Florence Cathedral, formally the Cattedrale di Santa Maria del Fiore (Italian pronunciation: [katteˈdraːle di ˈsanta maˈriːa del ˈfjoːre]; in English "Cathedral of Saint Mary of the Flower"), is the cathedral of Florence, Italy (Italian: Duomo di Firenze). It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome designed by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink, bordered by white, and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.
The cathedral complex, in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major tourist attraction of Tuscany. The basilica is one of Italy's largest churches, and until the development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.
|Cathedral of Saint Mary of the Flower|
Brunelleschi's Dome, the nave, and Giotto's Campanile of the Cattedrale di Santa Maria del Fiore as seen from Michelangelo Hill at night and day.
Location in Florence, Italy
|Status||Cathedral, minor basilica|
|Style||Italian Gothic, Renaissance,|
|Groundbreaking||9 September 1296|
|Length||153 metres (502 ft)|
|Width||90 metres (300 ft)|
|Nave width||38 metres (125 ft)|
|Height||114.5 metres (376 ft)|
|Floor area||8,300 square metres (89,000 sq ft)|
|Archdiocese||Archdiocese of Florence|
|Official name||Historic Centre of Florence|
|Criteria||i, ii, iii, iv, vi|
|Designated||1982 (6th session)|
|Region||Europe and North America|
Santa Maria del Fiore was built on the site of Florence's second cathedral dedicated to Saint Reparata; the first was the Basilica di San Lorenzo di Firenze whose first building was consecrated as a church in 393 by St. Ambrose of Milan. The ancient structure, founded in the early 5th century and having undergone many repairs, was crumbling with age, according to the 14th-century Nuova Cronica of Giovanni Villani, and was no longer large enough to serve the growing population of the city. Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, such as Pisa and particularly Siena where the enormous proposed extensions were never completed.
The new church was designed by Arnolfo di Cambio and approved by city council in 1294. Di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on 9 September 1296, by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 140 years; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.
After Arnolfo died in 1310, work on the cathedral slowed for thirty years. When the relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the Arte della Lana, the guild of wool merchants, took over patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died on 8 January 1337, Andrea Pisano continued the building until work was halted due to the Black Death in 1348.
In 1349, work resumed on the cathedral under a series of architects, starting with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359, Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the center nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Andrea Orcagna. By 1375, the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418, only the dome remained incomplete.
On 18 August 1418, the Arte della Lana announced an architectural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, the latter of whom was supported by Cosimo de Medici. Ghiberti had been the winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained sharp. Brunelleschi won and received the commission.
Ghiberti, appointed coadjutator, drew a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, was promised equal credit, although he spent most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423, Brunelleschi was back in charge and took over sole responsibility.
Work started on the dome in 1420 and was completed in 1436. The cathedral was consecrated by Pope Eugene IV on 25 March 1436, (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame. It was one of the most impressive projects of the Renaissance. During the consecration in 1436, Guillaume Dufay's motet Nuper rosarum flores was performed. The structure of this motet was strongly influenced by the structure of the dome.
The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed with the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century.
The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower. There are two side doors: the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six side windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.
During its long history, this cathedral has been the seat of the Council of Florence (1439), heard the preachings of Girolamo Savonarola and witnessed the murder of Giuliano di Piero de' Medici on Sunday, 26 April 1478 (with Lorenzo Il Magnifico barely escaping death), in the Pazzi conspiracy.
The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.
The dimensions of the building are enormous: building area 8,300 square metres (89,340 square feet), length 153 metres (502 feet), width 38 metres (125 feet), width at the crossing 90 metres (300 feet). The height of the arches in the aisles is 23 metres (75 feet). The height of the dome is 114.5 metres (375.7 feet).
By the beginning of the 15th century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15.1 feet) high, 9.2 metres (30.2 feet) long, was standing in a side aisle of the unfinished building, and had long been sacrosanct. It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
|Smarthistory – Brunelleschi's Dome|
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravanti's model was chosen over a competing one by Giovanni di Lapo Ghini. That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts. Furthermore, the use of buttresses was forbidden in Florence, as the style was favored by central Italy's traditional enemies to the north. Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. The Pantheon had employed structural centring to support the concrete dome while it cured . This could not be the solution in the case of a dome this size and would put the church out of use. For the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms. Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of brick, due to its light weight compared to stone and being easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco, a model which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious, such as his use of the catenary arch for support. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one at the top, one at the bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. Brunelleschi also included vertical "ribs" set on the corners of the octagon, curving towards the center point. The ribs, 4 metres (13 ft) deep, are supported by 16 concealed ribs radiating from center. The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.
A circular masonry dome can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome and has no embedded chains.
A modern understanding of physical laws and the mathematical tools for calculating stresses were centuries in the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition, even though there had been evidence that Brunelleschi had been working on a design for a lantern for the upper part of the dome. The evidence is shown in the curvature, which was made steeper than the original model. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (376 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".
A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.
The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the 19th century.
The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was actually begun twenty years after Giotto's death. A mid-15th-century pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was completed in only its lower portion and then left unfinished. It was dismantled in 1587–1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre.
The competition for a new façade turned into a huge corruption scandal. The wooden model for the façade of Buontalenti is on display in the Museum Opera del Duomo. A few new designs had been proposed in later years, but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.
In 1864, a competition held to design a new façade was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and was completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery, but some think it is excessively decorated.
The whole façade is dedicated to the Mother of Christ.
The three huge bronze doors date from 1899 to 1903. They are adorned with scenes from the life of the Madonna. The mosaics in the lunettes above the doors were designed by Niccolò Barabino. They represent (from left to right): Charity among the founders of Florentine philanthropic institutions; Christ enthroned with Mary and John the Baptist; and Florentine artisans, merchants and humanists. The pediment above the central portal contains a half-relief by Tito Sarrocchi of Mary enthroned holding a flowered scepter. Giuseppe Cassioli sculpted the right-hand door.
On top of the façade is a series of niches with the twelve Apostles with, in the middle, the Madonna with Child. Between the rose window and the tympanum, there is a gallery with busts of great Florentine artists.
The Gothic interior is vast and gives an empty impression. The relative bareness of the church corresponds with the austerity of religious life, as preached by Girolamo Savonarola.
Many decorations in the church have been lost in the course of time, or have been transferred to the Museum Opera del Duomo, such as the magnificent cantorial pulpits (the singing galleries for the choristers) of Luca della Robbia and Donatello.
As this cathedral was built with funds from the public, some important works of art in this church honour illustrious men and military leaders of Florence:
• Lorenzo Ghiberti had a large artistic impact on the cathedral. Ghiberti worked with Filippo Brunelleschi on the cathedral for eighteen years and had a large number of projects on almost the whole east end. Some of his works were the stained glass designs, the bronze shrine of Saint Zenobius and marble revetments on the outside of the cathedral.
Above the main door is the colossal clock face with fresco portraits of four Prophets or Evangelists by Paolo Uccello (1443). This one-handed liturgical clock shows the 24 hours of the hora italica (Italian time), a period of time ending with sunset at 24 hours. This timetable was used until the 18th century. This is one of the few clocks from that time that still exist and are in working order.
The church is particularly notable for its 44 stained glass windows, the largest undertaking of this kind in Italy in the 14th and 15th century. The windows in the aisles and in the transept depict saints from the Old and the New Testament, while the circular windows in the drum of the dome or above the entrance depict Christ and Mary. They are the work of the greatest Florentine artists of their times, such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno.
Christ crowning Mary as Queen, the stained-glass circular window above the clock, with a rich range of coloring, was designed by Gaddo Gaddi in the early 14th century.
Donatello designed the stained-glass window (Coronation of the Virgin) in the drum of the dome (the only one that can be seen from the nave).
The beautiful funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by Tino da Camaino, the most important funeral sculptor of his time.
The monumental crucifix, behind the Bishop's Chair at the high altar, is by Benedetto da Maiano (1495–1497). The choir enclosure is the work of the famous Bartolommeo Bandinelli. The ten-paneled bronze doors of the sacristy were made by Luca della Robbia, who has also two glazed terracotta works inside the sacristy: Angel with Candlestick and Resurrection of Christ.
In the back of the middle of the three apses is the altar of Saint Zanobius, first bishop of Florence. Its silver shrine, a masterpiece of Ghiberti, contains the urn with his relics. The central compartment shows us one of his miracles, the reviving of a dead child. Above this shrine is the painting Last Supper by the lesser-known Giovanni Balducci. There was also a glass-paste mosaic panel The Bust of Saint Zanobius by the 16th-century miniaturist Monte di Giovanni, but it is now on display in the Museum Opera del Duomo.
Many decorations date from the 16th-century patronage of the Grand Dukes, such as the pavement in colored marble, attributed to Baccio d'Agnolo and Francesco da Sangallo (1520–26). Some pieces of marble from the façade were used, topside down, in the flooring (as was shown by the restoration of the floor after the 1966 flooding).
It was suggested that the interior of the 45 metre (147 ft) wide dome should be covered with a mosaic decoration to make the most of the available light coming through the circular windows of the drum and through the lantern. Brunelleschi had proposed the vault to glimmer with resplendent gold, but his death in 1446 put an end to this project, and the walls of the dome were whitewashed. Grand Duke Cosimo I de' Medici decided to have the dome painted with a representation of The Last Judgment. This enormous work, 3,600 metres² (38 750 ft²) of painted surface, was started in 1568 by Giorgio Vasari and Federico Zuccari and would last till 1579. The upper portion, near the lantern, representing The 24 Elders of Apoc. 4 was finished by Vasari before his death in 1574. Federico Zuccari and a number of collaborators, such as Domenico Cresti, finished the other portions: (from top to bottom) Choirs of Angels; Christ, Mary and Saints; Virtues, Gifts of the Holy Spirit and Beatitudes; and at the bottom of the cupola: Capital Sins and Hell. These frescoes are considered Zuccari's greatest work. But the quality of the work is uneven because of the input of different artists and the different techniques. Vasari had used true fresco, while Zuccari had painted in secco. During the restoration work, which ended in 1995, the entire pictorial cycle of The Last Judgment was photographed with specially designed equipment and all the information collected in a catalogue. All the restoration information along with reconstructed images of the frescos were stored and managed in the Thesaurus Florentinus computer system.
The cathedral underwent difficult excavations between 1965 and 1974. The archaeological history of this huge area was reconstructed through the work of Dr. Franklin Toker: remains of Roman houses, an early Christian pavement, ruins of the former cathedral of Santa Reparata and successive enlargements of this church. Close to the entrance, in the part of the crypt open to the public, is the tomb of Brunelleschi. While its location is prominent, the actual tomb is simple and humble. That the architect was permitted such a prestigious burial place is proof of the high esteem he was given by the Florentines.
Andrea di Bonaiuto da Firenze or Andrea da Firenze (I) (active 1343 – 1377) was an Italian painter active in Florence.
He was probably born in Florence where he was active from 1343. His earliest works suggest that he must have been in close contact with the workshop of Andrea di Cione.Andrea di Bonaiuto is known for his stained glass window of the Coronation of Mary in the Basilica of Santa Maria Novella, and his fresco decorations in the Spanish chapel (then called Cappellone degli Spagnoli) of the chapter house there. The central theme of the fresco's in the Spanish chapel is the glorification of the Dominican Order.
From mid 1366 to mid 1367 Andrea di Bonaiuto was one of the artists advising on the construction of the Florence Cathedral.
He died in Pisa while working on a fresco on the Legend of St Raneiro at the Camposanto Monumentale.Although a follower of traditional models, Andrea di Bonaiuto brought innovation by softening details and contours with soft and blended shadows and emphasizing the two-dimensional aspect of the painted surface through painted and punched decorative effects.Architecture of Italy
Italy has a very broad and diverse architectural style, which cannot be simply classified by period or region, due to Italy's division into several city-states until 1861. However, this has created a highly diverse and eclectic range in architectural designs. Italy is known for its considerable architectural achievements, such as the construction of arches, domes and similar structure during ancient Rome, the founding of the Renaissance architectural movement in the late-14th to 16th century, and being the homeland of Palladianism, a style of construction which inspired movements such as that of Neoclassical architecture, and influenced the designs which noblemen built their country houses all over the world, notably in the United Kingdom, Australia and the United States of America during the late-17th to early 20th centuries. Several of the finest works in Western architecture, such as the Colosseum, the Duomo of Milan, the Mole Antonelliana in Turin, Florence cathedral and the building designs of Venice are found in Italy. Italy has an estimated total of 100,000 monuments of all varieties (museums, palaces, buildings, statues, churches, art galleries, villas, fountains, historic houses and archaeological remains). Now Italy is in the forefront of modernist and sustainable design with Architects like Renzo Piano and Carlo Mollino.
Italian architecture has also widely influenced the architecture of the world. Being inspired by Andrea Palladio. Additionally, Italianate architecture, popular abroad since the 19th century, was used to describe foreign architecture which was built in an Italian style, especially modelled on Renaissance architecture.Catholic Church in Italy
The Catholic Church in Italy is part of the worldwide Catholic Church in communion with the Pope in Rome, under the Conference of Italian Bishops. The pope serves also as Primate of Italy. In addition to Italy, two other sovereign nations are included in Italian-based dioceses: San Marino and the Vatican City. There are 225 dioceses in the Catholic Church in Italy, see further in this article and in the article List of Catholic dioceses in Italy.
The pope resides in the Vatican City, enclaved in Rome. Having been a major center for Christian pilgrimage since the Roman Empire, Rome is commonly regarded as the "home" of the Catholic Church, since it is where Saint Peter settled, ministered, served as bishop, and died. His relics are located in Rome along with Saint Paul's, among many other saints of Early Christianity.
Owing to the Italian Renaissance, church art in Italy is extraordinary, including works by Leonardo da Vinci, Michelangelo, Fra Carnevale, Gian Lorenzo Bernini, Sandro Botticelli, Tintoretto, Titian, Raphael, and Giotto, etc.
Italian church architecture is equally spectacular and historically important to Western culture, notably St. Peter's Basilica in Rome, Cathedral of St. Mark's in Venice, and Brunelleschi's Florence Cathedral, which includes the "Gates of Paradise" doors at the Baptistery by Lorenzo Ghiberti.David (Michelangelo)
David is a masterpiece of Renaissance sculpture created in marble between 1501 and 1504 by the Italian artist Michelangelo. David is a 5.17-metre (17.0 ft) marble statue of a standing male nude. The statue represents the Biblical hero David, a favoured subject in the art of Florence.David was originally commissioned as one of a series of statues of prophets to be positioned along the roofline of the east end of Florence Cathedral, but was instead placed in a public square, outside the Palazzo Vecchio, the seat of civic government in Florence, in the Piazza della Signoria where it was unveiled on 8 September 1504. The statue was moved to the Galleria dell'Accademia, Florence, in 1873, and later replaced at the original location by a replica.
Because of the nature of the hero it represented, the statue soon came to symbolize the defence of civil liberties embodied in the Republic of Florence, an independent city-state threatened on all sides by more powerful rival states and by the hegemony of the Medici family. The eyes of David, with a warning glare, were turned towards Rome.Dome of Soltaniyeh
The central magnet of Soltaniyeh's several ruins is the Mausoleum of Il-khan Öljeitü also known as Muhammad Khodabandeh, traditionally known as the Dome of Soltaniyeh in Soltaniyeh city, Zanjan Province.
The structure, erected from 1302 to 1312 AD, has the oldest double-shell dome in Iran. This view of the construction was made by Dieulafoy but is disputed by André Godard. In Godard's view it is a normal, if spectacularly large dome, with a thin skin on top for the faience and is in no way a double dome. Its importance in the Muslim world may be compared to that of Brunelleschi's cupola for Christian architecture. It is one of the largest brick domes in the world, just at the theoretical engineering limit for a brick dome and the third largest dome in the world after the domes of Florence Cathedral and Hagia Sophia. The Dome of Soltaniyeh paved the way for more daring Iranian-style cupola constructions in the Muslim world, such as the Mausoleum of Khoja Ahmed Yasavi and the Taj Mahal. Much of its exterior decoration has been lost, but the interior retains superb mosaics, faience, and murals.
People have described the architecture of the building as “anticipating the Taj Mahal.”
The estimated 200 ton dome stands 49 meters (161 ft) tall from its base, and is currently undergoing extensive renovation.Equestrian Monument of Niccolò da Tolentino
The Equestrian Monument of Niccolò da Tolentino (1456) is a fresco painting by the early-Italian Renaissance master Andrea del Castagno, housed in the Florence Cathedral, Italy. Located on the left internal wall of the church, it pairs the adjacent fresco of Equestrian Statue of John Hawkwood by Paolo Uccello (1436).Filippo Brunelleschi
Filippo Brunelleschi (Italian: [fiˈlippo brunelˈleski]; 1377 – April 15, 1446) considered to be a founding father of Renaissance architecture, was an Italian architect and designer, recognized to be the first modern engineer, planner and sole construction supervisor. He is most famous for designing the dome of the Florence Cathedral, a feat of engineering that had not been accomplished since antiquity, as well as the development of the mathematical technique of linear perspective in art which governed pictorial depictions of space until the late 19th century and influenced the rise of modern science. His accomplishments also include other architectural works, sculpture, mathematics, engineering, and ship design. His principal surviving works can be found in Florence, Italy.Florence Baptistery
The Florence Baptistery (Italian: Battistero di San Giovanni), also known as the Baptistery of Saint John, is a religious building in Florence, Italy, and has the status of a minor basilica. The octagonal baptistery stands in both the Piazza del Duomo and the Piazza San Giovanni, across from Florence Cathedral and the Campanile di Giotto.
The Baptistery is one of the oldest buildings in the city, constructed between 1059 and 1128 in the Florentine Romanesque style. Although the Florentine style did not spread across Italy as widely as the Pisan Romanesque or Lombard styles, its influence was decisive for the subsequent development of architecture, as it formed the basis from which Francesco Talenti, Leon Battista Alberti, Filippo Brunelleschi, and other master architects of their time created Renaissance architecture. In the case of the Florentine Romanesque, one can speak of "proto-renaissance", but at the same time an extreme survival of the late antique architectural tradition in Italy, as in the cases of the Basilica of San Salvatore, Spoleto, the Temple of Clitumnus, and the church of Sant'Alessandro in Lucca.
The Baptistery is renowned for its three sets of artistically important bronze doors with relief sculptures. The south doors were created by Andrea Pisano and the north and east doors by Lorenzo Ghiberti. The east doors were dubbed by Michelangelo the Gates of Paradise.
The Italian poet Dante Alighieri and many other notable Renaissance figures, including members of the Medici family, were baptized in this baptistery.Funerary Monument to Sir John Hawkwood
The Funerary Monument (or Equestrian Monument) to Sir John Hawkwood is a fresco by Paolo Uccello, commemorating English condottiero John Hawkwood, commissioned in 1436 for Florence's Basilica di Santa Maria del Fiore. The fresco is an important example of art commemorating a soldier-for-hire who fought in the Italian peninsula and is a seminal work in the development of perspective.
The politics of the commissioning and recommissioning of the fresco have been analyzed and debated by historians. The fresco is often cited as a form of "Florentine propaganda" for its appropriation of a foreign soldier of fortune as a Florentine hero and for its implied promise to other condottieri of the potential rewards of serving Florence. The fresco has also been interpreted as a product of internal political competition between the Albizzi and Medici factions in Renaissance Florence, due to the latter's modification of the work's symbolism and iconography during its recommissioning.
The fresco is the oldest extant and authenticated work of Uccello, from a relatively well-known aspect of his career compared to the periods before and after its creation. The fresco has been restored (once by Lorenzo di Credi, who added the frame) and is now detached from the wall; it has been repositioned twice in modern times.Gaddo Gaddi
Gaddo Gaddi (c. 1239, Florence – c. 1312, Florence) was an Italian painter and mosaicist of Florence in a gothic art style. Almost no works survive. He was the father of Taddeo Gaddi. He completed mosaics on facade of Santa Maria Maggiore in Rome. The "Coronation of the Virgin" mosaic over the inside door of Florence Cathedral, dated 1307, is also attributed to Gaddo Gaddi.Giotto's Campanile
Giotto's Campanile is a free-standing campanile that is part of the complex of buildings that make up Florence Cathedral on the Piazza del Duomo in Florence, Italy.
Standing adjacent to the Basilica of Santa Maria del Fiore and the Baptistry of St. John, the tower is one of the showpieces of Florentine Gothic architecture with its design by Giotto, its rich sculptural decorations and its polychrome marble encrustations.
The slender structure is square in plan with 14.45 metre (47.41 ft) sides. It is 84.7 metres (277.9 ft) tall and has polygonal buttresses at each corner. The tower is divided into five stages.Giovanni da Cascia
Giovanni da Cascia, also Jovannes de Cascia, Johannes de Florentia, Maestro Giovanni da Firenze, was an Italian composer of the medieval era, active in the middle of the fourteenth century.
Virtually nothing is known about Giovanni's life. From his surname it is presumed that he was born in the village of Cascia, near Florence. It was once thought that he held a post at Florence Cathedral, but this is no longer accepted. A Florentine chronicle states that Giovanni and Jacopo da Bologna competed at Mastino II of Scala's court; Mastino died in 1351. The metaphors used in his works are consistent with prevailing idioms of the mid-14th century. His portrait in the Squarcialupi Codex shows him without priestly garments.
Nineteen of Giovanni's compositions survive, scattered in nine manuscripts. Sixteen of these are madrigals, and three of them are cacce. He is thought to have written some of his own texts. Musically, Giovanni's madrigals are of importance in the development of the style of the 14th-century madrigal. He tends to use extended melismas on the first and penultimate syllables of a poetic line, and sometimes introduces hockets at these points. The middles of the lines are generally syllabic. Many of his works are very similar in style to the anonymous works preserved in the Rossi Codex.
Several of his works survive in quite different versions; this is evidence that improvisation was still an important aspect of musical performance up to this time. Giovanni's works tend not to be tonally unified; they begin and end on different notes, and in some cases, such as Nascoso el viso, each poetic line begins and ends on different notes. Occasional imitation is found in his work.
Editions of all of Giovanni's works have been completed by W. Thomas Marrocco and Nino Pirrotta in the twentieth century.Luca della Robbia
Luca della Robbia (1399/1400–1482) was an Italian sculptor from Florence. Della Robbia is noted for his colorful, tin-glazed terracotta statuary, a technique which he invented and passed on to his nephew Andrea della Robbia and great-nephews Giovanni della Robbia and Girolamo della Robbia. Though a leading sculptor in stone, he worked primarily in terracotta after developing his technique in the early 1440s. His large workshop produced both cheaper works cast from molds in multiple versions, and more expensive one-off individually modeled pieces.
The vibrant, polychrome glazes made his creations both more durable and expressive. His work is noted for its charm rather than the drama of the work of some of his contemporaries. Two of his famous works are The Nativity, c. 1460 and Madonna and Child, c. 1475. In stone his most famous work is also his first major commission, the choir gallery, Cantoria in the Florence Cathedral (1431–1438).Della Robbia was praised by his compatriot Leon Battista Alberti for genius comparable to that of the sculptors Donatello and Lorenzo Ghiberti, the architect Filippo Brunelleschi, and the painter Masaccio. By ranking him with contemporary artists of this stature, Alberti reminds us of the interest and strength of Luca's work in marble and bronze, as well as in the terra-cottas always associated with his name.Niccolò di Piero Lamberti
Niccolò di Piero Lamberti (ca. 1370 – 1451), also known as Niccolò di Pietro Lamberti, Niccolo Aretino, Niccolò d'Arezzo and as il Pela, was an Italian sculptor and architect. Little is known about his life other than that he was married in Florence in 1392. His son, Piero di Niccolò Lamberti (1393–1435), was also a sculptor, and the two are notable for exporting the Tuscan style of sculpture to Venice, where they were active in the late 1410s and 1420s.
By 1391 he was working on the Porta della Mandorla of the Duomo in Florence. In 1401 he was one of the artists who participated in the contest that was held to design the North doors of the Baptistery, won by Lorenzo Ghiberti. In 1408 he was chosen as one of three sculptors to create one of the seated Evangelists (St. Mark) at the Florence Cathedral. The statue of St. Mark for the Florence Cathedral was completed in 1415 and is now housed at the Museo dell'Opera del Duomo in Florence. He was later active in both Venice and Bologna. In Venice, his significant role in the sculpture of the upper storey of St. Mark’s façade is notable. In addition to his statue of St. Luke at Orsanmichele, he created St. James the Major, on the southern façade for the tabernacle of The Guild of Furriers and Skinners. Lamberti is also responsible for two series of capitals at Orsanmichele, one on the right side of the arcade of the eastern façade and one on the left side of the arcade of the southern façade.Oculus
An oculus (plural oculi, from Latin oculus, 'eye') is a circular opening in the center of a dome or in a wall. Originating in antiquity, it is a feature of Byzantine and Neoclassical architecture. It is also known as an œil de boeuf from the French, or simply a "bull's-eye".Orcagna
Andrea di Cione di Arcangelo (c. 1308 – August 25, 1368), better known as Orcagna, was an Italian painter, sculptor, and architect active in Florence. He worked as a consultant at the Florence Cathedral and supervised the construction of the facade at the Orvieto Cathedral.Piazza del Duomo, Florence
Piazza del Duomo (English: "Cathedral Square") is located in the heart of the historic center of Florence, (Tuscany - Italy).
It is one of the most visited places in Europe and the world and in Florence, the most visited area of the city. The square contains the Florence Cathedral with the Cupola del Brunelleschi, the Giotto's Campanile, the Florence Baptistery, the Loggia del Bigallo, the Opera del Duomo Museum, and the Arcivescovile and Canonici's palace. The west zone of this square is called Piazza San Giovanni.Santa Reparata, Florence
Santa Reparata is the former cathedral of Florence, Italy. Its name refers to Saint Reparata, an early virgin martyr who is the co-patron saint of Florence. The Cattedrale di Santa Maria del Fiore was constructed over it.Thomas Mapilton
Thomas Mapilton (fl. 1408 - died 1438) was an English gothic architect responsible for old St Stephen Walbrook (London), the cloisters of Durham Cathedral and the south western tower of Canterbury Cathedral. According to Harvey (1978) he may also have visited Florence Cathedral in 1420 as a consultant.