Florence - Marks Meanderings

August 3, 2025August 3, 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 13, 2025July 29, 2025

Ponte Vecchio, 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.

June 29, 2025July 7, 2025

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.