The section of The Ferruccia born within a large project aimed at a better understanding and thus to a more conscious protection of the artistic heritage of the province of Pistoia and in particular of church utensils pertaining to the local churches. The collection is not only intended as a testament to the local memory, but also as a place where objects of worship can recover their identity. It therefore characterizes, for its educational function in the desire to explain the symbolic meaning and ritual of the exhibits.
The museum is divided in three rooms on the first floor of the rectory of the church of SS. Philip and James, situated in the locality Ferruccia, in the municipality of Quarrata. The building, already documented in the fourteenth century, has undergone significant changes during the seventeenth century and most recently in 1875. Inside, two paintings, one depicting a crucifix and holy Antonio Puglieschi and the other depicting the Mystical Marriage of St. Catherine , signed ?? PP Lippi ?? and dated 1646. The interior of the church is visible from the first room of the museum through the facing of the pulpit.
In this first room we were prepared six windows, in which were placed several wallpaper, copes , chasubles and gowns , dating from the seventeenth to the nineteenth century. These included, in particular, a beautiful planet with a rare reason bizarre dated the beginning of the eighteenth century, an ' other with so-called naturalistic designs revel style, referring to the forties of the same century and still a' else with motifs meander dating 1765 approx.
In the second room, dedicated to the devotion, it is pointed in the right wall entering a shop window with a small Madonna and Child , dating from the seventeenth century. On the left wall within two cases are presented, respectively, two crowns of silver and a dress embroidered eighteenth century, complete with shoes, used to dress up a statue of the Madonna del Rosario . The dress, which was cut in several parts has been reconstructed, restored and studied for the occasion. In the third window, finally, it has exposed a baby Jesus in swaddling clothes, made of polychrome stucco, dating from the eighteenth century.
The museum route continues along a short corridor, decorated by an unusual series of fourteen lumiere gilt wood and carved Tuscan manufacture of the nineteenth century, which introduces the last room. This latter is preceded by a showcase in which a series of was placed reliquaries wooden altars that were originally located in the church. It is, mostly, of Tuscan production artifacts, dating from the seventeenth and nineteenth centuries, documenting the variety of types in use and repetition of patterns found in most of the churches in the area.
In the third room, finally, it was proposed reconstruction of an altar through artistic survivors of the liturgical church outfit. In addition to a number of wooden furniture it is worth noting, in particular, the frontal velvet red silk embroidered with silk thread and relationships in cloth of gold and silver, which features the coats of arms of the families of Pistoia Cellesi, Bracciolini, Villani. The precious and very rare furniture, both for the quality of design and the beauty of embroidery, dates from the early seventeenth century. The graphics richness of plant green and gold wreaths, embroidered on the crimson velvet background, is clearly inspired by the models designed by Jacopo Ligozzi for the Medici court, which will affect the whole Florentine production between the late sixteenth and early next century.
Laterally altar is placed an elegant lectern carved wood and gilded, defined by large scrolls foliaceous and characterized by the presence of angelic heads in the round. It is a work of Tuscan manufacture, dating from the mid-eighteenth century, and approachable to other units on the territory of Pistoia.
In the room on the wall right into stands a large showcase in which the sacred furnishings of the church are exposed relevance. The surviving jewelery are limited in number compared to those who over the centuries are mentioned in the inventories compiled periodically by the rectors of the church. The gold heritage is in fact particularly low because of the continuous alienation to which it was submitted, not least the sale in 1873 of two of the oldest church paraphernalia. It is a cross made of bronze and silver with translucent enamels, made by a Florentine goldsmith in the third to fifth decade of the XIV century and a chalice copper and chased silver, engraved and gilded with translucent enamels, made by a Florentine workshop in the seventh -ottavo decade of the fourteenth century. The two fittings were bought by the Royal Galleries for the price of two hundred pounds and are now on display in Florence, in the National Museum of the Bargello.
Regarding liturgical objects on display will show a series of glasses in silver embossed and engraved, dating from the seventeenth century. Of particular importance appears the cup with the inscription under the foot: Existente PRIORE R.DO FATHER SEBASTIAN Maracci which presents two punches which allow to report the execution to a Florentine workshop. A moreexemplary, characterized by the dedicatory inscription under the foot and the date 1692 is equally attributable to the Florentine production of the end of the seventeenth century. In the same glass we note the bronze processional cross that belonged to the altar of the Annunziata. The decor has terminals with tiles mixed lines including depictions of God the Father , the Virgin of the Annunciation , St. Rocco and the ' Angel Gabriel . The reverse side appears in capital letters the inscription: TO THE TIME OF BARTHOLOMEW Marcho Benesperi treasurer COMPANY DELA NUNZIATA 1591.
Among the nineteenth century furnishings are reported l ' ostensory in embossed silver, chiseled, melted and partially golden, commissioned in 1804 by the rector Tommaso Gelli and by the priest Giuseppe Baldi and an elegant spacecraft in silver metal, also dated to the beginning of the century, which is characterized the presence on the lid of a small sphinx fusion clearly inspired empire models.
di Elisabetta Nardinocchi © TOSCANAoggi 2000