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The Bargello National Museum is a Florence museum dedicated to sculpture.
His collection of Renaissance statues is considered to be one of the most remarkable in the world [2]. It includes masterpieces by Michelangelo, Donatello, Ghiberti, Cellini, Giambologna, Ammannati and other important sculptors, as well as a large collection of applied arts, by type. The name comes from the Bargello palace, also known as the Palacio del Popolo.
In 2016 it was the thirty-seventh most visited museum in Italy with 213,598 visitors, down from 2015.
With the constitution of Florence as a free commune and the creation of the figure of the captain of the people, the later Bargello Palace was built. The first nucleus, overlooking Proconsolo street, already begun in 1255, was made according to Giorgio Vasari by Lapo Tedesco, incorporating the old Palagio, the tower of the Boscoli and some houses and towers of the Badia Fiorentina, between 1340 and 1345, the building was raised by Neri di Fioravante.
Then expanded with a new building on Via dell'Acqua between 1260-80 in 1295 was built the porch courtyard, between 1316 and 1320 was raised on the sides of via Ghibellina and via dell'Acqua. In the middle of the 14th century it became the seat of the Podestà. With the establishment of Medicial hegemony in the second half of the fifteenth century, he first became the seat of the Council of Justice and the Judges of Wheel, and from 1574, under Duke Cosimo I de 'Medici, seat of the bargello, or the head of the Guards or Piazza, which provided for arrests, interrogations, and also carried out capital punishment. The figure of the podesta as a gabelliere then generated an idiomic phrase that became famous: Here is the beak to the goose (and the horns to the podestà).
In almost three centuries, where prison was used, the arches of the loggia and the veron were walled in the courtyard. The larger rooms were divided by scaffoldings to obtain more cells and paintings and decorations were covered.
In the forties of the nineteenth century Baron Seymour Kirkup, together with other collaborators, funded a series of surveys within the chapel of Santa Maria Maddalena, after which on July 21, 1840, painter-restorer Antonio Marini reported to a portrait of Dante, which according to Vasari had been painted by Giotto.
Transferring the prison to the Murate, in 1859 the restoration of the protracted complex was decided in 1859 and under the direction of Francesco Mazzei, who restored the ancient aspect, sought to retrieve or retrofit the architectural ornaments and entrust the pictorial decoration of the rooms to Gaetano Bianchi who was inspired by monuments of the same era.
In 1865 the National Museum was inaugurated on the ground floor, two armchairs were set up, with objects coming from the Medici armory on the other, and the Palazzo Vecchio's Guardaroba, and a four-sixteenth-century sculpture room. In the first floor salon they found sculptures from the sixteenth-century salon in Palazzo Vecchio.
Subsequently by the Uffizi, both bronze and marble sculptures and applied art collections were made: majolica, wax, amber, ivory, goldsmith, enamel and bronze, some of which were transferred to the Silver Museum in 1928. Other materials came from private donations and loans, as well as from public institutions: from the State Archives the Seals and the Mint coins. Finally, as a result of the Unification of Italy and the consequent suppression of monastic orders came robbers, sculptures and sacred goldsmiths.
On the occasion of the centenary of Donatello in 1887 the salon was intended to welcome works of the Florentine artist and sculpture from the fifteenth century.
By 1888 it was the donation of Louis Antonio Carrand's antique collection, 1886 was the Conti donation, 1899 the Ressman and 1906 Franchetti enriching the applied arts sector.
Strongly impressed by the 1966 flood, he underwent a series of upgrading and moving. On July 13, 2006, he suffered a serious theft during the normal opening of three ancient jewels of the Islamic section.
 
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