Santa Maria del Fiore, la cui costr

Santa Maria del Fiore, la cui costruzione fu progettata da Arnolfo di Cambio, è la terza chiesa del mondo (dopo San Pietro a Roma, San Paolo a Londra) e la più grande in Europa al momento della sua ultimazione nel '400: è lunga 153 metri, larga 90 alla crociera ed alta 90 metri dal pavimento all'apertura della lanterna. Essa, terza e ultima cattedrale fiorentina, fu intitolata nel 1412 a Santa Maria del Fiore con chiara allusione al giglio, simbolo della città.

Sorse sopra la seconda cattedrale, che la Firenze paleocristiana aveva dedicato a Santa Reparata.

Le notevoli diversità di stile rivelate nelle sue parti sono la testimonianza del variare del gusto nel lungo periodo trascorso fra la sua fondazione ed il completamento.

La prima pietra della facciata venne posta l'8 settembre 1296, su progetto di Arnolfo di Cambio. Egli lavorò per il Duomo dal 1296 al 1302. Ideò una basilica dagli spazi classici, con tre ampie navate che confluivano nel vasto coro dove è posto l'altare maggiore, a sua volta circondato dalle tribune su cui poi si innesterà la Cupola.

Il progetto di Arnolfo era notevolmente diverso dalla struttura attuale della chiesa, come è possibile notare dall'esterno. Sui fianchi dell'edificio, infatti, a nord e a sud, notiamo che le prime quattro finestre sono più basse, più strette e più ravvicinate di quelle verso est, le quali corrispondono, invece, all'ampliamento operato da Francesco Talenti, capomastro a partire dalla metà del '300.
Arnolfo arriva a finire due campate e metà della nuova facciata. Le sue sculture saranno tolte e spostate nel Museo Storico dell'Opera nel 1586, poiché il Granduca Francesco I de' Medici decise di costruire una nuova facciata.

Alla morte d'Arnolfo, avvenuta intorno al 1310, i lavori subirono un rallentamento, per riprendere certamente nel 1331 quando i magistrati dell'Arte della Lana si assunsero la cura della costruzione. Nel 1334 fu nominato capomastro dell'Opera Giotto che si occupò prevalentemente della costruzione del campanile e morì tre anni dopo. A Giotto subentrò Andrea Pisano fino al 1348, anno della terribile peste che decimò la popolazione cittadina da 90.000 a 45.000 abitanti.
I lavori proseguirono fra interruzioni e riprese fino a quando, in seguito al concorso bandito nel 1367, fu accettato il modello definitivo della chiesa proposto da quattro architetti e quattro pittori, tra i quali Andrea di Bonaiuto, Benci e Andrea di Cione, Taddeo Gaddi e Neri di Fioravante.
Dal 1349 al '59 la direzione tocca a Francesco Talenti, che completa il Campanile e prepara un nuovo progetto coadiuvato (dal 1360 al '69) da Giovanni di Lapo Ghini. Nel 1378 fu ultimata la volta della navata centrale, e nel 1380 furono terminate le navate minori. Tra il 1380 ed il 1421 furono costruite le tribune e forse anche il tamburo della Cupola.

All'esterno proseguirono i lavori di rivestimento in marmo e la decorazione degli ingressi laterali, fra cui la Porta dei Canonici (a sud) e la Porta della Mandorla (a nord), coronata dal rilievo con l'Assunta (1414-1421), opera raffinata di Nanni di Banco.

Eleganti anche le altre due porte: quella del Campanile (a sud), nella seconda campata, con rilievi della scuola di Andrea Pisano e la porta della Balla (a nord), il cui nome deriva dall'antica apertura sulle mura fiorentine in Via dei Servi (Borgo di Balla), in cui si trovavano i tiratoi dell'Arte della Lana.
La parte absidale chiude dignitosamente la Cattedrale con tre grandi tribune con bifore gotiche. Quattro esedre, o tribune morte, decorano la base del tamburo.

Nell'Ottocento, una serie di interventi, - tra i più importanti ricordiamo le nuove cantorie di Santa Maria del Fiore e la semplificazione del coro bandinelliano, che venne privato dell'intera sovrastruttura a colonne e delle statue sull'altare - completarono la Cattedrale. L'opera più impegnativa in assoluto fu comunque la facciata del Duomo, eseguita da Emilio De Fabris e collaboratori tra il 1871 e 1884 che aspirava a riprodurre il decorativismo fiorentino del '300, riscontrabile nel Campanile e sulle porte laterali della Cattedrale.

Results (English) 1:

Santa Maria del Fiore, whose construction was designed by Arnolfo di Cambio, is the third largest church in the world (after St. Peter's in Rome, Saint Paul in London) and the largest in Europe at the time of its completion in ' 400: is 153 metres long, wide 90 to 90 meters high cruise off the floor at the opening of the Lantern. This third and final Florentine Cathedral was named in 1412 in Santa Maria del Fiore with clear allusion to Lily, symbol of the city.Rose above the second Cathedral, that Florence paleo had dedicated to Santa Reparata.The considerable diversity of style revealed in its parts are evidence of the change of taste in the long period between his Foundation and completion.The first stone of the facade was placed the September 8, 1296, designed by Arnolfo di Cambio. He worked for the Cathedral from 1296 to 1302. Devised a basilica from the classics, with three wide aisles that were in the vast choir where is placed the high altar, in turn surrounded by the tribune on which then engages the dome.The project of Arnulf was significantly different from the current structure of the Church, as you can see from the outside. On the sides of the building, in fact, to the North and South, we note that the first four Windows are lower, narrower and closer than those to the East, which are, on the other hand, the extension operated by Francesco Talenti, Master Builder from the middle of the ' 300.Arnulf arrives to finish two bays and one half of the new facade. His sculptures will be removed and moved to the Museo Storico in 1586, as Grand Duke Francesco I de ' Medici decided to build a new facade.The death of Arnulf, occurred around 1310, the work suffered a slowdown, to resume certainly in 1331 when the magistrates of the Wool Guild you took care of the building. In 1334 he was appointed master of the Opera which was predominantly Giotto of the construction of the Bell Tower and died three years later. To Giotto was succeeded Andrea Pisano until 1348, the year of the terrible plague that decimated the city's population from 45,000 to 90,000 inhabitants.The work continued between interruptions and filming until later in the competition banned in 1367, he accepted the final model of the Church proposed four architects and four artists, including Andrea di Bonaiuto, Benci and Andrea di Cione, Taddeo Gaddi and Neri di Fioravante.From 1349 to 59 over it to Francesco Talenti, which completes the belfry and prepares a new project with (from 1360 to ' 69) by Giovanni di Lapo Ghini. In 1378 was completed the vault of the nave, and in 1380 aisles were minors. Between 1380 and 1421 the grandstands were built and perhaps even the drum of the Cupola.Outside continued work on marble cladding and decoration side inputs, including the Porta dei Canonici (South) and the Porta della Mandorla (North), crowned by the relief with the assumption (1414-1421), refined work of Nanni di Banco.Elegant the other two doors: one of the Bell Tower (South), in the second span, with reliefs of the school of Andrea Pisano and Bale port (to the North), whose name derives from the ancient Florentine walls opening in Via dei Servi (village of Balla), they were in the tiratoi of the Wool Guild.The apse ends with dignity the Cathedral with three large grandstands with Gothic double Lancet Windows. Four arcades, or tribune death, decorate the base of the drum.In the 19th century, a series of interventions,-among the most important are the new choir of Santa Maria del Fiore and the simplification of the bandinelliano choir, which was deprived of the entire superstructure to columns and statues on the altar-completed the Cathedral. The most challenging work ever was, however, the facade of the Cathedral, performed by Emilio De Fabris and collaborators between 1871 and 1884 that aspired to play the Florentine decorative ' 300, found in the belfry and the side doors of the Cathedral.

Results (English) 2:

Santa Maria del Fiore, whose construction was planned by Arnolfo di Cambio, is the third largest church in the world (after St. Peter's in Rome, St. Paul's in London) and the largest in Europe at the time of its completion in '400: it is long 153 meters wide, 90 to the cruise and 90 meters high from the floor at the opening of the lantern. This third and last Florence cathedral, was dedicated in 1412 in Santa Maria del Fiore with a clear allusion to the lily symbol of the city. It was built over the second cathedral, which early Christian Florence had dedicated to Santa Reparata. The remarkable diversity of style revealed in its parts are proof of the change of taste in the long period between its foundation and completion. The foundation stone of the facade was laid on September 8, 1296 to a design by Arnolfo di Cambio. He worked on the Cathedral from 1296 to 1302. He devised a basilica of classical grandeur, with three naves that flowed into the vast choir where there is the main altar, in turn surrounded by the grandstands on which then will engage the Dome. The project Arnolfo was significantly different from the current structure of the church, as you can see from the outside. On the sides of the building, in fact, to the north and south, we note that the first four windows are shorter, narrower and closer together than those to the east, which are, however, the expansion work by Francesco Talenti, construction after the mid '300. Arnolfo get to finish two bays and half of the new facade. His sculptures will be removed and moved to the Historical Museum of the Opera in 1586, as the Grand Duke Francesco I de 'Medici decided to build a new facade. On the death of Arnolfo, which took place around 1310, the work underwent a slowdown, to resume certainly in 1331 when judges of the Wool you took care of the building. In 1334 he was appointed master builder of the Opera Giotto who worked mainly in the construction of the tower and died three years later. Giotto was succeeded by Andrea Pisano until 1348, the year of the terrible plague that decimated the city's population from 90,000 to 45,000 inhabitants. The work continued between stops and starts until, following a competition held in 1367, was accepted the final model of the church proposed four architects and four painters, among them Andrea Bonaiuto, Benci and Andrea di Cione, Taddeo Gaddi and Blacks of Fioravante. From 1349 to '59 the direction it's up to Francesco Talenti, who completes the Campanile and prepares a new project supported (from 1360 to '69) by Giovanni di Lapo Ghini. In 1378 it was finished the vault of the nave, and in 1380 were finished the aisles. Between 1380 and 1421 they were built the stands and possibly also the drum of the dome. Outside continued the work of marble cladding and decoration of the side entrances, including the Port of Canons (south) and the Almond Door (north), crowned by the relief of the Assumption (1414-1421), a refined work of Nanni di Banco. Elegant also the other two ports: that of the Campanile (south), in the second bay, with reliefs of the school of Andrea Pisano and the door of Balla (north), whose name derives from the opening on the walls of Florence in Via dei Servi (Borgo Balla), they were in the pullers of the Wool Guild. The apse closes with dignity Cathedral with three large galleries with Gothic windows. Four esedre, grandstands or death, decorate the base of the drum. In the nineteenth century, a number of interventions, - the most important are the new choir of Santa Maria del Fiore and the simplification of the choir Bandinelli, who was deprived of the entire superstructure columns and statues on the altar - completed the Cathedral. The most challenging of all was however the facade of the cathedral, followed by Emilio De Fabris and collaborators between 1871 and 1884 that aspired to play the decorative style of the Florentine '300, seen in the Bell Tower and on the side doors of the Cathedral.