Search results
Results from the WOW.Com Content Network
Giotto's bell tower seen from the top of the Duomo. View from the tower. Giotto's Campanile (/ ˌ k æ m p ə ˈ n iː l i,-l eɪ /, also US: / ˌ k ɑː m-/, Italian: [kampaˈniːle]) is a free-standing campanile (bell tower) that is part of the complex of buildings that make up Florence Cathedral on the Piazza del Duomo in Florence, Italy.
Restaurant in the Piazza del Duomo. Santa Maria del Fiore Cathedral: Is the largest building in medieval Europe, [2] and is the fourth church of Europe by size, its length is 153 m (501.97 ft) and its height is 116 m (380.58 ft).
Height: 39 m (128 ft) ... Andrea’s style is “profoundly human” and that whereas “Giotto’s men and women are ... the Cathedral and Giotto's Campanile.
Giotto di Bondone (Italian: [ˈdʒɔtto di bonˈdoːne]; c. 1267 [a] – January 8, 1337), [2] [3] known mononymously as Giotto [b], was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic and Proto-Renaissance period. [7]
The work proceeded very slowly. The campanile, designed by Giotto, was begun in 1334. Work continued after Giotto's death in 1337, first under Andrea Pisani and then, in the 1350s, by Francesco Talenti. The campanile is square and decorated in marble with rectilinear panelling, and follows the Italian Romanesque tradition.
The 14th-century Palazzo Vecchio is still preeminent with its crenellated tower. The square is also shared with the Loggia della Signoria, the Uffizi Gallery, the Palace of the Tribunale della Mercanzia (1359) (now the Bureau of Agriculture), and the Palazzo Uguccioni (1550, with a facade attributed to Raphael, who however died thirty years before its construction).
The Ponte Vecchio (Italian pronunciation: [ˈponte ˈvɛkkjo]; [1] "Old Bridge") [2] is a medieval stone closed-spandrel segmental arch bridge over the Arno, in Florence, Italy.The only bridge in Florence spared from destruction during World War II, it is noted for the shops built along it; building shops on such bridges was once a common practice.
The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures. [2] Giotto's figures, however, escape the bounds of Byzantine art.