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"Ariento" Consortium
List of Members
Tradition of Florentine Silverware
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[ Page 3 of 4 ] These
make it the most excellent collective identification in
the exaltation of every Florentine citizen's sense of
belonging, of communal defence, and the maintaining of
securities, in a system of superior values, that
guaranteed a ruling class and a relative social peace.
They are the most sacred silver works from the past still
in existence, in as much as a defence of the community of
believers and their joint interests. Also, because such
pieces have often been subject to scatterings due to
certain events, including the fortune of families,
changes in taste, warring, or catastrophic occurrences.
With the Republic fallen, Cosimo I de' Medici, the Grand
Duke, in 1537 tranferred the Florentine government to an
appointed court, destined to become the most
refined of all time. His principal goldsmith was
Benvenuto Cellini, with whom, many other foreign
craftsmen worked. Francesco I in 1572 founded the
Workshops of the Grand Duke, where famous silversmiths
and jewellers from every part of Europe, gathered in
order to create luxurious objects for the court.
Ferdinando I, successively, in 1588, rearranged these
Workshops, and in 1593 ordered that all working
silversmiths, jewellers and goldsmiths in Florence
transferred their workshops on the Ponte Vecchio. The
evident aim for this, was to reunite them in the most
circumscribed area possible, in order to check more
thoroughly, the correctness of their actions. Sacred and
devotional works are still manufactured, even in the
following centuries, almost up until the present day,
that witness the great prestige maintained by Florentine
silverware. It's enough to remember the altar of the
Cappella della Madonna at Santissima Annunziata, which
was built around the beginning of the 17th century, the
work of both Egidio Leggi (the architect and draftsman
for the silversmiths Matteo Nigetti, and in 1835, the
workshop of the Guadagni), and also by the engraver
Giovanni Stanghi.
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