Standing inside the Piazza del Duomo, is the most famous structure in Florence; the Cathedral of Santa Maria del Fiore. Although if you want to sound like a local, just call it the “Duomo.” The bright white marble exteriors, trimmed in green and pink stone, are so unique and iconically Florentine. If there were a beating heart to this city, it would live right here. 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 this building without really understanding the context behind its construction and artistry. Through this guide to the Duomo, I hope to help illuminate some of those mysteries and perhaps help you appreciate these attractions for more than just their beauty.
The museum will be closed on the first Tuesday of each month.
Cathedral
Mon-Sat: 10am-4:30pm
Sun: 1:30pm-4:30pm
Giotto’s Bell Tower
Mon-Sun: 8:15am-7:20pm
Dome
Mon-Sat: 8:30am-7pm
Sun: 1pm-4pm
Crypt of Santa Reparata
Mon-Fri: 10am-5pm
Sat: 10am-4:30pm
Sun: Closed
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.
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.
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.
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.
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.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 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.
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.
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 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.
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.
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.
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.
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!
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