Palazzo Vecchio, 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.

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

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, 2025June 22, 2025

Basilica of Santa Croce, 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, 2025April 14, 2025

Bologna, 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).

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.

“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

“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. Bologna 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.

“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 Bologna, 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 Bologna 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 Bologna and you can’t miss and admire these architectural masterpieces.

“Turrita”

Bologna is described as towered (Turrita) because at one point Bologna could boast around 100 towers, which 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 of which the iconic two at the heart of the city 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 and 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 Bologna’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 Bologna, 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

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, 2025May 12, 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, 2025April 14, 2025

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.

Inside San Luca — Chapel inside San Luca

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 San Luca 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 of San Luca 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, 2025May 22, 2025

Bologna Cathedral, 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