Primeramente, nos aproximamos a la ciudad con una visión actual de la misma,

una visión donde predomina lo turistico, mostrando los edificios más

representativos y los lugares más visitados de Florencia. CONTAR MI HISTORIA
DEL ERASMUS Y CITAR EL CORRIDOIO VASARIANO.
Florencia, es una ciudad con una historia incalculable… sus calles te hacen
transportante hacia la Florencia renacentista, ya que parte de la ciudad medieval
se conserva en perfecto estado.

Pero para entender mejor cómo se vivía en aquella época y ponernos su contexto
histórico y social, nos remitimos a una ilustración de la ciudad del Florencia del
siglo XV, la cual representa el estado de la ciudad en una escena previa pero muy
cercana a la construcción del Corridoio Vasariano. La pianta della catena. 1490,
realizaba 50 años antes de la construcción del pasillo objeto de proyecto.

En esta escena vamos a ubicar una linea temporal con las construcciones de los
edificios representativos para imaginarnos así el proceso evolutivo de la ciudad,
hasta así llegar a la fecha en la que se construyó el corridoio.
+ linea del gobierno político.
+ planta con las murallas

¿PORQUÉ Y PARA QUÉ SE CONSTRUYÓ?

En aquel momento, reinaban los Medici….
Explicar contexto político y social, (republica anterior, asedio…)
Historia de la union de trabajo y palacio.

Una vez marcado

donde explicaremos la situación política, economica y social de la ciudad

Aqui vamos a ubicar

La pianta della catena. 1490

L'animazione della città di Firenze nel XV secolo è stata realizzata a partire dal grande
dipinto a tempera su tavola realizzato nel XIX secolo che riproduce la cosiddetta Pianta
della Catena, la prima veduta prospettica di Firenze che si conosca. La litografia originale,
attribuita a Francesco di Lorenzo Rosselli, è esposta presso il Bode Museum di Berlino,
mentre la grande riproduzione ottocentesca è esposta nel Museo di Palazzo Vecchio, nella
sezione Tracce di Firenze. La Pianta della Catena visualizza Firenze intorno al 1470, in
una fase della sua storia particolarmente felice, soprattutto dal punto di vista culturale.
Sono gli anni in cui il potere politico, appannaggio della famiglia Medici, è nelle mani di
Lorenzo il Magnifico, famoso non solo come statista e diplomatico, ma anche come cultore
e mecenate delle lettere e delle arti.
The Pianta della Catena detail, by Italian artist Francesco di Lorenzo Rosselli 1448-1513. First map of
Florence as a complete representation of the city with all its buildings and the dense network of streets
and squares. c.1471-1482....P

MEDIEVAL TRADING CENTERS

Florence, 1490
Unknown artist, after Lorenzo Rosselli. Painting based on a woodcut (c.1471-82). Museum of “Florence
as it was, “ Florence, Italy
Lorenzo Roselli´s stunning aerial view of Florence is not only an early masterpiece of perspective, it also
highlights the impressive buildings that were constructed with the assitance of the Medici, the city´s
wealhy patrons.

PIANTA DELLA CATENA

At the height of the Italian Renaissance, when new thinking in the arts, sciance, and politics was
reshaping the Western world, no city wielded greater influence in these fields tan Florence. During its
Golden age, it produced painters, architects, and sculptors of the likes of Botticelli, Brunelleschi,
Donatello, Masaccio, and Michelangelo. This is the city celebrated by the engraver and cartographer
Francesco di Lorenzo Roselli (1447-1513), who produced the Pianta della Catena, or “Chain Map, “ so-
called because of a decorative chain device that formed a border around the image (see box image p.77).
The painting shown here is a faithful reproduction of Roselli´s original woodcut. Like other medieval
maps before it, the Pianta della Catena celebrates the grandeur of architectural creation. What was
different, however, was Rossellis´s innovative use of the drawing method of perspective. The artist also
shows the city complete with all its building, streets, and squares, and this is the earliest detailed
cartographic view of its kind known of any city. However, some buildings have still been exaggerated,
notably the monumental Duomo catedral and the rusticated Palazzo Vecchio, the city´s major symbols of
religous and civic power, respectively. These buildings were the source of lucrative commissions for
freelance artists- and are therefore accorded due respect by the cartographer.

1. Basilica of Sanra Maria Novella. One of the oldest Florentine churches, the
basilica was begun in the mid-13th century, but not completed until 1470. It
contained a wealth of artistic masterpieces, including Masaccio Trinity
(1424-25), one of the earliest paintings to demostrate perspective.
2. Cathedral of Santa Marian del Fiore. More communly known as the Duomo,
the city´s most famous building was begun in 1296 and consecrated in 1436
on the completion of its grand dome. Engineered by Brunelleschi, this
audacious dome was higher and wider than any previously built.
3. Palazzo Vecchio. Part-fortress, part-palace, the Palazzo Vecchio was the seat
of power in Florence from the early 14th century. The severe architecture
concealed cumptuous halls within, notably the magnificent Salone dei
Cinquecento, which was under construction at around the same time this
map was drawn.
4. Basilica of Santa Croce. When construction began in the late 13th century,
this church lay in marshy fields outside the city walls, but by the time of the
Pianta della Catena it had been subsumed by the city. The basilica was
patronized by some of the richest Florentine families, and its numerous
chapels contained many magnificent frescoes.
5. Abbey of san miniato al monte. This Romanesque church was dedicated to
the Christian martyr St. Minius, who is said, after his death, to have walked
out of the city, across the river, and up the hillside, with his head tucked
under his arm.
6. Portrait of the artist. The mapmaker included himself in the image, draqing
fron a high vantage point to the southwest of the city.
 7. The bridge of florence. Four bridger are shown on the map and named, fron
front to back, as the Ponte alla Carraia, Ponte Santa Trinita, Ponte Vecchio,
and Ponte alle Grazie. All had been rebuilt several times over by the time
this map was first produced, most notably following flooods in 1333.

In Context.
Painting styles before the advent of the Renaissance produced beatiful works of
art, but these were all composed on a single plane, and these was little effort to
create the illusion of three-dimensional space. Early Italian masters made some
attempts at using shadowing to create depth, but the first known picture to
properly use perspective was created around 1413 by the Florentine architect
Filippo Brunelleschi (1377-1446). He painted the outline of Florence´s Baptistery,
the octagonal building in front of the Duomo, onto a mirror, using “vanishing
points”, on which all the lines converged at eye level horizon. Soon afterward the
concept of perspective caught on, and it became a common tool of Renaissance
mapmakers, and indeed the basis for most representative art in Western culture.
The original woodcut of the Pianta della Catena, which used perspective to
highlight architecture.

LIBRO IMPORTANTE

https://es.scribd.com/document/211927696/La-Vivienda-en-El-Renacimiento