Florence and the Marks of the Medici

Florence, as you may imagine, is exquisite. It’s like an extraordinary treasure trove in which every step is infused with art and history. The city is often labeled the cradle of the Italian Renaissance because many genius, such as Michelangelo, Botticelli, Brunelleschi, and Leonardo da Vinci, thrived here. Yet behind their achievements is the unparalleled patronage of a powerful dynasty that recognized the transformative power of culture: the Medici.

The Medici shaped the cityscape of Florence.

The rise of the Medici family began in the late 14th century when they derived from the textile trade and established themselves as bankers. Guided by shrewd business acumen, they accumulated tremendous wealth and became the largest and most reputable bank in Europe throughout the 15th century. This prosperity, in turn, facilitated political supremacy, making them de facto rulers of Florence and, later, the whole of Tuscany.

Under the Medici’s reign, Florence developed from a humble Roman settlement named Florentia into one of Italy’s most fascinating cities. They generously sponsored artists and spent a substantial fortune beautifying the city with stately palaces and gorgeous gardens. For instance, Palazzo Medici Riccardi, Palazzo Pitti, and the famous Uffizi Gallery, to name a few. Even the construction of Florence’s landmark and religious core – the Santa Maria del Fiore – was partly funded by the Medici.

Taking over 130 years to complete, the Santa Maria del Fiore – also known as Florence Cathedral – is one of the largest and most marvelous worshipping places in Europe. It stands at the city’s heart as a symbol of Florence and the Renaissance culture. And no matter how often I see it, I am still enthralled by this delicate marvel.

The first thing that captured my attention was the cathedral’s exterior – a magnificent display of stylized flowers and geometric patterns crafted of marble in various shades of green, pink, and white. Its beauty is accentuated by dozens of elaborate bas-reliefs and sculptures depicting apostles, prophets, and the Blessed Virgin Mary. Interestingly, the facade we see today is a 19th-century addition, replacing the original structure torn down by the Medici in the 16th century. Some parts are on display in the nearby museum.

An icon of the Italian Renaissance.

Yet the most striking feature of the cathedral is the red-tiled dome, which, along with the adjacent bell tower, has defined the Florentine skyline for centuries. Designed by Filippo Brunelleschi but engineered by his successors, this 91-meter-high structure remains the world’s largest masonry vault ever constructed, with over four million bricks used. Inspired by Rome’s Pantheon, it’s considered an architectural innovation, consisting of an internal and an external dome united by a ribbed framework.

In contrast to the lavishly adorned facade, the vast interior of Florence Cathedral is decorated with only dozens of artworks. That includes a monumental sundial created by artists of the early Renaissance, a large mosaic lunette depicting the Coronation of Mary, several intricate statues, and 44 colorful stained glass windows.

However, none could surpass the geometric marble floor, which formed an optical illusion of a giant abyss when viewed from above. It was a colossal task that took 160 years to complete, with each red, white, black, and green tile individually inlaid by the grand ducal workshops of Florence in the 16th and 17th centuries. Beneath the dome is another masterpiece by Giorgio Vasari and Federico Zuccari, the Last Judgement. This flamboyant fresco is one of the largest paintings in art history, covering 3,600 m² and featuring 700 vivid figures.

Standing in front of the cathedral is the baptistry – an octagonal architecture dating back to the 11th century. It’s believed to have been constructed on the site of an ancient pagan temple dedicated to Mars – the Roman God of War and later converted into a church. The Romanesque building is made entirely of white marble, accentuated with several stripes and geometric patterns of forest green. It features an eight-sided prismatic roof and three sets of gilded bronze doors, on which the stories of humanity and redemption are spectacularly illustrated.

Inside, there are splendid mosaic artworks covering the entire vault. Though they are currently under maintenance, I can imagine how spectacular it is when complete. Artists of the Byzantine school began working on these masterpieces in the 11th century. However, they were only completed by the 14th century under the hands of Tuscan artisans. The green, red and white marble floor from the early 1200s is equally impressive. It took inspiration from Persian carpets, featuring sophisticated geometric patterns and mythical creatures.

Though part of the monumental complex, the Opera del Duomo Museum behind the cathedral received a minuscule share of visitors. It’s such a shame because the museum preserves hundreds of artistic treasures that used to stand inside the cathedral, the baptistry, and the bell tower. They are now showcased on three sparkling floors, divided into 28 rooms.

Awe-inspiring highlights include original fragments and sculptures of the cathedral’s facade removed in the 16th century. Or the intricate Silver Altar that took over 100 years to create using more than 400 kg of silver. But most famous is perhaps the restored Gate of Paradise by Lorenzo Ghiberti, which originally adorned the eastern portal of the baptistry.

Home to 1500-odd masterpieces, the Uffizi Gallery is one, if not, Italy’s most prominent art gallery. It fully occupies a former administrative office constructed between 1560 and 1580 following the orders of Cosimo de’ Medici, the Duke of Florence. At first, only a tiny part of the building – the Tribune – was used to exhibit the most precious items from the ruling family collections. However, over time, more sections were recruited to showcase paintings and sculptures collected or commissioned by the dynastic members. By the late 18th century, the last heiress of the Medici bequeathed the collections to the Florentine government on the condition that they never leave the city. Since then, the Uffizi Gallery has opened to the public as a museum.

Centuries of art history are displayed within two floors of this vast U-shaped building, from ancient Roman copies of lost Greek sculptures to 18th-century Venetian paintings. Yet the Renaissance paintings from the 15th and 16th centuries form the core of this gallery. There are Madonna of the Goldfinch by Raffaello, the Ascension of Christ by Mantegna, the Head of Medusa by Caravaggio, and the widely popular Birth of Venus by Botticelli. Adding to that are some prime works by foreign artists, including Rembrandt, Rubens, and Van Dyck. Even the gallery itself is an artwork designed by Vasari, featuring light and airy corridors, a marvelous bust-lined staircase, and fabulous frescoed ceilings.

Of all the wondrous rooms of the Uffizi Gallery, none is so tiny yet spectacular as the Tribune. It’s designed to impress, featuring the finest furnishing money could buy. Top-notch materials from across the world are required to build this room, including polychrome marbles from Northern Africa, nearly 6,000 mother of pearls from the Indian Ocean, luxurious red velvets, and lots of gold.

Created between 1581 and 1583, the Tribune served as a treasure chest for Grand Duke Francesco de’ Medici. It has an octagonal layout, similar to the baptistry and the cathedral’s dome, which, according to Christian tradition, represents resurrection or eternal life. Here, the rulers of Florence stashed away their finest artworks, including the renowned Venus Medici, in addition to precious stones and extravagant jewels.

Connected to the Uffizi Gallery via a secret corridor above the Arno Bridge, the Palazzo Pitti is the chief residence of the Grand Duke of Tuscany. This vast Renaissance palace was constructed in the mid-15th century, initially as the townhouse for the Florentine banker Luca Pitti. However, he died before the project was even completed and the palace fell into disrepair until the Medici purchased it in 1550.

By the will of the Medici, Palazzo Pitti underwent an extensive renovation. Its main front and rear sections were enlarged, and a passage where they could cross the river without being seen was created. Behind the palace, the marvelous Boboli Gardens were also laid out. They are among the first examples of Italian gardens, in which buildings, and art objects such as statues, grottoes, and fountains blended perfectly into the greenery. The gardens showcase the Medici’s art de vivre – an artistic lifestyle that would later become a model for many European courts.

After the Medici died out, Palazzo Pitti continued to serve as the residence for the city’s ruling dynasties, including the Habsburg-Lorraine and the Savoy. They extended the gardens and added their touches, such as pavilions and a small glass house. In 1919, Victor Emmanuel III – king of a united Italy – donated the palace and gardens to the state, turning them into an expansive museum where people can appreciate art and nature.

Boboli Gardens showcase the Medici’s art de vivre.

Back in town, the Palazzo Riccardi Medici is another hallmark of Florentine Renaissance architecture. Constructed in 1444 upon the commission of Cosimo de’ Medici, it was the first official residence for the House of Medici until the family went into exile in 1494. Afterwards, the palace changed hands many times, from the Republic of Florence to the Medici (1512) and the Riccardi (1659), before being sold back to the Tuscan state by the 19th century. Today, it serves as the seat of the Metropolitan City of Florence and a museum.

Designed by Michelozzo di Bartolomeo, Palazzo Riccardi Medici features two fabulously decorated floors surrounding an elegant column-lined courtyard that stands out for its harmony and pleasing balance. By the 18th century, the Riccardi further embellished the palace with gold ornaments and fine marble, busts, and sculptural reliefs, turning it into a sort of magnificent museum. Nevertheless, the pulsing heart of the palace is the Chapel of the Magi with walls covered by astonishing frescoes. They depict the holy parade of the Magi towards Christ Child, yet with a contemporary twist: the Medici family members also participate in this journey.

Even after death, the Medici’s appreciation for beauty lived on, and nowhere is it so explicit as the Medici Chapels. Seventy-eight years were the time to build this monumental mausoleum, adorned with granite, polychrome marble, and several haunting sculptures created by Michelangelo. It served as the final resting place for 49 members of the House of Medici, which spanned a few centuries.

Though the chapels consist of three parts, the most beautiful is the octagonal burial chamber called the Chapel of Princes. It emulates the grandeur of the Florentine Baptistry, featuring a vividly painted dome, mosaic floors with elaborate geometric designs, and spectacular pietre dure – inlaid decortaions that piece together semi-precious stones. Coincidentally, the Taj Mahal, another famous mausoleum on the other side of the world, also applied this technique, albeit in a reinterpretation.