The best places in Florence - Citimarks
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The banker and the soldier

The Salone dei Cinquecento is a grand hall in Florence’s Palazzo Vecchio, originally built in 1494 as a council chamber for 500 members of the Florentine Republic. Renowned for its monumental size and elaborate frescoes by Vasari, it serves as a stunning showcase of Renaissance art and Medici power.

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"Cosimo I is one of those gigantic statues that the hand of history erects like a pyramid to mark the boundary where one era ends and another begins. Cosimo embodies both the Augustuses and the Tiberiuses of Tuscany"
Alexandre Dumas, Une année à Florence, Dumont, 1841
chapter 1

Lorenzo the Magnificent

Under Lorenzo the Magnificent, a new type of political leader emerged, one equal to feudal and royal lords, but rooted in the urban merchant class. Even though Condottieri might have brandished their swords with ancient flair to tip the balance of power, it was still the keen merchant who held that balance steady: “e pari la bilancia ben tenere” (“and held the balance well”). Thanks to his merchant-driven policies, which he pursued on a grand scale, Lorenzo found little time for anything beyond maintaining peace in Italy and shielding the country from the invasions of war-prone, envious neighbors. […]

Lorenzo the Magnificent’s remarkable superiority lies in his exceptional intellectual prowess, characterized by its breadth and radiant intensity. He has the unique ability to honor the past with reverence, savor the present, and contemplate the future—all with the same vibrant energy. Through his education, he is a scholar reviving ancient knowledge; by temperament, a lively and popular poet; and by will and necessity, a wise, farsighted statesman.

Lorenzo’s ability to channel this continuous flow of intense and ever-renewed energy into a truly superior intellectual humanism owes much—indeed, not in small part—to the cultivation of his artistic temperament. His joyful and carefree participation in the festivals that enliven his era, whether as author, performer, or spectator, provides him with immediate physical relaxation. At the same time, his poetic works, particularly his popular songs that elevated the Italian language to a dignity equal to that of Latin, allow him to reach a higher level of pure spiritual freedom.

If Lorenzo was unable to lead an offensive, conquest-driven policy in the traditional sense, it was not solely due to any lack of skill. Rather, it was also the evolving nature of the State, which prevented conquest and instead required him to prudently manage the rich legacy of the past.

The age of Lorenzo lacked the solemn grandeur and monumental force of Dante’s era; however, in the Florence of the Magnificent, the significance of the arts was far greater than merely a final flourish from a circle of refined, world-weary men browsing an art sale, where abundance aims to stimulate passive attention, evoke desire, or encourage purchase. Instead, artistic creation and appreciation were integral phases of a single, organic cycle. This cycle’s ongoing intensity inspired the Florentines of the early Renaissance to view all human qualities as tools for the art of living, a joyous expansion of life, and to employ these qualities with purpose and intention.

Aby Warburg,
Essais Florentins, translated from German by Sybille Muller, Klincksieck, 1990

Detail of a fresco by Vasari depicting Lorenzo de’ Medici going to Naples to see King Ferdinand of Aragon. Lorenzo had dared to throw himself into the mouth of the wolf to try to reason Ferdinand of Aragon and try to end the war between Naples and the Florentines. Palazzo Vecchio features a long series of fabulous frescoes dedicated to the great Florentine ruler.

Lorenzo de’ Medici, known as “Lorenzo the Magnificent,” was a statesman and de facto ruler of Florence during the Italian Renaissance, celebrated for his political acumen and cultural patronage. He supported artists like Botticelli, Michelangelo, and Leonardo da Vinci, turning Florence into a thriving center of art and humanism.

Michelangelo’s Day and Night is one of four allegorical sculptures adorning the tomb of Giuliano de’ Medici in the Medici Chapels, symbolizing the passage of time and the cycle of life. Renowned for its dramatic realism and unfinished elements, it exemplifies Michelangelo’s mastery of conveying human emotion and movement, blending idealized beauty with raw, powerful expression.

The Studiolo in Palazzo Vecchio is a small, private study designed for Francesco I de’ Medici in the 16th century, showcasing his interests in art, science, and alchemy. Its walls are adorned with intricate paintings and gilded panels that conceal secret cabinets used to store rare objects, natural specimens, and treasures reflecting Francesco’s intellectual pursuits.

chapter 2

A banker with the heart of a soldier

The Riccardi Palace was built by Cosimo the Elder, the very one whom the homeland tried to banish twice, only to finally call him its “father”.

Cosimo arrived at one of those fortunate eras when everything within a nation blossoms simultaneously, when a man of genius finds every opportunity to rise to greatness. Indeed, the brilliant age of the Republic dawned with him; the arts flourished on all sides. Brunelleschi was raising his churches, Donatello carving his statues, Orcagna sculpting his porticoes, Masaccio adorning walls with his frescoes. In short, public prosperity, keeping pace with the progress of the arts, made Tuscany—situated between Lombardy, the Papal States, and the Venetian Republic—not only the most powerful but also the happiest land in Italy.

From then on, Cosimo adopted the same policy that we would later see his grandson, Lorenzo, follow: he returned to his trade, to his financial dealings, and to his monuments, leaving the task of vengeance to his supporters who now held power. The proscriptions dragged on so long, and the executions were so numerous, that one of his closest and most loyal confidants felt compelled to visit him and say that he was depopulating the city. Cosimo looked up from the exchange calculations he was working on, placed a hand on the shoulder of this messenger of clemency, gazed at him steadily, and with a faint, almost imperceptible smile, said: “I would rather depopulate it than lose it.” And the unyielding arithmetician returned to his figures.

And so he grew old—rich, powerful, honored—but struck within his own family by the hand of God. He had fathered several children with his wife, yet only one survived him. Thus, broken and infirm, he would be carried through the vast halls of his immense palace to inspect the sculptures, the gildings, and the frescoes. He would shake his head sadly and say, “Alas, alas! What a grand house for such a small family!”

A refuge for Greek scholars fleeing Constantinople, cradle of the Renaissance of arts in the 14th and 15th centuries, and now home to the sessions of the Accademia della Crusca, the Riccardi Palace was successively inhabited by Piero the Gouty and by Lorenzo the Magnificent, who retreated there after the Pazzi conspiracy, just as his grandfather had done after his own exile. Lorenzo bequeathed the palace, along with its immense collection of precious stones, antique cameos, splendid arms, and original manuscripts, to his son Piero, who did not earn the title of Piero the Gouty but instead the name Piero the Unfortunate.

Alexandre Dumas,
Une année à Florence, Dumont, 1841

The Medici Chapel frescoes, particularly the Procession of the Magi (1459) by Benozzo Gozzoli, depict a lavishly detailed procession winding through idyllic landscapes, celebrating the Medici’s wealth and influence. The fresco famously includes portraits of prominent figures like Cosimo de’ Medici, Piero the Gouty, and Lorenzo the Magnificent, subtly portraying them as part of the biblical narrative.

chapter 3

Murder in the church

The conspirators proceeded to Santa Reparata, where the cardinal and Lorenzo de’ Medici had already arrived. The church was crowded, and divine service commenced before Giuliano’s arrival. Francesco de’ Pazzi and Bernardo Bandini, who were appointed to be his murderers, went to his house to search for him, and by earnest entreaties, prevailed upon him to accompany them.

It is surprising that such intense hatred and designs so full of horror as those of Francesco and Bernardo, could be so perfectly concealed; for while conducting him to the church, and after they had reached it, they amused him with jests and playful discourse.

Nor did Francesco forget, under pretense of endearment, to press him in his arms, so as to ascertain whether under his apparel he wore a cuirass or other means of defense. Giuliano and Lorenzo were both aware of the animosity of the Pazzi, and their desire to deprive them of the government; but they felt assured that any design would be attempted openly, and in conjunction with the civil authority. Thus being free from apprehension for their personal safety both affected to be on friendly terms with them. 

The murderers being ready, each in his appointed station, which they could retain without suspicion, on account of the vast numbers assembled in the church, the preconcerted moment arrived, and Bernardo Bandini, with a short dagger provided for the purpose, struck Giuliano in the breast, who, after a few steps, fell to the earth. Francesco de’ Pazzi threw himself upon the body and covered him with wounds; while, as if blinded by rage, he inflicted a deep incision upon his own leg. Antonio and Stefano, the priest, attacked Lorenzo, and after dealing many blows, effected only a slight incision in the throat; for either their want of resolution, the activity of Lorenzo, who, finding himself attacked, used his arms in his own defense, or the assistance of those by whom he was surrounded, rendered all attempts futile. 

They fled and concealed themselves, but being subsequently discovered, were put to death in the most ignominious manner, and their bodies dragged about the city. Lorenzo, with the friends he had about him, took refuge in the sacristy of the church.

Niccolo Machiavelli,
History Of Florence And Of The Affairs Of Italy: From The Earliest Times To The Death Of Lorenzo The Magnificent, W. Walter Dunne, 1901

The Cappella dei Principi in the Medici Chapels is a grand mausoleum designed to glorify the Medici dynasty, characterized by its opulent use of precious stones, polychrome marble, and intricate inlays. Its highlights include the dazzling pietra dura craftsmanship and the majestic dome, making it a stunning symbol of Medici wealth and artistic patronage.

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chapter 4

Live and let die

Despite the upheaval brought about by the arrangements of Cosimo I, the Palazzo Vecchio still physically retains a memory of the republic: it is the Barberia Tower, where Cosimo the Elder was imprisoned. At the door of this tower, half a century later, during the Pazzi Conspiracy, the brave gonfaloniere Cesare Petrucci stood guard with a spear.

It was in this tower, now divided into a lumber room and converted into a wardrobe, that Cosimo the Elder surely spent the four worst days of his long life. During those four days, the fear of being poisoned by his enemies prevented him from taking any nourishment.

For, as Machiavelli says, many wished for his exile, but many also wanted him dead, while the rest remained silent either out of compassion or fear. The latter, by taking no side, prevented any resolution from being reached. Meanwhile, Cosimo had been locked away in a tower of the palace and entrusted to a jailer.

From the place where he was confined, this great citizen could hear the clamor of arms in the square and the eternal ringing of the bell tower calling the people to the balia. He feared both that he would be killed publicly and, even more so, that he would be struck down in the shadows.

That is why, fixating particularly on this last suspicion, he went four days without taking any food, except for a little bread he had brought with him. Then, noticing the fears of his prisoner, the jailer, who had been bringing him his dinner for four days untouched, approached him and looked at him, shaking his head sadly: 

“You doubt me, Cosimo,” he said, “you fear being poisoned, and in that fear, you are allowing yourself to starve. It is a slight against my honor to think that I would lend my hand to such an infamy. I do not believe your life is seriously threatened, for, believe me, you have many friends both in this palace and outside it. But even if you were to lose it, rest assured regarding me, for I swear to you, it will take another hand than mine to take it away. I will never stain my hands with anyone’s blood, least of all yours; you have never done me any offense. So, reassure yourself; eat, and keep yourself alive for your friends and for the fatherland. Moreover, to further ease your mind, grant me the honor of joining you at your table each day, and I will eat first of all that you consume.”

At these words, Cosimo felt entirely comforted, and throwing himself around the neck of his jailer, he embraced him while weeping, swearing him eternal gratitude and promising to remember him if fortune ever allowed him the opportunity to regain his friendship.

Alexandre Dumas,
Une année à Florence, Dumont, 1841

The religious wall paintings in Palazzo Vecchio, particularly those in the Chapel of the Signoria, are exquisite examples of devotional art designed to reflect the piety and power of Florence’s rulers. These frescoes, attributed to Agnolo Bronzino, feature vibrant depictions of religious scenes such as the Lamentation of Christ, blending intricate detail, luminous colors, and profound spirituality to create a sense of sacred grandeur within the heart of the city’s political center.

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