Had The Visitation of Saint Anne by
Ghirlandaio, panel painting. cadogan p244. Also two by Francesco Morandini
(il Poppi ) - a Crucifixion and a Finding of the True Cross,
both in the Andrea del Sarto Cenacolo Museum at San Salvi. Where there is
also a Gloria di angeli e santi by Giovanni Baldacci.
The Widows' Asylum of Santa Maria in Orbatello was founded in 1372 by
Nicholas Alberti and designed, we are told, by Agnolo Gaddi. It was set up
to house widows and their children, the numbers of whom were a consequence
of Florentine society's tendency to marry young women to older men.
Construction was completed by 1378. Upon reaching the age of 36 girls from
the Spedale degli Innocenti were sent here too. The oratory of Santa Maria
di Orbatello is now the art history library of the University of Florence,
the old hospital buildings houses a dermatology clinic.
An aisleless single nave with a slightly raised presbytery and a trussed
wood ceiling with painted decoration.
An Adoration of the Magi by Ghirlandaio, now in the Pitti, where it
was by 1839.
An Annunciation with Saints Nicholas and Anthony Abbot by Giovanni
del Biondo is
now in the museum of the
Ospedale degli Innocenti, as is a triptych of the Madonna and Child
with Saints Jerome and Catherine (c.1420) by Giovanni Toscani.
Also there is a fresco panel of the Madonna and Child with Two Seraphs
by a follower of Ghirlandaio, probably his brother Davide. It is
surrounded by panels showing Christ Blessing with Cherubim and Seraphim
and Saints Andrew and Denis, by the Master of the Fiesole Epiphany.
San Benedetto fuori della
Porta a Pinti
A smaller offshoot of the Camaldolese convent of Santa Maria degli
Angeli, established by seven monks from there, including two members of
the Ricci family, possibly partially in opposition to the dominant Albizzi
faction. The complex was built on land bought by Don Alessandro dei Ricci just outside the third set of city walls, with help from other
donors from the Spini family. The plague of 1400 had left Don Alessandro
as the sole heir to the family's estate and the church was built by 1402.
Inside the church the chapel of St Luke had frescoes and a gold-ground
altarpiece. The chapel of St Anthony was added in 1402, funded by the Corso as a private burial space. A campanile and library followed in 1405,
the church was consecrated in 1407 and choir stalls and Lorenzo Monaco's
Coronation of the Virgin (see right) were installed in 1409. A new
cloister followed in 1412. The complex was demolished during the Siege of
Florence in 1529/30. Its treasures were moved to Santa Maria degli Angeli,
including manuscripts, as well as the altarpieces mentioned below, the
Lorenzo Monaco one being
moved to the Alberti Chapel in the cloister there, where Vasari saw it.
Lorenzo Monaco's Coronation of the Virgin (1407),now in the
National Gallery, once stood on the high altar here. This commission presumably not
unconnected with his having been a monk at Santa Maria degli
Angeli, the monastery from which this community sprang. Predella panels
depicting the Adoration of the Magi and Scenes from life St Benedict
are in the National Gallery, the Vatican Pinacoteca and the National
Museum in Poznań in Poland. Pinnacle panels depicting the Virgin
Annunciate, the Prophet Jeremiah and the Blessing Redeemer
are in Pasadena, the Feigen Collection and the Accademia. The Four
Patriarchs, now in the Met in New York, are more disputed additions.
An altarpiece of 1404 of the Virgin and Child with Saints by Niccolò di Pietro Gerini
is now in the Accademia. The predella depicting scenes from the lives of
Saints Lawrence, John the Baptist and Anthony Abbot and a
central Adoration of the Magi are in the Feigen Collection, a
private collection, Zagreb and the Berlin Gemäldegalerie respectively.
This altarpiece was part of an endowment by Domenico di Francesco Corsi, a
silk merchant, for the chapel of St Anthony Abbot here.
15th C vol 1 p 180
San Donato a Scopeto
This Augustinian complex,
just outside the Porta Romana, was demolished during the
siege of Florence in 1529-1530, as were most buildings outside the walls,
so that the attackers couldn't use them for refuge or supplies. The
Romanesque portico of this church, possibly 11th century, is now on the
San Jacopo sopr'Arno.
Leonardo's dramatically unfinished and
Flemish-influenced Adoration of the Magi, of 1481 is
now in the Uffizi, as is the less animated but still well-populated panel
(finished in March 1496) that the brothers got Filippino Lippi to paint on
the same subject to replace it. It is not known why Leonardo's altarpiece
went uncompleted - one theory is that the composition for too unusual for
the monks - or why a commission from Ghirlandaio, before Lippi got
the job, proved similarly fruitless. The Leonardo panel underwent a 6-year
restoration that was completed in 2017.
Had a large
painted Crucifix by Bernardo Daddi, now in the Accademia, a nd a Last Supper in the refectory by Ghirlandaio.
detached fresco fragment of The Madonna del Parto by Taddeo Gaddi
(c. 1355) now in
San Francesco di Paola, was
taken from the demolished church of
San Pier Maggiore, but it is
said to have originally come from this church.
Two panels from a polyptych, Saints Catherine of Alexandria and
Caius, of about 1390 by Lorenzo Monaco, his first major commission,
now in the Accademia. The pinnacle with The Coronation of the Virgin is
in the Courtauld, with predella panels in Berlin
(but not to be found in the Gemäldegalerie when I was there) and
dedicated to hermit monk Saint Gallen had existed here since 1218. In
the 15th century the church passed from Franciscans to the reformed Augustinians at
the instigation of
Lorenzo de 'Medici who got the architect Giuliano Giamberti to expand the
church and monastery. Work on the new building was underway by 1488 and
reported as 'almost finished' in 1493. This work so impressed Lorenzo that he, as reported
by Giorgio Vasari, nicknamed the architect Sangallo, and thereafter his Giamberti
descendants kept the name da Sangallo. This was the one major
ecclesiastical commission that Lorenzo financed himself. The complex was demolished during the siege of Florence
in 1529-1530, as were most buildings outside the walls, so that the
attackers couldn't use them for refuge or supplies.
An early 14th Century inventory lists a 'little old church with an altar
and a sacristy next to the said church and a bell tower with four large
bells' and 'another new church near to the old church with the piazza in
between. In the detail from the Catena map of 1471-80 (see right)
the old church must be the building to the right, under the word GALLO,
with the new church's portico, it is presumed, to the left.
Fra Bartolomeo's Lamentation was painted for San Gallo, moved
San Jacopo tra Fossi, and is now in the Palatine Gallery in the
The Noli me Tangere by Andrea del Sarto
(see right), is one of three altarpieces
that he painted around 1510 for San Gallo. It too was moved to San Jacopo tra Fossi, and is now in the museum in the refectory at San Salvi,
which also houses Andrea's famous Cenacollo. The other two were
a Disputation on the Trinity (widely thought by his contemporaries
to be one of his masterpieces) and an impressive and architectural Annunciation,
with the angel unusually on the right, both now in the Pitti.
The Annunciation, having been initially commissioned by Taddeo di
Dante da Castiglione for San Gallo, moved to another chapel belonging to
the same family in San Jacopo tra Fossi, before Maria Magdalena of Austria
had it brought to decorate her bedchamber at the Pitti in 1627.
The Madonna and Child with Saints Francis and Zenobius (1510) by
Francesco Granacci (see left) from the Gerolami chapel here, is
now in the Accademia, where this prolific artist, the son of a mattress
maker, apprentice to Ghirlandaio and friend of Michelangelo, has quite a few works in the early rooms.
San Giovanni Evangelista
Founded by the Vallombrosan nun Umiltà of Faenza.
The complex was demolished during the siege of Florence in 1529-1530, as
were most buildings outside the walls, so that the besiegers couldn't use
them for refuge or supplies.
Much of its surviving art depicts Umiltà with a weasel, the enemy of the serpent, symbol of evil.
animal was replaced as her attribute in later art by a book, and that too vanished in
Counter-Reformation depictions of Umiltà, in which she becomes a generic
saint without distinguishing symbols (On the Chain Map and mentioned by Vasari
Two panels, depicting St Humilitas cures a sick nun and the
Ice Miracle of St Humiltas from an altarpiece painted for this church
by Pietro Lorenzetti are in the Gemäldegalerie in Berlin
San Girolamo delle Poverine
photo flo sept 2012 thurs 1346 and
entry for Sant'Onofrio di Fuligno in West
San Gregorio alla Pace
Convent, now part of Museo Bardini
San Giusto alle Mura
This Jesuit monastery was just outside the Porta a
Pinti, a northern gate. It had two cloisters frescoed by Perugino
and was demolished during the siege
of Florence in 1529-1530, as were most buildings outside the walls, so
that the attackers couldn't use them for refuge or supplies.
Perugino's calm Pietà and his The Agony in
the Garden were painted c. 1493-96 for chapels in the rood screen of
this church. The Pietà is notable for its lavish use of
expensive ultramarine, a pigment which the prior here was said to have
been skilled at preparing. Following demolition both were taken to San
Giovannino della Calza near the Porta Romana, but have ended up in the
Miniato fra le Torre
In the area now occupied by the central Post Office,
the church was demolished in
Assumption of the Virgin by Andrea
del Castagno in the Gemäldegalerie in Berlin
San Pier Maggiore
Borgo degli Albizzi
Tradition has it that Saint Zenobius, Florence's first bishop, had founded
a church here in the 5th Century. The first documented mention of the
complex, though, is of a Benedictine convent, founded
in 1067, with Ghisla Firidoli as its first abbess. The abbess traditionally welcomed each new bishop of Florence
upon his arrival in the city, with a ceremony involving putting a ring on
She was therefore nicknamed 'the wife of the bishop'.
The Gothic church was built during enlargement in the early 14th Century, being
completed by 1352. It was a large triple-aisled church with the high altar
(upon which would have stood the large altarpiece by Jacopo di Cione
mentioned below) in a large raised choir chapel that was rebuilt 1612-15,
around which time the altarpiece was removed.
After many minor rebuildings it was rebuilt in 1638 by
Matthew Nigetti as seen in the etching (below left) and plan (left).
Among the artists buried here were Lorenzo di Credi, Luca della Robbia, Piero di Cosimo
and Mariotto Albertinelli.
The church was demolished in 1784 having been declared unsafe following a
partial collapse during rebuilding work the year before, which had itself
been prompted by a crumbling column, but only
one, non-load bearing, column had collapsed. Supposedly the real reason
for the demolition was Grand Duke Peter Leopold's desire to minimize the
dominance of religious
institutions in Florence which had been behind so many suppressions.
Three arches of the portico (part of the
1638 rebuilding) of the façade
survive (see below left), two being occupied by private houses. Art and fittings
from the church were transferred to
various Florentine institutions, including the Hospital
of the Innocents and the church of San Michele Visdomini.
An early 14th century painted Crucifix by Lippo di Benivieni is
now in the Santa Croce museum, where it's been since 1785.
The majority of the late 14th Century 12-panel altarpiece, now almost
universally attributed to
Jacopo di Cione and workshop, commissioned for the church of San
Pier Maggiore, probably by the Albizzi family, is now in the National Gallery
in London. The frame is lost and the predella panels are dispersed in
The Assumption of the Virgin by Francesco Botticini, which served as
the altarpiece in the burial chapel here of Matteo Palmieri, a civil
servant, is now in the National Gallery in London. It was previously
thought to be by Botticelli, due to Vasari confusing their names.
The Madonna of the Girdle by Francesco Granacci (1508/9) looks very
Michelangelo-inspired and is now in the Accademia.
The Visitation by Maso da San Friano, a Mannerist altarpiece of
1560 painted for the chapel of the de' Pesci in this church, is now in the
Fitzwilliam in Cambridge UK.
An Annunciation by Giovanni Antonio Sogliani, taken from this
church when it closed in 1783, was installed behind the high altar in the
1910s to replace Ghirlandaio's Adoration of the Magi in the church
of the Spedale degli Innocenti
The church in art
St Zenobius, the first bishop of Florence, performed one of his miracles
on a procession from San Pier Maggiore to the Duomo so the church appears
in the background of many paintings of this miracle.
The original church is visible in the background of St Zenobius Raising a Boy
from the Dead (see below right) by Ridolfo Ghirlandaio. And
A Miracle of St Zenobius by
Domenico Veneziano in the Fitzwilliam, Cambridge UK, part of the St
Also Saint Zenobius Resuscitating a Dead Child by Benozzo Gozzoli
in the MET New York. The church in Masaccio and Masolino's Saint Peter
Healing with His Shadow fresco in
the Brancacci Chapel may also be,
somewhat appropriately, San Pier Maggiore.
There was an exhibition at the National Gallery devoted to the Botticini
Assumption of the Virgin mentioned above, with connections made to
the Jacopo di Cione altarpiece also in the National Gallery. Research
involved trying to reconstruct San Pier Maggiore, and there's a
fascinating film. Watch it here
The original 14th Century church as held
St Peter in the Jacopo di Cione altarpiece.
San Pier Martire
via dei Serragli
The church and convent was the first
nunnery founded in Florence, in 1417, by the Observant Dominicans, who
were keen to return to the order's
original values. The complex, dedicated to one of the order's most illustrious
preachers, benefited from the patronage of Niccolò da Uzzano and was built
in the former palace of Niccolò
Buondelmonte. Most of the original nuns had come from San Domenico in
Pisa, the same house that had helped set up, and remained closely
connected with, the Observant Dominican
Corpus Domini in Venice. In 1557 the monastery was closed and demolished to make room
for the fortifications around the San Pier Gattolino gate. The nuns moved to
San Felice in Piazza.
Fra Angelico painted the high altarpiece for the church
of the monastery, called the San Pier Altarpiece, The Virgin and Child
with Saints Dominic, John the Baptist, Peter Martyr and Thomas Aquinas
(1429) (see right)
which is now in the Museum of
San Marco. Three predella panels are in the Courtauld Institute in London.
They make up seven roundels - the central trio show Christ as the Man
of Sorrows flanked by Saint Mary Magdalene and Saint John the Evangelist
with flanking pairs of female Dominican saints.
There's also a painting by Gherardo di Giovanni del Fora in the Bowdoin
College Museum in Maine of Saints Mary Magdelene, Peter Martyr and
Catherine of Sienna (c. 1475) that may well, not least because of its choice of saints, have
been painted for the convent here.
San Pier Scheraggio
via della Ninna
A Romanesque basilica, consecrated in 1068,
restored in 1294, and reconsecrated in 1299, which had been used up until the
construction of Palazzo Vecchio in 1313 for the City Councils of the Florentine
Republic, at which Dante (who lived nearby) and Boccaccio were amongst the speakers. The arches of
the left nave, destroyed in 1410
when Via della Ninna was enlarged,
are visible from the street (see photo left).
The church takes its name from the schiaraggio, or drain that ran beside
the city walls.
Giorgio Vasari, when he began work on the Uffizi
in 1560, demolished/incorporated the church into the building.
After the confiscation of ecclesiastical
properties carried out by the Lorena in 1743, the church was deconsecrated,
partially demolished and partially incorporated into the Uffizi 1782. The nave
still exists and was restored in 1971 but is not open to the public. The
church's hall is used to display detached frescoes, including
several from this church and Andrea del Castagno's series of
Famous Men from Villa Carducci at Legnaia, (including Danta and Boccaccio) of
around 1450. Also fragments of Roman-period decorations of a room that is
thought to have been a tavern, discovered under San Pier Scheraggio during
the 1971 restoration work.
Francesco d’Angelo (1446-1488), also known as Il Cecca, a Florentine sculptor
and engineer, best known for his sculptures - often mechanical - carried in
religious processions, theatrical machinery, and military devices. He was killed
in battle in 1488 while accompanying the Florentine army and was buried here.
In his Chronicles Giovanni Villani says that Florence was constructed in
the image of early Christian Rome, with the position of its churches reflecting
the pilgrimage churches of Rome. He claims that this church stood in for Old
There were once Cimabue frescoes in the nave, it is said.
Giovanni dal Ponte's San Piero Scheraggio predella, or around 1430, now in the Uffizi.
A late 12th century pulpit, disassembled during the transformations carried
out by Vasari in 1570, went to San Leonardo in Arcetri in 1782.
Ridolfo Ghirlandaio's Virgin and Child with Saints Julian
and Sebastian was transferred from here to San Martino della Scala in the
early 19th century.
The church in art
A painting of Savonarolla getting his comeuppance in the Pitti Palace's Gallery
of Modern Art,
has the façade of San Pier Scheraggio in the centre-left background. And an even
better view of the church appears in a painting by Fabio Borbottoni (1820-1902)
(see detail right)
First documented in 1077 and named for the bishop saint of Forlimpopoli . It
first faced the small Piazza Cavallari, but in 1620 was reorientated with its
entrance on the Piazza dell'Olio.
With the suppressions of 1785 it was put to residential use and then demolished
Pontormo's fresco of a Sacra Conversazione, now in SS Annunziata.
San Ruffillo is in the centre, before it was
with San Salvatore al Vescovo to its right and S. Maria
Maggiore to the left. From the Buonsignori Map.
Piazza della Signoria
Opposite the Palazzo Vecchio, built
in 1341 where there had been a church since the 9th Century, although the
first documented mention dates to 929. Damaged by the same fire which
burned down Orsanmichele, along with the rest of the centre, on June 10, 1304,
but swiftly rebuilt. Moved in 1367 to enlarge the piazza. Suppressed in 1783 and
later demolished. The site of the church is now
From the 1584 Buonsignori Map.
Saint Cecilia and Eight Stories from her Life by the Saint Cecilia
Master (see below). This altar frontal, from the church of Santa
Cecilia, is today generally dated shortly after 1304; it is the work of an
anonymous master who may have worked with Giotto at Assisi. Vasari thought
that it was by Cimabue. It's now in the
An altarpiece of 1641 by Francesco
Curradi of The Death of St. Cecilia now in Santo Stefano al Ponte.
Maria degli Ughi
The church was founded
in the ninth century and
best known for its bell,
which rang at three in
the morning to signal
the finish of work in the Old Market. It
also famously rang on the night
of 11 December 1529, during
the siege of Florence,
signalling the sortie of the
Florentine militia. During
construction of Santa
Maria del Fiore, the
church of Santa Maria
degli Ughi functioned as the
one of the oldest families in
Florence and also gave their name to Montughi
at Careggi, where they
had the country estate.
was deconsecrated in 1785
and was later used
by the Strozzi as a private
chapel. It was demolished in the late
nineteenth century as part of
the demolition of the Old Market
area. The Palazzo
Mattei stands on the site of the old
The church in art
A painting by Fabio Borbottoni (1820-1902) of Piazza delle Cipolle
(as the Piazza Strozzi was then called)
shows the Strozzi Palace on the left and this church on the right.
Santa Maria della Neve
Built as the Santissima Annunziata alle Murate and Santa Caterina
convent in 1424 for the Benedictine nuns moved from crumbling cells (murate
means 'walled up') on the Rubaconte Bridge, which was where the Ponte
alle Grazie is now. A poor woman called Appolonia had first walled herself into
a small house on the second pier on the bridge in 1390. She was joined by
other women and in 1413 they were pressured into becoming Beandictines and
called Le Romite dell'Annunziata. In 1424 there were thirteen women and
they moved to this site. At first the parish and Benedictine convent of
Sant'Ambrogio placed restriction on the size, number of chapels and use of
the church here, called Santa Maria della Neve. But in 1434 a papal
bull disconnected the convent from the parish and allowed the abbess more
autonomy. So there were soon plans to enlarge the convent buildings to
accomodate the growing number of nuns, now numbering thirty-six. Work was
underway when Giovanni D'Amerigo Benci approached the abbess, Scholastica
Rondinelli, with a view to endowing a chapel. Benci, a Medici bank
employee, was Cosimo de' Medici's most trusted deputy and, following his
return to Florence in 1435, was to become the convent's major early
patron. He initially undertook the financing of three altars for the
church, with altarpieces by Filippo Lippi, as detailed in Lost art
below. In the late 1440s/early 1450s he paid for considerable expansion
and rebuilding to house the now exceeding one hundred nuns. His
granddaughter Ginevra, the subject of a famous Leonardo portrait, stayed
here prior to her unfortunate marriage, and after her death was vested as a nun and
The complex was further renovated and expanded first in
1471, after a fire, and in 1571 following a flood, this latter rebuilding having
provided the church with it's most recent façade, traditionally(!)
ascribed to Michelangelo. Documents show
that Lorenzo de' Medici financed the early 1470s construction work, but
coats of arms and such announcing his involvement were consciously
avoided. Caterina de'Medici stayed here from 1528 to 1530 when Queen of
France and, after the death of Cosimo I in 1574, so did Camilla
Martelli, his second wife. Also the illegitimate daughters of Don
Pietro de 'Medici.
Suppressed by the French in 1808, the convent was rebuilt by the
architect Domenico Giraldi in 1845 and turned into a prison after the
closing of the nearby Stinche and the Bargello in the mid-1800s, which it remained until 1985. During
World War II the prison became notorious for the imprisonment and
torture of partisans captured by the fascists. Much damage to the church during
the flood of 1966, with prisoners having to be rescued by locals.
Following the building of the new lily-shaped Sollicciano prison in the
mid-1980s the Murate has been jazzily restored and transformed into housing
units, shops, and restaurants, with pedestrian spaces and a piazza named
after the chapel of Santa Maria della Neve. The plans were drawn up by
Renzo Piano in 1998 and the complex opened in 2011, although some parts remain
An image of the nursing Madonna was said to have cured a nun's
illiteracy when she prayed before it. The convent also possessed a
similarly miraculous Annunciation in the sacristy, said to have
been the painting brought from the church on the Ponte Rubiconte and now
lost, and a Crucifixion
by Neri di Bicci.
A marble relief called the Madonna della Neve, attributed to
Desiderio da Settignano or Donatello, floated out of the medical
dispensary during a flood and came to rest in an orchard. This was
interpreted as showing that the image was desirous of a more place
of display. The image was placed in the convent walls before Duke
Alessandro de' Medici took responsibility for the image and had the
oratory, with no internal passage to the nunnery, built to house it
A Filippo Lippi Annunciation (c.1450) (see left)
painted for the high alter in the church, is now in the Alte Pinakothek in Munich (but in Spring 2013 was away
being restored). Lippi painted three altarpieces for this church, another
was dedicated to Saint Bernard and is reported to have been destroyed in a
flood in 1547. However it has been suggested that a very
damaged panel in the
MET in New York depicting Saints Augustine and Francis, a Bishop
Saint, and Saint Benedict might be a surviving fragment from this
second altarpiece. Both works by Lippi were financed by Giovanni
d’Amerigo Benci, using his boss Cosimo de'Medici's favoured artist. The
third was a Crucifixion, now lost.
There's a Raphaelesque Madonna and Child by Ridolfo del
Ghirlandaio, now to be found in the Sant'Onofrio di Fuligno refectory
which was originally in the convent here.
The Last Supper by Giorgio Vasari, on five wooden panels, was moved from here to
after suppression, and to the Castellani Chapel in Santa Croce in 1815. In
the 1880s it was moved to the former refectory there, after it was decided
to make it a museum. It was much damaged during the 1966 flood, having remained
submerged for 12 hours, and underwent restoration (funded by the
Getty Foundation) from 2010 at the Opificio delle Pietre Dure. It had
been put into storage after the flood due to a lack of funds, a situation
exposed by Marco Ferri in November 2003. The restoration was completed and
the restored painting was returned to the refectory at Santa Croce in
Vasari also made a painting of The Annunciation for the
Murate, in payment for his sister's dowry here. He wrote that he had maybe
made the Virgin look a bit too terrified.
Santa Maria delle Campora
Santa Maria della Pace
Stood just outside the Porta San Piero Gattolini The
church had a 'very beautiful' choir of walnut decorated with intarsia
work. Another church that was outside the city walls and was destroyed by
German soldiers during the siege of 1530.
Filippino Lippi's Madonna Appearing to St Bernard
of Clairvaux, now in the Badia, was originally painted for the Del
Pugliese family chapel here. The Accademia has Rossello di Jacopo Franchi Coronation of the Virgin surrounded by Saints and Angels.
The church was built on the site of a chapel destroyed during the siege of
1530. Consecrated in 1573 as Santa Maria della Neve and later dedicated to
Santa Maria della Pace. Part of a monastery which passed in 1616 to the
monks of St. Bernard of Clairvaux. Later abandoned, and converted to
private accommodation in the 19th Century.
Demolished with the transfer of the Italian capital from Turin to
Florence, when it became necessary to create new royal stables. These
stables later became the current Art Institute.
from the Buonsignori map of 1584
Santa Maria Sopr'Arno
Santa Maria sul Prato
Also known as Santa Maria dei Bardi, this church is first
documented in 1181. It was rebuilt in 1210, paid for by Bardi family. A
plaque on the façade read "Fuccio
mi feci" and the date 1229, which had to have been the date of a
restructuring, not the building, which misled Vasari. The church was
closed on 13 May 1785 and the building, which was side-on to the river,
was demolished in 1869 during work on the widening of the embankments.
The strange devil-bashing Madonna of Succour (1593) by Jacopo
Chimento (Empoli) was in the Barcagali-Perucci chapel here. It's now in
the Palatine Gallery in the Palazzo Pitti.
The church in art
There is a painting of the church by Telemaco Signorini (see left)
commissioned by the descendants of the Bardi family and painted shortly
before its demolition.
The church in literature
The 120th of the stories in the Trecentonovelle (300 stories)
by Franco Sacchetti (c.1335-1400).
Francesco Brina Adoration of the Magi with one magus
looking a bit like Michelangelo, is in the Andrea del Sarto Cenacolo
Museum at San Salvi.