The Humiliati order from Lombardi had grown from a grouping of citizens dedicated to poverty and austerity in response to the perceived corruption and iniquities of the church in the late 12th Century. The order, and several similar, had been condemned as heretical by Pope Lucius III in 1184. But in 1201 Pope Innocent III granted them a rule. The order, by then established as successful entrepreneurs in the wool trade, were invited to Florence by the bishop in 1239. Twelve years later they were given the church of Santa Lucia al Prato and permission to build a larger church and monastery. By 1260 they had been completed, the original church having a large nave with polychrome trusses, lit by tall arched windows. This order developed the Florentine wool industry, so important to the city's future wealth. The site was ideal, having a river and canals for driving water-wheels and mills, the order also built a system of canals and ponds. They rented thirty houses to the families of wool workers as well, and built a sturdier bridge nearby which spanned the Arno between the parishes of Ognissanti and San Frediano opposite, another centre of the trade. But it wasn't until the early 14th Century that the order began to commission much art, from Giotto, Botticelli and Ghirlandaio.
Franciscans from San Salvatore al Monte replaced the Humiliati in 1561, the order having waned in size and influence - only six monks remaining here that year. (Around this time Carlo Borromeo, the archbishop of Milan, was asked to reform the failing order. Disgruntled monks plotted against Borromeo and one of them, Girolamo Donati, made a botched attempt to assassinate him whilst he prayed, managing to inflict nothing more than a flesh wound. The order was consequently suppressed by Pope Pious V in 1571.) The Franciscans brought with them the habit worn by Saint Francis when he received the stigmata on Mount Verna in 1224. This relic is now to be found in a chapel to the left of the high altar. The complex was found to be in a very poor state by the Franciscans and extensive renovations took place. It's probably around this time that Ghirlandaio's frescoes in the Vespucci chapel were painted over. The new church was consecrated on August 1st 1582. The two cloisters were built at this time too.
Work continued into the early 17th century, with considerable work on the interior in 1627 by Bartolomeo Pettirossi and completion in 1637 with addition of a fine baroque façade by Matteo Nigreti which was rebuilt in 1827 to the original design. The polychrome terracotta over the door, from the older façade, is Coronation of the Virgin with Saints and Angels by Giovanni della Robbia or Benedetto Buglioni. Suppressed in 1810 and 1866. The convent became a Carabinieri barracks in 1923. In 1885 some of the complex was returned to the Franciscan friars, who remain.
Seems small inside, with no aisles, and compressed almost, for being very densely decorated. Vertigo-inducing trompe l'oeil architectural ceiling painting by Giuseppe Benucci, with scenes showing The Glory of St Francis by Giuseppe Romei (see photo right) dating from 1770. Romei collaborated on similarly impressive work in Santa Maria del Carmine just over the Arno.
Four shallow chapels each side of the nave. The second altar on the right, the Vespucci chapel (see right) contains Ghirlandaio's very early Madonna della Misericordia of around 1470, with a Pieta below which looks very much like the work of many hands, and a pair of barely-there flanking figures, although one has been identified as the Archangel Raphael. These frescoes were rediscovered in 1898 behind another painting. The search for these murals was brought about by Vasari's assertion that they contained a portrait of Amerigo Vespucci, the navigator from whose name America is derived, but these claims have been thrown into doubt in recent decades by referring to tax returns and the like, showing that Amerigo would've been 14 when the fresco was painted. Also supposedly depicted here is Simonetta Vespucci, the mistress of Giuliano de' Medici and, it is said, Botticelli's model for his famous Venus.
Between third and forth altars on the right is Botticelli's Saint Augustine, his only fresco remaining in Florence. (Recently reinstalled after two years in restoration) It makes a distinct pair with Ghirlandaio's equally-Flemish-inspired Saint Jerome opposite. This Flemish influence is said to have derived from a Saint Jerome in his Study by Jan van Eyck then in the collection of Lorenzo de Medici. Both works here are frescoes, both from 1480, and were detached from the old tramezzo (rood screen), on which they were placed either side of the doorway, which was demolished by Vasari in 1564. The removal of these screens is traditionally said to have been prompted by the Counter Reformation and the Council of Trent's decree that even the laity should have a clear view of the altar and be able to clearly hear the sermon, but recent research has lead to the appreciation of more factors, many more aesthetic than liturgical, and a longer timescale. Saint Augustine is reacting to a vision of the death of Saint Jerome, said to have taken place in the hour before sunrise, the time shown on the clock behind him. Above Saint Augustine in the fresco the text in an open book includes the mysterious lines Where is Fra' Martino? He fled. And where did he go? He is outside Porta al Prato.
Steps up take you into a transept seemingly as long as the church, the right wing longer than the left with an extra chapel to the west at the end. Botticelli is buried in this otherwise uninteresting right wing, very near the last resting place of Simonetta Vespucci, his model for Venus in The Birth of Venus and, as his request to be buried near her suggests, possibly someone who meant much more to him. He had been buried in the Ognissanti's churchyard in 1510 but his body was later moved here. The sanctuary has a large domed choir behind the ornate early 17th century high altar by Francesco Gargiolli, (see photo far right).
The Crucifix now to be found in the left transept is widely thought to be by the studio of, or a follower of, Giotto - a painter known as the Relative of Giotto (see photo right). But following a 2010 clean it is now attributed to the man himself, at least locally. When it was thought to be merely giottesca it was kept in the sacristy (see black and white photo below).
A carved wooden Crucifix by famed German sculptor Veit Stoss, whose limewood statue of San Rocco in Santissima Annunziata was described by Vasari as ‘a miracle in wood’.
Oltrarno :: Fiesole