Finestra nel 2° Ordine della passata facciata posta al numero 66 segn.ta: colla lettera D

Architect (Florence 1691 - there 1741), a significant exponent of early 18th-century Florence. In his main work, the left facade of the church of San Firenze (1715), as in others such as the Capponi palace also in Florence, the Sansedoni palace in Siena (1736), and the collegiate church of Empoli (1738), a particular Tuscan interpretation of the Baroque, intimately connected to the architecture of the late 16th century, is affirmed. His printed works are important: Studio d'architettura civile delle fabbriche più insigni di Firenze (1722-28); Scelta di architetture antiche e moderne della città di Firenze (post., 1755). In 1717 his name appears in the list of contributors to the Accademia del disegno in Florence, whose fees he continued to pay until 1740, while he is registered from 1720. At the suggestion of Abbot Bottari - as the latter wrote in a 1764 letter to Giovanni Pietro Zanotti -, the publishing venture of the Studio d'architettura civile, a collection of architectural details from exemplary palaces and factories in Florence, was begun in 1718. It was published in three folio volumes at the Stamperia Reale in 1722, 1724 and 1728 respectively; a fourth volume, announced in the preface to the first, was not composed. The publishing operation matured when the extinction of the Medici dynasty was certain, and the three volumes (respectively dedicated to Grand Duke Cosimo III, Grand Duke Gian Gastone and Maria Luisa, electress palatine, the last representative of the family) celebrate the centuries-long patronage activities starting with Cosimo the Elder with Filippo Brunelleschi and Lorenzo the Magnificent with Michelangelo Buonarroti. The 'scientific' approach to the work is recalled by Ruggieri himself, who emphasizes the total control he had over the various stages having been surveyor, draughtsman, engraver and responsible for the critical choices of the architectures to be presented. In this last operation is contained the purpose of the project, namely to show the examples useful in resurrecting architecture: Ruggieri identifies the way, shared in the artistic environment of the grand ducal capital, in the Florentine experiences of the sixteenth century. The Studio remained an important reference in 18th-century Florence.