Orsanmichele

Orsanmichele leads my list of sights to see in your flash visit to Florence. If you were to look at the outside of the building, you might reasonably ask why. The building doesn't stand out in any way from its companions along the same street. However, it is precisely this reason that I want to bring this building to your attention - it is so easy to miss. However, if you pass by this building you will pass by some of the most important works of the early Renaissance by the greatest Renaissance artists.

Orsanmichele is a former grain dispensary located halfway between the Duomo and the Piazza della Signoria on the broad walking street, Via dei Calzaiuoli. In the early 1300s the building would been open on the first floor. Grain was stored on the upper floor and would have been distributed through chutues down below. Residents could enter the open areas on the first floor and receive their grain.

A series of miracles associated with an image of the Madonna changed the course of history for this structure. Although the original image faded and was replaced, the location came to be used as a place of devotion. The most recent image, that of Bernado Gaddi, was installed two years before the Black Plague in 1346 and ushered Florence through the period of illness. This image is still on display within the building.

At the end of the 1300s it was determined that this location was more suited to a site of worship rather than a market. The granary was closed up and the building was converted to a church. The decoration of the exterior was given to the guilds of the city, and each guild was in charge of a niche to decorate. Various artists were hired and each niche reflects the interest of the guilds. As you walk around the building, I encourage you to look not only at the sculptures but their settings. Take note of the symbols and images within the niche that can help identify the sponsoring guild.

Let's take a look at some of the individual statues. If you are actually in front of Orsanmichele start your stretches - my descriptions are in chronological order, but the statues are not!

Madonna of the Roses

Start with the gleaming white image of the Madonna and Child. The Madonna sits stoically while the Christ child reaches for some roses which she holds in her hand. (This feature has led to this statue being called Madonna of the Roses.) Notice the way the drapery hangs on the body of the Madonna. We are aware, of course, that there are two knees, but there is no real attempt to model the body under the drapery. This statue is an example of a gothic statue; the facial features are not distinguished, nor is the body truly delineated. It is a quality piece of work for its time period. However, Florence, and the rest of the art world, will move on from this gothic style.

John the Baptist

Move back to the main street, Via dei Calzaiuoli. On the right hand side of the buildingis a representation of St. John the Baptist, by the artist, Ghiberti. Depending on which way you have walked to arrive at Orsanmichele, you may have seen the work of this artist before, for he is the creator of the Doors of Paradise. This image of John the Baptist is an example of Late Gothic art, which is often referred to as the International Style. I think this is an impressive work of art, and I genuinely love it.

The subject of this work is John the Baptist and his name is provided on the base of the statue. John the Baptist lived in the wildnerness and is often shown as unkempt and often skinny. Here, Ghiberti prsents us with a wilderness man who is, I might say, perfect in his unkempt-ness. His hair is wild, but perfectly so, in a Harry Styles sort of way. His beard has grown long, and seemingly unmanageable, yet perfectly symmetrical at the same time. And that is not his chest hair, but the animal hair garment that he wears - for some reason under that elaborate fabric. These are the traits by which he is recognized by in art. In my view, Ghiberti's statue is the GI Joe version of John the Baptist.

Look at the drapery of his toga. The folds sway with the curve of his body, presenting the viewer with these cascading curves of drapery. With that said, however, the curve of the body is not entirely natural. Do people really stand like this? What are his legs doing under the toga? This is often referred to as the C-curve which is common in this style.

These items that we have noted - the stylized, almost perfect portrayal of the body and the face - the curve of the body and the excessive drapery - these are characteristics of this International Style. And, much like fins on cars or clothing styles from the 80s, this style was not meant to last.

(As an aside, I am a fan of fins on cars, 80s dress, and the International Style.)

St. Mark

Backtrack around to the left to the niche next to the Madonna of the Rose so that you can see Donatello's St. Mark. We know that this figure is an evangelist because he carries a book. And, the winged lion below the statue pinpoints this as St. Mark. This is a work of the Renaissance and it is fully in the Renaissance style. Let's analyze this statue in terms of what we have just seen in Ghiberti's John the Baptist.

First of all, this is an aged, balding human. There is no attempt to idealize the figure. The drapery hangs over what is clearly a body. We clearly see shoulders and legs and elbows and forearms. Take note of those hands. Michelangelo saw these hands, of course. He would have passed by this statue just as we do, and he would have noted the precision with which Donatello carved the hands of St. Mark.

Most notable is the stance of St. Mark. Notice how his shoulders are not parallel to the wall, but one shoulder is thrust forward. One leg is planted firmly on the ground (pillow?!) and the other is bent, as if he is preparing to move. This pose, where the body appears as if it can move, is called contraposto and is a departure from the previous generations of artists.

St. George

Donatello also created a sculpture of St. George for Orsanmichele. Notice here the contraposto stance. He is ready to move, ready for action. His gaze is focused. The moment is similar to the moment in Michelanglo's David, where the subject is contemplating his future and he seems to understand the moment in which he has been placed.

An interesting note about this statue and this niche is that, when you are there in person you will notice a slight lean forward. This, of course, adds to the intensity of the moment, but there is a practical reason for this too. The niche in which St. George is placed is more shallow than the other niches because there is a staircase behind the wall. Donatello took that into account in this work.

The Four Crowned Martyrs

This sculptural grouping is one of my favorite works on Orsanmichele. The artist is Nanni di Banco and he is able to successfully incorporate four figures into one niche. They wrap around the back of their enclosure and even extend into our space at the edges. The artist has created a circular notch in the base of the niche, which has two effects. First of all it allows us to see more of the drapery of the figures in the back. But it also serves to draw the viewer, those of us on the street, into the work. The semi-circle of the martyrs is finished by the viewer; we complete the circle and become engaged in the subject.

There is an absolutely false story about this niche, and even though it is demonstrably untrue, it still adds to the pleasure of the story of Orsanmichele. It is said that, while Donatello was working one niche over, Nanni di Banco was struggling to insert these four completed statues into this space. Donatello came over, organized them in the manner you see today, and returned to his work. Though not true, it is still the type of story that was told about the genius of Donatello.

Take the time to enjoy the predella of this niche too. It shows the various activities that go on in a sculptor's workshop, for the sculptor's guild sponsored this statue.

Doubting Thomas

We now turn to my absolute favorite work of art, Andrea del Verrocchio's Doubting Thomas. This niche sits on the main street of Via dei Calzaiuoli, and, during my time in Florence, I would find the time to pass by this work. (It wasn't difficult; there was a fantastic gelato shop nearby.)

Verrocchio (incidentally, the teacher of Leonardo da Vinci) presents us with the moment that Thomas reaches into the wound of Christ. You can see the wound clearly, as Christ raises his arm. I've often thought that this both allows Thomas access to the wound, but the gesture evokes a blessing as well. Most effective to me is that Thomas extends into our space. HIs foot reaches out from the niche making Thomas the bridge between us and Christ.

(A word of advice: I studied in Florence before the internet. I never knew what the back of this statue looked like until I was able to Google it very recently. I was shocked - absolutely struck - by what I saw. I advise you not to do this. Simply enjoy your impression of the statue!)

Interior

If the church is open, be sure to take the opportunity to enter. You will not be disappointed! Dominating the space is Orcagna's tabernacle, surrounding the miraculous image of the Madonna. And the decorations of the columns and the ceiling create a tremendous space.

Post-Script

It is a blessing, and a slight disappointment, that all of the exterior sculptures have been replaced with copies. Exposure to the elements is a very real concern and overall it is good to have them moved inside where it is safe. The copies are fantastic, however, and do not diminish from your experience of Orsanmichele. I mention this only so that you are aware - the originals are located on the top floor of the structure! If it is open, please take the time to see these originals in a setting where you are able to walk around them.

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Orsanmichele, Google Maps