Our trip begins at the Pieve di S. Pietro a Ripoli, located on an ancient pilgrimage route that led to Rome, Assisi and the Loreto sanctuary. Over the course of the Middle Ages the path became particularly important for exchanges between Florence and Arezzo. The numerous structures dedicated to hospitality and assistance that dotted the road, particularly concentrated in key spots, are testimony to the intensity of transit along it. The concentration of inns, hospitals and taverns documented in 14th century along the road would have had no equal in all of Tuscany.
Along this ancient route we will first encounter the Santa Maria in Quarto Church. The Church owes its name to the fact that is located at the fourth mile of the Via Artetina. Although little remains of the original 13th century building, apart from the exterior limestone walls with the medieval entrance and frescoed lunette on the left-hand side (late 14th century), it is still worth a quick visit.
Leaving the Santa Maria in Quarto Church behind and heading towards Pontassieve, we reach Candeli and the majestic Church of Sant'Andrea in Candeli, an ancient Benedictine abbey and home to an important crucifix.

From Candeli we now take the Via Villamagna until reaching the city of the same name and the Pieve di San Donnino. The Church provides an excellent example of medieval architecture. Although it was restored and expanded in the Romanesque period, many of the Church's original features were left in tact.

Our journey continues on by following the directions for the Convento dell'Incontro. Along the way we can admire the Oratorio del Beato Gherardo, the place in which it is said that the Saint retired in the 13th century to lead a monastic life.

Leaving now the Oratory behind us, we continue along the winding road as it travels uphill towards the Convento di San Francesco all'Incontro. Here we recommend that you leave the car behind and take a pleasurable ramble to the Convent and surrounding areas on foot.

Leaving the hills of the Convent and heading back towards the city, we recommend that you take the Ritortoli municipal road. After a few curves, take a left once having finished the uphill portion of the road. It is here that you will be able to admire the quaint San Tommaso a Baroncelli Church, sitting on top of a hill by the same name and completely immersed in nature. Some assert that this Church was built on top of the ruins of a Lombard fort, although no remaining evidence can actually support this claim. The Church houses an important Annunciation fresco that has been attributed to the School of Fra Angelico. One can also find a 16th century banner bearing a embroidered crucifix, the gift of Cosimo I de' Medici to the Ripoli population in the 18th century. The relic was venerated until recent times as it had been considered miraculous.

Not far from the Baroncelli hills, along the panoramic Via del Carota in Ponte a Ema, we find the Santa Caterina delle Ruote a Rimezzano Oratory, gem of Bagno a Ripoli.
Heading along Via del Carota, we take the old Via Romea, the historic path used by pilgrims to reach one of the most important places of rest and healing in Tuscany, the Antico Spedale del Bigallo.
Founded in the first half of the 13th century and entrusted to the Compagnia Maggiore della Vergine Maria in 1245 (only later was "del Bigallo" part of the name), the structure served as a hotel for pilgrims and place of assistance for travellers. The building is now used as a hostel and space for various types of events. It is recommended that the surrounding area on the Apparita hill be explored on foot, as it is characterized by a series of natural pathways and breathtaking views of Florence and Valdarno. It has been said that during the siege of Florence that the Prince of Orange, once having arrived atop the Apparita hill, exclaimed: "…If my land had been so beautiful I would defend it too…!"

Retracing our steps back to Via del Bigallo e Apparita, turning onto the historical Via Terzano, we will pass under the vault of the Arco del Camicia (after which you will be able to admire a 13th century tower house) before arriving at the Santo Stefano a Paterno Church. The Church was built in modern times in the Romanesque revival style and is the heir to the previous church that no longer exists. A beautiful crucifix with Christus Patiens, notable for the intense drama of the painted form by Gaddo Gaddi (a follower of Cimabue) can be found within. The Compagnia del Bigallo was probably responsible for bringing the painting to the Church, deducible thanks to the curious anagram formed by the letter "B" surmounted by a gallo (rooster) painted in the suppedaneum.
The church is also home to a fresco depicting the Virgin and angle attributable to the 15th century Florentine school. Its jeweled adornments attest to its devotional importance. A depiction of Mary and Joseph adoring the Christ Child, a copy of a Fra Bartolomeo attributed to Fra Paolino da Pistoia, can also be admired.

Not far from here, on the Via della Croce, a partially paved road with an incredible view of Florence, we reach the San Lorenzo a Vicchio di Rimaggio Church after a short detour. The Church, documented in as early as the 12th century, is home to several late-14th century frescoes attributed to the Florentine painter Cenni di Francesco.

Back on Via Roma (SP 1), heading towards the village of Osteria Nuova, it is possible to reach Ruballa. It is here that two important examples of medieval country churches can be found: San Quirico e Giulitta a Ruballa and San Giorgio a Ruballa. Adjacent to the Church rests the Museo di Arte Sacra.

Taking Via Peruzzi you will arrive at Antella. The historic city center has ancient origins. Among the many hypotheses, the most probable is that the name can be traced back to the Etruscan name Antilius (Antonio), the male version of Antulla. The undisputed antiquity of the location has been confirmed both by Etruscan finds (including a architectural sandstone fragment) and by the artifacts unearthed at Roman villa of Publio Alfio Erasto.
The Romanesque Santa Maria Pieve, an excellent example of medieval architecture, stands in the main piazza of Antella.
The Cimitero Monumentale dell'Antella can be reached by taking the Via di Montisoni from Piazza Peruzzi. It was built between 1855 and 1856, while the imposing entrance arch dates back to 1912. The drum of the dome is decorated by a beautiful fresco by Galileo Chini. The cemetery has gradually expanded past the boarders of the original design, and now provides sanctuary to the remains of many men famous in the arts, science and literature, including Galileo Chini, Isidoro del Lungo, Pio Fedi, Enrico Toselli, and many others.


THE BLESSED GHERARDO


Gherardo Mecatti was born in 1174 to a peasant family that later succumbed to a terrible plague outbreak. Orphaned at the age of 12, he was adopted by the Foschi family, owners of the land on which he parents had worked. As a young squire he followed his master to the Holy Land, ending up prisoner of the Turks. After years of torment and fear he was released, but by then had spent enough time in Jerusalem to realize the atrocities and injustices carried out in the name of the Christian faith. He therefore decided, once having returned to Villamagna, to devote himself entirely to prayer and the assistance of the local poor. He went on a later Crusade to Palestine in the wake of 20 knights in the Order of St. John. However, as to set the stage for Gherardo's first miracle, pirates attached their ship. He invoked the Lord's help and ordered his companions not to abandon ship but rather to resist the Saracen attack. The enemies, by what could only have been considered divine grace, all died in a shipwreck.
He remained in the Holy Land for another seven years, during which he did his utmost to alleviate the suffering of sick pilgrims, consequentially becoming an object of veneration. To escape the pressure for new miracles he returned to Italy where he met St. Francis of Assisi and was ordained to the Franciscan Order.
He retired to Villamagna in the small country chapel, still dedicated to him today, where he continued his work of assisting the poor. It is said, in fact, that every week he visited three churches: one on Monday for the souls in purgatory, one on Wednesday for the forgiveness of his sins, and the final church on Friday for the forgiveness of the sins of others and the conversion of the infidels.
Many acts of healing and various miracles continued to be attributed to Gherardo over the years. One of the most famous is the cherry tree miracle. One a cold winter day, an exhausted Brother Gherardo leaned against a cherry tree to catch a moment's rest, when suddenly, the tree was filled with ripe and juicy fruit which restored Gherardo's energy. In memory of this miracle, every three years (up until the 18th century) a procession to the relics of the Blessed Gherardo, housed in the Oratory at the time, was held. During the function, held on May 13th, blessed cherries were distributed to the participants in memory of this simple miracle.

CHURCH AND CONVENT SAN FRANCESCO ALL'INCONTRO


The construction on the Church and Convent is the work of St. Leonardo of Port Maurice, who was sent here in 1709 by the Franciscans from the province of Rome. The young Franciscan Leonardo had asked to undertake a mission to China, but Cardinal Colloredo responded to him by saying: "Your China will be Italy". As such St. Leonardo's life was dedicated to preaching, devotion and the diffusion of the Cult of Mary (who he thought had saved him from tuberculosis) and Christ throughout Italy. He preaching style was dramatic and tragic. Leonardo often put himself through physical torture, like placing his hand in fire or self-flagellation. Huge crowds were drawn to listen him and would remain impressed by his searing words that called for repentance and Christian piety.
The theme of the Cross, which is typically Franciscan, took a central role in Saint Leonardo's sermons, so much so that he is considered one of the main inventors and promoters of the Via Crucis, organizing nearly one hundred of them. The Convento dell'Incontro, completed in 1717 and originally named La Solitudine dell'Incontro, soon became a true theatrum sanctitatis, a landmark of devotion for Florence and surrounding areas, closely linked to the fame of its founding figure.
The current structure is the result of complex restoration and rebuilding campaign, as the original building was heavily damaged during WWII. However, a 19th century painting depicting the miracles of the founder and an early 14th century Madonna and Child were salvaged.

THE SANTA CATERINA ORATORY


Construction on the Santa Caterina Oratory, built on the Rimezzano farm at the foot of the Baroncelli hills, was started in 1354. Jacopo and Giovanni, sons of Alberto Alberti, owner of many properties throughout the Antella Parish, were responsible for its creation.
The building is characterized by its simplicity: the external walls were constructed with limestone blocks while the gabled façade is defined by a portal framed by a lancet arch, containing a once frescoed lunette, and covered by a considerably sloping roof. An ocular window with stone frame can be found just above. To the back of the chapel stands a small bell tower.
The internal space is rectangular in shape and culminates with apse separated by large lancet arch. The space is divided into two bays, both of which covered by vaults with exposed stone ribbing.
The first bay is devoid of decoration, while the second bay and apse are covered by a beautiful decorative fresco, stretching in some sections over to the vaults. The frescoes recount the life of St. Catherine of Alexandra, venerated in the Middle Ages for her wisdom, patroness of judges and notaries.
The remarkable pictorial cycle begins in the apse with scenes of the martyrdom of the Saint. Two artists, as recently distinguished by experts, worked on this section. They were the so-called Maestro di Barberino, anonymous painter in the style of Orcagna, and Pietro Nelli (a student of Bernardo Daddi), who was able to mitigate the angularity of the first master by means of an elegant plasticity.
The lunette depicting the Annunciation on the back wall, the depictions of St. Benedict and the Holy Deacon, the decoration of the spandrels and sottarco of the chapel and the three scenes in the apse have been attributed to Barberino. After these works nothing further was added for 30 years, until Benedetto di Nerozzo degli Alberti commissioned paintings depicting the stories of the burial of the Saint in the Oratory in his will. It is thanks to Benedetto's wish the unfinished work on the triumphal arch was completed by Spinello Aretino, a well-known late-14th century painter from Arezzo. He finished the decorations on the arch and continued the narration of the life of the Saint through eight episodes, illustrated in the lunettes and lower panels. In the rib vaults he painted the Four Evangelists with their corresponding symbols while on the arch he painted the Apostles with the Agnus Dei. Along the base rest busts of the Prophets.
The ruin of the Alberti family heralded a long period of decline for Oratory.
In 1620 the Rector Francesco Venturi had a door put in near the lower part of the section decorated with a figure of St. Antony Abott, and he was probably the same person that had the frescoes in the apse whitewashed.
After varies changes in ownership, the city of Bagno a Ripoli purchased the Oratory, and in two years of work restored the structure and frescoes, cleaning and consolidating the pictorial cycle, reattaching missing plaster and uncovering paintings covered by previous interventions.
The Oratory is now used for art exhibits, cultural festivals, weddings and events.

THE ANCIENT BIGALLO HOSPITAL


"Lungo l'antico e ripido tratto della via Aretina, poco prima di giungere al casale dell'Apparita, sorge un grandioso e severo edificio."
"Along the antique and steep portion of the Aretina road, just before reaching the Apparita house, rests a grand and austere building."
This was how Carocci, an important local historian, described the ancient Bigallo hospital, founded in 1214 by Dioticidiede di Bonaguida del Dado. The name "Bigallo" is due to its location at the Bivius Galli, or rather the junction between the old Via del Gallo and Via Aretina.
In 1245 the ownership and management of the Hospital passed to a Florentine religious brotherhood, made up primarily by lay people, called the Compagnia di Santa Maria Maggiore, which would later go on to take the name Compagnia del Bigallo. The crest of the society was a rooster on a blue field and included the initials S.M.B. (Sancte Marie de Bigallo).
At the end of the 15th century the Hospital welcomed the nuns from the cloistered monastery in Casignano, who formally made the structure their new convent in 1503, keeping the hospital open for the poor and travellers. The cloister in which the nuns were accustomed to living led to the separation of the two environments (the hospital and the monastery), and the walling of the vegetable garden. Over the 17th century the church underwent remodeling which also saw the addition of the sacristy. In 1808 when the monastery was closed by the French government it became the home of multiple families of farmers.
The Spedale del Bigallo is very large, consisting in multiple different spaces. In one of areas that has been restored a hostel has been created, restoring the structure's original purpose.
Bigallo provides us with a beautiful panoramic view of Florence, while within we find an impressive living-dining room area. The space, complete with coffered ceiling and pulpit, is now used as a conference room and is equipped with a beautiful monumental kitchen, in which valuable and elegant elements such as the large stone columned fireplace and a stone sink can be found. The hostel is found upstairs. It is divided into several rooms and decorated with furnishings inspired by medieval "spedali". A portico consisting in five rounded archways supported by massive square pillars surrounds the courtyard. In the downstairs rooms adjacent to the courtyard one can admire the fascinating laundry room, where the cavity in the wall, formerly home to a washing basin and intriguing system of water canals, can still be observed. In these rooms it is possible to observe the only brick construction in the complex. It runs in parallel with the actual wall in the same room and is made up by arches supported by thick pillars, which have been hollowed for the containment and channeling of water, creating a type of old aqueduct.