A unique open air theatre, stage to some of the world’s most impressive works of art
It is at the Duomo or Cathedral, with its detached Campanile, adjacent Baptistery and Museo dell'Opera del Duomo that this tour begins. Reborn after the Dark Ages, Florence became a centre of art and culture, political and economic power, reaching the height of its glory under the Medicis. As the prowess of the city grew the ruling priorate decided that the existing cathedral should be replaced by one which would rival those of Siena and Pisa. The scheme, ordered by Arnolfo di Cambio in 1296, set out to surpass anything yet produced. In 1436, at its completion, the cathedral was 153 metres high, 38 metres wide and the biggest in Europe. Today the awe-inspiring Duomo, with its great dome is Florence's signature building, dominating the cityscape.
As you enter Piazza San Giovanni, your first sight of the cathedral is unforgettable. The colourful patterned marble exteriors of the Duomo, Campanile and Baptistery stand out amongst the dull shades of the surrounding buildings. The present Duomo façade, completed in 1887, retained this pink, green and white colour scheme. Inside, the Duomo is as impressive as it is outside. The enormous, cavernous interior is lit by 44 stained glass windows (the making of which was the largest undertaking of its kind in 14th and 15th century Italy), which shed patterns of colour upon the marble floor. Many of the most precious art treasures from within the cathedral have been removed to the Museo dell'Opera del Duomo, but there are still important works to be seen, by Paolo Uccello, for example, and a vast fresco of the "Last Judgement" by Vasari and Zuccari.
The cathedral's dome is the largest masonry dome in the world. The structure is a fully self-supporting copula, with a height of 91 metres and a span of 45 metres. Designed by the ingenious Filippo Brunelleschi, it took 14 years to complete. If you climb up into the dome, up through the inner and outer shells, to the base of the white marble lantern you are rewarded with a spectacular panorama of the city.
Another amazing view is that to be experienced from the top of the Campanile. Begun by Giotto in 1334 the work was continued by Andrea Pisano and Francesco Talenti. When completed the tower reached 84.7 metres. The decorative sculptures and reliefs which you pass as you climb the tower portray man's passage from original sin to divine grace.
Both the Campanile and the Duomo are faced with the same polychromic marble as the Baptistery. The oldest building in Florence, thought to date from the 6th or 7th century, the Baptistery is embellished with gilded bronze doors, the most sublime of which are probably the east doors, by Ghilberti, which took 27 years to complete. Inside, the black and white cladding mosaic ceiling and pavement are stunning.
The work on and maintenance of the Duomo complex was carried out by a team based in a building behind the east end of the cathedral, this has now become the Museo dell'Opera del Duomo. The museum houses the most delicate and precious treasures from these buildings, including work by Donatello, Luca della Robbia and a "Pietà" by Michelangelo, one of his last works.
The Archbishop's Palace, the Palazzo Arcivecovile, which was constructed in 1503, is just behind the Baptistery. This building has housed the Panerai precision instrument makers since the end of the 19thcentury, now under the title of Officine Panerai. The prestigious shop has a unique and priceless collection of watches, compasses, gauges and watchmakers tools.
Walking north from the Baptistery, along the Borgo San Lorenzo, with its beautiful 16th century Palazzi, you come to the San Lorenzo District. Here the Basilica of San Lorenzo stands, surrounded by market stalls. The Basilica, on the site of the original cathedral, is one of the city's major churches and the chapel of the Medicis. In 1419 Brunelleschi was commissioned to build a new church here, the façade of which was never completed. Inside, the bronze pulpits are by Donatello, (who is buried here next to his patron, Cosimo dei Medici). More work by Donatello is found in the Sagrestia Vechia, one of Brunelleschi's early architectural masterpieces. As a tribute to this sacristy, Michelangelo designed the Sagrestia Nuova. Besides the famous allegories of "Night and Day" there is much of Michelangelo's architectural and artistic work here. Perhaps Michelangelo's most important architectural imput to these buildings is the marble mausoleum of Cosimo I and the dukes who succeeded him.
Through an arch at the left of the church is the Biblioteca Medicea-Laurenziana, again designed by Michelangelo. The library holds the large and diverse collection of the Medici.
Another vast bibliographic collection is to be found in the Palazzo Medici-Ricardi, just north east of the Basilica, on Via Cavour. This Palazzo was built by Cosimo dei Medici between 1444 and 1462. With Its rusticated facing it was the forerunner of several important Florentine buildings. The Riccardi owned the building from 1659. Now the Palazzo belongs to the province and houses not only the Library but is a venue for exhibitions.
Also built in high Renaissance style, with rusticated stone, is the nearby Palazzo della Stufa. On the site of Roman baths, and of a building which was Giotto's home, the existing structure, which dates back to the 14thcentury, was bought and restored by Traballasi.
The San Lorenzo District is the city's main market area. The many stalls are set up around a vast food hall. The Mercato Centrale which opened in 1874. The iron, stone and glass edifice was designed by the architect of the Milan galleria, Giuseppe Mengoni. Leaving San Lorenzo, busy Via Cavour leads you to the San Marco area. The Leonardo di Vinci museum, with its fascinating reproductions of Leonardo's many inventions.
Via Cavour opens up into the San Marco Piazza, along one side of which is the atmospheric San Marco Monastery, which houses the San Marco Museum. It is here that the angelic painter, Fra' Angelico produced some of his most beautiful work - decorating the walls with his paintings which combine Medieval simplicity with Renaissance sophistication. The most beautifully composed, and dramatic of Fra Angelico's works is the "Annunciation", which you come upon almost immediately on entering the upper floor. It is on this floor also that he painted the famous cycle of frescos which decorate the 43 cells, one of the largest Renaissance cycles in existence. The rooms still evoke the serene, meditative atmosphere of the Dominican Monastery.
From the west side of Piazza San Marco, Via Arazzieri and Via XXV11 Aprile lead to the former Benedictine Convent of Sant'Apollonia where you can see the disturbing, vibrantly coloured "Last Supper" by Andrea del Castagno, plastered over by the nuns but uncovered in the 19th century.
North west of San Marco is the 2.3 hectare Giardino dei Simplici, the garden of medicinal plants and herbs, created in 1545 for Cosimo the 1st. (Hundreds of plants and herbs were used medicinally in Medieval times and Florentine pharmacists were renowned for their skill.) Today half the gardens are under glass, housing specialist collections. Outside there is a remarkable display of medicinal and alimentary plants. Beside the gardens, the Museo Botanico, the most important botanic collection in Italy contains more than 4 million specimens.
Walk back to San Marco and on to the famous Academia with its many famous works of art. The most important sculptures here are by Michelangelo - including the "David" - symbol of the city - commissioned in 1501, which once stood in Piazza della Signoria.
South east of the Academia, Via Cesare Battisti leads you to the beautiful Piazza delle Santissima Annunziata, begun in the 1420s by Brunelleschi and bordered by the Spedale degli Innocenti and the Church of Santissima Annunziata. With its startling gilt and stucco gloss interior the church has long been the venue for fashionable weddings. Commissioned by the silk weavers gild in 1419, the Spedali degli Innocenti, designed by Brunelleschi, was the first orphanage in Europe remained in use until 1875.
