His father, Alfonso Parigi the Elder, was an architect and designer working in Florence for the Grand Duke of Tuscany.

[3] Through his father's collaborations under the court architect Bernardo Buontalenti, Giulio Parigi was trained in the practice of architecture.

He staged operas at the Medici court and in Florence's opera houses; creating innovative new machinery for sets for work's like Ottavio Rinuccini’s Festa dell’Agnolo Gabriello (1620) and Marco da Gagliano’s La regina Sant’Orsola (1624).

The loggias established a pattern of market trading using mobile stalls under covered arcades which filtered out of the Italian peninsula and across Europe during the 16th and 17th centuries.

[4] Giulio rebuilt the Villa di Poggio Imperiale (1620–1622), and constructed the Ospedale dei Medicanti (1621), the church of San Felice in Piazza (1634–1635) and worked on projects for the Palazzo della Crocetta for Maria Maddalena de' Medici.

He was an artist who worked in oil, drawing and frescoes; he was an engraver, cabinet-maker, jeweller, landscape designer, architect and engineer.

According to the Dictionary of Biography, "The centrality of the role played by Giulio Parigi in the artistic culture of his time emerges with great clarity in the Privilege that on February 14, 1623 it was granted to him by Grand Duke Ferdinand II ... recalling how during the grandfathers of Ferdinand I and of Cosimo II there was no "factory or work famous" that had not been invented, manned and "perfected" by Parigi.