San Remigio, Florence

The Giardino Botanico Tropicale dell'Istituto Agronomico per l'Oltremare is a botanical garden specializing in tropical plants. It is located at via Antonio Cocchi 4, Florence, Tuscany, Italy, and open without charge on Thursday mornings and by appointment. The garden was established in 1904 by tropical agriculture specialists as part of the Istituto Agricolo Coloniale Italiano with an eye towards improving agriculture in Eritrea, Somalia, Ethiopia, and Libya. Over the years the institute has evolved to become the Istituto Agronomico per l'Oltremare (IAO), a branch of the Italian Ministry of Foreign Affairs, and is now a technical-scientific body for studying, training, consulting, and providing technical assistance in agriculture and environmental protection. Today the garden contains about 300 species of useful tropical plants, primarily from Africa and the Americas. Plants are grouped according to use, with most in greenhouses but several dozen species growing outdoors. The collection includes sources of food (banana, cocoa, coconut, date, mango, papaya, pineapple, vanilla, and others), wood (mahogany, etc.), textiles (such as cotton), and dyes and perfumes. The institute also maintains an agriculture museum and entomological collection.

The Roman Theatre of Florence was a Roman theatre dated to the 1st century in Florentia, Italy. It was located under the current Palazzo Vecchio and Palazzo Gondi, with the auditorium facing Piazza della Signoria and along the Piazza San Firenze and Via dei Leoni. The first remains of the theatre were excavated in 1876. Other excavations took place in the underground at the Palazzo Vecchio in 1935. Archeological digs have resumed recently, notably in 2006-2007 by Riccardo Francovich. The building, which has been dated to 1st century AD, was a semicircular shape with a very large capacity, demonstrating the demographic development of the city at the time. Estimates place its capacity at around 15,000 spectators, the same as the Teatro Marcello of Rome. It was around 100 metres in length and 35 metres in width.

The Monument of Piazza Mentana or Monument to those fallen at the Battle of Mentana (Monumento ai caduti della battaglia di Mentana) is an early-20th century outdoor bronze statue located the said square of Florence, Italy. The monument displays two patriotic fighters of Garibaldi's units, one wounded, the other fighting, in a dramatic scene. The commission was assigned in 1898 after a contest sponsored by the Società dei Reduci Garibaldini. The statuary group was sculpted by Oreste Calzolari, and it was inaugurated on April 27, 1902. It is meant to honor the 150 soldiers, who fighting with Garibaldi against the Franco-papal forces, died at the Battle of Mentana and the next day at Monterotondo. The plaque reads: "To the Brave who fell at Mentana, consecrating Rome to Free Italy".The bronze group depicts two soldiers: one holding aloft and aiming a revolver, while he holds a wounded companion who still raises a flag or standard. Critics noted the similarities of the subject to the Monument to the Cairoli Brothers (1883) by Ercole Rosa, a statue located near the Spanish Steps in Rome, which display a similar dramatic event with two soldiers. (Mazzanti). Both statues also seem to cite the well-known Hellenistic statue of Menelaus supporting the body of Patroclus, as interpreted in the Loggia dei Lanzi in Florence. On the base are two bronze bas-reliefs depicting the retreat from Monterotondo and the battle of Mentana. A plaque states these were donated by donors from Trieste and Trentino.

The Complesso di San Firenze (Complex of San Firenze) is a 17th-century Baroque-style building, consisting of a church, palace, and former oratory, located on the southeast corner of the saucer-shaped piazza of San Firenze, located in the quartiere of Santa Croce in central Florence, region of Tuscany, Italy. The buildings were commissioned by the Oratorians of Saint Philip Neri.

The Palazzo Busini Bardi is a palace located on Via dei Benci #5 in central Florence, Tuscany, Italy. It is in front of the Museo Horne. Design of the palace (circa 1430) was attributed to the architect Filippo Brunelleschi by the sixteenth century art biographer Giorgio Vasari.

Palazzo Gondi is a palace in Florence, Italy, located a block from Piazza della Signoria. It was built in 1490 under design by Giuliano da Sangallo, who was inspired by other major works of stately buildings in the city, such as Palazzo Medici and Palazzo Strozzi. Among the elements borrowed from these earlier works are the cube-shape set around a central courtyard, the ashlar sloping on each of three floors, and the arched windows. Compared to his models, however, Sangallo was able to modify the use of these elements, making it one of the most successful Florentine buildings of its time. The most innovative element is in the design of the windows: the profile of stones arranged in a radial pattern, which resemble the facets of a precious stone. The windows on the second floor were designed slightly wider than the others to compensate for the optical foreshortening. The construction dragged on, and the building remained incomplete for several centuries. At the end of the 17th century Antonio Maria Ferri worked on the architecture and Matteo Bonechi on the paintings. The building was flanked by an old family house belonging to the Asini family, demolished around 1870 to widen the road along Palazzo Vecchio. On that occasion the building was also expanded with the creation of the third door (the left) and the construction of a new "slice" of the building that increased the number of windows on the facade, creating a similar perspective on Via de' Gondi. Accommodation on the south side had been designed by Giuseppe Poggi, the architect of Piazzale Michelangelo, but was demolished in 1874. Leonardo da Vinci had lived in one of the destroyed houses and is said to have painted the Mona Lisa there. Today the building still belongs to descendants of the family, but on the ground floor are a bar and other businesses. In the central courtyard, a portico with Corinthian columns on four sides, there is a 17th-century fountain, which uses water from the Boboli Gardens which also supplies the Fontana del Nettuno. From here begins the monumental staircase to the upper floors. The porch is a statue of Roman Togata. Among the decorations inside the palace, there is a fresco and some paintings by Italian and French artists. On the first floor there is also a monumental fireplace which was designed by Sangallo.

The Studiolo is a small painting-encrusted barrel-vaulted room in the Palazzo Vecchio, Florence, Italy. It was commissioned by Francesco I de' Medici, Grand Duke of Tuscany. It was completed for the duke from 1570 to 1572, by teams of artists under the supervision of Giorgio Vasari and the scholars Giovanni Batista Adriani and Vincenzo Borghini. This small room was part-office, part-laboratory, part-hiding place, and part-cabinet of curiosities. Here the prince tinkered with alchemy and kept his collection of small, precious, unusual or rare objects. The walls and ceiling were decorated with paintings showing a similar variety of subjects, some showing exotic forms of industry and others mythology. The inset paintings are now all that remains in the room of the original contents. They are rather larger than what is normally meant by the term cabinet painting. The late-Mannerist decorative program of paintings and sculpture was based on items encompassed by the collection. The object collection itself was stored in ~ 20 cabinets. In the center is a fresco of Prometheus receiving jewels from nature, commenting on the interplay of divine, nature, and humanity, that is the goal of both artistic and scientific interests.

Palazzo Malenchini Alberti is a palace in Florence, Italy. It was owned by the Alberti, who had also a tower nearby. Until the 15th century, their residence was formed by a series of different houses and workshops, which were unified in 1760-1763 by will of Giovan Vincenzo Alberti (1715-1788), a Florentine senator and minister to both Grand-Dukes Francis I and his son Peter Leopold. Later the palace was acquired by the Mori Ubaldini, and a new neo-Renaissance façade was added in 1849–1851. After a short period under a French family, it went to marquess Luigi Malenchini from Livorno, whence the modern name. The palace was damaged during World War II and by the 1966 Flood of the River Arno, and was later restored (2000-2003).

The Crossing of the Red Sea, also known as The Crossing of the Red Sea and Moses Appointing Joshua, is a fresco painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished in 1542. It depicts the Nation of Israel crossing the Red Sea from the book of Exodus and Moses commissioning Joshua to lead the Israelites into the promised land from the book of Numbers. It is housed in the Palazzo Vecchio, Florence. In 1540, Cosimo I de' Medici and/or his wife, Eleanor of Toledo, commissioned this and other frescoes for Eleanor's private chapel. Three of the four walls of the small chapel found on the second floor of the palace are covered with works telling the story of Moses.

The Roman Amphitheatre of Florence was an Roman amphitheatre in Florence, central Italy. It was located between Piazza dei Peruzzi, Via De' Bentaccordi and Via Torta; its remains are visible in Via De' Bentaccordi. When it was built between 124 and 130 AD, it was located outwith the walls of Florentia and it marked the point of maximum expansion east. It had an elliptical shape with a diameter of 126 meters, with a capacity of about 20,000 seats (compared to 87,000 in the Flavian Amphitheatre in Rome. It was incorporated into other buildings during the medieval period. It has not been systematically excavated, but occasional discoveries have been made, such as in 1887. In the second half of the 19th century, the area was at risk of being demolished during the work of the so-called Rehabilitation of Florence, to build a grand avenue between the Piazza della Signoria and Piazza Santa Croce, but the plan was never realized. A reconstruction of the amphitheatre in the Roman era and some related works are located in the Museo di Firenze com'era.

The Torre degli Alberti is a XIII century medieval tower in Florence, Italy. It has a polygonal plan and was the headquarters and residence of the Alberti, one of the most numerous and powerful families in the medieval Florence. It was once sided by a ditch (a nearby church was known as San Jacopo dei Fossi, Italian for "St. James of the Ditches") and had some single mullioned windows, now replaced by normal windows. At the base is a small loggia from the 15th century, whose capitals show the Alberti coat of arms, featuring two crossing chains. After the Florentine branch of the family disappeared in 1836, it was owned by other families such as the Ubaldini and Mori. It was restored during the 1990s.

The Bust of Costanza Bonarelli is a marble portrait sculpture by the Italian artist Gian Lorenzo Bernini, created in the 1630s. It is now in the Museo Nazionale del Bargello in Florence, Italy. Considered among the most personal of Bernini's work, the bust depicts Costanza Piccolomini Bonarelli, the wife of Matteo Bonarelli, one of Bernini's pupils and coworkers. Bernini fell passionately in love with her. It is an exceptional sculpture in that it breaks with the tradition of seventeenth century portrait sculpturing and previews the style of the next century.