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THE CHURCH OF SANTA TRINITA

IN FLORENCE

BLANK PAGE _

MONOGRAPHS ON ARCHAEOLOGY AND FINE ARTS a SPONSORED BY

| THE ARCHAEOLOGICAL INSTITUTE OF AMERICA AND

XII

THE COLLEGE ART ASSOCIATION OF AMERICA

THE CHURCH OF SANTA TRINITA |

BY

IN FLORENCE

HOWARD SAALMAN

Carnegie Institute of Technology Pittsburgh, Pennsylvania

1966

, PUBLISHED BY THE COLLEGE ART ASSOCIATION OF AMERICA

| H. W. Janson, Editor | IN CONJUNCTION WITH THE ART BULLETIN

nm |

The publication of this monograph __ : : | has been aided by a grant from the Samuel H. ‘Kress Foundation

Copyright 1966

| by College Art Association All Rights Reserved L.C. Card No. 66-27568

PREFACE His study was carried out during a two-year period of research in Italy, 1956-1958, supported by a Fulbright Fellowship. The work was aided by supplementary grants from New York University and the Phyllis Lambert Architectural Research and Publication Fund directed by Professor Richard Krautheimer. An earlier version of this report was accepted in October 1960 by the faculty of the Institute of Fine Arts, New York University, in partial fulfilment of the requirements for the degree of

Doctor of Philosophy.

The manuscript benefited materially from a critical review by Dr. Friedrich Oswald, then at the Kunsthistorisches Institut in Florence (1961). His observations led me to alter my initial interpretations in several important respects. I am grateful to him for his interest and advice and specific reference to his contributions will be made in the notes where appropriate. The permission to carry out the necessary excavations was granted by Dott. Alfredo Barbacci, then Soprintendente ai Monumenti delle Provincie di Firenze, Arezzo e Pistoia, through the interest and cooperation of the present Soprintendente, Arch. Guido Morozzi. My collaborator, Mrs. Phyllis Dearborn Massar, gave generously of her time and talent in executing the photographs for Figs. 2, 5, 6, 7, 8 and 11. Dott. Berta Leggeri, Florence, prepared the plans of the excavation and produced the measured survey of the church. Messrs. R. Pagliero, G. Sixta, R. Singh, A. El Mously and Miss S. Abigadol, Department of Architecture, Carnegie Institute of Technology as well as Mr. A. Frazer, Pough-

keepsie, were helpful in the revision of the plans. Mr. David Eisenhauer, Stockholm, assisted in a final revision of the plans and executed additional drawings. A word of warm appreciation must go to Professor Ulrich Middeldorf, Director of the Kunsthistorisches Institut, Florence, for his personal assistance on many occasions and to the members of his staff for their continuous interest and cooperation. To the tireless editor of this series, Professor Horst W. Janson, go the author’s thanks for his unfailingly prompt and expert advice and assistance in the final preparation of the text and the

figures. , | , HS.

I Tatti, Florence July, 1964

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Preface Vv TABLE OF CONTENTS

I. Background: The Vasari Tradition 3

Dates, Documents and Sources 3 Nineteenth Century Restorations and Discoveries 4

General Problems 6 The Carolingian Origins: Trinita I 7

II. Recent Studies and Excavations—1957-1958 6

Trinita [I—ca. 1060 to ca. 1180 9

a Martyrium Church: Trinita Ila—ca. 1060 IO Crypt, Choir and the Vallombrosians: Trinita IIb—1092f. 15

The Casa Solariata Wall 18 The Missing Link: Trinita [1I—ca. 11756. 19 A Mid-Thirteenth Century Project? 20

The Fresco and the Interior Facade Excavations 1957-1958 24 21 |

Trinita 111: Summary 28

Two Head Consoles 31 Capital Studies 32

III. The Church that Nicola Pisano Did Not Build: Santa Trinita IV 31

MasonryChronology Studies 35 Tentative 37 | Trinita IV: A Re-evaluation 37

Trinita I 41 Rising Masonry ,AI Al , Foundations Trinita Ila AI

Appendix I. Rising Masonry and Foundations 4I

Rising Masonry |AI AI Foundations

Trinita IIb | AI , | Trinita III © AI Trinita IV AI EarlyPhase. Phase 42 AI | Later Appendix Il. Membra Disiecta | 43 Illustrations 47 Later Additions and Restorations , 42

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THE CHURCH OF SANTA TRINITA IN FLORENCE

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Oo CHAPTER I , a Dares, DocuMENTs AND SouRCES : HEN the present church of Santa Trinita in Florence (Pls. 1, 11, Figs. 2, 5-8) was built,

\ \ | it took the place of a preceding church. Little else regarding the history of this building

is certain. Vasari, casting about for a date and attribution for the existing church, stated | flatly that it was built by Nicola Pisano “in the year the Guelfs came back to Florence.”” According to Giovanni Villani, who, however, does not mention either the church or Nicola Pisano, this event can be fixed in the year 1250-1251.” Considering that we have no documented architectural works by Nicola Pisano, and considering, further, the predominantly fourteenth century character of the present church, this date and attribution would seem at first glance to deserve no more than an attempt to explain it. But Vasari’s suggestion has had a long and checkered history. The next attempt to define the history of the building is due to the Abbot Averardo Niccolini.

In an inventory report to his Roman superior sent off in 1650, he set down the results of his historical research which he recopied into a manuscript of 1661 now in the Florentine archives.* Niccolini, basing himself on some archival material and “la crononica [sic] affissa nella nostra chiesa alla capella della Pieta” presented five dates: 800, 1222, 1227, 1250 and 1327. Santa Trinita, he reports, was one of twelve collegiate churches in Florence founded in 800 or 810 by Charlemagne. According to a now lost “Libro di Ricordanze in Ripoli, segn. AO a carte 68,” Pope Gregory IX made a dedication at the church on September 27, 1222. The “crononica” stated that Gregory IX granted “Duso dei pontificiali .. . Panno 1227, terzo del suo pontificato.” Niccolini , doubted the accuracy of this report, probably in part because 1227 was actually the year of Gregory IX’s elevation and in part because other records report the granting of the “pontificiali”? much later, in the fifteenth century.* Obviously basing himself on Vasari, Niccolini then related that

“fu restaurata questa [chiesa] nell’anno 1250. Fu dato il disegnio di questo tempio da Nicola Pisano e condotta a fine acconciamente come si vede.”” Giamboni in his Diario sacro,° indicates that Gregory’s dedication should be dated December

27, 1227 because December 27 marks the annual festa principale of the church. An entry in the notes of Senator Carlo Strozzi’ gives the date December 27, 1237, possible since Gregory reigned , until 1241. The date 1237 is repeated by Richa® who added the information, gleaned from Giambon, that Gregory IX granted a plenary indulgence to the church. Two other dates belong in this discussion: 1257 and/or 1258. Senator Strozzi reports in several places in his notes about a piece of marble, apparently round, with an abaco, i.e., a monogrammatic inscription, forming the number “MCCLVIII.” In one place Strozzi states that the abaco is “al 1. G. Vasari, Le vite de’ pit eccellenti pittori ed architettori, on the Main, 1940-1955, V, p. 320 n. 10. Hereafter, Paatz

G. Milanesi, ed., Florence, 1878-1885, I, p. 3033 #dem, K. (followed by Vol. No.). This notice was reported by H. Frey, ed., Munich, 1911, 1, p. 666. Cf. also pp. 575, 824f. Siebenhuener (Arch. di Stato, Firenze, Carte Strozziane, Repert. 2. G. Villani, Cronica, ed. Sansoni, Florence, 1844, VI, 42: eccl. 554 B. 112).

January 7, 1250, i.e., 1251 stile comune, | 8. G. Richa, Chiese, 111, p. 149: dedication, December 27, | 3. C. Botto, “Note e documenti sulla chiesa di S. Trinita in 1237 “... giusta il Sig. Manni, il Giamboni, e la tradizione Firenze,” Rivista d’Arte, XX, 1938, pp. 2-4. Hereafter, Botto, del Monastero. . . .” Since Richa could find no notice of

1938. | | Gregory IX in Florence in the years around 1237 in Villani

| 4. G. Richa, Notizie istoriche delle chiese fiorentine, Flor- or L’Ammirato, he added: “. . . convien dire, che da lui fosse ence, 1755, Ill, pp. 149-150; D. M. Manni, Osservazioni fatta questa consecrazione negli anni, che fu egli Legato in | istoriche .. . sopra sigilli antichi de’ secoli basst, Florence, Toscana, colla quale dignita trovasi appellato nelle memorie

1743, XIV, p. 24. Hereafter, Richa, C'hiese. de’ Capitoli generali di Vallombrosa Prestde D. Ugolino Card. |

5. C. Botto, 1938, pp. 2-4. | | Ostien. in partibus Tuscie Legato, nel qual caso sarebbe di

1700, p. E.284. however, the date 1227. 7. W. and Paatz, Die Kirchengave von Florenz, Frankfort |||

6. L. A. Giamboni, Diario sacro e guida perpetua, Florence, uopo correggere il millesimo.” Giamboni (0f.ciz., p. 284),

4 THE CHURCH OF SANTA TRINITA IN FLORENCE - fianco” of the church;° elsewhere it is “sopra la porta.””® Both may be correct. Richa refers to a “tondo di marmo come un/’ostia con lettere .. . accanto alla porta di mezzo,” but reads the date as “MCCLVII,” probably an error after Strozzi." All agree that the plaque was removed when Buontalenti built the present facade after 1592. The “tondo” was apparently too small a detail to be included in the view of the facade as it was until its demolition after 1592, represented in the fresco by Domenico Ghirlandaio in the Sassetti Chapel in Santa Trinita (Fig. 3). There is finally another date reported by Niccolini, the year 1327: another consecration, by

Pope John XXII. ,

Summing up, we have the following dates: 800/810 (Niccolini); September 27, 1222 (Niccolini-Ripoli archives); 1227 (Niccolini-“crononica”); December 27, 1227 (Giamboni); December 27, 1237 (Strozzi-Richa); 1250-51 (Vasari-Niccolini); 1257 or 1258 (Strozzi-Richa) ;

1327 (Niccolini-“crononica’’). | Only a few other points of chronological reference are available: The church is first mentioned in a document of 1077.” The Vallombrosians took possession of it in 1092."* A document of 1124

refers to a casa solariata ... wxta ecclesiam Sancte Trinitatis.’ In 1178 the church received the jus parrochiale, a few years after it was enclosed in the expanded city wall. The parish was enlarged a few years later.*® In 1277, the monks bought some houses in the Via Parione to build a hospital.” Cimabue painted his great Madonna for Santa Trinita around 1285." Meetings were held in the

church in 1289 and 1301.*° A later-demolished chapel of Saints James and Benedict is mentioned in a document of 1318. Its location is not identified.’ Dino Compagni, the Florentine chronicler and politician was reportedly buried in the still-existing fourth chapel on the left side of the church in 1324. A seventeenth century inscription in the first left-hand chapel (Strozzi) declares that the chapel was extructum in 1340." There is ample documentation of an extensive rebuilding of the church beginning around 1360, rebuilding which goes far beyond simple “repairs.”

: , NINETEENTH CENTURY REsTORATIONS AND DISCOVERIES | After the construction of the sacristy in the fifteenth century’ and two small chapels at the southern end of the transept in the early sixteenth century, the only major addition to the existing church was the impressive exterior facade built by Buontalenti in 1592.” g. Florence, Bibl. Nazionale, Cod. Strozziano 1x, 127, fol. the Cimabue Madonna was not planned for the main altar of 111 (reported by Gronau). - Santa Trinita. | |

10. Arch, di St., Firenze, Carte Strozziane, Repert. eccl. 18. Richa, CAzese, 111, pp. 141-142. |

555, +B. 111: “Sopra la Porta di detta Chiesa eragia in un 19. Cf. Botto, 1938, p. 13. Botto cites a different dedication pezzetto d’Marmo queste figure d’Abbacco MCCLVIII, che for the chapel: SS. Filippo e Jacopo. So still Paatz v, p. 259. fu levato anno 1594 con l’Occasione di rifare la Facciata.” The document of 1318 (Arch. di St., Firenze, Conventi, 224, 11. G. Richa, Chiese, 111, p. 143: “. . . accanto alla porta Fa. 222, c. 170, doc. 70) which survives in a 17th century di mezzo, innanzi che fosse rinnovata di pietre, vedevosi un copy, actually reads Cappella Sanctorum Jacobi et Benedicti. tondo di marmo come un’ostia con lettere, che formavano il 20. Richa, C’/iese, 111, p. 165. Cf. Paatz v, p. 322 n. 18.

seguente millesimo: MCCLVII.” - | Unpublished research by Dr. Friedrich Oswald suggests that

12. A. Cocchi, Le chiese di Firenze, Florence, 1903, 1, pp. | Compagni may not have been buried here in 1324 as generally 167f.: an act is notarized ... foras muros florentie civitatis believed, since the chapel apparently did not pass into possession

prope ecclesiam sancte trinitatis . . . (Arch. di St., Firenze, of the Compagni family until 1434.

Diplomatico, Badia a Ripoli, 1077, 19 luglio). a1. Cf. A. Cocchi, Le chiese di Firenze, Florence, 1903, | 13. Cf, Paatz Vv, Pp. 319 n. 73 Botto, 1938, p- 2. p. 188, hereafter, Cocchi, Chiese; Richa, Chiese, Ill, p. 1643 14. R. Davidsohn, Geschichte von Florenz, 1, Berlin, 1896f., Paatz v, p. 377 n. 309. According to Richa (111, p. 161),

. p. 731 n. 13 cf. also R. Piattoli, ed. Regesta chartarum the chapel was originally the property of the Carducci and Italiae. XXII. Le carte della Canonica della Cattedrale di was inherited by the Strozzi in the 15th century. | Firenze (723-1149), Rome, 1938, pp. 408f., doc. 169. 22. Cited in part by G. Carocci, “A proposito dei restauri

15. Documents: Botto, 1938, p. 2 n. 3. di S. Trinita,” Arte e Storia, 111, 1884, pp. 251f.; E. Mar-

16. D. M. Manni, Sigilli antichi, x1v, p. 20. Cf. R. Bal- cucci, “Restauri di S..Trinita,” Arte e Storia, Iv, 1885, daccini, “S. Trinita nel periodo gotico,” Rivista d’Arte, pp. 74f. In extenso: Botto, 1938. Cf. also Paatz v, pp. 328f.

XXVII, 1951-1952, p. 49 n. 6. Hereafter, Baldaccini, 1951- nn. 4of.

1952. | | 22a. Cf. H. Saalman, “The Palazzo Comunale in Monte-

| 17. For a discussion of the attribution and the date, cf. pulciano,” Zedtschrift fiir Kunstgeschichte, XXV1I1, 1965, pp.

_ Paatz v, p. 383 n. 382. Prof. Wolfgang Lotz has suggested 5 ff. | orally that iconographical reasons lead him to suspect that 23. Paatz v, pp. 262, 336 n. 85.

THE CHURCH OF SANTA TRINITA IN FLORENCE 5 From 1881 to 1897 the church underwent a restoration during which some Baroque accretions , | were destroyed or removed.” After this face-lifting the interior appearance of the building approximated its pre-sixteenth century state, but a number of arbitrary elements had been added, e.g., the horizontal strips articulating the piers and the upper oculus in the interior fagade wall (Figs. 7880).”> The insertion of this oculus apparently led to the discovery that the interior facade wall contained parts of an older smaller church.”* Though composed of several unhomogeneous parts (cf. pp. 23f. below), this wall has generally been considered to be im toto the interior facade of an eleventh century church on the site. It was left exposed after the restoration (Figs. 8, 9, 10, 43).

The pavement of the church had been raised 40cm in 1820 after repeated flooding of the building. With the danger of flooding largely eliminated after the construction of the present high Arno embankments in the middle of the nineteenth century, the pavement was restored to its

present level in the 1880’s. , ,

, A tomb excavation in 1820 had led to the rediscovery of a substructure below the fourth bay of the southern (left-hand) aisle. In 1885-1887 this area was explored. A trefoil structure extending across the nave with an apparent level 2.97m under the present pavement with windows respectively 1.71 and 1.78m above the —2.97m level came to light.” At a point 1.49m above the lower level, 1.48m under the present pavement and directly adjoining the trilobe structure, the cut-off stumps of two trefoil piers, evidently related to the interior facade laid bare at this time, were unearthed. The piers are built up of blocks of verde di Prato and are very similar to piers in San Miniato and other eleventh century churches in Florence. The existence of colonettes and their

bases indicate that the trefoil substructure had served as a hall crypt at some time. It is generally , referred to as the “crypt.” This underground complex was restored, revaulted and made accessible by a modern set of narrow steps leading down from the fourth nave bay (Pls. m1, 1v, Figs. 11-23).

No detailed excavation report, drawings or photographs were published.” 24. The controversies surrounding this restoration are fettura di Firenze, 1890, Filza 64! and 64%, Serie 1, Categ. chronicled in the artistic journals of the period. Cf. particu- 16. Istruzione 39. Belle Arti, Chiesa di Santa Trinita, Lavori) larly Guido Carocci’s Arte e Storia in the years 1881ff. Cf. in Florence in the spring of 1961. Neither the drawings nor also P. Franceschini, I nuovo osservatore fiorentino, 188sf., the written report throw much additional light on the question p. 453 tdem, Del restauro al tempio di S, Trinita in Firenze, of the previous state of the building with one important exFlorence, 1898; Don F. Tarani, Cenni storichi e artistichi ception. It appears that the upper of the two round windows della chiesa di 8, Trinita e suo restauro, Florence, 1897. For visible on the facade interior is a product of Commendatore Castellazzi’s idea of what should be done, including a recom- _Castellazzi’s imagination, evidently intended to let more light position of the “Gothic” facade, cf. G. Castellazzi, La basilica into the nave. On the horizontal strips, cf. note 181 infra. ai S. Trinita, i suot tempi e il suo restauro, Florence, 1887, = 26. G. Carocci, Arte e Storia, Vil, 1887, pp. 7, 16. plate facing p. 33. A key document in this connection is the 27. G. Carocci, Arte e Storia, VII, 1888, pp. 50, 64.

report made by a special committee of experts set up in the = 28. Among the drawings (Figs. 78-80) in the archives wake of criticisms of the restorer Castellazzi’s plans: G. Poggi, of the Soprintendenza ai Monumenti in Florence there is a G. Milanesi, L. Del Moro and E. Marcucci, Imtorno al pro- curiously inadequate rendering of the “crypt” together with getto di restauro della chiesa di S. Trinita, presentato dal Prof. a hypothetical reconstruction of the plan of Trinita II, apparComm. Giuseppe Castellazzt. Relazione della Sotto-Commis- ently made at the time of the reconstruction work in 1887stone dt Vigilanza alla Commissione Consultiva Conservatrice 1888 carried out under the aegis of the ‘“Sottocommissione

dt Belle Arti per la Provincia di Firenze, Florence, June, di Vigilanza” composed of Poggi, Milanesi and Del Moro. 1885. The recommendations of the subcommission of 1885 Whether the square foundations (?) marking the bays of — were followed in full. The full history of the restoration is Trinita II are based on excavations in the nave (which was documented in the pratiche of the Florentine Prefettura pre- then still without its modern pavement), is unclear. A survey

served in the Archivio di Stato (cf. note 25 infra). of the restoration documents during these years (cf. note 25)

25. Dr. F. Oswald found Castellazzi’s preliminary report indicates that in the rush to finish up the long-drawn-out affair and plans of 1885 in the archives of the Soprintendenza ai the restorers spent little time in making careful archaeological

Monumenti and the Archivio di Stato, Florence (ASF, Pre- _ studies. :

CHAPTER II.

/ RECENT STUDIES AND EXCAVATIONS—1957-1958 | | — INCE the restorations of 1885-1897, some or all of the recognized structures presently or S formerly on the site of Santa Trinita have received attention. Three more recent authors, J Botto,” Paatz® and Baldaccini™ have dealt with the complex in detail. The present writer _ returned to the problem in the summer of 1957, prompted by some unanswered questions and the

opportunity offered by repair work in the “crypt.” , The studies comprised test excavations in October, 1957 and a more extensive campaign of excavations in February-March, 1958. The results, while leaving some questions pending, have given an entirely new face to the problem. The purpose of this monograph is to present a detailed _ report of these excavations and to summarize their significance for the successive building periods.

7 | GENERAL PROBLEMS , Some problems encountered in the excavations may be mentioned briefly. Directly under the brick pavement consisting of roughly 10 x 25cm brick guadromi, laid in a herringbone pattern when the original church level was restored in the 1880's, a roughly 40cm deep footing of river stones lies on a 25cm deep layer of dry fill. Below this a layer of hard, tightly packed red clay fill mixed with stone, glass, metal and pottery fragments extends to a depth of about 3m (equivalent to the river level less than 75m away). These fragments date from all periods, but appear to be © largely of the seventeenth, eighteenth and nineteenth centuries. Relatively few areas under the

| church can be considered as untouched since burials continued in all parts of the church until the early nineteenth century. Except in the chapels, the graves are no longer marked, for all tombstones in the pavement of the nave and aisles were removed around 1820 when the pavement was

, raised, but tombs are ubiquitous throughout the aisles and transept. With a few exceptions, the tombs were filled in around 1820 or when the pavement was lowered in the 1880s. Mostly dating from the seventeenth or eighteenth centuries, they are generally rectangular, up to 2 x 4m in size and usually 2 to 3m deep. They are built of two to three brick thicknesses, vaulted and nearly

, indestructible. Of little inherent interest and containing almost no objects of archaeological or artistic value, these tombs presented the major obstacle that was encountered. They often penetrate to the lowest level of existing structural remains, obliterating all earlier masonry. Some are

, partly constructed of stones robbed from the earlier surrounding walls. ,

_ All work was under the author’s supervision. Only dirt and stone fill was removed and sifted. Some of the stone, mosaic and marble fragments and pottery sherds found dispersed in the fill and the lower clay levels are of limited interest and will be discussed in Appendix II. Rising stone masonry was excavated to its foundations where possible. Foundations were generally excavated to a depth of at least 2m. Mortar between stones was removed only where necessary to define the sequence of adjoining walls. The present church pavement level is taken as - 0.00 m.

29. Botto, 1938. , ihr geschichtlicher Hintergrund,” Mitt. Kunsthist. Inst, Flo30. W. Paatz, “Die gothische Kirche S. Trinita in Florenz,” rengz, v1, 1940, pp. 33f.; W. and E. Paatz, Die Kirchen von in Adolf Goldschmidt zu seinem 70. Geburtstag, 15. Jan. 1933, Florenz, v, pp. 257ff.

Berlin, 1935, pp. 113f.3 idem, Werden und Wesen der Tre- 31. R. Baldaccini, “S, Trinita nel periodo romanico,” centoarchitektur in Toskana, Burg b. M., 1937, hereafter, Rivista d’Arte, XXvI, 1950, pp. 23f., hereafter Baldaccini, Paatz, Trecentoarchitektur; idem, “Die Hauptstrémungen in 1950; “S. Trinita nel periodo gotico,” Rivista d’Arte, Xxvul, der florentiner Baukunst des friihen hohen Mittelalters und 1951-1952, pp. 57-91.

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23. Santa Trinita, southern Trinita IJ trefoil pier. Retaining wall re fi ge oe By ee es

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26. Santa Trinita, Trinita Ila side aisle end wall adjoining northern trefoil pier on the north. In foreground, fragment of semicircular Trinita IIb steps to choir over crypt

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(photo: Kunsthistorisches Institut, Florence) southern side chapels, partly restored

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