Decorative entrance to Chiostro Dello Scalzo (Literally the cloister of the barefoot). Easily missed, this place is delightful. Sadly even without flash no photography is allowed., but you can see some examples of the frescoes inside here
The hooded robed figures have no unsavoury connotations. The fraternitites that most brothers joined wore hoods so that their good deeds were done anonymously.
Canon Powershot s90. Please click to view large
Many thanks to everyone who views my work. Comment if you wish, but I’m afraid I am unable to respond or reciprocate at this moment in time. I will always try to repay a favourite though.
The cloister of the Scalzo is an important fresco cycle in a small cloister at number 69 Via Cavour in Florence .
Small hidden gem of the city, it was actually the entrance portico to the destroyed church of the Society of St. John the Baptist of the Disciplined , called Scalzo because Carrying during the processions used to go barefoot. The church was partly down the stretch of the road, which was opened only in the eighteenth century.
The architectural construction, simple and harmonious, was designed by Giuliano da Sangallo , while on the walls were frescoed with the elegant (and less costly for customers) technique of monochrome , a chiaroscuro without color.
The cycle, among the most important of the early sixteenth-century Florentine painting, was painted by Andrea del Sarto , according to many his masterpiece, which I painted over a long span of his career, between 1509 and 1526 , six of the eight major panels with Histories of St John the Baptist and the four Virtues access to the sides of the doors: Faith, Hope, Charity and Justice.
Andrea Vannucchi, said Andrea del Sarto lived near the corner of the present-day Via Gino Capponi and Via Giusti at number 24, still the home of Andrea del Sarto is a plaque commemorating the “painter without mistakes.”
The large span of time between a fresco and the other allows you to see the artist’s stylistic evolution and, more generally, of Florentine painting of the century: the Baptism of Christ ( 1509 – 1,510 ), of sober impression fifteenth painted by the young master, in scenes more and more dynamic, derived from the comparison with the popular Michelangelo and other peers as the Franciabigio , as in the capture of John the Baptist of 1517 or in the Baptism of the multitudes in the magnificent Mannerist style , harmonious and complex at the same time , full of moving figures, often nude, and pictorial virtuosity, which inspired the entire next generation of artists. Finally, the frescoes of the decade of 1520 is related to its maturity with figures most solemn and majestic, heroic connotations and parallel to Michelangelism then dominant.
Andrea del Sarto was to be the sole executor of the cycle, including paints, for example, in the bands of decoration, although in in 1518 – in 1519 worked there in its place Franciabigio , his friend and collaborator, who performed the Blessing of St. John that part for the desert el ’Meeting of Christ with St. John the Baptist Andrea in fact had moved to France with the intention of settling there, but once back in Florence filming the direction of the work.