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Lot Essay
This Florentine pietra dura tabletop bearing the arms of the Cavalli family from Pontremoli in Northern Tuscany is a wonderful example of the production of pietra dura in the Roman manner. Known for the most naturalistic representations of flowers and birds, the Grand Ducal workshops in Florence from the late 16th century onwards also championed the manufacturing of pietra dura tabletops designed with geometrical or abstract motifs. Ferdinando I de Medici (1549-1609) Cardinal in Rome for a considerable time, familiarized himself with the Roman models and encouraged the employment of this style in Florence. On the present tabletop, the eight ovals are made of a type of jasper (Diaspro di Barga), a red silicean stone with white patches, which is found in the town of Barga (Garfagnana, Tuscany) a territory that at that time was under the dominion of the Medici family and used exclusively by the court in Florence.
Flanked by two rearing horses, appropriately translating to cavalli in Italian, the central coat of arms immediately affirms the commission to that of the Cavalli family. This heraldry can today still be found throughout the town of Pontremoli, adorning such conspicuous positions as the local church of San Francesco and the walls of the town’s castle. Highly prominent members of Italian aristocracy, having arrived to Pontremoli in 1446, the Cavalli family rose in wealth and power as a result of their alignment with the ever influence Ghibellines. Repeatedly referenced in the local archives, it was Pietro Cavallo (d. 1615) who ultimately guaranteed the familial status through his position within the court of the Grand Dukes of Tuscany. Holding prominent roles both within the rulership of Ferdinando I (1549-1609) and later his son Cosimo II (1590-1621), the latter of whom he acted as a trusted advisor and educator, his service was rewarded nd his family was ennobled by the Order of the Cavalieri di Santo Stefano. Indeed, such was his character admired by the Medici’s the Dukes greeted him as ‘Molto magnifico et Eccellentissimo Messer Pietro Cavallo da Pontremoli’.
The impressive status of the family is echoed in the opulence and craftsmanship of the tabletop. The intricate design is highly comparable to examples that have been found at archaeological sites in the Italian capital: the interplay of abstract forms and geometrical patterns clearly a popular and desirable Roman design. During the 16th century a resurgence in emulation of Antiquity arose, lending itself to the production of increasingly tactile and intricate works – the fabrication of pietra dura exemplifying Renaissance artistic and theoretical ideology. The material itself promoted Italian heritage through the incorporation of the rich native minerals and stone; the highly skilled craftsmanship required in the cutting and polishing of the rock helped distinguish provincial production and the intricate configurations of the overall design echoed the Classical creed that true artistic skill was in the mimicry of nature.
It is of little surprise that Francesco I de Medici (1541-1587) sought to promote the art of pietra dura in Florence, having familiarised himself with the production during his time as cardinal in Rome. A letter by Vasari to the Duke reveals that as early as 1567 Francesco was making enquiries into the practise; querying into the technical skills required for the cutting and arrangement of the stones, to achieve the mesmerizing effect achieved by the neighbouring Roman workshops (González-Palacios, op.cit, p.47). During this period, the Roman tradition of geomantic forms flourished alongside the more traditional Florentine flora and fauna designs for which the Granducal workshops were most known. Whilst in some cases, the exchange of stylistic traditions amongst the Italian states has often led to confusion regarding the manufacture of pietra dura, the present tabletop is a clear example of the mosaic work alla maniera di Roma that was being produced in the Tuscan state. The materials themselves locate the object very much within Tuscan geography: the eight oval corner pieces are formed of Jaspar, a stone found predominantly in Diaspro di Barga, a territory under the dominion of the Medici family and of which the Dukes had exclusivity over the mining. Equally, Gabbro d’ Impruneta was exclusively excavated from the southern regions of the state.
The central coat of arms of the Cavalli further affirm the Florentine production of the tabletop – the family being permanent residents of Tuscany and so closely tied to the Medici Dukes. Indeed, considering the close affiliation with the aforementioned Pietro Cavallo and Ferdinando I, one could perhaps suggest that this table, so fine in quality, would be a suitable gift from the Duke to his valued courtier, the lack of elm above the arms signifying that this was received before the Cavalli had been ennobled. The assumption that this precious tabletop was bestowed is supported by the differences in the physical makeup of the materials; the central portion of the design that frames the arms formed of Ligurian Verde Genova, a stone not often used by the granducal workshops. This implies that this section was produced by a local workshop, with a member of the Cavalli family commissioning the coat of arms to proudly adorn the luxurious gift.
Flanked by two rearing horses, appropriately translating to cavalli in Italian, the central coat of arms immediately affirms the commission to that of the Cavalli family. This heraldry can today still be found throughout the town of Pontremoli, adorning such conspicuous positions as the local church of San Francesco and the walls of the town’s castle. Highly prominent members of Italian aristocracy, having arrived to Pontremoli in 1446, the Cavalli family rose in wealth and power as a result of their alignment with the ever influence Ghibellines. Repeatedly referenced in the local archives, it was Pietro Cavallo (d. 1615) who ultimately guaranteed the familial status through his position within the court of the Grand Dukes of Tuscany. Holding prominent roles both within the rulership of Ferdinando I (1549-1609) and later his son Cosimo II (1590-1621), the latter of whom he acted as a trusted advisor and educator, his service was rewarded nd his family was ennobled by the Order of the Cavalieri di Santo Stefano. Indeed, such was his character admired by the Medici’s the Dukes greeted him as ‘Molto magnifico et Eccellentissimo Messer Pietro Cavallo da Pontremoli’.
The impressive status of the family is echoed in the opulence and craftsmanship of the tabletop. The intricate design is highly comparable to examples that have been found at archaeological sites in the Italian capital: the interplay of abstract forms and geometrical patterns clearly a popular and desirable Roman design. During the 16th century a resurgence in emulation of Antiquity arose, lending itself to the production of increasingly tactile and intricate works – the fabrication of pietra dura exemplifying Renaissance artistic and theoretical ideology. The material itself promoted Italian heritage through the incorporation of the rich native minerals and stone; the highly skilled craftsmanship required in the cutting and polishing of the rock helped distinguish provincial production and the intricate configurations of the overall design echoed the Classical creed that true artistic skill was in the mimicry of nature.
It is of little surprise that Francesco I de Medici (1541-1587) sought to promote the art of pietra dura in Florence, having familiarised himself with the production during his time as cardinal in Rome. A letter by Vasari to the Duke reveals that as early as 1567 Francesco was making enquiries into the practise; querying into the technical skills required for the cutting and arrangement of the stones, to achieve the mesmerizing effect achieved by the neighbouring Roman workshops (González-Palacios, op.cit, p.47). During this period, the Roman tradition of geomantic forms flourished alongside the more traditional Florentine flora and fauna designs for which the Granducal workshops were most known. Whilst in some cases, the exchange of stylistic traditions amongst the Italian states has often led to confusion regarding the manufacture of pietra dura, the present tabletop is a clear example of the mosaic work alla maniera di Roma that was being produced in the Tuscan state. The materials themselves locate the object very much within Tuscan geography: the eight oval corner pieces are formed of Jaspar, a stone found predominantly in Diaspro di Barga, a territory under the dominion of the Medici family and of which the Dukes had exclusivity over the mining. Equally, Gabbro d’ Impruneta was exclusively excavated from the southern regions of the state.
The central coat of arms of the Cavalli further affirm the Florentine production of the tabletop – the family being permanent residents of Tuscany and so closely tied to the Medici Dukes. Indeed, considering the close affiliation with the aforementioned Pietro Cavallo and Ferdinando I, one could perhaps suggest that this table, so fine in quality, would be a suitable gift from the Duke to his valued courtier, the lack of elm above the arms signifying that this was received before the Cavalli had been ennobled. The assumption that this precious tabletop was bestowed is supported by the differences in the physical makeup of the materials; the central portion of the design that frames the arms formed of Ligurian Verde Genova, a stone not often used by the granducal workshops. This implies that this section was produced by a local workshop, with a member of the Cavalli family commissioning the coat of arms to proudly adorn the luxurious gift.