Basilica of Santa Croce in Florence
Basilica of Santa Croce in Florence: The Franciscan church in the world
Basilica of Santa Croce in Florence is a small Gothic gem that houses the remains of illustrious figures in the fields of science, politics, and the arts. In its museum, you will find invaluable works created by artists like Giotto, Donatello, Gaddi, and Orcagna.
Santa Croce: A Story of Inestimable Treasure
Santa Croce was founded by the Franciscan fathers on a piece of land surrounded by the waters of the Arno River, at the location of the present-day Piazza Beccaria. This happened after a visit by Saint Francis to Florence in 1211.
After a heated debate about the most suitable architectural style for the basilica, a much larger and more elaborate structure was finally erected, quite different from the traditional Franciscan churches that have always symbolized the poverty preached by the religious order.
The creation of this marvel is likely due to the genius of Arnolfo di Cambio, the architect also responsible for the construction of Palazzo Vecchio. The generous financial contribution of the Florentine population played a significant role. Arnolfo di Cambio passed away in 1302 without seeing his work completed, which was finished around 1358 after overcoming challenges posed by the plague pandemic and flooding of the Arno River.
The consecration took place in 1443 by Cardinal Bessarion in the presence of Pope Eugenius IV. This marked the beginning of the gradual artistic enrichment of the structure. This process culminated in the 1800s, transforming the Church of Santa Croce into a mausoleum of Italian art and culture, thanks to the visionary project of architect Niccolò Matas.
Tragically destroyed by the flood of 1966, the restoration of Santa Croce was a slow process, eventually becoming a symbol of rebirth.
The Basilica from the Outside and the Famous Piazza Santa Croce
Few churches will evoke the same awe as the Basilica of Santa Croce in Florence; such places of interest are unique worldwide.
Initially, the old facade featured only the niche with the bronze statue of San Ludovico of Toulouse, created by Donatello, later moved inside the Refectory. There was also the circular stained glass designed by Ghiberti and the radiant monogram of Christ, commissioned by Saint Bernardino of Siena.
With the 19th-century reconstruction by Niccolò Matas, inspired by an earlier project by Cronaca, the sandstone wall was adorned with neo-Gothic decorations that now grace the entire facade. After ascending the eight steps of the church, by focusing your gaze, you can best appreciate the details of the three lunettes, which depict the legend of the True Cross (you’ll find more about it in our Curiosities as you continue reading).
Here, you can admire its most significant episodes: the discovery of the cross of Christ, its triumph, and the vision experienced by Emperor Constantine on the eve of the Battle of the Milvian Bridge. Looking at the floor, you’ll spot the tomb of architect Matas, positioned in front of the main entrance. Accompanied by two royal Marzocchi, the marble Dante sculpted by Enrico Pazzi stands on a tall pedestal, bearing the inscription “To Dante Alighieri from Italy.” He gazes towards the left side of the facade, at Piazza Santa Croce, where the liveried football matches are held each year.
The false bays arranged on the sides of the basilica are topped with before, opening onto the austere sandstone compartments. The characteristic pointed shape of the false basins creates a unique play of forms that continues even at the rear, visible only from a private garden or afar. On the left side, you’ll find the entrance of the Pinzochere, built in the 14th century and restored during the 19th-century reconstruction of Santa Croce. Here, you’ll find the ticket office, several noble coats of arms in stone on the wall, and the funerary monuments dedicated to Alamanno Caviccioli and Tino di Camino.
The campanile of Basilica of Santa Croce in Florence remained unfinished for quite some time. Despite numerous projects, the construction was never completed. Its base was eventually demolished during the last reconstruction, which saw the creation of a Neo-Gothic structure about 78 meters high. Here, as in the rest of the basilica, you can observe Matas’ influence from works like the Siena and Orvieto Cathedrals, evidenced by their essential and geometric lines.
Basilica of Santa Croce in Florence : The Interior Structure, Chapels, Pipe Organ, and Artwork
Inside the Basilica of Santa Croce in Florence, the layout forms a crucifix with three aisles: the central one for the faithful and the lateral ones supported by large octagonal pillars alternating with broad bays. The unique “Egyptian cross” shape is the result of Vasari’s 1565 reconstruction, necessary to align the church with the decrees of the Council of Trent.
The trussed ceiling is an architectural device used to balance the weight of the entire structure, surrounded by fragile walls. The horizontal balcony that runs through the central nave is a mere decorative element, adding a touch of neoclassicism to the church. The simple layout was designed by Arnolfo di Cambio, following the norms of Franciscan churches, where frescoed walls illuminated by sunlight are favored, allowing the faithful to admire and learn from the biblical narrative depicted on them.
Walking inside the Basilica of Santa Croce in Florence, you’ll notice numerous chapels dedicated to the donors who generously contributed to its construction.
The Main Chapel is Agnolo Gaddi’s masterpiece: he is responsible for the walls and stained glass, except for the highest ones, which provide an in-depth illustration of the legend of the True Cross, the same one introduced by the three lunettes on the facade. Here, the story is enriched with additional details and characters, including Saint Helena, the mother of Emperor Constantine, the Queen of Sheba, King Solomon, and King Corsoe II. The chapel features a colorful cross attributed to an anonymous artist identified as the “Maestro di Figline.” At the same time, the altarpiece was painted by Niccolò Gerini, Giovanni del Biondo, and another unknown artist.
On the right side of the church, you will find:
On the other hand, the Peruzzi Chapel and the Bardi Chapel were adorned by Giotto and depict episodes from the lives of Saint John the Baptist and Saint Francis of Assisi, respectively. The works of the master exhibit an expressive realism that sets him apart clearly from other artists of his time, as you can also see when visiting the room dedicated to Giotto and the 13th century in the Uffizi Gallery.
Particularly in “The Death of Saint Francis,” you can feel the drama of the friars grieving over the lifeless body of the saint, their faces contorted with inconsolable sorrow. This chapel is considered one of the most evocative things to see in Florence.
The Giugni Chapel is the resting place of Julie Clary: queen consort of the Indies, Naples, and Spain, wife of Joseph Napoleon, and mother of the artistic princess Charlotte Napoleon Bonaparte, buried alongside her.
The Ricciardi Chapel houses the shrine of Blessed Umiliana de’ Cerchi and three paintings by Rosselli, Billivert, and Passignano, depicting “The Ecstasy of Saint Francis,” “The Finding of the Cross,” and “The Almsgiving of Saint Lawrence,” respectively.
The Velluti Chapel, dedicated to Archangel Saint Michael, is adorned with 14th-century paintings of unknown authorship. The altar, whose altarpiece was decorated by del Biondo and di Bicci, adds to its charm.
The Baroncelli Chapel is embellished with stained glass, the polyptych, and the fresco “Stories of the Virgin,” masterfully crafted by Taddeo Gaddi, so sublime in this phase of his extraordinary career that his hand has been mistaken for that of his master, Giotto. The “Madonna of the Girdle,” surrounded by angels, reigns undisturbed in the clear sky painted by Sebastiano Mainardi—a further tribute to the Baroncelli family, also commemorated by the tomb sculpted by Balduccio and the sweet “Madonna and Child” by Danti.
Agnolo Gaddi, son of Taddeo Gaddi, is responsible for the frescoes in the Castellani Chapel. The Eucharistic niche and the cross are works of Mino da Fiesole and Gerini. Notable figures also rest here, including the Countess of Albany and the sculptor Emilio Santarelli.
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On the left side, you will see:
The Spinelli and Capponi Chapel, the latter built in honor of all mothers who lost their sons in the war, commemorated by the “Pietà,” “The Departure of the Hero,” and “The Return of the Hero” by Master Andreotti, created in the 1920s.
Master Sabatelli and his sons frescoed the Ricasoli Chapel, narrating the story of Saint Anthony of Padua.
Particularly remarkable is the ceramic piece resting on the altar of the Pulci-Berardi Chapel, representing the Madonna with Child, surrounded by angels and saints. This splendid work, shaped and decorated by Giovanni della Robbia, is positioned on the chapel’s altar, frescoed by Bernardo Daddi with two martyrdom episodes: the stoning of Saint Stephen and the fiery grilling of Saint Lawrence (the latter also sculpted in marble by young Bernini and exhibited at the Uffizi Gallery in Florence).
The Bardi di Vernio Chapel encompasses several works by Maso di Banco, an excellence of the Giotto school: the stained glass, “The Stories of Saint Sylvester,” and “The Last Judgment,” alongside Gaddi’s “Deposition” and a triptych by del Biondo. The noble Bardi di Vernio family is also honored in the chapel containing Donatello’s wooden crucifix, also known as the Santa Croce Crucifix, preserved with the angels and ciborium crafted explicitly for the main altar and finally placed here, protected by the original gates dating back to 1335.
Lastly, the Medici Chapel, designed by Michelozzo at the behest of Cosimo, the Elder, can be accessed from an entrance at the head of the right transept after passing through the novitiate entrance hall and then the Sacristy. Upon entering the chapel, surmounted by Fra Bartolomeo’s “Madonna and Child,” you’ll find a room adorned with simple decorations featuring several Medici coats of arms and a stone bench.
The walls showcase Allori’s altarpiece, monuments dedicated to sculptor Lorenzo Bartolini and actor Francesco Lombardi, and works by Portelli and Bardovinetti. The central altarpiece of the chapel is a magnificent ceramic by Andrea della Robbia, depicting the Madonna embracing Jesus amid saints and a host of angels.
Proceeding to the Sacristy, you’ll encounter a more ornate environment, rich in decorations and abundant artworks: the inlaid cabinets for relics and the corner bench were created by Michele da Fiesole and Taddeo Gaddi, respectively. Not to mention the frescoed wall featuring prominent figures of the Giotto school, among which Gaddi stands out as one of the brightest artists.
Lastly, the Rinuccini Chapel narrates the “Stories of the Virgin” and “Magdalene,” painted by Giovanni da Milano.
In addition to the chapels and funerary monuments, which we will detail shortly, you can also admire the pipe organ made by Onofrio Zefferini and inaugurated on June 6, 1579. Originally smaller than the current one and featuring a case personally designed by Vasari, it remained intact after the complete reconstruction in 1929, enlarging the instrument and renewing its stylistic appearance. It was restored after the flood of 1966, which severely damaged it and rendered it unusable. It was then transformed into an electronic organ by the Mascioni Organ Factory, which conducted restoration work in 2009 and 2010.
Basilica of Santa Croce in Florence: Monumental Tombs of Figures that Shaped Italy’s History
If you’ve chosen to visit Florence to explore the resting places of the most renowned figures in history, be aware that you will find most of them right here in the Church of Santa Croce. Leonardo Bruni was the first illustrious individual to be interred in the so-called Pantheon of Italian Glories, resting in the Renaissance-style tomb created by Leonardo Rossellino.
Following him are many others, including Niccolò Machiavelli, Michelangelo Buonarroti, Galileo Galilei, Vittorio Alfieri, Leon Battista Alberti, Giovan Battista Niccolini, Gino Capponi, Giovanni Targioni Tozzetti, Gioachino Rossini, and Ugo Foscolo, who himself deemed the basilica the Temple of Italian Glories. There are over two hundred tombs here, not counting those relocated elsewhere.
Notable among them are:
The tomb dedicated to Michelangelo Buonarroti on the right aisle portrays the predominant theme of the Passion of Christ. The great artist is mourned by Painting, Sculpture, and Architecture, seated atop the glorious monument designed by Vasari, marked by their expert fusion.
Likewise, Italy and Poetry mourn Dante at His empty tomb, as his remains are far from home in Ravenna. A work whose magnificence evokes the same sadness as the statues: Italy solemn, Poetry despondent. A brooding Dante gazes towards the visitors between them, seated on the cenotaph.
The Florentine hero Francesco Nori, who saved Lorenzo the Magnificent, is remembered here with a funerary monument in his honor, enriched by Rossellino‘s “Madonna del Latte.”
Simple yet distinguished is the monument to Ugo Foscolo, portraying the poet sculpted by the hand of Antonio Berti.
Instead of briefly describing Gioachino Rossini‘s monumental tomb, we want to tell its story. The composer stipulated in his will that his wife, Olympe Pélissier, would choose his burial place. Deeply in love with her husband, she decided to have him next to her in the Père Lachaise Cemetery in Paris, where they would rest together for eternity. However, a request was made for Rossini’s remains to be brought to Italy, where he would be welcomed and acclaimed with the glory due to his genius.
Despite her grief at the thought of parting from her life partner’s remains, Pélissier humbly accepted this sacrifice to honor her husband’s memory. She asked that the transfer waits until the day of her death so she wouldn’t have to suffer the separation. Antonio Canova‘s genius graces the tomb of Vittorio Alfieri, wept over by Italia Turrita (Crowned Italy), weakly supporting herself on the monument adorned with liras and garlands.
Galileo Galilei rests on the left aisle with his daughter Sister Maria Celeste and his disciple Vincenzo Viviani. The frescoes depict the Saints and the path of Christ towards the Resurrection and Ascension to Heaven, continuing the narrative initiated in the right aisle. Galileo gazes directly at the sky, flanked by Astronomy and Geometry, which, along with him, appear to be aiming at the stars.
Among the numerous commemorative plaques, we point out those of four great inventors: in addition to the famous Leonardo da Vinci, on the left aisle, you’ll notice Antonio Meucci, Guglielmo Marconi, and Eugenio Barsanti. We owe them the inventions of the telephone, radio, and endothermic engine.
Near the main entrance, the Liberty figure from Pio Fedi’s sculpture pays homage to the indomitable spirit of Giovan Battista Niccolini, who rests here, guarded by a stern lady with a crowned head and a proud stance.
The Museum Tour of the Basilica: The Pazzi Chapel, Cloisters, and Halls
The former Basilica of Santa Croce in Florence monastery in Florence was gradually transformed into a museum during the Commemoration of the Deceased in 1900. Under the watchful supervision of Guido Carucci, part of the architectural structures were removed during the Urban Renewal period, and various artworks were placed in the former Refectory. Over time, this space was expanded and modernized, then opened to the public in 1959, along with the two cloisters and the main areas of the basilica.
After the flood, Santa Croce remained closed until 1975. The museum reopened in 1976, coinciding with the reinstallation of Cimabue’s Crucifix, which had been severely damaged by the environmental disaster and restored. The other recovered works were brought back to the basilica in 2006 on the 40th anniversary of the flood. During the 50th anniversary, visitors were able to re-admire, in all its splendor, Giorgio Vasari’s “Last Supper.“
Starting from the basilica’s exterior, you’ll find the Trecento Cloister with an irregular plan on the right side. It originated from the fusion of two small cloisters with rectangular and square plans, where Bandinelli’s Absolute Father and Moore’s Bronze Warrior will guide you toward the Pazzi Chapel, designed by Brunelleschi.
The Pazzi Chapel, reigning in the spacious cloister garden, is considered the absolute masterpiece of its author. It’s named after the banking family that attempted to end the Medici rule through a conspiracy. During this plot, Giuliano de’ Medici, brother of Lorenzo the Magnificent, was assassinated, and Lorenzo himself narrowly escaped death.
The Papacy, the Kingdom of Naples, the Republic of Siena, and the Duchy of Urbino supported the Pazzi. As a result, the Italian political landscape was profoundly disrupted by the conflicts that followed the conspiracy. In this work, Brunelleschi displays exquisite taste that earns him a comparison with Botticelli. Unfortunately, he dies before seeing the facade completed.
Desiderio da Settignano intricately carved the doors, while the terracotta roundels adorning the circular dome, the lunette above the entrance door, and the magnificent Apostles’ medallions were created by Luca della Robbia. Alesso Baldovinetti and Giuliano da Sangallo designed the stained glass and the entrance on the facade; the latter attributed to Brunelleschi‘s original designs.
After the second Serena stone cloister, also created by Brunelleschi, as you walk along the Santa Croce basilica in Florence, you will enter the first room of the Refectory, where the famously decorated crucifix by Cimabue is kept. On the west wall, you’ll find Taddeo Gaddi‘s Last Supper, where the cross of Christ seems to take on the shape of the Tree of Life, from which scenes and faces of the biblical narrative emanate. Fragments of Orcagna‘s “The Triumph of Death (Trionfo della Morte),” “The Last Judgment,” and “Hell” have also survived the unforgiving waters of the Arno and were recovered through Vasari’s restoration work.
The Statue of Saint Louis of Toulouse by Donatello is preserved here, having been exhibited on Santa Croce‘s facade for about three hundred years. The frescoes by Domenico Veneziano will introduce you to the second room, narrating themes dear to the Franciscans, the lives of Saint Francis and Saint John the Baptist, and the nineteen altarpieces recovered after another flood in 2006. Among these, we recall the “Trinity,” “Descent of Christ to Limbo,” “Madonna and Child with Saints,” and “Deposition from the Cross (Madonna col bambino e Santi e Deposizione dalla Croce).” The latter, in particular, suffered extensive damage and was recovered almost miraculously.
The second room features masterpieces by artists like Giotto, Alesso Baldovinetti, and Neri di Bicci, along with models of some parts of the basilica, including the bell tower, dating back to the 19th century.
The third room is dedicated to glazed terracottas, also known as “robbiane,” as the invention of this decorative technique is attributed to Luca della Robbia, who discovered it during experiments conducted around 1440.
The fourth room presents works from the 14th and 15th centuries: preparatory drawings called “sinopie,” made with the reddish color known as sinopia, and frescoes.
The fifth room showcases sculptures from the 14th century, mainly attributed to Tino di Camaiono and Giambologna, plaster models of the works decorating the 19th-century facade, and the reconstruction, performed by Tino di Camaiono himself, of the monument to Gastone della Torre.
The sixth room contains fragments of frescoes, including three attributed to Rosselli.
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Church of Santa Croce in Florence: Curiosities
In addition to the already mentioned “Stendhal Syndrome,” which the writer experienced here for the first time, and the description of the illustrious tombs inside Foscolo’s “Dei Sepolcri,” we present some exciting tidbits about the Basilica of Santa Croce in Florence:
The Basilica of Santa Croce in Florence was visited by 837,575 tourists in 2008.
As you can see, there is a Star of David on the facade because the architect Niccolò Matas practiced the Jewish faith.
Calcio in livrea, also known as “calcio fiorentino” or “historic football,” is a sports discipline that originated from the Roman harpastum and incorporated soccer, rugby, and wrestling elements. It is played in Piazza Santa Croce in June, accompanied by a parade in historical costumes that starts from Piazza Santa Maria Novella. What better event to witness in Florence?
Are you familiar with the legend of the True Cross, the story to which the Basilica of Santa Croce in Florence is dedicated? It is said that the tree from which the wood for Jesus‘ cross was taken grew from the grave of Adam. Adam was buried with a twig from the Tree of Life between his lips after death. Once produced, this new plant was discovered by King Solomon. After extracting the wood and contemplating its use, he decided to use it as a footbridge to cross a river. Recognizing the wood’s origins, the Queen of Sheba evokes the prophecy of the crucifixion. Solomon then decides to bury the footbridge, awaiting its destined purpose.
When Christ is sentenced to death, the wood is rediscovered and used to construct his cross. Before the Battle of the Milvian Bridge, Constantine had a vision: a luminous cross with the inscription “in hoc signo vinces,” meaning “in this sign, you will conquer.” This convinces him to use Christ’s cross as the symbol of his army, leading to victory. For this reason, the Emperor sends his mother, Flavia Julia Helena, to retrieve the sacred relic.
After a long journey, she finds it, and upon touching it, Jesus Christ himself rises from the dead. The True Cross is divided into various parts, one of which is kept in Jerusalem and was later stolen by King Khosrow II during the Persian invasion. The Byzantine Emperor Heraclius sends an expedition, and after several years, he finally manages to regain the relic and personally bring it back as a humble pilgrim.
Basilica of Santa Croce Florence: Opening Hours and Ticket Prices
The Basilica of Santa Croce in Florence and the museum are open:
- Monday, Wednesday, Thursday, Friday, and Saturday: 11:00 AM to 5:00 PM.
- Sundays and religious holidays: opening hours 1:00 pm – 5:30 pm (last entry 5:00 pm)
- Closed on Tuesday
Ticket Prices:
- Full price: €8.00
- Family: parents €8.00, children under 18 free
- With audio guide: €12.00
- Family with audio guide: €12.00
- Reduced for ages 12 to 17: €6.00
- Family reduced with audio guide: €4.00
- Under 18 with audio guide: €10.00
- Free for children under 12, residents of the Municipality of Florence, and disabled visitors with companions
- Free with audio guide: €4.00
Online reservation or ticket purchase at the Basilica of Santa Croce museum’s ticket office is available.
Dress code : Wear appropriate clothing in the church, including covered knees and no bare shoulders, sandals, or headgear.
Basilica of Santa Croce in Florence: How to Reach
To visit the Basilica of Santa Croce in Florence, here’s a map that can be helpful, along with some tips on how to get there.
You can reach the Church of Santa Croce by bus, using lines 23A, 23B, and C4.
On foot, starting from Piazza Santa Maria Novella, you can take Via del Sole and proceed towards Via Belle Donne. Then, turn left onto Via Spada and right onto Via de’ Tornabuoni. Continue towards Via Porta Rossa, and you will find yourself on Via della Condotta and Via dell’Anguillara until you see Piazza Santa Croce on your left.