In the heart of Medieval and Renaissance Florence, a stone’s throw from Palazzo Vecchio and the Cathedral of Santa Maria del Fiore, lies one of our favorite places: the Bargello Palace. This majestic building, made of pietraforte, the local brown strong stone, appears as a true fortress, echoing the ancient political and judicial institutions that once resided there. Built starting in 1255 next to the pre-existing Volognana tower, which was incorporated into the building, the first quadrangular block was completed in 1261. A second section was added towards the end of the 13th century, and by 1320, the sides of the palace were raised. It was the architect Neri di Fioravante who further enlarged the structure, adding a floor between 1340 and 1345 to create the Council Hall. Observing the palace from the outside, the different types of masonry that make up the walls clearly reveal all these changes. Between 1345 and 1367, the same architect dedicated himself to the monumental stone staircase, still visible and accessible in the courtyard today.
During these years, the Bargello was the grand and austere residence of the Captain of the People and the Podestà, the most important political authorities responsible for governing the city. The Podestà, in particular, was a ‘foreigner’ of noble lineage and good reputation, appointed by a Council of Twelve Elders, and held civil and criminal jurisdiction. To ensure his correctness and impartiality, the Podestà had to adhere to very strict rules: he had to come from a city at least 50 miles away from Florence; once appointed, he could not bring his family with him; he lived confined in the Bargello Palace and remained in office for a maximum of one year. This minimized the risk of him being influenced in his decisions and forming alliances with citizens. After his term ended, the Podestà returned to his hometown, leaving his coat of arms on the walls of the building, as we can still see today in the courtyard.
In 1502, the palace changed its function, first becoming the seat of the Council of Justice, and from 1572, the seat of the Captain of Justice, the chief of police, known as the ‘Bargello.’ From this moment on, the building was used as the city prison for almost three centuries, facing years of decay and radical changes. The arches of the courtyard and the loggia were bricked up, and the large halls were divided with partitions to create small cells for prisoners. The decorations and frescoes were covered with a thick layer of plaster. The rooms that once hosted democratic councils were now places of detention and torture. A gallows was erected in the center of the courtyard for executions. The façade of the palace was decorated in a very particular way: external walls were painted with the so-called portraits of infamy, depicting traitors and fugitive criminals so they could be recognized by everyone. Some very famous artists were commissioned to paint these portraits, including Sandro Botticelli, Andrea del Sarto, and Andrea del Castagno, who earned the nickname “Andreino degl’impiccati” (Andreino of the hanged ones) from this work. These kinds of paintings were usually erased after some time, with changes in the political situation, or covered with new portraits of the latest traitors.
In 1840, the story of the palace changed once again. A group of scholars requested permission to undertake research to uncover some 14th-century frescoes that decorated the Chapel and had been covered in the 16th century. The goal was to find an ancient portrait of the great poet Dante Alighieri, which some sources attributed to Giotto. Once the frescoes were discovered in a lacunose state, they were restored.
Finally, a new era began for the palace.
In 1859, it was decided to move the prison to another location, and the restoration of the complex began, overseen by architect Francesco Mazzei. All the structures that had altered the palace in the past were demolished, the walled-up arches were reopened, and the halls were restored. To complete the work, restorer Gaetano Bianchi was commissioned to decorate some rooms with Medieval-style motifs that reflected the new Gothic taste of the time.
In this completely renewed setting, during the years when Florence was the capital of Italy, the National Museum of Bargello was inaugurated in 1865. The first core of the collection consisted of objects from the Medici family’s armory and sculptures previously housed in the seat of the Florentine government, Palazzo Vecchio. Soon, some sculptural masterpieces from the Uffizi Gallery arrived. Works by Michelangelo and Donatello found a new home. In addition, a series of precious objects arrived thanks to illustrious private donors: coins, seals, waxes, goldsmithery, enamels, bronzes, and ivories.
Following the suppression of some monastic orders, the Museum also acquired sacred objects and glazed terracotta works, the so-called ‘robbiane,’ named after the family of Florentine sculptors, Della Robbia, who specialized in this technique.
The Bargello palace and the works it houses represent the history of Florence and our country, making it a truly unmissable stop if you are in the city. We have included it in the itinerary of our tour dedicated to Michelangelo!
Floe – Florence Local Experts
Via Laura, 38 – 50121 Florence (IT)
