TheGrandDukeFrancescoIde’MediciTable-Top“IlTavolinodigioie”Florence,circa1568-1577AlmostcertainlyexecutedbyBernardinoPorfiriodaLeccio(documented1557-1588),

designedbyGiorgioVasari(1511-1574)Hardstones(PietraDura)setintoawhitemarblesupportNowonanEnglish17thcenturystylegiltwoodstand

Length:160cm.(63in.)Width:107cm.(421/8in.)Depth:8cm.(31/8in.)(thetabletop)

Length:141.5cm.(5511/16in.)Width:87cm.(34¼in.)Height:70.5cm.(27¾in.)(thestand)

InventoryresearchbyDr.EnricoColle,astotalconfirmationofourattribution.PROVENANCEMadeforFrancescoIde’Medici,GrandDukeofTuscany(r.1574-1587),asdescribedbyVasariinthe1568editionofhisLives;recordedafterhisdeathin1588intheCasinodiSanMarco,FlorenceInheritedonFrancesco’sdeathbyhisillegitimateson,DonAntoniode’Medici(1576-1621),recordedin1621stillintheCasinodiSanMarcoOnhisdeath,revertstothemainMedicipossessionsofFrancesco’sgreat-nephew,FerdinandoIIde’Medici,GrandDukeofTuscany(r.1621-1670),andsubsequentlyrecordedin1638and1663inthePittiPalace,FlorenceBydescenttoAnnaMariaLuisade’Medici,ElectressofthePalatinate(1667-1743),whobequeathedtheMedicicollectionstotheTuscanstatein1737FrancescoIIStefanoofHabsburg-Lorraine,GrandDukeofTuscany(r.1737-1765),recordedin1761inthePittiPalaceHisson,LeopoldoIofHabsburg-Lorraine,GrandDukeofTuscany(r.1765-1790),recordedin1771inthePittiPalaceHisson,FerdinandoIIIofHabsburg-Lorraine,GrandDukeofTuscany(r.1790-1801),recordedin1793inthePittiPalace,andin1800inthePalazzoVecchio,FlorenceLudovicoIofBourbon-Parma,KingofEtruria(r.1801-1803)Hisson,LudovicoIIofBourbon-Parma,KingofEtruria(r.1803-1807),recordedin1805inthePalazzoVecchioandshortlyafterwardsinthePittiPalace,inventorynumber2970asinscribedonthebackofthetable-topElisaBonaparte,GrandDuchessofTuscany(r.1807-1814)FerdinandoIIIofHabsburg-Lorraine,GrandDukeofTuscany(r.1814-1824),recordedin1815and1819inthePittiPalace,inventorynumber290Hisson,LeopoldoIIofHabsburg-Lorraine,GrandDukeofTuscany(r.1824-1859),recordedundernumber480in1829,undernumber860in1846,andin1858inthePittiPalaceTransferredtotheOpificiodellePietreDure,Florence,in1858SoldbytheItalianStatein1870to“GuglielmoSpencer”(WilliamBlundellSpence(1814-1900)),for47000Lire,almostcertainlyonbehalfofHughLupusGrosvenor,3rdMarquess(later1stDuke)ofWestminster(1825-1899),photographedinJuly1889inthegalleryofGrosvenorHouse,Mayfair,London,andbydescentSoldbytheExecutorsofHughRichardArthurGrosvenor,2ndDukeofWestminster(1879-1953),Sotheby’sLondon,10July1959,lot166SoldFinarte,Rome,PalazzodelDrago,ViadelleQuattroFontane,10-12December1975,lot279AntichitàAlbertodiCastro,Rome,bywhomsoldin1976toEuropeanPrivateCollectionuntilthepresentdayWithBurzio&Robilant+VoenaGalleries,LondonLITERATUREAlvarGonzález-Palacios,MosaiciePietreDure,II.Firenze–PaesiGermanici–Madrid,Milan,1982,p.14(ill.)FilippoM.Tuena,‘CosimoIelepietredure’,inA.González-Palacios(ed.),AntologiadiBelleArti,Turin,1990,p.147(ill.)AlvarGonzález-Palacios,IlGustodeiPrincipi,vol.II,Milan,1993,p.361,ill.703

ImportantItalianandFrenchFurnitureandTapestries,Sotheby’sLondon,15December1999,p.46,fig.3AlvarGonzález-Palacios,LasColeccionesRealesEspañolasdeMosaicosyPiedrasDuras,Madrid,2001,p.62(ill.)AnnaMariaGiusti,PietreDureandtheArtofFlorentineInlay,London,2006,p.29SimonSwynfenJervisandDudleyDodd,RomanSplendour,EnglishArcadia:TheEnglishTasteforPietreDureandtheSixtusCabinetatStourhead,London,2015,p.50COMPARATIVELITERATUREGiorgioVasari,Levitede'piùeccellentipittori,scultorietarchitettori,vol.3,Florence,1568UlisseAldrovandi,ItinerariumFlorentiae,1586,unpublishedmanuscript,BolognaUniversityLibrary,MS136/11JohnFleming,‘ArtDealingintheRisorgimentoII’,TheBurlingtonMagazine,vol.121,no.917(Aug.,1979),pp.492-494+497-500+502-508JohnFleming,‘ArtDealingintheRisorgimentoIII’,TheBurlingtonMagazine,vol.121,no.918(Sep.,1979),pp.568-573+575-580NicolasAudebert,Voyaged'Italie,AdalbertoOlivero(ed.),vol.1,Rome,1981FilippoM.Tuena,‘Appuntiperlastoriadelcommessoromano:Il'franciosino'maestroditavoledelcardinaleGiovanniRicci’,inA.González-Palacios(ed.),AntologiadiBelleArti,Rome,1988,pp.54-69SuzanneB.Butters,‘”Unapietraeppurenonunapietra”:pietredureelebotteghemediceenellaFirenzedelCinquecento’,inG.FossiandF.Franceschi(eds.),LaGrandeStoriadell’Artigianato,III:IlCinquecento,Florence,2000,pp.133-185MariaAlbertaZuffanelli,‘L'Opificiodellepietredureelesuediversesedi:trasferimentievicendecostruttivedalsecoloXVIalsecoloXIX’,OPDRestauro,no.17(2005),pp.317-332AnnaMariaGiusti,‘“Lapietranonmaiabbastanzalodata”nellamanifatturaGranducalediFirenze’,inV.Conticellietal.(eds.),Lapislazzuli,MagiadelBlu,exh.cat.,9June–11October2015,MuseodegliArgentiandMuseodiStoriaNaturale,Florence,Livorno,2015,pp.101-109ASTARTLINGDISCOVERY

“HadatosuaEccellenziaprincipioancoraafareun’tavolinodigioieconricchoornamentoperaccompagnarneun’altrodelDucaCosimosuopadre…”

(HisExcellency[Francescode’Medici]hasalsocausedabeginningtobemadewiththeexecutingofatablewithpreciousstones,richlyadorned,asanaccompanimenttoanotherbelongingtohisfather,DukeCosimo...)-GiorgioVasari,1568.

PortraitofFrancescode’Medici,mid-1560s,byBronzino,Privatecollection,NYC.

“Veramentebellissimacosadavedere,fattadipezzidicorniuola,dielitropia,de

lapis,diaspro,diagataetd’altremoltepietre,moltobencommesso,etèestimataunacosamoltorara...etnonèancorafinita”

(Trulyamostbeautifulthingtosee,madeofpiecesofcarnelian,heliotrope,lapislazuli,jasper,agateandmanyotherstones,verywellsettogetherandesteemedamostrarething…andit

remainsunfinished)-HercoleCortile,FerrareseEsteambassador,

CasinodiSanMarco,Florence,1575INTRODUCTIONPreviouslyonlyknownthroughatantalisingmentioninVasari’sLivesandtwobriefcontemporarysightings,newdiscoveriesbyEnricoColleintheMedici-Lorrainerecordshaveconfirmedthatthistable-topisinfacttheonemadeinFlorenceforFrancescoIde’Medici,GrandDukeofTuscany.(ApublicationbyDr.EnricoColleitwillcomingsoon)

(HisExcellency[Francesco]hasalsocausedabeginningtobemadewiththeexecutingofatablewithpreciousstones,richlyadorned,asanaccompanimenttoanotherbelongingtohisfather,DukeCosimo,finishednotlongagoafterthedesignofVasari,whichisararework,beingoforientalalabasterallinlaidwithgreatpiecesofjasper,

heliotrope,cornelian,lapislazuli,andagate,withotherstonesandjewelsofpricethatareworthtwentythousandscudi.ThistablewasexecutedbyBernardinodiPorfirioofLecciointheneighbourhoodofFlorence,whoisexcellentinsuchwork,andwhomadeforMesserBindoAltovitianoctagonaltableofebonyandivoryinlaidlikewisewith

jaspers,afterthedesignofthesameVasari;whichBernardinoisnowintheserviceoftheirExcellencies.)1A truly iconicworkof art, amasterpiece in all decorative art field, the table-top is composedentirely out of hardstones (pietra dura), making it exceptionally rare. Only two others areknown,includingthePradoonecitedinnote2below.ThevastmajorityofRoman16thcenturytable-topsaremadewithcolouredmarbleswhicharesofterandeasiertocut.Additionally,theFrancescoIde’Medicitopistheonlyoneofthethreetoretainits16thcenturyappearancewiththeoriginalbordersandtheinlaidapronbelow.This tophas fascinated the leading scholars in the field startingwithAlvarGonzález-Palacioswhofirstsawitatthe2ndDukeofWestminster’s1959Sotheby’sauctionandpublisheditforthefirst time in 1982.2 Two important articles by Filippo Tuena, in 1988 and 1990, raised thepossibilitythattheWestminstertablemightinfactbetheonecommissionedbyFrancescode’Medici.

1Vasari1568,vol.3,p.8712Pleaserefertothebibliographylistedabove.Morerecently,AnnaMariaGiusti,theforemostauthorityattheOpificiodellePietreDure,Florence, reiteratedGonzález-Palacios’sconclusionofaRomanorigin forthepiece and its close similarity to theother great table-topgiven toPhilip II in1587. Finally, SimonJervis inhismagisterialstudyofRomanpietradura inEnglishcollectionssupports thisattributionandrelatesthetabletoaseriesofpenandinkdesignsbyGiovanniVicenzoCasale,circa1570.

The Florentine archival evidence confirms that this table-top was recorded in the MedicicollectionsasearlyasMarch1588whenitappearsintheCasinodeSanMarcoinaninventorytaken after the death of Francesco. Its subsequent history down to its disposal in 1858 isconfirmedinaseriesofdetaileddescriptionsinMediciandthenLorrainedocumentswhichissetforthbelow.ATTRIBUTIONTuenain1988exploredcorrespondencebetweentheleadingpatronofcut-stonespecialistsinRome, Cardinal Giovanni Ricci (1498-1574), and the Medici secretary, Bartolomeo Concini.Early in1568 the twowere in earnest discussion about a table tobemade for Francescode’Medici, then theheir to theGrandDukedomofTuscany.This project, in all likelihood,wouldappeartobetheverysamereferredtolaterthatyearbyGiorgioVasariinthesecondeditionofhis Lives. According to Vasari, we know that the table was started in 1568. Two furthercontemporary accounts confirm that it took many years to be made, most likely due to thedifficultyinobtainingtherarehardstones.Whatisunusualaboutthedesignofthistableisthelargesizeofthelapislazulipanels,whichwereespeciallyhardtoobtain.3In1575theDukeofFerrara’sambassador toFlorence,HercoleCortile,visited theCasinoandlaterrecordedthathehadbeenshownatablewhichwas:

Veramentebellissimacosadavedere,fattadipezzidicorniuola,dielitropia,delapis,diaspro,diagataetd’altremoltepietre,moltobencommesso,etèestimataunacosamoltorara...etnonèancora

finita4

(Trulyamostbeautifulthingtosee,madeofpiecesofcarnelian,heliotrope,lapislazuli,jasper,agateandmanyotherstones,verywellsettogetherandesteemedamostrarething…anditremainsunfinished)

A year later,NicolasAudebert ofOrléans, on an educative trip through the Italianpeninsular,visitedtheCasinoandleftthissuperlativedescriptionofthetable:

IlnefaultoublieràveoirlamaisonoùlegrandDucfaicttravaillerenpierreries,etlàveoirlatabledemarbrecouvertedepierrespretieusesrapportéesensemble,cequin’estencoresachevé,etcombienqu’il

yrestepeuneantmoinsnesepeult–cedicton–parfairepourquarantemilescutz5

(OnemustnotomittoviewthehousewheretheGrandDukehasgemstonesworked,andseetherethemarbletablecoveredinpreciousstonessettogether,whichisnotyetfinished.Howeverlittleremains[tobedone],

neverthelessitcannotbe,Isay,broughttoperfectionfor[lessthan]40,000scudi)

ThisindicatesworkwasstillinprogressinearlyOctober1576.AnnaMariaGiustirecentlyre-publishedthesenotices,6whichprovideaterminusantequemofc.1577forthetopnowlocatedintheinventories.

3 For the table made for Cosimo I, Vasari was supplied with larger pieces of lapis direct from Ducalsupplies.On19March1562,hewrote:“MandoinquestaunmodanettodicartaperchéV.E.Ill.macimandiper il tavolino otto pezzi di lapislazzuli di questa grandezza” (I enclose a card mould for Your MostIllustrious Eminence to send us for the tavolino eight pieces of lapis lazuli of this large size); cited inTuena1990, p.143. Vasari indicated a cost of 20000 Scudi for it, half amount than our top ten yearsbefore)4CitedinButters2000,p.1535Audebert1981,vol.I,p.2596Giusti2015,p.109,n.4-5.

A third, and hitherto unpublished, sighting of the table in the Casino is recorded by theBolognesenaturalistUlisseAldrovandi,inJune1586:7

Tabulaaliaquadrangularisexmultishisquediversismarmorumgeneribuscontextainbasietadlateraexcyano,ametisto,eliotropioorientali,achateetaliispreciosissimislapillislongitudine8

dodrantumlatitudine5cumdimidiotantadiligentiaconiunctautvideaturcontinuusunicusquelapis

(Anotherrectangulartable,inlaidinthebaseandonthesideswiththesemanyandvarioustypesofmarble:cyano[lapislazuli]8,amethyst,orientalheliotrope,agateandotherextremelypreciousstones,8dodranslongby5.5wide,9joined

togetherwithsuchgreatcaresoastoappearcontinuousandonlyofstone)

Thetable-topbelongstothesamegroupofworksastheonereferredtobyVasariascommissionedbythebankerBindoAltovitiand,liketheoneownedbyCosimoI,executedtohisdesignbyBernardinoPorfiriodaLeccio(fig.1).

Fig.1–GiorgioVasariandBernardinoPorfiriodaLeccio,Ebonytable-topinlaidwithpreciousstonesandivory,before1557.Rome,BancodiRomaCollection

In design, the Francesco I de’ Medici top is most similar to another in the Hermitage alsoconsideredFlorentine(fig.2),whichhasonoccasionbeendiscussedinconnectionwithVasari’ssummaryof theMedici tavolino commissions.Whatdistinguishes thisone, and takes itoutofthereckoning,isitsbeingonawooden,andnotmarble,support.

Fig.2–Wooden(ebony)table-topinlaidwithpietredureandivoryfillets.Florentine,thirdquarter16thc.StPetersburg,HermitageMuseum

7UlisseAldrovandi,ItinerariumFlorentiae,1586,ff.51v.-r.8HistoriaNaturalediFerranteImperato…,Venice,1672,p.545:“DelCyano,cap.XL|Nelchemanifestamenteveggiaino,comeinnanzihabbiamdetto,chelapietraLazuleafussedagliantichichiamatasottoilnomediCyano…”(OnCyano,chapter40|Inwhichweclearlysee,aswehavesaidbefore,thattheLazuleastonewascalledbytheancientsCyano)9ThedodransintheRomansystemofmeasurementsequalled¾ofafoot.Thesedimensionsthusapproximatetothistable’s,withtheirwidth-lengthratioof1:1.45pleasinglyclosetoitsactual1:1.495

Athirdimportantcomparanda–theonlyotherexclusivelypietreduretopknownfromthe16thcentury–istheonestilllocatedinthePittiPalace,withintheMuseodegliArgenti(fig.3).

Interestingly,itisinscribedonitsreversewiththenumber859(fig.4),sequentiallyadjacenttothe‘860’assignedtotheFrancescoIde’Medicitableinthe1846inventoryreproducedbelow.

Tuenain1990thoughtthatstylisticallythisonewasclosertoBuontalentithanVasari.10

Figs.3and4–Table-topinlaidwithpietredure,Florence,c.1570-1585.Florence,PalazzoPitti,MuseodegliArgenti,andtheinventorynumberinscribedonitsrevers

MEDICI-LORRAINEPROVENANCEThistable-topisfirstsightedin1575andagainin1577byvisitorstotheCasinodiSanMarco(figs.5-7).Thisvillaneartheeponymousmonasticcomplexinthecity’snorthernreacheswasnewly-erected in Mannerist style around 1570 by Bernardo Buontalenti, on the site of thequattrocentoMediceansculpturegardens.ConstructedforFrancescode’Medici, itservedasalaboratoryforscientificexperimentationand,from1588,afirsthometotheOpificiodellePietreDure.

Fig.5–FlorenceinthetimeofFrancescoIde’Medici:111)TheSanMarcodistrict,centredaroundtheDominicanmonastery(seeenlargementbelow);2–ThePittiPalaceandBoboliGardens

10Tuena1990,p.14411StefanoBuonsignori,NovapulcherrimaecivitatisFlorentiaetopographiaaccuratissimedelineate,1584(revised1594)

Figs.6and7–TheSanMarcodistrictin1584.Onthemap’skey#49=“CasinodelGranD.”,andBernardoBuontalenti,PortaldecorationofCasinodiSanMarco,Florence,1570-74We know from the eye-witness accounts that Francesco’s table, coevalwith the building,wasthereforeprobablyconstructedforthespaceindicatedintheinventoryrecordsinwhichitfirstappears,littlemorethanadecadelater.Itmustalsobenotedthatthroughoutthetwo-and-a-halfcenturyinventorytrailwhichfollows,thetable’sbaseamazinglyremainsunchanged,testamenttoitspre-eminentprestigewithintheroomsitgraces:CasinodiSanMarco,1588Inventory

InventariodellaGuardarobadellaCasaedelPalazzodelCasino,acustodiadiPieroElmicominciato

oggiquestodi’8diMarzo1587(InventoryoftheWardrobeoftheHouseandPalaceoftheCasino,inthecustodyofPieroElmi,beguntoday,8

March158812)

Seguenellaprimacameraterrena(Inthefollowingground-floorroom)

UnotavolinodigioiecommessolungoB.trelargoB.2consuopianodinocesuQuattrocolonnesimile

commessed.o[dorato?](Aninlaidjewelledtable,3braccialongby2bracciawide,withitswalnutstandonfourcolumns,similarly

inlaid,andgilded(?))ItnextappearsinaninventoryoftheestateofFrancesco’sillegitimateson,DonAntoniode’Medici(1576-1621),takenintheyearofhisdeathCasinodiSanMarco,1621Inventory

Inventariodeglioggettiappartenentiall’eredita’diDonAntoniode’Medici1621(InventoryofobjectsappertainingtotheestateofDonAntoniode’Medici,1621)

Nellasestacam.rachesegueallatoallaGalleria(Inthesixthroomwhichrunsalongside(?)theGallery)

UntavolinodimarmocommessoconpietrefineconLapis,diaspri,CrognoleAgataetsimilea’ovati,et

altriscompartimenti,consuoipiedi,etornamentdinoceprofilatod’orolungotreb.aincirca

(Aninlaidmarbletablewithfinestones,withlapis,jasper,carnelian,agateandsimilar,oval-shapedandinothercompartments,withitslegsanddecorationofwalnutfilletedwithgold,around3braccialong)

12Until1750,theFlorentineyearendedon25March,theFeastoftheAnnunciation

Theseearlyinventories’dimensionsareapproximatebutclearlyevoketheproportionsofthistable-top.The threeand twobraccia givenaboveequate to175and117cm(versus the top’sactual160x107cm).Measurementwillbecomesuccessivelymorepreciseover time– in thenextinventoryentry,forinstance,thelengthismoreaccuratelystatedas2¾braccia(163cm).ThisnextrecordisfromageneralinventorycompiledfortheMediciGrandDuke,bythisstageFerdinandoII.Here,thetableistakenfromtheCasino,asDonAntonio’spossessions,inheritedpersonallyfromhisfatherFrancesco,arere-incorporatedintotheMedicifamilycollectionsCasinodiSanMarco,1618-1624Inventory

InventarioGeneralediS.A.S.1618-1624(GeneralInventoryofHisSereneHighness,1618-1624)

Untavolinodimarmocommissoconpietrefinecioe’lapislazziricorniole,agateediaspriealterpietresimiliindiversiscompartimentilungoB.a23/4conpiededinoce,atelaioabalaustritornititocchi

d’oroh.ti[havuti?]dallaGalleriadelCasinoa15Aprile1621

(Aninlaidmarbletablewithfinestones,i.e.lapislazuli,carnelian,agateandjasper,andthelike,invariouscompartments,23/4braccialong,withitslegsaframeworkofturnedwalnutbalusters,touchedwithgold,had

fromtheCasino’sGalleryon15April1621)Itnextappears,andwillcontinuetodoso–exceptingabriefperiodintheguardarobaduringtheyearsofFrenchoccupation–forovertwocenturies,ininventoriesofthePalazzoPitti,theseat of Medici, and later Habsburg-Lorraine, Grand Ducal power in Tuscany. Acquired andenlargedbytheMediciinthemid-16thcentury,withthecreationofapartmentwings,courtyard,grottoand therenownedBoboligardens, itwasextended laterallyand internallyredecoratedfromtheearly17thcenturyonwards.The first of these inventory citations, in 1638, is so extraordinarily precise, in its numbering,descriptions and measurements of elements, that there can be no doubt whatsoever that itreferstothistable-top:PittiPalace,1638InventoryInventariodituttiIMobilichesononelPalazzode’PittidiS.A.S.inconsegnaaBiagioMarmicominciato

questodi26Feb.1637

(InventoryofallfurnitureinHisSereneHighness’sPittiPalaceentrustedtoBiagioMarmi,begun26February163813)

Nellaquartacameradell’appartamentonuovoversolapiazzadiSAS

(InthefourthroomofthenewapartmentoverlookingHisSereneHighness’spiazza)

Untavolinodipietrecommesseconpiùediversispartimentituttiproffilatidifilettidimarmobianco,concinqueaovatidilapislazzeroinmezzo,e4pezzidilapislazzerosimileinformadivaso,con

seangoliequadridell’istessolapislazzero,confregettoattornolargobraccia0/6listratodallebanded’amatistaopietrasimile,concornicedimarmointorno,commessonelfregiodiessacorniole,

lapislazzeriealtridiaspri,consuapiediatelaiodinoceabalaustro,conprofilid’oro,lungobraccia2¾largobraccia1¾

(Aninlaidstonetable,withmultipleandvariouscompartments,alldelineatedwithfilletsofwhitemarble,withfiveovalsoflapislazuliinthemiddle,fourvase-likepiecesofsimilarlapis,hexagons[aslightinaccuracy,theyareactuallyeight-sided]and

quadrangles,likewiseoflapis,withasurroundingfrieze0/6inwidth,borderedbybandsofamethystorsimilarstones,andthatframedaroundbymarble;inlaidinthefriezearecarnelian,lapisandotherjaspers.Withitslegsaframeworkofbalusteredwalnut,

withgoldinsertions.2¾braccialongby1¾bracciawide) 13Seefootnote12,abouttheFlorentinecalendar

The‘newapartment’inthefirsthalfofthe17thcenturycomprisedtheextensionofthepalace’sleft-handside.The‘fourthroom’indicated,assumingagroundfloorplacing(asthroughoutthe19th century),would be the Salotto dipinto dal detto Colonna, in today’sMuseo degli Argenti,named after Michelangelo Colonna (1604-87), who frescoed this part of Ferdinando II’squartiereestivofromNovember1637(RoomG;fig.8).

Fig.8–GroundfloorofthePittiPalace,1663

Thenextinventorycitationlocatesthetableonthepalace’sthirdfloor,amongsttheroomsdesignatedfortheGrandDuke’schildren,mostlikelyintheCameradiAudienza(RoomD;fig.9):PittiPalace,1663Inventory

InventariodituttiimobilichesiritrovanonelPalazzodiPittidiS.A.S.consegnatiaJacintoMariaMarminuovoGuardaroba,1663

(InventoryofallfurniturefoundinHisSereneHighness’sPittiPalaceentrustedtoJacintoMariaMarmi,the

new[Masterofthe]Wardrobe,1663)CamerachesegueperaudienzadelSer.moPrincipeconlaportasulballatoio…Appartamentodel

Se.moPrincipeCosimoTerzoeSer.maPrincipessaSposa

([Inthe]roomwhichfollows,foraudiencesoftheMostSerenePrince,withthedoorontothelanding,[inthe]apartmentoftheMostSerenePrinceCosimoIIIandthemostSerenePrincesshiswife)

Unatavoladipietredurecommesselavorateaspartimenti,dipiu’,ediversepietre,cioe’lapislazzeroorientale,Agate,Cornioleetalterconpieditornitidinoceabalaustrofilettatid’orolungoB:a2¾

largaB:a15/6

(Aninlaidpietreduretableworkedintocompartments,withmultipleandvariousstones,i.e.orientallapislazuli,agate,carnelianandmorebesides,withturned,balusteredwalnutlegsfilletedwithgold.2¾braccialongby15/6

bracciawide)

163819thC

1761

Fig.9–ThirdfloorofthePittiPalace,1663

When the table is next clearly identified, in the later18th century, it hasbeen returned to thegroundfloor, inoneof theroomsof thepresent-dayMuseodegliArgentiwhichfacesontotheunfinishedcourtyard,mostlikelyintheCameradelConsiglio(RoomL;fig.8):PittiPalace,1761Inventory

InventariodeIMobilieditutt’altrochesiritrovanell’ImperialPalazzode’PittidiFirenzefattoperla

consegnaaCarloGillesGuardarobadelmedesimoatuttoildi’30maggio1761

(InventoryoffurnitureandallelsefoundintheImperialPittiPalaceofFlorence,completedforCarloGilles[Masterofthe]Wardrobethere,30May1761)

QuartaCamerachesegueconcortilenonfinito…AppartamentodettoGranducale,doveabitavail

SerenissimoDucaGio.Gastone

([Inthe]fourthroomwhichfollows,withtheunfinishedcourtyard…[makinguppartoftheformer]so-calledGrandDucalApartment,wheretheMostSereneDukeGianGastoneresided)

UnatavoladimarmobiancoimpiallacciatadiLapis,AgatadiFrancia,diasprodiSicilia,Diaspro

Orientale,eCornioleLungaB:a2.¾largaB:1.5/6ConsuopiededinoceconQuattrocolonnetornite,contrebalzedivellutoCremisicontornatedifrang:nadiSeta,eOro,etuttamacchiatafod:editela

(Awhitemarbletableveneeredwithlapis,Frenchagate,Sicilianjasper,orientaljasper,andcarnelian,2¾braccialongby15/6bracciawide,withitsfeetofwalnutwithfourturnedcolumns,withthreecrimsonvelvetflouncesedgedwithalittlefringe(frangina?)ofsilkandgold,allofwhicharestainedandlined(foderate)withcloth

1663

Tenyearslater,thetablehasbeenmovedtotoday’sSaladell’Iliadeattheextremeleftendofthepianonobile,namedafteritsearly-19thcenturyfrescos(RoomE;fig.10):

Fig.10–Secondfloor(pianonobile)ofthePittiPalace,1663PittiPalace,1771Inventory

InventariodelR.Palazzode’Pitti1771(InventoryoftheRoyalPittiPalace,1771)

SestastanzadettadeNovissimiconduefinestresullaPiazzaeTerrazzinodiBoboli

([Inthe]Sixthroom,called‘oftheNovissimi’,14withtwowindowsoverlookingthepiazzaandterraceoftheBoboliGardens)Unatavoladimarmobiancoinformaquadra,tuttacommessanelpianodiPietredurediverse,cioe’Lapislazzuli,Agate,corniole,ealter,aformelle,eovatidipiu’grandezze,lungaB:a2.14lungaB:1.16

conpiededinoceacolonnettetornite(Awhitemarble,square-shapedtable,itssurfaceentirelyinlaidwithvariouspietredure,i.e.lapislazuli,agate,carnelian,andmorebesides,mouldedandinovalsofgreatsize,214/20braccialongby116/20bracciawide,

withwalnutcolumnatedlegs)Twentyyearson,thetableremainsonthepianonobile,mostlikelybehindthefamoussuiteofroomsdecoratedbyPietrodaCortona:

14 Novissimi here refers to the Sala dell’Iliade‘s late-17th century decoration, on the theme of death,judgement,heavenandhell(theFourLastThings).

1771

PittiPalace,1791Inventory

InventariodeiMobilieBiancheriadelRealPalazzoPitti1791(InventoryoffurnitureandlinenintheRoyalPittiPalace,1791)

Adi25settembre1793?/StanzachesegueSeg:adiN:o143…RetroQuartiereaquellodettodiPietro

daCortonacompostdiOttostanze…(25September1793?/[The]roomwhichfollows,designatedasnumber143[locatedinthe]

quartersbehindthatcalled‘byPietrodaCortona’composedofeightrooms)

UnaTavoladimarmobiancoinformaquadratuttacommessanelpianodiPietredurediversecioe’Lapislazzuli,Agate,Corniole,ealter,eformelleeaovatidipiu’grandezze,lungaB:a2.14largaB:a

1.16conpiediacolonnettetorniti,tintibianchi,efilettatid’oro.(Awhitemarblesquare-shapedtable,itssurfaceentirelyinlaidwithvariouspietredure,i.e.lapislazuli,agate,carnelian,andmorebesides,mouldedandinovalsofgreatsize,214/20braccialongby116/20bracciawide,

withwalnutcolumnatedlegs,paintedwhiteandfilletedwithgold)WiththeFrenchRevolutionaryoccupationofFlorence,thetableentersaperiodofguardaroba:PalazzoVecchio,1799InventoryInventariodeimobilietutt’altrocheesistenelleStanzedelMagazzinodellaR.GuardarobaGenerale,

1799(InventoryoffurnitureandallelseinthestoreroomsoftheRoyalWardrobeGeneral,1799)

Adi’28Marzo1800StanzaaTerrenoperusogia’delMagistratoSupremo(On28March1800,thegroundfloorroomonceusedbytheSupremeMagistrate)

UnaTavolaQuadrilungadimarmobiancocommessovipietredurediversecioe’Lapislazzuli,Agate,Corniole..aformelle,eovatidaB:a24/5EB:a14/5,esuopiedeacolonnetteintelaiatotintobiancoe

filettatod’oro(Anoblongquadrilateraltableofwhitemarble,inlaidwithvariouspietredure,i.e.lapislazuli,agate,carnelian,etc.,mouldedandoval-shaped,24/5braccialongby14/5bracciawide,withcarvedcolumnatedlegs,painted

whiteandfilletedwithgold)PalazzoVecchio,1804InventoryInventariodeimobileetutt’altrocheesistenellestanzedelMagazzinodellaR.GuardarobaGenerale,

1804(InventoryoffurnitureandallelseinthestoreroomsoftheRoyalWardrobeGeneral,1804)

Adi’22detto(1805)StanzaaTerreno/Perusogia’delMagistratoSupremo

(Onthe22ndofthesaidmonth,1805,thegroundfloorroomonceusedbytheSupremeMagistrate)

UnatavolaquadrilungadimarmobiancocommessoviPietredurecioe’lapislazzuliagate,cornioleecc.AformelleeovatidaB.24/5perB..a14/5epiedeacolonnetteintelaiatobiancoefilettatodiOro

(Anoblongquadrilateraltableofwhitemarble,inlaidwithvariouspietredure,i.e.lapislazuli,agate,carnelian,etc.,mouldedandoval-shaped,24/5braccialongby14/5bracciawide,withcarvedcolumnatedwhitelegs,

filletedwithgold)

OncethetablereturnstoregaluseinthePitti,theinventorycitationsareitemisednumerically,andhappily,throughoutthefirsttwo-thirdsofthe19thcentury,theseinventorynumbersmatchthosewrittenonthetop’sunderside(fig.11).

Fig.11–Partofthetable-top’sreverse

PittiPalace,1804Inventory,n.2970(fig.12)UnatavolaquadrilungadimarmobiancocommessoviPietredurecioèlapislazzuli,agate,corniolea

formelleeovati…epiedeacolonnetteintelaiatobiancoefilettato…guasto(Awhitemarblerectangulartable,inlaidwithmouldedandovalpietredure,i.e.lapislazuli,agate,

carnelian…and[with]carvedwhitecolumnatedfeet,filleted…damaged)

Fig.12–Inventoryno.2970ontheundersideofthetable-top

From1815,wecanlocatethetablepreciselyinallsubsequentinventoryrecords.Itisplacedonthegroundfloor,inoneoftheaudiencechambersnamedafterMichelangeloColonna(RoomG,fig.8):PittiPalace,1815Inventory,n.290(fig.13)InventariodeiMobilieBiancheriedell’I.eR.PalazzoPittiallaconsegnadelGuardarobamedesimo

1815(InventoryoffurnitureandlinenoftheImperialandRoyalPittiPalaceinthecustodyofthe[Masterofthe]

Wardrobe,1815)

StanzacheseguedipintadalColonnaconfinestraaltasullaPiazzaesegnatadiN.12(ThefollowingroompaintedbyColonnawithatallwindowoverthepiazza,andnumbered12)

290UnaDettaquadrilungadimarmobiancolungaB2esoldi16=largaB1esoldi16commessovidipietraduracioè,LapislazzoliAgatecornioleaformelleeovati,conpiedeacolonnettaintagliatotinto

biancoefilettatod’oro(290.Awhitemarblerectangular[table],216/20braccialongby116/20bracciawide,inlaidwithmouldedandovalpietredure,i.e.lapislazuli,agate,carnelian,withcarvedcolumnatedfeet

colouredwhite,andfilletedingold)

PittiPalace,1819Inventory,n.290(fig.13)Inventariodeimobili,GeneriNobili,Biancheria,Rami,Ottoniesistentineinell’IeR.Palazzo

Pitti1819(Inventoryoffurniture,nobleproducts,linen,copperandbrassintheImperialandRoyalPitti

Palace,1819)

StanzacheseguedipintadalColonnaconfinestraaltasullaPiazzasegnatadiN.12/=13=(ThefollowingroompaintedbyColonnawithatallwindowoverthepiazza,numbered12/=13=)

480ac.20.290.UnaDettaquadrilungadimarmobiancolungaB.a2soldi16largaB.a

1soldi16commessovidipietradura,cioèLapislzzuli,Agate,cornioleaformelleeovali,conpiedeacolonnettaintagliato,tintobianco,efilettatod’oro

(480ac.20.290.Awhitemarblerectangular[table],216/20braccialongby116/20bracciawide,inlaidwithmouldedandovalpietredure,i.e.lapislazuli,agate,carnelian,withcarvedcolumnated

feetcolouredwhite,andfilletedingold)

Fig.13–Inventoryno.290ontheundersideofthetable-top

PittiPalace,1829Inventory,n.480(fig.14)N.13/StanzadipintadalColonnaconfinestraaltasullaPiazzasegnatanelVecchioInventariodiN.

12(No.13/RoompaintedbyColonnawithatallwindowoverthepiazza,numbered12intheold

inventory)

480UnaTavolaQuadrilungadiMarmobiancolungaB:a2per¾largaB:a15/6commessovidiPietredure,cioèlapislazzuli,Agata,Corniole,SardonicheOrientaliLaoratea

formelleovali,conPiediaColonnettaintagliatotintobianco,efilettatod’oro.290(480[newnumber]Awhitemarblerectangulartable,23/4braccialongby15/6bracciawide,inlaidwithpietredure,i.e.lapislazuli,agate,carnelian,andorientalonyx,fashionedintoovalmoulds,

withcarvedcolumnatedfeetcolouredwhite,andfilletedingold.290[oldnumber])

Fig.14–Inventoryno.480ontheundersideofthetable-top

PittiPalace,1846Inventory,n.860(fig.15)

StanzaN.24/ConfinestrasullaPiazzadipintadaColonnasegnatanelVecchioInventariodiN.13

(Roomno.24/Withatallwindowoverthepiazza,paintedbyColonna,numbered13intheoldinventory)

860UnadettalungaB.2e3/4largaB.1e5/6commessovidipietredure,lapislazzuliagate,corniolesardonicheorientali,lavorateaformelleovaliconpiediacolonnettaintagliatotinto

biancoefilettatod’oro.480(860[newnumber].A[whitemarblerectangulartable],23/4braccialongby15/6bracciawide,inlaidwithpietredure,i.e.lapislazuli,agate,carnelian,andorientalonyx,fashionedintoovalmoulds,withcarvedcolumnatedfeetcolouredwhite,andfilletedingold.480[oldnumber])

Fig.15–Inventoryno.860ontheundersideofthetable-top

Finally,inApril1858,itleavesthePittiPalaceandistransferredtotheGalleriadeiLavori(nowtheOpificiodellePietreDure inViaAlfani),whichunder itsdirectorAntonioLandihadbeenphysicallyembellishedinadvanceofanofficialvisitbyGrandDukeLeopoldoIIinJuneofthatyear:15

MovedtotheGalleriadeilavori(nowtheOpificiodellepietredure)in18581858,14aprileIncreditoperGiustif:N1308eN.600passataall’InventariodellaGalleriadei

LavoriallaconsegnadeldirettoreLandiGiustiì.N.1308(14April1858,incredittoaccountfor:N1308,andN.600haspassedovertotheGalleriadei

Lavoriinventory,onitsdeliverytothedirectorLandi,accountedfor.N.1308)

From this point on, wider political events overtake the fate of our table. As the ItalianRisorgimento (unification) infolds, the new state authorises its sale. In 1870, with theannexationofRometotheKingdomofItalyandtheendingofFlorence’sstatusasitscapital,the

15Landihadbeendirectorfrom1853,andbegantherestructuringofthemanufactory’sheadquartersthefollowingyear,asexplainedinZuffanelli2005,pp.324-9.

sale of the table-top by the Opificio to the Anglo-Italian artist and dealer William BlundellSpence–thebillmadeoutto“GuglielmoSpence”–isauthorisedbythenewstate.GallerieFiorentine,23July1870,no.1031

VenditadioggettiinPietreDure./IlSignorMinistrodelleFinanzehaautorizzatoilRicevitoreDemanialediFirenzeariscuoteredaLeilelire47milaprezzodeglioggettiinpietredurevendutealSignorGuglielmoSpence./Pregodieseguireilversamentodella

sommaragguagliandomenepermiogoverno./IlMinistroG.Cantoni

(Saleofobjectsinpietredure|TheFinanceMinisterhasauthorisedtheReceiverofFlorentineStatePropertytocollectfromyouthe47,000lire,thepriceoftheobjectsinpietreduresoldtoMr.Guglielmo[William]Spence|

Pleasepaythesum,informingmeofitformygoodgovernance|TheMinisterG.Cantoni)

[Underneathisthelistingofworkssold,whereatno.1031appearsthedescription:]

Unpianoditavolarettangolarelungom.i1,61largo,m.i1,06commessoviformelledi

lapislazzulo,agateecornioleedconcornicedimarmobianco,sorrettodapiedeacolonnettedilegnotintobiancoefilettatod’oro,descrittoall’Inventariosottonumero1031

(Arectangulartable-top,1.61mlongand1.06mwide,inlaidwithmouldedpiecesoflapislazuli,agateandcarnelian,enframedinwhitemarble,supportedbycolumnatedwoodenlegs,colouredwhiteandfilletedingold,describedintheinventoryundernumber

1031)

WilliamBlundellSpence,Self-portrait,1862.Florence,GalleriadegliUffizi

AfteraperipateticContinentalupbringingandartistictraining,SpencemovedpermanentlytoFlorencein1836,andsoonafterbegantodealinOldMasters.In1860,alargeinheritanceallowedhimtopurchasetheVillaMediciinthesurroundingFiesolehills,asplendidsettingbefittinghisstatusastheleadingBritishmarchand-amateuractiveinthecity,whichhasbeenamplydocumentedbyJohnFleminginapairofBurlingtonMagazinearticlespublishedin1979.ThroughouttheRisorgimentoyears,hehostedleadingcollectors,andfiguresrepresentingLondon’sgreatmuseums,supplyingthemwithimportantpaintings,sculpture,anddecorativearts.SpencecountedHughLupusGrosvenor(1825-1899)amongsthismanyaristocraticclients.In1870alone,hesoldthethen3rdMarquessofWestminsterportraitsbyMoretto,Moroni,TitianandthepaintingofGrandDukeFrancescoII'sdogsanddwarfintheBoboliGardensbyTiberiodiTito.16ItnowseemslikelythattheacquisitionoftheFrancescoIde’Medicitable-topwasmadeonbehalfofthe3rdMarquess.

GROSVENORPROVENANCE

ThetablenextappearsillustratedinEngland,19yearslater,inthepossessionofthe1stDukeofWestminster (figs.16and17).Whenwasphotographed in thegalleryofGrosvenorHouse, inJuly1889,theyearinwhichtheDukeelectrifiedhispalatialhomeinLondon’sMayfairdistrict(fig.18).Theearly1870shadseenthethen3rdMarquessofWestminsterextensivelyrenovatethe house,with furniture and furnishings supplied byHolland and Sons to the value of some£6,481. This table-top was acquired specifically in order to amplify the magnificence of theGrosvenors’enlargedandmodernisedLondonseat.

16Fleming1979,III,p.570,n.25

Figs.16and17–JohnEverettMillais,HughLupusGrosvenor,1stDukeofWestminster(1825-1899),1872(CollectionoftheDukeofWestminster),andthearmsoftheGrosvenorDukesofWestminster

Fig.18–TheGallery,GrosvenorHouse,Mayfair,London,inJuly1889;detailofthetableatleft

Thetablepasseddirectlyfromthe1stDuketohisgrandson,HughRichardArthurGrosvenor,2ndDukeofWestminster(1879-1953).EducatedatEton,andfollowingserviceinboththeBoerandFirstWorldWars, the 2nd Duke became known for his sociable affairs, counting Coco Chanelamongsthismanylovers(fig.19).Onhisdecease,then-recorddeathdutiesof£18mledtoasaleofhisproperty,heldbySotheby’sin1959,wherethistableappearedaslot166.

Fig.19–The2ndDukeofWestminsterandCocoChanel,1924November2017,NewYorkandLondon,LUCABURZIOandSTEPHENWRIGHT.APPENDIX–PITTIPALACEFLOORPLANSThefloorplansreproducedinfigs.8-10abovearetakenfrom:IacintoMariadiFrancescoMarmi,NormaperilguardarobbadelGranPalazzodellacittadiFiorenzadovehabitailSer.moGranDucadiToscana,Florence,n.d.[1663]Thekeyemployed,butnotherereproducedforthesakeofbrevity,isthatcompiledin:SergioBertelli,‘PalazzoPittidaiMediciaiSavoia’,inAnnaBellinazziandAlessandraContini(eds.)LaCortediToscanadaiMediciaiLorena:AttidelleGiornatediStudio,Firenze,ArchiviodiStatoePalazzoPitti,15-16dicembre1997,Florence,2002,AppendixV,pp.77-92.Marmi’sfloorplanscanbeconfidentlydatedto1663asfollows:

• Marmiisdescribedinthe1663Pittiinventoryasthe‘new’MasteroftheWardrobe• Theroommarked‘R’ontheleft-handsideofthethirdflooristhatofthe‘bambino’

PrinceFerdinando’sroom.TheeldestsonofGrandDukeCosimoIII,FerdinandowasborninAugust1663

• WhereastherearenoroomsdesignatedforPrincipeGianCarlo,thesecondsonofGrandDukeCosimoII,whodiedinJanuary1663,thereareseveralforPrincesMattiasandLeopoldo,CosimoII’sthirdandfifthsons,whowerebothstillaliveatthistime