Florence Cathedral - Knowledge (XXG)

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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 1254: 1042: 1407: 1795: 112: 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. 1121:

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. 1313: 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. 1490: 1399: 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. 1478: 1415: 1204: 1157: 1990: 1976: 4125: 1141:

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.

119: 881: 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. 1900:

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.

2954: 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 1525:

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 3258: 3164: 2898: 1199:

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

1005: 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 5018: 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 2114: 1775:

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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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. 2041: 697:

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 3831: 3116: 1507:

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

5043: 5038: 4021: 3999: 3989: 3843: 3731: 3658:"Brunelleschi's Dome: How did a hot-tempered goldsmith with no formal architectural training create the most miraculous edifice of the Renaissance?" 3028: 2802: 1126: 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 3867: 3065:

Borri, Claudio; Betti, Michele; Bartol, Gianni (2010). "Brunelleschi's dome in Florence: The masterpiece of a genius". In Zingoni, Alphose (ed.).

1687: 508: 142: 1129:. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction. 5003: 4284: 2346: 2241: 1544: 787: 625: 2689: 1425: 5033: 4486: 3712: 3657: 3478: 3454: 3432: 3391: 3359: 3336: 3076: 2620: 2594: 2572: 2305: 2280: 832: 1438: 5023: 2992: 859:. The six side windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the 95: 731: 2451: 4496: 4009: 2872:

Del vecchio e nuovo gnomone fiorentino e delle osservazioni astronomiche fisiche ed architettoniche fatte nel verificarne la costruzione

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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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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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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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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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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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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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Sur les traces de Filippo Brunelleschi, l'invention de la coupole de Santa Maria del Fiore à Florence

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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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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

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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

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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" 4707: 4635: 4254: 4207: 3979: 3969: 3907: 3852: 3705:

The genius of Filippo Brunelleschi and the construction of the dome of Santa Maria del Fiore

3634: 3626: 3593: 3214: 2938: 2161: 1844: 1829: 1776: 1329: 783: 775: 667: 587: 546: 528: 284: 66: 3188:

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: 1629: 1585: 1531: 1508: 1494: 1298:

and Giambologna) were not accepted. The façade was then left bare until the 19th century.

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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

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As referenced in "Cupola di Santa Maria del Fiore: il cantiere di restauro 1980–1995" by

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was finished by Vasari before his death in 1574. Federico Zuccari with the assistance of

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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 648:

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

1477: 1414: 4890: 4289: 4161: 4026: 3683:"Results of a 60-Year Monitoring System for Santa Maria del Fiore Dome in Florence" 1981: 1739: 1275: 1226: 1203: 1156: 751:(1360–1369) who divided the centre nave in four square bays. Other architects were 739:

In 1349, work resumed on the cathedral under a series of architects, starting with

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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

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of material, including over 4 million bricks, he invented hoisting machines and

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ngm.nationalgeographic.com 2014-02 Il Duomo Compared to other Domes Interactive

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Il genio di Brunelleschi e la costruzione della Cupola di Santa Maria del Fiore

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The funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by

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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.

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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: 4364: 1635:

The monumental crucifix, behind the Bishop's Chair at the high altar, is by

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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: 1187: 1174: 1117: 1020: 1016: 991: 925: 917: 860: 571: 555: 177: 4124: 3639: 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

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was finished by 1380, and only the dome remained incomplete until 1418.

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Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture

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Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture

1733: 1553: 1287: 1182: 945: 933: 498: 396: 3810: 3778: 3766: 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

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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: 1793: 1759: 1488: 1476: 1465: 1454: 1437: 1424: 1413: 1405: 1397: 1311: 1300: 1252: 1244: 1202: 1155: 1131: 965: 879: 824: 730: 639: 400: 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

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statue . This was the original placement planned for the statue.

764: 744: 621:, it still remains the largest dome ever constructed of bricks. 364: 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

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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

5019:

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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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: 453: 444: 428: 423: 411: 406: 390: 382: 374: 363: 355: 347: 342: 334: 324: 303: 293: 265: 260: 250: 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 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: 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: 5014: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 5029: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: 5049: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 5009:Roman Catholic cathedrals in Italy 4856: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 4916:(hall of the first floor, 1430s) 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: 5044:Gothic architecture in Florence 5039: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 4870:(began work on the dome, 1446) 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: 5004: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 5034: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 5024: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 5070: 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) 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: 4908:Ospedale degli Innocenti 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 4914:Palazzo di Parte Guelfa 4862:Santo Spirito, Florence 4858:(1434–1437; unfinished) 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) 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: 5054:Cathedrals in Tuscany 4935:(c. 1412; attributed) 4864:(ground broken, 1446) 4850:San Lorenzo, Florence 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 4836:Filippo Brunelleschi 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 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: / 4999:Florence Cathedral 4868: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 4986: 4985: 4963:6055 Brunelleschi 4901:Secular buildings 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 5061: 4979:(2016 TV series) 4971:(Mercury crater) 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: 18:Duomo (Florence) 5069: 5068: 5064: 5063: 5062: 5060: 5059: 5058: 4989: 4988: 4987: 4982: 4946: 4919: 4896: 4873: 4852:(begun c. 1419) 4838: 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: 2319: 2315: 2308: 2295: 2294: 2290: 2283: 2270: 2269: 2265: 2255: 2253: 2239: 2238: 2234: 2224: 2222: 2206: 2205: 2201: 2191: 2189: 2166:10.2307/4603662 2147: 2146: 2142: 2137: 2130: 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: 156: 153: 148: 145: 143: 141: 140: 135: 134: 133: 132: 129: 128: 127: 126: 122: 101: 89: 88: 79: 64: 57: 33: 28: 23: 22: 15: 12: 11: 5: 5067: 5065: 5057: 5056: 5051: 5046: 5041: 5036: 5031: 5026: 5021: 5016: 5011: 5006: 5001: 4991: 4990: 4984: 4983: 4981: 4980: 4972: 4966: 4960: 4954: 4952: 4948: 4947: 4945: 4944: 4943:(c. 1410–1415) 4936: 4927: 4925: 4921: 4920: 4918: 4917: 4911: 4904: 4902: 4898: 4897: 4895: 4894: 4888: 4885:Capponi Chapel 4881: 4879: 4875: 4874: 4872: 4871: 4865: 4859: 4853: 4846: 4844: 4840: 4839: 4834: 4832: 4831: 4824: 4817: 4809: 4800: 4799: 4797: 4796: 4791: 4785: 4782: 4781: 4779: 4778: 4773: 4768: 4762: 4760: 4756: 4755: 4753: 4752: 4747: 4742: 4737: 4732: 4727: 4726: 4725: 4720: 4715: 4710: 4705: 4694: 4692: 4688: 4687: 4685: 4684: 4679: 4674: 4669: 4664: 4662:Boboli Gardens 4659: 4653: 4651: 4647: 4646: 4644: 4643: 4638: 4632: 4630: 4626: 4625: 4623: 4622: 4617: 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: 5066: 5055: 5052: 5050: 5047: 5045: 5042: 5040: 5037: 5035: 5032: 5030: 5027: 5025: 5022: 5020: 5017: 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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: 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