Its meaning for the art of painting can easily be compared with the importance of Brunelleschi on architecture and Donatello on sculpture. This early work of Masaccio displays his new ideas about perspective and mathematical proportions. Inside, the Basilica contains one of the early Renaissance masterpieces: the magnificent Holy Trinity, produced by Masaccio between 14, and situated almost halfway in the left aisle. The pulpit, commissioned by the Rucellai family in 1443, was designed by Filippo Brunelleschi and has a particular historical significance, because from this pulpit the first attack came on Galileo Galilei, eventually resulting in his indictment. The ceiling in the vault consists of pointed arches with four diagonal black and white ribs.
The slender compound piers between the nave and the aisles are ever closer when you go deeper into the nave. While the large nave is 100 metres long, there is a trompe-l’oeil effect by which the nave, when looking towards the apse, appears longer than its actual length.
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It is divided into a nave, with two aisles with stained glass windows and a short transept. The vast interior is based on a basilica plan, designed as a Latin cross. The scrolls, found in churches all over Italy, originate from the design of this church. While the pediment and frieze are clearly inspired by antiquity, the S-curved scrolls are new and without precedent. These were used, among other things, to hide the sloping roof over the side naves. He added the four columns with Corinthian capitals on the lower part of the facade, a broad frieze decorated with squares and other things above it, including the four white-green pilasters and a round window, crowned by a pediment with the Dominican solar emblem, and flanked on both sides by S-curved volutes. Architecture is considered a scenario of elements, ordered by mathematical and geometrical rules, to be viewed as if it were a painting. Here Alberti, framing this first frieze of the mid Trecento in the duotone of the general drawing, used the Renaissance principles of architecture to create harmony with the existing parts of the facade. Alberti’s Facadeīetween 14, on a commission from Giovanni di Paolo Rucellai, a local textile merchant, Leone Battista Alberti designed the upper part of the inlaid black and white marble facade, today a Renaissance masterpiece. The three portals are spanned by round arches, while the rest of the lower part of the facade is spanned by blind arches, with Gothic pointed arches below striped in green and white capping the tombs of noblemen. Construction started in 1246 and was finished about 1360 under the supervision of Fra Iacopo Talenti with the completion of the Romanesque-Gothic bell tower and sacristy.Īt that time, only the lower part of the Tuscan gothic facade was finished. The church we see today was designed by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. In 1221, the entire area was acquired by the Preachers Domenican order, which decided to build a new church and an adjoining cloister. The name Novella (New) comes from the substitution of a previous 9th century oratory dedicated to Santa Maria delle Vigne, located outside the city walls. Historically, it is the first great basilica in Florence, and it is the main Dominican church in the city. Santa Maria Novella is a Florentine church situated just across from the main railway station of the same name mentioned in Dan Brown’s novel Inferno.
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