A monastery, probably housing Vallambrosan monks, was here before becoming a house of Silvestrine Benedictine monks in 1290. The Silvestrines themselves were later moved to San Giorgio dello Spirito Santo, having been accused of moral and spiritual decadence. They made way for Observant Dominicans from San Domenico in Fiesole, who took possession of the partially ruined convent and church on March 15th 1436, the piazza here being perfect for the preaching to the masses for which the order was known. They rebuilt the whole complex at the expense of Cosimo de' Medici, between 1437 and 1452. Michelozzo, the Medici's favourite architect, designed the church, pilgrim's hospice, cloister, library and friars' quarters. Fra Angelico worked here with Michelozzo for eight or nine years, until he was summoned by the Pope to Rome in 1445 to work in the Vatican.
The first prior Antonino Pierozzi (1389-1459) became archbishop of Florence in 1446 and was canonised as Saint Antoninus in 1523. An even more famous prior here was Savonarola.
Vasari later 'modernised' the church, presumably by removing a screen, but it acquired its present form in 1588 to a design by Giambologna, with the facade built 1777-78 to designs by the Carmelite friar Gioacchino Pronti. The Dominicans were expelled in 1866 and the first cloister became a museum in 1869 with nearly all of Fra Angelico's surviving panel paintings moved here in 1921.
The church itself is a somewhat square and aisleless, designed by Michelozzo, with four altars on the right and three and one like a transept arm on the left. Some 14th Century fresco fragments between the altars on the left, and on the right inner facade an Annunciation fresco. Mostly minor 16th Century altarpieces.
On the right the first altarpiece is by Santi di Tito. Next is a Madonna and Six Saints of 1509 by Bartolomeo della Porta (Fra' Bartolomeo). The impressive Byzantine mosaic of the Madonna in Prayer is thought to date from the early 8th century and to have been in the old St Peter's in Rome. Its impact is somewhat diluted by being surrounded by frescoes of saints and putti in imitation of mosaic, added in the 17th century.
The dome was frescoed by Alessandro Gherardini in 1717. The rather baroque wooden ceiling by Pier Francesco Silvani is from 1679. The church originally, and more modestly, copied the burial church of the order's founder, San Domenico in Bologna, in having a wooden roof over the main nave and vaulting over the more holy space for the friars. Two screens originally divided up the space for men, women and the friars, with the women kept safely furthest from the friars while they performed Mass.
The large transept-like chapel is Giambologna's Chapel of Sant'Antoninus, built in 1580 for the Salvin family. The saint is is buried here, at the end on the left, and there is some good mannerist stuff, including an altarpiece of The Descent into Limbo by Allori. Also Il Poppi's Christ Healing the Leper and The Calling of St Matthew on the left and right walls. The murals in the cupola are by Pocetti
The humanists Pico della Mirandola and Angelo Poliziano are interred between the second and third chapels on the left. Their tomb slabs are on the north behind the sculpture of Savonarola (see below right). These tombs were opened in 2007 and their deaths in 1494 from arsenic poisoning were confirmed.
Upon entering you find yourself in Michelozzo's Cloister of Saint Antoninus, which has quite vivid frescoes in the lunettes by Fra Angelico (the five small ones over the doors in the corners) but mostly by an artist called Giovanni Antonio Sogliani, amongst others, painted later and showing scenes from the life of Saint Antoninus. Facing you along the arm of the cloister as you enter is a large fresco of Saint Dominic worships the Crucifix (1442) by Fra Angelico, with added flanking figures of The Mourning Virgin and St John by Cecco Bravo in 1628.
The first room on the right, The Pilgrim's Hospice displays paintings by Fra Angelico taken from other (mostly closed or demolished) churches and convents. Carrying on anti clockwise takes you come to a large refectory with unspecial work along the right-hand wall, a quite impressive fresco of The Last Supper of Saint Dominic (with the Crucifixion taking place above) by our friend Sogliani, a former pupil of Lorenzo di Credi, on the end wall, and more by him up the left side. Opposite is a small room more worthy of attention with some sweet Fra Bartolomeo panels and his spooky dark post-mortem profile Portrait of Savonola. Fra Bartolomeo was a fellow Dominican and a great admirer of Savonarola and was imprisoned with him in 1498.
Next around the cloister is a The Chapter House, a square room with a big and lovely Crucifixion fresco by Fra Angelico, but looking much more worked than his usual. It's the largest work the Fra Angelico made for San Marco
Next is upstairs. On the first floor are the 45 smalls cells containing 40 frescoes for private contemplation painted by Fra Angelico and his studio.
The large Annunciation at the top of the stairs is justly one of Fra Angelico's most well known and loved works.
Turning left here takes you down the east corridor, the clerics' dormitory, with the paintings in the cells to the right all by assistants, but those on the outer, left, side largely by Fra Angelico himself. This corridor leads to the south corridor, the novices' dormitory, where images of the Crucifixion dominate. At the end of this corridor is Savonarola's rooms. Turning right back at the Annunciation, takes you into the north corridor, the lay brothers' dormitory, mostly the work of assistants, where the first cell on your left is that of Saint Antoninus. On the right you reach the entrance to Michelozzo's famous library. Long lauded as a fine typical Renaissance interior with its white walls and pietra serena details the walls were recently discovered, under four layers of plaster, to have been green, a colour symbolic of contemplation often used at the time for the walls of libraries. Just outside the entrance is a plaque commemorating Savonarola's arrest here on April 8th 1498. At the end of this corridor are the cells used by Cosimo il Vecchio, containing an Adoration of the Magi, a characteristic Medici subject, by Fra Angelico with the help of Benozzo Gozzoli, his assistant at the time, who went on to later famously paint the same subject in the chapel of the Medici Palace.
Back down stairs is the Museo di Firenze Antica established in 1898 in the foresteria (guest quarters) to house architectural fragments from the controversial demolition of the Mercato Vecchio. A fine Last Supper based on a Ghirlandaio's Ognissanti fresco, but probably mostly the work of assistants, is in the small refectory/gift shop here. It was restored in 1994/5 when some oil overpainting was removed. From windows in the corridor you can see into the (not visitable) cloister of Saint Dominic.
The Coronation of the Virgin of 1402 by Lorenzo di Niccolò, commissioned for the high altar here by the Sylvestrines, was given to the Dominicans of the church of San Domenico in Cortona in 1440 by Cosimo and Lorenzo de' Medici when the Fra Angelico altarpiece replaced it.
The eight predella panels from the Fra Angelico altarpiece (1438-40), depicting scenes from the lives of Saints Cosmas and Damian, the main panel of which remains here, are in the Louvre (the gory Martyrdom with the decapitated heads rolling around on the floor still sporting halos), the Alte Pinakothek in Munich (four panels, including the famous Entombment, which somehow inspired Rogier van der Weyden, and which technically might be called a Pieta), Washington, Dublin, and here in the San Marco museum.
Botticelli's Coronation of the Virgin, an altarpiece originally in the chapel of Sant'Alò in the church of San Marco. It was commissioned by the Guild of Goldsmiths and was painted between 1488 and 1490. It's been in the Uffizi since 1796.
Many works by Fra Bartolommeo: his Christ in the Temple (1516), now in the Kunsthistorisches Museum Vienna, had been in the Uffizi but they swapped it with Vienna for Dürer's Adoration of the Magi in 1793. His dark Madonna and Child with Saints was painted for the Santa Caterina altar here, and is now in the Palatine Gallery in the Palazzo Pitti. It was acquired by Grand Prince Ferdinando, who deprived many Florentine churches of their altarpieces, either by providing cash or replacement copies. Also in the Pitti is a huge Sistine-ceiling--inspired panel of San Marco by Fra Bartolomeo, acquired from San Marco by Napoleon in 1799. It was mounted on canvas and later returned to Florence. A matching Saint Sebastian, sent to the French king in 1529, is now lost.
Monday - Friday 8.15 – 1.20
Saturday 8.15 – 4.20
Monday - Friday 8.15 - 1.50
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Oltrarno :: Fiesole