Sala Raffaello Michelangelo (2)Sala Raffaello Michelangelo (3)Sala Raffaello Michelangelo (4)

Sala Raffaello Michelangelo (5)

The Uffizi’s Director, Eike Schmidt

Sala Raffaello Michelangelo (6)

There’s a new  “room” at the Uffizi Gallery in Florence, one with a striking visual design to focus the eye on Michelangelo’s Tondo Doni. Also given pride of place is Raphael’s Madonna del Cardellino and other pieces by Raphael and Fra Bartolomeo. Eleven pieces in total have been called ‘bombs in the history of art’ by the Uffizi’s Director, Eike Schmidt.

The works of Michelangelo and Raphael are exhibited together in the same hall, in the large hall number 41 of the west corridor, which until October 2016 hosted the paintings by Sandro Botticelli, re-upholstered in new spaces. So, a new exhibition was born to make the diversity of artistic voices and exchanges between Raphael and Michelangelo, who  were contemporaneously in Florence from 1504 to 1508.

Together with the adjacent Sala di Leonardo, which will open in a few weeks, the new room that unites the masterpieces of Raphael and Michelangelo celebrates the truly unique period in the history of mankind, when in the city, in a few years, the most great artists of the world created the iconic works that today are part of the universal idea of the Renaissance in Italy.



Leonardo da Vinci’s Adoration of the Magi has recovered much of its original colouring after a painstaking restoration. The artwork has returned to Florence’s Uffizi Gallery after being taken to the Opificio Delle Pietre Dure institute for restoration in 2011 due to serious deterioration of the surface.
The painting will be the star of a special show opening on Tuesday after the restoration conducted with the help of the financial support of the Amici degli Uffizi (Friends of the Uffizi) association.

The panel was commissioned from the Augustinian Friars for the church of San Donato in Scopeto in 1481. The artist left it unfinished after moving to Milan in 1482, prompting the friars to ask Filippino Lippi to produce another altarpiece on the same subject. That work was completed in 1496. Leonardo’s painting, the biggest survivor panel of the master at 246 x 243 cm, was housed at the Benci family’s properties in Florence for some time before entering the Medici collections.



One of Florence’s leading photography archives opens its treasures to the city with this first single-subject exhibition. On 9 January 2017, Fashion in Florence through the lens of Archivio Foto Locchi opened in Palazzo Pitti’s Andito degli Angiolini: 100 very rare pictures taken from the 1930s to ‘70s tell the story of fashion in Florence through the lens of the photographers of Foto Locchi.
The project stems from a collaboration between Archivio Storico Foto Locchi (a cultural patrimony of priceless value comprising more than five million photographs), director of the Uffizi Galleries Eike Schmidt, the Centro di Firenze per la Moda Italiana – thanks to which the exhibition will be inaugurated with an event during the 91st edition of Pitti Immagine Uomo – and the Gruppo Editoriale publishing group, with the intention of promoting the importance of the photography archive and paying tribute to the historic connection between Florence and fashion.

Eike D. Schmidt, director of the Uffizi Gallery: “Today, as the inevitable abstraction of objects and concrete spaces in the digital world creates an unprecedented search for authentic masterpieces and unique places, Florence has the chance to revitalise its specific role as a key player in the textile and apparel industries, which essentially date back to the Renaissance”.

Andrea Cavicchi, president of the Centro di Firenze per la Moda Italiana: “The Archivio storico Foto Locchi is the most authentic testament to the birth and success of Made in Italy in the world. Without this documentary heritage, the city of Florence would be poorer. So would the institution I chair, the Centro di Firenze per la Moda Italiana, championed by farsighted public officials who understood, even in 1954, just how important and vital the textile-apparel sector, the leather industry and the creativity of our artisanal products could be—in terms of work, turnover and employment”.

Erika Ghilardi, Archivio Foto Locchi: “This monographic exhibition, the first by the Archivio storico Foto Locchi, held in the halls of the old-guard Palazzo Pitti royals, and its opening during Pitti Uomo 91, is the source of my great pride and sincere excitement for myself and my family. The fashion section is one of the prevalent, important themes in the Archive—an archive whose cultural and visual heritage includes more than 5 million images telling the story of Florence over the last century”.

The artisan workshops: That set of workshops dedicated to high craftsmanship since the Middle Ages, which in the twentieth century contributed to the creation of some of the best-known Italian high fashion labels in the world. Already in the Twenties, the legend of Florentine craftsmanship had arrived in the United States: wealthy American heiress turned to Florence to buy up embroidered lingerie, silverware, exquisitely worked leather and straw hats. Emblematic in this context was Salvatore Ferragamo’s decision to settle in Florence after 13 years of success in America. He chose Florence for its beauty as well as to delve into the depths of the specialized crafts that would allow the shoemaker to achieve his goals of excellence.
Fashion in Florence: from the earliest events after World War II to the legendary shows in Palazzo Pitti’s Sala Bianca (1952-1982), the origins of modern fashion in Florence are thanks to the courage of a man who was as courteous as he was severe, a connoisseur of the American market, Giovanni Battista Giorgini, who had made a name for himself in New York as a buyer capable of turning dreams into reality. If Giorgini was the father of Italian fashion, then Florence at that time was the cradle of beauty and charm, of a new style that emanated from the Florentine and international entourage that had formed around the newly born fashion system, as seen in the photography of those days taken by Foto Locchi reporters not only of the catwalks in the Sala Bianca, but also in the private palazzos and historic gardens with their gala dinners, parties and exclusive rendezvous.
The fashion celebrities: The Florentine maisons that birthed the modern history of Italian fashion such as Gucci, Salvatore Ferragamo and Emilio Pucci told by their founders and the celebrities who made them fashion around the world. The deus ex machina of the great Italian designers who showed their collections in the Sala Bianca: Roberto Capucci, Emilio Schuberth, Sorelle Fontana and Simonetta Colonna di Cesarò. Celebrities who had no qualms about taking a chance alongside Giovanni Battista Giorgini and who revolutionized modern Italian clothing starting in Florence. In addition to the special guests who flew in from Paris, like Christian Dior and Elsa Schiaparelli, the foreign aristocracy such as the Duke of Windsor and fated Hollywood stars, from Audrey Hepburn to Paulette Goddard and the divine Maria Callas.

Perusing the immense Archivio and annual agendas, written up daily by photo reporters from the Foto Locchi bottega, brings a constant stream of new discoveries. One example among many, which emerged during the research carried out for this exhibition, is the note dated 6 June 1948, indicating that that evening in the Sala Bianca, a “Gala Evening with Presentation of Models” (film rolls 568 and 569 from 1948). It was, then, a “preliminary” event to the noted fashion shows held regularly in Palazzo Pitti since 22 July 1952.

Accompanying the show is the catalogue published by Gruppo Editoriale featuring the 100 rare pictures on display in the exhibition and contextualized with articles written by Caterina Chiarelli, Eva Desiderio and Stefania Ricci, in addition to an introduction by Eike Schmidt, Andrea Cavicchi and Erika Ghilardi.

The exhibition has been made possible thanks to Fondazione Cassa di Risparmio di Firenze, Publiacqua, Toscana Aeroporti, and with the support of Dr. Vranjes, Edra and Caffè Gilli dal 1733 Firenze.

Palazzo Pitti, Andito degli Angiolini, Piazza de’ Pitti 1, 50125 Florence
From 9 January to 5 March 2017
Tuesday to Sunday, 8.45am-6.50pm

Archivio Storico Foto Locchi is under the protection of the Italian Ministry of Cultural Heritage and Activities and Tourism for its high artistic and documentary value, since it comprises more than five million photographs of the history of Florence and Tuscany from the 1930s to the present day, stored as original negatives. Pictures from the world of fashion, sport, theatre, groundbreaking news and events, as well as fragments of daily life in the past and present. The black-and-white photography of Archivio Storico Foto Locchi convey fleeting feelings and atmospheres, in an extraordinary series of events, emotions and famous visitors from all over the world. The archive came into existence at the heart of the work by the old Foto Locchi photography workshop founded by Tullio Locchi and continued by Silvano Corcos as its soul. Over the years Locchi has grown into a flourishing firm employing more than 30 staff, whose aim remains the same: to document all city events worthy of note. With the arrival of television, the three large screens in piazza della Repubblica played a fundamental role in news reporting at the time. Now Erika Ghilardi, a direct descendent of the Locchi family, manages what can be deemed true world heritage.


© Roberto Alborghetti – Lacer/actions

Yes, there is an abstract world under our feet … These are some of the images I recently took walking along the streets of Florence (Italy). They’re macro of a disfigured pavement. The pictures are part of LaceR/Actions”, a multidisciplinary project and research about the apparent chaos of ripped and decomposed publicity posters, natural cracks, crevices, scratches and urban and industrial signs and tokens. Transferred on canvases, reproduced on lithographic prints or textiles, re-built on collages or scanned in videoclips, the images of torn and disfigured posters and natural cracks, corrosions and scratches give new meanings and expressions to paper lacerations and matters decompositions. They’re not paintings…They’re Lacer/actions!


Interested in purchasing these images in exclusive and original copies? Please contact: ro.alb@alice.it ; sandinipaolo@gmail.com



The opening pages about FLORENCE on the new issue of ACS international magazine (Publisher and Editor in Chief:Renèe LaVerne Rose). Reportage by Roberto Alborghetti, Italy’s Correspondent.


The new issue of ACS Magazine (May/June) is on line; Publisher and Editor in Chief: Renèe LaVerne Rose. ACS is an amazing window on arts, artists and culture across the world. This issue features also my 12  pages reportage about “Florence, Geometry of a City”, with texts and photos on two monuments of the Renaissance. So, click on the link and jump in the amazing dimensiono of one of the most beautiful cities in the world!




The cover of the new issue of “ACS” magazine.

ACS magazine website:






The Forte Belvedere in Florence is getting set to host this year’s edition of its annual fixture with great art.  Following the two international exhibitions showcasing the art of Giuseppe Penone and Antony Gormley, the former Medici fortress’ bastions this year will be hosting the works of Jan Fabre, one of the most innovative and important figures on the contemporary art scene.  A “total” artist, Fabre, who born in Antwerp in 1958, lets his imagination run riot in the very different spheres of sculpture, drawing and installation, performance art, film and the theatre

The exhibition, entitled Jan Fabre. Spiritual Guards, promoted by the Comune di Firenze, will pan out between the Forte Belvedere, Palazzo Vecchio and Piazza della Signoria.  In fact, it will be one of the most complex and multifaceted exhibitions that this Flemish artist and author has ever produced in any public space in Italy.  For the very first time, a living artist will be expounding his art in three venues of outstanding historical and artistic importance at once.  Roughly one hundred of Fabre’s works dating from 1978 to 2016 will be on display, including bronze and wax sculptures, performance films and works made of wing cases of the jewel scarab.  Fabre will also be presenting two new works specifically devised and produced for this occasion.  The premiere is going to be an event of outstanding visual impact with strong symbolic connotations:  on the morning of 15 April, two of Fabre’s bronze sculptures will be – temporarily – joining the open-air museum that is Piazza Signoria.  One of them, an exceptionally large work entitled Searching for Utopia, will interact with the equestrian monument to Grand Duke Cosimo I, a Renaissance masterpiece by Giambologna, while the second, called The man who measures the clouds (American version, 18 years older), will stand proudly on the Arengario outside Palazzo Vecchio between the copies of Michelangelo’s David and Donatello’s Judith.  In both works observers will be able to identify the artist’s own features in his dual capacity as knight and guardian, as a mediator between heaven and earth, between natural and spiritual forces. Against art that placed itself in the service of political and financial power – the art of Piazza della Signoria with its marble giants (the David, Hercules and Neptune) and its biblical, mythological and local figures (Judith, Perseus and the Marzocco Lion of Florence) – Jan Fabre pits an art seeking to depict and to embody the power of the imagination, the mission of the artist as “spiritual guard”.  And he does this in a square designed and used since the Renaissance as a figurative agora` and stage setting, a square which has become an iconic paradigm of the relationship between art and the public space, and in which the symbolic and spectacular function of the modern monument has been configured in exemplary language. Also starting 15 April, Palazzo Vecchio will be hosting a series of sculptures interacting with the frescoes and artefacts housed in some of the rooms open to the public, particularly the Quartiere di Eleonora, the Sala dell’Udienza and the Sala dei Gigli.  The works on display will include a huge globe 2.5 metres in diameter and totally clad in iridescent beetle wing cases, its shape and size interacting to perfection with the celebrated globe in the Sala delle Mappe geografiche, made by Ignazio Danti in the 16th century.


The following month will see the inauguration of the exhibition at the Forte Belvedere, on 14 May, where the bastions and the villa will be showcasing about sixty works of art in bronze and in wax, along with a series of films focusing on some of the artist’s historic performances.  Curators Melania Rossi and Joanna De Vos, together with the project’s art director Sergio Risaliti, have chosen the Forte Belvedere as the thematic heart of the Jan Fabre. Spiritual Guards exhibition both for its spatial characteristic and for its historical connotations. The fortress once served not only to defend Florence from outside attack but also to protect the Medici family in troubled times, thus it was a stronghold for both external and internal defence suggesting a journey through the life, the ambitions and the woes of the powerful Medici lords and alluding to opposing human perceptions and sensations such as control and abandonment, but also to opposing needs and desires such as armed protection and spiritual elan so deep and so deep-rooted as to influence the form of architecture and the configuration of natural space, especially here at the Forte Belvedere where the need for protection in the awareness that one is still defenceless is particularly easy to grasp.

These ambiguities which form not just history but the entire experience and vitality of mankind, will be represented by two sculptural alignments consisting in seven bronze scarabs placed on the fort’s lookout posts and a series of full-figure self-portraits of the artist – all of them maintain the original silicone bronze colour for that reason they have glow reflecting surrounding countryside like a spiritual halo – which will be populating the corners of the bastions outside the villa, surrounding it.

The scarabs are angels of metamorphosis, guardians who symbolise in ancient religions and in Flemish and Italian vanitas paintings the transition between the earthly dimension and the afterlife with their ceaseless movement.  At the same time, they have a splendid carapace which dramatically highlights the vulnerability of that “regal” body. Thus also Jan Fabre, who defines himself, lives and expresses himself as a knight of despair and a warrior of beauty, who sheds and dons his weapons by deploying his army in its shining, iridescent armour in Florence’s highest point.

This legion is called on here to tell of devotion to life, to defend the fragile and pure beauty that art is capable of generating, against an invisible foe who comes from inside and outside at once, always ready to strike and to wound.

The exhibition will continue on the first floor of the villa, which will be open to the public again for the first time in many years, with wax sculptures and with films of the artist’s performances in a setting of contiguity and continuity both with the works on display outside and with the magnificent Florentine cityscape.

The spectacular bronze integration in Piazza della Signoria and the work produced with jewel scarab wing cases on display in Palazzo Vecchio will be interacting with the urban fabric and with one of the most visited historical palazzi in the city, forming a perfect visual and conceptual complement to the exhibition. The exhibition’s motto and device, Spiritual Guards, should be interpreted as an encouragement to live a heroic life, be it in war or unarmed in defence of the imagination and of beauty.

It is worth recalling here that Jan Fabre, in the course of his long career which began in the 1970s, has a long history of interaction with Florence, where his work has been shown in many collective exhibitions and where he has also brought several of his productions for the theatre.  Two of his bronze busts from the Chapters series, in which he portrays himself with astonishing horns and donkey’s ears, joined the Uffizi collections in 2012, while he received the Michelangelo Award for sculpture in the second edition of the Settimana Michelangiolesca in 2015.



Technical Data and Exhibition Services


Exhibition title

Jan Fabre. Spiritual guards


Exhibition to run

Piazza Signoria and Museo di Palazzo Vecchio 15 April – 2 October

Forte di Belvedere, 14 May – 2 October


Exhibition venue

Piazza Signoria, Florence

Museo di Palazzo Vecchio, Piazza Signoria, 1 – Florence

Forte di Belvedere, via di San Leonardo, 1 – Florence


Exhibition promoted by

Comune di Firenze


Art Director

Sergio Risaliti


Exhibition curated by

Joanna De Vos and Melania Rossi


Exhibition organised and coordinated by

Associazione MUS.E


With the support of the

Guy Pieters Gallery


Exhibition layout by

Associazione MUS.E


Opening times


Piazza Signoria

The square is freely accessible at all times


Palazzo Vecchio

From April to September
Daily except Thursday:  9.00 am –11.00 pm
Thursday:  9.00 am – 2.00 pm

From October to March
Daily except Thursday:  9.00 am – 7.00 pm
Thursday:  9.00 am – 2.00 pm


Forte di Belvedere

Daily except Monday:  10.00 am – 8.00 pm
Closed Monday



(Published in May 2015)

Forma Edizioni Srl


Information and website



Communications by

Associazione MUS.E





© Roberto Alborghetti - Florence, 2015

© Roberto Alborghetti – Florence, 2015

© Roberto Alborghetti - Florence, 2015

© Roberto Alborghetti – Florence, 2015


The Gallerie degli Uffizi – the new museum cluster resulting from the merger of the Galleria degli Uffizi and the Palazzo Pitti museum complex occasioned by the recent minister Franceschini reform, and under the direction of Eike Schmidt for just over a month – can already offer visitors an exhibition programme for 2016 that it is at once ambitious and demanding from a scholarly viewpoint while also being of unquestioned interest to a far broader audience.  The programme, which comprises fully nine exhibitions, is outlined below in order of the various exhibitions’ inauguration, with a brief introduction for each one.


Guests at Palazzo Pitti

Adam Elsheimer’s Polyptych of the Holy Cross

curated by Matteo Ceriana

Galleria Palatina di Palazzo Pitti, Sala delle Nicchie

24 February – 5 June 2016 

In return for the loan of two works by Pontormo to the Städel Museum in Frankfurt, the Galleria Palatina will be temporarily hosting Adam Elsheimer’s Polyptych of the Holy Cross. The altarpiece, which once formed part of Cosimo II de’ Medici’s collection, will be accompanied by panels illustrating its history, dispersal and reassembly on the basis of archival documents.


He Made Sculpture of Wood, Which He Coloured.  Painted Wooden Sculpture in 15th Century Florence.

curated by Alfredo Bellandi with Marta Onali

Galleria degli Uffizi

21 March – 28 August 2016

Painted sculpture, in wood as well as in marble and terracotta, embodied the artistic primacy of sculpture throughout the first half of the 15th century.  Showcasing a core of approximately fifty pieces, the exhibition sets out for the very first time to explore the history of painted wooden sculpture in Quattrocento Florence, a city in which the close proximity of painters’, sculptors’ and architects’ workshops was frequently responsible for the direction that an artist’s career and stylistic development would take.


Jesters, Villeins and Players at the Medici Court

curated by Anna Bisceglia, Matteo Ceriana and Simona Mammana

Galleria d’arte moderna di Palazzo Pitti, Andito degli Angiolini

9 May – 11 September 2016

Roughly thirty 17th and 18th century works of art, primarily from the Galleria Palatina’s storage facility, set out to illustrate the bizarre figures that are such a recurrent feature of the Medici collections.  These “genre” scenes allowed artists to illustrate – naturally within strictly defined bounds and frequently with educational or moralising intent – those comic aspects of social and court life that were normally held to be base and unseemly. In this context we see the limelight being shone on such marginal and deviant figures as jesters, ignorant or grotesque peasants, dwarves and gamblers both licit and illicit. Putting it in a nutshall, “genre” painting became the medium that allowed art to seek its inspiration in the real world.


A Look at the 20th Century.  Italian artists’ drawings from the interwar years

curated by Marzia Faietti and Giorgio Marini, with the assistance of Valentina Martino and Bruno Maria Mascellino and with an introductory essay by Daniele Menozzi

Gabinetto Disegni e Stampe degli Uffizi, Sala Edoardo Detti

17 May – 4 September 2016

Some thirty-seven drawings and prints dating roughly from between 1900 and 1930, most of which have never been displayed in public before, include figures, faces and self-portraits oozing with expressive depth and sparking pyschological interaction between the artist and the sitter, and between the sitter and the observer. These works not only reveal the complexity of the first thirty years of the 20th century, they also appear to herald looming tragedy and drama.  The artists selected for the exhibition include Jacques Villon, Alberto Giacometti, Anders Zorn, Ram and Thayat, Giovanni Costetti, Giuseppe Lunardi, Pietro Bugiani, Kurt Craemer, Primo Conti, Giuseppe Lanza del Vasto and Marino Marini.


Splendida Minima.

Precious small sculptures in the Medici collections, from Francesco I de’ Medici’s Tribune to the grand ducal treasure

curated by Valentina Conticelli, Riccardo Gennaioli and Fabrizio Paolucci

Museo degli Argenti

21 June – 2 November 2016

The Gallerie degli Uffizi house the most important collection in the world of small sculptures in semi-precious stone carved chiefly in the Hellenistic and Roman eras, an extremely rare area of glyptic art.  The skill, lost during the Middle Ages, was rediscovered and given a new lease on life in the Renaissance period.  This exhibition – the first ever to explore this specific theme – not only brings together the entire Medici collection of micro-sculptures but also showcases other works of sculpture carved in precious materials in such a way as to offer the visitor comparisons capable of highlighting the unique chromatic, technical and stylistic features of these objets d’art.


Real Time and the Time of Reality. Clocks at Palazzo Pitti from the 18th to the 20th centuries

curated by Simonella Condemi and Enrico Colle

Galleria d’arte moderna di Palazzo Pitti, Sale del Fiorino e della Musica

13 September 2016 – 8 January 2017

The exhibition will comprise a significant selection of roughly eighty clocks out of the almost two hundred pieces in the Palazzo Pitti’s collection, testifying to the passage of time for those whose daily lives were played out in the Florentine palace in the 18th and 19th centuries.  The selection of these singular objets d’art will allow visitors to admire the astonishing technical and artistic quality of these timepieces in the various different forms and formats in which they were produced, revealing their duality comprising, on the one hand, an often sophisticated and complex mechanism, and on the other, a case which started out life as a cover for the mechanism but which gradually turned into a work of art in its own right.


Discoveries and Massacres.  Ardengo Soffici and Impressionism in Florence

curated by Vincenzo Farinella and Nadia Marchioni

Galleria degli Uffizi

27 September – 8 January 2017


The first ever monographic exhibition to be devoted to Ardengo Soffici (1879–1964) will provide visitors with an opportunity to explore the figure of this painter, writer, polemicist and art critic who played such an active role in his day, coming into contact with, and on occasion even deeply and courageously clashing with, the movements on the Italian and European art scene of the time.  The title of the exhibition, Discoveries and Massacres, alludes to the title of Soffici’s collected writings, published between the first and second decades of the 20th century and acknowledged today (together with the cultural initiatives that he promoted and organised, such as the First Italian Exhibition of Impression in Florence in 1910) as marking a crucial contribution to the renewal of Italian art in a 20th century vein.  The exhibits on display (from Segantini, Cézanne, Renoir, Picasso, Degas, Medardo Rosso and De Chirico to Carrà and beyond, in addition to Soffici’s own work), chosen on the basis of Soffici’s explicit predilections and aversions, will be accompanied by critical pieces from his writings on art, ideally accompanying the visitor on a voyage of rediscovery to explore one of the most fertile and productive interpretations of the origins of contemporary art, with its crucial “discoveries” and equally drastic “massacres”.


The Four Continents.  Florentine tapestries to cartoons by Giovanni Camillo Sagrestani

curated by Caterina Chiarelli and Daniele Rapino

Galleria Palatina – Sala Bianca

27 September 2016 – 8 January 2017

The exhibition will comprise four dazzling tapestries from the 1720s woven to designs by the painter Giovanni Camillo Sagrestani.  One of the finest sets of tapestry ever to emerge from the Medici manufactory, the series was made by the most skilled weavers employed in the workshop at the time, including Victor Demignot who trained in Flanders.  The tapestries depict the four continents, their bizarre attributes and fanciful inventions revealing the way in which the 18th century interpreted the world’s different cultural and historical identities.  The sumptuous and extremely elegant composition, worthy of the finest contemporary French work, was enormously appreciated at the time, in particular on 20 January 1739 when the set was used as part of the city decorations to mark the triumpal entry into Florence of the new Grand Duke Francesco II of Lorraine and his wife Maria Teresa, the future empress.


Colour’s Revenge Over Line.  Venetian drawings from the Ashmolean Museum and the Uffizi

curated by Marzia Faietti, Giorgio Marini and Catherine Whistler

Gabinetto Disegni e Stampe degli Uffizi, Sala Edoardo Detti e Sala del Camino

18 October 2016 – 8 January 2017

The exhibition will be highlighting the history of the development of drawing in Venice and its hinterland between the age of Titian, Veronese and Tintoretto and the era of Canaletto, a period during which figurative work was tighly bound to the dynamic of the artist’s workshop.  Visitors will be offered an interesting opportunity to explore the specific expressive vocabulary of Venetian drawing through the comparison and contrast of work from the collections of the Gabinetto Disegni e Stampe degli Uffizi and of Oxford University’s Ashmolean Museum.