
Via de' Bardi and San Niccolò
You finish with the man who searched for the works the Nazis took, and in front of the one gate in the city walls that never had to be cut down.
Which disasters shaped the city, and what marks did they leave?
6 walks with different starting points and stories. Compare their maps, stops and duration, then choose where to begin.
Explore these walks
Florence is recognisable through its art, but also through the crises that marked it. Plague, floods and war connect routes that ask how the city responded and how those episodes were remembered. This theme offers another view of familiar places: what needed protecting, what changed, and what people later chose to commemorate.
In “Dante's Florence”: Closed gates and the city that burned add conflict and remembrance to the neighbourhood of Dante's families.
In “Oltrarno: from Pitti to the Carmine”: The palace of fugitives and the fire of 1471 let you look at the Oltrarno through crises that changed its places.
In “Via de' Bardi and San Niccolò”: You finish with the man who searched for the works the Nazis took, and in front of the one gate in the city walls that never had to be cut down.
Choose from 6 independent walks in Florence. Open the one that interests you to see its map, stops and approximate duration before deciding. You don't need to do them all or follow this selection's order; each walk has its own starting and finishing points.
Open a marker to see its page. Use two fingers to move the map on mobile.

You finish with the man who searched for the works the Nazis took, and in front of the one gate in the city walls that never had to be cut down.

Closed gates and the city that burned add conflict and remembrance to the neighbourhood of Dante's families.

You finish with the wheel of the Mercato Nuovo, the boar whose snout, according to Andersen, children polished as they drank, the Virgin of the Grain at Orsanmichele, whose miracles not even the friars believed, and the face carved beside the door of the Palazzo Vecchio.

The palace of fugitives and the fire of 1471 let you look at the Oltrarno through crises that changed its places.

In Piazza dei Ciompi, a fish loggia that moved across town, a wool carder who came to govern Florence and what turned up under the ground when the flea market left.

In the same square: the bonfire of the vanities and the one that burned the friar who lit it, Cellini saving his Perseus with his own dinner service, and the day in 1478 when the conspirators locked themselves in behind a door.
Florence fits into short walks that grow longer as you keep looking. The centre is compact; crossing the Arno changes the perspective without changing the city.
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