Items

• Madonna del Grosso
  silver 'grosso' coin from Pisa
• Crucifix of San Giovanni Gualberto
• Madonna del Popolo
• Madonna delle Grazie
• Annunciation of the Santissima Annunziata
• Madonna del Sangue
• Crucifix of San Giovanni
• Madonna Of Orsanmichele
• Innocenti - Predella of the high altarpiece
  7 panels, mounted in the order that Bellosi suggested in 1977 following 19th-century inventories (see: Cadogan, Domenico Ghirlandaio Artist and Artisan, New Haven and London 2000, p. 260): 1. Martyrdom of St John Evangelist; 2. Annunciation; 3. Marriage of the Virgin; 4. Pietà; 5. Purification of the Virgin; 6. Baptism of Christ; 7. St Antoninus Consecrating the Church of the Innocenti.
• Adoration on the Magi
  Francesco Tesori commissioned the high altarpiece from Domenico Ghirlandaio, one of the city’s leading artists, in 1485. The predella scenes were completed soon afterwards by Bartolommeo di Giovanni. Documents allow us to construct its elaborate architectural frame of gilded wood created by the Sangallo brothers, topped by a tabernacle for the Eucharist. 
• Coronation of the Virgin with St Lucy, St Catherine of Alexandria; St Bartholomew and St Philip
  This altarpiece by Neri di Bicci was commissioned by the Lenzi family for their side altar in 1460, shortly after the church was consecrated in 1451. In 1489 the hospital prior Tesori commissioned a new stone outer frame from the sculptor Simone Ferrucci so that the Lenzi altar would match the new Pugliese altar opposite, preserving Neri’s older altarpiece within a new, symmetrical scheme. Neri di Bicci painted panels with the same subjects for other Florentine religious communities. Unlike the Innocenti panel, other original frames survive, which served as a reference for our digital model of the lost carpentry. 
• Terracotta Angels
  Two kneeling angels attributed to Andrea della Robbia, now in the Victoria and Albert Museum (London), have also been associated with the Del Pugliese altar ensemble. They were originally immured on the architectural frame, and when this was dismounted, they lost their limbs. A photogrammetric survey of the angels revealed that their bodies form a curvature that is compatible with that of the architectural frame’s lunette, suggesting their location at the top of the architectural frame. Their pose evokes that of the kneeling saints in Piero di Cosimo's iconographical design, as well as the position of the angels standing on the Virgin’s throne in the painting. 
• Sacred Conversation with St Peter, St John the Evangelist, St Elisabeth of Hungary (?), St Catherine of Alexandria and Angels
  This altarpiece was commissioned in 1491 by Piero del Pugliese, a friend of the Innocenti prior Tesori, and a wealthy merchant and member of the Silk Weavers’ Guild. In this lavish painting, the patron of the Guild, Saint John Evangelist, introduces Saint Catherine of Alexandria to Jesus, who holds out a wedding ring to contract the mystical union with her. 
• Annunciation Lunette