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Updated: June 6, 2025
The editors of the Florentine edition of Vasari, commenced in 1846, by an association of learned Italians, observe, "This picture, still in fair preservation, is in the chapel of the Rucellai family; and whoever will examine it carefully, comparing it, not only with works before the time of Cimabue, but also with those painted after him, by the Florentine masters, particularly Giotto, will perceive that the praises of Vasari are justified in every particular."
Before this picture was taken to the beautiful chapel of the Rucellai in the Chiesa Santa Maria Novella in Florence, where it can be seen to-day, the French nobleman Charles of Anjou went to inspect it, and with him went a stately company of lords and ladies. Later, when it was removed to the church, a solemn religious procession was organized for the occasion.
You must not stay so late under that windy loggia without wrappings. I was coming to tell you that I am suddenly called to Rome about some learned business for Bernardo Rucellai. I am going away immediately, for I am to join my party at San Gaggio to-night, that we may start early in the morning. I need give you no trouble; I have had my packages made already.
The meats were likely to be delicate, the wines choice, the company distinguished; for the place of entertainment was the Selva or Orto de' Rucellai, or, as we should say, the Rucellai Gardens; and the host, Bernardo Rucellai, was quite a typical Florentine grandee.
"He afterwards painted the picture of the Virgin for the Church of Santa Maria Novella, where it is suspended on high between the chapel of the Rucellai family and that of the Bardi.
Nerli is altogether a less interesting writer than those that have been mentioned; yet some of the particulars which he relates, about Savonarola's reform of manners, for example, and the literary gatherings in the Rucellai gardens, are such as we find nowhere else.
It is always with reluctance, I think, that one leaves that dim chapel of the Rucellai, and yet how many wonderful things await us in the church.
Theatrical music, which was now beginning to be cultivated, found its way into the acts of the pastoral drama, and in one scene of the Pastor Fido it is united with dancing; thus was opened the way for the Italian opera. Among the didactic poets, Rucellai may be first mentioned.
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