Museo: Duomo di Firenze - Basilica Santa Maria del Fiore

Welcome to the Florence Cathedral

The Basilica of Santa Maria del Fiore, the cathedral of Florence, is one of Europe's most illustrious medieval architectural masterpieces. It stands out for its daring structures and the sumptuousness of its decorations. Such an extraordinary treasure that it was recognized as a UNESCO World Heritage site in 1982. The metropolitan cathedral of Santa Maria del Fiore, commonly known as the Florence Duomo, is the main church of Florence and a symbol of the city. It stands on the foundations of the ancient church of Santa Reparata, in an area of the city that has housed places of worship since Roman times. The construction, ordered by the Florentine Signoria, began in 1296 and was structurally completed in 1436. The Duomo is one of the greatest masterpieces of Gothic art and early Italian Renaissance. With its 160 meters in length, 43 meters in width, and 90 meters in the transept, it is among the largest churches in Christendom. The internal height of the dome reaches 100 meters. The Basilica represents a symbol of the wealth and power of the Tuscan capital during the 13th and 14th centuries, and its name derives from the lily, a symbol of Florence and the ancient name of the city called "Fiorenza." Let's prepare to discover together this extraordinary monument that tells centuries of history, art, and faith.

Brunelleschi's Dome and the Last Judgment

We are standing before one of the greatest architectural feats of the Renaissance: the dome of the Florence Cathedral, designed by Filippo Brunelleschi and constructed between 1420 and 1436. With its 45-meter diameter, it remains the largest masonry dome ever built and marks a pivotal moment in architectural history. Brunelleschi faced a challenge considered impossible at the time: covering the enormous space of the central octagon without using wooden scaffolding, essential in vaulted constructions. He devised a revolutionary solution: a self-supporting double shell, with the internal structure being load-bearing and the external having protective and decorative functions. The construction system included bricks arranged in a "fishbone" pattern, stone and iron chains to contain lateral thrusts, and an organization of work that was surprisingly modern. During the ascent to the dome, you pass through the two internal walkways, from which you can closely observe the eight oculi of the drum, adorned with magnificent stained glass windows created by masters like Donatello, Ghiberti, Andrea del Castagno, and Paolo Uccello. But the most spectacular moment is encountering the immense fresco of the Last Judgment, which covers the interior of the dome over a surface area of more than 3,600 m²: it is the largest fresco ever executed. Brunelleschi perhaps already envisioned a mosaic covering for his dome, but it was only in 1572 that Cosimo I de' Medici commissioned Giorgio Vasari, then elderly, to paint its interior. Vasari prepared the cartoons in the convent of Santa Maria Novella and started painting the upper registers, about 90 meters high. However, he died two years later, shortly followed by Cosimo. His successor, Francesco I de' Medici, entrusted the completion of the work to Federico Zuccari. Zuccari altered the original design: while Vasari was inspired by Michelangelo, Zuccari chose a style closer to Raphael, less detailed but more theatrical and visible from a distance, foregoing pictorial subtleties in favor of strong visual impact. The cycle features over 700 figures, including Christ in Glory, angels, saints, the damned, monsters, and also contemporary historical figures like Vasari, Giambologna, members of the Medici court, and Zuccari himself. The famous scene of Hell, inspired by Luca Signorelli's frescoes in the Cathedral of Orvieto, includes unsettling devils and dramatic compositions. The work was completed in 1579 and elicited mixed reactions: many were impressed, others critiqued it as an intrusion upon Brunelleschi’s architectural harmony. The debate was fierce, even giving rise to satirical verses that circulated throughout the city.

Mandorla Portal

On the north side of the Cathedral, facing the current Via Ricasoli, one finds one of the most fascinating and significant doors of the Florence Cathedral: the Portale della Mandorla. Created between 1391 and 1423, it stands as one of the most emblematic works of the transition from Gothic to early Renaissance art. The name stems from the splendid depiction in the tympanum of the Assumption of the Virgin, enclosed in a mandorla-shaped halo — a traditional symbol of purity, eternity, and divinity. This portal is not just a secondary entrance to the church, but a genuine sculptural masterpiece, the result of the work of several top-level artists: Giovanni d’Ambrogio, Donatello, but most notably Nanni di Banco, who dedicated nearly seven years to it until his death in 1421. The sculptures were assembled on site by his collaborators, completing a work that testifies to the artistic and intellectual ferment of those years. The historical importance of the Portale della Mandorla also lies in its artistic language: here, for the first time, decorative elements inspired by classical antiquity are experimented with, such as realistic drapery, studied anatomies, and a more natural and dynamic narrative. It is a perfect example of how sculpture was the first language of the Renaissance, foreshadowing the revolutions in painting and architecture. A curious detail can be found right in the bas-relief of the Assumption: in the lower right corner, one can notice a small bear climbing a tree, an enigmatic and perhaps ironic element attributed to the hand of Nanni di Banco. This detail has sparked the imagination of scholars and adds a human and almost playful touch to an otherwise solemn work. Vasari mistakenly attributed the door to Jacopo della Quercia, a sign of how difficult it was even then to distinguish artistic authorships in a context so rich in collaborations and innovations. The confusion, corrected by subsequent studies, reminds us of how intense and sometimes competitive the Florentine artistic scene was at the beginning of the 15th century.

The Doors of the Baptistery of St. John

The Baptistery of San Giovanni is adorned with three famous bronze doors, creating an open-air museum of Florentine Renaissance sculpture. The most renowned is the East Door, nicknamed the "Gates of Paradise," crafted by Lorenzo Ghiberti between 1425 and 1452, commissioned by the Arte di Calimala. The ten large rectangular panels depict scenes from the Old Testament, featuring episodes like the Creation of Adam and Eve, the Sacrifice of Isaac, Moses on Sinai, and Solomon and the Queen of Sheba. Ghiberti employed innovative techniques for the relief, making masterful use of central perspective and continuous narration, which imbue the scenes with depth and fluidity. The characters emerge with plastic elegance, and the entire surface is enriched with highly refined architectural and landscape elements. According to Vasari, when Michelangelo saw it completed, he exclaimed that it was "worthy to be the Gate of Paradise" — a nickname that has endured to this day. Beside this, the North Door, also crafted by Ghiberti, showcases scenes from the New Testament in a more traditional cycle that already marks the transition from Gothic to Renaissance. The oldest is the South Door, carved by Andrea Pisano between 1330 and 1336, featuring twenty-eight panels dedicated to the life of Saint John the Baptist, the patron saint of Florence, still influenced by French Gothic taste.

Museum of the Works of the Cathedral

Founded in 1891, the Museo dell’Opera del Duomo is an essential destination for anyone wishing to understand the history and artistic grandeur of the monumental complex of Santa Maria del Fiore. The museum houses the original works that once adorned the Cathedral, the Bell Tower, and the Baptistery, which were removed over time for conservation reasons. The museum is organized into modern and evocative spaces, including a spectacular life-size reconstruction of the 14th-century façade of the Cathedral, never realized in its original form. In front of this imposing reconstruction are placed the statues sculpted by Arnolfo di Cambio, the cathedral's first architect, and by his successors. Among the masterpieces preserved here stand out the Prophet Habakkuk by Donatello (known as "Zuccone" for his bald head), the sorrowful Penitent Magdalene, also by Donatello, and the refined choir galleries sculpted by Luca della Robbia and Donatello, true manifestos of the joy and grace of the Early Renaissance. One of the highlights of the visit is Michelangelo's Bandini Pietà, an intense and dramatic work conceived for his tomb. Michelangelo, then elderly, sculpted this poignant composition in which he portrayed himself as Nicodemus. The piece was abandoned and later restored, yet it remains one of the most intimate and troubled testimonies of his artistic vision.

Michelangelo's Bandini Pietà

The Bandini Pietà, also known as the Pietà of Florence, is a late work by Michelangelo, sculpted between 1547 and about 1555. It is currently housed in the Museo dell'Opera del Duomo in Florence. The sculpture, over two meters tall, depicts the body of the dead Christ supported by the Madonna, Mary Magdalene, and an elderly man traditionally identified as Nicodemus — in whose face many recognize a self-portrait of Michelangelo himself. The work was conceived not for a public commission but for the artist's personal tomb, which at the time was located in Rome. Michelangelo, then in his advanced years, chose an imperfect marble, already marked by veins and defects that made the work more challenging. During its execution, frustrated by technical problems and perhaps also by a sense of personal failure, Michelangelo attempted to destroy the sculpture, striking it with a hammer. The block was later restored and completed by Tiberio Calcagni, a Florentine sculptor and Michelangelo's pupil. The work is imbued with spirituality and emotional intensity: the faces and bodies, carved with great expressive force, convey a sense of drama and reflection on pain and redemption. Unlike the youthful and idealized Vatican Pietà, here the tone is darker and the composition more complex. Today, the Bandini Pietà is considered one of the most touching and profound works from Michelangelo's later years, a direct confrontation with death and salvation, carved into stone by a man preparing to leave the world.

Donatello's Penitent Magdalene

The Penitent Magdalene is a wooden sculpture created by Donatello around 1453-1455, during the final years of his life. It is currently housed in the Museo dell’Opera del Duomo in Florence, although it was originally located in the Baptistery of Saint John. The piece is carved from poplar wood and partially gilded, depicting Mary Magdalene in her advanced years, in a stance of deep contemplation and penitence. This sculpture marks a radical departure from classical ideals of beauty and Renaissance equilibrium. Donatello portrays the Magdalene as consumed, emaciated, with long, unkempt hair covering her body in place of garments, adhering to an iconographic tradition linked to her life as a hermit in the desert. Her joined hands in prayer, the gaunt and suffering face, and the intense gaze directed upwards convey a strong sense of humanity and spirituality. The work was particularly admired for its dramatic realism and extraordinary expressive strength. Giorgio Vasari himself spoke of it with admiration, acknowledging its emotional impact and stylistic innovation. Today, the Penitent Magdalene is considered one of the absolute masterpieces of 15th-century sculpture, a powerful example of how art can represent the inner and spiritual dimension of the human being, transcending physical appearance and aesthetic ideals.

The Choir Lofts by Donatello and Luca della Robbia

The Cantorie by Donatello and Luca della Robbia are two marble galleries sculpted between 1431 and 1439 for the interior of the Cathedral of Santa Maria del Fiore in Florence. Originally placed on either side of the main altar, they were designed to host the choir during liturgical celebrations. Today, they are preserved in the Museo dell’Opera del Duomo. Although similar in size and architectural structure—both resting on brackets and conceived as hanging balconies—the two cantorie express profoundly different artistic visions. Donatello's Cantoria, created between 1433 and 1439, is a revolutionary work for its time. Donatello sculpted a series of dancing and music-playing putti with an almost explosive dynamism. The figures appear to move with energy and spontaneity, accompanied by draperies fluttering in the wind. The relief work is very varied: it ranges from barely hinted areas to others deeply carved, creating an almost pictorial effect. The artist breaks symmetry and introduces a sense of vitality that anticipates the Mannerist language. Luca della Robbia's Cantoria, created between 1431 and 1438, stands out for its more balanced and harmonious composition. The reliefs depict child singers, neatly arranged in scenes inspired by Psalm 150, which celebrates God with instruments and songs. The figures are idealized and serene, and the relief is more regular, in line with the classical and rational aesthetics of the early Renaissance. The direct comparison between these two works, now displayed side by side in the museum, offers an extraordinary testimony to the two souls of Florentine Renaissance art: on one side, the dynamic expressiveness of Donatello, and on the other, the balance and measure of Luca della Robbia.

Dante Alighieri with Florence and the Kingdoms of the Divine Comedy by Domenico Michelino

This very famous painting, a tempera on canvas applied to panel, is one of the most iconic representations of Dante Alighieri. It was commissioned by the Florentine government to Domenico di Michelino in 1465, on the occasion of the bicentenary of the poet's birth, and is located on the counterfacade of the Cathedral of Santa Maria del Fiore, above the central door. The project was executed following a design by Leon Battista Alberti and was accompanied by a Latin inscription by Cristoforo Landino, a distinguished humanist and commentator of the Divine Comedy. Dante is depicted at the center of the scene, in a red tunic and hat, with a laurel crown on his head and facial features conforming to traditional iconography: an aquiline nose, sharp features, and an austere expression. In his left hand, he holds an open copy of the Divine Comedy, from which golden rays emanate, symbolizing the divine light contained in the work. With his right hand, he indicates the itinerary of the three otherworldly realms: to the left, Hell, depicted as a funnel with concentric circles with Lucifer at the bottom; at the center, Purgatory, a mountain with seven terraces, topped by the Earthly Paradise; above, the Rose of the Blessed, an evocation of the heavenly Paradise. To the right, a view of Florence opens up, illuminated by the light of the poem: the city is depicted with extraordinary accuracy in its symbolic monuments, such as Brunelleschi's Dome, Giotto's Campanile, the Palazzo della Signoria, the Bargello, and the towers of the Badia Fiorentina and San Pier Scheraggio. Among the many ancient portraits of Dante, this is certainly the most monumental and complex from an iconographic standpoint. The Latin couplet proclaims him as the "spirit of the fatherland," elevating him not only to the status of the highest poet but also as an inspired theologian, almost a prophet. The light emanating from the book indeed recalls the iconography of saintly doctors and evangelists, alluding to the fact that Dante wrote inspired by Providence and driven by a salvific mission, as he himself declared in the poem. The painting also bears strong political and historical significance: although Dante died in exile in Ravenna in 1321, Florence attempted multiple times to retrieve his remains, even unsuccessfully trying to seize them. Thus, this work represents a sort of symbolic reconciliation: a gesture with which the city seeks to morally rehabilitate its most illustrious son, affirming his immortality through art. In this way, the work celebrates not only Dante's literary greatness but also the humanist Florence of the fifteenth century, which, through culture and art, seeks to heal the wounds of history.

The Funeral Monument to Filippo Brunelleschi

In the crypt of the Cathedral, integrated into the remains of the ancient Early Christian basilica of Santa Reparata, lies the funerary monument of Filippo Brunelleschi, the brilliant architect who designed the Dome, revolutionizing Western architecture. The tombstone is understated and simple, reflecting the modest and reserved nature of the artist, and it bears a brief Latin inscription celebrating his genius. Located not far from the tomb of Giotto and other artists, it stands as a posthumous acknowledgment by the city to one who forever changed the face of Florence. The setting itself—the crypt—is rich with meaning: amidst floor mosaics, ancient burials, and layered masonry, one can sense the continuity between Roman, medieval, and Renaissance Florence. It is an intimate place, ideal for reflecting on the greatness of Brunelleschi and his architectural vision, which combines classical knowledge with technical daring.

The Lantern of the Dome

The lantern atop the dome of Santa Maria del Fiore is both the symbolic and structural crowning glory of Filippo Brunelleschi's project. Although the architect died in 1446, the wooden model and drawings he left behind allowed Michelozzo and Antonio Manetti to complete it in 1461, adhering faithfully to his original design. Standing over 21 meters tall, the lantern has an octagonal shape that continues seamlessly with the structure of the dome below and features a series of ogival windows that illuminate the interior. It is adorned with sculptural elements, pinnacles, and Gothic ribs, and is topped by a gilded copper sphere crafted by Andrea del Verrocchio in 1471, on which rests a cross. Beyond its symbolic function—representing spiritual ascension, the divine light guiding the faithful—the lantern holds crucial structural significance: its weight helps stabilize the dome through the downward pressure it applies. Visible from all across Florence, the lantern is the highest point of the cathedral and one of the city's architectural icons. Its audacious design is an eternal testament to Brunelleschi's revolutionary vision.