Sibbert Museum Analysis

The Stibbert museum was originally the collection of Frederick Stibbert located inside his private residence in Montughi near the Florence country side. Stibbert used his large inheritance to peruse a passion for collecting, acquiring a variety of objects such as armor, swords and art from across the world including Europe, the Middle East, and Japan. Following his death in 1906, Stibbert bequeathed his house to the municipality of Florence where the collection was made open to the public for future generations. In order to understand the Stibbert Museum, it is necessary to understand Stibbert’s life, the collection itself, and the way in which the objects are displayed in accordance with Stibbert’s view of the museum mentality.
Stibbert was
A new layout including additional rooms and the construction of the Hall of the Cavalcade united villa Stibbert and the newly purchased villa Bombicci in to a single structure resembling the modern museum. In addition, there was a complete redesign of the surrounding garden carried out by Giuseppe Poggi and later Passeri in conjunction with Stibbert’s vision. Neo-Egyptian and Hellenistic influences were added throughout the garden including the placement of temples, the addition of statuary, and the attachment of relief elements on to the façade of the structure. The architectural groundwork and layout was completely developed for Stibbert’s vast antique collection allowing him to then place the objects in their most impactful position for the
The man on horseback is modeled after the famous equestrian fresco by Paolo Uccello located on the wall of the Florence cathedral and Stibbert decided to make the two dimensional image into a real world reenactment. A figure of a man on horseback is decked in typical German armor from the late 15th century along with a set of barding provided for the horse model. The figure is surrounded on either side by displays of weapons such as pikes, halberds, and pole arms framing the room and returning the focus to the central figure. Altogether, Stibbert evokes the feeling of a noble figure riding in to battle while romanticizing the weapons of war in juxtaposition to the light geometric figures of the ceiling and