The church of Santa Maria del Carmine houses one of the greatest tributes to painting of all time: the frescoes in the Brancacci Chapel (built prior to 1386 at the end of the right wing), begun by Masolino and Masaccio, and finished by Filippo Lippi after the latter’s death. The recent lengthy restoration brought to light the evenness of the large decorative cycle that was conceived by Masolino and Masaccio in strict collaboration.

In the church we find the Brancacci Chapel, a masterpiece known around the world for its frescoes of the Life of Saint Peter by Masaccio and Masolino. Created between 1425-1427, the frescoes were left incomplete and finished by Filippino Lippi between 1481 and 1482.

The Sala della Colonna in the convent of the Carmine houses a number of detached frescoes and sinopie (underpaintings) from the same convent and church, in particular two frescoes from the beginning of Filippo Lippi’s career, frescoes by Gherardo Starnina from the destroyed Chapel of San Girolamo and two sinopie attributed to Masaccio and Masolino found in the Brancacci Chapel.

Inside this garden lies the Buontalenti grotto (1583-1593). Decorated with Mannerist-style scenes from Greek and Roman mythology, the grotto includes copies of Michelangelo's famous Slave series, the originals of which were transferred to the Galleria dell'Accademia.

The Medici's Florentine villa, now one of the world's most august galleries, has a famous garden. The original 1549 garden, designed by the sculptor, Tribolo, was similar to his work at Villa Castello. His clients were Duke Cosimo I and his strict, demanding, arrogant, but loyal Spanish wife, Eleonora of Toledo. The renaissance design was as regular as it could be on an undulating site. During the century after its inception, the garden changed and developed with help from many prominent designers. It became Florence's grandest garden, with an early baroque drama and some avenues.