Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture by Ross King

Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture Reviews

• 
  Ted

  I read this book about a year before six of us traveled to Italy. A fantastic book from engineering, history of the Renaissance, and history of architecture viewpoints. Having read the book, I knew we had to visit Florence and climb up to the top of il Duomo. I spent many weeks before we left walking up and down two flights of stairs in our house to prepare myself. It was a wonderful experience, a great view from up there (the Duomo that is, not the top of my stairs).
  
  If you ever visit Italy, do not miss Florence, and take a walk to the top of the dome if you are able. It really isn't too hard, the only one of our group who didn't make the trek was one person who didn't like heights. Of course I was the only one who had "prepared". I like to think that it was at least a little easier for me than it was for the others. :)
  
  following photos taken 6 September 2007. (Click any photo for a somewhat enlarged view.)
  
  
  
  
  the interior of the dome
  Begun by Vasari in 1568, completed by Federico Zuccari in 1579. This work, representing The Last Judgement, was commissioned by Cosimo I de'Medici, and extends over 3600 sq. meters of the dome's interior.
  
  
  
  
  il Duomo
  In this photo (7 September 2007), taken from across the Arno in the Giardino Bardini, the visitors’ walkway at the top of the dome (above the rust colored segments) can be seen. People are visible, though none of those people include the photographer, unless something very strange occurred. The rest of the photos were taken from this walkway.
  
  
  
  
  Campanile de Giotto
  This marble clad bell tower lies just off the south west corner of the cathedral, maybe 10-20 yards away; but is farther away than that from il Duomo, which is at the east end of the cathedral. The tower was begun in 1334, and completed in 1359. The design is by Giotto di Bondone, a painter who in his later years took up architecture. He is held, along with Brunelleschi, as one of "the founding fathers of Renaissance architecture". (Wiki)
  
  
  
  
  Tempio Maggiore
  Well, the beautiful blue dome of this synagogue (also called the Great Synagogue of Florence, or Tempio Maggiore Israelitico), which was built in the second half of the nineteenth century, is just the most notable feature in this photo, which looks to the east of Florence.
  
  
  
  
  Basilica of Santa Croce
  This church, associated with the Franciscans, lies about half a mile (800 m) to the south east of il Dumo. It is known as Tempio dell'Itale Glorie, since it is the burial place of such famous Italians as Michelangelo, Galileo, Machiavelli, Gentile and Rossini. Begun in the 1290s, it was consecrated in 1442, a century and a half later.
  
  
  
  
  
  intrepid tourists
  Our group of six, less the spouse of second-from-right, who did not ascend. Hope I can be recognized through my extra 25 pounds of flab back in 2007.
• 
  Kalliope

  
  
  
  This is an account of how the monument that human ingenuity could build to itself came into being.
  
  During the 13C the prosperous Florence deemed that its small Cathedral needed more than just more repairs. Santa Reparata was then demolished and a new and considerably larger building was commissioned to Arnolfo di Cambio, the architect who had already designed other pleasing churches in the city. The new Cathedral would also drop its no longer suitable old name and take on the radiant designation of Santa Maria del Fiore. Work began at the turn of the century but soon came to a halt when its designer passed away. More unfortunate events followed and it was not until the very strong and wealthy Arte de la Lana (the Guild of Wool Merchants) undertook to give its completion a new push.
  
  That it would have to be such a guild the one who could spin stone out of yarn should be of no surprise. The wealth of the city was based on the turning around and trading such golden fleece.
  
  During the calamitous 14C the fortunes of the Cathedral went through more ups and downs. Giotto and Pisano were there and helped; the Black Death walked its scimitar; other architects like Orcagna and Neri di Fioravante followed and considerably modified the original plan. About one hundred years after it was begun, it was nearly finished.
  
  Except for its Dome.
  
  When the design was altered the model proposed by Neri di Fioravante had won the day. It was so very attractive because it seemed so very Italian. It would have a huge Dome (reminiscences of the glorious Roman past?) and would have no ugly external Gothic (barbarian) buttresses.
  
  What had not yet been resolved was how something of the sort could be built?
  
  Its size and its elevation on relatively thin walls, were unprecedented. A cross view comparing it to the also baffling Roman Pantheon speaks better than many words.
  
  
  
  
  
  Ross devotes this book to tracking how such a solution was forged. And the story is fascinating. He starts with the Competition that again the Arte de la Lana, who was still spinning the functioning of the city, opened up to the public. He expands on the rivalry between the two geniuses who have become the most famous contenders of the Italian Renaissance. Ghiberti and Brunelleschi had to measure each other up repeatedly during those years, first with the Baptistery doors and then with any new of the many commissions that were stemming out of that vibrant city. These two had the required invective and dexterous mind.
  
  Ross then proceeds to tell us how Brunelleschi solved the problems similarly to the way Brunelleschi himself revealed them. That is, gradually: stone-by-stone, or chapter-by-chapter. If Brunelleschi feared plagiarism, Ross seems concerned with losing the narrative interest.
  
  Ross then does not present the architectural scheme as it stands, and he prefers to unveil in installments about what made the dome possible: the double shells; the inadequacy of wood centering; the octagonal crossings and ribs; the pointed fifth arch; the side chains as braces around the ribs; variation in the density of materials; the herringbone brickwork; internal trusses, etc. This approach has somewhat dampened a clear representation of how it all holds together. But in so doing Ross succeeds in showing how each small advance was fraught with difficulty and considerable danger. He engagingly elaborates on these temporary uncertainties, obstacles and technological problems and on the very many additional ingenious solutions that Brunelleschi devised.
  
  For these were not just a few. All the practicalities in the actual building, to the smallest detail, had to be contended by Brunelleschi, the capo maestro. He devised his ox-hoist; the Castello or novel crane; the lantern hoist; the hidden staircase in between the double shell, amongst others. Brunelleschi’s training in clock making clearly helped him to keep his pace.
  
  
  
  
  
  
  
  
  For he finished it. He also had time to design the Lantern as well, although he did not see its completion since he died soon after it was begun, in 1446.
  
  The ceremony of its consecration has also passed into history. The population felt as if they were witnessing a miracle. The heavenly motet that Guillaume Dufay composed especially for this occasion, Nupem Rosarum Flores, must have been conducive for the mystical reception in the congregation.
  
  Later, the celestial frescoes designed by Giorgio Vasari completed the embellishment of such a realized impossibility.
  
  
  
  
  And even if Ross’ writing reminded me somewhat of the style of guidebooks, or had the taste of isolated research, or irritated at times for not giving more of the original Italian names and adapting the material too much for an easy reading, he does succeed in bringing forth Brunelleschi’s extraordinary achievement.
  
  Apart from all the technical details and all the circumstantial considerations, what this Dome by Brunelleschi proves to us is that there was new faith in the power of the individual who had a complete confidence in his own human capabilities.
  
  It was not just the Dome; it was that conviction of himself and of his own ingenuity that was so very new.
  
  
  ------
  
  And if any one feels like climbing up the more than 450 steps of the dome from his/her armchair, there is is this fun video by someone who got inspired by this very book...
  
  
  https://www.youtube.com/watch?v=ohB1s...
• 
  Will Byrnes

  Updated July 17, 2013 - added image and links
  
  At the height of the Renaissance in Florence a competition was announced. The cathedral, Santa Maria del Fiore had been under construction for more than a century, but no one knew how to construct the massive dome that was called for in the original design, a design from which the city rulers were loathe to depart. The task was widely considered impossible, but Filippo Brunelleschi, a goldsmith and clockmaker, submitted a construction plan that was breathtaking in its radicalism. His achievement revolutionized architecture. In dedicating his life to this project, he had, of necessity to invent hoists and cranes of extremely original design to perform tasks never before mechanized. The dome remains aloft today, still one of the largest on earth.
  
  The book is interesting and offers a nice picture of some aspects of life in the fifteenth century. The subculture of high end artistes of the time, the warfare between city-states, impact of the plague
  
  
  
  The photo was taken from the Getty Museum
  site
  
  P 14
  The Black Death was a faithful visitor to Florence. It arrived, on average, once every ten years, always in the summer….Various remedies were tried to drive it away. Church bells were violently rung, firearms discharged into the air, and the portrait of the Virgin from the church at nearby Impruneta—an image with miraculous powers that was said to have been painted by Saint Luke—borne in procession through the streets. Those rich enough escaped into the country. Those who stayed behind burned wormwood, juniper and lavender in their hearths. Ox horns and lumps of sulfur were also burned, because stenches were considered equally effective in clearing the air. So intense were these fumigations that sparrows would fall dead from the rooftops.
  
  P 34
  Perspective is the method of representing three-dimensional objects in recession on a two-dimensional surface in order to give the same impression of relative position, size, or distance as the actual objects do when viewed from a particular point. Filippo is generally regarded as its inventor, the one who discovered (or rediscovered) its mathematical laws. For example, he worked out the principle of the vanishing point, which was known to the Greeks and Romans but, like so much other knowledge, had long since been lost.
  
  P 71
  Freshly cut from a quarry, limestone and sandstone smell of rotten eggs, and the stronger this sulfurous stench, the better the quality of the stone.
  
  P 121
  In 1492 [Filippo Maria] captured both Brescia and Genoa, and a year later seized the town of Forli, only 50 miles from Florence. The following year, as plague raged through Tuscany, his forces defeated the Florentines at Zagonara, in Romagna. There were only three casualties, all Florentine soldiers who fell from their horses and drowned on the battlefield in their heavy plate armor (it had rained heavily in Zagonara the night before). This lack of bloodshed shows that warfare in the Middle Ages and Renaissance, contrary to popular conceptions, could be reasonably civilized. Most battles resembled chess matches in which opposing commanders sought to outmaneuver each other, the loser being the one who conceded that his position was technically vulnerable. These engagements were fought by mercenaries who settled the terms of warfare in advance, rather like sportsmen deciding the rules of the game.
  
  ==============================EXTRA STUFF
  
  A
  small web site dedicated to the dome
  
  Here is a
  nifty article on Brunelleschi and the dome in the latest (Feb 2014) NAtional Geographic mag - You may have to sign in or sign up to actually get to the article, but NG is free
  
  
• 
  Jimmy

  I thought it was a fascinating look at a wonder of architecture and at the always interesting Middle Ages.
  
  Filippo is generally recognized as the one who discovered (or rediscovered) the mathematical laws of perspective. For example, he worked out the principle of the vanishing point, which was known to the Greeks and Romans, but, like so much other knowledge, had long since been lost. Plato had actually condemned perspective as a deceit. He praised the flat Egyptian art for showing figures in their "true" proportions. This prejudice against "dishonesty" in art was adopted in Christian art as well. Only in the first decades of the 14th century did the ancient methods of perspective reappear when Giotto began using chiaroscuro to create realistic three-dimensional effects.
  
  A giant hoist had to be made to lift heavy timbers and other products. The rope makers were taxed to manufacture a 600 foot long rope weighing over a thousand pounds. Before the dome was completed the hoist would raise aloft marble, brick, stone, and mortar weighing an estimated 70 million pounds.
  
  The last act of the dome's construction was the placement of an eight foot high bronze sphere that sits atop the lantern. The commission for the ball went to the sculptor Andrea del Verrocchio. One of his young apprentices was Leonardo da Vinci. Because Leonardo did some drawings of the hoist, he is often wrongly given credit for their invention.
  
  The whole idea of building such an enormous dome is so difficult for me to fathom. I don't think I will ever understand it fully. Filippo was a master of illusion. From outside, the dome looks perfectly octagonal. It was actually built "circle by circle." Filippo was a scholar of Dante, so the dome is often compared to Dante's Heaven. However, a comparison to Dante's nine circles of Hell is also apt.
  
  The Florentines were inept in a battle against the duke of Milan. Clergymen blamed homosexuality. They thought it was destroying the city. Florence was so famous for homosexuality that the German slang for "sodomite" at that time was Florenzer. Efforts were made to identify and prosecute homosexuals. One way to end the "problem" was to make more female prostitutes. Brothels were set up everywhere. The prostitutes were required to wear distinctive garb: gloves, high-heeled shoes, and a bell on the head. But none of this helped the men in battle.
  
  One way for the Pope to march safely through the streets was to have coins thrown in order to scatter the people and keep them from pressing too closely to the Holy Father.
  
  It took over 16 years to complete the dome.
  
  Ancient Romans had a dubious method of protecting their buildings from lightning: believing that eagles and sea-calves were never struck, they buried the corpses of these creatures within the walls to ward off disaster.
  
  The dome is an amazing feat. I will never visit Florence and visit, but I enjoyed my vicarious visit through this book.
• 
  Czarny Pies

  Read this book either on the flight to Italy or on the flight back. Either way it will greatly enhance the pleasure you experience from visiting Florence. Ross King's "Brunellschi's Dome" is short, easy to read and filled with delightful anecdotes. It's prime merit is that it explains everything that the tourist would want to know about the design, construction techniques employed and technological innovations that were made in the building of this architectural wonder. One is overwhelmed by the beauty of the Duomo when one sees it set against the Tuscan hills in the incomparable city of Florence. King's book will help you appreciate the remarkable brilliance of the architectwho executed the project.
• 
  Ruth

  This one's going back to the library unfinished. I'd heard so often that it was good. Though my MFA is in Painting, I did teach a year long Art History survey course, so I've even lectured on the darn dome. And I've always been interested in architecture.
  
  But I am 75 years old and I don't have time to waste on books I'm not enjoying. This one is so poorly written I can't believe it got the good reviews it did.
  
  The writing is plodding and awkward. The author introduces technical/architectural terms without defining them and there is no glossary. He discusses complicated bits of machinery with no clear diagrams of how they worked. Somebody can do better than this.
• 
  Christine

  An interesting story that amid regional war, artistic jealousy, and a doubtful public, Filippo Brunelleschi, a goldsmith and clockmaker, enters a local competition for a dome to complete Florence’s new cathedral, Santa Maria del Fiore. With the banning of flying buttresses, Brunelleschi’s design offers a revolutionary idea on the architecture of the dome.
  
  The United States Capitol building is the latest structure built on his inventive design.
• 
  Lewis Weinstein

  When you stand in the Duomo in Florence and look up, even though you know the dome has been there for over 5 centuries, it's still hard to believe it stays in place. It's even harder to imagine how it was constructed - without supporting scaffolding. Read this book and you will understand, not only the construction but also the nature of the Renaissance civilization that encouraged and financed such a miracle.
  
  
• 
  Roman Clodia

  A quick, 'popular' read about the construction of the Duomo in Florence. Lots of gossip, facts, technical information taken from secondary sources but not well referenced. Still, an ideal preparation for, or companion to, a trip to beautiful Florence.
• 
  Alisa

  Great book, fascinating history covering everything that went into the building of this amazing world landmark. Architecture, art history, culture, Italian politics and drama, of course. I learned a lot and was thoroughly enchanted by this book.
• 
  Krista

  Even the original planners of the dome had been unable to advise how their project might be completed: they merely expressed a touching faith that at some point in the future God might provide a solution, and architects with a more advanced knowledge would be found.

  
  I was in Florence a couple of weeks ago, and although I hadn't really noted the omission at the time, it's now oddly sad to me that at the Accademia we were told, “This is Michelangelo's Statue of David”, and at the Uffizi we were told, “This is Botticelli's Birth of Venus”, but at the cathedral of Santa Maria del Fiore we were told, “The original architect of the church died without explaining how to build the dome you see here. The church would be under construction for over a hundred years before someone came along and figured it out.” So while Michelangelo and Botticelli are familiar names – and rightly so – it is kind of sad that the “someone” who came along and figured out how to build this iconic dome isn't really known to history; an omission more or less corrected by Ross King's
  Brunelleschi's Dome. And I only say “more or less” because it would seem that biographical information on Brunelleschi himself is scant, making this book more the story of the dome than of the man; an interesting tale, but not perfectly matched to my own interests.
  
  What is known of Brunelleschi: Trained as a goldsmith and clockmaker, he entered a competition to design the bronze doors of the Baptistery of Saint John. When Brunelleschi was declared a co-winner along with another young goldsmith, Lorenzo Ghiberti, the notoriously hot-headed Brunelleschi declined to work in partnership and left Florence: starting his self-directed training in architecture and beginning a life-long rivalry with Lorenzo. Brunelleschi travelled to Rome (where he studied the dome of the Pantheon and the proportions of various columns and facades), and when he returned to Florence, he reintroduced vanishing point perspective to painting. When the main body of the Cathedral was nearly finished and a competition was finally opened for a plan for constructing its massive dome, Brunelleschi's design barely beat out that of Lorenzo Ghiberti, and once again, they were asked to work together. This time Brunelleschi agreed, but with few of the specifics written down – and many that were, recorded in a cipher – Brunelleschi took control of the project, leaving Lorenzo to share the title of capomaestro in name only (but why should Lorenzo care? He enjoyed equal pay and was free to pursue many lucrative and prestigious projects on the side.) In addition to working out how to construct the huge, uniquely-shaped dome without the need for props and centering devices, Brunelleschi also won every competition for the designs of the necessary hoists and cranes that would be used in the dome's construction. He had many engineering successes (he received the first ever invention patent), a few failures, exchanged insulting sonnets with his rivals, and died shortly after the last brick was placed on the dome (and before construction began on the dome's surmounting lantern; the design for which Brunelleschi also beat out Lorenzo in yet another competition). In many ways, Brunelleschi was as successful, inventive, and groundbreaking as a Leonardo da Vinci, and with his greatest accomplishment dominating the skyline of Florence, it's a sad wonder to me that I've never before heard his name; even while in the shadow of a structure that still stands as the largest brick and concrete dome in the world.
  
  Like da Vinci, Brunelleschi kept ciphered notebooks, but unlike the great Leonardo, Brunelleschi was too secretive of his designs to have left behind diagrams of his greatest inventions; even today, engineers have to guess at how his hoists were built; guess at how he designed and inserted the various “chains” that are hidden within the dome's structure and balance the forces at work there. If I had more interest in engineering, I would probably be more awestruck by what Brunelleschi achieved; more interested in a passage like this one:
  
  

  The horizontal thrust of an arch or dome varies inversely with its rise, and since a pointed arch rises higher than a rounded one, it naturally generates less thrust. In fact, the architects of the Cathedral of Milan believed that pointed arches produced no horizontal thrust whatsoever. They were mistaken, of course, though a quinto acuto arch does generate as much as 50 per cent less radial thrust than a shallower, semicircular one. It therefore requires less abutment and has a lower tendency to crack or burst at its base.

  
  Ross King is heavy on the engineering of the dome – which is, I suppose, the point – but I preferred the human moments. I liked the idea of the original architect's large scale model having a home in the under-construction Cathedral, which the wardens touched every New Year's Day while vowing, throughout the generations of construction, to follow faithfully. I also like that once the dome was finally underway, this scale model then served as a lavatory for those same wardens. I liked King's description of the Plague and wars that carried on throughout the dome's construction; liked the description of the decimated Rome that Brunelleschi found himself in:
  
  

  A million people had dwelled in Rome during the height of the Empire, but now the city's population was less than that of Florence. The Black Death of 1348 had reduced numbers to 20,000, from which, over the next fifty years, they rose only slightly. Rome had shrunk into a tiny area inside its ancient walls, retreating from the seven hills to huddle among a few streets on the bank of the Tiber across from St. Peter's, whose walls were in danger of collapse. Foxes and beggars roamed the filthy streets. Livestock grazed in the Forum, now know as il Campo Vaccino, “the Field of Cows”. Other monuments had suffered even worse fates. The Temple of Jupiter was a dunghill, and both the Theater of Pompey and the Mausoleum of Augustus had become quarries from which ancient masonry was scavenged, some of it for buildings as far away as Westminster Abbey. Many ancient statues lay in shards, half buried, while others had been burned in kilns to make quicklime or else fertilizer for the feeble crops. Still others were mangers for asses and oxen. The funerary monument of Agrippina the Elder, the mother of Caligula, had been turned into a measure for grain and salt.

  
  The bottom line: I was a little bored by the engineering details (but appreciate their importance), and while King was forced to repeatedly say, “Little is known of this period in Brunelleschi's life”, I was grateful that he was able to assemble what is known; Brunelleschi deserves this and more; tour guides ought to say, "This is Brunelleschi's Dome." Four stars is a rounding up, only reflecting my own reading enjoyment.
• 
  Michael Huang

  In the early 1400s, Firenze (Florence) has a population of about 50,000 (similar to London at the time). To reflect its importance, a grand cathedral with a huge dome will be built: the Santa Maria del Fiore, simply known as Il duomo (the cathedral). The foundation was laid in 1296. In Middle ages and the Renaissance, it was not uncommon for buildings to fall down soon after completion. So this is no cake walk.
  
  A competition for a model dome is held by the office of works (Opera del duomo). The prize is 200 florins (2 years of wage of a skilled craftsman). At the time, several outbreaks of plagues have just affected the area. On top of that, Firenze was under siege from Giangaleazzo Visconti, who wanted the entire peninsula to be under his rule. So another competition for a set of bronze doors featuring Abraham's sacrifice of Isaac (sudden salvation from mortal threat) to be made for the baptistery. Filippo Brunelleschi was pitted against a young upstart called Lorenzo Ghiberti. The former worked in isolation, while the latter cunningly canvased for advice from many on the jury. In the end, the job went to Ghiberti and he spent the next 22 years working on the doors. And their bitter rivalry will persist over the dome project as both are in charge. (As to Giangaleazzo, he fell ill and then died. Soon afterwards, the siege of Firenze was lifted.)
  
  How do you do the dome then. Back then, the standard practice was to pile a huge mound of dirt under the to-be-built dome, and on top of the dirt, using wooden frames to support the bricks. Filippo's idea was to do away with all that, although he didn't explain how. (He also left no drawing or document for us.) But Greek and later Roman architects knew how to build domes. Filippo perhaps rediscovered the art. He also invented an ox-pulled crane system, even with a reversible gear so that whether hoisting or lowering, the oxen do not need to change direction. This is rather remarkable as the bending strength of beams was only mathematically determined by Navier in 1813. Later Da Vinci would make a few sketches of Filippo's ox-hoist and was sometimes incorrectly credited for its invention. He also invented interlocking wooden rail and herringbone brick laying pattern to ensure the integrity of the dome. Another invention of his was a boat with paddle wheel for transporting grain on the river Arno. This time, things didn't go well and he lost a small fortune of 1000 florin.
  
  Things weren't always smooth for Filippo, who was falling out of favor of the ruling class. When his patron Cosimo de' Medici went on exile, Filippo was imprisoned by one of the consuls in the Mason Guild. When he died, the people of Firenze appreciated him more than when he was alive. He was buried inside the cathedral. Later on, when Michelangelo was charged to build the St. Peter's Bascilica, he can only promise to match Filippo and not surpass him. In fact, he didn't even match Filippo as the dome of St. Peter's is quite a bit smaller. The dome still stands as the largest masonry dome today.
  
  This is a book of a narrow subject. It described the building process, the rivalry between the two master artists Brunelleschi and Ghiberti and damages after the construction. It was generally a very good read, though for such a narrow subject, there is a human tendency to digress a bit.
  
  I highly recommend reading the book before your trip to Florence. Florence has a lot to offer to travelers and tourists alike. Its collection of Renaissance period art is widely distributed among a gallery (Uffizi), a school (Accademia), churches /chapels (il Duomo, Santa Maria Novella, San Marco, Brancacci, San Lorenzo&Medici Chapel, Santa Croce), and palaces/museum (Palazzo Vecchio, Pitti, Orsanmichele, Bargello, the Duomo museum). Climbing the dome of the Duomo is a very touristy thing (climb, pant, snap picture, descend). But reading this book will make it that much more meaningful, I guess (I didn’t get the reservation and couldn’t on my first trip).
• 
  Lorna

  Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture was a fascinating look at the personal struggles and brilliance of Brunelleschi in his engineering, design and erection of the dome over the beautiful new cathedral Santa Maria del Fiore in the heart of Florence. However, it had already been under construction for a century when, in 1418, a contest was announced for designs to be submitted for the construction of a dome that would vault over the cathedral.
  
  "However, of the many plans submitted, only one--a model that offered a magnificently daring and unorthodox solution to the problem of vaulting such a large space--appeared to show much promise. This model, made of brick, was built not by a carpenter or mason but by a man that would make it his life's work to solve the puzzles of the dome's construction: a goldsmith and clockmaker named Filippo Brunelleschi."
  
  "The hoist that he created was to become one of the most celebrated machines of the Renaissance, a device that would be studied and sketched by numerous other architects and engineers, including Leonard da Vinci. And before the dome was complete, the hoist would raise aloft marble, brick, stone and mortar weighing an estimated 70 million pounds."
  
  This is an engrossing tale of the struggles, obstacles and brilliance of one man as well as a wonderful look at the history, art and architecture in fifteenth century Florence for all who are still amazed at the awesome beauty and grandeur of the cathedral of Santa Maria del Fiore.
• 
  Sharon Barrow Wilfong

  Fascinating account of the construction of the dome of the Cathedral Santa Maria del Fiori in Florence, Italy centering around it's main architect, Filippo Brunelleschi.
  
  Brunelleschi was the first man in the renaissance to re-invent the major dome like structures that covered many ancient Roman edifices, such as the Pantheon in Rome. This information was lost over the 1500 years since the Roman Empire but Brunelleschi figured out how to use physics and engineering to create a massive dome structure that could support itself and not come crashing down.
  
  Not only do we learn on a layman's level how Brunelleschi accomplished this, we learn about the man himself, his rivals, such as Lorenzo Ghiberti of "Doors of Paradise" fame and others. We learn about Brunelleschi's successes and his failures and also about Florence and Italian Renaissance history and politics.
  
  Anyone interested in Italian Renaissance Art, Architecture, and history will thoroughly enjoy this book.
• 
  Jason Golomb

  I'm no engineer and I only vaguely understand the basic tenets of architecture. But I'm a great admirer of history and have tremendous appreciation for the significance of milestone art and architecture. So in advance of an upcoming trip to Florence, I picked up Ross King's "Brunelleschi's Dome", assuming that King would do as good a job with this seminal Renaissance creation as he did with Michelangelo's Sistine Chapel in "Michelangelo & The Pope's Ceiling". The book is thorough and enjoyable and scores its highest marks on fleshing out the personality of Filippo Brunelleschi and connecting the building's construction to the greater context of the burgeoning Renaissance.
  
  The Dome, of course, refers the famed Santa Maria del Fiore in the heart of Florence, Italy. The book is fascinating in it's detail of the monumental effort that went into creating such an enormous structure. Filippo Brunelleschi was a goldsmith and clockmaker, and by the time he was given the commission to build the Dome, he'd had very little experience in large-scale construction (and this was one of the most large-scale ever conceived at the time).
  
  Work on the dome began after Brunelleschi won one of the ubiquitous Florentine architectural/design contests, and 50 years after construction on the rest of the church began. King writes, "even the original planners of the dome had been unable to advise how their project might be completed: they merely expressed a touching father that at some point in the future God might provide a solution, and architects with a more advanced knowledge would be found."
  
  The core problem Brunelleschi faced was the sheer scope of what the leaders of Florence were asking for. Specifically, King writes, "An architect must design a structure that will counteract (push and pull) pressures...a game of action and reaction-- and channeling them safely to the ground." This had been traditionally handled through the use of flying buttresses, which can be seen throughout gothic architecture in Europe, but the Florentine leaders had previously accepted a design with no external buttresses.
  
  After losing the "da uomo a uomo" battle of the bronze doors to Lorenzo Ghiberti, the intense Brunelleschi spent a few years traveling, including significant time in Rome. It's documented that he extensively explored the ancient Roman ruins, none of which would have been in the clean and, sometimes, rebuilt state that they are today. He undoubtedly visited the one monument, which is in, in fact, a comparable state to when it was originally built almost two thousand years ago: the Pantheon. The largest dome in the world clearly was built to handle the 'push and pull' pressures and Brunelleschi was sure to translate his learnings into his efforts back home in Florence.
  
  I had some trouble conceptualizing some of the more nuanced engineering hurdles that Brunelleschi overcame. King incorporates drawings and images and writes very plainly, but I think my architectural and construction vocabulary is simply too small.
  
  Throughout the long and protracted construction of the Duomo, Brunelleschi battled against supply issues, war-related interference (he was also Florence's Military Engineer), logistical concerns, as well as internecine battles from within the Florentine artistic and engineering community. In creating numerous novel mechanisms to aid in his construction, Brunelleschi clearly gained the trust and financial assurances from the Florentine leaders and was able to knock down just about every obstacle thrown his way.
  
  This read was a worthwhile investment ahead of my trip to Florence. At only 150 pages, this is the perfect introduction to a surprisingly complex set of problems faced at the forefront of the European Renaissance. While a terrific primer on the specifics of the Duomo, the books' even greater value is it's explorations, however shallow, into the culture and context of the time in which it was built.
  
• 
  Monica

  (Nov '08)-Have to put this aside, have to cram on South America...Dec. '10-- Brunelleschi’s Dome: How a Renaissance Genius Reinvented Architecture, by Ross King, was scholarly, yet had a lighter touch than most art history dissertations. It was even a best seller. Extremely well researched, it details the competition and execution of the building of the dome of the cathedral in Florence, an architectural and artistic accomplishment few understand. The scope King gives us, although at times heavily laden with civil engineering and mechanical descriptions difficult for a lay person to understand, this book vividly brings mid 15th Century Florentine life alive. We become acquainted with Brunelleschi, his detractors, the hundreds of laborers who devoted their lives to the project, and the guild who supported his genius. 21st century readers can appreciate personality conflicts, financial concerns and the herculean effort made by the people of those times. Though not handsome or well loved, Brunelleschi became more famous in death than life, and in this book he is given the credit he is most certainly due.
  
  
• 
  Erin

  What a pleasant gem to find! Although this is nonfiction the author delves into a lot of the social politics in play during the build which kept this, for me, from reading like a text book. Some of the stories shared were quite funny, especially the lengths people would go to get credit for their work! It made me think how in some regards business politics haven't changed since the 1300s and on the other hand, without today's technology available, could we be successful with such a task? Pouring all that time and money into something believeing a future generation will figure out how to 'make it work.'
• 
  Teresa

  I found the first half of the book much more interesting than the second half: the innovation in the architecture of the dome held much more narrative interest in than the chapters on the various machines invented in order to construct the thing. Although it has been several years since I read the book, I do also recall being vaguely disappointed with the ending: The Dome Goes Up! Still, an incredibly interesting portrait of the convergence of many sciences in this beautiful masterpiece.
• 
  Marc

  Interesting docu-fiction about the construction of the dome of the duomo in Firenze. Also nice introduction to Brunelleschi.
• 
  Mark Hebwood

  I loved it. For full disclosure, I have just returned from a week in Florence, where I immersed myself in the culture of the city's heyday in the 14th- and 15th centuries. And of course I visited the dome, and of course I had to climb up to the viewing platform just underneath the 'candle', the structure that tops out the domed roof of the 'cupola'. I had a great time, and on my return home, I decided I needed to know more about the architect of this magisterial building. So Ross King's book sounded like just the ticket, and it was.
  
  Ross chronicles the construction of the dome, and tells a vivid tale of how its architect Filippo Brunelleschi managed to overcome the manifold challenges he encountered during the several decades of the project. Ross embeds his account into an analysis of the politics of the time, he introduces a suite of historical figures that impacted the dome's construction, some well-known like the Medici, some lesser-known like Filippo's personal rival Giovanni da Prato. Ross peppers his analysis with anecdotes, some funny, some tragic, and as his account develops, I got to share Brunelleschi's fears, hopes, trepidations and struggles before finally experiencing a sense of relief and pride in his crowning achievement.
  
  The only thing I would have liked to see more of is illustrations. Ross includes several pictures of contemporary drawings showing the workings of cranes and other auxiliary building tools, and also of contemporary architectural drawings, but I am finding plans from the 14th century difficult to follow, to say the least... . Still, if you read this book on the kindle, you can instantly click through to Wikipedia or YouTube and find modern diagrams that help to understand what's going on, so even this point is only minor criticism.
• 
  Jim

  The Duomo in Florence was one of the highlights of our Italy trip a few years ago. We stayed at the Hotel Brunelleschi there and since then I have been interested in the work of Brunelleschi and Ghiberti. This was a good treatise on the challenges of designing and building the dome. I highly recommend this book to two young architects that I know, Matt & Samantha.
• 
  Roberta

  The birth of one of the most iconic architectural prodigies and the genius who conceived it.
  
  In the thirteenth century, Florence was a wealthy medieval city on account of its textile trade. Florentines of the time decided that in order to compete with other Tuscan cities, they would build the grandest church in the regions. The first stone of Santa Maria Del Fiore was laid in 1296. However, by 1418, one important detail was still missing: the dome. A competition was announced and the winner, goldsmith and sculptor Filippo Brunelleschi, was to become a genius of the Renaissance.
  
  An essay in which the events of the construction of the dome are interwoven with the narration of wars, epidemics and political struggles. The creation of a masterpiece, capable of withstanding the passing of centuries, that enchants anyone who observes it.
  
  “What man, however hard of heart or jealous, would not praise Pippo the architect when he sees here such an enormous construction towering above the skies, vast enough to cover the entire Tuscan population with its shadow, and done without the aid of beams or elaborate wooden supports? Surely a feat of engineering, if I am not mistaken, that people did not believe possible these days and was probably equally unknown and unimaginable among the ancients.”
  
  “Chi mai sì duro o sì invido non lodasse Pippo architetto vedendo qui struttura sì grande, erta sopra e’ cieli, ampla da coprire con sua ombra tutti e’ popoli toscani, fatta sanza alcuno aiuto di travamenti o di copia di legname, quale artificio certo, se io ben iudico, come a questi tempi era incredibile potersi, così forse appresso gli antichi fu non saputo né conosciuto?”
  
  Leon Battista Alberti, De Pictura (On Painting)
• 
  Nigel

  What an unexpected little treat this was. An account of the building of the dome of the cathedral of Santa Maria del Fiore in Florence. Begun in 1296 and completed in 1436, the dome itself took nearly a quarter of a century to construct, and even when it was initially designed regarded as potentially impossible to construct, the original designers essentially shrugging their shoulders and hoping God would provide. Provision came in the form of bad-tempered genius Filippo Brunelleschi, master goldsmith, whose years spent treasure-hunting the ruins of Ancient Rome equipped him with the ideas and inspiration which would ultimately not only pull of an amazing feat of engineering, but also do it without the wooden structure that normally provided 'centring' while domes were being erected. Along the way, he came up with a few minor inventions that would turn out to be decades ahead of their time, and nobody's quite sure how he did it. This is to say nothing of the ravages of the plague, warfare, professional and political rivalry (with dueling sonnets) the odd disaster and even a spell in prison. It's an epic of human ingenuity. You'd almost say folly, but the end result has endured in its beauty and splendour and made important contributions to the world of art and science, and stands testimony to what humanity can achieve with time, genius, money and an army of workers. The dome endures, but alas, the sonnets are lost.
• 
  Alex

  Cool little book. Not exactly crucial to anything, but it gives some nice flavor of life in the early Renaissance, and of the return of architecture - and at 167 pages, it's only an afternoon's commitment anyway. David Macaulay's
  Cathedral would be an excellent companion read, and I found it useful to refer to
  this big-ass picture of the dome from time to time.
• 
  D.J. Speckhals

  For a historical perspective on the early Italian Renaissance, Brunelleschi's Dome was an engaging introduction. Perhaps the most interesting parts were about the labor situation in Florence during the early 15th century: the politics between the powerful guilds, eccentric artisans, and Catholic Church allowed for plenty of drama without becoming overbearing.
  
  Though this is not a biography of Filippo Brunelleschi per se, it does offer a lot of interesting anecdotes from his life and dealings with others. By the end, I admired his persistence, but I'm not quite sure I truly appreciate him. The facts surrounding him working on multiple projects at once were a little vague, leaving me wondering what his day-to-day modus operandi was. I wish the author had gone beyond his administrative duties and spoke about what he did on the job site.
  
  Also, it was hard for me to imagine many of the architectural concepts of which were spoken. I get it—the physics of arches and domes is complex. But maybe a little appendix or inline footnotes would have been appropriate for some of the technical explanations.
  
  In all, I learned a lot about Florence, Brunelleschi, and the Renaissance, but felt that the architectural jargon was a little much. For anyone interested in this time period, engineering, or geniuses, you will appreciate this book. However, if you're not an enthusiast, you may find yourself bogged down and unsatisfied.
• 
  Caroline Gurgel

  O Domo de Brunelleschi conta a história da construção da cúpula da catedral de Santa Maria del Fiore, em Florença, desde o lançamento do concurso para a proposta, em 1418, até pouco depois da cerimônia de consagração, em 1446.⠀
  ⠀
  A leitura é bem simples e prazerosa, daquela que deixa o leitor querendo ler e saber mais sobre os assuntos relacionados, seja sobre o Renascimento, Brunelleschi, Florença ou sobre a construção de cúpulas.⠀
  ⠀
  A genialidade de Filippo Brunelleschi realmente é de encher os olhos. Não só fez o que parecia impossível na época, como ninguém conseguiu fazer igual até hoje.⠀
  ⠀
  Olhar para a Duomo, como é chamada, é de deixar qualquer um sem fôlego, sem acreditar que aquilo foi erguido há mais de 5 séculos e ainda continua a surpreender. Em 2010 estive na catedral e pude me deslumbrar com sua beleza, mas não encarei a subida [claustrofóbica] dos mais de 400 degraus [em espiral] até a cúpula [se olharem as fotos dessa escada irão me entender]. No entanto, hoje, depois de ter lido este livro, eu não perderia a oportunidade de subir.⠀
  ⠀
  Para quem gosta de História, leitura mais que recomendada, e se estiver com viagem marcada para Florença, leitura obrigatória, rs.
  
  
  www.historiasdepapel.com.br
  @historiasdepapel_
• 
  Pamela

  Excellent history of the erection of the dome of the cathedral of Florence, Santa Maria del Fiore, by Filippo Brunelleschi. It was easier to follow the infighting and jealousies of the various sculptors and architects involved in the project than the architectural process itself. Still, the author made the basics of that discussion easy to follow as well. The most interesting parts were not only Brunelleschi's overall design itself but the many machines he developed as the work proceeded in order to carry out his designs. He made some truly ingenious machines. The dome itself still stands as one of the greatest achievements ever in architecture. The story of the lanterna on the top was also impressive in the fact that it led to some fantastic corrections and discoveries in maritime measurements that became indispensable in exploration, esp. for Christopher Colombus.
  
  This was altogether a fascinating book.
• 
  Truls Ljungström

  Jag plockade upp denna i bokhandeln utanför Florens-domen, och lyckades lämna den på flygplatsen. Nu har jag hittat ett nytt ex, och lyckats läsa färdigt den, och jag kan inte säga annat än att den var värd att väntas på. Boken går igenom Brunelleschis karriär, med ett fokus på de mekaniska utmaningar han övervann. Den är motiverande, rolig, och orädd inför ämnen som är ganska tekniska. Det gör den utmärkt för den intresserade läsaren. Jag rekommenderar den ur djupet av mitt hjärta, åtminstone för alla renässansnördar.