Royal families and royal academies. Aristocrats at ease in exquisitely landscaped gardens or inside in gorgeous drawings rooms. Actors emoting, notably Sir David Garrick and his troupe. Nabobs in India. All are depicted in Johan Zoffany’s rivetingly detailed paintings of Georgian society.

In the 1450s in Florence, Alberti was working on the facade of Santa Maria Novella, Donatello and Fra Filippo Lippi were active, while Leonardo was born in nearby village of Vinci. And the English established a diplomatic presence. It has continued almost uninterrupted, pausing only in times of direct conflict. This month, it ends as the British consulate closes its doors for the last time. Cuts to the Foreign and Commonwealth Office budget and global geopolitical shifts mean that the United Kingdom no longer needs a man in Florence to tend to the needs of tourists and expats.

Last weekend something happened that, to me at least, would once have been unimaginable: I slipped into a museum in Florence just after 10 o’clock on a Saturday night. Familiar paintings from the city’s great store lined the walls. Normally they’d have been tucked up for the night by five in the afternoon, and not seen again till Tuesday morning. But no, in a city where the word “chiuso” is as ubiquitous as postcards of David’s genitalia, the doors to Bronzino: Artist and Poet at the Court of the Medici were scheduled to shut at the same time as a British pub.

The recent fuss about British culture being anti-Catholic just because some civil servant wrote a spoof memo satirising the Pope’s upcoming visit may have been overblown, but it is certainly true that, in the past, Italy was a byword for rank corruption. To doughty English Protestants, Rome was a stew of sin and Italians were Machiavellian plotters and idolators. Little wonder that Thomas Middleton’s 1621 tragedy, a large-stage revival of which opened yesterday, is brimful of illicit sex, cunning intrigues and vicious revenge - and set in Renaissance Italy.

This superb exhibition of Italian Renaissance drawings, featuring 100 works and chosen from the outstanding graphic collections of the Uffizi and the British Museum, explores the evolution of the preparatory sketch in the 15th century. We learn how artists began to experiment with the medium in order to create finished paintings that were far more compositionally and stylistically ambitious, far more dramatic and full of movement, than anything that had come before. And though the drawings themselves were never meant to be seen outside the artist’s studio, we learn that by the early part of the 16th century, drawing had gained great importance as a medium in its own right.