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342:. Over about ten years (1436-1446) Michelozzo completed an extremely modern and functional monasterial building project which contributed to the glorification of Medicean patronage. Michelozzo made use of the pre-existent wall structures of the Sylvestrian monastery complex which date back to the end of 13th century. Michelozzo ably linked together the ground floor rooms around a harmoniously proportionated cloister and raised the levels of these buildings to create the dormitories on the first floor with a large number of cells to suit an expanding monastery.
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613:) with which it was originally furnished and the wall cupboards which replaced them in the 17th century, the library's bare architecture is revealed. Recent restoration has revealed both the original 15th-century colour scheme, green imitation marble, uncovered "as sample" in a central bay where fragments of a Wind Rose have also been discovered, and some frescoes of architectural illusionism around the doors, probably painted by Iacopo Chiavistelli at the time of the 17th-century renovation of this room.
404:. He kept a painting studio in San Marco until his death in 1517. Basing his work on the preliminaries of rational 15th century classicism, Fra Bartolomeo developed a style of art which was freer in its use of colour space and design and inspired the young Raphael. Another door into a room used in the past as the monastery's kitchen, located in an area containing all of the service rooms, in the vicinity of the “Spesa” Cloister. Today it contains an important collection of painting by Fra Bartolomeo.
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480:) before which the friars recited a common prayer at the times and in the ways prescribed by the Dominican Rule. In each cell is a fresco concerning the life and passion of Christ, for the exclusive contemplation of the friar occupying the cell. This cycle of frescoes, unique in the world, is considered to be completely the work of Fra Angelico, although he was helped by assistants.
363:, painted by Fra Angelico opposite the entrance is uplifting. Originally this was the only painted image decorating the white cloister. The appearance of the cloister was changed during the 17th century, when the monks of San Marco decided to celebrate St. Antonino by commissioning the most famous Florentine painters of the time to paint a cycle of lunettes depicting
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one person, but for general use. The library was equally dedicated to religious and secular texts. When the library was opened in 1444, there were over 400 volumes on 64 benches. However, Cosimo was unsatisfied with that number and he took action to supplement the original collection with other codices, especially those in traditional fields of study.
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of the background, originally painted blue and now grey and red, because the pigment has fallen and it can be seen in its preparatory state, As if in a collective reflection on the event of the
Crucifixion, there appear in the painting not only historical figures but also the founders of the religious orders.
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entrance door is a badly deteriorated fresco by Fra
Angelico depicting Christ in PietĂ , alluding to the Resurrection awaiting those who nourished by him. Today the room contains works presenting the artistic activity of the second great painter who lived in San Marco at the beginning of the 16th century:
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This
Dormitory, reserved for Novices, was built some time after the Dormitory of the Fathers and adjacent to it, as can be seen in the facade looking onto the cloister, in addition to three rooms at the end of the corridor, formerly designated as wardrobes before becoming the quarters occupied by Fra
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The external appearance, with exposed stone walls and a doorway flanked by large windows, reveals that it belongs to the 14th century part of the monastery. The room is dominated by Fra
Angelico's large Crucifixion. This fresco has a rather unreal appearance, which is also due to the state of repair
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From its founding, the nature of the library at San Marco was determined by the decision of Cosimo de' Medici and
Niccoli's trustees to establish the collection of bibliophile humanist there. The library of San Marco represents the humanist ideal of the Florentines: a collection not established for
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This room, known as the “Lavabo” Room due to the ancient function for which it was originally equipped, is also accessible from the cloister and is in front of the Large
Refectory, next to the kitchen. Monastery rules imposed the ritual washing and purification of the hands before eating. Above the
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is the
Fathers' Corridor, the first built by Michelozzo to house the Dominican friars who had just settled into the monastery. In 1437 the first twenty cells had already been completed, arranged on both sides of the corridor and soon after were frescoed by Fra Angelico. On the left side are the
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dated 7 July 1866 and became State property. This left to the
Dominicans the church, the rooms opening on to the Saint Dominic cloister and the area that came much later to house the library containing over 10,000 books specializing in spirituality, founded in 1979 thanks to the bequest of the
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The large room, which can be entered from the right side of the cloister, occupies all the part of the building onto Piazza San Marco and already existed in the Middle Ages when the monastery was inhabited by the
Sylvestrian monks. When the monastery was rebuilt in the 15th century, Michelozzo
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slept the night of
Epiphany 1443 when he came to consecrate the new church, differ in some respects from the others. The language is more descriptive and the colours are brighter, the composition is more complex and next to the Master the contribution of his assistants increases.
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The museum is situated in the oldest part of the monastery occupying about half the total space. The building has expanded over time, now taking up a whole block, and part of it is still occupied by friars today. The oldest section of the building, built over the medieval
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A small room once used as a Refectory for monastery guests staying in the adjoining guest Lodge. It may also have been used as the refectory for sick monks being treated in the infirmary, from the 17th century situated inside the Lodge. It was frescoed by
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was involved with the library before and after he assumed the papal throne. He was the author of a book list recommended for the library during its planning stage. Later, as the Pope, he wrote recommendations for those seeking access to the library.
77:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge (XXG).
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The cloister is behind the church and it introduces the visitor to the sight of the splendidly poised architecture of the monastery, a typical example of a measured and orderly Florentine Renaissance architecture. The sight of
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In 1869, having been declared a national historical monument, the greater part of the complex reopened as a museum, following repairs and some adjustments to meet the new situation. It was in this period that the frescoes by
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covered the whole area with cross vaults and raised the building to construct the second friars' dormitory. Inside there was also a Pilgrims' Hospice, alluded to in the fresco painted by Fra Angelico on the second door,
685:. In 1906, the museum was chosen to house the remains of architectural value surviving from the buildings demolished by the urban planning measures of the previous century. This led to the creation of a distinct
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The cells, larger in size than those of the Fathers to allow the Novices to become gradually accustomed to a reduction in their personal space, all contain frescoes of the same subject,
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only about forty years after the construction of the monastery and today contains some glazed terracotta relief works from the Della Robbia studio, dated a little later than the
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In the last two cells before ascending to the so-called Prior's Quarters, some relics of Savonarola are displayed, such as the cloak and the devotional cross.
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Like many establishments of its kind throughout Europe, the Dominican convent was seized by the civil authorities during the upheavals stemming from the
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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who could conveniently consult the precious book collections assembled by the Medici. Both are among the significant figures buried in San Marco.
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frescoes painted entirely by Fra Angelico, while those on the right were designed by the Master but painted in great part by faithful assistants.
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This frescoes in the cells of the Third Corridor, the one designated also to lay brothers and guest, at the end of which are the
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Content in this edit is translated from the existing Italian Knowledge (XXG) article at ]; see its history for attribution.
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Ullman, B (1972). The public library of Renaissance Florence. Padova: Editrice Antenore.
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is one of the three frescoes painted outside the cells by Fra Angelico (along with
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monastery, was constructed by the architect Michelozzo at the specific request of
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M. Scudieri, The frescoes by Angelico at San Marco, Florence, Giunti, 2004
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to the source of your translation. A model attribution edit summary is
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met this fate in 1808, returned to Dominican hands after the fall of
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Catholic scholar Arrigo Levasti (1886-1973) and named after him.
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according to the dictates of Tommaso Sarzana, who later became
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M. Scudieri, Museum of San Marco, Firenze, Giunti, 1999.
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Girolamo Savonarola near the end of the 15th century.
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frescoed by Fra Angelico between 1439 and 1443. The
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a machine-translated version of the Italian article.
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780:Terry-Fritsch, Allie (2012).
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1820:1869 establishments in Italy
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320:, fresco by Fra Angelico
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853:43.778198°N 11.259329°E
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687:Museo di Firenze antica
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417:Crucifixion with Saints
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950:Garden of Archimedes
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630:Domenico Ghirlandaio
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523:Third Corridor Cells
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1830:San Marco, Florence
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1401:degli Amidei
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1152:Pazzi Chapel
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1730:Il Gioiello
1693:di Castello
1345:S Pancrazio
1290:Ss Apostoli
1052:Magi Chapel
914:and palaces
912:, galleries
856: /
642:Last Supper
638:Ghirlandaio
626:Last Supper
611:balustrades
583:manuscripts
577:covered in
456:dormitories
332:Sylvestrian
236:convent of
177:Established
53:(July 2015)
1799:Categories
1703:di Careggi
1698:La Petraia
1605:Via Cavour
1295:S Felicita
1285:S Ambrogio
1260:Ognissanti
1005:La Specola
931:Casa Guidi
844:11°15′34″E
841:43°46′42″N
738:References
708:Deposition
265:Michelozzo
230:art museum
204:Art museum
48:in Italian
1735:La Pietra
1720:Gamberaia
1626:Belvedere
1496:Landmarks
1431:dei Pulci
1305:S Gaetano
1215:S Trinita
1210:S Spirito
1159:S Lorenzo
1130:Basilicas
662:San Marco
476:known as
273:Dominican
238:San Marco
234:Dominican
128:talk page
80:Consider
1740:Rusciano
1528:Theatres
1237:Churches
921:Bargello
902:Florence
666:Napoleon
585:. Under
529:, where
472:and the
277:frescoes
250:Florence
190:Florence
185:Location
104:provide
1725:I Tatti
1598:Streets
1556:Squares
1445:Library
1355:S Salvi
1188:S Marco
1142:S Croce
910:Museums
898:Tourism
693:or the
571:columns
552:library
538:Library
242:St Mark
214:Website
126:to the
108:in the
50:.
1681:Villas
1098:Uffizi
648:Museum
607:plutei
261:museum
228:is an
1619:Forts
1374:Other
942:David
701:Works
575:naves
460:cells
254:Italy
248:, in
194:Italy
71:DeepL
593:and
299:and
259:The
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180:1869
102:must
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