Search	The Work of Impruneta, Il Tesoro di Santa Maria :: Cushion Tuscan Manifacture, 15th century, before 1477 :: The discovery of the sacred image of the Virgin Florentine Sculptor, Mid 15th century :: Altar trappings composed of four candleholders and a cross bearer with a cross Florentine Workshop, Before 1632 :: Antiphonary (previously called Vesperal 6) Antonio di Girolamo di Ugolino, 1538-1539. :: 1. Gradual (previously called Antiphonary I) Lippo di Benivieni, 1315-1320 ca. :: Basin and jug Tuscan Manifacture, Datable as 1711 :: Pyx Tuscan Manifacture, 16th century :: Processional cross Lorenzo Ghiberti, 1425 ca. :: Reliquary of St. Sixtus Simone Pignoni, Dated 1614 :: Pyx Cosimo Merlini, 1637 :: Pair of votive vases Tuscan Manifacture, Second quarter of the 17th century, datable as 1633 :: Pax Antonio di Salvi, 1515 :: Little cape - image cover in canvas Tuscan Manifacture, 1568 :: Chasuble Tuscan Manifacture, Early 18th century :: Series of two tunicles Tuscan Manifacture, 17th century	.:. works .:. artists Pyx 1637 Cosimo Merlini Impruneta, The Treasure of Santa Maria Embossed and engraved silver h. 32cm., diam. of cup 13,5cm., diam.of foot 12,5cm. Source: Basilica of Santa Maria at Impruneta The pyx is dated 1637 and signed by Cosimo Merlini, one of the finest goldsmiths in the service of the Medici in the 17th century, who ran a workshop with his brother Pietro Paolo on the Ponte Vecchio in Florence. This object in embossed and engraved silver is a masterpiece of Florentine goldsmithery and boasts extremely rich iconographic designs of great artistic quality. The circular foot is thickly decorated with shears of wheat that are transformed on the stem into shoots bearing bunches of grapes that form the knot. The entire design is in close compliance with the Eucharistic symbols of bread and wine that is so closely linked to the chalice. The three Biblical episodes shown on the cup can be interpreted as pre-figurations of the Eucharist: the scene of the explorers' return from the land of Canaan with bunches of grapes, figs and pomegranates, inscribed with the Latin inscription "vinum salutis" below; Samson's victory over the lion and the removal of a honeycomb from the animal's mouth, with "dulcedo anime" as an explanatory inscription; Elias falling asleep in the desert and the angel of the Lord coming to his aid, with the inscription "viaticum vitae". The cover bears the symbols of the three ritual foods: unleavened bread, with "azimos panes" as an explanatory inscription, wild herbs of the fields, "cum lactucis agres(tis)", and roast lamb, "carnes assas igni". A small cherub, closely holding the penitential cross, in allusion to the Redemption, is portrayed on the handle of the lid, where the Eucharistic cycle ends. This work not only combines a very complex iconographic design with extremely refined workmanship but is also characterised by the executive and inventive creativity of Merlini's very personal style. Here in fact the artist proposes some very original formal and revolutionary solutions. The decoration does not simply cover the structure of the pyx but becomes an indispensable part of it, determining its design. The knot is not carried out in the traditional way, but created by the bunch of grapes, while the surface of the object is kept clear of any ornamental elements that could appear to be purely accessories back print
		info@chiantimusei.it