6 Best Sights in Santa Croce, Florence

Originally outside the city's 12th-century walls, this piazza grew with the Franciscans, who used it for public preaching. During the Renaissance, it hosted giostre (jousts), including one sponsored by Lorenzo de' Medici. Lined with many palazzi dating from the 15th and 16th centuries, the square remains one of Florence's loveliest and is a great place to people-watch.

The final resting place for some 1,400 souls was designed in 1828 by Carlo Reishammer and originally intended for the Swiss community in Florence. Just outside the city's 14th-century walls (no longer visible), the cemetery grew to accommodate other foreigners living here, and thus earned another of its names, the Protestant Cemetery. It's also referred to as the "Island of the Dead." Indeed, Swiss painter Arnold Böcklin (1827–1901) used the cemetery as inspiration for his haunting painting of that name.

Perhaps its most famous resident is Elizabeth Barrett Browning (1809–61), who spent the last 15 years of her life in the city. Other noteworthy expats buried here include the English poets Arthur Clough and Walter Savage Landor, Frances Trollope (mother of Anthony), and the American preacher Theodore Parker.

About 8 km (5 miles) south of Florence on the road to Siena is one of the country's two American cemeteries (the other is in Nettuno). It contains 4,392 bodies of Americans who died in Italy during World War II. Spread across a gently rolling hill, the simple crosses and Stars of David bearing only name, date of death, and state seem to stretch endlessly. Atop the hill is a place for reflection and large mosaic maps depicting the Allied assault in 1943. The two fronts—called the Gothic Line and the Gustav Line—are vividly rendered. So, too, is the list containing 1,409 names of those missing in action.

This way-off-the-beaten-path museum has a stunning fresco by Andrea del Sarto. Begun sometime around 1511 and finished in 1526–27, the fresco depicts the moment when Christ announced that one of his apostles would betray him. Andrea has rendered the scene in subtle yet still brilliant colors. Also on display are a couple of lesser-known works by Pontormo and copies of other 16th-century works.

Down the street is the church of San Salvi, founded by John Gualbert and begun in 1048. Though it suffered damage during the siege of 1529–30, the interior has a modest but lovely Madonna and Child by Lorenzo di Bicci as well as a 16th-century wooden cross on the altar. To get here, take Bus 6 from Piazza San Marco and get off at the Lungo L'Affrico stop—it's the first stop after crossing the railroad tracks.

In the 14th century, this piazza was part of a neighborhood of primarily wool- and silk-trade workers. The disenfranchised wool workers, forbidden entry to the Arte della Lana (the Wool Guild, whose members included those who traded in wool), briefly seized control of the government. It was a short-lived exercise in rule by the unrepresented, and it was eventually quashed by the ruling upper class. The loggia, executed in 1567, is by Giorgio Vasari.

Named for the Bishop of Milan, this 10th-century church once belonged to an order of Benedictine nuns. Just this side of austere, the church is one of the oldest in Florence. Though its facade is 19th century, inside are 15th-century panel paintings and a lovely but rather damaged 1486 fresco by Cosimo Roselli, in the chapel to the left of the high altar. The tabernacle of the Blessed Sacrament was carved by Mino da Fiesole, who, like Verrocchio, il Cronaca, and Francesco Granacci (1469/77–1543), is buried here.