Overall size frescoes of the Cathedral of Santa Maria del Fiore - half a football field!

We have already talked about how the architect Filippo Brunelleschi created a unique dome in Florence, and this dome is still the largest brick dome in the world. But who painted the inner surface of this dome with such unusual frescoes?
The frescoes inside the giant dome were created by the same Florentine artist and architect Giorgio Vasari, who, commissioned by Cosimo I de Medici, designed and built a unique one, stretching over squares and streets, as well as over a bridge from one bank of the Arno River to the other and connecting two palaces - Palazzo Vecchio Piazza Senoria and Palazzo Pitti.
Immediately after the construction of the corridor in 1565, Vasari receives an order from Cosimo I Medici to paint the dome, which he has been doing since 1572, but does not have time to complete the work, which Federico Zucarro completes after Vasari's death (1574).
The total area of ​​the fresco on the dome is about 3,600 sq. meters, and this is half the football field. The plot was the Last Judgment.

The devil devouring sinners is a clear influence of Bosch. Source http://24.media.tumblr.com/

Here it must be recalled that long before the time of Cosimo de Medici and Giorgio Vasari, the great Florentine Dante Alighieri described in detail and vividly the pictures of Hell in the first part " Divine Comedy”, and Dante and his main book were so revered in Florence that he himself is depicted in a huge picture that occupies a place of honor in the Cathedral of Santa Maria del Fiore, and the same picture shows Florence, as well as the “three kingdoms” described Dante, i.e. Hell, Purgatory and Paradise. Of course, Vasari's frescoes had to develop those ideas that are associated with the book of Dante. In addition, in Florence they were familiar with the paintings of the Last Judgment created by Bosch, and these paintings are much more terrible than the stories of Dante. Their Last Judgments were written by Giotto (the second architect of the Cathedral, who built the campanilla and was buried in Santa Maria del Fiore), Botticelli and Michelangelo. This was the context that Vasari took into account.

Central fresco of the dome. Eastern part of the fresco (above the altar opposite the entrance). In the center of the third tier is Jesus, the Mother of God, around the Saints. All five rows of the fresco are clearly visible. Source http://st.depositphotos.com/

Nevertheless, he managed to create something that struck contemporaries and shocked tourists. The fact is that Vasari painted frescoes in the spirit of the best traditions of the Renaissance, that is, his sinners who accept Hellish torments, and even their tormentors look, if not realistic, then in any case, very similar to the characters ancient myths, as they appear on the canvases of Florentine artists. It turns out a kind of aesthetic illustration of what is happening in Hell, moreover, convincing of the authenticity of the events depicted. In addition, in some sinners one can recognize some of Vasari's contemporaries, and they suffer in accordance with earthly sins, which the Florentines were talking about at that time.
One of these shocking fragments is the depiction of the scene of the punishment of a harlot and a sodomy. A certain character, similar to the devil, with fire on a long handle cauterizes an intimate place for a harlot, and another tailed servant of Satan cauterizes a supporter of same-sex love that place below the back, which is associated with his sin.

All frescoes are divided into 5 rows, or tiers, each of which consists of 8 episodes (which is predetermined by the octagonal shape of the dome). The bottom row just depicts sins, sinners and their punishment in Hell. The second row from the bottom is filled, in contrast, with images of the Virtues, the Beatitudes and the Gifts of the Holy Spirit. The third row - the compositional center of the entire painting of the dome - is given to the images of Christ, the Virgin and the Saints. The fourth row from the bottom, located already near the hole in the center of the dome, is occupied by Angels with the instruments of the Passion of Christ (this is the bowl in which Pilate washed his hands, transferring the fate of Jesus to his tormentors; 30 pieces of silver received by Judas; a pillar to which Jesus was tied in the time of scourging; the crown of thorns; the cross on which Jesus was crucified; the nails that pierced the flesh of the Son of God; the spear with which the Roman legionnaire Longinus finished off Jesus, ending his torment; the grail, in this case representing the cup into which the blood of Jesus was collected; the ladder that was used to remove the body of Jesus from the cross; a shroud in which the dead body was wrapped and on which footprints were imprinted; as well as other instruments of the Passion of Christ). Finally, in the uppermost row, which is also the smallest in size, since it adjoins the gap at the top of the dome, there are the Elders of the Apocalypse, about whom it is said in the Book of Revelation, prophesying about the Last Judgment, as follows: “And around the throne are twenty-four thrones; and on the thrones I saw twenty-four elders, who were clothed in white clothes and had golden crowns on their heads. Since there are only eight sectors of the dome, and they are quite cramped in the upper tier, Vasari depicts the elders in threes, with one of each three in the foreground, and two, as it were, peeking out from behind the left and right shoulder of the central figure.
After the death of Vasari and Cosimo I, the new ruler of Florence, Francesco I, invited the artist Federico Zucarro to complete the interior painting of the dome, and he, in fulfillment of the will of the ruler in the third tier, eastern part which (above the altar and opposite the entrance) is occupied by Jesus and the Mother of God, and the neighboring sectors are the Saints, also depicted the “redeemed”, that is, those who contributed to the prosperity of Florence and the construction of the Cathedral and thereby, as it was proclaimed, atoned for sins, which allows you to get immediately to Paradise, bypassing Purgatory. Moreover, the sense of proportion has already completely denied both Francesco I himself and the artist Zucarro, who depicted among the “redeemed” the Medici, the Emperor, the King of France, Vasari and other artists, as well as himself and even his relatives and friends.
The frescoes of the dome of Santa Maria del Fiore, from its inception to the present day, have caused a lot of controversy. Someone says that this is a frank political order, and therefore cannot be considered a masterpiece and a monument. Others object that the painting of any large temple was made to order, and that the frescoes of Vasari and Zuccarro just express the peculiar spirit of that Late Renaissance, which the Dutch explorer Huizinga wittily and accurately called the "Autumn of the Middle Ages." Be that as it may, the internal painting of the dome was restored in 1978-1994, and 11 billion lire was spent on this, although this also caused indignation and protests of some Florentines.

Cathedral Cathedral of Santa Maria del Fiore(Duomo) built on the site of Santa Reparata, an ancient basilica. Its construction was started by Arnolfo di Cambio at the end of the 13th century. The beautiful dome was added in the 15th century, and the facade of the church was completed only in the 19th. The special beauty of the cathedral is given by the covering of the facade with pink, white and green marble. On March 25, 1436, it was consecrated by Pope Eugene IV.

Business card of Florence

La Cattedrale di Santa Maria del Fiore- the most famous building in Florence, which has become a symbol of the city. The majestic complex consists of 5 monuments: the dome, the Baptistery, the bell tower of Giotto's Campanile, the crypt of St. Reparate and the museum-gallery of the Opera del Duomo. Its grandiosity and size are such that it is completely impossible to photograph. 153 m - length, width - 90 m, and 90 m height from the floor to the top of the lantern.

On the facade there is a statue of the Mother of God with a baby and a lily in her hand, which is why it is called - Cathedral of the Holy Virgin Mary with a flower. On the sides of the Mother of God are statues of 12 apostles. Above, in a round window (tympanum), is an image of the Heavenly Father, looking down on us sinners. The interior of the cathedral is quite austere.

Entrance to the cathedral is free, which is why there are long queues. They usually move fast. If your group is more than 4 people, you can take an audio guide for a couple of euros per person and skip the line. A single ticket to see the entire ensemble costs 10 euros.

Dome

Octagonal vaulted dome designed Filippo Brunelleschi, a famous Italian architect, has a characteristic egg shape. It was made (1418-1434) without the use of scaffolding. A unique masterpiece that can withstand lightning and earthquakes, fascinates everyone. The dome has a diameter of 45.5 meters, a height of 42 meters, a weight of approximately 40,000 tons, 4 million bricks in construction!

The best way to admire the dome is to climb the 463 steps (there is no elevator). The trail goes inside the dome and allows you to see beautiful frescoes Giorgio Vasari. Unfortunately, he did not have time to finish the work. After his death, it was completed Federico Zuccari, his student, in 1579. The frescoes were completely restored in 1996. Continuing to climb, you will reach a special platform on top of the dome of Santa Maria del Fiore.

The view of Florence from here is amazing.

Baptistery of San Giovanni

The Baptistery of Saint John is the oldest structure in the square. For centuries, it was considered a pagan temple. Later, the Christians modified it for their needs. The first baptistery was erected in the 5th or early 6th century.

In the middle of the 11th century, it was decorated with expensive marble and transformed into the one we see today. IN XII-XIII centuries a monumental dome and a rectangular apse (scarsella) on the western side were added to the baptistery. The building becomes an object of civic pride. Dante calls it "beautiful St. John's". In the XIV-XVI centuries, external sculptural decorations appeared: three sets of bronze doors and marble sculptures above them.

At the entrance, the attention of visitors is attracted by the precious mosaic of the dome. Three of the eight sides of the dome are occupied by images with scenes of the Last Judgment, where the figure of Christ dominates. The overlapping horizontal registers of the other five segments depict Saint John the Baptist, patron saint of the city. In the center, in high register, placed angelic hierarchies.

The oldest doors - on the south side - work Andrea Pisano 1330. Next are the north doors, made by Lorenzo Ghiberti (1402-1425). And finally, to the east, are the "Gates of Paradise" (as Michelangelo called them) by Ghiberti from 1425-1450. Later they were replaced with copies.

Campanile Giotto

Giotto's bell tower is one of the five main components of the ensemble on area Piazza del Duomo. Its height is 84.70 meters, its width is about 15 m. It is the most eloquent evidence of the Florentine Gothic architecture of the XIV century.

The majestic bell tower with a square base, covered with white, red and green marble (the same colors adorn the cathedral), is considered the most beautiful in Italy. Construction started by Giotto in 1334. By the time of his death in 1337, Giotto had only completed the first part of the project. Andrea Pisano finished the first two floors, strictly following Giotto's design.

In 1359 the work was completed. The many windows, large and gabled, make the Gothic building elegant while maintaining a classical setting overall. The large terrace, located more than 400 meters from the ground, has become a wonderful panoramic platform.

Crypt of Saint Reparat

Excavations in 1965-1973 revealed the remains of an ancient basilica Santa Reparata.It had three naves, colonnades that surrounded the central hall, and an area of ​​worship. Santa Reparata served until 1379.

Remains of four temples have been found here. These are numerous fragments of the walls and floors of the houses of the Roman "Florentia". The multi-coloured mosaic floor deserves admiration. A special symbol - the peacock of immortality - is one of the few pictorial elements preserved on it.

Florentine fresco work painter Giotto mid-14th century adorns semicircular wall. Here you will see numerous tombstones. Among them are Lando Janus, chaplain of Santa Reparata, who died in 1353, and Nicholas Squarcialupi of the Medici family, who died in 1352. During the excavations, the tomb of Filippo Brunelleschi was found. However, there are no traces of the burials of Giotto, Arnolfo di Cambio, Andrea Pisano, who are also, according to tradition, buried here.

The Santa Maria del Fiore Ensemble Museum is - after the Vatican Museum - the largest collection of sacred art in the world. He amazes visitors with masterpieces Donatello, Lorenzo Ghiberti, Luca della Robbia, Antonio Pollaiolo and Michelangelo.

Among the most interesting exhibits are 40 statues made for the old facade of the cathedral and dismantled in 1586-1587. Visitors will also see unique works: a wooden statue of the "Penitent Magdalene" by Donatello and a drink by Michelangelo.

Useful information

Working hours

The Cathedral of Santa Maria del Fiore is open: from 10:00 to 17:00. Free admission.

Friday: 10:00-16:00 or 17:00, depending on the season.
Saturday: 10:00 - 16:45.
On religious holidays, Sunday: 13:30-16:45.
Closed: on New Year's and Christmas holidays, Epiphany and Easter.

The tower is open for visits: 8:30-19:00. Ticket - 6 euros.

Tour schedule

Free tours - daily every 40 minutes: 10:30-12.00, at 15:00.

How to get there

Getting there: bus number 6, 14, 17, 22, 23, 36, 37, 71.
You can easily walk from the railway station to the Duomo Square in 15 minutes.

Svetlana Pruss

1. Early Christian architecture and architecture of Byzantium 5-15 centuries.

Byzantium

"The era of Justinian" - the emperor of Byzantium, ruled for 40 years (520-560) during the reign, he built 800 large structures, paid great attention to Constantinople. The city had 3 fortification poisons with walls, rivers were dug from the land side. The domed basilica already dominated. From the 6th century The vaulted architecture completely supplanted the types of the Roman eastern basilica.

Cross-domed arch. Stop being the leader. Particular attention is paid to the decor. Brick is combined with stone. 1453 The Turks conquered Byzantium.

A cross-domed system was developed.

Dome system for the masses

Created a unified space of the temple

The cross-domed type is common for Eastern Christianity.

basilica

Formation of Byzantine ceiling systems: a - Roman cross vault: b - vaulted vault on four supports: c - vault vault on eight supports, d - dome on sails d - dome on sails with repayment thrust side semi-domes; e - cross-domed floor system

IN
Byzantine architects used local Construction Materials: small stone and burnt brick - plinth (square or rectangular brick 4-5 cm thick). Masonry was carried out on zemyanka - lime mortar with the addition of crushed bricks. Often in the masonry 4-5 rows of bricks alternated with several rows of masonry - "Byzantine". Concrete equipment was not used.

Each stage in the development of Byzantine architecture is characterized by the development of certain structural or planning systems.

Byzantine architectures created more economical systems of vaulting (cross vaults made of bricks and a dome on sails).

The capitals of the columns were varied in their typology and were often simplified and coarsened derivatives of the Roman systems.

One of the main achievements of Byzantine architecture is the formation of 4 main types of religious buildings:

1. Central-domed (Hagia Sophia in Constantinople)

2. Centric (Church of St. Vitalius in Ravenna)

3. Cross-domed (Church of St. Mark in Venice)

4. Basilicas (Basilica in Turmanin)

Features and main achievements of Byzantine architecture:

1. The highest flowering of architecture - the end of the 6th-11th centuries

2. The main building materials are stone and plinth

3. The vaults were made of brick and stone. To lighten the weight of the masonry of the vaults, porous stones (pumice) were introduced and covered with tiles or lead sheets on top. Domes, barrel vaults, cross vaults were used. Later, between the dome and the supporting structure, they began to arrange a cylindrical volume - a drum, in the walls of which openings were left to illuminate the under-dome space.

4. Creative processing of architectural techniques and structures of Roman architecture.

5. Formation of 4 main types of religious buildings.

6. The use of spatial volumes, which had the strength of a geometric structure, rigidity and stability, made it possible to minimize the massiveness of supporting structures, rationally distribute building materials in them, and obtain significant savings in labor and material costs.

7. The dome structures developed in Byzantine architecture and planning methods for organizing the internal spaces of religious buildings later had a significant impact on the formation of Renaissance architecture in Italy and other countries of Western Europe.

2. Hagia Sophia in Constantinople, 537

Hagia Sophia - the Wisdom of God, Hagia Sophia of Constantinople, Hagia Sophia - a former patriarchal Orthodox cathedral, later a mosque, now a museum; the world-famous monument of Byzantine architecture, a symbol of the "golden age" of Byzantium. The official name of the monument today is the Hagia Sophia Museum.

During the Byzantine Empire, the cathedral was located in the center of Constantinople next to the imperial palace. Currently located in the historical center of Istanbul, Sultanahmet district. After the capture of the city by the Ottomans, the Sofia Cathedral was turned into a mosque, and in 1935 it acquired the status of a museum. In 1985, the Hagia Sophia, among other monuments of the historical center of Istanbul, was included in the UNESCO World Heritage Site.

For more than a thousand years, the St. Sophia Cathedral in Constantinople remained the largest church in the Christian world - until the construction of St. Peter's Cathedral in Rome. The height of St. Sophia Cathedral is 55.6 meters, the diameter of the dome is 31 meters.

In terms of plan, the cathedral is an oblong quadrangle (75.6 × 68.4 m), forming three naves: the middle one is wide, the side ones are narrower. It is a basilica with a quadrangular crosshair crowned with a dome. The giant domed system of the cathedral became a masterpiece of architectural thought of its time. The strength of the walls of the temple is achieved, according to Turkish researchers, by adding an extract of ash leaves to the mortar.

The middle of the wide nave, square at the base, is limited at the corners by four massive pillars supporting huge arches, and is covered with a fairly flat dome 31 m in diameter, the top of which is 51 m from the floor. The dome consists of forty radial arches; in the lower parts of the inter-arch spaces are cut arched windows(there are also 40 of them), thanks to which the feeling of a continuous light belt is created in the lower part of the dome. The dome is connected to the overlapped rectangular space with the help of spherical triangles - sails - which later became widespread in world architecture. Two colossal niches with a hemispherical top adjoin the domed space from the east and west: three more smaller niches open into the eastern niche with their arches, of which the middle one, which served as the altar apse, is deeper than the others and protrudes from the general plan of the temple in the form of a semicircle; three niches also adjoin the western large niche; of these, the middle one, representing at the top not a hemispherical, but an ordinary box vault, contains three doors leading to the inner and outer porches attached to the temple (esonartex and exonartex), in front of which there was once a now non-existent courtyard, surrounded by a gallery with columns.

The under-dome space on the north and south sides communicates with the side aisles with the help of arches supported by porphyry and malachite columns taken from the temples of Asia Minor and Egypt; under these arches there is another tier of similar arches, which open into the under-dome space arranged in the side aisles of the gynekey galleries, and even higher - the huge arches supporting the dome are sealed with a straight wall with windows arranged in three rows. In addition to these windows, the interior of the temple provides abundant, although somewhat diffused illumination of 40 windows encircling the base of the dome, and five windows each in large and small niches.

C the central nave of the cathedral, the chancel and the main dome

The interior decoration of the temple lasted for several centuries and was distinguished by special luxury (mosaics on the golden floor, 8 green jasper columns from the Temple of Artemis in Ephesus). The walls of the temple were also completely covered with mosaics (both plot compositions and ornaments). With its majestic architecture and decoration

the main sanctuary of the whole state inspired the idea of ​​power Byzantine Empire and churches. This was served by the size of the temple, designed for crowds of thousands of people, and the luxury of interior decoration with colored marble and decorative mosaics, and the splendor of the ceremonies that took place in the temple. It was in a new type of building, in the domed basilica of St. Sophia, the most consistently expressed characteristic of Byzantine art of the 6th century. tendencies towards grandiosity, majestic pomp and solemnity.

The sights of Hagia Sophia include the “weeping column”, covered with copper (there is a belief that if you put your hand in the hole and, feeling wet, make a wish, it will surely come true), as well as the “cold window”, where even on the hottest day it blows cool breeze.

In 1935, layers of plaster covering them were removed from the frescoes and mosaics. Thus, at present, on the walls of the temple one can see images of Jesus Christ and the Mother of God, and quotes from the Koran on four large oval-shaped shields.

On the railings of the upper gallery of the temple, you can find graffiti left throughout the history of its existence. The most ancient of them are covered with transparent plastic and are considered one of the protected attractions.

3.Pre-Romanesque and Romanesque architecture of the countries of Western Europe 7-13th centuries

Pre-Roman arch. 5th-10th centuries

The architecture of the early stage of feudalism developed where the "barbarian" tribes quickly came to understand the state. This is Lombardy, northern Italy. In the 6th-8th centuries, the state. Franks, Gauls ter. France in the Pyrenees. (Caroline Empire). 9th century Visigoth state (Spain) 5th c.

Merovinian period 5th-8th centuries

Christian churches, baptistery, royal residences, estates of feudal lords, monasteries were built.

Centric temples were built in the form of a polygon or a cross in plan

From the 7th century, basilicas with a transept (cross nave) appear

Caroline period 8th-9th centuries

At this time, the type of palaces of the feudal nobility with a hall, a front palace was born. Court chapel (Catholic chapel) In the era of Charlemagne, stone construction became the norm. The most outstanding monument of this time is the palace church of Charles in Aachen in 804.

With the development of feudal relations, new types of fortified dwellings of feudal lords, monastic complexes, are gradually taking shape and religious construction is developing, in the architect. There is both a centric type of composition (baptistery) and a basilic one. The leading place in the formation of the western medieval temple is occupied by the basilica.

The origins of the medieval basilica go back to the late Roman architecture. They were a frontal-axial composition with a space elongated along the main axis, divided by 2 or 4 rows of columns into 3-5 naves.

The middle one was much wider and taller than the others and is illuminated through the windows arranged in the upper part of the walls. The rows of disputes separating the naves were usually made in the form of arcades on columns, the spans between the piers had flat ceilings on wooden beams in the main nave suspended from wooden trusses.

In the depths of the middle nave, where the altar was installed, an apse was made, and to expand the pre-altar space intended for the clergy, a transverse nave-transept was often arranged. In front of the building, sometimes a courtyard-atrium surrounded by galleries was arranged, in the middle of which there was a bowl of the rite of baptism.

In further development, this type of basilica was improved by increasing the area for the altar and in front of the altaer, as well as the appearance in front of the main hall of an additional narthex room, where "catechumens" were allowed, sometimes in large churches side aisles made in two tiers.

So in the 11th century the traditional scheme of the basilica was formed.

With a plan in the form of a Latin cross.

with transept

With three apses (central enlarged)

The western end of the church, where the entrance for the Meryans was located, was usually flanked by 2 towers, since in addition to their main functions, temples often had an important cathedral significance.

Along with the basilica, the so-called hall churches were also built, in which, unlike the basilica, the middle nave did not have a significant excess over the side ones.

The wooden ceilings of the early basilicas were destroyed due to frequent floods, so their replacement with vaulted structures was one of the urgent tasks of improving construction.

With the transitions to the cylindrical vaults, the array of wall supports began to increase sharply. An important step in the transformation of the structural system was the concentration of efforts on its own wall and pillars - buttresses, installed in the places of greatest action of spacer forces. This constructive scheme was the main result of the development of Romanesque architecture and became the basis for the development of the Gothic system.

The main material for the construction of large buildings was local stone, mainly limestone, as well as granite, marble, and brick.

Roman arch. Differs in a variety of forms. In France, the schools of Bourbundia, Provence, and Aquitaine stood out. In Germany, the Saxon and Roman schools.

The Church of the Magdalene in Vezelay, early 12th century, also belongs to the Burgunsky school.

Italy and Byzantium also developed constructive methods. Here the hall type of the temple with one or three naves became widespread. In the constructions of arches and vaults, a lancet form appeared, which then spread to other regions of the country.

The Romanesque period is characterized by the type of a closed fortified dwelling of the feudal lord of the castle, usually erected on an elevated and inaccessible place \. By the 10th century, a type of fortified dwelling surrounded by ramparts and a moat had developed.

From the end of the 11th century, the shape of the donjon became more complicated, for the dwelling of the feudal lord they began to build a separate structure, which served as a refuge for the feudal lord when the enemy took the defensive walls.

4. Cluny in France 1095

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The first church of the abbey (Cluny I) was built under Abbe Bernon in 927. At the end of the 10th century, under the abbots of Mayolei and Odilon, the church was completely rebuilt (Cluny II). The gigantic basilica, known as Cluny III, was built between 1088-1220 and strongly influenced Romanesque architecture. The length of the basilica was 187 m, height - 30 meters, which made it the largest church in Europe until the construction of St. Peter's Cathedral. The basilica had five naves; the central nave was the largest in height (30 m) among the Romanesque churches, its width was 15 m. The church was decorated with five towers - one on the middle cross, two symmetrically located on the main facade, and two above the large transept. During the construction of the church arch, the builders used an innovative technique, which later became widespread in European temple architecture: the vault was given an lancet shape in order to pay off the lateral thrust.

5. Gothic architecture

There are 3 periods of Gothic: Early end of the 12th beginning of the 13th century.

Mature 13 - 14

Late 15 early 16

France - Gothic is elegant, with clarity of proportions and a sense of proportion

England is ponderous, the compositions are overloaded, the decor is rich and complex.

Germany Gothic is mystical and abstract, but at the same time expressive

Italy is just a few elements

In cities, a simple city dweller had a small house 2-4 floors high, with a pitched roof, this house had a half-timbered structure

This is a frame structure with vertical, horizontal and diagonal ribs made of wood, the gaps of which were filled with brick, natural stone or any other material. With this design, it was possible to quickly build a house.

2 natural centers: Market Square and Cathedral Square

The city's cathedral was of primary importance in architecture.

The rib vault has a lancet outline. The custom of emphasizing the edges of the vault with protruding rows of stones, as well as the use of arches to support the vault, have been known for a long time.

The ribbed lancet vault is 4 supports, the cheek arches are diagonal.

The arches forming the vaults are called ribs, and the cell of the vault itself is called a travea.

The supports have become a working part of the structure.

R
the formwork becomes only passive filling.

The arch is significantly reduced in weight.

The naves were covered up to a height of 30-40 meters and a width of 15 meters.

The main constructive role of internal and external supports (pillars, columns, buttresses). In order to remove the loads that have arisen, the lateral thrust of the vaults was extinguished due to an independent structural element, taken out of the loaded walls, a retaining ledge pillar of the buttress.

Arkbutan (fr.arc-boutant) - an external stone semi-arch that transmits a horizontal thrust force from the arches of a building to support post located outside the main volume of the building.

R
oza - a large round window, divided by a curly binding into parts in the form of a star or a blossoming flower with symmetrically arranged petals. It appears in the church of the Chromatic and Gothic styles, usually on the facade of the main, longitudinal nave, and sometimes on both facades of the transept, being placed quite high above the entrance doors and delivering abundant illumination to the inside of the temple. At the beginning of the Romanesque era, the cutting of the rose was quite simple: it consisted mainly of thin columns, resting with their bases in a circle occupying the middle of the window, and supporting with their tops a strip of arches running along its circumference. Subsequently, with the development of the Romanesque style and its transition to the Gothic, the drawing of this cutting became more and more complicated and, in the last period of the Gothic, became extremely intricate.

Construction Materials:

Wood, then local stone, only in northern Germany, the Baltics brick., Special attention was paid to mortar.

Gothic arch. They used the triangulation method, the proportions of the building were determined using triangles.

Sculpture decorated the entire facade of the building.

Portals and their tympanums

Phial - hipped turret on buttresses

Vimperg - carved pediment above the windows

Crabb - an image of stylized leaves or flowers, they were placed along the edges of vimpergs, cornices, towers, flying buttresses, etc.

Cruciferous stylized flower.

6. Notre Dame Cathedral in Chartres

The three-aisled building in plan is a Latin cross with a short three-aisled transept ambulatory. The eastern part of the temple has several semicircular radial chapels. Three of them protrude noticeably beyond the ambulatory semicircle, the remaining four have a shallower depth. At the time of construction, the vaults of Chartres Cathedral were the highest in France, which was achieved through the use of archbutanes based on buttresses. Additional flying buttresses supporting the apse appeared in the 14th century. Chartres Cathedral was the first to use this architectural element in its construction, which gave it a completely unprecedented external outline, increased the size of the window openings and the height of the nave (36 meters).

A feature of the appearance of the cathedral are its two very different towers. The 105-meter spire of the southern tower, built in 1140, is made in the form of a simple Romanesque pyramid. The northern tower, 113 meters high, has a base left over from a Romanesque cathedral, while the spire towers appeared in early XVI century and is made in the flaming gothic style.

Chartres Cathedral has nine portals, three of which have been preserved from the old Romanesque cathedral. The northern portal dates back to 1230 and contains sculptures of Old Testament characters. The southern portal, created between 1224 and 1250, uses New Testament scenes with a central composition dedicated to the Last Judgment. The Western Portal of Christ and the Virgin Mary, better known as the Royal Portal, dates from 1150 and is famous for its depiction of Christ in Glory, created in the 12th century.

The entrances to the north and south transepts are decorated with sculptures from the 13th century. In total, the decoration of the cathedral has about 10,000 sculptural images made of stone and glass.

On the south side of the cathedral there is an astronomical clock of the 16th century. Until the clockwork broke in 1793, they showed not only the time, but also the day of the week, month, sunrise and sunset times, the phases of the moon, and the current sign of the zodiac.

7. Gothic architecture in France VIII-XVI centuries.

Gothic architecture in France is graceful, with clarity of proportions and a sense of proportion.

Early Gothic in France (12-13 centuries - the heyday)

Abbey Church in Saint Denis (12th century)

The world's first Gothic building. This is an abbey church that served as the tomb of the kings, which placed a special responsibility on new construction. The new temple was to resist Rome and the monastery at Cluny. In a word, to surpass everything known up to this time. The architect abandoned massive supports, connecting the bypass space with the crown of chapels together. The new design made it possible to get rid of the thick wall and made it possible to open large windows. In this building for the first time applied:

Ribbed vaults, which were still massive in the Romanesque style and squeezed space.

The altar was decided by a single space.

The use of a rib vault and a frame structure showed its advantages: now it was possible to perfectly illuminate the temple with high stained-glass windows.

The innovation of this temple gave rise to a variety of searches in French architecture, which went in three directions:

Planning - development of plans.

Constructive - improvement of structures, which made it possible to increase the height of the central nave.

Artistic - the search for facade expressiveness.

Gothic was born as a new concept of space into which light flows.

In the buildings of the early Gothic, a process of gradual unloading of the wall took place, it became more and more permeable to light and space. The appearance of the Gothic cathedral was determined primarily by the western facade. His role was greater than in the novel. The western façade was supposed to hide the work of the exposed structures. The western facade was conceived in Gothic as a kind of overture to the temple, as a grandiose screen on which the image of the "divine universe" arose.

Cathedral of Notre Dame in Lana (1160 - 1200)

The cathedral in Lana acquires majestic dignity due to the fact that it is a single coordinated whole - both in its construction and in decoration. It has one of the most impressive early Gothic facades. The volumes seemed to have shifted from their places, and began to move. The walls are cut with deep openings. A huge rose window dominates the other windows on the main façade. The towers are dynamic and proportionate.

Plan of the Cathedral of Notre Dame in Lana

Mature Gothic in France. (13th-14th centuries)

During the period of mature Gothic, the following tasks are solved:

Structural (facilitation of structures)

Architectural and artistic (increasing figurative expressiveness)

Artistic (increasing the role of plastic elements)

These tasks were consistently carried out in the 3 best monuments of mature Gothic in France - the cathedrals in Châtres, Reims, Amiens.

Cathedral in Reims (Champagne, 1210-1481)

Built on the site of a burned-out basilica. This is a three-nave basilica with a three-nave transept, a five-nave choir, with a bypass and a crown of chapels. The length is 124 m, the width of the naves is 30 m, the width of the transept is 50 m, the height of the middle nave is 38 m. The facade of the cathedral is a new step in the development of Gothic. The three-part façade composition has been preserved, but the vertical divisions have been emphasized. Volumes, starting from the bottom, recede deeper. It turns out a double movement of the composition up and down. At the same time, axial symmetry has been preserved, giving balance to the facade. Windows occupy all the space between the pillars. The windows are paired, united by a rose. The rose of the main façade is 11.5 m in diameter. The portals protrude from the wall, crashing into the space of the square. There are a lot of sculptures on the portals. The interiors impress with the depth of space up and down.

P lan of Notre Dame Cathedral in Reims

Rose window West facade

Cathedral in Amiens (1220-1269)

The largest cathedral in France. The transept is more shifted to the middle, the crossing is exactly in the middle of the length of the cathedral. Its length is 118 m, the width of the naves is 33 m, the width of the transept is 59 m, the height of the main nave is 42 m. The center of the temple is fixed for the first time with a star vault.

Facade. A clear three-part division along the vertical, the horizontals are poorly read. The first tier is powerful portals (especially the central one). The second tier is galleries, a rose window. The third tier is the crowning part with towers.

Western façade Plan

Late Gothic in France (Radiant, flaming) (14-16 centuries)

Much attention is paid to the construction of small temples-chapels, commissioned by private individuals or guilds. At this time, construction dominates, but much attention is paid to its decoration. Tectonic clarity is often lost, decor comes to the fore, filling everything - all planes of the interior and exterior. The pattern of vaults becomes more complicated, star-shaped and mesh vaults appear. Architects are more concerned about the external effect of their offspring. This period is usually associated with the decline of Gothic architecture.

Chapel Sainte-Chapelle (1243-1248)

One of the masterpieces of late Gothic, the pinnacle of the development of style. This is a small 31 mx10.5 m temple with two floors. Two churches one above the other. It was built by order of Louis 9 (for the wreath of thorns). The height of the chapel with a spire is 75 m. The rose window in the 15th century. with a story from the Apocalypse.

Lower church: height 7 m. It has a polygonal apse.

Upper church: height 20.5 m, width of the nave 17 m, in the third bay there are two niches for the king and his family. stained glass windows 15 m high, contain scenes from 1134 scenes and occupy an area of ​​about 600 sq. m. The hall is covered with cross rib arches in 4 traves.

Façade plan

8. Notre Dame Cathedral in Paris (1250)

This is the pinnacle of the first stage in the development of Gothic, the cathedral is distinguished by the strict grandeur of its appearance. Notre Dame is located in the center of Paris on the island of the river. Seine-Cité - the former religious center of the city. The cruciform plan, high nave, transept and towers of the Gothic cathedral inherited from the architecture of the Romanesque churches of the XI century. But already in the early Gothic a big step forward was made: the constructive possibilities of the lancet arch and ribbed vault began to be used. Notre Dame Cathedral is a vivid embodiment of the achievements of medieval architecture.

In an effort to create more and more grandiose temples, the builders increased their height, which required new engineering solutions. The capstone in the choir of the cathedral is located at a height of 33 meters - much higher than in earlier churches. The construction of the temple began with the nave. The vaults added another 2 meters to the height of the building, and it became clear that at a high height, the system of pillars of the side aisles loses its reliability. A salvific solution was found by the masters of the 13th century, who invented outdoor stone semi-arches - flying buttresses, which became a characteristic feature of Gothic architecture. In his compositional solution, the principle of lightening the building from tier to tier is clearly traced. The lower tier is still the power of the wall with three enlarged portals, which are completed by a light horizontal line along the entire facade - the “gallery of kings” (28 niches with figures of the Jewish kings. In 1893 (French Revolution) they were cast out; later, during restoration, they were restored) .

The central portal is the scene of the Last Judgment. On the pilaster is the figure of Christ. In the bend of the arch are scenes from the Heavenly Court, heaven and hell.

The right portal is St. Anne's.

Left portal - St. Virgin Mary

Architecture of Notre Dame Cathedral

Western facade. Two identical towers rise on the sides of the western facade, corresponding in width to the side naves. The verticals of the towers are balanced by ribbons of decorative galleries. The well-thought-out ratio of horizontal and vertical articulation gives the façade a discreet power. The cathedral dominates the appearance of the square, defining its appearance.

Southwest tower. In the 69-meter south-western tower, from the 15th century, there is the main bell of the cathedral, cast anew in 1685. According to legend, gold and precious stones were added to the alloy - it was believed that this gives the ringing a special purity of sound.

Support system. With a high nave and a relatively small thickness of the walls (on average 1 meter), additional external supports were required to extinguish the strong lateral expansion of the vaults.

Central portal. The central portal of the cathedral is decorated with sculptural images of scenes of the Last Judgment, showing the salvation of the righteous and the condemnation of sinners to eternal torment.

Stained glass. Gothic architecture is distinguished by grace. Rhythmically repeating arches play the role of supporting structures, taking on the pressure of the vaults. As a result, the walls lose their constructive significance, and huge stained-glass windows “crowd out” them.

Buttresses. In accordance with the new constructive approach, the buttresses have become more powerful. The vertical array of buttresses gives stability to the building, taking a horizontal force - thrust from the vaults of the nave.

Short transept. The builders of the cathedral made the transept unusually short. Later it was enlarged, but even after that the facades of the transept barely protrude beyond the line of the side aisles.

Clerestory. In the 13th century, the upper row windows were enlarged to brighten the main nave.

Flying buttresses. Flying buttresses are two-tier connecting semi-arches, thrown from the walls of the main nave to the buttresses. The upper sleeve gives stability to a high wall, which receives the action of air currents, and the lower sleeve dampens the pressure of the vaults.

Cathedral restoration. The exciting romantic image of Notre Dame was created by Vitor Hugo in the novel Notre Dame Cathedral. The revival of interest in the Gothic contributed to the fact that Hugo's call to restore the ancient cathedral was heard. The restoration, which took place in 1845-56, was carried out by the architect Viollet-le-Duc.

Grotesque sculpture. The famous sculptures of fantastic monsters adorned the cathedral in the 19th century, during restoration. The restorers did not so much try to restore the original appearance of the building as to present the history of the cathedral by imitating various Gothic styles. This approach reflected the interest in Gothic characteristic of that time.

D wooden spire of the cathedral. The cathedral's wooden spire, 96 meters high, was destroyed during the French Revolution of the 18th century and restored during restoration.

Panorama of the Cathedral Facade in detail

Facade (restored by Viollet-le-Duc) Facade according to Viollet-le-Duc

9. Gothic architecture in England and Germany XIV-XVI centuries.

Gothic in England.

As in France, in England there are three types of Gothic:

Early Gothic of the 13th century. - "lanceolate" (according to the shape of the window).

Mature Gothic (the turn of the XIII and XIV centuries - XIV century) - "decorated".

Late Gothic of the 15th century - "perpendicular".

The main building in England went on abbeys, parish churches were also common.

Features of English Gothic.

In the early period, the temples are devoid of constructive boldness and grace. The late period is characterized by an unbridled desire for external effects, for the hypertrophy of the formal achievements of the French. Gothic

The interiors are lower than in France, the towers, on the contrary, are higher

The tower of the crossroads dominates the towers of the main façade; the plans often reflect the crown of chapels around the apse of the choir.

The main facades are elongated horizontally, interpreted in a plane

T ransepts are taken out far transversely.

Rose windows are rare.

Sculptures on temples are placed in niches.

Mature gothic ("decorated")

Westminster Abbey Church (beginning 1245)

WITH
served as the coronation and burial place of English kings. The building follows French patterns, but with a purely English decor. Dimensions: naves 22 m, length 156 m. This is a three-nave basilica with a three-nave transept. The façade is dominated by the vertical principle of composition with horizontal rods; in the interior, the vaults have a complicated pattern from a cross vault to a star vault.

Cathedral at Gloucester (1337 - 1377)

W here, rectangular intersections with a common vertical one become decisive in the design and decor. The wall has practically disappeared, replaced by a lattice of windows and arched openings. The vaults acquired a complex decorative pattern of ribs. "Rampant extravagance of architectural decoration" - this is how you can characterize the interior of this cathedral.

Late Gothic ("Perpendicular")

Mostly chapels.

Westminster Chapel.

windsor chapel

King's College Chapel, Cambridge

In these structures there is a complete destruction of tectonic clarity, both bearing and carrying elements are turned into a continuous decorative shell.

The vaults in these structures are formed by fantastically complex plexuses, which have completely lost the character of stone structural forms. Gothic has turned into a lush here decorative style and no longer has anything to do with the simplicity and elegance of city cathedrals. During this period, secular architecture also actively developed.

Examples are:

Palace complex at Windsor Castle

Palace Hall Westminster Abbey

college at Oxford

college in cambridge

Gothic in Germany.

D German Gothic is characterized by strong Romanesque traditions and Byzantine influences. German Gothic was based on the traditions of France, brought from the Rhine.

German architects:

Enhanced the expressiveness of the structures.

Contrasts were sharply emphasized.

The basis was taken, mainly, decorative beginnings, and not the constructive side.

The closest to the French prototypes was

Cathedral to Cologne (XIII-XIV centuries)

The plan is borrowed from the temple of Amiens. The five-aisled basilica with the height of the main nave is 43.5 m. There is a strongly constructive primacy of the wall, Romanesque decoration is used.

Toward southwestern Germany, a single-towered cathedral type was developed. One of them is:

Cathedral in Ulm (1337-XVI century)

This is a late Gothic cathedral. It stands out because it has no transept, one hipped tower of the western facade, its height is 154 m. This cathedral is one of the most brilliant works of German Gothic.

Cathedral in Ulm

In the north-east of the country, where there was little stone suitable for construction, brick came into use from the 12th century. Firstly, the brick is more fragile, and secondly, it practically excludes processing (complex profiles were set during molding).

Marien Church in Lübeck (1200-1330)

Here, the plane of the wall comes to the fore, only the external forms of the Gothic are copied.

Church of St. Mary in Lübeck

10. Cathedral in Wales (England, 1174-1239, XIII century)

Cathedral in Wales, begun by construction in 1174 and mostly completed in the 13th century. with completions in the 15th century, marked the birth of a new early Gothic architecture in England. This significant building, in which the lancet arch finally replaced the semicircular one, was the link between the buildings of the transition period - the second half of the 12th century. - and fully developed Gothic of the XIII century. The cathedral was built according to a single architectural plan with a plan in the form of a Latin cross. This is a three-nave basilica, a three-nave transept in the middle of the cathedral, five choir chapels. In the Welsh Cathedral, and especially in its interior, the specific features of early English Gothic appear in relief. This is manifested in the relatively low height of the middle nave (21.5 m) and in its typical ratio to the width within 1:2. Horizontality is also characteristic, clearly expressed in the tiered construction of the middle nave, where arcades, triforia * and upper windows clearly separated and retain their independence. At the same time, the Gothic frame system has not yet been fully identified here. The supports of the ribs of the vault in the form of short shafts of the columns reach only to the level of the heels of the arches of the triforiums, resting against the protrusions of the consoles. The continuous chain of lanceolate openings of the triforiums, although lightening the wall, at the same time breaks the clarity of the structure. A unique feature of the interior of the Welsh Cathedral is its "overturned" arches of the middle cross, forming in general something like a figure eight truncated at the bottom. This peculiar and daring design was used to strengthen the central tower (completed in 1321), which fell into disrepair shortly after its erection, by the builder of the tower William Joy of Somerset. The appearance of the cathedral is typical of the early Gothic of England. The stretched façade is perceived as a moving, undulating mass. The two low side towers end abruptly and slow down the vertical rhythms. The tower of the crossroads is missing. The western facade is very wide due to the fact that its towers are not built into the main body of the temple, but adjoin it on the sides. The strictly rhythmic symmetrical façade is divided into two tiers. The first tier (together with a high plinth) is decorated with decorative niches. Portals are weakly expressed, low and very simple in design, they play a subordinate role in the overall composition of the facade, which was typical for the early Gothic of England. The two-tiered chapter hall (first quarter of the 14th century) adjoins the northeastern part of the transept. Its beautiful star vault is supported by a powerful pillar in the center of the octagonal room. In the cathedral complex, this later hall is the most expressive.

*
Triforium(from lat. tri- "three" and foris- “door, entrance”) - in Romanesque and Gothic church architecture, a narrow, low decorative gallery. In the medieval cathedrals of Western Europe, located in the thickness of the wall above the arches that separate the side naves from the middle.

L

stairs to the chapter house

Arches of the crossroads Facade

11. The architecture of the early Renaissance in Italy in the XV century.

Periodization:

Proto-Renaissance (second half of the 13th-14th centuries)

The early period (the entire 15th century) is the Quattrocento.

The high period (the end of the 15th - the first half of the 16th centuries) is the classical Renaissance.

Late period (second half of the 16th century)

Baroque: early period

late period (the entire 17th and half of the 18th centuries)

Earlier Renaissance.

During the Quattrocent period, the norms of classical architecture were rediscovered and formulated. The study of ancient samples led to the assimilation of the classical elements of the ornamental architecture. During these years, a desire appeared in art for an organic combination of medieval traditions with classical elements. In temple construction, the main type remains basilica with a flat ceiling or with cross vaults, but in the elements - the arrangement and decoration of columns and pillars, the distribution of arches and architraves, the appearance of windows and portals, architects are guided by Greco-Roman monuments in an effort to form vast, free spaces inside buildings. Subsequently, gradually, both in the general concept and in the details, samples of ancient art become the basis of the works. Most often in the design of buildings there is a Corinthian order with various modifications of capitals. The new style penetrates non-temple architecture more strongly: the palaces of rulers, city authorities and the nobility, previously similar to fortresses, are not completely moving away from the medieval appearance, they change, the desire of the architects to maintain symmetry and harmony of proportions is obvious. These buildings have harmoniously spacious courtyards, surrounded on the lower and upper floors by covered galleries on arches, which are supported by columns or pilasters of antique form.

Italian architectural monuments of the early Renaissance are found mainly in Florence; among them - elegant and at the same time simple in technical solution

dome of the Cathedral of Santa Maria del Fiore (1436),

Palazzo Pitti, created by (Filippo Brunelleschi), who determined the vector of development of Renaissance architecture;

the palaces of Riccardi (Michelozzo-Michelozzi);

the palaces of Strozzi (Benedetto da Maiano);

the palaces of Gondi (Giuliano da San Gallo);

Ruccellai palaces (Leona Battista Alberti).

In Rome, note:

small and large Venetian palaces (Bernardo di Lorenzo);

Chertosa in Pavia Borgognone;

Palazzo Vendramin Calergi (P. Lombardo, M. Coducci);

Doge's Palace in Venice (Filippo Calendario).

North of the Alps, as well as in Spain, the Early Renaissance occurs only at the end of the 15th century, and its early period lasts until about the middle of the 16th century, however, one cannot speak of the creation of masterpieces in this period in other countries.

Florence

Florence is a wealthy and proud city. The city sought to outshine the glory of Pisa (with its wonderful cathedral and round tower built entirely of marble), Siena (with its majestic cathedral, lined with stripes of gray and white marble). In the architecture of these cathedrals, forms of the Romanesque and Gothic style in the Italian sense appeared.

Educational home for babies (1419 - 1444)

IN In 1419, Brunelleschi was commissioned to build an Orphanage for babies left without parents. The orphanage was actually the first building of the Renaissance in Italy. The orphanage is organized simply: the arcades of its loggia are open towards the square - the building is actually its openwork "wall". All architectural elements are clearly legible, the scale of the building is human scale. An open staircase of 9 steps leads across the entire width of the building to the first floor, which is a gallery of 9 semicircular arches resting on high columns of a composite order. From the capitals to the back wall of the gallery there are girth arches, which are picked up by consoles decorated with capitals.

Pazzi Chapel (1429-1443)

By order of the wealthy Florentine Pazzi family, Brunelleschi began the construction of the Pazzi Chapel. The plan approaches the centric type, in the center there is a square covered by four arcades, covered with a full sail vault (Byzantine system), but the dome is tripled according to the Gothic principle - along the ribs. In front of the facade there is a simple open portico with an arch in the middle (the motif of the ancient Roman triumphal arch). The contrast of a dark, colorful tectonic structure and a light white wall, lightness of construction, colored terracotta reliefs give the impression of harmony and sublime simplicity.

Palazzo Strozzi (1489-1536)

The pearl of the Florentine style, the best palazzo of the early Renaissance, is the Palazzo Strozzi, begun in 1489 by the architect Benedetto da Maiano. The construction was completed by the equally talented Florentine architect Simone del Pollaiolo (Kronaka, 1457-1508).

Palazzo Vecchio (architect Leon Batista Alberti)

The Palazzo Vecchio was built in the image of the old palaces of Florence, but it looks much more powerful and seems to be carved from a single piece of rock. The building has clear forms: in plan it is a rectangle (with a courtyard inside), the facades also have a rough, chopped look. The gallery crowned with battlements seems to be repeated on the tower, the height of which reaches 94 m, complementing the impression of majestic simplicity.

Church of Santa Maria Novella (1456-1470)

The second most important building of Alberti. The church was started in the 14th century but was never completed. Alberti had to continue what the Gothic masters had begun. This made it difficult for him, because. without destroying what was done, he had to include in his project elements old scenery. The facade of the church was a kind of paraphrase of examples of the proto-Renaissance style. Solution of the entrance portal: an ancient compositional technique is used, clothed in the forms of the early Renaissance. Here the proportions are clear, the overall pattern is clear, the details are elegant (capitals, panels, rods, etc.).

General form

12. Cathedral of Santa Maria del Fiore in Florence (architect F. Brunelleschi, 1434)

Filippo Brunelleschi (1377-1446) - the father of the early Renaissance in architecture - began, like many architects, with goldsmithing, at the same time he was engaged in sculpture, contributed to the success of painting, studied the basics of perspective, but made himself immortal glory in architecture. His work begins a new era in architecture. The cathedral, known as Santa Maria del Fiore, began to cost in 1296 as a Gothic temple. The nave was completed in 1418. The design of the nave had already predetermined the octahedral shape of the domed drum resting on pillars, but the solution to the problem of erecting the dome had not yet been found. To complete the Cathedral of Florence and cover the huge octagon (42 meters in diameter) of this difficult and risky work, a commission of 20 famous architects was organized, who, after lively disputes, dispersed without deciding anything. This most difficult task was solved and completed by Brunelleschi, who began work in 1420 and completed it in 1434. This dome marks the beginning of the Renaissance. The complexity of the construction was in the construction of a structure for the construction of a dome (i.e. scaffolding). Brunelleschi proposed to make a light octagonal dome of brick, which would be assembled from the edges - "lobes" and fastened at the top with an architectural lantern, in addition, he volunteered to create a whole range of machines for climbing up and working at height. The dome (its height is 42 meters) was built without scaffolding resting on the ground. The dome consists of two layers with a gap between them, supported by eight hugely thick lancet ribs converging at the top in one ring, on which a drum with a pyramidal top is placed on top. Filippo Brunelleschi's pioneering project combined knowledge of Gothic and Roman engineering with a bold, hands-on approach. The cathedral, completed by the master, became a link between medieval Gothic and the architecture of the new era, imbued with the spirit of scientific and aesthetic research. Brunelleschi revolutionized the development of architecture and paved the way for the Renaissance, which turned Italy into the center of a new culture and art.

Dome structure

General form

Volumetric section of the central part with a dome

Cathedral architecture

Symbol of Florence. The grandiose dome of the cathedral, covered with dark red tiles and connected with powerful white ribs, seems to reign over the city. Brunelleschi's creation confirmed the superiority of Florence over rival cities - Pisova, Siena and Lucca.

Flashlight. Designed by Brunelleschi, the white marble lantern was completed after the death of the architect. The lantern closes the oculus - a round hole at the top of the dome - and redistributes the action gravity, reducing thrust on the walls of the drum.

High dome. The impressive height of the dome, further enhanced by the drum, required a profile that would direct the pressure vertically onto the supporting structure. The drum of the dome was additionally reinforced with iron brackets.

Ribs. In addition to 8 powerful ribs protruding 4 meters above the surface of the segments, another 16 ribs are hidden in the dome structure, radiating from the center.

Multifaceted dome. The project was distinguished by an original constructive solution and well-thought-out construction technology. Brunelleschi connected a free-standing dome with a polyhedral dome of 8 segments, reducing the mass of the structure due to the void between the two shells. Ancient Roman herringbone brickwork and the concentric arrangement of stone blocks made it possible for the first time to abandon the circles (temporary wooden platforms), which could not be erected at such a height and huge width of the span.

Fortified dome. The rigidity of the structure of the inner shell of stone and brick is provided by ribs connected by rows of encircling stone rings. The outer shell of the dome served as a protective layer.

Stone blocks. at the base of the dome there are stone blocks - lintels between the outer and inner shells. A wooden platform was attached to the protruding spikes, on which the builders worked.

Campanile. The construction of the campanile, or bell tower (1334-59), was begun by Giotto and completed after his death by A. Pisano and F. Talenti. A slender 4-tier square tower 84 meters high is decorated with Gothic windows and lacks support pillars.

Apses. In 1421, the area of ​​the building, cruciform in plan, like all Gothic cathedrals, was increased by adding an apse in the shape of a semi-octahedron. Chapels were located in the apses.

Marble inlay. Multi-colored stripes of marble cladding and lines of protruding cornices emphasize the horizontal divisions in the appearance of the cathedral - as opposed to the vertical divisions that prevail in the Gothic architecture of Northern Europe.

13. High Renaissance architecture in Italy in the early 16th century.

At this time (1494 -1559) there are devastating wars between Italian cities.

The center of culture is transferred to Rome. After the end of the pickle in Rome, order is established. Rome and the Vatican are being restored. The grand reconstruction of the Vatican begins. Architects and artists come to Rome from all over Italy.

Donate Bramante (1444-1514), originally from Urbino, began his career as a painter. There are two stages in his work - Milanese and Roman. In 1472-1499 he worked in Milan. Since 1490, he has been busy building the altar of the church of Santa Maria della Grazie (where the Last Supper of Leonardo is located). In its interior, he uses the motif of Brunelleschi's double concentric architraves. In 1499 he moved to Rome.

P
alazzio Cancelleria (1485-1511) papal office and church. An impressive façade, all the floors are finished with slightly protruding rusticated stone. Reminds me of the Rucchelai palace. There are pilasters on the second and third floors. Each floor ends with a cornice. The architraves on the windows of the second floor are interesting, these windows are called bramante windows - semicircular windows in a rectangular frame, above them a cornice - sandrik. A simple and strong cornice crowns the building. One of the most picturesque works is the courtyard inside the palace. Rectangular, surrounded by two floors of arcades (8 arches in length, 5 in width), on the third floor there is a wall with pilasters.

The chapel is the Timpietto rotunda (1502). Located in the courtyard of the monastery of San Pietro Montorio. The rotunda is surrounded by Doric columns, on the second floor there is a balustrade. Niches were made in the drum of the dome, which forms the second floor. This chapel was recognized as a masterpiece during the lifetime of the architect.

D
thief of the church of Santa Maria della Pace (1500-1504) On the first floor there is an arcade, on the second - alternating pylons and columns of the Corinthian order.

In 1505 Bramante began work in the Vatican. Under Pope Julia 2. Bramante was the chief architect. The Belvedere is the summer residence of the pope. A huge courtyard connects the two palaces, the ensemble is completed by a large exedra (semi-circular niche). In his last years, Bramante designed the Cathedral of St. Peter in the Vatican.

In the design of the Cathedral of St. Peter in turn was attended by all the famous architects of the time. Bernardo Rosselino began in 1452, then Giuliano de Sangallo, Bramante proposed a square temple (a centric domed temple with an equilateral Greek cross in plan). Bramante's assistants in the design of the cathedral were Raphael and Peruzzi. Bramante conceived a central-domed cathedral with a dome like the dome of the Roman Pantheon.

Rafael Santi (1483-1520) - Bramante's successor. Born in Urbino, studied painting with his father, then architecture with Bramante.

Pope Leo 10 invited Raphael to finish the Cathedral of St. Peter. Raphael lengthened the entrance part, now in terms of a Latin cross, the ship type of the basilica.

IN

illa Madama (1517-1520), the villa was built for Julius de Medici. This villa was destroyed in 1661. A special feature is the arcade of the lower tier with large skylights.

Palazzo Pandolfini (1520-1530) only the corners of the building are rusticated. Finished by Giovanni Francesco Sangallo according to the drawings of Raphael. In the design of the windows, a new (beam) form of sandrik was used.

B Aldassare Peruzzi (1480-1536) was born in Siena. He worked in Rome from 1503. After Raphael, he led the construction of the Cathedral of St. Peter in Rome, returned to the centric plan. But hostilities interrupted the construction.

Palazzo Massimi (since 1532) Built on the foundations of an older building. The palace follows the curve of the street with the line of the façade. The heaviness of the upper floors is emphasized by rough rustication and a deep portico below them.

Antonio Sangalo Jr. (1485-1546) In 1506 he built the Palma Palace, in 1507 the Church of Marna di Loretto (at 21 and 22). Comes from a family of architects - Giuliano Sangallo and his brother Antonio Sangallo.

P
alazzo Farnese in Rome A quadrangular building with an entrance on each side and a patio. Bramante windows with various sandriks, triangular and arched sandriks alternate on the second floor. In 1546, Michelangelo added cornices to the Palazzo Farnese.

1In 534, Pope Paul 3 entrusts him with the construction of St. Peter. Sangalo returns to the plan of the Latin cross, erects the western and southern parts of the cathedral.

Baccio d'Agnolo (1462-1543) worked in Florence. His most notable work Facade of Palazzo Bartolini. Here new forms of windows appear, exedras alternate with them. Sandriks above the windows are connected by rods.

Giacoppo Totti (Sansovino) (1486-1570) worked in Rome at the beginning of the 16th century. He made the interior decoration of the Church of Santa Macello. In 1527, he fled from Rome to France, but on the way he lingered in Venice, accepting an order for the restoration of the dome of the Cathedral of San Marco (1536). The entablature with sculptures on the frieze, columns, froise has oval windows. The architect managed to combine sculpture and architecture.

Mint (1536) The rustication of the columns gives the building a fortified look.

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ovillon Loggetto (1537-1540) at the foot of the bell tower of San Marco. Facade made of marble of various shades. In the niches, bronze statues are the work of Sansovino himself.

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alazzo Corner dela Grande (1532) was built on the site of an earlier building that burned down. Monumental form, the lower floor is trimmed with large rusticated stone, the upper floors are lighter and have order articulations.

Michele san Micheli (1484-1559) specialized in military architecture. From 1522 he worked in Verona, where he built the gates of the urban fortifications of the port of Nuovo and Porta Palio. When building the fortification of the city, he was the first to use the system of bastions. He builds the Grimani Palace in Venice, imbued with the spirit of antiquity.

In the first half of the 16th century, the ancient heritage occupies a dominant position.

1. Centric compositions become predominant.

2. order compositions become more rigorous. along with the Corinthian and Ionic, the Tuscan and Doric orders are developing.

3. A thin arcade on columns gives way to a more monumental order arcade and colonnade.

4. compositions acquire greater significance, rigor and monumentality.

14. Temple of Tempietto in Rome (architect D. Bramante, 1502)

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One masterpiece is the Tempietto rotunda chapel (literally “temple”) built in the courtyard of the monastery of San Pietro Montorio. The rotunda, surrounded by a Doric colonnade and covered with a dome, has a completely antique character. The perfect balance of all parts of the building, the perfection of shapes and proportions create a spirit of harmony and unity. This small centric building is surrounded by 16 columns, the proportions of which exactly correspond to antique samples, it has an entablature running in a circle, a balustrade goes above the entablature. The chapel is crowned with a drum with windows and niches, a spherical dome with a lantern. Bramante decorated the Tempietto frieze with reliefs depicting the attributes of St. Peter and symbols of the liturgy. The simple forms of the dome, reinforced with wide ribs, became the model for St. Peter's Cathedral in Rome. The design of niches in the upper part of the drum continues the tradition of ancient architecture to decorate buildings with sculptures. The model for the artist was antique reliefs found in ancient temples. The volume is plastic, like a sculpture. The chapel, squeezed into the small space of the monastery courtyard, strikes with monumental grandeur, although its diameter is only 4.5 meters. To appreciate the beauty of Tempietto, you need to find a certain point of view. This chapel is similar to ancient temples. Already during the lifetime of the architect, the rotunda was called a masterpiece of architecture.

15. and 16. Late Renaissance architecture in Italy (Roman and Venetian schools), 16th century.

The second half of the 16th century is the late period of the Renaissance. In architecture at this time, two directions stand out: 1-Venetian school (associated with the further growth of the classical direction. It prepares the development of later classicism), the leading architect is Andrea Palladio; 2-Roman school (the signs of decorativism are intensifying, moving away from the complexity of the composition, the scale and tectonicity are being violated, the foundations of Bacroco are being laid, the centric temple is being abandoned in favor of the basilica), the leading architects are Michelangelo Buanorotti, D. B. da Vignola.

Andrea Palladio (1518-1580) Deeply understood antiquity, bowed before it, appreciated simplicity. Meaningfulness. Purity of proportions. In his work, he was inspired exclusively by antique samples. Columns, niches and pilasters in his works are not decoration, but a simple and rational solution to architectural problems. His father was a stonemason and sculptor. Andrea Palladio himself studied at the masons' workshop, then at the University of Parma. At the age of 28, he builds Villa Trissino - his first project. Civil buildings can be divided into 2 types - the palazzo in the city and the countryside villas.

Palladio's order is the main organizing element of the design, the composition is simply and clearly organized, harmonious. He uses two techniques: 1- small columns of different orders on each of the floors, 2- the facade is decorated with large columns through 2-3 floors.

Basilica of Vicenza (1548-1549) This is a reconstruction of a building on a later foundation in Piazza Vicenza. Palladio surrounded the Goitic building of the 15th century with a two-tier gallery, which gives it an open character. Using a large (colossal) order, arches, wide entablature, paired columns support arches. The entablature is loosened, i.e. protrudes above the column.

P alazzo Chiericati (1550) in Vicenza. The facade has two tiers of large columns, Doric on the first floor and Ionic on the second. Deep balconies on the first and second floors. On the second floor there is a wall facing the façade great hall. Thanks to the loggias, the facade acquires volume and rational tectonics.

Pallady built about 30 villas, of which only 17 have come down to us. All buildings are unique, imbued with a sense of nature, classical clarity.

Villa Rotunda near Vicenza. This villa is the most famous, it was the first centric building for secular purposes. The plan is a square with an inscribed round hall, covered with a dome, on each side a portico with a staircase extended forward.

The buildings of Palladio are not only practical, but also beautiful, they are harmonious and balanced.

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The Teatro Olimpico in Vicenza is the last building of Palladio. An attempt to revive the ancient theater. The first monumental theater building in Italy. The building is elliptical in shape, the oval auditorium is surrounded by a colonnade and, like the facade, is richly decorated with sculptures. On the stage is a stationary scenery depicting five diverging streets. The theater can accommodate up to 100,000 people.

Churches of San Giorgio Margiore and Il Redentore in Venice. The peculiarity of these churches is the division of the main facade with a large order and the use of various order motifs.

Giacomo Barozzi da Vignola (1507-1573), author of the "5 orders" rule. In his youth he studied painting. Then he studied perspective, wrote a book about it, which received wide recognition. Then he took up architecture. Vrim went. Where he studied the ancient heritage, he created the rule of "5 orders". He visited France, where he participated in the construction of the Palace of Fontainebleau.

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Amok Caprarola (1547) one of the first buildings of Vignola. This is a symbiosis of military and civil architecture. The plan is a pentagon with a courtyard 20 m in diameter and protruding bastions at the corners. Outside, terraces diverge downward with stairs, vases and statues.

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Church of Il Gesu (1568-1575) This church belongs to the beginning of the Jesuit style. Domed basilica, the central nave is shorter and wider than in previous buildings of this type, instead of side naves there are chapels (chapels) on both sides. The same interior is decorated with columns. The plane of the facade is divided into two horizontal lines, the protruding part of the middle nave is framed by volutes (curls), which later become one of distinguishing features baroque.

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ichelangelo Buonarroti (1475-1564) famous sculptor and painter. His first architectural building was the Medici Chapel at the church of San Lorenzo, where he achieved an ideal harmony between architecture and sculpture. Its interior is reminiscent of Brunelleschi's old socristy. The dark stone pilasters stand out against the light stone panels.

Library of Lorenziano This library is especially interesting for its external staircase, consisting of three flights, going to the top in one. The curved steps of this staircase are one of the well-known details of the interior of the library. The appearance of such free curved lines indicates the approach of the Baroque.

P horse of the Capitol. The Capitoline Hill is the old center and symbol of Rome. On the basis of the preserved old buildings, Michelangelo creates an outstanding ensemble. On the square are the Palazzo Senators and the Palazzo Conservators, opposite the latter, Michelangelo designs the Palazzo Capitol. It also changes the facade of the Palazzo Senators. It turns out a square of a trapezoidal shape, not closed on the fourth side, from which a solemn staircase approaches and a beautiful view opens up. In the center of the square there is an ancient statue of Marcus Aurelius, inscribed in the oval of the square's paving pattern.

Cathedral of St. Peter. In 1546, Pope Paul III commissioned Michelangelo to build the Cathedral of St. Peter. He was allowed to build and demolish anything according to his design. Michelangelo agreed to do this work for free. He returns to the centric plan, erected the central drum. Surrounded by a colonnade, he began to build a dome.

Brunelleschi is called the father of the early Renaissance, Bramante is the father of the High Renaissance, and Michelangelo is the father of the Baroque. Brunelleschi's innovation is an arcade on thin columns, Alberti comprehends ancient Roman principles, Bramante uses the order as a real and illusory detail, Michelangelo's order becomes a means of plasticity, Palladio's order becomes a means of construction.

During the late renaissance, two branches stand out - the Roman school forms a dynamic baroque, later goes into Rococo, and the Venetian school gives rise to classical baroque, later classicism.

17. Villa Rotunda near Vicenza (architect Andrea Palladio, 1591)

The most popular of all the numerous villas of Palladio, the most popular is the Villa Capra, better known as the Rotunda, built near Vicenza. Its architectural features are typical of almost all similar buildings of Palladio. This villa was completed by a student of Palladio, Vicenzo Scamorozzi. Villa Rotunda is the first secular building of the Renaissance, crowned with a dome.

The building is completely symmetrical on all four sides, in plan it is a square with a round hall inscribed in it, covered with a dome, which further emphasizes the central nature of its composition. The central rotunda is spectacularly lit through a large round window. This technique is borrowed from Roman classical architecture. The ancient Greeks and Romans attached a portico only to the main facade. And Palladio placed columned porticos with pediments on each of the facades, which gave the composition a complete symmetry, especially impressive from a distance.

IN illa raised on high plinth; on four fronts it is adjoined by porticos, to which wide staircases lead. The building is blocked hipped roof, which cuts into the cylindrical base of the dome. A similar flooring system is adopted in the vast majority of Palladio villas. The desire for proportionality and symmetry, characteristic of many of Palladio's works, determines the plan of the entire building and each of its facades. Regular shapes and strict compositional symmetry give the building a finished look.

The location of the premises of the Villa Rotunda is absolutely symmetrical, which naturally followed from the nature of the entire building. Through the front vestibule leads a direct passage to the central hall (rotunda), which has a round shape and is located directly under the
upholm.

According to the internal layout, the villa is more like a church than a house: the visitor immediately enters the main hall, while the rest of the rooms are hidden. The external architectural appearance of the villa contributes to the same impression - wide, spectacular staircases seem not intended for a residential building. The building is designed for festivities and receptions - there is no comfort in it.

Palladio did not pay much attention to park architecture. His villas are not buried in greenery, but dominate the surrounding ensemble and subjugate it to themselves. The villa is located on top of a hill, from where beautiful views open in all directions.

Compositionally, the building consists of simple geometric volumes - a cylinder, a cube and a sphere. clear and simple shapes, devoid of decorations, give the impression of wholeness and balance. The brilliant compositional solution later served as a prototype for many temples and mausoleums.

18. Baroque architecture in Italy in the 17-18 centuries.

Baroque arises as a result of the development of the Renaissance style. Comes from the Roman school (Michelangelo, Vignola). Michelangelo is called the father of the baroque. Baroque with it. - quirky, strange. There are three periods: 1. Early period (1600-1650)

2. Mature (High) period (1650-1700)

3. Late period 91700-1750)

Distinctive features of the Baroque: monumentality, representativeness. The desire for decorativeness, picturesqueness, even luxury. In the composition of facades and interiors, there is a tendency to freedom of form, improvisation, curvilinear forms, sculpture, architectural and decorative motifs, dynamism of architectural masses, uneven distribution of architectural means are used.

Irrationality, decorativeness in architecture. The predominance of the plastic beginning over the tectonic. A discrepancy between the external volume and the internal content was allowed.

The design is relegated to the background and is an auxiliary tool for supporting the plastic form. The oval is gaining popularity. The design is covered with decorative parts. Orders are just decorative elements.

Such decorative parts as torn pediments, volutes, and fasteners are common. Decorative motifs are taken from nature, great attention is paid to the play of chiaroscuro, deliberate lighting of interiors and exteriors.

The development of the spatial composition of city squares, architectural complexes, ensembles, suburban villas begins. A prominent role is assigned to structures associated with water (embankments, fountains, pools, etc.). The Baroque strives to create a space that has an impact on feelings and emotions.

There are two styles of Baroque:

1. Dynamic - the principle of dynamics, movement of space and form

2. Classic - comes from the traditions of the Venetian Renaissance

Early Baroque period

Giacomo dela Porto (1520-1604) was a student of Vignola.

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Villa Aldabrandini (1598-1604) is located on the side of the mountain, it is approached by a rounded ramp. The villa ends with a huge torn pediment. On the opposite side of the building adjoins the park - "water theatre". Water stream flowing down the mountain. Radiant alleys lead down to the courtyard terrace.

TO arlo Moderna (1556-1629) One of his first works is the facade of the Basilica of Santa Susanna, clearly divided by orders, framed by statues in niches and ornamental decorations. It finally took shape catholic church 17th century. With a clear division of the facade, volutes, an elongated plan, sculpture and decor on the facade.

In 1604 he was appointed chief architect of the Cathedral of St. Peter. He drafted the expansion of the cathedral, lengthened it to the shape of a Latin cross, adding a portico. Changed the plan of Michelangelo, now the building can no longer be bypassed from all sides, because after the reconstruction of the facade they were completely closed side walls.

The style of the early period was distinguished by rigor, simplicity, grandiosity. The basilica type of church predominated, but oval-shaped churches are beginning to be introduced.

High period (1650-1700)

WITH the bitterness is replaced by lighter ones. Joyful and lively forms, the decor becomes even larger, three-quarter and half-columns are introduced, tricks are being used for perspective effects. The centric type of the temple is being revived. Affirmed luxury in the interior.

Giovanni Lorenzo Bernini (1596-1680) Was the largest sculptor in Italy, he was called "modern Michelangelo". In his works, one can note increased emotionality, theatricality. Confrontation between space and mass. He began his architectural activity with a canopy with twisted columns (1624-1633) in the Cathedral of St. Peter. As well as the interior decoration of the cathedral.

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Bernini's main project is the ensemble of the square in front of the Cathedral of St. Peter in Rome 91657-1663). The square with two fountains and an obelisk is surrounded by two four-tier colonnades of the Tuscan order, forming an open circle according to the drawing. Attic is crowned with sculptures. Bernini organized two squares, located on the same axis with the cathedral - oval and trapezoidal. The shape of the oval created a feeling of mobility, instability. The baroque spirit is manifested in the breadth of space coverage and ensemble solutions.

C Church of Sant'Andrea al Quirinale (1653-1658) The composition of the facade and interior is based on the contrast of convex and concave forms. The main façade looks like a portal with pilasters and a triangular pediment. The plan of the church is an oval. The under-dome space is surrounded by a crown of shallow chapels. The composition of the interior is full of movements and contrasts.

The Scala Reggia staircase in the Vatican (1663-1666) links the papal palace with the Cathedral of St. Peter. The illusory increase in size gives the impression of a greater length of the stairs, which gives the theatrical effect of the appearance of the pope in the cathedral.

The fountains of the "Triton" (Piazza Barberini) and "Three Rivers" (Piazza Navona) are one of the famous works of Bernini.

Late period (1700-1750)

Techniques of previous periods are being developed. Architectural forms are interpreted even more freely, the desire for picturesqueness, fluidity of vertical outlines affects.

F ranchesko Barromini (1599-1667) - a student of Carlo Maderna. He brought the baroque style to the limit. His works are particularly pompous and dynamic forms.

C Church of San Carlo "at the Four Fountains" (1638-1667) The facade is perceived as a separate composition, practically devoid of straight lines, it is given curving undulating forms. Barromini uses the entire arsenal of baroque forms - oval cartouches, torn pediments. An unusual, asymmetrical plan, the space is covered with an oval dome.

C Church of San Ivo (1642-1660) The complex plan is built on the alternation of convex and concave walls, following the outlines of a hexagon. The dynamic, varied, constantly changing structure of the interior deprives the viewer of the opportunity to grasp the structure of the whole.

He designed and rebuilt several palaces in Rome - Palazzo Falconieri, Palazzo Spada, worked before Bernini on the Palazzo Barberini.

TO Arlo Rainaldi (1611-1691) one of the main builders of the heyday of the Baroque.

Church of Sant'Agnese (1652-1672) in Piazza Navona. Central in plan, topped with a large dome. The arched concave facade is completed on both sides with bell towers. The dome is not hidden behind the facade and acts as the compositional center of the entire square.

C Church of Santa Maria in Campitelli (1663-1667) The use of columns in many tiers creates a feeling of soaring upwards. The two-tiered façade follows the example of the Church of Il Gesu, a typical example of mature baroque architecture.

Church of Santa Maria Margiore (1673) Creates an eastern façade designed to unite the ancient church with chapels added on the sides at a later time.

Piazza del Popolo in this square, Barromini designs the twin churches of Santa Maria della Miracoli (1681) and Santa Maria della Montesanto (1679). Similar in appearance, these
Propylaean churches occupy the corners between the streets, completing the square. (propylaea - front door, passage)

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Varino Guarini (1624-1683) studied mathematics in addition to architecture. His works are distinguished by the intensity of forms, the sophistication of spatial constructions and decor, and exceptional compositional complexity.

Cathedral in Turin (Santa Sindone Chapel) (begun in 1667) The composition of the plan is based on the intersection of several concentric ones, which creates a structure of space that is complex in terms of dissection. The main rotunda is crowned with a system of two domes cut through by dozens of oval windows.

Church of San Lorenzo in Turin (1668-1687) Rectangular in plan, with powerful walls, crowned with a round dome. The dome of the church was erected over a rectangular facade with the help of a system of intertwining arches, forming an octagonal star at the intersection. On which the light lantern rests.

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alazzo Corignano in Turin (1680-1683) Curved outlines of the facade, plastic forms, stucco. The large elliptical vestibule serves as the center of the composition of the plan. The curve of the inner space is repeated by the outer walls of the space. The facade is crowned with a complex curvilinear pediment.

Baldosar Longeta (1598-1682) worked in Venice.

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The Church of Santa Maria del Salute is located at the entrance to the Grand Canal. The inner walls form an octahedron with alternately concave and convex walls. A complex three-dimensional composition with smooth transitions, picturesque comparisons, a variety of lines and shapes. The main facade is triumphal arch with volutes and columns.

Baroque forms surpassed the Renaissance in spontaneity and dynamism. Distinguished by ensemble - not only the interior and exterior, but also the space.

Baroque was developed throughout Europe and even in Latin America, in France formed Rococo.

19. Square of the Cathedral of St. Peter in Rome, 17th century

The main Catholic church is the Cathedral of St. Peter's in the Vatican is a colossal building over the construction of which more than one generation of architects has worked. Bramante, Raphael, Sangallo worked in turn on the design of the cathedral, a significant part and most importantly - the dome was started, the cathedral was built under the direction of Michelangelo. Later, Carlo Maderna was appointed the chief architect of the cathedral, who drafted the expansion of the cathedral, lengthened it to the shape of a Latin cross, adding a portico. He changed the plan of Michelangelo, now the building can no longer be bypassed from all sides, because after the reconstruction of the facade, the side walls were completely closed. Also, the new extension made it impossible to see the dome of the cathedral from a close distance.

Rice. 4. Cathedral of St. Peter in Rome. Plans:

a - D. Bramante, 1505; b - Raphael Santi, 1514; c - A, yes Sangallo, 1536; d - Michelangelo, 1547

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hell ensemble of the square of the Cathedral of St. Petra by Giovanni Lorenzo Bernini.

Bernini created a huge square in front of St. Peter's Cathedral - the largest architectural ensemble of Italy in the 17th century; in 1656-1663, he decorated the square in front of the cathedral with a huge colonnade.

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Ernini organizes two squares, "strung" on a single axis with the cathedral: an oval and a second, additional - trapezoidal, bounded by walls, "tying" the first square to the facade of Maderna. Separate columns were also a new solution: 284 columns 19 m high in 4 rows encircle the elliptical square from the sides, leaving a wide passage in front, and diverging to the side in depth and opening the facade of the cathedral.

Forcing the viewer to look at the western facade of the cathedral with long distance, the new square made it possible to see the dome along with the facade, to some extent returned the building to integrity.

The oval shape, favored by baroque architects, created a feeling of instability, mobility, and to some extent uncertainty: angles change depending on the position of the viewer. This increased the decorative effect. At the same time, the colonnades themselves, created by applying the Tuscan order, are extremely monumental: huge trunks support an elastically curving ribbon of an entablature, above which, in a clear rhythm, are statues of saints. In total, the attic is decorated with 96 large satuis.

WITH

Using the technique of illusory perspective, which he had previously used when creating the Royal Staircase in the Vatican, the cathedral from a distance seems smaller than it actually is, remains for a long time, as it were, the same size, and then abruptly grows to a huge size. The center of the square is marked by an Egyptian obelisk, in the center of its side sectors there are two magnificent fountains.

This whole ensemble obscured the disordered buildings that existed on the sides and at the same time formed a monumental “background” for solemn processions, for the congress of the nobility for a solemn service in the cathedral, for the mass of the people, whose movement is called upon to awaken, organize and make purposeful the dynamics of architectural space.

General information about the cathedral

One of the most beautiful and majestic sights of Florence and Italy as a whole is the Cathedral of Santa Maria del Fiore (Santa Maria del Fiore). This is a luxurious complex built in gothic style, which, in addition to the cathedral itself, includes a baptistery and a bell tower.

A magnificent attraction, the name of which is literally translated into Russian as "Flower of Saint Mary", currently belongs to the UNESCO World Heritage Site and is under state protection.

Location of the Cathedral of Santa Maria del Fiore and photos

The majestic Cathedral of Santa Maria del Fiore is located on the spacious main square, which is called the Duomo.

This place is right considered the very heart this Italian city.

The most convenient and fastest way to get here is using bus routes No. 6, 14, 17, 22, 23, 36, 37, and 71. If you arrived in Florence by train, the walk from the railway station to the cathedral will take you no more than fifteen minutes.

Opening hours and tour schedule

The cathedral complex of Santa Maria del Fiore is open to the public every day except New Year holidays, Christmas, Epiphany and Easter.

Cathedral opening hours:

• Monday to Thursday: 10:00-17:00
• Friday: 10:00-16:00 or 10:00-17:00 (depending on the season)
• Saturday: 10:00-16:45
• Sunday and all religious holidays: 13:30-16:45.

Entrance to the Cathedral of Santa Maria del Fiore is free. Every day from 10:30 to 12:00, as well as from 15:00, free tours are offered for visitors to this attraction.

The Baptistery of San Giovanni, part of this Gothic complex, is also open to daily visits. You have to pay three euros to enter here.

An excursion to the tower of the cathedral is somewhat more expensive for tourists. The ticket price for this attraction is six euros. The tower is open to visitors every day from 08:30 to 19:00.

Do you know about the existence of such sights of Italy as? You will find the history of creation and photos of this architectural creation on our website!

History, architecture and description of the Cathedral of Santa Maria del Fiore

The majestic and grandiose complex of Santa Maria del Fiore has rightfully won the title of symbol of Florence. At the end of the 13th century, the construction of the cathedral began, the author of which was the famous architect Arnolfo di Cambio.

The cathedral was erected in the very place where in the old days the ancient basilica of Santa Reperata was located. Almost two hundred years later, a beautiful dome made of red brick appeared at the Cathedral of Santa Maria del Fiore - this the element is recognized as the largest dome in the world.

As for the construction of the facade of the cathedral, it was completed only in the nineteenth century. The cathedral was consecrated by Pope Eugene IV, and this significant event took place on March 25, 1436.

Thanks to the unique and harmonious combination natural marble in three different shades - white, pink and green - the facade of this majestic building constantly attracts the enthusiastic eyes of tourists who have arrived in Florence from all over the world.

The outstanding complex of buildings of Santa Maria del Fiore includes as many as five independent monuments of architecture, each of which deserves special attention tourists.

These include:

• huge brick dome;
• the Baptistery of San Giovanni;
• crypt of Saint Reparat;
• Campanile Giotto's bell tower;
• gallery-museum of the Opera del Duomo.

The cathedral complex of Santa Maria del Fiore is characterized by a very austere interior design. The facade of the cathedral is decorated with a statue of the Mother of God, who holds the holy baby and a lily flower in her arms.

Lined up on either side of the statue of the Virgin Mary sculptures of all twelve apostles. At the very top of the facade - in a round window called "tympanum" - there is an image of the Heavenly Father, who seems to be watching the sinful world from his height ...

The dome for the cathedral was designed by a famous Italian architect named Filippo Brunelleschi. This building is rightfully the only and unique of its kind. During its construction, which lasted from 1418 to 1434, no scaffolding was used at all.

The weight of this grandiose construction, for the construction of which approximately four million bricks were spent, is about forty tons. At the same time, the height of the dome is 42 meters, and its diameter is 45 and a half meters. The building is so strong that it is absolutely not afraid of thunderstorms, earthquakes, or any other frightening natural phenomena.

It is necessary to overcome 460 steps on foot in order to open the most beautiful and advantageous view of the dome of the cathedral before your eyes. The amazingly beautiful frescoes created by the master Giorgio Vasari and completed by his student Federico Zuccari excite the imagination of everyone who was lucky enough to look at them at least once!

And on top of this magnificent egg-shaped dome there is an observation deck, climbing on which you can enjoy the most attractive and picturesque views of Florence.

The oldest building in the complex is the Baptistery of San Giovanni (St. John). Built in the 5th century, it originally played the role of a pagan temple, however, after a certain amount of time it was rebuilt and modified based on the needs of the followers of the Christian religion.

The baptistery acquired its current appearance in the middle of the 11th century, when it was richly decorated with expensive marble, and also supplemented with a monumental dome and apse. rectangular shape from the west side of the building. A few centuries later, the baptistery acquired as an external decoration magnificent door sets made of bronze, over which marble sculptures were located.

One of the clearest examples of Gothic architecture that flourished in Florence in the 14th century is amazing Giotto's bell tower part of the Santa Maria del Fiore complex.

For this chapel, a clear square base has been created, as well as the decoration of the facade with marble made in exactly the same colors that were used in the design of the cathedral - white, pink and green.

The unique elegance of the bell tower is given by a significant amount of window structures, which are predominantly large in size and pointed in shape. At a height of 400 meters, there is a large and spacious terrace, which offers enchanting panoramas of Florence.

The crypt of St. Reparata is located right on the very spot where once (namely, until 1379) there was an old basilica called Santa Reparata. Judging by the remains of an ancient basilica discovered in 1965-1973, it could be determined that it consisted of three naves, a worship area, as well as a central hall surrounded by colonnades.

The increased attention of tourists is attracted by the multi-colored mosaic used to decorate the floor. One of the few elements that has survived in the mosaic to this day is peacock of immortality. On the wall, which has a semicircular shape, a beautiful fresco has been preserved, the creator of which was the famous Italian painter Giotto.

Cathedral Museum Opera di Santa Maria del Fiore

One of the most significant buildings in the cathedral complex of Santa Maria del Fiore is the Opera di Santa Maria del Fiore Museum. Founded back in 1296 as a building intended for the administration of the construction of the Cathedral, it gone through several restorations and was inaugurated on May 3, 1891.

To date, the Museum of the Cathedral Ensemble of Santa Maria del Fiore is officially recognized as the second in a row (after the Vatican) the largest and most extensive collection of sacred art in the world. In addition, restoration workshops are located on the territory of this museum to this day.

The first exhibition of the Opera di Santa Maria del Fiore Museum presented masterpieces of art that are now located in the very building of the cathedral - a sculpture of Pope Boniface VIII, as well as a statue of the Madonna and Child on the Throne, which is much more often called the Madonna with Glass Eyes ".

Also presented here artwork Arnolfo di Cambio, made specifically for the first facade of the cathedral. The decoration of two choirs was carried out famous masters Donatello and Luca della Robbia.

And on the creation of a silver altar for the baptistery, displaying fragments from the life of John the Baptist, such outstanding masters as Michelozzo, Verrochio, Pollaiolo and Kenini worked.

Some time later, the museum's exposition was supplemented by other sculptural compositions created by the great masters Donatello, Maso di Banco, Andrea Pisano, and Nanni di Bartolo.

Currently among the exhibits of the Museum of Opera di Santa Maria del Fiore are:

• sculpture "Mary Magdalene" made of wood, made by the master Donatello;
• the work of Andrea Sansovino "The Baptism of Christ";
• the work of Lorenzo Ghiberti "Gates of Paradise";
• the famous sculpture called "Pieta", created by Michelangelo especially for the author's own tombstone;
• bas-reliefs for the choirs of the cathedral, made of marble by the sculptor Baccio Bandinelli;
• various sacred relics and church utensils;
• a rich collection of models of the facade and domes of the cathedral, made of wood.

Currently, the museum of the Cathedral of the Opera di Sante Maria del Fiore is temporarily inaccessible to the general public. However, from November 2015, its doors will reopen to numerous visitors.

On our website you will find an overview the best hotels and - a wonderful city located on the coast of the Ligurian Sea!

What is known for Rimini - one of the most popular tourist cities in Italy? See sights and photos.

The red dome of the Duomo is visible in Florence from almost everywhere. Rising above the city, the dome has become a symbol of Florence and a symbol of a new era - the Renaissance.

1. It is said that Piazza del Duomo, the Cathedral Square, is one of the most visited places not only in Europe, but all over the world. We also visited there and looked at the Cathedral of Santa Maria del Fiore, Giotto's campanile, the Baptistery of San Giovanni.

2. Many pages of the history of Florence are connected with the cathedral - Savonarola preached here, in the cathedral during the Pazzi conspiracy in 1478 an attempt was made on the life of Lorenzo Medici and his brother Giuliano. The organizer of the assassination attempt was Pope Sixtus IV. As a result of the attack, Giuliano Medici was killed, and Lorenzo escaped in one of the sacristies of the cathedral.

4. The construction of the grandiose cathedral was begun in 1296 by the great architect Arnolfo di Cambio, and completed in 1436 with the installation of the famous dome designed by Filippo Brunelleschi. The novelty of the solution was that the dome was not based on the vaults of the church, but solely on the drum. Brunelleschi's dome weighs 37,000 tons.

5. The splendid and intricate multicolored marble façade was created in the Neo-Gothic style by Emilio de Fabris in the 19th century. The outer walls of the cathedrals were decorated with vertical and horizontal inlays of multicolored marble (white from Carrara, green from Prato, red from Siena). These marble inserts had to be in harmony with the already existing decoration of the façade of the Baptistery and Giotto's Campanile. The cathedral has the shape of a Latin cross, three naves, two side transepts and a semicircular apse.

6. The lancet arches of the facade are decorated with frescoes dedicated to the life of the Mother of God. The style of the facade of the Duomo is really different from many - it is the Florentine neo-Gothic, multi-colored marble, impeccable and elegant stone carvings, rich finishes.

7. Just above the portal with statues, the facade is decorated with a huge openwork window. The space around the window contains stucco medallions depicting famous residents of Florence.

9. Niches with twelve preachers and in the middle - the Mother of God with the Child.

10. Central bronze door, above it is a mosaic lunette - Christ on the throne.

12. In the pediment on the central portal there is a bas-relief of the Mother of God on the throne.

14. Mosaic lunette on the theme of Mercy.

17. Right mosaic lunette - Adoration of the Virgin Mary.

21. More than this cathedral in Italy, only St. Peter's Cathedral in Rome. The dimensions of the cathedral in Florence are enormous: the length is 153 meters, the width of the naves is 38 meters, the width of the transept is 90 meters. The height of the arches in the aisles is 23 meters. The total height of the building from the base to the copper ball on the dome is 90 meters.

22. Campanile Giotto, standing apart from the cathedral and the baptistery, was designed by the great master of the Renaissance, Giotto di Bondone. It is richly decorated with various sculptural elements and polychrome marble inlays.

25. The Baptistery of San Giovanni, standing in front of the entrance to the cathedral, was made in the Romanesque style. Built between 1059 and 1128, it is one of the oldest structures in the city. Was in the process of restoration in the fall.

26. The Opera di Santa Maria del Fiore Museum (on the left in the photo) was opened on May 3, 1891. The museum exhibits the masterpieces of the Cathedral of Santa Maria del Fiore, which now houses copies of them. Located behind the apse of the cathedral in the palace, which was already used by Donatello and Brunelleschi as a workshop in the construction of the cathedral. The first stone in the building of the future museum was laid on September 8, 1296, the building itself was intended for the administration of the construction of the cathedral. Today, the museum also houses restoration workshops.