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Everything You Need to Know About La Specola Museum in Florence

The Creative Adventurer — Sun, 08 Aug 2021 13:42:03 +0000

There are hundreds of museums in Florence, more than anyone person could attempt to see throughout a short vacation. But for those of us interested in the strange and sublime, La Specola Museum is one not to be missed. When I visited Florence, this museum was the #1 thing to do on my trip. That’s right, more important than the Duomo, the Uffizi or the Pitti Palace; was a visit to La Specola.

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.

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!

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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.

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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!

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The Ultimate Self Guided Tour of the Florence Duomo

The Creative Adventurer — Fri, 20 Dec 2019 13:48:00 +0000

Standing inside the Piazza del Duomo, is the most famous structure in Florence; the Cathedral of Santa Maria del Fiore. Although if you want to sound like a local, just call it the “Duomo.” The bright white marble exteriors, trimmed in green and pink stone, are so unique and iconically Florentine. If there were a beating heart to this city, it would live right here. 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 this building without really understanding the context behind its construction and artistry. Through this guide to the Duomo, I hope to help illuminate some of those mysteries and perhaps help you appreciate these attractions for more than just their beauty.

Hours & Admission

Hours

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

Cathedral

Mon-Sat: 10am-4:30pm
Sun: 1:30pm-4:30pm

Giotto’s Bell Tower

Mon-Sun: 8:15am-7:20pm

Dome

Mon-Sat: 8:30am-7pm
Sun: 1pm-4pm

Crypt of Santa Reparata

Mon-Fri: 10am-5pm
Sat: 10am-4:30pm
Sun: Closed

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.

The Ultimate Self Guided Tour of the Duomo and Baptistery in Florence (Cattedrale di Santa Maria dei Fiori)

The Creative Adventurer — Sun, 01 Dec 2019 12:02:00 +0000

Standing on either side of Piazza del Duomo, divided by Via dei Calzaiuoli, are two of the most famous structures in Florence; the Baptistery of St. John and the Cathedral of Santa Maria del Fiore. Although if you want to sound like a local, just call it the “Duomo.” The bright white marble exteriors, trimmed in green and pink stone, are so unique and iconically Florentine. If there were a beating heart to this city, it would live right here.

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

Hours and Admission
Hours
Admission
- Tickets
- Dress code
Should You Go Inside?
- Florence & Marble
Baptistery of San Giovanni Battista
- Florence Artists
The Baptistery Portals
Pisano’s Southern Portal
- Ghiberti’s Northern Portal
- Ghiberti’s Eastern Portal
- Ghiberti Artistry
Baptistery Interior
- Domed Mosaics
Basilica of Santa Maria del Fiore
- Arnolfo di Cambio
The Great Dome
- Brunelleschi
The Campanile
- Exterior Panels
- Andrea Pisano
- Francesco Taletnti
Climbing the Bell Tower
The 14th Century Facade
The 19th Century Front Facade
Portal Maggiore
Santa Reparata & St. Zenobius
- Niccolò Barabino
Portal Maggiore Tympanum
Right Portal
Right Door Niches
Left Entry Doors
Left Door Mosaics
Rosette Window
Upper Gallery
Gargoyles
Porta della Mandorla
Cathedral Interior
Clock
Rose Window
Artists Busts
Stained Glass Windows
The Crypt
Equestrian Funerary Monuments
Marble Floors
The Great Dome Interior
- Donatello Stained Glass Window
The Sacristy Doors
- Dante Before the City of Florence
Climbing the Dome
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.

Cathedral

Mon-Sat: 10am-4:30pm
Sun: 1:30pm-4:30pm

Giotto’s Bell Tower

Mon-Sun: 8:15am-7:20pm

Dome

Mon-Sat: 8:30am-7pm
Sun: 1pm-4pm

Crypt of Santa Reparata

Mon-Fri: 10am-5pm
Sat: 10am-4:30pm
Sun: Closed

Admission

Tickets

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

Dress code

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.

Florence & Marble

Carrara Marble

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.

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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.

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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

Arnolfo di Cambio

The Great Dome

Brunelleschi

The Campanile

Exterior Panels

Andrea Pisano

Francesco Taletnti

Climbing the Bell Tower

The 14th Century Facade

The 19th Century Front Facade

Portal Maggiore

Santa Reparata & St. Zenobius

Niccolò Barabino

Portal Maggiore Tympanum

Right Portal

Right Door Niches

Left Entry Doors

Left Door Mosaics

Rosette Window

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.

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

Porta della Mandorla

Cathedral Interior

Clock

Rose Window

Artists Busts

Stained Glass Windows

The Crypt

Equestrian Funerary Monuments

Marble Floors

The Great Dome Interior

Donatello Stained Glass Window

The Sacristy Doors

Dante Before the City of Florence

Climbing the Dome

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.

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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.

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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.

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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.

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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.

The Ultimate Self-Guided Tour of the Baptistery in Florence

The Creative Adventurer — Fri, 29 Nov 2019 19:03:00 +0000

Standing in the centre of the Piazza del Duomo is one of the most famous structures in Florence, the Baptistery of St. John. The bright white marble exteriors, trimmed in green and pink stone, are unique and iconically Florentine. It would live right here if there were a beating heart to this city.

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.

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Baptistery of San Giovanni Battista

Florence Artists

The Baptistery Portals

Pisano’s Southern Portal

Ghiberti’s Northern Portal

Ghiberti’s Eastern Portal

Ghiberti Artistry

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

Domed Mosaics

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

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The Marble Floor

The Tomb of Guccio de Medici

The Tomb of the Anti Pope

Donatello and the Baptistry

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.

The Ultimate Guided Tour of the Basilica Santa Croce, a Gothic-Renaissance Masterpiece

The Creative Adventurer — Fri, 01 Nov 2019 13:57:04 +0000

The Basilica Santa Croce is one of the most important architectural and historical masterpieces of Florentine art in the magnificent Renaissance city of Florence. Its iconic structure overpowers the square and seems to beckon visitors to enter. Whereas some people are disappointed in visiting the interiors of the Duomo, this church is thoroughly fantastical, inside and out! At the bottom of this post, I’ve attached a handy google map of all the different spots on this tour for easy-to-follow directions!

Table Of Contents

Hours and Admission
History of Santa Croce
Exterior of Santa Croce
Layout of the Basilica
High Altar
Bardi Chapel
Peruzzi Chapel
Baroncelli Chapel‎
Castellani Chapel
Sacristy
Rinuccini Chapel
Medici Chapel
The Pazzi Chapel
Primary Cloister
Cloister Tombs
Secondary Cloister
The Museo dell' Opera di Santa Croce

Hours and Admission

The entry in Santa Croce is much less of a trial than visiting the Duomo. After viewing the exterior, to enter the interior and purchase your ticket, walk along Largo Bargellini, the street to the left of the church, and you’ll see the single and family entrance along the side.

Hours:

Monday – Saturday: 9:30 am – 5:30 pm
Sundays and Holy Days: 2:00 pm – 5:30 pm (
Closed: New Year’s Day (January 1), Easter, St. Anthony of Padua (June 13), St. Francis (October 4), Christmas (December 25), St. Stephen’s Day (December 26).

Tickets:

Adults: €8
Kids aged from 11 to 17 years: €6
Audio Guides: €4

Access

Santa Croce is located in the heart of Florence. If you are arriving by train, at the Santa Maria Novella railway station, can easily reach it on foot with a walk of about 20 minutes through the historic centre. The visitors’ entrance and ticket office are in Largo Bargellini, along the side of the basilica.

History of Santa Croce

The first stone laid here was said to have been placed by St. Francis himself in 1228 BC. This Basilica has the honour of being the largest Franciscan church in the world! There are 16 chapels inside, many illuminated by the frescos of the legend Giotto himself. Construction on the church began in 1295 by Arnolfo di Cambio, the same architect as the Duomo. Its construction wouldn’t be completed until 1442, when it was consecrated by the Pope.

Exterior of Santa Croce

The exterior, however, is much more “modern” as it was built in 1860, during the Gothic revival period. Looking at the exterior facade, there are several similarities to that of the Duomo. It uses the same combination of white, pale green and red marble but in a more restrained fashion, as was the Franciscan way. The central portal of the church has a large pair of doors with beautiful carvings made out of wood instead of bronze. The architect of the facade was Niccolo Matas, who was, surprisingly enough for a Franciscan church, Jewish. He even designed a large blue Star of David to crown the church’s top as his little signature.

The church has three separate tympanums across the front. A tympanum is a semi-circular or triangular decorative surface over an entrance or door. The central one features an image of the ‘Triumph of the Cross‘ by Giovanni Duprè. The one on the left depicts the ‘Invention of the cross‘ by Titto Sarrocchi, and on the right, we have the ‘Vision of Constantine‘ by Emilio Zocchi.

Layout of the Basilica

The floorplan of the church is designed in the shape of an Egyptian “T” called the tau cross. This differs from the traditional Roman “t” cross design as the Franscians use the Egyptian tau as their symbol. The interior is a three-aisle design divided by two rows of thick octagonal columns. Between the columns are wide, pointed arches, which house the side family chapels. This design was heavily influenced by Cambio’s research into the architecture of ancient Rome, as was the fashion in the Renaissance.

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Timber Ceiling

The ceiling is unique since you can admire the timber roof, replete with geometric patterns. The beams were painted in the 14th century, yet you can still make out the vibrant colours today! Along the walls of the Basilica are a series of tall and thin stained glass windows. Enter through the left portal to explore this part of the church, making your way around the interior clockwise.

The funerary monuments are one of the most macabre yet beautiful elements of Santa Croce. The church also goes by the nickname ‘The Temple of the Italian Glories’ because it is the resting place of so many incredible Italians. Over 300 tombs throughout the church date as far back as the 14th century. There are both tombs for the dead buried here and statues dedicated to those buried elsewhere. Many affluent families wanted to pay tribute to their favourite celebrities. So they would commission a funerary monument to be built for them inside this illustrious temple.

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Galileo Galilei

One of the first of these tombs is Galileo. Yes, THE Galileo! Galileo Galilei, the famous father of modern science, died in Florence in 1642. He was buried here under a grand baroque tomb. Above the monument is a burst of famous scientists in the centre. His head is raised to the sky, always looking at the stars. On either side of him are sculptures which represent Geometry and Astronomy.

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Lorenzo Ghiberti

Further up ahead is the tomb of Lorenzo Ghiberti, one of the most celebrated bronze smiths in Florence. He was the one who created those iconic Baptistry doors, making him a legend. But despite this fame, his resting place is slightly less opulent. There is only a simple stone marker on the floor. It is embellished only with an image of a great eagle surrounded by laurel leaves.

The Incredulity of St Thomas

Most of the large framed paintings which you’ll see as you walk along the side aisles were the curation and sometimes creation of Giorgio Vasari. In 1565, as of the initial construction of the church, Cosimo Medici wanted to redress it to make it a little more opulent. He employed Giorgio Vasari as his artist advisor. Vasari was the one who decided the narrative program of the paintings. He chose the subject of Christ’s passion, and each mural along the wall follows this narrative.

The painting of the Incredulity of St Thomas was done by Vasari himself. Vasari painted it in 1579 in the style of Mannerism which was popular in the late Renaissance. Mannerism exaggerates the qualities that the Renaissance emphasized, such as proportion, balance, and ideal beauty. In the centre of the painting, we find Christ and St. Thomas framed between two arches. The two sides get continuously darker and darker as they fade outwards, keeping the focus on these two central characters.

Pietà by Bronzino

Agnolo Bronzino was the court painter for Cosimo I de Medici. His painting of the Pieta, framed here in a thin golden frame, is fantastically real. The blue-coloured flesh is so lifelike that you feel almost sick looking upon it. Mary’s pained expression is heartbreaking as she looks upon her lifeless child.

Pipe organ

The church’s organ is a rather small, modest instrument compared to some grander organs in Europe. It was built by organ builder Tuscan Onofrio Zefferini in 1579. The case which surrounds the entire organ’s frame was made by Vasari.

Bardi Chapel

Many side chapels were purchased by wealthy families to dissolve their sins through financial transactions to the church. The Bardi family was one of the most prosperous merchants and banking families in Florence and thereby had a lot of crimes to dissolve. But this work of art would not save them from ruin in the mortal realm. In 1343 they lent the equivalent of 100 million dollars to the King of England during the hundred years’ war. When they lost and couldn’t repay the loan, this bankrupted the Bardi’s and left them in complete financial ruin.

But the frescoes and chapels we’re looking at were built during the height of their reign. The chapel was commissioned by a branch of the Bardi family, the Bardi di Vernio. There are two Bardi di Vernio chapels, the most important of which is located on the northern side. While the iconic Bardi Chapel was painted with frescoes by Giotto, this chapel has murals by Maso di Banco. Despite his less household name, Banco’s frescoes were so well done that Vasari mistakenly thought they were by Giotto when he first saw them. The chapel also contains a wooden sculpture of two angels designed by Giorgio Vasari.

Saint Sylvester

The murals inside this chapel depict the story of Saint Sylvester. Saint Sylvester, who became Pope, has a very fantastical legend. In the frescoes, you can see Emperor Constantine being baptized by Sylvester, the miracle of Sylvester’s resurrection of the bull and, most surprisingly, Sylvester’s defeat of the dragon! That’s right, he was said to have slain a dragon. And the resurrection of the two wizards the dragon killed with his breath. Fantastical indeed.

Crucifix by Donatello

But one of the most important art pieces inside the chapel is the Crucifix by Donatello. This crucifix was made in 1408 and imbues within that powerful Renaissance style. Donatello relied on raw human emotion and natural forms to create his cross. This figure does not attempt to be both beautiful and holy. It is more like a real-life portrayal of what it would have looked like to be crucified. Contorted, in agony, mouth open, his body twisted in an awkward position. It made the people who looked upon it react powerfully, as they could see themselves in the sculpture.

High Altar

The high altar is located inside Major Chapel, right in the centre of the church. Whereas the rest of the church doesn’t have the same lofty heights as other gothic churches of the era, the high altar soars above the rest of the building. Wonderfully embellished umbrella ribs in the vaults help this narrow centrepiece keep its structure and shape. Long, thin-mullioned windows stretch up the entire length of the Maggiore Chapel. The colours in these stained glass windows are brilliant and cast rainbow hues across the church.

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Legend of the True Cross

Covering this space are frescoes depicting the Legend of the True Cross by Agnolo Gaddi from 1380. This story is the earliest surviving painting on this subject. The story is based on the legend of the cross on which Jesus was crucified. It’s said that the cross was made from a tree planted over the grave of Adam. The tree grew from the seeds of the original tree of sin. After years of growth, it was torn down by King Solomon to be used to make a bridge. The Queen of Sheba was given a message about the impending doom this wood would be transformed into. Although Solomon would rip it up afterwards, it was still salvaged and eventually became the instrument of passion. The frescoes can be read from top to bottom on the right wall and on the left.

The polyptych of Madonna and Saints by Niccolo di Pietro Gerini was also painted in the same style as Giotto. A polyptych is a panel painting which has been divided into sections. Along the back walls are stained glass windows representing the Deposition from the cross. These were created from drawings made by Lorenzo Ghiberti in the 14th century.

Bardi Chapel

Giotto had previously painted a fantastical masterpiece in the Church of Assisi, and the Bardi’s were anxious to have one of their own. Giotto’s six scenes in this chapel depict the ‘Life and Death of St. Francis.’ This piece was painted in the 1300s but heavily restored in the 17th and 19th centuries. The restoration was poor. It didn’t allow viewers to understand which part of the fresco was done by Giotto and what restoration work was done by less trained hands. So after much consideration, the restoration pieces were removed, and the original artworks by Giotto were the only parts left. This is why the fresco still looks unfinished. Giotto was one of the first artists of the Renaissance to propose a method of painting which focused on accurate proportions and shapes. His face looked like real people that the citizens of Florence could relate to.

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Peruzzi Chapel

Peruzzi Chapel with frescoes by Giotto represents the scenes from the lives of St. John the Baptist and St. John the Evangelist. Although these are now pretty faded, they retain the artistry and shapes of those medieval principles. The frescoes are in such a state because when Giotto made them, he was experimenting with a new technique called secco. This technique combined lime and an organic binder with the paints to be applied upon the walls as frescoes. While secco was easier to use, it did result in a less long-lasting and pigmented mural. The chapel was known to be one of the significant influences on Michelangelo 140 years after Giotto first painted it. It was said that Michelangelo would come here to be inspired just a few years before he painted the Sistine Chapel.

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Baroncelli Chapel‎

Turning towards the southern walls, you face the Baroncelli Chapel‎ in splendour. The chapel was built in 1338 and is covered in frescoes by Taddeo Gaddi. Gaddi worked directly under Giotto as the master’s apprentice. But Gaddi wasn’t one to simply follow the traditional path. He loved pushing the limits, experimenting and trying new and exciting methods. One was his use of geometry and perspective to create almost three-dimensional illusions inside his paintings.

The frescoes focus on the life of the Virgin Mary and Jesus’ presentation at the temple in Jerusalem. Many of these scenes take place at night, a unique choice at the time to present paintings in the evening when the background is dark. But Gaddi loved a challenge, and his scenes at twilight capture a shining brilliance which feels so unique to the art form at the time.

Castellani Chapel

Adjacent to the Baroncelli Chapel‎ , we find the impressive Castellani Chapel, immediately notable for the enormous Byzantine cross which hangs at the back of the chapel. The chapel was built in 1385 and commissioned by Vanni Castellani. The chapel and its frescoes are dedicated to Saint Anthony, the abbot. Anthony is thought to be the father of monks and the monastic lifestyle. They believed his ascetic and isolated life led to a better connection with God.

Sacristy

From the last chapel along the eastern wall, head through the corridor which leads to the sacristy. You’ll pass through a long corridor with various famous works of art that didn’t find their way into a family chapel. Upon stepping into the hallway, take the first left into the sacristy. A sacristy is a room for keeping vestments, other church furnishings, and sacred vessels. The sacristry was built in 1340 and commissioned by the Peruzzi family.

The room is distinctly gothic, with richly painted trusses on the ceiling. Surrounding the rest of the room are large wooden cabinets which contain various vestments and sacred relics collected by the church. But treasures inside the sacristy are overshadowed by an enormous fresco by Taddeo Gaddi. It took over 60 years for the entire piece to be completed, and Gaddi died before seeing it. The richly painted frame surrounding the panels looks straight out of an illuminated manuscript.

Rinuccini Chapel

Inside the sacristy, you’ll find the elaborate Rinuccini Chapel. This is one of the best-preserved parts of the church. The Rinuccini Chapel is in nearly the same condition as it was in the 14th century, with the same furnishings. The golden polyptych is silhouetted perfectly by the light pouring in through the gothic windows. On the right, we find frescoes that present Mary Magdalene’s life. On the left, we have murals depicting the life of the Virgin Mary, both painted by Giovanni da Milano. These frescoes are much paler than some of their counterparts found within the church. Giovanni da Milano found that warmer, softer colours allowed for more delicate storytelling, which felt appropriate for these two women.

Medici Chapel

After exploring the sacristy, continue walking down the corridor before leaving this area to see the famous Medici Chapel. This 15th-century family chapel was designed for the wealthy Medici family, commissioned by Cosimo, the Elder and designed by the family’s favour architect, Michelozzo. Entering this chapel, you’ll immediately find it much less colourful than the other chapels inside the church. It feels more restrained but is very large in comparison, complete with over a dozen pews.

The chapel is dedicated to the Medici’s patron saints Cosma and Damiano. These two saints were doctors, and the word in Italian for doctors is “Medici.” It seems like the Medicis picked a patron saint based solely on vanity. Above the altar is a beautiful terracotta glazed piece of the Madonna and Child surrounded by angels and saints. Above the altarpiece is a stained glass window by Alesso Baldovinetti with the image of the two patron saints. They are notable as each of them holds in their hand a feathered pen, representing their learned profession.

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Annunciation by Donatello

Walking back outside to the main church, we now head down the right side of the nave to study the monuments located there. Along the wall, you’ll notice a small, grey stone bas-relief. This little scene of the Annunciation was made by Donatello in 1433. Donatello had been studying in Rome when he created this piece. The ancient Roman columns on either side indicate the influence of the ancient city upon the artist’s works. The entire scene seems to take place inside a Roman building, almost as if we are peeking at them mid-conversation. I especially love the little rust-coloured cherubs who playfully listen above the entire frame.

Niccolò Machiavelli Tomb

Niccolò Machiavelli was an Italian diplomat, politician, historian, philosopher, writer, playwright and poet of the Renaissance period. Can you say jack of all trades or what?! He is often referred to as the father of modern political philosophy. Although he died in 1527, his tomb wasn’t finished until 1787. The monument was designed by Alberto Rombotti and sculpted by Innocenzo Spinazzi. The woman in the rich draperies is the figure of Politica, the allegorical symbol for politics. She holds in one hand a portrait of Machiavelli; in the other, she holds scales, swords and scroll – all symbols of politics. The tomb bears the inscription “Tanto nomini nullum par eulogium,” which translates to “No elegy is equal to such a name.”

Pulpit

In such an open space, it’s easy to not get close to things that deserve a little more attention. The pulpit is one of those works of art you might pass right by but needs serious recognition. It was created by Benedetto da Maiano and is thought to be one of the most beautiful pulpits sculpted during the Renaissance. The design of the pulpit tells the story of the Life of Saint Francis. In each scene are fantastically realistic images of animals, landscapes and gorgeously emotive faces, which help describe this narrative. In between the filagreed brackets, which help hold up the pulpit, are tiny little statues set into adorable wooden niches. One of those little touches adds to the entire piece’s incredible details.

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Vittorio Alfieri Tomb by Canova

Count Vittorio Alfieri was an Italian dramatist and poet. He was considered the “founder of Italian tragedy” and died in 1803. His family bought a spot inside the church as his resting place and commissioned neoclassical artist Antonio Canova to create his tombstone. Canova was famous for his baroque-inspired designs, which always had a fair amount of dramatic flair. This would no doubt have been something which Alfieri himself would have appreciated. The allegorical figure in the process of laying a wreath on his tomb is from Italy. She is mourning the loss of one of her children. It was once said of Canova that “as long as Canova exists, immortality can be bought.” His sculptures are so powerful they seem to find a way of stirring people’s souls until time immemorial.

Cenotaph of Dante

The Cenotaph for Dante (buried in Ravenna) is one of the most moving monuments. The poet’s monument is called a ‘cenotaph,’ a tomb without the remains of the deceased. On the front of the tomb are carved the words “Onorate L’Altissimo Poeta,” which translates to “Honor the Poet of the Highest Regard.” On the right of the monument is the sculpture of Poetry, who rests slumped over his tomb, crying out in mourning. Dante was poetry’s greatest treasure, and she is lost without him. On the left, we have the allegorical sculpture of Italy (a figure you’ll see a few times on this tour).

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This symbolic sculpture is often referred to as Italia turrita. Turrita means “with towers,” as the woman’s crown is made up of towers intended to represent the various cities in Italy. In the centre of the crown is a five-pointed star, ‘Stella d’Italia, ‘ which symbolizes the shining destiny of the country. The turrita’s hand gestures towards the central figure atop the rest of the group. This is Dante himself. Immortalized in stone for eternity. Even here, he sits with a hand on his chin, like he is mid-thought. I love to stare at him and wonder if some of that creative genius, frozen in stone, might be transferred to me.

Michelangelo Tomb

But of all the tombs, the most important is Michelangelo’s. Although he died in Rome, he is buried here beneath a monument which looks more like an enormous architectural feature than a simple tomb. Across the memorial are statues of allegorical figures representing Sculpture, Architecture and Painting. Each one of them was lovingly sculpted by his friend Giorgio Vasari. Above the tombstone is a bust o the artist himself. When the monument was unveiled, it became THE masterpiece for anyone planning their funerary monument to reference and attempt to outdo.

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Tomb of Giovan Battista Niccolini

Giovan Battista Niccolini was an Italian poet and playwright during the Italian unification movement. He died in 1861 in Florence, and his tomb lies here under one of the most recognizable monuments in the church. Above his grave is the Statue of Poetry, created by Pio Fedi. This masterpiece almost too closely resembles the iconic Statue of Liberty in America, although at a much smaller scale. Although there is no documented evidence of the creation of the two, the similarities are striking. The drapery of her robe and even her pose are almost identical. Even her crown of sun rays is the same. The main difference is the face. This one is softer and more feminine, while the Statue of Liberty is more severe and almost androgynous-looking.

The other difference is what they carry in their hand. This statue holds a broken chain, a symbol of the defeat of tyranny, while the one in New York holds a burning torch. The Florentine version proceeded with the American design for three years. Still, it’s interesting to wonder if French sculptor Frédéric Auguste Bartholdi paid a visit to Santa Croce before creating his majestic figure. This brings us back to the front of the church, completing out 360 degrees tour of the interior. It’s not time to head out to the cloisters. The exit towards the cloisters is through a door beside the Dontallo Annunciation.

The Pazzi Chapel

Outside, before your cloisters, you’ll pass under the domed ceiling, which leads into the Pazzi Chapel. The Pazzi Chapel was designed by the master architect Filippo Brunelleschi in 1430. The Pazzi family commissioned him specifically for this chapel; no doubt, he would not have come cheap. But the results are worth it! Before entering the chapel, look up at the small outer dome above the entrance doorway. This dome is covered in gorgeously detailed glazed terracotta flowers. The four seasons’ blue and yellow flowers and fruits stand out against the dull colours of the rest of the exterior stonework. In the centre of the flowers is the coat of arms of the Pazzi family, which is made of two fish and four crosses.

When you walk inside, the most impressive feature is the vaulted dome with round windows surrounding the base. On the top is a lantern which lets more natural light flow into the otherwise darkened chapel. Around the dome’s edges are the figures of four saints; St. Matthew, St. Luke, St. John and St. Mark. Along the walls and even on parts of the dome are various lunettes with glazed terracotta images of Saints on them. What’s shocking to learn about this space is it was once an old piece of the cloisters. Brunelleschi had to work within the original structure to create his new interior. Despite these limitations, the architect still managed to create something beautiful.

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Primary Cloister

Santa Croce is home to three cloisters constructed in different periods by different architects. The first and primary cloister was designed by Arnolfo di Cambio. This is the largest cloister, intended to join the church to the refectory with an open garden in the centre. Arnolfo di Cambio’s cloisters can be identified by his signature use of gothic octagonal pilasters with leafy capitals instead of roman renaissance columns. You can still make out the ancient gardens in the corner of the galleries. The tall cedars of the Atlas and the Himalayas are the most prominent of the remaining plants, giving the stone structure a little more life!

Cloister Tombs

Before entering the cloister yard, take a moment to walk down the tombs. Along the northern wall, against the side of the church, are what is called “the cloister of the dead.” This area was built in 1869 underneath the raised porch. Under here, you’ll find more funerary monuments and gravestones. These stones were moved here from the former cemetery, which had been destroyed to make room for additional constructions.

Secondary Cloister

The second cloister goes by the name “Brunelleschi’s cloister, as it was built by Filippo Brunelleschi. This cloister is much small and older than the previous one. It was built in 1470, located along the opposite side of the refectory (which will be the last stop on our tour.)

Florence Nightingale

The cloister houses a beautiful statue of Florence Nightingale. Florence Nightingale is thought to be the mother of nursing. But she was English, so what was she doing inside an Italian cloister? When her mother was pregnant, she travelled to Italy with her husband and unexpectedly gave birth in Florence. Her parents had been so taken with the city that they named her after it.

Another oddity in the middle of the cloister is the 20th-century Henry Moore sculpture ‘Warrior with Shield.’ It was initially donated to the British Institute but moved to Santa Croce. Moore’s sculpture might seem out of place, as he was so devoutly a modernist in the middle of a renaissance mecca. But Moore actually found great inspiration when he visited Italy. The quote says, “I had to go to Italy against my will. But thank goodness, now I did go.” He had thought it would be a place of stagnant art, nothing new or inspiriting. But instead, he found a place where art was still alive, where it would ring out everywhere he looked. He fused this passion with his modernist ideals and found a new outlook on the work he began to create.

The Museo dell’ Opera di Santa Croce

The Great Refectory of Santa Croce was the dining room where the monks would eat their meals and share in communion. Interestingly, the words come from the Latin reficere “to remake or restore,” so a refectorium is “a place one goes to be restored.” This is also where we get the name “restaurant” today! For the monks, this room was a place of meditation and sustenance. Today the refectory serves as the Museo dell’ Opera di Santa Croce.

The museum was established after the great floods in Florence in 1966. The water rose in the Arno river and flooded the city, destroying dozens of homes. Inside Santa Croce, the water levels were five meters deep! Hundreds of precious paintings and other treasures were severely water-damaged and needed immediate restoration. The refectory was turned into a de facto art hospital. Here, the pieces could be laid out and worked on since most of the other spaces in the city were occupied with other restoration works. Some of the pieces would need years of restoration work to be completed. In 2006, the city opened this space into a museum where people could see these historical pieces as they were being restored. It was an opportunity to see how the present day was working hard to preserve this treasured past.

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Triumph of Death

The first few rooms of the museum are dedicated to various frescoes which had to be removed from their original locations due to deterioration or damage. They have been preserved inside new panels to ensure their account lasts for eons. One of the most important of these panels is the fragment of the “Triumph of Death” painted by Andrea Orcagna in the mid-14th century. It depicts a scene from hell, as illustrated by Dante. It depicts snakes entangling sinners, dragons, devils devouring the dead, groups of people crammed into tiny spaces trying to breathe, and strange animals prowling the underground.

The Last Supper

In almost every refectory, you’ll find scenes from the Last Supper, but the one painted on the wall of this Great refectory is genuinely awe-inspiring. This fresco, painted by Taddeo Gaddi, on the wall of the refectory, is made up of six different scenes. The six scenes took over 30 years to complete and finally finished in 1366! Despite the age of the piece, the colours are still shockingly vibrant. In the very centre, we have the Crucifixion. Instead of portraying Christ solely on a piece of wood, the cross here is more like a tree of life.

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Sprouting forth from its branches are inscriptions written on white scrolls. The inscriptions announced to the prophets surrounding the scene the message of salvation, which Jesus died for humanity’s sins, and preached his entire life. Running along the bottom is the seminal scene of the Last Supper. Many areas from this portion of the mural are missing. Those spots were either damaged or destroyed by the great flood. On the left side, we see two panels; the top portrays St. Francis receiving the stigmata and below the St. Louis of Toulouse. On the right, up top, we see an image of St. Benedict’s retreat and below, Jesus dining at the Pharisees.

Cimabue Crucifix

One of the last pieces you’ll see in the refectory is Cimabue’s Crucifix. Although his historical piece was damaged during the catastrophic flood that decimated Florence in the 60s, we still have a good sample of this religious icon. The cross was made in 1265 by the Florentine painter Cimabue. The cross was made from five primary and eight ancillary timber boards to form the shape of the Byzantine cross. Another difference this crucifix has from others is the humanist painting style in iconography. Structure, posture, and even colour conveyed silent messages about humanity and nature.

The shape of the body on the cross and how he is positioned feel more natural and effective. He seems almost to fall down as if he can’t hold himself anymore. The crucifix was one of the most critical pieces from the church to be destroyed in the great flood. Over 60% of the paint on the surface was damaged, and its restoration became priority #1! As artisans and restorers from all over the world came to its aid, it became the symbol of the flood and hope for restoration. Today you can still see the crucifix on display and admire the work of many dedicated artists.

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I think Santa Croce is my favourite Florence church, despite it perhaps not being the most famous. The histories here run so deep, yet many of the original works of art, furnishings and treasures are still on display, as they have been for hundreds of years.

Happy Travels Adventurers.

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14 Travel Mistakes NOT to Make on Your First Trip to Italy

The Creative Adventurer — Sun, 29 Sep 2019 15:38:35 +0000

Italy is the one country I’ve travelled to the most, and written about the least. And today is the start of my journey to fix that! Perhaps there was just so much to say about this beautiful country, or too many cities to count which stole my heart. Either way, it’s time to put my thoughts to (digital) paper and share with you my tips for exploring Italy! I always find when looking back that sometimes it’s easier to express what NOT to do than what you should do. Everyone is so different and has different ideas of what makes the perfect trip. But there are definitely some great life lessons everyone can find something to take away from my travels (and my travel mistakes.)

#1 Don’t Rush!

Italy isn’t a country you want to rush through. Not only will the infrastructure of Italy itself render this impossible, but it just doesn’t do the landscape and culture any justice either. Italy is a place for exploring, for getting lost and discovering something you never knew was there. Lists and guides are essential to make sure you don’t get TOO off track but make sure you don’t overbook yourself. I’m one of the LEAST flexible people in the world. I LOVE making schedules and itineraries and get flustered when things don’t go to plan.

Be Open to Change

But sometimes, being forced into a situation where just those things happen, forces you to change. To become adaptable. To open yourself up to new possibility and just let things flow. Italy changed me as a person. It forced me to slow down, to savour in a mid-afternoon glass of wine under an ancient clock tower. I didn’t ask for the bill or try to rush to my next destination. I just sipped my drink under the literal Tuscan sun and reflected on how lucky I was to be experiencing that moment in time. Rushing meals is a mainly North American thing. We are used to fasting food, even at a slow restaurant.

But in Europe, especially in Italy, everything is relaxed, laid back and at a snail’s pace. Find a way of adapting to this new kind of living. I found I loved to bring my books with me and spent these hours of dining reading. It’s a great time to plan your next adventure or just catch up with old friends or family.

#2 Don’t Drive Inside Big Cities

Driving in Italy is one of the best ways to explore the countryside. Emphasis on the countryside! Driving inside the BIG cities is a nightmare. I witnessed one of the biggest fights between my parents while driving in Florence and that imprinted itself on my brain as “note to self: never drive in the cities in Italy!” Renting a car in Italy is actually one of the cheapest modes of transportation but don’t let that sucker you into using it for the entirety of your trip! You need specific permits for your car to bring it into some major cities. If you haven’t got the right one to expect a HUGE fine when you return your vehicle at the end of the trip. An expensive bill is something no one wants to get after a dream vacation.

In addition to these significant fines, there are also dozens of weird rules of the road in these large cities. You’ll also find heavy traffic, problems with parking and more incidents that you really don’t need to stress about on your vacation. Trains between big cities in Italy are easy to use and a great way to watch the landscape fly by. While they might not always run on time (there is that laid back Italian attitude once more) they get you from point A to point B lickety-split, without any hidden fees. Once you’re finished in the big cities, head just outside town to pick up your rental car for a drive to see the smaller villages across Tuscany.

Driving TIP

If you are travelling on trains in Italy a word to the wise: be sure to always validate your train tickets. When you buy your tickets on regional trains, there won’t be a time or date on it. This is because you need to validate it before you board the train to mark it as used. Look for a yellow machine on the platform or near the entrance to the station. If you can’t find one, ask any employee to point you in the right direction. If you find yourself onboard without validation and run into a transportation officer expect to pay a BIG fine! They don’t fall for the whole “I’m a tourist I didn’t know any better,” line. They make big money off these fines so won’t hesitate to give you one.

#3 Don’t Assume Food is that Expensive!

Dining out in Italy is cheaper than you’d imagine. When I was a backpacker in my early 20s, I had been anxious about eating out in Italy. It is known as one of the best culinary cities in the world, and I had imagined that all restaurants would cost a fortune. I thought for sure I’d have to resort to buying supermarket food and cooking it back at the hotel. I was SHOCKED to find that by making smart choices, I was able to eat pretty much anything I wanted. And more than that, the prices were way lower than I thought they would be! If you only look at restaurants with English menus, you’ll come away with a totally wrong idea of food prices in Italy.

Avoid English Menus

These restaurants are geared towards tourists who might be swayed by an easy experience to pay more for a less authentic experience. Keep an eye out for menus only in Italian only and always be sure to wander the streets at least five minutes away from the busy areas. Here you’ll find some absolute gems! Also be sure to avoid any restaurant with a greeter outside, yelling in English about their menus. That’s a sure sign it’s not the real deal. In Italy, as long as you stick to those points, you don’t need to worry about checking YELP or TripAdvisor.

I always ended up at places I never had written down, and the food was ALWAYS spectacular. If you can speak even a few words of Italian, try to ask for the daily special or chef’s recommendation. If you don’t have any allergies, give it a try! You never know when you’re next favourite meal will appear out of nowhere. I was shocked to find how much I loved squid ink pasta, a traditional meal in Venice which I had never seen anywhere else in the world.

#4 Don’t Expect to Eat on Your Schedule

Italians eat late. Or at least it seemed pretty late to me when usually eats her dinner around 6 pm. The earliest any self-respecting Italian would have their dinner would be around 8 pm. While many restaurants catering to tourists are open earlier, this is a dead giveaway that the food isn’t authentic. I found waiting for dinner was one of the hardest things to get used to.

Eat and Drink Late

That was until I found out about Aperitivo (more on that later). To get used to this later schedule, I found the best thing that worked for me was to take a nap in the middle of the day. This is the same thing many Italians do. It’s very typical to see restaurants open in the morning and night but closed in the afternoon. Despite being a Spanish name, many (or most) native Italians will go home for a siesta in the middle of the day.

This is just one part of the Italian dedication to a better quality of life. Shop owners will close down in the afternoon to go and make a home-cooked meal in their apartment. They sacrifice any sales they would have made during that time for the chance to eat their own food, maybe see their family or even have a nap. So I did the same. I would head home around 3 or 4 pm after a busy day and take a nice long relaxing nap. It recharged me for the rest of the night and resting always makes me feel less hungry than if I was walking around killing time before dinner.

#5 Don’t Expect Half-Priced Drinks during ‘Aperitivo‘

Many North American are used to this thing called “happy hour” between the hours of 7 and 9 pm. This time is usually reserved for half-priced, watered-down drinks. In Italy, they have something similar, but all kinds of different! It’s called ‘Aperitivo‘ (which literally translates to appetizer). Aperitivo is heavily advertised outside bars in the city, and also happens during the hours of 7 and 9 pm. But you won’t find any half-priced drinks here, and if you do see somewhere offering half priced wine, you know its not the an authentic aperitivo.

Free Food NOT Drink

Aperitivo is meant as a time for people to relax after work but before dinner. Locals jovially catch up with friends and family over a few glasses of wine while they wind up their metabolism for dinner (maybe this is why Italians eat so much pasta but remain so thin). But what aperitivo does offer instead of half-priced drinks, is FREE food! These “bonus” snacks are a way to stave off starving before your 9 pm dinner.

Different bars offer up different kinds of snacks. Some offer simple things like nuts, bread and fruit but others have full-on buffets of appetizers all free of charge if you’re drinking. Most big cities charge about 8 and 10 euros for a great glass of wine (reduce this slightly if staying in a smaller, less touristy village). But more than just a glass of wine, you’ll get a real experience out of it! Aperitivo brings out the best in people and a chance for you to meet the locals and ingrain yourself in Italian culture.

#6 Don’t Underestimate Coffee Culture

Coffee culture in Italy is almost a religion. There are many rules and rituals you’re expected to know and follow. One of the biggest don’ts to know, which will help you out financially is, don’t sit to drink your espresso. Often a coffee will have an added “table charge” if you drink it sitting down. This is rarely, if ever listed, so you’ll either have to ask or take your chances. Especially if you’re having a drink near a trendy tourist site, these charges can be as much as 20 euros! My husband was backpacking in his 20s and grabbed a coffee in front of the pantheon with his friend. They unwittingly sat down and had FOUR coffees, which ended up costing them 60 EUROS! A mistake we still laugh about to this day but I’m sure at the time it was anything but funny.

Even at cheaper cafes, drinking the espresso at the counter will always be more affordable and also how real Italians do it. If you have an espresso, don’t miss out on the crema. While you are not supposed to put any milk or cream in espresso, lots of cafes will have crema on the bar. Creama is whipped milk mixed with sugar that you can spoon into your espresso for a deliciously creamy and sweet drink.

Tips on What to Order and When

Another tip for ordering coffee is not to order a cappuccino after 11 am. Cappuccinos are thought to be meant only for breakfast. If you order one after dinner, you’ll either be politely corrected or just simply brought a latte macchiato instead. Speaking of lattes, don’t go up to a coffee counter and order only a “latte“. Latte in Italian means milk, so you might be served up a cup of warm milk. If you’re interested in a North American latte, as for a latte macchiato or caffe macchiato. When ordering an espresso, you can also ask for a caffe (which is what they call an espresso in Italian). If you’re not a fan of strong espresso order a caffe lungo which adds more water for a less intense taste.

#7 Don’t Ask for Free Tap Water

Trying to save a few dollars when travelling is obviously something most people will want to do. And to do this often, you’ll order some tap water to have during your meal. In Italy, this is called “acqua di robinetto“. But if you try ordering it at most restaurants, you might be met with a dirty look. You might also be flat out refused or, on the odd occasion, begrudgingly have it brought out to you. For the most part, I found it wasn’t worth the trouble of asking for it in the end. There are many reasons people don’t think tap water is standard in Italy. One is that although potable, restaurants can’t guarantee the contents of the water they served, which is against health regulations. Others say that it’s because they don’t make a profit from the water.

Another theory is that it merely isn’t a cultural thing for Italians. Whatever the reason, I keep to the saying, “when in Rome” and order the same thing to locals are ordering. Honestly, sometimes it’s cheaper to order a glass of the house wine than a bottle of sparkling water, so take this as an opportunity to live it up and sample some fantastic Italian wines. If you don’t drink alcohol, Italy has a variety of freshly made sodas which I found at most restaurants. Freshly squeezed lemons and oranges with soda water are fantastically refreshing on a hot day.

#8 Don’t Patiently Wait In Line

Even though Italians are so laid back about table service in restaurants, they are outright frantic when it comes to ordering things to go from anything with a counter. I am a pretty shy and orderly person, so when I was in Italy and went to order a coffee, I patiently waited in line. Without hesitation, I found a woman suddenly push her way in front of me to order, and without pause, the barista served her immediately. I thought for sure, him having seen me, he would have asked her to go to the back of the line. But he did not.

After this happened multiple times, I realized that line jumping was just a part of their culture, like yelling or talking with their hands. If an Italian sees a gap in the line, they’ll jump right in. So either be sure to leave no space between yourself and the person in front or find the courage to start line jumping! Or at least being a little pushier and showy when it comes to ordering at counters. Some places have started using a number machine to control this queuing problem, but if you’re stuck somewhere without it, you’ll need to figure out the game. Remember, they’re not trying to be rude, it’s just all apart of that fiery Italian attitude.

#9 Don’t Go in the Summer

Ok, now I know this point will get everyone going! Italy is a fantastically popular place to travel. As it should be, it’s gorgeous! You can’t blame people for wanting to visit it. But summer is especially busy. For many families, the summer is the only time they can travel with their kids, so the cities become overrun with Europeans and international travellers. The weather has been getting increasingly hotter and hotter (thanks global warming) and what once was a relaxing summer vacation on paper, turns into a humid, sticky and sweaty affair. Combine that with the huge crowds, long wait time to get into attractions and you’re in for a horrid equation.

Summer = High Prices, Lots of Tourists

Prices for hotels are also the most expensive during this time as well, and even some popular train route are often booked up well in advance. Summer also has its pests, in this case, mosquitoes, which can have a field day on bare legs. For me personally, Italy is one of those landscapes that look stunning any time of the year. The visual difference between Venice in the Summer and Venice in the Winter is almost non-existent (they rarely get snow).

And if you’re lucky enough to see a snow-covered Italy what a unique and special moment that would be! What is the most different during those months outside of the summertime are the crowds and the costs. In both cases you’ll see a big reduction. The colours along the vineyards in the fall are spectacular, and the springtime blooms along the roadways make driving a joy. So if you can avoid it, skip the summer! If you can’t, just be sure to plan far in advance and make smart choices.

#10 Don’t take Heavy luggage

Italy is known for its gorgeous cobblestone streets and old, historic residences. But what those two things have in common is that they were designed for a different time. A time when luggage was made for being carried in your hands, not huge suitcases being rolled down the street on wheels. Too many of us have a tendency to overpack. And you’re never all too aware of this fact until you’re facing a 20 minutes walk down an extremely bumpy road, followed by a six-storey walk up. With airlines charging more and more for checked luggage, this is your opportunity to save, and scale down all at once. I have a great post about how to pack for 2-weeks in a carry-on which will save you a ton of hassle, exhaustion, stress and, best of all, money!

#11 Don’t wait to Book Tickets to Popular Attractions

Even if you’re not travelling in the super-duper popular months, buying tickets online in advance to busy attractions is highly advisable. If there are a few items on your list which are unmissable, you don’t want to find yourself unable to get in because they’re sold out or the line is too long. Buying tickets in advance also means that that portion of the sightseeing costs is already paid for before you arrive in the city. For those on a tight budget, it means you might have a little bit more to spend once you’re there.

#12 Don’t ONLY Stay Inside the City Walls

So many people, when travelling to a new city, might want to stay right in the centre of town! And while this sounds good in practice, close to sights and all that, in reality it’s a bit more complicated. If you’re someone like me who enjoys a quiet evening, these hotels or apartments in the centre of busy cities are often pretty loud. Not only that, they are expensive! Since transport, even in smaller cities is so prevalent in Italy, it’s easy to stay either just on the outskirts of town or in a nearby village just a few minutes away. If you’re travelling by car, this also means you can park the car at one of these hotels easily and won’t need to worry about bringing it into town.

Look in Bnbs

Often hotels outside the city are a fraction of the cost of the ones in town and come with so much more character and charm. We stayed in plenty or airbnbs, farm stays or just tiny bed and breakfasts on the outskirts of town on our travels through Italy. Every single one was owned by the most interesting characters! Airbnb makes it easy to search for accommodations using their map function so you can find the town you want to visit and then zoom out slightly to explore the options just a few minutes outside the centre.

We even stayed in one place where the owner would drive us into the city in the morning and pick us up in the evening. Like a personal chauffeur or bus service! PLUS staying in these little towns also means you can visit their local restaurants which are often so excited to have visitors. They serve up some of the best authentic food at the lowest prices!

#13 Don’t Forget to Bring cash

Despite the rise of credit cards, tap and, apple pay, it seems like cash money has become something of an ephemeral thing. Even I rarely have cash on me at home, heck sometimes I don’t even walk around carrying my wallet. But especially when travelling I always make sure to bring cash with me. For anyone visiting a marketplace, flea market or even smaller restaurant, you’ll find cash is either the only accepted form of currency or at least the much more preferred option. Especially in small towns which might be a little bit more behind the times, cash is essential. And if you’re interested in doing any haggling at the antique market, you’ll need cash for sure!

#14 Don’t Skip pastries for breakfast

Breakfast in Italy is a sweet affair. If you come to Italy, don’t try to find a restaurant that does a full English or an omelette with hash browns. Along with the mandatory caffe (espresso), you need to pick up your favourite sweet pastry to enjoy alongside. There is the iconic biscotti, brioche or cannoli but my favourite is the cornetti (cornetto if singular). A cornetto is the Italian’s version of a french croissant. It is slightly sweeter (right up my alley!) and eaten dipped into your coffee as you indulge. Pastry shops often have a fantastic coffee counter as well so you can easily get your morning brew and meal all in one place.

Italy is honestly one of the most incredible places in the entire world, and although that’s not really the most original opinion, it’s cliche for a reason. Hopefully, these tips help you out on your next trip over to the city of astounding food, unbelievable architecture and extraordinary people. Let me know if the comment any others tips you might have for first-time travellers to help them out on their future ventures.

Happy Travels, Adventurers!

The post 14 Travel Mistakes NOT to Make on Your First Trip to Italy first appeared on The Creative Adventurer.