Guests of Palazzo Antellesi are invited to a special and unique tour. Thanks to its relationship with the supervisors of the artistic treasures of Florence, Palazzo Antellesi secured access to one of its many, and usually inaccessible, hidden gems: the Cappella di San Luca in the Basilica of SS Annunziata.

The tour will take place on Tuesday, October 15, at 10am. The meeting time and place are 9:45 in front of the SS Annunziata basilica, under the portico. The tour will be conducted in English by Dr. Alana O’Brien, PhD, art historian and a fellow of the Medici Archive Project. The tour will last a little over two hours. It is complimentary and open only to Palazzo Antellesi guests. If you have friends in Florence who would like to attend we will be happy to make exceptions if space is available.

If you wish to participate please sign up with Cecile (palazzoantellesi21@gmail.com). Space is somewhat limited.

For more information about the tour’s contents please read the following description by Dr. O’Brian:

The Cappella di San Luca and the artists of the Accademia del Disegno.

The exquisitely decorated Chapel of St Luke, the birthplace of Florence’s first art academy, is found hidden within the Chiostro dei Morti of Florence’s principal Marian Basilica the SS Annunziata. The Accademia del Disegno developed out of the earlier artists' guild of the Compagnia di San Luca, under the patronage of Duke Cosimo I de'Medici (apparently at the prompting of Giorgio Vasari). The artists of the Accademia immediately provided a valuable instrument for producing propaganda for the Duke and his family. They nominated the ‘divine’ Michelangelo Buonarroti as their inspiration and role model. Indeed, it was Michelangelo's student, the sculptor and friar Giovan’Angelo Montorsoli who first established the chapel as a burial site for artists. The Accademia celebrated its formation by exhuming Jacopo Pontormo's remains from the church's forecourt and transferring them to the crypt of the chapel. Partially set up to support the formation of young artists and provide critical networks between the members, the Accademia was also filled with competitive personalities. It encouraged and benefited from these artistic rivalries in the contributions to the chapel's decorative program and the design of the Accademia's emblem. But competition could end in discord and jealousy, as transpired when an Accademia committee, comprising Vasari, Benvenuto Cellini, Bartolomeo Ammanati, and Angolo Bronzino, planned the decorations for Michelangelo's exequies.