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59-397: The church, the adjoining cloister, and chapter house contain a multiplicity of art treasures and funerary monuments. Especially famous are frescoes by masters of Gothic and early Renaissance . They were financed by the most important Florentine families, who ensured themselves funerary chapels on consecrated ground. This church was called S. Maria Novella ('New') because it was built on

118-604: A chapter house for the Dominican Order . Construction started c. 1343 and was finished in 1355. The Guidalotti chapel was later called "Spanish Chapel", because Cosimo I assigned it to Eleonora of Toledo and her Spanish retinue. Within the Spanish Chapel there is a smaller Chapel of the Most Holy Sacrament. The Spanish Chapel was decorated from 1365 to 1367 by Andrea di Bonaiuto , also known as Andrea da Firenze. As

177-441: A cloister does not provide such a space. There is often a fireplace, and altars are found in some examples, sometimes added later. Many medieval rooms use stone vaulting supported by columns in the centre of the space, as used for other more utilitarian large rooms in monasteries with a generous budget. Others have much higher roofs. The shape of the room is usually designed to allow good audibility for speakers from all parts of

236-553: A monastery in Cortona, was appalled by Caccini's sermon in Florence. He stated: "I am so angry that I could not be more...[Father Tommaso] revealed such dreadful plans I could scarcely control myself. In any event, I wash my hands of him forever and ever." The preacher general of the Dominican order echoed Matteo Caccini's sentiments in a letter he issued to Galileo. Apologizing on behalf of

295-460: A monument by Bernardo Rossellino executed in 1451. In the same aisle, are located tombs of bishops of Fiesole , one by Tino di Camaino and another by Nino Pisano . The chancel (or the Cappella Tornabuoni ) contains series of famous frescoes painted from 1485 to 1490 by Domenico Ghirlandaio whose apprentice was the young Michelangelo . The frescoes represent themes from the lives of

354-542: A point to utilize the biblical phrase, "Ye Men of Galilee, why stand you gazing up in heaven?" (in the Latin version found in the Vulgate : Viri Galilaei, quid statis aspicientes in caelum? ). The phrase can be found in Acts 1:11 . The phrase refers to the inhabitants of Galilee who gazed into the sky expecting Jesus to return as he made his way to heaven. Caccini attempted to play on

413-453: A portrait of Dante), Hell (on the right wall) and paradise (on the left wall). The main altarpiece of The Redeemer with the Madonna and Saints was done by Nardo di Cione 's brother, Andrea di Cione, better known as Orcagna . The large stained-glass window on the back was made from a cartoon by the two brothers. The Della Pura Chapel is situated north of the old cemetery. It dates from 1474 and

472-584: A scathing sermon in 1613 responding to Galileo's Letters on Solar Spots . Soon after Lorini's sermon, Galileo issued a response, known as the Letter to Benedetto Castelli . The Letter attempted to demonstrate that Copernican theory and the Book of Joshua were not mutually exclusive. Caccini saw the Letter to Castelli as an opportunity to discredit Galileo and his followers even further. On December 20, 1614, Caccini issued

531-536: A sermon at the Santa Maria Novella in Florence strongly opposing Galileo's support of Copernican theory. While the exact text of the sermon is not clear, historians suggest that Caccini preached that mathematics and science were contrary to the word of the Bible, and therefore, heretical. Although Caccini appeared to have criticized mathematics and science generally, he singled out Galileo and his followers. He made

590-409: Is a clerestory of ocular windows above which rises a ribbed, pointed quadrupartite vault. The ribs and arches are all black and white polychrome. There is a trompe-l'œil effect by which towards the apse the nave seems longer than its actual length because the piers between the nave and the aisles are progressively closer, nearer to the chancel. Many of the windows have stained glass dating from

649-460: Is thought to be in honor of Thomas Aquinas . Aquinas was best known for his views on theology and philosophy, and he often discussed the effects of philosophy on Church doctrine. Historical accounts suggest that unlike his namesake, Father Caccini was hardly interested in balancing theology with philosophical ideals. In fact, Caccini's highly controversial sermons, which often vilified critics of Church doctrine, eventually resulted in discipline by

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708-586: The Crucifixion of St Philip . On the left wall is the fresco St John the Evangelist Resuscitating Druisana and in the lunette above it The Torture of St John the Evangelist . Adam, Noah, Abraham and Jacob are represented on the ribbed vault . Behind the altar is the tomb of Strozzi with a sculpture by Benedetto da Maiano (1491). This chapel, designed by Giuliano da Sangallo , is situated on

767-687: The English Reformation , and the late Gothic paintings added behind the seats (see gallery) were preserved hidden behind bookshelves until the 19th century. In some Romanesque or Gothic monasteries, the entrance to the chapter house has an elaborate façade with a door surrounded by highly decorated archivolts , especially when it is a separate building. Many chapterhouses feature elaborate carving or frescos , which include some masterpieces of religious art, but were also sometimes secular. The paintings from Arlanza , now spread across museums in Spain and

826-406: The dean , prebendaries and canons of the college meet there. The rooms may also be used for other meetings of various sorts; in medieval times monarchs on tour in their territory would often take them over for their meetings and audiences. Synods , ecclesiastical courts and similar meetings often took place in chapter houses. When part of a monastery, the chapter house is generally located on

885-564: The 14th and 15th century, such as 15th century Madonna and Child and St. John and St. Philip (designed by Filippino Lippi ), both in the Filippo Strozzi Chapel. Some stained glass windows have been damaged in the course of centuries and have been replaced. The one at the west end, a depiction of the Coronation of Mary , dates from the 14th century, and is based on a design of Andrea di Bonaiuto da Firenze . The pulpit, commissioned by

944-755: The Archbishop of Bologna. In Florence, Caccini became a member of a group known as the "Pigeon League", named after Lodovico delle Colombe . Colombe was reputed to be one of the first individuals in the Church to attempt to derail Galileo Galilei 's scientific endeavors. Another famous member of the Pigeon League was Niccolò Lorini , who often utilized references to Scripture in his fiercely critical sermons against Galileo. Colombe denounced Galileo's discussion of Copernican theory, soon after Galileo confirmed several celestial discoveries in 1609. Lorini followed by issuing

1003-607: The Chapel of the Annunciation by the Cavalcanti family in 1380. It houses, after a recent period of fourteen years of cleaning and renovation, the enormous painted Crucifix with the Madonna and John the Evangelist , an early work by Giotto . The sacristy is also embellished by a glazed terra cotta and a marble font, masterpieces by Giovanni della Robbia (1498). The cupboards were designed by Bernardo Buontalenti in 1593. The paintings on

1062-432: The Church of Santa Maria Novella in Florence, which would later be the site of his most famous sermon. Some historians, however, speculate that the motives behind Caccini's sermons were questionable because "his fanaticism was never divorced from personal ambition for advancement within the Dominican order." Perhaps one indication of Caccini's desire for success is reflected by his decision to be named as "Tommaso," which

1121-1053: The Church's declaration that miracles were acts performed by saints. Caccini went on to state that the notion that the earth travels around the sun was offensive to the Scripture, which declared the earth motionless. In addition to discussing his activities following the sermon, examiners asked Caccini to discuss his opinions regarding Galileo and his followers. Despite the fact that Caccini clearly despised Galileo's teachings, he attempted to act diplomatically when asked about Galileo's character. He openly noted that Galileo had been regarded as "a good Catholic" by many. Nonetheless, Caccini demonstrated his disapproval of Galileo's views subtly in his closing statement. When asked if he had any hostility towards Galileo or his followers, Caccini responded "...I do not have any hostility towards Galileo...or toward [the] disciples of Galileo. Rather I pray to God for them." While Caccini hoped that his claims would encourage Rome to act against Galileo, his testimony

1180-617: The Order, he lamented that: "[he had] to answer for all the idiocies" that his fellow brothers perpetrated. Despite opposition from relatively high-ranking members in the Dominican order towards Caccini's views, some historians speculate that Caccini's sermon was the catalyst for the trial of Galileo that took place in Rome in 1615. By the time the Holy Office called Caccini to testify against Galileo, he

1239-564: The Rucellai family in 1443, was designed by Filippo Brunelleschi and executed by his adopted son Andrea Cavalcanti . This pulpit has a particular historical significance, since it was the pulpit from which Father Tommaso Caccini denounced Galileo Galilei 's defense of Copernican heliocentrism . The Holy Trinity , situated almost halfway along the left aisle, is a pioneering early Renaissance work of Masaccio , showing his new ideas about perspective and mathematical proportions. Its meaning for

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1298-475: The United States, originally decorated the monastery of San Pedro de Arlanza , and contain huge bold mythical beasts that are some of the finest survivals of Romanesque palace decoration. In modern settings, the chapterhouse may simply be (or use) an ordinary office boardroom or meeting room. When it is a separate building, this often consists of just the single main room. The community of monks would meet in

1357-891: The Virgin and John the Baptist. They contain portrayals of several members of important Florentine families. The vaults have roundels with paintings of the Evangelists. On the rear wall are the paintings Saint Dominic burns the Heretical Books and Saint Peter's Martyrdom , the Annunciation , and Saint John goes into the Desert . The stained-glass windows were made in 1492 by the Florentine artist Alessandro Agolanti , known also as Il Bidello, and were based on cartoons by Ghirlandaio. The bronze crucifix on

1416-477: The already existing medieval part of the façade. The combined façade can be inscribed by a square; many other repetitions of squares can be found in the design. His contribution consists of a broad frieze decorated with squares, and the full upper part, including the four white-green pilasters and a round window, crowned by a pediment with the Dominican solar emblem, and flanked on both sides by enormous S-curved volutes . The four columns with Corinthian capitals on

1475-558: The art of painting can easily be compared to the importance of Brunelleschi for architecture and Donatello for sculpture. The patrons were the judge and his wife, members of the Lenzi family, here depicted kneeling. The cadaver tomb below carries in Italian the epigram : "I was once what you are, and what I am you will become". Of particular note in the right aisle is the Tomba della Beata Villana ,

1534-554: The chapel was built for the Dominicans, depictions of Saint Dominic are found in most of the frescos. The large fresco on the right wall depicts an Allegory of the Active and Triumphant Church and of the Dominican order . It is especially interesting because in the background it shows a large pink building that some think may provide some insight into the original designs for Florence Cathedral by Arnolfo di Cambio (before Brunelleschi's dome

1593-469: The chapel's altar, depicting the Madonna Enthroned with Child and Four Saints by Bernardo Daddi dates from 1344 and is currently on display in a small museum area reached ed through glass doors from the far end of the cloister. Together, the complex iconography of the ceiling vault, walls, and altar combine to communicate the message of Dominicans as guides to salvation. Rectangular in shape, towards

1652-427: The chapter house with the abbot to "hold chapter "; that is, "for the reading of the ' Martyrology ' and the ' Necrology ', for the correction of faults, the assigning of the tasks for the day, and for the exhortation of the superior, and again for the evening Collation or reading before Complin ". The first meeting took place in the morning, after the church services of Prime or Terce . The monks might sit along

1711-597: The church (1456–1470). He was already famous as the architect of the Tempio Malatestiano in Rimini , but even more for his seminal treatise on architecture De re aedificatoria . Alberti had also designed the façade for the Rucellai Palace in Florence. Alberti attempted to bring the ideals of humanist architecture, proportion and classically inspired detailing to bear on the design, while also creating harmony with

1770-418: The church include: Chapter house A chapter house or chapterhouse is a building or room that is part of a cathedral , monastery or collegiate church in which meetings are held. When attached to a cathedral, the cathedral chapter meets there. In monasteries, the whole community often met there daily for readings and to hear the abbot or senior monks talk. When attached to a collegiate church,

1829-460: The circular chapter house style of plan: Tommaso Caccini Tommaso Caccini (1574–1648) was an Italian Dominican friar and preacher. Born in Florence as Cosimo Caccini , he entered into the Dominican Order of the Catholic Church as a teenager. Caccini began his career in the monastery of San Marco and gradually became renowned for his passionate sermons. He frequently preached at

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1888-491: The completion of the Romanesque - Gothic bell tower and sacristy. In 1360, a series of Gothic arcades were added to the façade; these were intended to contain sarcophagi. The church was consecrated in 1420. On a commission from the wealthy Florentine wool merchant Giovanni di Paolo Rucellai , Leon Battista Alberti designed the upper part of the inlaid green marble of Prato, also called 'serpentino', and white marble façade of

1947-453: The eastern wing of the cloister , which is next to the church. Since many cathedrals in England were originally monastic foundations, this is a common arrangement there also. Elsewhere it may be a separate building. The chapter house comprises a large space, in order to hold all the monks of the monastery, and is often highly ornamented. Typically there is seating around, often built into, all

2006-616: The large wall spaces found in most Continental chapter houses. At Westminster the chapter house, opposite the Palace of Westminster , was used from the erection of the present building for royal meetings, including many of the royal council, and was the usual location for meetings of the House of Commons until the reign of Henry VIII . It was converted into the first home of what is now the Public Record Office (the national archives) soon after

2065-624: The later installation of a choir), The Triumph of St Thomas Aquinas and the Allegory of Christian Learning on the left wall, and the large "Crucifixion with the Way to Calvary and the Descent into Limbo" on the archway of the altar wall. The four-part vault contains scenes of Christ's resurrection, the navicella, the Ascension, and Pentecost. The five-panelled Gothic polyptych that was probably originally made for

2124-491: The left side of the main altar and dates from the end of the 13th century. Here, on the rear wall, is the famous wooden Crucifix by Brunelleschi , one of his very few sculptures. The legend goes that he was so disgusted by the "primitive" Crucifix of Donatello in the Florence's church of Santa Croce that he made this one. The vault contains fragments of frescoes by 13th-century Greek painters. The polychrome marble decoration

2183-568: The length of the walls in strict age-order, apart from the office-holders. The Carolingian Plan of St Gall (c. 820) is the plan for an ideal 9th century monastery, with a great variety of buildings and rooms, but none that really can be assigned the function of chapterhouse; nor is such a room mentioned by Saint Benedict . But the chapter house is mentioned in the proceedings of the Council of Aachen in 816 . The church or cloister may have been used for all meetings in earlier monasteries, or there

2242-484: The lower part of the façade were also added. The pediment and the frieze are clearly inspired by antiquity, but the S-curved scrolls in the upper part are new and without precedent in antiquity. Solving a longstanding architectural problem of how to transfer from wide to narrow storeys, the scrolls (or variations of them), found in churches all over Italy, all draw their origins from the design of this church. The frieze below

2301-607: The main altar is by Giambologna (16th century). The Filippo Strozzi Chapel is situated on the right side of the main altar. The series of frescoes by Filippino Lippi depict the lives of Apostle Philip and the Apostle Saint James the Great and were completed in 1502. On the right wall is the fresco St Philip Driving the Dragon from the Temple of Hieropolis and in the lunette above it,

2360-642: The marble statue of the Madonna and the Child by Nino Pisano, it houses several art treasures such as remains of frescoes by the Maestro di Santa Cecilia (end 13th – beginning 14th century). The panel on the left wall, the Martyrdom of St Catherine , was painted by Giuliano Bugiardini (possibly with assistance from Michelangelo). The bronze tomb, in the centre of the floor, was made by Lorenzo Ghiberti in 1425. The Bardi Chapel,

2419-463: The new Gregorian calendar . Danti also placed a hole in the south facing circular window at a height of 21.35 metres (70 ft) and installed a meridian line on the floor of the church as a better method of determining the equinoxes than the armilliary sphere. However, the construction was not completed due to the death of his patron, the Grand Duke Cosimo I . Artists who produced items for

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2478-526: The pediment carries the name of the patron: Iohan(n)es Oricellarius Pau(li) f(ilius) An(no) Sal(utis) MCCCCLXX ('Giovanni Rucellai son of Paolo in the year of salvation 1470'). The vast interior is based on a basilica plan, designed as an Egyptian cross (T-shaped) and is divided into a nave, two aisles set with windows and a short transept. The large nave is 100 metres long and gives an impression of austerity. The piers are of compound form and have Corinthian columns supporting pointed Gothic arches above which

2537-462: The room. It may be rectangular, tending towards the square, but octagonal and other near-circular plans are an English speciality, with that at Worcester Cathedral probably the earliest. Most, like those at Wells Cathedral , Lichfield Cathedral , Westminster Abbey and Lacock Abbey , have a single central column from which the high roof vaulting spreads. York Minster has a wooden roof and no central column. Many have elaborate benched arcades round

2596-421: The sculptor Giambologna . An armillary sphere (on the left) and an astronomical quadrant with gnomon (on the right) were added to the end blind arches of the lower façade by Ignazio Danti , astronomer of Cosimo I, in 1572. The armilliary sphere was intended to determine the vernal equinox and this was observed for the first time publicly in 1574. The gnomon threw shadows on the astronomical quadrant to tell

2655-410: The second chapel on the right of the apse, was founded by Riccardo Bardi and dates from early 14th century. The high-relief on a pillar on the right depicts St Gregory blessing Riccardo Bardi . The walls show us some early 14th-century frescoes attributed to Spinello Aretino . The Madonna del Rosario on the altar is by Giorgio Vasari (1568) The sacristy, at the end of the left aisle, was built as

2714-413: The site of the 9th-century oratory of Santa Maria delle Vigne. When the site was assigned to the Dominican Order in 1221, they decided to build a new church and adjoining cloister. The church was designed by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. Building began in the mid-13th century (about 1276), and lasted 80 years, ending under the supervision of Friar Iacopo Talenti with

2773-502: The time according to the transalpine, Italian and Bohemian methods. Thanks to these instruments, the astronomer was able to calculate exactly the discrepancy between the true solar year and the Julian calendar, then still in use since its promulgation in 46 BC. By demonstrating his studies in Rome to Pope Gregory XIII , he helped obtain the realignment of the date of Easter and the promulgation of

2832-439: The wall are ascribed to Vasari and other contemporary Florentine painters. The large Gothic window with three mullions at the back wall dates from 1386 and was based on cartoons by Niccolò di Pietro Gerini The Spanish Chapel (or Cappellone degli Spagnoli ) is the former chapter house of the convent. It is situated at the north side of the green Cloister ( Chiostro Verde ). It was commissioned by Buonamico (Mico) Guidalotti as

2891-401: The wall, with crocketed frames for the seats. English chapter houses tend to be more elaborate and highly decorated than Continental ones, and the octagonal shape allowed for spectacular displays of stained glass , now mostly lost, though not at York. Except at Westminster Abbey any paintings have been lost, but English designs, with their emphasis on carved arcades and windows, did not leave

2950-470: The walls of the room, often in stone, with the central space left open. The seats for the senior members are often larger than the others, and may be raised on a dais . Usually there is only one doorway, and though the room is well-lit where the location allows, the windows are often too high to allow a view in from outside (or eavesdropping). Many larger chapter houses are designed with vestibules for attendants and those waiting to be called, where opening onto

3009-419: The west it has a scarsella containing the altar and a marble crucifix by Domenico Pieratti from the early seventeenth century, donated in 1731 by Gian Gastone de' Medici . Vasari was the architect, commissioned in 1567 by Grand Duke Cosimo I , for the first remodelling of the church, which included removing its original rood screen and loft, and adding six chapels between the columns. The second remodelling

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3068-537: The words of the passage by starkly contrasting Galileo's allegedly heretical acts to the unwavering faith of the inhabitants of Galilee. The reaction to Caccini's sermon ranged from vocal opposition to praise. Galileo himself is said to have described Caccini as an individual "of very great ignorance, no less a mind full of venom and devoid of charity." Within the Church itself, there was substantial disagreement over how to address Caccini's scathing sermon. Matteo Caccini, Tommaso Caccini's own brother and former prior of

3127-410: Was applied by Giuliano da Sangallo (c. 1503). The stained-glass window and dates from the 20th century. The Cappella Strozzi di Mantova is situated at the end of the left transept. The frescoes were commissioned from Nardo di Cione (1350–1357) by Tommaso Strozzi , an ancestor of Filippo Strozzi . The frescoes are inspired by Dante 's Divine Comedy : Last Judgment (on the back wall; including

3186-482: Was built). However, such an interpretation is fantasy since the Duomo was never intended to be pink, nor to have the bell tower at the rear. This fresco also contains portraits of pope Benedict IX , cardinal Friar Niccolò Albertini , count Guido di Poppi, Arnolfo di Cambio and the poet Petrarch . The frescoes on the other walls represent scenes from the lives of Christ and St Peter on the entry wall (mostly ruined due to

3245-409: Was constructed with Renaissance columns. It was restored in 1841 by Gaetano Baccani . On the left side there is a lunette with a 14th-century fresco Madonna and Child with St Catherine . On the front altar there is a wooden crucifix by Baccio da Montelupo (1501). The Rucellai Chapel, at the end of the right aisle, dates from the 14th century. Besides the tomb of Paolo Rucellai (15th century) and

3304-494: Was designed by Enrico Romoli, and was carried out between 1858 and 1860. The square in front the church was used by Cosimo I for the yearly chariot race ( Palio dei Cocchi ). This custom existed between 1563 and late in the 19th century. The two Obelisks of the Corsa dei Cocchi marked the start and the finish of the race. They were set up to imitate an antique Roman Circus Maximus . The obelisks rest on bronze tortoises, made in 1608 by

3363-403: Was met with mixed reviews. Most of his claims were disregarded by the Church with the exception of the claim that Galileo's Letter on Sunspots was heretical. In 1616, following an examination of the Letter , the Holy Office issued a report that the notion of a stationary sun was heretical. The Holy Office further enjoined Galileo on February 26, 1616 from teaching or defending the notion that

3422-764: Was residing at the Roman convent of Santa Maria sopra Minerva . Caccini was an alumnus of the College of St. Thomas , having become Master and Bachelor there. On March 20, 1615, in front of several high-ranking officials within the Church, Caccini testified regarding his sermon and his knowledge of Galileo and his followers. Caccini stated that following his sermon, he reported to the Father Inquisitor in Florence that Galileo's supporters should be disciplined for their "petulant minds." Caccini accused Galileo's followers of making blasphemous statements that questioned God's existence and

3481-439: Was usually a refectory (hall for eating). But by at least 1000 such a room had become normal in large monastic establishments. The east side of the cloister on which the chapter house was often located was usually the first to be constructed; it would have been begun shortly after the church walls were built. Important examples of chapter houses from an architectural or artistic point of view can be seen at: Non-religious use of

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