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A Dominican nun, Plautilla Nelli mirrors the environment of her convent’s refectory in The Last Supper.
No wonder Ruysch treats each element of this still life like a scientific specimen—her father preserved insects.
A central dome dominates this space, while greyish-green stone articulates its perfect geometry.
Entering the private chapel of Eleanora of Toledo, Duchess of Florence is like stepping into a jeweled box.
Verrocchio's David, sculpted only a couple decades after Donatello's version, is more real than idealized
The intimate Magi Chapel still dazzles its visitors with its vividly painted frescoes and gold leaf that show the three Magi and members of the Medici family—and more
The Ponte Vecchio is one of few surviving medieval urbanized bridges in all of Europe.
His nudity references classical antiquity, but David embodies the ideals and concerns of 15th-century Florence.
The life-sized figures of Mary and Gabriel occupy an open porch—a space not unlike the cloisters of San Marco.
Brunelleschi’s panel may be scarier, but Ghiberti’s is more emotionally complex. In both, an angel saves the day.
Michelangelo left many sculptures unfinished, but perhaps none are more beautiful than the slaves.
In the five centuries since they were installed, Andrea della Robbia's sculptures of children have become a widely recognized symbol of the Innocenti hospital and of childhood itself