Address: Piazza Santa Croce
This monument is truly unique, not only for the purity of the
Gothic style, but also for the famous works of art it contains
and its historical importance. The Basilica of Santa Croce, one
of the largest churches in the city, is
attributed to the genius of Arnolfo di Cambio who seems to have
begun work in 1294. Work continued into the second half of the
14th century but the church was not consecrated until 1443. The
facade with its three gables dates to the 19th century (project
by N. Matas) and the campanile in Gothic style also dates to this
period (1847, project by G. Baccani). A portico of airy arches
runs along the left flank and shelters the 14th-century tomb of
Francesco Pazzi. On the right side of the church are the
Cloisters, with the Pazzi Chapel in the background, and the Museo
dell'Opera di S. Croce. The imposing interior has a nave and two
side aisles separated by slender octagonal piers from which
spring spacious pointed arches with a double molding. The beauty
of the Church has been partially obfuscated by 16th-century
remodelling. The floor is covered with old tombstones for the
entire length of the nave which has a trussed timber ceiling. The
transept has a number of chapels, including the Cappella Maggiore
with the Legend of the Holy Cross (1380) by Agnolo Gaddi. On the
altar is Gerini's polyptych with the Madonna and Saints and,
above, the Crucifix of the school of Giotto. A Deposition from
the Cross (cartoon by Lorenzo Ghiberti) in stained glass can be
admired on the interior facade. Below to the right is the
Monument to Gino Capponi (1876), and to the left that to G. B.
Niccolini (1883). A splendid marble pulpit by Benedetto da Maiano
(1472-76) stands in the nave. To be noted in the right aisle, at
the first altar, is a Crucifixion by Santi di Tito (1579); on the
first pier is the famous bas-relief by Antonio Rossellino (1478) of
the Madonna del Latte. The stained-glass windows date to the 14th
century. The most famous funeral monuments are along the walls of
the right aisle. These include the monument to Dante Alighieri by
Ricci (1829); to Michelangelo, by Vasari (1579); to Alfieri, by
Canova (1803); to Machiavelli, by I. Spinazzi (1787).
Fragments of frescoes by Orcagna are to be seen behind the fourth
altar and further on is Domenico Veneziano's fine fresco (1450)
of St. John the Baptist and St. Francis.
Next comes the tabernacle in pietra serena by Donatello and
Michelozzo with the Annunciation (1435 c.) by Donatello. and then
the Tomb of Leonardo Bruni by Bernardo Rossellino, the funeral
monument to Rossini and the one to Foscolo. The right arm of the
transept contains the Castellani Chapel superbly frescoed by
Agnolo Gaddi
(1385) with Stories of the Saints. On the altar a Crucifix by
Gerini.
At the end of the transept is the Baroncelli Chapel, with the
splendid Gothic tomb of the Baroncelli family and a lunette with
a Madonna by Taddeo Gaddi. The frescoes on the walls with Stories
of Mary are also by Gaddi and the Madonna of the Girdle is by
Bastiano Mainardi (1490). The Coronation of the Virgin on the
altar is by Giotto.
Michelozzo's portal leads to the Sacristy, with the Rinuccini
Chapel, frescoed with Stories of the Magdalen and the Virgin by
Giovanni da Milano. The fine altarpiece is by Giovanni del Biondo
(1379).
Michelozzo's Medici Chapel, built for Cosimo the Elder, is at the
back. It contains a magnificent bas-relief by Donatello and
various works by the Della Robbias. Various chapels (14th- cent.)
with important works open off the central zone of the transept.
These include the Velluti Chapel with Stories of St. Michael
Archangel, perhaps by Cimabue; the Chapels of the Peruzzi and the
Bardi families frescoed by Giotto with Stories of St. John the
Evangelist (1320) and Stories of St. Francis (1318); the Tosinghi
Chapel with the Assumption in Heaven, also by Giotto; the Pulci
Chapel with frescoes by Bernardo Daddi. Of particular note in the
left aisle is the Marsuppini Sepulcher by Desiderio da
Settignano.
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