Visit to the Marino Marini Museum upon reservation for groups
Visits are available, upon reservation, from Tuesday to Friday at 10am, 11am, 12noon, 1pm, 2pm and 3pm.
Duration: maximum 2 hours.
Maximum 20 persone per each entrance slot.
Read and approve the reservation conditions
The reserved hour may be subject to changes due to variations in the
opening hours of the museum. Always consult the updated hours online.
No refunds will be given on the purchase of reserved bookings and
tickets for any reason (including inability to use such).
- Attention! The reservation for entry to the Rucellai Chapel is
mandatory and not able to be modified. Any errors in the selection of
the date and/or time cannot be refunded.
- No reduced tickets are available online.
- Free tickets are available ONLY at the museum TICKET WINDOW:
- Children under 6 years of age
- 1 free ticket for the companion of each disabled visitor
- Military/Police/Fire ecc., provided that access takes place for a specific reason of service.
- Journalists is possession of a press pass by the foreign press in Italy, or the national association of journalists in Italy
- Members of ICOM, EDUMUSEI with membership card.
The Museo Marino Marini
The Museo Marino Marini in Florence is situated inside the ex-church of
San Pancrazio. It holds a permanent collection of 183 works, including
sculpture, paintings, engravings, and drawings by Marino Marini. These
are exhibited in a museum designed by the artist himself and developed
together with the architects, Bruno Sacchi and Lorenzo Papi.
On the inside of the museum, one can find the Rucellai Chapel with the Holy Sepulcher by Leon Battista Alberti, a jewel of the Florentine Renaissance.
Open to the public: Saturday to Monday, from 10am-7pm. During this time the visit to the permanent collection is free, while the visit to the temporary exhibit is subject to an entrance fee.
Access to the Rucellai Chapel is only possible through guided visits by reservation.
The Holy Sepulcher of
the Rucellai Chapel, formerly part of the Church of San Pancrazio, was
built in 1467 as a scale copy of the one in Jerusalem. The chapel was
separated from the church in 1808, following a Napoleonic edict that
resulted in the deconsecration of the church and its transformation
into a hall for the Imperial Lottery of France. At that time, the
connection between the chapel and the church was walled in; and the
chapel, being still consecrated within the faith, gained a new entrance
in via della Spada.
The Rucellai Chapel, or Holy Sepulcher, situated in the left nave of the church of San Pancrazio, was constructed in several phases; and the intervention by Alberti for Giovanni di Paolo Rucellai represented the conclusion that attested to his contribution, and gave his paternity to the project.
It was finished in a short time, concluding in 1467 as the latin inscription posted at the entry door testifies. The small temple was always considered by scholars to be a Jerusalem copy among many that were spread around the west during the middle ages and the renaissance, born from the memory and devotion of pilgrims returning from the homeland.
The marble decorations present on the surface of the temple and on the decorative motifs were in all likelihood realised by the sculptor, Giovanni da Berlino.
The ornamental designs of the 30 marble inlays inserted in the panels are different from one another, some are inspired by naturalistic forms such as the laurel and oak leaves, flower corollas and others with geometric shapes such as the octagonal star, the six-pointed star, and the book decoration.
At the center of each face, Alberti placed easily recognisable inlays, with shapes whose meaning indicated the personal exploits of Giovanni Rucellai, of Lorenzo il Magnifico and his father Piero dei Medici, and his paternal grandfather Cosimo il Vecchio.
The interior of the small shrine is composed of a single sepulchral chamber containing a marble slab resting on the south wall.
In 1471, the Sepulcher obtained sacramental status with a bull issued by Pope Paul II, granting five years of plenary indulgence to the faithful who visited it on Holy Friday and Easter Sunday.
The chapel first underwent changes in 1808 due to the transformation of the church into an extraction room for the Imperial Lottery of France. The two columns and some stone elements of the Albertian triforium were used to build a new entrance to the former church. The passage to the church from the chapel was walled in, and a new entrance was built in via della Spada.
In 2013, the Rucellai Chapel with the small temple inside was restored. Thanks to the opening of a passageway on the left side, inside the central nave of the museum, it has become part of the visit to the Museo Marino Marini.
Effetto Museo. Intrusioni istantanee nei luoghi dell’arte
Photography by Massimo Pacifico
curated by Claudio Di Benedetto
January 21 – March 4 2019
Selected from the numerous photos that make up Massimo Pacifico’s archive, the shots exhibited in this show offer us a chance to “look at those looking” at the works of art, the visitor that “inhabits” the museum.
As observers, through the privileged lens of Massimo Pacifico, we are given an undisturbed look at the emotions that pulse through the people visiting the museums: laughter and sentiment, joy, sometimes expressed through a dancing motion or bounce in the step ‑ those who have abandoned themselves, as the young mother and her child visiting the Victoria & Albert Museum in London; the boredom and numbness that seem to capture some university students, perched on the sofa at the Städelsches Kunstinstut in Frankfurt; or the visitor intent on sleeping, lying on the seats of a room in the Neue Pinakothek in Munich.
Massimo Pacifico thus insinuates himself in the lives of visitors he meets while traveling. Sometimes with irony and always with great discretion and sensitivity, he captures their gestures and expressions while they are intent to observe, ignore, or mimic statues and paintings around them. If in Glyptothek in Munich the drama of the monumental classical sculptures seems to be ignored by the man absorbed in reading a book, of a different intensity is the involvement of a young visitor of the Rijksmuseum in Amsterdam, who, at the sight of a painting where the nun, Geertrury Haeck, dead, kneels in adoration of St. Agnes, reacts with tears of pure emotion.
From the Metropolitan Museum in New York to the Mercedes Benz Museum in Stuttgart, from the Prince of Wales Museum in Mumbai to the Modern Art Museum in Barcelona, Lipzieg, Milan, from the Rijksmuseum in Amsterdam al Victoria & Albert Museum in London, Pacifico’s snapshots add a visual experience, perfoming a completely original and interactive museum “visit”.
Massimo Pacifico was born in 1951 in Sulmona, in the region of Abruzzo, the birth city of the latin poet Ovid. After a classical primary education he obtained the Laurea in Political Science at the University of Florence. Since 1977, he is a professional photographer and journalist, and he has always turned his lens on people that he encountered during his frequent trips around the world. An author of many books and articles, Pacifico has exhibited in numerous international museums and directed magazines, such as VERVE (2006‑2010) and BOGART (2011); he is currently director of the online magazine BARNUM.