Fathers of the Oratorian order always had big plans for this small parish of San Firenze, which was started in 1174. To the parish, they wanted to add a convent, an oratory and a Church dedicated to St. Philip Neri, founder of the order. With passing time, architects changed and so did the designs. However, the limited availability of funds remained a major concern for the extravagant designs of the parish. Finally, in 1667 Francesco Silvani started work on the church. After his death, Ferdinando Ruggieri took over the project and completed the honey coloured façade by 1715. In the 1770s, a new oratory was built and Ruggieri’s work on the façade was duplicated by Zanobi del Rosso, to give us the building the way it looks today. The original parish then became an oratory of the new Church.

The donation arising out of the death of Giuliano Serragli initiated the work of the Church. His contribution, though inadequate to the plan, is respected by the Church and he has been recognised as the Church’s principal benefactor. The Glory of St. Philip Neri decorates the ceiling of the new church.

An occasional example of Baroque style of architecture in the city, this building is now primarily used by the state authorities as a court of law. A small part of the church is still maintained and should be visited, if you are around.

The Laurentian Library in Florence, is famous as a repository of more than 11,000 manuscripts and 4,500 early printed books. Built in a cloister of the Medicean Basilica di San Lorenzo di Firenze under the patronage of the Medici pope, Clement VII, the Library was built to emphasize that the Medici family were no longer mere merchants but members of intelligent and ecclesiastical society. It contains the manuscripts and books belonging to the private library of the Medici family. The Laurentian Library was commissioned in 1523 and construction began in 1525. The Library conserves the Nahuatl Florentine Codex, the major source of pre-Conquest Aztec life. Among other well-known manuscripts in the Laurentian Library are the sixth-century Syriac Rabula Gospels; the Codex Amiatinus, which contains the earliest surviving manuscript of the Latin Vulgate Bible; and the fragmentary Erinna papyrus containing poems of the friend of Sappho.

The octagonal Cappella dei Principi surmounted by a tall dome, 59 m. high, that is the distinguishing feature of San Lorenzo when seen from a distance, stands centrally sited with respect to the nave, to which it provides the equivalent of an apsidal chapel. Its entrance is from the exterior, in Piazza Madonna degli Aldobrandini, and through the low vaulted crypt planned by Bernardo Buontalenti before plans for the chapel above were made. It was designed by Matteo Nigetti, following some sketches tendered to an informal competition of 1602 by Don Giovanni de' Medici, the natural son of Cosimo I, Grand Duke of Tuscany, which were altered in the execution by the aged Buontalenti; thus, a true expression of court art, it was the result of collaboration among designers and patrons.

The Theatine order, formed as a result of Counterreformation, took over an eleventh century church dedicated to St. Michael in 1592. Financially supported by the eminent families of Florence, the Theatine order commenced the construction of the Church in 1604 with the design of Bernardo Buontalenti. The construction was completed in 1648, by which a number of architects were involved in the project, each making variations to the original design.

Built of the site of a Romanesque Church, the church was dedicated to San Gaetano (Saint Cajetan). Since, the previous church on the site was dedicated to St. Michael, the new building was named Church of Santi Michele e Gaetano. Matteo Nigheti and Gherardo Silvani share the credits for the way the church stands today. In a city dominated by Renaissance styled architecture, this Church on Piazza Antinori has a distinct Baroque style. The façade is decorated with sculptures, which one does not see in Renaissance style of architecture.

The Church houses Matteo Rosselli’s Chapel of the Nativity and Pietro da Cortona’s Martyrdom of San Lorenzo. The Medici family took personal interest in the work of the church. While, Grand Duke Ferdinando I financed the intial stages of work, his son and Cardinal, Carlo de Medici was concerned about the work. If you would like a break from the Renaissance style, you must visit this Church for its unique Baroque style.

Standing elegantly on the banks of the River Arno is the opulent Palazzo Corsini al Parione. The Palazzo is presently owned by the Corsini descendants, Miari Fulcis and Sanminiatelli.
Before this elaborate palace took shape, on the site stood several buildings out of which the most prominent was the casino that belonged to the Ardinghelli family. The premises were later passed on to the Grand Duke Ferdinando II de' Medici and were then purchased by Maria Maddalena Macchiavelli, the wife of Marchese Filippo Corsini, in 1649.
The Palazzo is the epitome of a Baroque style of architecture. In the age of traditional Renaissance and Gothic structures, the Palazzo stands as a modernized structure, flaunting the revolutionary Baroque style of design. The Palazzo Corsini boasts a typical eighteenth century terrace that is decorated with balustrade which has mounted on it statues, figurines and terracotta vases, thus, giving it a very dramatic decorative effect, typical to the Baroque architecture.
The grandeur and beauty of the Palazzo that is witnessed today is a result of fifty years of effort and persistence of two Corsini men- Bartolommeo Corsinin, son of Filippo Corsini, and Bartolommeo’s son. They were also responsible for expanding the palazzo towards Ponte S. Trinita.

The Chiesa di Ognissanti was among the first few Baroque structures to penetrate into the predominant Renaissance style of architecture in Florence. The Ognissanti church was founded by the Order of the Umiliati that was devoted to paying homage to all saints, known or unknown. Although built during the mid-thirteenth century, the church underwent a complete makeover in the seventeenth century when it was taken over by the Franciscan Order. The shift of authority brought in a wave of new design and structure to the church. Between years 1620 and 1630, the Ognissanti Church was completely rebuilt in the Baroque style by architect Bartolommeo Pettirossi, making it one of the first Franciscan Baroque church.
The Chiesa di Ornissanti is an excellent specimen of the upcoming Baroque style in designing buildings in the seventeenth century. The façade of the church was designed by Matteo Nigetti, one of the most cherished Baroque architects. The interiors of the church are equally stunning, with the ornate Baroque detailing, the wooden crucifix by Veit Stross, the hidden symbolism of the church and the elaborate frescoes that don the wall, one of which is Dominico Ghirlandaio’s “Last Supper” a fresco that has garnered a lot of attention and admiration.

One of the lesser visited attractions in the city of Florence is the San Frediano in Cestello. This beautiful structure represents the late Baroque style of architecture.
The present church is built on the same site as the monastery of Santa Maria degli Angeli that was founded in 1450. In the early seventeenth century, the church was occupied by the Cistercians, which is where the word, ‘cestello’ is derived from. By the end of the seventeenth century, the church was commissioned for renovation under architects Gherardo Silvani and Giulio Cerutti. Work on the new design started in 1680 and by 1689 the construction was abruptly stopped leaving the façade that faced the Arno River and the town unfinished. Like many other churches in Florence, the façade of the San Frediano also remains incomplete till this present day.
Although Florentine churches may not have much in terms of craft and design on the exterior, the interiors are sure to mesmerize you the minute you step in. This is also seen at the San Frediano. The interiors of the church showcase the late Baroque style and design. The dome of the church is embellished with ornate frescos that were contributed by some great artists like Anton Domenico Gabbiani, Matteo Bonechi, Alessandro Gherardini and Antonio Puglieschi.
Today, the San Frediano in Cestello is converted into an Archiepiscopal Seminary, which is still very active.

Cappella Corsini is a chapel in the Santa Maria del Carmine church in Florence. It was built in the 17th century by the Corsini family. With its rich decorations and sculptures it is considered a marble of Baroque architecture.