THE  GREAT  TRADITION  OF          
         FLORENTINE  SILVERWARE


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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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