Ponte
Vecchio
It is possible that the Ponte Vecchio in Florence, the "Old Bridge" at the
narrowest point on the Arno River, dates back to Etruscan times. It is
known for certain this is where there was a wooden bridge for the Roman
consular road, the Via Cassia, to cross the river. On account of its age
the Ponte Vecchio has undergone more repair following collapse or flooding
than any other bridge in the city.
Shops and dwellings have been built on it since the 13th century. It was
convenient for the butchers who could throw their waste straight into the
river, to the delight of the fish and those Florentines who had to keep
the city clean. The number of shops increased to such an extent, however,
that Grand Duke Ferdinando I decreed "for the benefit of strangers" that
only goldsmiths might have shops on the bridge, a ruling that has been
observed right up to the present day.
In the middle of the bridge is a bust of Florence's most famous goldsmith,
Benvenuto Cellini (1900).
The Corridoio Vasariano, constructed in the 16th century to link the
Palazzo Vecchio and the Palazzo Pitti, leads through the first story of
houses on the bridge.
The shops on the bridge are renowned for their gold and jewelry.
Battistero
San Giovanni
The "Baptistry of St John" or, in Dante's words, "il bel San Giovanni",
was completed about 1128 after 70 years of building. It is famous for the
three massive bronze doors on the south, north and east sides and for the
magnificent mosaics in its octagonal interior.
A number of builders were responsible for the construction of what, after
1128, was to serve as a baptistry. Its pleasing proportions and green and
white marble scheme of decoration made it an architectural masterpiece
that was to serve as a model for other European buildings. The three
bronze portals - works of sculpture unsurpassed in the Western world -
were added in the 15th century.
Bargello
Palace and National Museum (photo - left)
The massive bulk of the sturdy tower and crenellated walls of the Bargello,
the mighty palace that the citizens of Florence built after 1250 as
testimony to their victory over the nobility, is one of the city's
landmarks. Located in Piazza San Firenze, between Via del Proconsolo, Via
delle Vigna Vecchia, Via dell'Acqua and Via Ghibellina, nowadays it houses
the National Museum (Museo Nazionale del Bargello).
Loggia dei Lanzi
Also known as the Loggia della Signoria, the Loggia dei Lanzi owes its
name to the "Lanzichenecchi", or "Landsknechte", the German lancers
stationed here as his guard by Cosimo I. Known too as the Loggia
dell'Orcagna (after Orcagna, a major artist and its possible architect),
this arcade on Florence's main square was built between 1376 and 1382
under the direction of Benci di Cione and Simone di Francesco Talenti, and
it precisely counterpoints the Palazzio Vecchio.
Cathedral
Belfry
One of the great landmarks of Florence, the Campanile, the cathedral
belfry, 82m/269ft high and 14.5m/47.6ft wide, was begun in 1334 by Giotto
(di Bordone). After his death in 1337, Andrea Pisano continued the
building of the belfry in accordance with Giotto's plans but his successor,
Francesco Talenti, deviated from the original design. The tower was
completed in 1387.
The building is characterized by the harmony of its dimensions, the
strength of the octagonal pillars, the delicate articulation of the
intervening walls and the intricate alternation of the colors of the
marble. It is decorated on the lowest story by two rows of panels
containing allegorical bas-reliefs. Most of the hexagonal panels are by
Andrea Pisano, who worked to Giotto's designs, and Luca della Robbia. They
depict the life of Man, his work and his art.
Palazzo
Vecchio (Palazzo della Signoria) The austere beauty of the city and the pride and tenacity of the
people of Florence are embodied in the Palazzo Vecchio (or della Signoria)
in a unique way.
The city's principal palace came into existence when Florence was
beginning its rise to power and greatness, was a witness to the decades of
its artistic and cultural heyday, and stayed on as the symbol of its
glorious past. The defiant fortress-like structure of the main building
serves to express the power exercised by the Florentine community from the
14th to the 16th century; its bold and lofty tower (94m/308ft), with its
clock dating from 1353, symbolizes the fierce pride of the people of
Florence, while the furnishings within the palace reflect their love of
art.
Arnolfo di Cambio is said to have begin the building (1299-1314).
Thereafter several patrons and architects (Michelozzo) were responsible
for modifying the work and for the additions and alterations. Initially
the palace was the official residence of the Priors (Palazzo dei Priori)
and the Gonfaloniere, which therefore made it the seat of the governing
body of the Republic, the "Signoria". Its other names, Palazzo del Popolo
and Palazzo del Comune, are accounted for by the republican-democratic
nature of Florence, even when it was ruled by the Medici, although they
governed from their palace, the Palazzo Medici. It was Cosimo I, Duke then
Grand Duke of Tuscany, who moved into the city's principal palace in 1540,
after which it was known as the Palazzo Ducale (Ducal Palace). Soon,
however, he moved into the Palazzo Pitti, so the name of Palazzo Vecchio (old
palace) became current. Between 1865 and 1872, during the Italian struggle
for unity, it was for a while the seat of the Government, the Chamber of
Deputies and the Foreign Ministry. Thereafter it became the equivalent of
the City Hall, and the state rooms were thrown open to the public as a
museum.
Galleria
degli Uffizi
The Uffizi contains one of the most important collections of paintings in
the world, which, besides Florentine and Italian art, also includes a
large number of foreign works and valuable Classical sculpture. The
collections began as the private gallery of the Medici princes, and were
bequeathed to the city of Florence by the Electress Anna Maria Ludovica
von der Pfalz, the last heiress of the house of Medici, who died in 1743.
The Uffizi are, however, valued not simply for their paintings, but also
for the beautiful setting they provide, and the corridors are bedecked
with oriental grotesques, Classical sculpture and precious tapestries.
The greatest treasure is undoubtedly the unique collection of Florentine
Renaissance painting, deemed a vital part of this city's contribution to
European art. These works from the Florence of between about 1300 and 1500
set the trend for the whole of Western art, so the following pages
therefore briefly introduce and interpret a representative selection of
them. This account follows the hanging of the pictures in chronological
order according to when they were painted, beginning with Room 2 on the
second floor of the Uffizi and making it relatively easy to follow the
museum's own tour guideline. However, beyond Room 13, an octagonal gallery
in the Tribune, the works are no longer in chronological order, but
according to schools, regions and countries (e.g. German, Dutch, North
Italy, etc.) from about 1500 to 1700.
Cathedral
of Santa Maria del Fiore
Florence's cathedral is more than the symbol of the city. Together with
the Campanile and the Baptistery it forms one of the most magnificent
works of art in the world. Florentines could not live without a glimpse of
the dome of their cathedral. It would seem that when Michelangelo created
the dome of St Peter's he was seeking to transplant Brunelleschi's
masterpiece from his native city of Florence to Rome.
At the end of the 13th century the citizens of Florence, conscious of the
growing importance of their city, wanted to erect a great new edifice on
the site of the church of Santa Reparata that would surpass the other
churches in the city in its beauty and its dimensions.
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