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No Italian architect has enjoyed the proud privilege of stamping his own individuality more strongly on his native city than Arnolfo; and for this reason it may be permitted to enlarge upon his labours here. When we take our stand upon the hill of Samminiato, the Florence at our feet owes her physiognomy in a great measure to this man.
Then in 1182 the cathedral was transferred to S. Reparata, which stood on part of the site of the Duomo, and in 1294 the decision to rebuild S. Reparata magnificently was arrived at, and Arnolfo di Cambio was instructed to draw up plans.
In the meantime, Brunelleschi had studied architecture, and made such progress that he had already conceived two grand projects the one was the revival of the good manner of ancient architecture, which was then extinct, and the other was to discover a method for constructing the cupola of the church of Santa Maria del Fiore, in Florence, the difficulties of which were so great that, after the death of Arnolfo di Lapi, no architect had been found of sufficient courage and capacity to attempt the vaulting of that cupola.
The City of the Miracle The Marble Companions Twilight and Immensity Arnolfo di Cambio Dante's seat Ruskin's "Shepherd" Giotto the various Giotto's fun The indomitable Brunelleschi Makers of Florence The present façade. All visitors to Florence make first for the Duomo. Let us do the same. The real name of the Duomo is the Cathedral of S. Maria del Fiore, or St.
Built probably in the sixth or seventh century, it was Arnolfo di Cambio who covered it with marble in 1288, building also three new doorways where before there had been but one, that on the west side, which was then closed.
And Giotto, who painted in that church his most famous frescoes, depicting scenes in the life of S. Francis, succeeded Arnolfo here, as at the Duomo, with equal fitness.
Among these appeared Filippo, giving it as his advice that it was necessary, not to raise the fabric directly from the roof according to the design of Arnolfo, but to make a frieze fifteen braccia in height, with a large round window in the middle of each of its sides, since not only would this take the weight off the supports of the tribunes, but it would become easier to raise the cupola; and models were made in this way, and were put into execution.
Vasari has it that Arnolfo was assisted on the Duomo by Cimabue; but that is doubtful. The foundations were consecrated in 1296 and the first stone laid on September 8th, 1298, and no one was more interested in its early progress than a young, grave lawyer who used to sit on a stone seat on the south side and watch the builders, little thinking how soon he was to be driven from Florence for ever.
However this may be, and its position is so fortunate that it is not likely to be due to any such chance, Arnolfo di Cambio began it in February 1299, taking as his model, so some have thought, the Rocca of the Conti Guidi of the Casentino, which Lapo his father had built. Under the arches of the fourth storey are painted the coats of the city and its gonfaloni.
And at dawn I shall walk with Dante, and I shall know by the softness of his voice when Beatrice passeth, but I shall not dare to lift my eyes. I shall walk with him through the city, I shall hear Giotto speak to him of St. Francis, and Arnolfo will tell us of his dreams. And at evening Petrarch will lead me into the shadow of S. Giovanni and tell me of Madonna Laura.
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