Filippo Brunelleschi (Italian: [filippo brunelleski]; 1377 April 15, 1446) was one of the foremost architects and

d engineers of the Italian Renaissance. He is perhaps most famous for his development of linear perspective and for engineering the dome of the Florence Cathedral, but his accomplishments also include other architectural works, sculpture, mathematics, engineering and even ship design. His principal surviving works are to be found in Florence, Italy. Little is known about the early life of Brunelleschi, the only sources being Antonio Manetti and Giorgio Vasari.[2] According to these sources, Filippo's father was Brunellesco di Lippo, a lawyer, and his mother was Giuliana Spini. Filippo was the middle of their three children. The young Filippo was given a literary and mathematical education intended to enable him to follow in the footsteps of his father, a civil servant. Being artistically inclined, however, Filippo enrolled in the Arte della Seta, the silk merchants' Guild, which also included goldsmiths, metalworkers, and bronze workers. He became a master goldsmith in 1398. It was thus not a coincidence that his first important building commission, the Ospedale degli Innocenti, came from the guild to which he belonged.[3] In 1401, Brunelleschi entered a competition to design a new set of bronze doors for the Florence Baptistery. Seven competitors each produced a gilded bronze panel, depicting the Sacrifice of Isaac. Brunelleschi's entry, which, with that of Lorenzo Ghiberti, is one of only two to have survived, made reference to the Greco-Roman Boy with Thorn, whilst Ghiberti used a naked torso in the Classical style for his figure of Isaac. In 1403, Ghiberti was announced the victor, largely because of his superior technical skill: his panel showed a more sophisticated knowledge of bronze-casting being cast as a single piece. Brunelleschi's panel, by contrast, consisted of several pieces bolted to the back plate. Ghiberti went on to complete a second set of bronze doors for the baptistery, whose beauty Michelangelo extolled a hundred years later, saying "surely these must be the "Gates of Paradise".[4]

He was Nicola Pisanos chief assistant on the marble pulpit for the Duomo in Siena (1265 1268), but he soon began to work independently on an important tomb sculpture. In 12661267 he worked in Rome for King Charles I of Anjou, portraying him in the famous statue housed in the Campidoglio. Around 1282 he finished the monument to Cardinal Guillaume de Braye in the church of San Domenico in Orvieto, including an enthroned Madonna (a Maest) for which he took as a model an ancient Roman statue of the goddess Abundantia; the Madonna's tiara and jewels reproduce antique models.[3] In Rome Arnolfo had seen the Cosmatesque art, and its influence can be seen in the intarsia and polychrome glass decorations in the churches of San Paolo fuori le Mura and Santa Cecilia in Trastevere, where he worked in 1285 and 1293 respectively. In this period he also worked on the presepio of Santa Maria Maggiore, on Santa Maria in Aracoeli, on the monument of Pope Boniface VIII (1300) and on the bronze statue of St. Peter in St. Peter's Basilica.

In 12941295 he worked in Florence, mainly as an architect. According to his biographer Giorgio Vasari, he was in charge of construction of the cathedral of the city, for which he provided the statues once decorating the lower part of the faade destroyed in 1589. The surviving statues are now in the Museum of the Cathedral. Also attributed to Arnolfo is the design of the Church of Santa Croce. Vasari also attributed to him the urban plan of the new city of San Giovanni Valdarno. The monumental character of Arnolfo's work has left its mark on the appearance of Florence. His funerary monuments became the model for Gothic funerary art. Giorgio Vasari included a biography of Arnolfo in his Lives of the Artists.

Pusat bersejarah Firenze membentang dalam jarak 3 km di antara Porta San Gallo di utara Sungai Arno sampai Porta Romana di selatan. Dalam wilayah ini banyak terdapat bangunan bersejarah seperti istana dan gereja kuno yang masih mempertahankan suasana Renaissance. Tidak seperti kota Roma yang menyerap semua unsur-unsur Romawi kuno maupun moderen, Firenze menolak semua pengaruh non Renaissance. Pengaruh Romawi hanya terlihat dari rancangan jalan yang seperti ampiteater kuno. Hanya ada sedikit bangunan bergaya Barok seperti gereja San Gaetano dan San Firenze yang tampak kontras dengan pemandangan Renaissance di sekelilingnya. Bangunan moderen pun tidak menonjol tapi salah satunya dapat menyatu dengan baik seperti Stadio Artemio Franchi (stadion sepak bola) yang dirancang pada tahun 1932 oleh Pier Luigi Nervi.

Piazza del Duomo

Piazza del Duomo adalah salah satu kawasan bersejarah dengan bangunan paling penting seperti Duomo (katedral gaya Italia) seperti Basilica di Santa Maria del Fiore (Katedral Firenze) dengan kubah menjulang hasil rancangan Brunelleschi. Bangunan utama katedral bergaya arsitektur Romanesque dirancang oleh Arnolfo di Cambio, dibangun mulai 1296 dan selesai pada tahun 1436. Kini Katedral Firenze dijadikan Situs Warisan Dunia UNESCO. Museo dell'Opera del Duomo, museum yang dibuka tahun 1891, berisi hasil karya seniman-seniman Firenze seperti Luca della Robbia, Donatello dan Michelangelo, yang awalnya diciptakan untuk menghiasi Basilica di Santa Maria del Fiore. Campanile di Giotto atau Menara Genta Giotto, berada di sebelah barat Duomo, tingginya 84 meter. Pembangunannya diprakarsai oleh Giotto antara tahun 1334-1337 dan dilanjutkan Andrea Pisano dan Fransesco Talenti. Battistero di San Giovanni atau Baptisterium San Giovanni adalah baptisterium berbentuk oktagonal yang didekorasi dengan pualam dan portal-portal perunggu, sementara interior dihiasi dengan mosaik-mosaik Bizantium. Bagian-bagian penting bangunan yakni Porta del Paradiso (Gerbang Surga), dibuat dari 1425-1452 oleh Lorenzo Ghiberti. Pintu selatan bangunan dirancang Andrea Pisano dari tahun 13301338.

Dalam Bahasa Latin, basilika (berasal dari Bahasa Yunani, Basilik Sto, yang berarti Stoa Kerajaan), pada mulanya digunakan untuk menggambarkan sebuah bangunan publik Romawi (seperti juga di Yunani, umumnya sebuah tempat pertemuan), biasanya terletak di pusat sebuah kota Romawi (forum). Di kota-kota Yunani kuno, basilika umum mulai muncul pada abad ke-2 sebelum masehi. Setelah Kekaisaran Romawi resmi menjadi negara Kristiani, kata tersebut berkembang untuk merujuk pada sebuah gereja yang besar dan penting yang telah diberikan ritus upacara khusus oleh Sri Paus. Oleh karena itu, basilika hari ini memiliki dua pengertian: satu dari segi arsitektur dan satu lagi dari segi kegerejaan.

The Basilica di Santa Maria del Fiore (English: Basilica of Saint Mary of the Flower) is the main church of Florence, Italy. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style to the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival faade by Emilio De Fabris. The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. The three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting the region of Tuscany. The basilica is one of Italy's largest churches, and until development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed. The cathedral is the mother church of the Roman Catholic Archdiocese of Florence, whose archbishop is currently Giuseppe Betori.

Santa Maria del Fiore was built on the site of an earlier cathedral dedicated to Saint Reparata.[1] The ancient building, founded in the early 5th century and having undergone many repairs, was crumbling with age, as attested in the 14th century Nuova Cronica of Giovanni Villani,[2] and was no longer large enough to serve the growing population of the city.[2] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, as seen at Pisa and particularly Siena where the enormous proposed extensions were never completed.