Tornabuoni Chapel
The Tornabuoni Chapel is the main chapel in the church of Santa Maria Novella, Florence, Italy. It is famous for the extensive and well-preserved fresco cycle on its walls, one of the most complete in the city, which was created by Domenico Ghirlandaio and his workshop between 1485 and 1490.
History
The main chapel of Santa Maria Novella was first frescoed in the mid-14th century by Andrea Orcagna. Remains of these paintings were found during restorations in the 1940s: these included, mostly in the vault, figures from the Old Testament. Some of these were detached and can be seen today in the Museum of the church.By the late 15th century, Orcagna's frescoes were in poor condition. The Sassetti, a rich and powerful Florentine family who were the bankers of the Medici, had long held the right to decorate the main altar of the chapel, while the walls and the choir had been assigned to the Ricci family. However, the Ricci had never recovered from their bankruptcy in 1348, and so they arranged to sell their rights to the choir to the Sassetti. Francesco Sassetti wanted the new frescoes to portray stories of St. Francis of Assisi; however, the Dominicans, to whom Santa Maria Novella was entrusted, refused. Sassetti therefore moved the commission to the church of Santa Trinita, where Ghirlandaio executed one of his masterworks, the Sassetti Chapel. The rights to the chapel in Santa Maria Novella that were lost by the Sassetti were then sold by the Ricci to Giovanni Tornabuoni.
Ghirlandaio, who then had the largest workshop in Florence, did not lose the commission however, because on September 1, 1485 Giovanni Tornabuoni commissioned him to paint the main chapel, this time with the lives of the Virgin and St. John the Baptist, patron of Tornabuoni and of the city of Florence. It is possible that the new scenes followed the same pattern as Orcagna's.
Ghirlandaio worked to the frescoes from 1485 to 1490, with the collaboration of his workshop artists, who included his brothers Davide and Benedetto, his brother-in-law Sebastiano Mainardi and, probably, the young Michelangelo Buonarroti.
Image:Schema cappella tornabuoni.gif|thumb|Structure of the cycle. In green: Stories of the Virgin. In red: Stories of St. John of the Baptist. In violet: Episodes of the Lives of Dominican Saints and the two patrons. In yellow: The Four Evangelists.
The windows were also executed according to Ghirlandaio's design. The complex was completed by an altarpiece portraying the Madonna del Latte in Glory with Angel and Saints, flanked by two panels with St. Catherine of Siena and St. Lawrence. On the recto a Resurrection of Christ was painted. This work is now held in Germany, divided between the Gemäldegalerie of Berlin and the Alte Pinakothek of Munich.
Structure of the cycle
The cycle portrays on three walls the Life of the Virgin and the Life of St John the Baptist, the patron saint of Florence. The left and right walls each have three rows, each divided into two rectangular scenes framed by fictive architecture, and surmounted by a large lunette beneath the vault. Each side wall has a total of seven narrative scenes which are read beginning from the bottom.The chancel wall has a large mullioned window of three lights with stained glass, provided in 1492 by Alessandro Agolanti after Ghirlandaio's design. On the lower part of the wall is a donor portrait of Giovanni Tornabuoni and his wife Francesca Pitti, while on either side of the window are four smaller scenes portraying Dominican saints. Above the window is another large lunette, containing the Coronation of the Virgin. In the vault are depicted the Four Evangelists.
Scenes from the life of the Blessed Virgin Mary
''Expulsion of Joachim''
The first episode represents the expulsion of Joachim, the father of Mary, from the Temple of Jerusalem. A ceremony is taking place in which several figures are carrying lambs for sacrifice. However, Joachim was banned from attending due to his alleged sterility.Ghirlandaio set the scene in a sumptuous loggia of Greek cross plan, with a sequence of arches in the background and an octagonal altar in the middle, where the sacrificial fire is lit. The characters are illuminated from above, as if by the natural lighting from the real chapel windows.
Two groups of Florentine people, representing the populace, are shown to the sides of the scene. They wear contemporary fashionable clothes, unlike the main biblical figures, who wear the usual "iconographic costume". On the left, two figures may be identified as Lorenzo Tornabuoni, son of Ghirlandaio's patron, and Piero di Lorenzo de' Medici, the former's friend. In the righthand group is a self-portrait of the artist with some of his relatives. The loggia in the background could be a representation of the Ospedale di San Paolo, which was then under construction in the same square as Santa Maria Novella. The two buildings on the sides are examples of typical edifices of 15th-century Florence, characterized by rustication and an upper loggia.
Image:Cappella tornabuoni, 02, nascita della vergine.jpg|thumb|260px|''Nativity of Mary''
''Nativity of Mary''
The second scene portrays the Nativity of Mary, set in a luxurious room with inlaid wooden panelling surmounted by a frieze in bas-relief of music-making putti and a cornice of winged cherubs. The room is divided by piers decorated in relief. To the left, near the door at the top of the stairs is shown symbolically an early incident of the story, the embrace of Anne and Joachim at the Golden Gate of Jerusalem.To the right, St. Anne reclines in bed, while three young women prepare to bath the new-born Mary. The nurse who is pouring water into a basin is the only figure in the room to be moving rapidly. Her flowing robes and swirling scarf make her an iconic motif to be found in many paintings both by Ghirlandaio and other painters and sculptors of the period. A preparatory drawing of this woman has been preserved in the Cabinet of Prints and Drawings of the Uffizi.
Several well-dressed Florentine ladies have come on a congratulatory visit. The first in the procession of noblewoman, portrayed in profile, is Ludovica, daughter of Giovanni Tornabuoni. The rendering of the magnificent women's clothes is particularly notable. The scene is considered one of the best executed in the chapel. Unlike the previous scene, nearly all the portraits show a great care: they were probably executed by the master himself, while the less well executed are probably painted by his assistants.
Above the cabinets in the background is an inscription reading: "NATIVITAS TUA DEI GENITRIX VIRGO GAUDIUM ANNUNTIAVIT UNIVERSO MUNDO", while in the intarsia decoration the artist put his signature: "BIGHORDI" and "GRILLANDAI".
This scene, like the previous one, is realistically illuminated, with the frieze on the right in shadow. While the majority of scenes in the chapel have a completely symmetrical arrangement in their internal architecture and even the positioning of the figures, this picture is markedly asymmetrical, with a pier dividing it into two areas based on the golden mean. This asymmetrical structure links it to the scene of The Visitation in which a wall is placed to divide the picture space in the same manner. However the positioning of the figures, with St. Anne in bed and the group entering from the left is mirrored by The Birth of St John, although there the figures are placed in a much more conventional internal space.
Image:Cappella Tornabuoni, Presentation of the Virgin at the Temple 01.jpg|thumb|260px|The ''Presentation at the Temple''
''Presentation at the Temple''
The Presentation is a complex composition, with numerous characters placed on different levels. In the centre, the young Mary, holding a book, is ascending the Temple's staircase towards the priest, but is looking in the viewer's direction. Her awkward posture is perhaps intended to suggest her young shyness, but the figure appears rather awkward.The role and meaning of the other figures who crowd the classical architectures of the scene are still partly unclear. The female figures on the right, portrayed with notable attention to detail, are probably portraits of real contemporary women. Next to them are St. Anne and Joachim, distinguishable by aureolas, who point at their daughter Mary. Two young women, painted by workshop collaborators, are rushing out from the Temple.
The two small figures in the centre foreground have not been identified. They could be children, but have adult features. It has been suggested that, being observed from below, they acquire a more youthful appearance, so their unusual rendering could be a technical trick by Ghirlandaio. The symbolic role of the nude man sitting on the steps, on the right, is unknown. Next to him are two old men.
Image:Domenico Ghirlandaio - Marriage of Mary - WGA8838.jpg|thumb|260px|''Marriage of the Virgin''
''Marriage of the Virgin''
The Marriage of the Virgin is set in beautiful Renaissance architecture, while the composition of the scene is rather traditional. In the centre is the temple priest, with the same features as in the Presentation. He is sealing the marriage between Joseph and Mary. To the sides are two processions, with men on the left and women on the right. Some of the former, angry at having not been chosen to marry Mary, are shown while breaking their sticks or raising their fists. Joseph's club, which had been chosen as the most vigorous, is barely visible over his shoulder. Most of the portraits are summary in style, apart some very carefully executed ones near the priest.It is not clear if the shorter figures in both lower corner are children or have a different symbolic meaning.
A preparatory sketch for this scene has been preserved in the Gabinetto dei Disegni e Stampe in the Uffizi, in which the priest in the centre is absent.
Image:Cappella tornabuoni, 06, adorazione dei magi.jpg|thumb|260px|''Adoration of the Magi''