The plans and the work-site of Sant' Antonino's chapelin Sto Mark's in Florence -the work of Giambologna-

in a manuscript in the Salviati Archives

The manuscript «Notebook of the building of Sanr'

Antonino's chape] in St. Mark's in F]orence,]579-1589»' kept in the Sa]viati Archives in Pisa,2forms a particularly interesting testimony to thep]anning and realisation of an architectural work in

the last two decades of the ]6th century in Florence.

The «Notebook» be]ongs to a kind of writing thatis rather rare in the historica] archives of noblefamilies and of its kind it is extraordinari]y detailed,rich and organic in data. It is divided into two parts:the first contains the journal of the expenses of theperiod ]579-94, with some copies ofbills; the second

-the memories of the work by masters and ]abourerswho worked in the chapel from May ] 580 to June1589. Figure l.

The ana]ysis of the manuscript shows a number ofinteresting factors about the architect' s ro]e in thesecond half of the 16thcentury, on the process of jointdesign , on client's ro]e in conceiving the work, ondrawings, plastic works and on yard organization.

The subject of the «Notebook», the chapel ofSant'Antonio in the church of St. Mark's inF]orence,' commissioned from Giambologna by theSalviati family,4 is one of the fundamenta] prototypesof a series of magnificent, ce]ebratory chape]s builtbetween the end of the 16th century and the firstdecades of the 17''', in the Roman area, like thosededicated to Popes Clement VIIl, Sixtus V and PaulV in the basilica of Santa Maria Maggiore in Rome.]n its composition we find a close link between

architecture, sculpture and painting. The chapel, a

Ewa Karwacka Codini

Figure 1Frontispiece 01' theNotehook al the buildinl? alSanr'Antonin's chapel in St.Mark's in Florence, ]579-1589(Archives 01' Salviati, Libri di cornrnercio e di

amministrazione patrimoniale, 11. 113)

Proceedings of the First International Congress on Construction History, Madrid, 20th-24th January 2003, ed. S. Huerta, Madrid: I. Juan de Herrera, SEdHC, ETSAM, A. E. Benvenuto, COAM, F. Dragados, 2003.

]2]6 E. Karwacka Codini

handsome architectural composition contrastingwhite and coloured marbles with great dark bronzeplaques, assembles the small and rather idiosyncratic

repertory 01'architectural details which recurs in all 01'

Giambologna's architecture. Figure 2.

Figure 2View of the interior of the San!' Antonino's chapel, thepresent situation

The construction 01' the chapel, devoted toAntonino Pierozzi officially canonized in 1523 byPope Clement VII, belonged to the renewal counter-

reformist program, 01' the Dominican church 01' SI.Mark.5 The decisive change 01' this church (after the

elimination 01' the choir di viding the men' s area fromthe women's) was introduced with the construction 01'the chapel 01' San!' Antonino which stimulated thetotal change 01' the interiors.

The chapel is divided into two environments, oneat the same level 01'the central aisle 01'the church andthe other one underground. The upper level iscomposed 01'a hallway and 01' the chape!. Figure 3.

The funeral oratory and the crypt are locatedunderground. Figure 4.

Figure 3Ferdinando Ruggeri. Pianta del Vestiboln, e del/a Cappel/adi S. Antoninn Arcivescovo di Firenze ( Gori 1728)

The entry to the hallway is characterised by a greatround arc in serene stone, sustained by composite

columns and pilasters, surmounted by the marblestatue 01' San!' Antonino. In the hallway, the twocouples 01' doors on the side walls are inserted in

the frescos 01' Passignano, Traslazione del corpo di

S. Antonino on the right-hand side and Esposizione

del corpo di S. Antonino on the left-hand side. An archaving the same size as the one at the entry toward the

central aisle, sustained by two couples 01' marblepillars in composite style, separates the hallway from

the effective chape!. Both inside the hallway andin the adjoining chapel, the architectural body ismade 01' marble. The altar niches in ionic style andother architectural structures are located in the cleargrate constituted by a system 01' composite pillars

sustaining the trabeation, applied to niches or panels,elements framing sculptural and pictorial decoration.Under the trabeation each ofthe three walls is dividedinto three parts: in the central area we can find the

marble altar, whereas marble statues and the bronze

The plans and the work-site of SanfAntonino's chapel 1217

Figure 4Ferdinando Ruggeri. Pianta del/'Oratorio sotterraneo (Gori1728)

bas-reliefs are located on the sides. Gn the centralaltar, Alessandro Allori's canvas with theApparizione del Cristo is accompanied by statues by

Saint Giovanni Battista and Saint Filippo Apostolo.

The painting of the Vocazione da San Marco byGiovanbattista Naldini is placed near Saint Domenico

and Saint Tommaso d'Acquino, while FrancescoMorandini's painting with Gesu che guarisce illebbroso is set near Sant'Antonino Abate and

Sant'Edoardo. Bronze panel s above the statues tellthe story of Sant' Antonino's life. In the modelling ofthe walls, characterized by a great plasticity andchromaticity, the architecture is tightly connected to

the painting and sculpture. In the middle of thechape!, the sarcophagus of Sant' Antonino rests on a

marble pedestal.The chapel space is sealed by a segment dome with

octagonal base, surmounted by a lantern in whitemarble. The intermediate area with pendentives, theunderside of the arches and the dome are entirelydecorated with frescos. The pictorial program of the

dome is devoted to the Storie di Sant'Antonio: four

episodes of the Saint's life in the greatest segments

and four virtues in the smaller spaces are united bygrotesque decoration. Under the arches, the Sain]'s

life stories; on the pendentives and on the sides of thewindows -Prophets and Sybille. Finally the floordrawing in colored marbles reflects the dome's shape.Figures 5, 6.

Figure 5

Ferdinando Ruggeri. Taglio del prospetto principale del/aCappel/a di S. Antonino Arcivescovo di Firenze, e

del/'Oratorio sotterraneo, corrispondente al/e piante sul/a

linea C. D. ( Gori 1728)

The clients of the chape] were A verardo(1542-1595) and Antonio Salviati (1554-1619) who

fulfilled the last wishes expressed in the will of theirfather Filippo of A verardo (1513-1572) particularlyattached to the Dominican order and great venerator of

Sant' Antonino.6 The construction of the oratory for thefamily, which had at that time in Florence a notable

importance in the economic life and a prestigiouspolitical rale at the grand-ducal court/ was not only areligious fact but also a symbol of munificence andprestige. The work was committed by the family to

Giambologna at that time considered as the most

1218 E. Karwacka Codini

Figure 6

Ferdinando Ruggeri. Taglio per/ial1co del Vestibo[o, e del/aCappella di S. Al1tOl1illO Arcives('ovo di Firel1ze, e

de/l'Oratorio sotterralleo, corrispolldel1te alle Piante s!tlla[illea E.F. ( Gori 1728)

famous artist at the grand-ducal court and, as reportedby Vasari, «much in grace 01' our principIes 1'or his

virtues . . . very rare young man».R Francesco 1, whoemployed him exclusively for his works, granted the

artist to the Salviati family thanks to the goodrelationships between the duke and the family. Su1'1'iceit to remember on this subject the 1'amous sculptures,realised by him a 1'ew years before the assignment, forexample the Deeano for the Boboli Garden, the Venus

in the Grotticella, the bronze Apol/o for Francesco I'sprivate room and the Rape ofthe Sabine women 1'ortheLoggia dei Lanzi, initiated in 1579. During his first

architectural experiences, Giambologna -like the

other sculptors or painters 01' the 16thcentury that had

been working as architects- used only his trained eyeand his knowledge 01' the andent architecture. It's nowonder that he took part in the construction 01'architectural, even though small struetures, withoutbeing in fact an architect, because the solution 01'

structural problems was generally remitted to master

builders and carpenters. A1'ter all, according to Alberti,who claimed the prominent role of the ideation andplanning in his essay De re aedijieatoria, the architect

shouldn't necessarily be the direct performer of theworks, but he had to manage its realisation with

intelligence. The first experience of Giambologna inarchitecture was the Altare del/a Liberta in the churchof Lucca (1577-79). Contemporarily to the taskentrusted to him by the Salviati family, he was workingat the Grimaldi chapel in the church 01'San Francescodi Castelletto in Genoa (where, after all, he used thesame compositive scheme 01' statues, bas-reliefs,painting and architecture) and since 1584 he had been

working at the chapel of the Soeeorso in Santissima

Annunziata, Florence.9The Quademo, in which Giambologna is expressly

named «architector», clearly confirms that thearchitectura] ideation of the chapel of Sant' Antonino

together with the plastic and figurative creationundoubtedly belong to him.!o The possiblecontribution in the planning and realization 01' artistssuch as Ammannati, Buontalenti and others, pointedout by some researchers!! is definitely overcome bythe manuscript.

The two surviving drawings of Giambo]ogna forthe Salviati chapel, one 01'the general p]animetry andthe other of the wall with the main altar!1 do not havethe form 01' a free-hand sketch, which was the mostfrequent type during the 16th century, but areperformed with drawing tools (except 1'or the

decorative patterns) and have a metric scale inFlorentine braecio. Both in orthogonal projections,they are characterised by an extreme descriptiveclarity and cleaned lines. The minute and elegantrepresentation 01' the details is amazing. AIJ the partsof the structure and the decorative body are wellde1'ined: not only pillars, columns, capitals,mouldings 01' the tympanum and frames, bul also the

entire iconographic program of the sculptures, 01' thebas-reliefs and 01' the pictorial panel. With thesesketches the design architect transmits the who]e andunitary idea precisely defining all the forms, themes

and materials. Figures 7, 8.

The plans and the work-site of Sant' Antonino' s chapel 1219

Figure 7

Giambologna. Plan of the Sant' Antonino's chapel

(Florence. GDSU. 237a)

Considering these particular qualities we canimagine the double finality of these sketches.Undoubted]y they were made to be deciphered by

others in the yard. At the same time, considering theircommunicative comp]eteness, they sure]y weredirected to a cu]tured client. ]n fact, we know thatsome sketches were sent in 1579 in Rome to thearchbishop Alessandro de' Medici in order to get hisapprovaI.]' Indeed it was the archbishop who

requested the execution of the chapel in the previousyears and who then supervised the works with

attention.However, these sketches do not make up the

principal means of communication between the

architect and the material executors of the works. The

transmission of the planner's idea to the workers

I

"Figure 8Giambologna. Drawing of the wall with high ahar, chapel 01'San!' Antonino (Florence, GDSU, 237a)

substantially occurred by using models. Themanuscript tells about the great model14 which,expressing the global original idea, served as a startingpoint for the rea]ization of single parts, but it also

mentions several plastic models of some details indifferent sca]es such as the one of the hallway ceiling,of the «dome with eight sides covered with bluecardboards to make the sketch of the paintings», of thewindows, of the arcs, of the roof, of the altar, of thecornice and of the sepulchre of Sant' Antonino.1s Therea]ization of all p]astic models was commissioned lo

the Florentine carpenter Bernardo di Francesco whowas qualified for this type of work.

The combination of the arts is the prominent factoralso during the rea]isation of the chape!. Themanuscript describing the works includes, in fact, thepayments for the architectural parts together with

those for the scu]ptura] and pictorial parts, that areconsidered to be inseparable. The works ofarchitectura] decoration interlace and overlap in timewith those re]ated to the execution of scu]ptures and

paintings.

1220 E. Karwacka Codini

The accounts minutely recorded in the Quaderno

makes it possible to explain some uncertainattributions to the artists. For instance the role ofGiambologna as executor 01' marble and bronzesculptures is explained, this rale being ignored by acertain historiography. The manuscript reports thecontract signed by the artist and the paymentsexclusively made out to Giambologna for al! the six

statues in the niches and 1'or the one of Sant' Antoninoabove the are of the hallway .16 In addition, the plastic

ideation of the bas-reliefs in bronze, al! made by theFlorentine foundry of the Dominican monkPortigiani 17 is confirmed. Portigiani is also theexecutor of the great winged angel on top of the aJtarand of the group 01' two angels lying on the sides ofthe arc frontispiece, besides the statue of

Sant' Antonino 1'or the same altar. 18 AnotherFlorentine smelter, Antonio Susini, was the executor

01' the oil lamps and grids for the altar and 01' thefinishing 01' the crucifix 01' the same aJtar. 19

The evidences about the pictorial works are veryimportant as well. as we well know, AlessandroAlIori had been chosen for the entire decoration in

fresco of the dome, the pendentives and the areasunder the arcs, and for the main painting with theApparizione di Cristo alla Vergine Maria dopo il

ritorno dal Limbo2°. The manuscript also reports thepayments for the assistants in his workshop,particularly to Giovanmaria Butteri. to Taddeo di

Francesco Curradi and Giovanni Balducci. There isevidence of other painters' works: FrancescoMorandini and Giovanbattista Naldinj21 for the twopaintings of the side altars, and Domenico Passignano

for the two great frescos of the hallway22 AndSimone di Domenico Ferri da Poggibonsi for thepaintings of Martini's chapel altar" and Lorenzo di

Francesco Nelli for the fresco gratesques in the

she !ter. 24

The entire manuscript shows the organisation ofthe yard managed by Giambologna. The role oIsupervisor and keeper of the Quaderno is assigned to

Benedetto Gondi, an erudite, expert and collector ofFlorentine arto He draws up two account books of theabove mentioned works organiscd in two differentways: one is drawn up as a real «diary», and the otherreports the payments registered according to theirgender and under general expenses. Both manuscripts

are extremely precise and full of dctails in thedescription of each item. Particularly the first one

follows the chronology 01' the interventions: thepreparation of the woks in autumn 1579, thereinIorcement of the bases in 1580, the constructionof the upper part in the 1582-85 years, the mountingof the dome in August 1585. The four subsequentyears were mainly devoted to the introduction of thearchitectural bodies together with the sculptural andpictorial decoration.

As regards the architectural part, a remarkable rolewas played by the stonecutter Jacopo Piccardi. It wasup to him to choose the marbles in Carrara, to realize

some elements and to get them under way.25 Forinstance, thanks to the manuscript, we know that hespent one year, in several journeys, in Carraraapplying himself to the choice of the marbles.

Piccardi had also to interpret the design producedby the architect and guarantee its realization in the

most consistent formo He acts as a foreman: heorganises the works, sees about tools and material s

and supervises the workers. In fact the realizationrequired to let out several workshops and technicians

on contracts. The stonecutters had a major role in therealization of the work as the attendance records showwith up to seventy-five workers, while the mastermasons were only eleven.26 A long list 01' otherworkers is listed, among which carpenters, plasterers,whitewashers, braziers, blacksmiths, panel makers,tiraferri (suppliers oI copper wire), tinsmiths,lanciaio (supplier oI iron and copper), locksmiths,receivers, conductors, wheelwrights, «navicellai»

(conductors of special boats), quarrymen, sawyers,fomacemen, grinders, sand diggers and lustrators.

Among the main supplies listed we obviously find

Carrara marble having the major role in thearticulation of the interiors. The architecturalelements in this material were worked out in thelaboratories of Carrara according to the modelsprovided for by the architect. Subsequently they were

carried by sea up to Marina di Pisa and Irom here bythe river Amo up to the port 01' Signa.

The «mixed stones» i.e. the coloured marbles,acquired mainly in Rome, but also in Faenza,Ravenna and Genoa had an important position in thesupplies. Giovanni Antonio Dosio, a known expert of

Roman antiques and experienced in marble sales isinvolved in the prospecting and purchase 01' thesestones of archaeological origin in Rome, therebyproviding the greatest part of the materials for wall

coverings and for the floor.n It should be pointed out

The plans and the work-site of Sant' Antonino's chape! 1221

that the visual and symbolic meaningfulness of semi-precious stones and the correspondence between thenobility of the subject and the beauty of the shape are

confirmed in this period by the Medicean passion forthese materials, particularly in Francesco I' s interests.However it was Cosimo I who solicited this type ofinterests after his trip to Rome in 1565, where he had

seen the t10urishing antiquarian market for their usein the panels, in the wall coverings and in the t1oors.After his return to Florence he entrusted GiorgioVasari with the project of a porphyry t100r and semi-precious stones and subsequently he entrusted him

with the planning, in colored mosaic marbles, of theChapel of the Principies at San Lorenzo in Florence,

wanted by the duke all in colored mosaic marbles.28Even though this solution was not immediatelyrealized, this marked the birth of chromatic

decorations for private chapels.The importation from Rome to Florence of the new

techniques of marble mosaics starts during the sixtiesof the 16th century thanks to Dosio who used hisexperience first in the sketches of panels and then inthe planning of the chape! Gaddi in Santa MariaNovella, realized between 1574 and 1578, that is tosay immediately before the construction of the chapel

of Sant' Antonino. In the last years of the 16thcenturyand in the following century, the predilection forcolored and semi-precious stones took the worldJyaccents in the whole peninsula. The sumptuary use ofsemi-precious stones replaces with time theirsymbolic connotation being used in noble chapels.

The success and the diffusion of the chromaticcovering in Tuscany is due to the activity of the newFlorentine laboratory, specialized in the creation ofmosaic and carvings of semi-precious stones2O In thislaboratory, supervised by Francesco 1, Giambologna

worked for a long time as one the nine draftsmen. Suchexperience, undoubtedly affected the ideation of thechapel Salviati, in which he proposed a new solution in

Florentine environment playing chromatic effects withthe colored stones, sculptures and painting.

In the chapel, Giambologna introduces thecoloured stony retlexes in the panel s with whitearchitectural structures, combining them with themarble statues placed in the dark grey background ofthe niches in serene stone, and with the bas-reliefs inbronze and, at the same time, with the pictorialpaintings of the altars. He matches the dome frescos

with the floor filled with colored stones that reflect

the pattern of the dome. A yellow marble columnsections, two «African» columns and a piece of greenmarble, coming from villa d' Adriano in Tivoli,3° a«white and black» column, two columns of blackmarble, but also red marble, red and green jaspers and

alabaster, all acquired by Dosio in Rome,31 togetherwith a column of Genovese slate, «mixed stones»

from Faenza and Ravenna supplied by Piccardi havebeen used in the wall coverings and in the t100r. Thiswork was very involving when considering thefatiguing and expensive transport on mules. Thechape! became famous just for the use of polychrome

marbles, as evidenced by Del Riccio in his workIstoria deLle Pietre32.

Among the other materials, almost all of localorigin, we find: gritstones, strong stones, serene

stones, tiles, mezzane, quadrucci (quadrangularbricks), flat tiles, small tiles, pounded bricks, brick

dust and marble, chalk, limes, various metal s, as iron,tin-plate, brass, tin, copper and lead, lumber of fir-tree, of chestnut tree and of cypress and glasses.

The contract of these last ones was given to theIngesuati friars of Florence33 For the execution of the

windows of the oratory, the ones under the ares of thevault and the ones under the lantern, the white glassplates coming from Lyon,34 from Venice" and from

the same Ingesuati glassworks were used, togetherwith the painted plates from Flanders36 and thecolored glass supplied by the Florentine bichieraio,Cesare Bandinucci,37 as well as the blue and yellowglasses of the same Florentine friars.

The total cost of this «much more regal thancivi],,3S chapel appears to be of 34000 SCUd03Y(145

scudo per sq. m.). It is a high financial engagementcorresponding to the clients' wish for having agrandiose and elegant oratory following the example

of the Medicean chapels in Florence. To have an ideaof such engagement just compare it with the expenseof 12000 scudo for restructuring the Palazzo deiCavalieri in Pisa realized by Vasari some time before,

between 1561 and 1564, upon Cosimo I order.4OGreat amounts of money, approx. 5700 scudo, are

paid for buying construction materials (4000 scudoonly for marbles including transport) and approx.

6110 scudo for the stone cutters' work. Giambolognawas paid 5400 scudo: 5000 for the sculptural worksand 400 for the supervision lasting eight years.41

The rather moderate expense, only 1549 scudo,

were paid for the paintings, while it surprises the

1222 E. Karwacka Codini

significant sum of 3023 scudo paid for the hangings

of the church of San Marco on the occasion of theceremony of Sant' Antonino translation which

occurred on 8 and 9 May 1589. For the celebrationthe fac,;ades of the chapels, with their pillars, theirtrames and frontispieces were performed in wood, inline with the Salviati oratorio.42 This stage pretenseconstituted in fact the 1: 1 scale plan of thearchitectural transformation of the church occurredwithin the following decade.

NOTES

1. AS. Libri di commercio e di amminis/razjone

patrill1oniale. Il. 113 e 114. The first reeord was

transcribed in 1996. therefore refer to Karwacka Codini

and Sbrilli 1996. This record (113) will be from now on

referred to as Quadenw.

lt is an important private fund deposited since 1994 at

the Scuola Nomwle Superiore o/ Pisa. Declared of

historical interest by the State, these reeords documents

a long period of family story at the end of the 14thcentury up to the beginning of the 19th century.

Sce Gori 1728 : Flaek 1986 : Gibbons Weitzel 1995:

Centi 1989.

For family story rerer lO Hurtubise, 1985 : Karwacka

Codini and Sbrilli 1987; Pinehera 1999.

Saint Mark's Dominieans played an important role indefining the new theology of the Concilio di Tren/o. At

that time Antonino PieroZl.i' s thought was recovered byreprinting his doctrinal work Opera di S. An/onino.

arcivescovo fiorelltino utilissimo el necessaria per

l'is/ruzione di sacerdo/i (Pierozzi 1559). The first idea

for the reconstruction of the chapel was born already in1526, three years atier the Sain!' s canonization.

The relationships between the family and the chureh

and Saint Mark's convent date back to the 15th century.At the beginning of the 16th century Francesco diBernardo Salviati beeame the eonvent's prior:

afterwards Filippo di A verardo, who religiously

converted thanks to the spiritual influencc of the

Dominieian nun Caterina de' Ricci, ordered the

eonstruction of the new chureh of San Vineenzo in

Prato and expressed in the will his desire of building

Sain!'Antonino's ehape!.

The Salviati family, already known in the politicallife

at the end of the 13th century, since the end of the 14th

beeame famous for their aetivity of merehants. Sinee

the half of the 15th century they belonged several

eounters in Florence, Pisa, Bruges, London andConstantinople. Between the end of the 15th eentury andthe beginning of the 16th eentury they covered

2.

3.

4.

5.

6.

7.

prestigious roles in the political life of Florence. Sinee

the end of the 15'" eentury the family slit up into two

branehes, the roman and the Florentine one. Jacopo

(head of the roman branch) and his sons, thanks to the

relationships with the Mediei family, and in particular

with popes Leone X and Clemente VII, moved a greatpart of their aetivities to Roma and in the pontifiea1

state. Alamanno deseendants (head of the florentinebraneh) works during the 16th eentury in the economie

and commercial field and during the 17th century they

beeame landowner and court dignitary.

8. Vasari 1993, 1351.

9. About Sacred sculpture refer to Avery 1987, 193-204 e

Gibbons Weitzel 1995. About Grimaldi ehapel see

Gibbons Weitzel1984, 278-279; Bury 1982, p.85-128.

10. Refer lo Karwaeka Codini and Sbrilli, 1996. 135.Payments to Giambologna are reported in the

manuseript in due time throughout all constructionyears.

11. See, for instance. A very and Radcliffe 1978, card 206.

12. Drawings are kept in Florence at GDSU, (237a ).

13. Quademo, c.1 v.

14. [bid., e. 106v, payment to Bernardo di Francesco,

earpenter.

15. [bid., ec. 105(bis), 106r e 106v. eopy of an account

receivcd by Bernardo di Franceseo, carpenter.

16. [bid.. ce. 291', e 93r.

17. [bid., ce. 161'e 93r.

18. [bid., ee. 75v e 93r.

19. [bid., ee. 811'. 881',1021' e v.

20. As regards some questions on these attributions refer to

Karwaeka Codini and Sbrilli 1996, XIX- XX e Leechini

Giovannoni 1991,271,312.

21. Quademo, ec.26r e 90r. Naldini is also the author oftwo

fresco paintings of putto in the subterranean chape!.

22. [bid.. c.] 141'. Frescos Processione e Traslm.ione tellepisodes of the ceremony dedieated to Saint Antonino

on 8 and 9 may 1589.

23. [bid.. e.90r.

24. [bid., c.82v.

25. Payments to Pieeardi are reported in the Quaderno

throughout the length of the works. As regards marble

e]ements provided for by him, refer to his aeeount a ee.

74v e 75r where, among others. columns, pillars,

architraves, frieze, mouldings, tliers, trames of doors

and windows are mentioned.

26. See in particular the list of workers' names ineludine the

number of days worked by thern; Quademo, ce. ]451'-

325v.

27. Refer to. for instance . to Borsi. Aeidini, Mannu Pisani

and Morelli 1976 and Morrogh 1985b. 82-85, 88-90,

96-97,110-111.112-113,117-118.

28. See in this regards Morrogh 1985a.

29. Refer to Giusti 1989.

The plans and the work-site of San!' Antonino' s chapel 1223

30. Quaderno, c.91 v.

31. Ibid., cc. 25v, 26v.e 43r.

32. Del Riccio (1597) 1979, cc. 3,6, 10v, 21v, 105v.

33. Quaderno, cc.60v e 91 r.

34. Ibid., c.89r.

35. Ibid.. c.91r.

36. Ibid., c.91 r.

37. Ibid., cc.52v e 112v.

38. Bocchi (1591) ]971, 8.

39. AS, Libri di commercio e di amministraÚonepatrinlOniale, 11, 114, ultima carta.

40. Refer to: Karwacka Codini 1989, 72.

41. Quaderno, c.93r.

42. Per la descrizione della festa si veda in particolareBuoninsegni 1589, 3.

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A very, C. and Radcliffe, A. 1978. Giambologna 1529-1608sculptor to the Medici. Exhibit book-catalogue. London.

Bocchi, F. (1591) 1971. Le bellezze della citta di Firenze.

Firenze.Borsi, F: Acidini, c.; Mannu Pisani, F. and Morelli, G. ]976.

G.A.Dosio, Roma antica e i disegni di architettura agliUffiÚ. Roma.

Buoninsegni, T. 1589. DescriÚone del/a traslaÚone delcorpo di Santo Antonino, arcivesco di Firenze. Fatta

nel/a chiesa di San marco f'Anno MDLXXXIX. Firenze.Bury, M. ]982. Thc Grimaldi Chapel of Giambologna in

San Francesco di Castelletto, Genoa. Mitteilungen des

Kunsthistorischen Institutes in Florenz. XXVI, 86:

85-128.Centi, T.S. 1989. La chiesa di San Marco a Firenze. In La

chiesa e il convento di San Marco a Firenze. Vol. 1.

Firenze.

Del Riccio. A. (1597) 1979. Istoria delle pietre dure.

Firenze.Flack, M.E. 1986. Giambologna's cappel/a di

Sant'Anlonino .for the Salviuti jamily; Wl ensemble ofarchitecture, sculplure and painting. Ph. D. Columbia

University.

Gibbons Weitzcl, Mary. 1984. Giambolognu's Grimaldi

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