Cathedral of Saint Mary of the Flower

The Cathedral of Santa Maria del Fiore is literally translated from Italian as "Cathedral of Saint Mary of the Flowers." Its construction was conceived at the end of the 13th century (1296) on the site of the old cathedral of Santa Reparata, which by that time had already survived 9 centuries and had begun to deteriorate. Moreover, there was a plan to expand the church's area to accommodate all the townspeople (at the time of construction – 90,000 people).

The first stone was laid in 1296. The construction of the cathedral continued for many decades under the supervision of various architects, including Arnolfo di Cambio, Giotto di Bondone, and Francesco Talenti. Work was sometimes paused but found new momentum after the discovery of the relics of Saint Zenobius. By 1436, the cathedral was completed and consecrated, becoming the center of the city's most important events. At that time, it was the largest church in Europe.

The cathedral was distinguished by its majestic size and decorations, surpassing the cathedrals of Siena and Pisa. It could accommodate 30,000 people, had an impressive dome, and was dedicated to the Madonna. The cathedral's facade remained unfinished until the 19th century when, under the direction of Emilio de Fabris, it was styled in Florentine neo-Gothic.

The cathedral is impressive in its dimensions: it is 153 meters long, up to 90 meters wide, and the height of the dome with the cross is 114.5 meters, covering a total area of 8,300 square meters. However, it is situated within a dense urban fabric, which makes it difficult to fully appreciate from a single viewpoint. Nonetheless, the experience of emerging into the square in front of the cathedral remains powerful.

Adjacent to the cathedral are Giotto's Campanile and the Baptistery, forming a monumental ensemble. Alterations in the 19th century disrupted its harmony, leading to criticism for the improper placement of elements, especially the Baptistery, which came to resemble a "closet out of place".

Architecturally, the church is designed in the shape of a Latin cross with three aisles and a dome, following the project by Brunelleschi. The exterior is clad in marble of various colors, typical of Tuscany, utilizing white, green, and pink marble.

The original facade of Santa Maria del Fiore collapsed in 1587, marking the beginning of a long search for someone who could complete what Arnolfo di Cambio had started. Finally, in 1871, a design by architect Emilio de Fabris was approved, and he completed the construction in 1887. His facade is made using one type of marble in different shades: white, green, and pink, creating a stunning beauty when it catches the sun. The facade is further enhanced by a bell tower with various niches filled with statues and medallions depicting biblical scenes.

The pointed arches of the facade are decorated with frescoes dedicated to the life of the Virgin Mary. Above the central entrance to the cathedral, there is a relief of the infant Christ seated on a throne with the Virgin Mary, surrounded by statues of twelve preachers. Slightly above the portal with statues, the facade is adorned with a huge ornate window. The space around the window includes sculpted medallions featuring famous residents of Florence. The three bronze doors that guard the entrance to the cathedral are of great interest.

The interior of the cathedral is quite simple and austere, striking with the emptiness of its colossal internal space. The cathedral is notable for the absence of side chapels, making it spacious and bright due to large windows. The walls and vaults contrast dark limestone with white plaster, and the floor is adorned with marble mosaics from the 15th and 16th centuries.

Most of the cathedral's stained glass and mosaics, created in the 15th century, depict biblical scenes. 44 glass paintings adorn the arches of the aisles and transepts. Each is dedicated to the acts of saints and martyrs of the Old and New Testaments. Round stained glass windows in the dome's drum illustrate scenes from the life of Christ and the Virgin Mary. The remaining decorative elements are kept in the cathedral museum.

Upon entering the cathedral, one's attention is drawn to 15th-century frescoes depicting condottieri on horses, styled as monumental sculptures. On the north wall, there is a famous fresco showing Dante in front of a medieval Florence view.

The cathedral features a 15th-century solar gnomon, marking the day of the summer solstice, and in the main apse, there is an altar with the relics of Saint Zanobi. Busts of famous personalities, including Antonio Squarcialupi, Marsilio Ficino, and Filippo Brunelleschi, are also installed.

On the counter-façade, there are 15th-century clocks, operating on the "hora italica" system, adorned with images of the four evangelists by Paolo Uccello.

The dome designed by Brunelleschi is a hollow double dome, based on 8 main and 16 additional ribs, connected by rings. Its inner diameter at the base is more than 45 meters, and the outer diameter is about 55 meters. The dome weighs about 37,000 tons. Approximately 4 million bricks were used in its construction. The frame, having an elongated pointed shape, evenly distributes the load of the upper shell and prevents the dome from collapsing under its own weight, which is about 9,000 tons.

The dome of the Cathedral of Santa Maria del Fiore remains the largest of its kind in the world, ever built with brick masonry and without scaffolding. Between 1572-1579, its interior vault was decorated by the famous artists Giorgio Vasari and Federico Zuccari, who painted frescoes over an area of approximately 3,600 square meters. On the outside, at a base located 60 meters high, there is a panoramic terrace with a view of the city.

The complex of the Cathedral of Santa Maria del Fiore also includes the Baptistery of San Giovanni, in other words, a place for baptism. It is a separate building, located near the Duomo on Cathedral Square. The Baptistery is named after John the Baptist and is the most ancient building on the square. Its construction dates back to about the 5th century AD. The octagonal building is made in the Romanesque style, and it acquired its modern look in the 12th century. Inside the baptistery, one can admire the golden dome, painted with the faces of Christ, saints, and scenes from the Bible.

The reliefs that adorned the gates of the baptistery in the 13th-15th centuries are of particular interest. They depict John the Baptist and the Cardinal Virtues. The newest gates, the eastern ones, were designed in a special way in the mid-15th century. The gilded canvas of the gates was divided into 10 equal panels, each carefully depicting biblical stories. This masterpiece is also known as the Gates of Paradise.

Many of the objects that once decorated the interior of the cathedral were gradually moved to the Museum. The space that served as Brunelleschi's workshop was opened as a museum at the cathedral in 1891. Museum visitors can admire the design drawings of the dome, as well as models created by Brunelleschi himself. Magnificent choirs, which served the cathedral's singers in the 15th century, also found their home in the museum. The museum houses an extensive sculpture collection, including the "Penitent Mary Magdalene" statue, "Prophet Habakkuk" by Donatello, and Michelangelo Buonarroti’s unfinished work – "Pietà".