Palazzo Signoria in Florence. Signoria Square in Florence

Even in the Gothic era, during the construction of the main square of Florence, there was a desire to give it the shape of a rectangle, if possible, in accordance with the systematic construction of houses. The area appears to the eye much more symmetrically than on the plan. This is the age of Dante. Proud of their liberation, the Florentine people decided to build a city palace that would speak of the greatness of the republic. Arnolbo di Cambio erected in 1299 a rich massif with Terre della Vacca, that "giant dominating the city" (Vasari) on the southeast corner of the flat area, which was formed by the destruction of the houses of the Ghibellines of Ubreti and the demolition of the purchased houses of Ormanni, nicknamed Foraboschi and della Vacca in Sesto S. Pier Scheraggio/ In 1319 and 1355, thanks to further purchases of plots, the area was expanded and acquired an even more regular shape. Starting from Orcagna, from where the Malespina family had its city palace, in the years 1376-1378 the Loggia dei Lanzi were built for the most important republican celebrations. The architectonic decoration of the square, however, was never completed, despite the fact that even Michelangelo, responding to the request of Cosimo I (Medici), advised him to surround the entire square with loggias. The area as a whole gives the impression of being closed, although the adjacent streets open onto it. However, they do not disturb the overall impression, moreover, in some places they offer a charming view from afar.

Lodge of Lanzi

The construction of the Uffizios was begun by Vasari in 1560, for which it was necessary to demolish the old church of St. Petra Sceragio and many other houses. In 1574 the Uffizia were finished; however, they did not increase the space of the square, but only created a monumental approach to it, so energetically expressed at Torre della Vacca that the formation of baroque is already felt in it. The street that opens on the opposite side of the Piazza Vecchio was once as wide as Via Calzaioli. Here was previously the church of St. Caecilia.

Piazza della Signoria is the heart of the city of Florence. They brought here in 1495, during the popular uprising, “Judith” by Donatello, taken from the courtyard of the Medici Palace, and installed it to the left of the entrance of the city palace on Ringiera, where Donatello’s “Marzocco” had already stood - a lion holding the city coat of arms: “Exemplum salutis publicae posuere cives" is an expression that characterizes the close connection of the people with their sculpture. When, nine years later, the figure of Judith was to give way to Michelangelo's "David", she was placed under one of the arches of the loggia.

Bronze "Perseus" Cellini

In January 1504, representatives of the weavers' guild convened a meeting of the best Florentine artists. At this meeting it was reported that Michelangelo's colossal "David" had already been completed, and it was only necessary to discuss the place of its installation. The minutes of this meeting have been preserved and published by Gaye. Of particular interest in it are the statements of Messer Francesco, the first herald of the Signoria, and the architect Giulio da Sangallo, whose opinion was shared by Leonardo da Vinci.

Michelangelo's David against a background of rough rustication

Francesco considered two places particularly suitable: the place in front of the city palace, where "Judith" stood, and the middle of its courtyard, where, since the robbery of the Medici palace, "David" by Donatello had stood. Here, first of all, the desire to connect this sculpture, as the emblem of the city, with the palace is evident. “The best thing,” adds Francesco, “would be, of course, if this figure were put in the place where Judith stands.” Understanding perfectly well what is required for a sculpture that is still completely interpreted from the front, and noting the practical inexpediency of exposing fragile marble to the influence of nature, Giuliano speaks out in favor of placing the figure under the middle arch of the loggia or at its inner back wall so that the niche painted in black served as a backdrop. In both cases, a relief impression of the figure would be achieved.

Theoretically, the requirement of a niche for the location of the statue was also put forward by Alberti. Until that time, it was the main place for sculpture, and it is precisely with its sharp frame borrowed from the Gothic that it fundamentally differs from the later baroque niche. The latter is an indefinitely extended space, giving figures and turning off its visibility from behind. The Renaissance niche frames the figure and acts as a dark background, so that Giuliano could finally be content with the painted niche. With a one-sided interpretation of the figure and turning off its visibility from behind, the entire artistic effect is concentrated on the front plane. Everything concentrates on revealing the relief and contours. The figures of the Medici Chapel by Michelangelo are the most mature fruit of this artistic tradition.

Finally, Michelangelo himself is left to choose a place for his sculpture. He chooses a place to the left of the gates of the city palace, in front of a dark, monotonous, but powerful stone wall. The installation of the young giant on May 18, 1504 becomes an event for Florence. After installing the figure, Michelangelo corrected something in it, as the environment and lighting conditions required some changes. Vasari repeatedly comes across remarks that only in the open air and thanks to the special lighting of the installation site, the plastic merits of this work were revealed.

Thus, the sculpture, treated like a relief, is placed against a wall, which limits the possibility of seeing it from other sides and gives a dark background, thanks to which the white marble stands out sharply and attracts attention. A sculpture placed against a wall does not need to dominate the entire square, which is so necessary for the artistic effect of a sculpture placed in the middle of the square; in addition, with such an arrangement, it is possible to place a large number of plastic works in the most advantageous way. Of course, in this case, certain relationships between individual sculptures in terms of motif, proportions, material, color and correct distances must be observed. “Jewelry piled up is not exciting,” says Alberti.

Michelangelo of a more mature age and the era following him, of course, would have interpreted the motif of a round figure differently. But regardless of this, they would have condemned its lightness against the background of a huge flat wall (in the early Renaissance, a very shaky connection between plasticity and its background is repeatedly found) and would rather join the proposal of Giuliano and Leonardo. Even at the end of the 16th century, this principle of “attachment” continues to exert its influence: “The Rape of the Sabines” by Giovanni da Bologna is installed in 1538 under the right arch of the loggia, although this sculpture is entirely worked out in a rounded plastic form. Better located is the bronze figure of Perseus by Cellini (1533), located in the through corner arch of the loggia: there is space around this bronze, and the view from behind does not disappear. Bandinelli, out of jealous vanity, placed his "Hercules" (1534) next to the figure of "David" at the corner of Rintier.

Considering that the location of the fountain in the middle of the square would violate the harmony of the entire ensemble, since due to the imbalance of the sides of the square, its center of gravity does not coincide with the mathematical center of the plane, Ammanati installed his fountain on the corner of the Palazzo Signoria (1571). There, this fountain, thanks to the frontality created by the figure of Neptune and water horses, harmonizes well with the rest of the sculptural decorations. The bronze equestrian monument of Cosimo I by Giovanni da Bologna (1594) lengthens the line of marble sculptures brought out into the open, and successfully cuts off the part of the space remaining behind it in order to thus give the main square a rectangular shape.

The fountain of Neptune by Giovanni da Bologna (1567) in Piazza del Nepttuno in Bologna performs the same function. In this city, in honor of the visit of Paul III, an equestrian limestone statue was erected in 1541 on the very spot where the monument to Victor Emmanuel now stands. Obviously, the choice of this place was considered unfortunate and the fountain was installed where it is the target of the movement of Via Indipendenza, the main street, and Via d'Azeglio, but first of all it so divides the irregular square that two separate rectangular squares have arisen.

For all its imperfections, Piazza della Signoria is one of the most wonderful squares in Italy. “When you enter her, your gaze plunges into an immense expanse, and with all your being you rejoice at the diversity and beauty of her charming outfit.” The palazzos and loggias make a powerful impression, and one can only regret that Michelangelo's proposal was not implemented. A series of intertwined sculptures wraps around the square like a belt, the shining buckle of which is Fonta Ammanati.

Sculpture Bandinelli "Hercules and Cacus"

In the first edition of this book in 1908, regret was expressed at the absence of the figure of David in the square, at least in a copy. In 1873, the figure of David was transferred to the building of the Florentine Academy and fenced with bars. Here she was in completely opposite spatial and light conditions, so that when viewing the figure from all sides, the connection of planes and the continuity of contour lines were destroyed. At the insistence of the sculptor Fanfani, a copy was made of it in 1909, which was erected in the old place. Thus, the damage caused to the area is fixed.

As the plan and photograph taken by me in 1921 show, three huge marble figures - Hercules, David and Neptune - and a bronze equestrian figure are installed in one row. Their function as a whole is as follows: to form a protruding base of the palace block and continue the limiting influence of its walls on the space of the square far beyond their real limits; creating a row, visually connected with the figures of the loggias, to approve the rectangular shape of the Renaissance square. Only the bronze lion of Donatello was pushed forward, and this was an effect of subtle artistic calculation: being smaller in scale, it would suffer from being in a row with others, and special emphasis had to be placed on it.

Monument to Cosimo I (Medici), Giovanni da Bologna

Now, on the contrary, another mistake has been made, although without damage to the square itself, but not without damage to one of the most valuable monuments of Florentine Quattrocento sculpture.
"Judith" Donatello repeatedly changed its place. At first, she stood in the middle of the courtyard of the Palazzo Medici, and, according to Vasari in Bandinelli's biography, she could be perfectly seen through the arch of the gate. After the expulsion of the Medici, it was placed in front of the Palazzo Vecchio and provided with an inscription. When later, after long deliberations, this place was provided for the colossus of Michelangelo's "David", it was moved under the arch of the loggia dei Lanzi, and there it stood in favorable large-scale conditions until 1919. The end of the war gave hearts again in front of the palace - exemplum publicae salutis: Holofernes is no longer a symbol of the Medici, but of Austria. She stands now between a copy of "David" and "Marzocco". It was impossible to do this bronze figure of normal human size a worse service than placing it among the gigantic statues of Michelangelo, Bandinelli and Ammanati, the marble of which still increases their power with its radiant whiteness. She gives the impression of a miserable bunch; its dark bronze barely stands out against the background of heavy rustication, when, like bronze, it needs air from all sides.

The world-famous Piazza della Signoria in Florence was at one time a very important object for the inhabitants of the republic. Even under the empire of Rome, a theater was located on its territory, where not only plays were staged, but also important political topics were raised.

Freedom Center

Subsequently, the place was occupied by the nobility and the nobility. On the land they built splendid estates. So, 36 towers belonging to the Uberti family were built. Representatives of this genus were called Ghibellins. They supported the emperor. But in 1260, merchants, merchants and artisans - the Guelphs, who condemned the ruler and promoted the power of the pope, broke all the buildings. Since then, it was believed that this land was cursed and it was forbidden to build on it.

Piazza della Signoria in Florence was a witness to many political, social and public upheavals. A photo of the place where the most important issues were resolved can be seen in the article. Later, the territory became the center of government of the republic.

New old palace

One of the most important objects is the house, which currently serves as the town hall. This is the work of the Italian architect Arnolfo di Cambio. The first stones were laid in 1298. After the construction was completed, the building was occupied by the government of the communes (prior). Its representatives were the heads of workshops and manufactories. They moved here from the Bargello building. Therefore, the previous monastery began to be called the old palace, and the part of the building, where the windows overlook Signoria Square in Florence, was called the new one.

From the assessors came the first name. The area in front of the building was called Priorov Square.

In the 15th century, the house was rewritten in della Signoria. The transformation was caused by the fact that the ruling link declared themselves seniors. But such a nickname existed until 1540. Then Cosimo I, a representative of the Medici line (oligarchic clan), settled in the palace. The building was dubbed Palazzo Ducale, and the area under the walls - Grand Duke's Square. But the rich man did not like living here. He soon moved. The building, which was considered new, automatically became old, which is why it received the following name - Palazzo Vecchio, which it bears to this day.

Greek heroes in Italian art

Thousands of cities and squares have survived revolutions and Florence, Piazza della Signoria, is no exception. The sculptures, which the whole city is proud of, aimed not only to exalt the fine arts, but also to create a certain ruler, who went to decide the fate of the republic in the Palazzo Vecchio, had to tune in to justice.

Another interesting monument of the square is the Loggia of Lanzi. At first, the arch was used for receptions held by the republic.

Now all the exhibits are just on the street. These are such brilliant compositions as "Hercules and the Centaur", "Perseus and the Head of Medusa", "The Rape of the Sabine Women", "Menelaus with the Body of Patroclus". Currently, they are not just for contemporary artists, but immortal works of art and the pride of mankind.

Business card of Florence

The figure that changed the idea of ​​sculpture was unveiled on September 8, 1504. The Signoria Square in Florence had the honor of showing David to the world. The photo of this marble man is the most popular among all the pictures of stone and metal works. Michelangelo portrayed the hero before the battle with Goliath.

The statue has real combat damage. In 1528, during the uprising, heavy objects were thrown down from the windows of the Vecchio. One of the benches hit David and beat off his hand. In three days it was glued back.

In 1873, they decided to transfer the statue to the Academy of Fine Arts in order to save it from the harmful effects of atmospheric phenomena. In 1910, a copy took its place.

Rival Michelangelo

The symbol of strength was "Hercules defeating Cacus". Baccio Bandinelli worked on it. The demigod is located next to David, on the right side of the entrance to the palace, which separates Piazza della Signoria in Florence from the city. The plan of this composition is ambiguous.

According to the master's idea, this is the embodiment of law and justice. The sculpture took its place in 1534.

The project brought popularity to Baccio Bandinelli. After the author of David left the city, he was given the primacy in art. Despite the fact that the fame of his predecessor irritated him, the man tried to adopt the style of his opponent.

His Hercules proudly raised his head, because in an equal fight he defeated the son of Hephaestus, a terrible monster.

Behind the back of the pedestal is a relief carved by Michelangelo. According to legend, the creator made a bet with someone that he was so talented that he could depict the face of a criminal who was waiting for execution without even looking at him.

Image of independence

One of the first statues that adorned Piazza della Signoria in Florence (Italy) was the work of Donatello "Judith with the Head of Holofernes". The legend of the plot gained great popularity during the Renaissance. The myth says that an army attacked a peaceful village. One beauty decided to help her native land. She changed into her best outfit and went to the military camp. There, under the spell of Judith, the commander-in-chief of the army fell. The couple retired, and when the commander fell asleep, the beauty killed him. Thus the village was saved. In art, a brave maiden is depicted with a severed head in her hand.

Piazza della Signoria in Florence aims to convey various kinds of ideas to the authorities. The heroine has become a symbol of patriotism and independence. At first it was intended for the Medici garden, where it decorated the fountain. But in 1495 there was a coup, the oligarchs were overthrown. The sculpture was stolen and placed on the square. When the rulers again headed the republic, everything that the people took was returned. The only thing that was not taken back was "Judith with the head of Holofernes." She became the embodiment of the struggle of the people against the authorities.

Two masters of one project

Another gem - Author - Bartolomeo Ammanati, one of the most hardworking sculptors. The year of birth of the pedestal is 1570. The composition is centrally located and visually heads Piazza della Signoria in Florence. Interesting facts associated with the statue make you smile. At the opening, the audience was unpleasantly surprised by the work of the master. Residents chanted: "Ammanati, Ammanati, how much marble did you spend."

The main character is the god of the oceans. He leads a chariot drawn by sea horses.

Complemented the Giambologna ensemble. Bizarre bronze creatures on the edge are his creations.

The fountain was used daily for domestic needs. In 1720, the authorities hung a plaque on the wall of the palace, which can still be seen today. It said that from now on, everyone who does laundry, throws garbage or bathes in the fountain must pay a fine.

Italy is famous for carnivals. Received guests in masks and Piazza della Signoria in Florence. So, in 1830, one of the statues (thrown over a suit) was stolen by vandals. Her fate is still unknown. Within a year, the city installed a replica in its place.

Piazza della Signoria (Florence, Italy) - description, history, location, reviews, photos and videos.

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Situated in front of the Palazzo Vecchio, Piazza della Signoria is home to a host of interesting sculptures, from Michelangelo's David to Donatello's Judith and Holofernes and Cellini's Perseus with the Head of Medusa. At one time, the Holy Inquisition and prominent political figures of the republic set fires here in order to get the love of the townspeople. The latter, of course, means the legendary Savanarola, who, calling for a fight against luxury, lit such a fire of books, clothes, paintings and musical instruments that the devil felt sick. A year later, in 1498, the Inquisition was already frolicking here, burning Savanarola himself at the stake. As you can see, the square has a rich history.

If we return to the architectural charm of Piazza della Signoria, then there is something to please the taste of even the most reverent art lovers. The L-shaped square is a one of a kind allegorical cycle of statues, supposed to inspire the rulers of the Republic of Florence on their way to the Palazzo Vecchio. It seems that the area coped with its task "five plus". To understand why, it is enough to take a closer look at the copies of the masterpieces that have been standing here in silent silence under the light of the moon for years for the amusement of the public.

For example, "David" by Michelangelo (1501-1504), which every schoolboy is able to recognize today, and every Italian businessman is in a hurry to sell an apron depicting spicy naked parts of David's body to tourists. The sculpture was created during the Second Florentine Republic, when Savanarola came to power after expelling the Medici. So, under Goliath, with whom David is about to fight, they meant the French king Charles VIII and Pope Alexander VI Borgia, who were trying to capture Florence.

It is worth paying attention to Donatello's (1455-1460) "Judith with the Head of Holofernes", which, by the way, was first made for the Medici Palace, but with the announcement of the Republic it was moved to Signoria Square. A couple more sculptures belong to Donatello's hand in the square - this is "Marzocco" (a lion with an iris on a shield) and two stone lions near the loggia of Lanzi.

To the right of the entrance to the Old Palace stands "Hercules defeating Cacus" by Baccio Bandinelli.

Note the stone with a scratched human profile behind the sculpture. According to legend, Michelangelo left it here, arguing that he could carve a portrait of a villain who was about to be hung in the square, turning his back to the stone.

It is worth paying attention to the fountain of Neptune by the hand of Bartolomeo Ammanati, which appeared on the square on the occasion of the marriage of Francesco I Medici (1570). Finally, the loggia of Lanzi, built from 1376 to 1382 by Benci di Cione and Simone di Francesco Talenti, is of amazing work. Designed for meetings and receptions of the Florentine Republic, today this loggia is a real open-air museum. Of course, the main local attractions are the sculptures of ancient heroes, in particular the “Abduction of Polyxena” by Pio Fedi, “Hercules and the Centaur” and “The Abduction of the Sabine Women” by Giambologna, “Perseus with the Head of Medusa” by Cellini.

Almost all the sculptures in Piazza della Signoria are copies. The only exception is Cellini's Perseus.

Address: Piazza della Signoria

Florence is one of the most popular tourist cities in Italy. Florence is known as one of the major centers of the Italian Renaissance and has an ancient history dating back to the Roman period. Florence has some of the best museums in Italy, plus you can see magnificent cathedrals and churches, walk through historic streets and squares, and shop in the local shops. Below we provide a list of the main and most popular historical monuments in Florence. Most of the main attractions of Florence are located in the historic city center.

Piazza della Signoria and Palazzo Vecchio

The most famous square in Florence - Piazza della Signoria - is located in the heart of the historic center of the city. The history of the square begins in the Roman period, when a theater was located on its territory. During the Middle Ages, the square became the main center of the political life of the Republic of Florence. The square housed the palace of the government of the republic, known as the Palazzo Vecchio. The palace was designed by Arnolfo di Cambio between 1298 and 1310. It was in the building of the palace that the premises for those condemned to death were located, here Cosimo Medici was under arrest, and here the last days of Savonarola passed. It was in the window openings of the palace that the participants in the Pazzi conspiracy, who made attempts on the life of Lorenzo the Magnificent, were hanged. After the abolition of the republic, the palace became the residence of the great dukes of Tuscany from the Medici dynasty.

Piazza della Signoria is known for its sculptural monuments, unfortunately, most of the monuments are copies. The original among the sculptures of the square is the statue of Cellini "Perseus". Among the monuments on the square you can see Michelangelo's David, Donatello's Judith with the Head of Holofernes, and the Fountain of Neptune, created by Bartolomeo Ammanati on the occasion of the marriage of Duke Francesco Medici in 1570.

Duomo - Cathedral of Santa Maria del Fiore

Florence Duomo (Cathedral of Santa Maria del Fiore) is rightfully one of the most famous sights of the city, which during the Renaissance was called one of the wonders of the world. The huge Gothic cathedral was designed by several architects. The original design belonged to Arnolfo di Cambio, after which the project was finalized by Filippo Brunelleschi and Giotto. The construction of the cathedral was carried out intermittently, starting in 1296, and was completed only in 1436. The cathedral can accommodate up to 20,000 parishioners. One of the main attractions of the cathedral is the famous dome, designed by Brunelleschi and one of the symbols of the city. The Cathedral of Santa Maria del Fiore witnessed a number of historical events, here in 1478 an attempt was made on the life of Lorenzo and Giuliano Medici, Savanorola read his sermons from the pulpit of the cathedral.

The famous Uccello clock, installed in 1443 and operating to this day, stands out in the interior of the cathedral (the uniqueness of the clock is the reverse movement of the hands). The walls of the cathedral are decorated with frescoes depicting prominent urban figures of Florence from the Middle Ages, including Dante. On the territory of the cathedral are the tombs of Giotto and Brunelleschi.

Monuments of Florence: Baptistery of San Giovanni

The Baptistery of St. John the Baptist (Baptistery of San Giovanni) is located in Piazza del Duomo, next to the Cathedral of Santa Maria del Fiore and Giotto's campanile. The Baptistery of San Giovanni is one of the oldest surviving buildings in Florence. The baptistery building was built in the Romanesque style between 1059 and 1129. Until the 19th century, it was here that all babies in Florence were baptized, including the poet Dante Alighieri and all representatives of the Medici dynasty.

The inner arch of the dome of the building is decorated with Byzantine mosaics from the 13th-14th centuries. The unique marble floor of the building contains images of the signs of the zodiac. On the territory of the building is the famous tomb of Antipope John XXIII, the work of Donatello and Michelozzo. The Baptistery of San Giovanni is open to the public every day from 12.00 to 19.00, on holidays and Sundays the building is open from 8:30 to 14:00.

Campanile Giotto - architectural monument of Florence

Giotto's Campanile (Giotto's Belfry) is located in Piazza del Duomo and is the bell tower of the Cathedral of Santa Maria del Fiore. Construction of the bell tower, designed by Giotto, began in 1334 and, after several interruptions, was completed in 1359. The height of the bell tower is 84.7 meters (according to the project of Giotto, the height of the tower was to be 122 meters).

A separate part of the building is made up of unique bas-reliefs of the bell tower, located on the lower tiers of the building, created in the 14th and 15th centuries by such masters as Giotto, Andrea Pisano and Luca della Robbia. In the niches of the third tier of the building there are 16 sculptural figures, many of which are the works of Donatello, now replaced by copies (the originals of the statues can be seen in the Cathedral Museum). A staircase of 414 steps leads to the top of the bell tower. From the top of the bell tower you have a wonderful view of the Cathedral and the dome of Santa Maria del Fiore, as well as the city of Florence and its surroundings.

Ponte Vecchio

The famous Ponte Vecchio (Old Bridge) was built in 1345 by the architect Neri di Fioravanti. A distinctive moment of the bridge are the houses located on both sides. Above the buildings is a superstructure called the Vasari Corridor, created specifically for Cosimo Medici, so that the duke could safely pass from the Pitti Palace to the Vecchio Palace, since the butcher shops were located on the bridge, from which an unpleasant smell emanated. In the central part of the corridor there is an observation deck specially created for Hitler's visit. The Ponte Vecchio was the first bridge in Florence across the Arno River and is the only surviving medieval bridge in Florence (other bridges were destroyed during the Second World War). Ponte Vecchio is located at the narrowest point of the Arno River, not far from the Uffizi Gallery.

Uffizi Gallery

The Uffizi Gallery is one of the most famous and largest museums in Florence and Europe. The museum houses one of the largest collections of Italian Renaissance art. The Uffizi Gallery is one of the most visited museums in Italy, with about 1.5 million visitors every year. The museum is housed in a palace built by Giorgio Vasari between 1560 and 1581. The placement of the collection and the transformation of the palace into a museum began in 1575. The main part of the museum exposition was the private collection of the Medici dynasty. The museum displays works by such prominent Renaissance masters as Giotto, Leonardo da Vinci, Sandro Botticelli, Michelangelo, Giorgione, Raphael, Titian, Uccello and Fra Filippo Lippi. Among the famous exhibits of the museum are the paintings "Spring" and "The Birth of Venus" by Botticelli, "Adoration of the Magi" and "Annunciation" by Leonardo da Vinci, "Venus of Urbino" by Titian.

In addition to the Renaissance collection, the museum has an extensive exhibition dedicated to ancient, Spanish, German, French and Flemish art. The museum is open to the public from 8.15 to 18.50 from Tuesday to Sunday. Days off: Monday, January 1, May 1 and December 25.

Academy of Fine Arts

The Academy of Fine Arts in Florence (Accademia di belle arti di Firenze) was founded in 1561. The Academy of Fine Arts is known for its collection of sculptures from the period of the 13th-16th centuries. Among the exhibits of the museum you can see the original of one of the most famous statues of the world "David" and "Prisoners" by Michelangelo, as well as "The Rape of the Sabine Women" by Giambologna. The museum presents a rich collection of Florentine paintings of the XV-XVI centuries. A separate museum exposition is a collection of musical instruments of the Medici family.

Boboli Gardens and Pitti Palace

Palazzo Pitti is the largest palace complex located in Florence. Palazzo Pitti originally served as the residence of the Medici family, and later the Dukes of Lorraine and the royal family of Italy. The palace facade is 205 meters long and 38 meters high. The interior of the palace is luxurious with an abundance of gold stucco, tapestries, frescoes and silk wallpaper.

Today, the Palazzo is the largest museum in Florence. On the territory of the palace complex there are the Gallery of Modern Art, the Palatine Gallery, the Porcelain Museum, the Silver Museum, the Carriage Museum, as well as the largest Italian museum of fashion history - the Costume Gallery.

In the Palatine Gallery you can see the world's largest collection of paintings by Raphael, as well as paintings by Rubens, Tintoretto, Caravaggio, Titian, Van Dyck. The painting of the halls of the gallery, made by Pietro da Cortona, is unique.

The Silver Museum houses a private collection of vases that belonged to Lorenzo the Magnificent. Here you can see Roman amphorae, Persian vases from the Sassanid era, as well as examples of vases from Venice and Byzantium. The main part of the collection is made by European masters, including a miniature version of Piazza della Signoria made of gold and precious stones.

Right behind the building of the Palazzo Pitti on the hills is one of the most famous Italian parks of the Renaissance - the Boboli Gardens. The Boboli Gardens were founded in the 16th century at the request of the wife of Duke Cosimo de' Medici, Eleanor of Toledo. The park was designed by Niccolo Tribolo, Bartolomeo Ammanati and Giorgio Vasari. On the territory of the park there are sculptures by Bernardo Buontalenti, who also created projects for a special grotto that separates the park and the palazzo. In the park are located: an amphitheater, which served as the venue for the first opera performances; in the middle of the amphitheater there is an ancient Egyptian obelisk taken from Luxor; on the main park path you can see the fountain of Neptune.

Monuments of Florence: Santa Croce

The Basilica of Santa Croce is located in the heart of Florence and is the largest Franciscan church in Italy worldwide. According to legend, Santa Croce was founded by Saint Francis of Assisi. The construction of the current building began in 1294 and was completed in 1442, when the basilica was consecrated by Pope Eugene IV. The building was built in the Gothic style.

The interior walls are decorated with numerous frescoes and sculptures by Giotto, Donatello, Antonio Canova and many other prominent Italian masters. The basilica houses the tombs of prominent Italian figures - Dante Alighieri, Niccolò Machiavelli, Galileo Galilei, Michelangelo Buonarroti, Guglielmo Marconi and Enrico Fermi. In total, there are about three hundred burial places of prominent Italians on the territory of the temple. The Basilica of Santa Croce is open to the public from Monday to Saturday from 9.30 to 17.30 and on Sunday from 13.00 to 15.30.

The main attractions of Florence: squares

Florence is known for its historic squares, which are sights and open-air museums in their own right. The most famous square of the city is Piazza della Signoria, located in the city center near the Uffizi Gallery. The Piazza del Duomo is small in size and practically occupied by the buildings of the Cathedral of Santa Maria del Fiore, the Baptistery and the Giotto Bell Tower.

Republic Square is one of the largest squares in the city, which houses luxury hotels and expensive cafes, as well as a carousel for children.

Piazza Santa Croce is located near the banks of the Arno River and is one of the largest squares in Florence. The square regularly hosts festivals, concerts and rallies. The square is surrounded by medieval buildings, including the Franciscan Basilica of Santa Croce.

Cafes, restaurants and the Florentine food market open daily from 8.00 to 14.00 in Piazza Santo Spirito. On Sundays, Santo Spirito Square hosts a large antiques flea market.

Michelangelo Square (Piazzale Michelangelo) is located in the Oltrarne district. The square is located on a hill above Florence and is the best place to observe the landscape of the city and its surroundings. On the square is a copy of the statue "David" by Michelangelo. In addition, the square is a popular tourist center where you can see many souvenir shops.

Shopping in Florence

Florence is known for some of the best shopping in Europe. In Florence, you can shop for leather goods, clothes, paper and jewelry, as well as wonderful local souvenirs and handicrafts. Florence has a number of outdoor markets selling food, clothing and antiques. The most famous is the market located around Piazza San Lorenzo, where you can find leather goods. Another great place is Nuovo Mercato (Porcellino) on Via Porta Rossa. The best place to shop for groceries in Florence is Mercato Centrale.

Florence is often referred to as an open-air museum, and with good reason. To enjoy the masterpieces of sculpture by brilliant masters, residents and guests of Florence do not need to visit museums and galleries, just go to the streets of the city. In the city center there is a huge collection of sculptures by the legendary Italian sculptors of the Renaissance.

Also on the streets of the city you can find ancient sculptures and statues found in the excavations of various cities of the Roman Empire. Which of these sculptures should be appreciated during a visit to Florence?

"David" by Michelangelo

The David is a masterpiece of Renaissance sculpture created by Michelangelo between 1501 and 1504. This is a marble statue 5.17 meters high, depicting a standing naked man. The statue represents the biblical hero David, a beloved figure in Florentine art.

It was originally commissioned as one of the sculptures in a series of prophets to be placed along the roofline of the east end of Florence Cathedral. Instead, the statue was placed in an open square, outside the Palazzo Vecchio, at the seat of civil government in Florence.

Because of the nature of the hero represented, the statue soon became a symbol of the defense of civil liberties embodied in the Republic of Florence, an independent city-state threatened by more powerful rival states and the hegemony of the Medici family. David's eyes are directed towards Rome with a warning look. The statue was moved to the Galleria dell'Accademia in 1873 and then replaced in its original location with a copy.

David is a recognized masterpiece of the great sculptor Michelangelo, which is recognized as a reflection of the talent and unique technique of the famous master.

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The rape of the women of Sabina

In the Loggia dei Lanzi in Piazza della Signoria in Florence, there is another ingenious creation of sculptural art - the statue "The Rape of the Women of Sabina". This work is by another famous Italo-Flemish sculptor of the 16th century, Giovanni da Bologna (Giambologna). The sculpture is dedicated to an incident from Roman mythology, according to which the Romans carried out a mass abduction of young women from other regions of the country. This topic was often covered by sculptors and artists, especially during the Renaissance.

The use of the word "rape" in the title of the sculpture is debatable, as modern scholars tend to interpret the term as "kidnapping" without tying the statue's title to sexual abuse. The incident itself occurred in the early history of Rome, shortly after its foundation by Romulus and his followers, among whom most were males.

In search of wives to create families, the Romans unsuccessfully tried to negotiate with the population of the Sabina region, wanting to marry their women. However, fearing a competitive society, Sabina's men categorically forbade their daughters from marrying Romans, which provoked the attack of the latter and the kidnapping of young women.

The sculpture "The Rape of the Women of Sabina" depicts two men and one woman, who is held by the abductor in his arms. The woman's face displays fear and despair, while the Roman seems to be aggressive and determined. The sculpture is considered a true masterpiece due to its realism and three-dimensional composition, which reflects the dynamics and emotional state of each of the characters in the scene.

Hercules defeating Cacus

A realistic snow-white sculpture depicting the courageous Hercules and the fiery monster Cacus defeated by him is located to the right of the entrance to the Palazzo Vecchio in Piazza della Signoria in Florence. The sculpture has an impressive scale, and its height is more than 5 meters. Initially, it was supposed to be made by the great master Michelangelo, but the work on the creation of David took all the time and attention of the sculptor, as a result of which the victorious Hercules was entrusted to the Florentine artist Baccio Bandinelli.

In addition, the sculptures of David and Hercules are often contrasted politically, because David was created as a symbol of the power and independence of the Republic, as opposed to the oppression of the royal family of the Medici. The marble Hercules, depicted with the defeated Cacus, on the contrary, symbolizes the victory of the Medici over the Republicans.

The sculpture depicts a mighty, ideally built Hercules, who holds a massive club in one hand, and the second holds the hair of the defeated Cacus, kneeling before the winner. The face of the fiery monster displays the pain and suffering of the vanquished. According to legend, Hercules killed the fire monster Cacus as his tenth labor for stealing cattle. Hercules is a symbol of physical strength and stands out in contrast against the background of David, who symbolizes primarily spiritual strength. According to the surviving evidence, initially Hercules had an even more intimidating appearance, and the scene of the feat was distinguished by exceptional cruelty. However, the Medicis insisted on a milder interpretation to avoid association with the brutality that accompanied their rise to power.

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Perseus defeating the Gorgon

Perseus with the Head of Medusa is a bronze sculpture created by Benvenuto Cellini between 1545 and 1554. The sculpture stands on a square base with bronze relief panels depicting the story of Perseus and Andromeda. It is located in the Loggia dei Lanzi in Piazza della Signoria in Florence. The work was commissioned to the master by Duke Cosimo de' Medici and became the most significant and famous for Cellini as a sculptor. At the time of the creation and installation of the sculpture, the famous sculptures of Michelangelo, Bandinelli and Donatello were already located in Piazza della Signoria.

The plot for the creation of the sculpture was the famous myth about how the mighty Perseus beheaded Medusa Gorgon, an evil mythical creature that can turn a person into stone with one glance. Perseus is depicted naked except for a belt and winged sandals, triumphant over the defeated body of Medusa, holding her snake head in his raised hand. Medusa's body realistically vomits blood from her neck. The bronze sculpture and the head of Medusa face the grandiose marble statues of Hercules, David, and then Neptune. Many residents and visitors of Florence believe that Cellini breathed new life into Piazza della Signoria.

Fountain of Neptune in Piazza della Signoria

The Fountain of Neptune is a magnificent fountain with a grandiose sculptural composition in Florence, located in Piazza della Signoria, opposite the Palazzo Vecchio. Made of marble and bronze, the fountain was commissioned in 1565 and designed by Baccio Bandinelli. The bulk of the work was done by Bartolomeo Ammannati, with some elements created by his students. For example, the bronze sea horses are the work of Giovanni da Bologna, often referred to as Giambologna.

In 1559, Duke Cosimo de' Medici organized a competition to design a fountain at the same time that the first aqueduct was being built to bring running water to the city. The project assumed that the statue of Neptune would become the main decorative element of the fountain. According to the author's idea, Neptune was supposed to cut through the sea surface in a chariot drawn by sea horses, symbolizing the power of Florence in the Mediterranean Sea. Baccio Bandinelli was originally chosen as the sculptor, but he died before work on the project began. The sculptor Ammannati was hired to take over and complete the work with assistants and apprentices. They say that the face of Neptune resembles the face of the customer himself - the Grand Duke Cosimo.

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The 4.2-meter figure of Neptune, made of Apuan marble, was completed in 1565 during the wedding of Francesco de' Medici I. The Florentines were not impressed and called the statue "the white giant". Work on the design of the pool and other elements of the fountain took almost ten years. Ammannati and his students added around the perimeter of the pool of manners, reclining bronze river gods, laughing satyrs, and marble sea horses emerging from the water. The pedestal on which the statue stands is in the center of the octagonal fountain. It is decorated with the mythical figures of Scylla and Charybdis.

For a long time of its presence in the main square of Florence, the Neptune Fountain was repeatedly attacked by vandals. For example, on the night of August 4, 2005, vandals broke Neptune's arm and significantly damaged the trident. Also, one of the satyrs located in the pool was stolen during the carnival in 1830. During the war years, the fountain was repeatedly bombed, which required a full restoration.

Sculptures of the great Florentines at the Uffizi Gallery

The Uffizi Gallery is one of the greatest museums in Italy, which has collected unique works of art and sculpture under its arches. Initially, representatives of the Medici family planned to use the gallery building as the location of all public institutions in Florence. However, since 1575, the luxurious building has opened its doors to visitors as a museum. The Uffizi Gallery exhibits a personal collection of works of art of the wealthiest Medici family. The collection includes works by such great masters as Sandro Botticelli, Michelangelo and others.

Even without visiting the gallery, you can appreciate all the splendor of Florentine stucco and sculpture. Under the arches of the museum there are sculptures of great Florentines and figures who lived in Florence for a significant period of their lives. Here, on stone pedestals, statues of Leonardo, Machiavelli, Donatello, Michelangelo, Giotto, Lorenzo Medici, Alberti and other famous residents and guests of the city are located.

Sculpture by Dante Alighieri

On the square in front of the Church of Santa Croce, one of the most visited sculptural attractions in Florence is located - a monument to the outstanding writer, philosopher and politician Dante Alighieri, who has been the most famous Florentine for seven centuries. The massive monument depicts Dante in a resolute pose, dressed in a long cloak, while his face expresses sorrow and suffering.

With one hand, the writer holds his robe, and in the other he holds a book. Most likely, the sculptor assumed that in the hands of the writer his most famous work, The Divine Comedy. The monument was erected in 1865, and its opening was timed to coincide with the 600th anniversary of the great poet.

The grimace of suffering and sorrow froze on the face of the great philosopher for a reason. Most likely, the decision to portray Dante in this way was dictated by the difficult fate of the poet, who, due to his political activities, was expelled from Florence in 1302 along with his party. From then until his death, Dante Alighieri was never able to set foot on his native land, hiding from persecution and even the death penalty, to which he was sentenced in Florence. Interestingly, this sentence was only canceled by the city council of Florence in 2008, after more than 7 centuries.

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Today it is difficult to find a city that can compare with Florence in terms of the richness of the sculptural decoration of the streets and squares. In the open air, here are both masterpieces of legendary sculptors and artists, as well as works by unknown masters found during excavations of ancient Italian cities. To visit Florence means to visit the richest and most luxurious open-air museum.