Is Basilica Santa Croce worth it?

Basilica Santa Croce: A little bit of History

The Basilica Santa Croce was born in 1208, when the Franciscan order arrived in Florence for the first time. In 1220 they built a small oratory dedicated to the Holy Cross and they did it in what was at the time a poor neighborhood of Florence.

A few years later, Louis IX gave Santa Croce a splinter of the True Cross. In 1280, Cimabue crafted his renowned Crucifix for the church.

The new Basilica Santa Croce as we know it today began to be built in 1294 with the works finishing in 1385. Unfortunately, we don't know who the architect is.

But this seems unlikely. Cambio was simultaneously working on other buildings in Florence. He would have been an extremely busy man at a time when Florence was transforming and full of scaffolding. Most experts think that the real architect of Santa Croce is unknown.

The basilica Santa Croce was financed by the rich Bardi and Peruzzi families. They gained control of the church by purchasing expensive liturgical chapels near the high altar, which is what was done at the time. It's a bit ironic. A basilica dedicated to “holy poverty” was financed by the rich.

Santa Croce is described as Gothic, which is a style characterized by light, height and ornamentation. Interestingly, the word “Gothic” was only invented by Italians during the Renaissance. “Gothic” therefore had a derogatory meaning, being associated with the invading Goths. The Italians thought that the Gothic style belonged to Northern Europe and was not sufficiently Italian.

In the mid-1500s, Cosimo de Medici commissioned Giorgio Vasari to create the “Renaissance” in the Basilica Santa Croce. Vasari thus set out to work on some walls widened the nave and removed the rood screen (a medieval idea that separated lay people from common people).

Originally Santa Croce had an exterior in rough squared stone, then in 1857, Niccolò Matas was commissioned to create the current beautiful neo-Gothic façade.

It features polychrome panels of pink, green and red marble contrasting with the polished white stone. On the left, we find the statue of Dante Alighieri, the famous Italian poet.

What to see inside the Basilica Santa Croce

Inside the Santa Croce complex you can take a private tour or, if you visit alone, remember that it is full of many Renaissance treasures, from chapels to sculptures by Donatello, tombs of celebrities and works from the Basilica museum.

Chapels of Santa Croce

Adorned chapels with frescoes were a prevalent characteristic of Franciscan churches. Prominent Florentine families enlisted the foremost artists of the era to embellish their chapels. Most of the 14th-century frescoes survive today, although some have been damaged, lost or restored.

Santa Croce boasts a total of 16 chapels, and a few notable ones include:

1. Bardi Chapel: Giotto Frescoes

The Bardi, a noble banking family, enlisted the talents of Giotto to embellish their family chapel situated to the right of the choir. Recognized as the preeminent painter of the 14th century and a trailblazer in Western art, Giotto was commissioned between 1320 and 1328 to create seven depictions narrating the life of Saint Francis of Assisi. Giotto's profound identification with Saint Francis infused the frescoes with a personal and emotive touch, elevating the chapel's artistic significance within Santa Croce. He reads them from right to left, from top to bottom.

The frescoes show Giotto's innovative nature. The figures deviate from the figurative rigidity characteristic of the Middle Ages. They have intensely emotional faces.

Giotto's portrayals of figures in Santa Croce emanate compassion, with some even appearing to shed tears at the demise of St. Francis. These frescoes stand as the pinnacle of Giotto's artistic endeavors. Subsequent generations of artists would make pilgrimages to Santa Croce, drawn to admire and glean inspiration from these masterpieces.

Executed in the 18th century, these invaluable frescoes underwent rediscovery in the 19th century. However, a restoration effort inflicted additional damage, resulting in some areas being left vacant today.

2. Peruzzi Chapel: Giotto Frescoes

The initial masterpiece by Giotto within Basilica Santa Croce is found in the Peruzzi Chapel, where he adorned the space with narratives of Saint John the Baptist and Saint John the Evangelist.

Regrettably, the frescoes in this chapel are in a state of considerable deterioration. Giotto opted for the dry fresco technique, allowing the plaster to dry before applying oil paint, as opposed to the traditional fresco method on wet plaster. While this approach is simpler, it lacks the durability of authentic frescoes.

Created three decades prior, the Peruzzi frescoes, while less striking than the Bardi frescoes, possess a distinct vitality and dramatic quality. It is said that both Masaccio and Michelangelo studied Peruzzi's frescoes, finding inspiration in their composition.

3. Pazzi Chapel

In 1442, the Pazzi family commissioned the construction of the Chapter House within the medieval cloisters of Basilica Santa Croce, utilized by the Franciscan friars and later known as the Pazzi Chapel. Filippo Brunelleschi is believed to have been the designer of this chapel.

Renowned for their infamous history, the Pazzi family attempted an unsuccessful coup d'état in 1478, aiming to overthrow the ruling Medici family, specifically targeting Lorenzo and Giuliano Medici. However, Lorenzo, famously known as Lorenzo the Magnificent, managed to escape and sought revenge.

Regarded as one of the most harmonious structures from the early Florentine Renaissance, the Pazzi Chapel distinguishes itself by its unique adornment. Instead of frescoes, the chapel features glazed terracotta roundels crafted by Luca della Robbia and his disciples.

4. Baroncelli Chapel

The commencement of the Baroncelli Chapel's construction dates back to 1328, rendering it one of the most well-maintained chapels within Basilica Santa Croce. Notably, the chapel showcases captivating frescoes created by Taddeo Gaddi, who was both a pupil and godson of Giotto, as well as his collaborator.

Enhancing its aesthetic allure, the chapel features a splendid altar, an intricately designed stained glass window, and a dome adorning the ceiling. Executed between 1328 and 1338, the cycle of frescoes within the chapel narrates the stories of the Virgin Mary. Taddeo Gaddi also contributed to the design of the exquisite stained glass window, adding to the overall artistic richness of the Baroncelli Chapel.

Basilica Santa Croce and Donatello’s Sculpture 

Within Basilica Santa Croce, one can encounter three monumental sculptures crafted by Donatello, a pivotal figure in 15th-century sculpture. Revered as the most influential sculptor of his era, Donatello's artistic impact extended to subsequent generations of Renaissance artists, including the renowned Michelangelo.

Distinguished for breaking away from Gothic conventions, Donatello pioneered the reintroduction of elements reminiscent of classical Greco-Roman sculpture, drawing inspiration from his studies in Rome. Departing from the prevailing flat iconography of his time, Donatello pursued a novel approach, seeking to authentically depict the human experience. The result was a collection of sculptures characterized by their naturalism and profound emotional resonance, marking a significant departure from the artistic norms of the period. These sculptural masterpieces within Basilica Santa Croce not only attest to Donatello's ingenuity but also showcase his enduring influence on the evolution of sculptural expression during the Renaissance.

1. Saint Louis of Toulouse, 1425

The earliest existing bronze sculpture by Donatello, Saint Louis of Toulouse, narrates the tale of the humble friar who renounced his throne for a life devoted to the church. Dressed in the sandals of a Franciscan friar, Saint Louis is depicted in a blessing gesture, and the fluid drapery of his clothing reflects a classical influence. 

This remarkable sculpture finds its place in the Santa Croce Museum, offering visitors a tangible connection to Donatello's masterful ability to infuse classical elements with religious narratives.

2. Annunciation, 1435

Situated serendipitously on a church wall near the Cavalcanti Chapel, this splendid sculpture by Donatello captures the moment of the Annunciation, where Mary receives the news of carrying Christ, a prevalent theme in Renaissance art. The sculpture, adorned with lavish gilding, marks a departure from earlier depictions of the Annunciation. 

Donatello imbues the scene with a profound realism and psychological depth. Rather than portraying Mary in a divine light, she is depicted as a woman taken aback by the unexpected visitation of the angel Gabriel. This departure from convention adds a layer of humanity to the portrayal, emphasizing the artist's inclination toward a more nuanced and emotionally resonant interpretation of religious themes.

3. Crucifix, 1406-08

Donatello's wooden Crucifix within Santa Croce emerges as one of his most exquisite creations. The portrayal of Christ is characterized by a bearded, tanned, muscular, and sorrowful visage, departing significantly from conventional idealized depictions. Despite the amicable relationship between Donatello and Brunelleschi, the latter criticized the sculpture, accusing Donatello of "crucifying a peasant." This divergence in artistic interpretation highlights the subjective nature of artistic critique and the varied perspectives within the vibrant artistic circles of the Renaissance.

Opera Museum of Santa Croce

Founded in 1900, the Santa Croce Museum is located in the former refectory of the church. The museum accommodates pieces from the Florentine school. In 1966, the premises suffered damage during the devastating flood of the Arno River. Despite meticulous restoration efforts, certain impairments proved irreversible. The museum resumed its operations in 1975.

In the museum, you will find many frescoes, sculptures, sketches, etc. Here are some of the best works of art:

1. Crucifix by Cimabue, 1280

Santa Croce's paramount masterpiece, Cimabue's Crucifix stands as a testament to the artistic brilliance of the 13th-century painter. Cimabue, a pivotal figure bridging Italian-Byzantine art and the Renaissance, exerted a profound influence on early Renaissance luminaries, including Giotto, earning him Vasari's accolade as "the front page of Italian art."

Executed in tempera on wood, the Crucifix captures the poignant image of a suffering and dying Christ, flanked by saints, with faces rendered remarkably expressive. Unfortunately, the devastating flood wrought havoc on the painting, resulting in the loss of 60% of its painted surface. This poignant artwork has come to symbolize the tragic toll inflicted upon Florence, serving as a poignant reminder of the enduring impact of disasters.

In 1976, recognizing the need to preserve this historical treasure, the Crucifix underwent an extensive restoration effort. While some damage remains irreparable, the restoration breathed new life into the masterpiece, ensuring its continued resonance and significance.

2. Taddeo Gaddi, The Last Supper and the Tree of Life, 1335

Adorning the western wall is an expansive rendition of the Last Supper, skillfully executed by Taddeo Gaddi, recognized as one of Giotto's most accomplished disciples. Aptly situated in the erstwhile refectory of the friars, the Last Supper captures the pivotal moment when Jesus discloses the impending betrayal by one of his apostles. Judas is artfully portrayed from behind, deliberately isolated from his fellow companions, evoking a sense of guilt.

Above this poignant depiction, Gaddi masterfully illustrates the Tree of Life. Enveloped in an air of mystique, the symbolic tree is surrounded by scenes featuring Saint Francis and Mary Magdalene, enhancing the visual narrative with additional layers of meaning and significance.

3. Bronzino, Descent of Christ into Limbo, 1552

Agnolo di Cosimo di Mariano, famously known as Bronzino, stood out as a prominent Mannerist artist during the late Renaissance. His significant devotional piece, functioning as a substantial altarpiece, takes inspiration from the Old Testament. In this composition, Christ is depicted descending into hell or limbo to rescue deserving individuals.

Bronzino's artistic finesse extends to portraits of figures such as Adam and Eve, Noah, Judith, Isaac, David, Abraham, among others. The painting also incorporates likenesses of Bronzino's contemporaries in Florence, along with a self-portrait of the artist. Notably, the artwork stirred controversy during its time due to its provocatively erotic elements.

Furthermore, the piece endured damage during the significant flood of 1966. However, it underwent skillful restoration, resulting in a nearly pristine appearance.

4. Francesco Salviati, Deposition from the Cross, 1547-48

Similar to Bronzino, Salviati, also recognized as Francesco de'Rossi and Il Salviati, was an Italian Mannerist painter. Among his notable works, "The Deposition" stands out as Salviati's most significant easel painting. Characteristic of Mannerist aesthetics, the painting exhibits an extreme artificiality in the arrangement of figures, accompanied by a sophisticated and polished appearance.