Info & Booking
Marino Marini Museum hosts the Rucellai Chapel with the Holy Sepulcher by Leon Battista Alberti, a jewel of the Florentine Renaissance, which can be visited exclusively upon reservation. This booking allows you to visit, in addition, the temporary exhibition "Effetto Museo - Intrusioni istantanee nei luoghi dell’arte", Photography by Massimo Pacifico curated by Claudio Di Benedetto, from Januay 21 to March 4, 2019.Visit to the Rucellai Chapel and exhibition "Effetto Museo"
Visits are available, upon reservation, on Mondays, Saturdays and Sundays at 11am, 12noon, 3pm and 4pm.
Languages: English and Italian.
Duration: 40 minutes.
Maximum 25 persons per each entrance slot.
Reduced price ticket up to 14 years old.
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).
Notes:
- 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.
Cappella Rucellai
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
The exhibition
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.