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Brunelleschi designed the central nave, with the two collateral naves on either side lined by small chapels, and the old sacristy. The first stage of the project was the Old Sacristy, built between 1419 and 1429. It contains the tomb of Giovanni di Bicci de' Medici and his wife, beneath a central dome, simply decorated. The chapel is a cube of ...
The most common argument for crediting Brunelleschi is the chapel's clear similarity to the Old Sacristy; others argue that his style had developed in the twenty-year interim and that the Pazzi Chapel would represent a retrograde step. [4] The first written mention of Brunelleschi as the architect was written by an anonymous author in the 1490s ...
(The genius of Filippo Brunelleschi and the construction of the dome of Santa Maria del Fiore). ISBN 978-88-8347-691-4. 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.
After years of considering options, Filippo Brunelleschi and Lorenzo Ghiberti were made joint leaders of the project to build the dome for Florence Cathedral in 1420. Brunelleschi's plan to use suspended scaffolding for the workers won out over alternatives such as building a provisional stone support column in the center of the crossing or ...
Nuper rosarum flores ("Recently Flowers of Roses/The Rose Blossoms Recently"), is a motet composed by Guillaume Dufay for the 25 March 1436 consecration of the Florence Cathedral, on the occasion of the completion of the dome built under the instructions of Filippo Brunelleschi.
Filippo Brunelleschi began designs for the new building as early as 1428. The first pillars to the building were delivered in 1446, ten days before his death. [11] After his death, the works were carried on by his followers Antonio Manetti, Giovanni da Gaiole, and Salvi d'Andrea; the latter was also responsible for the construction of the cupola.
The chapel was built by Brunelleschi in the period in which he was active in the Spedale degli Innocenti, and was still supporting the feasibility of the dome of Santa Maria del Fiore. He had already studied a reduced version of his subject for the latter in the dome of the Ridolfi Chapel and repeated it in the Barbadori Chapel, though now his ...
Vasari began the work in 1572. Brunelleschi had anticipated that access would be needed to the interior surface of the dome by installing iron rings from which scaffolding could be hung. There were also small windows in the inner shell through which a painter could crawl out onto suspended platforms. [3]