Why the Hôtel des Invalides is more than a mausoleum

In the 7th arrondissement of Paris, you will find the Hôtel des Invalides. Reference could be made to the Musée de l’Armée due to the large military museum that is part of the vast complex. The Hôtel des Invalides dates from 1670s. Built close to the banks of the River Seine and in what appears to be military precision, the complex was commissioned by Louis XIV and designed to provide a sanctuary for the wounded and aging soldiers.

I had made my way to the Hôtel des Invalides as I was interested in visiting the tomb of Napolean Bonaparte (Napoleon I). Surely, he was an important person not only in France’s history but that of Britain as well. I dread to think how many times I have watched the TV series ‘Sharpe’ and ‘Hornblower’ which portrays tales of this period.

My visit to Hôtel des Invalides proved to be a thoroughly educational visit. I hope that this full-on history lesson doesn’t bore you. It certainly fascinates me. Names of key figures in France’s history are discovered and help form an understanding of France’s intriguing history. Join me as I explore this incredible monument in Paris.

Origins of Hôtel des Invalides

In the 17^th century, France was ruled by a certain Louis XIV (B 1638; d 1715). Louis XIV was known as the Sun king and was head of Europe’s greatest army. I’m sure more detailed discoveries will be made when I visit the Versailles Palace – Louis XIV is inextricably linked with this palace.

Louis XIV was fully aware of the sacrifice that the soldiers of France had given to guard France that he wanted to build them a hospital and retirement home. The site first opened in 1674 with a hospice, barracks, convent, hospital and factory.

By the time the building works were completed in 1676 the façade fronting the River Seine spanned an impressive 196m (try capturing that on camera!). Entrance is made through the archway in the middle with Louis XIV proudly carved in the brickwork at the top along with the words, ‘Louis the Great, providing for his soldiers by royal bounty’. The original designs are credited to Libéral Bruant and needed not only to be practical but aesthetically pleasing.

Part of the complex of buildings is the Cathedral of Saint Louis des Invalides. An interesting concoction, this is a church (later cathedral) and a royal chapel combination. The dome on top of the chapel is a striking part of the Parisian skyline which appears to draw everyone to investigate the rest of the building on which it sits. The Cathedral was finished after Bruant’s death in 1697 by Hardouin-Mansart. Louis commissioned Mansart to build a separate private royal chapel. The iconic golden gilded dome chapel was finished in 1706.

Saint Louis Cathedral

As cathedrals go this one, in my opinion, seems rather dull and bland in appearance. I only find one fascinating item to view – the flags that are hung from the top of nave. These flags were captured by the French army in various wars and conflicts throughout its history.

The cathedral is dedicated Saint Louis. Louis IX was a former King of France from 1226 to 1270 and the only French king to be declared a saint. Pope Boniface VIII proclaimed the canonization of Louis in 1297. Louis built the Royal Chapel – Sainte-Chapelle – in Paris. It is a miracle of medieval engineering and a wonderful building more of which I will discover later this trip.

Saint Louis Cathedral is part of the Roman Catholic church and was built to allow the soldiers to attend mass. In 1957 the position of vicar was created to look after the spiritual needs of the army. In 1986 the position of Bishop of the armies was created and established within the church and, with it, the church became a cathedral.

The soldiers who attended mass were to be kept away from royalty which is where the dome chapel comes in. The whole building is split into two separate sections – the cathedral and the dome chapel. A large piece of glass creates clear separation between the two structures. Entry is free to enter the cathedral, but the dome and Napolean’s tomb is part of the paid ticket for the whole site. I assume this is the reason for the clear segregation between the two remains.

The Dôme des Invalides

The Dôme des Invalides was the tallest structure in Paris until the Eiffel Tower eclipsed it and took the title. Externally the gold leaf that covers the dome adds a touch of opulence in keeping with Parisian architecture. It symbolizes the grandeur of the French monarchy. Internally you will be greeted with a stunning display of Baroque artistry. The frescoes that seemed to have been forgotten in the cathedral grace the ceilings of the chapel. These are the evidence of the clear divide between royalty and veterans.

This part of the Les Invalides complex houses many tombs. One of particular interest is that of Turenne. Turenne was a ‘Marshal of France’ (the most illustrious rank in French military) and was heavily involved in many of King Louis’ battles. This brought him great distinction, and he was buried among the kings of France in St Denis (former medieval abbey in northern suburb of Paris). Unlike the monarchs his remains were saved during the revolutions of 1790s.

Napolean admired Turenne and his military successes. In 1800 he decided that he should be buried in the church of Invalides. Napoleon wanted to turn the building into a pantheon of military worthies.

On a visit to the chapel, you will find other military tombs – the generals Bertrand and Duroc and the famous Marshals Foch (WWI) and Lyautey (Morocco). Also buried here are Napolean’s oldest and youngest brothers Joseph (King of Spain) and Jérôme Bonaparte (King of Westphalia).

Bringing Napolean back to the banks of the Seine

In May 1840 during the reign of King Louis-Philippe I, a bill was submitted to the Chamber of Deputies. The bill was for the transfer of the ashes of Napolean I from the island of St. Helena (where he had died in exile after his defeat at Waterloo) to the church of the Invalides. The bill passed by 280 votes to 65.

The frigate La Belle Poule was tasked with collecting Napolean I and brought him back to Le Harve where he transferred to the steamship La Dorade. He was then taken up the River Seine to Paris. On 15^th December 1840 a procession formed to bring Napoleon I in a chariot through the streets of Paris, under l’Arc de Triomphe and down le Champs-Elysées, across Le Place de la Concorde, and to Les Invalides.

Napolean I was received at the chapel in the presence of King Louis-Philippe I. This fulfilled Napolean I’s wishes he should rest forever, “on the banks of the Seine, in the midst of the French people he loved so much”.

The tomb of Napolean I

Directly underneath the dome in a crypt is the ostentatious tomb of Napolean Bonaparte – Napolean I. His final resting place is surrounded by scenes from history. Etched all around his red porphyry sarcophagus in the crypt are scenes of his famous victories. I’m unsure of how much Napolean would have known about its design but the completion of the tomb area is down to architect Louis Visconti who designed the tomb. Napolean I spent several years in the chapel of Saint-Jerome whilst Visconti completed his work, and his coffin was transferred to its present permanent location in 1861.

Entrance is made through a bronze door which was forged from canons taken at Austerlitz (Battle of the Three Emperors in 1805). Above the lintel is an inscription of Napolean I’s wishes to be buried among the French people mentioned previously. This access is permitted into Napoleon’s crypt where, halfway round, you will also see the tomb of his son Napolean II (1811-1832). He had been Prince Imperial of France and King of Rome from birth but only reigned as Emperor of France (disputed) for few days in June/July 1815. His remains were transferred to this final resting place on 15 December 1940, 100 years to the day after his father’s journey up the Seine.

Surrounding Napolean I’s tomb are 12 pillars. On each one are 12 different Victory statues by Pradier. Walking around the circular gallery you will be able to view ten white marble bas-reliefs by Pierre-Charles Simart which display different episodes from Napoleon’s reign.

Musée de l'Armée at Hôtel des Invalides

This is an exceptional collection of artefacts which takes you on a journey through France’s glorious military history. The museum was founded in 1905 and displays an impressive array of armour, weapons, uniforms and artwork.

The evidence of France’s military begins at the entrance to the museums. Canons are placed all along the perimeter. After getting your tickets checked you walk through the main arch and into Cour d’Honneur (court of honour). This is the largest courtyard in the complex and is still used today for military parades. At the southern end the spectre of Napolean I looks down over the parade ground in the form of a statue of the former military man. In the corner of the courtyard are 60 conventional cannons.

From the courtyard you can pick and choose which museums you wish to visit. The museums cover: ancient weapons and armour 13^th – 17^th century; the two World Wars; museum of Relief Maps; Charles de Gaulle Historical Society; Louis XIV – Napolean; Les Invalides – between history and memories. Then opposite the cathedral is one final museum which is referred to the Order of Liberation. Sadly, I didn’t visit them all.

Hôtel des Invalides Summary

I hope that this post may have inspired you to visit to the Hôtel des Invalides complex when in Paris. Galleries, a chapel and courtyards are the backdrop to a fascinating insight into French history. Its idyllic setting on the banks of the Seine commands your attention. Towering above the complex of buildings is the golden dome which is such an attractive beacon in the Parisian skyline. More attractive than the Eiffel Tower? That I’m sure is a debate for another time….

This museum complex delivers so much more than I had anticipated. Serious time and dedication must be given to this place, more than I planned or managed on my visit. The museums house a wonderful collection of military artefacts – I think I read somewhere that there are over 500,000 of them.

With blinkers on my sole focus was on visiting was on the tomb of Napolean. The grandeur of the golden dome and its military mausoleum beneath meant I was ignorant to the fact that this place is advertised primarily as a museum and not a mausoleum. Thank goodness I dared to enter some of the museums on the way out of the royal chapel. I’m sure other visitors, like me, fall into the trap of focusing all their attention to visiting the royal chapel and its historical connections.

The Hôtel des Invalides is more than a mausoleum. It’s so much more. My visit and subsequent research I hope shows the confusion between the Hôtel des Invalides (site) and the Musée de l’Armée (tenant). It is easy to forget this place wasn’t built as a museum but as a sanctuary. The architecture of the complex is just as impressive as the museums themselves. The Hôtel des Invalides and Musée de l’Armée go hand in hand in remembering France’s glorious past. Perhaps that should be the question on everyone’s email notification.

Where Next?

In trying to visit as many Parisian monuments as possible in a brief visit means mistakes are made, monuments missed, architecture not appreciated and gardens ignored. On this whirlwind trip it means that I also ignored the grounds, much to my chagrin. So, I leave the Hôtel des Invalides and head towards the banks of the River Seine and, just like the Palais Garnier, this a place to which I would return on another visit to the city.

I have made mention of the Palais of Versailles in the post, but I will leave that until I have exhausted all posts on Paris. Many people wrongly assume the Versailles Palais is in Paris. Sadly, it is not but it is a beautiful day trip from the city, much like Windsor is from London. In discovering the Saint Louis cathedral, I mentioned Sainte-Chapelle. This could be a possible next destination or, maybe, continue the Napolean theme and visit the l’Arc de Triomphe – let’s see which it is.

November 30, 2025November 30, 2025

Is Palais Garnier Paris’s most beautiful building?

The next stop on my meander around Paris was a visit to The Palais Garnier Opera House. Why, you might ask, when there are more illustrious places to visit? What about the Louvre? Arc de Triomphe? Musée d’Orsay? to name but a few. My visit to the Eiffel tower led me to discover Charles Garnier. Not a household name, but it was of particular interest that he was the architect of the Palais Garnier and one of the harshest Eiffel Tower critics. I went to see if there was any justification in his words.

Building Palais Garnier

The Opera House was commissioned by Napolean III during his reign as Emperor in the second French Republic. Napolean III was the nephew of the first Emperor Napoleon I. He brought much wealth and prosperity to France through his authoritarian government. Much of the beauty of Paris that people love today is down to this member of the Bonaparte family and his prefect Baron Haussmann. These two saw the Opera House as the Jewel in their urban renewal of Paris.

A competition was opened for entries at the end of 1860 to build the largest theatre in the world. Out of 171 entries it was the design of unknown architect Charles Garnier that won the competition. 15 years were devoted to building the Opera House, which was briefly halted by the Prussian war. The war would bring an end of the Napolean III rule over France. He was exiled to Britain where he died in Chislehurst, Kent in 1873 (buried in St Michael’s Abbey, Farnborough some 15 years later), 2 years before the completion of his opera house.

And what a result. Beautiful. There is no comparison that can be made between the ugliness of the metal monstrosity to the magnificence of the Palais. There surely can only be one winner and his views are, in my opinion, justified.

Palais Garnier

Externally the building commands your immediate attention; internally it will take your breath away. Charles was clearly a well-travelled man, and he took inspiration from other eras of architecture. I’m sure there will be many more examples around the rest of Paris. The Opera house includes elements of the Renaissance, Baroque and Palladio architectural styles. The results are spell binding and fit for a king….. sorry, I mean Emperor. There are rumours that Empress Eugenie asked what style it was to which Charles replied, “Napolean III style”.

Avenue de l’Opéra

Walking down the Avenue de l’Opéra you will approach Palais Garnier. You will witness the façade on the south side of the building. The levels of detail are incredible – arches and columns perfectly and symmetrically aligned. Much can be learned from studying the façade. Of particular interest to me are gilded bronze busts of the great opera composers, Rossini, Auber, Beethoven, Mozart, Spontini, Meyerbeer & Halevy. Above them are the letters “N” and “E” for Napolean Emperor. At the top of the façade are two beautiful golden pieces – Harmony and Poetry.

Pavilion de l’Empereur

Head around to the western side of the building to the Pavilion de l’Empereur. Access is made into the opera house here. The design, though, was to provide the emperor and others with a secure and safe entry into the Opera house from their carriages. One of the main reasons for building the opera house was an attempted assassination by Italian Felice Orsini 1858 which took place on Napoleon III’s route to the old opera house. At the ticketed entrance is a statue to Charles Garnier.

Palais Garnier Grand Staircase

Stepping inside the Palais is a mesmerizing experience. The sumptuous and lavish decorations are something to behold. There is a sense of royalty, as marble, velvet, gold leaf, figures, cherubs, chandeliers, frescoes are used to opulently decorate the interior. The brilliance of Baroque architecture is on full display. There is a debate to be had I’m sure in a future post between this opera house and the rooms seen in Palazzo Vecchio and Pitti Palace in Florence, and maybe the Hall of Mirrors in Versailles.

To get to the incredible grand foyer first you pass through the sweeping steps of the grand staircase. Many a photo I’m sure has been taken on those steps. Breathtaking beauty surrounds you and good luck trying to capture that beauty without a person in the shot. Charles Garnier said it best when he proclaimed, “The Opera is the staircase”. Once you have dragged yourself away from the incredible marble staircase work your way in and out of the alcoves and network of corridors.

Grand Foyer

This is a room to rival many of the greats across Europe. Comparisons are supposedly made with the hall of mirrors at Versailles (I explored this later in this trip). I would say that comparisons could be made of the Palatine Gallery in Palazzo Pitti. Similarities between the Hall of Mirrors and the Grand Foyer are down to the use of windows and mirrors. The light pouring in adds to the architectural brilliance. The Grand Foyer was built as a meeting room for spectators during intermissions, and what a place to meet.

Impressive chandeliers gracefully compliment the beautiful foyer. Practical as well as decorative they hang from an incredible ceiling. The fresco ceiling by Paul Baudry pays homage to the history of music. The central fresco “The Triumph of Apollo” celebrates the god of music and poetry. Gilded decorations and gold adorn the walls, ceiling and columns. Neck ache is compulsory as this room is an architectural masterpiece and embodies the grandeur of the Second Republic.

Palais Garnier Summary

My opinions of the Eiffel Tower may have been controversial, but I would like to think we can all share common ground on the beauty and magnificence of the Palais Garnier. I’m not sure I will find a more beautiful building in the whole of Paris. The pictures will never do it justice; sometimes it is best to just stand and appreciate. For that reason, I would implore everyone to visit. Its lavish and opulent display seems a world away from reality.

Palais Garner is testament to the monumental achievement in architecture and design. Every detail has been thought about and account made. The grand foyer is the most impressive part of the complex. It is safe to say that I have more of an appreciation of this form of architecture than more modern structures which may be practical but lack character.

In my visit I perhaps didn’t capture the beauty of the place as well as I would have liked. This iconic venue demands a second visit. Dare to dream but a return to watch a live performance of an opera would be magical. Sadly, though, I think that I will only be able to watch a ballet here these days as the opera has moved into a newer build.

Having briefly touched on the Bonaparte family my next stop around Paris will be Hôtel des Invalides. A visit to St Michael’s Abbey, Farnborough (the photos on the internet makes it look great) is now a must!

November 23, 2025November 24, 2025

What is the fuss about the Eiffel Tower?

In my opinion I don’t see what all the fuss is with the Eiffel Tower. The iconic monument that pierces the Parisian skyline stands on the banks of the river Siene. It is famous across the globe and even has replicas in other cities. It has lured and seduced millions of people to visit, however, I can see why it was once called “a truly tragic streetlamp”.

It’s hard to disagree with this opinion as the hourly evening light shows give a different meaning to streetlamp. It might be more aptly named a comical lighthouse as thousands of lights adorn the outside of the structure, presumably to fit in with the ‘city of light’. It mesmerizes an easily pleased crowd. Crowds they certainly are, as they swarm around the tower and nearby neighbourhoods to catch a glimpse.

The Eiffel Tower is an “industrial eyesore” that towers above the city. At the time of building it was an architectural achievement and a record breaker. Many come to study its construction, its facets of engineering. Now it is even a beacon of romance. What was once an industrial wonder is now the symbol of Paris and a monument that literally must be seen by everyone.

Designing the Eiffel Tower

When Gustave Eiffel set about designing the tower, France was preparing to host the 1889 Exposition Universelle (also known as the world fair). This coincided with an important anniversary in the French calendar – it was 100 years since the French revolution. The aim was to display to the world France’s industrial progress with an architectural achievement.

This iron monstrosity wasn’t everyone’s cup of tea. Thoughts were raised about its potential ugliness, impracticality and dangerous construction. At the time of construction Paris was a city filled with prominent artists and writers. Their concerns were that the tower would take away from the city’s great treasures, Notre Dame, The Louvre, the Arc de Triomphe. As a result, Eiffel and his team kept returning to the designs, making necessary changes, adding decorative arches and getting government approval. The government approval for the Eiffel Tower was only for 20 years.

Construction of the Eiffel Tower

Construction of the Eiffel tower officially began on 28^th January 1887 on the Champ de Mars. Two years, two months and five days later the tower was completed on 31^st March 1889. 300 workers assembled the tower, over 18,000 iron pieces were used in the construction, and it is held together by 2.5 million rivets.

Upon completion the tower stood 312 metres high or, in old money, 1024 feet. The Eiffel Tower had become the tallest structure in the world, surpassing the Washington monument. It would lose its title of ‘tallest structure” in 1930 to the Chrysler Building in New York.

Public reaction

Some Parisians were not fans of the industrial eyesore. They felt it was an insult to the city’s classical beauty. I have referred to some of the terms used to describe it, “a truly tragic streetlamp,” “a hole-riddled suppository,” and “a ridiculous chimney.”

Shortly after it opened, a prominent group of artists and writers signed the ‘Protest Against the Tower of Monsieur Eiffel’ which was published in Le Temps. The group included Charles Garnier (I shall visit his masterpiece the Palais Garnier), Guy de Maupassant and William Bouguereau. I quote, “We protest… against the erection of this useless and monstrous Eiffel Tower… a ridiculous smokestack crushing Notre Dame, the Louvre, the Arc de Triomphe under its barbaric bulk.” Their views were not shared by everyone. An incredible 2 million people visited during the World fair, a number that is small in comparison to the 7 million who now visit the tower each year.

The tower was meant to be a temporary structure, but it had the last laugh as it outlived its critics. Eiffel, undeterred, dismissed the backlash. He compared his tower to Egyptian pyramids. “Why would something admirable in Egypt become hideous in Paris?”

Surviving World Wars

World War 1 broke out towards the end of the 20-year permit, and demolition seemed the likely option. The Eiffel tower, though, proved to be a secret weapon – a vital communications hub for French military operations. The Eiffel tower success persuaded the government to preserve the tower permanently and after WWI it was used for public broadcasting in 1921.

During the second world war Paris was occupied by Nazi Germany. In an act of resistance, French engineers cut the tower’s elevators’ cables to ensure that the German soldiers had to climb 1,665 steps to reach the top. Hitler wasn’t a fan of the tower (unlike recently visited Ponte Vecchio where rumours are that he instructed the bridge not to be destroyed). He ordered the tower to be demolished. Fortunately (and the jury is still out on this choice of word), his command was never carried out or aborted as allied forces arrived.

Eiffel tower today

Visiting today is a scene of chaos in and around the tower. As the masses surround the tower, the pandemonium is palpable as excited humans try to work out where to go – it could be the perfect scene from ‘Oliver’. This simmering pot of excitement is the perfect place for pick pocketers and scammers to ruin your experience. There is an alarming security presence which is a sad sign of the modern times as Paris and the rest of Europe grapple with potential terrorist threats. It is such a shame for a construction that in 1991 was declared a UNESCO world Heritage Site.

Cross the river and visit any other locations to capture the Eiffel Tower and you will have to embrace remarkable scenes. Tripods, cameras, make up bags, costumes, poses, wedding dresses, you name it, combine as amateur and professional photo shoots with the tower take place. It makes the ‘Pisa pose’ seem tame.

The Eiffel tower is the most visited paid monument in the world. Getting tickets way in advance is a must. The Eiffel tower is an expensive experience. Tickets to the top are around 36 euros per adult (at the time of writing). If you want a glass of champagne at the top that will set you back another 25 euros. Personally, a glass of champagne at the top was the last thing on my mind. The top of the tower was cramped, very high up and swaying in the wind.

Eiffel Tower Summary

Not everyone will agree with my slant on the Eiffel Tower (please do let me know in the comments – either way). Were we all the same, life would be rather boring. In researching for my post, I was surprised to find out that I’m not alone in my views which brings me some comfort.

The Eiffel Tower has certainly polarised opinion since the moment it was designed. Those opinions seem a little lost in the modern world as people follow rather question. If only we could go back in time, when the meaning of life was oh so different, topics of conversation were far ranging, art was viewed, architecture admired, culture was embraced, and history was learnt.

Now life seems to be a tick box exercise of visiting, posing for a picture, country counting and following the crowd. Spontaneity, chivalrous acts and romantic gestures seem a distant past. The Eiffel Tower seems broken in a world of too much tourism. Whatever charm it had appears to be lost. They say romance is dead, and the Eiffel Tower is, to my way of thinking, a site of a massacre as hordes of photo opportunity people suck the romance out of the air.

Don’t forget to notice Gustave’s tiny apartment at the top of the tower. It was interesting to find out that Gustave was involved in the creation of the Statue of Liberty in New York. My post on New York explains why I wasn’t a fan of that city. Gustave built the metal framework of the statue.

One of Gustave’s main critics was Charles Garnier. Charles was also an architect whose most famous work was Palais Garnier. This will be my next stop. Let us see if his criticism is worthy. I will leave with words from Gustave, “I ought to be jealous of the tower. It is much more famous than I am.”

November 16, 2025November 16, 2025

Why Volterra should be on your Tuscan itinerary

Volterra, a true and largely unknown gem of Tuscany, gives an authentic view of life in Italy. Volterra doesn’t disappoint. It has a timeless charm, displays the full range of Italian history, and has a peaceful serenity that pleads for my return. The dreamy Tuscan town is perched on top of a hill, with stunning views of the Tuscan countryside, and on a good day you can see the Ligurian Sea. Volterra is certainly off-piste.

Volterra is a location many don’t know about as I’m sure many ignore the beauty of this place and opt for a visit to the more famous San Gimignano, for example. Ignore might be a wrong choice of word – blissfully unaware is more apt a description. Their loss is most definitely my gain, although I wish I had given more time to the place.

When planning any trip to Tuscany it certainly doesn’t appear (or, in my case, didn’t) high on a list of places to visit. Florence, Pisa, Lucca, Sienna, San Gimignano etc. all lay claim to showcase the beauty of Tuscany. Whilst that list is impressive, and each one has their own claim, Volterra edges itself to the top of the list.

Arriving in Volterra

The long and winding road to Volterra meanders its way along and up to the top of a ridge. The town is perched on top of this ridge. As I leave the wet and rainy main road at the bottom, my view is obstructed by the low and dense clouds stuck to the hill like candy floss to a stick. But as I climb out of the clouds I have arrived. I quickly park the car and dash to the iconic viewpoint next to Piazza Martiri della Liberta.

The view is spectacular! A blanket of cloud sweeps across the Tuscan countryside trapping what is to view beneath it. The only blemish is another ridge in the distance just popping its head out. Volterra is bathed in sunshine and surrounded in blue skies. The contrast is stark. The Tuscan houses add a splash of colour as they radiate in the scorching sun.

I finally drag myself away from that glorious view and head towards Piazza dei Priori, a short walk from my starting point. The piazza is the medieval heart of the city and dominated on all sides by a combination of powerful civic buildings and palazzos. It is home to the city’s tourist information office which is the perfect place to grab a map, get some bearings and some helpful hints.

Piazza dei Priori – the heart of Volterra

The Palazzo dei Priori dominates the square, and you might say looks very similar in design to that of the Vecchio Palace in Florence. That’s because the Priori Palace is the oldest civic building in all of Tuscany (built in 1208). It is said that it provided inspiration for the design of Vecchio Palace in Florence. I confess I didn’t pay the entrance fee (to my regret) to be able to step inside the building – a shame as it would have allowed me to climb the clock tower for rewarding views over the city.

The exterior of the building is a sight to admire. Heraldic shields adorn the outside wall on the square. These shields represent the Medici commissioners who were charged with overseeing the town. During the Lorenzo the Magnificent control of Florence, the Medici (or Florence at the time) captured Volterra in 1472 after an uprising over alum mines (not to be confused with aluminium mining).

On the other sides of the square are the Palazzo Pretorio and the Torre del Porcellino, the Palazzo Vescovile (once a grain warehouse) and Palazzo Incontri. The square itself was rather peaceful on my visit. The glorious weather, though, was enticing me to explore the rest of the town. So, armed with my map, I set off in haste.

Cathedral of Santa Maria Assunta and the Baptistery

The city’s civic buildings were built close to the cathedral. As home to the powerful bishop these demonstrated the municipality’s supremacy and autonomy. I walked around the back of the Priori Palace to Piazza San Giovanni. This small and compact little square was dominated by the small and charming cathedral on one side and the baptistery on the opposite side with the ambulance station and the former civic hospital on the other two opposite sides.

The appearance of the cathedral is very basic. Plain and simple from the outside it shows its age with Romanesque / medieval architecture. Inside, similarities to the Cathedral in Pisa are on full display. Tall pillars line either side of the nave with rounded arches on top. There is a distinct lack of windows. The ceiling is decorated with a coffered ceiling (a decorative ceiling of sunken panels or coffers). Approval for this was granted by Ferdinando I de’ Medici in 1580.

Inside there are impressive pieces of artwork which include ‘Martyrdom of St Sebastian’ (Francesco Cungi – 1587), Wooden sculpture of the Deposition of Christ (Tuscan – 1228), ‘Birth of the Virgin (Francesco Curradi – 1618).

On the other side of the Piazza is the Baptistery. The black and white polychrome decorates the outside of the building. Inside is a vacuum of silence. The basic structure dates to before 1000 AD

Piazza Marcello Inghirami

After visiting the cathedral, I make my way to Piazza Marcello Inghirami to discover Cappella della Croce di Giorno. Whilst here I discover one of the old city gates – Porta San Francesco. In my haste to get here I completely miss Porta all’Arco which displays one of the main pieces of evidence of Etruscan period. Just as I arrive at the piazza, I notice the Chiesa di San Lino.

Chiesa di San Lino is named after the second pope of Christianity (Linus). It was built in 1480 by Raffaello Maffei. A single nave structure is very dark, intimate and private. It had connections with the adjoining monastery. The vaulted ceiling is decorated with frescoes.

After leaving the church I walk into the piazza. Immediately I notice a monument of two ladies. Unable to translate Italian, I had to cheat and use the internet. The limited research available tells me that these are monuments of Sante Attinia and Greciniana by Flavio Melani.

In the piazza at the top of some steps is Chiesa di San Francesco (namesake with the gate) with the beautiful Cappella della Croce di Giorno (Chapel of the Cross of Day) inside. This church, like the cathedral, is hardly recognisable as its simple nature is camouflaged in the surrounding buildings. The stunning chapel inside dates to the 13^th century with a remarkable set of frescoes. These were completed by Cenni di Francesco in 1410 and depict Christ’s childhood, the life of Madonna and the Cross.

After admiring the impressive gates of Porta San Francesco I skirt around the town to one of the city’s famous sites.

Roman Theatre

The glory of Rome is on full display at the Roman theatre. Excavations in the 1950’s discovered the theatre. It was built around 1^st century BC during the reigns of Augustus and Tiberius (recently mentioned in Rimini) for the Caecinae family. By the end of the 3^rd century BC the theatre was abandoned, and thermal baths were built instead.

The theatre uses the natural incline of the hill to create the seating area – like those built by the Greeks. The thermal baths were added after the theatre was no longer used. They date to the late antiquity period. During medieval times the city’s wall was built through the middle of the site.

A visit is a must, although brief as access is restricted to a few certain areas. Information boards provide lots of information. It’s debateable whether to pay the entrance fee as the views from the surrounding area and pathways do provide good views of the ruins (without the information boards!!).

The Roman theatre isn’t the only ancient ruin in the city. Leave behind the Roman theatre and enter back into the city through Porta Fiorentina (another city gate – the Medici coat of arms sits above the gates), and head along Via Guarnacci past the Toscano Tower and Chiesa di San Michele Arcangelo back towards the city centre. At the end of Via Guarnacci pick up Giacomo Matteotti then Via di Castello.

Medici Fortress

You enter the Enrico Fiumi Archaeological Park, a pretty garden area in the city. Tucked away in one corner is the Etruscan Acropolis archaeological site. Sadly, this was closed by the time I arrived, but having looked at the reviews on internet I may have saved myself a few pennies. The feedback on the internet is that the site isn’t that impressive.

Leaving the ruins aside turn around and a view of the commanding Medici fortress awaits. This fortress fully displays the power of the Medici. The tower of the Medici fortress stands behind strong walls.

Sadly, after much walking around, I discover that access is not permitted to the fortress as it is still used as a prison. Admiration must be from afar with the internet providing the information and knowledge. Research tells me that the fortress was built in 1474 on the remains of an old fortress. Built two years after Florence had conquered the city, it was built to display the stranglehold the Medici had over the city and discourage any future rebellions and not for the protection of the city.

I leave the park and castle view and head off to find my accommodation (Hotel La Locanda) and a good Tuscan meal for the evening.

Volterra summary

For those wanting to avoid the crowds then this is the place to visit. Situated high above the clouds it offers spectacular views of Tuscany. It passes the Italian history test as evidence of all the great periods of the nation’s history are on display.

Evidence can be found of the Etruscan and Roman early settlement in two archaeological sites. There is a scattering of medieval architecture. Although not clear to begin with, the Medici family leaves its mark, their tentacles really do appear to spread far and wide. The charming city on a hill is a wonderful discovery; I hope I have inspired you to visit. It is certainly a place I would love to see again.

November 9, 2025November 10, 2025

More to Pisa than the iconic ‘Leaning Tower’

Pisa – city in Italy – Tuscany

Piazza del Duomo – square of miracles

To many a visitor, Pisa is the place to pose. I start my visit to Pisa at the iconic tower which is Italy’s famous landmark. It certainly draws a crowd. The cobbled walkway between the tower and the rest of the city is a sorry state of exuberance. Crowded with wannabee influencers, they fight for a space, which hopefully excludes others from their shot.

Flaunting their search of potential Instagram fame or becoming the next viral sensation is the name of the game. As poses are engineered and the weary photographer is often sent back to take another shot from a different angle, it is hard not to fall into the trap of copying the latest photo trend. But sneak away from the obsessive self-gratification and you find there is more to Pisa than a photo op.

I would hate to guess at how many people just visit to “get that picture”. Can you say you’ve really visited if you haven’t climbed the tower? Spontaneity is a distant memory these days; turning up on a whim is a fool’s dream. The ease that pre booking gives you is stark contrast to the mayhem of people queuing and trying to get tickets. Some leave with the satisfaction of climbing the tower and visiting the cathedral. Others you imagine are equally satisfied with their picture!

Tower of Pisa aka ‘Leaning Tower of Pisa’

The tower is a real tick in the tourist checklist. Climbing the 294 steps up the tower is surely a must! Even without it’s lean the tower is rather impressive. The tower was built to house the cathedral’s bells and is unusual as it is set completely apart and to the rear of the cathedral.

There are some similarities between the ‘Tower of Pisa’ and Giotto’s campanile in Florence. Building began on the ‘Tower of Pisa’ in 1174 by Bonanno Pisano. Work came to a halt when the tower started sinking into the ground before it was finally finished in the 14^th century. The belltower is home to 7 bells. Walking around the lopsided top floor is a weird sensation. The view, though, is richly rewarding and shows impressive views of both city and cathedral.

The blogs of my meanderings have often mentioned a cross like shape when visiting cathedrals. When looking from above you immediately see the Latin-cruciform plan. The sheer size of the cathedral is impressive and immediately shows what the Florentines were competing against. Of the bell towers visited thus far around Italy (Bologna & Florence), is this the better one?

Pisa Cathedral – Metropolitan Cathedral of the Assumption of Mary

Construction of the cathedral began as early as 1064. Stepping inside shows more clearly the age of the building as examples of plain and simple Romanesque architecture are evident. Further investigation shows influence from around the world. Those influences come from the Moors, Byzantine, Islamic and Armenian cultures – a true testament of the diverse wealth created by the merchants during Pisa’s maritime republic.

Construction finished in 1092, and consecration took place in 1118. Enlargements took place over time until a devasting fire broke out in 1595. This took the roof off, damaged the entrance doors and many pieces of art. The doors seen today are not those of Bonanno but made by the artists of the school of Giambologna.

The pulpit in Pisa cathedral is incredible. Carved by Giovanni Pisano in 1302 and completed it in 1311. The pulpit is certainly elaborate with the carvings showing the main episodes of the life of Christ.

Pisa Baptistery of St. John and Camposanto Monumentale

Once you have completed visits to the cathedral and its famous tower take the time to explore the two other points of interest that may be seen on purchase of a full ticket – the largest baptistery in Italy and the Camposanto.

The baptistery is perhaps best viewed from the outside where you will notice that the roof is unusual. The roof is split into two halves. One half of the roof faces the sea and is finished in rich red tiles that glow at sunset. The other half is covered in lead and catches the rays of the rising sun. It’s hard to believe but the baptistry is taller than the leaning tower.

Inside the baptistry is rather plain and simple. 12 columns which represent the 12 apostles tower up to the upper gallery which is the best place to listen to acoustics of melodies that are performed daily. Also, on the upper floor, there is one window which offers a fantastic view (and perfect photo spot) of the cathedral front and tower behind.

Less visited of all the 4 sites is the Camposanto Monumentale (monumental churchyard). Inside you will find evidence of medieval paintings and sculptures. It was also decided that the Roman coffins should be housed rather than randomly scattered around the Duomo. Built in 1276 at the behest of Archbishop Federigo Visconti the architecture is outstanding. Legend has it that the churchyard was built on a mound of soil brought back from the Holy Land in 12^th century.

Mura di Pisa – Pisa’s City Walls

After completing the ‘square of miracles’ take time to explore the rest of the city. From the square an alternative and more serene route is to walk the old city walls. Entrance is located just behind the Camposanto where a small entrance fee is required. The towering 11m high medieval walls provide a different and interesting perspective of the city. Along the 3km route there aren’t many points of interest once you leave the square of miracles.

The end of the city walk brings us out on the edge of the River Arno, the famous river that flows from its source in the Tuscan Apennines through Florence and now Pisa. On this fine day its simmering reflections greet us with our weary limbs as we head to the city centre in search of refreshments. Our exhaustion and lack of time mean visits are not made to some of the interesting and historical places along the river. The Medici family villa was easily recognisable on the other side of the river as we walked past. You shouldn’t ignore Chiesa di Santa Maria della Spina – sadly it wasn’t open when we passed.

Medici in Pisa

Pisa is often referred to as the other Medici capital. In the winter they would hold their court in the city. With hindsight I should have acquainted myself with details of the influence the Medici family over the city before the visit and should have dedicated more time to explore this part of their history.

We stop close to the Logge dei Banchi, formerly Logge dei Mercanti or del Buontalenti, which was built by Grand Duke Ferdinando I de’ Medici in 1606. The Medici coat of arms is emblazoned on the outside of the building. We then cross the river and head back into the city and back towards the square of miracles.

Directly opposite us on the other side of the river is Piazza Garibaldi which, as you guess, is named after the statue of the general who played a key role in the unification of Italy. This is another major part of Italian history I need to learn about. I can recall seeing his statue in Bologna and now Pisa – evidently, he was a man of clear importance in Italian history.

We meander our way along the streets in a northernly direction. Having no plan and getting lost is part of the fun. Did you know that Pisa was the birthplace of Galileo Galilei? His grave was discovered in Santa Croce in Florence. Somehow, we stumble upon a statue to Ferdinando I de’ Medici who invested much into the university of Pisa. Further evidence of his involvement with the university was seen when a noticeable doorway was discovered of Ferdinando. The Medici coat of arms is noticeable across the city.

Piazza dei Cavalieri

There is evidence of the renaissance in the beautiful Piazza dei Cavalieri. The second most famous piazza in the city is also known as ‘knights square’. A commanding presence in the middle of the square is a statue of Cosimo de’ Medici. The square is surrounded by beautiful buildings which were designed by Cosimo’s architect Vasari. As time has beaten me, I leave through the Piazza through the archway of Palazzo dell’Orologio head back to the square of miracles.

Pisa Summary

I leave Pisa exhausted from a long day walking and exploring. Treading the beaten path can be frustrating and exasperating. Trying to find the untrodden path always brings much joy and reward. The fine weather of course helps.

For me, there is a lot more to Pisa than meets the eye. I’m grateful that I didn’t just come to Pisa to see the tower and get a picture. I can leave knowing that I climbed to the top, visited the cathedral, baptistery and Camposanto Monumentale. Most of all I’m proud to have explored further the beautiful city of Pisa and what it had to offer. I’m fast learning that my fascination with the Medici family shouldn’t be isolated to Florence, and why should it? After all they were the Grand dukes of Tuscany and Tuscany is larger than Florence. I shouldn’t be surprised to find evidence of the Medici influence in each place that I visit in Tuscany.

Pisa supposedly has a rich maritime history, which is hard to believe as not one boat or harbour was seen on my visit. Further exploration is clearly required. It is hoped that such explorations will provide the valuable information to be able to write about the city in full detail and cover its history.

Let’s see what other delights Tuscany has to offer and how far the Medici influence spread.

November 2, 2025November 8, 2025

Rimini, City in Italy, Emilia Romagna

Rimini has two stories to tell. To us Brits it isn’t a household name but to the Italians it’s the place to ‘summer’ and the search for ‘La dolce vita’. Now, as British Airways offered a direct route to Rimini during the summer, it was a chance to experience why people flock from all over the country to enjoy ‘the good life’ on the sandy strip.

Rimini’s famous beaches

Early in the morning the calm waters of the Adriatic Sea are heavily populated with locals searching for marine life (I assume to catch and then to consume). It certainly provided a fascinating watch as I enjoyed our morning stroll along the water’s edge. I was impressed and not a little curious by their desire for food and engagement in the activity. The gentle water was only disturbed by the Splish splash of my walking feet or the thrust of their ‘fishing’ sticks.

Up above, the cloudless blue skies set the scene for the day ahead as the lonely yet powerful sun beat down and warmed the body. Colourful umbrellas and loungers are lined in military precision along the beaches. There is an eye watering fee commanded for their use, but people must be prepared to pay. Every now and again the line is punctuated by a lonely lifeguard hut.

The stifling air is disturbed by the playful sounds as children awake from their slumber and participate in the entertainment provided in the tourist trap. Modern establishments overflow the nearby promenades enticing everyone in.

Scattered in between the shops are many differing and inviting drinking and eating establishments which, at nighttime, come alive. Rimini’s nightlife reputation is even evident before the sun sets at this time of year. The local hospitality is on full display, as bars become attractive meeting points and music beats out. The sleepy slumber of the day seems a distant past as the promenade resembles a jamboree.

More to Rimini than the beach

For those seeking something more interesting than the ‘eat, rave & repeat’ seek out Rimini’s historic centre. This is a city that offers a lot more than you expect and the perfect spot to explore the eastern parts of the Emilia-Romagna region. Rimini alone is worth exploring if you can drag yourself away from sunshine slumber.

The historic city centre displays all the great periods of Italian history. It was founded as a colony by the Romans before the Malatesta dynasty ruled over the city. Latterly the city has been transformed into a tourist destination. Great efforts have been made to rebuild the city after 90% of the historic centre was destroyed in the Second World War (WWII) bombings.

Getting to Rimini

For those staying by the beaches there is good provision of local public services connecting to the historic city centre. There are cheap bus routes which are easy to navigate. The city also has its own railway station which connects to Bologna which in turn connects to the rest of Italy.

For those flying in from Britain there is a choice from British Airways, EasyJet and Ryanair flights. The airport is small and dated but serves the area including the country of San Marino. If I’m lucky enough to return an opportunity to explore another country must surely be taken.

Roman Rimini

Rimini’s historic city centre is small and easy to navigate on foot even during the hot summer sun. Leaving the bus stop we walk into the heart of the city. On route we pass an archaeological site, which is evidence of the Roman occupation 2000 years ago. The discoveries made confirm the owners name – Eutyches (this Greek sounding name suggests that he was Greek) – and some fascinating artefacts. The exceptional find includes around 150 surgical instruments and is referred to as the surgeon’s house.

Sadly, the site wasn’t visited, as it was closed at the time we passed by. The site can be seen through the glass walls. This was the first of a few Roman attractions the city has to offer. Running through the middle of Rimini is Corso de Augusto. Roughly in the middle is Piazza Tre Martiri and this Piazza was the heart of the Roman city established which was called Ariminium. At the northern end of the square is a large bronze monument of Julius Cesear pointing in the direction of Rome. It is said that he uttered his famous words “the die is cast “(Alea iacta est) at this very spot before ordering an attack on Rome.

At the Northern end of Corso de Augusto is the impressive Tiberius Bridge and, at its Southern end, the triumphal Arch of Augustus. I focus on these two Roman Rimini sites on this whistle stop tour of the city.

Statue of Julius Caesar in Piazza Tre Martiri

Bust of Luigi Ferrari in front of Surgeon's house

Tiberius Bridge

Commonly known as ‘Tiberius Bridge’ it saw its foundation stone laid in the reign of Augustus (reigned 27BC – 14AD) in the year that he died. It took 7 years to build and was completed during the reign of Tiberius (reigned 14-37AD). As a result of this work Rimini became a principal junction in the Roman road system of Roman Italy. The bridge is built out of Istrian stone in a Doric (the oldest and simplest of the Greek architectural orders) style. It consists of 5 arches which span across the ancient Marecchia basin.

Arch of Augustus

Often referred to as Arco d’Augusto this was constructed in 27BC for Rome’s first emperor. The archway, like the bridge, is so important to the city, that it has become a symbol of Rimini. This has resulted in the arch appearing on the city’s coat of arms.

Renaissance Remini

There are two other areas (the castle & temple) that I found of historical significance in the city. They’re associated with the Malatesta dynasty that ruled over the city from 1295 to 1500. The Malatesta’s position of power came through the wars between the Guelf and Ghibelline in the 13^th century. Malatesta da Verucchio managed to kick out the Ghibelline leaders and became lord of the city in 1295.

Before they lost support of the city and had to flee in 1500, Sigismondo Malatesta ruled it. This time coincided with the junior line of the Medici family of which I found out much in Florence. Sigismondo built the castle that sits within the city centre along with building a mausoleum that was not finished.

Castel Sismondo

The castle was named after the city’s greatest renaissance lord Sigismondo Pandolfo Malatesta. Construction began in 1437 and took 15 years to complete, with the first inhabitants moving into the fortified residence in 1446. Filippo Brunelleschi provided advice regarding its defences. Its location was important as it towered over the seats of civil and religious power.

The castle seen today is a smaller version of the original. After Sigismondo’s death, the end of the family dynasty was approaching as was the growing power of the papacy.

When Cesare Borgia marched on the city in 1500 it became part of the papal states. By the 17^th century profound changes were made to the castle – the towers were lowered, walls demolished, and the moat filled in, etc. Looking at the castle now, it’s incredible to think of the actual size it once was. The square towers look a formidable sight even now such that it is difficult to imagine how intimidating they once were.

Its last major use was as a prison from the 19^th century through to 1967, before a program of restoration began. Now it is home to Fellini Museum, which is dedicated to famous film director Federico Fellini who was born in Rimini.

Malatesta Temple

This is the unfinished cathedral church of Rimini commissioned by Sigismondo Malatesta in 1447. The cathedral is the finest example of the renaissance in Rimini. Sigismondo set about converting the Gothic style church of San Francesco into a burial chapel for himself, his mistress Isotta degli Atti and the Malatesta family.

The exterior part of the temple is the work of Florentine architect Leon Battista Alberti. Inside you can admire Giotto’s crucifix, frescoes by Piero della Francesca and reliefs by Agostino di Duccio. The church was never finished after Sigismondo’s death and the declining fortunes of the family.

The church suffered severe damages during WWII. Restoration works were completed in the 1950’s and a second set of works at the beginning of the millennium.

Sarcophagus of Sigismondo's ancestors and descendants

The grave of Sigismondo Pandolfo Malatesta

The Murales del Borgo San Giuliano

The final place we visited in Rimini was the charming murals in the San Giuliano area. Step across the Tiberius bridge and explore the vibrant and charming neighbourhood. Houses are awash with pastel colours with murals artistically painted on them. This is a community collaboration in honour of the city’s famous son (Federico Fellini), local legends and traditions, everyday life and historical narratives.

Rimini Hospitality

A trip to Rimini would not be complete without sampling their cuisine. We chose a restaurant in San Giuliano which served up a feast of local delights, seafood and pasta. On our tour of the city, we also stopped off in a wine bar in Piazza Tre Martiri where we sat and kept watch on Julius Cesear and had a coffee and cake in Piazza Cavour. Piazza Cavour is the city’s main square where you will find much architecture to admire whilst savouring your refreshments. In the middle is a statue of Pope Paul V but what his connection with the city is I’m not sure.

Rimini Summary

There is more to Rimini than its famous sandy beaches. The city is expanding its offering as efforts are made to show off its historic wealth. I, for one, would certainly like to return and explore the city in further detail – perhaps when the sun doesn’t shine so brightly!! Rimini has remnants from all the fascinating periods of Italian history which should appeal to all. Rimini offers excellent cuisine and hospitality which shouldn’t be ignored. More importantly it looks like a fine base to explore other parts of Emilia-Romagna region and the country of San Marino. I will be back for sure.

August 17, 2025September 13, 2025

Florence, Capital city of Tuscany, City in Italy

Florence is an iconic city known around the world as many people flock to visit her each year. It is the capital of Tuscany, which is one of 20 regions that form the country of Italy.

It is a city where its history is etched in its art and woven into its architecture. The city became the leading light in a new Europe after the darkness of the Black Death had pervaded it. This led to the birth of Humanism, which ultimately affected the birth of the Renaissance in the 14^th -16^th centuries. Much of this is down to the Medici family that saw an opportunity to build a dynasty. Each generation of the family were patrons of the arts and endowed much wealth into improvements to the city’s architecture.

The great beauty of Florence has left many a person in awe. Sore necks or even Florence Syndrome can be caused by the constant viewing!! Read on as I try to piece together Florence’s fascinating history, the characters that shaped the city and explain where the evidence for all this can be seen. This final blog on Florence (there are references to previous posts) is by way of summary of its history.

Florence Early beginnings

Originally founded by the Etruscans in the 6^th & 7^th centuries BC, it was supressed by Rome in 395 BC. Florence’s location was important as it was the only practical crossing of the River Arno as discovered in the post on Ponte Vecchio. The Romans saw the importance of the strategic location and as roads were built out of Rome, they knew that this location would provide access to Bologna and Faeza.

A military outpost was set up. This led to building of Roman structures like a theatre, spas, forum, etc. Sadly, there is little evidence of the Roman presence in the city although a visit to Vecchio Palace will allow you to see some Roman ruins (not accessible on my visit). The Romans named the city ‘Fiorentina’ meaning “flowering” (also the name of the city’s football team).

Florence in the Middle Ages

During the Middle Ages the city began to rise in prominence. It’s gold ‘Florin’ became the leading currency in the western world as Florentine banks established branches throughout Europe. This led to a war between Florence and Siena for control of Tuscany and the ultimate client the Holy See.

During 12^th and 13^th centuries the city struggled internally as factions who supported the Pope (Guelphs) clashed with those who supported the Holy Roman Emperor ((Ghibellines) – not to be confused with Rome – the emperor controlled most of central Europe before its defeat to Napolean and dissolution in 1806). The established banks in this period suffered an economic crisis in the 14^th century as loans made to European sovereigns were defaulted because of the 100 years wars leading to their collapse.

It was during these struggles that Dante Alighieri was exiled and wrote ‘The Divine Comedy’. Born in Florence, Dante still looms large over the city. His body isn’t buried in the city. A read of his books and a visit to his childhood home (sadly hasn’t been completed) would provide ample information on the man himself. Sadly, all I learnt about him was from the large statue in front of Santa Croce, his cenotaph inside, and his Death Mask house in the Palazzo Vecchio.

Arnolfo also started works on 3 iconic buildings within the city, Basilica of Santa Croce, Palazzo Vecchio and Cathedral of Santa Marie del Fiore. At the same time city walls were constructed to protect the people.

Cosimo de’ Medici (Father of His Country)

In the 15^th century the Medici family saw their opportunity and began forging their dynasty. As the Medici family was not of the aristocracy, it had to force their way onto to the scene. Their opportunity came after the banking collapse in the 14^th century as Cosimo secured the papal account to add to his expanding network of banks.

As their wealth grew, Cosimo built important alliances and patronages. He used these to control and rule Florence. His main passion was building. Evidence of this can be gathered all around the city of Florence. Brunelleschi’s dome, the basilica of San Lorenzo, the convent of San Marco, Palazzo Medici Riccardi, the Medici chapel in the Basilica of Santa Croce and a chapel at San Miniato were all beneficiaries of Cosimo’s generosity.

Cosimo surrounded himself with the geniuses of the time. Many of the artists and sculptors were assured of commissions but were treated like friends. Cosimo organised an extensive and methodical search for ancient manuscripts. These were brought and stored in his library. Cosimo opened his library and held meetings with great people of powerful minds as they discussed these manuscripts and ideas. This led to the birth of Humanism.

Lorenzo de’ Medici (the magnificent)

Lorenzo de’ Medici was grandson of Cosimo and son of Piero de’ Medici. He followed in his grandfathers’ footsteps. He was also a patron of the arts and letters, a talented poet, a skilled diplomat, and a great ruler. His diplomatic skills brought peace and stability across the Italian city states.

He married into Roman nobility when he married Clarice Orsini. As the banks’ funds were draining up due to poor decisions and lavish spending, he planned for a future by getting his offspring a foothold in the church. Most notable was his son, Giovanni, who would later become Pope Leo X. He survived the Pazzi conspiracy of 1478 when the Pazzi family tried to rule, but his brother Giuliano was murdered in the plot. Giuliano had an illegitimate son, who would later become Pope Clement VII.

Lorenzo’s love of art was confirmed in his court of artists. It was filled with the great names of the 15^th century renaissance. These included Piero, Michelangelo, Pollaiuolo, Verrocchio, da Vinchi, Botticelli, Ghirlandaio and Buonarroti. Evidence of their works are seen all over the city, most notably in the Uffizi Galleries, Galleria dell’ Accademia of Florence and The Bargello Museum.

Lorenzo the Magnificent among humanists and man of letters

Room of Lorenzo de' Medici called the magnificent

Lorenzo the Magnificent receives the tribute of the ambassadors

A gap in Medici Rule of Florence

After Lorenzo’s death in 1492, his son (Piero) would take control of the city. He is often referred to ‘the Unfortunate’ which is unfortunate in itself!! He was ultimately banished from the city after a failure in leadership. This led to a gap in the Medici rule as Niccolo Machiavelli (bust is seen in Palazzo Vecchio and grave in Santa Croce) was appointed senior official in the Republic. Artists would come in search of fame and fortune.

A man called Savonarola, an ascetic Dominican friar, led an uprising amongst the people and effectually created a republic. Savonarola held extreme views and spoke out against the corruption of the clergy and excesses of the Renaissance. This was mainly accomplished from his base in the convent in San Marco (a place yet to be visited in the city).

He encouraged bonfires to be lit to destroy luxuries. The biggest of these took place on 7^th February 1497 known as the bonfire of Vanities. Shortly after this the then current Pope, Alexander V, had him excommunicated. He was tried on charges of sedition and heresy. He was executed in Piazza della Signoria in 1498. He was only 46.

After Savonarola’s execution, Piero Soderini was declared Gonfaloniere of justice for life. I discovered his name in the room of 500 where he had instructed the two famous artists to paint scenes of Florentine history. He fled Florence after the Medici conquest of 1512.

During this time Lorenze’s son Giovanni was a cardinal to Pope Julius II. He used his close connections with the Pope to influence the addition of members of his family into positions of power. This was laid the groundwork for the future generations of the family. In 1513 Giovanni was elected Pope Leo X.

As head of Christendom, Leo X paid little attention to the church!! Strange, but true. Like his father he was more interested in the arts and letters. He drained the Vatican of its funds to support his extravagant patronage of the arts. He was so distracted by his patronage that he failed to pay sufficient attention to an unimportant monk by the name of Martin Luther but that’s another story. There are rooms dedicated to Leo X in Palazzo Vecchio.

Cosimo I de’ Medici (1st Grand duke of Tuscany)

Eventually the first grand duke of Tuscany, Cosimo, firmly restored the power of Medici rule in Florence. There is bold statue of him is the Piazza della Signoria. He became Duke of Florence at the age of 17 after his cousin Alessandro de’ Medici was assassinated. Cosimo was a strong and ambitious leader.

Cosimo reached out to Charles V (Holy Roman Emperor), who in exchange for Cosimo’s help against the French during the Italian wars, gave him the position of head of the Florentine state in 1537. He was elevated to the rank of Grand Duke of Tuscany in 1569 by Pope Pius V. Thus began the Medici hereditary rule that lasted until 1737.

Evidence of his rule is displayed all over the city as shown in previous posts. The decorations in the Palazzo Vecchio, the building of the Uffizi Gallery, Vasari Corridor and the purchase of the Palazzo Pitti.

Cosimo was a military man as well. Further exploration of Tuscany may provide evidence of his battles and what was built in Tuscany to secure the region. In Palazzo Vecchio in the hall of 500 the painting ‘Battle of Marciano’ is one of the 6 battle scenes that adorn the walls. This shows his successful battle over the city of Siena in 1555.

Cosimo married a Spainard, Eleanor of Toledo. Previous posts provide information about their time in the Palazzo Vecchio before they purchased the Palazzo Pitti.

Cosimo’s architect was a certain Giorgio Vasari. Cosimo commissioned Vasari for many projects and pieces of art. Evidence is all around Florence of their work. Frescoes inside the Brunelleschi Dome, the ceiling in the room of 500, remodelling and expansion of Palazzo Pitti are few that I have seen on my meanderings around the city.

Statue of Cosimo de' Medici in Piazza della Signoria

Portrait of Eleonora di Toledo with her son Giovanni

Further Medici rule in Florence

Medici rule continued until 1737 when Gian-Gastone passed away childless. He was the 7^th and final grand duke of the Medici family. Staring in the 16^th century the dates are – Francesco I (1574-1587), Ferdinando I (1587-1609), Cosimo II (1609-1621), Ferdinando II (1621-1670), Cosimo III (1670-1723) & Gian Gastone (1723-1737).

Each generation of the family continued the family’s legacy. Lovers of arts and science they commissioned major pieces of artwork. These were done to show the association between the family, religion and political control. A more detailed visit to the Palatine Gallery in Palazzo Pitti and Uffizi Gallery would show the artworks commissioned and collected.

A visit to the Medici Palace and other museums around the city would show more of the vast collection of art gathered.

During these years patronage was given to astronomer Galileo Galilei whose grave was seen in the Basilica of Santa Croce.

By the time the Medici rule came to an end the duchy was bankrupt.

Anna Maria Luisa de’ Medici, (1667-1743) who was the last in the family dynasty donated the Medici collections to the city of Florence. That was some gift.

Florence after Medici rule

After the rule of the Medici family, Florence was governed by the Habsburg-Lorraine dynasty. It was briefly interrupted by Napolean but their time came to an end in 1859. Florence then annexed itself to the new Kingdom of Italy. It was around this time that the facades of Santa Croce and Cathedral of Santa Marie del Fiore were completed. As the new Kingdom of Italy was being formed Florence served as its capital between 1865-1870. Sadly, during these years much of the city was altered. City walls were pulled down as urban expansion took place (walls remain around the edges of Boboli gardens).

German occupation during the later stages of World War II resulted in Ponte Vecchio being saved, mercifully, as all the other bridges were blown up to halt the allied advance.

I have discovered in previous posts how the river caused death and destruction in 1966. A total of over 100 people were killed along with huge amounts of damage to the city’s art. “Angels of Mud” (Angeli del fango) was the name given to the people who came from all over the world to try and save as much of the art as possible.

Florence Conclusions

Florence now is now a popular and a ‘must see’ tourist hotspot. A constant hub of activity as people arrive at the Tuscan capital. Maybe Anna’ de’ Medici didn’t foresee the vast appeal the city and her family’s art collection would have but we’re grateful to her act of kindness in leaving it to the city.

A visit to Florence can be incredible and frustrating at the same time. Is there such a thing as too many tourists? A visit to Michelangelo square at sunset or walking across Ponte Vecchio or general walking the streets will provide the reason for frustration. One wonders if such have discovered anything of the tremendous history of Florence, taken an open mind to artistic endeavours and enjoyed an open-air classroom.

I came to Florence for differing reasons; my knowledge on the city was sadly limited to a TV show. I soon began to realise than I needed to delve into the detail and return to explore this majestic city. Many books have been purchased and read to aid this thirst for knowledge. The result of this has been surprising.

My interest in and admiration of the arts has developed beyond recognition and perhaps set the pathway to future posts. My desire to learn has only been encouraged by my visits to Florence. The fire within burns ever brighter as further tours and visits of the surrounding area and rest of the country are planned. As I’m starting to find out, Tuscany is more than just Florence.

August 3, 2025September 2, 2025

Cathedral of Santa Maria del Fiore, Florence, Italy

The symbol of Florence! Often called the Florence Duomo. But to use its proper name the Cathedral of Santa Maria del Fiore. A precursor to renaissance Florence. Brunelleschi’s brilliance. A sublime statement. An architectural achievement. Superb and spectacular. The master of masterpieces. The crowning glory.

Florence was determined to be the leading city in Tuscany; it compared itself to former glory days of Rome. Florence, like other Italian cities (notably in Tuscany) was competing to build the largest, grandest and most impressive cathedral. Florence began work on its cathedral in the 13^th century after Pisa had started its cathedral in 1063 and Siena built its cathedral by around 1260. The Cathedral of Santa Maria del Fiore took over 140 years to build. The result definitely from the outside is breathtaking, the interior is open for debate. Join me as I explore the incredible Duomo of Florence.

History of Cathedral of Santa Maria del Fiore

On my meanderings I’ve discovered that during the medieval years much wealth poured into Florence. Trade in wool and an extensive banking system brought untold wealth to the city. As a result, the people of the city thought of themselves in a city similar to ancient Rome. They decided they needed the grandest church in Tuscany, to compete with the cathedrals of Pisa and Siena. At the time population of the city was around 100,000 people, and it was expected that they would all be able to fill the church when completed.

Construction on a new cathedral began on the site of the old cathedral of Santa Reparata in 1296, with the first stone laid on 8^th September. The renowned architect Arnolfo di Cambio was entrusted with plans and building the church. A familiar name from my meanderings around Florence thus far. His other building works I have discovered were the Church at Santa Croce and Palazzo Vecchio. Remember the tower at the Palazzo Vecchio is named after him.

How much of his plan was achieved maybe be minimal. His planned size a small comparison compared to the colossal size it finished. As he died 6 years after he started. Several architects were to continue working on the church after his death. This included Giotto, Talenti, Giovanni Ghini and Brunelleschi.

In the year 1366 a model was created to illustrate the shape and scale of the design. This was not to be altered. This was the plan, and they were going to stick with it. For all the plans made there was a major flaw. They didn’t account for how the Dome would be engineered and constructed. They hoped as time passed this problem would solve itself, through advancements in engineering and building techniques.

In 1418 a competition was opened to find someone who could build the dome. 200 florins was the winner’s reward. The winner was a certain Phillipo Brunelleschi. I will explore his plan in more detail when I cover the Dome later in the post.

When the dome was completed the Cathedral of Santa Maria del Fiore was consecrated by Pope Eugene IV on March 25, 1436.

The outward appearance that is admired today shares a similar tale as Santa Croce in that it wasn’t completed until the 19th century. The façade of the Cathedral of Santa Maria del Fiore is a neo-gothic masterpiece. It was designed by De Fabris. If you look closely, you will see that it is adorned by the greatest Tuscan artists. The external walls are covered in white, green and red marble.

Figurine on Cathedral of Santa Maria del Fiore

The façade of the Cathedral of Santa Maria del Fiore

Doors to Cathedral of Santa Maria del Fiore

Design of Cathedral of Santa Maria del Fiore

The cathedral of Florence is one of the largest churches in the world. The cathedral is a Latin cross design. The plan consists of a triple nave, where the main central nave is joined with adjacent smaller aisles either side. The aisles are separated from the nave by towering pillars. In this visit I’ve learned that the area between the arches is referred to as bay. The bays here are larger than normal, which creates a much more open feel to the nave.

The designers didn’t want the Cathedral of Santa Maria del Fiore to be similar to the cathedrals of the north, most notably in France and Germany. The Cathedrals in the north focused more on their vertical elements where Florence’s Santa Maris del Fiore placed an emphasis on horizontal elements.

Like all other churches and cathedrals, the nave stretches from the entrance (at the bottom of the cross) to centre of the cross. The High altar is located at the centre of the cross. To the north, south and east of the high altar is an arrangement of three apses. Each of the apses has 5 chapels. The design when looking from above was to suggest the form of a flower. With more time, I would explore possible links between the name of the cathedral (Our Lady of the Flower), with the city’s coat of arms (its emblem the Florentine lily) and the city’s name (“Florentia”, that is, “city of flowers”).

The inside of the cathedral I found to be a very dull affair, which is perhaps why I’m lacking in photos of the interior. There is a distinct lack of windows in comparison to other cathedrals visited here in the UK and the rest of Europe. I must admit that the sheer size of the nave is incredible to see. Thankfully I had booked tickets to the visit the Dome which would provide the best view of the fresco painted on the ceiling.

Saint James the Greater by Jacopo Sansovino

Brunelleschi’s Dome

The Done was built between 1420 and 1436. In the competition to find a suitable designer, Phillips Brunelleschi beat his longtime rival, Lorenzo Gilberti.

Lorenzo had beaten Phillipo in a previous competition to build the bronze doors for the baptistry. Brunelleschi was named the chief architect (capomaestro) in 1420 and would hold that position until his death in 1446.

Brunelleschi was a sculptor and architect who had left Florence after his aforementioned defeat in competition to Gilberti. He decided to explore and survey Rome. Here he gathered ideas and drew inspiration from Rome’s ancient buildings. In particular the Roman Pantheon provided him with the knowledge and ideas to succeed with his dome.

Brunelleschi’s design was a double-shell dome. The two domes working together but with separate purposes. The outer shell covered in terracotta tiles, would protect the inner shell from the elements whilst the inner shell would be used to support the outer shell. The inner shell spans the diameter and is self-supporting. He would use a unique brick pattern on the inner dome referred to as herringbone pattern.

Brunelleschi used a series of compression rings around the inner dome’s circumference. These were to stop the dome from collapsing. The gap between the two domes would act as a stairwell to the top. At the top of the dome is Brunelleschi’s lantern. This was another competition that he won though the lantern was not built until after his death. The 463 steps to the top are worth it for the panoramic views gained over the city of Florence.

Brunelleschi had to think on his feet during the construction process. The challenges must have been relentless. A masterful piece of work and engineering genius. It’s beyond impressive.

When climbing the stairs to the top of the dome, rest maybe taken at internal balcony. Here you can admire the ‘Last judgement’, a fresco painted on the inside of the internal dome. Cosimo and Vasari combine yet again for another incredible piece of Art. It was started in 1572. Completed at first by Giorgio Vasari (died in 1574 the same year as Cosimo) and finished by Federico Zuccari in 1579.

At 3,600 square metres the completed fresco represents one of the largest paintings in the world. Vasari worked with Cosimo’s literary and theological adviser Vincenzo Borghini. With around 700 figures used in the painting trying to understand its meaning would take some time that is unavailable as you must be at the top of the dome in a certain time.

It really is something to admire and admire you should. I was so taken back that I ignored the stained-glass windows at this level. There are eight drum windows, by Donatello, Ghiberti, Andrea del Castagno and Paolo Uccello.

Campanile di Giotto

The Italian lesson continues as I learn than Campanile means bell tower. Giotto is the name of the famous 13th century painter, whose artwork I discovered in the church at Santa Croce. Giotto began work on the tower in 1334, and just like Arnolfo di Cambio he died before he could finish the tower in 1337. The tower was completed in 1359 after Andrea Pisano and Francesco Talenti had continued the construction.

Giotto’s bell tower stands 85m high on a square 15m base. Giotto planned for the tower to be 115m in height but ultimately it was to fall short. 414 steps will get you to the top of the tower which provides a different perspective of the cathedral and another view of the city. The tower is a masterpiece of Italian Gothic architecture. A theme I’m starting to pick up when visiting churches and cathedrals around Italy has been the separation of a tower to house the bells.

Conclusions

Towering above the buildings of Florence the imposing Cathedral of Florence can’t be missed. Such a dominating structure draws the attention of all visitors to the city. Brunelleschi’s dome really is something to behold. It defies logic. I can’t recall a city where a building dominates its skyline as much as this cathedral. It really is the central focus.

My visit has provided me with an enhanced appreciation of cathedrals. I’m still dumbfounded at how they managed to build them. I continue to pick up the odd Italian word here and there to boost my meagre knowledge of the local language along with increased fascination of the arts. A visit to Florence Cathedral allows you to see some of the great work completed by so many famous names.

The visit has given fresh zeal to visit some more cathedrals. In order to see what the competition was, visits to cathedrals at Pisa and Siena are necessary along with some further afield that are larger than Florence cathedral. These include the Basilica of St. Peter in Vatican City, St. Paul’s Cathedral in London, the Cathedral of Seville and the Cathedral of Milan.

July 27, 2025September 13, 2025

Uffizi Gallery, Art Museum in Florence, City in Italy

The world-renowned Uffizi Gallery is home to an extensive collection of art, ancient statues and historical artefacts. Throw in names like Vasari, Leonardo, Raphael, Caravaggio, Michelangelo, and Botticelli and it is easy to see why it ranks so highly in Italy’s attractions, coming second only to the Colosseum in Rome each year.

Construction of the Uffizi Gallery was commissioned in 1560. Although the art draws you in, I’m equally fascinated by its origins and links to the Medici family. These links are perhaps unknown to many but provide a level of intrigue. Join me as I explore its origins and the vast and expansive collection of art.

Uffizi origins

I doubt many know that the Uffizi Gallery they visit today wasn’t built to display art. In 1560 the first Grand Duke of Tuscany (Cosimo I) commissioned the building of the “Uffizi”. Its original purpose was to house the administrative and judiciary offices of Florence.

My Italian lessons continue as I find out that “Uffizi” means offices. Cosimo commissioned his favourite architect (Vasari – remember the rooms in Palazzo Vecchio, the rebuild of Palazzo Pitti and the Vasari corridor) to design them.

To build these new offices, space was needed for the huge complex. Local buildings were pulled down which included the ancient and Romanesque church, San Pier Scheraggio. After Vasari’s death in 1574 the offices were completed in 1581 by architects Buontalenti and Parigi.

Cosimo also instructed that a corridor be built linking the offices and his new residence at Palazzo Pitti. In the post regarding Ponte Vecchio, I discovered that the corridor was named after the man who constructed it – the Vasari corridor.

The corridor took just 5 months to complete and was built to celebrate the marriage between Cosimo’s son Francesco to Giovanna d’Austria in 1565. When visiting the Palazzo Vecchio, you’ll discover that the courtyard behind the main entrance was refurbished by Vasari and decorated in time for their nuptials.

Francesco (Cosimo’s eldest son) was to become the next Duke of Tuscany after his father. He ruled the grand duchy from 1574 until his death in 1587. It was Francesco who decided to set up a private gallery within the Uffizi. This was to house the vastly expanding collection of statues and other precious objects belonging to the Medici family.

The location chosen was the top floor of the east wing. The main room of this private area was the octagonal room called the Tribuna, built by Bernardo Buontalenti in 1584. The stunning room is adorned with thousands of shells on the inside of the dome.

“Uffizi” a museum

Florence is so rich in art, and this is due to one person. This is because the last remaining member of the Medici family, Anna Maria Luisa de’ Medici (sister to the last male Medici Gian Gastone), signed the ‘family pact’. This was an agreement that was made with the new ruling family of Tuscany the Habsburg-Lorraine.

Anna was forward thinking; she saw the value in the art but wondered how it could attract the curiosity of foreigners. You might say she saw the future for the whole of Florence. Her stipulation in the pact was that the art and treasure collected by her family over the centuries should remain in Florence.

It was 16 years after her death that doors of the offices/gallery were opened to the public viewing under the instruction of Grand Duke Peter Leopold. So out of the original administrative offices was born the Uffizi Gallery Museum.

Adoration of the Child and archangel Gabriel

The Uffizi Gallery

Walking around the gallery is a breathtaking experience. I was immediately blown away by the incredible number of statues from Roman times. There are portraits of Agrippa, Nero, Antoninus Pius, Septimius Severus & Marcus Aurelius, to name a few. You could be easily confused, thinking you were in Rome and not Florence.

Whenever one visits a grand building, it is advisable to look up. The beautifully painted ceilings in the corridor of statues add to the majestic atmosphere. At the tops of the walls before the beautiful ceiling there is a fascinating collection of portraits. Some of the portraits look recognisable. Names on the portraits are in Italian. My Italian being non-existent, I would take a guess that some of the kings of England are on display.

The hordes kept piling in. Taking time to appreciate the display of paintings and statues was not easy nor, in the end, was it particularly enjoyable. I’m not sure when the best time would be to visit. I was sufficed with picking out bits of art and rooms that seemed to be ignored.

My fascination with the Medici family continued as I came across two portraits of the famous original members of the family – Cosimo the elder & Lorenzo the magnificent. Another name that has been discovered in these travels was Eleonora of Toledo. She also features in another painting.

Vasari Corridor

The Vasari corridor reopened at the end of 2024 after an 8-year closure. Access to the corridor is through the Gallery of Statues and Paintings. Tickets must be pre-purchased. To walk the corridor is a brilliant opportunity to follow the footsteps of the Medici family. Though bland internally it provides fascinating insight into history and unique viewing points of the city. It is approximately 750m long. The end of the corridor brings you out next to the Grand Gotto in the Boboli Gardens.

Uffizi Gallery Conclusions

Without doubt the Uffizi Gallery is a must see when visiting Florence. Though the rooms and corridors that house the art are impressive they are made so by the art that adorns them. A debate about the most impressive rooms in Florence would include mention of Palazzo Vecchio and Pitti Palace. Those in Uffizi may not be as high on the list.

That said, the collection of ancient statues is incredibly fascinating. It whetted the appetite to delve into Rome and Roman history.

The Cosimo and Vasari combine again to deliver a symbol of Florence. Though not their original plans I think everyone who visits fully appreciates the work.

So, the Uffizi can be put on a list of the great art museums around the world. The Vatican, the Louvre, the Rijksmuseum, the MET & the National Gallery, etc. could all lay claim to being the best art gallery. I will leave that debate for another day, or another post.

July 13, 2025September 17, 2025

Ponte Vecchio, Historical Landmark, City of Florence, Italy

Ponte Vecchio is one of the most iconic symbols of Florence. The beautiful bridge is translated to ‘Old Bridge’, but at times may have been referred to as ‘Florence’s bridge of Gold’. Overflowing with character, beautiful to view, etched in history and with a whiff of romance in the air, it draws the inevitable crowd.

My journey through Florence has taken me to churches, art galleries, restaurants and palaces. In my recent visit to Palazzo Vecchio, I learned, and you may recall, that ‘Vecchio’ means Old. A quick search immediately informs me that ‘Ponte’ means bridge.

Ponte Vecchio embodies the spirit of Florence. Its beauty, architecture, resistance, history, character and secret passage will all be explored in this blog.

Ponte Vecchio history

Ponte Vecchio crosses over the narrowest point of the River Arno. The River Arno is the largest river in the region and second most important river in central Italy after the Tiber. It runs from its source in the mountains close to the Tuscan and Emilia-Romagna border. The Arno flows across Tuscany to the Ligurian Sea at Pisa.

The Arno River, whilst I have always seen it looking peaceful in Florence, has an historic aggressive side to it. The river destroyed the original bridges when it burst its banks in 1333. That resulted in a new bridge being commissioned. The bridge took 5 years to be built and was completed in 1345. The bridge is an outstanding engineering achievement confirmed in that it still stands to this day.

Over the centuries Ponte Vecchio became a desirable meeting point, a place that has constantly evolved. Shops were constructed on the bridge to accommodate butchers, tanners, fish mongers, leather artisans, jewelers who plied their trade on the bridge which has always bustled with people.

The powerful Medici family has left evidence of its presence all over the city. Ponte Vecchio is no exception. I will explore this further in the blog, but Cosimo 1^st instructed his architect to build a “secret passage” that connected Palazzo Vecchio with Palazzo Pitti.

During World War II, when the German army was retreating from the British Army, Ponte Vecchio was not destroyed unlike all the other bridges in Florence. Rumours are that Hitler himself gave orders that the bridge was not to be destroyed. Instead, the buildings at each end of Ponte Vecchio were destroyed to halt the British advance.

In 1966 the Arno overflowed its banks. This tragic event killed over a hundred people and did so much damage and destruction to the city. Incredibly the bridge survived to tell another tale, so to speak, having been completely (shops as well) submerged under torrents of water.

Today Ponte Vecchio is now a must see for all visitors. The bridge is always packed with crowds. Romance sometimes feels in the air. It is a perfect spot to enjoy views of the River Arno and the City of Florence. Good are on sale in the shops. Although the gold trade may have diminished the sale of jewellery continues.

Ponte Vecchio Architecture

Taddeo Gaddi (a pupil of Giotto), it is believed, was designer and builder of Ponte Vecchio. Ponte Vecchio consists of 3 shallow segmental arches, a breakaway in design from the classical Roman bridge design.

The middle of the three arches is the largest with a 30m span and the arches either side spanning 27m. The 14^th century bridge is constructed out of stone. There are two islands in the middle of the bridge to support the arches. My research and studies teach me that these islands are often referred to as piers. They are connected to the riverbed by oak piles then surrounded by concrete and stone. The two piers feature triangular prows which assist in deflecting the river’s flow.

The bridge soon became the location of a medieval marketplace. One can imagine the frenzy on the bridge as ‘wheeling and dealing’ took place.

A byproduct of the marketplace was the smell of the goods sold there! Grand Duke Ferdinando I de’ Medici (1587-1609) was not happy with it and took merciless action. He sent the vendors away and instructed that the only shops allowed were goldsmiths and jewellers. Thus, the appellation ‘the bridge of gold’ was born. 48 shops grace the bridge. Trade is still common practice to this day, but only gold and jewellery are permitted there.

My research has also highlighted that the design of Ponte Vecchio may have inspired the ‘Pultney Bridge in Bath, England. Surely a reason to revisit Bath and explore the similarities. Both bridges just mentioned are part of 4 in the world that have shops across its full span on both sides (the other two being in Venice – Italy and Erfurt – Germany).

Benvenuto Cellini

Benvenuto Cellini was a 16^th century artist who started his career as a goldsmith and is honoured with a bronze bust sitting on a fountain in the middle of the bridge. Someone else I never knew existed! This educational journey makes that short lived.

An internet search informs me who he was. Not much of his work survives, which is perhaps why he is a little less known. He was a creator of a couple of famous pieces – the first one is a magnificent gold salt cellar made for Francis I of France, now in Vienna. Can’t remember seeing that in my visit.

The second is one that I have seen in Florence. This is the bronze statue of Perseus holding the head of Medusa. It now stands in the Loggia dei Lanzi which is very visible in the south corner of Piazza Signoria close to the entrance of Palazzo Vecchio.

Looking at Benvenuto Cellini and the River Arno

Vasari Corridor

The most eye-catching modification to the bridge came in the sixteenth century. Cosimo I de’ Medici instructed Giorgio Vasari to construct a corridor connecting Palazzo Vecchio and Uffizi Gallery with the Palazzo Pitti.

This corridor provided Cosimo and his successors (and their families) private access between their private residence (Pitti) and the city’s government building (Vecchio). The corridor was filled with paintings and busts of significant figures from Florentine history. This was done to show status, wealth and power.

The corridor recently opened after refurbishment and is very bland and empty, which is in stark contrast to Cosimo’s Walk. Access to the corridor is gained through the Uffizi Gallery.

View of Ponte Vecchio from Vasari Corridor

Conclusions

In conclusion Ponte Vecchio cannot be missed on a visit to Florence. Not many do miss it as it is always crowded with tourists. I prefer to view the bridge from different points around the city.

I found the Vasari corridor intriguing. How many know about the ‘secret passage’, I’m not sure.

Ponte Vecchio has played an important role in the history of the city, providing a path over the River Arno. The famous bridge has evolved over time, from a thriving marketplace to a refined, gold trading outlet.

It has withstood the power of nature and survived the bleak periods in the history of Florence. I’m sure it would have many stories to tell. My preference is viewing it from afar. Everybody flocks to Piazzale Michelangelo for a view of the bridge and city. The views here are stunning but I prefer to find a less crowded viewpoint.

My favourite so far has been in a nearby restaurant with an outside seating area overlooking the river. As I sip on some wine, the sun beats down and the bridge displays a kaleidoscope of colour. The golden moment is beautifully reflected in the peaceful Arno beneath. I ponder the need to revisit Bath to view a similar example. Then I consider if Ponte Vecchio is up there with some of the great bridges around the world. Maybe a different type of blog to write in the future.

July 6, 2025September 13, 2025

Palazzo Pitti, Art Museum, Palace in Florence, Italy

Following the visit to Palazzo Vecchio, Florence, Italy I looked to increase my Florentine knowledge. I headed off across the River Arno to Palazzo Pitti. My reasons for visiting were simple. At Palazzo Vecchio I learnt lots about the Medici family and was keen to expand my knowledge of the Medici family.

I must confess that my original discovery of the Medici family came from watching a TV series. The series certainly provided inspiration to visit and explore Florence but exposed major gaps in my knowledge of European history. The series focused on the first line of the Medicis in the 15^th century. The Medici family ruled Florence and, later, Tuscany from 1434 to 1737 (apart from two brief intervals). I have drawn a family tree to help with my learnings.

The TV series covers the establishment of the family dynasty in Florence, which left me with an impression that they came to an end after Lorenzo the Magnificent. How wrong could I have been?

It was with my ‘tail between my legs’ that I visited the Palazzo Pitti to enhance this knowledge. The Palazzo Pitti resides on the southern side of the Arno River. It feels slightly detached being away from the city centre. It is located at the foot of the Boboli hills. Read on as I try to explore the largest palace in Florence. As well as continuing my journey to find more about the Medici’s. Included in all this was a visit to the renowned Boboli gardens.

Palazzo Pitti History

The Palazzo Pitti , to this day, is named after its first owner Luca Pitti. There is much myth and mystery surrounding the construction of the original building. No records have been found. Rumours are that the original architect was Brunelleschi. Perhaps it was his pupil, Luca Fancelli, who should take the credit for its designs.

Luca Pitti was an ambitious Florentine merchant who supported Cosimo de’ Medici (the elder) in his government. This brought him much wealth, prosperity and influence. He commissioned a new personal residence, which was to rival the glory of the Medici palazzo. There was rivalry between Pitti and the Medici family. Pitti wanted to become the most powerful man in Florence. Luca saw his opportunity when Cosimo passed away. He was unsuccessful in a coup to murder and overthrow Cosimo’s son Piero. Luca Pitti was pardoned by Piero (almost unbelievable) after his failed coup and before he died in 1473, 9 years after Cosimo. The building remained unfinished but still in the Pitti family. The Pitti family no longer reaped the rewards of their close association with Cosimo, ran into financial difficulties and had to sell.

As I found out at Vecchio Palace, Eleonara di Toledo purchased the Palazzo Pitti in 1549. Her husband was Cosimo I de Medici. The palace was purchased as a family home as they were struggling with living in the Vecchio Palace along with their 8 children. Cosimo instructed his architect Vasari to enlarge the building, making it worthy of a Ducal Palace. This included a programme of renovations and modifications. Cosimo’s second son, Duke Ferdinando I, and his wife were the first ones to live within the palace. Their son Cosimo II married Maria Magdalena of Austria. She brought a vast collection of art with her as part of her dowry. This was a great addition to the Medici collection. Cosimo II also regularly purchased art from Rome. It was clear that each Duke from the Medici line followed the previous incumbent as the collection grew. The paintings were stored in different parts of the palace. At the same time the grounds and gardens were enlarged.

The Medici line came to an end in 1737 (see above). At Palazzo Pitti I discovered that the Medici title ‘Grand Dukes of Tuscany’, passed to the second dynasty to live in the palace, that of the Austrian House of Habsburg-Lorraine. Their occupation of Palazzo Pitti was disturbed for a few years by Elisa Bonaparte taking possession after the French invasion. After the fall of Napolean, the Vienna congress returned the palace back to the Habsburg-Lorraine family. The family continued the renovation of the palace. They also organised the vast art collection. Like their predecessors’ passion, they continued collecting art whilst commissioning more pieces of art and décor throughout the palace. It was this family that opened the palace as an art gallery..

As the Habsburg-Lorraine dynasty came to an end in 1860, so did the Grand Duchy of Tuscany shortly after. Tuscany came under the control of the House of Savoy, the third and final dynasty to live in the palace. It was at this time that Tuscany became one of the provinces of the Kingdon of Italy, during the Risorgimento (unification of Italy). King Vittorio Emanuele II resided in Pitti Palace when Florence was the capital of Italy. The family were overthrown in 1946 as Italy became a republic. Their legacy of the Palace was made in 1919 Vittorio Emanuele III donated the Palace to the Italian state.

Palatine Gallery at Palazzo Pitti

The Palatine Gallery is one of several museum complexes within the Palazzo Pitti . Opened in 1834, it is breathtakingly beautiful! Each room is a treasure trove full to the brim of artistic wealth. This is an endeavour of love, captivating in appearance, meticulously preserved, with plush furnishings, extravagant chandeliers and spectacular ceilings with stunning frescoes. A walk through the gallery is mind boggling leaves the visitor spell bound. An appreciation of the talent on display should be the focus. The incredible collection includes priceless works by Titian, Tintoretto, Caravaggio and Rubens. The gallery is also home to the largest concentration of paintings by Raphael in the world.

Sadly, the vast size of the palace, and not fully knowing my way around, I think I left my visit to the Palatine Gallery. Travesty I know, but proof that I needed more time than I ever thought to explore this palace. The other areas in the palace that I missed included the Royal Apartments, Tapestry apartments, Modern Art Gallery, Fiorino room, Winter Apartments and the museum of costume and fashion. Reasons enough to visit again.

Boboli Gardens

The gardens really are something to behold. As I quickly found out they’re not a whistle stop destination but a vast open-air museum. It requires more time than I thought, firstly to see it all and secondly to truly appreciate its peaceful tranquility.

The Boboli Gardens share a similar path of history to Palazzo Pitti . When Eleonora and Cosimo purchased Palazzo Pitti not only did they start works on the palace but the gardens as well. The first plans were designed by Niccolò Tribolo who sadly never saw the works completed before his death. The honour fell on the famous Giorgio Vasari, who along with Ammannati and Buontalenti completed the initial plans. Not only did other generations of the Medici enlarge and enrich the gardens but so too did the Habsburg-Lorraine and Savoy dynasties add to it.

The Boboli gardens are populated with countless ancient and renaissance statues, large fountains, tree lined avenues and grottos. The garden provides endless opportunities for exploration and enjoyment. Palazzo Pitti looks much better from the gardens side than its ugly front entrance.

The first part of the garden is the amphitheatre which not only provides a view of the rear of the palace but is decorated with statues around the outer edges. Leading up from the amphitheatre you climb several steps as you pass the Forcone Basin and several of the statues scattered around the grounds. At the top of hill, you will see the colossal statue of Plenty, moved to its current location to represent the prosperity of the Tuscan state. Work began in 1608 by Giambologna and completed by Pietro Tacca and Sebastiano Salvini in 1637. Also slightly hidden at the top of the hill is ‘The Knights Garden’ which offers an enchanting view of the local Tuscan hills.

From here navigate your way back down to pick up Cypress Lane, a large path running through the heart of the gardens. It is lined each side with cypress trees and has statues placed at the crossroads as other paths connect to Cypress Lane. If you don’t divert off the avenue to explore these gardens the long downhill path will lead you to the ‘Island Pond’ and beyond this is the Meadow of Columns.

After retracing my steps back to the palace, I find the ‘Buontalenti Grotto’ also known as the ‘Grand Grotto’. On the façade, the Medici coat of arms is supported by two mosaic feminine figures who symbolize Peace and Justice. The lower part of the façade was built by Vasari. In the main it was built by Bernardo Buontalenti between 1583 and 1593 on behalf of Francesco I de’ Medici. The Grotto is a masterpiece of Florentine Mannerist style and is divided into 3 sections. The first section was frescoed and combined with stucco work showing shepherds protecting their flocks from wild beasts. Also, in this first section you will see copies of the 4 “Prisoners” by Michelangelo (the originals have been moved). The other 2 sections that follow exhibit the sculptures “Bathing Venus” of Giambologna and the group of “Paris and Hellen” of Vincenzo de Rossi.

Valerie Cioli, Dwarf Morgante, white marble, 1560

Palazzo Pitti Conclusions

Thus concludes my visit to the Palazzo Pitti , It is an extraordinary palace to visit. It is a palace to rival some of the great European palaces. Its outward appearance is not very alluring, bland and rather dull, especially from the front. What lies behind the grand façade is anything but.

My short visit was not enough. I must return to Palazzo Pitti and ensure that I visit all that it has to offer including more of the Palatine Gallery. The gardens also require further and more in-depth exploration.

I leave the palace overloaded with knowledge and a newfound appreciation for art and decor. I’m sure everyone has heard of Florence but the city is proving to be fascinating. Each place I have visited has been captivating. The next stop on my meandering around this great city is to one of the most famous bridges in the world.

June 29, 2025September 13, 2025

Palazzo Vecchio, Town Hall in Florence, Italy

The next stop on my meanderings around Florence is a visit to the Palazzo Vecchio which is located right in the middle of the city on the edge of Piazza Signoria. The piazza and palace are emblematic of the city. The Palazzo Vecchio has been the seat of the city’s power and strength throughout history. The palace’s cube shape design and outward appearance expresses power, strength & might in stark contrast to the stunning and detailed rooms that adorn the interior and exude class. The whole palace possesses an air of importance and an aura of historic fascination. Join me as I explore the Palazzo Vecchio and learn about the heart of the city with its civic emblem before finishing my visit with a climb of the Torre di Arnolfo, which gives beautiful views of the city skyline.

History of Palazzo Vecchio

Construction of Palazzo Vecchio started in 1299 when the people of Florence decided to build a palace worthy of the city’s importance, to provide a secure and defensible retreat, and to house the government organisations of the republic. Arnolfo di Cambio, who also built the church at Santa Croce, set about building the palace upon the ruins of Palazzo dei Fanti and Palazzo dell’Esecutore di Giustizia.

The government of Florence at the time constituted 8 elected priors who represented different trade guilds. The palace at this time was called Palazzo dei Priori (Palace of priors). In the next century the palace changed names as the form of government changed to become the Palazzo Della Signoria as it was then called after one man known as the Senior de Firenze.

The cubical building is made of solid rusticated stonework with two levels of windows high above the piazza. The crenelated battlements sit like a crown on top of the building and are supported by corbels (a structural piece of stone or wood that is weight bearing). The tower looks lonely as it stands above the structure below.

In 1540, Duke Cosimo I decided to show the power of the Medici by moving from the family palace into the Palazzo della Signoria. As a result Cosimo set about restructuring and decorating the palace into his family’s residence. The major remodelling and artwork was undertaken by Giorgio Visari, a name that cropped up on my visit to Santa Croce.

The Medici believed in beauty as a privileged means of communication. Walls and ceilings were decorated with stories of divinities, heroes and heroines of Greek mythology who fight for the freedom of their people. As a result, and I assume because of Cosimo’s position and title of duke, the palace changed names from its origins as Palazzo della Signoria to the Palazzo Ducale.

The new residential rooms were mainly used for Cosimo and his wife Eleonora of Toledo and their children. In 1549 Eleonora purchased Pitti Palace on the other side of the Arno River. My reading and research haven’t confirmed if Cosimo and Eleonora ever moved in officially into Pitti Palace. After purchasing what was a house, they started works on building it into a grand Ducale Palace. As my tour of Florence continues, I will learn about how the two palaces were connected by a secret passage. In this transitional period, Cosimo referred to and named the former Palazzo Ducale as Palazzo Vecchio, “the Old Palace” and maintained the Pitti Palace name.

The Medici family ruled Florence and Tuscany till 1737. After the Medici line ended, Florence and Tuscany passed into the hands of the Austrian crown. In 1861 decisions were made to join the united kingdom of Italy. In 1865 through to 1871 the ‘Old Palace’ gained new importance as the seat of united Italy’s provisional government as Florence was temporarily the capital of Italy. Palazzo Vecchio is now a museum but since its brief stint as home to the Italian government, it now houses the mayor of Florence.

Entrance and Courtyards of Palazzo Vecchio

The gateway to the Palazzo Vecchio is easily recognisable from holiday brochures on any visit to Florence. Replicas of Michelangelo’s gigantic ‘David’ and Bandinelli’s ‘Hercules’ stand at the steps leading to the palace and are likewise easily recognised. Behind them and closer to the entrance of the Palazzo Vecchio are two smaller statues, the two Herms, also by Bandinelli. Above the door is the 1528 frontispiece which is flanked by two gilded lions (known as the Marzocco Lion – the animal represents the free republic of Florence). In the centre is written “Rex Regum et Dominus Dominantium” which translates to “King of Kings and Lord of Lords”.

It is free to walk into the courtyards and if you don’t want to stump up the money to visit, the courtyard alone is worth the ‘free’ entry. The courtyard was designed by Michelozzo in 1453 and decorated by Vasari 1556. Cosimo I asked Vasari to make the space more spectacular for the wedding of his son Francesco I de’ Medici to Giovanna of Austria. Painted on the walls are cities of the Habsburg Empire.

The stucco work on the courtyard columns was entrusted to Pier Paolo Minoccio da Forlì. At the centre of the courtyard is a fountain designed by Vasari to replace the old well. The bronze statue is a replica statue of ‘Putto with dolphin’ by Andrea del Verrocchio. The original was built in 1470 and was placed on the fountain in1557. The original was removed and stored in the palace in in 1959.

Replica of Michelangelo’s gigantic ‘David’

Sala dei Cinquecento – The Hall of the five hundred

On the first floor is the largest and most important room in the palace. It is full to the brim of art with historic value. The room’s history began as a meeting place for the ‘Great Council’ before Giorgio Vasari was entrusted to dramatically and radically transform it.

When the Medici family were temporarily driven out of the city of Florence, shortly after the death of Lorenzo de’ Medici ‘The magnificent’, Girolamo Savonarola managed to rule over Florence. A lot will be learned about this man with a visit to San Marco in Florence (another time and another blog). Savonarola introduced a democratic government on the city known as the Council of Five Hundred. In setting up his new form of government and setting certain criteria, he found more than a thousand people were eligible. Therefore, it was decided to create a room allowing five hundred people to attend meetings and be involved in government decisions. This first room was built in 1494 by Simone del Pollaiuolo and Francesco Domenico and commissioned by Girolamo Savonarola.

Savonarola didn’t last too long, as he was arrested in 1498, hanged and burned at the stake in the Piazza della Signoria. Power was passed to Piero Soderini, who decided to decorate the room. He reached out to two of Florence’s greatest artists at the time, Leonardo da Vinci and Michelangelo Buonarroti to construct two murals celebrating victories of the republic (the battle of Anghiari and Cascina). Leonardo experimented, with disastrous effects, with an encaustic technique. Michelangelo was called to Rome by Pope Julius II meaning their works were never finished.

In the 1540’s when Duke Cosimo returned to power and moved the family home into the palace, he decided to transform the Salone dei Cinquecento into an audience room where he could greet people and receive ambassadors. He entrusted Giorgio Vasari with the renovations and designs. Vasari decided to raise the ceiling (by roughly 7m) to accentuate the grandeur of the hall and install a decorated, coffered ceiling to exalt and glorify the Medici family.

The coffered ceiling is made up of 42 individual panels with Duke Cosimo depicted in the centre. Vasari co-ordinated a team of painters which included Giovanni Stradano, Tommaso di Battista del Verrocchio, Ridolfo del Ghirlandaio and many others. The works started in 1542 and ended in 1571.

On the walls are six scenes of battles that represent the military success of Cosimo I against Pisa and Siena. On the eastern side, is the Conquest of Siena, the Conquest of Porto Ercole, and the Battle of Marciano. On the western side, the defeat of the Pisans at the tower of San Vincenzo, Maximilian of Austria attempting the conquest of Livorno, and Pisa attacked by the Florentine troops. Breathtaking in size and detail, this is art that I truly appreciate.

At the northern end of the hall is a raised area known as the Tribuna dell’Udienza. This raised area was designed to accommodate the throne of the duke. It was built by Giuliano di Baccio d’Agnolo and Bartolommeo Bandinelli. The architecture was inspired by a Roman triumphal arch to enhance the power of the sovereign. There are several statues of differing members of the Medici family.

Western side of the Sala dei Cinquecento.

Entering the gallery on the second floor

Capture of the Fort near the Porta Camollia

The spectacular view of the Sala dei Cinquecento.

The ceiling of the Sala dei Cinquecento.

Medici family rooms

After leaving the Salone dei Cinquecento one passes through several rooms on the first floor. Each room visited has been dedicated to a personality of the Medici family. The first room is dedicated to Cosimo de’ Medici called the Elder. He was the first powerful Medici, and set in place many building projects, most notably the dome of the Duomo. In his room the paintings depict moments of his life including ‘his return from exile’, and a painting with the architects Brunelleschi and Ghiberti showing Cosimo a model for the Basilica of San Lorenzo.

The next room is dedicated to his grandson, Lorenzo, called the Magnificent. His father (Piero) was a man of poor health, and it was Lorenzo who took on the legacy of his grandfather (Cosimo). A man of political acumen, this led to him holding a powerful sway over not only over Florence but Italy. This is displayed in the paintings as often Lorenzo is shown talking with philosophers and ambassadors. I found it interesting to notice a giraffe in one of the paintings, which supposedly was a gift from the visiting Sultan of Cairo.

The final room to visit on this floor is the room of Leo X, a pope. Giovanni de’ Medici was the son of Lorenzo the Magnificent and became a cardinal at the age of 13 before being elected to the papacy in 1513. He was the Medici’s first pope, and he laid much of the groundwork for the future Medici duchy of Tuscany. The paintings here show his triumphal return to Florence, and close inspection shows the David statue in one the paintings.

Second floor of Palazzo Vecchio

On the second floor are found the rooms of elements, the Ducal apartments, the apartments of Eleonora of Toledo (wife of Cosimo I), a small chapel decorated by Bronzino, Chancellery and the hall of Geographical maps.

When moving between the rooms on this floor, you get the chance to walk along a gallery which gives a spectacular view of the Sala dei Cinquecento. In the elements rooms you will find frescoes which include ‘The birth of Venus’, ‘Vulcan’s Forge’ and ‘Saturn receiving gifts of Earth’.

The tour then heads through the ducal apartments which includes the apartments of Eleonora. Eleonora and Cosimo had 11 children so required several bedrooms for them to sleep. The tour of the second-floor finishes in the chancellery and the hall of Geographical maps.

In the chancellery you will see a bust of Niccolo Machiavelli in painted stucco. You’ll remember that he had his tomb in the Basilica at Santa Croce. The hall of Geographical maps is a fascinating room full of maps of the known world. On the ceiling were meant to be the forty-eight celestial constellations.

Saturn recieving the gifts of the Earth - Room of the Elements

The birth of Venus - Room of the Elements

Map of Great Britain taken from Hall of Geographical Maps

Map of Italy taken from Hall of Geographical Maps

Torre d’Arnolfo

The unmistakable tower, 95m in height was named after the original architect Arnolfo di Cambio. The tower was part of the city’s defence system as it provided a view over the city and surrounding area. The view over the city was particularly important as the government was able to monitor the heights of Florentine houses, ensuring that they didn’t exceed a permitted height.

When looking at the palace from the piazza, you will notice that the tower is not in a central location. Arnolfo used the former Foraboschi family tower as the substructure to build the tower seen today.

At the top of the tower, you will find a prison cell where both Cosimo de’ Medici (in 1435), and Girolamo Savonarola (in 1498) were imprisoned. The latter was taken from this cell and executed in the piazza below. The one-handed clock in the tower was originally constructed in 1353 by Nicolo Bernarado before being replaced in 1667 with a replica installed by Vincenzo Viviani and made by Georg Lederle from Augsburg.

In Conclusion

A visit to Palazzo Vecchio has been an enjoyable and thoroughly educational visit. Knowledge has been gathered about the history of the city and the forms of government that ruled over the city at differing points throughout history. It also provided an insight into the famous family of Florence, the Medicis.

The visit built on the first learnings made to Santa Croce as two names that have links to both, seems to have started a theme. Arnolfo di Cambio is a name that perhaps is not associated with Florence or history itself but it is becoming apparent that he was the founding father of the city’s iconic architecture. The other name, Giorgio Vasari, it would appear, has probably left as much of an influence on the city as the so-called famous artists of Florence.

Before exploring Florence, I had watched the Medici TV series. This had limited my knowledge to only the first half of the Medici family (the Elder). My visit here opened my eyes to the second half of the Medici family (the grand dukes) and showed the legacy that they created and the results it left behind.

Throughout all this education, it was interesting to find out about the brief interruption in Medici rule which has now inspired a visit to Basilica San Marco to learn about Girolamo Savonarola along with visits to the Church of San Lorenzo (Medici church and tombs) and Medici Palace Riccardi.

My next stop though is to visit Cosimo’s and Eleonora new home (Pitti Palace) after their short stay here in Vecchio Palace.

June 22, 2025September 13, 2025

Basilica of Santa Croce in Florence, Minor basilica in Florence, Italy

In the heart of Florence and at the eastern end of the Piazza Santa Croce, stands the impressive Basilica of Santa Croce. A tall, elegant and grand church which on first impressions immediately appeals to my inquisitive mind. The church was built on former marsh lands that were outside the old city walls in what was often referred to as the poor part of the city. Santa Croce is the largest Franciscan church in the world.

In this visit I discover about the Saint Francis Assisi, the man who gave up his family’s fortune to pursue a life of God through poverty. He became the patron Saint of Italy and founder of the Franciscan church. The Franciscan order is characterized by total poverty. Its links to its past and origins might seem strange when exploring the church. Plain on first sight, an intimate walk around proves that this church is a treasure trove of wealth and art. Join me as I discover why this church is often referred to as the Temple of Italian Glories.

History of Santa Croce

Santa Croce’s history begins with the spreading of the religious message of Francis of Assisi. He was a spiritual leader who set out to follow the example of Jesus Christ by following the gospel accounts after giving up a life in the military. He devoted his life to serving God and helping the poorest in society. His following, referred to as Franciscans, arrived in the winter of 1209 to build a church and monastery in the poorest part of Florence.

As times changed, wealth and money started to pour into the city of Florence. Wealthy merchants donated their newfound money to the building of a new church. As Florence became a powerhouse of the Middle Ages the church was rebuilt before being enriched and modified. Fires and floods added complications and resulted in more modifications and improvements to the church and the complex.

By the 19^th century Santa Croce had established itself as a ‘must visit’ tourist site. People from all over Europe would come to visit the church. But at the time of the Napoleonic suppressions the Franciscans had to give up the church and monastery which was taken over by the military with barracks set up in an area of the complex. By the time Napolean was defeated Santa Croce was given back to Franciscans in 1814.

Shortly after the wars came the unification of Italy, a subject I must confess to knowing little about. The ‘House of Savoy’ and the ‘papacy’ are all subjects to learn about as my exploration of this country continues. Before Rome became the capital of Italy, the honor fell to Florence. It was during this period that the church became the property of the central state.

In the year 1933 Santa Croce was elevated to the honorific rank of Basilica. The floods of 1966 almost destroyed the church, but the church survived and has been the subject of intense restoration ever since.

Santa Croce Façade

Standing in the middle of the Santa Croce square the impressive façade stands tall and proud in front of you. The façade that is seen today was financed in part by an English Protestant magnate, Sir Francis Joseph Sloane. Sir Francis had made his fortune from a local Tuscan copper mine. When I have some more time I will explore if there is a link between Sir Francis and a namesake square in London.

The façade is the work of architect Niccolo Matas who finished the façade between 1853 and 1865. It is clad in white marble and framed in green marble, a very traditional Florentine appearance from the Middle Ages and Renaissance. This is an appearance that is all too common in the rest of the city. In my eagerness to enter the church I really didn’t pay much attention to the details of the façade. At the top of the façade, surprisingly is a star of David. Rumors are this was built here because Niccolo was Jewish.

Monument to Dante

As I leave the square and make my way around to the entrance of the church, I cannot miss the tall and imposing monument placed near the church. On closer inspection I find out this is a monument to ‘Dante’.

I must confess to knowing nothing of the man and must add this to the list of research and self-education after my visit. A quick search teaches me that he was a famous Italian poet, philosopher and writer whose famous work was ‘The Divine Comedy’. The first section of this work includes what is known as Dante’s Inferno and is a medieval description of hell. The monument seen here today is from 1968, but the original statue dates to 1865, the year of grand celebrations of the famous Dante’s birth in 1265.

The creation of this monument was planned to coincide with the completion of the new façade. Its original location was in the middle of the square before it was moved to its present position. When it was unveiled in its new location the new king of Italy (Victor Emanuel II) was there for the unveiling. According to my guidebook, the base is adorned with two Marzocco, the heraldic lions of the old Florentine republic.

The basilica of Santa Croce

The construction of the current church was started in 1294 to replace the old church founded by St Francis and his followers. Santa Croce translated means ‘Holy Cross’. The design of the church was by Arnolfo di Cambio.

In recent visits I started to comment on how churches are constructed in the shape of a cross. Santa Croce is no different, except that its floorplan is in the form of a Tau cross. I was blissfully unaware that there were different types of crosses. A Tau cross is a T shaped cross and is called a Tau because it is shaped like the Greek letter Tau which in its upper-case form has the same appearance as the Latin letter T.

Entry is made on the north side and into the nave and not through the western entrance in the ornate Façade. Towering arches have been built on octagonal pillars on either side of the nave. Looking upwards to the ceiling, a very bland set of timber trusses contrast beautifully with the white arches.

The nave itself simmers. All is silent as visitors walk slowly round, appreciating all that is before them. The feeling I had was this was a church that is yet to be discovered by most tourists. This leaves time and space to learn and appreciate one of Florence’s less visited sites. As I walk round to the western entrance to start my visit properly, the high altar at the far end of the nave seems spectacular and worthy of a detailed look. There is so much to see that not all can be seen in the one visit. I’ll be back.

Temple of the Italian Glories

Interspersed around the chapels of the basilica Santa Croce, on both floors and walls in both the nave and aisles are several tombs, graves and elaborate monuments to notable Italians. As my exploration of Florence, Tuscany and Italy broadens I’m sure a better education will take place on some of the names I’m about to mention. This place is known as the temple of Italian glories (we in England might use the word worthies). It is a who’s who of Italian history. Santa Croce went from an initial graveyard, which served the Franciscan friars before wealth and power dictated more elaborate monumental tombs and graves to be placed within its walls. As a result, Santa Croce became the guardian of Florence’s glories.

It started in the 15^th century with two tombs for Leonardo Bruni and Carlo Marsuppini, two literary figures who earned their fame as chancellors of the Florence Republic. The signoria (local government) stumped the costs of these graves which began the transition to Guardian of Florence Glories. Cosimo de Medici revived the tradition of using the church to honour the great and good when he commissioned the monument to world renowned sculptor and artist Michelangelo (famous for his painting in the Sistine chapel and his David sculpture). Others would take a leaf out of his book as monuments were added, most notably for astronomer Galileo, and political philosopher Machiavelli (from whom we get our English word Machiavellian).

From the 19^th century onwards, the church transformed from Guardian of Florence’s glories to the Pantheon of the Italians. A monument to Vittorio Alfieri was completed in 1810 before a cenotaph of Dante Alighieri was erected in 1829 (he is still buried in Ravenna). Monuments and tombs to Gioachino Rossini (who was buried in Paris, before his body was removed and brought here) were added at the beginning of the 20^th century. In 1871 the remains of Foscolo were also transferred to Santa Croce. Efforts were also made to try and bring back Dante’s remains but, sadly, agreement could not be reached.

There are over 250 graves and monuments to explore and about which to learn. I won’t bore you with the details of each one but challenge you to see it all for yourself if visiting Florence – you won’t be disappointed.

The Masterpieces

Santa Croce’s origins as a Franciscan Church seem almost forgotten when viewing the incredible artwork that adorns the place. This church is so rich in its fabulous works of art that it almost defies the Franciscan order of poverty. There are around 4,000 pieces of work, ranging from the 13^th to 20^th century which bless this church and complex. One can only imagine the arts of work here are priceless as most of what is seen is original.

Some of the highlights include the main altar, surrounded in frescoes of the ‘Legend of the True Cross’ by Agnolo Gaddi. The frescoes by Giotto. There is the Cimabue crucifix dated 1288. There is the Bardi altarpiece. 3 pieces of work by Donatello, the crucifix in painted wood, Saint Louis of Toulouse in gilded bronze and the Annunciation of the Virgin. Construction of Pazzi chapel by Brunelleschi. Michelangelo’s tomb, Salviati’s ‘Deposition’, Bronzino’s ‘Descent’. The list could go on and on.

The 16 chapels built within the church, combined with the greater church complex, draw inspiration for so many and even influence some. In the 19^th century French author Stendhal visited Florence and Santa Croce, and he was overcome with emotion. He wrote “I was in a sort of ecstasy, from the idea of being in Florence, close to the great men whose tombs I had seen”. Stendhal syndrome was born, also known as Florence syndrome which occurs when individuals are exposed to such magnificent art.

Cimabue's Crucifix at the entrance to the Rinuccini Chapel

Donatello - Annunciation and detail of the angel circa 1435

St. John Gualbert Enthroned with Four Stories from his Life

In Conclusion

Santa Croce was a great place to start my education on the beautiful city of Florence. The basilica of Santa Croce certainly wasn’t on my list of places to be visited constructed prior to arriving. There are reputedly more famous and iconic attractions in the city. So, I’m grateful for the recommendation to visit by a dear friend.

What was learnt at the basilica has built on knowledge gleaned in recent meanderings. I had learnt how that a church’s floorplan represents a cross, but these meanderings further enhanced that knowledge base as I learned that there are different types of crosses. The basilica is a combination of the grandiose Gothic architecture, the tombs of great Italians, the perfection of Brunelleschi’s Pazzi Chapel and some of the finest examples of Florentine painting.

Its origins date back to one of the two patron saints of Italy, Saint Francis. This has given rise to an interest in visiting Assisi (Umbria region, south of Tuscany in central Italy) if the opportunity arises. I found out that some of the great people of Florentine and Italian history are buried here. Not only did the basilica provide the perfect place to start exploring but also has inspired me to visit and explore Ravenna (where Dante is buried).

So, I leave the Basilica of Santa Croce behind and meander off in search of the next jewel in Florence’s crown.

April 13, 2025September 13, 2025

Bologna, Capital of the Emilia-Romagna Region, City in Italy, Northern Italy

Nestled in the heart of Italy is Bologna. It is less visited than, say, Rome or Florence but is surely a contender for a hidden gem in Italy’s crown. Bologna is the capital of Emilia-Romagna, a region in northern Italy. The locals have strong political views and a passion for culinary delights. The city is a beautiful fusion of architecture and history. Its streets are adorned with endless sights of its famous porticoes. Bologna is a medieval masterpiece and boasts warm terracotta hues. It enjoys a vibrant and authentically Italian atmosphere.

Read on as we explore its charm and nicknames – “La Dotta” (The learned), “La Grassa” (The fat), “La Rossa” (the Red) and Turrita (with towers).

Monument to the Fallen at Park della Montagnola

Column of the Blessed Virgin of the Rosary

Bologna History

Bologna’s rich history spans millennia. What started as a small Umbrian settlement before it was conquered by the Etruscans (who called the settlement Felsina) before becoming a Roman colony named Bononia. During the medieval years, the construction of its two famous towers were built to monitor those who wished to enter and defend as necessary.

Bologna became a city of learning and was transformed into a renaissance and Baroque hub. This led to a boom leading to the building of magnificent homes, palaces and striking squares. The city was also a key player in the Risorgimento (unification of Italy) which brought the city further riches as it became a centre of industry and commerce. Towards the end of World War II, the cities rail hub and industry meant it was a strategic target for air raids which did significant damage.

Bologna “La Dotta”

“La Dotta” means ‘the learned’ and is reference to the city’s historic university, “Alma Mater Studiorum”. The university is the oldest in the Western world (just pipping Oxford in the UK – AD1096). Bologna’s university was founded in AD 1088 and provided teaching and learning dedicated to the study of law.

Archiginnasio Palace was once the main buildings of the university. A visit to the palace allows one to see the incredible courtyard adorned with coats of arms. The main draw of visiting the palace is the Anatomical Theatre where lessons were given on, you guessed it, the anatomy.

The theatre is made from spruce wood with the original marble table in the middle of the room which was used for autopsies (the room was severely damaged during the war but rebuilt). The ceiling has been decorated with symbolic figures which represent the fourteen constellations and Apollo, the protector of medicine, positioned in the centre.

Entrance to Archiginnasio Palace Courtyard

Ceiling of staircase in Archiginnasio Palace

Bologna “La Grassa”

‘La Grassa’ means ‘the fat’ which refers to Bologna’s hospitality and traditional food. Known as Italy’s food capital, it is the birthplace of some of Italy’s most beloved foods. The city is famous in Italy for its balsamic vinegar, wine, cold cuts of meat, parmesan cheese and fresh pasta.

Traditional dishes include Tagliatelle al ragu (what many people may called spaghetti bolognaise), tortellini in broth, lasagna al ragu (my personal favourite) and cotoletta petroniana (breaded meat fillets fried in lard, topped with prosciutto, parmesan cheese). Bologna’s famous cooked sausage, made with finely ground pork, fat and spices is called Mortadella, and it can only be called Mortadella if has been made in Bologna. It is easy to see why Bologna’s reputation is the food capital of Italy.

Bologna “La Rossa”

Bologna owes the name “la Rossa” to its famed red buildings and to the fact that it is the birthplace and the home of Italy’s political left. Politics is always a subject best left alone so I focus on the red architecture and terracotta roofs that render the city – La Rossa. When walking the streets of the city, the buildings and churches are often missed as the large porticoes hide them. A visit up any of the towers that allow access will show off the famous red rooftops of the city.

Bologna Porticoes

The famous porticoes of Bologna make for a unique experience. Over 40km of them can be found in the city, with the longest continuous portico leading from Porta Saragozza to San Luca (you can read about that here). UNESCO has now declared these and the city itself a world heritage site which is confirmation of their cultural significance.

The porticoes were built out of brick, stone or wood and some date from the twelfth century. A requirement was that they had to be tall enough for a man sat on a horse to ride through them. They can be found wherever you walk around the streets of the city and you can’t miss and admire these architectural masterpieces.

Bologna “Turrita”

Bologna is described as towered (Turrita) because at one point the city could boast around 100 towers. As a result it surely would have given Manhattan a run for its money in appearance. Towers were built to symbolise power and had to be tall and imposing. Sadly, today there are only around 20-30 towers remaining. Two that do remain which are of particular interest. They are iconic and are often referred to as the ‘symbols of the city’ or ‘the two towers’.

They are just about still standing, although currently not accessible due to renovation works (if you would like to contribute to the restoration then click here). The tallest one, Asinelli at 97.02 metres, was built between 1109 and 1119 by the Asinelli family. The Torre Gardisenda (also named after the family that built it) stands next to it but at a much shorter height of 47 metres. The Gardisenda tower gives the leaning tower of Pisa a run for its money and actually leans more than Pisa’s tower by 0.03 degrees.

Bologna's Churches

At the heart of the city is Piazza Maggiore, which is dominated by the city’s most important church, and, one of the largest in the world, the Basilica of San Petronio. The church is dedicated to Saint Petronius, the patron saint of Bologna. It is known as the unfinished church due to its main façade never being completed. Inside is a vast gothic masterpiece, tall and imposing as soon as you walk in. 22 chapels line the side of naves. Personally, I wouldn’t say that this is the most important church in the city, as we found out when visiting Bologna Cathedral.

The cathedral is the seat of the archbishop and, by definition, be the most important in the city. Another church that we visited that is important is the one at San Luca. Here we learned about ‘Madonna and Child’ and its importance not only to the people of Bologna but the rest of the world. Other churches that must be explored upon our return are the Santa Stefano complex better known as “Seven churches”, the Church of the Holy Sepulchre, the Church of the Holy Crucifix and the Basilica of San Giacomo Maggiore to name a few.

Gothic interior of Basilica di San Petronio

Conclusions

In conclusion this blog gives a brief snapshot of this wonderful city. It is certainly not as famous as other Italian cities but has a lot to offer the inquisitive tourist. Perhaps I shouldn’t write so much about it and keep it my secret. Perhaps the locals do not want its soul sold to the tourism gravy train.

My meanderings have brought me to Bologna on many occasions and each time I learn more about this incredible city. Every time I come I fall further in love with this city. It satisfies some of my great loves -history, architecture and food. It is not just the imposing buildings, their interiors and the magnificent statues that appeal but the famous porticoes appear to be woven into its very fabric. Bologna is truly a special place. Whisper it quietly – this city should be on everyone’s ‘places to visit’ list.

March 30, 2025September 17, 2025

Monument to the fallen of Sabbiuno, Bologna, Italy

This is a site that probably deserves more attention yet I’m sure people are grateful for its peaceful seclusion. The site is a little further down the road than the ‘Sanctuary of Madonna at San Luca’ and approximately 9km due south of Bologna. The monument is a significant war memorial which elicits great amounts of emotion. The awe inspiring ‘Monument to the fallen of Sabbiuno’ is dedicated to the memory of soldiers who horrifically lost their lives in the line of duty towards the end of World War II.

This monument to the fallen not only serves as a poignant tribute to people who suffered in past events but a stark reminder of the need of peace and unity in current times. The stunning panorama is a memorial to the fallen of the atrocious events that took place here in December 1944.

This was the site of the massacre of approximately 100 Bolognese partisans and political prisoners who were shot by Nazi fascists. The accurate number and full truth will never be known, as the bodies were recovered after the Liberation and not all were identified. It is believed that these atrocious events took place between 14^th and 23^rd December 1944, an event known as the ‘Sabbiuno di Paderno massacre’.

Farmhouse at Sabbiuno — Farmhouse at Subbiuno

This remembrance site is striking. It runs along the crest of the ravine from an isolated farmhouse to a curved wall on the ridge. The curved wall has been built as a symbolic representation of the firing squad. There are gaps in the wall where replica machine guns stick out. Between the farmhouse and ridge rest 53 staggered boulders.

A close inspection reveals the names of the individuals who were tragically shot and were able to be identified. There is one additional boulder with no name which is dedicated to the forty-seven unidentified fallen. This striking monument was created by the Gruppo Architetti Città Nuova, and formed by Letizia Gelli Mazzucato, Umberto Maccaferri, and Gian Paolo Mazzucato, between 1972 and 1973.

Walking along beside the boulders is an eerie experience. It conjures up mixed emotions and feelings as the monument lays bare the horrific atrocities of war. My meanderings aren’t always fun tales of the good times but are often learning journeys where exploration leads to education. The education that took place here at the ‘Monument of the fallen of Sabbiuno’ was powerful. I thank Lorenzo our local taxi guide for telling us about this place. The monument to the fallen of Sabbiuno is a very touching tribute.

March 23, 2025September 13, 2025

The Sanctuary of San Luca, Bologna, Bascilica in Italy

San Luca, Bologna, Italy

Sanctuary of the Madonna of San Luca

Perched on top of the mountain Colle della Guardia and overlooking the city of Bologna is the iconic ‘Sanctuary of the Madonna of San Luca’, an important symbol of the city. There has been a church in some form at the site since the 12^th century with the current basilica built in the 18^th century. Read on as I learn why San Luca is more than just a tourist destination, and as I discover, more by luck than by judgement, about the ‘Madonna and child’ and the symbolism of the longest portico in the world.

History of San Luca

Tradition has it that in the 11^th century a pilgrim by the name of Theocles Kmnia arrived in Italy from Constantinople carrying a painting depicting the ‘Madonna and Child’. He was to take the painting to Monte della Guardia (a hill to the southwest of Bologna) but ended up in Rome. Thankfully a Bolognese senator was able to show him the right way. Theocles arrived at the gates of Bologna in 1160 and delivered the painting of ‘Madonna and Child’ to the then Bishop of Bologna, a Gerardo Grassi.

At the top of Monte della Guardia was a small church where Beatrice and Azzolina Guezi (two hermits leading a penitent life) took sanctuary. Bishop Grassi decided to deliver the painting to this church. Thus, the route that pilgrims still take to this day was born.

Over time a large influx of pilgrims visited the church which meant that it needed to expand to cope with the increased numbers. So, in 1194 the foundation stone, which came from Rome, was laid and blessed by Pope Celestine III. Since then, the church has had many transformations. Construction of the church as seen today was started in 1723 by Carlo Francesco Dutti and finished in 1757.

The Church

The basilica is prominent and spectacular being built on top of the hill. It is captivating, looks very Bolognese – plain and simple – basic in its external decor (orange in colour), and with a distinctive dome on top. As I walk in, I’m immediately drawn to the altar at the far end. Unknown to me, this is where ‘Madonna and Child’ is kept.

One soon realises the importance, grandeur and splendour of the altar area. Artwork, pillars, golden decorations adorn this area of the church. One cannot ignore the centrepiece, ‘The Madonna of San Luca’, which is kept in a silver looking case which sits in an ornate cove and is surrounded by golden borders. Also, inside the church it is possible to see works from Guido Reni, Donato Creti, Giuseppe Mazza and Guercino.

The Rains of 1433

In 1443 the heavy rains threatened to destroy the cities harvest. The city elders decided that that a procession from San Luca, carrying ‘The Madonna with Child’ to the centre of Bologna might help the situation. Miraculously, as the painting left the sanctuary so it began to stop raining. And so, since 1443 it has become tradition (feast of accession) to carry the painting down to the city where it resides in Bologna’s Cathedral for a 1 week before a procession takes it back. There were two occasions when this didn’t happen – firstly, in 1849 when the city was occupied by Austrians and, secondly, in 1944 during World War II.

The modern procession has broken a little from tradition as it now starts at Porta Saragozza and not San Luca and makes its way through the streets of the city to Bologna Cathedral.

The World’s Longest Portico

Built to protect pieces of artwork of the ‘Madonna and Child’ that had been created along the route, local merchants and wealthy families came together to provide the needed funds to build the portico. The world’s longest portico (covered walkway) was built between 1674 and 1793. The first arch starts at beginning of Via Saragozza, a street which leads away from the city at Porta Saragozza (gate of Saragozza).

The portico is made up of 666 arches and 15 chapels. The number of arches may be thought a very controversial number when you consider its religious significance (the number of evil and, some would say, the devil) but it is, in fact, by design. When looking from above the portico resembles a snake slithering up the hill to ‘meet’ the ‘Madonna’ church. The snake symbolises the devil and the church is seen as victorious and reigning supreme over the devil.

The length of the walk from bottom to top is 4km. For tourists and pilgrims alike, it is said that reaching the Sanctuary of the Madonna by foot can make a wish come true.

Conclusions

The Sanctuary of the Madonna of San Luca should not be missed when visiting Bologna. Simple in appearance yet significantly symbolic, it is a pilgrimage site for believers, but also a very popular tourist destination. A portico plod may be inspiring though extremely exhausting, especially in the summer months. Reach the top, however, and there is great reward. This trip educated me on the ‘Madonna and Child’ and the significance it plays in the city of Bologna, and how it effects its traditions and its people. San Luca is a beautiful place of myth and mystery.

March 16, 2025September 13, 2025

Bologna Cathedral, Cattedrale Metropolitana di San Pietro, Bologna, Italy

Bologna Cathedral

As I leave my hotel and walk along Via Indipendenza towards Bologna’s city centre, I’m immediately drawn to a tall, imperious, church-like looking façade which is nestled almost secretly alongside buildings in the busy street. Bologna Cathedral is unlike other cathedrals I have visited (both home and abroad), Bologna’s cathedral seems to be a secret and is easily confused with the Basilica of San Petronio in Piazza Maggiore.

The locations of most cathedrals that I have visited are such that they normally dominate a square in the city centre. Such cathedrals stand proudly and majestically in sight for all to gaze in wonder and are hubs of activity. Normally a cathedral has a very commanding presence for a city but Bologna’s cathedral is shy and reserved in comparison. Although almost hidden as if a terraced property, it should not be ignored and provides a great place to start exploring Bologna.

The Metropolitan Cathedral of Saint Peter

This is Bologna’s cathedral’s full and proper name. In the 16^th century, Bologna’s bishop of the time was elevated by Pope Gregory XIII in 1582 to become an archbishop, which meant that the cathedral was given the rank of “metropolitan church”. Bologna’s cathedral then became the seat of the archbishop and gave the archbishop jurisdiction over the ecclesiastical territory (diocese), which included other cathedrals and their bishops.

Bologna’s archdiocese has three suffragan dioceses (dioceses other than the metropolitan archdiocese that constitute an ecclesiastical province). To the southeast of Bologna lies the Diocese of Imola (cathedral of Imola) and little further down the road the Diocese of Faenza-Modigliana (Faenza cathedral). To the northeast of Bologna, the third Diocese of Ferrara-Comacchio (Ferrara cathedral). I’m sure as we explore the churches and cathedrals in England we will come across many similar arrangements.

History of Bologna Cathedral

Looking at its history it is a bit of a calamitous church. Bologna’s cathedral is dedicated to San Pietro (Saint Peter), head of the apostles and the first pope. Most of the present building dates from the 17^th century with the cathedral’s origins being traced back to the 10^th and 11^th century. Its calamitous past has seen several changes over the centuries. It was ravaged by a fire in 1131 and damaged by an earthquake in 1222. This meant that the church was rebuilt a couple of times.

In 1477 two Ferrarese painters worked on the creation of a cycle of frescoes, and these would have had a significant influence on Niccolo dell ’Arca and Michelangelo. Sadly, the frescoes were lost in subsequent reconstruction. In 1599 the alterations made to the cathedral caused the vaults to collapse and the cathedral was then built from scratch and started in 1605.

Façade of Bologna Cathedral

Due to its location and its height it’s very hard to photograph the front of the cathedral. It has a very bland appearance and is constructed out of red stone. The façade that is seen today was built between 1743 and 1747 under the instructions of Pope Benedict XIV. The designs were completed by architect Alfonso Torregiani. Looking at the front of the cathedral, two statues may be seen – the one on the left is San Pietro and the one on the right is San Paolo (Saint Paul).

Inside Bologna cathedral

Walking into the cathedral nave, I immediately take my eyes off to colourful tiles in front of me and raise my eyes to the grand altar at the front of cathedral. There are golden pillars on each side with paintings on the ceiling and a coat of arms across the top. Looking at this display I notice the height of the ceiling of the whole room. Why so tall? Acoustics?

There are tall pillars on either side of the nave with chairs in the middle for the congregation to sit. The actual ceiling is very bland in appearance. In between the pillars there are different chapels, with paintings and lots of golden furnishings. In the first chapel (immediately on your right as you walk in) you will see a display of terracotta statues which is called the Lamentation of Christ. This was sculptured by Alfonse Lombardi between 1522 -1526.

Also, inside Bologna Cathedral it is possible to admire paintings by Prospero Fontana, Ludovico Carracci, Marcantonio Franceschini and Donato Creti. In the altar area is a wooden crucifix from the 12^th century.

Bologna Cathedral Crypt

A crypt is an underground vault which is normally used as a chapel or a burial place. Access to the crypt is permitted as part of a combined ticket with the bell tower and will cost you 5 euros and is only open on certain days and times. Lucky enough for it to be open on my visit, I took a visit to the crypt where I found a chapel and an archaeological site. The site has found remains of 10^th century Romanesque cathedral pillar beam, and also two beams from the 12^th century. In the nave they have put glass flooring in for viewing.

Bologna Cathedral Bell Tower

An incredible visit to the top of the tower is a must for those fit and daring enough. I quickly found out that the bell tower is a tower within a tower! The original tower is 40 metres high and survived the fire and earthquake mentioned earlier. In 1254 the bell tower that is seen today was constructed around the existing tower. The encompassing tower is now 70m high and is the second tallest tower in Bologna. The covered dome topping was added in 1426.

Its rather surreal when you climb the steps trapped between the two towers. When you arrive at the top, the views are incredible and give another perspective of Bologna’s skyline. Inside the bell tower are 4 bells, and the largest known as ‘nonna’ or ‘grandmother’ weighs 33 quintals. It takes a funny upside-down position. The bells are rung “in the Bolognese way” and this requires 23 people to ring the bells.

Conclusions

A secretive cathedral and possibly the most important church in Bologna. I’m sure many people like me would confuse Bologna Cathedral with the dominating and unfinished Basilica in Piazza Maggiore which has the appearance and location of a cathedral but as we have learned doesn’t have the archbishop.

I have learned that this church is the head of the archdiocese and I will have to visit the cathedrals in nearby Ferrara, Imola and Faenza, which make up Bologna’s diocese. A visit to the tower is always worth the hard work of climbing the stairs (I forgot to count how many) which gives a totally different view of the city.

I hope you enjoy this blog. For those planning a visit to Bologna in the future, ignore it at your peril. For those who have been please let me know your thoughts.

August 21, 2024May 12, 2025

A Tuscan Fairytale, Castello di San Fabiano, Siena, Italy

The sun is sinking in the west, its rays radiating an array of colours that light up the sky. The sound of enjoyment and the chink of glasses combine with nature’s evening song to disturb the peaceful end to the day. Each evening we both take a moment to appreciate not only nature’s final daily display but the sight of our friends and families together as one.

Whisper it very quietly, but we have a secret to share (and one we hope remains a sort of secret!). This is a place with which we fell in love the moment we saw it and now a place we will never forget, and one that will live long in the memories. This place oozes warmth, generosity and friendship. It’s almost secretly but idyllically set in the Crete Senesi region, among the clay hills south of Siena and near the Arbia River. Here lies the romantic and intimate Castello di San Fabiano.

Our fairytale gave birth to new friendships, strengthened existing ones and opened the eyes of many to our fascination with travel and history. This castle has a rich and diverse history. It takes the form of a small hamlet and like most places with a long-standing history was built around a small church of which we have proof dates to 867 AD. The small and enchanting church was a stopping place for pilgrims and is dedicated to St. Fabian, to the pope and to martyrs. There is an apse from the 9^th century, some of it may be dated to the Romanesque era, and a façade was completed in the 18^th century. I’m sure as we continue to revisit, we will spend some more time with Andrea, the present owner, and learn and explore its full history, but he did mention on a memorable night on the day after our wedding that there is a document confirming this very early date.

Between the church and the castle are the beautiful gardens that surround the castle on all sides. These charming gardens played host to our coming together, with nature in abundance and the aromas of rose bushes and lemon trees which have been planted amongst the cypress trees giving that beautiful Tuscan vibe. The castle was built to protect the nearby ford as this was one of the only passing places along the river apart from a Roman bridge a bit further downstream. The fortifications that took place meant that the towers were created to assist with communication with nearby Siena. The towers that are seen today were built at the turn of the 13^th century, and a visit to the highest accessible point is a must to sit and savour a glass of wine as the sun sets. You can see all of Siena’s skyline as the sun sets behind it and perhaps you can think about picking up the fire signals of yesteryear. The castle did see some “action” when the king of Naples army laid siege in 1409 AD. They decided that this would be a perfect post station for the long journey from Naples to Paris. It then passed into the hands of the powerful Sienese family for the next 500 or so years before changing hands a few times to be purchased by the Fiorentini family.

We can be grateful to Andrea’s father (Giovani’s grandfather) for purchasing it and to the family for their continued labour of love that they have invested and continue to take on to preserve such a charming place. Spending time with the family is an honour and privilege to learn about the place. Perhaps the castle and the surrounding countryside is a secret that is worth keeping to ourselves but we have started to share not only its location but its vibrancy on our recent big event and have been surprised to see how many accepted the invitation to come and now, perhaps, share an admiration for such a place. Words perhaps can’t describe how much this place means to us both; we hope it won’t be long until we return.

Castello di San Fabiano, Crete Senesi Gravel Ritorno, Monteroni d'Arbia, Siena, Tuscany, 53014, Italy

August 12, 2020May 13, 2025

Vienna Vignette, Vienna, Austria

This global downtime has given me much time to myself, to ponder, reflect and reminisce. The future of the world looks uncertain, however, I can take stock and be grateful for the memories I have already created and hope that one day soon I will be able to create many more. A visit to Vienna was one of the trips made and should have been one of my first blogs. Sorry. Time allows me to resurrect the photographic memories (both electronic and hard copies) from which I draw upon to write this blog. Five and half years later I’m finally putting pen to paper (or fingers to the keyboard) and composing my thoughts on my meanderings to the Austrian capital.

Vienna had only become a capital again when Austria regained its sovereign independence from allied control (another part of the history of this world that needs further exploration). Vienna’s interesting history shows that it has had its fair share of challenges, from the very start of its existence, surviving sieges and capture, to a city of palaces and society that entertained many. Like so many European cities its intriguing history is what inspires you to visit today.

What had lured me to this city I know not. Looking back, it was probably a combination of being given a number of travel guides and finding a cheap flight and the need to use up my remaining annual leave entitlement. Whatever it was that brought me here I can only be thankful as I left amazed at Vienna’s beauty. I waltzed around the streets of Vienna, uplifted by the glorious winter sunshine, and followed in the footsteps of illustrious musicians and royalty. The city boasts an abundance of architecture. Baroque buildings combine with several imperial palaces. Dotted around are museums and statues of iconic people associated with the city and mainly connected by the Ringstrasse.

In my recent meanderings around England (York, Chester) I’ve discovered how the Roman Empire expanded (and ultimately declined). I’ve learnt that the Romans had a good eye for setting up their outposts/forts. Vienna was slightly different as it was established by the Romans and called Vindobona. They may have got this one outpost slightly wrong as by the 5^th century the barbarian invasions had reduced it to ruins. Its apparent weakness was its location on the edge of the Hungarian plains, but surely a strength was the mighty river that flowed nearby, the river Danube. This waterway must surely have been part of the success of the city as it evolved into a major trading centre by the 13^th century. Vienna, however, knew its ups and downs. The same can be said for much of Europe. In the year 1683 it had finally defeated the Turks, and this is when the city really began to flourish, and it was that part of the city that I discovered and admired. The Hapsburgs ruled this imperial capital and developed it on the grandest scale. This brought with it much wealth to Vienna and its music began to thrive. Now known as the music capital of the world, its classical tastes are a far cry from the modern beats, inappropriate language and distasteful subjects. Europe looks to be reorganising itself once again due to Brexit and coronavirus. Clearly it has been here before. In the year 1814 the European powers that had defeated the Emperor Napoleon Bonaparte met for the year to discuss how to restore the established order which had been thrown out by the Emperor. So, as you can see the city is rich in history that has fascinated me as I have discovered and explored more of the world’s history. Perhaps I didn’t do the city the justice it deserves in that the stay was short but hope (if I’m lucky enough) to return one day to explore further.

My first day was spent walking up into the vineyards of Vienna. I was perhaps trying to follow in my father’s footsteps when he brought us here when I was 11. There is a distant memory of getting off a boat in the middle of nowhere and exploring the city or so he thought. I had some sort of a plan for the day that involved walking up into the hills to enjoy the views of the vineyards of Vienna and the city. Rumour has it that there is no other city in the world that has vineyards in such close proximity to the city centre. At the time I didn’t appreciate the fine tastes of wine; oh, how I wish I was heading there now with these taste budslong to sample the wine. Instead I made it for the views and breakfast. I had no planned route but followed the signs that were placed on the pathways. My reward at the top of a hill was a glorious view of the River Danube adjacent to which the stunning part of this city is built. The sun hadn’t yet burnt off the morning haze, so the pristine clear views weren’t seen. It was still worth the effort; to the left from my viewpoint was the uglier side of the city that thankfully wasn’t going to get any of my attention. Lying beneath the morning mist was a city waiting to be discovered. My inquisitive mind and body were ready to explore.

After enjoying some refreshments, I returned back down the hills to edge of the river. I had a map but was looking for a route into the city to find the famous Ferris wheel that had been used in the Bond movie ‘The Living Daylights’. Had I reached there I would have immediately recognised it as the place where my dad was given lots of grief for the circuitous route he had made around the city. Instead I stumbled upon a number of football fans and mingled and walked with them in the direction they were travelling. I soon abandoned my plan and followed them in the hope that they might be headed to a game. It soon dawned on me that they were attending a local game. I quickly went to the ticketing office to enquire if there was a spare ticket and I was in. It set me back 32 euros as I got to watch SK Rapid Wien play SK Sturm Graz at the Ernst-Happel-Stadion. By the time the game had finished darkness had fallen upon the city. I did get to the Ferris wheel but had to make do with night-time shots. A wonderful first day in the city came to an end shortly afterwards.

My second and third days were spent exploring the city itself. What an absolute joy it is to look back at those photos taken and remember the grand imperial beauty of the city. At the heart of Vienna lies the 12^th century Stephansdom cathedral (St. Stephens). Very little remains from its early days, and, like so many cathedrals across Europe, additions were made during different periods. When in Vienna you cannot fail to see the cathedral as it stands taller than all around with its stunning mosaic roof, which was laid to show the Royal and Imperial double-headed eagle and the coat of arms of the city of Vienna, sitting with pride of place on the skyline. It is quite distinctive and makes it one of the most recognisable churches in the world. Its famous spire, known as Steffl, stands at 450ft high. Inside the cathedral are many pieces of artwork, that survived a fire towards the end of World War II. That fire also damaged the potent symbol of the city known as ‘the Pummerin’. This bell reflects the turbulent history of the city and was made from the canons that the Turks left when were defeated back in 1683. The bell, like the roof, has since been restored. My walk around Vienna meant that I discovered many other smaller churches that were equally as impressive as the main one in the city.

I may have been a bit naïve as I did not want to spend money exploring the many museums and galleries the city boasts, but I could also add to that argument that the weather was too good to be inside. So, my youthful exuberance made for exploring the beauty that this city had to offer by foot. Being alone I declined the touristy Viennese way of getting around the city, the horse and carriage. These are iconic symbols associated with the city just like gondolas are in Venice or punts in Cambridge. A lot of money could be spent on these things.

I mentioned earlier the Ringstrasse which was a grand boulevard built by emperor Franz Joseph to separate parts of the city. Whether or not it still remains I’m unsure, but what looks to be the more modern development of it houses some of Vienna’s landmarks. Here I found the Neues Rathaus (new town hall) where the Christmas market was being readied. It meant capturing the perfect picture was difficult. Combined with the tall central tower it was almost impossible to get a full image. Also, in this area is the Burgtheatre, which has been restored following damage sustained during World War II. Its beauty from the outside must be admired but rumours of its internal grandeur, must remain just that. Another building that stuck out was the parliament building. You might be mistaken at this point for thinking that you were in Rome or Athens, as Greek and Roman statues adorn the building. In front of the building lies the Athenebrunnen fountain, dominated by the figure of Pallas Athene (the goddess of wisdom). Two final buildings worth mentioning (as they have remarkable similarities) sit mirroring each other. These are the natural history and Kunsthistorisches museums. Rumours are these might be one of the top attractions in the city. I, sadly, must report that I did not step inside them. I remember seeing these wonderful buildings as a child but only from the outside.

The Ringstrasse was designed to separate the Stephansdom and Hofburg areas of the city. The Hofburg area is named after the Hofburg palace, which is one of three that I visited in the city. This complex of buildings right in the centre of the city shows how it was built through the ages, as differerent rulers wanted to leave their mark. I can remember walking through here in the evening with my family and remarking at the number of flags dangling around (as a child I aimed to collect a flag of every country I visited). I can’t recall going inside the complex and exploring the library or state apartments. Instead, along with all the other tourists, I tried to capture images of the outside of the buildings, statues, domes and their architecture and decorative detail. One day….

Coming a little bit away from the centre of the city you reach the Belvedere area of the city. As I mentioned there were more churches visited than the cathedral and one of these was Karlskirche. A grand dome with columns either side of it make it rather appealing. Yet another fine example of the wealth of architecture the city boasts. My main reason for coming into this area of the city was to visit a second palace. The beautiful Belvedere Palace had splendid grounds with water fountains that had been wrapped up for the winter. I could only imagine how many people would have been present during the summer months.

The largely empty gardens gave a wonderful impression as they bathed in the winter sunshine. Again, I didn’t step inside, but found my way out the back where a large water feature provided that iconic shot. As the cold and night started to approach, I made my way towards to the opera area of the city. A glimpse was made of the state opera house, its grand entrance living up to the hype. I would have loved to have been a position to make an entry, and probably listen to the music of the city’s famous sons, but my tired and scruffy appearance would not have been welcomed in such a grand location. Perhaps when I’m older and can dress more suitably I could return and watch a performance of the highest quality. For now, I will have to just enjoy videos of the opera house that emerge of the inside on the internet and in movies.

My final day took me away from the city centre. A short train trip was made to the third palace of my trip, Schonbrunn Palace. What a day this was. The ticket I paid for allowed access to 3 areas if I remember rightly – the palace, the coach museum and the zoo. I made the customary visit inside but disappointingly I can’t remember anything of the inside which is a shame and as the rooms look incredible – perhaps photography wasn’t allowed. This might explain my lack of memory – how interesting it is that we need help to jog our memories. I wonder how much of what I remember is based upon stories that I was told by those who shared the occasion or photos/videos that were taken at the time. Enough of that for that is a vast subject. From here I went to the coach museum, where glorious carriages were on display in the former winter riding school. My afternoon was spent exploring the vast grounds, which boast an impressive green house and a zoo. I went into the zoo as my ticket permitted this, but soon left as the guilt of seeing these wonderful animals in captivity was too much to bear. I always say that once you’ve been on safari (in 2006) you will never want to visit a zoo/aquarium. The palace has a potent yellow façade which is best viewed when walking up to and from the Gloriette. The views were worth the walk. I took on liquid refreshments at Gloriette as it is now home to a café/bar. I can remember indulging in conversation with an old gentleman who was a resident of the city. It was a perfect end to my trip as I sat and talked away about my visit.

Hopefully I’ve manged to describe my trip to this beautiful city. Pictures have proved invaluable in enabling me to retrace my footsteps and put my memories into writing. I’m sure it will provide a delightful Facetime with my father when he reads it and we reminisce. As I’ve remarked before I have many regrets in life, none more so than not writing a blog/diary as a kid or of my earlier travels and all the trips that my parents took me on. So, as I sit and dream of days when travel may resume in a completely different form, I take the moment to remember that my early travel was never taken for granted but I considered it and still consider travel a privilege. It is something that I’m missing greatly.

October 12, 2018

Drinking Dublin

A small capital city with a huge reputation, it attracts visitors from far and wide. When the city is alive its hustle and bustle create an overwhelming sense of craziness. Certain areas of the city possess a constant, unique atmosphere. Although an incredibly touristy city, the locals are ultra-friendly and the crowds flock here to join the craik.

Sadly, my first visit here was far too short and rushed to enjoy this city to its full. Perhaps this is why I didn’t love it like everyone else appears to do. I shall return to explore further its charms and character and possibly some areas out of the main city. I only had 12hrs to explore this place, and while the city is small, trying to see everything by foot was never going to be achievable. There was a need for it to be explored by foot as my ever-increasing waist size was not being helped by the local lifestyle both north and south of the border. I was gutted not to have visited Trinity college area including the book of Kells and college library. I believe that everywhere else was at least seen, but what was missed provides me with the excuse to return.

They say that first impressions count; lets be grateful that Dublin’s didn’t. The city is ugly; it takes advantage of the tourist and, probably, the locals. The buildings look cold and dirty. The pollution and dirt make a face lift a necessity. The city attracts a lot of visitors; this clearly has its pros and cons. On the walkways this is definitely a con, due to the many drinkers/beggars and the build-up of dirt, litter from overflowing bins. The smell made for an unappealing walk. Add the fact that the sun wasn’t shining, and one can see why first impressions were poor. So much for “Dublin’s fair city”.

This the capital of Ireland sits at the head of Dublin Bay; it is a busy port, the financial and commercial hub of Ireland, backed up by its expensive lifestyle, as was pointed out to me by a local as I travelled down on the train. The first part of my walk took me along the eastern part of the river. Here one particular building catches my eye as it looks like it has a canned drink that has been misplaced and built into it. Close by it is anchored the Jeanie Johnston, whose links to the 19^th century famine in these parts sheds a little light on some other parts of Ireland’s history.

My walk takes in all the areas detailed on my tourist/bus map. All the sights were very commercialised, and they were a huge disappointment, Christ church cathedral in particular. Crowds flock to them like bees to honey, and I couldn’t get out of them quick enough. I set off in search of other areas of interest, only to find bus loads of people arriving at them.

Guinness is perhaps Ireland’s biggest and most famous export. Personally, I can’t stand the stuff, even after trying it again over here. On arrival at those famous black and golden gates, I couldn’t be bothered to waste my time and money queuing for a view and perhaps a pint I wasn’t going to enjoy. Instead I headed to a local pub for a drink I would and did enjoy. Not understanding the man behind the bar, I still managed to order and a buy a drink.

From here I took on more walking as I pursued the further sites on my map. I discovered a charming building with quadrants all around; it was much more appealing and photogenic than that of Dublin Castle. From here I found some peace and solitude in the war memorial gardens whilst enjoying my daily packed lunch. From here I ticked off the Wellington monument. An old school bus provided some interesting photo opportunities before I decided to head back to Templar Bar. In no rush, I decided on a pub crawl back towards Templar Bar. Any pub that looked attractive or lively was entered to savour a pint but in each one that was visited the price rose as I got closer to that illustrious place.

Just before arriving at Templar Bar I discovered Ireland’s oldest bar!! Is it true? We may never know! Crowds flocked here and not for a pint but for the “I was here photo” for which people just strolled in and quickly left. Surprisingly I took no such photo; instead I enjoyed my pint as I photobombed everyone’s shameless pictures. Support these pubs!!

I left this pub in search of a more atmospheric location and by that I mean local, musical atmosphere. More by chance than by plan I came to Templar Bar, established 1870. I was drawn in and captivated by the two guys playing their tunes to the hoards of drunkards. Not coping well with the crowds inside I took comfort with the smokers outside. Conversation was struck up with people from far and wide as we all enjoyed each other’s company.

Dublin – I shall return; Trinity college, library and the book of Kells looks like a silly missed opportunity. And perhaps I’ll return to enjoy the evening of Templar Bar once more. Apart from maybe coming across to watch the rugby, my interest in this place is sadly lacking.

Dublin, Leinster, Ireland