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!
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.
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).
Adults: €8
Kids aged from 11 to 17 years: €6
Audio Guides: €4
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 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.”
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.
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.
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).
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.
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.
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.
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.
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!
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.
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.)
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 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.
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.
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.
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.
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.
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.
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