Church of All Saints

The Church of San Salvatore in Ognissanti, commonly known as the Church of Ognissanti, is a hidden treasure in the heart of Florence, rich in history, art, and architecture. Built starting from 1251 by the Umiliati order, this church has undergone centuries of transformations and adjustments that have enriched its value and beauty. The Umiliati, a religious order dedicated to poverty and manual labor, chose Florence as the place to establish their convent, significantly contributing to the religious and social life of the city. The original architecture of the church reflected the sobriety and austerity typical of the order. However, over the centuries, Ognissanti has undergone numerous interventions that have changed its appearance, enriching it with Baroque elements and works of extraordinary value. The current facade, designed by Matteo Nigetti in 1637, is an example of the sober Florentine Baroque style, although in 1872 it was rebuilt in travertine, replacing the original strong stone due to deterioration. The facade is decorated with pilasters, niches, and fanciful cornices, culminating in a large coat of arms of Florence, added during the 19th-century restoration. Inside, the church features a single nave of 95 meters by 14, with a deep transept overlooking various side chapels. The nave is adorned with valuable works of art, testifying to the wealth and devotion of Florentine families who over the centuries have contributed to the decoration of the church. Among the most important works is Giotto’s “Crucifix,” one of the first examples of the new pictorial language that would revolutionize Western art. This masterpiece, dating back to around 1310, is now preserved in the Uffizi Gallery, but its original presence at Ognissanti marked a fundamental moment in the church’s history. The connection between the church and the Vespucci family, famous for the navigator Amerigo Vespucci, is another fascinating aspect of Ognissanti’s history. The Vespucci family commissioned Domenico Ghirlandaio to create several frescoes, including “Saint Jerome in his Study” (1480), located along the left nave, and the “Last Supper” in the convent refectory, a work that with its complexity and richness of details offers an extraordinary representation of the Gospel banquet. Even Sandro Botticelli, buried in the church, left his mark with his fresco “Saint Augustine in his Study,” painted in 1480 in front of Ghirlandaio’s work, creating an interesting artistic dialogue between the two Renaissance masters. Another hidden treasure of Ognissanti is the chapel of the Vespucci family, located in the right nave. Here, between 1470 and 1472, Ghirlandaio created a “Pietà” and a “Madonna of Mercy,” the latter depicting the young Amerigo Vespucci, offering a fascinating glimpse into the family history and the connection with the great explorer. In the sixteenth century, with the suppression of the Umiliati order, the church and convent passed to the Observant Franciscans, who brought with them numerous furnishings and works of art, including a relic of the habit worn by Saint Francis of Assisi. The Franciscans reconsecrated the church in 1582, dedicating it to San Salvatore in Ognissanti, and carried out various expansions and modifications that contributed to giving it the Baroque appearance that we can still admire today. The interior of the church, while maintaining the original Gothic layout, is enriched with Baroque decorations that reflect the eclectic taste of the following centuries. Among the works that now adorn the interior is also the funerary monument of Carlo Marsuppini, created by Desiderio da Settignano, which with its classical elegance represents one of the finest examples of Florentine Renaissance sculpture.