This Festive Italian Christmas guide covers where to eat and what to try if you’re in Florence during Christmas. Not just the big feasts but the smaller moments too. Like warming up with affogato or wandering through a market with something hot in your hand. It’s all part of the season.

Cibrèo Family of Restaurants

Few names evoke such deep loyalty in Florence as Cibrèo. Their constellation of eateries, Cibrèo Caffè, Cibrèo Trattoria, and the elegant Cibrèo Ristorante, are all some of the most delicious and charming spots to eat in the city!

During the holidays, they embrace the season with candlelight, refined Christmas menus, and standout events like their New Year’s Eve Gala Dinner, featuring live DJ sets and optional wine pairings. If you want something deeply traditional, Cibrèo Ristorante is a strong pick for Christmas. The menu might not look familiar at first. That’s because many of the dishes come from older Florentine recipes that haven’t spread far beyond the city. It’s food tied closely to place, and you won’t find it just anywhere.

La Ménagère

There are a few places in Florence that feel more cozy and Christmassy than at La Ménagère, where fairy lights, fresh blooms, and curated vintage accents create a dreamy, cinematic setting. It’s equal parts flower shop, lifestyle store, and restaurant, perfect for a casual coffee, lazy brunch or a festive dinner. Their winter menu leans modern Italian, with house-made pastas, seasonal veggies, and elegant desserts like pear tarts and chocolate fondants that feel as good as they look.

Antico Ristoro di Cambi

If you’re after a meal that feels like a true Christmas feast, Antico Ristoro di Cambi delivers. Tucked away in the San Frediano district, this cozy, wood-beamed trattoria serves up rich, traditional Tuscan dishes in a setting that glows with festive warmth. During the holidays, it’s dressed in charming seasonal decor, twinkling lights, garlands, and that unmistakable sense of old-world celebration.

Expect hearty plates like ribollita, wild boar stew, and their legendary bistecca alla Fiorentina, all perfect for a winter evening. Paired with a bold local red and followed by a slice of panforte or cantucci with vin santo, dinner here feels less like dining out and more like being welcomed to a Tuscan holiday table.

Circo-lo Teatro del Sale

More than a meal, Teatro del Sale is part club, part theatre, part culinary temple. On Christmas Eve, the evening unfolds with a gospel performance under warm lights, matched by a buffet and multi-course, seafood-forward menu. Garganelli with prawns, risotto with cuttlefish, and a parade of desserts make it a spirited and emotional night, with food that sings almost as loud as the music.

View this post on Instagram

A post shared by Circo-lo Teatro del Sale (@teatro_del_sale)

Osteria Cacio e Vino all’Antico Borgo

Osteria Cacio e Vino all’Antico Borgo is a hidden gem, run by a passionate husband-and-wife team. The osteria seats only a handful of diners, making each meal feel intimate. Walter, the host, is warm and animated, and the food feels like a homemade Christmas dinner; slow-cooked featuring Florentine staples like peposo and tripe, it tastes like it came from someone’s nonna. Book ahead, especially during Christmas week.

Vini e Vecchi Sapori

Vini e Vecchi Sapori is a tiny, no-frills, and impossible to get into without a reservation; this place is beloved for a reason. The menu changes daily, but features exceptional dishes like ribollita, wild boar with polenta, and rustic desserts like cantucci and vin santo. The wine flows easily, and the servers are absolutely characters! The vibe is always merry and loud, just like Christmas morning! Come for a traditional Tuscan Christmas Eve supper that sticks to your ribs.

Ditta Artigianale

If you’re in Florence over the holidays and craving a proper coffee break, Ditta Artigianale is a great place to slow down, sit down, and savour some seasonal flavours. Ditta Artigianale leans into the season with playful holiday specials that go well beyond your usual espresso. Try the Panettone Latte, a warm mix of hazelnut, chocolate, and orange, or the Red Arabica cocktail, blending bitter aperitivo notes with Ethiopian coffee. And their Tuscan Tostettone, a toasted panettone sandwich with black cabbage, caprino, artichokes, orange chutney, and Prato mortadella, is one of the best sandwiches that feels like a compact Christmas dinner.

Da Giacomo

A true Christmas Day treat awaits at Da Giacomo, the elegant restaurant is nestled within Il Salviatino, a historic villa just outside Florence. Their Christmas prix-fixe menu is a parade of tradition: creamy chicken liver crostini, handmade cappelletti in capon broth, and a risotto layered with lobster, savoy cabbage, and just enough black kale to remind you you’re in Tuscany. Finish with rum-laced panettone cream or the classic version with mascarpone. Book well in advance to secure your spot!

View this post on Instagram

A post shared by il Salviatino Firenze (@ilsalviatino)

Villa Agape

Perched above the city, Villa Agape is a charming hideaway that feels like a Tuscan dream. Their Christmas lunch is set in a historic villa with panoramic views, and the experience is all about elegance and comfort. You’ll find traditional Tuscan fare served under vaulted ceilings: think tortellini in brodo, slow-cooked meats, and rustic desserts. Add in the crackle of a fireplace and a glass of Chianti, and you’re golden.

View this post on Instagram

A post shared by Art Hotel Villa Agape (@villaagapefirenze)

Hotel Brunelleschi

If you’re craving white-tablecloth elegance on Christmas Day, Hotel Brunelleschi ticks every box. Set inside a restored Byzantine tower, the setting is straight out of a fairy tale. Their holiday menus are refined yet hearty, expect foie gras starters, handmade tortelli, and roast meats with luxurious sauces. It’s upscale dining with old-world charm, perfect for a special occasion.

View this post on Instagram

A post shared by Hotel Brunelleschi (@brunelleschifirenze)

Cafe Gilli

There’s no better place for a festive afternoon pick-me-up than Cafe Gilli, a Florence institution since the 1700s. Located in Piazza della Repubblica, it feels like stepping into a Belle Époque postcard. In December, the display cases are stacked with seasonal sweets, and the baristas serve hot chocolate so thick it practically stands up on its own. Ideal for a quiet moment in the heart of the city.

Club Culinario Toscano da Osvaldo

Homey, understated, and quietly confident, Club Culinario Toscano da Osvaldo is a place where food speaks for itself. The menu features truly unique but traditional Tuscan comfort food with a creative edge, thanks to Chef Damiano, one of the city’s most thoughtful cooks. He respects regional roots but isn’t afraid to play with flavour, using fresh local ingredients in ways that feel both familiar and unexpected.

You’ll find pappardelle with hare, roast guinea fowl, and seasonal contorni, but also harder-to-find dishes with deeper regional ties. One standout is a layered plate of braised veal shank with Roman pecorino, potatoes, and béchamel, a recipe from Maremma and Lazio that rarely appears on modern menus. For me, Christmas has always been about tradition, and this is THE spot for that!

Leonardo’s Artisan Panettone

Panettone is a classic Italian Christmas cake that began in Milan in the 15th century, likely born from a kitchen mishap that led to a sweet, fruit-filled bread called pan di Toni. Over time, it became known as panettone. Originally a luxury treat, it was made with rich ingredients like butter and eggs and shared among families at Christmas. Now a holiday staple, panettone is enjoyed with coffee, wine, or transformed into desserts like affogato.

For a traditional Italian festive treat, head to Leonardo Forno Biscottificio, known for its light, fragrant panettone in flavours like almond, apricot, and three-chocolate. Last year, they released a special Panettone della Gherardesca, created in collaboration with Chef Paolo Lavezzini and Pastry Chef Mariano Dileo. Inspired by the frescoed ceiling of the newly restored Palazzo Del Nero, the star-covered box is as beautiful as the panettone inside. Every year, their innovative Panettone, in flavour and design, is one of the best in Florence to sample during the holidays.ccccc

View this post on Instagram

A post shared by Four Seasons Hotel Firenze (@fsflorence)

Vivoli Affogato

While gelato might not scream “winter” at first, there’s something undeniably cozy about sitting down at Vivoli, one of Florence’s most iconic gelaterias, and ordering an affogato. A scoop of creamy gelato is layered around he rim of a large espresso cup and dusted in pistachios, then drowned in a shot of hot espresso. It’s warm and creamy all at once, and a treat that feels especially festive this time of year. The roasted nut flavours, the rich coffee aroma, and the quiet warmth of the gelateria all come together to create a moment that’s indulgent yet comforting, like the Italian version of a holiday hug in a cup. Ideal for a mid-afternoon pick-me-up after a chilly walk through town or a sweet way to end a festive meal.

Christmas in Florence changes how you eat. Meals stretch longer, flavours feel deeper, and even simple things, a coffee, a slice of cake, carry more weight. It’s not about indulgence as much as comfort. Familiar ingredients show up in unexpected ways, and traditional dishes remind you that food here still follows the rhythm of the season. Whether it’s a festive dinner or something warm from a market stall, eating in Florence at Christmas feels grounded, generous, and just right for the time of year.

Happy Travels, Adventurers

The post The Best Places Eat in Florence at Christmas first appeared on The Creative Adventurer.

If you’re considering a Florentine Christmas visit, here’s a complete guide to help you plan: from weather to markets, Christmas mass, dining, what’s open and what to expect in the quieter days around December 25. It’s everything you need to know before setting off in your sleigh bound for Italy’s Cradle of the Renaissance.

Table Of Contents

1. Is Florence Worth Visiting at Christmas?
2. What Is the Weather Like in Florence in December?
3. Are There Christmas Markets in Florence?
4. What are the Best Things to Do in Florence at Christmas?
5. What Is Open on Christmas Eve & Christmas Day?
6. Are There Special Christmas Concerts?
7. What to Eat & Drink in Florence at Christmas
8. Are there Festive Day Trips from Florence?

Is Florence Worth Visiting at Christmas?

Absolutely. Florence at Christmas is quieter than in the high summer months, which often means fewer lines at the Uffizi or Accademia, more space in the Duomo, and a slower pace through its streets.

Yes, some closures will happen, but the city’s medieval and Renaissance heart still pulses, with lights, nativity scenes, choirs, seasonal markets, and special events. If you go with gentle expectations (i.e. some things will be closed, some will have reduced hours), the payoff is a more intimate, reflective experience.

What Is the Weather Like in Florence in December?

Florence in December is mildly cold and damp. Daytime highs hover around 8–11 °C, while evenings can dip to 3–5 °C. Rain is common, with grey skies often prevailing, but this moody light adds to the city’s poetic charm. Overall, I found Florence’s winter weather to be wonderful for wandering the city and exploring all the Christmas markets and festivities that pop up around every corner.

What to Pack:

Florence in December can be surprisingly chilly, with damp air that settles into the narrow stone streets, so packing smart is essential. Bring a warm, waterproof coat and layer up with cozy sweaters and insulating base layers to stay comfortable as you explore. A hat, scarf, and gloves are a must, especially in the mornings and evenings when temperatures dip. Waterproof walking shoes will be your best friend on rainy days, especially when wandering through markets or climbing cobbled hills. A compact umbrella is handy too, as showers can come and go with little warning.

Want more tips on what to bring? Check out our full guide to packing for winter in Italy.

Are There Christmas Markets in Florence?

Yes, and they’re full of festive charm! While Florence’s Christmas markets may not rival the sprawling, snow-dusted spectacles of Germany or Austria (after all, those countries are the birthplace of many Christmas traditions) what they lack in size, they more than make up for in atmosphere.

Tucked into historic piazzas beneath twinkling lights and centuries-old architecture, these markets feel intimate and magical. Stalls are brimming with hand-crafted ornaments, artisanal gifts, Tuscan delicacies, and mulled wine (vin brulé) that warms your hands as much as your spirit.

For more information on all the Christmas Markets in Florence, check out our complete guide to Christmas Markets in Florence here.

What are the Best Things to Do in Florence at Christmas?

Florence turns into a full-on festive fever dream come December, twinkling lights, steaming cups of vin brulé, and way too many chances to buy ornaments you definitely don’t need (but absolutely want). Here are a few of the unique ways to experience Florence during the Christmas season:

• Stroll the historic centre at dusk to soak in the lights and shop windows. Check out our guided walk through Florence’s Christmas lights here.
• Visit the Duomo, Baptistery, and Giotto’s Campanile, the views from above are worth the climb (weather permitting).
• Admire the city lights from Piazzale Michelangelo.
• Wander the Oltrarno, home to quiet streets and artisan shops, perfect for Christmas Shopping.
• Attend a Christmas concert in one of Florence’s historic churches.
• Spot nativity scenes (presepi) throughout the city.

For a deeper dive into all the festive experiences Florence has to offer, don’t miss our complete Christmas guide.

What Is Open on Christmas Eve & Christmas Day?

Planning your Christmas Day in Florence? Keep in mind that most museums and galleries are closed on December 25, and some may shut early on the 24th. Churches remain open for Christmas Eve and Christmas Day services, including the atmospheric Midnight Mass at the Duomo, but it’s best to arrive early if you want a seat. Many restaurants offer special holiday menus, though smaller spots often close between December 24 and 26, so advance reservations are essential. Public transit, including buses and trams, runs on a reduced holiday schedule, so plan accordingly.

That said, Christmas Day can be a great time to enjoy Florence in a slower, more peaceful way. The Florence Ice Village skating rink stays open, offering a fun, festive activity even when much of the city takes a pause. Or, take advantage of the quiet streets with our Christmas Lights Walking Tour, a magical way to explore the city’s festive glow when everything else winds down.

Are There Special Christmas Concerts?

Yes! From sacred music in cathedrals to classical performances in concert halls, Florence’s seasonal music scene is rich and varied. Keep an eye on local listings and the City of Florence events website for the most up-to-date information. For a list of all the different concerts, check out our festive guide or go to the official City of Florence website.

View this post on Instagram

A post shared by Palazzo Medici Riccardi (@palazzomediciriccardi)

What to Eat & Drink in Florence at Christmas

Florentine Christmas menus are all about warmth, richness, and seasonal comfort. On Christmas Eve (La Vigilia), the focus traditionally shifts to lighter, fish- and vegetable-based dishes, in keeping with Italian customs. Christmas Day, however, brings out the heartier fare, think roast meats, creamy polenta, and rustic favourites like ribollita, wild boar ragù, or the iconic bistecca alla Fiorentina. Desserts are just as indulgent, with panettone, panforte, torrone, and the classic pairing of cantucci dipped in vin santo. To stay cosy as you wander the city, grab a cup of vin brulé or sip on thick, rich Italian hot chocolate.

Are there Festive Day Trips from Florence?

If you’re spending a few days in Florence this Christmas and want to venture beyond the city, there are some incredible seasonal day trips that capture Italy’s holiday spirit, all within easy reach by train or car.

Arezzo: A Fairytale Christmas Village
Just over an hour from Florence, Arezzo transforms into a full-blown Christmas village. The historic centre glows with decorations, themed markets, and a Tyrolean-style Christmas village in Piazza Grande. Kids will love the Santa House, while adults can enjoy local crafts, mulled wine, and traditional bites. It’s a charming, less-crowded alternative to the bigger cities, with just as much magic.

View this post on Instagram

A post shared by italia.it (@italiait)

Bologna: Gourmet Comfort & Cultural Cheer
Known for its food scene year-round, Bologna becomes even more inviting during the holidays. Stroll through beautifully lit porticos, warm up with rich tagliatelle al ragù, and browse the Fiera di Santa Lucia, one of Italy’s oldest Christmas fairs, held along the Church of Santa Maria dei Servi. It’s perfect for food lovers and culture seekers who want a festive vibe without the overwhelming crowds.

Verona: A Romantic City with a Standout Christmas Market
A bit farther afield (about 1.5–2 hours by train), Verona offers one of Italy’s best Christmas markets, set against the backdrop of its medieval squares. From handcrafted decorations to alpine-style food stalls, it’s easy to spend a full day wandering, shopping, and soaking in the romantic atmosphere. Add in Juliet’s balcony dusted with lights, and you’ve got a festive day trip that’s straight out of a storybook.

View this post on Instagram

A post shared by MERCATINI DI NATALE A VERNA (@mercatinidinataleaverona)

The post Everything You Need to Know About Visiting Florence at Christmas first appeared on The Creative Adventurer.

As winter settles over Tuscany, the city’s Renaissance streets come alive with a magical mix of cultural charm and yuletide spirit. From quiet Nativity scenes decorated in each and every church you find along the way, to rustic wooden stalls of the Weihnachtsmarkt in Piazza Santa Croce, the city transforms into a warm and welcoming haven for holiday seekers. This guide explores the best Christmas events in Florence, from festive concerts and live nativities to artisan markets, local delicacies, and the best places to soak up that sweet, spiced Italian cheer.

Table Of Contents

1. Wander the Green Line Festival Sights
2. Visit the Christmas Market in Piazza Santa Croce
3. Seek Out Florence’s Nativity Scenes
4. Florence Ice Village
5. Enjoy a Classical Christmas Concert
6. Jazz, Aperitivo & Holiday Cheer at Mercato Centrale
7. Catch a Christmas Movie at Giunti Odeon
8. Free Concert at Palazzo Medici Riccardi
9. Hear Vivaldi’s Four Seasons
10. Italian Opera with Three Tenors
11. Watch The Nutcracker at Teatro Verdi
12. See Pinocchio Come to Life
13. Attend Midnight Mass at the Duomo on Christmas Eve

Wander the Green Line Festival Sights

From early December to early January, Florence glows under the spell of the Green Line Festival, a city-wide celebration of light, art, and nature. Vibrant projections and creative installations transform historic buildings and piazzas. Best seen after dark, it’s the perfect excuse for an evening stroll with a warm drink in hand, soaking in the festive atmosphere as the city becomes a living canvas.

For a full rundown of all the best light displays around the city, from iconic projections to hidden gems, check out our in-depth guide to Florence’s Christmas Lights Festival here.

Visit the Christmas Market in Piazza Santa Croce

The Weihnachtsmarkt in Piazza Santa Croce is Florence’s most iconic Christmas market. It’s designed in the style of a traditional German village, a nod to Germany’s deep-rooted legacy as the birthplace of many beloved Christmas traditions. One of the most interesting aspects of this market is that the wooden stalls hold handcrafted gifts from all over Europe! You can also enjoy traditional Christmas foods from all over the world, like mulled wine, spiced Chimeny cakes, roasted chestnuts and melted raclette over warm roasted potatoes.

The Weihnachtsmarkt is the largest and longest-running Christmas market in Florence, but if you want a full list of all Florence’s festive markets, head over to our complete guide to Christmas Markets in Florence here for all the dates and locations.

Seek Out Florence’s Nativity Scenes

Throughout December, nativity scenes pop up across Florence, not just in churches, but in courtyards, hotels, and tucked-away corners of the city. In the Oltrarno, the Basilica di Santo Spirito greets visitors with a beautifully handcrafted nativity by artist Albino Todeschini, placed just inside the entrance. Outside the Duomo, a life-size terracotta nativity scene by local artisan Luigi Mariani adds a touch of rustic Tuscan charm to the bustling piazza.

Florence Ice Village

Held each winter, the Florence Ice Village is an open-air winter wonderland featuring one of Italy’s largest ice rinks, a towering Ferris wheel, and a lively village of food stalls and Christmas markets. The Ferris wheel offers sweeping views over Florence’s rooftops, magical at sunset or when the city is lit up for the holidays.

You can skate beneath the stars surrounded by twinkling lights, then warm up with a cup of mulled wine or rich hot chocolate from one of the nearby stands. The rink is open every day, including Christmas and New Year’s, from 10 am to midnight, with the last lap running until 1 am. Skates are available to rent in a European size 49.

Enjoy a Classical Christmas Concert

For a truly atmospheric evening in Florence, step into the candlelit stillness of the Cattedrale dell’Immagine for a special Christmas Concert on December 21. This intimate performance weaves together beloved carols like Silent Night and Tu scendi dalle stelle with classical works by Mozart, Mendelssohn, and Handel, all brought to life by talented soprano and tenor soloists.

Housed in an 11th-century church tucked behind Piazza della Repubblica, the venue alone is worth the visit. Its vaulted ceilings and soft lighting create a hushed, almost magical setting that feels tailor-made for holiday music. Whether you’re a classical music lover or simply looking to slow down and soak in the season, this concert is an elegant and soul-warming escape from the busy holiday crowds.

View this post on Instagram

A post shared by Opera e Lirica (@operaelirica)

Jazz, Aperitivo & Holiday Cheer at Mercato Centrale

Looking for something lively and local this Christmas in Florence? Head to Mercato Centrale for a festive dose of music, food, and family fun. On Christmas Eve at 6:30 pm, the market hosts Natale in Jazz, a special edition of its “Jazziamo di Gusto” series. For just €10, you’ll get an aperitivo and live jazz in the market’s vibrant upper level. And if you’re visiting with kids on December 14, don’t miss the chance to meet Santa himself turn the market into a cheerful hub of holiday magic.

Catch a Christmas Movie at Giunti Odeon

Tucked just off Piazza Strozzi, Giunti Odeon offers Christmas film screening inside its century-old cinema-meets-bookstore space. The venue is a beauty in itself: soaring ceilings, Art Deco details, and walls lined with books that give the whole place a warm, lived-in charm. Bonus? There’s an in-house café if you want to sip something warm while enjoying the film, perfect to warm up with after a chilly stroll outside.

View this post on Instagram

A post shared by Giunti Odeon (@giuntiodeon)

Free Concert at Palazzo Medici Riccardi

On Friday, December 5 at 5 PM, step into the stunning Galleria degli Specchi at Palazzo Medici Riccardi for an evening of classical music performed by the Kantor Quartet. Presented by the Vito Frazzi Art Center, the concert features Haydn’s Quartet in B-flat major, Op. 33 No. 4, and Brahms’ Quartet in C minor, Op. 51 No. 1, two richly expressive works that come to life in this grand 17th-century hall.

The setting is as memorable as the music itself. With its mirrored walls and frescoed ceiling, the Galleria degli Specchi adds an extra layer of elegance to the experience. Entry is free, though seating is limited, so arriving early is a good idea. Access is via the palace’s entrance on Via Cavour 9. This is one of those lesser-known holiday gems, intimate, cultural, and unmistakably Florentine.

Hear Vivaldi’s Four Seasons

On Saturday, December 6, treat yourself to an evening of classical favourites in the heart of Florence. Performed by the Orchestra da Camera Fiorentina, this concert features a rich programme of baroque and classical gems, including Pachelbel’s Canon, Bach’s Air, Mozart’s A Little Night Music, and Vivaldi’s iconic The Four Seasons, with violinist Marco Lorenzini as soloist.

Set in a historic church near Piazza di Santo Stefano, the performance offers a warm, atmospheric escape from the December chill. Whether you’re a classical music lover or simply looking for a refined cultural outing, this concert is a beautiful way to spend an evening surrounded by the timeless sounds of the season.

View this post on Instagram

A post shared by 𝗢𝗥𝗖𝗛𝗘𝗦𝗧𝗥𝗔 𝗗𝗔 𝗖𝗔𝗠𝗘𝗥𝗔 𝗙𝗜𝗢𝗥𝗘𝗡𝗧𝗜𝗡𝗔 (@orchestradacamerafiorentina)

Italian Opera with Three Tenors

Inspired by the legendary “Three Tenors,” the Italian Opera concert features three exceptional vocalists accompanied by the Orchestra Barocca Opera in Roma, performing a selection of beloved arias and classic Neapolitan songs. Expect timeless pieces from La Traviata, Tosca, Rigoletto, and favourites like Funiculì Funiculà and Torna a Surriento. Set against the dramatic backdrop of a historic Romanesque church, the music takes on an even more powerful resonance, making it a perfect addition to a festive night out in Florence.

Watch The Nutcracker at Teatro Verdi

No Christmas season is complete without The Nutcracker, and in Florence, this timeless ballet takes the stage in a charming, family-friendly adaptation at Teatro Verdi. On December 13, the Orchestra della Toscana joins forces with local theatre group Venti Lucenti for a magical retelling of Clara’s journey through a world of sweets, dreams, and dancing snowflakes.

At just 50 minutes, this version is designed with young audiences in mind but still captures the wonder and elegance of Tchaikovsky’s beloved score. The setting, inside one of Florence’s grandest historic theatres, adds a touch of festive grandeur to the experience.

View this post on Instagram

A post shared by Teatro Verdi Firenze (@teatroverdifirenze)

See Pinocchio Come to Life

Performed on December 17 and 18, Pinocchio takes centre stage at the historic Teatro della Toscana. This visually rich adaptation reimagines Carlo Collodi’s beloved Tuscan tale through marionettes, masks, and shadow play. It’s whimsical, moving, and perfectly timed for the festive season. Though not a traditional Christmas story, Pinocchio embodies many of the season’s themes: wonder, transformion, and redemption.

Attend Midnight Mass at the Duomo on Christmas Eve

For a truly unforgettable Christmas Eve in Florence, join locals and visitors alike at the Duomo for Midnight Mass. Held on December 24 and led by the city’s Cardinal, this solemn and beautiful service takes place in the heart of one of Florence’s most iconic landmarks, stunningly lit against the night sky.

The experience blends spiritual reflection with centuries of tradition, offering a peaceful, awe-inspiring moment amid the festive bustle. Be sure to arrive at least 45 minutes before the service starts to ensure entry into the cathedral.

No matter how many times you’ve visited, seeing Florence dressed for the holidays feels like discovering it all over again. And take part in experiences you’ll only find during the holiday season. Whether you’re gliding across the ice beneath twinkling lights, hearing arias drift through ancient stone walls, or strolling peaceful streets with a warm cup of vino in hand, Christmas casts a distinct kind of Florentine magic.

Happy Travels, Adventurers

The post Christmas in Florence: A Festive Guide to the Best Things to See & Do first appeared on The Creative Adventurer.

In this self-guided walking tour, we’ll lead you step by step through Florence’s most enchanting holiday scenes, from grand squares and illuminated bridges to hidden side streets strung with quiet charm. So lace up your walking shoes, grab a warm drink, and let’s follow the glow together through the heart of Florence at Christmas.

Table Of Contents

1. Map of Florence Christmas Lights Walking Tour
2. Things to Know Before You Go
3. Via de’ Tornabuoni
4. Via Porta Rossa
5. Loggia del Mercato Nuovo
6. Piazza della Repubblica
7. Piazza del Duomo
8. Borgo San Lorenzo
9. Via del Corso
10. Piazza Santa Croce
11. Via dei Benci
12. Piazza della Signoria
13. Ponte Vecchio
14. Piazzale Michelangelo

Map of Florence Christmas Lights Walking Tour

Things to Know Before You Go

If you’re visiting Florence in December, the lighting displays typically switch on around December 7th and linger until January 7th. The sweet spot to wander the city looking at the lights is just after dusk, roughly 5:30 pm, when the sky still clings to its last sliver of blue, and the lights take on an almost surreal glow.

To ensure your night isn’t cut short but the chill gets into your bones, be sure to wear lots of layers. Even though when the sun is up, it might feel comfortable, as soon as the sun sets, the cold and damp can really set in. Hot chocolate is your best ally!

Via de’ Tornabuoni

We start our tour on the Via de’ Tornabuoni, leading toward Piazza Santa Trinita, which is a sparkling corridor of festive refinement. Lining the street, elegant rows of Christmas trees stand like sentinels of holiday cheer, each one perfectly manicured and wrapped in delicate white lights. Their soft glow bounces off the shopfront windows and the polished stone façades, creating a golden path that naturally draws you toward the square.

Via Porta Rossa

At the end of the Piazza di Santa Trinita, turn east along Via Porta Rossa. Via Porta Rossa is home to one of Florence’s most dazzling Christmas light displays. This long stretch or medival facades is draped with golden string lights that loop between the buildings in graceful arcs, the street becomes a glowing tunnel of warmth and wonder. Radiant red-and-white Florentine fleur-de-lis are suspended proudly, a festive nod to the city’s centuries-old symbol. The cobblestones shimmer underfoot, especially after a light rain, and oversized red ornaments float above like baubles plucked from a giant’s tree. Shops glow from within, spilling light and colour onto the slick pavement, while garland-wrapped lampposts add a touch of old-world charm.

Loggia del Mercato Nuovo

Along Via Rossa, you’ll pass by grand stone arches of the Loggia del Mercato Nuovo, the 16th-century market. The market features giant red-and-white fleur-de-lis lights, Florence’s proud emblem, which hang from the vaulted ceilings, glowing like stained glass against the cool grey stone. Reflections shimmer on the wet cobblestones, and the statues tucked into the corners stand watch cheerful shoppers pass by.

Piazza della Repubblica

From the market, lets head north, along Via Calimala, towards the Piazza della Repubblica, a grand, open square carved out of what was once the city’s old medieval marketplace. Its wide arcades frame elegant cafés, where guests and locals linger over espresso and where buskers play under the glow of the streetlamps.

Come December, the square is anchored by a towering Christmas tree dressed in shimmering ornaments, twinkling garlands. Projections are cast all over the buildings surrounding the square, wrapping the entire area up in a glittering illuminated like bow! But the real showstopper? The vintage carousel twirls around, dressed for the holidays with gilded horses set amongst twinkling lights and brightly decorated Christmas tree, all set to a cheerful soundtrack of festive music.

Piazza del Duomo

One of the most iconic spots to see at Christmas in Florence is the Piazza del Duomo. The cathedral’s square already has a flair for the dramatic, but add a towering Christmas tree, a nativity scene, and ambient lighting that highlights every gothic groove in its marble skin, and you’ve got yourself a holiday postcard waiting to happen.

Even during the daytime, this square is a delight to visit, as you can really appreciate the details set in the nativity scene outside the Duomo. And don’t skip the side alleys fanning out from the piazza; those quiet corners are laced with charming Christmas lights that frame the square perfectly.

Borgo San Lorenzo

Just around the corner from the Duomo, Borgo San Lorenzo feels like stumbling onto Florence’s secret holiday runway. Golden string lights arc overhead in perfect, glowing swoops, wrapping the street in a soft, honeyed light. Walking through feels a bit like ducking into a twinkling tunnel of warmth, flanked by tiny boutiques, espresso bars, and the easy rhythm of everyday Florentine life carrying on beneath the sparkle.

Via del Corso

Heading south, towards the Arno, make your onto Via del Corso, which slices right through Florence’s historic heart. Come December, it bursts to life with some of the city’s most colourful lights. While much of Florence sticks to elegant golds and soft whites, this street goes bold, vibrant hues and contemporary designs that splash the Renaissance façades with a playful, modern twist on holiday cheer.

Piazza Santa Croce

Walking along Via del Corso, keep making your way east towards the Piazza Santa Croce. Piazza Santa Croce is Florence’s big open living room, anchored by the basilica’s marble façade and framed by gorgeous palazzi. This square does double duty in December: it’s both a stage for Florence’s German-style Christmas market and a canvas for charming holiday lights. Walking through the market, with a hot mulled wine and a freshly roasted bag of chestnuts, really makes this wander absolutely filled with Christmas cheer.

Come here just after dark, and you can bask in the lights strung between the booths, which cast a warm, golden hue on the basilica’s façade, and you’ll feel like you’ve wandered into a snow globe, minus the snow, of course.

Via dei Benci

Via dei Benci is a narrow, historic street which, thanks to its proximity to the Santa Croce Market, is draped in long strands of icicle lights cascading across the roadway, like golden raindrops suspended in mid-air. Against the backdrop of weathered stone facades and shuttered windows, the effect is understated but utterly enchanting! Follow this street all the way to Lungarno Generale Diaz, then turn west and stroll along the river for a short stretch until you reach Piazzale degli Uffizi. From there, head into the piazza and continue straight ahead, the path will lead you right into the magnificent Piazza della Signoria.

Piazza della Signoria

The Piazza della Signoria is Florence’s political and artistic heart, a veritable open-air museum wrapped in centuries of power plays and pageantry. At the entrance to Palazzo Vecchio stands another replica of Michelangelo’s David, still keeping watch over the crowds below. But come nightfall during the holidays, this Renaissance icon gets a modern makeover, bathed in colour and light, transformed into a glowing spectacle that bridges centuries of Florentine artistry.

The entire facade of the Palacio Vecchio glows under colourful projections from the Light up Florence Festival, bathing the façades in rich colours, animated patterns, and storybook scenes that bring the past to life.

Ponte Vecchio

Come December, the Ponte Vecchio trades its everyday golden-hour glamour for something even more theatrical. Each year, it becomes the centrepiece of Florence’s ‘Light Up’ festival, where the city’s most iconic landmarks become a luminous canvas thanks to video-mapping technology. This offers up a completely unique way of seeing this historic site. Even if you’ve wandered Florence a dozen times before, the holiday projections cast the city’s landmarks in an entirely new glow, quite literally letting you see them in a different light.

The exterior of the Ponte Vecchi is transfomed by a kaleidoscope of video projections and storybook scenes mapped directly onto the bridge’s historic facade. Arrive just after dusk for the last blue in the sky, then circle back later when the colours deepen. If you can, view it from both banks, each side offers its own kind of magic. From the Uffizi side, you’ll catch the full sweep of the Ponte Vecchio’s arches flickering with colour, their reflections rippling in the Arno like molten gold. Cross over to the Oltrarno, and the perspective shifts: the bridge glows against the backdrop of the city skyline, with the Duomo’s dome and Palazzo Vecchio’s tower silhouetted in the distance.

But the delights don’t stop at the bridge’s outer glow. Strolling along Ponte Vecchio itself, you’ll walk beneath elegant chandeliers and draped string lights that shimmer above the crowds, a festive overlay to a structure that has spanned the Arno since the 14th century, once lined with butchers’ stalls before becoming the glittering haven of goldsmiths it is today.

Piazzale Michelangelo

Above the city sits Piazzale Michelangelo, named for the great Renaissance master himself, and his copy of the famed David statue, which stands proudly at the centre of the terrace, gazing out over the skyline of domes, towers, and terracotta rooftops that define Florence’s timeless beauty.

The climb up to this lookout is well worth the effort as from here, the city’s lights don’t just twinkle, they pulse gently across the Arno, glinting off tiled roofs, towers, and domes. And sitting atop the city is a great Christmas tree, all decked out with thousands of lights and oversized Christmas baubles.

As your walk winds to a close, take a few minutes, even in the cold, to stand and take in the city of Florence, which unfurls below you like a Renaissance painting. From this perch, the city’s Christmas lights stretch out in every direction, the glowing dome of the Duomo, the twinkling bridges over the Arno, the soft shimmer of piazzas alive with evening chatter. The ideal spot to end your night and soak in the lights of this wonderful Christmas city.

Happy Travels, Adventurers

The post Florence at Christmas: Ultimate Self-Guided Walking Tour Through the City of Lights first appeared on The Creative Adventurer.

Table Of Contents

1. Piazza Santa Croce Weihnachtsmarkt
2. Florence Ice Village
3. The Fierucola of the Immaculate
4. The Christmas Fair (Fierucola di Natale)
5. ChristmARS at Piazza Santa Maria Novella
6. Creative MANI-Factory
7. Joulutori, Nordic Christmas Market
8. Nataleperfile
9. San Donato Christmas Market
10. Christmas Bazaar at the Tepidarium
11. ARTour of Tuscan Taste
    • Buon Natale, and happy market-hopping!

Piazza Santa Croce Weihnachtsmarkt

If there’s just one Christmas market you make time for in Florence, let it be the Piazza Santa Croce Weihnachtsmarkt. Each year, the vast stone square in front of the Basilica di Santa Croce transforms into a glowing Christmas wonderland, inspired by the traditional German Christmas markets.

Wooden chalets line the piazza like a miniature alpine village, their rooftops dusted with twinkling lights and garlands of evergreen. The scent of mulled wine, roasted chestnuts, and sweet spices fills the air, luring you from one stall to the next.

More than 50 wooden chalets brim with festive treasures, from handmade ornaments and pine-scented wreaths to artisanal soaps, felt slippers, woollen scarves, carved wooden toys, and rustic homeware, each one sourced from across Europe.

Tucked among the festive stalls are culinary delights from across Europe, offering a delicious journey through holiday traditions. You’ll find decadent Sacher tortes straight from Vienna, gooey chimney cakes from Hungary, rich Alpine cheeses, savoury pork knuckles sizzling on the grill, and plenty more to tempt your taste buds.

Florence Ice Village

Florence’s beloved Ice Village is back in 2025, and this time, it’s taken over the grounds of the Fortezza da Basso. Running until January 26, 2025, this winter wonderland is home to Tuscany’s largest ice-skating rink, a soaring 55-metre panoramic Ferris wheel. But beyond the ice, you’ll find a vibrant village atmosphere with various little food stalls serving everything from hot chocolate to street food classics. The towering Ferris wheel (the tallest in Italy!) offers dazzling views over Florence’s rooftops, and there’s even a Santa Claus House for little ones to visit.

View this post on Instagram

A post shared by Florence on Ice Village (@florenceonicevillage)

The Fierucola of the Immaculate

Held each year, for one weekend, in early December, the Fierucola dell’Immacolata opens up for locals and visitors alike to celebrate community, sustainability, and artisan craftsmanship. This fair offers visitors the chance to browse thoughtfully made, eco-conscious goods while also engaging with local volunteer associations.

The Christmas Fair (Fierucola di Natale)

Held just days before Christmas, the Fierucola di Natale invites visitors to discover a curated selection of handcrafted items made with care, using natural materials and traditional techniques. Every stall offers something thoughtfully made, gifts that are not only beautiful, but sustainable and built to last. The artisans behind these creations are deeply rooted in their craft, with a strong commitment to preserving local heritage and respecting the environment. From organic food products to handmade homewares and eco-friendly gifts, the market is a haven for conscious shoppers looking to support small producers while embracing the true spirit of the season.

View this post on Instagram

A post shared by La Fierucola Firenze (@lafierucola)

ChristmARS at Piazza Santa Maria Novella

Set against the stunning backdrop of the Santa Maria Novella Basilica, this intimate artisan market, with Sixteen Alpine-style wooden stalls, focuses on high-quality, handmade goods and shines a spotlight on local craftsmanship, showcasing everything from artisanal jewellery and hand-stitched leather goods to rustic ceramics, textiles, and regional delicacies.

Last year, the dates were December 7-22, 2024, check their website for updated dates.

View this post on Instagram

A post shared by Ars Manualis l'Eredità dei Saperi (@ars_manualis)

Creative MANI-Factory

For those craving something more contemporary and cutting-edge, the MANI-Factory Christmas Market at Manifattura Tabacchi is a must-visit. Held over two weekends, December 6–8 and again from the 21st–22nd, this design-forward market shines a spotlight on Italy’s next generation of makers and creatives.

Think bold statement jewellery, fashion-forward clothing, one-of-a-kind home décor, and sleek modern ceramics. Everything is crafted by independent artists and small studios, making it a goldmine for anyone hunting for original, high-quality gifts with a distinctly local (and thoroughly modern) edge.

View this post on Instagram

A post shared by Creative Factory Market (@creativefactory_market)

Joulutori, Nordic Christmas Market

For two days only, at the end of November, the spirit of the North settles into Florence with the return of Joulutori, the city’s much-loved Nordic Christmas Market. Now in its third edition and more enchanting than ever, this pop-up event brings Scandinavian style, seasonal flavours, and a refreshingly minimalist aesthetic. Visitors can browse a thoughtfully curated selection of handcrafted Nordic goods, think sleek, functional design pieces, cozy knitwear, wooden ornaments, and delicate winter decorations. Alongside the crafts, traditional Finnish delicacies like spiced cookies, glögi (mulled wine), and other wintry treats fill the air with the sweet scents of a northern Christmas.

Nataleperfile

Set inside the grand halls of Palazzo Corsini, the Nataleperfile Christmas Market is one of Florence’s most meaningful holiday events. Now in its 22nd year, this beloved three-day market, running from Friday, December 12 to Sunday, December 14, 2025, offers more than just festive shopping. It raises vital funds for File (Fondazione Italiana di Leniterapia), supporting free palliative care for people facing serious illness and their families.

View this post on Instagram

A post shared by Made in Sipario (@madeinsipario)

The market features around 30 carefully selected exhibitors offering everything from fashion and beauty to gourmet foods, home décor, and handcrafted accessories. Four dedicated rooms inside the palazzo highlight the foundation’s own fundraising efforts. There’s the File Banchi Hall, filled with products generously donated by local businesses; the charming Vintage Room, stocked with high-quality second-hand fashion for both men and women; the Home File Room, featuring elegant homewares; and a space dedicated to holiday sweets and raffle tickets. One of the best parts of this market is its setting, getting to shop while exploring one of Florence’s most beautiful historic palaces.

View this post on Instagram

A post shared by Palazzo Corsini (@palazzocorsini)

San Donato Christmas Market

If you’re looking to escape the tourist crowds, the San Donato Christmas Market in Florence’s modern Novoli district offers a refreshingly local holiday experience. Running daily from November 16 to January 6, this market unfolds across the spacious San Donato commercial centre, just a 10-minute ride from the city centre on Tram Line 2.

View this post on Instagram

A post shared by Quartiere San Donato (@quartieresandonato)

Here, more than 50 wooden chalets line the pedestrian avenues, brimming with handcrafted gifts, sparkling decorations, artisanal jewellery, and irresistible street food. From piping-hot fritters to sweet seasonal treats, the atmosphere is cozy and family-friendly, with twinkling lights, cheerful music, and plenty of space to browse.

While it might not have the Renaissance backdrop of other city markets, San Donato delivers its own kind of magic: a blend of neighbourhood charm, festive energy, and modern convenience that makes it well worth the tram ride.

Christmas Bazaar at the Tepidarium

From November 21 to 23, 2025, the grand glasshouse in Florence’s Giardino dell’Orticultura, the majestic Tepidarium, sets the stage for the city’s longest-running holiday fair: the Christmas Bazaar. Now celebrating its 49th edition, this cherished event is organized by AILO (The American International League of Florence ODV) with the support of the city. It brings together a warm and joyful community of women from around the world, all united by one mission: giving back.

View this post on Instagram

A post shared by Freya Middleton (@freyasflorence)

True to its motto, the spirit of giving, every euro raised goes directly to local non-profit organizations supporting social causes across Florence and the surrounding area. Visitors can browse a vibrant and eclectic array of treasures, everything from vintage clothing and quirky costume jewellery to knitted children’s wear, English and Italian books, handmade Christmas ornaments, toys, shoes, and all kinds of bric-à-brac.

ARTour of Tuscan Taste

From December 20 to 22, the elegant Piazza Strozzi comes alive with the sights, scents, and flavours of Tuscany at ARTour del Gusto Toscan, Edizione di Natale. This festive outdoor market is a celebration of regional craftsmanship, culinary heritage, and holiday cheer, set in one of Florence’s most atmospheric piazzas. Over 30 local producers and artisans will be showcasing their best seasonal offerings: think aged cheeses, fragrant cured meats, artisan breads, handmade preserves, rich Tuscan chocolate, and small-batch olive oils. Alongside the food, you’ll find beautifully crafted accessories and tableware, perfect for adding a touch of rustic elegance to your holiday table or finding an original, high-quality gift.

So there you have it—your ultimate sleigh ride through Florence’s most enchanting Christmas markets. Whether you’re sipping glögi under the glass dome of the Tepidarium, picking up sleek Nordic knits in a hidden courtyard, or spinning sky-high on the Ferris wheel with a paper cone of roasted chestnuts, Florence knows how to do December right. Pack your scarf, bring an extra tote for all those irresistible finds, and prepare to leave with a suitcase full of handmade treasures, a phone full of twinkle-lit photos, and a heart thoroughly warmed by Tuscan holiday cheer.

Buon Natale, and happy market-hopping!

The post Ultimate Guide to the Best Christmas Markets in Florence first appeared on The Creative Adventurer.

Table Of Contents

1. Things to Know Before You Go
2. Piazza del Duomo
3. Piazza Santa Croce
4. Ponte Vecchio
5. Via de’ Tornabuoni
6. Piazzale Michelangelo
7. Piazza della Repubblica
8. Piazza della Signoria
9. Borgo San Lorenzo
10. Loggia del Mercato Nuovo
11. Via Camillo Cavour
12. Via de’ Guicciardini
13. Piazza di Santa Maria Novella
14. Farmaceutica di Santa Maria Novella
15. Via dei Benci
16. Piazza Ognissanti
17. Borgo San Frediano
18. Via dei Serragli
19. Via del Corso
20. Via Porta Rossa
21. Via Sdrucciolo de' Pitti

Things to Know Before You Go

If you’re visiting Florence in December, the lighting displays typically switch on around December 7th and linger until January 7th. The sweet spot to wander the city looking at the lights is just after dusk, roughly 5:30 pm, when the sky still clings to its last sliver of blue, and the lights take on an almost surreal glow.

To ensure your night isn’t cut short but the chill gets into your bones, be sure to wear lots of layers. Even though when the sun is up, it might feel comfortable, as soon as the sun sets, the cold and damp can really set in. Hot chocolate is your best ally!

Piazza del Duomo

One of the most iconic spots to see at Christmas in Florence is the Piazza del Duomo. The cathedral’s square already has a flair for the dramatic, but add a towering Christmas tree, a nativity scene, and ambient lighting that highlights every gothic groove in its marble skin, and you’ve got yourself a holiday postcard waiting to happen.

Even during the daytime, this square is a delight to visit, as you can really appreciate the details set in the nativity scene outside the Duomo. And don’t skip the side alleys fanning out from the piazza; those quiet corners are laced with charming Christmas lights that frame the square perfectly.

Piazza Santa Croce

Piazza Santa Croce is Florence’s big open living room, anchored by the basilica’s marble façade and framed by gorgeous palazzi. This square does double duty in December: it’s both a stage for Florence’s German-style Christmas market and a canvas for charming holiday lights. Walking through the market, with a hot mulled wine and a freshly roasted bag of chestnuts, really makes this wander absolutely filled with Christmas cheer.

Come here just after dark, and you can bask in the lights strung between the booths, which cast a warm, golden hue on the basilica’s façade, and you’ll feel like you’ve wandered into a snow globe, minus the snow, of course.

Ponte Vecchio

Come December, the Ponte Vecchio trades its everyday golden-hour glamour for something even more theatrical. Each year, it becomes the centrepiece of Florence’s ‘Light Up’ festival, where the city’s most iconic landmarks become a luminous canvas thanks to video-mapping technology. This offers up a completely unique way of seeing this historic site. Even if you’ve wandered Florence a dozen times before, the holiday projections cast the city’s landmarks in an entirely new glow, quite literally letting you see them in a different light.

The exterior of the Ponte Vecchi is transfomed by a kaleidoscope of video projections and storybook scenes mapped directly onto the bridge’s historic facade. Arrive just after dusk for the last blue in the sky, then circle back later when the colours deepen. If you can, view it from both banks, each side offers its own kind of magic. From the Uffizi side, you’ll catch the full sweep of the Ponte Vecchio’s arches flickering with colour, their reflections rippling in the Arno like molten gold. Cross over to the Oltrarno, and the perspective shifts: the bridge glows against the backdrop of the city skyline, with the Duomo’s dome and Palazzo Vecchio’s tower silhouetted in the distance.

But the delights don’t stop at the bridge’s outer glow. Strolling along Ponte Vecchio itself, you’ll walk beneath elegant chandeliers and draped string lights that shimmer above the crowds, a festive overlay to a structure that has spanned the Arno since the 14th century, once lined with butchers’ stalls before becoming the glittering haven of goldsmiths it is today.

Via de’ Tornabuoni

Leading toward Piazza Santa Trinita, Via de’ Tornabuoni becomes a sparkling corridor of festive refinement. Lining the street, elegant rows of Christmas trees stand like sentinels of holiday cheer, each one perfectly manicured and wrapped in delicate white lights. Their soft glow bounces off the shopfront windows and the polished stone façades, creating a golden path that naturally draws you toward the square.

Piazzale Michelangelo

Above the city sits Piazzale Michelangelo, named for the great Renaissance master himself, and his copy of the famed David statue, which stands proudly at the centre of the terrace, gazing out over the skyline of domes, towers, and terracotta rooftops that define Florence’s timeless beauty.

The climb up to this lookout is well worth the effort as from here, the city’s lights don’t just twinkle, they pulse gently across the Arno, glinting off tiled roofs, towers, and domes. And sitting atop the city is a great Christmas tree, all decked out with thousands of lights and oversized Christmas baubles.

Piazza della Repubblica

The Piazza della Repubblica is a grand, open square carved out of what was once the city’s old medieval marketplace. Its wide arcades frame elegant cafés, where guests and locals linger over espresso and where buskers play under the glow of the streetlamps.

Come December, the square is anchored by a towering Christmas tree dressed in shimmering ornaments, twinkling garlands. Projections are cast all over the buildings surrounding the square, wrapping the entire area up in a glittering illuminated like bow! But the real showstopper? The vintage carousel twirls around, dressed for the holidays with gilded horses set amongst twinkling lights and brightly decorated Christmas tree, all set to a cheerful soundtrack of festive music.

Piazza della Signoria

The Piazza della Signoria is Florence’s political and artistic heart, a veritable open-air museum wrapped in centuries of power plays and pageantry. At the entrance to Palazzo Vecchio stands another replica of Michelangelo’s David, still keeping watch over the crowds below. But come nightfall during the holidays, this Renaissance icon gets a modern makeover, bathed in colour and light, transformed into a glowing spectacle that bridges centuries of Florentine artistry.

The entire facade of the Palacio Vecchio glows under colourful projections from the Light up Florence Festival, bathing the façades in rich colours, animated patterns, and storybook scenes that bring the past to life.

Borgo San Lorenzo

Just around the corner from the Duomo, Borgo San Lorenzo feels like stumbling onto Florence’s secret holiday runway. Golden string lights arc overhead in perfect, glowing swoops, wrapping the street in a soft, honeyed light. Walking through feels a bit like ducking into a twinkling tunnel of warmth, flanked by tiny boutiques, espresso bars, and the easy rhythm of everyday Florentine life carrying on beneath the sparkle.

Loggia del Mercato Nuovo

Under the grand stone arches of the Loggia del Mercato Nuovo, the 16th-century market, giant red-and-white fleur-de-lis lights, Florence’s proud emblem, hang from the vaulted ceilings, glowing like stained glass against the cool grey stone. Reflections shimmer on the wet cobblestones, and the statues tucked into the corners stand watch cheerful shoppers pass by.

Via Camillo Cavour

Via Camillo Cavour, home to such historic buildings such as the Medici Riccardi Palace and Magi Chapel Riccardi, is home to warm white stars that sweep overhead, casting a golden hush over stone façades and shuttered windows. The street is also home to orange trees that come into fruit in December, and the lights reflecting off the brightly coloured oranges make them gleam like tiny ornaments, adding a touch of natural magic to the festive scene.

Via de’ Guicciardini

Connecting the Ponte Vecchio to the grand facade of Palazzo Pitti, Via de’ Guicciardini is a lively artery that doesn’t slack on the seasonal charm. During the holidays, this well-trodden street is strung with festive lights that stretch overhead in elegant arcs, guiding you from one Florentine landmark to another with a bit of extra sparkle. Shops and gelaterias along the street show off their festive best, their windows glowing with twinkling lights, ribbons, and seasonal displays.

Piazza di Santa Maria Novella

Just a short stroll from the main station, Piazza di Santa Maria Novella transforms into a tranquil holiday tableau come December. With the church’s iconic marble facade as a majestic backdrop, the square is dominated by a stately Christmas tree, wrapped in bright red ribbons.

The square also hosts one of the city’s best holiday markets, where rows of chalet-style wooden stalls are draped in garlands, twinkling lights, and glowing stars that bathe the entire piazza in a warm festive glow.

Farmaceutica di Santa Maria Novella

Stepping through the grand wooden doors of Farmaceutica di Santa Maria Novella, you enter a world that emanates Christmas through scent and splendour. This 13th-century apothecary goes all out for Christmas, and their entry is incredible, decorated with a thick canopy of garlands wrapped in dazzling twinkle lights.

Inside, shelves of glass bottles gleam like jewels against the dark wood cabinetry, reflecting the warm glow of the seasonal decor.

Via dei Benci

Via dei Benci is a narrow, historic street which, thanks to its proximity to the Santa Croce Market, is draped in long strands of icicle lights cascading across the roadway, like golden raindrops suspended in mid-air. Against the backdrop of weathered stone facades and shuttered windows, the effect is understated but utterly enchanting!

Piazza Ognissanti

Tucked along the Arno on the west side of the historic centre, Piazza Ognissanti features strings of warm bulbs tracing the façades, window wreaths flickering in hotel lobbies, and a simple yet surprisingly eye-catching Christmas tree that greets visitors to the Church of Ognissanti.

Borgo San Frediano

Cross the river and head into the Oltrarno (Florence’s cool, creative quarter), and you’ll find Borgo San Frediano. Strings of golden bulbs crisscross the narrow street, looping between artisan studios, hip bars, and timeworn façades splashed with years of stories.

Via dei Serragli

Winding through the artisan heart of Florence’s Oltrarno neighbourhood, Via dei Serragli becomes one of the city’s more quietly magical light‑streets during the holiday season. Overhead, strands of lights stretch from building to building, spilling a soft golden glow onto weathered stone walls and closed wooden shutters. Blue-tinged star glimmers above, adding a playful flicker of colour to the warm light, casting down on old artisan workshops and snug little cafés.

Via del Corso

Via del Corso slices right through Florence’s historic heart, and come December, it bursts to life with some of the city’s most colourful lights. While much of Florence sticks to elegant golds and soft whites, this street goes bold, vibrant hues and contemporary designs that splash the Renaissance façades with a playful, modern twist on holiday cheer.

Via Porta Rossa

Via Porta Rossa is home to one of Florence’s most dazzling Christmas light displays. This long stretch or medival facades is draped with golden string lights that loop between the buildings in graceful arcs, the street becomes a glowing tunnel of warmth and wonder. Radiant red-and-white Florentine fleur-de-lis are suspended proudly, a festive nod to the city’s centuries-old symbol. The cobblestones shimmer underfoot, especially after a light rain, and oversized red ornaments float above like baubles plucked from a giant’s tree. Shops glow from within, spilling light and colour onto the slick pavement, while garland-wrapped lampposts add a touch of old-world charm.

Via Sdrucciolo de’ Pitti

Blink and you might miss Sdrucciolo de’ Pitti, a narrow slip of a street that links Via Maggio tomerc the grand steps of Palazzo Pitti. But at Christmas, it’s impossible to overlook. This tiny lane glows like a secret passageway, its stone walls bathed in the warm shimmer of fairy lights strung close and low overhead.

Happy Travels, Adventurers

The post Where to Find the Best Christmas Lights in Florence first appeared on The Creative Adventurer.

I have been obsessed with Cabinets of Curiosities ever since I was young. I loved collecting shells on the beach, finding interesting pieces of ephemera and random bits and bobs to display in my mini-museum (aka my bedroom shelves.) Today my curatorial cabinets are filled with more refined historical oddities and memories of my travels.

Table Of Contents

1. About La Specola Museum
2. Hours, Access and Admission
3. History of the Museum of Natural History in Florence 
   • Cabinets of Curiosity
   • Museo di Fisica e Storia Naturale
4. Guide to the Museum
5. Mineralogical Rooms
6. Zoology
   • Conte di Torino
7. Hall of Skeletons
8. The Specola Anatomical Waxes
9. History of Anatomical Waxes
   • Leonardo da Vinci
   • Wax Workshop
   • Material Required for the Models
10. Clemente Michelangelo Susini 
11. The Anatomical Venus
    • The Birth of Venus
    • "Gentleman's Collectables"
12. Memento mori
    • The Waxes of the Plague

About La Specola Museum

The Museo di Storia Naturale di Firenze is also known as ‘La Specola’ is considered the oldest scientific museum in Europe. It was the first public Cabinet of Curiosities turned museum. But what you’ll find inside isn’t for the faint-hearted. The most infamous items on exhibit here are 18th-century anatomical wax sculptures! If you’re interested in an alternative kind of museum in Florence that features incredible medical history treasures, then this is the place for you! Be warned, this post features many pictures of the anatomical wax models so proceed with caution if that isn’t your thing.

Hours, Access and Admission

Hidden away, behind the walls of the Pitti Palace, is the Museum of Zoology and Natural History which contains the La Specola collection. As with many places in Florence, the best way to get there is on foot. But in case you are coming from further away, both Bus #11 and Bus C4 stop within less than 5-minutes of the museum’s entrance.

Admission: Adults €6.00 | Children €3.00

Hours: Tuesday to Sunday 10:30 am to 2:30 pm Closed Mondays (be sure to check updated schedule changes due to COVID restrictions.)

History of the Museum of Natural History in Florence 

The history of the collection dates back to the 18th century with the infamous Florentine family, the Medicis. The House of Medici was an Italian banking family and political dynasty that practically ruled Italy for centuries. The Medicis produced four Popes of the Catholic Church and several highly influential Dukes. There really isn’t anywhere or anything in Florence which doesn’t owe a part of its history to the Medici’s. The family had a great passion for art. Through their patronage, many icons of the Renaissance were created. But in addition to art, they were passionate collectors. Their collections included fossils, animals, minerals, exotic plants and medical curiosities, including wax anatomical models.

Cabinets of Curiosity

These collections of random objects were called ‘Wunderkammer,‘ German for Cabinets of Curiosities. These cabinets contained objects belonging to natural history, geology, ethnography, archaeology, religious or historical relics, works of art and antiquities. The cabinets themselves were often enormous. Beautiful gilded wooden creations. They were often embellished with mother of pearl inlays, elaborate paintings and gilded mirrors. The mirrors which served as backdrops to the cabinet made even the smallest collection look much larger.

High Society Entertainment

Cabinets of Curiosity emerged in the sixteenth century. They were mainly found inside homes of wealthy rulers, aristocrats, members of the merchant class and early practitioners of science. Aside from the scientists, the private collections didn’t really reflect the passions or interests of the owners. Instead, the contents were meant to impress and entertain guests. If you had a very rare item, your guests would be amazed. Back then, long before Netflix or cable TV, the way you could travel around the world while still at home was by viewing these awe-inspiring cabinets. The more items you had and the more unusual they were, the better it reflected your high rank in society. Only the rich were able to possess such treasures.

Gentlemen’s Clubs were also popular places to find rich Cabinets of Curiosities. Different members of the group would bring in additional items to add to their outstanding group collection. During large meetings, the discussion around newly added items would be the talk of the town!

View this post on Instagram

A post shared by Johann Cleophas Hinrichs (@18th_century_cleophas_2.0)

Museo di Fisica e Storia Naturale

In 1771 Grand Duke Peter Leopold founded the Imperial Regio Museo di Fisica e Storia Naturale. This would be the Imperial-Royal Museum for Physics and Natural History which was eventually nicknamed, “La Specola.” “Specola” is the Italian word for observatory, a reference to the astronomical observatory founded here in 1790.

Many of the items he acquired for this museum were either on loan from the Medicis or gifts to the Grand Duke. When it opened in 1775, it was the first Cabinet of Curiosity open to the public. Many of the lower classes would never have seen something like this before. And seeing these collections in person would have been a wildly exciting event. Many Royal societies viewed the museum as a means of promoting knowledge of the natural world. And spreading that knowledge outside of just the academic classrooms and into the public.

Guide to the Museum

Hidden away along the Via Romana is a large, stone archway with two huge wooden doors. Aside from a small hanging poster on the side and the words “Museo di Storia Naturale di Firenze” above the entrance, you’d hardly give this place a second look. But this is indeed where you can head inside to discover the treasure within. Passing through the same gateway people have walking through for over 250 years.

Mineralogical Rooms

The museum contains 34 separate small rooms spread out around the building. Inside each, you can discover an array of different specimens. The first room you can explore is the mineralogical room. Here, the University of Florence offers a glimpse into the world of minerals and rocks. There are over 50,000 specimens from all over the world, including meteorites!

Zoology

The next set of rooms contains the Zoology collection. There are three and a half million specimens in the group, but only 5000 are on view to the public. The rest are in storage. All of the animals on display are stored inside large glass cases along the walls. Everything from invertebrates to more evolved mammals can be found here.

The mollusk collection even includes mother-of-pearl objects taken from the Medici collection. The Specola collection of birds features winged creatures from all over the world. They even showcase extinct breeds from the 18th to the 20th century. Their gorgeous brightly coloured feathers looking more like art objects inside those glass cases.

The reptile room features giant turtles from the Galápagos and even a mummified crocodile from Ancient Egypt. One of the most famous pieces in the collection is a stuffed hippopotamus! The hippo was once a Medici family pet who lived inside the nearby Boboli Gardens.

Conte di Torino

The Conte di Torino hall is where you’ll find a collection of the Royal Family’s hunting trophies. Rhinos, antelopes, baboons, a tooth of a narwhal, and an arctic cetacean are all parts of this collection. Bringing these unique creatures back from far away lands was another way that rich families were able to show off their wealth and access to guests visiting their homes.

Hall of Skeletons

The Hall of Skeletons is open only on special occasions or with a guided tour by appointment. So it’s definitely worth asking when entering the museum if the room will be open or if a guided tour is available. Inside this large room are the skeletons of numerous animal species. The most iconic of which is the reconstruction of a huge humpback whale hung from the ceiling. In the centre of the room are the bones of several small elephants. Lining the glass cases on either side of the room are more birds, fish, reptiles and mammal skeletons. This includes several monkeys and even a few human skeletons.

View this post on Instagram

A post shared by Daniele Bettella (@_betonbet_)

The Specola Anatomical Waxes

But the real reason that people come to visit La Specola is to see the Anatomical Historical Waxes. The museum in Florence is home to the most extensive collections of anatomical with over 513 wax models on display. Twenty-six of these specimens are full life-size figures. The rest of the smaller sculptures are of one particular area of the body, shown in full anatomical detail. Each of the life-size models is housed inside a beautiful wooden framed glass case. The walls around the exhibition space have beautiful framed watercolour and pencil drawings. These were used before the modellers before working to create the incredibly lifelife wax models.

History of Anatomical Waxes

In the 16th century, during the height of the Renaissance, both artists, scientists and physicians began in-depth studies of the human body. Artists used these studies to refine the realism of the body in their paintings. Physicians aimed to discover a myriad of different secrets hidden within the human body. Until now, the Catholic church had banned the dissection of the human body. The church viewed dissection as sacrilegious. Because of this doctors didn’t have the chance to understand even the structure and physiology of the human body. But during the Renaissance, these bans were lifted, and the dissection of cadavers for science and art began. 

While corpses were helpful, they were also temporary. There was no modern temperature control to keep bodies from decomposing rapidly. In addition to this, the supply of corpses was slow and unpredictable. Most people during this time didn’t want their bodies donated to science. Many people still viewed this kind of dissection as an affront to their dignity. As a result, some doctors even turned to grave robbing to aquired bodies to dissect. 

Leonardo da Vinci

Inspired by Michelangelo‘s use of wax to make minature models, Leonardo da Vinci started to create his own wax studies of the human anatomy. Even before dissection was legal for doctors, Leonardo was permitted, by Papal decree, to dissect human corpses. This was performed at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. His 240 detailed drawings were some of the first images of the human skeleton, musculature and ligaments ever published—a revelation to all doctors and physicians.

But Leonardo wasn’t finished with mere drawings. He began creating models of the cerebral ventricles using melted wax. Leonardo even went so far as to constructed a glass aorta to observe the circulation of blood through the aortic valve.

Wax Workshop

With this new revelation of using wax to model the most minute details of the human body, the art of modelling wax became a widespread practice throughout Europe. By creating these wax models, doctors could study the body for whatever amount of time they required without worrying about acquiring any actual human corpse. And it was right here in Florence where the capital of wax plastic workshops was located.

In 1771, the Grand Duke Leopold of Tuscany opened the wax workshop as a part of the Natural History Museum. Here wax modellers would make the lifeline sculptures, and physicians would gather to teach anatomy to students. The wax models were created as a kind of three-dimensional atlas to the human body.

Material Required for the Models

The models were made primarily of beeswax. Beeswax was the best material to use as it has a slightly translucent appearance, just like human flesh. Dyes were added to give the appearance of flesh, blood and tissue. Because the models are made of literal wax, the temperature inside La Specola is highly monitored. Any spike in the temperature could result in the models melting. Let’s hope they have a good generator in case of a summer power outage!

Clemente Michelangelo Susini 

The most famous of all wax-modellers was Clemente Michelangelo Susini. Unlike other modellers, Susini’s models were not only realistic but beautiful. Like living works of art. The models postured into artful poses. As if plucked from a Renaissance painting. Many praised him for “the beauty which he gave to the most revolting things.” He began by creating male sculptures. He based these works on postures and sculptures by Michelangelo. They stand or recline tall and proud, despite their flesh being peeled away, revealing the veins and muscles below the skin.

The Anatomical Venus

One of the most popular forms of wax models was that of the female anatomy for use in obstetrics. Women were dying of childbirth at an alarming rate. The thought was that if they could understand more about the internal functions during pregnancy and the process of birth, they could help prevent many deaths. And they were right! These female models had removable cavities that would reveal internal organs. Their stomach could be peeled back to reveal the fetus inside the pregnant mother. Midwives would use them to study more about problematic pregnancies. This gave them the opportunity to work through ways in which to save both the mother and the child.

The Birth of Venus

Susini’s female models began to be known as Susini’s Vénus Anatomique or Anatomical Venus. Just as Boticelli painted the beauty of the goddess in this Birth of Venus, Susini used wax to bring this otherworldly vision to life. They were thought to be more artistic masterpieces than medical specimens. Their faces were utter perfection, flushed, with lipstick and vivid gaze. Susini was inspired by the Ecstasy of Saint Teresa by Gian Lorenzo Bernini. He took much inspiration from that sculpture and gave Mary’s impassionated appearance to all his model’s expressions.

The idea of seeing beauty in the grotesque was something only done in the Italian workshops. Most other countries weren’t interested in creating works of art. Instead, models produced in the UK, Germany and the Netherlands appeared more lifeless and clinical. But that is what makes the specimens inside La Specola so precious and unique.

“Gentleman’s Collectables”

The position of their bodies was almost sensual. Reclined, their legs gently bent, as if calling you towards them. Despite most of the women being used to display pregnancies, their bodies don’t look pregnant at all. Instead, they were designed to look like a “man’s ideal beauty.” Looking into their crystal clear eyes, you’ll see coloured irises looking back at you. As lifelike as your own. Their lips were slightly pursed. Their hair and eyelashes on their forms were both taken from human donations.

The women’s glass cages are complete with lush velvet cushions and mattresses. Their waxy bodies are propped up with pillows derated with silver and gold tassels. Not a penny was spared to ensure their comfort, giving more credence to the lifelike nature of these beings.

With the advent of more advanced photographic technologies, the use of wax models in academic settings began to decline. Schools began to sell off their models after they were no longer of use as scientific teaching instruments. Museums like La Specola held onto them for historical purposes. But the Anatomical Venus began to see another life as darkly erotic “gentleman’s collectables.”

Memento mori

In addition to the lifelike wax models, the museum is home to three minature wax compositions. These were made by Italian artist Gaetano Giulio Zumbo. These wax models were commissioned by Grand Duke Cosimo III de ‘Medici between 1691 and 1694. These sculptures were meant to be grotesque representations of the macabre. During this period of the seventeenth century, the aristocrats were obsessed with these kinds of frightening scenes. Memento mori (Latin for ‘remember that you have to die‘) was a popular trend at the time. It was an artistic or symbolic reminder of the inevitability of death. A reminder to people to live fully while you have the change. These works of art in the memento mori oeuvres are invitations to reflect on the transience of earthly existence. 

The Waxes of the Plague

The diorama on exhibit here depicts a grisly scene during the epidemic of the plague. Green rotting corpses are strewn on top of the other in the street. As if simply discarded. The plague epidemic took lives without rhyme or reason. The elderly lie on the road, along with the young and even children. A lone living creature is seen in the corner of the scene, holding the body of a fallen comrade. His face crying out in horror and despair.

The scene looks more like a portrait of war than a disease. These creations were often dramatized for a more intense emotional effect upon looking at them. Zumbo also created wax depictions of the spread of syphilis, the corruption of bodies and the Triumph of time. While we would never think to put works of art this dark on display in our home, back in the 17th century, this was the kind of thing that was commonplace to see. Both in art and in real life!

If you find yourself in Florence and are looking for a unique place that will leave a real impact, you must check out La Specola Museum! While the macabre nature of these wax models might not be for everyone, for those interested in the history of medicine, art, and the beauty that can exist side-by-side death, this is the place for you.

Happy Travels, Adventurers!

end

The post Everything You Need to Know About La Specola Museum in Florence first appeared on The Creative Adventurer.

Table Of Contents

1. Hours & Admission
2. Hours
3. Admission
4. Dress code
5. Should You Go Inside?
6. Florence & Marble
7. Basilica of Santa Maria del Fiore
8. The Great Dome
9. The Campanile
10. Climbing the Bell Tower
11. The 14th Century Facade
12. The 19th Century Front Facade
13. Portal Maggiore
14. Santa Reparata & St. Zenobius
15. Portal Maggiore Tympanum
16. Right Portal
17. Right Door Niches
18. Left Entry Doors
19. Left Door Mosaics
20. Rosette Window
21. Upper Gallery
22. Gargoyles
23. Porta della Mandorla
24. Cathedral Interior
25. Clock
26. Rose Window
27. Artists Busts
28. Stained Glass Windows
29. The Crypt
30. Equestrian Funerary Monuments
31. Marble Floors
32. The Great Dome Interior
33. The Sacristy Doors
34. Climbing the Dome

Hours & Admission

Hours

The museum will be closed on the first Tuesday of each month.

Admission

While exploring the interior of the Duomo is free you’ll need a ticket if you want to see the inside of the Baptistery, to climb up the bell tower or the dome and visit the Duomo Museum. These attractions are all included in one ticket, so if you want to visit just one, you’ll still have to pay the same price as visiting them all. The best way to buy your ticket inside is online and in advance, so you can assure yourself access into the Duomo’s attractions.

Tickets

Adults: €18 (if booking online there is an extra €2 pre-booking fee)
Children: €3
Audio guides: €2,50 per person

Climbing the Dome: When booking online you need to select the time when you want to do the dome climb. You cannot change this time after booking and must be there within 15 minutes of your pre-selected time-slot.

Dress code

Since this is a religious site, be sure your clothing is appropriate for entry. This means your shoulders and knees must be covered, and you can’t wear your hats inside. I usually keep a long scarf in my knapsack with me in the summer when I’m wearing a dress or t-shirt that doesn’t cover my shoulders. This was I can throw it on when entering these churches but still keep cool throughout the day. If you’re wearing short-shorts or short skirts, you can also use the scarf to tie around your waist to cover up. This is such a common hack that you’ll almost always find women selling scarves outside churches in the summer.

Should You Go Inside?

I honestly prefer the interior of Santa Croce far more to this rather bare interior. While the frescoes on the dome are stunning, the rest of the interior could be skipped. The best interior of the group is that of the Baptistry – whose mosaics are out of this world. Some people love climbing the tower and dome inside the cathedral to get to the view at the top but just be prepared to wait in line. If you’re pressed for time – I would say give the interiors a miss.

Seeing the exteriors are just as impressive and there is so much more to see in Florence which is more important than waiting in line. But if you have time to spare or are immensely interested in the interior artworks then you should make the effort to see it. Wake up early and you’ll find the lines are the least long. My favourite part of your ticketed entry is the museum which features some of the original artwork and sculptures which once stood inside the church. It also features the original Baptistery doors and some of the gorgeous robes the priests wear for various events throughout the catholic calendar.

Florence & Marble

In the Middle Ages, Florence was going through a stylistic period where many of their important buildings were created out of marble. Although few others from this period survive, the Duomo is a reflection of this time. Florence’s proximity to the marble mines meant that getting such large pieces quickly was a possibility other countries didn’t have. But what else did Florence have that others didn’t? Money and lots of it. Marble didn’t come cheap even if it was close by. But using it in such large proportions meant that your city looked like it was worth its weight in gold.

Carrara Marble

The main white marble you see is Carrara marble. Carrara has long been used by artists for sculptures, so it seemed only fitting that the most magnificent artwork of them all – the Cathedral – was itself draped in marble. The green marble which you can see decorating the exterior is actually serpentine stone, which came from Prato, a few miles northwest of Florence. Serpentine is named as such because the texture of the marble resembles that of snakes skin. The pinky-red stone you can see is limestone from mines near Florence. The colour is derived from the prevalence of ammonite fossils in the rock, which imbues the limestone with that stunning pinkish hue.

Basilica of Santa Maria del Fiore

Now let’s turn to the other side of the square and the great Basilica of Santa Maria del Fiore. This magnificent Cathedral began its construction in 1296 but wasn’t completed until 1436. That’s over 140 years! The temple is named in honour of Santa Maria del Fiore, or “Saint Mary of the Flowers.” Mary is often associated with flowers, especially in Italian culture. Flowers, or roses, in particular, are thought to represent the fleetingness of life, and therefore, of death. Mary carries with her the burden of knowing her son will die and yet even knowing this reality, carries on to raise him with all the love she has in her heart. Like the flower which we know will wilt, we admire its beauty until the day it dies.

The Duomo, as it is mainly called in Florence, was built on the site of the 7th-century Church of Santa Reparata. Remnants of that church can still be found today in the crypt. The Duomo as it stands today is the 4th largest Cathedral in the world and walking around it, you can really get a sense of how huge it is.

Arnolfo di Cambio

The first architect of the church was Arnolfo di Cambio. Arnolfo di Cambio started his career as the assistant to Nicola Pisano. Together they created the marble pulpit inside the Sienna Cathedral. From there, he moved onto creating tombstones and sculptures of Kings around the world. Arnolfo di Cambio’s funerary monuments were so impressive they became the model for Gothic funerary art in Florence. It was a surprise to many when, in 1294, he began work on the Florence cathedral, not as an artist but as an architect. This would be the only building to officially be created in his name. And despite his lack of formal training, the result of his creativity is breathtaking.

The Great Dome

The church was designed in the Italian Gothic tradition. This features pointed arches and cross-ribbed vaults. The overall layout of the Cathedral features a Latin cross design with room for the most iconic feature of the church, the HUGE dome. And while Cambio left space for this dome in his floorplans, the dome hadn’t even been conceived of by the time Cambio passed away. Over the 140 years, the church was being constructed, architects from all over the world attempted to figure out how to achieve such an enormous dome without it falling apart. Giotto di Bondone, Andrea Pisano, and Francesco Talenti all worked on different aspects of the church.

Brunelleschi

Still, none of them could figure out how to build such a gravity-defying dome. It would be Brunelleschi, who would finally solve the problem of the dome. Unlike Cambio, Brunelleschi had many buildings under his belts such as Basilica of San Lorenzo, Basilica of Santo Spirito, and the Pazzi Chapel. He had been working across the street on the Baptistery doors when he decided he wanted to take a stab at the dome’s design, where all others had failed.

Ironically, the key to the structure of the dome was unlocked by using a flower’s composition as a guide. Being a church named after the Lady of the Flowers, that just seems too fitting. The dome used a herringbone brick pattern where the bricks formed a series of inverted arches. And as the blocks grew higher, instead of falling inwards, the inverted form actually used gravity to their advantage to reinforced the structure. The result is this breathtaking, gravity-defying, architectural masterpiece. Being so large, it seems to peak out above the skyline wherever you look in Florence. An icon for the ages. And one of the most significant pieces of Renaissance architecture.

The Campanile

To understand the design of the facade (as it stands today), we must first look at the design of the bell tower or campanile. The facade, as we will learn later, was left relatively plain before the 18th-century redesign. But the tower, designed by Giotto in 1334, was a multicoloured treasure and almost the most impressive feature of the Cathedral before the dome was finished. The tower stands 15 meters wide and over 84 meters tall! But other than its size, the most impressive part of the bell tower is the colours. Giotto said that the different colours were used to exemplify the two fundamental principles of Florentine art: “rectitude (righteousness) and beauty.”

But Giotto died before the tower’s completion in 1387. It was reported that Giotto died of grief over the bell tower’s one design flaw. He made the base of the tower a little too narrow to allow for the effect of vertical momentum, but the decision would haunt him. He said he made “too-small a bed for your feet,” regarding the tower’s design. His fears would prove to be accurate as the tower needed to be later renovated to allow the full height of the construction to be supported at the base. But looking at it now, you’d never know. It took two additional architects, Andrea Pisano and Francesco Talenti, to fully completed Giotto’s vision after his death.

Exterior Panels

One of the most exciting features of the tower is located on the first floor. Take a close look at the hexagonal panels, which are spread around the base of the tower. The white stone reliefs are framed by pink marble, which is additionally contrasted against green, serpentine marble. Inside these reliefs are depictions of the history of mankind as it was in medieval times. The stories told on these panels blend religious doctrine history as well as liberal arts. In addition to the chronicles, as written in the bible, we also see mankind’s most significant discoveries. On the south side of the tower, we find panels that represent astronomy, medicine, hunting, wool-working, and legislation. On the east side, there are panels relating to navigation, social justice, agriculture, festivals and architecture. The north side panels depict sculpture, painting, harmony, grammar, logic, music and poetry, geometry and arithmetic.

Andrea Pisano

On the second level, we find a row of niches that are filled with fantastic sculptures. It’s almost a share they are so high up since they are wonderfully carved works of art. These niches were created by the tower’s second architect, Andrea Pisano. Pisano dedicated the west side to the planets; Saturn, Jupiter, Mars, the Sun, Venus, Mercury, the Moon. On the south side, we find three sculptures representing theological virtues (faith, hope, charity) and four sculptures representing cardinal virtues (prudence, temperance, fortitude, justice).

The other statues found in the additional niches represent patriarchs, prophets, Kings of Israel and the pagan sibyls. This includes one beautiful group depicting the Sacrifice of Isaac by Donatello, a splendid example of the naturalism that was so popular in the 1400s.

Francesco Taletnti

Continuing up the tower to the top levels, designed by Francesco Talenti, we find a new mathematical treatment. Each level is slightly taller than the next, which, when you look up from above, gives the tower a sense of being taller than it actually is. This use of perspective was so popular during the Renaissance as they were obsessed with the idea of science and math meets art. Instead of a spire which many other Gothic towers have, the tower finishes with a terrace where people can still today enjoy stunning views of the city. At the top of the tower are seven bells. The largest of the bells is called the Santa Reparata, in honour of the saint to which the original church was dedicated to. Hearing it ring out across the square, the pigeons flying away as it rings is still one of the sweetest sounds of Florence.

Climbing the Bell Tower

If you choose to climb the bell tower, or for those really ambitious people, who want to climb both, head to the northeast corner of the bell tower to find the line up for the entrance. All you need is the same grand ticket for the entry. There are 400 steps to the top but the view from above is well worth the climb.

The 14th Century Facade

Aside from the front facade, which we will talk about later, the other sides of the Duomo are from the 14th century. These sides feature some of the best preserves aspects of Gothic architecture of the time. Many of the niches on these sides are empty, as the original sculptures which once decorated this exterior have been moved into the museum. This means these sides feel rather dull compared to the newer, front facade. Despite the lack of sculptures, something is mesmerizing about the geometric shapes and coloured marble which adorned the sides of the church.

The 19th Century Front Facade

The original facade was built along with the rest of the church, but the one we see now was created long after, in the 1800s. Traditionally, Tuscan churches didn’t have much ornamentation given to their facades, and they were left extremely plain. But the Medici’s, the de facto royalty of the day, weren’t a fan of the dull look. They pleaded with architects to change the facade, but there was never a consensus over what it should look like. When the previous stone facade, designed by Giotto, began to deteriorate, Florence, once more, held a design competition. They wanted to see who could meet the expectations of the city to create a facade as fanciful as the rest of the church. 

Emilio De Fabris won the contest with his proposal. He designed his facade to follow the same structure as Giotto’s but with the addition of sumptuous ornamentation (based on the design of the magnificent campanile). This meant no structural changes needed to be made, which meant it was going to be cheaper to build. It also allowed for the original shape of the church to be maintained and honoured. Unfortunately, Fabris died before construction started, once more leaving his legacy to the next architect. A dark theme that is too often present in the histories of great church architects.

Portal Maggiore

To study the front facade, let us start at the bottom and work our way up, starting at the central portal into the church. Because there is no longer entry through this central portal, you can gaze up at its magnificence and opulent doors.

The 19th-century bronze doors feature beautifully carved reliefs of the life of the Virgin Mary. The doors themselves appear to be set themselves inside an architectural design. The doors were the original entry into the Duomo before it became a tourist destination. They were designed by Augusto Passaglia and Giuseppe Cassioli.

Santa Reparata & St. Zenobius

On either side of the bronze doors are niches containing two of the most influential people to the church: St. Reparata and St. Zenobius. Saint Reparata was the patron saint of the first church built on this site as well as the patron Saint of Florence until the Middle Ages when St. John the Baptist replaced her. Saint Reparata was merely a young woman when she was martyred by the Romans in the 3rd century. Legend has it that St. Reparata was set to be burned alive, but when the Romans set her alight, a shower of rain from the heavens put out the fire. She was then forced to drink boiling pitch but would not die. Finally, the Romans were forced to behead her, which was the final blow.

St. Zenobius was the first bishop of Florence who not only was born in Florence but also made a significant impact in evangelizing the city and its outskirts. He is most notable for his miracles of bringing soldiers and children back from the dead. Just above the bronze doors, you’ll see a series of coats of arms which represent the various Florentine families who donated money towards the building of the front facade.

Niccolò Barabino

Above the bronze doors is a gorgeous mosaic lunette. You’ll find one of these brightly coloured designs over each of the gates into the church. They were designed by Niccolò Barabino and represent the Florentine devotion to faith across multiple disciplines. The mosaic above the central portal depicts Christ enthroned between Mary and Saint John the Baptist, alongside various Florentine saints. Surrounding the lunettes are richly decorative vines and octagonal panels featuring multiple saints.

Portal Maggiore Tympanum

Above the mosaic lunette is the grand tympanum. In the centre of this triangular scene, we have the image of the Virgin Mary. Surrounding her on either side is a chorus of seraphim. At the very top above these sculptures is a bronze dove soaring away from the rest of the angels. Below the seated mother is an altar with a baby lamb, representing Jesus as the sacrificial lamb. On either side of the lower portion of the tympanum are representations of the men from the Florentine Republic who were in charge of the construction of this church as well as images of various Popes and Franciscan monks. Standing guard on either side of the tympanum are two priests with trumpets, announcing the birth of Christ to the people of Florence.

Right Portal

Cassioli, who designed the central doors, is also responsible for the doors on the right. Cassioli led a distraught life. He suffered much misfortune throughout the years and was the definition of a tortured artist. He leaves a self-portrait of himself in the doorway, along the right side. Here we see a man with a snake around his neck, a way of the artists to express the suffering he felt, literally suffocating for his art.

The mosaic above the doorway here represents Florentine artisans, merchants and humanists paying homage to the sculpture of faith. Carved into the archway are various statues of famous angels. From left to right, we have the Angel of the Apocalypse (portrayed with scythe), saint. Michael (portrayed in his classic armour and sword), the Angel that liberated St. Peter, St. Elizabeth welcoming the faithful into the church, the Angel of the Resurrection(seen with the palm leaf and skull), the Archangel Raphael (holding a fish), and the Angel of the Apocalypse (holding the overturned chalice.) The sculpture atop the door is of the Madonna Dolorosa (Madonna of Sorrows). Flying above here is are three angels holding flowering in their hands.

Right Door Niches

Located in the niches on either side of the doorways are a series of statues. They feature from left to right; Cardinal Valeriani, Bishop Agostino Tinacci, Pope Eugene IV, who consecrated the church in 1436 and of Saint Antonino Pierozzi, bishop of Florence.

Left Entry Doors

The last doorway is found on the left. This doorway is now the official entry into the church, and so its old doors are almost always seen open. If you come by when the church is closed, you’ll be able to better understand the designs on the front. On either side of the doorway are niches featuring Cardinal Pietro Valeriani on the left and Bishop Agostino Tinacci on the right.

Left Door Mosaics

The mosaic above the doorway depicts Charity among the founders of Florentine philanthropic institutions. Charity is represented in the centre seated on the throne. At the base of the throne are a series of the coat of arms from charitable institutions. The people kneeling on either side of Charity are founders of the great hospitals in Florence. On either side of the mosaic are two small sculptures that represent Adam and Eve after they were expelled from the Garden of Eden. Eve is on the left, bare-breasted, her head in her hands, covered in a sheepskin. The snake can be seen resting at her feet.

Rosette Window

Above both the right and left portals are a set of Rosette windows, which compliment the larger Rose window in the centre of the facade. Unlike the large Rose window in the centre, the rosettes are not filled with stained glass. In the centre of the windows is an eight-pointed star, which often refers to wealth and money.

Upper Gallery

The Upper Gallery of the facade is filled with a series of niches. Each one is filled with beautiful sculptures of one of the twelve Apostles.

In the centre of the upper gallery, is a gorgeous statue of the Madonna and child. She sits on her throne, a golden crown on her head and baby Jesus resting on her knee. In her hand is a flowered sceptre designed by Tito Sarrocchi. She holds the sceptre pointed towards the people on the piazza, beckoning them to come inside.

Although we will talk about the Rose Window later as it is more impressive from the inside, take a look at the panels surrounding it. Across the top of the facade are busts of great artists of the past framed inside Gothic quatrefoils.

At the very top of the roofline, we find a small circular panel with the face of the Eternal father. There is a golden background, and the man cranes his head downwards, towards the people below.

Gargoyles

Along the roofline of the Cathedral are warped faces of human, eternally open-mouthed, acting as the gargoyles of the Cathedral. Usually, gargoyles are represented as animals, so seeing the gargoyles are human figures is often an even more disturbing image.

Porta della Mandorla

If you are opting to go inside, before doing so, walk around the left side of the building to the Porta della Mandorla (this is also the entrance you’ll use when you walk up the dome). This doorway was built in 1423, but Donatello! The sculptures above the door are especially significant because it was one of the last important works of art to be created in the time between gothic and Renaissance. The theme of the work is the Virgin on her mission to save humanity. She is centred in an oval, the same shape as almond or mandorla.

Cathedral Interior

To enter the church, go through the left portal, in the far north. The entry into the Cathedral is…well, slightly less impressive than you might imagine when compared to the embellished exterior. While the interior is grand and soaring, it does feel somewhat empty. The interior was purposefully meant to be bare, as it was thought that this would result in a more focused approach to prayer. Many of the pieces of art and sculpture which once stood here have been moved into the museum for restoration and preservation. For this reason, there is a genuinely vacant feeling to space more so now than when it was first built.

Clock

Against the wall opposite the high altar, take a look under the rose window to spot an ancient clock. The enormous clock with bright golden dials was made in 1443 by Paolo Uccello. What you might notice about this clock is that it is set to the ora Italica which is the Florentine 24-hour clock, which starts and ends at sunset, instead of at midnight. On the four corners of the clock are the faces of the four evangelists. The clock still works to this day, but it needs to be wound every 8-9 days to keep it running.

Rose Window

The stained-glass Rose window above the clock presents the crowning of the Virgin Mary as Mary Queen of the World. An archway of angles flies above her. In the centre is the figure of Jesus surrounded by golden rays. He is descending from heaven, holding a golden crown. This piece was designed by Gaddo Gaddi in the early 14th century. This window seems to almost burn with colour. The glass is so bright its hard to imagine the design is over 600 years old.

Artists Busts

On the left nave, upon entering the church, you’ll see various busts along the wall. These feature the artists who helped build the church. We can see the images of Giotto, Brunelleschi and Emilio de Fabris. Eternally looking out at their creation.

Stained Glass Windows

The various brightly coloured stained glass windows you’ll find throughout the church were all made based on illustrations by some of the greatest artists of all time. While they were created by seasoned craftsmen, using pictures by artists such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno. The windows along the aisles represent the Old and New Testament, while the circular windows around the top of the church and surrounding the dome, are visions from the life of Christ and the Virgin Mary.

The Crypt

The stairs down to the crypt are located near the entrance to the church, along the right side of the nave. Down here, you can see remnants of the original Roman church and pavements, which once lead into this temple. Near the entrance to the crypt is the modest tomb of Filippo Brunelleschi. It is nothing more than a plain slab of marble where they have also placed two golden crucifixes. For someone who created such beautiful things, it’s an interesting piece of juxtaposition to find his tomb is so humble.

Equestrian Funerary Monuments

Along the northern wall, halfway down the apse towards the dome, are two painted Funerary Monuments. Instead of an elaborate stone-carved tomb, these monuments were painted on the walls of the Cathedral. They were painted in 1436 and 1465 and yet are fantastically preserved. The one of the left is dedicated to Sir John Hawkwood by Paolo Uccello, and one of the rights is the Equestrian statue of Niccolò da Tolentino by Andrea del Castagno. Both Hawkwood and Tolentino were courageous and successful soldiers who made an impact on the city. Each of these great men is portrayed riding their horses triumphantly, as roman leaders were once portrayed. Their images were painted with the newly discovered technique of perspective and foreshortening, making it looks as if these mere paintings were actual three-dimensional monuments.

Marble Floors

The magnificent marble tiles of the church were installed in the 16th century. The Wool Guild was one of the wealthiest guilds in the city and sponsored much of the construction of the church. As such, you’ll find many images of the guild throughout the church, one of the most significant is the ‘OPA’ lettering inlaid into the marble flooring in the center of the church. OPA stands for the Opera del Duomo, which was the name of the group of guild members who were specifically in charge of the construction of the church. The marble on the floor is made up of varying colours of stone, a technique called intarso. The Medici’s crest, another prominent patron of the church, can also be seen on the flooring. Look for their iconic red balls all over the floor, a subtle nod to their patronage.

The Great Dome Interior

The most awe-inspiring part of the church is the magnificent domed fresco by Giorgio Vasari. Originally, Brunelleschi had intended for the dome to be covered in gold. With the light that poured in through the dome’s windows, this would have illuminated the interior like a glowing orb. But after his death, his first project didn’t have the funds to be completed. It was left painted merely white for years until the late 16th century when rich, Grand Duke Cosimo I de’ Medici decided he wanted it painted to feel more ostentatious.

The piece depicts the scenes of the Last Judgement, and when you take a closer look, you’ll be surprised how macabre some parts of the scene genuinely are. While Vasari designed then look of the piece, the actual painting of it was done by his pupil Frederico Zuccari and was finished in 1579. It is for this reason that some elements of the painting are a little less finessed than other works from Vasari. At the centre of the dome are choirs of angels surrounding Jesus. Around the bottom of the cupola are various images representing the capital sins of hell.

Donatello Stained Glass Window

In the centre of the dome is the grand window by Donatello. Once more, we see the image of Christ presenting the crown to his mother. This scene is much more intimate than the one on the Rose Window. There are only two figures here, and they are kneeling together tightly. Almost in an embrace.

The Sacristy Doors

Just past the dome, on either side of the nave, you’ll see the bronze doors which protect the entrance to the Sacristies. These were created in terra cotta by Luca Della Robbia in 1444. The panels which I find the most precious are the ones depicting Mary holding baby Jesus.

Dante Before the City of Florence

Along the left side of the nave, just before the axis crossing, make your way towards a large fresco under the window. This fresco was created by Domenico di Michelino in 1465. It shows Dante in the centre, standing in front of Renaissance Florence as it was when the mural was painted. Like a window into the past, you can glimpse through.

To the left of Dante, we can see Purgatory, and on his right paradise, or Florence itself. In the hands of the writer is his famous book, the Divine Comedy. His hand points down towards the nine circles of hell. Just behind him is the Mount of Purgatory, where you can see Adam and Eve standing on top, representing earthly paradise above the circles of hell. To the right where we can see Florence, take a minute to spot the dome of the Cathedral you’re standing in as well as images of the Baptistry and the Palazzo Vecchio.

Climbing the Dome

There are two options for those who love to climb up buildings; the bell tower and the dome. While the bell tower is slightly less claustrophobic and less busy, the climb up the dome, to the top of the church is the option I would go with. There just isn’t anything like seeing those frescoes up close and personal. The climb is 463 steps up through a narrow passageway once used by the construction workers who built it.

When you book your ticket online, it will ask you to select a time for the climb up the dome. If you can manage an early morning, the rising sun across the city is fantastic! The earliest time is 8:30am, and this is also when you’ll find the entire place to be the least busy. To enter the stairs to the dome climb entre via the Porta della Mandorla.

Hopefully, you’ve enjoyed this walkthru of the Duomo, its dome and tower and the radiant Baptistery! Let me know in the comments what your favourite part of the tour was or what you’re most looking forward to visiting!

Happy Travels, Adventurers

The post The Ultimate Self Guided Tour of the Florence Duomo first appeared on The Creative Adventurer.

Whether you’re drawn to the grandeur, the history or the spiritual power of these buildings, visiting these sites in Florence is almost a right of passage. But many people come here and gaze upon these buildings without really understanding the context behind their construction and artistry. Through this post, I hope to help illuminate some of those mysteries and perhaps help you appreciate these attractions for more than just their beauty.

Table Of Contents

1. Hours and Admission
2. Hours
3. Admission
   • Tickets
   • Dress code
4. Should You Go Inside?
   • Florence & Marble
5. Baptistery of San Giovanni Battista
   • Florence Artists
6. The Baptistery Portals
7. Pisano’s Southern Portal
   • Ghiberti’s Northern Portal
   • Ghiberti’s Eastern Portal
   • Ghiberti Artistry
8. Baptistery Interior
   • Domed Mosaics
9. Basilica of Santa Maria del Fiore
   • Arnolfo di Cambio
10. The Great Dome
    • Brunelleschi
11. The Campanile
    • Exterior Panels
    • Andrea Pisano
    • Francesco Taletnti
12. Climbing the Bell Tower
13. The 14th Century Facade
14. The 19th Century Front Facade
15. Portal Maggiore
16. Santa Reparata & St. Zenobius
    • Niccolò Barabino
17. Portal Maggiore Tympanum
18. Right Portal
19. Right Door Niches
20. Left Entry Doors
21. Left Door Mosaics
22. Rosette Window
23. Upper Gallery
24. Gargoyles
25. Porta della Mandorla
26. Cathedral Interior
27. Clock
28. Rose Window
29. Artists Busts
30. Stained Glass Windows
31. The Crypt
32. Equestrian Funerary Monuments
33. Marble Floors
34. The Great Dome Interior
    • Donatello Stained Glass Window
35. The Sacristy Doors
    • Dante Before the City of Florence
36. Climbing the Dome
37. Museo dell'Opera del Duomo
    • Hall of the Ancient Facade

Hours and Admission

Hours

The museum will be closed on the first Tuesday of each month.

Admission

While exploring the interior of the Duomo is free you’ll need a ticket if you want to see the inside of the Baptistery, to climb up the bell tower or the dome and visit the Duomo Museum. These attractions are all included in one ticket, so if you want to visit just one, you’ll still have to pay the same price as visiting them all. The best way to buy your ticket inside is online and in advance, so you can assure yourself access into the Duomo’s attractions.

Tickets

Adults: €18 (if booking online there is an extra €2 pre-booking fee)
Children: €3
Audio guides: €2,50 per person

Climbing the Dome: When booking online you need to select the time when you want to do the dome climb. You cannot change this time after booking and must be there within 15 minutes of your pre-selected time-slot.

Dress code

Since this is a religious site, be sure your clothing is appropriate for entry. This means your shoulders and knees must be covered, and you can’t wear your hats inside. I usually keep a long scarf in my knapsack with me in the summer when I’m wearing a dress or t-shirt that doesn’t cover my shoulders. This was I can throw it on when entering these churches but still keep cool throughout the day. If you’re wearing short-shorts or short skirts, you can also use the scarf to tie around your waist to cover up. This is such a common hack that you’ll almost always find women selling scarves outside churches in the summer.

Should You Go Inside?

I honestly prefer the interior of Santa Croce far more to this rather bare interior. While the frescoes on the dome are stunning, the rest of the interior could be skipped. The best interior of the group is that of the Baptistry – whose mosiacs are out of this world. Some people love climbing the tower and dome inside the cathedral to get to the view at the top but just be prepared to wait in line. If you’re pressed for time – I would say give the interiors a miss.

Seeing the exteriors are just as impressive and there is so much more to see in Florence which is more important than waiting in line. But if you have time to spare or are immensely interested in the interior artworks then you should make the effort to see it. Wake up early and you’ll find the lines are the least long. My favourite part of your ticketed entry is the museum which features some of the original artwork and sculptures which once stood inside the church. It also features the original Baptistery doors and some of the gorgeous robes the priests wear for various events throughout the catholic calendar.

Florence & Marble

In the Middle Ages, Florence was going through a stylistic period where many of their important buildings were created out of marble. Although few others from this period survive, the Duomo is a reflection of this time. Florence’s proximity to the marble mines meant that getting such large pieces quickly was a possibility other countries didn’t have. But what else did Florence have that others didn’t? Money and lots of it. Marble didn’t come cheap even if it was close by. But using it in such large proportions meant that your city looked like it was worth its weight in gold.

Carrara Marble

The main white marble you see is Carrara marble. Carrara has long been used by artists for sculptures, so it seemed only fitting that the most magnificent artwork of them all – the Cathedral – was itself draped in marble. The green marble which you can see decorating the exterior is actually serpentine stone, which came from Prato, a few miles northwest of Florence. Serpentine is named as such because the texture of the marble resembles that of snakes skin. The pinky-red stone you can see is limestone from mines near Florence. The colour is derived from the prevalence of ammonite fossils in the rock, which imbues the limestone with that stunning pinkish hue.

Baptistery of San Giovanni Battista

The Baptistery of San Giovanni Battista is thought to be one of Florence’s oldest places of worship. The current Baptistery was built between 1059 and 1128. It was named after St. John the Baptist (San Giovanni Battista), the patron saint of Florence. As Christianity was attempting to overtake the Pagan religion, Christians needed to find ways to make this conversation as seamless as possible.

One of these ways was to replace one Roman god for a Christian saint. That’s how we have St. John the Baptist as the patron saint of Florence. He replaced their most worshiped god, Mars. Mars was the god of war, so they needed to find a saint with a similar appeal. Saint John was a rugged saint, not as seemingly “holy” or clean-cut as some others, and this seemed to gel with Florentine sensibilities.

Florence Artists

The octagonal floor plan for the Baptistery was ubiquitous during the first millennium of Christianity, although it is much more rare to find these days. The octagonal design has a beautiful sense of symmetry to it, creating this unified, peaceful design. There is no clear provenance of who designed the structure, but many famous names have been attributed to its design. Pisano, Giotto, Ghiberti, Donatello and even Leonardo da Vinci were all artists who lent their hand in the creation of the Baptistery. Being a place touched by so many master’s hands only makes it more critical in the history of the city.

The Baptistery Portals

In addition to the marble we spoke of before which was used, bronze was the primary material which they employed to create a lush and regal look for the doorways. They called these entrances “portals,” and they were the gateways into the palace of god.

Pisano’s Southern Portal

The oldest set of doors is that created by Andrea Pisano in 1329. These doors now face south, but initially faced east, towards the Duomo. They were moved in 1452, replaced by newer designs. These doors depict stories from the Old Testament. The Merchants Guild of Florence commissioned Pisano to build these doors. They were one of the wealthiest guilds in the city and as such, could afford such an expensive commission. Look closely at the carvings and notice that there is definitely a significant amount of detail paid to the clothing.

No doubt, this was a way for the guild to get a subtle nod to their trade’s manufacturing in there. Subtle advertising if you will. The overall look of these designs is more subdued than the newer doors. Their shapes of the people are less realistic, and the features in their faces don’t show any real emotion. My favourite part of the design is the richly decorated door frames. They are lush with greenery and flowers. They seem to almost be bursting with growth.

Ghiberti’s Northern Portal

The second set of doors, located on the northern side, was designed by Lorenzo Ghiberti in 1422. But Ghiberti wasn’t just hired on the spot, oh no. In 1401 the church held a competition to see who would win the honour of receiving this commission. The church wanted to celebrate the end of the Black Death, which had swept through much of Europe, leaving millions dead. Florence had miraculously been spared, with only a comparatively small fraction of their citizens who ended up dying from the disease. Artists had to submit a small bronze panel featuring the scene of Abraham Sacrificing Isaac to be entered into the competition.

In the end, the committee was stuck between Brunelleschi’s design and Ghiberti’s. They couldn’t choose and asked if the artists would be willing to work together. Brunelleschi refused, saying that anything less than something which was 100% his own work wasn’t worth his time. So the job went to Ghiberti. It took Ghiberti 21 years to complete these doors. The panels in these doors consist of 28 scenes of the life of Jesus Christ from the New Testament. Each of them is richly decorated. The scenes are framed by abundant foliage and gilded busts of prophets and sibyls (women able to foretell the future). These doors are copies of the originals as those ones are now housed at the Cathedral Museum. But the recreations are nonetheless incredible examples of this sculptural art form, which was emerging at the time.

Ghiberti’s Eastern Portal

The third set of doors, created in 1425-1452, was also created by Ghiberti after his first commission was such a success. Michelangelo called them “the gates of paradise,” and therein came the name they go by even today. Michelangelo would often come here as a student to study these works for art. These panels are much larger than the quarterfoil frames of the previous gates. There are only ten frames in total, depicting scenes from the Old Testament and the life of Saint John the Baptist.

Ghiberti Artistry

In this new series, Ghiberti used a technique called schiacciato. This technique allowed him to create a recessed sculpture by carving only millimetres deep. It gives the illusion of greater depth and movement in the scene. The previous panels were mostly focused on the people in the scene and not the environment. In these new renditions, Ghiberti added in the landscape, which brought so much more atmosphere to each panel. Framing the doors are a series of miniatures busts and sculptures. The two busts featured in the middle of the entries are actually a self-portrait of the artist and his father, Bartolomeo Ghiberti.

Above the doors are three marble statues on white pedestals. In the centre, we have Jesus being crowned by John the Baptist, being watched by an angel.

Baptistery Interior

The interior of the small Baptistery is wonderfully embellished, and it feels like no matter where you look, there is something magical to behold. This is in complete opposition to the rather austere interior of the Cathedral across the street.

Domed Mosaics

The interior was inspired by the Roman Pantheon with its grand domed ceiling covered in intricate byzantine mosaics. The roof was created in the 1200s. Millions of tiny gold and glass tiles were used to create the scene of “universal judgement.” The entire piece took over 100 years to complete. Because the section took so long to complete, you can actually see the change in art styles throughout the design as the techniques improved and changed throughout the years. Descending down from the centre of the octagonal dome, there are various rings, which depict specific storylines around the central theme of judgement.

View this post on Instagram

A post shared by Arte Mondo_ (@artemondo_)

Life of Joseph, the Virgin Mary and Jesus and St. John the Baptist

The top layer of the octagon, under the lantern, is decorated with plants and animals. Below this is a series of angels who surround and stand in praise towards the image of Jesus is the centre. Below is a set of scenes from the story of Genesis. Following this are images from the Life of Joseph, the Virgin Mary and Jesus and finally the life of St. John the Baptist, the patron saint of Florence.

In the center, breaking into multiple rows is the central figure of Jesus. He sits with this hands to either side, the marks of the crucifixion nails still bleeding in the centre of his palms. To the right of his feet are images of damnation and to the left, salvation. The images of damnation are explicitly terrifying, as the representations of the tortures of hell are extremely brutal. The shapes of the various figures here aren’t human figures and look almost alien-like as if hell itself mutates the human form. These terrors were meant to strike fear into the citizens of Florence, to be good in life to not suffer in the afterlife for eternity.

View this post on Instagram

A post shared by Arte Mondo_ (@artemondo_)

The Marble Floor

After looking up for long so, give your neck a break and take a look at the ground. The marble floor here is made using the technique called ‘intarso.’ This technique uses multiple colours of marble, which are carefully placed together to create one unified piece. At one time, the lantern in the ceiling was open to the outside air, and the light which flowed in would hit a sundial embedded into this marble floor. Florentine designers used astrological signs, along with the sundial, to tell the time. Although the lantern was closed and the dial removed, the zodiac signs on the marble can still be seen on the floor today.

The Tomb of Guccio de Medici

The tomb of Guccio de Medici, who died in the 1300s, is the first example of the Medicis obsession with their deaths being as opulent as their lives. When he died, Guccio was buried inside an old Roman sarcophagus. Added onto the Roman tomb was a carving of the Medici shield and famous Medici coins.

The Tomb of the Anti Pope

One of the most controversial tombs in the Baptistery is the tomb of Antipope John XXIII. Pope John XXIII was born Baldassari Cossa. Despite being buried in such an illustrious building, this Pope was stripped of his title after his death due to his multiple misdoings and scandalous life. He was widely disliked by almost everyone in Florence, everyone except that is for the Medici’s that is. When Cossa came into power, he gave the financing of the Vatican over to the Medici bank. The Vatican was one of the largest institutions in the world and employing the Medici bank as their primary money lender meant the families rise to fame. They went from being just another Florentine money lender to one of the richest (non-royal) families in Europe.

Donatello and the Baptistry

The Medici’s owed Cossa, and despite the public’s dislike or outright hate for the man, they were still under his thumb. When his dying wish was to be buried in the Baptistery, they made his dream come true, despite the public outrage that ensued. The Medici’s paid Donatello to sculpt his funerary monument in 1420. On top of the tomb is his death mask. Unlike many death masks of the time, Cossa’s faces look out towards the onlooker instead of up towards the sky. Almost daring the public to say a word against him, as he is always looking and listening. Above his coffin is a lunette of the Madonna and child. The entire piece is a stone canopy is embellished with golden fringe. Supporting the coffin on either side are two Marzocco Lions, the protectors of Florence.

Basilica of Santa Maria del Fiore

Now let’s turn to the other side of the square and the great Basilica of Santa Maria del Fiore. This magnificent Cathedral began its construction in 1296 but wasn’t completed until 1436. That’s over 140 years! The temple is named in honour of Santa Maria del Fiore, or “Saint Mary of the Flowers.” Mary is often associated with flowers, especially in Italian culture. Flowers, or roses, in particular, are thought to represent the fleetingness of life, and therefore, of death. Mary carries with her the burden of knowing her son will die and yet even knowing this reality, carries on to raise him with all the love she has in her heart. Like the flower which we know will wilt, we admire its beauty until the day it dies.

The Duomo, as it is mainly called in Florence, was built on the site of the 7th-century Church of Santa Reparata. Remnants of that church can still be found today in the crypt. The Duomo as it stands today is the 4th largest Cathedral in the world and walking around it, you can really get a sense of how huge it is.

Arnolfo di Cambio

The first architect of the church was Arnolfo di Cambio. Arnolfo di Cambio started his career as the assistant to Nicola Pisano. Together they created the marble pulpit inside the Sienna Cathedral. From there, he moved onto creating tombstones and sculptures of Kings around the world. Arnolfo di Cambio’s funerary monuments were so impressive they became the model for Gothic funerary art in Florence. It was a surprise to many when, in 1294, he began work on the Florence cathedral, not as an artist but as an architect. This would be the only building to officially be created in his name. And despite his lack of formal training, the result of his creativity is breathtaking.

The Great Dome

The church was designed in the Italian Gothic tradition. This features pointed arches and cross-ribbed vaults. The overall layout of the Cathedral features a Latin cross design with room for the most iconic feature of the church, the HUGE dome. And while Cambio left space for this dome in his floorplans, the dome hadn’t even been conceived of by the time Cambio passed away. Over the 140 years, the church was being constructed, architects from all over the world attempted to figure out how to achieve such an enormous dome without it falling apart. Giotto di Bondone, Andrea Pisano, and Francesco Talenti all worked on different aspects of the church.

Brunelleschi

Still, none of them could figure out how to build such a gravity-defying dome. It would be Brunelleschi, who would finally solve the problem of the dome. Unlike Cambio, Brunelleschi had many buildings under his belts such as Basilica of San Lorenzo, Basilica of Santo Spirito, and the Pazzi Chapel. He had been working across the street on the Baptistery doors when he decided he wanted to take a stab at the dome’s design, where all others had failed.

Ironically, the key to the structure of the dome was unlocked by using a flower’s composition as a guide. Being a church named after the Lady of the Flowers, that just seems too fitting. The dome used a herringbone brick pattern where the bricks formed a series of inverted arches. And as the blocks grew higher, instead of falling inwards, the inverted form actually used gravity to their advantage to reinforced the structure. The result is this breathtaking, gravity-defying, architectural masterpiece. Being so large, it seems to peak out above the skyline wherever you look in Florence. An icon for the ages. And one of the most significant pieces of Renaissance architecture.

The Campanile

To understand the design of the facade (as it stands today), we must first look at the design of the bell tower or campanile. The facade, as we will learn later, was left relatively plain before the 18th-century redesign. But the tower, designed by Giotto in 1334, was a multicoloured treasure and almost the most impressive feature of the Cathedral before the dome was finished. The tower stands 15 meters wide and over 84 meters tall! But other than its size, the most impressive part of the bell tower is the colours. Giotto said that the different colours were used to exemplify the two fundamental principles of Florentine art: “rectitude (righteousness) and beauty.”

But Giotto died before the tower’s completion in 1387. It was reported that Giotto died of grief over the bell tower’s one design flaw. He made the base of the tower a little too narrow to allow for the effect of vertical momentum, but the decision would haunt him. He said he made “too-small a bed for your feet,” regarding the tower’s design. His fears would prove to be accurate as the tower needed to be later renovated to allow the full height of the construction to be supported at the base. But looking at it now, you’d never know. It took two additional architects, Andrea Pisano and Francesco Talenti, to fully completed Giotto’s vision after his death.

Exterior Panels

One of the most exciting features of the tower is located on the first floor. Take a close look at the hexagonal panels, which are spread around the base of the tower. The white stone reliefs are framed by pink marble, which is additionally contrasted against green, serpentine marble. Inside these reliefs are depictions of the history of mankind as it was in medieval times. The stories told on these panels blend religious doctrine history as well as liberal arts. In addition to the chronicles, as written in the bible, we also see mankind’s most significant discoveries. On the south side of the tower, we find panels that represent astronomy, medicine, hunting, wool-working, and legislation. On the east side, there are panels relating to navigation, social justice, agriculture, festivals and architecture. The north side panels depict sculpture, painting, harmony, grammar, logic, music and poetry, geometry and arithmetic.

Andrea Pisano

On the second level, we find a row of niches that are filled with fantastic sculptures. It’s almost a share they are so high up since they are wonderfully carved works of art. These niches were created by the tower’s second architect, Andrea Pisano. Pisano dedicated the west side to the planets; Saturn, Jupiter, Mars, the Sun, Venus, Mercury, the Moon. On the south side, we find three sculptures representing theological virtues (faith, hope, charity) and four sculptures representing cardinal virtues (prudence, temperance, fortitude, justice).

The other statues found in the additional niches represent patriarchs, prophets, Kings of Israel and the pagan sibyls. This includes one beautiful group depicting the Sacrifice of Isaac by Donatello, a splendid example of the naturalism that was so popular in the 1400s.

Francesco Taletnti

Continuing up the tower to the top levels, designed by Francesco Talenti, we find a new mathematical treatment. Each level is slightly taller than the next, which, when you look up from above, gives the tower a sense of being taller than it actually is. This use of perspective was so popular during the Renaissance as they were obsessed with the idea of science and math meets art. Instead of a spire which many other Gothic towers have, the tower finishes with a terrace where people can still today enjoy stunning views of the city. At the top of the tower are seven bells. The largest of the bells is called the Santa Reparata, in honour of the saint to which the original church was dedicated to. Hearing it ring out across the square, the pigeons flying away as it rings is still one of the sweetest sounds of Florence.

Climbing the Bell Tower

If you choose to climb the bell tower, or for those really ambitious people, who want to climb both, head to the northeast corner of the bell tower to find the line up for the entrance. All you need is the same grand ticket for the entry. There are 400 steps to the top but the view from above is well worth the climb.

The 14th Century Facade

Aside from the front facade, which we will talk about later, the other sides of the Duomo are from the 14th century. These sides feature some of the best preserves aspects of Gothic architecture of the time. Many of the niches on these sides are empty, as the original sculptures which once decorated this exterior have been moved into the museum. This means these sides feel rather dull compared to the newer, front facade. Despite the lack of sculptures, something is mesmerizing about the geometric shapes and coloured marble which adorned the sides of the church.

The 19th Century Front Facade

The original facade was built along with the rest of the church, but the one we see now was created long after, in the 1800s. Traditionally, Tuscan churches didn’t have much ornamentation given to their facades, and they were left extremely plain. But the Medici’s, the de facto royalty of the day, weren’t a fan of the dull look. They pleaded with architects to change the facade, but there was never a consensus over what it should look like. When the previous stone facade, designed by Giotto, began to deteriorate, Florence, once more, held a design competition. They wanted to see who could meet the expectations of the city to create a facade as fanciful as the rest of the church. 

Emilio De Fabris won the contest with his proposal. He designed his facade to follow the same structure as Giotto’s but with the addition of sumptuous ornamentation (based on the design of the magnificent campanile). This meant no structural changes needed to be made, which meant it was going to be cheaper to build. It also allowed for the original shape of the church to be maintained and honoured. Unfortunately, Fabris died before construction started, once more leaving his legacy to the next architect. A dark theme that is too often present in the histories of great church architects.

Portal Maggiore

To study the front facade, let us start at the bottom and work our way up, starting at the central portal into the church. Because there is no longer entry through this central portal, you can gaze up at its magnificence and opulent doors.

The 19th-century bronze doors feature beautifully carved reliefs of the life of the Virgin Mary. The doors themselves appear to be set themselves inside an architectural design. The doors were the original entry into the Duomo before it became a tourist destination. They were designed by Augusto Passaglia and Giuseppe Cassioli.

Santa Reparata & St. Zenobius

On either side of the bronze doors are niches containing two of the most influential people to the church: St. Reparata and St. Zenobius. Saint Reparata was the patron saint of the first church built on this site as well as the patron Saint of Florence until the Middle Ages when St. John the Baptist replaced her. Saint Reparata was merely a young woman when she was martyred by the Romans in the 3rd century. Legend has it that St. Reparata was set to be burned alive, but when the Romans set her alight, a shower of rain from the heavens put out the fire. She was then forced to drink boiling pitch but would not die. Finally, the Romans were forced to behead her, which was the final blow.

St. Zenobius was the first bishop of Florence who not only was born in Florence but also made a significant impact in evangelizing the city and its outskirts. He is most notable for his miracles of bringing soldiers and children back from the dead. Just above the bronze doors, you’ll see a series of coats of arms which represent the various Florentine families who donated money towards the building of the front facade.

Niccolò Barabino

Above the bronze doors is a gorgeous mosaic lunette. You’ll find one of these brightly coloured designs over each of the gates into the church. They were designed by Niccolò Barabino and represent the Florentine devotion to faith across multiple disciplines. The mosaic above the central portal depicts Christ enthroned between Mary and Saint John the Baptist, alongside various Florentine saints. Surrounding the lunettes are richly decorative vines and octagonal panels featuring multiple saints.

Portal Maggiore Tympanum

Above the mosaic lunette is the grand tympanum. In the centre of this triangular scene, we have the image of the Virgin Mary. Surrounding her on either side is a chorus of seraphim. At the very top above these sculptures is a bronze dove soaring away from the rest of the angels. Below the seated mother is an altar with a baby lamb, representing Jesus as the sacrificial lamb. On either side of the lower portion of the tympanum are representations of the men from the Florentine Republic who were in charge of the construction of this church as well as images of various Popes and Franciscan monks. Standing guard on either side of the tympanum are two priests with trumpets, announcing the birth of Christ to the people of Florence.

Right Portal

Cassioli, who designed the central doors, is also responsible for the doors on the right. Cassioli led a distraught life. He suffered much misfortune throughout the years and was the definition of a tortured artist. He leaves a self-portrait of himself in the doorway, along the right side. Here we see a man with a snake around his neck, a way of the artists to express the suffering he felt, literally suffocating for his art.

The mosaic above the doorway here represents Florentine artisans, merchants and humanists paying homage to the sculpture of faith. Carved into the archway are various statues of famous angels. From left to right, we have the Angel of the Apocalypse (portrayed with scythe), saint. Michael (portrayed in his classic armour and sword), the Angel that liberated St. Peter, St. Elizabeth welcoming the faithful into the church, the Angel of the Resurrection(seen with the palm leaf and skull), the Archangel Raphael (holding a fish), and the Angel of the Apocalypse (holding the overturned chalice.) The sculpture atop the door is of the Madonna Dolorosa (Madonna of Sorrows). Flying above here is are three angels holding flowering in their hands.

Right Door Niches

Located in the niches on either side of the doorways are a series of statues. They feature from left to right; Cardinal Valeriani, Bishop Agostino Tinacci, Pope Eugene IV, who consecrated the church in 1436 and of Saint Antonino Pierozzi, bishop of Florence.

Left Entry Doors

The last doorway is found on the left. This doorway is now the official entry into the church, and so its old doors are almost always seen open. If you come by when the church is closed, you’ll be able to better understand the designs on the front. On either side of the doorway are niches featuring Cardinal Pietro Valeriani on the left and Bishop Agostino Tinacci on the right.

Left Door Mosaics

The mosaic above the doorway depicts Charity among the founders of Florentine philanthropic institutions. Charity is represented in the centre seated on the throne. At the base of the throne are a series of the coat of arms from charitable institutions. The people kneeling on either side of Charity are founders of the great hospitals in Florence. On either side of the mosaic are two small sculptures that represent Adam and Eve after they were expelled from the Garden of Eden. Eve is on the left, bare-breasted, her head in her hands, covered in a sheepskin. The snake can be seen resting at her feet.

Rosette Window

Above both the right and left portals are a set of Rosette windows, which compliment the larger Rose window in the centre of the facade. Unlike the large Rose window in the centre, the rosettes are not filled with stained glass. In the centre of the windows is an eight-pointed star, which often refers to wealth and money.

Upper Gallery

The Upper Gallery of the facade is filled with a series of niches. Each one is filled with beautiful sculptures of one of the twelve Apostles.

In the centre of the upper gallery, is a gorgeous statue of the Madonna and child. She sits on her throne, a golden crown on her head and baby Jesus resting on her knee. In her hand is a flowered sceptre designed by Tito Sarrocchi. She holds the sceptre pointed towards the people on the piazza, beckoning them to come inside.

Although we will talk about the Rose Window later as it is more impressive from the inside, take a look at the panels surrounding it. Across the top of the facade are busts of great artists of the past framed inside Gothic quatrefoils.

At the very top of the roofline, we find a small circular panel with the face of the Eternal father. There is a golden background, and the man cranes his head downwards, towards the people below.

Gargoyles

Along the roofline of the Cathedral are warped faces of human, eternally open-mouthed, acting as the gargoyles of the Cathedral. Usually, gargoyles are represented as animals, so seeing the gargoyles are human figures is often an even more disturbing image.

Porta della Mandorla

If you are opting to go inside, before doing so, walk around the left side of the building to the Porta della Mandorla (this is also the entrance you’ll use when you walk up the dome). This doorway was built in 1423, but Donatello! The sculptures above the door are especially significant because it was one of the last important works of art to be created in the time between gothic and Renaissance. The theme of the work is the Virgin on her mission to save humanity. She is centred in an oval, the same shape as almond or mandorla.

Cathedral Interior

To enter the church, go through the left portal, in the far north. The entry into the Cathedral is…well, slightly less impressive than you might imagine when compared to the embellished exterior. While the interior is grand and soaring, it does feel somewhat empty. The interior was purposefully meant to be bare, as it was thought that this would result in a more focused approach to prayer. Many of the pieces of art and sculpture which once stood here have been moved into the museum for restoration and preservation. For this reason, there is a genuinely vacant feeling to space more so now than when it was first built.

Clock

Against the wall opposite the high altar, take a look under the rose window to spot an ancient clock. The enormous clock with bright golden dials was made in 1443 by Paolo Uccello. What you might notice about this clock is that it is set to the ora Italica which is the Florentine 24-hour clock, which starts and ends at sunset, instead of at midnight. On the four corners of the clock are the faces of the four evangelists. The clock still works to this day, but it needs to be wound every 8-9 days to keep it running.

Rose Window

The stained-glass Rose window above the clock presents the crowning of the Virgin Mary as Mary Queen of the World. An archway of angles flies above her. In the centre is the figure of Jesus surrounded by golden rays. He is descending from heaven, holding a golden crown. This piece was designed by Gaddo Gaddi in the early 14th century. This window seems to almost burn with colour. The glass is so bright its hard to imagine the design is over 600 years old.

Artists Busts

On the left nave, upon entering the church, you’ll see various busts along the wall. These feature the artists who helped build the church. We can see the images of Giotto, Brunelleschi and Emilio de Fabris. Eternally looking out at their creation.

Stained Glass Windows

The various brightly coloured stained glass windows you’ll find throughout the church were all made based on illustrations by some of the greatest artists of all time. While they were created by seasoned craftsmen, using pictures by artists such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno. The windows along the aisles represent the Old and New Testament, while the circular windows around the top of the church and surrounding the dome, are visions from the life of Christ and the Virgin Mary.

The Crypt

The stairs down to the crypt are located near the entrance to the church, along the right side of the nave. Down here, you can see remnants of the original Roman church and pavements, which once lead into this temple. Near the entrance to the crypt is the modest tomb of Filippo Brunelleschi. It is nothing more than a plain slab of marble where they have also placed two golden crucifixes. For someone who created such beautiful things, it’s an interesting piece of juxtaposition to find his tomb is so humble.

Equestrian Funerary Monuments

Along the northern wall, halfway down the apse towards the dome, are two painted Funerary Monuments. Instead of an elaborate stone-carved tomb, these monuments were painted on the walls of the Cathedral. They were painted in 1436 and 1465 and yet are fantastically preserved. The one of the left is dedicated to Sir John Hawkwood by Paolo Uccello, and one of the rights is the Equestrian statue of Niccolò da Tolentino by Andrea del Castagno. Both Hawkwood and Tolentino were courageous and successful soldiers who made an impact on the city. Each of these great men is portrayed riding their horses triumphantly, as roman leaders were once portrayed. Their images were painted with the newly discovered technique of perspective and foreshortening, making it looks as if these mere paintings were actual three-dimensional monuments.

Marble Floors

The magnificent marble tiles of the church were installed in the 16th century. The Wool Guild was one of the wealthiest guilds in the city and sponsored much of the construction of the church. As such, you’ll find many images of the guild throughout the church, one of the most significant is the ‘OPA’ lettering inlaid into the marble flooring in the center of the church. OPA stands for the Opera del Duomo, which was the name of the group of guild members who were specifically in charge of the construction of the church. The marble on the floor is made up of varying colours of stone, a technique called intarso. The Medici’s crest, another prominent patron of the church, can also be seen on the flooring. Look for their iconic red balls all over the floor, a subtle nod to their patronage.

The Great Dome Interior

The most awe-inspiring part of the church is the magnificent domed fresco by Giorgio Vasari. Originally, Brunelleschi had intended for the dome to be covered in gold. With the light that poured in through the dome’s windows, this would have illuminated the interior like a glowing orb. But after his death, his first project didn’t have the funds to be completed. It was left painted merely white for years until the late 16th century when rich, Grand Duke Cosimo I de’ Medici decided he wanted it painted to feel more ostentatious.

The piece depicts the scenes of the Last Judgement, and when you take a closer look, you’ll be surprised how macabre some parts of the scene genuinely are. While Vasari designed then look of the piece, the actual painting of it was done by his pupil Frederico Zuccari and was finished in 1579. It is for this reason that some elements of the painting are a little less finessed than other works from Vasari. At the centre of the dome are choirs of angels surrounding Jesus. Around the bottom of the cupola are various images representing the capital sins of hell.

Donatello Stained Glass Window

In the centre of the dome is the grand window by Donatello. Once more, we see the image of Christ presenting the crown to his mother. This scene is much more intimate than the one on the Rose Window. There are only two figures here, and they are kneeling together tightly. Almost in an embrace.

The Sacristy Doors

Just past the dome, on either side of the nave, you’ll see the bronze doors which protect the entrance to the Sacristies. These were created in terra cotta by Luca Della Robbia in 1444. The panels which I find the most precious are the ones depicting Mary holding baby Jesus.

Dante Before the City of Florence

Along the left side of the nave, just before the axis crossing, make your way towards a large fresco under the window. This fresco was created by Domenico di Michelino in 1465. It shows Dante in the centre, standing in front of Renaissance Florence as it was when the mural was painted. Like a window into the past, you can glimpse through.

To the left of Dante, we can see Purgatory, and on his right paradise, or Florence itself. In the hands of the writer is his famous book, the Divine Comedy. His hand points down towards the nine circles of hell. Just behind him is the Mount of Purgatory, where you can see Adam and Eve standing on top, representing earthly paradise above the circles of hell. To the right where we can see Florence, take a minute to spot the dome of the Cathedral you’re standing in as well as images of the Baptistry and the Palazzo Vecchio.

Climbing the Dome

There are two options for those who love to climb up buildings; the bell tower and the dome. While the bell tower is slightly less claustrophobic and less busy, the climb up the dome, to the top of the church is the option I would go with. There just isn’t anything like seeing those frescoes up close and personal. The climb is 463 steps up through a narrow passageway once used by the construction workers who built it.

When you book your ticket online, it will ask you to select a time for the climb up the dome. If you can manage an early morning, the rising sun across the city is fantastic! The earliest time is 8:30am, and this is also when you’ll find the entire place to be the least busy. To enter the stairs to the dome climb entre via the Porta della Mandorla.

Museo dell’Opera del Duomo

With your ticket into the other parts of the Duomo and Baptistery, is a ticket into the Museo dell’ Opera del Duomo. The very same guild, which was in charge of the construction of the church when it was first being built, is still to this day overseeing the restoration and preservation of its treasures.

View this post on Instagram

A post shared by AmiciMuseiFiorentiniDidattica (@amicimuseifiorentinididattica)

Hall of the Ancient Facade

One of the most astounding galleries inside the museum is the Hall of the Ancient or the Hall of Paradise. Here you can view a reconstruction of the original facade of the church before the new design. In this white and beige almost life-size replica, you can see the 40 different statues, 100 architectural details and 60 decorations that have now been all but removed from the exterior and yet preserved here.

View this post on Instagram

A post shared by Saul Morales (@morrsaul)

The Deposition by Michelangelo

Of all the sculptures inside, my favourite is the Deposition by Michelangelo. Michelangelo started working on this piece in 1546 but never finished it. It was one of the first pieces he made without a commission. He would work tirelessly on the sculpture by candlelight. But over the years, he became frustrated by the imperfections in the marble and abandoned the project. One night he even tried to destroy the sculpture in a fit of rage. But despite Michelangelo thinking it was a failure, even today, it is one of the most moving pieces in the gallery. If you look closely, you might notice that Jesus is missing his one leg, as the veins in the marble made it impossible for parts of the stone to be carved.

View this post on Instagram

A post shared by Lucia Giupponi (@lucia_giupponi)

The two women on either side of Christ’s body are the Virgin Mary and Mary Magdelene. Still, the hooded figure behind them is one of the more mysterious characters in art history. Many think it could be his father, Joseph. Still, other historians have argued that it is Nicodemus who was also present at Christ’s death. Whomever the figure is, one can see the great sadness which rests in his eyes.

Penitent Magdalene by Donatello

The Penitent Magdalene by Donatello is a haunting sculpture made of wood from the 1450s. Unlike many other representations of Mary Magdelene, portrayed as a beautiful woman, this image here is of an emaciated woman wearing nothing but rags. She looks as though she is bearly hanging on, praying to God to spare her, or forgive her before her death. In many orthodox legends of Mary Magdalene, she is thought to have been a prostitute but walked the desert for 30 years to absolve her sins. We believe that Donatello ehre is using that same story to depict his image of Mary Magdelene, as she finally makes her way out of the desert and is forgiven.

View this post on Instagram

A post shared by Erica Reichert (@ereichert77)

Hopefully, you’ve enjoyed this walkthru of the Duomo, its dome and tower and the radiant Baptistery! Let me know in the comments what your favourite part of the tour was or what you’re most looking forward to visiting!

Happy Travels, Adventurers

The post The Ultimate Self Guided Tour of the Duomo and Baptistery in Florence (Cattedrale di Santa Maria dei Fiori) first appeared on The Creative Adventurer.

Whether you’re drawn to the grandeur, the history or the spiritual power of these buildings, visiting these sites in Florence is almost a right of passage. But many people come here and gaze upon these buildings without understanding the context behind their construction and artistry. Through this post, I hope to help illuminate some of those mysteries and perhaps help you appreciate these attractions for more than just their beauty.

View this post on Instagram

A post shared by Beda Buechi (@bedabuechi)

Baptistery of San Giovanni Battista

The Baptistery of San Giovanni Battista is thought to be one of Florence’s oldest places of worship. The current Baptistery was built between 1059 and 1128. It was named after St. John the Baptist (San Giovanni Battista), the patron saint of Florence. As Christianity was attempting to overtake the Pagan religion, Christians needed to find ways to make this conversation as seamless as possible.

One of these ways was to replace one Roman god for a Christian saint. That’s how we have St. John the Baptist as the patron saint of Florence. He replaced their most worshiped god, Mars. Mars was the god of war, so they needed to find a saint with a similar appeal. Saint John was a rugged saint, not as seemingly “holy” or clean-cut as some others, and this seemed to gel with Florentine sensibilities.

Florence Artists

The octagonal floor plan for the Baptistery was ubiquitous during the first millennium of Christianity, although it is much more rare to find these days. The octagonal design has a beautiful sense of symmetry to it, creating this unified, peaceful design. There is no clear provenance of who designed the structure, but many famous names have been attributed to its design. Pisano, Giotto, Ghiberti, Donatello and even Leonardo da Vinci were all artists who lent their hand in the creation of the Baptistery. Being a place touched by so many master’s hands only makes it more critical in the history of the city.

The Baptistery Portals

In addition to the marble we spoke of before which was used, bronze was the primary material which they employed to create a lush and regal look for the doorways. They called these entrances “portals,” and they were the gateways into the palace of god.

Pisano’s Southern Portal

The oldest set of doors is that created by Andrea Pisano in 1329. These doors now face south, but initially faced east, towards the Duomo. They were moved in 1452, replaced by newer designs. These doors depict stories from the Old Testament. The Merchants Guild of Florence commissioned Pisano to build these doors. They were one of the wealthiest guilds in the city and as such, could afford such an expensive commission. Look closely at the carvings and notice that there is definitely a significant amount of detail paid to the clothing.

No doubt, this was a way for the guild to get a subtle nod to their trade’s manufacturing in there. Subtle advertising if you will. The overall look of these designs is more subdued than the newer doors. Their shapes of the people are less realistic, and the features in their faces don’t show any real emotion. My favourite part of the design is the richly decorated door frames. They are lush with greenery and flowers. They seem to almost be bursting with growth.

Ghiberti’s Northern Portal

The second set of doors, located on the northern side, was designed by Lorenzo Ghiberti in 1422. But Ghiberti wasn’t just hired on the spot, oh no. In 1401 the church held a competition to see who would win the honour of receiving this commission. The church wanted to celebrate the end of the Black Death, which had swept through much of Europe, leaving millions dead. Florence had miraculously been spared, with only a comparatively small fraction of their citizens who ended up dying from the disease. Artists had to submit a small bronze panel featuring the scene of Abraham Sacrificing Isaac to be entered into the competition.

In the end, the committee was stuck between Brunelleschi’s design and Ghiberti’s. They couldn’t choose and asked if the artists would be willing to work together. Brunelleschi refused, saying that anything less than something which was 100% his own work wasn’t worth his time. So the job went to Ghiberti. It took Ghiberti 21 years to complete these doors. The panels in these doors consist of 28 scenes of the life of Jesus Christ from the New Testament. Each of them is richly decorated. The scenes are framed by abundant foliage and gilded busts of prophets and sibyls (women able to foretell the future). These doors are copies of the originals as those ones are now housed at the Cathedral Museum. But the recreations are nonetheless incredible examples of this sculptural art form, which was emerging at the time.

Ghiberti’s Eastern Portal

The third set of doors, created in 1425-1452, was also created by Ghiberti after his first commission was such a success. Michelangelo called them “the gates of paradise,” and therein came the name they go by even today. Michelangelo would often come here as a student to study these works for art. These panels are much larger than the quarterfoil frames of the previous gates. There are only ten frames in total, depicting scenes from the Old Testament and the life of Saint John the Baptist.

Ghiberti Artistry

In this new series, Ghiberti used a technique called schiacciato. This technique allowed him to create a recessed sculpture by carving only millimetres deep. It gives the illusion of greater depth and movement in the scene. The previous panels were mostly focused on the people in the scene and not the environment. In these new renditions, Ghiberti added in the landscape, which brought so much more atmosphere to each panel. Framing the doors are a series of miniatures busts and sculptures. The two busts featured in the middle of the entries are actually a self-portrait of the artist and his father, Bartolomeo Ghiberti.

Above the doors are three marble statues on white pedestals. In the centre, we have Jesus being crowned by John the Baptist, being watched by an angel.

Baptistery Interior

The interior of the small Baptistery is wonderfully embellished, and it feels like no matter where you look, there is something magical to behold. This is in complete opposition to the rather austere interior of the Cathedral across the street.

Domed Mosaics

The interior was inspired by the Roman Pantheon with its grand domed ceiling covered in intricate byzantine mosaics. The roof was created in the 1200s. Millions of tiny gold and glass tiles were used to create the scene of “universal judgement.” The entire piece took over 100 years to complete. Because the section took so long to complete, you can actually see the change in art styles throughout the design as the techniques improved and changed throughout the years. Descending down from the centre of the octagonal dome, there are various rings, which depict specific storylines around the central theme of judgement.

View this post on Instagram

A post shared by Arte Mondo_ (@artemondo_)

Life of Joseph, the Virgin Mary and Jesus and St. John the Baptist

The top layer of the octagon, under the lantern, is decorated with plants and animals. Below this is a series of angels who surround and stand in praise towards the image of Jesus is the centre. Below is a set of scenes from the story of Genesis. Following this are images from the Life of Joseph, the Virgin Mary and Jesus and finally the life of St. John the Baptist, the patron saint of Florence.

In the center, breaking into multiple rows is the central figure of Jesus. He sits with this hands to either side, the marks of the crucifixion nails still bleeding in the centre of his palms. To the right of his feet are images of damnation and to the left, salvation. The images of damnation are explicitly terrifying, as the representations of the tortures of hell are extremely brutal. The shapes of the various figures here aren’t human figures and look almost alien-like as if hell itself mutates the human form. These terrors were meant to strike fear into the citizens of Florence, to be good in life to not suffer in the afterlife for eternity.

View this post on Instagram

A post shared by Arte Mondo_ (@artemondo_)

The Marble Floor

After looking up for long so, give your neck a break and take a look at the ground. The marble floor here is made using the technique called ‘intarso.’ This technique uses multiple colours of marble, which are carefully placed together to create one unified piece. At one time, the lantern in the ceiling was open to the outside air, and the light which flowed in would hit a sundial embedded into this marble floor. Florentine designers used astrological signs, along with the sundial, to tell the time. Although the lantern was closed and the dial removed, the zodiac signs on the marble can still be seen on the floor today.

The Tomb of Guccio de Medici

The tomb of Guccio de Medici, who died in the 1300s, is the first example of the Medicis obsession with their deaths being as opulent as their lives. When he died, Guccio was buried inside an old Roman sarcophagus. Added onto the Roman tomb was a carving of the Medici shield and famous Medici coins.

The Tomb of the Anti Pope

One of the most controversial tombs in the Baptistery is the tomb of Antipope John XXIII. Pope John XXIII was born Baldassari Cossa. Despite being buried in such an illustrious building, this Pope was stripped of his title after his death due to his multiple misdoings and scandalous life. He was widely disliked by almost everyone in Florence, everyone except that is for the Medici’s that is. When Cossa came into power, he gave the financing of the Vatican over to the Medici bank. The Vatican was one of the largest institutions in the world and employing the Medici bank as their primary money lender meant the families rise to fame. They went from being just another Florentine money lender to one of the richest (non-royal) families in Europe.

Donatello and the Baptistry

The Medici’s owed Cossa, and despite the public’s dislike or outright hate for the man, they were still under his thumb. When his dying wish was to be buried in the Baptistery, they made his dream come true, despite the public outrage that ensued. The Medici’s paid Donatello to sculpt his funerary monument in 1420. On top of the tomb is his death mask. Unlike many death masks of the time, Cossa’s faces look out towards the onlooker instead of up towards the sky. Almost daring the public to say a word against him, as he is always looking and listening. Above his coffin is a lunette of the Madonna and child. The entire piece is a stone canopy is embellished with golden fringe. Supporting the coffin on either side are two Marzocco Lions, the protectors of Florence.

There is so much more to see around the Baptistery, so once you’re finished here, be sure to head over to tour the famous Duomo! If you’ve visited the Baptistery in Florence, let me know in the comment what your favourite part was!

Happy Travels Adventurers.

The post The Ultimate Self-Guided Tour of the Baptistery in Florence first appeared on The Creative Adventurer.