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Home > Italy Travel Guide > Basilica di Santa Maria del Fiore

Basilica di Santa Maria del Fiore

BACKGROUND INFORMATION

Introduction
History
Location

ATTRACTIONS

Dome
Façade
Exterior
Interior
Crypt

INFORMATION

Useful information
Links

Introduction

The Basilica di Santa Maria del Fiore of Florence, Italy, is the cathedral church (Duomo) of the Roman Catholic Archdiocese of Florence, noted for its distinctive dome and being Italy's third largest church after St Peter's in Rome and Milan Cathedral. It's name (“Basilica of Saint Mary of the Flower”) refers to the lily, symbol of Florence, or to the old town name Fiorenza. But a 15th century document on the other hand states that the “flower” refers to Christ.

History

At the end of the 13th century the citizens of Florence, conscious of the growing importance of their city, wanted to erect a great new edifice on the site of the church of Santa Reparata that would surpass the other churches in the city in its beauty and its dimensions. Furthermore, it was becoming too small in a period of rapid population expansion. Prosperous Florence wanted to surpass in grandeur its Tuscan rivals, Pisa and Siena, with a more magnificent church, grander in size and more richly adorned at the exterior. This cathedral was, as a result, the largest in Europe when it was completed, with room for 30,000 people. It is now only exceeded in size by Saint Peter's Basilica in the Vatican City, Saint Paul's Cathedral in London and the Milan Cathedral.

The first stone was laid on September 9, 1296 by cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 170 years, the collective efforts of several generations of Famous architects, first Arnolfo di Cambio (from 1294) after Arnolfo died in 1302, work on the cathedral slowed or was suspended during thirty years, In 1331, the Arte della Lana (Guild of Wool Merchants) took over the exclusive patronage for the construction of the cathedral and in 1334 they appointed Giotto as overseer for the work. Assisted by Andrea Pisano, he continued along di Cambio's design. His major accomplishment was the building campanile, but he died in 1337. Andrea Pisano continued the building, until he was stopped by the Black Plague in 1348. Work resumed in 1349 on the cathedral itself under a series of architects, starting with Francesco Talenti who finished the belltower and enlarged the overall project with the apse and the side chapels, but did not alter the outside. After 1359 he was succeeded by Giovanni di Lapo Ghini (1360?1369) who divided the center nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Orcagna. By 1375 the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418 only the dome was left uncompleted. Filippo Brunelleschi was able to crown it with the dome. In 1436 the cathedral was dedicated to St Mary the Virgin and acquired the epithet “del Fiore” from the lily on Florence's coat of arms.

The present ornate façade, designed by Emilo de Fabris', was not added until 1875-1887. (The old façade, which had never been completed, was demolished in 1587.)

During its long history, this cathedral has been the seat of the Council of Florence (1439), heard the preachings of Girolamo Savonarola and witnessed the murder of Giuliano di Piero de' Medici on 26 April 1478 (with Lorenzo Il Magnifico barely escaping death).

Location

Piazza del Duomo
Bus: 1, 6, 7, 11, 13, 14, 15, 17, 18, 23.

Dome

The dome was not built until the early 15th century, when Filippo Brunelleschi, a goldsmith and sculptor, began to make statues for the cathedral. Gradually he became interested in the building itself and built some smaller parts of it. In about 1415 he prepared a design for the dome that he daringly proposed to build without the aid of formwork, which had been absolutely necessary in all previous Roman and Gothic construction. He built a 1:12 model of the dome in brick to demonstrate his method; the design was accepted and built under his supervision from 1420 to 1436. The construction of the dome began in the summer of 1420 and was finished by 1436. The lantern, designed by Brunelleschi, was completed after his death. The copper sphere was placed on the top by Verrocchio in 1472. The construction embodies a rigorously geometrical design. This enormous construction weighs 37,000 metric tons (40,785 t) and contains over 4 million bricks.

Façade

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 c. pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was only completed in its lower portion and then left unfinished. It was dismantled in 1587-1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre. The competition for a new façade turned out 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 have been proposed in later years but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.

In 1864 a competition was held to design a new façade and was won by Emilio De Fabris (1808-1883) in 1871. Work was begun in 1876 and completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's belltower and the Baptistery.

Exterior

The exterior has an abundance of sculpted figures: on the top spandrel of the façade “God the Father”, with, immediately below, busts of famous Florentine artists; below a hugh rose window “Virgin and Child” and statues of the apostles; below that in the niches of the four pillars are bishops of Florence and Pope Eugene IV who consecrated the church in 1436. The bronze doors have reliefs of Mary and allegorical figures of the Christian virtues.

A walk round the cathedral should include a look at the four portals. On the right-hand side near the Campanile is the Porta del Campanile, with “Christ giving a Blessing” in the gable and “Madonna and Child” in the lunette, both in the style of Andrea Pisano. Next comes the Porta dei Canonici with, above the “Porch of the Canons”, a “Virgin and Child” by Lorenzo di Giovanni d'Ambrogio. Nearby are the memorials to the architects Arnolfo di Cambio and Brunelleschi and a stone with the inscription “Sasso di Dante” marking the spot where the poet is supposed to have watched the cathedral being built.

On the left side the “porta della Balla” (late 14th century) has a polychrome “Madonna and Child and two Angels”. The twisted columns at the sides are supported by lions. Also on the left, the “Porta della Mandorla”, the finest portal in the church, was designed by Giovanni d'Ambrogio and Nanni and completed by various artists (Donatello, Niccolo di Pietro Lamberti and Ghirlandaio). Above the door in the almond can be seen the Virgin borne up by angels (1421, by Nanni di Banco); in the lunette is a mosaic of the “Annunciation” by Domenico and Davide Ghirlandaio (1491).

Interior

The cathedral is built as a basilica, with a nave and two aisles, forming a Roman cross. The nave and the aisles are divided by wide pointed arches with composite pilasters, dividing the nave into four square bays.

Its dimensions are enormous: length 153 metres (502 ft), width 38 metres (124 ft), width at the crossing 90 metres (295 ft). The height of the arches in the aisles is 23 metres (75 ft). The height from pavement to the opening of the lantern in the dome is also 90 metres (295 ft).

Rectitude and beauty are also the theme of the interior of the cathedral which makes its impact through its Gothic forms, its soaring arches and pillars, untrammelled by large ornamentation to detract from the feeling of spaciousness (later additions were removed during restoration), while the sense of severity is heightened by the earthy hue of the stonework.

The naves and the tribune are illuminated by the beautiful 15th century stained glass windows created by artists like Ghiberti, Paolo Uccello, Donatello and Andrea del Castagno. The internal façade, which is the oldest part of the church, should be observed with some care. The lunette above the door in fact contains a mosaic by Gaddo Gaddi (early 14th century). The famous clock on the inner façade, with its quadrant and medallions, was painted in fresco by Paolo Uccello (1443). It is one of the few mechanical clocks that still exists and works: it has only one hand and tells the time by going round in the opposite direction compared to modern clocks because it measures the time from sunset to sunset. The wall also contains the tomb of Bishop d'Orso (1321), one of the most beautiful works of sculpture in the Cathedral.

Crypt

The cathedral has undergone difficult excavations between 1965 and 1974. The subterranean vaults were used for the burial of Florentine bishops throughout the centuries. Recently the archeological history of this huge area was reconstructed 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, open to the public, is the tomb of Brunelleschi, as proof of the high esteem he was given by the Florentines.

Useful information

Open 7:30 till 12:00 and 14:30 till 18:00 Monday to Sunday.
No access to the dome on Sunday.
Every first Saturday of every month opens from 10 to 3:30pm.

Links

The Florence Art Guide

Duomo.Minosh Photography

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