Churches

FlorentineChurches

Like the Rome Select portfolio, this is a very extensive set of images accompanied
by a lot of information on each image (over 500 hours were required to put this together
because of all of the research required to track down artwork and people who created it).
The Duomo & Church pages are the most extensive in the Portfolio... if you use the Index
to jump deep into the page before it has loaded it will take some time for images at
that location to load, but if you scroll through the top section, the rest of the page
will be loaded and you can jump through with the Index without having to wait.

Welcome to Florence, the Birthplace of the Renaissance.

Click an image to open the larger version.
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There are 11 Galleries in the Photoshelter Florence Collection

Index

Architecture and Monuments

Frescoes and Artwork

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Santa Maria Novella

Santa Maria Novella 3868

Located across from the main railway station,
Santa Maria Novella was the first great Florentine
Basilica, and it is the principal Dominican church.

Shown above are the adjoining Cloisters.

Santa Maria Novella 3871

The facade was completed in 1470. The frieze
above the pediment contains the name of the
patron and the date of completion. The church
itself was designed by two friars and was built
from 1246-1360 (including the lower facade).

Santa Maria Novella 3873 detail

Detail of the upper facade, designed by Leone Battista Alberti and built from 1456-1470.
He used squares and green/white marble pilasters, a round window, and a pediment with
Dominican solar emblem within, and enormous s-curved volute scrolls that were the first
ever used in architecture. It perfectly balanced the existing medieval facade, to which he
added four green columns with Corinthian capitals. The volute scrolls were later copied
by other architects when building churches throughout Italy, but these were the first.

Santa Maria Novella Scrolls Battista

Santa Maria Novella 3876

Lunette above left portal.

Santa Maria Novella 3877

Lunette above right portal.

Santa Maria Novella 3882

Main portal and lunette.

Santa Maria Novella 3885

Detail of lunette above the main portal.

Notice, in the background in the right distance,
you can see the facade of Santa Maria Novella
ahead of the group of vestmented churchmen
and the parade of medieval-dressed people.

The interior contains a number of Gothic and early renaissance frescoes, and the pulpit was
designed by Brunelleschi (this pulpit was the site of the first attack on Galileo Galilei, leading to his
eventual indictment by the church for heresy. See information on Galileo in the Santa Croce section.

Cappella Tornabuoni
Santa Maria Novella 3887

Cappella Tornabuoni
Santa Maria Novella 3887c

This was the only shot I took inside. I was there
at the wrong time of day, I guess, because the
ambient light was very low and the interior was
quite dark even compared to other churches.
I overexposed this (note the windows) and
still had to push it mercilessly in processing.

Above is linked the 1123 x 1102 detail crop
showing some of the Ghirlandaio frescoes.
To the left is the link to the full frame image.

The frescoes on the walls are the best preserved and the most complete cycle in Florence,
and were painted by Domenico Ghirlandaio and his young apprentice Michelangelo
in 1485-1490, depicting the lives of the Virgin and St. John the Baptist. The
windows were also executed to Ghirlandaio’s design. I wish I had
tried this again on my last morning, when the combination
of sun angle and time of day would have been better,
but I used the opportunity for the Campanile.

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Basilica di San Miniato al Monte

Stairway San Miniato al Monte 4451

Built in 1018 on the site of a 4th c. chapel,
San Miniato al Monte is one of the oldest
churches in Florence. The Romanesque
building has a lower facade with three
portals, separated by two blind portals.
Atop the portals is a marble arcade.
The upper facade has a mosaic
depicting Christ Enthroned with
St. Miniato and the Madonna (1260).

San Miniato al Monte 4463

The Carrara and Prato (green) marble facade.

San Miniato al Monte 4460

A wide shot of the church. To the right, the Bishop’s Palace and fortifications (1295-1320).

There has been a shrine on this spot since the 4th c., and a chapel has been here since the 8th c.

The symbol atop the pediment is a gilded copper eagle clutching a bale of wool, the symbol
of the Florentine Cloth Merchants Guild who financed the building of the church and facade
and administered the wealth of the Benedictine convent from 1288. This facade inspired
Alberti when he completed Santa Maria Novella, and was also the inspiration for the
19th century facades for the Duomo (Santa Maria del Fiore) and Santa Croce.

The Palazzo dei Vescovi (Bishop’s Palace) was the summer residence of the
Bishops of Florence until it became part of the monastery in 1534. It has also been
used as a military hospital, a Jesuit college, and for occasional concerts.

San Miniato al Monte 4498

San Miniato al Monte 4498c2

The central part of the upper facade has a
12th c. window (small circles of glass) flanked
by two very interesting columns, an ornate,
classically-inspired pediment (triangle above
window) and a 13th c. mosaic which depicts the Enthroned Christ with Madonna and St. Miniato.

Above: a detail crop of the window and columns.

This is a very detailed set of images, the two images with the mosaic are especially detailed.
The image above left (4498) is 525kb... the image below is 725kb.

San Miniato al Monte 4498c1

A detail crop of the central part of the upper facade, showing the 13th c. mosaic.

Cardinal James of Lusitania Miniato al Monte 4495

One of the finest works of the Florentine Renaissance, the Chapel of the Cardinal of Portugal
was begun immediately after the young Cardinal’s death at age 26 in 1459 (he was appointed
Bishop at age 20 and Cardinal at age 23). It was started by Brunelleschi’s pupil Antonio Manetti,
but upon Manetti’s death in 1460 it was completed in 1466 by Antonio and Bernardo Rossellino.
(Antonio Rossellino was one of Donatello’s pupils). This is the church’s only monumental tomb.

It was so dark and gloomy outside that very little light was getting inside the church. I had to
underexpose this shot by a stop to get 1/25 sec. @ f/1.4, and it was near a window. To get the
apse mosaic, della Robbia’s dome, the flooring or frescoes would have been impossible unless
I could have used a tripod (not allowed in most places, so I didn’t even bring one). Too bad.

San Miniato Campanile 4465

San Miniato’s original bell tower collapsed in
1499 and was rebuilt in 1523 to a design by
Baccio d’Agnolo. It was damaged in the 1530
siege, and rebuilt again but left unfinished.

San Miniato Campanile Door 4466

The 15th century door is still intact. During the
siege of Florence, the bell tower was used as an
artillery post, and Michelangelo had it wrapped
with mattresses to protect it from enemy fire.

City of Dead Miniato al Monte 4471

Laid out inside the fortifications that were
hastily erected by Michelangelo during the
Siege of Florence (and later expanded by
Cosimo I de’ Medici into a true fortress) is
Porte Sante (Holy Gates) cemetery (1854).

City of Dead Miniato al Monte 4489

The cemetery was designed by Nicolo Matas
while working on the facade for Santa Croce.
Many famous people from the 19th and 20th
centuries are buried here, including Collodi
(creator of Pinocchio) and many others.

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Images in this section are in a number of different Galleries on the Photoshelter website.
The Banner below leads to the Florence Collections page where a Gallery can be selected.

There are 11 Galleries in the Photoshelter Florence Collection

Basilica di San Lorenzo

Medici Coat of Arms 5171

From the Medici monument in front of Basilica di San Lorenzo.

The Basilica was the parish church of the Medici family, and a lot of the major family members
are buried there. The Medici Chapel has over 50 members of the family buried in the crypt.
Above, in the Chapel of the Princes, are the tombs of the Grand Dukes of the Medici.

The Basilica di San Lorenzo was also the site of the most influential architectural
innovations of the Renaissance: the Old Sacristy designed by Brunelleschi
and decorated by Donatello is the first architecture based on proportion,
the unity of elements, and the use of classical orders. It was financed
by the Medici, who used it for their tombs, and it is one of the most
important monuments of early Renaissance architecture. The
Medici were the major patrons of the Renaissance, and in
the area of architecture, this is where it all started.

San Lorenzo exterior 5191

Doesn’t look like much, does it?

The church has no facade, just the rough stone and brick. This is the oldest church in Florence (founded in 393). It was the Florence Cathedral until the 7th century, when the Bishop moved to St. Reparata (later to become the Duomo). In 1419, Giovanni di Bicci de’ Medici, the founder of the dynasty, offered along with other parishioners to rebuild the church, and hired Brunelleschi to work on plans for a new interior. This was to start a revolution in Renaissance architecture. Progress was off and on for a while due to financial and political issues until Cosimo de’ Medici (Giovanni’s son) offered a fortune equal to the annual earnings of 250 families to ensure completion. San Lorenzo then became the Medici church, and the rear part (Medici Chapel) became their private chapel and burial crypt. The interior is an early Renaissance masterpiece by Brunelleschi, Donatello, and others of the most talented artists of their time.

Cloister San Lorenzo 5072

Cloister San Lorenzo 5077

St Christopher della Robbia Polychrome
Basilica di San Marco 5166

Luca della Robbia developed a pottery glaze that was very durable, allowing his creations
to be used outdoors. He was also a superbly talented sculptor in bronze and marble, but is
best remembered for his terra cotta pieces like this one of St. Christopher in the cloisters.

Ancient Funerary Monument San Marco 5168

On a wall of the cloisters is an ancient pair of funerary steles and monument plaque.

Basilica di San Lorenzo 5318

The High Altar of the Basilica di San Lorenzo. One of the largest churches in Florence, this was
the Medici’s parish church and is the burial place of the principal members of the family from
Cosimo il Vecchio to Cosimo III. The buildings contain important Renaissance architecture
by Brunelleschi, Michelangelo and Negetti. The architecture of the Old Sacristy in particular
(designed by Brunelleschi) revolutionized architectural design principles in the Renaissance.

Cupola Basilica di San Lorenzo 5206

The cupola of the small dome over the High Altar.

Chapel Transept San Lorenzo 5208

Altar San Lorenzo 5245

Chapel Altar with monument plaque to Cosimo.

Altar San Lorenzo 5280

An oblique view of the High Altar and Crucifix.

Dome Constellations San Lorenzo 5254

This is directly over Donatello’s Crucifix
(shown to the right) in the Old Sacristy.
Framed in Pietra Serena molding, it
has depictions of the Constellations
of the Dog, Bear, Dragon, Bull, Orion
and others, with shells in the spandrels.

To the right is Donatello’s Crucifix.

Crucifix Donatello Old Sacristy 5261

Donatello Pulpit San Lorenzo 5301

Donatello’s last work, these two bronze pulpits
were the scene of Savanarola’s fire and brimstone
sermons. The pulpits themselves are as dramatic
as Savanarola’s manic sermons must have been.
Savanarola carried out the Bonfire of the Vanities
which burned so many Renaissance artworks.

The Pulpit of the Passion, showing
the Crucifixion and Deposition panels.

Donatello Pulpit San Lorenzo 5305

The work shows a intense yet carefree
technique and a partially finished surface.
These were very difficult shots. It was dark, so I
underexposed by a stop and still had 1/40 @ f/1.4
(shooting European churches is like shooting
inside of a cave... it’s very challenging).

Pulpit of the Resurrection, showing the
Descent into Limbo, the Resurrection,
and the Ascension panels.

Donatello Pulpit San Lorenzo 5311

The Pulpit of the Passion, showing the Flagellation,
St. John Evangelist, and Prayer in the Garden panels.

Corner Detail Basilica di San Lorenzo 5276

Detail of two of the corners in Brunelleschi’s
Old Sacristy, with tondi stuccos by Donatello
and the Medici crest below the corner tondi.

Corner Detail Basilica di San Lorenzo 5272

This room set the style for the Renaissance
architecture that came after it, with emphasis on
proportion, unity of elements and classical orders.

Donatello Doors, Old Sacristy
Basilica di San Lorenzo 5263

One of the most important monuments of early Renaissance architecture, the Old Sacristy was
designed by Brunelleschi and paid for by the Medici family, many of whom are entombed in it.
It is a perfectly square room topped by a series of arches and an umbrella-dome. All of
the decorative details were by Donatello. Here he created a set of bronze doors
with representations of the Apostles, and the lunette and reliefs above.

Annunziata Crucifix Lippo Lippi 5241

Annunziata Lippo Lippi 5241 (detail)
Chapel of the Wardens (1420)

Fra Filippo Lippi (Lippo Lippi) was quite a character for his time, and was also a great influence on many of the Renaissance painters who followed him. Some of his more famous pupils were Sandro Botticelli and his son Filippino Lippi (the result of a juicy scandal with a young nun) who became as famous a painter as his father.

His patrons were several members of the Medici, from Cosimo I through Lorenzo the Magnificent, who erected the monument to Fra Lippi in Spoleto, where he died in 1469 while he was painting frescoes in the apse of the Spoleto Cathedral.

Tabernacle da Settignano 5289

Tabernacle da Settignano 5289 (detail)

Desiderio da Settignano’s Tabernacle of the
Sacraments. His work was strongly influenced by
Donatello in his use of low reliefs (see detail).

Over his short life of only 34 years, he became
one of the most influential sculptors of the early
Renaissance and one of the greatest carvers
of stone of all time. He invented portraiture of
children, made popular the extremely low relief
he developed from techniques learned from
Donatello, and had a delicacy of expression
unique to his time. He created this in 1461.

Niccolo Martelli Basilica di San Lorenzo 5233

In the north transept is the monument to Niccolo Martelli, the
Florentine grammarian who founded the Accademia Fiorentina in 1541.
The sarcophagus itself, in the form of a wickerwork basket, was commissioned
by Roberto Martelli for the family chapel c. 1464, and along with the bronze pulpits and
his detailing throughout the Old Sacristy, is one of the many works by Donatello in San Lorenzo.
Donatello received his early education in the home of the Martelli family before he started
his career by working briefly in Lorenzo Ghiberti’s goldsmith workshop and studio.

Canovai Madonna
Basilica di San Lorenzo 5201

Conti Crucifixion
Basilica di San Lorenzo 5197

Martyrdom of St Lawrence (detail)
Agnolo di Cosimo (Bronzino)
Basilica di San Lorenzo 5296

Agnolo di Cosimo (known as Il Bronzino) was the court painter for Duke Cosimo I de’ Medici.
His work influenced European portrait technique for over a century following his death.

Containing some amazingly contorted poses derived from his studies of
the styles of Raphael and Michelangelo, this is a superb example of
Bronzino’s skill in portraying nudes. It was one of his last works.

The shot shows detail of the central lower half of the fresco.

Basilica di San Lorenzo 4848

Shot from the top of Giotto’s Campanile (Bell Tower) on a stormy day...

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Images in this section are in a number of different Galleries on the Photoshelter website.
The Banner below leads to the Florence Collections page where a Gallery can be selected.

There are 11 Galleries in the Photoshelter Florence Collection

Basilica di San Marco

San Marco was home to Fra Angelico (the 15th century painter) and Girolamo Savanarola,
the fiery preacher who instituted the Bonfire of the Vanities, burning books and Renaissance
artwork by artists such as Sandro Botticelli (he burned anything and anyone he considered to
be immoral, and was hostile towards the Renaissance... he personally threw Sandro Botticelli’s
paintings into the fire in 1497). He was eventually burned at the stake himself, on the site where
he torched other people (and held the Bonfire of the Vanities) in Piazza della Signoria, in front
of Palazzo Vecchio, on May 23, 1498. After his death, the Medici regained control of Florence.

Fra Angelico (Guido di Pietro), on the other hand, was an early Renaissance painter known
as Fra Giovanni Angelico (Brother John the Angelic One) or il Beato Angelico (the Blessed).
His skill in painting religious subjects was exceptional. Unfortunately, I was oversaturated at
the time that I visited San Marco and neglected to go into the Museum, thereby missing an
opportunity to see his work in person. The cost of trying to see Florence in three days...
Major Art Overload. Churched Out. You pick the term... I’m sure we’ve all been there.

Minerva San Marco 5093

Chapel St. Antoninus San Marco 5101

The Salvati Chapel (Chapel of St. Antoninus) houses the incorruptible body of the Saint.
He was buried in San Marco in 1459, exhumed over 100 years later, and found intact.
The Salviati (Antoninus was part of the family) created this chapel to house his body.

In the left niche is a statue of St. John the Baptist, and in the right niche is St. Philip.
These were created by Giambologna (Jean Boulogne) who created many statues
on the Art and Architecture page (e.g. Hercules Beating the Centaur Nessus).
The painting in the center is by Allesandro Allori (a pupil of Bronzino), 1593.

Chapel Dome San Marco 5110

The dome directly above St. Antoninus, frescoed by Bernardino Poccetti in 1592.

St. Antoninus Pierozzi San Marco 5111

Just below the chapel dome (above) is the altar with the body of St. Antoninus,
Archbishop of Florence (1446-59).This monument was built by the Salviati family.

St. Antoninus 4044
(statue on the facade of the Duomo)

Bust St. Antoninus 4317

St. Antoninus (1389-1459) was archbishop of Florence from 1446. He was popular due to his austere habits and his energy in helping during the plague of 1448 and the earthquake of 1453. He held radical ideas regarding church reform, and was not always popular with the Medicis. Pope Pius VI conducted his funeral. Antoninus is also the Patron Saint of Montcalvo (near Turin).

He was canonized by Pope Adrian VI in 1523.
This bust is on the front of his home in Florence.

Translation of St. Antonius Passignano San Marco 5114

Domenico Passignano (born Domenico Cresti) painted two monumental frescoes
on the walls of the Salviati Chapel in 1589, the year the chapel was completed.

Madonna della Robbia
Funeral Passignano San Marco 5125

Funeral of St. Antonius
Passignano San Marco 5132

This is the other part of Passignano’s work in the
Salviati Chapel. Below, in the enclosed niche, is
the Polychrome terracotta Madonna with Child
that is a masterwork by Luca della Robbia, who
also did the San Lorenzo St. Christopher.

His nephew Giovanni della Robbia did a
spectacular Nativity scene in Polychrome
terracotta in the church. Luca della Robbia
developed a glazing technique that created a
durable, smooth surface that held paint well,
allowing the use of terracotta for outdoor art.

High Altar San Marco 5144

San Marco Marble detail 5147

To the left is the High Altar of San Marco,
with part of the organ pipes behind. The
Crucifix is by Angelico (1425-1428).

Above is a detail shot showing some
of the magnificent marble work. This is
all over the church. The church is now the
home of the National Museum of San Marco,
and houses the major collection of the works
of Fra Angelico, as well as work by other artists
e.g.: Domenico Ghirlandaio, Fra Bartolomeo,
Baldovinetti, Sogliani, Ghiberti and others.

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Basilica di Santa Croce

Built in 1294 by Arnolfo di Cambio, Santa Croce is the principal Franciscan church in Florence.
It is the largest Franciscan church in the world, and is famous for the artwork and monuments in
the nave and its many chapels which are decorated with frescoes by Giotto, Taddeo Gaddi, and
other famous pre-Renaissance and Renaissance artists. The church was completed in 1442, but
the facade was not built until the 1857-63, when it was designed and built by Nicolo Matas (the
fellow who designed the layout of the cemetery at San Miniato al Monte at the same time). Many
additions were produced, some designed by Brunelleschi, Michelozzo, and other famous folks
well-known for Renaissance architecture. It could easily take a week by itself to do it justice.

Dante Alighieri at Santa Croce

Dante Alighieri 4508, Santa Croce 4519
(Composite will open in a second window)

Basilica di Santa Croce is known for the number of tombs, frescoes, and works of art.
Outside is this statue of Dante Alighieri, the poet who wrote ‘The Divine Comedy’ and who was
responsible for the development of the modern Italian language. Dante wrote the ‘Comedy’ while
exiled from Florence for some political issues. He was not treated well by the Florentine Council, but
they regretted their treatment of him 500 years after his death and tried to recover his remains from
Ravenna, who refused, even hiding the bones. A cenotaph was built for him in Santa Croce (1829)
and his sentences were finally commuted in 2008. Dante died in 1321. Florence does move slowly...

Dante Alighieri Santa Croce 4507

A low-angle profile view of Dante’s monument.

Dante House 4773

Dante Alighieri Cenotaph 4612, 4616
(Composite will open in a second window)

I decided to render in Black and White for this image pair of
Dante’s Cenotaph by Stefano Ricci, created in 1829.
It just seemed more appropriate to me.

The Facade of Santa Croce

Upper Facade Santa Croce 4519c

An 1114 x 1154 detail crop of the upper facade showing both gables and spires
(due to the bright white sky I added some contrast to improve detail).

Note the Star of David centered in the main gable. Niccolo Matas, the architect
who designed the facade in the mid-1800s, was Jewish and worked it into the design.

Facade Detail Santa Croce 4517

Lunette Detail Main Portal 4517

A 1367 x 990 detail crop of the
lunette and flanking statues above
the main portal of Santa Croce.

To the left:
Detail of the lunette and tympanum above
the main portal (note the statue of Mary).

Facade Detail Santa Croce 4515

Lunette Detail Minor Portal 4515

An 1139 x 1110 detail crop

To the left:
The lunette and tympanum above the minor portal.

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Images in this section are in a number of different Galleries on the Photoshelter website.
The Banner below leads to the Florence Collections page where a Gallery can be selected.

There are 11 Galleries in the Photoshelter Florence Collection

Architecture and Monuments

Santa Croce interior 4656

Santa Croce is the largest Franciscan church in the world and legend says that St. Francis
founded it himself. The interior contains the tombs and cenotaphs of many illustrious Italians
including Michelangelo, Donatello, Machiavelli, Ghiberti, Galileo, Fermi, Marconi, and others.
You can see some of these tombs against the walls in the side aisle under the arches above.
The size of people in the image will give you a sense of the tremendous scale of the church.

Michelangelo Tomb Santa Croce 4607
Crafted by Giorgio Vasari in 1570-79

Michelangelo Santa Croce 4607 detail

created by Giorgio Vasari in 1570-79

Renaissance painter, sculptor, architect, poet,
engineer... the archetypical Renaissance man.
The sheer volume and quality of his work is truly
astounding. He was the first Western artist whose
biography was published while he was alive. His
style was such that the attempts by succeeding
artists to emulate him resulted in the next major
movement in Western Art: Mannerism. Such
artists as Giambologna owed a lot of their
style to Michelangelo’s sculpture, and his
achievements in architecture were at least
their equal. He had little respect for painting,
but he was responsible for two frescoes that
had an extreme effect on his contemporaries
and future artists: his work in the Sistine Chapel.

Galileo Tomb Santa Croce 4605
(Composite will open in a second window)

created by Giovanni Battista Foggini (1737-39)

Galileo improved the telescope, made important astronomical observations... in fact he is called the
father of modern observational astronomy, as well as the father of modern physics, father of science,
and the father of modern science. He discovered the four largest moons of Jupiter (Galilean moons)
worked in applied science, improving the compass, and was an all-around amazing fellow.

Unfortunately, his support of Copernicus and the Heliocentric view of the Solar System was very
unpopular with the Catholic Church’s Inquisition. Galileo was forced to recant and spent the rest of
his life under house arrest. For hundreds of years the Catholic Church banned his writings, and even
stopped the Grand Duke from burying him in the main body of Santa Croce and erecting a monument.

As late as 1990, Cardinal Ratzinger concluded the verdict against Galileo was rational and just, but
in 1992 Pope John Paul II expressed regret over how the Church had handled the affair, conceding
that the Earth was not stationary (as a result of a Church study). The Church does move slowly...

Machiavelli Cenotaph 4545
by I. Spinassi (1787)

One of the founders of modern political science,
Niccolo Machiavelli was elected as the head of
the Florentine Diplomatic Service (Chancery)
after the city ousted and executed Savanarola.
He was most famous for The Prince and his
Discourses on Livy, (both were published
after his death. His name is now synonymous
with devious cunning and intelligence.”

Portico Dome, Pazzi Chapel
Santa Croce 4694

The decoration of this dome is such that it is
difficult to tell whether it is concave or convex.
Designed by Filippo Brunelleschi, the terra-cotta
decorations were done by Luca della Robbia.

The Pazzi Chapel was built 1441-60, and is
considered to be one of the masterpieces of
Renaissance architecture, along with the
Old Sacristy in San Lorenzo, which was
the model for the Pazzi Chapel.

La Farina Monument 4729

Giuseppi La Farina was minister to Duke Cavour,
and was instrumental in the unification of Italy.

Peter Bartholomew Monument 4707

Part of the First Crusade, Peter Bartholomew
began to have visions of St. Andrew in Dec. 1097.
He claimed that St. Andrew told him where to find
the Lance of Longinus in the Church of St. Peter
in Antioch and to give it to Raymond of St. Giles.
After taking Antioch, Raymond and Peter began
excavating and in June 1098 found the lance.
Many people believed he was a charlatan, and
on April 8, 1099 he went through an ordeal by
fire to prove himself. He died two weeks later.

Florence Nightingale 4731

The monument to Florence Nightingale in the cloisters of Basilica di Santa Croce.

Florence Nightingale was born in Florence (thus the name), and was the most famous
woman in Britain other than Queen Victoria due to her revolutionizing hospital sanitary
conditions and the treatment of patients during the Crimean War in the mid-1850s.
Her later attention to the design of hospitals and the founding of the nursing
profession reduced patient deaths and radically changed medicine.

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Frescoes and Artwork

Ceiling Fresco da Milano Santa Croce 4667

This ceiling is in the Rinuccini chapel. The Rinuccini Chapel is interesting as it has been
very well preserved in nearly the same condition it was in during the 14th century, with the
same furnishings. The frescoes are also in superb condition, and allow the viewer to visualize
what the Basilica must have looked like in the 14th century, when it was covered with paintings.

The frescoes are Stories of the Magdalen and the Virgin by Giovanni da Milano.

Giotto Death and Ascension of St Francis Santa Croce 4569
(Bardi Chapel)

This fresco, by Giotto in 1325, was painted over in the 18th century, rediscovered in the
19th century and reworked. They were restored recently, the reworked areas were
removed, and the ruined parts were sealed with plaster (thus the gaps).

Giotto Death and Ascension of St Francis Santa Croce 4567 (detail)

This detail crop and the previous shot were very difficult, this shot requiring 1/10s @ f/1.4 handheld,
the previous shot requiring forced underexposure by one stop to get 1/20s. The fresco was worth it.

Giotto di Bondone is generally considered to be the first of the artists who contributed to
the Renaissance. He created a natural style that radically diverged from the Byzantine style
of the painters in his day, and introduced the concept of accurate proportion and shape. The
intention was to draw from the natural world, and artists from his time on created work that
looks ‘modern’ in comparison to the oddly shaped heads and flattened perspectives
of Byzantine artists. His work is usually used as the dividing line. You can tell by the
style whether an artist came from before or after Giotto... he was that influential.
He also reintroduced the Classical concepts of space, known to the ancient
Greek and Roman artists but forgotten throughout the Middle Ages.

Giotto Baroncelli Polyptych 4719

The Baroncelli family commissioned this altar
in 1327. The five panels are composed as a
single space. The central scene is the Virgin Mary
being crowned the Queen of Heaven. The wings
show a crowd of angels and saints watching.
Every face in the crowd shows individuality.

Not long after completing this piece, Giotto was
appointed Master Builder of the Cathedral by the
city of Florence and began work on the Campanile.

Giotto Baroncelli Polyptych 4719 (detail)

Giorgio Vasari said of Giotto:
“... he brought to life the great art of painting as
we know it today, introducing the technique of
drawing accurately from life, which had been
neglected for more than two hundred years."

He was a pupil of Cimabue, and was the first
post-Classical artist whose fame extended
beyond his own lifetime and native city.

Bardi St. Francis Santa Croce 4562, 4564
(Composite will open in a second window)

The Bardi Chapel was frescoed by Giotto (you can see one of the frescoes in the left background), but what fascinated me most was this panel. The shot was a nightmare, as there was little light, and it was backlit by the stained glass. I knew that it I overexposed to get the panel that I’d hate the result as the stained glass would radically overexpose and ruin the shot. This made the processing very difficult... but enough about the photographic challenges.

What really turned out to be difficult was finding out what the heck this was and who painted it. No amount of research helped as there didn’t seem to be anything out there until... I figured that this is a Franciscan church, and this was probably St. Francis. So, knowing I would find a million references, I ran a search on St. Francis. About 80,000 references in (kidding, but it took a while), I found this obscure piece by this fellow who was crowing over how he had identified a crucifix that had been misattributed to an artist when by his analysis, it resembled the St. Francis painted by the Master of the Bardi St. Francis. This stopped me cold. I remembered that there was a Bardi Chapel in Santa Croce, so I looked up more on this Master of the Bardi.

The panel he painted supposedly had twenty scenes of the life of St. Francis.
I counted. Wahoo! Twenty scenes. This looked promising... so I checked more
on the Master of the Bardi, and actually found an image of this panel. Success!

The reason I told you all of this is to give you an idea of the trouble involved
in researching some of the art on this page. Some is easy to find. Some can
be a real lead-plated pain in the (pick your favorite body part and insert here).

Anyway, the Master of the Bardi St. Francis is named for this panel, as his name is
otherwise unknown. He is also credited with creating St. Francis Receives the Stigmata
which now resides in the Uffizi Gallery. There is also a crucifix with eight Stories of the Passion
that led me on this hunt. I was very pleased to have found out what it was and who did it, believe me.

Gaddi Last Supper Tree of Life 4723

Considered Gaddi’s best work, this fresco in the refectory was painted in 1335.

Taddeo Gaddi was Giotto’s primary pupil and assistant, working with him for 24 years.
By 1347 he was considered the best living painter. He was also an accomplished architect,
and is credited with creating the Ponte Vecchio and the Ponte Santa Trinita (a five-arch bridge
destroyed by a flood in the 16th c. and replaced by Bartolomeo Ammanati’s three-arch bridge).
Few of his works survive. Two paintings are known along with the frescoes here at Santa Croce,
but the bulk of his fresco work done at San Spirito and the Serviti have all disappeared. Taddeo
Gaddi was one of the few artists whose name was remembered 200 years after he died, and
he was one of the best of the pre-Renaissance artists. It’s too bad that many of his frescoes
were either painted over or destroyed during renovations over the years... a great loss.

His sons Agnolo and Giovanni were also well-known artists, the greater of them being Agnolo.

Gaddi Tree of Life (detail) 4723

The central panel called “Allegory of the Cross”.
This is a detail crop from the image above.

Stained Glass Santa Croce 4580, 4585
(Composite will open in a second window)

Two 14th century stained glass windows.

Taddeo Gaddi Crucifixion
Santa Croce 4659

Another one of Gaddi’s works is this crucifixion from the Sacristy. The room is too shallow to get
the entire fresco in without using extreme wide-angle, but there was so little light that I had to shoot
at 28mm (1/60 @ f/1.4) to be sure of getting a quality image. Because I had to shoot at f/1.4, the
image above is a little soft in the lower section, but the top is clean. I therefore am showing a detail
crop from a different shot of the lower section below. This fresco is a superbly detailed work of art,
and to allow you to see the detail, the lower section (below) is posted in a larger size than usually
used. In the image below you can see all of the detail in the lower section. It’s worth a look...

Taddeo Gaddi Crucifixion Santa Croce 4663 (lower)

This is a large (1848 x 850) detail crop of the lower three sections
— It will open in a new window —

I guess you can probably tell that even though the Last Supper fresco is considered Gaddi’s
best work, I like this fresco better. The reason I’m putting up a large detail crop is that there is
almost nothing available on the web regarding this work, and I’m trying to rectify that omission.
(it required hours of research to determine who painted it, the title, and when it was painted).

This image is available as an XL signed image (3000 x 1350)

Donatello Annunciation 4549

Donatello’s Annunciation relief (1435).
Made in gilded Pietra Serena (grey sandstone)
for the Cavalcanti chapel altar in Santa Croce.
(now mounted in a recess on the south wall)

Donatello Annunciation 4549 (detail)

This was one of his first works after his return from several years in Rome. Based on 14th century
iconography, it also shows a Classical influence.
During this period he concentrated on recovering
the beauty of the ancient sculptures. Notice the
position of the leg of the Virgin (right) and how
the hips and shoulders are turned in opposite
directions, and the drapery hints at leg shape.

Altar with Crucifix Santa Croce 4588, 4688
(Composite will open in a second window)

The Polyptych with Madonna and Saints is by Niccolo di Pietro Gerini,
and the Crucifix is by the School of Giotto (an unidentified pupil of Giotto’s).
The stained glass is a Deposition from the Cross created from cartoons drawn by
Lorenzo Ghiberti. The small chapel to the right of the apse is the Bardi chapel.
The frescoes within the apse were by Agnolo Gaddi, son of Taddeo Gaddi.

Gerini Polyptych Santa Croce 4588 (detail)

A detail crop of Gerini’s Polyptych with Madonna and Saints.

Altar with Crucifix Santa Croce 4627, 4639
(Composite will open in a second window)

Two more views of the apse, this one showing some of the wall frescoes by Agnolo Gaddi.

del Biondo Polyptych Santa Croce 4673

The del Biondo Polyptych in the Rinucci
Chapel is a good example of the sort of thing
that can happen with a backlit subject, as I
mentioned in the description of the Bardi
St. Francis. In this case, I had no choice
if I wanted to take the shot. Recovering the
color and contrast in this image was tricky.

Giovanni del Biondo created this altarpiece
of the Madonna with Saints in 1379.

Polyptych Capella Velutti Santa Croce 4682

This Polyptych is also by del Biondo (1370),
and yet again I had a real problem getting a
good shot. The window in the back wasn’t
as much a problem this time, but the electric
candles in front of the altar were. They did
provide some extra light, but the mixed light
drastically altered the color, making the task
of processing difficult... and as you can see
they really wreaked havoc with the exposure.

These two altarpieces were also very difficult
to track down information on. I am hoping that
this page will provide a good information source
for others trying to research some of the art.

Reliquary Santa Croce 4710
(Composite will open in a second window)

This magnificent reliquary was designed by Etienne Delaune, the celebrated French goldsmith
who became the King’s Medallist in 1552. He designed some spectacular parade armor for
Henry II of France, and also jewelry and pieces like the one shown here. He took up engraving
and printmaking in 1557, and soon was working for the King as an engraver at the Royal Mint.

The Reliquary was made in the mid-16th c. by Eliseus Libaerts, another celebrated 16th c.
goldsmith (from Antwerp). Libaerts also made parade armor as well as armored miniatures,
jewelry, small sculptures, etc. Libaerts often worked with Delaune or executed his designs.

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