On the pila , see Diana Bullen Presciutti, Visual Cultures of Foundling Care in Renaissance Italy (Surrey: Ashgate, 2015), 54f.
Cf. Alexander Markschies, “Armut als Bauaufgabe in der Frühen Neuzeit,” in Armut in der Renaissance , eds. Klaus Bergdolt, Lothar Schmitt, and Andreas Tönnesmann (Wiesbaden: Harrassowitz Verlag, 2013), 259–279, 267 –269; Britta Hentschel, “Die Stellung des Waisenhauses innerhalb der europäischen Fürsorgearchitektur,” in Modell Waisenhaus? Perspektiven auf die Architektur von Franckes Schulstadt , eds. Meinrad von Engelberg, Thomas Eißing, Holger Zaunstöck et al. (Halle: Verlag der Franckischen Stiftungen, 2018), 310–329; and Guenter Risse, “The Hospital Design in History: The Dichotomy of Religious and Secular Contexts,” in Health and Architecture: The History of Spaces of Healing and Care in the Pre-Modern Era , ed. Mohammad Gharipour (London: Bloomsbury, 2021 ), 25–34, 29ff. nurses, priests, doctors, nurses, cooks, laundresses, and many volunteers There were also numerous children staying with wet nurses in the countryside (cf. Alexander Markschies, Brunelleschi (Munich: Verlag CHBeck, 2011), 61.
See Bullen Presciutti, Visual Cultures of Foundling Care, 51ff, as well as Philine Helas, “The Hospital in the Image: Images in Hospitals in Italian Art between 1385 and 1529," Historia Hospitalium 29 (2016): 271–306; Ulrike Ritzerfeld, Pietas. Caritas. Societas.: Pictorial programs of charitable institutions of the late Middle Ages in Italy (PhD Diss., Bonn, 2009), 265–273; Friedhelm Scharf, Der Freskenzyklus des Pellegrinaios in S. Maria della Scala zu Siena (Hildesheim: Olms Verlag, 2001), 261–266.
Bullen Presciutti, Visual Cultures of Foundling Care, 152/153. On Datini’s donation, the further history of the Ospedale degli Innocenti and the care of the children, see also Marco Mulazzani, ed., L’Ospedale degli Innocenti di Firenze: La fabbrica brunelleschiana, gli Innocenti dal quattrocento al novecento, il nuovo museo, il progetto di recupero e l’allestimento di Ipostudio (Milan: Mondadori Electra, 2016) and Philip Gavitt, Charity and Children in Renaissance Florence: The Ospedale degli Innocenti, 1410–1536 (Ann Arbor: University of Michigan Press, 1990).
Bullen Presciutti, Visual Cultures of Foundling Care, 153. For further information on the Ospedale S. Maria Nuova, see John Henderson, The Renaissance Hospital: Healing the Body and Healing the Soul (New Haven: Yale University Press, 2006), 34ff.
Meinrad Engelberg, The Modern Era 1450–1800: Order—Invention—Representation (Darmstadt: Wissenschaftliche Buchgesellschaft, 2013), 94.
Bullen Presciutti, Visual Cultures of Foundling Care, 7 and also Engelberg, The Modern Era, 94.
Engelberg, The Modern Era, 93.
Cf. Heinrich Klotz, Filippo Brunelleschi: His early works and the medieval tradition (Stuttgart: Deutsche Verlags-Anstalt, 1990), 117.
Leon Battista Alberti, Della architettura di Leon Battista Alberti libri 10, della pittura libri 3 e della statua libro 1 {The architecture of Leon Battista Alberti in ten books, of painting in three books and of statuary in one book}, trans. Cosimo Bartoli and Giacomo Le, (London, 1726), 86; see also Ernst Rodenwaldt, Leon Battista Alberti: Ein Hygieniker der Renaissance (Heidelberg: Springer-Verlag, 1968), 54.
See Tanja Hinterholz,“Die Loggia als Zeichen und Dispositiv," in Kunsttexte 4 (2012): 4. “We can define the public space of a city as the material and immaterial infrastructure that grands visible form of civitas," according to Maria Claudia Clemente Labics and Francesco Isidori, eds., The Architecture of Public Space (Zurich: Park Books, 2023), 14. Different architectural forms, such as porticos, staircases, loggias, bridges or galleries, reflect different forms of civitas over time.
Labics and Isidori, The Architecture of Public Space, 127.
Originally called the Loggia dei Priori (of the aldermen). See Britta Hentschel, “Italy in the Palatinate: The Fruchthalle in Kaiserslautern," Architektur und Geschichte konkret, ed., in Matthias Schirren, (Tübingen, Berlin: Wasmuth Verlag), 29–36, 33f.
Markschies, Brunelleschi, 61.
On Brunelleschi’s invention and interpretation of the antique Corinthian column at the Findelhaus, see e.g. Markschies, Brunelleschi, 64ff. On the suspended domes, see Engelberg, The Modern Era, 95.
For Labics, stairs become important urban infrastructures and symbols of sovereignty: “when the access stairs of a building become a device of topographical organization of public space," (Labics and Isidori, The Architecture of Public Space, 270).
Cf. Stephan Albrecht,“Introduction," in Stadtgestalt und Öffentlichkeit: Die Entstehung politischer Räume in der Stadt der Vormoderne, ed. Stephan Albrecht (Cologne: Böhlau Verlag, 2010), 7–10.
Andreas Tönnesmann, Die Freiheit des Betrachtens: Writings on architecture, art and literature (Zurich: gta Verlag 2013), 354; cf. Michael Bartsch,“Die kurze Geschichte der Privatheit," in DGRI Jahrbuch 2010, ed. Michael Bartsch and Robert G. Briner (Cologne: Verlag Dr. Otto Schmidt, 2011), 31–38.
Ibid.
Christoph Luitpold Frommel, Die Architektur der Renaissance in Italien (Munich: Verlag C.H. Beck, 2009), 16.
Engelberg, The Modern Era, 94.
The later courtyard for the girls breaks the motif down to the Ionic, as the ancient order was perceived as feminine.
For further details, see Tönnesmann, Die Freiheit des Betrachtens, 15–32.
Nele De Raedt has recently been able to prove that this was welcomed and that the ruling elites of the Florentine Republic supported each other either by directly releasing public funds for the construction of private residences or, indirectly, by granting tax relief. See Nele De Raedt, “Belonging to the Individual or the Collective? The Urban Residence as a Public/Private Building in Renaissance Italy (1300–1500)," in Privacy Studies Journal 2 (2023), 35–50.