The Tribuna of the Uffizi
ArtistJohann Zoffany
Year1772–1778
MediumOil painting
Dimensions123.5 cm × 155.0 cm (48.6 in × 61.0 in)
LocationRoyal Collection, Windsor Castle

The Tribuna of the Uffizi (1772–1778) by Johan Zoffany is a painting of the north-east section of the Tribuna room in the Uffizi in Florence, Italy. The painting is part of the United Kingdom's Royal Collection.

Production

Beginning in 1764, the German-born painter Johan Zoffany received numerous commissions from the Hanoverian King George III and his consort, Queen Charlotte. The queen ordered Zoffany to paint "the Florence Gallery" (the Galleria degli Uffizi), for which the artist would be paid £300.[1] In the summer of 1772, Zoffany left London for Florence, where he met Felton Hervey, an art collector and friend of the king and queen, who figures prominently in the painting.[2] Zoffany worked on the painting through late 1777 and returned to England in 1779.[1] By this time Hervey had died.[2]

The painting depicts the Tribuna of the Uffizi, an octagonal gallery designed by Bernardo Buontalenti in 1584. The most important ancient and Renaissance works were displayed in this gallery in the 18th century, making it an essential highlight of the Grand Tour.

Artworks shown

Zoffany's picture is not a historical record of the works displayed in the tribuna in the 1770s. Rather, it is an epitome of the works in the Medici collections he felt to be most important. To accomplish that goal, several works from other rooms in the Uffizi and seven paintings from the Galleria Palatina in the Palazzo Pitti were transferred to the Tribuna. To accomplish this, Zoffany requested the assistance of George, 3rd Earl Cowper, who had emigrated to Florence and Sir Horace Mann, who served as British diplomatic representative in Florence to the Grand Dukes of Tuscany. Two pictures by Raphael which Earl Cowper owned and hoped to sell to George III, and the Earl are depicted in Zoffany's painting. The unframed Samian Sibyl on the floor, acquired for the Medici collection in 1777, was a pendant to Guercino's Libyan Sibyl, recently bought by George III, and its inclusion may have been intended as a compliment to him.

The Tribuna of the Uffizi by Johann Zoffany. Place cursor over artworks or persons to identify them.

Paintings

Zoffany's Original Author and title Where Current location
Annibale Carracci, Venus with a Satyr and CupidsLeft wallUffizi, Florence
Guido Reni, CharityLeft wallPalatine Gallery, Pitti Palace, Florence
Raphael, Madonna della seggiolaLeft wallPalatine Gallery, Pitti Palace, Florence
Correggio, Adoration of the Christ ChildLeft wallUffizi, Florence
Justus Sustermans, Portrait of Galileo GalileiLeft wallUffizi, Florence
After Rembrandt?, possibly a copy of the Holy Family with Saint Anne in the LouvreLeft wallUnidentified
Titian's workshop, Madonna and Child with Saint Catherine of AlexandriaCentral wallUffizi, Florence
Raphael and workshop, St John the BaptistCentral wallUffizi, Florence
Guido Reni, MadonnaCentral wallprivate collection?
Raphael, Madonna del cardellinoCentral wallUffizi, Florence
Rubens, The Consequences of WarCentral wallPalatine Gallery, Pitti Palace, Florence
Franciabigio (formerly attributed to Raphael), Madonna del PozzoCentral wallUffizi, Florence
 ?Central wall between the legs of the SatyrUnidentified
Hans Holbein, Portrait of Sir Richard SouthwellCentral wallUffizi, Florence
Raphael, Portrait of PeruginoCentral wallUffizi, Florence
Perugino's workshop (Niccolò Soggi?), Madonna with Child, Saint Elizabeth and Saint JohnCentral wallUffizi, Florence, still in the Tribuna
Guido Reni, CleopatraRight wallPalatine Gallery, Pitti Palace, Florence
Rubens, The Four PhilosophersRight wallPalatine Gallery, Pitti Palace, Florence
Raphael, Pope Leo X with Cardinals Giulio de' Medici and Luigi de' RossiRight wallUffizi, Florence
Pietro da Cortona, Abraham and HagarRight wallKunsthistorisches Museum, Vienna
Bartolomeo Manfredi, Tribute to CaesarRight wallUffizi, Florence
Cristofano Allori, Hospitality of Saint JulianRight wallPalatine Gallery, Pitti Palace, Florence
 ?Right wall right of the WrestlersUnidentified
Roman Charity?Right wallUnidentified
 ?Right wall behind the VenusUnidentified
 ? (a golden frame behind the man in red at the very right)Right wall
Raphael, Niccolini-Cowper Madonna[nb 1]Lower partNational Gallery of Art, Washington
Guercino's workshop, Samian SibylLower partDeposits of the Pitti Palace, Florence
Titian, Venus of UrbinoLower partUffizi, Florence

Sculptures and other

Many of the ancient sculptures painted by Zoffany can be identified, although few remain on their 18th century locations today. (The Medici's Roman statues stand in the main corridors of the Uffizi Gallery, except those which are still in the Tribuna. The smaller works are now in the collections of the Museo Archeologico Nazionale and the Museo Bargello in Florence).

Zoffany's Original Author and title Where Current location
Bust of a young woman, previously known as PlautillaLeft shelfUffizi Gallery, Florence
Bust of a young man, previously known as GetaLeft shelfUffizi Gallery, Florence
Bust of a womanLeft shelfMuseo degli Argenti, Florence
Ancient Roman bust of a Julio-Claudian woman, previously known as Livia (?)Left shelfVilla Corsini a Castello, Florence
Ancient Roman bust of AugustusLeft shelfMuseo degli Argenti, Florence
Bust of Agrippina MinorLeft shelfUffizi Gallery
Bust of AugustusLeft shelfMuseo degli Argenti, Florence
Ancient Roman art, Venus of AphrodisiasLeft shelfVilla Corsini a Castello, Florence
Bust of a man in antique styleLeft shelfMuseo degli Argenti, Florence
Seated man (?)Central shelf
Ancient Roman Seated GodCentral shelfNational Archaeological Museum, Florence
Bust of young CaracallaCentral shelfUffizi Gallery
Hardstone footed cupCentral shelf
Bust of a boy, previously known as the young NeroCentral shelfUffizi Gallery, Florence
Ancient Roman small bust of an Augustus (?)Central shelfNational Archaeological Museum, Florence
Bust of Zeus-SerapisCentral shelfVilla Corsini a Castello, Florence
Bronze statuetteCentral shelf
Bust of a man (?)Central shelf
Cupid with the bowCentral shelfUffizi Gallery, Florence
Ancient Roman bronze statuette of HeraclesRight shelfNational Archaeological Museum, Florence
Bust of a man (?)Right shelf
Canopic jar (?)Right shelf
Bust of NervaRight shelfMuseo degli Argenti, Florence
Bertoldo di Giovanni, Putto playing the luteRight shelfBargello, Florence
Ancient Roman statuette of SatyrRight shelfVilla Corsini a Castello, Florence
Seated ConcordiaRight shelfNational Archaeological Museum, Florence
Ancient Roman bust of a Young SatyrRight shelfVilla Corsini a Castello, Florence
Ancient Roman art after Lysippus, Heracles and the Nemean LionRight shelfHermitage, St. Petersburg?
Seated Tyche of AnthiochRight shelfNational Archaeological Museum, Florence
Bust of Bacchus (?)Right shelf
Ancient Roman art, Cupid and PsycheCenterUffizi, Florence
Ancient Roman art, Dancing FaunCenterUffizi, Florence, still in the Tribuna
Jacopo Antelli (Monicca) and Jacopo Ligozzi, Octagonal table with Pietre Dure mosaicsCenterUffizi, Florence, still in the Tribuna
Ancient Roman art, Baby Hercules strangling the snakeCenterUffizi, Florence, still in the Tribuna
Ancient Roman art, The Two WrestlersCenterUffizi, Florence, still in the Tribuna
Cleomenes, Medici VenusCenterUffizi, Florence, still in the Tribuna
Baltimore Painter, Apulian krater with AmazonomachyLower partNational Archaeological Museum, Florence
Etruscan bronze helmet with "button" on topLower partNational Archaeological Museum, Florence
Ancient Roman art, ArrotinoLower partUffizi, Florence, still in the Tribuna
Etruscan (with 17th-century implements), Chimera of ArezzoLower partNational Archaeological Museum, Florence
Andrea Briosco workshop, Lamp in the shape of a Twisting ManLower partBargello, Florence
Plate (missorium) of F. Ardaburius Aspar', Roman, c.. 434 ADLower partNational Archaeological Museum, Florence
Bust, previously known as CiceroLower partUffizi Gallery
Florentine pseudo-antique art, second half of the 16th century, Bronze head of AntinousLower partNational Archaeological Museum, Florence
Bronze lamp (?)Lower part
Bucchero Etruscan kraterLower partNational Archaeological Museum, Florence
Bucchero Etruscan oinochoeLower partNational Archaeological Museum, Florence
Bucchero Etruscan situlaLower partNational Archaeological Museum, Florence
Ancient Greek art, Livorno TorsoLower partNational Archaeological Museum, Florence
Ancient Egyptian art, Cube statue of PtahmoseLower partNational Archaeological Museum, Florence
Etruscan funerary urn probably made in VolterraLower part, under the Venus of UrbinoNational Archaeological Museum, Florence

Persons shown

The Tribuna of the Uffizi combines aspects of the British 18th-century conversation piece, or informal group portrait, with that of the predominantly Flemish 17th-century tradition of Wunderkammer and gallery views. Thus, the figures populating Zoffany's painting are all identifiable as connoisseurs, diplomats and visitors to Florence. The inclusion of so many recognisable portraits was criticized by Zoffany's royal patrons, and by Horace Walpole, who called it "a flock of travelling boys, and one does not know nor care whom."[3]

The first group of people is centered around the Niccolini Madonna by Raphael. From left, standing up, there are the picture's owner George, 3rd earl of Cowper, Sir John Dick, baronet of Braid, Other Windsor, 5th Earl of Plymouth, and Johan Zoffany, the painter himself, followed on the other side of the painting by Mr. Stevenson and his companion George Legge, 3rd Earl of Dartmouth, while is sitting on a chair Charles Loraine Smith and behind him, bended, Richard Edgcumbe, later 2nd Earl of Mount Edgcumbe.

Two more connoisseurs are near the Satiro. The first is reported to be Joseph Leeson, 2nd Earl of Milltown, even if his portrait does not match in age and resemblance those in the National Gallery of Ireland by Pompeo Batoni, and Valentine Knightley of Fawsley.

Further to the center of the painting Pietro Bastianelli, curator of the Uffizi Gallery, shows the Venus of Urbino by Titian to John Gordon,[nb 2] Thomas Patch who is apparently the man touching the Venus, but pointing to the figure of a male nude (believed to be a reference to Patch's homosexuality),[6] Sir John Taylor and Sir Horace Mann. The sitting man, looking back towards, is the Hon. Felton Hervey.

The group around the Medici Venus include John Finch, Mr. Wilbraham (one of the sons of Roger Wilbraham of Nantwich), Mr. Watts, Mr. Doughty and, on the other side, Thomas Wilbraham (the second son) and James Bruce.

DetailPortraitNameNote
George, 3rd Earl Cowper
Sir John Dick baronet of Braid
Other Windsor, 5th Earl of Plymouth
Johann Zoffanythe author of painting (self-portrait)
Mr. David Stevensontutor to Lord Lewisham
George Legge, 3rd Earl of Dartmouth
Charles Loraine Smithpainter
Richard Edgcumbe,
later 2nd Earl of Mount Edgcumbe
Joseph Leeson, 2nd Earl of Milltownis reported to be, even if his portrait does not match in age and resemblance those in the National Gallery of Ireland by Pompeo Batoni
Valentine Knightley of Fawsleyalso painter
Pietro Bastianellicurator of the Uffizi Gallery
John Gordon
Thomas Patchprobably the man touching the Venus
Sir John Taylor
Sir Horace Mann
Hon. Felton Hervey
John Finch, 9th Earl of Winchilsea
Mr. Wilbraham(one of the sons of Roger Wilbraham of Natwich)
Mr. Watts
Mr. Doughty
Thomas Wilbraham(the second son)
James Bruce

Footnotes

  1. This painting was owned by Zoffany at the moment: this explains its prominence.
  2. Described in contemporary Italian newspapers as "Mr. Gordon, an English official".[4]John Chambers wrote in 1829 that Rev. William Gordon of Saxlingham possessed several paintings "collected by John Gordon, who figured in Zoffany's picture of the Gallery of Florence".[4][5]

References

Sources

  • "The Tribuna of the Uffizi". Royal Collection.; text adapted from
    • Shawe-Taylor, Desmond (2009). The Conversation Piece: Scenes of Fashionable Life. London: Royal Collection Publications. ISBN 978-1905686070.
  • Pressly, William L. (March 1987). "Genius Unveiled: The Self-Portraits of Johan Zoffany". The Art Bulletin. 69 (1): 88–101. doi:10.1080/00043079.1987.10788404. ISSN 0004-3079.
  • Nicholls, John Anthony (2006). Das Galeriebild im 18. Jahrhundert und Johann Zoffanys "Tribuna" (PDF) (Ph.D. thesis) (in German). Bonn University.
  • Diagram with key to works and people, reproduced in Farber, Allen (Spring 2014). "The Gentlemanly Hang: Johann Zoffany, The Tribuna of the Uffizi, 1772-78". ARTH 200 Assignments: Authoritative and Disciplined Discussions of Masterpieces. SUNY Oneonta.

Citations

  1. 1 2 Royal Collection from Shawe-Taylor 2009
  2. 1 2 "The Hon. Felton Hervey (1712–1775)". National Trust Collections. National Trust. Retrieved 15 April 2017.
  3. Lewis, W.S., ed. (1967). "To MANN, Friday 12 November 1779". The Yale edition of Horace Walpole's correspondence. Vol. 24. Yale: Lewis Walpole Library. pp. 526–7. Retrieved 15 April 2017.
  4. 1 2 Cited in Nicholls 2006, p.152
  5. Chambers, John (1829). "Hundred of Henstead". A General History of the County of Norfolk, Intended to Convey All the Information of a Norfolk Tour. Vol. II. Norwich: John Stacy. pp. 759–760. Retrieved 15 April 2017.
  6. "BBC Two - Mary Beard's Shock of the Nude, Series 1, Episode 1".
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