DOI Page / Citation link:
https://doi.org/10.11588/diglit.61670#0170
CHAPTER VI
S. MINIATO—THE FEDERIGHI TOMB—THE PISTOJA
VISITATION—THE STEMMI OF OR S. MICHELE
Luca’s next work of importance of which the date is known
to us, was the decoration of the Chapel of the Crucifix in the
Church of S. Miniato, near Florence. Here again he was
associated with Michelozzo, to whom the commission for
the building was given in 1448, the decoration being so closely-
connected with the architecture that we may conclude Luca’s
enamel work to have been of the same date.
The chapel was built for Piero de’ Medici to enshrine
the famous Crucifix, which is said to have bowed its head
to S. Giovanni Gualberto, founder of the Vallombrosan Order;
but though the shrine remains intact, the Crucifix is no longer
within it, having been transferred in 1671 to the Church
of SS. Trinita.1 This small temple, set in the midst of the
Romanesque Basilica, is one of the daintiest bits of Renaissance
architecture, a masterpiece of elegance and graceful proportion ;
for however Michelozzo may have failed as a sculptor, as an
architect he was unrivalled in the designing of such exquisite
chapels as well as of fortress-like palaces. Architect and
decorator have here worked together with the utmost harmony,
Luca’s share being the ornamentation of the roof, outside as
well as in, and the frieze with the Medici device, which
runs all round the chapel. The design of the heraldic frieze
is of the greatest beauty, rivalling even Alberti’s adaptation
of the Rucellai Sails round the Loggia of their Palace and
1 The Crucifix is now in the first chapel to the right of the High Altar,
concealed by a curtain, and only unveiled once a year, on Good Friday. At
other times a special permission is required to see it.
9°
S. MINIATO—THE FEDERIGHI TOMB—THE PISTOJA
VISITATION—THE STEMMI OF OR S. MICHELE
Luca’s next work of importance of which the date is known
to us, was the decoration of the Chapel of the Crucifix in the
Church of S. Miniato, near Florence. Here again he was
associated with Michelozzo, to whom the commission for
the building was given in 1448, the decoration being so closely-
connected with the architecture that we may conclude Luca’s
enamel work to have been of the same date.
The chapel was built for Piero de’ Medici to enshrine
the famous Crucifix, which is said to have bowed its head
to S. Giovanni Gualberto, founder of the Vallombrosan Order;
but though the shrine remains intact, the Crucifix is no longer
within it, having been transferred in 1671 to the Church
of SS. Trinita.1 This small temple, set in the midst of the
Romanesque Basilica, is one of the daintiest bits of Renaissance
architecture, a masterpiece of elegance and graceful proportion ;
for however Michelozzo may have failed as a sculptor, as an
architect he was unrivalled in the designing of such exquisite
chapels as well as of fortress-like palaces. Architect and
decorator have here worked together with the utmost harmony,
Luca’s share being the ornamentation of the roof, outside as
well as in, and the frieze with the Medici device, which
runs all round the chapel. The design of the heraldic frieze
is of the greatest beauty, rivalling even Alberti’s adaptation
of the Rucellai Sails round the Loggia of their Palace and
1 The Crucifix is now in the first chapel to the right of the High Altar,
concealed by a curtain, and only unveiled once a year, on Good Friday. At
other times a special permission is required to see it.
9°