The Basilica of Santa Croce is one of the largest churches officiated by the Franciscans and one of the greatest achievements of the Gothic in Italy. The definition dates back to the carmade of the Sepolcro by Ugo Foscolo at a step in which the author defines Florence: but more blessed than in a temple welcomed the Serbian glories, Santa Croce is a prestigious symbol of Florence, the meeting place of the most great artists, theologians, religious, literati, humanists and politicians, who determined, in good and bad fate, the identity of the late-medieval and renaissance city. Inside there were hosts of celebrated characters in Church history such as St. Bonaventure, Peter of John Olive, St. Anthony of Padua, St. Bernardino da Siena, Saint Ludovico d'Anjou. It was also a welcoming place for pontiffs like Sixtus IV, Eugene IV, Lion X, Clement XIV. It has the lower Basilica rank. Today's façade was built between 1853 and 1863 by architect Niccolò Matas, inspired by the great Gothic cathedrals such as the Duomo of Siena and the Duomo of Orvieto, revised in the light of its era. The end result of Neo-Gothic style received many appreciations and was given to Matas, by the Tuscan Association, the task of drawing a project for the façade of Santa Maria del Fiore (1842); to date it is not always judged positively; however, some scholars point to the simplicity and humble character in comparison with the next project by Emilio De Fabris for the facade of Santa Maria del Fiore. Among the works of art that appear on the facade stand out the three lunettes of the portals, which recall the legend of the True Cross, to which the church is dedicated: from the left are the Discovery of the Cross of Tito Sarrocchi, the Triumph of the Cross of Giovanni Duprè and Constantine's Vision by Emilio Zocchi. The central portal has the bronze doors that until 1903 were on the Duomo. In front of the portal lies the burial of Matas. Unmistakable is the exterior profile of the basilica, with its flanks rippled by the naked triangular timpani of the false nave columns. On each compartment there is a tall twig, while the curtain is in plain view stone, decorated only by human-like or lion-like raincoats, today very worn out. On the left side of the basilica is a 14th century portico, called Pinzochere, which was restored and enlarged in the mid-nineteenth century. Below it, in addition to the entrance and the basilica ticket office, you can see numerous gentlemen's coats of arms in the wall and two more funeral monuments: the one of Alamanno Caviccioli, circa 1337, and, besides the side door, that of Francesco de 'Pazzi of a follower of Tino di Camaino, with a sarcophagus resting on caryatids. The sloping bell tower dates back to 1847-1865 only, by Gaetano Baccani; Even here, as for the façade, the fifteenth-century project, entrusted to Baccio Bandinelli, had come to nothing. pretty priceless for its defileless simplicity, although the decoration with the ring on the cusp reveals the eclectic modern inspiration. The structure reaches a total height of 78.45 meters. On the left side of the churchyard was the grand monument to Dante by Enrico Pazzi, at the end of the Dante's celebrations of 1865 for the VI centenary of the birth of the great poet. In the presence of King Vittorio Emanuele II was inaugurated in the center of Piazza, The high pedestal is decorated by marzocchi lions and coats of arms of Italian cities. The interior of Santa Croce is apparently simple and highly monumental at the same time, with three aisles divided by two rows of large octagonal pillars. The large, solemn interior has an "Egyptian", that is, "T" cross, typical of other large conventual churches, with a 73.74-meter wide transept that cuts the church at the height of the polygonal apse.