Florence is known as the cradle of the Renaissance and is still wonderfully preserved as a Renaissance city, with a the wealth of Renaissance art and architecture, that remain the city’s unique treasures.

 

You can look at Florence in a thousand ways. A famous name around the world, which parades by centuries with her mantle of history and remains one of the cities with the highest tourist attraction.
The nuances of a city that gave its heyday in the Renaissance are manifold.

There is the monumental Florence that keeps in the breadth of the avenues, in the sumptuous facades, the size and elegance of its period as the capital of Italy. There is the medieval Florence, with the alleys that coil in the historic center, around buildings that evoke the age of Dante, Petrarca and Boccaccio.
There is just the beautiful Florence, the one that would watch for hours, as we observe a lover, the Florence dressed with its art, in its unique architecture and in the works of the museums, flowed from an age of grace in which the beauty and inspiration have reached very high levels.

The beautiful Florence, the unique views, which deliver thoughts, in a spring evening, watching the Arno from the Ponte Vecchio or strolling in the art of the Boboli gardens, enjoy an open air dinner in the corners of its squares, framed by marble and stone of history.

Florence is a city that offers a lot into manageable spaces. A fascinating dimension that makes good place to live in the present, because it retains of an unique past

Florence

Italian Firenze, Latin Florentia, city, capital of Firenze provincia (province) and Toscana (Tuscany) regione (region), central Italy.

The city, located about 145 miles (230 km) northwest of Rome, is surrounded by gently rolling hills that are covered with villas and farms, vineyards, and orchards. Florence was founded as a Roman military colony about the 1st century bce, and during its long history it has been a republic, a seat of the duchy of Tuscany, and a capital (1865–70) of Italy. During the 14th–16th century Florence achieved preeminence in commerce and finance, learning, and especially the arts.

The present glory of Florence is mainly its past. Indeed, its historic centre was inscribed on UNESCO’s World Heritage List in 1982. The buildings there are works of art abounding in yet more works of art, and the splendours of the city are stamped with the personalities of the men who made them. The geniuses of Florence were backed by men of towering wealth, and the city to this day gives testimony to their passions for religion, for art, for power, or for money. Among the most famous of the city’s cultural giants are Leonardo da Vinci, Michelangelo, Dante, Machiavelli, Galileo, and its most-renowned rulers, generations of the Medici family.

Scholars still marvel that this small city of moneylenders and cloth makers without much political or military power rose to a position of enormous influence in Italy, Europe, and beyond. The Florentine vernacular became the Italian language, and the local coin, the florin, became a world monetary standard. Florentine artists formulated the laws of perspective; Florentine men of letters, painters, architects, and craftsmen began the period known as the Renaissance; and a Florentine navigator, Amerigo Vespucci, gave his name to two continents.

The city has remained an important cultural, economic, political, and artistic force into the modern era, setting trends in political administration (especially under Mayor Giorgio La Pira in the 1950s and early ’60s) and even cultural innovation (as in its influential Modernist train station designed under Giovanni Michelucci, its football [soccer] stadium by Pier Luigi Nervi, and the Archizoom radical design movement active during the 1960s and ’70s). The region around the city has a modern and dynamic economy based on small industrial production. The city itself is far more dependent on tourism, though it also has developed newer sectors such as information technology. Florence’s key role as a market centre is reinforced by its location at the nexus of transport lines connecting northern and southern Italy. Area 40 square miles (104 square km). Pop. (2006 est.) 366,901.

 

Character of the city

Florence was founded to control the only practicable north-south crossing of the Arno River to and from the three passes through the Apennines: one to Faenza and two to Bologna. Two thin streams, the Mugnone and the Affrico, come down through town to meet the Arno. The Affrico, not far away from its source in the Apennines, is usually a grudging gurgle amid wide gravel beds far below the quays, but sometimes it rises and swells into a powerful stream, ravaging the city with floods. The city’s water supply has also served as an asset, however, making possible the washing, fulling, and dyeing of cloth, resulting in the development of a major industry.

Florence’s position as a major crossroads between Bologna and Rome made the city vulnerable to attack. Its hills offered some protection, but the citizens nonetheless felt compelled to erect imposing walls during the period 1285–1340; although the walls were largely torn down during urban expansion in the 1860s, their former presence remains clearly visible in a girdle of roads around the original city. Moreover, because the hillier south bank of the Arno has prevented urban growth, segments of the walls are preserved.

Beyond the historic centre of Florence, the city has expanded over the past century to accommodate waves of migration. Vast housing projects have been constructed, such as those at Isolotto (1954–55). These peripheral zones have actually grown to dominate the city centre, creating a kind of “open urban system”—and a vast and successful industrial district—that stretches northwest to Prato and southeast as far as Arezzo. Huge satellite towns such as Scandicci have grown to rival the centre of Florence itself.

City layout

Although most of the city of Florence was a creation of the nascent Renaissance era, the city’s Roman beginnings as a typical castrum, or garrison town, can still be perceived. They are visible in the rectilinear grid whose axis is the Via Calimala, with a forum in today’s Piazza della Repubblica (used as a market during most of its history). The skyline, however, is dominated by two imposing structures of later centuries. One of them is the austere tower of the Palazzo Vecchio (Old Palace), begun in 1299, in the Piazza della Signoria. It housed the legislative and executive branches of the local civic government (the priors) and even today functions as the town hall of Florence. Always a kind of nerve centre of local pride and power, the building was ornamented with major works of Florentine sculpture; foremost among these was Michelangelo’s towering statue of David (today replaced by a copy). Also framing the Piazza della Signoria is the elegant Loggia dei Lanzi, built in the late 14th century; today it serves as an open-air museum for masterworks of sculpture, including Benvenuto Cellini’s Perseus.

From behind the loggia and from the flank of the palazzo, the tall, colonnaded twin wings of a later building, the Uffizi, stretch down to the Arno. An elegant edifice designed by Giorgio Vasari, it was begun in 1560 to house the grand ducal offices. In 1574 Grand Duke Francesco I ordered the top story converted to display the Medici art treasures. The Uffizi’s collection, one of the most precious in the world, offers examples of painting from the 13th century through the 18th and includes most of the significant names in Florentine art.

The second distinctive feature of Florence’s skyline is the dome of the Cathedral of Santa Maria del Fiore (the Duomo). The building itself, located due north of the Piazza della Signoria, was begun by the sculptor Arnolfo di Cambio in 1296. Numerous local artists continued to work on it during the following century and a half. The painter Giotto designed its sturdy bell tower (campanile) in 1334. Yet the massive octagonal cupola (1420–36) that truly dominates both the church and the city was the proud achievement of Filippo Brunelleschi, master architect and sculptor. Opposite the cathedral stands the Baptistery; the building dates from the 11th century but was believed by Florentines to be a surviving Roman monument when they commissioned for it a series of bronze doors with relief sculptures (1330; 1401–52). The third pair of these doors, by Lorenzo Ghiberti, were of such rare beauty that Michelangelo christened them the Gates of Paradise.

Around the perimeters of historical Florence lie the vast “newcomer” churches of the mendicant orders: to the west, Santa Maria Novella (begun 1279) of the Dominicans; to the east, Santa Croce (begun 1294) of the Franciscans. Each of these churches is a monument of Renaissance art in its decoration. The interior of Santa Maria Novella contains the Spanish Chapel, with frescoes by Andrea da Firenze; the Green Cloister, with frescoes by Paolo Uccello; the Strozzi Chapel, with frescoes by Filippino Lippi; and the Cappella Maggiore, with frescoes by Domenico Ghirlandaio, in addition to Masaccio’s awe-inspiring fresco The Trinity, with its fully realized use of perspective. The facade of Santa Maria Novella was completed (1456–70) by the design of Leon Battista Alberti. Alongside Santa Croce, Brunelleschi appended the Pazzi Chapel, designed geometrically around the motif of a circle within a square. Inside Santa Croce one finds major fresco cycles by the most famous early Florentine painter, Giotto. Paradoxically, the patrons of this church were among the richest families of Florence, despite (or perhaps because of) the vows of poverty sworn by the Franciscan order. Santa Croce has historical significance as well, because it became a kind of pantheon containing the tombs of famous Florentine scholars, writers, artists, and patriots. Across the Arno lies the modest Carmelite church of Santa Maria del Carmine, whose Brancacci Chapel displays some of the most powerful early 15th-century frescoes by Masaccio and Masolino (c. 1425–27). The frescoes have been restored to their former glory, bringing out colours and details that had long been obscured.

Between the Piazza della Signoria and the cathedral lies a remarkable building, the Orsanmichele (oratory of St. Michael). In 1290 Arnolfo built a loggia here for the wheat market, which, however, was destroyed by fire; a larger loggia was erected in 1377 and then enclosed to form a church in 1380. Its chief fame comes from its early 15th-century decoration donated by the major guilds of Florence. Each guild was assigned one of the tabernacles on the exterior of the Orsanmichele and expected to commission a sculpture for it. The best works produced include bronzes of St. John the Baptist (patron saint of the city and of the powerful Calimala guild [bankers and international traders in cloth]) and St. Matthew (for the Cambio, or bankers) by Ghiberti and marbles of St. Mark (linen drapers) and St. George (armourers) by Donatello.

North of the cathedral lay the province of the eventual rulers of Florence, the Medici, a family of bankers. On the square behind the house of the Medici stands the Augustinian church of San Lorenzo, for which Brunelleschi made an austerely simple geometric Renaissance design based on his study of early Christian basilicas in Rome (1421). Medici patronage led to decisive artistic decorative additions. Donatello provided a bronze pulpit, and Brunelleschi added a sacristy (the Old Sacristy); about one century later Michelangelo balanced it with the New Sacristy, which contains his famous Medici Tombs. Michelangelo also designed the Laurentian Library, next to San Lorenzo, to house the great library assembled by the Medici family. Near the church sits the Medici Palace (Palazzo Medici-Riccardi), built by the architect Michelozzo beginning in 1444. Inside, a chapel contains a fresco by Benozzo Gozzoli, the Procession of the Magi (1459), in which the followers of the Magi are given features of the Medici.

The grandest palace in Florence is the Strozzi Palace, begun in 1489 for one of the city’s largest and wealthiest families (which, however, had been eclipsed politically by the Medici). Its enormous scale deliberately surpassed that of the Medici Palace. Noteworthy within the Strozzi Palace is a spacious courtyard, which by its use of arches and a loggia achieves a feeling of openness and simplicity.

South of the Arno lies the Pitti Palace; this grandiose structure was created for the grand duke Cosimo I by the sculptor Bartolommeo Ammannati, who extended (1558–70) a palace belonging to the Pitti family of a century earlier. The hills behind this massive palace were transformed into magnificent gardens, the Boboli Gardens, filled with fountains, statues, and an amphitheatre; there operas and concerts for the Medici rulers betokened their courtly existence as the absolute rulers of the city. Ammannati also designed a bridge to the palace, the Santa Trinità Bridge (1567–69; restored).

History

The early period

Florentia (“The Flourishing Town”) was founded in 59 bce as a colony for soldiers of the armies of Rome and was laid out as a rectangular garrison town (castrum) below the hilltop Etruscan town of Faesulae. Its streets formed a pattern of rectangular blocks, with a central forum, a temple to Mars, an amphitheatre, and public baths. By the 3rd century ce Florence was a provincial capital of the Roman Empire and a prosperous commercial centre. During the early medieval centuries, Florence was occupied chiefly by outsiders: first by Ostrogoths in the 5th century, then by Byzantines in the 6th century, and eventually by Langobards, or Lombards. From the late 10th century onward, Florence prospered, and, under the rule of Countess Matilda of Tuscany (1069–1115), it became the leading city in Tuscany.

In 1293 Florence adopted a constitution called the Ordinances of Justice, which barred both the nobility and labourers from political power. It also provided for frequent changes of office to ensure that no group or individual could get control of the state; thus, the nine priors who constituted the Signoria (the governmental body) were each elected for a mere two months. As a result, Florentines developed a keen interest in their politics and became a community of civil servants available for public life, but the lack of continuity often provoked factional intrigues and alliances.

During the 12th and 13th centuries the economic and political power of the city grew steadily. The rise of the Florentine woolen cloth industry and of banking provided a basis of capital. Then the resolution in 1266 of a bitter strife between two internal factions oriented respectively toward papal (Guelf) and imperial (Ghibelline) protection resulted in victory for a group of Guelf merchant families in the city (as well as the exile in 1302 of Florence’s greatest poet, Dante Alighieri). They took over papal banking monopolies from rivals in nearby Siena and became tax collectors for the pope throughout Europe. From such a foundation, Florentine families, led by the Bardi and the Peruzzi, came to dominate both banking and international merchant business. Locally, Florence also added neighbouring cities to its sphere of influence and obliged rival powers—Pisa, Siena, Pistoia, and Arezzo—to become its allies.

With a balance between its leading merchant families, Florence was now ruled by its guilds, divided into seven major guilds and a number of minor ones. The city’s podesta, or chief magistrate and police chief, could be selected only from the major guilds. Political parties grew up along the issues of aggressive expansion and preservation of peace; the former policy was embraced by the Blacks (Neri; the rich merchants), the latter by the Whites (Bianchi; the lesser citizens).

Just before the middle of the 14th century, Florence had become a metropolis of about 90,000 people, making it one of the great cities of Europe (alongside Paris, Venice, Milan, and Naples). However, in the summer of 1348 the Black Death struck, reducing the population by half. The city’s ordeal during this period has been vividly portrayed by the chronicler Matteo Villani and by the writer Giovanni Boccaccio in the preface to his stories of the Decameron. The bankruptcies of the Bardi and the Peruzzi a few years before the Black Death had already shaken the city’s prosperity, and it never fully recovered from these double disasters. Famine and renewed bouts of the plague continued throughout the 14th century, sparking unrest among the politically unrepresented population. In 1378 a proletarian rebellion of the cloth workers, the Revolt of the Ciompi, was put down by an alliance of merchants, manufacturers, and artisans. The economy of the city remained depressed, and the rivalry of adjoining polities, first Milan and then Naples, only intensified the threats to Florence’s prosperity in the early 15th century. One of the few successes was the conquest of Pisa in 1406, making Florence a maritime power at last. Partly in self-defense, Florence became a major territorial power alongside Venice, Milan, and Naples.

During this period of adversity, the power of the guilds and their domination of the city were on the wane; as a result, successful merchants and bankers, chiefly Cosimo de’ Medici and Giovanni Rucellai in the 15th century, were able to shape civic politics and culture through a system of oligarchy and patronage. They underwrote the accomplishments that are now singled out with the term “Renaissance,” and their palaces came to dominate the city as fully as the church buildings in which they established their family chapels.

From the Medici to unification

Cosimo de’ Medici (Cosimo the Elder; died 1464) became the leading citizen in Florence after his return in 1434 from a year of exile. He achieved this position by virtue of his great wealth (the result of the largest banking network in Europe) and an extensive network of patronage obligations. While he never accepted public office, his faction dominated the city. He lived an increasingly opulent life, as is apparent in the ostentation of the Medici Palace and the patronage of churches such as San Lorenzo and the monastery of St. Mark, with its frescoes by Fra Angelico. Investment in culture, including the patronage of artists and architects and the purchase of books and manuscripts, became a fundamental expression of the Medici’s aristocratic way of life; it was continued by Cosimo’s son, Piero, and his grandson, Lorenzo (died 1492; dubbed “the Magnificent”). In all but name, Florence was now ruled by a Medici prince, whose position resembled that of the tyrants in other Italian cities such as Milan, Ferrara, Mantua, and Urbino.

Stability was briefly threatened in 1478 by the brutal but abortive Pazzi conspiracy seeking to end the Medici rule. In 1494, shortly after the death of Lorenzo, French armies under King Charles VIII invaded Italy. They were backed against the Medici by the popular party in Florence, which (with French help) succeeded in exiling the Medici and declaring Florence a republic. The consequence, however, was the loss of political autonomy to the larger conflicts of Italian peninsular struggles. Republican Florence was led briefly by a fiery Dominican preacher, Girolamo Savonarola, who boldly condemned the luxury and urbane culture of his predecessors. His strict rule came to an end in 1498, but with it closed a phase of Florentine greatness.

The Medici returned to Florence in triumph in 1512 behind the papal and Spanish armies, reasserting power in a clear and ruthless manner. (Such an unambiguous pursuit of power by leaders at this time was given codification in 1513 by Niccolò Machiavelli in his treatise The Prince.) In addition, the younger son of Lorenzo was elected Pope Leo X; his pontificate (1513–21) was noteworthy for its cultivation of the arts, especially his employment of Raphael. Leo was shortly followed by another Medici pope, Clement VII (1523–34). However, in 1527 the riotous Spanish army of Emperor Charles V overran Rome, and, during this moment of weakness, republicans again expelled the Medici from Florence, only to be punished in 1530 when pope and emperor were reconciled. Then in 1536 the statesman and historian Francesco Guicciardini began to compose his History of Italy, with its ideal vision of the era of Lorenzo the Magnificent and its pessimism concerning more recent events. In 1537 Charles V installed Cosimo de’ Medici (Cosimo I; died 1574) as official duke of Florence (grand duke of Tuscany after 1569). Cosimo and his wife, Eleonora of Toledo, patronized the arts and undertook vast building programs, such as the construction of the Uffizi, the renovation of the Palazzo Vecchio, and the reconstruction of the Pitti Palace.

With the rise of Cosimo I to titled nobility and to absolute rule in Florence, the political and cultural vitality of the city had all but ebbed, prompting a modern scholar to refer to the succeeding era as the “forgotten centuries.” Florence’s dukes had become minor players in the broader European balance of great powers, and they linked themselves chiefly with the noble houses of France. Marital alliances of Medici family members with members of the French nobility include those of Catherine de Médicis (died 1589), queen of Henry II and later regent of France; Grand Duke Ferdinand I (died 1609), who married Christine of Lorraine; and Marie de Médicis (died 1642), who married King Henry IV of France. The city generally declined under prolonged Medici rule, a process that was marked only by the extended reign of Cosimo III (1670–1723) and the end of the family with the death of his son, Gian Gastone (died 1737).

After the rule of the Medici, Florence was governed from outside, as Francis Stephen of Lorraine, the husband of Empress Maria Theresa of Austria, became the grand duke of Tuscany. Following a Napoleonic interlude, Leopold II of Habsburg was the last outside ruler (1824–59). He eventually abdicated in favour of the new Italian king, Victor Emmanuel. Soon after, Florence annexed itself to the new Kingdom of Italy, serving as its capital during the period 1865–70.

From the late 18th to the mid-20th century, a large Anglo-American colony was an integral part of the Florentine scene. The poet Elizabeth Barrett Browning, who is buried in Piazzale Donatello, the small English cemetery, noted that the city was “cheap, tranquil, cheerful and beautiful.” The Horne Museum, near Santa Croce, and the Stibbert Museum, in the north, are examples of houses and collections left by foreigners to their adopted city.

Evolution of the modern city

During the decades after unification, much of Florence’s past was seriously jeopardized as a huge debate surrounded the renewal of the city. Many of its finest structures were altered or defaced, its medieval walls were largely pulled down, and its ancient centre was laid waste as entire zones were cleared and replaced with squares and other public spaces. Florence’s brief period as Italy’s capital in 1865–70 saw a vast increase in the city’s population. Growth continued chaotically into the 20th century, when order and sense were slowly restored to the renovations.

Florence was occupied by the German army in the latter stages of World War II. Antifascist resistance was very strong in the city and in the Tuscan region, and fighting was heavy. On leaving Florence, the Germans blew up all the bridges across the Arno but spared the famous Ponte Vecchio. After the war, debates again arose regarding the reconstruction of the city. The 1950s saw Florence expand into its periphery, and in 1962 a plan was developed partly to guide expansion away from the Florence-Prato conurbation. Despite certain innovative qualities, the plan failed, and the two cities are now all but one, constituting one big urban sprawl. The population of Florence reached more than 400,000 in the 1980s but soon fell slightly below that level.

In addition to human despoliation, nature has been an occasional adversary of Florentine life, mainly in the form of floods of the Arno. The city’s bridges were destroyed in the 12th century and again in 1333. In 1557 the Ponte Vecchio held fast, but the others were destroyed. The most devastating occurrence was the flood of November 1966. The city’s cultural heritage was grievously damaged by waters coursing through the streets and swirling into buildings, depositing debris, mud, and oil. In some places the water rose as high as 20 feet, submerging sculptures, paintings, mosaics, and manuscripts in the city’s libraries. An army of international experts, financed by contributions from around the world, arrived to try to save the water- and muck-damaged treasures. Major public works took place to try to ensure that there would be no repetition of this tragic event. Despite some scares, the Arno has not burst its banks since then.

Since the mid-20th century, Florence has been governed largely by centre-left administrations that have been known for their reformist zeal, honesty, and efficiency (with some notable exceptions). The Catholic left in particular has always been able to maintain its solid roots in civil society. Through the popular mayor Giorgio La Pira, left-wing Catholics were able to run the city for a number of years in the late 1950s and early ’60s. Since then the subcultures of the left have survived in Florence, despite their erosion elsewhere in Italy, and the old Italian Communist Party (now the Democrats of the Left) has managed to maintain a strong presence as well. With its large university population and radical-left traditions, Florence was one of the centres of student and worker revolts in 1968. The city even managed to produce a notable rebellion against the organized Roman Catholic Church, public masses being celebrated without official permission at suburban Isolotto.

In the 1980s and ’90s the main problems of the city were environmental. The huge influx of tourists threatened to swamp the city in every sense, and the city centre began to lose its distinctive character and its artisan workshops. Pollution reached record levels, thanks to mass ownership of motor vehicles and to the peculiar geographic position of the city. Drastic measures were finally taken in the 1980s with the closure of the city centre to private cars. This policy has gone some way toward alleviating pressure on the city, but the area is still suffocated by thousands of scooters and buses, and the city still endures a constant tourist onslaught. Florence faces the danger of becoming a commercialized provincial town, full of trinket shops, overpriced bars, and crowded museums. Like Venice, it appears to be organized mainly for tourists and students and for Florentines working in the industries directly linked to them. Certainly the dynamic economic district running across to Prato is not matched by the city itself, which continues to capitalize on the past. The label of “museum-city” is thus perhaps best applied to the Florence of today, despite the highly productive region of which it is the capital.