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The Santa Maria del Carmine in Florence, Italy is a lesser known tourist destination, but well worth a visit. Located across the river at 14 Piazza del Carmine, this 2nd century church was in the 18th century, was completely destroyed by a fire. It was rebuilt by Ruggieri and later by Mannaioni. However, what is considered the greatest works of the entire Renaissance and which survived the fire miraculously intact, is the Brancacci Chapel, located in the right transept of the church.

There are no tourist lines, or for that matter, many people at all visiting this church, which gives you a great opportunity to study one of the most important frescoes that has recently been restored. The frescoes were initiated in 1425 by Masolion da Panicale, who works include the ‘Temptation of Adam and Eve’, located in the first compartment above and to the right; St. Peter Resuscitation Tabitha in the first scene to the right of the large compartment at the top; and the Preaching of St. Peter above and to the left of the altar . At the same time, Masaccio, created the compartment on the right wall, St. Peter Heals a Cripple, who also painted the compartment above to the right of the altar with St. Peter Baptizing the Neophytes and the splendid Expulsion from Paradise in the first panel above left.

Two particular frescoes scenes by Masaccio stand out: ‘The Payment of Tribute’, and ‘The Purge from Paradise’, which constitute an example imitated throughout the Renaissance, especially in the ways in which naked bodies were studied at close quarters, with both volumes and proportions. Later, in 1480, Filippino Lippi finished the work; the scene of St. Peter before the Prefect Agrippa and the Crucifixion of St. Peter.

This hidden treasure is not far from most of the better hotels in Florence , is not on any guided tour nor listed in any popular travel directory, which means it is rarely visited.
So, take a break from the crowds, the lines and the heat, go inside The Santa Maria del Carmine and experience the best of the Renaissance.

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