Bargello National Museum

The medieval building is relatively well preserved, and includes the Cappella della Maddalena (Magdalen Chapel) with extensive but damaged frescos by Giotto, including a full-length portrait of Dante. In 2023 it was the 12th most visited museum in Italy, with 610,203 visitors; it generally lacks the long queues to enter the Uffizi.

• Illustration — Giotto, section of chapel frescos, with Dante standing in red. The word bargello appears to come from the late Latin bargillus (from Gothic bargi and German burg), meaning "castle" or "fortified tower". During the Italian Middle Ages it was the name given to a military captain in charge of keeping peace and justice (hence "Captain of justice") during riots and uproars. In Florence he was usually hired from a foreign city to prevent any appearance of favoritism on the part of the Captain. The position could be compared with that of a current Chief of police. The name Bargello was extended to the building which was the office of the captain.

Construction began in 1255. The palace was built to house first the Capitano del Popolo and later, in 1261, the 'podestà', the highest magistrate of the Florence City Council. This Palazzo del Podestà, as it was originally called, is the oldest public building in Florence. This austere crenellated building served as model for the construction of the Palazzo Vecchio. In 1574, the Medici dispensed with the function of the Podestà and housed the bargello, the police chief of Florence, in this building, hence its name. In 1479 Bernardo Bandini Baroncelli, one of the movers of the Pazzi conspiracy against the Medici family was hanged from the building, an event witnessed and sketched by Leonardo da Vinci. It was employed as a prison; executions took place in the Bargello's courtyard until they were abolished by Grand Duke Peter Leopold in 1786, but it remained the headquarters of the Florentine police until 1859. After an interval, it then became a national museum. The original two-storey structure was built alongside the Volognana Tower in 1256. The third storey, which can be identified by the smaller blocks used to construct it, was added after the fire of 1323. The building is designed around an open courtyard dating from 1280-1285. An external staircase leading to the second floor was added between 1345-1367 under master builder Neri di Fioravante. An open well is found in the centre of the courtyard. After centuries of modifications to its architecture, the building was restored to its original form between 1858 and 1865. The Bargello opened as a national museum (Museo Nazionale del Bargello) in 1865, displaying the largest Italian collection of Gothic and Renaissance sculptures (14–17th century). Administratively, the museum heads a group, the Musei del Bargello, with four smaller museums in Florence: the Medici Chapels, Orsanmichele, Palazzo Davanzati, and Casa Martelli. • Illustration — Exterior • Illustration — another view • Illustration — Stairs and inner courtyard • Illustration — Courtyard • Illustration — Inner courtyard • Illustration — Rear, on via ghibellina

• Illustration — The Lombardic "Agilulf Helmet" plate, 7th century The museum has a number of paintings, though nothing like the primary Florentine collection in the Uffizi, including the eponymous work by the 15th-century Master of the Bargello Tondo, and many painted cassoni (wedding chests) and desci da parto (painted birthing trays). In the decorative arts, the museum has a fine collection of ceramics, especially maiolica, textiles, tapestries, ivory, nielli, medals, silver, armour and coins. The right-hand panel of the Anglo-Saxon bone Franks Casket is in the museum. Some of these are of international importance: the Italian nielli are arguably the best collection in the world, as is the collection of Italian Renaissance medals. The Bargello style of needlework has no actual connection with the museum, except that the best collection of early examples is there. The Islamic Hall at the Bargello was set up in 1982 by Marco Spallanzani and Giovanni Curatola at the direction of Paola Barocchi and Giovanna Gaeta Bertelà, then the director. • Illustration — Roman gold glass cup bottom, 350-400 • Illustration — Empress Ariane, Byzantine ivory, 6th century • Illustration — Aquamanile with mounted Saint George (Mosan or Rhine region - c. 1400-1410) • Illustration — 15th-century parade helmet, with later work • Illustration — Antonio Vicentino, medal of Argentina Pallavicino • Illustration — Casket in Renaissance painted Limoges enamel • Illustration — Headboard with the Loves of Jupiter, Alessandro Allori, 1572 (detail)