<h3><b>Galleria dell'Accademia</b></h3><h3>The <b>Galleria dell'Accademia di Firenze, or "Gallery of the Academy of Florence</b>", is an art museum in Florence, Italy. It is best known as the home of <b>Michelangelo's sculpture David</b>. It also has other sculptures by Michelangelo and a large collection of paintings by Florentine artists, mostly from the period 1300-1600, the Trecento to the Late Renaissance. It is smaller and more specialized than the Uffizi, the main art museum in Florence. It adjoins the Accademia di Belle Arti or <b>academy of fine arts of Florence</b>, but despite the name has no other connection with it.</h3><h3>The Galleria dell'Accademia was founded in 1784 by <b>Pietro Leopoldo, Grand Duke of Tuscan</b>y.</h3><h3><br /></h3><h3>學(xué)院美術(shù)館（意大利語：La Galleria dell'Accademia a Firenze）是位于義大利佛羅倫薩的一座美術(shù)館，也是佛羅倫薩美術(shù)學(xué)院的附屬美術(shù)館。學(xué)院美術(shù)館成立于1784年。美術(shù)館最有名的展品是大衛(wèi)像。1873年，為了防止風(fēng)雨的侵蝕，大衛(wèi)像從舊宮前面的領(lǐng)主廣場搬至學(xué)院美術(shù)館展出。</h3> <h3><b>History of Accademia Gallery</b></h3><h3>The enlightenend prince of the Lorraine family that ruled over Tuscany for over a century, the Grand Duke<b> Pietro Leopoldo</b>, united in 1784 all the Florentine drawing schools into one "Academy". He also founded a gallery to exhibit paintings with the aim of facilitating the study of the Academy's pupils. The seat chosen is the present location of the Museum, a building that originally housed the "Hospital of St. Matthew", enlarged in time through the addition of several adjoining spaces.</h3><h3><br /></h3><h3>The consistency and composition of the collection displayed in this museum has changed over time due to the addition of works of art removed from suppressed convents, but also due to loss of works temporarily given or returned to other Florentine museums, in particular to the <b>Uffizi (Bottlicelli's "Primavera</b>" was displayed here for many years). Over time the Gallery has become one of the main museums in town, also thanks to the acquisition of some extraordinary masterpieces, such as the <b>"Pieta" by Giovanni da Milano </b>(14th century); the "<b>Annunciation" by Lorenzo Monaco </b>(15th century); the splendid frontal called "<b>Cassone Adimari" </b>showing a sumptuous marriage procession (c. 1450) and the "<b>Madonna of the Sea"attributed to Botticelli (</b>1445-1510).</h3><h3><br /></h3><h3>In 1873, when <b>Michelangelo's David</b> was exhibited for the first time on a specially arranged tribune. For protection purposes, the statue was in fact removed from Piazza Signoria where it had represented for over four centuries the strengh and dignity of the Florentine Republic. In the early years of the 20th century, this statue was joined by other extraordinary works of art by the same artist, such as "St. Matthew"and the four "Prisoners" originally made for the tomb of Pope Julius II in Rome, but placed in the grotto of the Boboli gardens at the end of the 15th century, and finally by the "Pietà di Palestrina" (whose attribution to the master is still somehow controversial).</h3><h3><br /></h3><h3>A capillary organisation and restoration of some of the rooms on the upper floor have allowed the museum to recently integrate the collection with a series of paintings from the 14th to the 16th centuries and to open a room displaying the chalk models of famous 19th century sculptors like Lorenzo Bartolini and Luigi Pampaloni.</h3><h3><br /></h3><h3><b>http://www.museumsinflorence.com/musei/David_by_michelangelo.html#</b></h3><h3><br /></h3> <h3>The Galleria dellAccademia or Accademia Gallery in Florence, Italy, is without a doubt most famous for its sculptures by the great Renaissance artist, <b>Michelangelo</b>. His Prisoners (or Slaves), his St. Matthew and, above all, the magnificent statue of David within the Tribune are what first draw most of the hundreds of thousands of visitors the museum welcomes every year.</h3><h3><br /></h3><h3>The main halls at the Accademia also offers visitors works by great Italian artists such as <b>Sandro Botticelli, Domenico Ghirlandaio, Pontormo, Andrea del Sarto, Allessando Allori and Orcagna</b>, to name just a few of the painters. Many of the works of art that were commissioned by and were part of the collection of the powerful Medici family were donated to the Grand Duchy of Tuscany by the last of the Medici so that these magnificent works could be enjoyed by everyone and are part of the cultural patrimony of humankind.</h3><h3><br /></h3><h3>Another useful Website<b>: http://www.accademia.org</b>/</h3> <h3><b>Map/Location of Accademia Gallery</b></h3> <h3><b>博物館平面圖</b></h3><h3>The first itinerary we recommend for visitors to the Accademia is based on time. If you have 1.5 hours for your visit, these are the works of art you must see on your visit!</h3><h3><br /></h3><h3>A) Hall of the Colossus: Giambolognas "Rape of the Sabines" + Cassone Adimari + Domenico Ghirlandaios solemn St. Stephen between St. James and St. Peter.</h3><h3><br /></h3><h3>B) Hall of the Prisoners: Michelangelos Slaves + Pontormo</h3><h3><br /></h3><h3>C) Tribune: Michelangelos David</h3><h3><br /></h3><h3>D) Tribune Left Wing: Alloris Coronation of the Virgin Mary</h3><h3><br /></h3><h3>D) Gipsoteca Bartolini: the plaster casts of the Reclining Venus, Arnolfo & Brunelleschi</h3><h3><br /></h3> <h3>The "<b>David</b>" in the Accademia is the original. There is a replica in the Piazza della Signoria.</h3><h3><br /></h3><h3>David is a masterpiece of Renaissance Marble sculpture created between 1501 - 04 by <b>Michelangelo</b>.</h3><h3><br /></h3><h3>It is a 5.17-metre (17.0 ft) marble statue of a standing male nude. The statue represents the <b>Biblical hero David,</b> a favoured subject in the art of Florence. Originally commissioned as one of a series of statues of prophets to be positioned along the roofline of the east end of Florence Cathedral, the statue was placed instead in a public square, outside the Palazzo Vecchio, the seat of civic government in Florence, in the Piazza della Signoria where it was unveiled on September 8, 1504.</h3><h3><br /></h3><h3>Because of the nature of the hero it represented, the statue soon came to symbolize the defense of civil liberties embodied in the Republic of Florence, an independent city-state threatened on all sides by more powerful rival states and by the hegemony of the Medici family. The<b> eyes of David, with a warning glare</b>, were turned towards Rome. The statue was moved to the Galleria dell'Accademia, Florence, in 1873, and later replaced at the original location by a replica.</h3> <h3><b>Signature of Michelangelo</b><br /></h3> <h3><b>The Prisoner's corridor</b></h3><h3><br /></h3> <h3><b>Michelangelo's Prisers or Slaves (Michelangelo's no-finito 1523)</b></h3><h3><br /></h3><h3>The gallery contains four sculptures of captives by Michelangelo, unfinished works, which were intended to adorn the grave of <b>Pope Julius II</b> in Rome.</h3><h3><br /></h3><h3>The fame of these four powerful statues named by scholars as "<b>The Awakening Slave"</b>,"The Young Slave","The Bearded Slave" and "The Atlas (or Bound)" is due above all to their <b>unfinished state</b>. They are some of the finest examples of Michelangelos habitual working practice, referred to as "<b>non-finito</b>" (or incomplete), magnificent illustrations of the difficulty of the artist in carving out the figure from the block of marble and emblematic of the struggle of man to free the spirit from matter. These sculptures have been interpreted in many ways. As we see them, in various stages of completion, they evoke the enormous strength of the creative concept as they try to <b>free themselves from the bonds and physical weight of the marbl</b>e. It is now claimed that the artist deliberately left them incomplete to represent this <b>eternal struggle of human beings to free themselves from their material trappings</b>.</h3> <h3><b>Rape of the Sabine women by Jean de Boulogne </b></h3><h3>one enters the Accademia Gallery, one will find the plaster cast model by <b>Giambologna</b> (as Jean de Boulogne, 15791583, is known in Italy) displayed central-stage in the Hall of the Colossus. From this model, Giambologna created the marble sculpture you can admire in Piazza della Signoria under the Loggia dei Lanzi.</h3><h3><br /></h3><h3>The cast depicts three figures connected by a serpentine-shaped movement, with one man lifting a woman into the air while a second man crouches. The name of "The Rape of the Sabines", was suggested by his contemporary Vincenzo Borghini. What impacts the observer the most is the fact that the whole group was carved from a single block of marble, and is acknowledged as Giambolognas masterpiece.</h3><h3><br /></h3><h3>The three figures are constructed on a vortex that invites the observer to move around the statue and offers infinite view points. Inspired by Michelangelo and by mannerist ideals, Giambologna became famous for the search of intertwined figural compositions and over ambitious inclusive efforts. His ability to sculpt bodies in the old classical style and splendid figures of naked women in seductive poses increased his fame at the end of the XVI century.</h3> <h3><b>On the Wall as the entrance</b></h3><h3><br /></h3><h3>Giambolognas plaster is surrounded by an extremely valuable collection of artworks on religious subjects from the XV century to the early XVI century. Your glance will be hit by the large number of panel paintings by Paolo Uccello, Perugino, Filippino Lippi, Domenico Ghirlandaio and Botticelli. You might feel overwhelmed at first sight but if you take a seat around Giambolognas plaster, you may comfortably enjoy this rich Renaissance collection and recognize two of the most important works on the wall from which you entered the Accademia.</h3><h3><br /></h3><h3>The first one is central stage, the rectangular front panel of a chest (called Cassone Adimari). It is the front panel of a wedding chest belonging to the Adimari family, depicting a typical Florentine Renaissance wedding feast and portraying medieval streets, monuments (the Baptistery is on the left) and precious brocade costumes witnessing the customs and wealth of the noble families in the 1450s.</h3><h3><br /></h3><h3>The second is to the left of the chest, the small panel attributed to Botticelli and called The Madonna of the Sea. It owes its name to the seascape you can dimly see in the background and its charm is in its gold details and symbols defining the two characters. The pomegranate held by baby Jesus referred to Christ passion and the star "Stella Maris", glittering on Marys dark blue robe. The name "Maria" was considered in the Middle Ages to be connected to the sea (word mare), as in the term Stella Maris (star of the sea) according to antic tranions of the Jewish name "Myriam" (Mary).</h3> <h3><b>The left wall of the Hall of the Colossus</b></h3><h3>The left wing of the Hall of the Colossus (巨人）exhibits today six examples of XV century altarpieces, exposed in chronological order to show the developments of the Florentine school. Starting with the square panel by <b>Andrea di Giusto (1437</b>), the collection is crowned by the maturity of the great <b>Domenico Ghirlandaios</b> artwork at the end of the series.</h3><h3><br /></h3><h3>Centrally located is the large Trinity by <b>Alesso Baldovinetti (1470)</b>, formerly painted for Santa Trinita Church in Florence. The mystery of the <b>Trinity (God Father, Christ and Holy Spirit together)</b> opens up behind a refined drapery ornamented by pearls, supported by angels. Christ on the cross is sustained by God Father and between the two heads a white dove symbolizes the Holy Spirit. A triumph of flamboyant angels (cherubs) is surrounding the three figures in an almond shaped . Below the cross note the skull, which is usually a religious symbol of human redemption. Through the sacrifice of Christ, the blood gets to Adams skull, which embodies the chance for all his descendants to be redeemed from original sin.</h3><h3><br /></h3><h3>To the right side of the Trinity, you find <b>Botticellis</b> famous <b>Trebbio Altarpiece</b> representing a ，<b>oly Conversation.</b> Virgin Mary and child are ideally portrayed in a monumental space surrounded by six saints from different periods. The panel arrives from the <b>Medici Villa of Trebbio</b>, most likely commissioned by Lorenzo di Pierfrancesco Medici. The Medici patronage is clearly confirmed by the presence of the Saint protectors of the rich family, <b>S. Cosmas and S. Damian</b>, dressed up in long, elegant purple robes.</h3><h3><br /></h3><h3>At the very end of this left wall, <b>Domenico Ghirlandaios solemn </b>composition depicting <b>St. Stephen between St. James and St. Peter (1493).</b> The touch of the great Maestro is conspicuous (明顯的）in the majesty of the three sculptural figures which strikingly emerge from the monumental niches painted in the background. Ghirlandaio welcomed the young Michelangelo at his workshop for a few months when he was only about 14 years old. The relationship between the two remained fundamental for Michelangelo throughout his career, both for panel paintings and frescoes, especially during the years that he worked on the Sistine Chapel (1504-08).</h3><h3> </h3><h3><br /></h3> <h3><b>Main section on the right wall</b></h3><h3>The brand new setting of the room allows the visitor to enjoy three large altarpieces sitting comfortably around Giambolognas plaster cast model. Since December 2013, the right side of the room hosts <b>Peruginos</b> grandiose panel depicting the <b>Assumption of the Virgin (1500)</b> surrounded by <b>Raffaellino del Garbos Resurrection and Filippino Lippis Deposition (1504-08).</b></h3><h3><br /></h3><h3>The largest panel in the middle is one of the most outstanding artworks by Pietro Perugino which was commissioned by the monks of the Abbey in Vallombrosa in 1500 for the high altar of the church. On the lowest level, the panel is clearly signed "PETRVS PERVGINVS PINXIT A.D. MCCCCC". The main subject is the Assumption of the Virgin Mary, surrounded by a triumph of singing and playing angels, featuring various musical instruments (harp, violin, guitars) and soft colorful draperies. Down below the main scene, Perugino painted four saints connected to the devotion of the Camaldolese monks. Among them, note on the extreme right the sophisticated Saint Michael the Archangel, dressed up in a rich, glittering armor. If you look at the panel carefully from below, you will even recognize the borders of the long wooden beams used to set up the large wooden panel. The painting was inserted into an elaborate frame completed with a predella and two portraits of Vallombrosa monks, finally recomposed in December 2013.</h3><h3><br /></h3><h3>To the left to the Assumption, you will be attracted by the softness of the pink ribbons of Filippinos Deposition. The panel formerly exposed in the Church of the Santissima Annunziata in Florence was begun in 1504 by Filippino Lippi and, after his death, it was completed by Perugino, who was responsible for the entire lower part of the painting until 1507. The two levels are stylistically very different and thus create a separation. The upper part features Filippinos typical search for motion and movement, a large number of characters moving around the cross in precarious equilibrium and unmistakable fluttering ribbons.</h3> <h3>Nardo di Cione (also know as Orcagna) </h3><h3>Madonna and Child Enthroned with the Saints Andrew, Philip, Nicholas, John the Baptist</h3><h3>c. 1355</h3> <h3>Polyptych of Santa Reparata </h3><h3>Giotto and Workshop c. 1305 - 1310</h3> <h3>Lorenzo Monaco - Annunciation - 1365</h3><h3>Triptych with Saints Catherine of Alexandria, Anthony the Abbot, Proculus, and Francis of Assisi</h3><h3><br /></h3> <h3>Sandro Botticelli</h3><h3>The Virgin and Child with Two Angels </h3><h3>and the Young St. John the Baptist</h3><h3>1465 - 1470</h3> <h3>Sandro Botticelli</h3><h3>Madonna del Mare </h3><h3>c. 1477</h3> <h3>Agnolo Bronzino </h3><h3>Deposition. c. 1565</h3> <h3>Filippino Lippi and Pietro Perugino<br /></h3><h3>Descent from the Cross c. 1506</h3><h3><br /></h3> <h3>Neri di Bicci</h3><h3>Annunciation. ca. 1464</h3> <h3>Great Italian painters<br /></h3><h3>14th - 16th century</h3><h3><br /></h3> <h3><b>Lo Scheggia </b></h3><h3><b>Cassone Adimari (ca 1450)</b></h3><h3><br /></h3><h3>The <b>Cassone Adimari</b> (ca 1450), according to the tradition, was the front panel of a wedding chest.</h3><h3><br /></h3><h3>The scene depicts the prestigious marriage between <b>Boccaccio Adimari and Lisa Ricasoli</b>, celebrated in 1420, or most likely the Martelli-Adimari union which was celebrated twenty years later. Recent studies report that the nuptial parade was not made for a wedding coffer "cassone", but rather for a panel inserted in one of the "spalliere", the wooden wainscoting often used during the Quattrocento (1400s) to line the walls of the nuptial chamber.</h3><h3><br /></h3><h3>Scholars now agree about the final attribution of the Cassone, painted by the younger brother of Masaccio, nicknamed <b>"Lo Scheggia</b>".</h3><h3><br /></h3><h3>The painting represents <b>an elegant wedding parade</b> taking place in downtown Florence, as witnessed by the white and green building located in the background clearly recognizable as the Baptistry of St. John the Baptist. In the center, a line of noblemen and noblewomen paired in couples move in graceful dance steps under a colorful drapery, accompanied by musicians playing trumpets under the small loggia on the left. Under the same loggia, two young servants carry a bowl and a footed dish into a house. Great attention is used to define the Florentine long garments, showing careful refined needlework of local craftsmen, intertwined silver and golden threads in stunning brocade patterns.<br /></h3> <h3><b>Coronation of the Virgin by Jacopo di Cione</b></h3><h3><b><br /></b></h3><h3>The most important and famous panel painting exposed in the hall is the "Coronation of the Virgin" by Jacopo di Cione, which has been restored in 2011. The panel was known in Florence as "Altarpiece of the Mint", and was commissioned by the magistrates of the Mint for its seat, located close to Palazzo dei Priori. The panel appears dazzling in its preciousness, from the massive presence of gold, not to mention the fabrics and drapery of the detailed figures. For the completion of the altarpiece Niccolo di Tommaso and Simone di Lapo helped Jacopo di Cione, the main author of the panel.</h3><h3> </h3><h3>The artwork was completed by a precious frame, carved and adorned by stonemason <b>Giovanni di Ambrogio</b>, with t<b>he coats of arms of the City of Florence</b> and powerful Florentine Guilds such as The <b>Guild of the Merchants of textiles (Calimala)</b>, and the <b>Guild of money changers and bankers (Cambio</b>). One can distinguish various saint protectors of the town of Florence depicted below the main scene of the coronation:<b> John the Baptist</b>, Reparata, Anna recognizable by the miniature city, Zenobius first bishop of Florence, Barnabas and Victor, saints honored in Florence after military victories. In the altarpiece one can admire the patron saints of the guilds such as <b>Saint John Evangelist (protector of the merchants of Calimala) and Saint Matthew (protector of bankers</b>). On the lowest part of the wooden frame there are painted coats of arms (from left) of the Alberti family, Guild of Calimala, the lily of Florence, the emblem of Anjou, the Seal of Florence, the emblem of Anjou of Durazzo, of the Guelph Party, Guild of Bankers and Davanzati family. The coats of arms of the Alberti and Davanzati are due to the representatives of the guilds Calimala and Bankers in charge at the time of the execution of the painting: Bartolomeo di Carroccio Alberti (member of Calimala Guild) and Davanzato di Giovanni Davanzati (member of the Guild of Bankers).<br /></h3><h3><br /></h3><h3><br /></h3> <h3>Chalk models room</h3> <h3>Chalk models room</h3> <h3>Bernardo Daddi</h3><h3>Crucifix c. 1350</h3>