Building of the Week: Florence Cathedral, Italy

An artist's conception of the finished cathedral, 1390
Andrea di Bonauito

One of the biggest triumphs of Renaissance architecture as well as one of the most important domed structures in the world, Florence Cathedral (also known as “Il Duomo” and, officially, the Basilica di Santa Maria del Fiore) is the work of history’s most celebrated architects and artists over several centuries.


The jewel in the sparkling crown that is Florence, Italy, the basilica is known for its brilliant multi-colored marble façade, its towering campanile and, especially, its massive octagonal dome. At the center of Florence’s artistic and religious life, the basilica represents some of the most radical thinking in the history of architecture.

Prior to 1296, the site was the home of a different cathedral dedicated to Santa Reparata which had been founded in the early Fifth Century. By the Thirteenth Century, the cathedral had begun to crumble after eight hundred years of use. The need for a new cathedral had become urgent as the population of Florence continued to grow. To make matters worse, Sienna and Pisa had begun new cathedral complexes and Florence was not about to be outdone.

In 1296, Arnolfo di Cambio, the architect of Santa Croce and the Palazzo Vecchio, had been commissioned to design the new structure. He envisioned a wide basilica with a tall octagonal dome. Though he hadn’t quite worked out the mechanics of the enormous dome (such a feat of architecture without the aid of wooden supports hadn’t been attempted since the Pantheon), Arnolfo’s plan was approved and construction began two years later. Sadly, Arnolfo died eight years later.

After Arnolfo’s death in 1302, construction of the cathedral nearly came to a halt for thirty years. His design was complicated and no one was quite sure how to approach the project—especially that pesky dome. In 1330, relics of San Zenobius were discovered in Santa Reparata (which still hadn’t been pulled down and was sitting in the middle of the construction site). This discovery escalated the need for the work on the cathedral to continue so that the increased number of pilgrims visiting the site could be accommodated. Famous architect and artist Giotto took over the project and worked steadily on it until a little trouble hit Italy in the form of the Black Plague in 1348.

Giotto’s death in 1337 meant that his assistant, Andrea Pisano, would have to take over. However, Giotto did manage to complete the campanile and several other structural elements following the original designs of Arnolfo di Cambio.

Several other architects manned the project over the following decades. By 1375, Santa Reparata was finally pulled down. And, by 1418, all but the dome had been completed.

Ah, the dome. That was a problem. How would it stand without wooden supports? How would it be constructed? As was often the practice of the time, a structural design competition was held to see who could complete the dome. The search was narrowed down to two people—both famous names: Filippo Brunelleschi and Lorenzo Ghiberti (who designed the ornamental doors to the Baptistry). Brunelleschi had the support of Cosimo de Medici, so naturally, he was awarded the commission. Work started on the dome in 1420 and took over sixteen years.

The Cathedral in 1880

The dome is constructed of a complicated series of bricks and mortar which is supported by metal and wooden bands within the masonry. A feat of engineering, the dome continues to dominate the skyline of Florence.

Though the cathedral was “open for business,” by the early Fifteenth Century, work continued on the decorative marble façade well into the 1880’s. Similarly, the gorgeous stained glass windows and numerous sculptures were also added over time. Despite the impressive architecture of the basilica, the interior is rather Spartan compared to others of the era—allowing for the building to speak for itself.

Today, Florence Cathedral remains one of the most impressive architectural accomplishments in history. It will forever be a symbol of the ingenuity of the Renaissance and of the arts of Italy. To learn more about Il Duomo, this Web site can offer you a lot of great information. 

Her Majesty’s Furniture: A Magnificent Jewel Casket, 1750

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Click image for larger size.

Jewel Casket
Florence
1720
The Royal Collection

Made in 1720 in the Grand Ducal Workshops of Florence by Giovanni Battista Foggini, this amazing jewel casket of Ebony, rosewood, hardstones, and gilt bronze came to the Royal Collection through unknown circumstances, possibly as early as the late Eighteenth Century, but probably via Queen Mary. With its intricate mosaic and ornate ormolu, this casket was the epitome of Florentine style.

Though assigned a practical use (holding jewels), the casket is now as valuable as the objects it once held.

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Click image for larger size.

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Click image for larger size.

The carved gilt wood stand with cabriole legs terminating in lions' paw feet is joined near the bottom by an X-shaped stretcher with a pine-cone finial  with rocaille motifs.  It is original to the piece.

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Click image for larger size.

Building of the Week: Florence Cathedral, Italy

An artist's conception of the finished cathedral, 1390
Andrea di Bonauito

One of the biggest triumphs of Renaissance architecture as well as one of the most important domed structures in the world, Florence Cathedral (also known as “Il Duomo” and, officially, the Basilica di Santa Maria del Fiore) is the work of history’s most celebrated architects and artists over several centuries.


The jewel in the sparkling crown that is Florence, Italy, the basilica is known for its brilliant multi-colored marble façade, its towering campanile and, especially, its massive octagonal dome. At the center of Florence’s artistic and religious life, the basilica represents some of the most radical thinking in the history of architecture.

Prior to 1296, the site was the home of a different cathedral dedicated to Santa Reparata which had been founded in the early Fifth Century. By the Thirteenth Century, the cathedral had begun to crumble after eight hundred years of use. The need for a new cathedral had become urgent as the population of Florence continued to grow. To make matters worse, Sienna and Pisa had begun new cathedral complexes and Florence was not about to be outdone.

In 1296, Arnolfo di Cambio, the architect of Santa Croce and the Palazzo Vecchio, had been commissioned to design the new structure. He envisioned a wide basilica with a tall octagonal dome. Though he hadn’t quite worked out the mechanics of the enormous dome (such a feat of architecture without the aid of wooden supports hadn’t been attempted since the Pantheon), Arnolfo’s plan was approved and construction began two years later. Sadly, Arnolfo died eight years later.

After Arnolfo’s death in 1302, construction of the cathedral nearly came to a halt for thirty years. His design was complicated and no one was quite sure how to approach the project—especially that pesky dome. In 1330, relics of San Zenobius were discovered in Santa Reparata (which still hadn’t been pulled down and was sitting in the middle of the construction site). This discovery escalated the need for the work on the cathedral to continue so that the increased number of pilgrims visiting the site could be accommodated. Famous architect and artist Giotto took over the project and worked steadily on it until a little trouble hit Italy in the form of the Black Plague in 1348.

Giotto’s death in 1337 meant that his assistant, Andrea Pisano, would have to take over. However, Giotto did manage to complete the campanile and several other structural elements following the original designs of Arnolfo di Cambio.

Several other architects manned the project over the following decades. By 1375, Santa Reparata was finally pulled down. And, by 1418, all but the dome had been completed.

Ah, the dome. That was a problem. How would it stand without wooden supports? How would it be constructed? As was often the practice of the time, a structural design competition was held to see who could complete the dome. The search was narrowed down to two people—both famous names: Filippo Brunelleschi and Lorenzo Ghiberti (who designed the ornamental doors to the Baptistry). Brunelleschi had the support of Cosimo de Medici, so naturally, he was awarded the commission. Work started on the dome in 1420 and took over sixteen years.

The Cathedral in 1880

The dome is constructed of a complicated series of bricks and mortar which is supported by metal and wooden bands within the masonry. A feat of engineering, the dome continues to dominate the skyline of Florence.

Though the cathedral was “open for business,” by the early Fifteenth Century, work continued on the decorative marble façade well into the 1880’s. Similarly, the gorgeous stained glass windows and numerous sculptures were also added over time. Despite the impressive architecture of the basilica, the interior is rather Spartan compared to others of the era—allowing for the building to speak for itself.

Today, Florence Cathedral remains one of the most impressive architectural accomplishments in history. It will forever be a symbol of the ingenuity of the Renaissance and of the arts of Italy. To learn more about Il Duomo, this Web site can offer you a lot of great information. 

Unusual Artifacts: Return from Market, 1928

Click on image to get snowed.
"Return from Market"
Pietre Dure
Italy, 1928
The Victoria & Albert Museum

This pietre dure (or pietra dura, if you prefer) scene of hardstone and marbles depicts a monk with two elderly men and a young woman. They’re accompanied by a group of animals as they journey home from market in a snowstorm.

Made in 1928 in Florence Italy—long known for its elegant works of pietre dure—the piece shows the enduring beauty of this technique. Each stone has been carefully chosen to create movement and texture in the scene. The veins of the marbles and the crystals of the other hardstones have been set in such a way as to emulate the look of a painter’s brushstrokes.

The work is attributed to Mario Montelatici, a well-known master of pietre dure in his own right and the son of the famed Giovanni Montelatici whose workshop in the Via Amolfo in Florence produced many an award-winning work. The piece is composed of white and bardiglio marble, onyx, gabbro and albarese. It is set in a gilt wood frame.

Sculpture of the Day: A Bronze Sculpture of Aesculapius, c. 1600

Aesculapius
Francesco Fanelli, 1600-1650
The Victoria & Albert Museum

The famed Italian sculptor Francesco Fanelli created this bronze statuette of Aesculapius (also spelled Asclepius or, in Britain, Asklepius)  between 1600-1650, possibly while in Florence. Aesculapius was the ancient Greek God of medicine and healing and the son of Apollo and Coronis. His artistic attribute is a staff with an intertwined snake, the rod of Aesculapius--which is still a symbol of medicine today.

 Though he was prolific, we don’t know much about the life of Francesco Fanelli (b: about 1577 - last documented in London c. 1641). Fanelli was first recorded in Genoa in 1608, and presumably stayed there until about 1631. There, he produced religious works in marble, silver, ivory and bronze.

By 1635, somehow, Fanelli was in Britain, working at the English court.   He referred to himself  as the “sculptor to the King of Great Britain,” but, it is unclear if this title was officially conferred or if it’s just something he liked to call himself.

The V&A owns several bronzes which were attributed in the Seventeenth Century to “Francisco, the one-eyed Italian”  as listed in an inventory of Whitehall Palace in 1639.  Okay.  Why did he have one eye?  Was this the same man?  We’ll never know.  But, the works do, in fact, look like the style of Fanelli who relied on detailed musculature and fluidity of pose to make his creations seem more alive.  

When this figure was originally collected by the V&A, he was outfitted with a fig leaf which was meant to prevent our Victorian forebears from accidentally spying anything scandalous.  That has since been removed since people are slow to scandalize these days.  

Unusual Artifacts: An Early Florentine Straw Fan, 1620

Brisé Fan
Silk, Straw, Cardboard, Metal, Gold Paper, Thread
Florence, 1620
The Victoria & Albert Museum

After the Royal Collection’s huge assortment of fans (mostly acquired by Queen Alexandra and, especially, Mary of Teck), the Victoria and Albert Museum has, perhaps, the largest collection of fans in the U.K. This unusual brisé fan is the earliest fan in the collection of the V&A.


So, what does brisé mean? The term “brisé” refers to a fan that has sticks but no fan leaf. Essentially, the widest part of the fan is comprised of the sticks which have been designed to be fatter at the top than the bottom.

This early example is comprised of seven sticks. Each stick is formed to mimic the look of a curled ostrich feather. While it would have been easier to attach real feathers to the sticks, the unknown fan-maker has sought to show his mastery of his craft by replicating the feathers in different media. Each stick is attached by a green silk ribbon, and each is covered with green silk and adorned with very small pieces of straw. The straw has been arranged to make a rough mosaic in a pattern of birds and flowers. The curators of the V&A believe that this fan comes from the Italian city of Florence—known as a center for this craft in the early Seventeenth Century.

Unusual Artifacts: Return from Market, 1928

Click on image to get snowed.
"Return from Market"
Pietre Dure
Italy, 1928
The Victoria & Albert Museum

This pietre dure (or pietra dura, if you prefer) scene of hardstone and marbles depicts a monk with two elderly men and a young woman. They’re accompanied by a group of animals as they journey home from market in a snowstorm.

Made in 1928 in Florence Italy—long known for its elegant works of pietre dure—the piece shows the enduring beauty of this technique. Each stone has been carefully chosen to create movement and texture in the scene. The veins of the marbles and the crystals of the other hardstones have been set in such a way as to emulate the look of a painter’s brushstrokes.

The work is attributed to Mario Montelatici, a well-known master of pietre dure in his own right and the son of the famed Giovanni Montelatici whose workshop in the Via Amolfo in Florence produced many an award-winning work. The piece is composed of white and bardiglio marble, onyx, gabbro and albarese. It is set in a gilt wood frame.

Sculpture of the Day: A Bronze Sculpture of Aesculapius, c. 1600

Aesculapius
Francesco Fanelli, 1600-1650
The Victoria & Albert Museum

The famed Italian sculptor Francesco Fanelli created this bronze statuette of Aesculapius (also spelled Asclepius or, in Britain, Asklepius)  between 1600-1650, possibly while in Florence. Aesculapius was the ancient Greek God of medicine and healing and the son of Apollo and Coronis. His artistic attribute is a staff with an intertwined snake, the rod of Aesculapius--which is still a symbol of medicine today.

 Though he was prolific, we don’t know much about the life of Francesco Fanelli (b: about 1577 - last documented in London c. 1641). Fanelli was first recorded in Genoa in 1608, and presumably stayed there until about 1631.  There, he produced religious works in marble, silver, ivory and bronze.

By 1635, somehow, Fanelli was in Britain, working at the English court.   He referred to himself  as the “sculptor to the King of Great Britain,” but, it is unclear if this title was officially conferred or if it’s just something he liked to call himself.

The V&A owns several bronzes which were attributed in the Seventeenth Century to “Francisco, the one-eyed Italian”  as listed in an inventory of Whitehall Palace in 1639.  Okay.  Why did he have one eye?  Was this the same man?  We’ll never know.  But, the works do, in fact, look like the style of Fanelli who relied on detailed musculature and fluidity of pose to make his creations seem more alive. 

When this figure was originally collected by the V&A, he was outfitted with a fig leaf which was meant to prevent our Victorian forebears from accidentally spying anything scandalous.  That has since been removed since people are slow to scandalize these days. 

Unfolding Pictures: An Early Florentine Straw Fan, 1620

Brisé Fan
Silk, Straw, Cardboard, Metal, Gold Paper, Thread
Florence, 1620
The Victoria & Albert Museum

After the Royal Collection’s huge assortment of fans (mostly acquired by Queen Alexandra and, especially, Mary of Teck), the Victoria and Albert Museum has, perhaps, the largest collection of fans in the U.K. This unusual brisé fan is the earliest fan in the collection of the V&A.


So, what does brisé mean? The term “brisé” refers to a fan that has sticks but no fan leaf. Essentially, the widest part of the fan is comprised of the sticks which have been designed to be fatter at the top than the bottom.

This early example is comprised of seven sticks. Each stick is formed to mimic the look of a curled ostrich feather. While it would have been easier to attach real feathers to the sticks, the unknown fan-maker has sought to show his mastery of his craft by replicating the feathers in different media. Each stick is attached by a green silk ribbon, and each is covered with green silk and adorned with very small pieces of straw. The straw has been arranged to make a rough mosaic in a pattern of birds and flowers. The curators of the V&A believe that this fan comes from the Italian city of Florence—known as a center for this craft in the early Seventeenth Century.

Building of the Week: Florence Cathedral, Italy

An artist's conception of the finished cathedral, 1390
Andrea di Bonauito

One of the biggest triumphs of Renaissance architecture as well as one of the most important domed structures in the world, Florence Cathedral (also known as “Il Duomo” and, officially, the Basilica di Santa Maria del Fiore) is the work of history’s most celebrated architects and artists over several centuries.


The jewel in the sparkling crown that is Florence, Italy, the basilica is known for its brilliant multi-colored marble façade, its towering campanile and, especially, its massive octagonal dome. At the center of Florence’s artistic and religious life, the basilica represents some of the most radical thinking in the history of architecture.

Prior to 1296, the site was the home of a different cathedral dedicated to Santa Reparata which had been founded in the early Fifth Century. By the Thirteenth Century, the cathedral had begun to crumble after eight hundred years of use. The need for a new cathedral had become urgent as the population of Florence continued to grow. To make matters worse, Sienna and Pisa had begun new cathedral complexes and Florence was not about to be outdone.

In 1296, Arnolfo di Cambio, the architect of Santa Croce and the Palazzo Vecchio, had been commissioned to design the new structure. He envisioned a wide basilica with a tall octagonal dome. Though he hadn’t quite worked out the mechanics of the enormous dome (such a feat of architecture without the aid of wooden supports hadn’t been attempted since the Pantheon), Arnolfo’s plan was approved and construction began two years later. Sadly, Arnolfo died eight years later.

After Arnolfo’s death in 1302, construction of the cathedral nearly came to a halt for thirty years. His design was complicated and no one was quite sure how to approach the project—especially that pesky dome. In 1330, relics of San Zenobius were discovered in Santa Reparata (which still hadn’t been pulled down and was sitting in the middle of the construction site). This discovery escalated the need for the work on the cathedral to continue so that the increased number of pilgrims visiting the site could be accommodated. Famous architect and artist Giotto took over the project and worked steadily on it until a little trouble hit Italy in the form of the Black Plague in 1348.

Giotto’s death in 1337 meant that his assistant, Andrea Pisano, would have to take over. However, Giotto did manage to complete the campanile and several other structural elements following the original designs of Arnolfo di Cambio.

Several other architects manned the project over the following decades. By 1375, Santa Reparata was finally pulled down. And, by 1418, all but the dome had been completed.

Ah, the dome. That was a problem. How would it stand without wooden supports? How would it be constructed? As was often the practice of the time, a structural design competition was held to see who could complete the dome. The search was narrowed down to two people—both famous names: Filippo Brunelleschi and Lorenzo Ghiberti (who designed the ornamental doors to the Baptistry). Brunelleschi had the support of Cosimo de Medici, so naturally, he was awarded the commission. Work started on the dome in 1420 and took over sixteen years.

The Cathedral in 1880

The dome is constructed of a complicated series of bricks and mortar which is supported by metal and wooden bands within the masonry. A feat of engineering, the dome continues to dominate the skyline of Florence.

Though the cathedral was “open for business,” by the early Fifteenth Century, work continued on the decorative marble façade well into the 1880’s. Similarly, the gorgeous stained glass windows and numerous sculptures were also added over time. Despite the impressive architecture of the basilica, the interior is rather Spartan compared to others of the era—allowing for the building to speak for itself.

Today, Florence Cathedral remains one of the most impressive architectural accomplishments in history. It will forever be a symbol of the ingenuity of the Renaissance and of the arts of Italy. To learn more about Il Duomo, this Web site can offer you a lot of great information.

Building of the Week: The Uffizi Gallery, Florence

Most people commonly refer to The Palazzo degli Uffizi (Uffizi Palace) as “The Uffizi Gallery” though, technically, the gallery is housed within the palace itself. Commissioned by Cosimo I de Medici in 1560, the original palace was initially designed by Giorgio Vasari and was intended to house the offices of Florentine Magistrates. The name “Uffizi” means “Offices.”

The initial phase of building was completed in 1581 by Alfonso Parigi and Bernardo Buontalenti based on Vasari’s original designs. As envisioned, the palace stretches toward an uninterrupted view of the Arno River, visible through a Doric columned screen. Vasari was also a painter, and, in designing the palace employed his knowledge of perspective so that the whole of the structure would resemble a stylized streetscape. Designed to include long expanses of unbroken cornices, Doric columns and niches (which were finally filled with sculptures by world-famous artists in the Nineteenth Century,” the palace appears to reach out over the river.

With the offices of the Tribunal and the State Archive housed in one location, a committee was formed under the direction of Buontalenti and de Medici to select the finest masterpieces from both the de Medici art collection and also from Florentine artists to house within the palace. Soon, the palace became the home of a fine exhibition of art, thereby making it one of the first museums in the Western world. Though open to visitors as early as the Sixteenth Century, the Uffizi Gallery was opened to the public in 1765 and has stayed open ever since.

Not only is the Uffizi a museum, it is also a gathering place for artists to share, to learn, to relax and observe. Early in the palace’s history, Michelangelo and Leonardo da Vinci could be found enjoying the sights and tranquility of the gallery.

Photo by Craig Porter

Today, the Uffizi continues to house some of the finest treasures of the art world. The collection includes works by Donatello, da Vinci, Cimabue, Giotto, Titian, Uccello, Duccio, Artemisia Gentileschi, Caravaggio, and Rembrandt Van Rijn among many others. It’s only fitting that a magnificent building designed by a painter should become the permanent home of the works of the art world’s most talented painters and sculptors.