Agnolo Bronzino

Agnolo Gaddi

Ambrogio Lorenzetti

Andreadi di Bonaiuto

Andrea del Castagno

Andrea del Sarto

Andrea di Bartolo

Andrea Mantegna

Antonello da Messina

Antonio del Pollaiuolo

Bartolo di Fredi

Bartolomeo di Giovanni

Benozzo Gozzoli

Benvenuto di Giovanni

Bernard Berenson

Bernardo Daddi

Bianca Cappello

Bicci di Lorenzo

Bonaventura Berlinghieri

Buonamico Buffalmacco

Byzantine art



Dietisalvi di Speme

Domenico Beccafumi

Domenico di Bartolo

Domenico di Michelino

Domenico veneziano


Duccio di Buoninsegna

Eleonora da Toledo

Federico Zuccari

Filippino Lippi

Filippo Lippi

Fra Angelico

Fra Carnevale

Francesco di Giorgio Martini

Francesco Pesellino

Francesco Rosselli

Francia Bigio

Gentile da Fabriano


Domenico Ghirlandaio


Giorgio Vasari

Giotto di bondone

Giovanni da Modena

Giovanni da San Giovanni

Giovanni di Francesco

Giovanni di Paolo

Giovanni Toscani

Girolamo di Benvenuto

Guidoccio Cozzarelli

Guido da Siena

Il Sodoma

Jacopo del Sellaio

Jacopo Pontormo

Lippo Memmi

Lippo Vanni

Lorenzo Ghiberti

Lorenzo Monaco

Lo Scheggia

Lo Spagna

Luca Signorelli


masolino da panicale

master of monteoliveto

master of sain tfrancis

master of the osservanza

matteo di giovanni

memmo di filippuccio

neroccio di bartolomeo

niccolo di segna

paolo di giovanni fei

paolo ucello


piero della francesca

piero del pollaiolo

piero di cosimo

pietro aldi

pietro lorenzetti



sandro botticelli

sano di pietro


simone martini

spinello aretino

taddeo di bartolo

taddeo gaddi

ugolino di nerio



Benozo Gozzoli, Mystic Lamb

Travel guide for Tuscany

The wall paintings of Benozzo Gozzoli in Palazzo Medici Riccardi, Florence

The Mystic Lamb


Benozzo Gozzoli (c. 1421 - 1497) was an Italian Renaissance painter from Florence. He is best known for a series of murals in the Palazzo Medici-Riccardi depicting festive, vibrant processions with wonderful attention to detail and a pronounced International Gothic influence.
According to Giorgio Vasari, in the early part of his career he was a pupil and assistant of Fra Angelico: some of the works in the convent of San Marco of Florence were executed by Gozzoli from Angelico's design. In 1444-1447 he collaborated with Lorenzo Ghiberti and his studio on the Paradise Doors of the Battistero di San Giovanni.
In 1459 Benozzo was summoned to Florence by the Medici to carry out the prestigious commission - the most important of his career - of decorating the walls of the Capella di Palazzo Medici-Ricardi. The subject chosen was the Procession of the Magi in which he portrayed various members of the Medici family, with its young princes handsomely, even flamboyantly dressed and all set against a wonderful landscape, creating the fairy tale of the Renaissance (1459-60).

'Up to the end of the nineteenth century, when the original entrance to the chapel was closed up (1875-1876), the visitors and the faithful about to enter the chapel from the vestibule were introduced into the cycle of the pictorial decoration by the Mystic Lamb painted by Gozzoli above the small fifteenth-century portal.
A meek, snow-white lamb, with the crossed halo of Christ the Redeemer, is crouched upon an altar in front of seven gilded candelabra. From beneath the body of the animal, whose eye is fixed on the observer, seven red seals hang down from the altar table. The altar itself is covered in a cloth of embroidered linen that ends in a fringe in the three alternating colours of white, red and green that recur throughout the decoration of the chapel.
The altar frontal is made of velvet brocade with a white pomegranate motif on a red ground. In terms of the viewpoint from the vestibule in front of the chapel, the Mystic Lamb is in close visual relation with the rear wall of the chapel, with the Symbols of the Evangelists portrayed there (only two of which survive) and the Adoration of the Child, which comprises the representation of the Most Holy Trinity.
The image of the Mystic Lamb is inspired by the Apocalypse. In the Revelation of Saint John, the seven candelabra allude to the seven Christian churches, to which seven letters are sent to exhort them to convert (Rev. 1, 12). The lamb, who is the Redeemer, “sacrificed”, but alive and victorious, opens the seven seals of the book in the form of a scroll so that the Almighty may reign. Before the Lamb, the four creatures, the lion, the calf, the man and the eagle, all with wings, adopted as the symbols of the Evangelists, fall down and and sing songs of glory, together with the twenty-four elders and hosts of angels (Rev. 5). Then the “ten thousand times ten thousand, and thousands of thousands” of angels are joined by “every creature which is in heaven, and on the earth, and under the earth, and such as are in the sea, and all that are in them”, saying, “Blessing, and honour, and glory, and power, be unto him that sitteth upon the throne, and unto the Lamb for ever and ever.” (Rev. 5, 13)'.[1]




The Palazzo Medici, also called the Palazzo Medici Riccardi after the later family that acquired and expanded it, is a Renaissance palace located in Florence.
The building still includes, as its only 15th century interior that is largely intact, the Magi Chapel, frescoed by Benozzo Gozzoli.The chapel is on the piano nobile of the palace, and was one of the first decorations executed after the completion of the edifice by Michelozzo. Gozzoli painted his cycle over three of the walls, the subject being the Journey of the Magi to Bethlehem. Gozzoli completed it in 1459 with a wealth of anecdotal detail of character types traditionally held to be portraits of members of the Medici family, along with the emperors John VIII Palaiologos and the Emperor Sigismund of Luxemburg, parading through Tuscany in the guise of the Three Wise Men.[8] Other decorations included two lunettes by Filippo Lippi, depicting Seven Saints and the Annunciation, now at the National Gallery, London.
When the Medici family returned to Florence after their short-lived exile in the early 15th century, they kept a low profile and executed their power behind the scenes. This is reflected in the plain exterior of this building, and is said to be the reason why Cosimo de' Medici rejected Brunelleschi's earlier proposal.

Benozzo Gozzoli, The Magi Chapel in
Palazzo Medici Riccardi of Florence

Palazzo Medici Riccardi, Florence | The chapel with the Procession of the Magi

Entrance to the Chapel is limited to a maximum of 8 visitors every 7 minutes
Bookings operate on a “fast lane” basis, offering priority entrance at the beginning of every hour – from 9.00 to 18.00 – for a maximum number of 25 people at a time. Visitors who have booked should report to the ticket office at least 15 minutes before the booked time.
Ticket sales close at 18.30

Address Palazzo Medici Riccardi. Via Cavour 1, Florence
Opening hours: Every day except Wednesday from 9.00 to 19.00

Gardens in Tuscany | The garden of Palazzo Medici Riccardi in Florence




Villa Cahen

Vasari Corridor, Florence

Florence, Duomo


[1] Source: Mediateca di Palazzo Medici Riccardi |
Mediateca Medicea is a digital archive relating to Palazzo Medici Riccardi, one of the most important buildings in Florence, which now belongs to the Provincial Authority and houses the administrative offices.
The database is made up of different types of interrelated materials: texts, images, graphic reconstructions, and anything else which may contribute to a knowledge of the building in historic, architectural, artistic and cultural terms. The Mediateca extends and elaborates the subjects dealt with in the website, with which it is connected.


Art in Tuscany | Benozzo Gozzoli, The Magi Chapel in Palazzo Medici Riccardi of Florence

Holiday accomodation in Tuscany | Podere Santa Pia | Artist and writer's residency


Podere Santa Pia
Podere Santa Pia, garden view, April
View from terrace with a stunning view over the Maremma and Montecristo

Crete Senesi, surroundings of Podere Santa Pia