Toscana holiday houses villas

Toscana holiday houses villas Villa Elena: welcome
Scarce they are the architectural testimonies paleocristiane and generally altomedievali (crypt of S. Antimo, cathedral of Closed). The great artistic flowering of the region had beginning in the sec. XI, with the development of the Romanesque architecture, in whose aspired various local characterizations are distinguished. Among the Florentine architectures of the sec. XI, the greatest examples are the Baptistery, consecrate in 1059, whose structures geometrizzantis postpone paleocristiana and the church of S. to the tradition Miniated to the Mountain, also it rich of derivations tardoantiche. To this tendency they were contrasted the architecture lombardeggiante of Lucca (S. Alexander, S. Frediano) and that original of Pisa, whose famous complex of the Plaza of the Miracles (cathedral, bell tower, baptistery) clearly shows the fusion of elements Romanesque-lombardi with others of oriental derivation, with a strong attention to the elements coloristici and decorative. The Romanesque pisano also found wide diffusion in other Tuscan cities as Pistoia (S. Giovanni in Slush), Lucca (S. Martin), Arezzo (parish of S. Maria). The greatest centers of the Romanesque sculpture were Pisa (Guglielmo, Bonanno), Lucca (Biduino) and Pistoia (Gruamonte) city in which it dominated the influence lombardo-emiliano. The painting was tied up for a long time to the Byzantine (Berlinghieri) tradition, even though enriched by a new drammaticità (Giunta Pisano), while an innovating imprint was given by the vigorous style of Coppo of Marcovaldo, active to Florence (mosaics in the apse of the Baptistery). The Tuscan Gothic art had its principals centers to Florence, where you/he/she was characterized by a severe interpretation of the new taste, and to Siena, in whose demonstrations are noticed a great colorismo and pittoricismo. The greatest Gothic monuments are, in Florence, S. Maria Novella, S. Cross (begun in 1295), S. Maria of the Flower (begun in 1296 by Arnolfo of Change) and, in the sec. XIV, Orsanmichele. To Siena they are to quote the cathedral and the Public Building; other notable Gothic monuments are to Volterra, Lucca, Pisa etc. To begin from the second halves the sec. XIII developed him in the region the activity of an exceptional series of teachers that they defined the characters of the Tuscan art and they greatly extended the influence of it. Nicola Pisano, almost certainly formed him in the Puglies, you/he/she introduced in the sculpture you modulate classicheggianti that Arnolfo of Change developed and fused with the new Gothic linearismo of French derivation, while Giovanni Pisano elaborated a dramatic, nervous and synthetic style, continued by Tub of Camaino, Lawrence Maitani, Andrew and Nino Pisano. Innovating of the painting, lingered on the Byzantine forms, it was Cimabue, with his stately, "classical" interpretation of the dramatic feeling but a true pictorial revolution, for synthetic conception, spatial, plastics and dramatic, it was finished from Giotto, whose influence went well over the regional limits and those of the Gothic art. Of the rich school begun by Giotto Taddeo Gaddi they are remembered, Bernard Daddi, Maso of Bench, Andrew Orcagna, Nardo of Cione and To. Gaddi (also influenced by the painting lombarda and French). Different they were instead the characters of the art senese, whose great initiator was Duccio of Buoninsegna; these he/she knew how to renew the Byzantine pictorial tradition loosening the stereotyped schemes of it in a fluid line and exalting the chromatic refinement of it; on his/her wake Ambrogio and Pietro Lorenzetti can be put, that enriched of drammaticità and plasticismo the style of Duccio, while Simone Martini accented the characters of it of refined linearismo and precious chromatic taste. In the other Tuscan cities the school pisana can be quoted, influenced by the art emiliana and that in Francis Traini it had his great representative. The great development of the miniature must finally be remembered, above all to Siena (Teacher of the Code S. George, Niccolò of Filthy ser Tegliacci), of the glassworks, of the embroidery, of the oreficeria, vivacious above all to Pisa and Siena (Ugolino of Vieri), of the wooden sculpture etc. The sec. XV, with the development of the humanism, it marked the period of great artistic shine for Tuscany and particularly for Florence, become in every field city egemone. The extraordinary work of artists what Brunelleschi, Donatello and Masaccio it gave beginning, respectively in the architecture, sculpture and painting, to the Italian Renaissance, reaching European importance for the influences that it for a long time practiced on the following art. In architecture the typical building developed particularly him Florentine, while numerous the suburban villas they also rose, thanks to the activity of notable architects, followers of the Brunelleschi: Michelozzo, Giuliano from Maiano, Benedict from Maiano, Giuliano from Sangallo. Fundamental for the definition of the characters of the Tuscan architecture it was the personality of L. B. Alberti, of which it was student B. Rossellino, the author of the building Piccolomini to Siena and above all of the planning of Pienza, one of the most exceptional examples of Renaissance architecture.