In the courtyard of Museo Nazionale del Bargello in Florence there are two monumental seventeenth century artillery pieces, signed and dated by the Florentine cannon founder Cosimo Cenni. One of them is a light cannon called Falcone Mediceo, the other, the Saint Paul Cannon, represents one of the most gigantic products of Tuscan Grand Duchy foundries. .e Falcone Mediceo is decorated on the breech with the Galilean moons, recently discovered by the well-known scientist, while the Saint Paul Cannon has its breech adorned with a threedimensional Apostle Paul’s head and its body (nely embellished with symbols of power, personi(cations of Virtues and monsters. .e two cannons had an extraordinarily eventful history: once, respectively, on a galley and in the fortress of Livorno, they were both translated in Tunis and successively returned in the context of late nineteenth century diplomatic negotiations between Tunisian Beylik and the newborn Kingdom of Italy.

Le artiglierie di Cosimo Cenni nel cortile del Museo del Bargello / Taddei, Sergio. - In: RICERCHE DI STORIA DELL'ARTE. - ISSN 0392-7202. - 143:(2024), pp. 56-65.

Le artiglierie di Cosimo Cenni nel cortile del Museo del Bargello

Sergio Taddei
2024

Abstract

In the courtyard of Museo Nazionale del Bargello in Florence there are two monumental seventeenth century artillery pieces, signed and dated by the Florentine cannon founder Cosimo Cenni. One of them is a light cannon called Falcone Mediceo, the other, the Saint Paul Cannon, represents one of the most gigantic products of Tuscan Grand Duchy foundries. .e Falcone Mediceo is decorated on the breech with the Galilean moons, recently discovered by the well-known scientist, while the Saint Paul Cannon has its breech adorned with a threedimensional Apostle Paul’s head and its body (nely embellished with symbols of power, personi(cations of Virtues and monsters. .e two cannons had an extraordinarily eventful history: once, respectively, on a galley and in the fortress of Livorno, they were both translated in Tunis and successively returned in the context of late nineteenth century diplomatic negotiations between Tunisian Beylik and the newborn Kingdom of Italy.
2024
cannoni; Museo del Bargello; Cosimo Cenni; fonderia; scultura del Seicento; arte fiorentina del Seicento; Galileo Galilei; Bernardo Buontalenti; Gherardo Silvani; Cavalieri di Santo Stefano; corsari barbareschi; Livorno; Tunisia;
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Le artiglierie di Cosimo Cenni nel cortile del Museo del Bargello / Taddei, Sergio. - In: RICERCHE DI STORIA DELL'ARTE. - ISSN 0392-7202. - 143:(2024), pp. 56-65.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11573/1718235
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