Vasari - Marks Meanderings

July 27, 2025July 29, 2025

Uffizi Gallery, Florence, Italy

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

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

Uffizi origins

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

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

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

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

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

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

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

“Uffizi” a museum

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

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

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

Adoration of the Child and archangel Gabriel

The Uffizi Gallery

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

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

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

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

Portrait of Eleonora di Toledo with her son Giovanni

Vasari Corridor

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

Uffizi Gallery Conclusions

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

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

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

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

July 6, 2025July 9, 2025

Palazzo Pitti, Florence, Italy

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

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

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

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

Palazzo Pitti History

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

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

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

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

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

Palatine Gallery at Palazzo Pitti

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

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

Boboli Gardens

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

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

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

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

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

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

Valerie Cioli, Dwarf Morgante, white marble, 1560

Palazzo Pitti Conclusions

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

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

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

June 29, 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.