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Updated: June 21, 2025
It is called Brunelleschi's masterpiece, but I prefer both the Badia of Fiesole and the Old Sacristy at S. Lorenzo, and I remember with more pleasure the beautiful doorway leading from the Arnolfo cloisters to the Brunelleschi cloisters, which probably is his too. The della Robbia reliefs, once one can forgive them for being here, are worth study.
Arnolfo's own unaided sculpture may be seen at its best in the ciborium in S. Paolo Fuori le Mura in Rome; but it is chiefly as an architect that he is now known. He had already given Florence her extended walls and some of her most beautiful buildings the Or San Michele and the Badia and simultaneously he designed S. Croce and the Palazzo Vecchio.
Nothing was more common in the practice of Italian arts than for pupils to take their names from their masters, in the same way as they took them from their fathers, by the prefix di or otherwise. The most simply beautiful of Filippino's pictures is the oil-painting in the Badia at Florence, which represents Madonna attended by angels dictating the story of her life to S. Bernard.
The cloisters are small, but they atone for that if it is a fault by having a loggia. From the loggia the top of the noble tower of the Palazzo Vecchio is seen to perfection. Upon the upper walls is a series of frescoes illustrating the life of S. Benedict which must have been very gay and spirited once but are now faded. The Badia may be said to be the heart of the Dante quarter.
In her memory of those morning hours, there were not many things that Romola could distinguish as actual external experiences standing markedly out above the tumultuous waves of retrospect and anticipation. She knew that she had really walked to the Badia by the appointed time in spite of street alarms; she knew that she had waited there in vain.
It is down a lane, again between garden walls, that you must go to the Badia, once the great shrine of the Fiesolans, but since the eleventh century an abbey of Benedictines, where S. Romolo once upon a time lay in peace, till, indeed, the oratory not far from the church was stupidly destroyed.
Wear the garland I have made; Crowned with it, put pride away; For the wreath that blooms must fade; Thou thyself must fade some day, Rhodocleia. To K. L. He heard the bell of the Badia sound hour after hour, and still sleep refused its solace. He got up and looked through the narrow window.
The church itself is very interesting, with its beautiful façade in the manner of the Badia at Fiesole, where you may see carved on either side of the great door the head of S. Andrea and of St. John Baptist.
Some forty minutes away, on a small island to the east, is the Franciscan convent, La Badia, a building of the fifteenth century for the most part, containing a rather pretty cloister of white marble erected in 1477. The arches are stilted, pointed, and trefoiled, arranged in groups of three, with wider slightly segmental openings with cuspings for entrances.
The road is by way of the tram lines to that acute angle just below Fiesole when they turn back to S. Domenico, and so straight on down the hill. But if one is returning to Florence direct after leaving Fiesole it is well to walk down the precipitous paths to S. Domenico, and before again taking the tram visit the Badia overlooking the valley of the Mugnone.
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