The Church of San Felice in Piazza, also known as the Chiesa di San Felice or Church of Saint Felix, is a historic Roman Catholic church in Florence, Italy, situated on the south bank of the Arno River, just west of the Palazzo Pitti in the Oltrarno district. It represents a blend of Gothic and Renaissance architecture, with its origins tracing back to the early medieval period. The church's name derives from the Latin "platitia" or "placza," referring to the open area or piazza in front of it, and it has served various religious orders over the centuries. Historically, it functioned not only as a place of worship but also as a sanctuary for women escaping abusive situations during the Renaissance. Today, it remains an active parish church, housing significant artworks and reflecting Florence's rich ecclesiastical heritage.
Origins and Early Medieval Period (10th-13th Centuries)
The
church's history begins in the early medieval era, with the first
documented reference dating to 1066, though evidence suggests a
structure existed at the site as early as the 10th century. Built
outside one of the gates of Florence's early city walls, it was
initially a simple single-nave church affiliated with the Monastery of
San Silvestro in Nonantola, a Benedictine abbey in Emilia-Romagna. This
connection indicates its role in the broader network of monastic
institutions influencing Tuscan religious life.
In 1153, the church
was formally acquired by the Benedictine monks from San Silvestro,
marking a period of expansion and consolidation. During the mid-14th
century (around 1350-1360), under Benedictine oversight, the church
underwent significant rebuilding. This included the addition of five
pointed single-lancet (ogival mullioned) windows on the outer wall, some
of which are still visible today, enhancing natural light and
exemplifying Gothic architectural trends. Around this time, a lunette
fresco was created on what would become the sixth altar on the left
wall, depicting the Madonna and Child with Saint James the Greater, Pope
Sylvester, and the Abbot of Nonantola (attributed to the Master of the
Bargello, c. 1365). This artwork commemorated the church's ties to its
founding monastery. The 13th century also saw the addition of frescoes
on the walls, including fragments such as a depiction of the Baptism of
Jesus on the right wall, ascribed to the Florentine school.
Renaissance Period (14th-16th Centuries)
The 14th century marked a
transformative phase, with the main chapel constructed initially in that
century and reconstructed in the following one, featuring a large stone
arch. By 1413-1414, the church transferred to the Camaldolese Order, a
reformed Benedictine congregation known for its eremitic lifestyle,
which influenced its spiritual practices.
A major renovation occurred
between 1457 and 1460, funded by Mariotto di Dinozzo Lippi and led by
the renowned architect Michelozzo di Bartolomeo (1396-1472), a favorite
of the Medici family. Michelozzo added the striking Renaissance façade,
contrasting with the church's Gothic interior, and rebuilt much of the
structure, including new apse chapels. This period also saw the
installation of side altars between the 15th and 16th centuries. In
1467, Neri di Bicci created a triptych with a gold ground for the sixth
altar on the left, depicting St. Augustine, St. John the Baptist, St.
Julian, and King St. Sigismund.
In 1552-1553 (or 1557 per some
sources), following the suppression of the Camaldolese presence by Pope
Julius III, the church passed to the Dominican nuns from the Monastery
of San Pietro Martire (St. Peter Martyr) in Via dei Serragli. Their
original convent was demolished for city fortifications, prompting the
move. The nuns rededicated the monastery to St. Peter Martyr and, as a
cloistered order, added a large nuns' gallery above the entrance with a
workroom, along with a new sacristy. Under their stewardship, the church
became a refuge for women fleeing abusive husbands, highlighting its
social role in Renaissance society. The 16th century also introduced a
cross-vaulted ceiling and further altars in Counter-Reformation style.
Baroque and Later Periods (17th-20th Centuries)
The 17th century
brought additional chapels and artworks, including tombs for artists and
employees associated with the nearby Palazzo Pitti. Notable additions
include a fresco of Saint Massimo Succoured by Saint Felice (1636) by
Giovanni da San Giovanni (with angels by Baldassare Franceschini, il
Volterrano) at the seventh altar on the left, and a Last Supper by
Matteo Rosselli (1614) salvaged from the destroyed San Pietro Martire
monastery, now in the refectory.
In the 18th century, the complex
evolved into a conservatory for poor girls and, by 1780, a free school
for the needy in the Oltrarno district, a function it retained even
after the Napoleonic suppressions of 1808. The church itself became a
parish church. A campanile (bell tower) with four bells was built over
the main chapel in 1742.
The 19th century saw continued use as an
educational facility. A devastating fire in 1926 damaged the interior,
leading to extensive restoration by architect Ezio Cerpi, who aimed to
restore its 14th- and 15th-century appearance. This work exposed the
trestled ceiling and restored the 16th-century choir windows in the
first half of the church. Further restorations occurred in the late
1970s, preserving its historical integrity.
Notable Artworks and
Features
The church boasts a rich collection of artworks, many from
the Renaissance and Mannerist periods:
High altar: A large painted
wooden Crucifix (early 14th century, c. 1308) from the school of Giotto,
restored in 1992 and attributed to Giotto himself by some scholars.
Right wall: Fragments of 13th-14th century frescoes, including a Pietà
terracotta (early 16th century) ascribed to Andrea della Robbia or Cieco
di Gambassi; a Madonna della Cintola fresco (13th century, Florentine
school).
Left wall: Triptych with scenes from the lives of Saints
Rocco, Antonio Abate, and Caterina (ascribed to Botticelli school);
Madonna and Child with St. Hyacinth and St. Peter Martyr by Jacopo da
Empoli; Madonna and Saints by Ridolfo del Ghirlandaio; Madonna della
Cintola and Saints fresco by Bicci di Lorenzo; Apparition of the Madonna
to St. Hyacinth by Empoli.
Other: Madonna and Child (early 1400s);
polychrome terracotta Deposition.
Externally, the church presents a simple yet elegant Renaissance
façade designed by Michelozzo in 1457, characterized by clean lines, a
triangular pediment, and a central portal flanked by
pilasters—contrasting sharply with the Gothic interior. This façade was
added to harmonize with the surrounding urban landscape near the Pitti
Palace, reflecting the Medici influence. The structure is built
primarily of stone, with a modest bell tower adjacent to the apse.
Internally, the church features a single nave with a deep four-bay
vestibule topped by 16th-century cross-vaulting, leading into the main
space. The open truss roof, revealed during post-1926 restorations, adds
to the Gothic ambiance, while side altars from the 15th and 16th
centuries line the walls. At the east end, three apse chapels culminate
in the main chapel (Cappella Maggiore), constructed in the 14th century
and refurbished a century later with a large stone triumphal arch and a
bifora (double-arched window) that floods the space with light. The
overall design emphasizes verticality and simplicity, typical of
Florentine Gothic churches, with later Renaissance and Baroque additions
enhancing the altars and tombs from the 17th and 18th centuries.
The interior is richly decorated with frescoes, altarpieces, and
sculptures, many dating from the 13th to 17th centuries, creating a
layered artistic narrative. On the right wall, near the first altar,
fragments of a fresco attributed to Niccolò Gerini (late 14th century)
depict sacred scenes. Further along, at the fifth altar, a terracotta
Pietà from the early 16th century is ascribed to Andrea della Robbia or
Cieco di Gambassi, showcasing glazed ceramic techniques typical of the
Della Robbia workshop. The former sixth altar site reveals a
rediscovered 13th-century fresco of the Madonna della Cintola (Madonna
of the Belt), a Florentine school work depicting the Virgin handing her
belt to Saint Thomas during her Assumption. A fragment of "The Baptism
of Christ" from the 14th century adorns another section of the right
wall.
The main chapel houses the church's most celebrated artwork: a
large painted wooden crucifix above the high altar, dating to the early
14th century and attributed to Giotto or his workshop (with some
scholars, via QR code analysis, suggesting Giotto's direct involvement
around 1305-1310). This crucifix portrays a serene yet suffering Christ
with anatomical realism, flanked by the grieving Virgin Mary and Saint
John the Evangelist, and topped by a pelican symbolizing Christ's
sacrifice (as the bird was mythically believed to feed its young with
its own blood). Its emotional depth and technical mastery make it a
highlight, often compared to Giotto's works in other Florentine
churches.
On the left wall, the first altar features a triptych with
scenes from the lives of Saints Rocco, Antonio Abate, and Caterina,
attributed to Sandro Botticelli and his pupils. The sixth altar displays
a 1467 triptych by Neri di Bicci on a gold ground, including the Body of
Christ, a chalice, saints like Augustinus and John the Baptist, and
lunettes with the Annunciation and Pietà. At the seventh altar, a fresco
of "Saint Massimo Succoured by Saint Felice" was painted by Giovanni da
San Giovanni, with angels added in 1636 by Volterrano. Additional
elements include a ca. 1365 fresco by the Maestro del Bargello showing
the Madonna and Child with saints and a kneeling abbot; frescoes of
saints on the counter-façade by the Maestro di Signa; and a ca. 1510
glazed terracotta Deposition from the Cross by Fra Ambrogio della
Robbia. In the former refectory, a Last Supper by Matteo Rosselli adds
to the collection.
San Felice in Piazza stands out for its role in Florentine religious history, particularly its ties to monastic orders and the Medici court. While not as crowded as major sites like the Duomo, it offers a serene space to appreciate Gothic-Renaissance transitions and early Trecento art. The church's restorations have preserved its authenticity, making it a hidden gem for art historians and visitors seeking quieter Oltrarno attractions. Note that photography may be restricted in some areas, and modest attire is recommended.