Old Sacristy, 1421-1428

The Old Sacristy is the mausoleum for the Medici family. It is at the south end of the transept in San Lorenzo. The Medici family was the most powerful and influential family in Florence. They were very interested in the cultivation of the arts; for their mausoleum they commissioned Brunelleschi and Donatello. A perfect cube is formed in the sacristy, the walls are equal in height to the sides. The dome is one half the width of the wall and it creates a circle from the square. The Umbrella dome rests on pendentives, which are triangular pieces of vaulting springing from corners used for support.
An Umbrella dome is a hemispherical dome with a circular plan and a ribbed vault.
Brunelleschi used Ionic columns to support entablatures at the doorways, and larger Corinthian columns supporting an entablature that goes around the entire room.
This sacristy is an example of Brunelleschi's mathematical discipline.

Santo Spirito, Florence

Santo Spirito, started around 1434 and finished in 1482, was designed by Brunelleschi. This church follows the basic Latin cross plan, as did S. Lorenzo. However, there are some differences in the two churches. Santo Spirito has more of a sculptural feeling, the side chapels are more open, they also have columns and pediments. Instead of using pilasters for the niche wall Brunelleschi has put in Corinthian columns. The ceiling is flat, with octagon like patterns while S. Lorenzo has square coffers.

Santa Maria degli Angeli, Florence

Started in 1434, design by Brunelleschi

Although Brunelleschi laid out specific plans for Sta. Maria, they were not necessarily followed. Since the building was not completed until the 20th century, we have only his drawings to understand his intentions. The shape was retained, a centralized octagonal dome. Originally, it was meant to have 8 chapels surrounding the dome, which was to be supported by 8 piers and pilasters. The altar would have been in the center.

This was the first centralized building of the Renaissance, and it may have been inspired again by the ancient ruins in Rome, most likely the Temple of Minerva Medica. In the Sta. Maria there is a strong sense of symmetry, a longtime pursuit of Brunelleschi's. Moving away from the modular squares of San Croce, this building is more along the lines of the Santo Spirito with its sculptural tendencies. The rotunda shape has a sense of plasticity, it seems to be carved out of pre-existing material with molded interiors. Although this is a classically influenced structure, it maintains a refreshing vivacity.

Santa Croce, Pazzi Chapel

The Pazzi Chapel in Santa Croce was started in 1440, designed by Brunelleschi. It was not finished until around 1480, after Brunelleschi had already died. Again we have ideas of proportion and geometry. While this chapel is more complex than the Old Sacristy, it maintains modules of circles, squares and symmetry. Another similarity is the difficulty in maneuvering the pilasters around angles. The loggia consists of Corinthian columns supporting an entablature which is interrupted in the center by an arch, which allows greater flexibilty of symmetry.
-barrel vaults
-ribbed dome with oculi and lantern
-attic story with double pilasters

Map Of Florence

In this "map" of Florence, painted in the 16th century by Giorgio Vasari, you can see Brunelleschi's dome on the Florence Cathedral. You really get a feel for the way Tuscany looked around the time Brunelleschi was working, he was born about 1377 and lived until 1446.

Solving the Dome Challenge

Through his tireless research Brunelleschi had unlocked the mystery of the Florence Cathedral, he believed it was necessary to "employ the ogive (a diagonal rib of a Gothic vault, a pointed curved surface) shape, and to make two vaults, an outer and an inner...the structure must be bound together at the angles of the eight sides by dovetailing the stones.

Details of the Design

The 16 inner ribs were joined together by horizontal arches, herringbone patterns (coming from Roman construction) were used to lighten and strengthen the top tier. The basic goal was to maintain a pyramidically oriented shape which would diminish in width as well as thickness upon reaching the lantern, so that the lantern would cap the ribs and serve as a stopper with its weight. A type of flying buttress was also used to balance the weight of the lantern. Although a typical Gothic buttress would have been unacceptable, Brunelleschi was able to interpret the idea in such a way to make it softer and more modern.
Not only is the Dome an example of Brunelleschi combining ancient, medieval Gothic, and modern Renaissance ideas, it is also important to note that he invented the unique method of building for this particular challenge, including mechanics, tools, and the most efficient routes. All this from a man who trained as a goldsmith.

Ospedale degli Innocenti

Built (1419-1424) and conceived by Brunelleschi, this was the first example of Renaissance architecture with its roots in classical antiquity. There is a long horizontal entablature, pedimented (low pitched ornamental, triangular pieces from Grecian architecture) windows, Corinthian columns, and a system of harmonious symmetry. The design is based on simple shapes, squares and round arches, which are laid out mathematically, i.e. the height of one column equals the distance between the next column and the distance between the column and the wall. We also see the introduction of pietra serena, which is a grey sandstone used to contrast the stucco.
Dosseret Block - an additional block set upon a capital for extra support of the arch above

San Lorenzo (1421-1470)

S. Lorenzo was the parish church of the Medici family, the project entailed rebuilding an older monastic church. The original structure had a Latin cross plan. This involves a square central crossing, a square choir, and many small square chapels on the sides. Brunelleschi strenghtened this plan by implementing humanistic ideas. The ceiling was made flat, colonnades and arches seperated the aisles, and proportion was balanced in the space. The square and sense of geometry directs the space by repeating to form all other areas, "in this way, the spectator standing in one of the aisles looks across the transept to the opening of a chapel which is related in size to the nave and aisles; and the total effect is therefore much more harmonious." (Murray, p. 40)