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TheBasilica
1he church lies behind a magnificent facade inlaid with green
and white marble, the upper part of which was completed
by Leon Battista Alberti in 1470. 1he interior, with a central
nave and two side aisles scanned by Gothic piers, was origi-
nally divided into two parts by a huge stone screen separat-
ing the body of the church, for the faithful, from the crossing
and choir which were reserved for use by the friars. Giorgio
Vasari removed the screen in 1565 after Cosimo 1ordered hirn
to restructure the church and its altars. Despite this transfor-
mation, and a further restoration in 1858-60, the basilica is
home to countless masterpieces. Its most ancient works of art
include a large Crucifix painted by Giotto, although Duccio di
Buoninsegna`s Maestd has been moved to the Uffizi.
1he north aisle contains Masaccio`s celebrated fresco of the
Trinity, where the artist`s handling of perspective reveals an
affinity with the ideas of Filippo Brunelleschi, who made the
Crucifix in the Gondi Chapel. Also worthy of note are the
paintings in the Strozzi di Mantova Chapel by Nardo and An-
drca di ion, the Tombstone ofFra` Leonardo Datiby Lorenzo
,hib `1"11, S:1I1dl`o BOlti `1li`s Nn/,illity, th Tornaouoni Chapel
fr `.4`lwd hy I)OIlH`IIIl`O ti ,1 (:hld:lIld:1In und hls workshop, Fi-
lippln« 1,pp` ,`/111 (`/III(I(`(~ll1d Ih"lyd,`nrI6Ih ·~`III1l`y.
OUND
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TheDominicans in Santa Maria NoveLLa
`1he Dominican order, or Order of Preachers, carne to Flor-
mce with Fra` Giovanni da Salerno in 1219, settling in th~
1221 in the ancient church of Santa Maria Novella granted
by the cathedral canons. Their preaching skills, particularly
.vídent in the sermons ofFra` Pietro da Verona (1244), drew
I rge congregations and so the brothers soon decided to build
nlarger church. The foundation stone was blessed in 1279, but
building work must have begun some time before that.
`[he church was completed in the following century and con-
secrated in 1420. The convent complexwas gradually enlarged
through the 14th c. thanks to the generosity of the Florentine
Republic and of the city`s leading families, whose crests adorn
Inany parts of the convento In the meantime, the Dominican
ommunity consolidated its key role in the city, its Studium,
or university, becoming one of the most prestigious of its day.
In 1439 the convent`s guesthouse and adjacent Chapel of the
Popes hosted the Council of Florence, accommodating vis-
iting papal delegations. The community flourished until the
early modern era, when it was suppressed first by Napoleon
and again in 1866 after a brief revival.
`Ihe municipality acquired ownership of part of the monu-
mental complex at that time, while further transfers have led
to today`s situation where ownership is shared by the Reli-
gious Buildings Fund, the municipality and the state. Inter-in-
stitutional cooperation has ensured that the complex is under
unified management today.
PlAZZA DELLA STAZIONE
Great Clois
entran e
e
glm]
Toilet
[2J BASILICA
a Avelli Cemetery
b Pura Chapel
e Sacristy
~ TICKETOFFICES
g Entrance
• o e
g Entrance Exit
PlAZZA SANTA MARlA NOVELLA
o MUSEUM
a Cloister of the Dead
b Green Cloister
e Spanish Chapel
d Ubriachi Chapel
e Refectory
f Dati Cloister
o GREAT CLOISTER
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The Museum
1he museum, which the Florentine municipal authorities in-
stituted in the complex of Santa Maria Novella in the early
20th century, indudes the first two doisters of the former
convent, the Spanish Chapel and the huge Refectory. 1he
most famous of these is the Green Cloister, which was built
towards the middle of the 14th century on the north wall of
the basilica, to which it is joined by a door preceded by steps.
It owes its name to the dominant colour in the extraordinary
fresco cyde of Stories from Genesispainted on three of its four
sides. 1hese frescoes, dating back to the first half of the 15th
century, indude the famous scenes of Original Sin and of the
Great Flood painted by Paolo Uccello. A slype links the Green
Cloister to the Cloister of the Dead, which opens off it to
the north along the same wall of the church. 1his doister is
so named because it began to be used principally for burials
almost immediately after its construction, between the 13th
and 14th centuries. 1he remains of admirable fresco decora-
tion in the chantry chapels which certain noble Florentine
families erected there in the 14th century, and numerous
tombstones from different periods, still bear witness to the
cloisters former function. Just next to the slype in the Green
Cloister stand sthe 14th century friars` chapter house, rechris-
tened the Spanish Chapel when it was granted in 1566 to the
Spanish community that took up residence in the city in the
entourage of Eleonora of Toledo, the wife of Duke Cosimo
1 de` Medici. This dazzling chapel is cntircly covcrcd with
a complex cyde of frescocs by paint r Andrca di non;:¡iutl)
(1365-1367), celebrating in nll`gori al form thc trium¡ h 01`
the Church of Rome against heresy, and the active and con-
templative life of the Dominican Order. The Green Cloister
also gives on to the chapel of the Ubriachi, an aristocratic
Florentine family, and to the large Refectory adjacent to it,
where a spectacular mural by Alessandro Allori and a large
canvas by the same painter (1584-1597) depicting the Last
Supper conceal the remains of the late 14th century fresco
decoration. 1he two rooms now house pictures from various
different locations in the convent, including a rare polyptych
dated and signed by Bernardo Daddi and a broad range of
liturgical accoutrements, canonicals and vestments frorn the
basilica treasury. 1he most prestigio LIS canonicals indude a
silk altar frontal embroidered with scenes designed by Paolo
Schiavo in 1466, a 17th century altar hanging from the altar
of Sto1homas Becket, the Venetian-made Reliquary oi the In-
scription on the Cross, two extremely delicate late 14th cen-
turywooden reliquary busts, and a large processional cross in
silver and gilt bronze by goldsmith Francesco Maringhi.
MUSEI CIVICI FIORENTINI
museicivicifiorenti ni.comune.fi. itj en
TheGreat CLoister
The Great Cloister (named for its wings fully Só-bays IOIl¡`.) I
in an area of Santa Maria Novella that has housed the (;.".11.
inieri Officers` School since 1920. 1he south walk ix adJ.h ,`11
to the famous Pharmacy of Santa María Novella (a .. `HII!`
from Via della Scala) and the east walk is adjacent In 111
Refectory. 1he doister, reached from the muscurn throllr,1
a door in the passage leading to the Grecn loíst `1` oppll~iI
the Ubriachi Chapel, was built between 1340 and 1360.111 h
same time as the dormitories, which extended over IhnT "
the doister walks, thanks to the generosity of several ¡¡lo.I`"
tine families. Two centuries later, other Florentine (,1111111.
and Grand Duke Cosimo 1de` Medici paid for its w.111~ I
be frescoed with stories ofSt. Dominic and other Domlnuu
saints, scenes from the life of Christ (by the corners), .111
portraits of illustrious members of the Santa Maria NOVl`II
community (on the pillars), Most of the cyde was pnintr-
between 1570 and 1590 by more than 15 different pail1il`1
from the Florentine Academy induding Alessandro AII",I
Santi di Tito and Poccetti, celebrated for other, similar collc
tive achievements. Its sheer extension, its iconographic 1"l`
gramme and the narrative darity of the scenes make this o"
of the most emblematic cydes of the Counter-Reformation
SCUOLA MARESCJALLI E BRIGADIERI DEI CARABINIERI
Open to the public on special occasions only
Please check our website:
musei civicifiorenti ni.COI11 une. fi.itj enj smn
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