Porta a Pinti, Florence

Piazzale Donatello is a city square in Florence, Italy. The square is lined by purpose-built artists studio's constructed during the nineteenth century. Each boasts expansive north facing windows. These studios saw the likes of many notable painters, among them Gianni Vagnetti and Michele Gordigiani. The studios remain active to this day with painters working from life by natural light.

The English Cemetery in Florence, Italy (Italian, Cimitero degli inglesi, Cimitero Porta a' Pinti and Cimitero Protestante) is an Evangelical cemetery located at Piazzale Donatello. Although its origins date to its foundation in 1827 by the Swiss Evangelical Reformed Church, the name "English Cemetery" results from the majority of its burials being Protestants from the British and American communities of Florence, and who gave the largest sum of money for the purchase of its land. The cemetery also holds the bodies of non-English speaking expatriates who died in Florence, among them Swiss and Scandinavians, as well as Eastern Orthodox Christians, among them Russians and Greeks. The cemetery is still owned by the Swiss Evangelical Reformed Church, and is open for the interment of cremated ashes, now of all Christian denominations, but no longer for burials.

The Galleria Rinaldo Carnielo is a museum encompassing the small palace and studio of the artist Rinaldo Carnielo (1853-1910), located on Piazza Savonarola #3, Florence, region of Tuscany. Italy. The eclectic collection consists of nearly 300 works or models, mainly sculptures, by Carnielo, as well as some paintings by Carniello, and some of his colleagues Silvestro Lega, Michele Gordigiani, and Arturo Calosci. Among the works of Carnielo are some macabre sculptures such as Tenax Vitae, Dying Mozart, and Angel of Death. The small palace is built in the Italian counterpart of Art Nouveau, known as Stile Liberty, and was donated to the commune in 1957 by the sculptor's son. In October 2015, the museum was temporarily closed.The design and construction of the palace dates to the 1880s and appears to have involved Rinaldo Carnielo and Enrico Lusini. The facade has various inscriptions including a bust of the artist with the inscription "Non ominis moriar". A scroll in the center facade states "Onorate l'arte che è vita della vita" (Honor art which is the life of life).

The Kunsthistorisches Institut in Florenz (KHI) is one of the oldest research institutions dedicated to the history of art and architecture in Italy, where facets of European, Mediterranean and global history are investigated. Founded in 1897 by a group of independent scholars, it has been under the auspices of the Max Planck Society since 2002. Approximately seventy scholars are currently employed at the Institute, which is run by two directors, and the promotion of international young academics is high on its internal agenda. In addition to numerous individual research projects, those funded by third parties and numerous collaborations with international universities, museums and research institutes, Kunsthistorisches Institut in Florenz provides a platform for larger long- and medium-term projects whose subject matter ranges from Late Antiquity to the Modern Age. The Institute's resources, including the library with over 360,000 volumes, some of which are extremely rare, over 1,070 ongoing journal subscriptions, and one of the most wide-ranging photographic libraries on Italian art, are available to researchers from all over the world, including part of the collection of Evelyn Sandberg-Vavalà. The Institute also offers a programme of public academic events.

The Monument to Savonarola in Piazza Savonarola is an outdoor marble statue on a plinth in honor of the 15th-century Dominican friar Girolamo Savonarola; it is located in a piazza of the same name a few blocks outside of the Viali di Circonvallazione, in Northeastern Florence, region of Tuscany, Italy. This monument has a colorful history of migrations. The statue was completed circa 1875 by Enrico Pazzi, a native of Ravenna, at a time, when anti-papal feelings ran high in Italy. However, Savonarola has always been a polarizing historic figure, maniacal in his faith, and the perpetrator of the original Bonfire of the Vanities. His theology was not compatible with contemporary liberal thought. The statue was conceived by Pazzi in 1861, who habitually created public monuments before they were requisitioned. A committee was formed in 1869 to commission a monument to Savonarola, which was to be placed in the convent of San Marco; however, they did not choose Pazzi's model, but instead chose one by Giovanni Duprè, a former mentor of Pazzi. This was to lead to fierce conflict between the two sculptors. In 1870, another committee, chaired by Prince Ferdinando Strozzi, selected to commission Pazzi's more grandiose and more anti-papal statue, and obtained the Commune's permission to site the sculpture in the first cloister of the Florentine convent. However, the drop in revenue caused by the transfer of the capital of Italy from Florence to Rome, cancelled this project. By 1873, Duprè completed his contribution: a simple plaque and relief bust placed in the cell of the friar in San Marco. Pazzi's work, completed only in 1875, did not find enough subscribers, and was donated ultimately to the Town Hall. It remained in studio till 1882, when it was installed, to much criticism, into the niche of the southern end of the Salone dei Cinquecento in the Palazzo Vecchio. One justification for this placement was that Savonarola had commissioned the creation of this large hall in 1497. There was still rumors that it would be moved in the future to the precinct of San Marco. The statue had displaced none other than a Michelangelo statue, placed here by Vasari. Even in this niche, Savonarola's provincial and other-worldly causes did not fit the Italian nationalism that was in demand after the recent world war. In addition, many Florentine critics were never content with the removal of the heroic Genius of Victory by Michelangelo. Ultimately, even if unfinished, the subtle Michelangelo work was able to vanquish the polished sculpture of the somewhat unsufferable, faith-frenzied priest. In 1921, Savonarola's statue was exiled to this graffiti-ridden suburban park. In some ways, the Ferrarese priest was never quite at home in Florence. Savonarola stands on a plinth designed by Olinto Rimediotti. Savonarola is depicted with his right hand while raising a Cross, recalling his declaration during a public sermon in 1495, that Christ was the new King of Florence. The left hand of his gown protects, or perhaps smothers, the Marzocco, a symbol of the Republic of Florence. Restoration of the monument has been planned.The statue lacks the commanding and hypnotic drama of the bronze Monument to Girolamo Savonarola in Ferrara by Stefano Galletti.

Palazzo di San Clemente (also called Palazzo del Pretendente) is a residential palace in Florence, Italy.

The Palazzo Capponi is a Baroque palace located on Via Gino Capponi #26 in Florence, region of Tuscany, Italy. There are apparently three other palaces once associated with the Capponi family: Palazzo Capponi-Covoni. Palazzo Capponi-Vettori. Palazzo Capponi alle Rovinate.

Palazzo Zuccari is a 16th-century palace in Florence built by Federico Zuccari.

Santa Maria degli Angiolini, also known as the Capella degli Angioli, is a Renaissance-style, Roman Catholic church, located on Via della Colonna #34, now serving as a school and dormitory. In 1502, a half-dozen Florentine women retired to a nearby house bought for them by a wool merchant named Dionisio di Clemente. In 1509 the community took up Dominican orders, and they built a convent and this church at the site. During the sixteenth century, the convent was enlarged to cope with the increasing number of nuns (totaling 102 in 1561). In 1785, as part of the reform of the established religious promoted by Grand Duke of Tuscany, Peter Leopold, the convent was transformed into a school. Suppressed in 1808, it was later restored and, at present, still functions as a school. Part of the monastery is used as a dormitory. The church had a Archangels Michele and Gabriello by Francesco Curradi and a Miracle by St Dominic by Matteo Rosselli. The main altarpiece, by Domenico Puligo, has been interpreted as a Presentation of the Virgin at the Temple (1526-1527), but may symbolize the entry of girls into the nunnery, since at the front of the picture are Dominican Saints Antonino Pierozzi, Thomas Aquinas, and Vincent Ferrer on one side and St Helena, Catherine, and Lucy on the other.The ceiling fresco was painted by Giovanni Maria Ciocchi. The refectory has a large fresco of The Last Supper by Rosselli. In the Gallery is a bronze San Giovanni Battista by Giambologna.The church and convent are accessible only by reservation.

Santa Maria Maddalena dei Pazzi is a Renaissance-style Roman Catholic church and a former convent located in Borgo Pinti in central Florence.

The Jewish Museum of Florence (Italian: Museo Ebraico di Firenze) is a museum of Jewish history located in the Great Synagogue of Florence, Italy. The museum, which covers two spaces of the building, gathers an important collection of ancient objects of Jewish ceremonial art, evidence of the high artistic level achieved by the Jewish-Italian communities in the field of applied arts. Exhibitions illustrate the history of Florentine Jews from the first settlements to the post-war reconstruction, featuring old photographs, films and a large number of objects of daily and commemorative use.

The Great Synagogue of Florence or Tempio Maggiore is one of the largest synagogues in South-central Europe, situated in Florence, in Italy. The synagogue of Florence was one of the most important synagogues built in Europe in the age of the Jewish emancipation, reached by the Jewish communities living in the Grand Duchy of Tuscany in 1848.