Palazzo dei Priori - Marks Meanderings

November 16, 2025November 16, 2025

Why Volterra should be on your Tuscan itinerary

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

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

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

Arriving in Volterra

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

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

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

Piazza dei Priori – the heart of Volterra

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

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

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

Cathedral of Santa Maria Assunta and the Baptistery

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

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

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

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

Piazza Marcello Inghirami

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

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

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

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

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

Roman Theatre

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

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

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

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

Medici Fortress

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

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

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

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

Volterra summary

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

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

June 29, 2025September 13, 2025

Palazzo Vecchio, Town Hall in Florence, Italy

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

History of Palazzo Vecchio

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

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

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

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

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

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

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

Entrance and Courtyards of Palazzo Vecchio

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

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

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

Replica of Michelangelo’s gigantic ‘David’

Sala dei Cinquecento – The Hall of the five hundred

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

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

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

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

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

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

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

Western side of the Sala dei Cinquecento.

Entering the gallery on the second floor

Capture of the Fort near the Porta Camollia

The spectacular view of the Sala dei Cinquecento.

The ceiling of the Sala dei Cinquecento.

Medici family rooms

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

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

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

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.