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I due scomparti appaiono riuniti entro un’unica cornice a seguito di un restauro degli anni Cinquanta, ma originariamente dovevano fungere da sportelli di una pala d’altare o di un tabernacolo, come indicato dalla colonna centrale che serve a segnare lo spazio unificando, al tempo stesso, la scena. Il sacro evento è inquadrato in un’architettura che … Continued
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Le misure insolite e la singolarità del soggetto escludono che possa trattarsi di una predella e, meno ancora, di un paliotto. Le scritte in latino tratte dal Salmo 150, che intervallano, entro sinuosi cartigli, gli angeli musicanti, ne precisano, insieme all’originaria destinazione religiosa, anche il riferimento esplicito ad attività musicali. È interessante ricordare che le … Continued
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Nella notte tra il 31 maggio e il 1° giugno del 1491 il grande ciborio, destinato all’altare maggiore della Collegiata, giunse a Empoli da Firenze, trainato da venti facchini. L’episodio, annotato da un cronista contemporaneo, descrive il lento procedere della grande macchina d’altare per le strade della città, fra la curiosità dei cittadini e dei … Continued
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È una piccola ancona destinata alla devozione privata, riferita al pittore da Berenson nel 1932, attribuzione generalmente condivisa dagli studiosi. La semplicità quotidiana della scena è sottolineata dalla collocazione della Vergine sullo sfondo di un muro dietro il quale si scorge un cielo striato. Iscrizioni sulla cornice: MARIA MATER GRATIE
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Il dipinto è riferibile a Pier Francesco Fiorentino da documenti d’archivio che attestano come nel 1474 Antonio di Matteo Ricci, facendo testamento, richiedeva agli eredi di erigere una cappella intitolata a san Guglielmo nella pieve empolese, ornandola con una tavola eseguita da «ser Pierus Francisci pictor». Dai documenti si apprende che per la tavola il … Continued
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Il rilievo alla fine dell’Ottocento era collocato sulla controfacciata della Collegiata entro un tabernacolo in pietra oggi perduto, che gli Ispettori dei Monumenti del Regno d’Italia non esitavano a definire «grandioso». L’impressione suscitata dall’insieme, oltre che dalle dimensioni, poteva derivare dall’impiego del vocabolario architettonico classico, che Mino doveva aver appreso fin dalla sua giovinezza nella … Continued
Empoli Musei
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