Magi Chapel

Florence, Via Cavour no. 1: Palazzo Medici Riccardi, Chapel of the Magi. Fresco and secco (tempera and oil) painting. Measurements: east wall: 405 x 516 cm, upper section; 135 x 516 cm, painted dado; south wall: 405 x 406 cm, upper section (with some interruptions on account of the leaded window, the upper oculus and the old entrance door); 154 x 168 cm, painted dado; part of south wall, portion with current entrance door: 405 x 162 cm, upper section; 154 x 162 cm, painted dado; part of west wall, portion moved forward: 405 x 168 cm, upper section; 154 x 168 cm, painted dado; remainder of west wall: 405 x 354 cm, upper section; 154 x 354 cm, painted dado; small wall sections at the sides of the scarsella, each: 405 x 101 cm, upper section; 244 x 101 cm area of entrance door to the sacristies (greatest width); side walls of the scarsella respectively to the west and east, each: 405 x 263 cm, upper section; 101 x 263 cm, painted dado; north wall, at the rear of the scarsella: 405 x 274 cm, upper section; 154 x 274 cm, painted dado. The walls of the chapel are entirely covered by the frescoes of Benozzo Gozzoli . The wall paintings are conceived in such a way as to integrate perfectly with the architecture and the furnishings of the chapel. As suggested by the imitation frame, the various scenes, which completely cover the portion of wall devoid of furnishings, are designed to evoke contemporary tapestries - precious and featuring a variety of colours mingled with gold, mostly of Flemish manufacture - which adorned the other rooms of Palazzo Medici. In the vestibule in front of the chapel (now part of the quarters of the Prefect, or Provincial Governor, is a fresco showing the Mystic Lamb and the seven candelabra of the Apocalypse . Entering the chapel, the pictorial cycle continues along the walls, portraying: the Procession of the Magi in the main room , the Vigil of the shepherds awaiting the annunciation above the doors leading to the sacristies , the Adoring and singing angels at the sides of the scarsella , and the Symbols of the Evangelists Saint John and Saint Matthew on the rear wall behind the altar. Gozzoli’s pictorial cycle was conceived in close thematic and figurative relation with the original altarpiece by Filippo Lippi") portraying the Adoration of the Child , where the iconography underscores in particular the themes of the Most Holy Trinity and the Incarnation. The altarpiece was the fulcrum of the entire decorative cycle, and the point of arrival of the figurative itinerary illustrated in the wall paintings. Above it, the monogram of Christ set within a sunburst, dear to Saint Bernardine, which shines out golden against the blue-ground wooden ceiling of the scarsella , appears to assume the role of the star indicating the place of the Redeemer’s birth. Moreover, originally the subjects evoked by the figurative decoration of the chapel were further enhanced by the presence of the gorgeous reliquary known as ‘del Libretto’, which contained fragments of the true Cross and sacred relics of the Passion of Christ: this precious piece of goldsmiths’ work , purchased by Piero de’ Medici and set upon the altar in front of the altarpiece, hence recalled the death of Christ for the redemption of man from sin. For descriptions of the individual scenes of the pictorial cycle and the respective iconography, see the specific records: The M ystic Lamb and the seven candelabra of the Apocalypse ; The Procession of the Magi ; The vigil of the shepherds awaiting the annunciation ; The Adoring and singing angels ; The Symbols of the Evangelists . In the summer of 1459 Benozzo Gozzoli , former pupil of Fra’ Angelico, began working on the frescoes of the chapel. In fact, from the admiring description of the chapel penned in May by Prince Galeazzo Maria Sforza") , guest of Cosimo il Vecchio") , and sent to his father in Milan, we learn that the mural paintings had not yet been commenced (Hatfield 1970) (see Chronology, register