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Built in 1636 by Gherardo Silvani for the Barnabites, replacing the order's oratory on the site.

The order thrived in the early 18th century, hence the ceiling fresco by Sigismondo Betti of The Glory of the Virgin with St Paul and St Carlo Borromeo from 1721, the architectural work by Bernardino Ciurini in 1743, the perspective views by Domenico Stagi of 1757-58, and other paintings (dome and spandrels) by Giuseppe Zocchi in 1747.

The complex was taken over in 1557 by Dominican nuns from the monastery of San Pietro Martire in Via dei Serragli, who had been forced to move because of the demolition of their convent four years previously, to make way for the strengthening of the city fortifications.

The 16th and 17th centuries saw the building of new altars, in counter-reformation style, and the 17th and 18th saw tombs of artists and other employees who had worked at the nearby Palazzo Pitti, but no one very famous.

San Felice's was the Annunciation, which saw an actor swoop across the nave to deliver his message to a man dressed as Mary. Brunelleschi's sets for the 1439 performance were said to have been particularly memorable.

In 1591 Francesco Bocchi singled out this church as being eminently suitable for such performances, its three naves providing ample space.

Built for Franciscan Minim friars (the order founded by Saint Francis of Paola, which was devoted to humility and veganism) previously established at the church of San Giuseppe.

The complex was built on farmland provided by Alessandro di Camillo Strozzi, with work starting in 1589.

It then became the sculpture studio of Lorenzo Bartolini who, after his death, passed the building on to his protg Pasquale Romanelli who worked here from 1851 to 1887.1355) (see left) taken from the demolished church of San Pier Maggiore.But it is said to have originally come from San Donato a Scopeto, destroyed in 1529, the same church which supplied the Romanesque portico now on the faade of San Jacopo sopr'Arno and for which Leonardo was commission to paint his early and unfinished Adoration of the Magi, now in the Uffizi.The monastery was suppressed in 1782 by Grand Duke Pietro Leopoldo, and turned into a villa (in 1873?) by Senator John Federighi, with the church becoming a private chapel, as commemorated by a marble slab over the door of the church.

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