Santa's doorway is smaller. Gothic Basilica of Santa Croce (Florence)

Basilica of Santa Croce (Italy) - description, history, location. Exact address and website. Tourist reviews, photos and videos.

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The Basilica of Santa Croce is primarily famous for the “Pantheon of Florence” - the graves of famous residents of the city, for which Florence turned out to be unusually generous. Galileo, Machiavelli, Michelangelo, Rossini are buried here, and Dante could have been buried here. In addition, the interior contains wonderful frescoes by Giotto and clear multi-color stained glass windows.

This temple can be called, without exaggeration, one of the most beautiful, largest and ancient Franciscan churches, and all these epithets are applicable to this day. Built at the end of the 13th century, during the long and turbulent history of the Republic of Florence, the basilica managed to preserve the amazing frescoes of Giotto and Giambologna, the bizarre architectural ideas of Brunelleschi, and the work on the altar by Donatello.

Perhaps it was precisely for the beauty of the temple of Santa Croce that VIPs of the past were chosen as the resting place.

The main thing that attracts attention in the Basilica of Santa Croce today is the 16 chapels, each of which is a masterpiece. Particularly notable is the Pazzi Chapel, which was built by the same genius Brunelleschi, who greatly inherited his legacy in Florence (look for the chapel in the courtyard of the monastery). Perhaps it was precisely for the beauty of the temple of Santa Croce that VIPs of the past were chosen as the resting place.

In turn, the temple approved or did not approve for the burial of the newly deceased. There is one funny detail in such a manic choice of prestigious dead.

Namely, the Basilica of the Holy Cross (as translated from Italian as “Santa Croce”) has been fighting with Ravenna for several centuries for the right to possess the ashes of the brilliant Dante. There is even his empty sarcophagus with the poet’s name engraved here, but the grave is empty. But the thing is that at one time the residents and rulers of Florence expelled Dante from the city for his disloyal attitude towards the authorities, objectionable statements and, in general, involvement in the opposition. The writer, without hesitation, settled in Ravenna, where he wrote his “Divine Comedy” and died. After which it dawned on the Florentines what a genius they had lost. They demanded to return the poet’s body, but Ravenna refused, saying they didn’t want a living one, but you wouldn’t get a dead one. Since then, there has been an empty sarcophagus in the basilica, and Dante, we hope, is not turning over in his grave from such free handling of his ashes.

By the way, today the basilica is more like a museum than a religious building - people come here mainly to gaze at the exquisite work of the great sculptors and artists of those times. The square in front of the cathedral echoes this: city festivals are held there, concerts are held, and here, by the way, the famous Florentine football is played in ancient costumes and according to very strict rules.

Address: Piazza Santa Croce, 16.

Opening hours: Monday to Saturday - from 9:30 to 17:30; Sunday and Holy Holidays - from 14:00 to 17:00.

The cost of visiting is 8 EUR, children from 11 to 17 years old - 6 EUR, children under 11 years old - free. Headphone rental - 1.50 EUR.

Prices on the page are as of September 2018.

Basilica of Santa Croce is the greatest Franciscan church in Italy. It is called a place of special historical value, a museum of great works of art, the Pantheon of Italian glory. History of the basilica The Florentine Church of the Holy Cross was founded in 1294, on the site of a previously existing temple. It was consecrated in 1442 by Eugene IV. There is a legend that Santa Croce was founded by Saint Francis himself, although [...]

Basilica of Santa Croce is the greatest Franciscan church in Italy. It is called a place of special historical value, a museum of great works of art, the Pantheon of Italian glory.

History of the Basilica

The Florentine Church of the Holy Cross was founded in 1294, on the site of a previously existing temple. It was consecrated in 1442 by Eugene IV. There is a legend that Santa Croce was founded by Saint Francis himself, although in reality the construction of the basilica began after his death. Arnolfo di Cambio is considered the author of the building's design, although there is no documentary evidence for this version.

The church had to be restored several times after floods, which caused considerable damage to it. The temple was rebuilt, but its Gothic features were carefully preserved. Today Santa Croce is considered the standard example of Italian Gothic architecture.

Architecture

The façade of the church remained unfinished for a long time. In ancient images you can see the medieval appearance of the temple - simple, practically devoid of decoration. The new facade was created in 1853–63. Nicolo Mattas, modeled on the largest Gothic churches in Siena and Orvieto. In the 19th century, an 80-meter bell tower of the church was built according to the design of Gaetano Baccani. The bronze gates of the central portal of the basilica were installed only in 1903.

The Church of Santa Croce has three aisles, it is divided by two rows of powerful faceted columns bearing pointed semi-arches. The building's plan is a T-shaped cross with an apse and transept. Transept width – 73 m; The length of the main nave is 115 meters. The interiors of the church were designed by Giorgio Vasari.

Famous Florentines, great people of Italy and foreign subjects are buried in Santa Croce. The sculptural decoration of the tombs of Michelangelo, Galileo, Niccolo Machiavelli, Gioachino Rossini, Foscolo, Marconi amazes with its amazing plasticity and bright elegiac mood. Each tombstone of Santa Croce is a work of art; All tombs were made by famous masters of their time. In total, more than three hundred famous people are buried in the basilica.

Opening hours

Mon - Sat 9:30 - 17:00.

Entrance fees

Full – € 6.00;
for children 11 to 17 years old - € 4.00;
children under 11 years old are free.

Basilica of Santa Croce
Piazza Santa Croce, 16 50122 Firenze Italy
santacroceopera.it

Take bus 03 to Magliabechi stop

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Basilica of Santa Croce in Florence- the largest Franciscan church in the world.

The basilica was built in 1294-1385, it consists of 16 chapels, each of which has an individual design. Many famous medieval artists took part in decorating the temple: Giotto, Brunneleschi, Donatello.

The Basilica del San Croce is a pantheon of the best people of Florence.

History of construction

Santa Croce is a temple and necropolis that arose at the end of the 13th century. Construction of the grandiose cathedral began around 1294. The architect of the building was probably Arnolfo di Cambio.

The church was built at the expense of the Florentine Republic. The foundation was a small church, which the Franciscans built immediately after their arrival in the city in 1252. The remains of the ancient building were discovered in 1966 after the cathedral floor subsided as a result of a flood.

By 1302, when Arnolfo died, part of the choir and transept with chapels were completed.

The construction as a whole was completed in 1385, and the Basilica of the Holy Cross was consecrated only in 1443 on the occasion of the presence of Pope Eugene IV in the city.

The cathedral was constantly enriched and changed in the following centuries, gradually transforming from a Franciscan church into a religious stronghold of many noble families and guilds.

Attractions

The main impression of the basilica today is created by Baroque reconstruction of the 18th century façade and interior.

However, here you can see:

• frescoes on the apse of the 15th century, which depict the Finding of the Life-Giving Cross

• nave and floor covering from the 12th century

• 8 granite columns in the nave that were used in the original 4th century church

• true cross with inscription.

Chapel of St. Elena.

Legend has it that Saint Helena in the 4th century, during her journey through the Holy Land, discovered the true cross on which Jesus and other relics were crucified. And then she got the idea to build a temple in Rome for pilgrims who could not go to Jerusalem.

It is located down the stairs from the main altar. The chapel and two adjacent rooms are part of the imperial palace.

The first room contains a statue of St. Helena, which was converted from a statue of the pagan goddess Helen with the addition of a cross.

Gregorian Chapel

Next to the Helena Chapel is a Gregorian chapel built in the 15th century. It is designed as a mirror image of the chapel of St. Elena. The marble relief was added in the 17th century, and the altar of St. Gregory contains the famous reliquary.

The Shroud of Turin is a very ancient linen cloth more than four meters long, on which there are golden imprints of a naked, cruelly tortured Man.

On this fabric there are two full-length images of a naked male body, located symmetrically to each other, head to head.

In the corner stands a statue of Jesus, which was designed based on a portrait from the shroud.

Shrine of Antonietta Meo

At the base of the stairs there is a shrine containing the remains of Saint Antonietta Meo. This is a special chapel and small museum dedicated to the little Reverend.

This title has accompanied her since 2007, when Pope Benedict XVI recognized in a special decree the heroic virtues of the little Roman, the youngest of all revered in the history of the Church.

She was a small but mature witness of the Gospel, and from her children and adults, educators and catechists can learn a lot.

In Rome, Antonietta is revered most of all by children, who often visit their holy peer in the Cathedral of the Holy Cross. Antonietta's toys and clothes and her letters are kept here.

Frederic Bartholdi, an outstanding French sculptor and creator of the Statue of Liberty in New York Harbor, lived in Florence in 1870.

At the same time, the Florentine Pio Fedi began creating the Statue of Liberty of Poetry. The similarities between the two statues are striking.

Tombs of famous people

Eternal rest found in the Basilica of Santa Croce:

• Astronomer Galileo Galilei;
• Thinker Niccolo Machiavelli;
• Inventor of the wireless telegraph Guglielmo Marconi;
• Architect Leon Battista Alberti;
• Composers: Mikhail Oginsky and Gioachino Rossini;
• Playwright Victorio Alferi;
• Sculptor and painter Michelangelo Buonarotti;
• Philosopher Giovanni Gentile;
• Poet Ugo Foscolo;
• Wife and daughter of Joseph Bonaparte, the elder brother of the Emperor of France.

Also in the basilica are the cenotaph of Dante Alighieri and a memorial plaque of the physicist Enrico Fermi.

A monument to the author of the Divine Comedy was erected on the square near the temple. It also hosts city festivals and concerts, as well as Florentine football competitions.

Painting

In addition to tombstones, there are many masterpieces of painting here. For example, the Peruzzi Chapel, which depicts the lives of John the Baptist and John the Evangelist. Here is the Bardi Chapel and the Life of Francis of Assisi, both works by Giotto (1320 - 1325).

The stained glass windows in the Velluti Chapel are based on designs by Jacopo di Landino. The Baroncelli Chapel is famous for its frescoes by Taddeo Gaddi, and the Medici Chapel is the work of the architect Michelozzo.

Church today

In the Bardi and Peruzzi chapels of the Church of Santa Croce, unique frescoes by Giotto were preserved, who for the first time managed to show the depth of space and composition on a flat wall. That is why now the Basilica of Santa Croce is one of the most visited places in Florence.

Video

Plunge into the spiritual mystery inspired by history with our video review!

B Asilica Santa Croce (Church of the Holy Cross) is a basilica in the center of Florence.
This is the largest Franciscan church in the world, famous for Giotto's frescoes and the tombs of great men of Italy.

Piazza Santa Croce has the shape of a rectangle, along the perimeter of which there are low old houses, the facades of which have preserved their original architecture. This is the only “sane” square in the city))) from which you can normally see the façade of the basilica and where the houses do not overwhelm you with their proximity.

The area is paved with paving stones, its total area is about 500 square meters. It has long been a venue for various competitions, tournaments and fairs. Since the 14th century, Piazza Santa Croce has served as one of the main landmarks in Florence for both locals and tourists.

The eagle looks on with hope... on weekends there are costume performances based on local folklore.

Legend has it that the church was founded by Saint Francis of Assisi himself. Francis of Assisi died in 1226, and two years later he was canonized. By 1229 there is a mention of a church dedicated to him.

Construction of a church on the site previously occupied by this building was started on May 12, 1294 (possibly by Arnolfo di Cambio). For its construction, the area was cleared of residents as a result of the destruction of houses and workshops.

The construction was financed by wealthy families of Florence. In 1442, the church was consecrated by Pope Eugene IV.

Bell tower.

The windows of the church are decorated with stained glass windows, expanding its interior. The church is built in the shape of an Egyptian T-cross and is the largest Franciscan church in Italy. Over time, numerous reconstructions of the church were carried out. In the second half of the 16th century, many of its ancient parts were destroyed. Frescoes by Andrea Orcagna were hidden under altars by Vasari. Vasari in Florence generally covered up a lot of masterpieces by now recognized masters.

The style of the temple is Gothic, for this reason it looks less massive than the Duomo (Santa Maria del Fiore). The church is decorated with many frescoes and sculptures by Giotto and other famous artists and sculptors: Donatello, Antonio Canova, Taddeo Gaddi, Antonio and Bernardo Rossellino and many others.

Many GREAT Florentines are buried in the courtyard. There is an entrance fee. Among them:

Michelangelo Buonarroti (sculptor, poet, painter, XV-XVI centuries) - tomb by Giorgio Vasari (1570), a bust of Michelangelo is installed above the sarcophagus, in the lower part there are three allegorical figures that symbolize Painting, Architecture and Sculpture.

Galileo Galilei (astronomer, mathematician, 16th century) was a native of Pisa, but lived most of his life in Florence; the sarcophagus is crowned with the figure of a scientist and allegorical figures of Geometry and Astronomy; tombstone by Giulio Foggini (1737).

Dante Alighieri (poet, XIII-XIV centuries) - buried in Ravenna, in the basilica there is his cenotaph, built in 1829 (the authorities of Ravenna oppose the transfer of the poet’s ashes to Florence, one of the main reasons is the inscription “tusk” (that is, Etruscan) on cenotaph).

Vittorio Alfieri (poet and playwright, 18th century).

Niccolo Machiavelli (thinker, XV-XVI centuries) - buried in 1527; the tombstone was made by Innocenzo Spinazzi (1787); above the sarcophagus is an allegorical figure of Diplomacy.

Mikhail Kleofas Oginsky (Belarusian and Polish composer, author of the famous polonaise).

Enrico Fermi (outstanding physicist, Nobel Prize winner in 1938) - there is a memorial plaque in the basilica.
and many others...

Holy Cross Church is open from 9.30am to 5pm from Monday to Saturday. Closed on January 1, Easter, June 13, October 4, December 25 and 26.
The Basilica of the Holy Cross is located at Piazza Santa Croce, 16. Nearby is the C3 Magliabechi and Tintori bus stop.

Pay attention to the spacers. The upper floors of the houses are wider. This is how the Florentines avoided city taxes, since the taxable area of ​​a house was measured by land. Perhaps it is measured the same way now.

The frescoes are already hard to distinguish, but this makes the building even more beautiful and mysterious)))

The tablet tells and shows the water level during the flood of 1557

I liked this square in Florence the most.

A huge part of the cultural heritage is hidden in its famous temples, and the collections presented in some of them would give a head start to other major art museums. Of course, for tourists in this regard, the Duomo, the main Florentine cathedral, stands apart. He is truly beautiful, needless to say. But during my acquaintance with Florence, other churches made a greater impression on me, and one of the strongest, perhaps, was the Basilica of Santa Croce.

This temple has a special significance for the city: Santa Croce is the local Pantheon, in which the most illustrious and famous natives of Florence are buried. Unfortunately, not all guests of the city get around to getting here: the basilica is located a little away from the main tourist trails, and people who come to Florence for 1-2 days rush to visit the Uffizi Gallery, Duomo, and other famous attractions . Well, I think that the Basilica of Santa Croce is worthy of being included in this magnificent series of places, as they say, must-sees in Florence. Let's get acquainted with the history of this temple and take a short tour of it.

Construction of a temple in honor of St. Francis

The history of the creation of the church has reached us in a somewhat mythologized form. For example, it is reported that the first stone during the construction was laid by Francis of Assisi himself, the legendary creator of the monastic order, which was later named in his honor. In fact, this ascetic died in 1226, and the construction of the current basilica began only in 1294. True, some kind of church or chapel stood on this site already in 1228.

It is clear that Saint Francis himself had nothing to do with the creation of the temple. But his followers - the Franciscan monks - really developed vigorous activity in different parts of Europe by the end of the 13th century. There were already quite a lot of Franciscans in Florence at that time, and at some point it was decided that it was inappropriate for such a reputable order to huddle in a small church. It was then that the architect Arnolfo di Cambio began to build a large temple, later named “Santa Croce” (translated as “holy cross”).

There were enough funds for construction: the Ghibellines were once again expelled from Florence, and their property was partly plundered, and partly went to charitable causes, including the construction of Santa Croce. In addition, noble Florentine families generously donated for the construction of the church, many of whom decided to have family chapels in the new cathedral. So, when inside you read the names of the chapels with the names Pazzi, Bardi, Peruzzi, etc., know that they all had to spend a lot of money to remain in the centuries.

The place for the construction of the largest Franciscan church in Europe (it still remains such) was not chosen by chance. In those years, the Santa Croce area was considered the outskirts of the city, simple poor people settled here, and later tanners settled here - working people. This was the most faithful flock for the Franciscans - the mendicant order, preaching poverty, asceticism and love of neighbor as the main ideals of a virtuous life, was especially close to workers and the poor.

By the way, it is believed that the Franciscans actively competed for the flock with another famous order, the Dominican. The first were especially popular among the common people because they richly painted the walls of their temples with frescoes. It is not for nothing that di Cambio, when designing Santa Croce, provided a fair number of areas free for painting. For illiterate parishioners, it was actually Holy Scripture in pictures: simple and visual. But the Dominicans, for the time being, did not pay due attention to this aspect of attracting parishioners. The Church of Santa Croce took a long time to build: its consecration took place only in 1443. By that time, a large monastery of Franciscan brothers had also settled at the temple. Subsequently, individual elements of the cathedral were rebuilt many times, so the complex that has come down to us is a composite work of different eras.

Basilica facade

Take, for example, the main façade of Santa Croce: it was built only in the second half of the 19th century. Until that moment, the cathedral simply did not have this part. The situation is common for Florence: another equally famous temple, San Lorenzo, still flaunts this way today.

The facade of the Basilica was strongly criticized at one time, as was the facade of the Duomo: they are really similar. Well, there will probably always be dissatisfied people when it comes to the reconstruction of such sacred objects. It didn’t seem to me that the façade somehow didn’t fit into the image of Santa Croce; everything looked quite natural. It is made in a rather laconic style: there is no abundance of sculptures, reliefs and frescoes that often decorate large temples. Above the three arched spans are three sculptural images on the theme of the life-giving cross and that’s it.

Also on the facade, the six-pointed star attracts attention - a symbol, although from the Old Testament, is somewhat unexpected in the design of a Christian church. It is believed that this star is “hello” from the architect Matas (he was a Jew).

Let's go around the facade on the left side. Here we are immediately greeted by the figure of Dante with a raven.

There are a lot of signs in memory of the famous poet in Florence: there is Dante Street, his museum, several monuments. In my opinion, even Michelangelo did not receive so much attention in Florence. Obviously, it’s a matter of guilt: the man who, one might say, taught his compatriots to speak Italian, was expelled from his hometown and doomed to wander. Dante died in, and was buried there, and Florence constantly asks to return his ashes to his homeland, to which the authorities of Ravenna invariably refuse. So Dante’s tomb in Santa Croce is a so-called cenotaph - a monument without a buried person.

Apparently, noble people began to be buried in the cathedral from the very beginning of its existence; on some tombs it is almost impossible to read anything. As the years passed, the number of celebrities buried here increased, and at some point they decided to make the temple the Florentine Pantheon. So, Michelangelo’s ashes had to be taken from to be buried in Santa Croce. Now about 300 famous Florentines rest in the basilica: scientists, politicians, artists, etc. I will tell you more about the most famous ones below.

Basilica of Santa Croce in the 20th century. At the entrance to the cathedral

The most important disaster in the history of the cathedral was the flood of 1966. How high the water was then in Piazza Santa Croce and in the basilica can be judged from the photograph below. Moreover, the frame, apparently, captures the moment when the water had already receded a little. On some houses in Florence there are signs indicating the maximum flood level in 1966, and so the water then splashed at a height of about 5 meters above the ground (the situation, of course, varied in different areas of the city).

As a result of the disaster, many of the cathedral's masterpieces were seriously damaged. This misfortune is still remembered in Florence, and in Santa Croce you can see stands with descriptions of those events and photographs.

The monastery at the cathedral actually ceased to function by the end of the 18th century, and another 100 years later the Italian authorities started thinking about creating a museum here. The first room opened to the public back in 1900 was the monastery refectory with Gaddi’s famous “Last Supper”. Well, these days the entire cathedral with the territory of the former monastery is one museum complex, which, in an amicable way, needs to be explored all day.

Opening hours and ticket prices

The entrance to the basilica is on the left side of the facade. The ticket costs 8 EUR and is valid throughout the complex: you don’t have to pay extra for entrance to the museum or anywhere else.

From Monday to Saturday the cathedral is open from 09:30 to 17:30, on Sundays and holidays - from 14:00 to 17:30.

I think it's time we head inside.

Inside the cathedral. Florentine Pantheon

Once inside the basilica, let's use the diagram below. Such a plan can be taken for free at the entrance to the cathedral, however, everything there is in Italian.

I’ll say right away: few people can examine in detail all the masterpieces of Santa Croce in one day. Therefore, on the diagram I have indicated the most important objects and suggest that you follow approximately the same route that I took.

Well, when you find yourself in Santa Croce, I hope my diagram will help you quickly find your way around here and easily find all the most interesting things. So we went inside (1). The view immediately opens up impressive.

Initially, the cathedral was made in the Gothic style, but during subsequent alterations, individual elements of the temple underwent serious changes. The Basilica of Santa Croce underwent its most extensive reconstruction in the 16th century. Then, in particular, many old frescoes were hidden under new altars or completely painted over. Those works (carried out, by the way, by Vasari himself) are still interpreted ambiguously by historians and art critics. Subsequently, some old frescoes were nevertheless restored.

I propose to start our tour of the cathedral from its western part, the Pantheon, where the tombs of the most famous Florentines are located. The oldest gravestones are located directly on the floor; they can be found in different parts of the basilica.

I couldn’t make out a single inscription on such monuments, although I didn’t really try. But one of our travelers reports that, for example, one of these burials belongs to the condottiere and podesta (something like the mayor) of the city of Pisa from the Ubertini family. Probably many of these slabs are associated with representatives of the very families who donated money for the construction of the cathedral.

Surprisingly, there are also burials from the 20th century here. The tombs of the most illustrious figures are located within the walls, and these naves once housed the earliest altars of the cathedral. The first thing that caught my attention was a sign with the name of Marconi, one of the inventors of radio.

Later I found out that this was another cenotaph, and there were many similar empty tombs in Santa Croce. Well, Galileo Galilei, whose tombstone (2) we came to, really rests in the cathedral.

True, there are discrepancies regarding the burial place: according to some sources, the ashes of the great scientist lie under a slab near the central doors of the temple. In general, everything was not easy with Galileo: when he died in 1642, the Pope was categorically against this man being buried in Santa Croce. I think there is no need to remind the story of Galileo’s conflict with the church; it is well known to everyone. Even the patronage of the Medici did not save the scientist from disgrace, which continued after his death.

The all-knowing Wikipedia reports that Galileo was first buried in Arcetri and only 100 years later his ashes were transferred to the cathedral. In reality, it seems, everything was different: the Medici managed to convince the pope to compromise, and the scientist was immediately buried in Santa Croce, but not where the luxurious monument now stands (it appeared only in 1737), but in a modest corner inside the Medici Chapel, where a memorial sign is now installed.

Let's move to the opposite wall. Along the way, pay attention to the monument to the poet Niccolini (3) at the very door.

The female figure used in the design of the monument is very reminiscent of the famous Statue of Liberty. It turns out that there is still active debate on the topic of “who plagiarized whom when creating the statue.” Some researchers believe that it was the figure on the Niccolini monument that served as a source of inspiration for the author of Liberty. For reference: The Statue of Liberty was completely finished in 1886, and the monument to the poet is dated 1872.

Well, we are already standing in front of the majestic tomb of Michelangelo (4) with a monument by Vasari.

One of the greatest geniuses of the Renaissance died in 1564. Pope Pius IV intended to erect a tomb for him in the Cathedral of St. : After all, Michelangelo did no less for Rome than he did for Florence. But somehow the Florentines managed to secretly transport the master’s body to their hometown, and as a result he was buried in Santa Croce.

We begin to walk up along the southern nave of the cathedral. On the right we see the already mentioned Dante cenotaph (5).

By the way, at one time the poet studied at a school at a local monastery. She was considered one of the best in Florence, and among her students were several future popes.

In the next niche is the tomb of the famous politician and thinker Niccolo Machiavelli (8).

His study of politics as an "experimental science" and the views he expressed in The Prince had a significant influence on both the theoretical and practical aspects of the political activities of many famous people, for example, Napoleon. Well, the inscription on the monument modestly states that it is impossible to find an epitaph worthy of this man.

Let's continue our path along the southern naves. Please note that on the wall is Donatello’s work “The Annunciation of Cavalcanti” (9).

In the image, the angel who brought the good news kneels before the Virgin Mary. They say that this work from 1435 was housed in the basilica from the very beginning and never moved anywhere, which is very uncharacteristic for masterpieces of that turbulent era. A little further along the wall there are several more noticeable monuments, one of them to the composer Rossini (10).

If you wish, you can find in Santa Croce the tombstones of many more figures of the past, but now, having paid tribute to the great Florentines, we will move on to examining the famous paintings in the chapels of Santa Croce.

Chapels of the basilica

Have you ever heard of Stendhal syndrome? This is when a person becomes ill (the heartbeat quickens, dizziness begins, etc.) from an overabundance of works of art around him. This is the disease of delight. This disease is named after the famous writer, who described his own state of health after visiting one of the churches in Florence. You might be interested to know that this temple was Santa Croce.

Let's see what shocked the writer so much.

Donatello's Crucifixion

Let's go to the point marked 11 on the diagram and stand so that the main altar is to our right. There is an area ahead where visitors are usually not allowed (it is highlighted in dark gray on the plan). In temple-museums in Italy, they often set aside a small space reserved for believers who came specifically to the temple, and not to the museum, and do not want to come into contact with tourists. In Santa Croce these naves are used for these purposes: to the left of the main altar. In principle, there is nothing particularly interesting there, with the exception of the wooden Crucifixion by Donatello from 1408 (12), which has to be viewed from afar.

There is an interesting story connected with this Crucifixion. As you know, Donatello was friends with the no less great master Brunelleschi, the architect of the dome of the Duomo and many other objects in Florence. So, having finished the Crucifixion, Donatello wanted to know his friend Filippo’s opinion about this work.

Brunelleschi was generally not in the habit of praising the work of others, and in this he seemed to make no difference between friends and enemies. Therefore, he honestly told Donatello that what he got was not Jesus, but “some peasant” on the cross. The master, of course, was offended and invited Brunelleschi to “show his class” - to make his own crucifix. He agreed, although this was, in general, not his specialization. Well, then, when Donatello saw the result of the work of his friend Filippo, he was deeply shocked and admitted defeat. Whether his own Crucifixion was so bad, judge for yourself.

And if you want to see Brunelleschi’s work, go to, it is exhibited there.

Main altar of the Basilica of Santa Croce

Now we approach the main altar of the basilica (13). It attracts the eye from afar, but up close it makes an absolutely fantastic impression.

The walls of the altar were painted by Agnolo Gaddi at the end of the 14th century. Here are plots on the topic of finding the Cross of the Lord, the details of which are taken from a collection of Christian legends popular in the Middle Ages. Once upon a time, a branch from the tree of knowledge was planted on Adam’s grave. From it grew a new tree, which was used to make the very cross on which Jesus was crucified. On the right, pay attention to the fresco “Saint Helen finds three crosses and the Cross of the Lord heals the dying woman.”

It’s interesting to look at the details here: a monk is fishing from a bridge, a dog is barking at a lumberjack, for some reason a lion is sitting in the corner. Perhaps all these details symbolize something or the artist creates the desired “mythical” flavor in such an interesting way, I don’t know.

On the left wall there is a continuation of the legend: St. Helen brings the Cross to, but then the city is captured by the Persian king Khosrov and steals the relic. Note the Persian headdresses in the shape of wolf heads.

In the end, everything ended well: Khosrow was beheaded and the Cross was returned to.

As was customary in those years, on some frescoes the artist depicted himself and other people of his time. By the way, the stained glass windows in the windows behind the altar with images of various saints are also by Agnolo Gaddi.

Bardi and Peruzzi Chapels

We move to the right of the altar. The first on our way will be the Bardi Chapel (14). It was in it and in the neighboring Peruzzi Chapel (15) that restorers were able to find ancient frescoes by Giotto. They were painted over with chalk in the 18th century, apparently considering them too old and not of artistic value. But these frescoes of the 20s of the 14th century were once admired and inspired by the future geniuses of the Renaissance Michelangelo and Leonardo da Vinci!

Giotto's frescoes were cleared of later layers only in the middle of the 19th century. In the Bardi Chapel you can see restored images of scenes from the life of St. Francis. These frescoes are considered one of the best in Giotto's work. Above, for example, “Trial by Fire.” And below is “The Death of St. Francis."

In the Peruzzi Chapel, the images are less well preserved (or the hands of restorers have not yet reached them). There are also scenes from the lives of saints, this time John the Evangelist and John the Baptist. In the photo below “Death and Ascension of St. John the Baptist."

The neighboring chapels are not so popular among tourists: plans and guidebooks usually say nothing about them. But even here you can find a lot of interesting things. In the Velluti Chapel, my attention was drawn to the image of the battle between the Archangel Michael and the dragon. Take a look, don’t you find anything strange here?

In my opinion, the artist Jacopo del Casentino (a student of Giotto) imagined a multi-headed monster in a very unique way. In theory, a large number of heads should complicate the life of the dragon’s opponents, but in the fresco their function is completely unclear, except to spur the main head with bites.

Chapels of Castellani and Baroncelli

The Castellani Chapel (16) was painted by Agnolo Gaddi, already familiar to us, and the Baroncelli Chapel (17) by his father Taddeo Gaddi. The first presents a variety of religious subjects.

Here is the “Vision of St. John on Patmos."

What especially attracts attention here is the dragon who is about to eat the baby savior, and the baby himself is very strange-looking.

Here is the fresco “The Massacre of St. Anthony by demons."

In general, many of the scenes in the Castellani Chapel are related to violence. Here is poor St. Apollonia, whose torturers knocked out all her teeth (she is now the patroness of dentists), and not far away someone is being run over with a cart.

The painting of the Baroncelli Chapel was completed in the 1330s. It is believed that the fresco “The Presentation of the Virgin Mary into the Temple” is one of the first medieval works with the creation of perspective.

Nearby is another interesting work - “The Betrothal of Mary”.

In Joseph's hand was a blossomed almond staff, from which a dove flew out (which was a sign of his chosenness). And not far away, the rejected groom breaks his own staff out of anger.

Also in the Baroncelli Chapel there is a beautiful altar, probably by Giotto.

Medici Chapel

To the left of the Baroncelli Chapel there is an exit to the corridor (18), which leads to the Medici Chapel (19). This chapel was added to the basilica by 1445, commissioned by Cosimo the Elder, by the architect Michelozzo. But don’t rush, there is also something to see in the corridor itself. For example, the painting by Neri di Bicci from 1461 “The Holy Trinity surrounded by Saints Benedict, Francis, Bartholomew and John the Baptist.”

The Medici Chapel in Santa Croce is architecturally modest. But on the side walls we see large-scale paintings by Renaissance artists: “The Descent from the Cross” by Allori and “The Descent of Christ into Limbo” by Bronzino.

The last picture is especially interesting. Limbo is a purely Catholic concept; it denoted the place of residence of souls who did not deserve to be in heaven, but also did not deserve hell and purgatory. Limbo should contain the souls of unbaptized infants and worthy people (including virtuous pagans) who died before the coming of Christ. There are babies in Bronzino’s painting, everything is clear with them, but it is quite difficult to identify other people, including the half-naked ladies on the canvas. Probably, there are some ancient philosophers of Ancient Greece and Rome, whom the Catholic Church greatly revered and worried about their fate. The strange devils at the top (you also see one of them with female breasts growing out of nowhere?) apparently symbolize the fact that, according to Dante, Limbo was still considered the first circle of hell. Well, the Catholic Church eventually abandoned the concept of Limbo, more recently, in 2007.

The central altar of the Medici Chapel is decorated with a terracotta sculptural composition by Andrea della Robbia “Madonna and Child, Angels and Saints.”

And on the side of the altar there is a small niche in which Galileo was originally buried.

Sacristy and Well Room

The side door at the entrance to the corridor in front of the Medici Chapel leads to the Sacristy (“Sacristy” in Italian) (20). This spacious 14th-century hall was once used for preparations for services and for monastic meetings. The central wall of the Sacristy is decorated with works by Giotto's students: Gaddi, Aretino and Djereni. These frescoes depict gospel stories about the crucifixion and resurrection of Christ.

Near the opposite wall hangs the Crucifixion by Cimabue; its story is truly tragic.

During the flood of 1966, a significant part of the image was washed away from the cross. Moreover, after the end of the disaster, many pieces were found in the basilica, and the Crucifix could be almost completely restored. The museum workers went out to have a snack, leaving the found fragments to dry, and at that time the cleaners arrived at the cathedral. In accordance with the instructions, they began to wash away the dirt from the premises of the temple with strong jets of water, not paying attention to the unpresentable scraps lying on the board. Alas, with this water the fragments of Cimabue’s Crucifixion flowed away forever.

The grief of museum workers and art historians can be understood - Cimabue was one of the main forefathers of the Renaissance, who worked back in the 13th century (he died in 1302). It is believed that Giotto studied with him; by the way, both masters are mentioned in Dante’s Divine Comedy:

Cimabue's brush was famous alone,

And now Giotto is celebrated without flattery,

And the painting is darkened.

In the Sacristy you can also find such relics as the cassock and belt of St. Francis himself - they are carefully kept behind glass.

Nearby is the Rinuccini Chapel (21), but it is usually closed to visitors, and viewing the interior through the iron grille is not very convenient. The chapel is decorated with frescoes by Giovanni di Milano.

Through the southern door we go into a small room called the Room with a Well (22). Until the 15th century, there really was a well here: a niche in the wall still reminds of it.

It now houses a museum shop and displays of photographs, mostly on the theme of the 1966 flood.

Orange courtyard. Bell tower of Santa Croce

Behind the store there is a glazed loggia from which you can go down into a cozy green courtyard (23).

I call it Orange tentatively (I just remember the orange tree here), it is not marked in any way on the museum plan, and in general, it is not always clear to tourists whether it is possible to go down here, and whether this is the exit from the museum?

In fact, this place is one of the entrances to the museum. I don’t know what groups of visitors are allowed here, but when, after a walk, we returned back to the loggia, our tickets were checked again. This walk came in very handy for me: fatigue was already making itself felt, and I needed a little rest from the masterpieces. I think you will also enjoy walking in the fresh air.

You can also safely exit through the door at the opposite end of the yard. Let's go around the corner of the cathedral and approach the bell tower of Santa Croce (24).

True, you can’t go up, but that’s okay: there are many other excellent viewing platforms in Florence. This bell tower, 78 meters high, was erected relatively recently: Gaetano Baccani completed its construction in 1865. On the scale of the Basilica of Santa Croce, 150 years, of course, is not old.

Well, now we return to the cathedral, go inside through the store and corridor, passing the Castellani Chapel, turn left. Near the monument to Leonardo Bruni we find a door (25) leading outside, and we go down into the courtyard (cloister) of the cathedral (26).

The first cloister. Pazzi Chapel

The first cloister is a long alley, limited along the perimeter by covered galleries.

On either side of the central path there is a green lawn, and on the south side among the trees there is a sculpture by Baccio Bandinelli “God the Father” (27).

You will still have time to go around the cloister, but now I suggest you go into the building, the facade of which resembles a triumphal arch in its design.

This is the famous Pazzi Chapel (28) - one of the recognized architectural masterpieces of the Renaissance. The Pazzi bankers were one of the richest and most influential families in Florence. They decided to make their family chapel in Santa Croce a separate building; this was definitely a challenge. The Pazzi competed with the Medici and hoped to eventually get rid of their competitors and take a dominant position in Florence. Ultimately, everything led to the famous Pazzi conspiracy of 1478, when they, together with their supporters, tried to stage a coup. The conspirators managed to kill Lorenzo the Magnificent's brother, but he himself escaped, and this predetermined the outcome of events. The people supported the Medici, and the Pazzi family was slaughtered almost completely. Their property, naturally, was confiscated, and even the family coat of arms was forever banned. But the Pazzi Chapel in the Basilica of Santa Croce remained: it aroused such admiration among contemporaries that they did not dare touch it.

The chapel was built by Brunelleschi, the work took almost 20 years and was completed by 1460. They say that during the construction of the Pazzi Chapel, the master tested the technique of constructing a dome, which he later brilliantly implemented in the Duomo. Everyone notes the ideal proportions and simplicity of lines in the interior design of the chapel: the dome framed by the side vaults looks extremely beautiful.

At the top there is a picture of the night sky with the signs of the zodiac. Decorative elements of the chapel's interior (for example, terracotta medallions depicting the apostles) are mainly by Luca and Andrea della Robbia. But the four medallions with the evangelists around the dome were created by Brunelleschi himself.

The Pazzi Chapel has rows of chairs, so that its interiors can be viewed from a comfortable position on one of them.

Museum of Santa Croce

The Santa Croce Museum (29) is located in a building on the south side of the first cloister. Before heading inside, go to the second cloister of the cathedral (30).

It was designed by Bernardo Rossellino and has a very traditional appearance for a medieval monastery. Well, now to the museum. It is quite small; viewing the exhibition will hardly take you more than half an hour. In the first rooms, pay attention to the marble tombstone of the former Archbishop of Milan, Cassono della Torre.

His life, apparently, was stormy: political squabbles, conspiracies, expulsions - everything was as it should be in medieval Italy. Cassono died in Florence, falling from a horse, and was buried in Santa Croce. The 1319 tombstone was originally located inside the cathedral.

The museum displays sculptures and small frescoes by famous masters such as Giotto.

In the room next to it is another Crucifixion (we saw a lot of them today), this time by Lippo di Benivieni, who worked at the beginning of the 14th century.

By the way, among the exhibited stained glass windows there are also the oldest examples created by Giotto to decorate the basilica in the period from 1305 to 1310.

The last room of the museum is the former monastery refectory (31), on the wall of which we see some of the most famous and large-scale frescoes of Santa Croce: “The Tree of Life” and “The Last Supper” by Taddeo Gaddi from 1333.

Here are also a few remains of frescoes (“Triumph of Death”, “Inferno”) by Andrea Orcagna, another master who had a hand in creating the original interiors of Santa Croce.

Well, don't miss the statue of Louis of Toulouse, created by Donatello around 1443.

For a long time it was located in another Florentine church, Orsanmichele, then it decorated the gray facade of Santa Croce, and after the construction of the current Louis façade, it was moved inside the cathedral.

Keep in mind that in October 2016, when I was last here, the refectory was undergoing restoration work and visitors were not allowed inside. The Last Supper, however, could be admired from afar.

Well, our acquaintance with the Basilica of Santa Croce can be considered successful. We move to exit (32) and find ourselves in Piazza Santa Croce.

How to get there

The Basilica of Santa Croce (1) and the square of the same name (2) are located almost in the center of Florence, easily accessible on foot. You can also get there by bus, for example, on route C3, stop Magliabechi.

Piazza Santa Croce has hardly changed since the 14th century: Lorenzo the Magnificent held his tournaments here. Pay attention to the curves of the houses on via Torta (3) - they repeat the shape of the amphitheater that was located on this site in ancient times.

From Santa Croce it is a stone's throw to Piazza della Signoria (4) with its many attractions and the Uffizi Gallery (5). And if you wish, you can, on the contrary, go a little further away from the center and see, for example, the Vasari Fish Loggia (6), which adorned the Florentine market of the 16th century.

And not far from here is the modern market of Sant'Ambrogio (7), where (unlike the central markets) not only tourists, but also the residents of Florence themselves shop.

Anything to add?