Following the recent reopening of this Franciscan basilica, I continue with my first visit of the church (for parts 1, 2 and 3 see here). We begin here at the east end of the basilica, in the chapels to the right of the Peruzzi Chapel:
Below is a major reliquary. I find this aspect of the Roman Catholic Church so strange.
Looking west from the eastern wall, I see this neoclassical tomb.
Castellani Chapel by Agnolo Gaddi and his workshop:
Following the recent reopening of Florence’s major Franciscan basilica, this is part 3 of my first visit of the church (parts 1 and 2 are here and here). We have reached the altar end of the basilica and here it is in all its glory!
First, let’s have a detailed look at the altar in front of the apse:
Also on display near the altar is this incredible Medieval painted altarpiece depicting St. Francis and scenes from his life:
I will be writing a post on the frescoes in the main chapel behind the altarpiece. Right now, they have it roped off and I couldn’t get into it to take decent pictures. Looking into the apse area behind the main painted altarpiece:
OK, so now we move into the big leagues as far as art historian are concerned. Two of Giotto’s major works are to be found in adjoining chapels in Santa Croce. They are the Bardi and Peruzzi family chapels. The first one is the Bardi chapel, depicting scenes from the life of St. Francis:
And now, the Peruzzi Chapel. Sadly, the frescoes are in very bad condition, having been partially painted a secco by Giotto, which means the true fresco technique did not allow the colors to become a part of the wall. Plus, the frescoes were badly abused over the centuries, sometimes even being covered with white wash.
Here’s an overall view of the 2 family chapels next to each other on the east end of the church. The Bardi is to the left, under the stained glass window, and the Peruzzi is to the right of it:
Prepare yourself for a huge jump from the Roman and Renaissance eras to the 19th century! The paintings below are from the facade of the duomo, which was erected in the late 19th century.
More artworks from my continuing visits of the art museum last week. First up, some Roman art that was to be found in Florence during the Renaissance. Always a source and inspiration for new artists.
Michelangelo’s late Pieta is now undergoing restoration in the museum:
Some Medieval paintings in the museum:
San Zanobi:
3 of Florence’s special saints: Reparata, San Zanobi, and St. John the Baptist:
One of Donatello’s masterpieces: the Mary Magdalene:
There is a lot to absorb in this incredibly rich museum and I decided to take it in chunks this week. After two great visits, I still need to go back to take in more. Soon.
An elegant, Gothic period, sculptural pas de deux of The Annunciation. It has always been my favorite episode represented in Christian art.
The museum has ingeniously set up the famous bronze doors of the Baptistery so that both the front and back sides can be viewed.
Entering the room that sets up the original, 15th century appearance of the duomo’s facade. Such an impressive feat for a museum.
Great museum labeling provides context. Below, it is explained how the area between the baptistery and the facade of a church was traditionally called a “paradise.” Therefore, Ghiberti’s “Doors of Paradise” so-named by Michelangelo, can be understood in situ.
Below, Pope Boniface VIII by Arnolfo di Cambio, the duomo’s architect.
A reconstruction of the facade:
A plan of the facade:
And now, the second set of doors, for the north side of the Baptistery by Ghiberti:
Above and below, the Annunciation by Ghiberti:
The Gates of Paradise by Ghiberti:
Above you see Ghiberti’s self-portrait in the bust that extend:
The doors by Andrea Pisano for south side of the Baptistery. There were the first of the 3 sets to be done.
A view of the 3 sets of doors as displayed in the museum.
As if to thank the residents of Florence for enduring the 2 month long lockdown, the government has given us free admission into the complex of the duomo. As the 4 buildings of the baptistery, the bell tower, the cathedral and the museum reopen, we can, with reservations made online, visit these sites for free. Hallelujah! I am seriously in need of some artistic nourishment.
I was one of the first people to enter the baptistery on May 22 and, for a period of about 10 minutes, I had the entire place to myself. Wow. That’s an exceedingly rare experience and I’ll remember it forever.
This town and the baptistery are both dedicated to the patron saint of St. John the Baptist.
The next few pictures are of the ceiling and the altar itself in in the altar niche in the baptistery. First, Christ in Majesty in mosaic.
opposite: The Virgin and Child.
Below, the central medallion over the altar.
I really love the simple, medieval decoration of the back wall. It has not been “Renaissanced” up.
The exterior of the baptistery is so wonderful, with the striped patterns made up of creamy white and dark green veneers of marble:
Back inside, the tomb of Pope Paul XXIII by Donatello is under cover for the moment.
Below, more details of the altar space:
And now, for the outstanding mosaic cycle in the domed space above. I’ll never forget confronting the face of Jesus when I made my first visit to Florence when I was 27. I wasn’t prepared for this Byzantine visage, thinking Florence would be all-Renaissance, all the time.
A statue of St. John the Baptist above and below:
The eye wanders up to the dome again and again:
A sarcophagus that looks like it might be a recycled Roman era object, with a lid that clearly relates to Christianity.
I love looking at the gallery space, especially the inlaid ceilings:
The ceiling in the gallery space below is treated with mosaics as well.
And once more, looking up at the dome:
It is also worth looking down. The many-patterned pavement in this august building is superb:
And now for the font, the building’s raison d’être:
And now, one last look at the Baptistery with no one in it but Byzantine Jesus and me.
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Oh, the pleasures of Florence without the crowds! It was almost worth enduring the pandemic.
The familiar places in this open-air museum speak to me in a new language without the tourists and hordes. The buildings appear smaller without the crowds. I don’t know why that is true, but I notice it all the time.
But also, I see things I didn’t see before. For example, Verrochio’s golden ball was knocked off the top of the duomo in the 1600s. It was struck by lightening and fell to earth. I had read that the spot where it landed in the piazza has a marker, but I’ve never found it even though I have asked lots of Florentines if they know where it is.
And then yesterday, approaching il duomo from the east, I saw it! The white circle marks the spot.
“The golden ball of Santa Maria del Fiore Cathedral was built by Andrea del Verrocchio in 1468. Placed on the Cathedral on 27th of May in 1471, the ball immediately became a symbol for Florence citizens.
In particular on 8th of April in 1492 when, almost as premonition, of Lorenzo de Medici’s imminent death, lightning struck Verrocchio’s work.
On the night of 17th of January, 1601, when the golden ball, with its 2.30 meters in diameter and 18 tons in weight, was struck by lightning and fell down from the Cathedral. In order not to forget the danger and damage of lightning on the Cathedral and in the square, in the exact spot of the fall was marked by a slab of marble, still visible today.” http://www.manetti.com/en/2014/04/02/golden-ball-santa-maria-del-fiore/
And then, check out the house nearby where Donatello had his studio. The plaques and bust mark the spot.
Now, go back 3 pictures and look at the reflection of the beautiful duomo in the window above Donatello’s bust. Cool, right?
get back, lauretta! 
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