Santa Maria Novella Church
Santa Maria Novella Church: History, Artworks, and Curiosities about the Dominican Basilica in Florence
On a Tuesday morning, ten characters of an ageless tale converged at the Basilica of Santa Maria Novella. They left the city to escape the devastating plague that struck Florence in 1348. Within the renowned Dominican basilica, Boccaccio chose to set the opening of his magnum opus: the Decameron. Just a short distance from the namesake Santa Maria Novella Train Station, this basilica stands as a landmark for first-time visitors to the city, a captivating place rich in art. Let Florence with Locals to guide you through discovering its most famous chapels, the bell tower, the convent, and the exquisite works created by renowned artists like Giotto, Masaccio, and Filippino Lippi.
From a Countryside Chapel to a Minor Basilica in Florence: Santa Maria Novella Church and Its History
Founded by twelve Dominican friars in the 1200s, the Santa Maria Novella Church emerged, where once stood a small chapel called Santa Maria delle Vigne, named for its bountiful vineyards. In 1242, the Vatican granted the friars permission to give indulgences to anyone contributing financially to the Church’s expansion. This marked the beginning of the initial renovation efforts that would bring Santa Maria Novella to its present splendor.
In 1279, the Ceremony of the Laying of the First Stone kicked off a series of works that concluded around the mid-1300s. First completed were the façade, the bell tower, and the convent. After the consecration in 1420, the portal was redesigned by Leon Battista Alberti, commissioned by the Florentine Rucellai family. The portal was further embellished through new works completed fifty years later.
During the late 1500s, Vasari made alterations to Santa Maria Novella to conform to the architectural standards of the Counter-Reformation, similar to what happened with the Church of Santa Croce. Three centuries later, architect Enrico Romoli carried out further modifications, and in 1999, an additional restoration was conducted for the Jubilee of the year 2000.
In 1919, the Church was designated as the minor basilica of Santa Maria Novella by the 258th Pope of the Roman Church, Pope Benedict XV.
The Architecture of Santa Maria Novella: Exploring the Various Areas in Detail
The style of Santa Maria Novella Church reflects Gothic and classical architectural elements, notably evident in the façade’s structure and the altars along the two side aisles.
From Piazza della Stazione, you can glimpse the Gothic pinnacle of Talenti’s 14th-century bell tower, displaying its Romanesque style with trefoil arches surmounted by rows of blind turns.
As you arrive at Piazza Santa Maria Novella, you’ll finally have the chance to admire the façade in person. Regarded as an authentic Renaissance masterpiece, it’s adorned with a distinctive white and green marble decoration on the lower register, designed by Turino da Baldese. The works were gradually interrupted and resumed two decades after the Council of Florence, thanks to the Rucellai family and architect Alberti. Alberti contributed the grand classical-style portal and elements reminiscent of ancient Roman architecture, such as the large lateral volutes. He modified the tympanum by incorporating the famous Sol Invictus symbol of the Santa Maria Novella district and encircled the central oculus with a rectangular section. The three portals feature lunettes adorned by Ulisse Giuochi, depicting Saint Thomas Aquinas in prayer before the Crucifix, Aaron with manna, and Melchizedek with loaves of bread.
On the lower part of the façade, you’ll find small arcosolium niches called “Avella,” named after Via degli Avelli, which faces the cemetery on the left side of the Church. Ghirlandaio is buried here, depicted along with many other notable personalities resting in this place through lost portraits. Boccaccio was particularly fascinated by this area of the Church, so he precisely set the introduction of the Decameron here. Noteworthy blazons of prominent Florentine families, like the Corsini, Acciaiuoli, Gondi, and Medici, can be noticed among the Avelli.
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In Florence, places of interest like Santa Croce represent Gothic architecture, but the Santa Maria Novella Church was the first to experiment with this style. This can be observed in the interior, where typical Cistercian Gothic elements prevail, inspiring most of Florence’s churches. The six bays, extending along the Church’s three naves, gradually widen towards the portal, creating a peculiar optical illusion: the space seems much longer than it is. Mixed-section pilasters support the pointed arches of the vault, composed of cross vaults. The main altar, along with the windows, incorporates a Neo-Gothic style. Turning toward the central portal, you’ll admire the magnificent rose window of the Coronation of the Virgin with ranks of dancing angels by Andrea di Bonaiuto. An exciting element on the counter-façade is Botticelli‘s Nativity, a fresco adorning the central portal lunette—a masterpiece of beauty and value among the other frescoes in this area of the Church, such as the Annunciation, the Adoration of the Magi, and the Baptism of Christ, attributed to an anonymous 14th-century artist.
In the left nave, you’ll encounter a series of five altars. The first features the altarpiece by Santi di Tito, the Resurrection of Lazarus, and the black marble sarcophagus by Andrea Ferrucci for Antonio Strozzi. The second altar, adorned with Allori’s Samaritan at the Well and Bicci di Lorenzo’s Annunciation, is followed by Masaccio’s Trinity. This extraordinary work captivated Vasari, a fervent supporter of the great painter who, alongside Masolino, created the frescoes of the Brancacci Chapel. The Trinity, replacing the third altar, is renowned for its perspective: as Vasari notes, it seems the wall it’s on has been pierced. The classical setting, the realism of the figures, and the agony in the body and gaze of the crucified Christ, supported by the prayers of the Lenzi family, make this fresco a masterpiece of Renaissance art. The fourth altar is adorned with Vasari‘s Resurrection and Four Saints and the 19th-century organ that bears funerary memorials of the architects who crafted it. Finally, you’ll admire Bernardino Poccetti‘s altarpiece on the fifth altar, followed by Allori‘s masterpiece, St. Hyacinth and other saints, and the holy water basin from Benvenuto Cellini‘s school—all placed at the sixth and final altar of the left nave.
A 15th-century French holy water basin introduces the series of altars in the right nave. The first is adorned with Macchietti‘s Martyrdom of Saint Lawrence. In contrast, the second presents Naldini‘s Nativity and the tomb of Blessed Villana delle Botti, a collaborative work by the Rossellino brothers and Desiderio da Settignano.
Near the third At the altar, you’ll find the tomb of Blessed Giovanni da Salerno and Naldini‘s Presentation at the Temple. Naldini is also attributed with the fourth altarpiece, the Deposition, flanked by funerary monuments to Ruggeri, Tommaso, and Francesco Minerbetti. The fifth altar features Jacopo Coppi‘s Preaching of Saint Vincent Ferrer and the Redeemer, and the sixth is adorned with Jacopo Ligozzi‘s work, Saint Raymond Reviving a Child. Near this last altar are Giovanni Battista Ricasoli‘s tomb and the Pura Chapel’s closed entrance.
The pipe organs of Santa Maria Novella Church were crafted between the 1400s and 1800s. The first, the Main Organ, was constructed to replace the earlier pipe organ dating back to 1457. It was subsequently modified and expanded several times, most recently in 1920. The second instrument is placed in the Pura Chapel and is a small 45-note positive organ.
Don’t miss the Sacristy, with its cross vaults and stained glass designed by Niccolò di Pietro Gerini. In the counter-façade, you’ll find Maso di Bartolomeo’s Crucifix. On the left, precious marble and glazed terracotta lavabo were created by master Della Robbia, symmetrically positioned with a second marble lavabo on the right by Gioacchino Fortini. Richly decorated cabinets and paintings of the Annunciation, Gabriel, Saint Thomas Aquinas, and Saint Dominic adorn the room’s walls.
Florence, Santa Maria Novella: Exploring the Various Chapels to Visit
Upon entering the transept, you’ll be able to admire the various chapels constructed within the Church. In this area, divided into three bays—a central chapel, two rear chapels, and two lateral chapels—the tombs of Bishop Tedice Aliotti of Fiesole, Fra’ Aldobrandino Cavalcanti, the bishop of Orvieto, and Patriarch Giuseppe of Constantinople are also housed.
In the Main Chapel, also known as the Tornabuoni Chapel, you will find two imposing crucifixes created by two equally significant personalities of Italian art: the Crucifix sculpted by Giambologna, rising from the altar, and the Crucifix of Santa Maria Novella Church created by young Giotto, painted with tempera and gold on wood. You cannot help but be captivated by the rich stained glass windows Ghirlandaio design ed and the choir’s frescoes, most likely executed with the assistance of a young Michelangelo. These frescoes depict biblical episodes such as the Life of the Virgin and Saint John, Saint Dominic burning heretical books, The Martyrdom of Saint Peter, and The Annunciation and Saint John in the Desert.
Starting from the right, look inside the Filippo Strozzi Chapel, and you will find the marble tomb of the renowned banker Filippo il Vecchio. Observe the precious stained glass windows designed by Filippino Lippi, depicting the Madonna and Child with Saint John and Saint Philip; the frescoes of Saint Philip Casting the Dragon out of the Temple of Hierapolis, The Crucifixion of Saint Philip on the lunette, Saint John Resurrecting Druisiana, and The Martyrdom of Saint John. You will also notice more ancient scenes depicting characters like Noah, Abraham, and Jacob, and what is particularly interesting are the settings that contrast Christian and pagan faith.
The Bardi Chapel, dedicated to Saint Gregory and later owned by the Bardi di Vernio family in the 14th century, contains several frescoes depicting the life of the saint, probably created by the painter Pseudo Dalmasio, and a beautiful Madonna of the Rosary painted on the altar by Vasari.
In the Rucellai Chapel, named after the famous Rucellai Madonna housed in the Uffizi Gallery in Florence, you will find the Madonna and Child by the sculptor Nino Pisano, part of the still-intact frescoes by the Master of the Santa Cecilia, the tombs of Paolo Rucellai and Fra’ Leonardo Dati.
On the left, you will see the Gondi Chapel, where the Crucifix by Brunelleschi is kept, created in response to the Crucifix in Santa Croce, sculpted by Donatello—ancient frescoes from the 14th-century contrast with the modern stained glass windows.
The Gaddi Chapel, built in just seven years, is in late Renaissance style and is highly appreciated for its unique structure, thanks to the incredible work of the architect Giovanni Antonio Dosio. Bronzino and Alessandro Allori created the frescoes here, while the bas-reliefs are attributed to the Florentine sculptor Giovanni Bandini.
Facing the Rucellai Chapel is the Strozzi di Mantova Chapel by the artist Nardo di Cione, brother of Orcagna. Dante‘s Divine Comedy inspires the structure and the works that decorate it: you can admire frescoes of the Universal Judgment, Hell, and Paradise, (Giudizio Universale, l’Inferno e il Paradiso,) including a portrait of the Supreme Poet. Orcagna signs the Redeemer with Madonna and Saints (Madonna e i santi )on the main altar, while the frescoed exterior clock features a short composition by the poet Agnolo Poliziano.
The Bell Tower Chapel is decorated with 14th-century frescoes, including Saint Christopher and the Coronation of Mary.
In the Neoclassical Pura Chapel, accessed from the cemetery, you will find the painting of the Madonna and Child with Saint Catherine, the protagonist of a miraculous event: according to legend, two young Ricasoli family members walking near the tombs were attracted by the voice of the Madonna herself, asking them to reach the hidden painting and clean it of cobwebs. In this chapel, you can also admire the Lebanese cedar Crucifix venerated by Blessed Villana delle Botti.
Finally, on the first floor of the Great Cloister, which you can read about in the next section, you will find the Chapel of the Popes: the last trace, remaining within the Dominican convent, of the apartments or “Laterano” built in the 15th century, where the popes were hosted during their visits to the city. Martin V was the first pope to stay in these rooms, followed by his successor Pope Eugenius IV during the Council of Florence. In the 1800s, the grand ducal government expropriated the apartments, which in 1920 became the headquarters of the School of Marshal and Carabinieri recruits: an event that marked their total decline. However, thanks to extensive restoration work, it is now fortunate that the chapel can be admired.
The ceiling is decorated with grotesques, with Medici motifs and angel figures, while the frescoes are by Ghirlandaio and a young Pontormo, whose style would later make him a leading figure of the eccentric movement can already be seen in the Veronica lunette.
The convent and cloisters of the Basilica of Santa Maria Novella
The Santa Maria Novella Church Convent boasts three monasteries, which have become integral to the museum.
The 14th-century Green Cloister owes its name to the characteristic “green ground” frescoes created by Paolo di Dono, illustrating the Stories of Genesis with an unusual harmony of colors and lines. Notably, the frescoes depict the Universal Flood and Noah’s Drunkenness. The flood of 1966 also caused significant damage here, which was mitigated through subsequent restoration work.
A square anti-refectory and a passageway precede the refectory. In this area, works by Paolo di Dono, also known as Paolo Uccello, Bernardo Daddi, and Paolo Schiavo, and works created in the workshop of Orcagna, are preserved. The refectory itself, characterized by more refined architecture, houses other precious works, such as Bonaiuti‘s Madonna Enthroned, Allori’s Last Supper of Santa Maria Novella, and the busts of Saint Anastasia and Saint Mary Magdalene from the workshop of Civitali.
Continuing through the passageway of the four doors, accessed via the Green Cloister, you will find yourself in the Great Cloister, the largest in all of Florence. Symbolizing the prestige of the Florentine Dominican order, it boasts fifty-six round arches, fifty-three frescoed lunettes, including portraits of Dominican friars, and four vaults painted with grotesques. Painters of the caliber of Allori, Pocetti, Cigoli, Gamberucci, and Di Tito, some of the artists who decorated the Studiolo of Francesco I in the Palazzo Vecchio, participated in the decoration of the cloister under the supervision of architect Parigi. Observe the incredible cycle of frescoes illustrating the Stories of Christ and Dominican saints; the Stories of Saint Dominic compared with the Stories of Jesus, skillful parallelism created in the lunettes of the west side that continues to the north side; Stories of Saint Peter Martyr, Saint Thomas Aquinas, and Saint Vincent Ferrer, starting from the lunettes of the east side and concluding on the south side, where you will also find Stories of Saint Anthony and Saint Catherine of Siena. You can enter the basilica through a grand portal from the east side.
The Cappellone degli Spagnoli, also known as the Chapter Hall., is the masterpiece of Andrea Bonaiuti. Through a series of evocative images maintained in excellent condition, it narrates the Dominican order’s struggle against all forms of heresy.
The Cloister of the Deceased corresponds to the late 13th-century cemetery of the Dominican friars, from which you can access the sacristy dormitory: the place where the Dominican Library of Santa Maria Novella dedicated to the scholar and writer Jacopo Passavanti has been transferred. This library houses the scientific journal “Memorie Domenicane.”
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The elements that make up the facade of Santa Maria Novella Church are slightly asymmetric: it needs to be clarified whether this is due to the craftsmanship inaccuracies or the architect Alberti‘s attempt to harmonize a structure that was previously built without adhering to specific modular ratios.
Besides the coat of arms on the portal, you will find other elements that recall the Rucellai family on the facade of Santa Maria Novella Church: like the sail in the frieze or the Latin inscription on the architrave, “Iohannes Oricellarius Rauli Filius Anno MCCCCLXX,” in memory of Giovanni Rucellai and the completion of the reconstruction works he commissioned to the architect Alberti in 1470.
Here originates the saying “to stink like a tomb“: on Via degli Avelli, this particular kind of above-ground tomb caused nauseating emissions that disturbed the city traffic.
The Piazza della Stazione, Florence’s central train station, corresponded to the Dominican Convents’ gardens in the 15th century.
Look at the facade: do you notice anything particular? Look to the right, and you will find a sundial, while a specific armillary sphere is placed on the left; furthermore, can you spot the pinhole apertures above the rose window? Father Ignazio Danti installed these precise instruments during the reign of Cosimo I de’ Medici, but they were never completed due to strong disagreements with Grand Duke Francesco I. The sundial bears the inscriptions H ABORT, meaning “hour at sunrise,” H ABOCC, “hour at sunset,” and H ASTR, “astronomical hour,” which is the precise moment when the sun is at its zenith. On the other hand, the armillary sphere consists of two metal circles that indicate, due to the instrument’s particular position, the days of solstices and equinoxes. The apertures in the rose window are meant to illuminate a system of meridian lines inside the basilica, completed following Father Danti‘s plans and inaugurated along with the other two instruments only recently, after about four hundred years. Incredible.
Santa Maria Novella Church : Hours and Ticket Prices
Santa Maria Novella Church is open to the public for religious services in Florence. However, it can be visited by tourists on the following days and times:
- Monday from 10:00 AM to 5:00 PM,
- Thursday and Friday from 10:00 AM to 5:00 PM between October and March.
The Church of Santa Maria Novella in Florence remains closed from November to February.
Visits are conducted for groups of up to sixteen people, including the guide, and the last entry is one hour before the ticket office closes.
Ticket Costs:
- Full ticket: €7.50
- Reduced ticket: €5.00 for minors aged 11 to 18.
Free entry for:
- Residents of the Municipality of Florence,
- Children up to 11 years old,
- Visitors with disabilities and their companions,
- Tourist guides,
- ICOM, ICOMOS, and ICCROM members,
- Journalists,
- School groups and their chaperones, one per fifteen students,
- Members of religious congregations.
How to Reach the Santa Maria Novella Church:
If you have arrived in Florence by train and your stop is at Santa Maria Novella Central Station, know that the Santa Maria Novella Church is about five hundred meters away: just a five-minute walk. Cross the station square and reach Via degli Avelli on the right, which leads directly to Piazza Santa Maria Novella.
If you have traveled by bus, you only need to head west on Via Santa Caterina da Siena, just after Station Square. After only two minutes, Piazza Santa Maria Novella is on your right.