In 2025, the church is inching closer to completion! The Jesus Tower is nearly done, soon to become the tallest church tower in the world. Gaudí’s vision is entering its final act, and to see it now, while it’s still taking shape, feels like catching a story mid-sentence. La Sagrada Familia isn’t just a spot on your checklist. It’s a walk through the most unforgettable structures in the world and not to be missed! Let our guide take you through the most important sights in this enormous construction so you don’t miss out on the magic.

Table Of Contents

1. Getting There
2. Tickets (and Why You Need to Plan Ahead in 2025)
3. A Brief History
4. 1. The Nativity Façade
5. 2. The Tree of Life
6. 3. The Charity Portico
7. 4. The Towers and Spires (Now Taller Than Ever)
8. 5. The Rosary Portal
9. 6. The Forest of Columns
10. 7. The Vaults
11. 8. The Stained Glass Windows
12. 9. The High Altar’s Baldachin
13. 10. The Choir Galleries
14. 11. The Passion Façade
15. 12. The Gaudí Museum

Getting There

La Sagrada Familia is located right in the city center and is easy to reach.

• By metro: Hop on the L2 (purple) or L5 (blue) line and exit at Sagrada Família station.
• By bus: Take the H10 to València/Lepant.
• Hop-On Hop-Off? Absolutely, most routes include a stop here.
• On Foot: I love walking to the Sagrada as you get to see it slowly grow in size as you approach. Walking along Avenue de Gaudí is the most scenic approach to the great church.

Tickets (and Why You Need to Plan Ahead in 2025)

Crowds haven’t eased up; if anything, they’re getting bigger as the church nears completion.
Book your ticket online in advance to skip long lines and secure a tower visit if you’re aiming for those views. Be sure to ONLY book your tickets through the official website, as third-party sellers often charge extra fees, have confusing policies, or don’t guarantee access to the towers or your preferred time slot.

• General Admission + Audio Guide: €26
• Guided Tour: €30
• Admission + Towers : €36

Tip: Morning light is best for the Nativity side. Late afternoon (especially golden hour) transforms the Passion façade and interior into something surreal.

A Brief History

The story of La Sagrada Familia begins in 1882 with a modest plan for a simple neo-Gothic church, nothing too flashy. But then Antoni Gaudí took over, and everything changed. Gaudí was a visionary Catalan architect known for his bold, nature-inspired designs that blended structure with spirituality. Shy, deeply religious, and often seen as eccentric, he devoted the last years of his life entirely to La Sagrada Familia, living like a hermit in his workshop and treating the basilica as both a sacred offering and a personal obsession.

Gaudí tossed out the old blueprints and dreamed up something wild: a basilica that looked like a forest, reached for the heavens, and told the entire story of Christianity in stone. He poured over 40 years of his life into it. Even after his death in 1926, the work never stopped. It has taken generations of architects, artists, and stonecutters to carry his vision forward, and yet it continues to evolve.

1. The Nativity Façade

The Nativity Façade is the only part Gaudí lived to see nearly completed, and it shows. It carries most of his personal touch, his hand, his heart, his imagination. Every inch feels alive, teeming with natural forms and spiritual symbolism. Completed in 1935, this façade bursts with vitality: twisting vines, chirping birds, blooming flowers, angels in mid-song, and sacred stories carved into stone. It’s a celebration of life, birth, and divine joy, Gaudí’s answer to a world too often focused on suffering.

The façade is divided into three richly decorated porticos, each dedicated to a theological virtue: Faith, Hope, and Charity. Together, they unfold the early chapters of Jesus’s life, from the Annunciation to the flight into Egypt, like a visual gospel. The level of detail is dizzying. The longer you stand there, the more it reveals. Faces peer out from behind leaves, animals rest in unexpected corners, and halos catch the shifting light.

2. The Tree of Life

Topping the central portico of the Nativity Façade is a striking green cypress tree, bright, almost jubilant against the pale stone. It’s one of the few vibrant touches on the exterior, and Gaudí chose it with care. The cypress, evergreen and enduring, is a timeless symbol of eternal life. But here, it’s not just symbolic, it’s theatrical. The tree seems to spring from the architecture itself, bursting upward from the stone like nature reclaiming space in the sacred.

Sprinkled across its branches are twenty-one white doves, frozen in flight. Each bird is sculpted in a slightly different pose, wings at various angles, as if they’ve just taken off into the sky. They represent peace, the Holy Spirit, and perhaps even souls in motion, ascending, transforming. They give the whole composition a sense of lift.

At the very top, glowing faintly in the Catalan sun, sits a red-and-white cross marked with the Greek letters Alpha and Omega, symbols of the beginning and the end, eternity in both directions. It’s like a punctuation mark at the top of the church’s most joyous sentence.

3. The Charity Portico

Tucked beneath the vault of the Charity Portico is a delicate rendering of the Annunciation: the archangel Gabriel kneeling before Mary, who receives the divine message with calm, steady grace. The scale of it is surprisingly human. It’s not grand or imposing, it’s gentle. Quiet. You can sense the reverence Gaudí had for this moment of transformation.

Above and around the scene, carved into the stone sky, are signs of the zodiac, each one set in its constellation. These weren’t added to flirt with astrology. They reflect the alignment of the stars as they would have appeared on the night of Christ’s birth. It’s an attempt to ground the miraculous in the real, to say, this happened here, under this same sky.

Then there are the details you almost miss: a string of rosary beads curling through the architecture, surrounded by miraculous medals like the ones worn on bracelets. And everywhere, angels as musicians. But not just any musicians, some play liturgical instruments like harps and violins, yes, but others strum guitars, pump bagpipes, or shake tambourines. Gaudí was building a bridge between heaven and earth, showing that divine joy could be found in ordinary things. In music from the street. In symbols worn by everyday believers.

4. The Towers and Spires (Now Taller Than Ever)

Eventually, the basilica will rise with 18 spires, a number loaded with meaning. Twelve for the apostles, four for the evangelists, one for the Virgin Mary, and one final spire for Christ. As of 2025, that central Jesus Tower is nearly complete. Standing at 172.5 meters, it will soon be crowned with a monumental illuminated cross, making La Sagrada Familia the tallest church in the world. You can’t climb it yet, but when you stand below and look up… it already feels finished. Almost celestial.

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Surrounding it are four newly completed Evangelist Towers, each dedicated to Matthew, Mark, Luke, and John. You’ll spot their sculptural symbols, angel, lion, ox, and eagle, glinting in the light, marking their place in the story. These were finalized in late 2023 and 2024, and in 2025, they became an integral part of the city skyline. Many visitors don’t even realize they’re new.

Beneath them rises the Tower of tone of the four Evangelists: he Virgin Mary, completed in 2021 but easy to overlook amid the flurry of construction. It stands slightly shorter than the Jesus Tower, topped by an elegant twelve-pointed star that lights up at night, a quiet, beautiful presence, visible from far across the city.

And while the Jesus Tower isn’t open to the public (yet), you can still climb the Nativity or Passion Towers. Each offers something different:

• Nativity Tower looks over the older parts of the city, best in the soft light of morning.
• Passion Tower faces west, dramatic at sunset, framing the mountains and sea.

5. The Rosary Portal

This is the door you’ll likely walk through as you enter the church, but don’t rush through it. Pause for a second before stepping inside. Formally known as the Door of Our Lady of the Rosary, this portal is both an architectural threshold and a spiritual one. It sets the tone for everything that follows. Carved into the tympanum above the doorway, you’ll see Mary crowned, gently holding the infant Jesus. Their expressions are serene, almost tender. Mary wears her crown not just as Queen of Heaven, but as a quiet protector, welcoming, not distant.

But what really elevates the moment is the lantern cupola perched above. At just the right angle and time of day, light filters down through the opening and lands squarely on Mary’s face. Not dramatically. Not theatrically. Just… perfectly. The effect is subtle but powerful. It feels like a benediction. Like she’s been there all along, waiting for you to notice her.

Framing the scene are carved roses, symbolizing purity and devotion. They arc above her head like a floral halo. These small details, the curve of a petal, the tilt of her crown, pull you in closer. And just like that, before you’ve even crossed the threshold, you’re inside something sacred.

6. The Forest of Columns

Stepping inside the basilica feels like walking into a forest, one not made of wood or leaves, but of soaring stone and dappled light. The towering columns, Gaudí called them arborescent, meaning tree-like, don’t rise straight and stiff like classical pillars. They branch out, tilt slightly, and split near the top, mimicking the way real trees grow to support their canopy. The base of each column is made from a different material, chosen for its strength depending on how much weight it must bear. And the colors shift subtly as they rise, darker and stronger near the floor, lighter and more delicate as they reach toward the ceiling.

Above you, the vaults bloom out like a leafy crown. You can almost forget you’re in a building. There’s no central focal point, no straight path leading to an altar. Instead, everything flows outward and upward. Like a grove. Like being deep in nature, where light filters through branches and every step opens into something new. This wasn’t just an aesthetic choice. Gaudí believed nature was the truest expression of the divine, and he designed the space to reflect that belief. He wanted visitors to feel held, but also free. Surrounded by structure, but never confined.

The effect is almost disorienting at first. Your eyes wander, drawn in every direction. There’s a hush that falls over people the moment they walk in, like the stillness of a forest. And even when the space is full of people, it somehow feels personal. You’re inside, yes, but also uplifted. It feels alive. And maybe, in some way, it actually is.

7. The Vaults

Above the forest of stone columns, the ceiling opens into a canopy of light and geometry. Here, the vaults bloom in delicate, star-shaped patterns, unlike anything you’ll see in traditional Gothic churches. Their form is based on hyperboloid geometry, a complex mathematical concept Gaudí studied and modelled obsessively. (Don’t worry, you don’t need to understand the equations to appreciate the beauty.)

What you’ll notice instead is how they seem to float. These vaults aren’t just decorative, they’re highly functional. Their curving, interwoven shapes distribute the massive weight of the roof and redirect it down through the branching columns, allowing the walls to be almost entirely made of stained glass. The space feels impossibly open for a structure this size.

The shapes themselves resemble palm leaves, spreading outward with an organic grace. In Christian tradition, palms symbolize peace, martyrdom, and the promise of resurrection, echoing the same themes that run through the rest of the church, from the façades to the altar.

Every detail is deliberate. Even the small circular medallions at the center of each vault serve a purpose: they act as light diffusers, catching natural sunlight and scattering it gently throughout the nave. The vaults shift with the time of day, glowing warmer in the afternoon and cooler in the morning.

8. The Stained Glass Windows

The stained glass inside La Sagrada Familia doesn’t just decorate the walls; it transforms the space. Designed by Catalan artist Joan Vila-Grau, the windows are a masterclass in colour, light, and movement. They don’t depict saints or biblical scenes, as you’d find in older cathedrals. Instead, they’re abstract, flowing compositions of colour that feel more like music than narrative. Their purpose isn’t to instruct, but to immerse.

Gaudí wanted the interior to feel like a living lightscape, and Vila-Grau delivered. The windows are arranged by colour and orientation: the east-facing panes are filled with cool hues, blues, teals, greens, meant to capture the soft, calm light of the morning. As the day progresses, sunlight begins to pour through the west-facing windows, which glow with fiery reds, oranges, and golds. It’s like watching a slow-motion sunrise and sunset unfold inside the building itself.

And when the light hits just right? The entire nave becomes a prism. Colour spills across the columns and the floor, dances on the ceiling, and glows in the folds of visitors’ clothes. It’s breathtaking. But not in a dramatic, fireworks kind of way. More like a quiet hush. A “wow” that catches in your throat.

9. The High Altar’s Baldachin

Suspended above the high altar like a celestial crown is the baldachin, a sculpted canopy unlike anything you’d expect to find in a Catholic church. It doesn’t dominate the space with grandeur; instead, it floats. Delicate, intentional, symbolic. The canopy takes the form of a heptagon, its seven sides representing the seven gifts of the Holy Spirit: wisdom, understanding, counsel, fortitude, knowledge, piety, and fear of the Lord. It’s an unusual choice; most baldachins are square or circular, but Gaudí rarely followed convention, and this seven-sided structure feels more like something grown than built.

Twisting around its edges are grapevines and wheat stalks, carved in subtle, flowing lines. These aren’t just decorative. They’re symbols of the Eucharist (bread and wine) woven into the very bones of the architecture. The message is clear: this is sacred ground, a place where the earthly and divine meet through ritual and remembrance.

Dangling from the rim are 50 small lanterns, each one glowing softly like a star. At night or in shadow, they bring a warm, golden radiance to the altar space, as if the Spirit itself had descended and decided to stay awhile. And beneath it all, suspended in a way that feels almost gravity-defying, hangs Christ on the cross. He’s angled ever so slightly downward, not looming, but reaching, as if in motion. As if leaning toward the people gathered below.

10. The Choir Galleries

Look up and around, above the main nave, almost hidden in plain sight, are the choir galleries. They stretch along the sides like wide, curved balconies and can hold over 1,000 singers. That’s not a typo. Gaudí didn’t just want choral music to accompany worship; he wanted it to fill the basilica, to rise and fall like breath within the stone.

Music meant a great deal to Gaudí. It was one of the few things that calmed his mind and offered him peace. He once said that music, like nature, was a direct route to the divine. And so he designed these galleries not only with function in mind but with acoustics woven right into the architecture. The curves of the vaults, the height of the columns, even the spacing between stone surfaces, were all calculated to let sound travel, expand, and reverberate gently without distortion.

11. The Passion Façade

Where the Nativity Façade bursts with life, abundance, and organic warmth, the Passion Façade offers the opposite: silence, suffering, and sacrifice. Located on the western side of the basilica, the side of sunset and endings, it’s intentionally stark, angular, and stripped down, reflecting the final days of Christ’s life with an almost brutal honesty.

The sculptures here were created by Josep Maria Subirachs in the late 20th century, decades after Gaudí’s death. At first, the contrast in style shocked many visitors. Subirachs chose a harsh, modernist aesthetic: the figures are blocky, skeletal, and raw, carved with sharp planes and deep shadows. They feel fragile and exposed, almost like the bones of a structure laid bare. But look closer, and the emotion is unmistakable. These aren’t decorative statues, they’re cries in stone.

More than 100 characters populate the façade, arranged in an upward S-shaped path that unfolds like a dramatic timeline. It begins with the Last Supper, winds through Peter’s denial, Christ’s flagellation, the Via Dolorosa, and culminates in the Crucifixion at the top. Each scene is carved with symbolic weight: soldiers wear expressionless helmets, Jesus appears blindfolded and bound, and grief is frozen in anguished, angular faces.

Gaudí designed the concept for this façade during a period of deep illness and fear, and it shows. His original sketches outlined a façade that would capture the weight of suffering, the shadow of death, and the difficulty of faith. It wasn’t meant to be comfortable. And it still isn’t. Standing in front of it, you feel the tension. The sharpness. The ache.

12. The Gaudí Museum

Tucked beneath the basilica, just steps away from the main entrance, is the Antoni Gaudí Workshop and Museum, a quiet, dimly lit space that most visitors almost miss. But if you take the time to explore it, it feels like stepping directly into Gaudí’s mind.

This was once his actual workspace, where he drew, built models, tested materials, and experimented with ideas that would eventually shape one of the most ambitious churches in the world. Today, it’s part museum, part time capsule. The walls are lined with early sketches, scale models, handwritten notes, and photographs that offer a glimpse into how the basilica has evolved across the decades. You’ll see everything from delicate sculpting tools to rough tiles and plaster casts, each one stained with the fingerprints of history.

Not everything survived. During the Spanish Civil War, much of Gaudí’s original material was tragically destroyed in a fire. But through painstaking restoration efforts, fragments were saved, scanned, rebuilt, and replicated. The museum doesn’t hide this loss, in fact, it embraces it. You see broken edges and missing pieces alongside modern reconstructions, which only makes the story more powerful. You begin to understand how fragile this vision was, and how much love and effort has gone into keeping it alive.

There’s even a recreation of Gaudí’s studio, complete with a model of his drafting table and the kinds of tools he would have used daily. It’s strangely moving. You can almost imagine him sitting there in silence, carving a new idea from memory, his whole life reduced to light, line, and form.

La Sagrada Familia isn’t just a monument to God or to Gaudí. It’s a monument to vision. To stubborn beauty. To the idea that something doesn’t need to be finished to be worth experiencing. And honestly, it’s more moving because it’s not done. You step into something in progress. Just like us.

Have you been before? Planning to go this year? I’d love to know what you thought, or what you’re hoping to see.

Happy Travels, Adventurers.

The post Ultimate Guide to Exploring Barcelona’s La Sagrada Familia in 2025 first appeared on The Creative Adventurer.

The towering ornate church is considered one of the masterpieces of Mexican architecture and is Latin America’s largest and oldest cathedral. If you’re visiting Mexico City you absolutely need to make a stop inside! Explore the interiors and wonder at the amazing monuments, chapels, architecture and incredible atmosphere found inside the Mexico City Cathedral. This guide is the best way to tour it for yourself at your own pace. It will lead you from the exterior courtyard, inner nave, altars and chapels and finally finished at the adjacent Sagrario Metropolitano.

Table Of Contents

1. Access, Hours and Admission
2. Aztec History
3. Construction of the Catholic Cathedral
4. Facade
5. Bell Tower
6. Interior
7. Altar of Forgiveness
8. Chapel of the Immaculate Conception
9. Chapel of Our Lady of Guadalupe
10. Vestibule Paintings
11. Choir
12. Pendulum
13. Major Altar
14. Chapel of Saint Peter
15. Chapel of the Reliquaries
16. Sacristy
17. Altar of the Kings
18. Philip of Jesus Chapel
19. Sagrario Metropolitano

Access, Hours and Admission

The Mexico City Metropolitan Cathedral is located on the north side of Mexico City’s Zócalo. If you are arriving by metro, take the blue line to the Zócalo metro station. When exiting follow the signs for the Cathedral. If you’re taking an Uber, be aware some area of the Historic District are traffic restricted. So your drop-off location might not be right at the front gates of the church. But no worries, the Cathedral is so huge that no matter where you’re dropped off, you’ll be able to spot the towers from a mile away. I actually think the lead up to the grand reveal of the Cathedral is better this way!

The Cathedral is open from 8am to 8pm every day, including holidays. During certain religious services, parts of the Cathedral will be closed. You’ll still be able to come inside and even listen to the service. Anytime the choir is singing is an extraordinary moment to experience. There is no admission to enter the great Cathedral, but donations are suggested to enter either the Choir or Sacristy.

Ettiquette

Remember not to use any flash photography and speak at a respectable volume since it is still a functional Cathedral. No caps or hats are allowed to be worn on the hat inside out of respect. Shoulders should generally be covered but I didn’t see anyone strictly enforcing.

Notes on “Guides” at the Front Gates

So-called “guides” hover around suspected tourists who enter the church grounds. They will approach you for a paid guided tour of the interior. These “guides” will not be able to enter the Cathedral without you in tow. So the interior will be a safe space for these touts. Generally, they will wear badges, claiming that they are government-licensed. But it’s tough to tell these apart from the scammers. In general, it’s a pretty light “scam” as they will indeed lead you around the church. But depending on what guide you might get, they might not really know their stuff. Generally, they are very easygoing if you politely refuse. But if you want to avoid any back and forth, just say, “Oh no, we’ve been here before, just going inside to pray, thanks.” They will figure you aren’t an easy mark and move on.

Aztec History

Long before the church was even a twinkle in the eyes of Hernán Cortés, the site was the locations of the Templo Mayor of the Aztec City of Tenochtitlan once stood. The Aztec temple was built in honour of the god Huītzilōpōchtli and the god Quetzalcoatl, representing the sun and the rain. The Great Temple was a thing of absolute splendour. But Cortés saw it as “savage” and something to be destroyed, along with the beautiful Aztec culture. Cortés had the temple destroyed but saved the Templo mayor’s stones to build his new Catholic Cathedral. Many people claim that it was Cortés himself who laid the first stone.

Construction of the Catholic Cathedral

The construction of Mexico City’s Cathedral began in 1573 and took until 1813 to complete! That’s over 240 years! The enormous Cathedral is over 350 feet long and 200 feet wide. The size perhaps one of the reasons why construction took so long. But the grandiose size makes it Latin America’s largest and oldest Cathedral.

Construction Problems

When the first church was built on this site, it was deemed almost laughable by visitors. It was designed by architect Martín de Sepúlveda between 1524 and 1532. They called it the “Cathedral of Zumárraga,” and parts of the church still remain inside what is now the northeastern part of the building. This church was supposed to be an example of Spain’s greatness. But visitors people found the diminutive size a real disappointment. So in the 16th century, they developed a new design for the expansion of the church. This one would be so sumptuous and impressive it would surely wow any guest from anywhere in the world.

But such great Cathedrals were tough to build, especially on such swampy soil. Before the arrival of the Spanish conquistadors, the Aztecs had created an enormous series of canals and waterways into the city. This brought fresh water from the mountains into the otherwise-dry valley metropolis. The Spanish thought these canals took up valuable real estate inside their new city and had them filled in! This halted the ability to get fresh water into the city (an issue Mexico City continues to struggle with today.) But for the Cathedral’s construction, this meant that the grounds in Mexico City were very soft and swampy. The stones required for these great cathedrals weren’t light. Architects told the Spanish that whatever structure they created would sink into the ground, but the development wouldn’t be stopped.

Style of the Cathedral

Tezontle and the Chiluca Stones were the chosen building material. They could be quarried in a nearby mine and were some of the lightest stones they could source for construction. Claudio de Arciniega was a Spanish architect and sculptor who was brought on to design the new vision of the grand Mexico City Cathedral. Claudio de Arciniega had already built the viceroy’s palace from the remains of Montezuma’s home and created Mexico City’s university. He would go on to work on the Mexico City Cathedral until he died in 1593.

Claudio de Arciniega is primarily responsible for the incredible Herrerian style of the exterior facade. The Cathedral is a patchwork quilt of different kinds of architecture due to the extended period of its construction. The various architectural characteristics you’ll find range from the aforementioned Herrerian style on the exterior, the ultra-Baroque interior chapels, and the imposing Neoclassical dome.

Skull & Cross Column

On a huge stone column, guarding the entrance to the Cathedral grounds is a large, red stone cross. This cross was originally installed in the Cathedral’s cemetery, once located outside the main gates. When the cemetery was moved off the premises, the cross was relocated to this position inside the Cathedral’s courtyard. The base of the stone cross is wrapped in a crown of thorns and the base of the column is surrounded by carvings of human skulls. This is a fairly odd image to see but it pays homage to the Aztec heritage that was discovered on this site.

In 2017, archeologists working in the area discovered a 15th-century tower of human skulls just below the foundations of the Cathedral. These contained 119 skulls from men, women and even children. Archeologists think this tower of sacrifical skulls was created by the Tenochtitlan people to scare the Spanish conquistadores when they arrived to capture their city.

Facade

Walking up to the Cathedral, you’ll have to crane your neck to take in the splendour that stretches up above you, towering over your head. In the light of the morning and at dusk the pale stone is cast in a beautiful golden glow.

Despite the Cathedral’s actual middling height, it feels much taller. This is due to the ingenious design. The facade was made in the 17th century with some reconstruction work done in the early 19th century. The style applied to the facade is called “Herrerian,” after architect Juan de Herrera who was the originator of the design. He was an iconic Spanish architect whose characteristic use of geometry, mathematical equations, clean volumes, and areas of ornamental absence became a popular trend.

Using specific formulas, balancing different shapes, and carefully arranging construction elements, Herrerian buildings achieved a severe horizontality. Despite not being as ornamental as other design styles from this period such as Spanish Renaissance, Herrerian buildings nevertheless feel grandiose as the elevation truly makes them feel imposing.

Standing for a time in front of the church to appreciate how the more ornamentals parts of the building are broken up with plainer columns of sheer vertical stone. This not only frames the areas of high design but also draws your eye upwards.

Main Facade

Three huge portals flank the southside, the largest facade that serves as the primary entrance to the church. The doors in the center stretch up even higher than the entrances on either side. On either side of the doors, on the street level, are statues of Saint Peter and Paul the Apostle. Above them is a large bas relief carving of the Assumption of the Virgin Mary, for whom the Mexico City Cathedral is dedicated. Guarding the mother on either side are statues of Saint Matthew and Saint Andrew. I love the different carved designs on the stones around the portals and niches. They are all geometric and linear and create the most interesting graphical patterns surrounding the figures.

Mexican Coat of Arms

In a sandstone medallion on the floor above is the giant image of the Mexican coat of arms. We can see the huge eagle with its wings spread flying high above us. In its talons, it clutches a snake as it sits perched on the nopales cactus leaf. This symbol is the vision that the Aztec people of Teotihuacan were sent by their gods. Wherever they saw the eagle with the snake was where their gods told them to build their Templo Mayor. Despite the temple being destroyed, it’s nice to see the emblem still crowns the Cathedral’s entrance. Adding one last layer to this enormous church is the clock tower portal. The clock is topped with the Mexican flag and flanked on either corner by large sculptures.

East & West Facade

To the right of the main entrance is the East Facade. On the bas relief above the doorway, you can make out the image of a large ship carrying the four apostles. At the helm of the ship is Saint Peter. Saint Peter is taking them on the seas towards Eternity. On the left side of the main entrance is the West Facade. This bas relief portrays Jesus handing the keys to Heaven over to Saint Peter. Both of these reliefs are framed in between one of my favourite architectural elements, the Solomonic column. The Solomonic column, also called the Barley-sugar column, is characterized by that spiralling shaft, almost like a corkscrew. Or like soft-serve ice cream! Each one of these reliefs was inspired by the painter Peter Paul Rubens’ languid and fluid style.

Historical Ruins

Just inside the gates of the Cathedral, lookout for a set of glass windows embedded into the ground. Peering down inside you can spot the ruins of the Aztec pyramids that have been uncovered beneath. These are the original steps that would have led Aztecs to the summit of the temple. In addition to the little window into the below-ground relics, are a series of large stones spread across the courtyard. These are remnants of the old temple of Tenochtitlan.

Bell Tower

Like Westminster Abbey or Notre Dame, Mexico City’s Cathedral has two large bell towers on either side. Originally, the church didn’t have these towers. Towers became in-vogue in the 18th century so architect and artist José Damián Ortiz de Castro and Manuel Tolsá were brought on for the new addition. The two went about designing the tower in neo-classic style with those striking bell-shaped roofs supported by tall balustrades.

On each of the tower’s corners are statues of various individuals representing the three theological virtues. Faith, hope and charity are all represented through iconic saints and religious figures. On the west tower, these include Pope Gregory VII, Saint Augustine, Leander of Seville, St. Fulgentius of Écija, St.Francis Xavier, and Saint Barbara. On the east tower, we can see statues of Santiago Cristóbal Sandoval and depict Emilio, Rose of Lima, Mother Mary, Ambrogio, Jerome, Philip of Jesus, Hippolytus of Rome, and Isidore the Laborer.

The Bells

While there are 25 bells in total, the eastern bell tower contains eighteen bells while the one in the west tower contains only seven. The largest of the bells was given the name Santa Maria de Guadalupe and weighs around 13,000 kilograms. The city seemed to love naming their bells. They call the one with the harshest tone La Ronca or “the hoarse one.” In 1947 an apprentice bell ringer died when trying to move one of the bell. It fell off its hinge and landed on top of him, killing him instantly. The bell was “punished” for this action, and had its clapper removed. This meant that whenever the bells would ring in unison, this bell made no noise. They called this ball, La castigada or “the punished one.” After 50 years, the clapper was reinstalled. Perhaps 50 years is the traditional sentence for murderous bells.

Time Capsule in the Tower

At the very top of both bell-shaped tower roofs are the stone carving of a cross set upon a large ball. During renovation works in 2007, one of the workers noticed something inside the ball on the southern tower. They opened it up and found it inside a time capsule. It turns out this capsule was placed there on May 14th, 1741!! Inside were religious artifacts, coins and pieces of parchment. Instead of removing the items, they simply added a few more things of their own. They closed up the capsule once more for the next generation to discover.

Dome

Towards the back of the Cathedral, seen best from the Zocalo, is the neoclassical Dome. The Dome was built in 1780 and the work of Spanish architect Manuel Tolsá. The Dome is designed as an octagonal drum topped by a tall, albeit narrow, lantern. The lanterns and the windows surrounding the base of the drum allow a generous amount of light into the otherwise darkened cathedral. Ionic pilasters hold up arched entablatures with central shields.

Pope John Paul II Sculpture

Just before going inside, walk down the left side of the exterior of the church. Towards the back, near the side entrance, is a fascinating modern sculpture dedicated to Pope John Paul II. Superimposed over his cloak is the image of the Virgin of Guadalupe. The Virgin of Guadalupe first revealed herself on the inside of a cape, so it is meaningful to see her once more showing herself within the robes of Pope John Paul II.

But even more interesting is the material in which the sculpture is made. Get up close to see thousands of tiny keys sticking out from the sides. These keys were donated by the Mexican people and melted down to create the sculpture. The plaque on the stone column dedicated to the Pope states that Pope John Paul II was the “key to their hearts.” The sculpture was made by Mexico City artist Francisco Cárdenas Martínez.

Interior

Walking inside, the first thing you take note of is the juxtaposition of the light and airy atmosphere and the heavy stone columns which hold up the incredible interior. The interior consists of 40 columns, 5 naves, 51 vaults and 74 arches. The central nave is flanked on either side by two processional naves which are used for important celebrations. Staring up at the ceiling you can take note of the pale green and geometric neo-classical designs by Manuel Tolsá.

The Church Windows

Unlike many European cathedrals designed at the time, the church contains no elaborate stained glass portraying images of Saintly figures. The windows are very simple and composed of modern, geometric shapes. Irregular squares made of mostly clear but sporadically coloured glass jumble together to form the window designs. The windows were created in 1960 by Mexican-born artist Mathias Goeritz. Goeritz studied in Germany under the minimalistic influences of the Bauhaus style of art which can be seen here in these windows. The one benefit of the lack of highly detailed stained glass is that they let more light into the cathedral.

The chapels along the side aisles have no windows, as the only source of natural light comes from the clerestory and the Dome’s lantern. This results in the chapels feeling a little dark whereas the rest of the sprawling interior somehow feels incredibly bright! Such an exciting combination. It almost makes peering into those darkened chapels like trying to uncover a hidden mystery.

Altar of Forgiveness

The first large-scale feature you are immediately struck by upon walking inside is the golden Altar of Forgiveness. It’s rare to find an altar immediately upon walking into the church, but this church has multiple altars, of which this is just the first. The Altar of Forgiveness is absolutely stunning by the sheer volume of golden leaf that was used to cover it from top to bottom. Its semicircular arch with sculptural medallions almost looks like a piece of jewellery. Look closely at the four columns which support the altar on either side of the central painting. This was the first use of the estípite column by architect Jerónimo Balbás. The estípite column is unique to Churrigueresque Baroque architecture and is designed in the shape of an inverted cone or obelisk.

During the Spanish Inquisition, the condemned were brought to the altar to ask for forgiveness. This was done shortly before the “criminal” were sent for execution. In the center of the altar is a patining by Flemish artist Simon Pereyns of the Virgin and Child in her arms. Despite making multiple paintings inside the Cathedral, Pereyns himself was accused of blasphemy during the inquisition. To avoid persecution, he painted what was thought to be one of the most beautiful images of the Virgin Mary. For this, he was forgiven his crimes in exchange for the painting.

The Poisoned Lord

To the right of the altar is a large black-coloured crucifix made from sugar cane. This is a typical indigenous technique for sculpture making. The crucifix was made by indigenous artisans in the 18th century and is nicknamed the “Poisoned Lord.” Take note of the unfamiliar shape of Jesus’ body. His knees are bent off to the side in an odd pose. The legend goes that one day a guilty criminal came to the church to give his confession. He had just aimed to steal a valuable treasure but, in the process, had accidentally killed a man. After his confession, the criminal worried that the priest might turn him in. Sadly, the criminal was unaware that priests cannot break the seal of confession. Fearing for his life, the criminal followed the priest’s movements and saw that nightly the priest kiss the feet of Jesus on the crucifix.

That night after the priest went to bed, the criminal smeared poison on the sculpture’s feet. When the priest returned the next night to pray, when he went to kiss the feet, the sculpture came to life and swung his feet out of the way. Ensuring no poison got on the lips of the priest. The legs of the wooden statue have since remained in this very position. It serves as a mystically warning to any future criminals.

Continue walking down the right side of the nave to explore the chapels on the right. Depending on the time of day or time of year, the chapel may or may not be open for prayer inside. If they are not open you can still peak through the wooden gates to get a better look at the treasures and artistry inside.

Chapel of the Immaculate Conception

The Chapel of the Immaculate Conception is the third chapel to the right of the entrance. It was originally built in 1642 but the grandiose churrigueresque altarpiece dates to around the 18th century. Surrounding the entire gilded altar are paintings inside ornate mouldings which depict the various Passions of Christ. Each of these was painted by José de Ibarra, a Mexican painter, born in Guadalajara. But the name of the Chapel comes from the delicate but striking sculpture of the Virgin Mary in the center of the altarpiece. At this moment of conception, she is free of original sin and surrounded by tiny angels with the starry halo above her head.

Chapel of Our Lady of Guadalupe

The Chapel of Our Lady of Guadalupe, despite it more austere appearance, is always one of the most popular for locals to visit. The area where the Chapel now stands was the original church baptistery built in 1660. The current design of the interior was made in the 19th-century following a neo-classical style. The main altarpiece is dedicated to the Virgin of Guadalupe. The painting in the center of the columns is a reproduction of the famous original found in the Church of Guadalupe.

The Story of Our Lady of Guadalupe

The Lady of Guadalupe or the Virgin of Guadalupe is the most venerated image in Latin American Catholicism. The story goes that one day a young indigenous man named Juan Diego was visited by an apparition of the Virgin Mary. The apparition spoke to Diego in the native Nahuatl language. She said to Diego she was the “mother of the very true deity.” The Virgin asked Diego to erect a church in her honour. The place where the church would be built would go on to become Villa de Guadalupe, in a suburb of Mexico City.

No one would believe Diego despite his pleading. One the fourth time the Virgin appeared she instructed him to go to the summit of Tepeyac Hill. Once he arrived she told him to pick the flowers he found there. Diego was confused, as, during this time of the year, there were no flowers on the hill. But when Diego arrived, he found beautiful Castilian roses, not native to Mexico, blooming there. The Virgin arranged the flowers in Juan Diego’s “tilma,” or cloak. When Juan Diego opened his cloak before the Archbishop, the flowers fell to the floor, revealing the image of the Virgin of Guadalupe on the fabric.

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Whenever we see images of the Lady of Guadalupe she is always surrounded by a huge sunburst and a large oval depicting the cloak. The Bishop who had previously case Diego away was awestruck. The clergy immediately went about building the start of what would become the great Basilica of Our Lady of Guadalupe.

Vestibule Paintings

Above the side doors to the church on either side are huge paintings by Oaxaca artist Miguel Cabrera. These oval masterpieces hang in the vestibules bringing a little bit of flair to these otherwise empty spaces. But it’s great to see more examples of Mexican artists throughout the Cathedral.

Organs

Just behind the Altar of Forgiveness, on either side of the choir, are two enormous musical organs. The original organ installed in the church was brought here from Spain in 1530. This one was relatively small for the then-midsize church. As the church continued to expand, there was a need for a more prominent organ to spread the sound throughout the church. But it turns out, one wouldn’t do the job, they needed to install two! The first organ was brought to Mexico City from Madrid in 1680. The second organ was made locally and installed in 1736. Even today, these great organs are the most significant 18th-century organs in the Americas.

The two organs are called the Evangelio and Epistola organs. Together they can produce more than 400 vibrations per second! Hearing music inside this cathedral is truly something not to be missed if you have the chance.

Choir

The Choir is located inside large stone walls in between the two side organs. A choir is the area of a church that provides seating for the clergy and the musical choir. The choir contains 59 chairs. Each one is precisely carved with reliefs of various saints done in mahogany, walnut, cedar and a native wood called tepehuaje. Above the choir walls is a great painting of Jesus surrounded by angels. This is designed in a semicircular arch, a style popular in Spanish Cathedrals of the time.

Separating the Choir from the nave is a beautifully carved railing that was made in China in 1730. One of the small details I love is the gigantic golden capitals surrounding the columns on either side of the choir. Inside the designs, you can spot images of men intertwined with the foliage who look like they are holding up the large columns themselves. Sitting in the middle of the choir is a large mahogany lectern. In the very top portions, there is a statue of a tiny ivory crucifix that crowns the singing books found within the four sides of the lectern.

Central Nave & Pews

Joining the choir to the main altar is a large passageway, separated on either side by beautiful bronze balustrades. Set into the balustrades are a series of anthropomorphic figures holding torch sockets used to light the cathedral at night. The flooring here is decorated with bright green, red and pink marble tiles distinguishing itself from the pale stone on the floor of the rest of the Cathedral.

Pendulum

Since the Cathedral was built on soft soil, despite all the architects’ best efforts, the building is indeed sinking. It sinks on average three feet per year! But even more confusing is that it is sinking unevenly. Which is much more dangerous to the structural foundation. In the central aisle, between the pews, a giant pendulum swings from the rooftop. On the floor, you can see a stone plaque, which marks the tilt and shift of the church over time. Various dates mark down precisely the angle and depression of the church during those periods.

Major Altar

Towards the end of the nave is the Major Altar. Unlike some churches, the main altar here is open to the rest of the building, like a floating platform. Atop the stone platform is another huge piece of beige marble where the priest prepares the eucharist. The altar is surrounded on all sides by vast alabaster columns with eight giant candelabras descending down from the ceiling. On the front corners facing the pews in the nave are two huge marble pulpits with rudimentary carvings.

Chapel of Saint Peter

Head back to the right side nave to the Chapel of Saint Peter. This chapel was built between 1615 and 1620. Inside, the chapel contains three highly decorated Baroque altarpieces from the 17th century. These are each divided by the most ornately carved columns. The columns are so densely covered with foliage that they look almost like they are overtaken by the growth. Your eye struggles to find a focal point in this mesmerizing room. Over the main altar, encased in glass, is the sculpture of Saint Peter. Surrounding him are paintings by Spanish painter Baltasar de Echave Orio depicting crucial moments from Saint Peter’s life.

In a small glass case below Saint Peter, is the encased image of the “Niño Cautivo” or “Captive Child Jesus.” This little sculpture was made in the 16th-century, and despite its diminutive status, it holds a great history. When it was first carved in Spain and sent to the new world, the ship on which it travelled was attacked by pirates. The sculpture was so important to the church that they paid off the ransom demanded by the pirates. Once the money was paid, the sculpture was returned to the church. The Niño Cautivo‘s dramatic capture and eventual release helped grow the legend and lore around the work of art.

Today, people who find they are “trapped” either financially or by addiction come here to pray for their own “release.” Other people take the “Captive Child” idea literally, and anyone who has had a loved one abducted comes here to pray for their literal release.

Chapel of the Reliquaries

My favourite of all the chapels is the Chapel of Christ and of the Reliquaries. This one was designed in 1615 in ultra-baroque fashion. There is not a single inch of the walls inside that are not absolutely adorned in elaborate details. Carvings, sculptures and even the lighting are all dripping in gold. Only one small window casts natural light into the room so you really need to squint to make out the details inside the darkened interior.

Holy Relics

A reliquary is a container for holy relics. Relics could be the actual physical remains of saints, such as bones or even preserved organs. They could also be pieces of clothing or some object associated with saints. The collections of these religious reliquaries began when Emperor Charles V donated an image of Jesus to the Cathedral. the reliquaries are hidden behind each of the little painted compartments. When opened up you can find little shrines inside. The relics contained inside relate to San Vicente de Zaragoza, San Vito, Santa Úrsula, San Gelasio and San Vital de Milan. Most importantly is the splinter of Vera Cruz and a crown spike from Jesus himself.

On the bottom of the altar is a glass case containing a sculpture of the “Holy Burial.” This piece is used every year in the Good Friday procession. While most of the time the relics are hidden away, if you’re lucky, you can see them exhibited on All Saints Day (November 1 and 2).

Sacristy

Hidden behind the greatly decorated doors is the Sacristy. The Sacristy is not always open, so look for the doors to be opened to enter this area. This part of the Cathedral is the oldest part of the building. The enormous mahogany doors contain images of strength and greatness depicted by hundreds of symbolic carvings. From the keys of Saint Peter to the sun (a symbol of God in ancient Mexican culture), images of arches, cities and of course, the crown of God.

Mural Paintings

Walking inside the first thing your eyes will be drawn to are the enormous murals covering the walls. These paintings were made by Cristóbal de Villalpando. Each of these scenes is a collage of a multitude of religious events. From the Apotheosis of Saint Michael, The Triumph of the Eucharist, The Church Militant and the Church Triumphant, to The Virgin of the Apocalypse. Despite the enormity of the characters and different landscapes the pieces are all drawn together by the use of a common autumnal hue.

On the opposite side of the wooden gate, is the area for prayer to the left of the entrance. Inside this section, there is a glass case with a beautiful ivory sculpture of Christ on the Cross. Take note of the beautiful gothic vaulted ceiling with gilded flowers on the crown mouldings used throughout the Sacristy. Directly above this area is a small window with a painting of God and the father descending down towards us. The mural is painted in such a way to make the image look three dimensional, as if at any second the painting would come alive.

Treasures

Included in the original treasures of the Sacristy was Juan Diego’s cloak. It was upon this cloak that the image of the Virgin of Guadalupe once appeared. But after massive flooding in 1629, the cloak was removed from the Sacristy to better protect it. Inside the wooden cupboards around the room are gold chalices, glasses trimmed in fine stones, sacred vessels, and gold and silver candlesticks.

Altar of the Kings

At the back of the church is the massive golden Altar of the Kings. The decorative altar is covered from floor to ceiling in rich ornamentation and expensive gilding. The 13-meter tall altar also goes by the nickname la Cueva Dorada (“the golden cave”). The altar stretches up so high, it creeps up on the domed ceiling, creating that cave-like effect. That in addition to the fact that there are no windows allowing light into the tightly packed space. Peering out from every corner of the altar are skillfully carved statues of saintly royalty. The entire work of art took over 19 years to complete! It was begun in 1718 by artist Balbás and finished by Francico Martínez. Although honestly, with the sheer magnitude of works of art contained within, you’d be surprised it wasn’t longer.

Royal Saints

Towards the bottom of the altar are the collection of female royal saints. Saint Margaret of Scotland, Helena of Constantinople, Elisabeth of Hungary, Elizabeth of Aragon, Empress Cunegunda and Edith of Wilton all stand on little plinths emerging from the altar. Their billowing robes are ornately detailed and contain intricate patterns. Giving us some insight into how the royals saints would have dressed in the early Renaissance.

In the middle of the altar are six of the canonized kings. These include Hermenegild, a Visigoth martyr, Henry II, Holy Roman Emperor, Edward the Confessor and Casimir of Poland and the Saintly kings Louis of France Ferdinand III of Castile.

Adoration and Assumption

In the center of the altar is the oil painting of the Adoration of the Magi by Juan Rodriguez Juarez. In the scene, you can see Mary holding baby Jesus. On the steps is one of the Magi with a servant holding open a chest full of his gift.

The top portion features a painting of the Assumption of Mary. She is featured as the celestial queen in the skies. Above the painting are various carved figures of angels. On the domed roof are a series of three medallions with the image of God the Father in the center. On the other side are two similar-looking men, representing the “Son” and “Holy ghost” to form the Holy Trinity.

In the galleries on the east and west side of the Altar are a collection of paintings depicting scenes from the martyrdom of the various saints carved into the altar.

Philip of Jesus Chapel

Make your way back towards the entrance, this time walking along the left side of the nave. On the far end we find the Chapel of Saint Philip of Jesus. Philip of Jesus was the first Mexican Saint, born in Mexico City in 1572. Philip joined the Reformed Franciscans order and eventually travelled to Manila, a Spanish colony, where he continued to practice. When it came time for him to be ordained, Philip had to travel back to Mexico, as there were no bishops in Manila. But the ship that he boarded was set off course during a storm and landed on the coast of Japan.

At the time, many religious orders travelled with soldiers just for daily protection. But the Japanese took their ship filled with soldiers as a sign that they were trying to invade and conquer the land. All the men were imprisoned and eventually put to death on a mountain near Nagasaki city, which came to be known as “Mount of the Martyrs.” They were bound upon crosses and pierced with spears.

Philip’s Altarpiece

As Philip was the first Mexican martyr, his Chapel was one of the earliest ones built for the new Cathedral. It is done up in high gothic style with a domed roof and Baroque altarpiece. A statue of the Saint can be found in the niche. His arms are outstretched and the spears which led to his death stand behind him in the shape of an “x.” Many art critics consider this carving to be the best-carved sculpture from Latin America. On either side of the altarpiece are paintings of the life of Saint Philip. I love how each of the paintings is framed in a different shape. Look at the top right corner, where you can see the Japanese soldiers preparing Philip for his crucifixion. The fact he was crucified just like Jesus is what gives him the name Philip of Jesus.

Mexican Figures

Since Philip is such an essential Mexican saint, his Chapel also contains several other important Mexican figures. This includes an altar dedicated to Saint Rose of Lima, considered the protector of Mexico City. The 4th president of Mexico City, Anastasio Bustamante, also has his heart preserved here in the Chapel.

Agustín de Iturbide

Just below the altar is a large glass urn containing the remains of Agustín de Iturbide, who briefly ruled Mexico from 1822 to 1823. Iturbide, also known as Augustine of Mexico, was a Mexican army general and politician. During the Mexican War of Independence, he and his military coalition gained independence for Mexico. After which Iturbide was proclaimed President and Emperor of Mexico.

During this time, Iturbide gave the country its official title as “Mexico” instead of the “United States of Mexico.” He also designed the Mexican flag still used today. The Emperor of Spain was furious with the insurgency he saw and as revenge, he closed off trade with Mexico. This financially ruined the Nation since many of Mexico’s trading partners were still under the control of the Spanish Empire. Iturbide couldn’t pay for his army, and the government eventually turned on him. Only a few years after becoming the President, he was forced out of his position. Iturbide went into exile in Europe and when he returned to Mexico, he was arrested and eventually executed.

Today his tomb in the Chapel has the following statement written up: “AGUSTÍN DE ITURBIDE. AUTHOR OF THE INDEPENDENCE OF MÉXICO. COMPATRIOT, CRY FOR HIM; PASSERBY, ADMIRE HIM. THIS MONUMENT GUARDS THE ASHES OF A HERO. HIS SOUL RESTS IN THE BOSOM OF GOD.”

Philip of Jesus Font

In front of the entrance to the Chapel is a large stone font contained within an ornate cage. This is believed to be the baptismal font in which Philip of Jesus was first baptized.

Chapel of San José

The last chapel we are going to stop to visit is the Chapel of San José. Next to the chapel, you’ll see a large collection of ribbons tied to a wooden stand. It is believed that a woman who leaves a ribbon with a personal message to the Saint inside the Chapel upon it will stop any gossip about her. Considering the number of ribbons, it seems that gossip is still a big problem for people today!

Sagrario Metropolitano

Stepping back outside, we are now going to head over to the red brick part of the Cathedral; the Sagrario Metropolitano. While the Cathedral’s interior is much more impressive, I prefer the Sagrario Metropolitano facade more than the main Cathedral. The Sagrario Metropolitano was made originally to house the archives and vestments of the Archbishop. Today it acts as a place to receive Eucharist and register parishioners when the main Cathedral is busy with tourists. This place feels more like the everyday church for the locals.

The design of the Sagrario Metropolitano’s facade is considered one of the great masterworks of Churrigueresque. Churrigueresque is also known as Ultra-Baroque architecture. Churrigueresque architecture is defined by the elaborate sculptural and ornamental stucco work done in the mid-18th century. The style is expressive, florid and almost extreme in the detailing and decoration.

The facade of the building is reminiscent of the design of the Altar of the Kings. Tying the two spaces together. In addition to the statues, the front is adorned in floating draperies, flying cherubs and carvings of grapes and pomegranates. Admire floral elements like roses and daisies, as well as some flowers native to Mexico. Statues on the exterior represent the apostles, various saints and Martyrs, but they also contain unique zoomorphic reliefs. These reliefs include a rampaging lion and the eagle from the coat of arms of Mexico.

This brings us to the end of our in-depth tour of the Mexico City Cathedral. Hopefully, by walking through this tour, you learned a little bit more about Mexican architecture, venerated saints and even a look into the complex history of religion in Mexico. Let me know in the comment any and all questions you have on this wonderful place, and I will do my very best to answer them!

Happy Travels, Adventurers!

The post The ULTIMATE Self-Guided Tour of the Mexico City Cathedral Metropolitan first appeared on The Creative Adventurer.

Hours and Access

The church is located in the Pla de la Seu, right in the centre of the Gothic Quarter. To get there you can take the Metro to ‘Jaume I Station‘ on line 4. It is also easily accessible on foot if you’re already in this area of town.

The Cathedral’s opening hours for visitors are as follows:
Monday to Friday: 8 am-12:30 pm and 5:45 pm-7:30 pm.
Saturdays: 8:30 am-12:30 pm. and from 5:15 pm – 8 pm. 
Sundays and Holidays: 2:00 pm – 5:30 pm

During the rest of the time, the Cathedral is dedicated to religious worship only. Although you are more than welcome to attend, no photography is permitted during this time. You are expected to simply spend this time in respectful prayer. While there are no days when the building is officially closed if you’re visiting during a holiday its best to check their website schedule for updated visiting hours.

Admission

While entry into the Cathedral is free there are certain areas that require admission. The main nave of the cathedral and the cloisters are both accessible without a ticket. Entry into the Choir costs €3, the Terraces and lift cost €3. Alternatively, you can get these two tickets PLUS entries into the chapel and Sala Capitular museum for €7. The later is the best deal. The view from the rooftop terraces is amazing so I’d recommend it. Be warned the terrace closes 30 minutes before the rest of the church. Don’t forget about this especially if you’ve already purchased your ticket. Unless you’re visiting during the absolute peak of tourist season, you can easily buy your tickets upon arrival inside.

Tips

I visited the Cathedral twice on my first visit to Barcelona. Despite not having an issue buying a ticket, I did find that when I visited in the afternoon the cathedral was quite busy. Since it was so crowded so I returned the next day in the early morning just as it opened. This time of day is really magical. The sun rises just behind the Cathedral and the usually packed square in front of the church is full of nothing except the sound of your footsteps.

Be sure you have adequate clothing for entry which requires a modest attire; arms and legs must be covered up and no hats. I always bring a little scarf I use to cover my arms if I’m wearing a strappy top. I also carry a pair of leggings in my backpack. This is a great trick for days when it’s too hot to wear pants but you need your legs to be covered.

History

The church is dedicated to Saint Eulalia, the patron saint of Barcelona. Eulalia was a beautiful young woman who once lived in Barcelona. One day, she was attacked by a group of Roman soldiers in the square. She was persecuted for her religious beliefs and stripped naked in front of a horde of people. She was ashamed but in the middle of the summer, it began to snow, covering her naked form.

Unfortunately, this only enraged the Roman soldiers and they threw her in a barrel. They proceeded to stab the barrel with knives and rolled her down the street until she was dead. Today, that same street is also named after her as well. Her sad but powerful story is one which stuck with the people of Barcelona. This church was built in her name, “Baixada de Santa Eulàlia“. Her body was saved by her fellow Christians and is now entombed inside the Cathedral. Very poetic.

First Romanesque Church

The very first romanesque church was built here in 1058. Over the years it fell into ruins. During the Gothic period, the old church was destroyed and w new one built on its foundations. Construction began for the Cathedral of Barcelona in 1298 but wasn’t completed until 1420! That’s over 100 years! The cloisters were the last part of the church to be finished, completed in 1448. In the 19th century, a neo-gothic facade was added. It was designed with the same beautiful gothic elements of the rest of the cathedral so it seamlessly blends in. It’s so rare to find a cathedral this old which hasn’t had multiple renovations and restorations. The fact that most of the church contains art and architecture from the 15th century is such a treat to behold.

The Facade

Looking at this ornate facade, simply dripping in decorations, it’s hard to imagine that it once was nothing more than a plain exterior. Most Catalan churches built at the time featured a flat, nondescription facade. This neo-gothic marvel was built years after the initial construction of the church in the 19th century. It was designed by architect José Oriol Mestres. Mestres wasn’t an immensely popular architect, with only a few other buildings in his repertoire. Perhaps the Cathedral was his greatest accomplishment and once it was completed nothing could compare.

The stained glass windows you can see inside the towers were taken from the Renaissance exterior. The stained glass located on the lower portion of the facade are more modern interpretations. The tracery windows are some of the most ornate examples of neo-gothic design and seem to weave together like ivy or branches or a tree. The rose window, which is typical of other neo-gothic buildings, is here portrayed in a different fashion than most. Instead of a circular rose, with inside petals, the rose window here is designed without the outer portion. The petals of the rose each feature a quarterfoil symbol which spills out above the top of the rose window. This is more of the unique aspects of the neo-gothic design.

Entry Doors

One of my favourite parts of the church is the neo-gothic archivolt above the church’s entry doors. An archivolt is an ornamental band that follows the curve of the underside of an arch. Upon this archivolt are carved, 100 angels flying above your head! In the centre of the two, large wooden entrance doors is a stone sculpture of Jesus, flanked on either side by statues of the 12 apostles. 75 figures in total adorned the exterior of the facade, featuring more saints, kings and famous prophets. While the sculptures of the people are stern and noble, there are also various playful gargoyles and mythical animals which also decorated the stone walls.

Towers

The cathedral is home to three towers, two side towers and a large central cimborio. A cimborio is a classical element of Catalan architecture which is a raised dome or a cupola that acts as a lantern over the crossing of a Gothic cathedral. This cimborio is what allows natural light flood the otherwise darkened interior. A bright interior is one of the most important parts of a Gothic cathedral so the cimborio is a clutch element. The cimborio is crowned by the copper statue of Saint Helena. The family from Girona, who financed most of the cathedral’s construction in the 19th century, were devotees of Saint Helena. The family wanted to be able to see their patron saint at all times, high above the rest of the buildings in Barcelona. 

The two side tower, located over the Doors of Saint Ivoand and the Cloisters, were added in the 19th century. Each tower is adorned with two lateral pinnacles. Every inch of these towers is embellished! Leaves curls around the edges, gargoyles pop out from every corner and angel play musical instruments, a choir over the top of the city.

Doors of Saint Ivo

Before heading right into the church, walk over to the Plaça Sant Iu, on the northern side of the Cathedral. Here, on the steps of the entrance to the Museu Frederic Marès, you can study the ancient Doors of Saint Ivo. This was the primary entrance in the cathedral for over 500 years, located right under the northern bell tower. The doors are named “Saint Ivo” because, in the 15th century, Saint Ivo was the patron saint of Lawyers. Lawyers were one of the main contributors to the cathedral’s construction and as such they demanded their patron saint be honoured.

The doors were built from marble which had been brought all the way from the precious Montjuïc mountains, close to Barcelona. They were built in 1298 and have stood here untouched ever since. On either side of the columns which flank the doors are carvings of knights fighting mythical beasts. These capitals were rescued from the ruins of the ancient Romanesque cathedral. Once they were uncovered the architecture knew they needed to be incorporated in the cathedral somehow. Below these capitals is a large inscription, surrounded in floral carvings. This inscription bears the date of May 1st, 1298, the day work began on the construction of the gothic cathedral.

Interior 

The interior of the cathedral features the gothic design of a unified apse system. The two side aisle and central nave are all connected together but the aisles are distinguished from the nave by having a distinctly lower ceiling. The side naves and ambulator feature monuments and chapels dedicated to over 140 different saints! While we won’t go into all of them here I did try my best to highlight the most important ones.

Entry into the Nave

Upon entering the nave through main front doors, you’ll step directly into the grand nave of the church. You’ll be struck immediately by the warm yellow light which sets the interior all aglow. Most of the blackened parts of the decor are not from age but from hundreds of years of candle soot. Take a seat in one of the pews in front of the choir and look up at the ceiling. Along the vaults of the cathedral are 215 beautifully carved keystones which date back the 14th and 15th century. These once were covered in colours polychrome but after years of deterioration, they are now just plain carved stones.

Right above this area of the nave, we can see the keystone of Saint Martha. Other famous keystones to look out for are Jesus being crucified between the Virgin and Saint John, with the symbols of the sun and the moon. See if you can spot Saint Eulalia with the coat of arms of Blanca of Naples, covered in Fleur-de-lis. Our Lady of Mercy is seen using her cape to shelter a pope. There is a king, a cardinal, a bishop and a canon on one side, and a queen, a nun and three other feminine figure on the other side along with the Annunciation of the Virgin with the Archangel Saint Gabriel. And finally, the eternal father surrounded by angels.

Stained-glass windows

The Cathedral has many Gothic and modern stained-glass windows. The central panels depict the image of the central characters to which the piece is dedicated. The side panels feature richly coloured geometric designs, coats of arms of royal families, trefoil and quatrefoils, and sometimes even architectural features that bring a meta element to the design.

Bishop Ponç de Gualba & Holy Cross and Saint Eulalia,

The stained glass windows throughout the cathedral are from various periods in the building’s history. The earliest ones date from the 14th century and bear the coat of arms of Bishop Ponç de Gualba. These windows depict the Holy Cross and Saint Eulalia, Saint Sylvester, Saint Peter and Saint Stephen. Later in the 1400s we see stained glass windows dedicated to Saint Andrew with the coats of arms of Bishop Armengol. The most impressive of the windows, located in the bapistery chapel, was made by artisan Gil de Fontanet in 1495 and depict the Saint Michael archangel and Noli me tangere. The most recent stained glass windows, found on the facade are all from the 19th and 20the century.

It’s amazing to see that even some of the windows which are hundreds of years old, still explode with colour! This cathedral wasn’t about steering away from loud, and expressive designs. Instead it wanted to make its visitors feel powerful emotions upon stepping into this haven of light.

Chapel of the Holy Sacrament and of the Holy Christ of Lepanto

Just to the right as you enter, you’ll find a darkened chapel. At the back of the room is a golden arch, which seems radiate with light as it is the only real light source in the room. This is the chapel of the Holy Sacrament and of the Holy Christ of Lepanto. In the centre of the chapel is a beautiful, black wooden sculpture of Jesus Christ on the cross. Look closely and you might notice that Jesus almost looks like he is leaning to one side. This is because of a very famous legend from Barcelona which took place during the battle of Lepanto, in October 1571.

The Christian states of Europe all worked together in this battle to defend their land against the invading Ottoman empire. At the time, it was not only the largest naval battle in history but also the bloodiest. In just a few hours over 50,000 soldiers lost their lives. The legend goes that the crucifix we see here today was mounted upon one of the ships. As a means of protection for the soldiers. During the battle, a large cannonball shot towards the boat which carried the crucified. The soldiers claim they saw the statue, which was right in the line of fire, dodge the oncoming canon ball. This is why we still see him in this position today, in mid dodge. It’s said that the defending Habsburgs army saw this as a good omen and it was part of what propelled them to victory.

Saint Olegarius

Also located in this chapel, although only partially visible, is the tomb of Saint Olegarius. Saint Olegarius, served as bishop of Barcelona in 1116. Saint Olegarius’s body is actually one of the few saints body’s to be incorrupt. Incorruptibility is a belief that by some divine intervention a human body avoids the normal process of decomposition after death as a sign of the body’s holiness. Inside Saint Olegarius’ tomb, his corpse is still dressed in the regal bishop’s robes he wore in life. Every year, on March 6th, the tomb is opened up and visitors can gaze down into the glass casket and see the unchanged body for themselves.

Saint Chapels

There are over 28 chapels flanking the cathedral’s nave. You can find a list of all the saint chapels here if you’re looking to prayer at one in particular. Each one of the chapels is dripped in golden leaf decorations, magnificent paintings which tell stories of the saint’s life, and powerful sculptures which look out at you from the gates which separate from the holy from the mortal realm.

Chapel of Baptism & Font

Against the wall where the entry doors are located is the Chapel of Baptism. Here you’ll discover the huge marble baptismal font which has been used inside this cathedral since 1433. Behind the font is a small relief carved into the marble altarpiece of Jesus Baptising one of his disciples.

Saint Severus Chapel   

To the left of the pews in the back of the nave, you’ll find the chapel of Saint Severus. If you’re a Harry Potter fan like me, your ears will perk up upon hearing this name, as I had never heard it before those books, but it turns out, it’s a fairly old name. Saint Severus was once the bishop of Barcelona but was murdered for his beliefs in 304. Romans soldiers captured him and tortured him into renouncing his Christianity. When he refused for the final time, he was sentenced to death.

The soldiers hammered nails into his head and yet he would not die. When fellow Christians heard of his persecution they came to his aid but unfortunately, were too late. As they took him down, he died in their arms. In1405, his relics, which were previously housed in Sant Cugat, were moved to Barcelona. It was rumoured that these relics helped cure King Martin I of gangrene in his leg! You can see a depiction this event in the top right corner.

Choirstalls

In front of the first set of pews in the nave is the choirstalls. Guarding the entrance to the stall is a great stone wall with stunning carved reliefs. The depictions on the relief tell the story of Saint Eulalia and her eventual death. In between these extremely gruesome and powerful carvings are niches with statues of Catalan saints.

Order of the Golden Fleece

The interior of the choir stall is dedicated to the knights of the Order of the Golden Fleece. The order was founded to defend the Roman Catholic religion and to uphold the usages of chivalry. The order settled disputes, crimes and the actions of the knights of the order. If a knight was thought to have committed an offence or rebelled, they were brought to trial among their peers and not to the public justice.

The choirstall’s design is thought to be the finest example of Gothic Catalan architecture. To study the ornate canopies and pinnacles, walk around the exterior of the choir before heading inside. The walls surrounding the choir are decorated in Doric columns and crowned with an ornate balustrade.

Knights of the Order of the Golden Fleece

During the first few years of the Order of the Golden Fleece there were only 20 knights but as the years went on it expanded to over 60 members. Today you can find the coats-of-arms of the knights painted onto the various seat backs inside the choirstall. Most of these were painted in the 16th century although the older looking ones were made as far back as the 14th and 15th centuries. Even each of the chairs themselves has these gorgeous little carvings of animals and minature statues on the seats. No aspect of the choirstalls was left unembellished. Inside the choir, you’ll find a wonderfully carved wooden pulpit made by Pedro Çanglada in 1403.

Chapel of Raymond of Pennafort 

On the South wall, opposite the choir stalls, you’ll find the Chapel of Raymond of Pennafort. Raymond, a strange name for a saint, is the patron saint of Catalan lawyers. One of the best parts of visiting this cathedral is learning all about the Catalan saints you won’t hear about anywhere else in the world! Raymond studied law at the University of Bologna and was one of the chief advisors to the Pope and King James I of Catalonia and Aragon. One of his miracles was said to be sailing from Sóller to Barcelona on nothing but a simple blanket!

Saint Pacian Chapel

Continuing along the south wall, you’ll come to the Chapel of Saint Pacian. Saint Pacian was bishop of Barcelona during the second half of the 4th century. He is highly regarded as one of the founding father’s of the church in Barcelona. The altarpiece inside the chapel is a baroque masterpiece made by sculptor Joan Roig from 1688. It depicts various scenes from the life of Saint Pacian and Saint Ignatius of Loyola.

The Organ

The fantastically carved organ, which hangs above the doors of Saint Ivo is truly the definition of “heavenly”. Built in 1539, the organ is designed in high baroque style. Cherubs top the pipes and Saints faces reveal themselves from the flat wooden facade.

Crypt of Saint Eulalia

Below the high alter, a set of stairs descends into the ground where you’re met with a pair of iron gates. Behind these gates, you can see a large stone tomb topped with a beautiful statue of a young woman. This is the crypt of Saint Eulalia. Her sarcophagus is adorned in gothic, polychromed alabaster and inside rest her remains. The carvings around the tomb depict the story of her martyrdom after leaving her home of Sarria at the age of 13. The scenes of her martyrdom are quite affecting and powerful, and not for the faint of heart. They show her being whipped by soldiers, and how they used a hook to tear the flesh off her body when she was nailed to the cross. Pretty gruesome, lucky you can’t see it up close really.

The carvings also show how her remains were moved to the cathedral from the Basilica of Santa María. Above the tomb, in the centre of the room, we have a statue of the Virgin Mary. On either side of her are four angels holding candles sticks. This tomb is a new incarnation from the 13th century but right behind it you can still see a piece of brokem marble from the original one. This tomb was made in 878!

High Altar

Above the tomb of Eulalia, we have the High Altar. The Altar is made of pure white marble and measures over three feet long. Above the altar hangs a grand crucifix, held up by six triumphant angels.

Ambulatory

At the east end of the cathedral, we find the ambulatory with its nine radiating chapels. These chapels are located behind high altar, raised above the crypt of Saint Eulalia below. The nine chapels located in the ambulatory are crowned with tall, glowing stained glass windows. This allows for the most heavenly, colourful light to pour over the high altar.

Rooftop

To access the roof, head towards the tower on the northern side of the cathedral. From here you take a lift to the top (you need a paid ticket) where you have a 360-degree view of the city.

The rooftop gets you up close to the various gargoyles and mythical stone creatures who call the roof their home. If you’re here anytime during the lunch hour you might have the chance to hear the bells ring. While you can hear these bells all over the city there is something so overwhelmingly awesome about hearing them so close.

Cloisters

To access the cloisters, you pass under a large white marble door. This is said to be a recovered piece from the original Romanesque cathedral built on the site in 1046. The archivolts here are decorated with geometric patterns but framed in gothic pediments.

The reliefs sculpted into the pillars of the Cloister’s arches show scenes from the Old Testament and from a legend about the Holy Cross. The keystones set into the vault depict scenes from the New Testament.

Each out of outdoor chapels here was initially dedicated to the patron saint of an institution or guild. They were built here under the protection of a specific family. Look on the floors and you can see markings of these guilds. the one below depicts a pair of scissors to represents the cloth merchants guild.

Ou com Balla

In the center of the Cloister is a garden with palm trees, magnolias, an orange tree and a fountain dating from the mid-15th century. The traditional “ou com balla” (the dancing egg) takes place right here each year for the celebration of Corpus Christi. The dancing egg was a trick the church’s acolytes would play where they would empty an egg of its insiders, then fill it with wax and seal the small hole. They could then place the egg atop the fountain’s jet and the egg would start turning without falling, and thus “dances.” 

Outside along the walls of the cloister are also several tombs embedded into the walls of the cathedral. These are of important people in the history of Barcelona such as the bronze tomb of Antoni Tallander, the royal jester, as identified by the bels that hang from his belt. There is also the tomb of the Sanllehy family  which is marked by the scenes of the burial of Christ.

Geese

In the stone confines of the cloister you might be surprised to find 13 white geese wandering around like they own the place. There are always only 13 geese, one for each of the year’s Saint Eulalia lived. They provide a sunny addition to the otherwise silent cathedral.

Capella de Santa Llúcia

At the Southwest corner of the Closters we find the quiant Romanesque chapel, built in 1257, dedicated to Santa Llúcia. Santa Llúcia is the patron saint of the blind and on December 13th, her saint’s day, you’ll see large numbers of blind people who come to pray at her chapel. Inside the chapel, you can see two ornate sepulchres containing the remains of Bishop Arnau of Gurb (from the 13th century) and Canon Francesc of Santa Coloma (from the 14th century).

This brings us to the end of the tour. Hopefully, you enjoyed exploring it as much as me and learned a little something about Catalan history along the way! Let me know what your favourite part of the Cathedral was or anything else you learned about this amazing place along the way!

The post The Ultimate Self Guided Tour of the Barcelona Cathedral first appeared on The Creative Adventurer.

Table Of Contents

1. Hours & Admission
2. Hours
3. Admission
4. Dress code
5. Should You Go Inside?
6. Florence & Marble
7. Basilica of Santa Maria del Fiore
8. The Great Dome
9. The Campanile
10. Climbing the Bell Tower
11. The 14th Century Facade
12. The 19th Century Front Facade
13. Portal Maggiore
14. Santa Reparata & St. Zenobius
15. Portal Maggiore Tympanum
16. Right Portal
17. Right Door Niches
18. Left Entry Doors
19. Left Door Mosaics
20. Rosette Window
21. Upper Gallery
22. Gargoyles
23. Porta della Mandorla
24. Cathedral Interior
25. Clock
26. Rose Window
27. Artists Busts
28. Stained Glass Windows
29. The Crypt
30. Equestrian Funerary Monuments
31. Marble Floors
32. The Great Dome Interior
33. The Sacristy Doors
34. Climbing the Dome

Hours & Admission

Hours

The museum will be closed on the first Tuesday of each month.

Admission

While exploring the interior of the Duomo is free you’ll need a ticket if you want to see the inside of the Baptistery, to climb up the bell tower or the dome and visit the Duomo Museum. These attractions are all included in one ticket, so if you want to visit just one, you’ll still have to pay the same price as visiting them all. The best way to buy your ticket inside is online and in advance, so you can assure yourself access into the Duomo’s attractions.

Tickets

Adults: €18 (if booking online there is an extra €2 pre-booking fee)
Children: €3
Audio guides: €2,50 per person

Climbing the Dome: When booking online you need to select the time when you want to do the dome climb. You cannot change this time after booking and must be there within 15 minutes of your pre-selected time-slot.

Dress code

Since this is a religious site, be sure your clothing is appropriate for entry. This means your shoulders and knees must be covered, and you can’t wear your hats inside. I usually keep a long scarf in my knapsack with me in the summer when I’m wearing a dress or t-shirt that doesn’t cover my shoulders. This was I can throw it on when entering these churches but still keep cool throughout the day. If you’re wearing short-shorts or short skirts, you can also use the scarf to tie around your waist to cover up. This is such a common hack that you’ll almost always find women selling scarves outside churches in the summer.

Should You Go Inside?

I honestly prefer the interior of Santa Croce far more to this rather bare interior. While the frescoes on the dome are stunning, the rest of the interior could be skipped. The best interior of the group is that of the Baptistry – whose mosaics are out of this world. Some people love climbing the tower and dome inside the cathedral to get to the view at the top but just be prepared to wait in line. If you’re pressed for time – I would say give the interiors a miss.

Seeing the exteriors are just as impressive and there is so much more to see in Florence which is more important than waiting in line. But if you have time to spare or are immensely interested in the interior artworks then you should make the effort to see it. Wake up early and you’ll find the lines are the least long. My favourite part of your ticketed entry is the museum which features some of the original artwork and sculptures which once stood inside the church. It also features the original Baptistery doors and some of the gorgeous robes the priests wear for various events throughout the catholic calendar.

Florence & Marble

In the Middle Ages, Florence was going through a stylistic period where many of their important buildings were created out of marble. Although few others from this period survive, the Duomo is a reflection of this time. Florence’s proximity to the marble mines meant that getting such large pieces quickly was a possibility other countries didn’t have. But what else did Florence have that others didn’t? Money and lots of it. Marble didn’t come cheap even if it was close by. But using it in such large proportions meant that your city looked like it was worth its weight in gold.

Carrara Marble

The main white marble you see is Carrara marble. Carrara has long been used by artists for sculptures, so it seemed only fitting that the most magnificent artwork of them all – the Cathedral – was itself draped in marble. The green marble which you can see decorating the exterior is actually serpentine stone, which came from Prato, a few miles northwest of Florence. Serpentine is named as such because the texture of the marble resembles that of snakes skin. The pinky-red stone you can see is limestone from mines near Florence. The colour is derived from the prevalence of ammonite fossils in the rock, which imbues the limestone with that stunning pinkish hue.

Basilica of Santa Maria del Fiore

Now let’s turn to the other side of the square and the great Basilica of Santa Maria del Fiore. This magnificent Cathedral began its construction in 1296 but wasn’t completed until 1436. That’s over 140 years! The temple is named in honour of Santa Maria del Fiore, or “Saint Mary of the Flowers.” Mary is often associated with flowers, especially in Italian culture. Flowers, or roses, in particular, are thought to represent the fleetingness of life, and therefore, of death. Mary carries with her the burden of knowing her son will die and yet even knowing this reality, carries on to raise him with all the love she has in her heart. Like the flower which we know will wilt, we admire its beauty until the day it dies.

The Duomo, as it is mainly called in Florence, was built on the site of the 7th-century Church of Santa Reparata. Remnants of that church can still be found today in the crypt. The Duomo as it stands today is the 4th largest Cathedral in the world and walking around it, you can really get a sense of how huge it is.

Arnolfo di Cambio

The first architect of the church was Arnolfo di Cambio. Arnolfo di Cambio started his career as the assistant to Nicola Pisano. Together they created the marble pulpit inside the Sienna Cathedral. From there, he moved onto creating tombstones and sculptures of Kings around the world. Arnolfo di Cambio’s funerary monuments were so impressive they became the model for Gothic funerary art in Florence. It was a surprise to many when, in 1294, he began work on the Florence cathedral, not as an artist but as an architect. This would be the only building to officially be created in his name. And despite his lack of formal training, the result of his creativity is breathtaking.

The Great Dome

The church was designed in the Italian Gothic tradition. This features pointed arches and cross-ribbed vaults. The overall layout of the Cathedral features a Latin cross design with room for the most iconic feature of the church, the HUGE dome. And while Cambio left space for this dome in his floorplans, the dome hadn’t even been conceived of by the time Cambio passed away. Over the 140 years, the church was being constructed, architects from all over the world attempted to figure out how to achieve such an enormous dome without it falling apart. Giotto di Bondone, Andrea Pisano, and Francesco Talenti all worked on different aspects of the church.

Brunelleschi

Still, none of them could figure out how to build such a gravity-defying dome. It would be Brunelleschi, who would finally solve the problem of the dome. Unlike Cambio, Brunelleschi had many buildings under his belts such as Basilica of San Lorenzo, Basilica of Santo Spirito, and the Pazzi Chapel. He had been working across the street on the Baptistery doors when he decided he wanted to take a stab at the dome’s design, where all others had failed.

Ironically, the key to the structure of the dome was unlocked by using a flower’s composition as a guide. Being a church named after the Lady of the Flowers, that just seems too fitting. The dome used a herringbone brick pattern where the bricks formed a series of inverted arches. And as the blocks grew higher, instead of falling inwards, the inverted form actually used gravity to their advantage to reinforced the structure. The result is this breathtaking, gravity-defying, architectural masterpiece. Being so large, it seems to peak out above the skyline wherever you look in Florence. An icon for the ages. And one of the most significant pieces of Renaissance architecture.

The Campanile

To understand the design of the facade (as it stands today), we must first look at the design of the bell tower or campanile. The facade, as we will learn later, was left relatively plain before the 18th-century redesign. But the tower, designed by Giotto in 1334, was a multicoloured treasure and almost the most impressive feature of the Cathedral before the dome was finished. The tower stands 15 meters wide and over 84 meters tall! But other than its size, the most impressive part of the bell tower is the colours. Giotto said that the different colours were used to exemplify the two fundamental principles of Florentine art: “rectitude (righteousness) and beauty.”

But Giotto died before the tower’s completion in 1387. It was reported that Giotto died of grief over the bell tower’s one design flaw. He made the base of the tower a little too narrow to allow for the effect of vertical momentum, but the decision would haunt him. He said he made “too-small a bed for your feet,” regarding the tower’s design. His fears would prove to be accurate as the tower needed to be later renovated to allow the full height of the construction to be supported at the base. But looking at it now, you’d never know. It took two additional architects, Andrea Pisano and Francesco Talenti, to fully completed Giotto’s vision after his death.

Exterior Panels

One of the most exciting features of the tower is located on the first floor. Take a close look at the hexagonal panels, which are spread around the base of the tower. The white stone reliefs are framed by pink marble, which is additionally contrasted against green, serpentine marble. Inside these reliefs are depictions of the history of mankind as it was in medieval times. The stories told on these panels blend religious doctrine history as well as liberal arts. In addition to the chronicles, as written in the bible, we also see mankind’s most significant discoveries. On the south side of the tower, we find panels that represent astronomy, medicine, hunting, wool-working, and legislation. On the east side, there are panels relating to navigation, social justice, agriculture, festivals and architecture. The north side panels depict sculpture, painting, harmony, grammar, logic, music and poetry, geometry and arithmetic.

Andrea Pisano

On the second level, we find a row of niches that are filled with fantastic sculptures. It’s almost a share they are so high up since they are wonderfully carved works of art. These niches were created by the tower’s second architect, Andrea Pisano. Pisano dedicated the west side to the planets; Saturn, Jupiter, Mars, the Sun, Venus, Mercury, the Moon. On the south side, we find three sculptures representing theological virtues (faith, hope, charity) and four sculptures representing cardinal virtues (prudence, temperance, fortitude, justice).

The other statues found in the additional niches represent patriarchs, prophets, Kings of Israel and the pagan sibyls. This includes one beautiful group depicting the Sacrifice of Isaac by Donatello, a splendid example of the naturalism that was so popular in the 1400s.

Francesco Taletnti

Continuing up the tower to the top levels, designed by Francesco Talenti, we find a new mathematical treatment. Each level is slightly taller than the next, which, when you look up from above, gives the tower a sense of being taller than it actually is. This use of perspective was so popular during the Renaissance as they were obsessed with the idea of science and math meets art. Instead of a spire which many other Gothic towers have, the tower finishes with a terrace where people can still today enjoy stunning views of the city. At the top of the tower are seven bells. The largest of the bells is called the Santa Reparata, in honour of the saint to which the original church was dedicated to. Hearing it ring out across the square, the pigeons flying away as it rings is still one of the sweetest sounds of Florence.

Climbing the Bell Tower

If you choose to climb the bell tower, or for those really ambitious people, who want to climb both, head to the northeast corner of the bell tower to find the line up for the entrance. All you need is the same grand ticket for the entry. There are 400 steps to the top but the view from above is well worth the climb.

The 14th Century Facade

Aside from the front facade, which we will talk about later, the other sides of the Duomo are from the 14th century. These sides feature some of the best preserves aspects of Gothic architecture of the time. Many of the niches on these sides are empty, as the original sculptures which once decorated this exterior have been moved into the museum. This means these sides feel rather dull compared to the newer, front facade. Despite the lack of sculptures, something is mesmerizing about the geometric shapes and coloured marble which adorned the sides of the church.

The 19th Century Front Facade

The original facade was built along with the rest of the church, but the one we see now was created long after, in the 1800s. Traditionally, Tuscan churches didn’t have much ornamentation given to their facades, and they were left extremely plain. But the Medici’s, the de facto royalty of the day, weren’t a fan of the dull look. They pleaded with architects to change the facade, but there was never a consensus over what it should look like. When the previous stone facade, designed by Giotto, began to deteriorate, Florence, once more, held a design competition. They wanted to see who could meet the expectations of the city to create a facade as fanciful as the rest of the church. 

Emilio De Fabris won the contest with his proposal. He designed his facade to follow the same structure as Giotto’s but with the addition of sumptuous ornamentation (based on the design of the magnificent campanile). This meant no structural changes needed to be made, which meant it was going to be cheaper to build. It also allowed for the original shape of the church to be maintained and honoured. Unfortunately, Fabris died before construction started, once more leaving his legacy to the next architect. A dark theme that is too often present in the histories of great church architects.

Portal Maggiore

To study the front facade, let us start at the bottom and work our way up, starting at the central portal into the church. Because there is no longer entry through this central portal, you can gaze up at its magnificence and opulent doors.

The 19th-century bronze doors feature beautifully carved reliefs of the life of the Virgin Mary. The doors themselves appear to be set themselves inside an architectural design. The doors were the original entry into the Duomo before it became a tourist destination. They were designed by Augusto Passaglia and Giuseppe Cassioli.

Santa Reparata & St. Zenobius

On either side of the bronze doors are niches containing two of the most influential people to the church: St. Reparata and St. Zenobius. Saint Reparata was the patron saint of the first church built on this site as well as the patron Saint of Florence until the Middle Ages when St. John the Baptist replaced her. Saint Reparata was merely a young woman when she was martyred by the Romans in the 3rd century. Legend has it that St. Reparata was set to be burned alive, but when the Romans set her alight, a shower of rain from the heavens put out the fire. She was then forced to drink boiling pitch but would not die. Finally, the Romans were forced to behead her, which was the final blow.

St. Zenobius was the first bishop of Florence who not only was born in Florence but also made a significant impact in evangelizing the city and its outskirts. He is most notable for his miracles of bringing soldiers and children back from the dead. Just above the bronze doors, you’ll see a series of coats of arms which represent the various Florentine families who donated money towards the building of the front facade.

Niccolò Barabino

Above the bronze doors is a gorgeous mosaic lunette. You’ll find one of these brightly coloured designs over each of the gates into the church. They were designed by Niccolò Barabino and represent the Florentine devotion to faith across multiple disciplines. The mosaic above the central portal depicts Christ enthroned between Mary and Saint John the Baptist, alongside various Florentine saints. Surrounding the lunettes are richly decorative vines and octagonal panels featuring multiple saints.

Portal Maggiore Tympanum

Above the mosaic lunette is the grand tympanum. In the centre of this triangular scene, we have the image of the Virgin Mary. Surrounding her on either side is a chorus of seraphim. At the very top above these sculptures is a bronze dove soaring away from the rest of the angels. Below the seated mother is an altar with a baby lamb, representing Jesus as the sacrificial lamb. On either side of the lower portion of the tympanum are representations of the men from the Florentine Republic who were in charge of the construction of this church as well as images of various Popes and Franciscan monks. Standing guard on either side of the tympanum are two priests with trumpets, announcing the birth of Christ to the people of Florence.

Right Portal

Cassioli, who designed the central doors, is also responsible for the doors on the right. Cassioli led a distraught life. He suffered much misfortune throughout the years and was the definition of a tortured artist. He leaves a self-portrait of himself in the doorway, along the right side. Here we see a man with a snake around his neck, a way of the artists to express the suffering he felt, literally suffocating for his art.

The mosaic above the doorway here represents Florentine artisans, merchants and humanists paying homage to the sculpture of faith. Carved into the archway are various statues of famous angels. From left to right, we have the Angel of the Apocalypse (portrayed with scythe), saint. Michael (portrayed in his classic armour and sword), the Angel that liberated St. Peter, St. Elizabeth welcoming the faithful into the church, the Angel of the Resurrection(seen with the palm leaf and skull), the Archangel Raphael (holding a fish), and the Angel of the Apocalypse (holding the overturned chalice.) The sculpture atop the door is of the Madonna Dolorosa (Madonna of Sorrows). Flying above here is are three angels holding flowering in their hands.

Right Door Niches

Located in the niches on either side of the doorways are a series of statues. They feature from left to right; Cardinal Valeriani, Bishop Agostino Tinacci, Pope Eugene IV, who consecrated the church in 1436 and of Saint Antonino Pierozzi, bishop of Florence.

Left Entry Doors

The last doorway is found on the left. This doorway is now the official entry into the church, and so its old doors are almost always seen open. If you come by when the church is closed, you’ll be able to better understand the designs on the front. On either side of the doorway are niches featuring Cardinal Pietro Valeriani on the left and Bishop Agostino Tinacci on the right.

Left Door Mosaics

The mosaic above the doorway depicts Charity among the founders of Florentine philanthropic institutions. Charity is represented in the centre seated on the throne. At the base of the throne are a series of the coat of arms from charitable institutions. The people kneeling on either side of Charity are founders of the great hospitals in Florence. On either side of the mosaic are two small sculptures that represent Adam and Eve after they were expelled from the Garden of Eden. Eve is on the left, bare-breasted, her head in her hands, covered in a sheepskin. The snake can be seen resting at her feet.

Rosette Window

Above both the right and left portals are a set of Rosette windows, which compliment the larger Rose window in the centre of the facade. Unlike the large Rose window in the centre, the rosettes are not filled with stained glass. In the centre of the windows is an eight-pointed star, which often refers to wealth and money.

Upper Gallery

The Upper Gallery of the facade is filled with a series of niches. Each one is filled with beautiful sculptures of one of the twelve Apostles.

In the centre of the upper gallery, is a gorgeous statue of the Madonna and child. She sits on her throne, a golden crown on her head and baby Jesus resting on her knee. In her hand is a flowered sceptre designed by Tito Sarrocchi. She holds the sceptre pointed towards the people on the piazza, beckoning them to come inside.

Although we will talk about the Rose Window later as it is more impressive from the inside, take a look at the panels surrounding it. Across the top of the facade are busts of great artists of the past framed inside Gothic quatrefoils.

At the very top of the roofline, we find a small circular panel with the face of the Eternal father. There is a golden background, and the man cranes his head downwards, towards the people below.

Gargoyles

Along the roofline of the Cathedral are warped faces of human, eternally open-mouthed, acting as the gargoyles of the Cathedral. Usually, gargoyles are represented as animals, so seeing the gargoyles are human figures is often an even more disturbing image.

Porta della Mandorla

If you are opting to go inside, before doing so, walk around the left side of the building to the Porta della Mandorla (this is also the entrance you’ll use when you walk up the dome). This doorway was built in 1423, but Donatello! The sculptures above the door are especially significant because it was one of the last important works of art to be created in the time between gothic and Renaissance. The theme of the work is the Virgin on her mission to save humanity. She is centred in an oval, the same shape as almond or mandorla.

Cathedral Interior

To enter the church, go through the left portal, in the far north. The entry into the Cathedral is…well, slightly less impressive than you might imagine when compared to the embellished exterior. While the interior is grand and soaring, it does feel somewhat empty. The interior was purposefully meant to be bare, as it was thought that this would result in a more focused approach to prayer. Many of the pieces of art and sculpture which once stood here have been moved into the museum for restoration and preservation. For this reason, there is a genuinely vacant feeling to space more so now than when it was first built.

Clock

Against the wall opposite the high altar, take a look under the rose window to spot an ancient clock. The enormous clock with bright golden dials was made in 1443 by Paolo Uccello. What you might notice about this clock is that it is set to the ora Italica which is the Florentine 24-hour clock, which starts and ends at sunset, instead of at midnight. On the four corners of the clock are the faces of the four evangelists. The clock still works to this day, but it needs to be wound every 8-9 days to keep it running.

Rose Window

The stained-glass Rose window above the clock presents the crowning of the Virgin Mary as Mary Queen of the World. An archway of angles flies above her. In the centre is the figure of Jesus surrounded by golden rays. He is descending from heaven, holding a golden crown. This piece was designed by Gaddo Gaddi in the early 14th century. This window seems to almost burn with colour. The glass is so bright its hard to imagine the design is over 600 years old.

Artists Busts

On the left nave, upon entering the church, you’ll see various busts along the wall. These feature the artists who helped build the church. We can see the images of Giotto, Brunelleschi and Emilio de Fabris. Eternally looking out at their creation.

Stained Glass Windows

The various brightly coloured stained glass windows you’ll find throughout the church were all made based on illustrations by some of the greatest artists of all time. While they were created by seasoned craftsmen, using pictures by artists such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno. The windows along the aisles represent the Old and New Testament, while the circular windows around the top of the church and surrounding the dome, are visions from the life of Christ and the Virgin Mary.

The Crypt

The stairs down to the crypt are located near the entrance to the church, along the right side of the nave. Down here, you can see remnants of the original Roman church and pavements, which once lead into this temple. Near the entrance to the crypt is the modest tomb of Filippo Brunelleschi. It is nothing more than a plain slab of marble where they have also placed two golden crucifixes. For someone who created such beautiful things, it’s an interesting piece of juxtaposition to find his tomb is so humble.

Equestrian Funerary Monuments

Along the northern wall, halfway down the apse towards the dome, are two painted Funerary Monuments. Instead of an elaborate stone-carved tomb, these monuments were painted on the walls of the Cathedral. They were painted in 1436 and 1465 and yet are fantastically preserved. The one of the left is dedicated to Sir John Hawkwood by Paolo Uccello, and one of the rights is the Equestrian statue of Niccolò da Tolentino by Andrea del Castagno. Both Hawkwood and Tolentino were courageous and successful soldiers who made an impact on the city. Each of these great men is portrayed riding their horses triumphantly, as roman leaders were once portrayed. Their images were painted with the newly discovered technique of perspective and foreshortening, making it looks as if these mere paintings were actual three-dimensional monuments.

Marble Floors

The magnificent marble tiles of the church were installed in the 16th century. The Wool Guild was one of the wealthiest guilds in the city and sponsored much of the construction of the church. As such, you’ll find many images of the guild throughout the church, one of the most significant is the ‘OPA’ lettering inlaid into the marble flooring in the center of the church. OPA stands for the Opera del Duomo, which was the name of the group of guild members who were specifically in charge of the construction of the church. The marble on the floor is made up of varying colours of stone, a technique called intarso. The Medici’s crest, another prominent patron of the church, can also be seen on the flooring. Look for their iconic red balls all over the floor, a subtle nod to their patronage.

The Great Dome Interior

The most awe-inspiring part of the church is the magnificent domed fresco by Giorgio Vasari. Originally, Brunelleschi had intended for the dome to be covered in gold. With the light that poured in through the dome’s windows, this would have illuminated the interior like a glowing orb. But after his death, his first project didn’t have the funds to be completed. It was left painted merely white for years until the late 16th century when rich, Grand Duke Cosimo I de’ Medici decided he wanted it painted to feel more ostentatious.

The piece depicts the scenes of the Last Judgement, and when you take a closer look, you’ll be surprised how macabre some parts of the scene genuinely are. While Vasari designed then look of the piece, the actual painting of it was done by his pupil Frederico Zuccari and was finished in 1579. It is for this reason that some elements of the painting are a little less finessed than other works from Vasari. At the centre of the dome are choirs of angels surrounding Jesus. Around the bottom of the cupola are various images representing the capital sins of hell.

Donatello Stained Glass Window

In the centre of the dome is the grand window by Donatello. Once more, we see the image of Christ presenting the crown to his mother. This scene is much more intimate than the one on the Rose Window. There are only two figures here, and they are kneeling together tightly. Almost in an embrace.

The Sacristy Doors

Just past the dome, on either side of the nave, you’ll see the bronze doors which protect the entrance to the Sacristies. These were created in terra cotta by Luca Della Robbia in 1444. The panels which I find the most precious are the ones depicting Mary holding baby Jesus.

Dante Before the City of Florence

Along the left side of the nave, just before the axis crossing, make your way towards a large fresco under the window. This fresco was created by Domenico di Michelino in 1465. It shows Dante in the centre, standing in front of Renaissance Florence as it was when the mural was painted. Like a window into the past, you can glimpse through.

To the left of Dante, we can see Purgatory, and on his right paradise, or Florence itself. In the hands of the writer is his famous book, the Divine Comedy. His hand points down towards the nine circles of hell. Just behind him is the Mount of Purgatory, where you can see Adam and Eve standing on top, representing earthly paradise above the circles of hell. To the right where we can see Florence, take a minute to spot the dome of the Cathedral you’re standing in as well as images of the Baptistry and the Palazzo Vecchio.

Climbing the Dome

There are two options for those who love to climb up buildings; the bell tower and the dome. While the bell tower is slightly less claustrophobic and less busy, the climb up the dome, to the top of the church is the option I would go with. There just isn’t anything like seeing those frescoes up close and personal. The climb is 463 steps up through a narrow passageway once used by the construction workers who built it.

When you book your ticket online, it will ask you to select a time for the climb up the dome. If you can manage an early morning, the rising sun across the city is fantastic! The earliest time is 8:30am, and this is also when you’ll find the entire place to be the least busy. To enter the stairs to the dome climb entre via the Porta della Mandorla.

Hopefully, you’ve enjoyed this walkthru of the Duomo, its dome and tower and the radiant Baptistery! Let me know in the comments what your favourite part of the tour was or what you’re most looking forward to visiting!

Happy Travels, Adventurers

The post The Ultimate Self Guided Tour of the Florence Duomo first appeared on The Creative Adventurer.

Whether you’re drawn to the grandeur, the history or the spiritual power of these buildings, visiting these sites in Florence is almost a right of passage. But many people come here and gaze upon these buildings without really understanding the context behind their construction and artistry. Through this post, I hope to help illuminate some of those mysteries and perhaps help you appreciate these attractions for more than just their beauty.

Table Of Contents

1. Hours and Admission
2. Hours
3. Admission
   • Tickets
   • Dress code
4. Should You Go Inside?
   • Florence & Marble
5. Baptistery of San Giovanni Battista
   • Florence Artists
6. The Baptistery Portals
7. Pisano’s Southern Portal
   • Ghiberti’s Northern Portal
   • Ghiberti’s Eastern Portal
   • Ghiberti Artistry
8. Baptistery Interior
   • Domed Mosaics
9. Basilica of Santa Maria del Fiore
   • Arnolfo di Cambio
10. The Great Dome
    • Brunelleschi
11. The Campanile
    • Exterior Panels
    • Andrea Pisano
    • Francesco Taletnti
12. Climbing the Bell Tower
13. The 14th Century Facade
14. The 19th Century Front Facade
15. Portal Maggiore
16. Santa Reparata & St. Zenobius
    • Niccolò Barabino
17. Portal Maggiore Tympanum
18. Right Portal
19. Right Door Niches
20. Left Entry Doors
21. Left Door Mosaics
22. Rosette Window
23. Upper Gallery
24. Gargoyles
25. Porta della Mandorla
26. Cathedral Interior
27. Clock
28. Rose Window
29. Artists Busts
30. Stained Glass Windows
31. The Crypt
32. Equestrian Funerary Monuments
33. Marble Floors
34. The Great Dome Interior
    • Donatello Stained Glass Window
35. The Sacristy Doors
    • Dante Before the City of Florence
36. Climbing the Dome
37. Museo dell'Opera del Duomo
    • Hall of the Ancient Facade

Hours and Admission

Hours

The museum will be closed on the first Tuesday of each month.

Admission

While exploring the interior of the Duomo is free you’ll need a ticket if you want to see the inside of the Baptistery, to climb up the bell tower or the dome and visit the Duomo Museum. These attractions are all included in one ticket, so if you want to visit just one, you’ll still have to pay the same price as visiting them all. The best way to buy your ticket inside is online and in advance, so you can assure yourself access into the Duomo’s attractions.

Tickets

Adults: €18 (if booking online there is an extra €2 pre-booking fee)
Children: €3
Audio guides: €2,50 per person

Climbing the Dome: When booking online you need to select the time when you want to do the dome climb. You cannot change this time after booking and must be there within 15 minutes of your pre-selected time-slot.

Dress code

Since this is a religious site, be sure your clothing is appropriate for entry. This means your shoulders and knees must be covered, and you can’t wear your hats inside. I usually keep a long scarf in my knapsack with me in the summer when I’m wearing a dress or t-shirt that doesn’t cover my shoulders. This was I can throw it on when entering these churches but still keep cool throughout the day. If you’re wearing short-shorts or short skirts, you can also use the scarf to tie around your waist to cover up. This is such a common hack that you’ll almost always find women selling scarves outside churches in the summer.

Should You Go Inside?

I honestly prefer the interior of Santa Croce far more to this rather bare interior. While the frescoes on the dome are stunning, the rest of the interior could be skipped. The best interior of the group is that of the Baptistry – whose mosiacs are out of this world. Some people love climbing the tower and dome inside the cathedral to get to the view at the top but just be prepared to wait in line. If you’re pressed for time – I would say give the interiors a miss.

Seeing the exteriors are just as impressive and there is so much more to see in Florence which is more important than waiting in line. But if you have time to spare or are immensely interested in the interior artworks then you should make the effort to see it. Wake up early and you’ll find the lines are the least long. My favourite part of your ticketed entry is the museum which features some of the original artwork and sculptures which once stood inside the church. It also features the original Baptistery doors and some of the gorgeous robes the priests wear for various events throughout the catholic calendar.

Florence & Marble

In the Middle Ages, Florence was going through a stylistic period where many of their important buildings were created out of marble. Although few others from this period survive, the Duomo is a reflection of this time. Florence’s proximity to the marble mines meant that getting such large pieces quickly was a possibility other countries didn’t have. But what else did Florence have that others didn’t? Money and lots of it. Marble didn’t come cheap even if it was close by. But using it in such large proportions meant that your city looked like it was worth its weight in gold.

Carrara Marble

The main white marble you see is Carrara marble. Carrara has long been used by artists for sculptures, so it seemed only fitting that the most magnificent artwork of them all – the Cathedral – was itself draped in marble. The green marble which you can see decorating the exterior is actually serpentine stone, which came from Prato, a few miles northwest of Florence. Serpentine is named as such because the texture of the marble resembles that of snakes skin. The pinky-red stone you can see is limestone from mines near Florence. The colour is derived from the prevalence of ammonite fossils in the rock, which imbues the limestone with that stunning pinkish hue.

Baptistery of San Giovanni Battista

The Baptistery of San Giovanni Battista is thought to be one of Florence’s oldest places of worship. The current Baptistery was built between 1059 and 1128. It was named after St. John the Baptist (San Giovanni Battista), the patron saint of Florence. As Christianity was attempting to overtake the Pagan religion, Christians needed to find ways to make this conversation as seamless as possible.

One of these ways was to replace one Roman god for a Christian saint. That’s how we have St. John the Baptist as the patron saint of Florence. He replaced their most worshiped god, Mars. Mars was the god of war, so they needed to find a saint with a similar appeal. Saint John was a rugged saint, not as seemingly “holy” or clean-cut as some others, and this seemed to gel with Florentine sensibilities.

Florence Artists

The octagonal floor plan for the Baptistery was ubiquitous during the first millennium of Christianity, although it is much more rare to find these days. The octagonal design has a beautiful sense of symmetry to it, creating this unified, peaceful design. There is no clear provenance of who designed the structure, but many famous names have been attributed to its design. Pisano, Giotto, Ghiberti, Donatello and even Leonardo da Vinci were all artists who lent their hand in the creation of the Baptistery. Being a place touched by so many master’s hands only makes it more critical in the history of the city.

The Baptistery Portals

In addition to the marble we spoke of before which was used, bronze was the primary material which they employed to create a lush and regal look for the doorways. They called these entrances “portals,” and they were the gateways into the palace of god.

Pisano’s Southern Portal

The oldest set of doors is that created by Andrea Pisano in 1329. These doors now face south, but initially faced east, towards the Duomo. They were moved in 1452, replaced by newer designs. These doors depict stories from the Old Testament. The Merchants Guild of Florence commissioned Pisano to build these doors. They were one of the wealthiest guilds in the city and as such, could afford such an expensive commission. Look closely at the carvings and notice that there is definitely a significant amount of detail paid to the clothing.

No doubt, this was a way for the guild to get a subtle nod to their trade’s manufacturing in there. Subtle advertising if you will. The overall look of these designs is more subdued than the newer doors. Their shapes of the people are less realistic, and the features in their faces don’t show any real emotion. My favourite part of the design is the richly decorated door frames. They are lush with greenery and flowers. They seem to almost be bursting with growth.

Ghiberti’s Northern Portal

The second set of doors, located on the northern side, was designed by Lorenzo Ghiberti in 1422. But Ghiberti wasn’t just hired on the spot, oh no. In 1401 the church held a competition to see who would win the honour of receiving this commission. The church wanted to celebrate the end of the Black Death, which had swept through much of Europe, leaving millions dead. Florence had miraculously been spared, with only a comparatively small fraction of their citizens who ended up dying from the disease. Artists had to submit a small bronze panel featuring the scene of Abraham Sacrificing Isaac to be entered into the competition.

In the end, the committee was stuck between Brunelleschi’s design and Ghiberti’s. They couldn’t choose and asked if the artists would be willing to work together. Brunelleschi refused, saying that anything less than something which was 100% his own work wasn’t worth his time. So the job went to Ghiberti. It took Ghiberti 21 years to complete these doors. The panels in these doors consist of 28 scenes of the life of Jesus Christ from the New Testament. Each of them is richly decorated. The scenes are framed by abundant foliage and gilded busts of prophets and sibyls (women able to foretell the future). These doors are copies of the originals as those ones are now housed at the Cathedral Museum. But the recreations are nonetheless incredible examples of this sculptural art form, which was emerging at the time.

Ghiberti’s Eastern Portal

The third set of doors, created in 1425-1452, was also created by Ghiberti after his first commission was such a success. Michelangelo called them “the gates of paradise,” and therein came the name they go by even today. Michelangelo would often come here as a student to study these works for art. These panels are much larger than the quarterfoil frames of the previous gates. There are only ten frames in total, depicting scenes from the Old Testament and the life of Saint John the Baptist.

Ghiberti Artistry

In this new series, Ghiberti used a technique called schiacciato. This technique allowed him to create a recessed sculpture by carving only millimetres deep. It gives the illusion of greater depth and movement in the scene. The previous panels were mostly focused on the people in the scene and not the environment. In these new renditions, Ghiberti added in the landscape, which brought so much more atmosphere to each panel. Framing the doors are a series of miniatures busts and sculptures. The two busts featured in the middle of the entries are actually a self-portrait of the artist and his father, Bartolomeo Ghiberti.

Above the doors are three marble statues on white pedestals. In the centre, we have Jesus being crowned by John the Baptist, being watched by an angel.

Baptistery Interior

The interior of the small Baptistery is wonderfully embellished, and it feels like no matter where you look, there is something magical to behold. This is in complete opposition to the rather austere interior of the Cathedral across the street.

Domed Mosaics

The interior was inspired by the Roman Pantheon with its grand domed ceiling covered in intricate byzantine mosaics. The roof was created in the 1200s. Millions of tiny gold and glass tiles were used to create the scene of “universal judgement.” The entire piece took over 100 years to complete. Because the section took so long to complete, you can actually see the change in art styles throughout the design as the techniques improved and changed throughout the years. Descending down from the centre of the octagonal dome, there are various rings, which depict specific storylines around the central theme of judgement.

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Life of Joseph, the Virgin Mary and Jesus and St. John the Baptist

The top layer of the octagon, under the lantern, is decorated with plants and animals. Below this is a series of angels who surround and stand in praise towards the image of Jesus is the centre. Below is a set of scenes from the story of Genesis. Following this are images from the Life of Joseph, the Virgin Mary and Jesus and finally the life of St. John the Baptist, the patron saint of Florence.

In the center, breaking into multiple rows is the central figure of Jesus. He sits with this hands to either side, the marks of the crucifixion nails still bleeding in the centre of his palms. To the right of his feet are images of damnation and to the left, salvation. The images of damnation are explicitly terrifying, as the representations of the tortures of hell are extremely brutal. The shapes of the various figures here aren’t human figures and look almost alien-like as if hell itself mutates the human form. These terrors were meant to strike fear into the citizens of Florence, to be good in life to not suffer in the afterlife for eternity.

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The Marble Floor

After looking up for long so, give your neck a break and take a look at the ground. The marble floor here is made using the technique called ‘intarso.’ This technique uses multiple colours of marble, which are carefully placed together to create one unified piece. At one time, the lantern in the ceiling was open to the outside air, and the light which flowed in would hit a sundial embedded into this marble floor. Florentine designers used astrological signs, along with the sundial, to tell the time. Although the lantern was closed and the dial removed, the zodiac signs on the marble can still be seen on the floor today.

The Tomb of Guccio de Medici

The tomb of Guccio de Medici, who died in the 1300s, is the first example of the Medicis obsession with their deaths being as opulent as their lives. When he died, Guccio was buried inside an old Roman sarcophagus. Added onto the Roman tomb was a carving of the Medici shield and famous Medici coins.

The Tomb of the Anti Pope

One of the most controversial tombs in the Baptistery is the tomb of Antipope John XXIII. Pope John XXIII was born Baldassari Cossa. Despite being buried in such an illustrious building, this Pope was stripped of his title after his death due to his multiple misdoings and scandalous life. He was widely disliked by almost everyone in Florence, everyone except that is for the Medici’s that is. When Cossa came into power, he gave the financing of the Vatican over to the Medici bank. The Vatican was one of the largest institutions in the world and employing the Medici bank as their primary money lender meant the families rise to fame. They went from being just another Florentine money lender to one of the richest (non-royal) families in Europe.

Donatello and the Baptistry

The Medici’s owed Cossa, and despite the public’s dislike or outright hate for the man, they were still under his thumb. When his dying wish was to be buried in the Baptistery, they made his dream come true, despite the public outrage that ensued. The Medici’s paid Donatello to sculpt his funerary monument in 1420. On top of the tomb is his death mask. Unlike many death masks of the time, Cossa’s faces look out towards the onlooker instead of up towards the sky. Almost daring the public to say a word against him, as he is always looking and listening. Above his coffin is a lunette of the Madonna and child. The entire piece is a stone canopy is embellished with golden fringe. Supporting the coffin on either side are two Marzocco Lions, the protectors of Florence.

Basilica of Santa Maria del Fiore

Now let’s turn to the other side of the square and the great Basilica of Santa Maria del Fiore. This magnificent Cathedral began its construction in 1296 but wasn’t completed until 1436. That’s over 140 years! The temple is named in honour of Santa Maria del Fiore, or “Saint Mary of the Flowers.” Mary is often associated with flowers, especially in Italian culture. Flowers, or roses, in particular, are thought to represent the fleetingness of life, and therefore, of death. Mary carries with her the burden of knowing her son will die and yet even knowing this reality, carries on to raise him with all the love she has in her heart. Like the flower which we know will wilt, we admire its beauty until the day it dies.

The Duomo, as it is mainly called in Florence, was built on the site of the 7th-century Church of Santa Reparata. Remnants of that church can still be found today in the crypt. The Duomo as it stands today is the 4th largest Cathedral in the world and walking around it, you can really get a sense of how huge it is.

Arnolfo di Cambio

The first architect of the church was Arnolfo di Cambio. Arnolfo di Cambio started his career as the assistant to Nicola Pisano. Together they created the marble pulpit inside the Sienna Cathedral. From there, he moved onto creating tombstones and sculptures of Kings around the world. Arnolfo di Cambio’s funerary monuments were so impressive they became the model for Gothic funerary art in Florence. It was a surprise to many when, in 1294, he began work on the Florence cathedral, not as an artist but as an architect. This would be the only building to officially be created in his name. And despite his lack of formal training, the result of his creativity is breathtaking.

The Great Dome

The church was designed in the Italian Gothic tradition. This features pointed arches and cross-ribbed vaults. The overall layout of the Cathedral features a Latin cross design with room for the most iconic feature of the church, the HUGE dome. And while Cambio left space for this dome in his floorplans, the dome hadn’t even been conceived of by the time Cambio passed away. Over the 140 years, the church was being constructed, architects from all over the world attempted to figure out how to achieve such an enormous dome without it falling apart. Giotto di Bondone, Andrea Pisano, and Francesco Talenti all worked on different aspects of the church.

Brunelleschi

Still, none of them could figure out how to build such a gravity-defying dome. It would be Brunelleschi, who would finally solve the problem of the dome. Unlike Cambio, Brunelleschi had many buildings under his belts such as Basilica of San Lorenzo, Basilica of Santo Spirito, and the Pazzi Chapel. He had been working across the street on the Baptistery doors when he decided he wanted to take a stab at the dome’s design, where all others had failed.

Ironically, the key to the structure of the dome was unlocked by using a flower’s composition as a guide. Being a church named after the Lady of the Flowers, that just seems too fitting. The dome used a herringbone brick pattern where the bricks formed a series of inverted arches. And as the blocks grew higher, instead of falling inwards, the inverted form actually used gravity to their advantage to reinforced the structure. The result is this breathtaking, gravity-defying, architectural masterpiece. Being so large, it seems to peak out above the skyline wherever you look in Florence. An icon for the ages. And one of the most significant pieces of Renaissance architecture.

The Campanile

To understand the design of the facade (as it stands today), we must first look at the design of the bell tower or campanile. The facade, as we will learn later, was left relatively plain before the 18th-century redesign. But the tower, designed by Giotto in 1334, was a multicoloured treasure and almost the most impressive feature of the Cathedral before the dome was finished. The tower stands 15 meters wide and over 84 meters tall! But other than its size, the most impressive part of the bell tower is the colours. Giotto said that the different colours were used to exemplify the two fundamental principles of Florentine art: “rectitude (righteousness) and beauty.”

But Giotto died before the tower’s completion in 1387. It was reported that Giotto died of grief over the bell tower’s one design flaw. He made the base of the tower a little too narrow to allow for the effect of vertical momentum, but the decision would haunt him. He said he made “too-small a bed for your feet,” regarding the tower’s design. His fears would prove to be accurate as the tower needed to be later renovated to allow the full height of the construction to be supported at the base. But looking at it now, you’d never know. It took two additional architects, Andrea Pisano and Francesco Talenti, to fully completed Giotto’s vision after his death.

Exterior Panels

One of the most exciting features of the tower is located on the first floor. Take a close look at the hexagonal panels, which are spread around the base of the tower. The white stone reliefs are framed by pink marble, which is additionally contrasted against green, serpentine marble. Inside these reliefs are depictions of the history of mankind as it was in medieval times. The stories told on these panels blend religious doctrine history as well as liberal arts. In addition to the chronicles, as written in the bible, we also see mankind’s most significant discoveries. On the south side of the tower, we find panels that represent astronomy, medicine, hunting, wool-working, and legislation. On the east side, there are panels relating to navigation, social justice, agriculture, festivals and architecture. The north side panels depict sculpture, painting, harmony, grammar, logic, music and poetry, geometry and arithmetic.

Andrea Pisano

On the second level, we find a row of niches that are filled with fantastic sculptures. It’s almost a share they are so high up since they are wonderfully carved works of art. These niches were created by the tower’s second architect, Andrea Pisano. Pisano dedicated the west side to the planets; Saturn, Jupiter, Mars, the Sun, Venus, Mercury, the Moon. On the south side, we find three sculptures representing theological virtues (faith, hope, charity) and four sculptures representing cardinal virtues (prudence, temperance, fortitude, justice).

The other statues found in the additional niches represent patriarchs, prophets, Kings of Israel and the pagan sibyls. This includes one beautiful group depicting the Sacrifice of Isaac by Donatello, a splendid example of the naturalism that was so popular in the 1400s.

Francesco Taletnti

Continuing up the tower to the top levels, designed by Francesco Talenti, we find a new mathematical treatment. Each level is slightly taller than the next, which, when you look up from above, gives the tower a sense of being taller than it actually is. This use of perspective was so popular during the Renaissance as they were obsessed with the idea of science and math meets art. Instead of a spire which many other Gothic towers have, the tower finishes with a terrace where people can still today enjoy stunning views of the city. At the top of the tower are seven bells. The largest of the bells is called the Santa Reparata, in honour of the saint to which the original church was dedicated to. Hearing it ring out across the square, the pigeons flying away as it rings is still one of the sweetest sounds of Florence.

Climbing the Bell Tower

If you choose to climb the bell tower, or for those really ambitious people, who want to climb both, head to the northeast corner of the bell tower to find the line up for the entrance. All you need is the same grand ticket for the entry. There are 400 steps to the top but the view from above is well worth the climb.

The 14th Century Facade

Aside from the front facade, which we will talk about later, the other sides of the Duomo are from the 14th century. These sides feature some of the best preserves aspects of Gothic architecture of the time. Many of the niches on these sides are empty, as the original sculptures which once decorated this exterior have been moved into the museum. This means these sides feel rather dull compared to the newer, front facade. Despite the lack of sculptures, something is mesmerizing about the geometric shapes and coloured marble which adorned the sides of the church.

The 19th Century Front Facade

The original facade was built along with the rest of the church, but the one we see now was created long after, in the 1800s. Traditionally, Tuscan churches didn’t have much ornamentation given to their facades, and they were left extremely plain. But the Medici’s, the de facto royalty of the day, weren’t a fan of the dull look. They pleaded with architects to change the facade, but there was never a consensus over what it should look like. When the previous stone facade, designed by Giotto, began to deteriorate, Florence, once more, held a design competition. They wanted to see who could meet the expectations of the city to create a facade as fanciful as the rest of the church. 

Emilio De Fabris won the contest with his proposal. He designed his facade to follow the same structure as Giotto’s but with the addition of sumptuous ornamentation (based on the design of the magnificent campanile). This meant no structural changes needed to be made, which meant it was going to be cheaper to build. It also allowed for the original shape of the church to be maintained and honoured. Unfortunately, Fabris died before construction started, once more leaving his legacy to the next architect. A dark theme that is too often present in the histories of great church architects.

Portal Maggiore

To study the front facade, let us start at the bottom and work our way up, starting at the central portal into the church. Because there is no longer entry through this central portal, you can gaze up at its magnificence and opulent doors.

The 19th-century bronze doors feature beautifully carved reliefs of the life of the Virgin Mary. The doors themselves appear to be set themselves inside an architectural design. The doors were the original entry into the Duomo before it became a tourist destination. They were designed by Augusto Passaglia and Giuseppe Cassioli.

Santa Reparata & St. Zenobius

On either side of the bronze doors are niches containing two of the most influential people to the church: St. Reparata and St. Zenobius. Saint Reparata was the patron saint of the first church built on this site as well as the patron Saint of Florence until the Middle Ages when St. John the Baptist replaced her. Saint Reparata was merely a young woman when she was martyred by the Romans in the 3rd century. Legend has it that St. Reparata was set to be burned alive, but when the Romans set her alight, a shower of rain from the heavens put out the fire. She was then forced to drink boiling pitch but would not die. Finally, the Romans were forced to behead her, which was the final blow.

St. Zenobius was the first bishop of Florence who not only was born in Florence but also made a significant impact in evangelizing the city and its outskirts. He is most notable for his miracles of bringing soldiers and children back from the dead. Just above the bronze doors, you’ll see a series of coats of arms which represent the various Florentine families who donated money towards the building of the front facade.

Niccolò Barabino

Above the bronze doors is a gorgeous mosaic lunette. You’ll find one of these brightly coloured designs over each of the gates into the church. They were designed by Niccolò Barabino and represent the Florentine devotion to faith across multiple disciplines. The mosaic above the central portal depicts Christ enthroned between Mary and Saint John the Baptist, alongside various Florentine saints. Surrounding the lunettes are richly decorative vines and octagonal panels featuring multiple saints.

Portal Maggiore Tympanum

Above the mosaic lunette is the grand tympanum. In the centre of this triangular scene, we have the image of the Virgin Mary. Surrounding her on either side is a chorus of seraphim. At the very top above these sculptures is a bronze dove soaring away from the rest of the angels. Below the seated mother is an altar with a baby lamb, representing Jesus as the sacrificial lamb. On either side of the lower portion of the tympanum are representations of the men from the Florentine Republic who were in charge of the construction of this church as well as images of various Popes and Franciscan monks. Standing guard on either side of the tympanum are two priests with trumpets, announcing the birth of Christ to the people of Florence.

Right Portal

Cassioli, who designed the central doors, is also responsible for the doors on the right. Cassioli led a distraught life. He suffered much misfortune throughout the years and was the definition of a tortured artist. He leaves a self-portrait of himself in the doorway, along the right side. Here we see a man with a snake around his neck, a way of the artists to express the suffering he felt, literally suffocating for his art.

The mosaic above the doorway here represents Florentine artisans, merchants and humanists paying homage to the sculpture of faith. Carved into the archway are various statues of famous angels. From left to right, we have the Angel of the Apocalypse (portrayed with scythe), saint. Michael (portrayed in his classic armour and sword), the Angel that liberated St. Peter, St. Elizabeth welcoming the faithful into the church, the Angel of the Resurrection(seen with the palm leaf and skull), the Archangel Raphael (holding a fish), and the Angel of the Apocalypse (holding the overturned chalice.) The sculpture atop the door is of the Madonna Dolorosa (Madonna of Sorrows). Flying above here is are three angels holding flowering in their hands.

Right Door Niches

Located in the niches on either side of the doorways are a series of statues. They feature from left to right; Cardinal Valeriani, Bishop Agostino Tinacci, Pope Eugene IV, who consecrated the church in 1436 and of Saint Antonino Pierozzi, bishop of Florence.

Left Entry Doors

The last doorway is found on the left. This doorway is now the official entry into the church, and so its old doors are almost always seen open. If you come by when the church is closed, you’ll be able to better understand the designs on the front. On either side of the doorway are niches featuring Cardinal Pietro Valeriani on the left and Bishop Agostino Tinacci on the right.

Left Door Mosaics

The mosaic above the doorway depicts Charity among the founders of Florentine philanthropic institutions. Charity is represented in the centre seated on the throne. At the base of the throne are a series of the coat of arms from charitable institutions. The people kneeling on either side of Charity are founders of the great hospitals in Florence. On either side of the mosaic are two small sculptures that represent Adam and Eve after they were expelled from the Garden of Eden. Eve is on the left, bare-breasted, her head in her hands, covered in a sheepskin. The snake can be seen resting at her feet.

Rosette Window

Above both the right and left portals are a set of Rosette windows, which compliment the larger Rose window in the centre of the facade. Unlike the large Rose window in the centre, the rosettes are not filled with stained glass. In the centre of the windows is an eight-pointed star, which often refers to wealth and money.

Upper Gallery

The Upper Gallery of the facade is filled with a series of niches. Each one is filled with beautiful sculptures of one of the twelve Apostles.

In the centre of the upper gallery, is a gorgeous statue of the Madonna and child. She sits on her throne, a golden crown on her head and baby Jesus resting on her knee. In her hand is a flowered sceptre designed by Tito Sarrocchi. She holds the sceptre pointed towards the people on the piazza, beckoning them to come inside.

Although we will talk about the Rose Window later as it is more impressive from the inside, take a look at the panels surrounding it. Across the top of the facade are busts of great artists of the past framed inside Gothic quatrefoils.

At the very top of the roofline, we find a small circular panel with the face of the Eternal father. There is a golden background, and the man cranes his head downwards, towards the people below.

Gargoyles

Along the roofline of the Cathedral are warped faces of human, eternally open-mouthed, acting as the gargoyles of the Cathedral. Usually, gargoyles are represented as animals, so seeing the gargoyles are human figures is often an even more disturbing image.

Porta della Mandorla

If you are opting to go inside, before doing so, walk around the left side of the building to the Porta della Mandorla (this is also the entrance you’ll use when you walk up the dome). This doorway was built in 1423, but Donatello! The sculptures above the door are especially significant because it was one of the last important works of art to be created in the time between gothic and Renaissance. The theme of the work is the Virgin on her mission to save humanity. She is centred in an oval, the same shape as almond or mandorla.

Cathedral Interior

To enter the church, go through the left portal, in the far north. The entry into the Cathedral is…well, slightly less impressive than you might imagine when compared to the embellished exterior. While the interior is grand and soaring, it does feel somewhat empty. The interior was purposefully meant to be bare, as it was thought that this would result in a more focused approach to prayer. Many of the pieces of art and sculpture which once stood here have been moved into the museum for restoration and preservation. For this reason, there is a genuinely vacant feeling to space more so now than when it was first built.

Clock

Against the wall opposite the high altar, take a look under the rose window to spot an ancient clock. The enormous clock with bright golden dials was made in 1443 by Paolo Uccello. What you might notice about this clock is that it is set to the ora Italica which is the Florentine 24-hour clock, which starts and ends at sunset, instead of at midnight. On the four corners of the clock are the faces of the four evangelists. The clock still works to this day, but it needs to be wound every 8-9 days to keep it running.

Rose Window

The stained-glass Rose window above the clock presents the crowning of the Virgin Mary as Mary Queen of the World. An archway of angles flies above her. In the centre is the figure of Jesus surrounded by golden rays. He is descending from heaven, holding a golden crown. This piece was designed by Gaddo Gaddi in the early 14th century. This window seems to almost burn with colour. The glass is so bright its hard to imagine the design is over 600 years old.

Artists Busts

On the left nave, upon entering the church, you’ll see various busts along the wall. These feature the artists who helped build the church. We can see the images of Giotto, Brunelleschi and Emilio de Fabris. Eternally looking out at their creation.

Stained Glass Windows

The various brightly coloured stained glass windows you’ll find throughout the church were all made based on illustrations by some of the greatest artists of all time. While they were created by seasoned craftsmen, using pictures by artists such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno. The windows along the aisles represent the Old and New Testament, while the circular windows around the top of the church and surrounding the dome, are visions from the life of Christ and the Virgin Mary.

The Crypt

The stairs down to the crypt are located near the entrance to the church, along the right side of the nave. Down here, you can see remnants of the original Roman church and pavements, which once lead into this temple. Near the entrance to the crypt is the modest tomb of Filippo Brunelleschi. It is nothing more than a plain slab of marble where they have also placed two golden crucifixes. For someone who created such beautiful things, it’s an interesting piece of juxtaposition to find his tomb is so humble.

Equestrian Funerary Monuments

Along the northern wall, halfway down the apse towards the dome, are two painted Funerary Monuments. Instead of an elaborate stone-carved tomb, these monuments were painted on the walls of the Cathedral. They were painted in 1436 and 1465 and yet are fantastically preserved. The one of the left is dedicated to Sir John Hawkwood by Paolo Uccello, and one of the rights is the Equestrian statue of Niccolò da Tolentino by Andrea del Castagno. Both Hawkwood and Tolentino were courageous and successful soldiers who made an impact on the city. Each of these great men is portrayed riding their horses triumphantly, as roman leaders were once portrayed. Their images were painted with the newly discovered technique of perspective and foreshortening, making it looks as if these mere paintings were actual three-dimensional monuments.

Marble Floors

The magnificent marble tiles of the church were installed in the 16th century. The Wool Guild was one of the wealthiest guilds in the city and sponsored much of the construction of the church. As such, you’ll find many images of the guild throughout the church, one of the most significant is the ‘OPA’ lettering inlaid into the marble flooring in the center of the church. OPA stands for the Opera del Duomo, which was the name of the group of guild members who were specifically in charge of the construction of the church. The marble on the floor is made up of varying colours of stone, a technique called intarso. The Medici’s crest, another prominent patron of the church, can also be seen on the flooring. Look for their iconic red balls all over the floor, a subtle nod to their patronage.

The Great Dome Interior

The most awe-inspiring part of the church is the magnificent domed fresco by Giorgio Vasari. Originally, Brunelleschi had intended for the dome to be covered in gold. With the light that poured in through the dome’s windows, this would have illuminated the interior like a glowing orb. But after his death, his first project didn’t have the funds to be completed. It was left painted merely white for years until the late 16th century when rich, Grand Duke Cosimo I de’ Medici decided he wanted it painted to feel more ostentatious.

The piece depicts the scenes of the Last Judgement, and when you take a closer look, you’ll be surprised how macabre some parts of the scene genuinely are. While Vasari designed then look of the piece, the actual painting of it was done by his pupil Frederico Zuccari and was finished in 1579. It is for this reason that some elements of the painting are a little less finessed than other works from Vasari. At the centre of the dome are choirs of angels surrounding Jesus. Around the bottom of the cupola are various images representing the capital sins of hell.

Donatello Stained Glass Window

In the centre of the dome is the grand window by Donatello. Once more, we see the image of Christ presenting the crown to his mother. This scene is much more intimate than the one on the Rose Window. There are only two figures here, and they are kneeling together tightly. Almost in an embrace.

The Sacristy Doors

Just past the dome, on either side of the nave, you’ll see the bronze doors which protect the entrance to the Sacristies. These were created in terra cotta by Luca Della Robbia in 1444. The panels which I find the most precious are the ones depicting Mary holding baby Jesus.

Dante Before the City of Florence

Along the left side of the nave, just before the axis crossing, make your way towards a large fresco under the window. This fresco was created by Domenico di Michelino in 1465. It shows Dante in the centre, standing in front of Renaissance Florence as it was when the mural was painted. Like a window into the past, you can glimpse through.

To the left of Dante, we can see Purgatory, and on his right paradise, or Florence itself. In the hands of the writer is his famous book, the Divine Comedy. His hand points down towards the nine circles of hell. Just behind him is the Mount of Purgatory, where you can see Adam and Eve standing on top, representing earthly paradise above the circles of hell. To the right where we can see Florence, take a minute to spot the dome of the Cathedral you’re standing in as well as images of the Baptistry and the Palazzo Vecchio.

Climbing the Dome

There are two options for those who love to climb up buildings; the bell tower and the dome. While the bell tower is slightly less claustrophobic and less busy, the climb up the dome, to the top of the church is the option I would go with. There just isn’t anything like seeing those frescoes up close and personal. The climb is 463 steps up through a narrow passageway once used by the construction workers who built it.

When you book your ticket online, it will ask you to select a time for the climb up the dome. If you can manage an early morning, the rising sun across the city is fantastic! The earliest time is 8:30am, and this is also when you’ll find the entire place to be the least busy. To enter the stairs to the dome climb entre via the Porta della Mandorla.

Museo dell’Opera del Duomo

With your ticket into the other parts of the Duomo and Baptistery, is a ticket into the Museo dell’ Opera del Duomo. The very same guild, which was in charge of the construction of the church when it was first being built, is still to this day overseeing the restoration and preservation of its treasures.

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Hall of the Ancient Facade

One of the most astounding galleries inside the museum is the Hall of the Ancient or the Hall of Paradise. Here you can view a reconstruction of the original facade of the church before the new design. In this white and beige almost life-size replica, you can see the 40 different statues, 100 architectural details and 60 decorations that have now been all but removed from the exterior and yet preserved here.

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The Deposition by Michelangelo

Of all the sculptures inside, my favourite is the Deposition by Michelangelo. Michelangelo started working on this piece in 1546 but never finished it. It was one of the first pieces he made without a commission. He would work tirelessly on the sculpture by candlelight. But over the years, he became frustrated by the imperfections in the marble and abandoned the project. One night he even tried to destroy the sculpture in a fit of rage. But despite Michelangelo thinking it was a failure, even today, it is one of the most moving pieces in the gallery. If you look closely, you might notice that Jesus is missing his one leg, as the veins in the marble made it impossible for parts of the stone to be carved.

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The two women on either side of Christ’s body are the Virgin Mary and Mary Magdelene. Still, the hooded figure behind them is one of the more mysterious characters in art history. Many think it could be his father, Joseph. Still, other historians have argued that it is Nicodemus who was also present at Christ’s death. Whomever the figure is, one can see the great sadness which rests in his eyes.

Penitent Magdalene by Donatello

The Penitent Magdalene by Donatello is a haunting sculpture made of wood from the 1450s. Unlike many other representations of Mary Magdelene, portrayed as a beautiful woman, this image here is of an emaciated woman wearing nothing but rags. She looks as though she is bearly hanging on, praying to God to spare her, or forgive her before her death. In many orthodox legends of Mary Magdalene, she is thought to have been a prostitute but walked the desert for 30 years to absolve her sins. We believe that Donatello ehre is using that same story to depict his image of Mary Magdelene, as she finally makes her way out of the desert and is forgiven.

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Hopefully, you’ve enjoyed this walkthru of the Duomo, its dome and tower and the radiant Baptistery! Let me know in the comments what your favourite part of the tour was or what you’re most looking forward to visiting!

Happy Travels, Adventurers

The post The Ultimate Self Guided Tour of the Duomo and Baptistery in Florence (Cattedrale di Santa Maria dei Fiori) first appeared on The Creative Adventurer.

Whether you’re drawn to the grandeur, the history or the spiritual power of these buildings, visiting these sites in Florence is almost a right of passage. But many people come here and gaze upon these buildings without understanding the context behind their construction and artistry. Through this post, I hope to help illuminate some of those mysteries and perhaps help you appreciate these attractions for more than just their beauty.

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Baptistery of San Giovanni Battista

The Baptistery of San Giovanni Battista is thought to be one of Florence’s oldest places of worship. The current Baptistery was built between 1059 and 1128. It was named after St. John the Baptist (San Giovanni Battista), the patron saint of Florence. As Christianity was attempting to overtake the Pagan religion, Christians needed to find ways to make this conversation as seamless as possible.

One of these ways was to replace one Roman god for a Christian saint. That’s how we have St. John the Baptist as the patron saint of Florence. He replaced their most worshiped god, Mars. Mars was the god of war, so they needed to find a saint with a similar appeal. Saint John was a rugged saint, not as seemingly “holy” or clean-cut as some others, and this seemed to gel with Florentine sensibilities.

Florence Artists

The octagonal floor plan for the Baptistery was ubiquitous during the first millennium of Christianity, although it is much more rare to find these days. The octagonal design has a beautiful sense of symmetry to it, creating this unified, peaceful design. There is no clear provenance of who designed the structure, but many famous names have been attributed to its design. Pisano, Giotto, Ghiberti, Donatello and even Leonardo da Vinci were all artists who lent their hand in the creation of the Baptistery. Being a place touched by so many master’s hands only makes it more critical in the history of the city.

The Baptistery Portals

In addition to the marble we spoke of before which was used, bronze was the primary material which they employed to create a lush and regal look for the doorways. They called these entrances “portals,” and they were the gateways into the palace of god.

Pisano’s Southern Portal

The oldest set of doors is that created by Andrea Pisano in 1329. These doors now face south, but initially faced east, towards the Duomo. They were moved in 1452, replaced by newer designs. These doors depict stories from the Old Testament. The Merchants Guild of Florence commissioned Pisano to build these doors. They were one of the wealthiest guilds in the city and as such, could afford such an expensive commission. Look closely at the carvings and notice that there is definitely a significant amount of detail paid to the clothing.

No doubt, this was a way for the guild to get a subtle nod to their trade’s manufacturing in there. Subtle advertising if you will. The overall look of these designs is more subdued than the newer doors. Their shapes of the people are less realistic, and the features in their faces don’t show any real emotion. My favourite part of the design is the richly decorated door frames. They are lush with greenery and flowers. They seem to almost be bursting with growth.

Ghiberti’s Northern Portal

The second set of doors, located on the northern side, was designed by Lorenzo Ghiberti in 1422. But Ghiberti wasn’t just hired on the spot, oh no. In 1401 the church held a competition to see who would win the honour of receiving this commission. The church wanted to celebrate the end of the Black Death, which had swept through much of Europe, leaving millions dead. Florence had miraculously been spared, with only a comparatively small fraction of their citizens who ended up dying from the disease. Artists had to submit a small bronze panel featuring the scene of Abraham Sacrificing Isaac to be entered into the competition.

In the end, the committee was stuck between Brunelleschi’s design and Ghiberti’s. They couldn’t choose and asked if the artists would be willing to work together. Brunelleschi refused, saying that anything less than something which was 100% his own work wasn’t worth his time. So the job went to Ghiberti. It took Ghiberti 21 years to complete these doors. The panels in these doors consist of 28 scenes of the life of Jesus Christ from the New Testament. Each of them is richly decorated. The scenes are framed by abundant foliage and gilded busts of prophets and sibyls (women able to foretell the future). These doors are copies of the originals as those ones are now housed at the Cathedral Museum. But the recreations are nonetheless incredible examples of this sculptural art form, which was emerging at the time.

Ghiberti’s Eastern Portal

The third set of doors, created in 1425-1452, was also created by Ghiberti after his first commission was such a success. Michelangelo called them “the gates of paradise,” and therein came the name they go by even today. Michelangelo would often come here as a student to study these works for art. These panels are much larger than the quarterfoil frames of the previous gates. There are only ten frames in total, depicting scenes from the Old Testament and the life of Saint John the Baptist.

Ghiberti Artistry

In this new series, Ghiberti used a technique called schiacciato. This technique allowed him to create a recessed sculpture by carving only millimetres deep. It gives the illusion of greater depth and movement in the scene. The previous panels were mostly focused on the people in the scene and not the environment. In these new renditions, Ghiberti added in the landscape, which brought so much more atmosphere to each panel. Framing the doors are a series of miniatures busts and sculptures. The two busts featured in the middle of the entries are actually a self-portrait of the artist and his father, Bartolomeo Ghiberti.

Above the doors are three marble statues on white pedestals. In the centre, we have Jesus being crowned by John the Baptist, being watched by an angel.

Baptistery Interior

The interior of the small Baptistery is wonderfully embellished, and it feels like no matter where you look, there is something magical to behold. This is in complete opposition to the rather austere interior of the Cathedral across the street.

Domed Mosaics

The interior was inspired by the Roman Pantheon with its grand domed ceiling covered in intricate byzantine mosaics. The roof was created in the 1200s. Millions of tiny gold and glass tiles were used to create the scene of “universal judgement.” The entire piece took over 100 years to complete. Because the section took so long to complete, you can actually see the change in art styles throughout the design as the techniques improved and changed throughout the years. Descending down from the centre of the octagonal dome, there are various rings, which depict specific storylines around the central theme of judgement.

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Life of Joseph, the Virgin Mary and Jesus and St. John the Baptist

The top layer of the octagon, under the lantern, is decorated with plants and animals. Below this is a series of angels who surround and stand in praise towards the image of Jesus is the centre. Below is a set of scenes from the story of Genesis. Following this are images from the Life of Joseph, the Virgin Mary and Jesus and finally the life of St. John the Baptist, the patron saint of Florence.

In the center, breaking into multiple rows is the central figure of Jesus. He sits with this hands to either side, the marks of the crucifixion nails still bleeding in the centre of his palms. To the right of his feet are images of damnation and to the left, salvation. The images of damnation are explicitly terrifying, as the representations of the tortures of hell are extremely brutal. The shapes of the various figures here aren’t human figures and look almost alien-like as if hell itself mutates the human form. These terrors were meant to strike fear into the citizens of Florence, to be good in life to not suffer in the afterlife for eternity.

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The Marble Floor

After looking up for long so, give your neck a break and take a look at the ground. The marble floor here is made using the technique called ‘intarso.’ This technique uses multiple colours of marble, which are carefully placed together to create one unified piece. At one time, the lantern in the ceiling was open to the outside air, and the light which flowed in would hit a sundial embedded into this marble floor. Florentine designers used astrological signs, along with the sundial, to tell the time. Although the lantern was closed and the dial removed, the zodiac signs on the marble can still be seen on the floor today.

The Tomb of Guccio de Medici

The tomb of Guccio de Medici, who died in the 1300s, is the first example of the Medicis obsession with their deaths being as opulent as their lives. When he died, Guccio was buried inside an old Roman sarcophagus. Added onto the Roman tomb was a carving of the Medici shield and famous Medici coins.

The Tomb of the Anti Pope

One of the most controversial tombs in the Baptistery is the tomb of Antipope John XXIII. Pope John XXIII was born Baldassari Cossa. Despite being buried in such an illustrious building, this Pope was stripped of his title after his death due to his multiple misdoings and scandalous life. He was widely disliked by almost everyone in Florence, everyone except that is for the Medici’s that is. When Cossa came into power, he gave the financing of the Vatican over to the Medici bank. The Vatican was one of the largest institutions in the world and employing the Medici bank as their primary money lender meant the families rise to fame. They went from being just another Florentine money lender to one of the richest (non-royal) families in Europe.

Donatello and the Baptistry

The Medici’s owed Cossa, and despite the public’s dislike or outright hate for the man, they were still under his thumb. When his dying wish was to be buried in the Baptistery, they made his dream come true, despite the public outrage that ensued. The Medici’s paid Donatello to sculpt his funerary monument in 1420. On top of the tomb is his death mask. Unlike many death masks of the time, Cossa’s faces look out towards the onlooker instead of up towards the sky. Almost daring the public to say a word against him, as he is always looking and listening. Above his coffin is a lunette of the Madonna and child. The entire piece is a stone canopy is embellished with golden fringe. Supporting the coffin on either side are two Marzocco Lions, the protectors of Florence.

There is so much more to see around the Baptistery, so once you’re finished here, be sure to head over to tour the famous Duomo! If you’ve visited the Baptistery in Florence, let me know in the comment what your favourite part was!

Happy Travels Adventurers.

The post The Ultimate Self-Guided Tour of the Baptistery in Florence first appeared on The Creative Adventurer.

Table Of Contents

1. History
2. Architecture
3. Interior
4. St. Peter's Abbey Church
5. Catacombs
   • Gertrauden Chapel
6. Cemetery
   • Crypts
   • St. Mary's Chapel

History

In its early days, St. Peter’s was known worldwide for their monk lead writing classes which taught students expectational skills in literature, penmanship and printing. It still houses Austria’s oldest library, which contains manuscripts from as early as 734 AC.

Architecture

This building has a simple Baroque-styled exterior. Light cream-coloured stucco is decorated with banana cream whipped windows and trim. The Abbey’s onion-domed roofs can easily be seen across the Salzburg skyline.

Interior

Inside the church, the Rococo period explosions burst as soon as you walk in the doors. Swirling oceanic shapes curl on the ceiling; golden vines encrust walls. Frescos of various biblical scenes are painted along the nave, making the whole room burst with life and colours.

Inside, Mozart himself premiered his famous orchestra Mass in C Minor along with his wife, who performed the vocals for the performance. No doubt it would have been THE place to be in Salzburg that evening.

St. Peter’s Abbey Church

The organ’s swelling melodies still fill the church as the building is frequently used as a concert hall today. Standing in the middle of the nave, surrounded by all this artistic greatness, you feel a sense of majesty all around. I cannot describe how many little treasures were squeezed into this small space. Everywhere you looked, there seemed to be something new to uncover.

Catacombs

Before heading into the Cemetery, take a few minutes to explore the catacombs. To enter, you must climb up the steep steps carved into the Mönchsberg mountain. The catacombs dated back to 15 A.D. and were built by the early Christians. These mystical caves were also rudimentary shelters for the earliest settlers in Salzburg.

Gertrauden Chapel

Inside the catacombs, you’ll find the small Gertrauden Chapel, which dates back to 1178. Once you reach the top of the steps, you will enter the Maximus Chapel, with a great view of the Cemetery and the city below. These “chapels” are not more than little altars carved into the rocks. Miniature altarpieces sit atop the stone tables, and ancient carvings dot the walls as you walk past.

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Cemetery

Next, head back out to visit the Cemetery. The Cemetery is the oldest known Christian Cemetery in Austria and houses some of the wealthiest and most notables family in Salzburg’s history. 

Crypts

There are family crypts along the edges of the Cemetery, each one protected by elegant wrought iron gates. Inside, little touches of baroque architecture decorate the walls and floor of the crypts. This is where the aristocrats of Salzburg are buried. These inspired the cemetery scene in the Sound of Music when Maria and the Von Trapps hide from the Nazis.

These crypts are rented out; the more rent you pay, the more lovely the design of your crypt. Along with your monthly rent comes a florist who will create perfectly manicured flower boxes in front of your loved one’s tombs every month. This means that all the flowers in the Cemetery are cohesive, which gives the whole place a garden-like appearance.

St. Mary’s Chapel

The graves plotted throughout the Cemetery are filled with famous personalities from Salzburg, including artists, scholars and merchants, and Mozart’s dear sister.

While a cemetery tour might seem a bit macabre to some, wandering this darling little corner of Salzburg is as historical as beautiful and worth checking out if you happen to be visiting Salzburg anytime soon.

St. Peter’s Abbey and Cemetery is a hidden gem that should not be missed on any visit to Salzburg. With its rich history and beautiful architecture, it offers a glimpse into the past and a chance to discover the stories of the notable figures who have called Salzburg home.

Happy Travels, Adventurers

The post Unearthing the Secrets of St. Peter’s Abbey and Cemetery: A Guide to Exploring Salzburg’s Hidden Gem first appeared on The Creative Adventurer.