Veronica Atkins
Jane Auerbach
Linda Civerchia Balent
Diana Bell
Francine Birbragher-Rozencwaig
Lisa Marie Browne
Yefim & Velvina Buzik
Joan Buzzallino
Vivian Cardia
Trudy Cerbone
Cleveland Museum of Art
Susan & John Connor
Holly Hadley & Bruce Crawford
Frank D’Agostino
Dawn DeMarco
Judith Embrescia
Judith Flynn
Howard Freedman & Rita Montlack
Bonnie Goldstein
Norma Goldwyn
Thomas & Barbara Gould
Elizabeth Hoak
Mina Hyman
Denise and Michael Kalland
Martin Kober
Laney & Gordon Lewis
Tom & Anne Matarazzo
Bruce and Ellen Mavec
David Miller
Joanne Rioli Moeller
Richard and Tamera Morgenstern
Madeleine Parker
Virginia Richard
Trish Savides
KK & Joseph Sullivan
Meredith Townsend & Bill Blind
Carol Trojan
Bradley & CJ van Hoek
Nada Virgili
Farah Walters
Lisa Parks King
In honor of Russel Parks
Bill Blind and Meredith Townsend
In Honor of Diana Bell
– Hall of Maps Final Report –
The Hall of Maps (Sala delle Carte Geogrrafiche) is a unique space within the Uffizi – right next to the Botticelli Galleries, and to the Tribuna –, which showcases the Tuscan territory dominated by the Medici family. The frescoes specifically depict The Florentine Heritage Dominion, The State of Siena (conquered by the Medici in 1555) and The Island of Elba (heavily contested between the Medici and the Holy Roman Empire on the one hand, and by the French King and his ally, the Ottoman Muslim Empire on the other hand). They were painted by the Florentine Late Mannerist Ludovico Buti after drawings made by the cartographer Stefano Bonsignori for Ferdinando I de’ Medici (1549 -1609). The Hall of Maps ideally continues a similar room in the Palazzo Vecchio, which Ferdinando’s father, Cosimo I de’ Medici had decorated between 1564 and 1575 by the Domincan friar Egnazio Danti and the Olivetan monk and cartographer Stefano Bonsignori, with 53 maps of countries from the entire world, and which culminated with a huge terrestrial globe (1564-1571) in its center. The decoration of the Hall of Maps is completed with mythological paintings by Jacopo Zucchi, which were originally painted for the Villa Medici in Rome, and which were so dear to Ferdinando that he brought them along from his former residence as a cardinal in Rome to the Uffizi and had them fitted into the ceiling; and by a panoramic window, which completes the idea of the Medici’s territorial dominion with an actual outlook over the cityscape.