‘Capodanno Fiorentino’: Florence’s March New Year

In a city known for centuries-old, red terracotta rooftops, winding streets, and shuttered windows on the sides of ancient palazzi, one of the most unique pieces of local heritage can only be seen once every year. On March 25, Florence celebrates the ‘Capodanno Fiorentino.’ This is the continuation of a tradition dating back to the Middle Ages, when the Annunciation, marking the Angel Gabriel’s announcement to the Virgin Mary that she would conceive Jesus Christ, was taken as the start of the new year. This practice continued until 1750, when Grand Duke Stefano of Lorraine mandated the use of the Gregorian calendar, thus adopting January 1 as the official start of the year.

Despite being discontinued officially, the custom of welcoming the new year on March 25 has been kept alive in Florence. Carrying on a time-honoured tradition, there will be various festivities that one can join to mark the occasion. The historical parade of the Florentine Republic will set out at 3.15 pm from Palagio di Parte Guelfa, following a route through many of the city’s most well-known landmarks, including Piazza della Repubblica, Piazza San Giovanni, and Piazza del Duomo, before completing its journey at the Piazza Santissima Annunziata. Then, taking a different route, it will begin its return at 4.30 pm. On this day, the city will also open the famous Brindellone for public viewing in its storage area at via il Prato 48. This is an elaborate cart which is a popular centrepiece of Easter Sunday celebrations, when it is loaded with fireworks and placed before the Cathedral. Between 10 am and 6 pm, there will be explanations of its various parts and operation. Both the parade and this one-off exhibition will be free and open to all.

Finally, registered residents of Florence and the city’s metropolitan area will be able to access the Museo dell’Opera del Duomo (Cathedral Museum), the Baptistery, and Crypt di Santa Reparata free of charge. The Giglio pass, which grants free entry to these on this day, will be available at the ticket office at Piazza San Giovanni 7 upon presentation of an identity document.

The efforts of this day should come as no surprise. The city of Florence has long held the Virgin Mary as a key cornerstone of its civic identity. The cathedral which towers over the historic centre, topped by Brunelleschi’s Dome, is called the ‘Cathedral of Saint Mary of the Flower,’ while the Basilica della Santissima Annunziata remains an important Marian shrine to this day. The Feast of the Annunciation thus historically marked a very significant religious holiday for the city and its inhabitants. Beyond its religious significance, the feast also reinforced Florence’s unique civic culture, with the date symbolising renewal and divine favour in its capacity as the start of the new year. Even after the Gregorian calendar designated the new year as beginning on January 1 in 1750, the city continued the festivities of March 25.

Given the significance of this tradition, both religious and civic, it should come as no surprise that the Annunciation has been a defining theme among Florentine artists for many centuries. With its biblical source material, it offers both a clear subject matter and room for interpretation, as well as a unique opportunity to explore perspective, light, and human emotion. Around the city, it is possible to see some of the most important examples of Annunciation artworks in the world. In the ‘Museo Nazionale di San Marco,’ the ‘Annunciation’ (1440-1445), by Fra Angelico (above), stands is displayed as a brilliant example of early Renaissance art. It presents a scene bathed in soft, golden light – an indication of Fra Angelico’s Gothic influences – with an ethereal Gabriel bowing before a simple and serene Virgin Mary.

In contrast, Da Vinci’s ‘Annunciation’ (1452) conveys the dignity of the Virgin in a different way, with luxurious, flowing clothing, seated behind a lectern likely inspired by one owned by the Medici, where she reads. Meanwhile, Botticelli takes a different approach in his ‘Cestello Annunciation’ (1489). The Virgin Mary almost appears to leap away from Gabriel in shock, as he beseeches her from a lower, kneeling position. Both latter works can be found in the Uffizi Gallery.  (Sultan Khokhar)