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artist's personal interpretation of what he should look like. Because of this, the
Italian representation of Neptune was different than that of Greek tradition. Unlike Neptune in Greek mythology, the Italian interpretation of Neptune was more human than god, much like Hercules. Over the course of the fifteenth century three main representations of Neptune emerged: static which was popular between the 1530s through 1560s, dynamic which was popular between 1504 and 1566, and synthesized which was an amalgamation of the two styles. The Neptune in Ammannati's Fountain was built in a static style, standing atop his chariot of horses. The representation of Neptune in static style was popular in Florence at the time and was frequently used in fountains; however, there are two elements worth noting that made Ammannati's representation of Neptune slightly different than others. Ammannati's Neptune is wearing a crown and holding a lash in his right hand. Both the crown and the lash were a reference to earthly rulers, making this specific representation of Neptune symbolic of a contemporary ruler i.e. Cosimo I de' Medici, rather than an Olympian deity.
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220:. Although Cosimo contributed extensively to the city, it was not without personal gain. Cosimo's patronage was not only to provide public spaces and art for the citizens to enjoy, but it was also for his own political interests. His renovation of the churches were driven by a desire to gain favor with Rome and earn a grand ducal crown, which he received in 1569. The festivals he held between 1560 and 1574 were orchestrated to please the masses, while in turn, glorifying his reign. Behind Cosimo's commissions was an underlying glorification of the Medici Dynasty and his reign over Florence. Cosimo was not only a patron of the arts but he also freed Florence from imperial authority and established himself as lord of the new state of Florence.
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1580-1989. In 1580, almost the entire fountain was vandalized, leaving only a few figures untouched. The fountain was then damaged during celebrations in 1830 and 1848. Over the course of the 1980s there were several occasions in which the horses were damaged and another incident where
Neptune's shoulder was painted after Italy won the World Cup in 1982. Finally, on August 3, 2005, a vandal attempted to climb Neptune which resulted in the loss of a hand, a broken trident and damage to the chariot. As a result of the damage the fountain endured over the years, the city implemented stricter security measures in 2007 and 2009 by installing CCTV and increasing police patrols to help prevent vandalism.
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transit, creating delays in the fountain's completion. Ammannati was finally able to carve the remainder of the horse and complete the fountain in 1574. The project was intended to be completed by 1565 for the celebration of
Francesco de' Medici I and Joanna of Austria's wedding, but due to a myriad of delays in sourcing supplies for the fountain's completion, Ammannati was forced to come up with a temporary solution for the arrival of Johanna of Austria. Through the use of
129:. This was the second commission Ammannati had received from Cosimo; his first commission was for the Grand Hall Fountain which was in celebration of Cosimo successfully bringing fresh water into the city. Ammannati created The Fountain of Neptune based on the designs drawn by Bandinelli. Although Ammannati was the fountain's main sculptor he was assisted by several artists throughout the completion from 1560-1574. Some of the artists include
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association of chariots with festivals and pageants could be the reason for
Bandinelli's unusual incorporation of a horse-chariot. Because the fountain's scale was so large, it forced Ammannati to make some innovative choices when constructing his giant Neptune. Two of the horses were white marble, but the other two were made of mischio, a marble discovered near the Duke's excavation site in
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efforts. Thanks to
Ferragamo's generous donation, the long overdue restoration of the fountain began in early 2017 and was completed in 2019. During the restoration the pump that had not functioned since 1987 was finally replaced with a new stainless-steel system. Other repairs included removing stains from the marble, patching cracks and restoring rusted bronze figures.
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seated on her lap. The combination of these two unusual elements alludes to biblical symbolism. These two figures are anointing this fountaining as a baptistry and proclaiming the water's purity. Philosophers such as Andrea Bacci suggest that the Virgo in
Ammannati's fountain is representing Christ's
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played a large role in the 2019 restoration of the
Fountain of Neptune by donating 1.5 million euros to the project. Because of the new Art Bonus program started in 2014, private donors such as Ferragamo are now able to receive a tax deduction for any donations made toward the city's art restoration
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and had a variety of colors including red, yellow and purple. Because this was a new medium, its qualities were unknown to sculptors at the time and the hard, brittle quality of the mischio made
Ammannati's task even more difficult. Due to the brittle quality of mischio the columns of stone broke in
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for trade. Ammannati's
Neptune was unique because of its incredibly large scale and even though there were several Neptune fountains around Italy at the time, none of them had Neptune atop a horse-drawn chariot. The fountain was being built to celebrate the marriage of Francesco and Joanna, and the
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The representation of
Neptune in the Renaissance is particularly interesting because unlike many of the other Olympian deities, there were no surviving classical sculptures depicting Neptune available to artists in the Renaissance. This meant that the representation of Neptune was based upon the
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The Fountain of Neptune began to suffer damages from almost the moment it was unveiled. Shortly after the unveiling, locals began to use the fountain as a washbasin for inkpots and laundry, causing a damage and discoloration to the marble. The fountain suffered a great deal of vandalism between
286:, the unicorn's purity was so strong that even by placing the tip of its horn in water, it could purify the most toxic water. In Virgo's right hand we see a loaf of bread where an ear of corn usually lies, furthering the idea that this fountain is being proclaimed as a baptistry.
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and paint, Ammannati was able to create the illusion of a finished product. The combination of the Neptune as the subject matter and Ammannati's use of the duke's newly found stone (mischio) made the fountain symbolic of the duke's reign over the Mediterranean and the mountains.
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Cosimo I de' Medici, Duke of Florence from 1537-1569, was largely responsible for shaping Florence into the city of the art and architecture that still stands today. Because of the significant transformation Florence underwent during his reign, Cosimo was often compared to
137:. Rossi was also commissioned by Cosimo to create the Labors of Hercules after he lost the competition for the Neptune project. The sculptors who assisted in carving the giant marble Neptune were Andrea Calamech, Battista Fiammeri, and Cesare di Nicodemo.
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bride and the unicorn represents the Christ child. Due to the well-established association of purity with both Virgo and unicorns, Ammannati's combination of these two figures creates a clear representation of Christ's purity. In
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with the assistance of several other artists between 1560 and 1574. It incorporates a series of mythological figures and iconographies that symbolize both Cosimo I de' Medici's power and the union of Francesco and Joanna.
277:; however, after closer examination, the depiction of Virgo does not follow a traditional representation of Virgo as Virgin, but instead depicts her as a bride. Additionally, Virgo is presented with a
113:. The fountain was commissioned both in celebration of Cosimo's gift of clean water to the city and to celebrate the marriage of Francesco de' Medici I to the Grand Duchess Joanna of Austria.
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It has sustained a great deal of damage over the years due to vandalism and general mistreatment but underwent a major restoration completed in 2019 that restored it to its original glory.
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77:. Cosimo I de' Medici was the Duke of Florence from 1537-1569 and responsible for a vast number of architectural and artistic elements in Florence that still exist today.
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and considered himself to be the architect of the new age of Florence. Some of Cosimo's most significant contributions to Florence include: The Sala Grande in the
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The Fountain of Neptune consists of many different parts; aside from the giant Neptune atop a shell-shaped horse-drawn chariot, the fountain also has
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The Ferragamo family have long been patrons of the arts and have donated copious amounts of money towards the restoration of Florentine art.
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156:. Neptune's features were modeled after Cosimo I de' Medici, which was appropriate parallel due to Cosimo's recent victory over
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Utz, Hildegard (May 1973). "A Note on Ammannati's Apennine and on the Chronology of the Figures for His Fountain of Neptune".
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Cosimo I de' Medici commissioned a second Fountain of Neptune in 1565. This second fountain was a bronze sculpture created by
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Else, Felicia M. (2011). "Moving Stones, Managing Waterways, and Building an Empire for Duke Cosimo I de' Medici".
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Mandle, Corinne (Summer 1995). "An autograph satyr by Vincenzo de' Rossi on the Neptune Fountain in Florence".
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Else, Felicia M. (July 2005). "La Maggior Porcheria Del Mondo': Documents for Ammannati's Neptune Fountain".
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Salibian, Sandra (March 26, 2019). "Salvatore Ferragamo Unveils Restored Fountain of Neptune in Florence".
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590:"Moving Stones, Managing Waterways, and Building an Empire for Duke Cosimo I de' Medici"
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Mandel, Corinne (Fall 2001). "The Zodiacal Virgo on the Neptune Fountain in Florence".
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Carter, Mary (30 July 2013). "Three Months in Florence". Kensington Books. p. 59.
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Great Statues and Seismic Vulnerability–A Photogrammetric Approach for Early Safeguard
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Great Statues and Seismic Vulnerability–A Photogrammetric Approach for Early Safeguard
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and responsible for overseeing the project. The commission was originally granted to
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McGee, Anna (12 July 2016). "New life for the Neptune Fountain - The Florentine".
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Morris, Roderick Conway (August 12, 2011). "In Florence, Revelations in Stone".
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Freedman, Luba (Fall 1995). "Neptune in classical and Renaissance visual art".
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signs engraved on Neptune's chariot follow a traditional pattern starting with
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Cosimo I de' Medici and His Self-Representation in Florentine Art and Culture
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523:"La Maggior Porcheria Del Mondo': Documents for Ammannati's Neptune Fountain"
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Cosimo I de' Medici and His Self-Representation in Florentine Art and Culture
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in Florence and was a symbol of the Medici's power over Florence. Another
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1099:. Archived from the original on 6 March 2009. Retrieved 9 August 2018.
710:"Salvatore Ferragamo Unveils Restored Fountain of Neptune in Florence"
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and was built between 1563-1566 by a nameless Flemish artist known as
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1095:"Romaviva.com: Hotel a Roma - Prenota ora Alberghi e B&B Roma".
1116:"The Fountain of Neptune under restoration - Florence Daily News".
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Pirro, Dierdre (19 May 2011). "The White Giant - The Florentine".
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Paolucci, Raffaella; Tanganelli, Marco; Verdiani; Giorgio (2018).
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Paolucci, Raffaella; Tanganelli, Marco; Verdiani; Giorgio (2018).
1062:. London, United Kingdom: Laurence King Publishing. p. 460.
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419:. London, United Kingdom: Laurence King Publishing. p. 460.
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held a competition to select an artist to build the Fountain Of
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who also assisted with The Fountain of Neptune in Florence.
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1077:(PDF). Vienna: Museen der Stadt Wien – Stadtarchäologie.
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Grippi, Rosalind (1956). "A Sixteenth Century Bozzetto".
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732:"The Zodiacal Virgo on the Neptune Fountain in Florence"
840:. Vienna: Museen der Stadt Wien – Stadtarchäologie.
621:"New life for the Neptune Fountain - The Florentine"
1058:Paoletti, John. T; Radke, Gary M. (9 August 2018).
413:Paoletti, John. T; Radke, Gary M. (9 August 2018).
133:, who cast the four satyrs, and the Flemish artist
1088:"Palazzo Vecchio and Piazza Signoria - Florence".
933:Crum, Rodger J.; Paoletti, John T. (April 2006).
786:"Neptune in classical and Renaissance visual art"
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440:Crum, Rodger J.; Paoletti, John T. (April 2006).
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1007:Kren, Emil; Marx, Daniel (eds.). "GIAMBOLOGNA".
972:International Journal of the Classical Tradition
790:International Journal of the Classical Tradition
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1120:. 27 February 2017. Retrieved 9 August 2018.
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261:Wheel on Neptune's chariot with Zodiac signs
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937:. Cambridge University Press. p. 133.
446:. Cambridge University Press. p. 133.
227:The fountain after its hand was cut off by
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1138:. New York: Cambridge University Press.
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478:. New York: Cambridge University Press.
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1319:Equestrian Monument of Ferdinando I
1027:Source: Notes in the History of Art
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708:Salibian, Sandra (March 26, 2019).
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501:"In Florence, Revelations in Stone"
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65:. The fountain was commissioned by
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861:Kren, Emil; Marx, Daniel (eds.).
677:"Italy Neptune statue loses hand"
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882:"A Sixteenth Century Bozzetto"
650:Pirro, Dierdre (19 May 2011).
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521:Else, Felicia M. (July 2005).
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231:on the night of August 4, 2005
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1342:Fountain of Neptune, Florence
1255:Florence Triumphant over Pisa
961:The Sixteenth Century Journal
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730:Mandel, Corinne (Fall 2001).
594:The Sixteenth Century Journal
80:The fountain was designed by
1336:Fountain of Neptune, Bologna
1037::10.1086/sou.21.1.23206970.
784:Freedman, Luba (Fall 1995).
619:McGee, Anna (12 July 2016).
499:Morris, Roderick C. (2011).
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1271:Abduction of a Sabine Woman
1247:Samson Slaying a Philistine
1134:Van Veen, Henk Th. (2006).
557:Utz, Hildegard (May 1973).
474:Van Veen, Henk Th. (2006).
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16:Fountain in Florence, Italy
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1106:. Retrieved 9 August 2018.
1092:. Retrieved 9 August 2018.
1055:. Retrieved 9 August 2018.
1048:. Retrieved 9 August 2018.
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1187:43.7695778°N 11.2560750°E
880:Grippi, Rosalind (1956).
748:10.1086/sou.21.1.23206970
456:– via Google Books.
429:– via Google Books.
236:Vandalism and Restoration
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1434:Fauns in popular culture
1060:Art in Renaissance Italy
416:Art in Renaissance Italy
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1125:The Burlington Magazine
563:The Burlington Magazine
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1192:43.7695778; 11.2560750
588:Else, Felicia (2011).
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1379:Fountains in Florence
1338:(inaugurated c. 1566)
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982::10.1007/bf02678622.
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1165:at Wikimedia Commons
127:Bartolomeo Ammannati
86:Bartolomeo Ammannati
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1070:– via Google Books.
945:– via Google Books.
930:– via Google Books.
320:Fountain of Neptune
246:Salvatore Ferragamo
214:Santa Maria Novella
202:Fountain of Neptune
107:Cosimo I de' Medici
67:Cosimo I de' Medici
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847:978-3-200-06576-5
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533:(1228): 487–491.
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1298:(1597–1602)
1274:(1579–1583)
1266:(1571–1573)
1232:Giambologna
1190: /
1053:Nytimes.com
1041:0737-4453 .
986:1073-0508 .
693:15 February
600:: 393–425.
362:stereo card
338:Giambologna
314:behind the
218:Santa Croce
135:Giambologna
1358:Categories
1295:Saint Luke
1239:Sculptures
1131:: 295–300.
997:: 143–147.
967:: 393–425.
956:: 487–491.
917:References
27:at mid-day
1329:Fountains
1306:Monuments
1282:(c. 1585)
1258:(c. 1565)
1250:(c. 1562)
1097:Roma Viva
818:162370753
810:1073-0508
764:191376363
756:0737-4453
324:Bologna's
253:Mythology
167:Seravezza
105:In 1559,
1002:BBC News
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682:BBC News
661:9 August
630:9 August
606:23076789
539:20074040
322:lies in
190:Augustus
101:Creation
41:Florence
344:Gallery
279:unicorn
229:vandals
171:breccia
142:Tritons
111:Neptune
96:History
51:Italian
36:Neptune
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1315:(1594)
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183:Patron
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1414:Putti
902:JSTOR
838:(PDF)
814:S2CID
760:S2CID
602:JSTOR
571:JSTOR
535:JSTOR
397:Notes
378:satyr
275:Virgo
271:Aries
154:Fauns
150:Putti
45:Italy
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1079:ISBN
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