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:
Following the recent reopening of this Fransciscan basilica this week, I continue (see Part 1 here) with my visit of the church following the quarantine.
Below is a plan of the church. My tour is coming from West to East along the north side of the basilica.
Below, I pick up my tour from the almost at the crossing. The first work on this tour today is Desiderio da Settignano’s tomb for Carlo Marsuppini. Santa Croce is rich in artworks and this is one of the best. Try as I might, these pictures do not do the tomb justice.
Moving on to the next tomb on this side aisle, we have the monument to Raffaello Morghen, by Odoardo Fantacchiotti (1809-1877). Morghen was a celebrated engraver of Leonardo’s Last Supper in Pinacoteca Repossi. Morghen died in Florence in 1833.
Next is a plaque honoring Raphael. It commemorates the 500th anniversary of his death. His tomb in in the Pantheon in Rome.
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.
For me the highlight of the opera’s collection are the 2 exquisite cantorie by Donatello and Luca della Robbia. Originally a part of the duomo, these beauties are preserved in the museum where they are exhibited up high as they would have appeared in the cathedral. I am in their thrall.
First up, the Donatello:
Now, moving across the room to the Luca della Robbia masterwork:
The extraordinary riches in this museum require many posts! Here is part 3 of my recent visit.
The next 2 labels deal with the custom of collecting relics some of the ones preserved in Florence:
Now on to the amazing bell tower in the duomo complex.
For more of these relief sculptures that form the program on the bell tower, see my earlier post:https://laurettadimmick.com/2020/05/25/charmed-by-the-late-medieval-carvings-at-the-museo-dellopera-di-duomo-firenze/
Another famous landmark opened in Florence this week and you can bet I was one one the first people through the door. And, I have another visit planned for this coming weekend.
Let’s just start an overview of the many works of wonder in this magnificent site.
First of all, check out the city square without the usual mob of tourists. It’s kind of amazing. I love it this way.
I begin my pictorial tour at the west wall of the church, the wall on which the main doors to the church are located.
I’ll end part 1 with a view of this to me very funny poster announcing the secular fraternity of Fransciscans. I love how St. Francis is meeting Christ mid-air.
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.
get back, lauretta! 
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