antonio del Pollaiuolo, Angel (detail), 1467
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The chapel of the Cardinal of Portugal (Cappella
del Cardinale di Portogallo), was commissioned by
the Portuguese King Alfons V as a monument to his
nephew, and built by Manetti between 1461 and
1466, very much on the lines of Brunelleschi's
Old Sacristy for San Lorenzo. The decor brings
together Christian and Classical concepts, with
Antonio Rossellino's sarcophagus recalling a
Roman Mithraic sacrifice, but decorated with
putti and angels. The recumbent figure of the
deceased is aligned with the empty judge's throne
opposite as a warning of the Last Judgment. This
monument, in its entirety, should be regarded a
forerunner of Michelangelo's sarcophagi in the
New Sacristy of San Lorenzo.
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Copie of the Altarpiece of the Saints Vincent,
James and Eustace, by Antonio (his students
included Sandro Botticelli) and Piero del
Pollaiuolo, 1468, tempera on panel, 172 x 179
cm, Florence, Galleria degli Uffizi
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Copie of the Altarpiece of the Saints Vincent,
James and Eustace, by Antonio and Piero del
Pollaiuolo, 1468, (Original now in Uffizi
Gallery)
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Text and Pictures Internet All
copyrights belong to their respective owners
Presentation Sanda Foisoreanu
2013
Sound Cecilia Bartoli - La mort
d'Ophélie (Hector Berlioz)