"Santa Maria del Fiore"

 It was begun by Arnolfo di Cambio in 1296 on the site of the ancient Cathedral of Santa Reparata (the foundations have been brought to light during recent excavation). The construction of Giotto from 1334 to 1336, then under Francesco Talenti and Lapo Ghini. Between interruptions, the central nave was built in 1378, the aisles in 1380, the tribune and the tambour of the dome between 1380 and 1421.The Dome of Brunelleschi, whose plans were approved after a few disagreements (1418), was completed in 1434. In 1436 Pope Eugene IV consecrated the church, dedicating it to Santa Maria del Fiore.Several styles have been adopted fro this monumental work, Romanesque and Gothic elements are mixed together, whilst the superb octagonal dome is an expression of Renaissance rationality.The Façade designed by Arnolfo in Romanesque style and re-elaborated in Gothic style by Talenti, was completed in 1887 by Emilio de Fabris.The interior, severe and majestic, is in the shape of a Latin cross divided into three ample naves by huge composite pilasters topped by arches and ogival vaults which give impetus to the entire building. The magnificent polychrome marble floor is attributed to Baccio D’Agnolo

 Internal façade – The three round glass windows, are from cartoons by Ghiberti (1413); the clock with the four Heads of Prophets in the corners, is the work of Paolo Uccello (1143); the tomb of Bishop Antonio d’Orso is by Tino da Camaino (1312).

 Right nave – The glass windows are fourteenth century; the bust of Brunelleschi, whose tomb was found in the crypt of Santa Reparata in 1972, is by Buggiano (1446); the bust of Giottto is by Benedetto da Maiano (1490); the bust of the humanist Marsilio Ficino is by Andrea Ferrucci (1521).

 Tribune and Apse – The immense octagonal drum is dominated by the cupola, a technical and artistic masterpiece by Filippo Brunelleschi; the frescoes are by Vasari and his assistants (1572-79) with scenes from the Last Judgement. The windows are from cartoons by famous artists of the early renaissance period: Ghiberti (Presentation at the Temple, Prayer in the Garden, Ascension); Paolo Uccello (Resurrection, Nativity); Donatello (Crowing of the Virgin); Andrea del Castagno (Deposition). The lunettes of the portals of the Old Sacristy and the New Sacristy, at the corners between the central tribune and the two lateral ones, depict respectively the Ascension and the Resurrection, in glazed terracotta by Luca della Robbia. The together with Michelozzo and Maso di Bartolomeo (1469).The marble choir gallery, in relief, and the High Altar are the works of Baccio Bandinelli and Giovanni Bandini (1555), whilst the wooden Crucifix above the altar is by Benedetto da Maiano (1497).

 Left Nave – The stained glass windows are fourteenth century: a panel by Domenico di Michelino (1465) depicts Dante and the Divine Comedy with in the background, on the right, a glimpse of mid-fifteenth century Florence, in the centre Purgatory, on the left Hell and above paradise. In the third bay a fresco in chiaroscuro depicts the English condottiere, John Hawkwood on horseback, who served the Florentine Republic; this is an important work by Paolo Uccello (1436). In the second bay is another fresco by Andrea del Castagno, also in chiaroscuro. (1456), and shows the equestrian statue of Niccolò da Tolentino (Niccolo Maruzzi); in the first bay is a bust of Arnolfo di Cambio by Ulisse Cambi (1843) and another of Emilio de Fabris (the architect of the façade) by Vincenzo Consani (1887).

 Cript of Santa Reparata – a staircase between the first and second pilasters of the right nave leads down to the crypt.Excavation pilasters of the right nave leads down to the crypt. Excavations began in 1966, lasted almost four years and led to the discovery of the ancient Church of Santa Reparata, destroyed in 1375 in order to build the present Cathedral.The excavations brought to light what remained of the original fourth and fifth century church, which had a basilica plan (an apse and three naves): fragments of mosaic flooring, fourteenth-century frescoes, inscriptions, grave-stones and coats-of-arms.

 Climb to the Dome – The small doors at the end of the two side naves gie on to a narrow staircase, with 436 steps, that leads to the dome; one first reaches the internal gallery and then the external one (91m) which surrounds the lantern (107 m); from here one can enjoy a splendid view of the city and surrounding hills. This visit is recommended in order to appreciate the structure of the dome with its double spherical vault.