This work is the result of nearly two years of dedication and craftsmanship — a long artisanal process in which the stones, initially scattered across the workbenches, gradually evolve into authentic "brushstrokes" of color. Some tiles are shaped from the very beginning, while others retain their raw form for longer, contributing to the creation of houses, windows, and architectural details that capture the unique character of the Ponte Vecchio.

The creation of the reflections in the water, a central element of the entire composition, had been particularly challenging. The intention was not simply to reproduce a mirror image of the bridge, but rather to convey the natural vibration and movement of the reflections on the Arno River, avoiding any static or chaotic effect. Through a careful balance of forms, cuts, and chromatic nuances, the mosaic evokes the motion and luminosity of the water, transforming this section into the most evocative feature of the work.

Once all the sections are assembled, the mosaic — still in its unfinished state — already reveals its expressive power. The final phase of the project introduces additional elements: black granite framing and Verde Arno sfumato trims, the same stone used in the reflections, selected to enhance the overall chromatic harmony.

The back of the artwork was also conceived as an integral part of the visual experience. Instead of traditional slate backing, a sheet of glass was used, allowing the mosaic to be viewed from behind and revealing the complex structure and craftsmanship of the individual tiles.

Stones used: Green from Arno River, Paesina, Lapis, Lilla Viola, Rosso Pirenei, Sicilian Jasper 

"One afternoon in late October, walking along the Lungarno, I noticed that the Arno River's reflection was so blurred yet so attractive that it was more than usual. I took a photo almost without thinking, out of focus, but from the perfect angle.

I wasn't interested in the picture at all, but only in that feeling I still couldn't fully understand, the atmosphere I wanted my paintings to have...

I printed the photo, and it was truly awful, but what remained important was in my head. I don't know exactly how a painting like this is born, but I'm sure an unconscious, almost mad energy rises that completely distracts you from real life. I won't deny the fact that I went to the workshop in the middle of the night to see the result at dawn of two pieces of stone whose color I had chosen the evening before.

It always grows and lives with you and giving life to something that until recently was just matter is the essence of creating art in its purity. The necessary transformation to give life to a completely new vision".

                                                                                                                                    - Leonardo Scarpelli

The history of the bridge

The artist chose to represent the Ponte Vecchio, one of the most important icon of the city of Florence. It is an historic bridge over the Arno River and it is truly the oldest bridge in the city.

The name was given to what was the oldest bridge in Florence at the time the Ponte alla Carraia, then called the "Ponte Nuovo," was built.

Beyond its historical significance, the bridge played a central role in the city's road system over time, beginning when an older bridge , in the same place (or nearby), connected Roman Florentia with the Via Cassia Nuova, built by Emperor Hadrian in 123 AD. Destroyed several times by the Arno River's floods, it was rebuilt in stone in 1220.

After the disastrous flood of 1333, the bridge was rebuilt in 1345. For the first time in the West, the cutting-edge technique of three large segmental arches was used, which ensured greater stability against floods.

In 1565, Cosimo I de' Medici commissioned Giorgio Vasari to build an elevated passageway, a corridor, the Vasari Corridor, which would allow the Grand Dukes to move safely between Palazzo Vecchio and Palazzo Pitti.

Originally, the shops on the bridge were occupied by butchers and greengrocers. For reasons of decorum and hygiene, in 1593 Ferdinando I de' Medici ordered the relocation of these businesses, replacing them with the prestigious goldsmiths and jewelers that still exist today.

During the retreat of the German army in 1944, the Ponte Vecchio was the only crossing in Florence not to be blown up. During the night between August 3 and 4, 1944, the retreating German army blew up all of Florence's bridges to hinder the Allied advance. Luckily, the Ponte Vecchio was the only one to be spared.

Year of composition: 2013

Size: cm 70x97

Artist: Leonardo Scarpelli 

An original and authentic hand-made artwork created whith the antique technique of Commesso Fiorentino which is unique for Florence.

Commesso Fiorentino was born with the Medici family, one of the most important families in Florence, in the second half of 1500.

The research of the stones is made by the mosaicist that must be able to choose from a rich and wide range of shades and veins: for this reason the artists personally search and collect the stones retracing the paths of the Medici researchers.

The processing starts by drawing the subject on adhesive paper, that is then cut into small templates that will be attached to the variegated shades of the stones following the visual instinct, the innate gift of the artist and his perfect knowledge of the materials. The shape of the little piece will be cut by hand with a chestnut, cherry or hazelnut wood bow and an iron wire that flows with abrasive powder and water. It creates a very precise and inclined cut to form the essential spaces to accommodate the glue, made by artisans with beeswax and pine tree resin. The different stones are previously glued onto a slate surface which acts as a support during the cutting and filing phase. The various pieces which form the composition are adjusted in shape with diamond files, glued together so that the joints are invisible, flattened and finally polished in order to create a perfect decorative harmony showing the colors of nature in all their radiance.