Florentine crafts made in Florence, Italy, are a centuries-old tradition maintained by several artisan guilds. Florentine style, especially in items produced in from the mid-19th century onward, typically reflect a contemporary interpretation of Renaissance art and furnishings. Popular items made in Florentine style include gilded picture frames, gilded leather, reproduction furniture, gilded decoupage plaques and triptychs, and tables inlaid with marble and rare wood.
During the Renaissance, Florence was renowned throughout Europe as a centre of fine art, particularly in painting, gold gilding, bronze work, and furnishings inlaid with intricate designs in marble or rare wood. The fine craft traditions associated with some of these arts never entirely died out in Florence, and remained well-established up to the 19th century. Florence's craft guilds were a crucial force behind the survival of these trades. [1]
In an effort to boost Florence's economy, and promote its crafts to tourists, a museum of decorative arts opened in the Bargello in 1865. This, in combination with Florence's reputation in fine arts, led to rapid growth in the demand for craft products among tourists, particularly from England. Victorian tourists found many craft shops listed in the back of guide books, such as John Murray's Florence and its Environs. [2]
Florentine style crafts have an ornate appearance, and are typically gold gilded, or have gold paint applied to resemble gilding. Decoupage usually includes reproductions of well-known Classical Florentine art works, which may or may not be religious in nature.
Although the reproductions are in many cases a derivative style imitating fine art and fine objects made of rare materials, Florentine crafts aimed at tourists were fashionable, and termed buen gusto, or fine taste, "pure Italian" or "pure Renaissance style". [3] Florentine gold-gilt frames in particular became popular during the late Victorian era; references to such ornate frames appear in period literature, such as Oscar Wilde's The Picture of Dorian Gray .
Florentine-style crafts remain collectable today. Florentine frames and plaques, and reproduction Florentine furniture, are associated with the Shabby chic style of interior decorating in particular in recent years.
Florence is a city in central Italy and the capital city of the Tuscany region. It is the most populated city in Tuscany, with 383,084 inhabitants in 2013, and over 1,520,000 in its metropolitan area.
Marquetry is the art and craft of applying pieces of veneer to a structure to form decorative patterns, designs or pictures. The technique may be applied to case furniture or even seat furniture, to decorative small objects with smooth, veneerable surfaces or to freestanding pictorial panels appreciated in their own right.
Domenico Ghirlandaio, also spelled as Ghirlandajo, was an Italian Renaissance painter born in Florence. Ghirlandaio was part of the so-called "third generation" of the Florentine Renaissance, along with Verrocchio, the Pollaiolo brothers and Sandro Botticelli. Ghirlandaio led a large and efficient workshop that included his brothers Davide Ghirlandaio and Benedetto Ghirlandaio, his brother-in-law Bastiano Mainardi from San Gimignano, and later his son Ridolfo Ghirlandaio. Many apprentices passed through Ghirlandaio's workshop, including the famous Michelangelo. Ghirlandaio's particular talent lay in his ability to posit depictions of contemporary life and portraits of contemporary people within the context of religious narratives, bringing him great popularity and many large commissions.
Gilding is a decorative technique for applying a very thin coating of gold to solid surfaces such as metal, wood, porcelain, or stone. A gilded object is also described as "gilt". Where metal is gilded, it was traditionally silver in the West, to make silver-gilt objects, but gilt-bronze is commonly used in China, and also called ormolu if it is Western. Methods of gilding include hand application and gluing, typically of gold leaf, chemical gilding, and electroplating, the last also called gold plating. Parcel-gilt objects are only gilded over part of their surfaces. This may mean that all of the inside, and none of the outside, of a chalice or similar vessel is gilded, or that patterns or images are made up by using a combination of gilt and ungilted areas.
Quilling or paper filigree is an art form that involves the use of strips of paper that are rolled, shaped, and glued together to create decorative designs. The paper is rolled, looped, curled, twisted and otherwise manipulated to create shapes which make up designs to decorate greetings cards, pictures, boxes, eggs, and to make models, jewelry, mobiles etc. Quilling starts with rolling a strip of paper into a coil and then pinching the coil into shapes that can be glued together. There are advanced techniques and different sized paper that are used to create 3D miniatures, abstract art, flowers and portraits among many things.
Decoupage or découpage is the art of decorating an object by gluing colored paper cutouts onto it in combination with special paint effects, gold leaf and other decorative elements. Commonly, an object like a small box or an item of furniture is covered by cutouts from magazines or from purpose-manufactured papers. Each layer is sealed with varnishes until the "stuck on" appearance disappears and the result looks like painting or inlay work. The traditional technique used 30 to 40 layers of varnish which were then sanded to a polished finish.
A cassone or marriage chest is a rich and showy Italian type of chest, which may be inlaid or carved, prepared with gesso ground then painted and gilded. Pastiglia was decoration in low relief carved or moulded in gesso, and was very widely used. The cassone was one of the trophy furnishings of rich merchants and aristocrats in Italian culture, from the Late Middle Ages onward. The cassone was the most important piece of furniture of that time. It was given to a bride and placed in the bridal suite. It would be given to the bride during the wedding, and it was the bride's parents' contribution to the wedding.
The Florence Baptistery, also known as the Baptistery of Saint John, is a religious building in Florence, Italy, and has the status of a minor basilica. The octagonal baptistery stands in both the Piazza del Duomo and the Piazza San Giovanni, across from Florence Cathedral and the Campanile di Giotto.
Pietra dura or pietre dure[ˈpjɛːtre ˈduːre], called parchin kari or parchinkari in the Indian Subcontinent, is a term for the inlay technique of using cut and fitted, highly polished colored stones to create images. It is considered a decorative art. The stonework, after the work is assembled loosely, is glued stone-by-stone to a substrate after having previously been "sliced and cut in different shape sections; and then assembled together so precisely that the contact between each section was practically invisible". Stability was achieved by grooving the undersides of the stones so that they interlocked, rather like a jigsaw puzzle, with everything held tautly in place by an encircling 'frame'. Many different colored stones, particularly marbles, were used, along with semiprecious, and even precious stones. It first appeared in Rome in the 16th century, reaching its full maturity in Florence. Pietra dura items are generally crafted on green, white or black marble base stones. Typically, the resulting panel is completely flat, but some examples where the image is in low relief were made, taking the work more into the area of hardstone carving.
Francesco Ferruccio was an Italian captain from Florence who fought in the Italian Wars.
A picture frame is a simultaneously protective and decorative edging for a picture, such as a painting or photograph. It makes displaying the work safer and easier and both sets the picture apart from its surroundings and aesthetically integrates it with them.
Piazza della Signoria is an L-shaped square in front of the Palazzo Vecchio in Florence, Italy. It was named after the Palazzo della Signoria, also called Palazzo Vecchio. It is the main point of the origin and history of the Florentine Republic and still maintains its reputation as the political focus of the city. It is the meeting place of Florentines as well as the numerous tourists, located near Palazzo Vecchio and Piazza del Duomo and gateway to Uffizi Gallery.
Maso Tommasoii Finiguerra (1426–1464) was an Italian goldsmith, niellist, draftsman, and engraver working in Florence, who was incorrectly described by Giorgio Vasari as the inventor of engraving as a printmaking technique. This made him a crucial figure in the history of old master prints and remained widely believed until the early twentieth century. However, it was gradually realised that Vasari's view, like many of his assertions as to the origins of technical advances, could not be sustained. Typically, Vasari had overstated the importance of a fellow-Florentine, and a fellow-Italian, since it is now clear that engraving developed in Germany before Italy.
Rocaille was a French style of exuberant decoration, with an abundance of curves, counter-curves, undulations and elements modeled on nature, that appeared in furniture and interior decoration during the early reign of Louis XV of France. It was a reaction against the heaviness and formality of the Style Louis XIV. It began in about 1710, reached its peak in the 1730s, and came to an end in the late 1750s, replaced by Neoclassicism. It was the beginning of the French Baroque movement in furniture and design, and also marked the beginning of the Rococo movement, which spread to Italy, Bavaria and Austria by the mid-18th century.
The Opificio delle pietre dure, literally meaning Workshop of semi-precious stones, is a public institute of the Italian Ministry for Cultural Heritage based in Florence. It is a global leader in the field of art restoration and provides teaching as one of two Italian state conservation schools. The institute maintains also a specialist library and archive of conservation and a museum displaying historic examples of pietre dure inlaid semi-precious stones artefacts. A scientific laboratory conducts research and diagnostics and provides a preventive conservation service.
Lorenzo di Bicci was an Italian painter of the Florentine School considered to be one of the most important painters in Florence during the second half of the 14th century. He is believed to have learned his trade from his father, about whom little is known. Lorenzo’s style, as well as that of his contemporaries Jacopo di Cione and Niccolò di Pietro Gerini, was influenced by the artist Andrea di Cione. Lorenzo's paintings made use of bright colors and his compositions avoided complexity. The figures he painted tended to have round faces and were often expressionless. Another one of Lorenzo's distinctive characteristics was his precision of execution. He was known for exceptional talent in drawing, an ability that he put to use at the initial stages of his painting. Unlike many celebrated Florentine artists of this period, Lorenzo mostly received commissions from the country clergy and from the lower-middle class Florentine guilds. His successors, Bicci di Lorenzo and Neri di Bicci, continued to serve these groups.
Silver-gilt or gilded/gilt silver, sometimes known in American English by the French term vermeil, is silver which has been gilded with gold. Most large objects made in goldsmithing that appear to be gold are actually silver-gilt; for example most sporting trophies and many crown jewels are silver-gilt objects.
Italian Baroque interior design refers to high-style furnishing and interior decorating carried out in Italy during the Baroque period, which lasted from the early 17th to the mid-18th century. In provincial areas, Baroque forms such as the clothes-press or armadio continued to be made into the 19th century.
Pastiglia[paˈstiʎʎa], an Italian term meaning "pastework", is low relief decoration, normally modelled in gesso or white lead, applied to build up a surface that may then be gilded or painted, or left plain. The technique was used in a variety of ways in Italy during the Renaissance. The term is mostly found in English applied to gilded work on picture frames or small pieces of furniture such as wooden caskets and cassoni, and also on areas of panel paintings, but there is some divergence as to the meaning of the term between these specialisms.
Andrea di Giusto, rarely also known as Andrea Manzini or Andrea di Giusto Manzini was a Florentine painter of the late Gothic to early Renaissance style in Florence and its surrounding countryside. Andrea was heavily influenced by masters Lorenzo Monaco, Bicci di Lorenzo, Masaccio, and Fra Angelico, and tended to mix and match the motifs and techniques of these artists in his own work. Andrea was an eclectic painter and is considered a minor master of Florentine early Renaissance art. Andrea trained under Bicci di Lorenzo as a Garzone. He painted his most significant works, three altarpieces, in the Florentine contado, or countryside; these altarpieces were created for Sant’Andrea a Ripalta in Figline, Santa Margarita in Cortona, and the Badia degli Olivetani di San Bartolomeo alle Sacce near Prato. Aside from his major altarpieces, Andrea painted several Frescoes over the course of his career. He, along with other minor masters, are also known to have provided several different types of art, including triptychs and frescoes, for Romanesque pievi, or rural churches with baptistries. Moreover, he was well known for several types of smaller craft objects, such as small tabernacles. He is said to have worked between 1420 and 1424 under Bicci di Lorenzo on paintings for Santa Maria Nuova. He is said to have worked with Masaccio in painting the Life of San Giuliano for the Polyptych of Pisa, including the painting of the Madonna and Child, in 1426. He also appears to have collaborated in 1445 with Paolo Uccello in the Capella dell'Assunta in the Prato Cathedral. In 1428, he is listed as a member of the Arte dei Medici e Speziali guild in Florence as "Andrea di Giusto di Giovanni Bugli". His son, Giusto d'Andrea, was also a painter and worked with Neri di Bicci and Benozzo Gozzoli. Andrea died in Florence in 1450.