On the walls: Madonna and Child and a Madonna and Child with St. John by Botticelli. The two images have similar long Roman noses, weak chins and mops of curly hair. On the walls are Florentine tapestries made from cartoons by Stradanus (16th century). “I don’t know how we missed it before,” said Gary Radke, an art historian at Syracuse University in New York. The frescoes on the walls are vedute of the cities of the Austrian Habsburg monarchy, painted in 1565 by Giorgio Vasari for the wedding celebration of Francesco I de' Medici, the eldest son of Cosimo I de' Medici, to Archduchess Johanna of Austria, sister of the Emperor Maximilian II. Along with the early 16th century sketch in the Louvre, Mr Marinazzo found a cryptic clue – a piece of paper on which Michelangelo appeared to foreshadow the enigma of the carving. Cosimo I's mother Maria Salviati lived in these rooms after Cosimo moved the family from Palazzo Medici to the Palazzo Vecchio (at that point Palazzo Ducale). “Over the doors of those cupboards within their ornaments, Fra Egnazio has distributed fifty seven pictures about two braccia high and wide in proportion, in which are painted in oils on the wood with the greatest diligence, after the manner of miniatures, the Tables of Ptolemy, all measured with perfect accuracy and corrected after the most recent authorities, with exact charts of navigation and their scales for measuring and degrees, done with supreme diligence; and with these are all the names both ancient and modern...The images of plants and animals are exactly in line with the maps...The terrestrial globe is marked distinctly and it is possible to use it for all the operations of the astrolabe perfectly” - Giorgio Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects. The building acquired its current name when the Medici duke's residence was moved across the Arno River to the Palazzo Pitti. Evidently, collections of artifacts and precious items existed before the Renaissance, yet it is not until the Renaissance that there consistently appeared collections which were preserved and interpreted, known as wunderkammen. Other scholars said the attribution of the stone etching was credible. Secondo Marinazzo, Michelangelo non avrebbe intagliato sul muro il volto del suo “disturbatore”, come riporta la tradizione popolare. The etched face looks towards the spot where David stood, he said. Floransa’nın asırlık belediye binası Palazzo Vecchio bir kez daha sanat dünyasının gündeminde: Binanın duvarındaki profilden bir erkek suratına yer veren işin Michelangelo’ya ait olabileceği öne sürülüyor. Leonardo was commissioned in 1503 to paint one long wall with a battle scene celebrating a famous Florentine victory. Originally called the Palazzo della Signoria, after the Signoria of Florence, the ruling body of the Republic of Florence, this building was also known by several other names: Palazzo del Popolo, Palazzo dei Priori, and Palazzo Ducale, in accordance with the varying use of the palace during its long history. He also had grand visions of two large globes, a terrestrial and celestial hidden behind a false ceiling that could be lowered impressively via a pulley system into the room below. In the paper, Marinazzo pointed out that one of the drawings in Michelangelo’s Louvre archive has resemblance to the carved portrait in Palazzo Vecchio. The sculpture had been designed for the cathedral roof, but was instead put right outside the Palazzo Vecchio. The portrait of Cosimo I and his wife Eleonora of Toledo was painted by Bronzino. The rooms are located in the old palace, and were renovated in the mid-15th century by Michelozzo. “David” (replica) outside Palazzo Vecchio. The Galleria dell'Accademia. A digital reconstruction of the room, as it was designed and described by Giorgio Vasari can be found here. Attempts made to find Da Vinci's original work behind the Vasari fresco have so far been inconclusive. The large frescoes on the walls portraying the Stories of Furius Camillus by Francesco Salviati were made in the middle of the 16th century. … This material is subject to decay with the exposure of the elements. Da Vinci had finished painting part of the wall, but it was not drying fast enough, so he brought in braziers stoked with hot coals to try to hurry the process. A small door in the room indicates the beginning of the Vasari corridor, a passageway to the Palazzo Pitti built by Vasari for Cosimo I. The golden fleur-de-lys decorations on blue background on the ceiling and three walls refer to the (short-lived) good relations between Florence and the French Crown. 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