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Relevant bibliographies by topics / Opera di Santa Maria del Fiore

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Academic literature on the topic 'Opera di Santa Maria del Fiore'

Author: Grafiati

Published: 10 March 2023

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Journal articles on the topic "Opera di Santa Maria del Fiore"

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Es Sebar, Leila, Leonardo Iannucci, Sabrina Grassini, Emma Angelini, Marco Parvis, Andrea Bernardoni, Alexander Neuwahl, and Rita Filardi. "Characterization of the Santa Maria del Fiore cupola construction tools using X-ray fluorescence." ACTA IMEKO 11, no. 1 (March 31, 2022): 7. http://dx.doi.org/10.21014/acta_imeko.v11i1.1101.

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<p class="Abstract">This paper presents the characterization of different tools employed in the construction of the Santa Maria del Fiore cathedral in Florence; they are part of the Opera di Santa Maria del Fiore collection and are currently exhibited in the Museo dell’Opera del Duomo. The analysed objects are turnbuckles, pulleys, three-legged lewises, and pincers; indeed, despite their uniqueness and their importance from the historical point of view, this study is the first one that investigates their alloys composition. Actually, this information can be of great interest for curators to find the best conservation strategies and to have new insights on the production techniques typical of the Renaissance. The study was performed using X-Ray Fluorescence (XRF) in order to identify the materials constituting the objects. Then, XRF spectra were analysed using chemometric techniques, namely Principal Components Analysis (PCA), in order to investigate possible similarities among different alloys and thus provide new indications to help collocating these tools in a specific historical period.</p>

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Tucci, G., V. Bonora, L. Fiorini, and A. Conti. "THE FLORENCE BAPTISTERY: 3-D SURVEY AS A KNOWLEDGE TOOL FOR HISTORICAL AND STRUCTURAL INVESTIGATIONS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 16, 2016): 977–84. http://dx.doi.org/10.5194/isprs-archives-xli-b5-977-2016.

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The Baptistery of San Giovanni is one of the most important pieces of architecture in Florence. It is an octagonal building, encrusted with marble both internally and externally (including the pyramidal roof) and covered inside by a magnificent dome with sparkling gold mosaics. During Dante’s time, it appeared much older than the other monuments, so its origins were considered as hailing straight from Florence’s most remote and mythical history. Even though we have much more data now, scholars still disagree over the interpretations on the origin and construction sequence of the monument. <br><br> Survey has always been considered a main instrument for understanding historical architecture, mostly from constructional and structural points of view. During the last century, the Baptistery was surveyed using both traditional techniques and the most up-to-date instruments available at the time, such as topography, close-range photogrammetry and laser scanning. So, a review of those early applications, even if partial or isolated, can significantly attest to the state of the art and evolution of survey techniques. <br><br> During recent years, the Opera di Santa Maria del Fiore promoted new research and a wide range of diagnostic investigations aimed at acquiring greater knowledge of the monument in anticipation of the cleaning and restoration of the outer wall surfaces during 2015. <br><br> Among this research, GeCo Lab carried out a new systematic and complete laser scanner survey of the whole Baptistery, acquiring data for the more inaccessible parts that were given little attention during other survey campaigns. <br><br> First of all, the paper analyses recent contributions given by instrumental surveys in advancing knowledge of the building, with references to the cutting-edge techniques and measurement tools used at the time. Then, it describes the new survey campaign, illustrating the approach followed in the planning, data acquisition and data elaboration phases; finally, it gives examples of some interpretations of the structure stemming from the new acquisitions.

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Tucci, G., V. Bonora, L. Fiorini, and A. Conti. "THE FLORENCE BAPTISTERY: 3-D SURVEY AS A KNOWLEDGE TOOL FOR HISTORICAL AND STRUCTURAL INVESTIGATIONS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 16, 2016): 977–84. http://dx.doi.org/10.5194/isprsarchives-xli-b5-977-2016.

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The Baptistery of San Giovanni is one of the most important pieces of architecture in Florence. It is an octagonal building, encrusted with marble both internally and externally (including the pyramidal roof) and covered inside by a magnificent dome with sparkling gold mosaics. During Dante’s time, it appeared much older than the other monuments, so its origins were considered as hailing straight from Florence’s most remote and mythical history. Even though we have much more data now, scholars still disagree over the interpretations on the origin and construction sequence of the monument. <br><br> Survey has always been considered a main instrument for understanding historical architecture, mostly from constructional and structural points of view. During the last century, the Baptistery was surveyed using both traditional techniques and the most up-to-date instruments available at the time, such as topography, close-range photogrammetry and laser scanning. So, a review of those early applications, even if partial or isolated, can significantly attest to the state of the art and evolution of survey techniques. <br><br> During recent years, the Opera di Santa Maria del Fiore promoted new research and a wide range of diagnostic investigations aimed at acquiring greater knowledge of the monument in anticipation of the cleaning and restoration of the outer wall surfaces during 2015. <br><br> Among this research, GeCo Lab carried out a new systematic and complete laser scanner survey of the whole Baptistery, acquiring data for the more inaccessible parts that were given little attention during other survey campaigns. <br><br> First of all, the paper analyses recent contributions given by instrumental surveys in advancing knowledge of the building, with references to the cutting-edge techniques and measurement tools used at the time. Then, it describes the new survey campaign, illustrating the approach followed in the planning, data acquisition and data elaboration phases; finally, it gives examples of some interpretations of the structure stemming from the new acquisitions.

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Bergstein, Mary. "Marian Politics in Quattrocento Florence: The Renewed Dedication of Santa Maria del Fiore in 1412." Renaissance Quarterly 44, no. 4 (1991): 673–719. http://dx.doi.org/10.2307/2862484.

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On the Feastday of the Nativity of the Virgin, September 8, 1296, the papal legate of Boniface VIII, Pietro Valeriano di Piperno, blessed the rebuilding of the church of S. Reparata in Florence. In the ceremonial presence of the podestà, the Standard-Bearer of Justice, and the priors of the Signoria, he named the new cathedral “Santa Maria del Fiore.” Arnolfo di Cambio was made chief architect in charge of the renewal; and it was he who began a program of monumental sculpture devoted to the life of the Virgin (fig. 1). Giovanni Villani, who recorded the benediction ceremony in his chronicle, admitted that notwithstanding the rededication of the church to the Virgin and the invention of the poetic name “Santa Maria del Fiore,” most Florentines continued to call the cathedral S. Reparata.

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Smith, Graham. "Gaetano Baccani's "Systematization" of the Piazza del Duomo in Florence." Journal of the Society of Architectural Historians 59, no. 4 (December 1, 2000): 454–77. http://dx.doi.org/10.2307/991621.

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Emilio de Fabris's completion of the west front of Santa Maria del Fiore is the best-known of the architectural interventions carried out during the nineteenth century in the Piazza del Duomo and Piazza di San Giovanni in Florence. But this initiative was preceded by an earlier one that was more radical in character, insofar as it transformed the area around the Campanile and Duomo. A proposal of November 1823 by the architect Gaetano Baccani resulted in the demolition of a large part of the late medieval cathedral canonry and the creation of an extensive new piazza on the south side of Santa Maria del Fiore. This intervention introduced two issues that were to become fundamental to the notion of urban patrimony. On the one hand, it prompted consideration of the relationship between a historic monument and its ambience; on the other, it brought into focus the tension that was likely to exist between conservation and the creation of a modern urban environment. The present study publishes Baccani's formal submission to the Deputazione Secolare sopra l'Opera di Santa Maria del Fiore and draws on other documents preserved in the Archivio dell'Opera to construct a detailed history of the project. The study also introduces other literary and visual materials to establish the nature of Baccani's "systematization" of the Piazza del Duomo. Baccani's project is linked retrospectively to a Napoleonic plan for the modernization of Florence, but it is discussed also as a harbinger of later programs of urban renewal in Florence and in other Italian cities. The paper outlines the history of the canonry compound and places Baccani's reorganization of it in the context of the development of a new relationship between church and state in Florence. The piazza likewise is considered in relation to the transformation of Florence into a modern, orderly city, well-suited to the growing tourist industry. From Baccani's proposal to the Deputazione Secolare it is apparent that he wished it to be believed that his project was in keeping with the intentions of the original architects of the Duomo. The present study considers Baccani's project in this light, while also assessing the extent to which his plans were rooted in his own time. In particular, Baccani's conception of the area around the Duomo is discussed in relation to other urbanistic projects that were planned in Florence, Milan, and Rome during the Napoleonic period. Finally, Baccani's scheme is considered in relation to recent studies of the area around the Duomo by Piero Sanpaolesi, Margaret Haines, and Marvin Trachtenberg. The paper establishes that Baccani's intervention fundamentally changed the manner in which Santa Maria del Fiore and the Campanile could be seen, revealing an "ideal" view of the two buildings in juxtaposition. Baccani's vision is discussed in relation to a widespread nineteenth-century wish to consecrate the individual monument. The study concludes by introducing a number of unfamiliar images of the Campanile and Duomo and proposes that they lent authority to Baccani's concept of a "best" general view of these monuments.

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Pauwels, Yves. "I progetti per la facciata di Santa Maria del fiore (1585–1645): Architettura a Firenze tra Rinascimento e Barocco. Mario Bevilacqua. Archivi di Santa Maria del Fiore: Studi e Testi 4. Florence: Olschki, 2015. xxx + 354 pp. €45." Renaissance Quarterly 69, no. 4 (2016): 1454–55. http://dx.doi.org/10.1086/690345.

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Marchiori, Laura. "Medieval wall painting in the church of Santa Maria in Pallara, Rome: the use of objective dating criteria." Papers of the British School at Rome 77 (November 2009): 225–55. http://dx.doi.org/10.1017/s0068246200000088.

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Le pitture medievali nella chiesa di Santa Maria in Pallara hanno ricevuto poca attenzione da parte degli studiosi, forse per via dell'incertezza della loro datazione; infatti non si possiede nessuna indipendente documentazione letteraria per la loro realizzazione. Tradizionalmente datati al X secolo, le pitture mostrano un'iconografia più comune nei contesti del XII e XIII secolo, una rappresentazione di Apostoli seduti sulle spalle dei Profeti, che senza dubbio contribuiscono alla loro dimenticanza, visto che i monumenti più tardi sono ben documentati. Comunque, l'iconografia deriva dalle tradizioni romane della decorazione ecclesiastica, tradizioni che possono essere utilizzate in un'analisi delle pitture al fine di arrivare ad una datazione indipendente basata solo sulla loro forma e contenuto. Seguendo una metodologia sviluppata da John Osbornc per la datazione di pitture medievali prive di documentazione a Roma, questo articolo analizza i criteri obicttivi di datazione delle pitture di Santa Maria in Pallara; tali criteri sono la messa in opera, la funzione, il soggetto, le iscrizioni e la tecnica pittorica. Simili analisi suggeriscono che per le pitture è possibile una data al X secolo, che sono ben classificate nella storia della tecnica pittorica di Roma tra monumenti sicuramente datati al IX secolo e quelli datati all'XI e XII secolo.

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Fortunato, Luci M. "Patrizia Meli and Sergio Tognetti. Il principe e il mercante nella Toscana del Quattrocento: Il Magnifico Signore di Piombino Jacopo III Appiani e le aziende Maschiani di Pisa. Archivi di santa Maria del Fiore. Studi e Testi 2. Florence. Leo S. Olschki. 2007. .ISBN: 978-88-222-5590-7." Renaissance Quarterly 61, no. 1 (2008): 122–23. http://dx.doi.org/10.1353/ren.2008.0037.

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Richards, Patricia Lyn. "Tommaso Rimbotti. Rime. Eds. Dario Del Puppo and Lorenzo Fabbri. Archivi di Santa Maria del Fiore Studi e testi 1. Florence: Leo S. Olschki, 2005. xvi + 222 pp. + 14 color pls. index. illus. tbls. chron. bibl. €25. ISBN: 88-222-5469-4." Renaissance Quarterly 60, no. 1 (2007): 161–63. http://dx.doi.org/10.1353/ren.2007.0096.

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Fissi, Silvia, Elena Gori, Alberto Romolini, and Marco Contri. "Facing covid-19: the digitalization path of Opera di Santa Maria del Fiore in Florence." European Planning Studies, September 2, 2021, 1–17. http://dx.doi.org/10.1080/09654313.2021.1974352.

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Dissertations / Theses on the topic "Opera di Santa Maria del Fiore"

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Amidei, Federica. "Il recinto fiorentino. Dai disegni di Brunelleschi ad un nuovo progetto liturgico per Santa Maria del Fiore." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/8040/.

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Lonzi, Giuditta. "La cupola del Duomo di Siena: ricerca storica, analisi costruttiva e modellazione strutturale tramite FEA finalizzate alla comprensione del comportamento statico." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16541/.

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Il centro storico di Siena, iscritto nella Lista Patrimonio Mondiale dell’UNESCO, è soggetto ad una forte contaminazione ambientale da cui deve essere necessariamente protetto e conservato in funzione del valore storico ed estetico che rappresenta. La vetustà del patrimonio architettonico comporta la necessità di uno studio approfondito del singolo edificio e la comprensione delle particolari tecniche costruttive antiche al fine di una corretta interpretazione del comportamento strutturale per l’elaborazione di efficaci strategie di prevenzione. Questa tesi di laurea vuole approcciarsi nel suddetto modo per lo studio della cupola del Duomo di Siena, concentrandosi sulla calotta esterna in muratura, di più recente costruzione, ad opera dell’architetto Partini e risalente al 1892. Per cercare di individuare e interpretare un corretto comportamento della struttura si è proceduto iniziando dalla ricerca storica archivistica per poi passare all’analisi costruttiva dettagliata della calotta. Si è ritenuto maggiormente esaustivo affiancare all’analisi puramente logica del manufatto, una modellazione tridimensionale agli Elementi Finiti (FEM) tramite software, che hanno consentito di effettuare una esauriente analisi del comportamento statico dalla cupola e dell’interazione esistente fra le due calotte, interna ed esterna. È indispensabile comprendere le vecchie tecniche costruttive, il modo di ragionare e agire sempre secondo criteri studiati, logici e motivati così è possibile dedurne un corretto comportamento e di conseguenza intervenire laddove siano state individuate le criticità con interventi di recupero e consolidamento. La questione di fondamentale importanza a cui si vuole dare rilievo, consiste nello studiare e analizzare in maniera assolutamente obiettiva il passato senza lasciarsi vincolare dalle influenze del periodo moderno. È questa concezione moderna che spesso ci spinge ad assumere come certezze casi che in realtà nascondo significati ben più profondi.

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Baradel, Valentina. "Zanino di Pietro nel contesto della cultura figurativa veneziana tra Tre e Quattrocento." Doctoral thesis, Università degli studi di Padova, 2018. http://hdl.handle.net/11577/3422317.

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The study is devoted to the painter Zanino di Pietro, who was mainly active in Venice between the 14th and 15th centuries. Indeed, this artist was an eminent personality of the Late Gothic period and took part to the transition of the artistic scene from the neo-Giottesque style to the International style introduced in the Lagoon by Gentile da Fabriano. The goal of the research was to rebuild Zanino di Pietro’s catalogue, analyzing every artwork attributed to the painter and trying to resolve some critical issues or various attributions so far unresolved. The research was carried out deepening the master's artistic development together with his biography: from this viewpoint, the archival research made in different Italian cities has been an important part of the work. It has brought to light some unpublished documents concerning Zanino di Pietro’s links with patrons and the artistic context of his time. These findings have given the opportunity to identify more references and dates to support the reconstruction of his corpus. Furthermore, an important part of the study is dedicated to his workshop and the artistic influences that the painter received throughout his career.
Lo studio è dedicato al pittore Zanino di Pietro, attivo principalmente nel contesto veneziano fra i secoli XIV e XV. Si tratta di un’importante personalità del periodo tardo-gotico e di un esponente di spicco del momento artistico che in laguna vide l’avvicendarsi di diverse tendenze pittoriche, dal neogiottismo della fine del Trecento alla maniera di Gentile da Fabriano. La ricerca ha ricostruito l’intero catalogo del pittore, analizzandone ogni opera e cercando di risolvere una serie di problematiche critiche o attribuzioni irrisolte: attività condotta approfondendo l’evoluzione artistica del maestro insieme alle sue vicende biografiche. La ricerca archivistica, svolta in diversi archivi italiani, ha permesso la scoperta di alcuni documenti inediti riguardanti i legami di Zanino con committenti e con la società del suo tempo. Questi ritrovamenti hanno quindi permesso di individuare più riferimenti e appigli cronologici utili alla ricostruzione del suo corpus. Inoltre un’importante parte dello studio è stata dedicata al funzionamento della sua bottega e alle influenze artistiche che il pittore recepì nel corso della sua carriera.

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LATTUCHELLA, ANTONIO. "La manutenzione dei paramenti lapidei delle grandi fabbriche: i materiali del rivestimento esterno e la loro sostituzione dal XIX secolo ad oggi nel Campanile di Giotto." Doctoral thesis, 2017. http://hdl.handle.net/2158/1097641.

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Il lavoro ha ad oggetto gli interventi di restauro delle ‘incrostazioni’ marmoree e le sostituzioni che, negli ultimi due secoli, hanno interessato i materiali di rivestimento del campanile di Giotto, parte integrante del complesso monumentale di Santa Maria del Fiore. Lo studio è stato condotto sulla base di lunghe e complesse ricerche d’archivio al fine di rintracciare il materiale fotografico e i documenti utili a identificare e ricostruire gli interventi di sostituzione marmorea eseguiti dal XIX secolo, fino agli anni sessanta del XX secolo e ad attestare lo stato di conservazione del campanile nel corso dei decenni. La ricerca ha anche tentato di identificare la provenienza e la natura dei materiali e il periodo delle sostituzioni al fine di pervenire ad un’accurata ricostruzione dei restauri eseguiti e alla mappatura del rivestimento. I dati raccolti sono stati restituiti graficamente mediante rappresentazioni 2D delle sostituzioni che, negli ultimi due secoli, hanno interessato la facciata orientale. La mappatura della facciata in questione ha fornito dati imprescindibili per l'elaborazione di un sistema di monitoraggio dello stato di conservazione di tutte le superfici marmoree, che preveda, tra le altre cose, la verifica periodica dell’idrorepellenza delle superfici, dello stato di conservazione dei materiali e delle staffe di ferro di ancoraggio delle incrostazioni marmoree alla struttura sottostante e della qualità dell’aria. Dai risultati del monitoraggio potranno conseguire azioni mirate di conservazione programmata. Attraverso gli spunti offerti dallo studio di talune esperienze nel campo della manutenzione degli edifici storici, la ricerca propone, inoltre, alcuni suggerimenti in ordine alle strategie più indicate per il complesso monumentale fiorentino. Si è in tal modo voluto contribuire alla predisposizione di un modello gestionale che consenta di eseguire in modo sistematico tutte le possibili pratiche di conservazione programmata, al fine di rinviare e/o evitare i restauri che, secondo la prassi più frequente, vengono realizzati quando il danno ormai si è già verificato, secondo una logica improntata a programmi di sostituzione ciclica.

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Cerini, Umberto. "Musica e costume liturgico in San Lorenzo e in Santa Maria del Fiore durante il Granducato di Cosimo III." Doctoral thesis, 2022. http://hdl.handle.net/2158/1262463.

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Il lavoro indaga sugli aspetti salienti della musica liturgica e del suo rapporto con la liturgia e la ritualità sacra nei contesti della Basilica di San Lorenzo e della Cattedrale di Santa Maria del Fiore di Firenze nei decenni a cavallo tra Sei e Settecento, ovvero gli anni del lungo governo del Granduca Cosimo III de’ Medici.

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ATERINI, BARBARA. "La stereotomia ed i metodi di rappresentazione prima di Monge." Doctoral thesis, 1996. http://hdl.handle.net/2158/235550.

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Tesi di DOTTORATO DI RICERCA in Rilievo e Rappresentazione del Costruito (VIII ciclo) Università degli Studi di Firenze. Studio sui problemi della rappresentazione dello spazio tridimensionale nelle varie fasi della storia umana, con particolare riferimento alla stereotomia, cioè a quell’insieme di procedimenti e regole per il disegno ed il taglio dei conci in pietra di una struttura. Dunque la stereotomia come avanguardia della Geometria Descrittiva. 272 illustrazioni di cui 10 tavole del rilievo originale di una delle tribune poste sotto il tamburo della cupola del Duomo di Firenze.

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Books on the topic "Opera di Santa Maria del Fiore"

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Palterer, David. MOPA: Il nuovo Museo dell'Opera di Santa Maria del Fiore, Firenze = The new Museum of the Opera di Santa Maria del Fiore, Florence. Firenze: Polistampa, 2001.

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Luigi, Zangheri, ed. MOPA: Il nuovo Museo dell'opera di Santa Maria del Fiore, Firenze = the new Museum of the Opera di Santa Maria del Fiore, Florence. Firenze: Polistampa, 2001.

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L'Opera del Duomo di Firenze, 1285-1370: Traduzione dell'edizione originale del 1959. Firenze: L. S. Olschki, 2009.

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Opera di S. Maria del Fiore (Florence, Italy), ed. Due granduchi, tre re e una facciata: Opera di Santa Maria del Fiore di Firenze. Firenze: Alinea, 1987.

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I progetti per la facciata di Santa Maria del Fiore (1585-1645): Architettura a Firenze tra Rinascimento e Barocco. Firenze: Leo S. Olschki editore, 2015.

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Ippolito, Lamberto. La cupola di Santa Maria del Fiore. Roma: NIS, La nuova Italia scientifica, 1997.

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Timothy, Verdon, and Catholic Church. Archdiocese of Florence (Italy), eds. Santa Maria del Fiore nell'Europa delle cattedrali. Firenze: Centro Di, 1998.

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Francesco, Gurrieri, and Acidini Luchinat Cristina 1951-, eds. La Cattedrale di Santa Maria del Fiore a Firenze. [Florence]: Giunti, 1994.

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Ceccatelli, Giovanni. La facciata di Santa Maria del Fiore: Descrizione e artisti. Lesmo (MB): Etabeta, 2019.

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1377-1446, Brunelleschi Filippo, ed. Brunelleschi: La costruzione della cupola di Santa Maria del Fiore. Venezia: Marsilio, 2002.

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Book chapters on the topic "Opera di Santa Maria del Fiore"

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Romolini, Alberto, Silvia Fissi, Elena Gori, and Marco Contri. "Exploring the Financial Strategies of Private Museums: The Case of the Opera di Santa Maria del Fiore in Florence." In Cultural Initiatives for Sustainable Development, 45–60. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65687-4_3.

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Vessella, Luigi. "NEAR PROJECT – Accessibility Plan for the Monumental Complex of the Opera di S. Maria del Fiore in Florence. Accessibility as an Element of Social." In Studies in Health Technology and Informatics. IOS Press, 2022. http://dx.doi.org/10.3233/shti220875.

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Italy is the country with the highest number of sites recognised as World Heritage by UNESCO and one of the nations with the highest density of sites of cultural interest both in Europe and in the world. Unfortunately, only a small part of these are completely and easily accessible, and certain of the most fragile sections of society, for example disabled persons, are in fact excluded from the possibility of visiting and discovering the said places. The research presented here represents an “experiment” in the application of the methodology of the Accessibility Plan to the monumental complex of the Opera di Santa Maria del Fiore in Florence, in other words the attempt to increase the degree of accessibility of the complex through a medium and long-term innovative strategic planning tool that takes into consideration not only material aspects (physical and sensory accessibility) but also aspects of an intangible nature, thus making it possible for people to fully understand the cultural meanings of the places, and focusing on the “experiential dimension of the visit” [1].

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Conference papers on the topic "Opera di Santa Maria del Fiore"

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Taddei, Domenico, Caterina Calvani, Roberto Pistolesi, Antonio Taddei, and Andrea Martini. "Recupero architettonico e strutturale del “mastio” e del suo cortile della fortezza nuova di Volterra." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11361.

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Architectural and structural recovery of “mastio” and its courtyard of the new fortress of VolterraThe recovery of the “mastio” and the surrounding courtyard of the new fortress of Volterra (1472-1474) has as its objective the opening to the public of this fortified work, after 542 years from its construction, with the possibility of being enjoyed without interposing with the prison function of the complex, it also represents the possibility of knowledge and study of a constructive typology in the context of the Renaissance fortified architecture of the Italian school called “transition” with the use of the first artillery. The fortress was born as a military garrison and at the time of Lorenzo the magnificent only a part was used as a prison, it will be definitively transformed into a House of Imprisonment during the Grand Duchy of Lorraine in the middle of the eighteenth century. It is the first work by Francesco di Giovanni di Matteo called the Francione (1428-1495), it has an almost square shape with large cylindrical towers at the corners (rondelle) and at the center of the inner courtyard, a large cylindrical tower like of “mastio” (donjon) and inserted the artillery in the walls. The “mastio” consists of a basement and five floors above ground with a domed roof and connected by a narrow spiral staircase. After the cognitive essays carried out on the internal domes of the “mastio”, placed in the first three floors including the cistern, the presence of “hemispherical domes” emerged, made by workers of the Opera del Duomo in Florence, built entirely in bricks without the carpentry of “centina” (self-supporting), with the system called “alla fiorentina”, as well as the dome of Santa Maria del Fiore in Florence by Filippo Brunelleschi. This construction system is also applied in the fortified structures of Pietrasanta, Poggibonsi, Sarzanello, Castrocaro, Pisa and Terra del Sole.

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