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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. The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.
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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. 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) and the insufficient resistance of the ring beam, while thermal variations, has caused fatigue loading and thus expanding of the structure. 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.
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width of 29 mm (1.1 in). They believed that the cracks were caused by the weight of the dome, and the resulting 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 bulging area of the dome and the circular windows, while the fourth would be installed internally in the second walkway between the two shells. 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.
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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.
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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.
1960:, 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 were 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
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1772:(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. 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.
1810:: 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.
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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
1926:. 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 line up with the even webs while the odd webs are located over four arches which connect the pillars.
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1906:(2.4 in) (webs 4 and 6) and 25 mm (0.98 in) to 30 mm (1.2 in) (webs 2 and 8). 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. There is a theory that the plaster used to patch the cracks over the years and crumbling building materials have jammed the fissures.
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1081:. 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. 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.
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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.
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1949:, one near the web 4 and the other below the nave which register the variation of the underground water level. 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. Another source quotes a movement of 5.5mm.
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In 1985 a commission established by the
Italian Ministry of Cultural and Monumental Heritage accepted this theory. 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
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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. In 1934, Pier Luigi Nervi, who was head of a special commission established by the Opera del Duomo to study the cracking, observed
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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
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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
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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
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In 1975 a commission was appointed by the
Italian government to safeguard the dome. 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. They are open on the inside and covered by the outer skin of
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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
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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.
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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
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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
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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
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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 m (171 ft) above the floor and spanning 44 m (144 ft), there was
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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
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Ghiberti, appointed coadjutor, 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
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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.
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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"). In 1694 Giambattista Nelli and Vincenzo Viviani surveyed the cracks with Nelli recording that there were two major cracks with a maximum
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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
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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
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The decoration of the exterior of the cathedral, begun in the 14th century, was left unfinished after the initial works done by Arnolfo di Cambio, which led Lorenzo de' Medici to initiate a design competition for the façade between 1490 and 1491. The competition went ultimately nowhere, and the
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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
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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,
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in 1463 and was made perhaps under Donatello's direction. 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.
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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
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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
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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.
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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
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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.
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1332:(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.
1576:(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 portray the
1937:, which is responsible for the conservation of all historical monuments in Florence). It consists of 166 instruments, among which are 60 thermometers measuring the masonry and air temperature at various locations, 72 inductive type displacement
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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.
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as heroic figures riding triumphantly. 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
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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
936:, at the same scale, in the same year. One of the statues was lifted into place in 1409, but was found to be too small to be easily visible from the ground and was taken down; both statues then languished in the workshop of the
1662:, 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
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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.
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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. During the consecration in 1436,
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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.
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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
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670:, 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
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1286:, 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
1540:(1465). This painting is especially interesting because it shows us, apart from scenes of the Divine Comedy, a view on Florence in 1465, a Florence such as Dante himself could not have seen in his time.
1600:(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.
693:. 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
3715:. 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
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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 by
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façade 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.
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and Structural and Hydraulic Research Centre (CRIS) by a group of researchers led by Michele Fanelli and Gabriella Giuseppetti in cooperation with the Department of Civil Engineering of the
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1941:(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
617:. The basilica is one of Italy's largest churches and its dome, when first built back in the 15th century, was the largest ever built in western Europe. Although it was later overtaken by
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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
1731:. 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
1215:. Fascinated by Filippo'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.
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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.
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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".
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The dimensions of the building are enormous: building area 8,300 m (89,340 sq ft), length 153 m (502 ft), width 38 m (125 ft), width at the
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the dome. A survey completed in 1984 counted a total of 493 cracks of various sizes, sorted into categories identified by the letters "A" through "D". These are as follows:
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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.
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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
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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
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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.
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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). It has the fifth
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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.
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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:
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In 1987 a second and more comprehensive digital system (which automatically collects data every six hours) was installed by ISMES (in cooperation with the
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Bartlett, pp. 36–37; according to Bartlett, the people of Florence continued to call the cathedral by its former name for some time after reconstruction.
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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
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The cathedral underwent difficult excavations between 1965 and 1974. The archaeological history of this huge area was reconstructed through the work of
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The commission for this gilt copper ball went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named
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Using software that had been used to model the structures of large dams, a computer model of the dome was developed in 1980 in a collaboration between
827:(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
1278:. 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
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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
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3658:"Brunelleschi's Dome: How did a hot-tempered goldsmith with no formal architectural training create the most miraculous edifice of the Renaissance?"
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1105:, 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
660:. The ancient structure, founded in the early 5th century and having undergone many repairs, was crumbling with age, according to the 14th-century
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Borri, Claudio; Betti, Michele; Bartol, Gianni (2010). "Brunelleschi's dome in Florence: The masterpiece of a genius". In Zingoni, Alphose (ed.).
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Del vecchio e nuovo gnomone fiorentino e delle osservazioni astronomiche fisiche ed architettoniche fatte nel verificarne la costruzione
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3540:"La 'Concucia nana di Federico Zuccari: Critica d'arte in versi all'ombra del Giudizio Universaleer la cupola di Santa Maria del Fiore"
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The development of the Type "A" cracks means that the dome now permanently behaves as four drifting half-arches linked below the upper
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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.
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3615:"The construction of Brunelleschi's dome in Florence in the fifteenth century: between accountability and technologies of government"
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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
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in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them
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for the Baptistery in 1401 and lifelong competition between the two remained sharp. Brunelleschi won and received the commission.
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Lancaster, Lynne (2005) Concrete Vaulted Construction in Imperial Rome: Innovations in Context, Cambridge University Press, p. 44
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3527:"The Importance of Monitoring, Behaviour Analysis and Diagnostic Techniques in the Preservation of Great Historical Structures"
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Brunelleschi's Dome, the nave, and Giotto's Campanile of the Cattedrale di Santa Maria del Fiore as seen from Michelangelo Hill
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Cupola di Santa Maria del Fiore: il cantiere di restauro 1980–1995, a cura di Cristina Acidini Luchinat e Riccardo Dalla Negra
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2931:"The Crack Pattern in Brunelleschi's Dome in Florence: Damage Evolution from Historical to Modern Monitoring System Analysis"
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On top of the façade is a series of niches with the twelve Apostles with, in the middle, the Madonna with Child. Between the
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Chiarugi, Andrea; Fanelli, Michele; Giuseppetti, G. (1983). "Analysis of a Brunelleschi-Type Dome Including Thermal Loads".
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the greatest Florentine artists of their times, such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno.
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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.
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which until 1588 was in a niche of the old cathedral façade. Between 1415 and 1426, Donatello created five statues for the
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990:(1423–26); which follow the classical models for orators and are characterized by strong portrait details. A figure of
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The Duomo, as if completed, in a fresco by Andrea di Bonaiuto, painted in the 1360s, before the commencement of the dome
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2107:"Michelangelo Rönesans döneminde Floransanın önde gelen Medici Ailesinin özel bir isteği üzerine hangisini yapmıştır"
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After a hundred years of construction and by the beginning of the 15th century, the structure was still missing its
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Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa Maria del Fiore
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The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the
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up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a
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to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.
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1643:. The ten-paneled bronze doors of the sacristy were made by Luca della Robbia, who has also two glazed
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1964:. The results of this survey were then used to further develop the finite elements model of the dome.
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Sur les traces de Filippo Brunelleschi, l'invention de la coupole de Santa Maria del Fiore à Florence
1834:
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924:, then in his early twenties, was commissioned to carve a statue of David in 1408, to top one of the
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1614:, the stained-glass circular window above the clock, with a rich range of coloring, was designed by
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in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by
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The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from
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1995:
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After Arnolfo died in 1302, work on the cathedral slowed for almost 50 years. When the relics of
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Type C. These are sub-vertical minor cracks that are present around the eight edges of the dome.
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Soprintendenza ai Beni Architettonici e Paesaggisitici di Firenze, Ministero dei Beni Culturali
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Proceedings of the Workshop on the Structural Cracking of the Cupola of Santa Maria del Fiore
3255:
Proceedings of the Workshop on the Structural Cracking of the Cupola of Santa Maria del Fiore
3161:
Proceedings of the Workshop on the Structural Cracking of the Cupola of Santa Maria del Fiore
2895:
Proceedings of the Workshop on the Structural Cracking of the Cupola of Santa Maria del Fiore
2150:"Brunelleschi and Bureaucracy: The Tradition of Public Patronage at the Florentine Cathedral"
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The genius of Filippo Brunelleschi and the construction of the dome of Santa Maria del Fiore
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Proceeding of IABSE Symposium on Strengthening of Building Structure, Diagnosis and Therapy
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Waldman, L. A. (n.d.). Florence Cathedral: The facade competition of 1476 - JSTOR. JSTOR.
1849:
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and Giambologna) were not accepted. The façade was then left bare until the 19th century.
1085:
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803:
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were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the
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in various shades of green and pink, bordered by white, and has an elaborate 19th-century
201:
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As referenced in "Cupola di Santa Maria del Fiore: il cantiere di restauro 1980–1995" by
1703:
was finished by Vasari before his death in 1574. Federico Zuccari with the assistance of
1699:
and would not be completed until 1579. The upper portion, near the lantern, representing
3687:
International Journal of Architectural Heritage: Conservation, Analysis, and Restoration
3203:"Brunelleschi's Dome: A New Estimate of the Thrust and Stresses in the Underlying Piers"
1312:
720:, Giotto continued di Cambio's design. His major accomplishment was the building of the
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Santa Maria del Fiore was built on the site of Florence's second cathedral dedicated to
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Work on the dome began in 1420 and finished in 1436. The cathedral was consecrated by
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3592:. 14/15. Villa I Tatti: The Harvard Center for Italian Renaissance Studies: 47–101.
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1592:(a most famous organist). These busts all date from the 15th and the 16th centuries.
1521:
Lorenzo Ghiberti had a large artistic impact on the cathedral. Ghiberti worked with
1477:
1414:
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3683:"Results of a 60-Year Monitoring System for Santa Maria del Fiore Dome in Florence"
1981:
1739:
1275:
1226:
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751:(1360–1369) who divided the centre nave in four square bays. Other architects were
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In 1349, work resumed on the cathedral under a series of architects, starting with
694:
251:
213:
3853:
ngm.nationalgeographic.com 2014-02 ll Duomo Piazza 360 degree panorama interactive
3732:"Music in the Duomo of Florence during the Reign of Pietro Leopoldo I (1765–1790)"
3630:
2066:
1743:. During the restoration work, which ended in 1995, the entire pictorial cycle of
712:, took over patronage for the construction of the cathedral and in 1334 appointed
3303:
2979:
Castoldi, A.; Chiarugi, Andrea; Giuseppetti, G.; Fanelli, A.; Petnni, G. (1993).
2149:
1092:. That architectural choice, in 1367, was one of the first events of the Italian
1088:
had been made when Neri di Fioravanti's model was chosen over a competing one by
4061:
1615:
1577:
1383:
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of material, including over 4 million bricks, he invented hoisting machines and
1093:
725:
3865:
ngm.nationalgeographic.com 2014-02 Il Duomo Compared to other Domes Interactive
3700:
Il genio di Brunelleschi e la costruzione della Cupola di Santa Maria del Fiore
3597:
3202:
1989:
1628:
The funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by
774:
for erecting Neri's dome. The two main competitors were two master goldsmiths,
4014:
3940:
2702:
2504:
1971:
1946:
1938:
1909:
Type B. These sub-vertical minor cracks are located near the circular windows.
1644:
1196:
1192:
1170:
949:
864:
828:
579:
575:
429:
3563:
3508:
Castoldi, A.; Chiarugi, A.; Giuseppetti, G.; Fanelli, A.; Petnni, G. (1987).
2686:
1691:. Originally left whitewashed following its completion it was the Grand Duke
1584:
Busts of Giotto (by Benedetto da Maiano), Brunelleschi (by Buggiano – 1447),
743:, who finished the campanile and enlarged the overall project to include the
157:
144:
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1635:
The monumental crucifix, behind the Bishop's Chair at the high altar, is by
1122:
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941:
921:
852:
721:
551:
266:
240:
3784:
3829:
NGM.NationalGeographic.com 2014– 02 Il Duomo 360 Panorama View Interactive
3257:. Los Alamos, New Mexico: Los Alamos National Laboratory. pp. 37–39.
3163:. Los Alamos, New Mexico: Los Alamos National Laboratory. pp. 25–27.
2897:. Los Alamos, New Mexico: Los Alamos National Laboratory. pp. 54–55.
685:
for the new church in 1294. Di Cambio was also architect of the church of
3930:
3911:
3550:(3). Kunsthistorisches Institut in Florenz, Max-Planck-Institut: 362–87.
1625:) in the drum of the dome (the only one that can be seen from the nave).
1364:
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1020:
1016:
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917:
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571:
555:
177:
4124:
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3555:
3251:"The Numerical Analyses of Santa Maria del Fiore Dome: State of the Art"
3219:
3068:
Advances and Trends in Structural Engineering, Mechanics and Computation
2330:
767:
was finished by 1380, and only the dome remained incomplete until 1418.
4975:
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3539:
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1942:
1344:
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614:
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181:
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Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture
2273:
Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture
1733:
1553:
1287:
1182:
945:
933:
498:
396:
3810:
3778:
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3117:"Cracks in a Great Dome in Florence May Point to Impending Disaster"
3066:
2165:
1249:
Model of the original medieval façade in the museum of the cathedral
994:, also in terracotta, was commissioned from the Florentine sculptor
656:, the first building of which was consecrated as a church in 393 by
566:
and was structurally completed by 1436, with the dome engineered by
3773:
3348:
Italian Renaissance Architecture: from Brunelleschi to Michelangelo
1353:
Charity among the founders of Florentine philanthropic institutions
3586:"Myth and Management in the Construction of Brunelleschi's Cupola"
1864:
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3157:"Santa Maria del Fiore Dome: Crack Patten and Monitoring Systems"
3021:"Piazza, Duomo Work: In Florence, It's Politics vs. Preservation"
2731:
Brunelleschi's Dome: The Story of the great Cathedral of Florence
2676:
Paolo Galluzzi, "Leonard de Vinci, engineer and architect", p. 50
3510:"Static Monitoring System for the Brunelleschi Dome in Florence"
3071:(Hardback). Boca Raton, Florida: CRC Press. pp. 1317–1320.
1953:
1225:
were never finished after being disapproved by no one less than
1078:
1067:
statue . This was the original placement planned for the statue.
764:
744:
621:, it still remains the largest dome ever constructed of bricks.
364:
4979:
4808:
3880:
3841:
NGM.NationalGeographic.com 2014-02 Il Duomo Cutaway Interactive
3439:
908:
The Overseers of the Office of Works of Florence Cathedral the
3498:
2706:
gives a 43 m diameter of the cupola, others as little as 42 m.
1685:
The ceiling of the dome is decorated with a representation of
1328:
In 1864, a competition held to design a new façade was won by
763:. By 1375, the old church Santa Reparata was pulled down. The
224:
2891:"Evolution of Structural Design and Potential Design Changes"
2501:
The Medici: Godfathers of the Renaissance, Birth of a Dynasty
1658:
In the back of the middle of the three apses is the altar of
1390:, there is a gallery with busts of great Florentine artists.
678:
where the enormous proposed extensions were never completed.
3703:, Livorno : Casa Editrice Sillabe S.r.l., April 2014. (
1125:
and Nanni di Banco, a model which is still displayed in the
2300:. San Giovanni Lupatoto, Vr, Italy: Arsenale Editrice srl.
1639:(1495–1497). The choir enclosure is the work of the famous
3579:
International Union of Bricklayers and Allied Craftworkers
1678:, but it is now on display in the Museum Opera del Duomo.
889:
by wide pointed Gothic arches resting on composite piers.
644:
The Duomo viewed from the heights of Piazzale Michelangelo
3613:
Manetti, Giacomo; Bellucci, Marco; Bagnoli, Luca (2020).
3533:. Los Alamos, New Mexico: Los Alamos National Laboratory.
3427:. Istituto poligrafico e Zecca dello Stato (Roma). 1995.
928:
of Florence Cathedral, though it was never placed there.
3544:
Mitteilungen des Kunsthistorischen Institutes in Florenz
3325:
The National Geographic Traveler, Florence & Tuscany
2937:. 133–134. Switzerland: Trans Tech Publications: 53–64.
2847:
The Sun in the Church. Cathedrals as Solar Observatories
2024:
List of tallest structures built before the 20th century
1101:
inner dome, open at the top to admit light, like Rome's
747:
and the side chapels. In 1359, Talenti was succeeded by
5190:
15th-century establishments in the Republic of Florence
2242:"Inside the House of Medici (Part II): Palazzo Vecchio"
1335:
The whole façade is dedicated to the Mother of Christ.
867:
windows are round, a common feature in Italian Gothic.
2981:"Diagnosis and strengthening of the Brunelleschi Dome"
2767:"ART: On the Scaffolds, a Delicate Labor in the Duomo"
2621:"NationalGeographic.com 2014-02 Il Doumo Design Video"
1511:
pulpits (the singing galleries for the choristers) of
863:
admit light; the other two are merely ornamental. The
786:. Ghiberti had been the winner of a competition for a
3249:
Bartoli, Gianni; Betti, Michele (11 September 2014).
2929:
Ottoni, Federica; Coïsson, Eva; Blasi, Carlo (2010).
2595:"NationalGeographic.com 2014-02 Il Duomo Tom Mueller"
2042:
History of medieval Arabic and Western European domes
3804:
Museums in Florence – Cathedral and Giotto Belltower
2565:"Mystery of Florence's Cathedral Dome May Be Solved"
770:
On 19 August 1418, the Arte della Lana announced an
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3918:
2377:
Stil und Überlieferung in der Kunst des Abendlandes
2343:"Santa Maria Del Fiore Church (Dome) Firenze Italy"
1874:different materials (stones to mortar connection).
1632:, the most important funeral sculptor of his time.
1367:above the central portal contains a half-relief by
912:, had plans to commission a series of twelve large
504:
494:
479:
471:
463:
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265:
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236:
231:
219:
207:
195:
187:
173:
37:
3809:Horner, Susan; Horner, Joanna (27 December 2005).
2728:
1869:Perspective illusion on the floor of the cathedral
1715:finished the other portions: (from top to bottom)
2875:(in Italian). Firenze: Stamperia Imperiale. 1757.
2209:"View of the nave and choir by ARNOLFO DI CAMBIO"
1725:Virtues, Gifts of the Holy Spirit and Beatitudes
1462:by Vasari and Zuccari (from directly underneath)
1181:Brunelleschi's ability to crown the dome with a
884:Plan of the church with various extension phases
2823:Thesaurus Florentinus project page (in Italian)
2371:the Quattrocento Background for Michelangelo's
1357:Christ enthroned with Mary and John the Baptist
547:[katteˈdraːlediˈsantamaˈriːadelˈfjoːre]
3287:(Paperback). Toronto: D.C. Heath and Company.
1603:The church is particularly notable for its 44
4991:
4820:
3892:
3014:
3012:
3010:
2134:
2132:
1621:Donatello designed the stained-glass window (
1035:Possible Statue of "Isaiah" by Nanni di Banco
932:was commissioned to carve a marble statue of
58:
52:
8:
1670:. There was also a glass-paste mosaic panel
1361:Florentine artisans, merchants and humanists
1160:Baptistery of St. John next to the cathedral
3285:The Civilization of the Italian Renaissance
2722:
2720:
2718:
2716:
2714:
2712:
2505:https://www.youtube.com/watch?v=9FFDJK8jmms
1764:Observation of the solstice on 21 June 2012
944:made the first of the statues, a figure of
73:
4998:
4984:
4976:
4827:
4813:
4805:
4136:
3899:
3885:
3877:
3019:Montalbano, William D. (21 January 1988).
2760:
2758:
2756:
2754:
2752:
2154:I Tatti Studies in the Italian Renaissance
1954:Italian National Agency for Electric Power
1919:All have formed in a symmetrical pattern.
1782:The meridian line was covered over by the
1564:, a color closest to the patina of bronze.
952:. In 1409–1411 Donatello made a statue of
624:The cathedral is the mother church of the
118:
94:
34:
5185:Roman Catholic churches completed in 1436
3638:
3386:. Cambridge: Cambridge University Press.
3218:
3150:
3148:
3146:
3144:
2943:10.4028/www.scientific.net/AMR.133-134.53
2442:
2440:
1569:Equestrian statue of Niccolò da Tolentino
1373:Mary enthroned holding a flowered scepter
4000:Museo Nazionale Alinari della Fotografia
3681:Ottonia, Federica; Blasi, Carlo (2015).
3590:Tatti Studies in the Italian Renaissance
2884:
2882:
2849:. Harvard University Press. p. 70.
2803:Istituto Poligrafico e Zecca dello Stato
1063:A fiberglass replica of Michaelangelo's
605:. These three buildings are part of the
3811:"Chapter III: The Cathedral – Exterior"
3371:The Opera del Duomo, Museum in Florence
3110:
3108:
3106:
3104:
3102:
3100:
2974:
2972:
2057:
1351:. They represent (from left to right):
1257:Modern façade built in the 19th century
1221:The decorations of the drum gallery by
1001:
3746:, 2013. (Translation from the French,
3525:Fanelli, Michele (11 September 2014).
3155:Ottoni, Federica (11 September 2014).
3060:
3058:
3056:
3054:
3052:
3050:
3048:
3046:
2924:
2922:
2920:
2918:
2916:
2801:and Riccardo Dalla Negra published by
1545:Funerary Monument to Sir John Hawkwood
1047:Donatello's colossal seated figure of
782:, the latter of whom was supported by
613:and are a major tourist attraction of
5200:Filippo Brunelleschi church buildings
2331:https://www.jstor.org/stable/23204946
2221:from the original on 26 December 2019
2188:from the original on 26 December 2019
1084:The commitment to reject traditional
558:, Italy. It was begun in 1296 in the
545:
537:Cathedral of Saint Mary of the Flower
503:
493:
478:
470:
462:
452:
443:
386:8,300 m (89,000 sq ft)
43:Cathedral of Saint Mary of the Flower
7:
5220:Renaissance architecture in Florence
3738:"The Secrets of the Florentine Dome"
3625:(2). Taylor & Francis: 141–169.
3031:from the original on 3 December 2021
2995:from the original on 3 December 2021
2779:from the original on 3 December 2021
2499:For a fictional impression see PBS'
2454:from the original on 16 January 2013
2349:from the original on 25 October 2019
2077:from the original on 19 October 2019
681:City council approved the design of
4010:Museo di Storia Naturale di Firenze
2991:. Zurich: ETH-Bibliothek: 440–448.
2889:Souza, Kelsey (11 September 2014).
2275:. New York: Bloomsbury. p. 1.
2047:List of Gothic Cathedrals in Europe
1727:; and at the bottom of the cupola:
1560:in the 19th century, is painted in
542:Cattedrale di Santa Maria del Fiore
54:Cattedrale di Santa Maria del Fiore
5180:Roman Catholic cathedrals in Italy
5027:Santa Maria degli Angeli, Florence
4147:Cathedral of Santa Maria del Fiore
3261:from the original on 26 April 2022
3230:from the original on 26 April 2022
3167:from the original on 26 April 2022
3085:from the original on 26 April 2022
2957:from the original on 26 April 2022
2901:from the original on 26 April 2022
2240:Sannio, Simone (12 January 2017).
2105:Tarihi, Güncelleme (23 May 2018).
904:Planned sculpture for the exterior
654:Basilica di San Lorenzo di Firenze
25:
3748:"Les secrets du dôme de Florence"
3449:. Suresnes: Les Editions du Net.
2696:gives a 45 m wide tambour, while
2563:Mueller, Tom (10 February 2014).
1347:above the doors were designed by
1324:was dedicated, in the main portal
716:to oversee the work. Assisted by
18:Basilica di Santa Maria del Fiore
5087:(hall of the first floor, 1430s)
4960:Siena Baptistery of San Giovanni
4123:
3693:(1). Taylor & Francis: 7–24.
3664:, pp. 50–51, archived from
3504:TV documentary, 12 February 2014
3403:Kunst & Architektur, Florenz
3129:from the original on 26 May 2013
2765:Shulman, Ken (3 December 1989).
2450:. Smarthistory at Khan Academy.
2298:Florence: An Architectural Guide
2117:from the original on 5 July 2018
1988:
1974:
1682:floor after the 1966 flooding).
1674:by the 16th-century miniaturist
1056:
1040:
1028:
1004:
847:(north side) with sculptures by
839:. There are two side doors: the
772:architectural design competition
117:
110:
5215:Gothic architecture in Florence
5210:Tourist attractions in Florence
3308:. London: Chatto & Windus.
1768:In 1475 the Italian astronomer
1552:(1436). This almost monochrome
964:in Florence, also known as the
264:
235:
75:Cathedral Sanctae Mariae Floris
5041:(began work on the dome, 1446)
4850:Camposanto Monumentale di Pisa
4022:National Archaeological Museum
3656:Mueller, Tom (February 2014),
3471:Filippo Brunelleschi 1377–1446
3445:Devémy, Jean-François (2013).
3346:Millon, Henry A., ed. (1994).
3115:Suro, Roberto (28 July 1987).
2656:Filippo Brunelleschi 1377–1446
2402:Italian Renaissance Sculpture,
2009:Roman Catholic Marian churches
1945:; eight livellometers and two
1379:sculpted the right-hand door.
1:
5175:Basilica churches in Florence
4472:British Institute of Florence
3631:10.1080/21552851.2019.1686036
3495:"The Great Cathedral Mystery"
3440:Library of Congress permalink
3283:Bartlett, Kenneth R. (1992).
2845:Heilbron, John Lewis (1990).
2413:
1612:Christ crowning Mary as Queen
5205:Fresco paintings in Florence
4037:Palazzo dell'Arte dei Beccai
4005:Museo Nazionale di San Marco
3662:National Geographic Magazine
2400:Pope-Hennessey, John (1958)
2067:"Duomo di Firenze, Florence"
1737:, while Zuccari had painted
1017:Museo Nazionale del Bargello
5195:Church buildings with domes
4340:S Maria Maddalena dei Pazzi
4285:Oratory of S Thomas Aquinas
3538:Gamberini, Diletta (2017).
3382:Tacconi, Marica S. (2005).
3329:National Geographic Society
3190:. Zurich. pp. 169–178.
2935:Advanced Materials Research
2569:National Geographic Society
2388:
2379:, Berlin, 1967, II, 96–105.
2004:Italian Gothic architecture
1701:The 24 Elders of Apocalypse
1647:works inside the sacristy:
1618:in the early 14th century.
1534:Before the City of Florence
1096:, marking a break with the
1011:Donatello first version of
940:for several years. In 1410
611:historic centre of Florence
458:Historic Centre of Florence
131:Location in Florence, Italy
5241:
4920:Piazza del Duomo, Florence
4771:Maggio Musicale Fiorentino
4487:Kunsthistorisches Institut
4325:S Giovannino dei Cavalieri
4320:S Giovannino degli Scolopi
4280:Oratory of Gesù Pellegrino
4260:Battistero di San Giovanni
4230:Bartolini Salimbeni Chapel
4121:
3990:Museo dell'Opera del Duomo
3774:L'Opera del Duomo, Firenze
3598:10.1086/its.14_15.41781523
3469:Gärtner, Peter J. (1998).
2207:Krén, Emil; Marx, Daniel.
1933:, the local branch of the
1770:Paolo dal Pozzo Toscanelli
1672:The Bust of Saint Zanobius
1493:Tomb of Antonio d'Orso by
1127:Museo dell'Opera del Duomo
833:Battistero di San Giovanni
607:UNESCO World Heritage Site
593:The cathedral complex, in
447:UNESCO World Heritage Site
378:114.5 m (376 ft)
4840:
4784:
4766:Calcio storico fiorentino
3619:Accounting History Review
3584:Haines, Margaret (2011).
3520:. Zurich: ETH-Bibliothek.
3369:Montrésor, Carlo (2000).
2799:Cristina Acidini Luchinat
2345:. En.firenze-online.com.
2148:Haines, Margaret (1989).
2065:Ermengem, Kristiaan Van.
1756:Astronomical observations
1402:Interior of the cathedral
1151:herringbone brick pattern
1049:Saint John the Evangelist
954:Saint John the Evangelist
898:tallest dome in the world
759:, Neri di Fioravanti and
518:
514:
440:
139:
105:
93:
47:
42:
5079:Ospedale degli Innocenti
4860:Castello dell'Imperatore
4845:Basilica of San Frediano
4677:Orto Botanico di Firenze
4497:National Central Library
4032:Ospedale degli Innocenti
3975:Loggia del Mercato Nuovo
3858:23 February 2018 at the
3779:Brunelleschi's Dome – en
3754:, n° 96, Mai, Juin 2003)
3727:) for the dome's bricks.
3473:. Köln : Könemann.
2029:Santa Reparata, Florence
1623:Coronation of the Virgin
1418:Huge clock decorated by
1282:, ordered by Grand Duke
1266:, and in the drawing of
509:Europe and North America
351:153 m (502 ft)
32:Church in Tuscany, Italy
27:Church in Tuscany, Italy
5085:Palazzo di Parte Guelfa
5033:Santo Spirito, Florence
5029:(1434–1437; unfinished)
4955:Santa Maria della Pieve
4579:Piazza della Repubblica
4466:Palazzo Medici Riccardi
4275:Oratorio dei Vanchetoni
4096:Studiolo of Francesco I
4057:Palazzo Medici Riccardi
3946:Galleria dell'Accademia
3401:Wirtz, Rolf C. (2005).
2523:Stevenson, Niel (2007)
2510:23 January 2017 at the
2296:Zucconi, Guido (1995).
1721:Christ, Mary and Saints
710:guild of wool merchants
626:Archdiocese of Florence
418:Archdiocese of Florence
370:38 m (125 ft)
359:90 m (300 ft)
4905:Piazza Dante, Grosseto
4462:Biblioteca Riccardiana
4360:S Salvatore al Vescovo
4310:S Frediano in Cestello
4074:Museo delle Porcellane
3789:The Florence Art Guide
3564:"Secrets of the Duomo"
2525:Architecture Explained
2367:Charles Seymour, Jr. "
2038:, 2013 Dan Brown novel
1958:University of Florence
1870:
1803:
1765:
1653:Resurrection of Christ
1649:Angel with Candlestick
1641:Bartolommeo Bandinelli
1497:
1486:
1474:
1463:
1452:
1435:
1422:
1411:
1403:
1325:
1309:
1284:Francesco I de' Medici
1258:
1250:
1208:
1161:
1137:
1090:Giovanni di Lapo Ghini
976:(both from 1415); the
968:. These works are the
885:
749:Giovanni di Lapo Ghini
736:
645:
628:, whose archbishop is
570:. The exterior of the
540:
532:
74:
59:
53:
5225:Cathedrals in Tuscany
5106:(c. 1412; attributed)
5035:(ground broken, 1446)
5021:San Lorenzo, Florence
4885:Leaning Tower of Pisa
4789:Districts of Florence
4759:Events and traditions
4599:Piazzale Michelangelo
4584:Piazza della Signoria
4350:S Martino del Vescovo
3846:31 March 2018 at the
2735:. New York: Penguin.
2698:Santa Maria del Fiore
2448:"Brunelleschi's Dome"
2369:Homo Magnus et Albus:
2019:List of tallest domes
2014:List of largest domes
1868:
1797:
1763:
1750:Thesaurus Florentinus
1729:Capital Sins and Hell
1558:transferred to canvas
1538:Domenico di Michelino
1492:
1485:by Vasari and Zuccari
1480:
1473:by Vasari and Zuccari
1469:
1458:
1441:
1428:
1417:
1409:
1401:
1315:
1304:
1256:
1248:
1206:
1159:
1135:
1023:. Height 191 cm.
962:Santa Maria del Fiore
883:
843:(south side) and the
841:Doors of the Canonici
734:
643:
562:style to a design of
158:43.77306°N 11.25694°E
5007:Filippo Brunelleschi
4835:Landmarks of Tuscany
4723:del Poggio Imperiale
4718:Medicea L'Ambrogiana
4551:Teatro della Pergola
4335:S Maria degli Angeli
4265:Certosa del Galluzzo
4081:Palazzo Spini Feroni
3960:Garden of Archimedes
3870:1 March 2018 at the
3834:5 April 2018 at the
3569:28 July 2014 at the
3463:in line presentation
3323:Jepson, Tim (2001).
3213:(4268). MDPI: 4268.
3201:Como, Mario (2021).
2692:20 June 2021 at the
1861:Cracking of the dome
1835:Filippo Brunelleschi
1820:Zenobius of Florence
1800:Filippo Brunelleschi
1666:by the lesser-known
1590:Antonio Squarcialupi
1523:Filippo Brunelleschi
1449:Niccolò da Tolentino
1280:Bernardo Buontalenti
1136:Interior of the dome
857:Jacopo della Quercia
845:Door of the Mandorla
809:Nuper rosarum flores
788:pair of bronze doors
780:Filippo Brunelleschi
658:St. Ambrose of Milan
652:; the first was the
568:Filippo Brunelleschi
280:Filippo Brunelleschi
4910:Piazza dei Miracoli
4865:Florence Baptistery
4682:Parco delle Cascine
4672:Giardino delle Rose
4513:Fountain of Neptune
4477:Gabinetto Vieusseux
4203:S Maria del Carmine
4047:Palazzo Della Stufa
3721:herringbone pattern
3302:King, Ross (2000).
3220:10.3390/app11094268
2828:17 May 2021 at the
2727:King, Ross (2001).
2271:King, Ross (2000).
1935:Ministry of Culture
1709:Domenico Passignano
1705:Bartolomeo Carducci
1693:Cosimo I de' Medici
1637:Benedetto da Maiano
1574:Andrea del Castagno
1268:Bernardino Poccetti
916:sculptures for the
837:Giotto's Bell Tower
757:Giovanni d'Ambrogio
619:St Peter's Basilica
154: /
5170:Florence Cathedral
5039:Florence Cathedral
4935:Pistoia Cathedral
4875:Giotto's Campanile
4870:Florence Cathedral
4667:Giardino dell'Iris
4620:Via de' Tornabuoni
4594:Piazza San Lorenzo
4589:Piazza Santa Croce
4518:Giotto's Campanile
4492:Laurentian Library
4446:Giotto's Campanile
4375:S Stefano al Ponte
4330:S Jacopo sopr'Arno
4215:S Miniato al Monte
3965:Loggia del Bigallo
3743:Schiller Institute
3736:Vereycken, Karel,
3122:The New York Times
2772:The New York Times
2645:King, pp. 105–107.
2514:at the 20:15 mark)
2252:on 7 February 2020
2214:Web Gallery of Art
1996:Catholicism portal
1871:
1825:Conrad II of Italy
1804:
1766:
1498:
1487:
1483:The Last Judgement
1475:
1471:The Last Judgement
1464:
1460:The Last Judgement
1453:
1436:
1423:
1412:
1404:
1326:
1322:previous cathedral
1310:
1296:Alessandro Pieroni
1259:
1251:
1209:
1207:Cupola of the Dome
1162:
1138:
996:Agostino di Duccio
978:Sacrifice of Isaac
920:of the cathedral.
886:
876:Plan and structure
737:
646:
603:Giotto's Campanile
525:Florence Cathedral
495:Reference no.
475:i, ii, iii, iv, vi
294:Architectural type
163:43.77306; 11.25694
125:Florence Cathedral
38:Florence Cathedral
5157:
5156:
5134:6055 Brunelleschi
5072:Secular buildings
4973:
4972:
4802:
4801:
4794:Trams in Florence
4776:Scoppio del carro
4650:Gardens and parks
4641:Fortezza da Basso
4523:Monument to Dante
4431:dei Gianfigliazzi
4399:
4398:
4370:Ss Simone e Giuda
4186:Tornabuoni Chapel
4157:Baroncelli Chapel
4042:Palazzo Davanzati
3815:Walks in Florence
3713:978-88-8347-691-4
3577:, Issue 2, 2014,
3480:978-3-8290-0241-7
3456:978-2-312-01329-9
3434:978-88-240-3956-7
3393:978-0-521-81704-2
3361:978-0-500-27921-2
3352:Thames and Hudson
3338:978-90-215-9720-1
3078:978-0-415-58472-2
3025:Los Angeles Times
2425:Seymour, 100–101.
2307:978-88-7743-147-9
2282:978-0-8027-1366-7
2246:L'Italo-Americano
1840:Giotto di Bondone
1752:computer system.
1745:The Last Judgment
1688:The Last Judgment
1676:Monte di Giovanni
1668:Giovanni Balducci
1513:Luca della Robbia
1377:Giuseppe Cassioli
1307:Augusto Passaglia
1213:Leonardo da Vinci
1086:Gothic buttresses
970:Beardless Prophet
741:Francesco Talenti
683:Arnolfo di Cambio
674:and particularly
630:Gherardo Gambelli
564:Arnolfo di Cambio
522:
521:
490:
435:Gherardo Gambelli
275:Arnolfo di Cambio
16:(Redirected from
5232:
5150:(2016 TV series)
5142:(Mercury crater)
5000:
4993:
4986:
4977:
4945:Prato Cathedral
4915:Piazza del Campo
4900:Palazzo Pubblico
4895:Malaspina Castle
4829:
4822:
4815:
4806:
4574:Piazza del Duomo
4345:S Maria Maggiore
4255:Badia Fiorentina
4208:Brancacci Chapel
4137:
4127:
3980:Loggia del Pesce
3970:Loggia dei Lanzi
3901:
3894:
3887:
3878:
3825:
3823:
3821:
3800:
3798:
3796:
3770:
3769:
3767:Official website
3697:Ricci, Massimo,
3694:
3676:
3675:
3673:
3652:
3642:
3609:
3559:
3534:
3521:
3484:
3460:
3438:
3420:
3397:
3378:
3365:
3342:
3319:
3298:
3271:
3270:
3268:
3266:
3246:
3240:
3239:
3237:
3235:
3229:
3222:
3207:Applied Sciences
3198:
3192:
3191:
3183:
3177:
3176:
3174:
3172:
3152:
3139:
3138:
3136:
3134:
3112:
3095:
3094:
3092:
3090:
3062:
3041:
3040:
3038:
3036:
3016:
3005:
3004:
3002:
3000:
2976:
2967:
2966:
2964:
2962:
2926:
2911:
2910:
2908:
2906:
2886:
2877:
2876:
2867:
2861:
2860:
2842:
2836:
2820:
2814:
2805:(Roma) in 1995 (
2795:
2789:
2788:
2786:
2784:
2762:
2747:
2746:
2734:
2724:
2707:
2683:
2677:
2674:
2668:
2665:
2659:
2654:Gartner, Peter,
2652:
2646:
2643:
2637:
2636:
2634:
2632:
2627:on 27 March 2018
2623:. Archived from
2617:
2611:
2610:
2608:
2606:
2597:. Archived from
2591:
2585:
2584:
2582:
2580:
2571:. Archived from
2560:
2554:
2551:
2545:
2544:King, pp. 70–73.
2542:
2536:
2521:
2515:
2497:
2491:
2488:
2482:
2479:
2473:
2470:
2464:
2463:
2461:
2459:
2444:
2435:
2432:
2426:
2423:
2417:
2411:
2405:
2398:
2392:
2386:
2380:
2365:
2359:
2358:
2356:
2354:
2339:
2333:
2327:
2321:
2320:King, pp. 76–79.
2318:
2312:
2311:
2293:
2287:
2286:
2268:
2262:
2261:
2259:
2257:
2248:. Archived from
2237:
2231:
2230:
2228:
2226:
2204:
2198:
2197:
2195:
2193:
2145:
2139:
2136:
2127:
2126:
2124:
2122:
2102:
2096:
2093:
2087:
2086:
2084:
2082:
2071:A View On Cities
2062:
1998:
1993:
1992:
1984:
1979:
1978:
1977:
1845:Pope Nicholas II
1830:Giovanni Benelli
1777:Leonardo Ximenes
1717:Choirs of Angels
1349:Niccolò Barabino
1330:Emilio De Fabris
1060:
1044:
1032:
1008:
784:Cosimo de Medici
776:Lorenzo Ghiberti
668:Giovanni Villani
595:Piazza del Duomo
588:Emilio De Fabris
549:
535:), formally the
533:Duomo di Firenze
484:
330:9 September 1296
285:Emilio De Fabris
227:
169:
168:
166:
165:
164:
159:
155:
152:
151:
150:
147:
121:
120:
114:
98:
85:
77:
70:
62:
60:Duomo di Firenze
56:
35:
21:
5240:
5239:
5235:
5234:
5233:
5231:
5230:
5229:
5160:
5159:
5158:
5153:
5117:
5090:
5067:
5044:
5023:(begun c. 1419)
5009:
5004:
4974:
4969:
4965:Siena Cathedral
4890:Lucca Cathedral
4836:
4833:
4803:
4798:
4780:
4754:
4686:
4657:Bardini Gardens
4645:
4624:
4603:
4560:
4546:Teatro Comunale
4532:
4501:
4481:Palazzo Strozzi
4450:
4426:dei Della Bella
4421:dei Belfredelli
4395:
4391:Great Synagogue
4379:
4241:
4235:Sassetti Chapel
4181:S Maria Novella
4133:Religious sites
4128:
4119:
4113:Vasari Corridor
4103:Stibbert Museum
4091:Palazzo Vecchio
4086:Palazzo Strozzi
3985:Loggia Rucellai
3936:Casa Buonarroti
3923:
3914:
3905:
3872:Wayback Machine
3860:Wayback Machine
3848:Wayback Machine
3836:Wayback Machine
3819:
3817:
3808:
3794:
3792:
3785:"The Cathedral"
3783:
3765:
3764:
3761:
3680:
3671:
3669:
3655:
3612:
3583:
3571:Wayback Machine
3537:
3524:
3507:
3491:
3489:Further reading
3481:
3468:
3457:
3444:
3435:
3423:
3417:
3400:
3394:
3381:
3368:
3362:
3345:
3339:
3322:
3316:
3301:
3295:
3282:
3279:
3274:
3264:
3262:
3248:
3247:
3243:
3233:
3231:
3227:
3200:
3199:
3195:
3185:
3184:
3180:
3170:
3168:
3154:
3153:
3142:
3132:
3130:
3114:
3113:
3098:
3088:
3086:
3079:
3064:
3063:
3044:
3034:
3032:
3018:
3017:
3008:
2998:
2996:
2978:
2977:
2970:
2960:
2958:
2928:
2927:
2914:
2904:
2902:
2888:
2887:
2880:
2869:
2868:
2864:
2857:
2844:
2843:
2839:
2830:Wayback Machine
2821:
2817:
2796:
2792:
2782:
2780:
2764:
2763:
2750:
2743:
2726:
2725:
2710:
2694:Wayback Machine
2684:
2680:
2675:
2671:
2666:
2662:
2653:
2649:
2644:
2640:
2630:
2628:
2619:
2618:
2614:
2604:
2602:
2593:
2592:
2588:
2578:
2576:
2575:on 30 June 2019
2562:
2561:
2557:
2552:
2548:
2543:
2539:
2522:
2518:
2512:Wayback Machine
2498:
2494:
2489:
2485:
2480:
2476:
2471:
2467:
2457:
2455:
2446:
2445:
2438:
2433:
2429:
2424:
2420:
2412:
2408:
2404:London, pp. 6–7
2399:
2395:
2387:
2383:
2366:
2362:
2352:
2350:
2341:
2340:
2336:
2328:
2324:
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2308:
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2255:
2253:
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2234:
2224:
2222:
2206:
2205:
2201:
2191:
2189:
2166:10.2307/4603662
2147:
2146:
2142:
2137:
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2120:
2118:
2104:
2103:
2099:
2094:
2090:
2080:
2078:
2064:
2063:
2059:
2055:
1994:
1987:
1980:
1975:
1973:
1970:
1863:
1850:Pope Stephen IX
1816:
1792:
1758:
1630:Tino da Camaino
1586:Marsilio Ficino
1515:and Donatello.
1495:Tino da Camaino
1396:
1341:
1305:Main portal by
1243:
1223:Baccio d'Agnolo
1098:Medieval Gothic
1075:
1068:
1061:
1052:
1045:
1036:
1033:
1024:
1009:
986:(1423–25); and
974:Bearded Prophet
910:Arte della Lana
906:
878:
873:
812:was performed.
804:Guillaume Dufay
753:Alberto Arnoldi
706:Arte della Lana
691:Palazzo Vecchio
638:
597:, includes the
449:
317:
289:
223:
202:Catholic Church
162:
160:
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153:
148:
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33:
28:
23:
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15:
12:
11:
5:
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5154:
5152:
5151:
5143:
5137:
5131:
5125:
5123:
5119:
5118:
5116:
5115:
5114:(c. 1410–1415)
5107:
5098:
5096:
5092:
5091:
5089:
5088:
5082:
5075:
5073:
5069:
5068:
5066:
5065:
5059:
5056:Capponi Chapel
5052:
5050:
5046:
5045:
5043:
5042:
5036:
5030:
5024:
5017:
5015:
5011:
5010:
5005:
5003:
5002:
4995:
4988:
4980:
4971:
4970:
4968:
4967:
4962:
4957:
4952:
4947:
4942:
4937:
4932:
4930:Pisa Cathedral
4927:
4922:
4917:
4912:
4907:
4902:
4897:
4892:
4887:
4882:
4877:
4872:
4867:
4862:
4857:
4855:Cassero Senese
4852:
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4841:
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4834:
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4781:
4779:
4778:
4773:
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4762:
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4755:
4753:
4752:
4747:
4742:
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4705:
4694:
4692:
4688:
4687:
4685:
4684:
4679:
4674:
4669:
4664:
4662:Boboli Gardens
4659:
4653:
4651:
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4646:
4644:
4643:
4638:
4632:
4630:
4626:
4625:
4623:
4622:
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4611:
4609:
4605:
4604:
4602:
4601:
4596:
4591:
4586:
4581:
4576:
4570:
4568:
4562:
4561:
4559:
4558:
4553:
4548:
4542:
4540:
4534:
4533:
4531:
4530:
4525:
4520:
4515:
4509:
4507:
4503:
4502:
4500:
4499:
4494:
4489:
4484:
4474:
4469:
4458:
4456:
4452:
4451:
4449:
4448:
4443:
4438:
4433:
4428:
4423:
4418:
4413:
4407:
4405:
4404:Towers (Torri)
4401:
4400:
4397:
4396:
4394:
4393:
4387:
4385:
4381:
4380:
4378:
4377:
4372:
4367:
4362:
4357:
4352:
4347:
4342:
4337:
4332:
4327:
4322:
4317:
4312:
4307:
4302:
4297:
4292:
4287:
4282:
4277:
4272:
4267:
4262:
4257:
4251:
4249:
4243:
4242:
4240:
4239:
4238:
4237:
4232:
4222:
4217:
4212:
4211:
4210:
4200:
4195:
4190:
4189:
4188:
4178:
4177:
4176:
4174:Medici Chapels
4166:
4165:
4164:
4159:
4149:
4143:
4141:
4134:
4130:
4129:
4122:
4120:
4118:
4117:
4116:
4115:
4105:
4100:
4099:
4098:
4088:
4083:
4078:
4077:
4076:
4066:
4065:
4064:
4054:
4049:
4044:
4039:
4034:
4029:
4024:
4019:
4018:
4017:
4007:
4002:
3997:
3992:
3987:
3982:
3977:
3972:
3967:
3962:
3957:
3956:
3955:
3943:
3938:
3933:
3927:
3925:
3916:
3915:
3906:
3904:
3903:
3896:
3889:
3881:
3875:
3874:
3862:
3850:
3838:
3826:
3806:
3801:
3781:
3776:
3771:
3760:
3759:External links
3757:
3756:
3755:
3734:
3730:Rice, John A.
3728:
3695:
3678:
3668:on 25 May 2016
3653:
3610:
3581:
3560:
3546:(in Italian).
3535:
3522:
3505:
3490:
3487:
3486:
3485:
3479:
3466:
3455:
3442:
3433:
3421:
3415:
3398:
3392:
3379:
3366:
3360:
3343:
3337:
3320:
3314:
3299:
3293:
3278:
3275:
3273:
3272:
3241:
3193:
3178:
3140:
3125:. p. C3.
3096:
3077:
3042:
3006:
2968:
2912:
2878:
2862:
2855:
2837:
2815:
2790:
2748:
2741:
2708:
2685:Figures vary.
2678:
2669:
2660:
2647:
2638:
2612:
2601:on 25 May 2016
2586:
2555:
2546:
2537:
2516:
2492:
2483:
2474:
2465:
2436:
2427:
2418:
2406:
2393:
2381:
2360:
2334:
2322:
2313:
2306:
2288:
2281:
2263:
2232:
2199:
2140:
2128:
2113:(in Turkish).
2097:
2088:
2056:
2054:
2051:
2050:
2049:
2044:
2039:
2031:
2026:
2021:
2016:
2011:
2006:
2000:
1999:
1985:
1969:
1966:
1962:Soprintendenza
1931:Soprintendenza
1917:
1916:
1913:
1910:
1907:
1862:
1859:
1858:
1857:
1852:
1847:
1842:
1837:
1832:
1827:
1822:
1815:
1812:
1808:Franklin Toker
1791:
1788:
1757:
1754:
1697:Giorgio Vasari
1660:Saint Zanobius
1594:
1593:
1582:
1565:
1541:
1429:Dante and the
1395:
1392:
1369:Tito Sarrocchi
1340:
1337:
1320:, to whom the
1318:Saint Reparata
1272:Andrea Orcagna
1242:
1239:
1074:
1071:
1070:
1069:
1062:
1055:
1053:
1046:
1039:
1037:
1034:
1027:
1025:
1010:
1003:
930:Nanni di Banco
905:
902:
877:
874:
872:
869:
849:Nanni di Banco
799:Pope Eugene IV
761:Andrea Orcagna
702:Saint Zenobius
650:Saint Reparata
637:
634:
584:Gothic Revival
574:is faced with
520:
519:
516:
515:
512:
511:
506:
502:
501:
496:
492:
491:
481:
477:
476:
473:
469:
468:
465:
461:
460:
455:
451:
450:
445:
442:
441:
438:
437:
432:
426:
425:
421:
420:
415:
409:
408:
407:Administration
404:
403:
394:
388:
387:
384:
380:
379:
376:
372:
371:
368:
361:
360:
357:
353:
352:
349:
345:
344:
343:Specifications
340:
339:
336:
332:
331:
328:
326:Groundbreaking
322:
321:
307:
301:
300:
295:
291:
290:
288:
287:
282:
277:
271:
269:
263:
262:
258:
257:
254:
248:
247:
245:minor basilica
238:
234:
233:
229:
228:
221:
217:
216:
211:
205:
204:
199:
193:
192:
189:
185:
184:
175:
171:
170:
137:
136:
130:
124:
123:
116:
115:
109:
108:
107:
106:
103:
102:
99:
91:
90:
87:
86:
71:
49:
48:
45:
44:
40:
39:
31:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
5237:
5226:
5223:
5221:
5218:
5216:
5213:
5211:
5208:
5206:
5203:
5201:
5198:
5196:
5193:
5191:
5188:
5186:
5183:
5181:
5178:
5176:
5173:
5171:
5168:
5167:
5165:
5149:
5148:
5144:
5141:
5138:
5135:
5132:
5130:
5127:
5126:
5124:
5120:
5113:
5112:
5108:
5105:
5104:
5100:
5099:
5097:
5093:
5086:
5083:
5080:
5077:
5076:
5074:
5070:
5063:
5060:
5057:
5054:
5053:
5051:
5047:
5040:
5037:
5034:
5031:
5028:
5025:
5022:
5019:
5018:
5016:
5012:
5008:
5001:
4996:
4994:
4989:
4987:
4982:
4981:
4978:
4966:
4963:
4961:
4958:
4956:
4953:
4951:
4950:San Gimignano
4948:
4946:
4943:
4941:
4938:
4936:
4933:
4931:
4928:
4926:
4923:
4921:
4918:
4916:
4913:
4911:
4908:
4906:
4903:
4901:
4898:
4896:
4893:
4891:
4888:
4886:
4883:
4881:
4880:Guinigi Tower
4878:
4876:
4873:
4871:
4868:
4866:
4863:
4861:
4858:
4856:
4853:
4851:
4848:
4846:
4843:
4842:
4839:
4830:
4825:
4823:
4818:
4816:
4811:
4810:
4807:
4795:
4792:
4790:
4787:
4786:
4783:
4777:
4774:
4772:
4769:
4767:
4764:
4763:
4761:
4757:
4751:
4748:
4746:
4743:
4741:
4738:
4736:
4733:
4731:
4728:
4724:
4721:
4719:
4716:
4714:
4711:
4709:
4706:
4704:
4701:
4700:
4699:
4698:Medici villas
4696:
4695:
4693:
4689:
4683:
4680:
4678:
4675:
4673:
4670:
4668:
4665:
4663:
4660:
4658:
4655:
4654:
4652:
4648:
4642:
4639:
4637:
4634:
4633:
4631:
4627:
4621:
4618:
4616:
4613:
4612:
4610:
4606:
4600:
4597:
4595:
4592:
4590:
4587:
4585:
4582:
4580:
4577:
4575:
4572:
4571:
4569:
4567:
4563:
4557:
4554:
4552:
4549:
4547:
4544:
4543:
4541:
4539:
4535:
4529:
4528:Ponte Vecchio
4526:
4524:
4521:
4519:
4516:
4514:
4511:
4510:
4508:
4504:
4498:
4495:
4493:
4490:
4488:
4485:
4482:
4478:
4475:
4473:
4470:
4467:
4463:
4460:
4459:
4457:
4453:
4447:
4444:
4442:
4439:
4437:
4434:
4432:
4429:
4427:
4424:
4422:
4419:
4417:
4416:degli Alberti
4414:
4412:
4409:
4408:
4406:
4402:
4392:
4389:
4388:
4386:
4382:
4376:
4373:
4371:
4368:
4366:
4363:
4361:
4358:
4356:
4353:
4351:
4348:
4346:
4343:
4341:
4338:
4336:
4333:
4331:
4328:
4326:
4323:
4321:
4318:
4316:
4313:
4311:
4308:
4306:
4303:
4301:
4298:
4296:
4293:
4291:
4288:
4286:
4283:
4281:
4278:
4276:
4273:
4271:
4268:
4266:
4263:
4261:
4258:
4256:
4253:
4252:
4250:
4248:
4244:
4236:
4233:
4231:
4228:
4227:
4226:
4223:
4221:
4218:
4216:
4213:
4209:
4206:
4205:
4204:
4201:
4199:
4196:
4194:
4193:SS Annunziata
4191:
4187:
4184:
4183:
4182:
4179:
4175:
4172:
4171:
4170:
4167:
4163:
4160:
4158:
4155:
4154:
4153:
4150:
4148:
4145:
4144:
4142:
4138:
4135:
4131:
4126:
4114:
4111:
4110:
4109:
4106:
4104:
4101:
4097:
4094:
4093:
4092:
4089:
4087:
4084:
4082:
4079:
4075:
4072:
4071:
4070:
4069:Palazzo Pitti
4067:
4063:
4060:
4059:
4058:
4055:
4053:
4052:Palazzo Gondi
4050:
4048:
4045:
4043:
4040:
4038:
4035:
4033:
4030:
4028:
4025:
4023:
4020:
4016:
4013:
4012:
4011:
4008:
4006:
4003:
4001:
3998:
3996:
3995:Museo Galileo
3993:
3991:
3988:
3986:
3983:
3981:
3978:
3976:
3973:
3971:
3968:
3966:
3963:
3961:
3958:
3954:
3953:
3949:
3948:
3947:
3944:
3942:
3939:
3937:
3934:
3932:
3929:
3928:
3926:
3921:
3917:
3913:
3909:
3902:
3897:
3895:
3890:
3888:
3883:
3882:
3879:
3873:
3869:
3866:
3863:
3861:
3857:
3854:
3851:
3849:
3845:
3842:
3839:
3837:
3833:
3830:
3827:
3816:
3812:
3807:
3805:
3802:
3790:
3786:
3782:
3780:
3777:
3775:
3772:
3768:
3763:
3762:
3758:
3753:
3749:
3745:
3744:
3739:
3735:
3733:
3729:
3726:
3725:spina a pesce
3722:
3718:
3717:inverted arch
3714:
3710:
3706:
3702:
3701:
3696:
3692:
3688:
3684:
3679:
3667:
3663:
3659:
3654:
3650:
3646:
3641:
3636:
3632:
3628:
3624:
3620:
3616:
3611:
3607:
3603:
3599:
3595:
3591:
3587:
3582:
3580:
3576:
3572:
3568:
3565:
3561:
3557:
3553:
3549:
3545:
3541:
3536:
3532:
3528:
3523:
3519:
3515:
3514:IABSE Reports
3511:
3506:
3503:
3500:
3496:
3493:
3492:
3488:
3482:
3476:
3472:
3467:
3464:
3458:
3452:
3448:
3443:
3441:
3436:
3430:
3426:
3422:
3418:
3416:3-8331-1576-9
3412:
3408:
3404:
3399:
3395:
3389:
3385:
3380:
3376:
3372:
3367:
3363:
3357:
3353:
3349:
3344:
3340:
3334:
3330:
3326:
3321:
3317:
3315:9781620401941
3311:
3307:
3306:
3300:
3296:
3294:0-669-20900-7
3290:
3286:
3281:
3280:
3276:
3260:
3256:
3252:
3245:
3242:
3226:
3221:
3216:
3212:
3208:
3204:
3197:
3194:
3189:
3182:
3179:
3166:
3162:
3158:
3151:
3149:
3147:
3145:
3141:
3128:
3124:
3123:
3118:
3111:
3109:
3107:
3105:
3103:
3101:
3097:
3084:
3080:
3074:
3070:
3069:
3061:
3059:
3057:
3055:
3053:
3051:
3049:
3047:
3043:
3030:
3026:
3022:
3015:
3013:
3011:
3007:
2994:
2990:
2986:
2985:IABSE Reports
2982:
2975:
2973:
2969:
2956:
2952:
2948:
2944:
2940:
2936:
2932:
2925:
2923:
2921:
2919:
2917:
2913:
2900:
2896:
2892:
2885:
2883:
2879:
2874:
2873:
2866:
2863:
2858:
2852:
2848:
2841:
2838:
2835:
2831:
2827:
2824:
2819:
2816:
2812:
2808:
2804:
2800:
2794:
2791:
2778:
2774:
2773:
2768:
2761:
2759:
2757:
2755:
2753:
2749:
2744:
2742:0-8027-1366-1
2738:
2733:
2732:
2723:
2721:
2719:
2717:
2715:
2713:
2709:
2705:
2704:
2699:
2695:
2691:
2688:
2682:
2679:
2673:
2670:
2664:
2661:
2657:
2651:
2648:
2642:
2639:
2626:
2622:
2616:
2613:
2600:
2596:
2590:
2587:
2574:
2570:
2566:
2559:
2556:
2550:
2547:
2541:
2538:
2534:
2530:
2526:
2520:
2517:
2513:
2509:
2506:
2502:
2496:
2493:
2487:
2484:
2478:
2475:
2469:
2466:
2453:
2449:
2443:
2441:
2437:
2431:
2428:
2422:
2419:
2415:
2410:
2407:
2403:
2397:
2394:
2390:
2385:
2382:
2378:
2375:of 1501–04,"
2374:
2370:
2364:
2361:
2348:
2344:
2338:
2335:
2332:
2326:
2323:
2317:
2314:
2309:
2303:
2299:
2292:
2289:
2284:
2278:
2274:
2267:
2264:
2251:
2247:
2243:
2236:
2233:
2220:
2216:
2215:
2210:
2203:
2200:
2187:
2183:
2179:
2175:
2171:
2167:
2163:
2159:
2155:
2151:
2144:
2141:
2135:
2133:
2129:
2116:
2112:
2108:
2101:
2098:
2092:
2089:
2076:
2072:
2068:
2061:
2058:
2052:
2048:
2045:
2043:
2040:
2037:
2036:
2032:
2030:
2027:
2025:
2022:
2020:
2017:
2015:
2012:
2010:
2007:
2005:
2002:
2001:
1997:
1991:
1986:
1983:
1972:
1967:
1965:
1963:
1959:
1955:
1950:
1948:
1944:
1940:
1936:
1932:
1927:
1925:
1920:
1914:
1911:
1908:
1904:
1903:
1902:
1898:
1894:
1890:
1886:
1882:
1878:
1875:
1867:
1860:
1856:
1855:John Hawkwood
1853:
1851:
1848:
1846:
1843:
1841:
1838:
1836:
1833:
1831:
1828:
1826:
1823:
1821:
1818:
1817:
1814:Other burials
1813:
1811:
1809:
1801:
1796:
1789:
1787:
1785:
1780:
1778:
1773:
1771:
1762:
1755:
1753:
1751:
1746:
1742:
1741:
1736:
1735:
1730:
1726:
1722:
1718:
1714:
1713:Stefano Pieri
1710:
1706:
1702:
1698:
1694:
1690:
1689:
1683:
1679:
1677:
1673:
1669:
1665:
1661:
1656:
1654:
1650:
1646:
1642:
1638:
1633:
1631:
1626:
1624:
1619:
1617:
1613:
1609:
1606:
1605:stained glass
1601:
1599:
1591:
1587:
1583:
1579:
1575:
1571:
1570:
1566:
1563:
1559:
1555:
1551:
1550:Paolo Uccello
1547:
1546:
1542:
1539:
1535:
1533:
1529:
1528:
1527:
1524:
1519:
1516:
1514:
1510:
1505:
1503:
1496:
1491:
1484:
1479:
1472:
1468:
1461:
1457:
1450:
1446:
1445:
1440:
1434:
1433:
1432:Divine Comedy
1427:
1421:
1420:Paolo Uccello
1416:
1408:
1400:
1393:
1391:
1389:
1385:
1380:
1378:
1374:
1370:
1366:
1362:
1358:
1354:
1350:
1346:
1338:
1336:
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664:
663:Nuova Cronica
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5062:Pazzi Chapel
5058:(begun 1420)
5038:
4940:Poppi Castle
4869:
4556:Teatro Verdi
4436:dei Mannelli
4411:degli Amidei
4290:Orsanmichele
4162:Pazzi Chapel
4146:
4027:Orsanmichele
3951:
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3814:
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3788:
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2667:King, p. 69.
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2625:the original
2615:
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2599:the original
2589:
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2573:the original
2558:
2553:King, p. 97.
2549:
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2212:
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2138:Barlett, 36.
2119:. Retrieved
2110:
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1598:hora italica
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1444:Trompe-l'œil
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1292:
1276:Taddeo Gaddi
1260:
1235:
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1227:Michelangelo
1220:
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695:papal legate
680:
661:
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524:
523:
267:Architect(s)
261:Architecture
214:Latin Church
197:Denomination
29:
5129:Perspective
5103:Saint Peter
5064:(1442–1443)
4740:Il Gioiello
4703:di Castello
4355:S Pancrazio
4300:Ss Apostoli
4062:Magi Chapel
3924:and palaces
3922:, galleries
3750:, la revue
3719:and uses a
3672:28 December
3562:Hunt, Don,
3277:Cited books
3133:26 February
3035:20 November
2783:28 November
2605:28 December
2579:31 December
2481:King, p. 7.
2472:King, p. 9.
2458:19 December
2434:King, p. 10
1947:piezometers
1939:transducers
1784:fabbricieri
1734:true fresco
1664:Last Supper
1616:Gaddo Gaddi
1578:condottieri
1562:terra verde
1384:rose window
1339:Main portal
1094:Renaissance
1015:(1408–09).
726:Black Death
687:Santa Croce
413:Archdiocese
319:Renaissance
252:Consecrated
161: /
5164:Categories
5136:(asteroid)
5095:Sculptures
4713:di Careggi
4708:La Petraia
4615:Via Cavour
4305:S Felicita
4295:S Ambrogio
4270:Ognissanti
4015:La Specola
3941:Casa Guidi
3375:Mandragora
3350:. London:
3265:3 December
3234:3 December
3171:3 December
3089:3 December
2999:3 December
2961:3 December
2905:3 December
2856:0674005368
2811:8824039561
2703:Structurae
2687:archINFORM
2533:0756628687
2160:: 89–115.
2081:5 February
2053:References
1645:terracotta
1481:Detail of
1316:Statue of
1197:Verrocchio
1193:Michelozzo
1188:buttresses
950:terracotta
926:buttresses
918:buttresses
865:clerestory
829:baptistery
599:Baptistery
586:façade by
576:polychrome
550:), is the
539:(Italian:
480:Designated
430:Archbishop
383:Floor area
314:Romanesque
149:11°15′25″E
146:43°46′23″N
4745:La Pietra
4730:Gamberaia
4636:Belvedere
4506:Landmarks
4441:dei Pulci
4315:S Gaetano
4225:S Trinita
4220:S Spirito
4169:S Lorenzo
4140:Basilicas
3649:211446113
3606:193315877
2951:110287028
2391:, pp. 3–7
2192:20 August
2182:159633596
1509:cantorial
1175:lewissons
1123:Donatello
1051:; 1409–11
958:campanile
942:Donatello
922:Donatello
853:Donatello
823:(white),
806:'s motet
728:in 1348.
722:campanile
552:cathedral
392:Materials
335:Completed
241:Cathedral
209:Tradition
5111:Crucifix
5014:Churches
4750:Rusciano
4538:Theatres
4247:Churches
3931:Bargello
3912:Florence
3868:Archived
3856:Archived
3844:Archived
3832:Archived
3567:Archived
3556:26454394
3407:Könemann
3259:Archived
3225:Archived
3165:Archived
3127:Archived
3083:Archived
3029:Archived
2993:Archived
2955:Archived
2899:Archived
2826:Archived
2777:Archived
2690:Archived
2631:12 April
2508:Archived
2452:Archived
2416:, p. 27.
2414:Poeschke
2353:26 March
2347:Archived
2219:Archived
2186:Archived
2115:Archived
2075:Archived
1968:See also
1798:Tomb of
1740:in secco
1410:Interior
1394:Interior
1388:tympanum
1386:and the
1365:pediment
1345:lunettes
1118:centring
1114:Pantheon
1103:Pantheon
1021:Florence
992:Hercules
988:Jeremiah
983:Habbakuk
980:(1421);
894:crossing
871:Exterior
861:transept
689:and the
572:basilica
556:Florence
472:Criteria
467:Cultural
178:Florence
174:Location
5122:Related
5049:Chapels
4735:I Tatti
4608:Streets
4566:Squares
4455:Library
4365:S Salvi
4198:S Marco
4152:S Croce
3920:Museums
3908:Tourism
3820:14 July
3795:14 July
3575:Journal
2658:, p 95.
2174:4603662
2111:Haber46
2035:Inferno
1943:tambour
1183:lantern
821:Carrara
636:History
615:Tuscany
578:marble
529:Italian
487:session
232:History
220:Website
188:Country
182:Tuscany
67:Italian
5147:Medici
4925:Pienza
4691:Villas
4108:Uffizi
3791:. 2004
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1924:oculus
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1581:point.
1554:fresco
1502:Gothic
1363:. The
1359:; and
1288:Louvre
1241:Façade
946:Joshua
934:Isaiah
855:, and
714:Giotto
708:, the
580:panels
560:Gothic
505:Region
424:Clergy
397:Marble
375:Height
348:Length
310:Gothic
298:Church
237:Status
78:
63:
4629:Forts
4384:Other
3952:David
3645:S2CID
3602:S2CID
3552:JSTOR
3228:(PDF)
2947:S2CID
2373:David
2178:S2CID
2170:JSTOR
1790:Crypt
1532:Dante
1065:David
1013:David
966:Duomo
938:opera
825:Prato
676:Siena
485:(6th
483:1982
401:brick
367:width
356:Width
305:Style
191:Italy
82:Latin
3822:2006
3797:2006
3709:ISBN
3674:2014
3502:Nova
3475:ISBN
3451:ISBN
3429:ISBN
3411:ISBN
3388:ISBN
3356:ISBN
3333:ISBN
3310:ISBN
3289:ISBN
3267:2021
3236:2021
3173:2021
3135:2010
3091:2021
3073:ISBN
3037:2021
3001:2021
2963:2021
2907:2021
2851:ISBN
2807:ISBN
2785:2021
2737:ISBN
2633:2015
2607:2014
2581:2014
2529:ISBN
2503:(on
2460:2012
2355:2013
2302:ISBN
2277:ISBN
2258:2017
2227:2018
2194:2019
2123:2018
2083:2016
1711:and
1651:and
1500:The
1274:and
1171:tons
1107:drum
1079:dome
1073:Dome
835:and
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765:nave
745:apse
672:Pisa
601:and
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