Sitting pretty at the edge of Piazza di Santa Maria Novella, the 739 year old basilica of the same name is hard to miss. The basilica was built between 1279 and 1357 by Dominican friars, and completed between 1458 and 1470.
A church and a museum all in one, the Basilica di Santa Maria Novella is worth the visit. Not only is it astonishing from the outside, but the interior frescoed walls, massive altar, and remarkable statement decor pieces are critical for the full Florentine experience.
The History
The basilica had various architects, scientists, and artists contribute to its finished product,
the most well known contributor being architect Leon Battista Alberti. However, according to Traveling in Tuscany, in 1219, long before Alberti, twelve Dominican friars came to Florence from Bologna. The friars were led by Fra Giovanni da Salerno, and after two years, they resided at the church of Santa Maria delle Vigne, located in the fields just outside Florence’s medieval walls.
The church that stands present day was designed by two converses, Fra Sisto and Fra Ristoro, beginning in 1279. Because the new church replaced the friars’ older one, the basilica earned the word “Novella” in its name. The Italian “novella” is derived from the word “nuovo”, which means new. In the mid 1300s, a neighboring convent was added to the church.
In 1360, Fra Jacopo Talenti completed the building of the church and bell tower, according to Buffalo Architecture and History.
Mid-15th century, Alberti was entrusted with redesigning the church, particularly its facade.
The Facade
The second you walk into the Piazza di Santa Maria Novella, the basilica's facade is the most captivating aspect. Surrounded by a large plaza decorated with bright pink flowers, streets lined with restaurants, and tourists and locals shuffling about, the area is inviting and warm.
In designing the facade, Alberti was inspired by the pre-Gothic medieval design of San Miniato al Monte. Alberti incorporates Romanesque style, bringing together the medieval elements of the basilica and the newer (then modern) aspects of his vision. According to Buffalo Architecture and History, he designed a Classical inspired temple front for the upper portion of the facade. He created a wide base of arcades framed by pilasters, and included six tombs and three doorways.
The height of Santa Maria Novella, including the triangular upper portion, is the same as its width. Because of this, the entire facade can fit into a square.
The decorative molding below the support for the columns separates the facade in half. The lower portion is a rectangle with a width twice its height.
Structurally, Alberti relates areas of the facade with proportions like 1:1, 1:2, 2:3. According to Buffalo Architecture and History, when working on Santa Maria Novella, Alberti practiced his belief that balanced designs are important in order to create beautiful buildings. His use of mathematics and numerical ratios to produce beautiful results, differentiates his work as an architect from those who came before him.
The facade is an exceptional reflection of the organization of the basilica as a whole. Alberti's design transfigures its past medieval characteristics into an arrangement that combines old and new, while emitting a sense of serenity.
The facade in itself is arguably one of Florence's most stunning sights.
The Interior and Art
The church, adjoining cloister, chapter house and chapels contain a multitude of treasured art pieces. More famous are the frescoes created by masters of Gothic and early Renaissance, from which most of the church’s architectural inspiration comes. These frescoes were commissioned by important Florentine families.
The internal structure of Santa Maria Novella resembles that of Cistercian gothic churches, according to Museums in Florence. The church’s interior is in the shape of a Romanesque-Gothic style Egyptian cross. It is divided by multiple pillars of various styles, supporting its gothic style pointed arches and vaults.
An example of science and art coming together for the basilica is Masaccio’s famous Trinita, which he created by following principles of perspective by Filippo Brunelleschi.
Masaccio's fresco is symmetrical and calm, yet it creates a mellow ambience through its dark shadows. It is probably one of the most captivating ensembles from the basilica as a whole.
The Crucifix inside the basilica was painted by young Giotto di Bondone, an Italian architect and painter from Florence.
"The crucifix is my favorite detail of the basilica. Its coloring and artistry complement the church's atmosphere so well! I have also never seen a hanging crucifix leading up to a church's altar, which I think adds to the one-of-a-kind feel of Santa Maria Novella. Giotto truly is one of Florence's most treasured artists," said Colombian tourist Larissa Diaz, who visits Florence once every three years, and says Santa Maria Novella is her favorite church in the city.
As Museums in Florence states, the greatest decorative approaches of the 1300s date from years succeeding the Plague of 1348. Between 1350 and 1357, Florentine painter, architect, and sculptor Nardo di Cione, painted frescoes within the Strozzi Chapel. In his frescoes, di Cione featured interpretations of the biblical stories of the Last Judgement, Hell, and Paradise, and is also credited with developing the stained glass in the basilica.
Nardo’s brother, Andrea di Cione, also created various works for the basilica, including the altar’s panel in 1357, which features Christ giving the Keys to St. Peter and a book to St. Thomas Aquinas. Also found on the panel is the Madonna and St. John the Baptist.
Between 1365 and 1368, Florentine painter Andrea di Bonaiuto frescoed the Spanish Chapel. Di Bonaiuto included scenes of the Passion, Crucifixion, and Descent of Christ into Limbo on the altar. At the chapel's entrance are scenes from the life of St. Peter Martyr. The vault features paintings of the Resurrection, Ascension, Barque of St. Peter and Pentecost.
Overall, many treasured Italian artists, particularly from Florence, contributed to the artistry of the basilica and its adored chapels.
The Cloisters
After wandering around the basilica’s vast nave and admiring every chapel, frescoed wall, and artistic furnishing, Santa Maria Novella invites you to explore its cloisters, also known as the “Cloister of the Dead.”
The cloister received its nickname because for various centuries it was used as a cemetery. It is one of the oldest components of the compound, as it is predicted that its vaults must have already been in place when the enlargement of the church began in 1279. The first fresco decorations featured in the cloisters date back to the 14th century.
The cloister is considered a remarkable example of Italian Gothic architecture.
The Chiostro Verde (Green Cloister) is known for its bold yet coordinated proportions, which appears to be a recurring theme among the basilica’s architectural efforts. Its name is inspired by the green clay frescoes painted by many artists of the early 15th century, such as Paolo Uccello (1397-1475). Uccello was one of the most influential Florentine Renaissance masters. Some of his recognizable works like the Flood and the Sacrifice of Noah, can be found in Santa Maria Novella's cloisters.
The cloisters stretch vast and wide around the basilica. Visitors could easily spend hours admiring their captivating architecture and art, or paying respects to the remaining tombs that line their floors and walls.
Today
You can visit the basilica by purchasing an 8 euro entry ticket at the door, or a guided tour online.
As for its current architectural advancements, although the time of the great architectural contributors to the basilica has come and gone, construction and restoration projects remain.
Florence continues to embrace the importance of maintaining and preserving the beautiful works of architectural art that make sites such as the Basilica di Santa Maria Novella so extraordinary.
コメント