Galleria Rinaldo Carnielo

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.

Porta a Pinti was a former gate in the walls of Florence, region of Tuscany, Italy. The gate was also called Porta Fiesolana because the road led out to Fiesole, and of di Penitenti, which was shortened and corrupted to give name to the gate and the neighborhood, Borgo Pinti. Individuals returning to church, called convertiti or penitenti, lived in this neighborhood. It was destroyed in 1865 during the creation of the Viale di Circonvallazione, which removed most of the walls of 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.

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

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 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.

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.

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

Piazza della Libertà (Italian pronunciation: [ˈpjattsa della liberˈta]) is the northernmost point of the historic centre of Florence. It was created in the 19th century during works to produce the Viali di Circonvallazione around the city. It hosts Triumphal Arch of the Lorraine and, in winter, an ice rink for skating.

The San Gallo Gate (Italian: Porta San Gallo) is part of the city walls of Florence and is located in Piazza della Libertà, opposite the Triumphal Arch.

The Triumphal Arch of the Lorraine located in Piazza della Libertà in Florence, Italy, is an 18th-century, monumental triumphal arch, bypassed by the viali di Circonvallazione that skirt Florence through the space once girded by its 16th-century walls. The piazza stands at the northernmost end of Via Cavour, Florence, region of Tuscany, Italy. The arch was begun after 1737 to welcome the January 1739 arrival of the Habsburg-Lorraine dynasty; it was past this arch that the same dynasty was to leave for exile in 1859.

The Orto Botanico di Firenze (2.3 hectares), also known as the Giardino dei Semplici, the "Garden of simples", is a botanical garden maintained by the University of Florence. It is located at Via Micheli, 3, Florence, Italy, and open weekday mornings. The garden was established on December 1, 1545, by Cosimo I de' Medici, Grand Duke of Tuscany, and is Europe's third oldest, behind the Orto Botanico di Pisa and the Orto Botanico di Padova. It was first laid out by landscape gardener Niccolò Pericoli to a botanical system and plantings chosen by Luca Ghini, and rose to prominence under Cosimo III, with Pier Antonio Micheli as its director. As was typical of early European botanical gardens, its prime interest was in medicinal plants. However, as in 1753 the Società Botanica was formed, the garden's focus turned to "experimental agriculture" and its layout was revised accordingly. The garden grounds opened to the public in the mid-19th century, at about the same time that its glass houses (1694 m²) were constructed. Today the garden contains some 9,000 plant specimens laid out in a roughly square site surrounded by walls, crossed by a grid of walkways, and with a central fountain. Some trees are quite old, including a Taxus baccata (1720) and Quercus suber (1805). Other species include: