Search Wikipedia Create account Log in

Florence Cathedral 63 languages

Contents [hide] Article Talk Read Edit View history

(Top) From Wikipedia, the free encyclopedia

Coordinates: 43°46′23″N 11°15′25″E
History Florence Cathedral, formally the Cattedrale di Santa Maria del Fiore (Italian
Florence Cathedral
Exterior pronunciation: [katteˈdraːle di ˈsanta maˈriːa del ˈfjoːre]; in English Cathedral of Saint Mary of
Toggle Exterior subsection Cathedral of Saint Mary of the Flower
Plan and structure the Flower), is the cathedral of Florence, Italy (Italian: Duomo di Firenze). It was begun
Cattedrale di Santa Maria del Fiore
in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed
Planned sculpture for the Duomo di Firenze (Italian)
exterior by 1436, with the dome engineered by Filippo Brunelleschi.[1] The exterior of the basilica Cathedral Sanctae Mariae Floris (Latin)
is faced with polychrome marble panels in various shades of green and pink, bordered by
Dome
white, and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.
Facade
The cathedral complex, in Piazza del Duomo, includes the Baptistery and Giotto's
Main Portal
Campanile. These three buildings are part of the UNESCO World Heritage Site covering
Interior the historic centre of Florence and are a major tourist attraction of Tuscany. The basilica is
Astronomical observations 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
Crypt
constructed.
Other burials
The cathedral is the mother church of the Archdiocese of Florence, whose archbishop is Brunelleschi's Dome, the nave, and Giotto's
Cracking of the dome Campanile of the Cattedrale di Santa Maria del
Giuseppe Betori.
Fiore as seen from Michelangelo Hill
See also
Notes History [ edit ]

References Santa Maria del Fiore was built on the site of Florence's second cathedral dedicated to
Further reading Saint Reparata;[2] the first was the Basilica di San Lorenzo di Firenze, the first building of
which was consecrated as a church in 393 by St. Ambrose of Milan.[3] The ancient
External links
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,[4] Florence
Cathedral
and was no longer large enough to serve the growing population of the city.[4] 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.

City council approved the design of Arnolfo di Cambio for the new church in 1294.[5] Di Location in Florence, Italy
Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio.[6][7] He 43°46′23″N 11°15′25″E
designed three wide naves ending under the octagonal dome, with the middle nave Location Florence, Tuscany
covering the area of Santa Reparata. The first stone was laid on 9 September 1296, by Country Italy
Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast Denomination Catholic Church
project was to last 140 years; Arnolfo's plan for the eastern end, although maintained in Tradition Latin Church
concept, was greatly expanded in size.
Website Duomo Firenze
After Arnolfo died in 1302, work on the cathedral slowed for almost 50 years. When the History
relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a Status Cathedral, minor basilica
new impetus. In 1331, the Arte della Lana, the guild of wool merchants, took over Consecrated 1436
patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee Architecture
the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major Architect(s) Arnolfo di Cambio
accomplishment was the building of the campanile. When Giotto died on 8 January 1337, Filippo Brunelleschi
Andrea Pisano continued the building until work was halted due to the Black Death in Emilio De Fabris

1348. Architectural type Church

Style Gothic, Romanesque,
In 1349, work resumed on the cathedral under a series of architects, starting with
Renaissance
Francesco Talenti, who finished the campanile and enlarged the overall project to include
Groundbreaking 9 September 1296
the apse and the side chapels. In 1359, Talenti was succeeded by Giovanni di Lapo Ghini
Completed 1436
(1360–1369) who divided the centre nave in four square bays. Other architects were
Specifications
Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravanti and Andrea Orcagna. By 1375,
Length 153 m (502 ft)
the old church Santa Reparata was pulled down. The nave was finished by 1380, and only
Width 90 m (300 ft)
the dome remained incomplete until 1418.
Nave width 38 m (125 ft)
On 19 August 1418,[8] the Arte della Lana announced an architectural design competition
Height 114.5 m (376 ft)
for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo
Floor area 8,300 m2 (89,000 sq ft)
Ghiberti and Filippo Brunelleschi, the latter of whom was supported by Cosimo de Medici.
Materials Marble, brick
Ghiberti had been the winner of a competition for a pair of bronze doors for the Baptistery
Administration
in 1401 and lifelong competition between the two remained sharp. Brunelleschi won and
Archdiocese Archdiocese of Florence
received the commission.[9]
Clergy
Ghiberti, appointed coadjutor, drew a salary equal to Brunelleschi's and, though neither
Archbishop Giuseppe Betori
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, UNESCO World Heritage Site
the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the Official name Historic Centre of Florence
whole project was beyond him. In 1423, Brunelleschi was back in charge and took over Type Cultural
sole responsibility.[10] Criteria i, ii, iii, iv, vi
Work on the dome began in 1420 and finished in 1436. The cathedral was consecrated by Designated 1982 (6th session)
Pope Eugene IV on 25 March 1436, (the first day of the year according to the Florentine Reference no. 174
calendar). It was the first 'octagonal' dome in history to be built without a temporary Region Europe and North America
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 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 Duomo viewed from the heights
the Battistero di San Giovanni and Giotto's Bell Tower. There are two side doors: the Doors of of Piazzale Michelangelo
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.

Exterior [ edit ]

Plan and structure [ edit ]

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, The Duomo, as if completed, in a
separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and fresco by Andrea di Bonaiuto, painted in
the 1360s, before the commencement of
aisles are separated by wide pointed Gothic arches resting on composite piers.
the dome
The dimensions of the building are enormous: building area 8,300 m2 (89,340 sq ft), length
153 m (502 ft), width 38 m (125 ft), width at the crossing 90 m (300 ft). The height of the arches
in the aisles is 23 m (75 ft). The height of the dome is 114.5 m (375.7 ft).[11] It has the fifth tallest
dome in the world.

Planned sculpture for the exterior [ edit ]

The Overseers of the Office of Works of Florence Cathedral the Arte della Lana, had plans to
commission a series of twelve large Old Testament sculptures for the buttresses of the
cathedral.[12] Donatello, then in his early twenties, was commissioned to carve a statue of David
in 1408, to top one of the buttresses of Florence Cathedral, though it was never placed there.
Nanni di Banco was commissioned to carve a marble statue of Isaiah, at the same scale, in the
Plan of the church with various
same year. One of the statues was lifted into place in 1409, but was found to be too small to be extension phases
easily visible from the ground and was taken down; both statues then languished in the
workshop of the opera for several years.[13][14][15] In 1410 Donatello made the first of the
statues, a figure of Joshua in terracotta. In 1409-1411 Donatello made a statue of Saint John the Evangelist which until 1588 was in a
niche of the old cathedral façade. Between 1415 and 1426, Donatello created five statues for the campanile of Santa Maria del Fiore in
Florence, also known as the Duomo. These works are the Beardless Prophet; Bearded Prophet (both from 1415); the Sacrifice of Isaac
(1421); Habbakuk (1423–25); and Jeremiah (1423–26); which follow the classical models for orators and are characterized by strong
portrait details. A figure of Hercules, also in terracotta, was commissioned from the Florentine sculptor Agostino di Duccio in 1463 and
was made perhaps under Donatello's direction.[16] A statue of David by Michelangelo was completed 1501-1504 although it could not be
placed on the buttress because of its six-ton weight. In 2010 a fiberglass replica of "David" was placed for one day on the Florence
cathedral.

Donatello first version of Possible Statue of Donatello's colossal A Fiberglass replica of

David (1408–1409). "Isaiah" by Nanni di seated figure of Saint Michaelangelo's David
Museo Nazionale del Banco John the Evangelist. statue [seen from the
Bargello, Florence. 1409-1411 north]. This was the
Height 191 cm. original placement
planned for the statue.

Dome [ edit ]

After a hundred years of construction and by the beginning of the 15th century, 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 m (15.1 ft) high, 9.2 m (30.2 ft) long, was
standing in a side aisle of the unfinished building, and had long been sacrosanct.[17] 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. [18]

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.[19] 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.[20] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, partly
supported by the inner dome, but enclosed in a thinner outer shell, 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.[21] 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 m (171 ft) above the
floor and spanning 44 m (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[22] 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. 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.[18] Interior of the dome

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 cm (17 in) in diameter and no more than 2.3 m (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 m (13 ft) deep,
are supported by 16 concealed ribs radiating from center.[23] The ribs had slits to take beams that supported platforms, thus allowing the
work to progress upward without the need for scaffolding.[24]

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.[25][26][27][28]

The outer dome was not thick enough to contain embedded horizontal circles, being only 60 cm
(2 ft) thick at the base and 30 cm (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.[29]

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
Baptistery of St. John next to the whatever he could learn from the large scale models he built. To lift 37,000 tons of material,
cathedral
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.[30] 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 m (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 gilt copper 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.[31]

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".[32]

The decorations of the drum gallery by Baccio d'Agnolo were never finished after being
disapproved by no one less than Michelangelo.

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.[33]

The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was
Cupola of the Dome
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.

Facade [ edit ]

The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was
actually begun twenty years after Giotto's death.[citation needed] 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.[citation needed] The Model of the original medieval
façade in the museum of the cathedral
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
Façade of the cathedral
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.

Modern façade built in the 19th

Main Portal [ edit ] century

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.

Interior [ edit ]
Main portal by Augusto
The Gothic interior is vast and gives an empty impression. The relative bareness of the church Passaglia
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:[34]

Lorenzo Ghiberti had a large artistic impact on the cathedral. Ghiberti

worked with Filippo Brunelleschi on the cathedral for eighteen years
Interior of the cathedral 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.
Statue of Saint Reparata,
Dante Before the City of Florence by Domenico di Michelino (1465). This painting is especially
to whom the previous
interesting because it shows us, apart from scenes of the Divine Comedy, a view on Florence in cathedral was dedicated, in the
1465, a Florence such as Dante himself could not have seen in his time. main portal

Funerary Monument to Sir John Hawkwood by Paolo Uccello

(1436). This almost monochrome fresco, transferred to canvas
in the 19th century, is painted in terra verde, a color closest to
the patina of bronze.
Equestrian statue of Niccolò da Tolentino by Andrea del
Castagno (1456). This fresco, transferred on canvas in the 19th
century, in the same style as the previous one, is painted in a
color resembling marble. However, it is more richly decorated
and gives more the impression of movement. Both frescoes
Huge clock decorated by portray the condottieri as heroic figures riding triumphantly. Interior
Paolo Uccello Both painters had problems when applying in painting the new
rules of perspective to foreshortening: they used two unifying
points, one for the horse and one for the pedestal, instead a single
unifying point.
Busts of Giotto (by Benedetto da Maiano), Brunelleschi (by Buggiano – 1447), Marsilio Ficino, and
Antonio Squarcialupi (a most famous organist). These busts all date from the 15th and the 16th
centuries.

Above the main door is the colossal clock face with fresco portraits of four Prophets or Evangelists by Dante and the Divine
Paolo Uccello (1443). This one-handed liturgical clock shows the 24 hours of the hora italica (Italian Comedy

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.[34]

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
The Last Judgement by or above the entrance depict Christ and Mary. They are the work of the
Vasari and Zuccari (from
greatest Florentine artists of their times, such as Donatello, Lorenzo
directly underneath)
Ghiberti, Paolo Uccello and Andrea del Castagno.[34]

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.
Trompe-l'œil of Niccolò da
Donatello designed the stained-glass window (Coronation of the Virgin) Tolentino.
in the drum of the dome (the only one that can be seen from the nave).

The Last Judgement by The beautiful funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by Tino da
Vasari and Zuccari 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.[34]

In the back of the middle of the three apses is the altar of Saint Zanobius, Tomb of Antonio d'Orso
first bishop of Florence. Its silver shrine, a masterpiece of Ghiberti, by Tino da Camaino

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

Detail of The Last

the 16th-century miniaturist Monte di Giovanni, but it is now on display in the Museum Opera del
Judgement by Vasari and Duomo.[34]
Zuccari
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).[34]

The ceiling of the dome is decorated with a representation of The Last Judgment. Originally left whitewashed following its completion it
was the Grand Duke Cosimo I de' Medici who decided to have the ceiling of the dome painted. This enormous work, 3,600 metres² (38
750 ft²) of painted surface, was started in 1572 by Giorgio Vasari and would not be completed until 1579.[35] The upper portion, near the
lantern, representing The 24 Elders of Apocalypse was finished by Vasari before his death in 1574. Federico Zuccari with the assistance
of Bartolomeo Carducci, Domenico Passignano and Stefano Pieri 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.[36][37]

Astronomical observations [ edit ]

In 1475 the Italian astronomer Paolo dal Pozzo Toscanelli (who was also a mathematical tutor
of Brunelleschi) pierced a hole in the dome at 91.05 metres (298.7 ft) above the pavement to
create a meridian line.[38] The height precluded the installation of a complete meridian line on
the floor of the cathedral, but allowed a short section of approximately 10 metres (33 ft) to run
between the main altar and the north wall of the transept. This allows for observation for around
35 days either side of the summer solstice .

Due to settlement in the building and also movements due to the outside temperature changes,
the meridian line had limited astronomical value and fell into disuse until it was restored in 1755
Observation of the solstice on 21
by Leonardo Ximenes.[39]
June 2012
The meridian line was covered over by the fabbricieri in 1894 and unveiled again in 1997. A
yearly re-enacement of the observation takes place on 21 June each year at 12.00 UT.

Crypt [ edit ]

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 held in by the
Florentines.[citation needed] Tomb of Filippo
Brunelleschi.
Other burials [ edit ]

Zenobius of Florence
Conrad II of Italy
Giovanni Benelli
Filippo Brunelleschi
Giotto di Bondone
Pope Nicholas II
Pope Stephen IX
John Hawkwood

Cracking of the dome [ edit ]

The unreinforced masonry that Brunelleschi used to construct the dome is weak in tension which leads to cracking when tensile
stresses exceed the limited masonry tensile strength. The material is especially susceptible to damage from seismic loading due to its
heterogeneity and many surfaces between different materials (stones to mortar connection).[40]

Cracking of the dome was observed even before its construction was completed. It is possible that the first cracks were caused by a
strong earthquake in 1453.[41]

The first written evidence about the presence of cracks appears in a report by Gherardo Silvani report dated 18 September 1639 which
refers to “peli” (“hairs”).[41] In 1694 Gianbattista Nelli and Vincenzo Viviani surveyed the cracks with Nelli recording that there were two
major cracks with a maximum width of 29 mm (1.1 in).[41] They believed that the cracks were caused by the weight of the dome, and the
resulting the horizontal thrusts on the pillars. A commission, headed by Vincenzo Viviani carried out investigations in 1695 and came to
the conclusion that the cracking was due to the dead weight of the buildings, it was proposed that the dome be strengthened by
installing four large iron belts; three on the outside of the dome between the bugling area of the dome and the circular windows, while
the fourth would be installed internally in the second walkway between the two shells.[42] This was similar to what had been done on the
dome of St. Peter's in Rome. After a long debate, a decision was made to leave the dome as it was.[43]

The first most complete survey of the cracks was published in 1757 by the Jesuit Leonardo Ximenes (1716–1786). In his document he
described 13 different crack typologies.[41][44] In 1934, Pier Luigi Nervi, who was head of a special commission established by the Opera
del Duomo to study the cracking observed that the cracks opened and closed with the seasons. In the winter, the dome's stone and
bricks would contract causing the cracks to widen while over the summer the materials would expand and the cracks would close up.
While modern buildings by design incorporate expansion joints, the cathedral's dome does not include any and so subsequently
developed its own expansion joints in the form of these cracks which allowed the structure to “breathe”. To date they have not caused
any catastrophic damage to the dome.[45]

In 1955 the Opera del Duomo installed 22 mechanical deformometers, which were read four times a year to record the variations in the
width of the major cracks in the inner dome. At the same time the dome's internal and external temperatures were also recorded. This
remained in service until 2009.[46]

In 1975 a commission was appointed by the Italian government to safeguard the dome.[43] In 1978 a government culture agency
decided to restore the frescoes. Brunelleschi left forty eight 600 mm (24 in) holes in the base of the dome.[45] They are open on the
inside and covered by the outer skin of the dome. It has long been assumed that the holes simply served as mounts for the scaffold
used when frescoes were painted on the inside of the dome. While the holes had been able to support the scaffolding used for the
creation of the frescos on the interior of the dome they were not strong enough for the network of modern metal scaffolding necessary to
provide access for the restoration work undertaken on the frescos between 1979 and 1995. To strengthen the scaffolding, the private
company contracted to build scaffolding for the work was allowed in 1982 to fill the holes with concrete so that steel beams could be
anchored in them.[43][35]

In 1985 local architect Lando Bartoli noticed that additional cracks were forming around the sealed holes. It was theorized at the time
that in summer the four major masses separated by the “A” cracks expanded into the fissures, but now, at the base of the dome, the
masses come up against the unyielding concrete that now fills the 48 holes acts as a fulcrum which causes the energy that was once
dissipated with the closing of the fissures and into the holes to be transferred into the upper areas of the dome.[45][35] However analysis
by Andrea Chiarugi, Michele Fanelli and Giuseppetti (published in 1983) found that the principal source of the cracks was a dead-weight
effect due to the geometry of the dome, its weight (estimated to be 25,000 tons)[35] and the insufficient resistance of the ring beam, while
thermal variations, has caused fatigue loading and thus expanding of the structure.[47][40] This is a well-known collapse mechanism
typical of domed structures: a lowering of the top of the structure under its own weight with significant horizontal thrusts on the bearing
elements.[46]

In 1985 a commission established by the Italian Ministry of Cultural and Monumental Heritage accepted this theory.[42][44] The debate
about the filling of the scaffolding holes was finally settled in 1987 when it was demonstrated that closing the 48 holes had had no
impact on the expansion and contraction of the dome.[35] A survey completed in 1984 counted a total of 493 cracks of various sizes,
sorted into categories identified by the letters “A” through “D”.[45] These are as follows:

Type A. These are sub-vertical major cracks that start from the ring beam and continue upwards for approximately two-thirds of the
height of the dome; they pass through both the internal and external layer of the even webs and their range in thickness from 55 mm
(2.2 in) to 60 mm (2.4 in) (webs 4 and 6) and 25 mm (0.98 in) to 30 mm (1.2 in) (webs 2 and 8).[44] The dome has eight webs
numbered counter clockwise from 1, which faces the main nave of the cathedral. These effectively divide the dome into quarters and
never completely close in summer.[45] There is a theory that the plaster used to patch the cracks over the years and crumbling
building materials have jammed the fissures.[45]
Type B. These sub-vertical minor cracks are located near the circular windows.[44]
Type C. These are sub-vertical minor cracks that are present around the eight edges of the dome.[44]
Type D. These are four sub-vertical minor cracks in the internal part of the odd webs. They do not pass through the width of the
dome.[44]

All have formed in a symmetrical pattern.

The development of the Type “A” cracks means that the dome now permanently behaves as four drifting half-arches linked below the
upper oculus.[44] The abutments of these half-arches are constituted by the pillars, the chapels and the nave of the church. The
differences in the cracking patterns between even and odd webs is believed to be due to variations in the stiffness of the supporting ring
beam structure under the dome as it is supported by four heavy pillars which lien up with the even webs while the odd webs are located
over four arches which connect the pillars.[44]

In 1987 a second and more comprehensive digital system (which automatically collects data every six hours) was installed by ISMES (in
cooperation with the “Soprintendenza”, the local branch of the Ministry of Culture, which is responsible for the conservation of all
historical monuments in Florence) in 1987. It consists of 166 instruments, among which are 60 thermometers measuring the masonry
and air temperature at various locations, 72 inductive type displacement transducers (deformometers) at various levels on the main
cracks of the inner and outer domes; eight plumb-lines at the centre of each web, which measure the relative displacements between
pillars and tambour; eight livellometers and two piezometers, one near the web 4 and the other below the nave which register the
variation of the underground water level.[46] A linear regression analysis of the recorded data has shown that the major cracks are
widening by approximately 3 mm (0.12 in) per century.[46][41] Another source quotes a movement of 5.5mm.[48]

Using software that had been used to model the structures of large dam a computer model of the dome was developed in 1980 in a
collaboration between Italian National Agency for Electric Power and Structural and Hydraulic Research Centre (CRIS) by a group of
researcher leaded by Michele Fanelli and Gabriella Giuseppetti in cooperation with the Department of Civil Engineering of the University
of Florence, under the supervision of Andrea Chiarugi. Because of limited computational resources and for reasons of symmetry only a
quarter of the dome was modelled. The resulting finite elements analysis confirmed that the main cracks was essentially being created
by self-weight of the dome. Since then series of numerical models of increasing complexity have been developed. To assist in
monitoring of the dome an extensive photogrammetric and topographical survey of the entire dome was commissioned in 1992 by the
“Soprintendenza”. The results of this survey were then used to further develop the finite elements model of the dome.[49]

See also [ edit ]

Italian Gothic architecture

Italy portal
Roman Catholic Marian churches
Catholicism portal
List of largest domes
List of tallest domes
List of tallest structures built before the 20th century
Santa Reparata, Florence
Inferno, 2013 Dan Brown novel
History of medieval Arabic and Western European domes
List of Gothic Cathedrals in Europe

Notes [ edit ]

1. ^ Ermengem, Kristiaan Van. "Duomo di Firenze, Florence" . A 34. ^ a b c d e f King, Ross (2001). Brunelleschi's Dome: The Story of
View On Cities. Archived from the original on 19 October 2019. the great Cathedral of Florence . New York: Penguin. ISBN 0-
Retrieved 5 February 2016. 8027-1366-1.
2. ^ Bartlett, pp. 36–37; according to Bartlett, the people of 35. ^ a b c d e Shulman, Ken (3 December 1989). "ART: On the
Florence continued to call the cathedral by its former name for Scaffolds, a Delicate Labor in the Duomo" . The New York
some time after reconstruction. Times. Archived from the original on 3 December 2021.
3. ^ Tarihi, Güncelleme (23 May 2018). "Michelangelo Rönesans Retrieved 28 November 2021.
döneminde Floransanın önde gelen Medici Ailesinin özel bir 36. ^ As referenced in "Cupola di Santa Maria del Fiore: il cantiere di
isteği üzerine hangisini yapmıştır" . Haber46 (in Turkish). restauro 1980–1995" by Cristina Acidini Luchinat and Riccardo
Archived from the original on 5 July 2018. Retrieved 5 July Dalla Negra published by Istituto Poligrafico e Zecca dello Stato
2018. (Roma) in 1995 (ISBN 8824039561)
4. ^ a b Barlett, 36. 37. ^ Thesaurus Florentinus project page (in Italian) Archived 17
5. ^ Haines, Margaret (1989). "Brunelleschi and Bureaucracy: The May 2021 at the Wayback Machine, Soprintendenza ai Beni
Tradition of Public Patronage at the Florentine Cathedral" . I Architettonici e Paesaggisitici di Firenze, Ministero dei Beni
Tatti Studies in the Italian Renaissance. 3: 89–115. Culturali
doi:10.2307/4603662 . JSTOR 4603662 . 38. ^ Heilbron, John Lewis (1990). The Sun in the Church.
S2CID 159633596 . Archived from the original on 26 Cathedrals as Solar Observatories. Harvard University Press.
December 2019. Retrieved 20 August 2019. p. 70. ISBN 0674005368.
6. ^ Krén, Emil; Marx, Daniel. "View of the nave and choir by 39. ^ Del vecchio e nuovo gnomone fiorentino e delle osservazioni
ARNOLFO DI CAMBIO" . Web Gallery of Art. Archived from astronomiche fisiche ed architettoniche fatte nel verificarne la
the original on 26 December 2019. Retrieved 5 July 2018. costruzione (in Italian). Firenze: Stamperia Imperiale. 1757.
7. ^ Sannio, Simone (12 January 2017). "Inside the House of 40. ^ a b Souza, Kelsey (11 September 2014). "Evolution of
Medici (Part II): Palazzo Vecchio" . L'Italo-Americano. Archived Structural Design and Potential Design Changes" .
from the original on 7 February 2020. Retrieved 5 July 2017. Proceedings of the Workshop on the Structural Cracking of the
8. ^ King, Ross (2000). Brunelleschi's Dome: How a Renaissance Cupola of Santa Maria del Fiore. Los Alamos, New Mexico: Los
Genius Reinvented Architecture. New York: Bloomsbury. p. 1. Alamos National Laboratory. pp. 54–55. Archived from the
ISBN 978-0-8027-1366-7. original on 26 April 2022. Retrieved 3 December 2021.
9. ^ Zucconi, Guido (1995). Florence: An Architectural Guide. San 41. ^ a b c d e Ottoni, Federica; Coïsson, Eva; Blasi, Carlo (2010).
Giovanni Lupatoto, Vr, Italy: Arsenale Editrice srl. ISBN 978-88- "The Crack Pattern in Brunelleschi's Dome in Florence: Damage
7743-147-9. Evolution from Historical to Modern Monitoring System
10. ^ King, pp. 76–79. Analysis" . Advanced Materials Research. Switzerland: Trans
11. ^ "Santa Maria Del Fiore Church (Dome) Firenze Italy" . Tech Publications. 133–134: 53–64.
En.firenze-online.com. Archived from the original on 25 doi:10.4028/www.scientific.net/AMR.133-134.53 .
October 2019. Retrieved 26 March 2013. S2CID 110287028 . Archived from the original on 26 April
12. ^ Charles Seymour, Jr. "Homo Magnus et Albus: the 2022. Retrieved 3 December 2021.
Quattrocento Background for Michelangelo's David of 1501–04," 42. ^ a b Castoldi, A.; Chiarugi, Andrea; Giuseppetti, G.; Fanelli, A.;
Stil und Überlieferung in der Kunst des Abendlandes, Berlin, Petnni, G. (1993). "Diagnosis and strengthening of the
1967, II, 96–105. Brunelleschi Dome" . IABSE Reports. Zurich: ETH-Bibliothek.
13. ^ Janson, pp. 3–7 70: 440–448. Archived from the original on 3 December 2021.
14. ^ Pope-Hennessey, John (1958) Italian Renaissance Sculpture, Retrieved 3 December 2021.
London, pp. 6–7 43. ^ a b c Montalbano, William D. (21 January 1988). "Piazza,
15. ^ Poeschke, p. 27. Duomo Work: In Florence, It's Politics vs. Preservation" . Los

16. ^ Seymour, 100–101. Angeles Times. Archived from the original on 3 December
2021. Retrieved 20 November 2021.
17. ^ King, p. 10
44. ^ a b c d e f g h Borri, Claudio; Betti, Michele; Bartol, Gianni
18. ^ a b "Brunelleschi's Dome" . Smarthistory at Khan Academy.
(2010). "Brunelleschi's dome in Florence: The masterpiece of a
Archived from the original on 16 January 2013. Retrieved
genius". In Zingoni, Alphose (ed.). Advances and Trends in
19 December 2012.
Structural Engineering, Mechanics and Computation
19. ^ King, p. 9.
(Hardback). Boca Raton, Florida: CRC Press. pp. 1317–1320.
20. ^ King, p. 7.
ISBN 978-0-415-58472-2. Archived from the original on 26
21. ^ Lancaster, Lynne (2005) Concrete Vaulted Construction in
April 2022. Retrieved 3 December 2021.
Imperial Rome: Innovations in Context, Cambridge University
45. ^ a b c d e f Suro, Roberto (28 July 1987). "Cracks in a Great
Press, p. 44
Dome in Florence May Point to Impending Disaster" . New York
22. ^ For a fictional impression see PBS' The Medici: Godfathers of
Times. p. C3. Archived from the original on 26 May 2013.
the Renaissance, Birth of a Dynasty (on https://www.youtube.co
Retrieved 26 February 2010.
m/watch?v=9FFDJK8jmms Archived 23 January 2017 at the
46. ^ a b c d Ottoni, Federica (11 September 2014). "Santa Maria del
Wayback Machine at the 20:15 mark)
Fiore Dome: Crack Patten and Monitoring Systems" .
23. ^ Stevenson, Niel (2007) Architecture Explained.
Proceedings of the Workshop on the Structural Cracking of the
ISBN 0756628687. pp. 36–37.
Cupola of Santa Maria del Fiore. Los Alamos, New Mexico: Los
24. ^ King, pp. 70–73.
Alamos National Laboratory. pp. 25–27. Archived from the
25. ^ King, p. 97. original on 26 April 2022. Retrieved 3 December 2021.
26. ^ Mueller, Tom (10 February 2014). "Mystery of Florence's 47. ^ Chiarugi, Andrea; Fanelli, Michele; Giuseppetti, G. (1983).
Cathedral Dome May Be Solved" . National Geographic "Analysis of a Brunelleschi-Type Dome Including Thermal
Society. Archived from the original on 30 June 2019. Retrieved Loads". Proceeding of IABSE Symposium on Strengthening of
31 December 2014. Building Structure, Diagnosis and Therapy. Zurich. pp. 169–178.
27. ^ "NationalGeographic.com 2014-02 Il Duomo Tom Mueller" . 48. ^ Como, Mario (2021). "Brunelleschi's Dome: A New Estimate of
Archived from the original on 25 May 2016. Retrieved the Thrust and Stresses in the Underlying Piers" . Applied
28 December 2014. Sciences. MDPI. 11 (4268): 4268. doi:10.3390/app11094268 .
28. ^ "NationalGeographic.com 2014-02 Il Doumo Design Video" . Archived (PDF) from the original on 26 April 2022. Retrieved
Archived from the original on 27 March 2018. Retrieved 3 December 2021.
12 April 2015. 49. ^ Bartoli, Gianni; Betti, Michele (11 September 2014). "The
29. ^ King, pp. 105–107. Numerical Analyses of Santa Maria del Fiore Dome: State of the
30. ^ Gartner, Peter, Filippo Brunelleschi 1377–1446, p 95. Art" . Proceedings of the Workshop on the Structural Cracking
31. ^ King, p. 69. of the Cupola of Santa Maria del Fiore. Los Alamos, New
32. ^ Paolo Galluzzi, "Leonard de Vinci, engineer and architect", p. Mexico: Los Alamos National Laboratory. pp. 37–39. Archived
50 from the original on 26 April 2022. Retrieved 3 December 2021.
33. ^ Figures vary. archINFORM Archived 20 June 2021 at the
Wayback Machine gives a 45 m wide tambour, while Santa Maria
del Fiore at Structurae gives a 43 m diameter of the cupola,
others as little as 42 m.

References [ edit ]

Bartlett, Kenneth R. (1992). The Civilization of the Italian Renaissance (Paperback). Toronto: D.C. Heath and Company. ISBN 0-669-
20900-7.
King, Ross (2000). Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture . London: Chatto & Windus.
ISBN 9781620401941.
Jepson, Tim (2001). The National Geographic Traveler, Florence & Tuscany. National Geographic Society. ISBN 978-90-215-9720-1.
Millon, Henry A., ed. (1994). Italian Renaissance Architecture: from Brunelleschi to Michelangelo. London: Thames and Hudson.
ISBN 978-0-500-27921-2.
Montrésor, Carlo (2000). The Opera del Duomo, Museum in Florence. Mandragora.
Tacconi, Marica S. (2005). Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa
Maria del Fiore. Cambridge: Cambridge University Press. ISBN 978-0-521-81704-2.
Wirtz, Rolf C. (2005). Kunst & Architektur, Florenz. Könemann. ISBN 3-8331-1576-9.
Cupola di Santa Maria del Fiore: il cantiere di restauro 1980–1995, a cura di Cristina Acidini Luchinat e Riccardo Dalla Negra. Istituto
poligrafico e Zecca dello Stato (Roma). 1995. ISBN 978-88-240-3956-7. Library of Congress permalink
Devémy, Jean-François (2013). Sur les traces de Filippo Brunelleschi, l'invention de la coupole de Santa Maria del Fiore à Florence.
Suresnes: Les Editions du Net. ISBN 978-2-312-01329-9. (in line presentation )
Gärtner, Peter J. (1998). Filippo Brunelleschi 1377–1446. Köln : Könemann. ISBN 978-3-8290-0241-7.

Further reading [ edit ]

"The Great Cathedral Mystery" , PBS Nova TV documentary, 12 February 2014

Castoldi, A.; Chiarugi, A.; Giuseppetti, G.; Fanelli, A.; Petnni, G. (1987). "Static Monitoring System for the Brunelleschi Dome in
Florence" . IABSE Reports. Zurich: ETH-Bibliothek. 56.
Fanelli, Michele (11 September 2014). "The Importance of Monitoring, Behaviour Analysis and Diagnostic Techniques in the
Preservation of Great Historical Structures" . Proceedings of the Workshop on the Structural Cracking of the Cupola of Santa Maria
del Fiore. Los Alamos, New Mexico: Los Alamos National Laboratory.
Gamberini, Diletta (2017). "La 'Concucia nana di Federico Zuccari: Critica d'arte in versi all'ombra del Giudizio Universaleer la cupola
di Santa Maria del Fiore" . Mitteilungen des Kunsthistorischen Institutes in Florenz (in Italian). Kunsthistorisches Institut in Florenz,
Max-Planck-Institut. 59 (3): 362–87. JSTOR 26454394 .
Hunt, Don, "Secrets of the Duomo" Archived 28 July 2014 at the Wayback Machine, Journal, Issue 2, 2014, International Union
of Bricklayers and Allied Craftworkers
Haines, Margaret (2011). "Myth and Management in the Construction of Brunelleschi's Cupola" . Tatti Studies in the Italian
Renaissance. Villa I Tatti: The Harvard Center for Italian Renaissance Studies. 14/15: 47–101. doi:10.1086/its.14_15.41781523 .
S2CID 193315877 .
Manetti, Giacomo; Bellucci, Marco; Bagnoli, Luca (2020). "The construction of Brunelleschi's dome in Florence in the fifteenth
century: between accountability and technologies of government" . Accounting History Review. Taylor & Francis. 30 (2): 141–169.
doi:10.1080/21552851.2019.1686036 . hdl:2158/1175096 . S2CID 211446113 .
Mueller, Tom (February 2014), "Brunelleschi's Dome: How did a hot-tempered goldsmith with no formal architectural training create
the most miraculous edifice of the Renaissance?" , National Geographic Magazine, pp. 50–51, archived from the original on 25
May 2016, retrieved 28 December 2014</ref>
Ottonia, Federica; Blasi, Carlo (2015). "Results of a 60-Year Monitoring System for Santa Maria del Fiore Dome in Florence" .
International Journal of Architectural Heritage: Conservation, Analysis, and Restoration. Taylor & Francis. 9 (1): 7–24.
Ricci, Massimo, Il genio di Brunelleschi e la costruzione della Cupola di Santa Maria del Fiore , Livorno : Casa Editrice Sillabe
S.r.l., April 2014. (The genius of Filippo Brunelleschi and the construction of the dome of Santa Maria del Fiore). ISBN 978-88-8347-
691-4. The book is the result of forty years of research on the secret technique with which Brunelleschi built the Dome of Santa
Maria del Fiore in Florence. Ricci makes the case for the dome being an inverted arch and uses a herringbone pattern (spina a
pesce) for the dome's bricks.
Rice, John A. "Music in the Duomo of Florence during the Reign of Pietro Leopoldo I (1765–1790)"
Vereycken, Karel, "The Secrets of the Florentine Dome" , Schiller Institute, 2013. (Translation from the French, "Les secrets du
dôme de Florence" , la revue Fusion, n° 96, Mai, Juin 2003)

External links [ edit ]

Official website Wikimedia Commons has media

L'Opera del Duomo, Firenze related to Santa Maria del
Fiore (Florence).
Brunelleschi's Dome – en
"The Cathedral" . The Florence Art Guide. 2004. Retrieved 14 July 2006.
Museums in Florence – Cathedral and Giotto Belltower
Horner, Susan; Horner, Joanna (27 December 2005). "Chapter III: The Cathedral – Exterior" . Walks in Florence. Retrieved 14 July
2006.
NGM.NationalGeographic.com 2014– 02 Il Duomo 360 Panorama View Interactive Archived 5 April 2018 at the Wayback
Machine
NGM.NationalGeographic.com 2014-02 Il Duomo Cutaway Interactive Archived 31 March 2018 at the Wayback Machine
ngm.nationalgeographic.com 2014-02 ll Duomo Piazza 360 degree panorama interactive Archived 23 February 2018 at the
Wayback Machine
ngm.nationalgeographic.com 2014-02 Il Duomo Compared to other Domes Interactive Archived 1 March 2018 at the Wayback
Machine

V ·T ·E Tourism in Florence [show]

V ·T ·E Filippo Brunelleschi [show]

Authority control [show]

Categories: Florence Cathedral Basilica churches in Florence Roman Catholic cathedrals in Italy
Roman Catholic churches completed in 1436 15th-century establishments in the Republic of Florence
Church buildings with domes Filippo Brunelleschi church buildings Fresco paintings in Florence Tourist attractions in Florence
Gothic architecture in Florence Renaissance architecture in Florence Cathedrals in Tuscany

This page was last edited on 24 February 2023, at 22:02 (UTC).

Text is available under the Creative Commons Attribution-ShareAlike License 3.0; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered
trademark of the Wikimedia Foundation, Inc., a non-profit organization.

Privacy policy About Wikipedia Disclaimers Contact Wikipedia Mobile view Developers Statistics Cookie statement