Florence cathedral facade – A Historical and Artistic Analysis

The Florence Cathedral or Cathedral of Santa Maria del Fiore, also known as the Duomo, is a very famous building that represents the brilliance of the Renaissance period. It’s a very important and recognizable symbol of Florence.

However, its facade, as we see it today, is a product of 19th-century Romantic historicism, crafted by architect Emilio de Fabris between 1876 and 1886. This article will explore the history and art of facades, presented in an organized and engaging manner.

Overview of the Facade’s History

Originally, the facade of the Duomo was designed by Arnolfo di Cambio, a notable architect of the era. However, upon his death in 1302, the facade remained unfinished. Visible in the “Madonna della Misericordia” fresco from 1342 at the Bigallo Museum, the Arnolfo design is detailed further in a watercolour by Bernardino Poccetti housed in the Opera del Duomo Museum. This design was dismantled around 1587 for a modern replacement, suggested by Bernardo Buontalenti, a court architect to the Medici grand dukes. The Gothic cladding was removed, with some marble parts repurposed for the new flooring inside Santa Maria del Fiore, and sculptures mostly moved to the Opera del Duomo, now a museum.

Artistic Elements and Innovations

Five statues by Arnolfo are particularly noteworthy: San Zanobi, Santa Reparata, Madonna col Bambino, Madonna della Natività, and Bonifacio VIII. These works, especially the Madonna col Bambino with unusual glass eyes, demonstrate the transition from Romanesque to early Renaissance art. The first three were originally part of the central portal’s lunette, depicting themes similar to the modern facade: the glorification of the Mother of God, to whom the basilica is dedicated.

The Modern Facade by Emilio de Fabris

De Fabris did an amazing job on the building’s front by combining Gothic design with the existing Renaissance style. It’s a great example of Romantic historicism from the 19th century. The white, green, and red marble cladding, the statues, rose windows, mosaics, and spires all contribute to a harmonious yet distinct look that complements the cathedral, Giotto’s Bell Tower, and the Baptistery. The lower part of the facade features coats of arms commemorating the Florentine families who funded the construction.

Donatello’s Contribution

Among the noteworthy sculptures, Donatello’s St. John statue deserves a special mention. Commissioned in 1408 and completed after eight years, this statue, now in the Museum, was originally designed for the facade’s high placement. Donatello’s genius is evident in the optical correction he applied, ensuring the statue appeared proportionate when viewed from below.

The Facade Model Collection

The Antiphonary Room in the Museum houses various models for the facade intended to replace Arnolfo’s design. Despite a competition in 1491, the jury found none of the projects convincing enough, leading to a prolonged period of indecision about the facade’s design.