NOTES: Built as a summer residence for Elector Ferdinand Maria and his consort Henriette Adelaide of Savoy, this cube-shaped building, begun in 1664, was enlarged under Electors Max Emanuel and Karl Albrecht from plans by Enrico Zuccalli and Joseph Effner. The Great Hall was decorated in the Rococo style by Johann Baptist Zimmermann and Fran+â-ºois de Cuvilli+â-®s under Elector Max III Joseph.
NOTES: The chapel was begun in 1570 by the architect Giovanni Antonio Dosio, while the frescoes were executed around a century later by by the artist known as 'Volterrano'. The sculptures of Aaran and Moses were created by the Italian Mannerist sculptor Pietro Francavilla.
NOTES: This, the most important medieval building in the city, was built as the residence of the Priori delle Arti and the Gonfalioniere in 1299-1310. From 1540 onwards it became the ducal residence of Cosimo I de' Medici and his family and necessary further changes and enlargements were undertaken by G. B. Tasso and Giorgio Vasari. The 'first courtyard' was designed in 1453 by Michelozzo. The original sculpture on the fountain was by Verrocchio (1476) and the porphyry fountain itself by del Tadda. Vasari executed the wall frescos in 1565.
NOTES: This drawing is one of a number of sketches of Italian paintings, sculpture, Medieval and Renaissance costume and miscellaneous tracings by Godwin from an album containing items relating to architecture and ornament. Alfred George Stevens travelled to Italy in 1834 where he spent nine years studying the frescoes and paintings of the Old Masters. In the early 1840s, after attending a design course at the Florentine Academy, he returned to London.
NOTES: This painted ceiling is also known as the 'Allegory of Divine Providence and Barberini Power'. It was commissioned from Berettini da Cortona (also known as Pietro da Cortona) by Pope Urban VIII (Maffeo Barberini) for the ceiling of his family palace.