The origins of the chapel: The chapel was first owned by the Barbadori family. The main chapel design was done by Filippo Brunelleschi around 1442 for the Barbadori family. It was dedicated to the biblical theme of Annunciation. In 1487, for the price of two hundred flourins, the Barbador heirs sold the chapel to Antonio Paganelli. It was his grandson, Bernardo, that would sell it (for around the same price) to Signor Capponi. On May 22, 1525, Ludovico di Gino di Ludovico Capponi purchased the chapel from the Bernardo. Signor Capponi would then modify the chapel and dedicate it to the theme of Pieta. (Waldman)
He commissioned Pontormo to decorate it, which he did with some marvelous frescos soon after. As mentioned, there are are two paintings by Pontormo: the famous Deposition (1528), which lies above the altar and is done in the Mannerist style. The other piece is the Annunciation, which is to the right of the altar. Other pieces in the chapel are the Sacristy (1470), which was built by Michelozzo (it is also debated that it was done by Leon Battista Alberti), which is similar to Brunelleschi's style. Among the paintings in the Sacristy are the Madonna with the Child and Saints, by Taddeo Gaddi, and the Adoration of the Magi (1450), by Francesco di Antonio. There are four tondos that decorate the pendentives (they are circular frescos in the corners, which supported the cupola that is now lost). They depict St. Mark, St. Luke, St. Matthew, and St. Sebastian, all of which were done by Pontormo's pupil, Agnolo Bronzino between 1525 and 1528. (Wasserman, Firenze-Oltrarno)
He commissioned Pontormo to decorate it, which he did with some marvelous frescos soon after. As mentioned, there are are two paintings by Pontormo: the famous Deposition (1528), which lies above the altar and is done in the Mannerist style. The other piece is the Annunciation, which is to the right of the altar. Other pieces in the chapel are the Sacristy (1470), which was built by Michelozzo (it is also debated that it was done by Leon Battista Alberti), which is similar to Brunelleschi's style. Among the paintings in the Sacristy are the Madonna with the Child and Saints, by Taddeo Gaddi, and the Adoration of the Magi (1450), by Francesco di Antonio. There are four tondos that decorate the pendentives (they are circular frescos in the corners, which supported the cupola that is now lost). They depict St. Mark, St. Luke, St. Matthew, and St. Sebastian, all of which were done by Pontormo's pupil, Agnolo Bronzino between 1525 and 1528. (Wasserman, Firenze-Oltrarno)
Pontormo and the Capponi Chapel
[This will be just a brief overview - you will just have to come back to see the best part...]
Capponi commissioned Pontormo to decorate the chapel. The work started in 1525 and ended in 1528. It has been suggested that Capponi chose Pontormo at the encouragement of a friend, Niccolo Vespucci. Pontormo was most likely influenced by Marcillat's stained glass window - mainly by the effect of the lighting and its symbology. (more on that later! :) {Waldman]
"Pontormo's work in the Capponi Chapel in Santa Felicita, Florence, began in I525 with the decoration of its hemispherical dome, a fresco of God the Father surrounded by four patriarchs. The fresco was followed by four circular panels for the pendentives with bust portraits of the evangelists, partly Bronzino's work, and by the great altarpiece, variously called Descent from the Cross (or Deposition), Pietà, or Entombment . The final work, datable in 1528, was the fresco of the Annunciation on the window wall. This last [piece], the four tondi, and the altarpiece in its rich period frame are intact. The cupola decoration was lost when the original dome was destroyed to make way for the present shallower vault..."
-Leo Steinberg, "Pontormo's Capponi Chapel." Page 397.
Capponi commissioned Pontormo to decorate the chapel. The work started in 1525 and ended in 1528. It has been suggested that Capponi chose Pontormo at the encouragement of a friend, Niccolo Vespucci. Pontormo was most likely influenced by Marcillat's stained glass window - mainly by the effect of the lighting and its symbology. (more on that later! :) {Waldman]
"Pontormo's work in the Capponi Chapel in Santa Felicita, Florence, began in I525 with the decoration of its hemispherical dome, a fresco of God the Father surrounded by four patriarchs. The fresco was followed by four circular panels for the pendentives with bust portraits of the evangelists, partly Bronzino's work, and by the great altarpiece, variously called Descent from the Cross (or Deposition), Pietà, or Entombment . The final work, datable in 1528, was the fresco of the Annunciation on the window wall. This last [piece], the four tondi, and the altarpiece in its rich period frame are intact. The cupola decoration was lost when the original dome was destroyed to make way for the present shallower vault..."
-Leo Steinberg, "Pontormo's Capponi Chapel." Page 397.
"Pontormo gave it a compact composition by compressing the monumental figures toward the picture plane. Yet he preserved an impression of depth with illumination between of the figures; giving the figures ample volume; arranging groups of figures in a sequence of parallel planes... a striking example of a graceful and ballet-like interaction..."
- Jack Wasserman
Steinberg, Leo. "Pontormo's Capponi Chapel." College Art. pp.397. <http://www.collegeart.org/pdf/artbulletin/Art%20Bulletin%20Vol%2056%20No%203%20Steinberg.pdf.'
Wasserman, Jack. "Pontormo in the Capponi Chapel in Santa Felicita in Florence." Mitteilungen des Kunsthistorischen Institutes in Florenz, 53. Bd., H. 1 (2009), pp. 35-72. <http://www.jstor.org.ezproxy.lib.purdue.edu/stable/40961896>.
Waldman, Louis Alexander. “New Light on the Capponi Chapel in S. Felicita.” The Art Bulletin, Vol. 84, No. 2. College Art Association. <http://www.jstor.org/stable/3177270>.
Wasserman, Jack. "Pontormo in the Capponi Chapel in Santa Felicita in Florence." Mitteilungen des Kunsthistorischen Institutes in Florenz, 53. Bd., H. 1 (2009), pp. 35-72. <http://www.jstor.org.ezproxy.lib.purdue.edu/stable/40961896>.
Waldman, Louis Alexander. “New Light on the Capponi Chapel in S. Felicita.” The Art Bulletin, Vol. 84, No. 2. College Art Association. <http://www.jstor.org/stable/3177270>.