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about="/voyage/culture-generale-italie-florence-pourquoi-la-construction-du-duomo-a-pris-plus-de-100-ans" class="node node--type-article node--id-64245 ngart media-photo css-30tvht"><div></div><style data-emotion="css 1awj9go">.css-1awj9go{padding:20px 0;margin:0 15px;}@media (min-width: 768px){.css-1awj9go{width:91%;max-width:1160px;margin:0 auto;}}</style><div class="css-1awj9go"><style data-emotion="css 11498t9">.css-11498t9{display:inline-block;width:-webkit-fit-content;width:-moz-fit-content;width:fit-content;min-height:1.5rem;margin-bottom:1rem;border-right:1px solid #999;border-left:1px solid #999;padding:0 1rem;}.css-11498t9 span,.css-11498t9 a{font-size:0.75rem;letter-spacing:0.1875rem;line-height:1.4;font-family:GeoWebBold,sans-serif;font-feature-settings:'swsh';text-transform:uppercase;color:#000;}</style><div class="css-11498t9"><a href="/voyage" hrefLang="fr">Voyage®</a></div><style data-emotion="css b5ouep">.css-b5ouep{font-family:GeoWebBold,sans-serif;font-feature-settings:'swsh';font-size:2rem;line-height:1.2;color:#000;}@media (min-width: 768px){.css-b5ouep{font-size:2.5rem;}}</style><h1 class="css-b5ouep">Florence : pourquoi la construction du Duomo a pris plus de 100 ans</h1><style data-emotion="css 8u4e2">.css-8u4e2{font-size:1.1875rem;font-weight:normal;font-stretch:normal;font-style:normal;line-height:1.4;letter-spacing:0.00625rem;color:#000;font-family:GeoWebRegular,sans-serif;font-feature-settings:'swsh';margin-top:1rem;}@media (min-width: 768px){.css-8u4e2{margin-top:1.5rem;}}</style><h2 class="css-8u4e2">À Florence, le dôme colossal de la cathédrale Santa Maria del Fiore, que l’on doit à l’ingénieux architecte Filippo Brunelleschi, époustoufle le monde entier depuis des siècles.</h2><style data-emotion="css 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css-adn0ss"><source media="(max-width: 320px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=320&h=180" type="image/webp" /><source media="(max-width: 360px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=360&h=203" type="image/webp" /><source media="(max-width: 430px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=430&h=242" type="image/webp" /><source media="(max-width: 500px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=500&h=282" type="image/webp" /><source media="(max-width: 767px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=767&h=432" type="image/webp" /><source media="(max-width: 900px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=900&h=507" type="image/webp" /><source media="(max-width: 1023px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=1023&h=576" type="image/webp" /><source media="(max-width: 1150px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=1150&h=647" type="image/webp" /><source media="(max-width: 1279px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=1279&h=720" type="image/webp" /><source media="(max-width: 1450px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=1450&h=816" type="image/webp" /><img src="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.webp?w=1600&h=900" width="1600" height="900" alt="BELLE-DE-JOUR" title="BELLE-DE-JOUR" loading="eager" /><script type="application/ld+json">{"@context":"https://schema.org","@type":"ImageObject","url":"https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo5.jpg?w=1900&h=1269","width":1900,"height":1269,"author":{"@type":"Person","name":"Susanne Kremer/Fototeca 9x12"},"contributor":{"@type":"Person","name":"Susanne Kremer/Fototeca 9x12"},"caption":"L’imposant dôme qui surmonte la cathédrale Santa Maria del Fiore, à Florence, en Italie, s’élève majestueusement au-dessus de la ville. À ce jour, avec 55 mètres de diamètre, il reste le plus grand dôme en brique du monde.\r\n","name":"duomo5.jpg","alternateName":"duomo5"}</script></picture></div></div><div></div><style data-emotion="css mdc280">.css-mdc280{font-family:GeoWebRegular,sans-serif;font-feature-settings:'swsh';font-weight:400;font-size:0.875rem;letter-spacing:0.1px;line-height:20px;color:#333;border-left:1px solid #555;max-width:100%;position:relative;cursor:auto;}.css-mdc280 p{font-family:GeoWebRegular,sans-serif;font-feature-settings:'swsh';font-weight:400;font-size:0.875rem;letter-spacing:0.1px;line-height:20px;color:#333;}.css-mdc280:before{content:'';position:absolute;top:0;left:0;width:1px;height:8px;background:#fff;z-index:2;}@media (min-width: 768px){.css-mdc280{width:100%;}}</style><div class="ngart-img__cont css-mdc280"><style data-emotion="css 1hq5e2b">.css-1hq5e2b{color:#555;}.css-1hq5e2b p{margin:0!important;}.css-1hq5e2b p a:any-link{border-bottom:2px solid #fc0;color:#555;}</style><div class="ngart-img__cont__copy css-1hq5e2b"><p>L’imposant dôme qui surmonte la cathédrale Santa Maria del Fiore, à Florence, en Italie, s’élève majestueusement au-dessus de la ville. À ce jour, avec 55 mètres de diamètre, il reste le plus grand dôme en brique du monde.</p> </div><style data-emotion="css biuh92">.css-biuh92{display:block;font-family:GeoWebRegular,sans-serif;font-feature-settings:'swsh';font-weight:400;font-size:0.75rem;letter-spacing:3px;line-height:1.5;text-transform:uppercase;color:#333;}</style><span class="css-biuh92">PHOTOGRAPHIE DE <style data-emotion="css bx3505">.css-bx3505{color:#333;font-weight:700;}</style><span class="css-bx3505">Susanne Kremer</span>, <style data-emotion="css 1qaza9q">.css-1qaza9q{border-bottom:2px solid #fc0;color:#333;font-weight:700;}</style><a href="/photographe/fototeca-9x12" class="css-1qaza9q"><span>Fototeca 9x12</span></a></span></div></div><style data-emotion="css 1ndocy1">.css-1ndocy1{position:relative;width:100%;max-height:none;overflow:visible;}@media (min-width: 768px){.css-1ndocy1{max-height:none;overflow:visible;}.css-1ndocy1 .ngart__mobile-ad{display:none;}}.css-1ndocy1:after{display:none;content:' ';position:absolute;left:0;bottom:0;width:100%;height:120px;background:linear-gradient( rgba(255, 255, 255, 0) 0%, rgba(255, 255, 255, 0.25) 10%, rgba(255, 255, 255, 0.65) 50%, rgba(255, 255, 255, 0.87) 95%, rgba(255, 255, 255, 0.96) 100% );}@media (min-width: 768px){.css-1ndocy1:after{display:none;}}</style><div class="css-1ndocy1"><style data-emotion="css 3ge75y">.css-3ge75y{max-width:68em;margin:0 30px;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;}.css-3ge75y::after{clear:both;content:'';display:table;}.css-3ge75y .grid-full{margin-left:-30px;margin-right:-30px;}@media (min-width: 768px){.css-3ge75y{margin:0 40px;}.css-3ge75y .grid-full{margin-left:-40px;margin-right:-40px;}}@media (min-width: 1024px){.css-3ge75y{max-width:none;margin:0 60px;}.css-3ge75y .grid-full{margin-left:-60px;margin-right:-60px;}}@media (min-width: 1280px){.css-3ge75y{padding:0;width:100%;max-width:1160px;margin:0 auto;}}</style><div class="css-3ge75y"><style data-emotion="css jejqay">.css-jejqay{width:100%;display:inline-block;}.css-jejqay blockquote,.css-jejqay div.paragraph p,.css-jejqay div.paragraph ul,.css-jejqay div.paragraph ol{font-family:Georgia,Times,"Times New Roman",serif;font-size:1.1875rem;line-height:1.9375rem;letter-spacing:normal;}.css-jejqay h2 a,.css-jejqay h3 a{color:#000;}.css-jejqay h5{font-family:GeoWebBold,sans-serif;font-feature-settings:'swsh';font-size:1.125rem;letter-spacing:2.5px;line-height:1.5;color:#000;font-weight:700;text-transform:uppercase;}.css-jejqay blockquote,.css-jejqay p{margin-bottom:30px;color:#333;}.css-jejqay blockquote a,.css-jejqay p a,.css-jejqay ul a,.css-jejqay ol a{color:#000;-webkit-text-decoration:none;text-decoration:none;border-bottom:2px solid #fc0;}.css-jejqay div.paragraph ul,.css-jejqay div.paragraph ol{margin:20px 0;}.css-jejqay ul li{list-style:disc;list-style-position:inside;}.css-jejqay ol li{list-style:decimal;list-style-position:inside;}.css-jejqay .paragraph h2,.css-jejqay .paragraph h3,.css-jejqay p h2,.css-jejqay p h3{font-family:GeoWebBold,sans-serif;font-feature-settings:'swsh';}@media (min-width: 768px){.css-jejqay .paragraph,.css-jejqay p{margin-bottom:30px;}.css-jejqay .paragraph h2,.css-jejqay p h2{font-weight:400;font-size:1.5rem;letter-spacing:0.5px;line-height:1.5;}}@media (min-width: 1024px){.css-jejqay{width:calc(100% - 320px);padding-right:50px;float:left;-webkit-flex:0 1 auto;-ms-flex:0 1 auto;flex:0 1 auto;}.css-jejqay .ngart-img--large .ngart-img__cont__copy{margin-right:unset;}}</style><div class="css-jejqay"><div class="module--type-ParagraphContent module--id-5548593"><style data-emotion="css 1vtiyti">.css-1vtiyti h2.h3{font-size:1.1875rem;}</style><div class="paragraph css-1vtiyti"><div><p data-paragraph-id="5548593-1">La cathédrale de Florence est à n’en pas douter une des plus belles prouesses techniques de la Renaissance. Elle est dédiée à Santa Maria del Fiore (Sainte-Marie-de-la-Fleur), en référence au lys emblème de la ville de Florence. Son dôme iconique et ingénieux, conçu par l’architecte Filippo Brunelleschi en 1436, est la concrétisation d’un projet entamé 140 ans plus tôt.</p> </div></div></div><div class="module--type-ParagraphContent module--id-5548595"><div class="paragraph css-1vtiyti"><div><p data-paragraph-id="5548595-1">C’est en 1296 que le sculpteur et architecte Arnolfo di Cambio établit les premiers plans de cette nouvelle cathédrale florentine qui doit être construite par-dessus la cathédrale Santa Reparata, à côté de l’ancien baptistère octogonal, dans un style gothique italien incorporant également des motifs que ne reniera pas la Renaissance. Mais à sa mort, en 1310, la construction de la cathédrale s’arrête.</p> </div><div><p data-paragraph-id="5548595-2">Puis, en 1330, l’Opera del Duomo, l’institution en charge des travaux, est reprise par l’Arte della Lana (la guilde de la laine), groupe le plus influent de la politique florentine, qui lève les fonds nécessaires pour poursuivre la construction de la majestueuse cathédrale. Dans les années qui suivent, une série d’éminents architectes se succèdent au poste de <em>capomaestro</em> (maître d’œuvre). En 1334, Giotto, maître de la peinture, prend leur suite et lance la construction du campanile qui porte désormais son nom.</p> </div><div><p data-paragraph-id="5548595-3">Mais en 1348, la première grande vague de <a href="https://www.nationalgeographic.com/science/article/the-plague" target="_blank" rel="nofollow noopener noreferrer">peste noire</a> s’abat sur Florence et tue entre 45 et 75 % de ses habitants. La construction de la cathédrale, supervisée en cette période terrible par le maître d’œuvre Francesco Talenti, est de nouveau suspendue. En 1355, seuls les murs latéraux et une partie de la façade principale laissent entrevoir une forme d’achèvement. Francesco Talenti agrandit la nef principale (l’église s’étend désormais sur 150 mètres de longueur) et termine la construction du campanile de Giotto, qui culmine à 85 mètres de hauteur.</p> </div></div></div><style data-emotion="css 1kazvci">.css-1kazvci{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-flex-wrap:nowrap;-webkit-flex-wrap:nowrap;-ms-flex-wrap:nowrap;flex-wrap:nowrap;-webkit-box-pack:center;-ms-flex-pack:center;-webkit-justify-content:center;justify-content:center;-webkit-align-items:flex-start;-webkit-box-align:flex-start;-ms-flex-align:flex-start;align-items:flex-start;-webkit-align-content:flex-stretch;-ms-flex-line-pack:flex-stretch;align-content:flex-stretch;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;margin:0 -30px 2rem -30px;max-width:414px;background-color:#f2f2f2;padding:0 15px;content-visibility:auto;clear:both;contain-intrinsic-size:0 595px;}@media (min-width: 415px){.css-1kazvci{margin:0 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1024px){.css-q7l5mh::before,.css-q7l5mh::after{width:40px;}}.css-q7l5mh::before{left:-65px;}@media (min-width: 1024px){.css-q7l5mh::before{left:-54px;}}.css-q7l5mh::after{right:-65px;}@media (min-width: 1024px){.css-q7l5mh::after{right:-54px;}}</style><h3 class="css-q7l5mh">les plus populaires</h3><style data-emotion="css 1hmm695">.css-1hmm695{list-style-type:none;}@media (min-width: 768px) and (max-width: 1023px){.css-1hmm695{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:space-around;-ms-flex-pack:space-around;-webkit-justify-content:space-around;justify-content:space-around;width:100%;}}</style><ul class="css-1hmm695"></ul><style data-emotion="css 15fr7as">.css-15fr7as{height:18px;padding:0 10px;text-transform:uppercase;display:block;margin:18px auto 40px auto;font-family:GeoWebBold,sans-serif;font-feature-settings:'swsh';font-size:12px;font-stretch:normal;font-style:normal;line-height:1.5;letter-spacing:3px;text-align:center;color:#000000;border-bottom:solid 2px #ffcc00;}</style><a href="/" class="css-15fr7as">voir plus</a></div><style data-emotion="css agj9rt">.css-agj9rt{contain-intrinsic-size:0 472px;margin-bottom:30px;}@media (min-width: 768px){.css-agj9rt{contain-intrinsic-size:0 629px;}}@media (min-width: 1024px){.css-agj9rt{contain-intrinsic-size:0 486px;}}@media (min-width: 1280px){.css-agj9rt{contain-intrinsic-size:0 507px;}}.css-agj9rt:hover{cursor:pointer;}.css-agj9rt .ngart-img__cont{margin-top:13px;padding-left:15px;padding-right:30px;}.css-agj9rt.ngart-img--video .ngart-img__play-button{height:80px;width:57px;}.css-agj9rt .ngart-img__cont__copy{margin-bottom:10px;}@media (min-width: 768px){.css-agj9rt .ngart-img__cont{margin-top:10px;padding-left:15px;max-width:760px;}}@media (min-width: 1024px){.css-agj9rt .ngart-img__cont{margin-top:20px;padding-left:40px;}}@media (min-width: 1280px){.css-agj9rt{max-width:760px;display:block;}.css-agj9rt .ngart-img__cont{margin:20px 0 30px;padding-left:40px;}.css-agj9rt .ngart-img__cont__copy{margin-bottom:20px;}.css-agj9rt .ngart-img__cntr img{max-width:760px;}}</style><div class="ngart-img--medium module--type-ParagraphImageToolkitElement module--id-5548596 css-agj9rt"><div role="button" tabIndex="0" aria-label="View image" class="css-e0dnmk"><div class="ngart-img__cntr css-1d8by72"><style data-emotion="css 1plq1rk">.css-1plq1rk{aspect-ratio:3072/2429;}.css-1plq1rk img{display:block;width:100%;height:auto;}</style><picture class="resp-img-cntr css-1plq1rk"><source media="(max-width: 320px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo8.webp?w=320&h=254" type="image/webp" /><source media="(max-width: 360px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo8.webp?w=360&h=285" type="image/webp" /><source media="(max-width: 430px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo8.webp?w=430&h=340" type="image/webp" /><source media="(max-width: 500px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo8.webp?w=500&h=396" type="image/webp" /><source media="(max-width: 767px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo8.webp?w=767&h=607" type="image/webp" /><source media="(max-width: 900px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo8.webp?w=900&h=712" type="image/webp" /><source media="(max-width: 1023px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo8.webp?w=1023&h=809" type="image/webp" /><source media="(max-width: 1279px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo8.webp?w=789&h=624" type="image/webp" /><img src="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo8.webp?w=760&h=601" width="760" height="601" alt="LE JOYAU DE FLORENCE" title="LE JOYAU DE FLORENCE" loading="lazy" /><script type="application/ld+json">{"@context":"https://schema.org","@type":"ImageObject","url":"https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo8.jpg?w=1900&h=1503","width":1900,"height":1503,"author":{"@type":"Person","name":"Alinary Archives/Getty Images"},"contributor":{"@type":"Person","name":"Alinary Archives/Getty Images"},"caption":"Transperçant les cieux de la ville de Florence, l’éblouissant dôme de la cathédrale culmine à 114 mètres de hauteur.\r\n","name":"duomo8.jpg","alternateName":"duomo8"}</script></picture></div></div><div></div><div class="ngart-img__cont css-mdc280"><div class="ngart-img__cont__copy css-1hq5e2b"><p>Transperçant les cieux de la ville de Florence, l’éblouissant dôme de la cathédrale culmine à 114 mètres de hauteur.</p> </div><span class="css-biuh92">PHOTOGRAPHIE DE <span class="css-bx3505">Alinary Archives</span>, <a href="/photographe/getty-images" class="css-1qaza9q"><span>Getty Images</span></a></span></div></div><div class="module--type-ParagraphContent module--id-5548597"><div class="paragraph css-1vtiyti"><div><h2 id="header_5548597_0">L'EXEMPLE PERSE</h2> </div><div><p data-paragraph-id="5548597-1">En 1359 ou 1360, Giovanni di Lapo Ghini succède à Francesco Talenti au poste de <em>capomaestro</em>. Il a notamment pour défi de concevoir un dôme qui couvrira le large transept. Un autre architecte italien, Neri di Fioravante, lui fait une proposition qui selon lui permettrait d’éviter le recours à des structures externes comme les contreforts : il veut se servir d’anneaux de pierre et de bois dissimulés à l’intérieur de la coque du dôme. Ces « chaînes » sont censées fonctionner comme les anneaux en métal ceignant un tonneau et empêcher la structure de se scinder.</p> </div><div><p data-paragraph-id="5548597-2">La proposition de Neri di Fioravante, sans ajouts gothiques, est en compétition avec le projet plus conservateur de Giovanni di Lapo. En 1367, l’Opera del Duomo opte pour l’idée de Fioravante, avec une réserve toutefois : les piliers du transept devront être élargis et le diamètre du dôme aussi, il devra mesurer 55 mètres. Fioravante s’empare du défi et propose un dôme à double coque : une coupole intérieure robuste sur laquelle reposera une enveloppe plus légère pour la protéger des éléments. C’est la première fois que ce concept, originaire de Perse et en vogue dans l’architecture islamique, est appliqué en Europe. Fioravante propose un dôme octogonal comportant huit nervures de pierre qui couronneront la cathédrale.</p> </div></div></div><div class="module--type-ParagraphContent module--id-5548598"><div class="paragraph css-1vtiyti"><div><p data-paragraph-id="5548598-1">Neri di Fioravante réalise une maquette de son projet que l’on expose à l’intérieur de la <a href="https://www.nationalgeographic.com/travel/article/beautiful-architecture-of-churches-cathedrals-chapels" target="_blank" rel="nofollow noopener noreferrer">cathédrale</a> inachevée. Véritable objet de foi, elle montre que le plan peut et va être mis en œuvre. Chaque année, l’Opera del Duomo et ses architectes prêtent serment sur la maquette et sur la Bible pour réaffirmer leur engagement à terminer le dôme tel que prévu. Personne ne peut douter de leur fervent soutien au projet de Fioravante, mais est-il au moins faisable ? En 1418, une fois la base du dôme achevée, l’Opera del Duomo lance un concours pour trouver un architecte capable de faire de ce dôme une réalité.</p> </div><div><p data-paragraph-id="5548598-2"> </p> <h2 id="header_5548598_0">REMPORTER LA COMPÉTITION</h2> </div><div><p data-paragraph-id="5548598-3">Surnommé « Pippo » par ses amis, Filippo Brunelleschi voit le jour à Florence en 1377 et passe son enfance dans la maison familiale, en face du chantier de la cathédrale qui prend peu à peu forme. On se prend facilement à imaginer que cette enfance passée dans l’ombre d’une Santa Maria del Fiore inachevée, au voisinage de la maquette, ait insufflé à Brunelleschi l’envie et la ressource nécessaires pour réaliser un dôme aussi ambitieux.</p> </div></div></div><div class="ngart-img--medium module--type-ParagraphImageToolkitElement module--id-5548599 css-agj9rt"><div role="button" tabIndex="0" aria-label="View image" class="css-e0dnmk"><div class="ngart-img__cntr css-1d8by72"><style data-emotion="css kekqym">.css-kekqym{aspect-ratio:3072/2048;}.css-kekqym img{display:block;width:100%;height:auto;}</style><picture class="resp-img-cntr css-kekqym"><source media="(max-width: 320px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo10.webp?w=320&h=214" type="image/webp" /><source media="(max-width: 360px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo10.webp?w=360&h=240" type="image/webp" /><source media="(max-width: 430px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo10.webp?w=430&h=287" type="image/webp" /><source media="(max-width: 500px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo10.webp?w=500&h=334" type="image/webp" /><source media="(max-width: 767px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo10.webp?w=767&h=512" type="image/webp" /><source media="(max-width: 900px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo10.webp?w=900&h=600" type="image/webp" /><source media="(max-width: 1023px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo10.webp?w=1023&h=682" type="image/webp" /><source media="(max-width: 1279px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo10.webp?w=789&h=526" type="image/webp" /><img src="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo10.webp?w=760&h=507" width="760" height="507" alt="BAPTISTAIRE DE SAINT-JEAN" title="BAPTISTAIRE DE SAINT-JEAN" loading="lazy" /><script type="application/ld+json">{"@context":"https://schema.org","@type":"ImageObject","url":"https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo10.jpg?w=1900&h=1267","width":1900,"height":1267,"author":{"@type":"Person","name":"Pietro Canali/Fototeca 9x12"},"contributor":{"@type":"Person","name":"Pietro Canali/Fototeca 9x12"},"caption":"Dédié à Jean le Baptiste, ce bâtiment fut consacré en 1059 et achevé au 12e siècle. Les portes en bronze d’Andre Pisano furent ajoutées au 14e siècle. Un siècle plus tard, après un concours remporté par Lorenzo Ghiberti, de nouvelles portes raffinées furent installées. Son rival lors de ce concours, Filippo Brunelleschi, se vit pour sa part attribuer la construction du dôme.\r\n","name":"duomo10.jpg","alternateName":"duomo10"}</script></picture></div></div><div></div><div class="ngart-img__cont css-mdc280"><div class="ngart-img__cont__copy css-1hq5e2b"><p>Dédié à Jean le Baptiste, ce bâtiment fut consacré en 1059 et achevé au 12<sup>e</sup> siècle. Les portes en bronze d’Andre Pisano furent ajoutées au 14<sup>e</sup> siècle. Un siècle plus tard, après un concours remporté par Lorenzo Ghiberti, de nouvelles portes raffinées furent installées. Son rival lors de ce concours, Filippo Brunelleschi, se vit pour sa part attribuer la construction du dôme.</p> </div><span class="css-biuh92">PHOTOGRAPHIE DE <span class="css-bx3505">Pietro Canali</span>, <a href="/photographe/fototeca-9x12" class="css-1qaza9q"><span>Fototeca 9x12</span></a></span></div></div><div class="module--type-ParagraphContent module--id-5548600"><div class="paragraph css-1vtiyti"><div><p data-paragraph-id="5548600-1">En 1401, orfèvre et sculpteur à la renommée grandissante, Brunelleschi prend part à un concours architectural pour créer de nouvelles portes pour le baptistaire Saint-Jean de Florence, l’édifice octogonal jouxtant la cathédrale. Le défi : des portes encore plus éblouissantes que celles créées par Andrea Pisano 70 ans auparavant.</p> </div><div><p data-paragraph-id="5548600-2">Brunelleschi perd face à Lorenzo Ghiberti. Défait, il part pour Rome avec son ami Donatello et, pour les 15 années qui suivent, s’immerge dans l’étude de l’architecture antique romaine. Il y aurait redécouvert les principes de la perspective linéaire inventée par les Grecs et les Romains.</p> </div></div></div><div class="module--type-ParagraphContent module--id-5548601"><div class="paragraph css-1vtiyti"><div><p data-paragraph-id="5548601-1">Filippo Brunelleschi retourne à Florence entre 1416 et 1417. En 1418, lorsque l’on annonce le concours pour la conception du dôme, il fait d’office partie des favoris aux côtés de son grand rival Lorenzo Ghiberti. Les propositions soumises doivent toutes respecter scrupuleusement l’idée de Fioravante. Le jury est à la recherche d’une chose en particulier : un système ingénieux qui permettra de soutenir l’imposant dôme lors de sa construction. Certains proposent de se servir d’étais de bois pour soutenir les flancs du dôme pendant son érection. D’autres proposent de remplir le transept de sable afin de créer un monceau sur lequel reposerait le dôme pendant la durée de la construction, ce que l’Opera del Duomo refuse. Brunelleschi est quant à lui à l’origine d’une proposition surprenante et radicale : il affirme être capable d’ériger le vaste dôme sans l’aide d’aucun système d’étai.</p> </div><div><p data-paragraph-id="5548601-2">Cette idée fait sensation ; personne ne comprend comment elle censée fonctionner. Bien que Brunelleschi refuse d’en dévoiler les détails techniques, il est un architecte si respecté et a tant brillé dans les autres projets confiés par l’Arte della Lena qu’il l’emporte. En 1420, son concept audacieux est approuvé à la condition qu’il partage les plans avec son rival Ghiberti.</p> </div></div></div><div class="ngart-img--medium module--type-ParagraphImageToolkitElement module--id-5548602 css-agj9rt"><div role="button" tabIndex="0" aria-label="View image" class="css-e0dnmk"><div class="ngart-img__cntr css-1d8by72"><picture class="resp-img-cntr css-kekqym"><source media="(max-width: 320px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo9.webp?w=320&h=214" type="image/webp" /><source media="(max-width: 360px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo9.webp?w=360&h=240" type="image/webp" /><source media="(max-width: 430px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo9.webp?w=430&h=287" type="image/webp" /><source media="(max-width: 500px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo9.webp?w=500&h=334" type="image/webp" /><source media="(max-width: 767px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo9.webp?w=767&h=512" type="image/webp" /><source media="(max-width: 900px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo9.webp?w=900&h=600" type="image/webp" /><source media="(max-width: 1023px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo9.webp?w=1023&h=682" type="image/webp" /><source media="(max-width: 1279px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo9.webp?w=789&h=526" type="image/webp" /><img src="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo9.webp?w=760&h=507" width="760" height="507" alt="ANTICIPATION" title="ANTICIPATION" loading="lazy" /><script type="application/ld+json">{"@context":"https://schema.org","@type":"ImageObject","url":"https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo9.jpg?w=1900&h=1267","width":1900,"height":1267,"author":{"@type":"Person","name":"Alamy/ACI"},"contributor":{"@type":"Person","name":"Alamy/ACI"},"caption":"Cette fresque de la chapelle des Espagnols de l’église Santa Maria Novella de Florence fut peinte en 1355, soit 65 ans avant que la construction du dôme de Santa Maria del Fiore ne commence. Cela n’a pas empêché Andrea di Bonaiuto de représenter la cathédrale sous son aspect final, avec le dôme.\r\n","name":"duomo9.jpg","alternateName":"duomo9"}</script></picture></div></div><div></div><div class="ngart-img__cont css-mdc280"><div class="ngart-img__cont__copy css-1hq5e2b"><p>Cette fresque de la chapelle des Espagnols de l’église Santa Maria Novella de Florence fut peinte en 1355, soit 65 ans avant que la construction du dôme de Santa Maria del Fiore ne commence. Cela n’a pas empêché Andrea di Bonaiuto de représenter la cathédrale sous son aspect final, avec le dôme.</p> </div><span class="css-biuh92">PHOTOGRAPHIE DE <a href="/photographe/alamy" class="css-1qaza9q"><span>Alamy</span></a>, <a href="/photographe/aci" class="css-1qaza9q"><span>ACI</span></a></span></div></div><div class="module--type-ParagraphContent module--id-5548603"><div class="paragraph css-1vtiyti"><div><h2 id="header_5548603_0"><strong>SABOTAGE ET SUCCÈS</strong></h2> </div><div><p data-paragraph-id="5548603-1">Cette même année, on rédige un mémorandum énumérant les principes structurels du projet. Filippo Brunelleschi y confirme que le dôme comportera une double coque et y inclue les dimensions des anneaux de soutien. De nouveau, il l’affirme, il construira le dôme sans support externe, mais il ne dit toujours pas comment il compte faire. Il ne subsiste aujourd’hui aucun document expliquant clairement la technique qu’il a employée. La plupart de nos connaissances proviennent de l’observation et de l’analyse de l’œuvre terminée.</p> </div></div></div><div class="ngart-img--medium module--type-ParagraphImageToolkitElement module--id-5548604 css-agj9rt"><div role="button" tabIndex="0" aria-label="View image" class="css-e0dnmk"><div class="ngart-img__cntr css-1d8by72"><picture class="resp-img-cntr css-kekqym"><source media="(max-width: 320px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo7.webp?w=320&h=214" type="image/webp" /><source media="(max-width: 360px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo7.webp?w=360&h=240" type="image/webp" /><source media="(max-width: 430px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo7.webp?w=430&h=287" type="image/webp" /><source media="(max-width: 500px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo7.webp?w=500&h=334" type="image/webp" /><source media="(max-width: 767px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo7.webp?w=767&h=512" type="image/webp" /><source media="(max-width: 900px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo7.webp?w=900&h=600" type="image/webp" /><source media="(max-width: 1023px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo7.webp?w=1023&h=682" type="image/webp" /><source media="(max-width: 1279px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo7.webp?w=789&h=526" type="image/webp" /><img src="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo7.webp?w=760&h=507" width="760" height="507" alt="CHANGEMENT DE STYLE" title="CHANGEMENT DE STYLE" loading="lazy" /><script type="application/ld+json">{"@context":"https://schema.org","@type":"ImageObject","url":"https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo7.jpg?w=1900&h=1267","width":1900,"height":1267,"author":{"@type":"Person","name":"Justin Foulkes/Fototeca 9x12"},"contributor":{"@type":"Person","name":"Justin Foulkes/Fototeca 9x12"},"caption":"En 1587, François Ier de Médicis, grand-duc de Toscane, ordonne d’émonder la façade d’origine, car il la trouve désuète. La façade demeure vierge jusqu’en 1887, date à laquelle elle on la reconstruit entièrement dans le style néogothique, selon un projet d’Emilio de Fabris fidèle à la vision de Giotto.\r\n","name":"duomo7.jpg","alternateName":"duomo7"}</script></picture></div></div><div></div><div class="ngart-img__cont css-mdc280"><div class="ngart-img__cont__copy css-1hq5e2b"><p>En 1587, François I<sup>er</sup> de Médicis, grand-duc de Toscane, ordonne d’émonder la façade d’origine, car il la trouve désuète. La façade demeure vierge jusqu’en 1887, date à laquelle elle on la reconstruit entièrement dans le style néogothique, selon un projet d’Emilio de Fabris fidèle à la vision de Giotto.</p> </div><span class="css-biuh92">PHOTOGRAPHIE DE <span class="css-bx3505">Justin Foulkes</span>, <a href="/photographe/fototeca-9x12" class="css-1qaza9q"><span>Fototeca 9x12</span></a></span></div></div><div class="module--type-ParagraphContent module--id-5548605"><div class="paragraph css-1vtiyti"><div><p data-paragraph-id="5548605-1">À peine la construction du dôme commencée, Lorenzo Ghiberti et sa faction, frustrés, usent de divers stratagèmes pour saboter les desseins de Brunelleschi. Ils l’accusent de s’éloigner du projet original voulu par Fioravante et de commettre des erreurs structurelles sur l’ouvrage. Voulant à tout prix lui nuire, ils vont même jusqu’à prétendre que le dôme assombrit trop l’intérieur de la cathédrale. Mais aucune de ces machinations ne parvient à freiner le projet. En 1426, la base du dôme atteint la hauteur convenue et accord est donné pour poursuivre les travaux sans structure de soutien.</p> </div><div><p data-paragraph-id="5548605-2">En 1429, des fissures causées par le poids du dôme commencent à apparaître dans la cathédrale. Mais Brunelleschi les restaure à grand renfort de bois et de fer. Petit à petit, couche par couche, le dôme s’élève, sans qu’aucun échafaudage ne soit nécessaire. Mettant son expérience à contribution, Brunelleschi met au point des palans pour se faciliter la tâche. Ceux-ci fonctionnent à l’aide d’engrenages et de manches employés de manière inédite, on peut les actionner à différentes vitesses et leurs composants sont réversibles. Bien plus tard, un autre esprit brillant de la Renaissance étudiera et croquera les appareils de Brunelleschi : Léonard de Vinci.</p> </div></div></div><div class="module--type-ParagraphContent module--id-5548606"><div class="paragraph css-1vtiyti"><div><p data-paragraph-id="5548606-1">Tout au long des années 1430, les travaux sont ralentis par des problèmes de trésorerie, par des baisses de salaires et par une pénurie de matériaux de construction. Mais Brunelleschi persiste. L’année 1436 lui donnera raison. Le dôme resplendissant voit enfin le jour et le pape Eugène IV consacre la cathédrale.</p> </div></div></div><div class="ngart-img--medium module--type-ParagraphImageToolkitElement module--id-5548607 css-agj9rt"><div role="button" tabIndex="0" aria-label="View image" class="css-e0dnmk"><div class="ngart-img__cntr css-1d8by72"><style data-emotion="css 1r17e77">.css-1r17e77{aspect-ratio:2457/3072;}.css-1r17e77 img{display:block;width:100%;height:auto;}</style><picture class="resp-img-cntr css-1r17e77"><source media="(max-width: 320px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo11.webp?w=320&h=401" type="image/webp" /><source media="(max-width: 360px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo11.webp?w=360&h=451" type="image/webp" /><source media="(max-width: 430px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo11.webp?w=430&h=538" type="image/webp" /><source media="(max-width: 500px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo11.webp?w=500&h=626" type="image/webp" /><source media="(max-width: 767px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo11.webp?w=767&h=959" type="image/webp" /><source media="(max-width: 900px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo11.webp?w=900&h=1126" type="image/webp" /><source media="(max-width: 1023px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo11.webp?w=1023&h=1280" type="image/webp" /><source media="(max-width: 1279px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo11.webp?w=789&h=987" type="image/webp" /><img src="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo11.webp?w=760&h=951" width="760" height="951" alt="DÉCORATION INTÉRIEURE" title="DÉCORATION INTÉRIEURE" loading="lazy" /><script type="application/ld+json">{"@context":"https://schema.org","@type":"ImageObject","url":"https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo11.jpg?w=1900&h=2376","width":1900,"height":2376,"author":{"@type":"Person","name":"Pietro Canali/Fototeca 9x12"},"contributor":{"@type":"Person","name":"Pietro Canali/Fototeca 9x12"},"caption":"Ce sol en marbre polychrome présent à l’intérieur de Santa Maria del Fiore date du 16e siècle et est l’œuvre des architectes Baccio d’Agnolo et Francesco da Sangallo.\r\n","name":"duomo11.jpg","alternateName":"duomo11"}</script></picture></div></div><div></div><div class="ngart-img__cont css-mdc280"><div class="ngart-img__cont__copy css-1hq5e2b"><p>Ce sol en marbre polychrome présent à l’intérieur de Santa Maria del Fiore date du 16<sup>e</sup> siècle et est l’œuvre des architectes Baccio d’Agnolo et Francesco da Sangallo.</p> </div><span class="css-biuh92">PHOTOGRAPHIE DE <span class="css-bx3505">Pietro Canali</span>, <a href="/photographe/fototeca-9x12" class="css-1qaza9q"><span>Fototeca 9x12</span></a></span></div></div><div class="module--type-ParagraphContent module--id-5548608"><div class="paragraph css-1vtiyti"><div><p data-paragraph-id="5548608-1">On ne lui laisse toutefois pas carte blanche pour la conception de la lanterne qui doit parachever l’imposant bâtiment. De nouveau, on organise un concours. Et de nouveau, Brunelleschi l’emporte sur ses rivaux. Grâce à ses talents de sculpteur brillant, il réalise un modèle en bois de châtaignier mais meurt en 1446 avant que celui-ci ne puisse être érigé. Sa lanterne est finalement achevée en 1471. On la place sur le dôme et on la surmonte d’une sphère en cuivre (la <em>Palla</em>) fabriquée par Andrea del Verrocchio.</p> </div><div><p data-paragraph-id="5548608-2">Au 16<sup>e</sup> siècle, les travaux se poursuivent dans la cathédrale. On y orne l’intérieur du dôme de manière spectaculaire avec une représentation saisissante du Jugement dernier entreprise par Giorgio Vasari. La façade de la cathédrale est laissée inachevée, on finit par la démanteler en 1587. Trois siècles plus tard, on la reconstruira dans un style néogothique afin de ressusciter les principes stylistiques proposés par Giotto au 14<sup>e</sup> siècle.</p> </div></div></div><div class="ngart-img--medium module--type-ParagraphImageToolkitElement module--id-5548609 css-agj9rt"><div role="button" tabIndex="0" aria-label="View image" class="css-e0dnmk"><div class="ngart-img__cntr css-1d8by72"><style data-emotion="css fchy07">.css-fchy07{aspect-ratio:3072/2457;}.css-fchy07 img{display:block;width:100%;height:auto;}</style><picture class="resp-img-cntr css-fchy07"><source media="(max-width: 320px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo12.webp?w=320&h=256" type="image/webp" /><source media="(max-width: 360px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo12.webp?w=360&h=288" type="image/webp" /><source media="(max-width: 430px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo12.webp?w=430&h=344" type="image/webp" /><source media="(max-width: 500px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo12.webp?w=500&h=400" type="image/webp" /><source media="(max-width: 767px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo12.webp?w=767&h=614" type="image/webp" /><source media="(max-width: 900px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo12.webp?w=900&h=720" type="image/webp" /><source media="(max-width: 1023px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo12.webp?w=1023&h=819" type="image/webp" /><source media="(max-width: 1279px)" srcSet="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo12.webp?w=789&h=632" type="image/webp" /><img src="https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo12.webp?w=760&h=608" width="760" height="608" alt="FRESQUES INTÉRIEURES" title="FRESQUES INTÉRIEURES" loading="lazy" /><script type="application/ld+json">{"@context":"https://schema.org","@type":"ImageObject","url":"https://static.nationalgeographic.fr/files/styles/image_3200/public/duomo12.jpg?w=1900&h=1520","width":1900,"height":1520,"author":{"@type":"Person","name":"Guido Baviera/Fototeca 9x12"},"contributor":{"@type":"Person","name":"Guido Baviera/Fototeca 9x12"},"caption":"Giorgio Vasari fut commissionné par Cosme de Médicis pour décorer l’intérieur du dôme. Ces fresques qui dépeignent le Jugement dernier furent achevées par Federico Zuccaro en 1579, après la mort de Vasari.\r\n","name":"duomo12.jpg","alternateName":"duomo12"}</script></picture></div></div><div></div><div class="ngart-img__cont css-mdc280"><div class="ngart-img__cont__copy css-1hq5e2b"><p>Giorgio Vasari fut commissionné par Cosme de Médicis pour décorer l’intérieur du dôme. Ces fresques qui dépeignent le Jugement dernier furent achevées par Federico Zuccaro en 1579, après la mort de Vasari.</p> </div><span class="css-biuh92">PHOTOGRAPHIE DE <span class="css-bx3505">Guido Baviera</span>, <a href="/photographe/fototeca-9x12" class="css-1qaza9q"><span>Fototeca 9x12</span></a></span></div></div><div class="module--type-ParagraphContent module--id-5548610"><div class="paragraph css-1vtiyti"><div><p data-paragraph-id="5548610-1">Leon Battista Alberti, architecte et polymathe du 15<sup>e</sup> siècle, s’émerveille devant la prouesse monumentale de Filippo Brunelleschi :</p> </div><div><p data-paragraph-id="5548610-2"><em>Qui pourrait faire preuve de tant d’envie qu’il déniât louanges à l’architecte Pippo à la vue de cette structure hissée dans les cieux ? Elle est d’envergure telle que sur le peuple toscan tout entier elle projette son ombre, dans toute son économie, sans poutres, ni supports de bois. Il est difficile de croire que cela fut accompli à cette époque, alors que tel exemple n’avait jamais été donné dans les temps anciens.</em></p> </div><div><p data-paragraph-id="5548610-3">Peu après la mort de Filippo Brunelleschi, on perd la trace de sa dépouille. Chez les historiens, on le dit enterré sous la cathédrale. Et la rumeur dit vrai : en 1972, on découvrira sa tombe dans la crypte, dans l’ombre de son propre dôme qui semble tout ignorer de la gravité.</p> </div></div></div><div class="module--type-ParagraphAuthorBoxNotes module--id-5548614"><style data-emotion="css 1ktyp9b">.css-1ktyp9b{border:2px solid rgb(230 230 230);margin-bottom:1.5rem;padding:2rem 1.5rem;}.css-1ktyp9b h2{font-size:1.5rem;margin-bottom:1rem;color:#555;}.css-1ktyp9b h2.h3{font-size:1.1875rem;}@media (min-width: 1024px){.css-1ktyp9b{margin-bottom:0.5rem;padding:2.5rem 2rem;}}.css-1ktyp9b p:last-child{margin-bottom:0;}</style><div class="paragraph css-1ktyp9b"><p><em>Cet article a initialement paru sur le site nationalgeographic.com en langue anglaise.</em></p> </div></div></div><style data-emotion="css 1082emh">.css-1082emh{display:none;}@media (min-width: 1024px){.css-1082emh{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;width:300px;float:left;-webkit-flex:0 1 auto;-ms-flex:0 1 auto;flex:0 1 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