Astute observers can read the proportional relationships among the
interior’s parts as a series of mathematical equations. The austerity
of the decor enhances the rationality of the design and produces a
restful and tranquil atmosphere. Brunelleschi left no space for ex-
pansive wall frescoes that only would interrupt the clarity of his ar-
chitectural scheme. The calculated logic of the design echoes that of
ancient Roman buildings, such as the Pantheon (FIG. 10-50,right).
The rationality of Santo Spirito contrasts sharply, however, with the
soaring drama and spirituality of the nave arcades and vaults of
Gothic churches (for example,FIGS. 18-19and 18-20). It even devi-
ates from the design of Florence Cathedral’s nave (FIG. 19-19), whose
verticality is restrained compared with its Northern European coun-
terparts. Santo Spirito fully expresses the new Renaissance spirit that
placed its faith in reason rather than in the emotions.
PAZZI CHAPELBrunelleschi’s apparent effort to impart a cen-
tralized effect to the interior of Santo Spirito suggests that the compact
and self-contained qualities of earlier central-plan buildings, such as
the Roman Pantheon (FIGS. 10-49to 10-51), intrigued him. The Pazzi
Chapel (FIG. 21-33) presented Brunelleschi with the opportunity
to explore this interest, in a structure much better suited to a cen-
tralized design than a basilican church. The chapel was the Pazzi
family’s gift to the Franciscan church of Santa Croce in Florence (see
“Renaissance Family Chapel Endowments,” page 564) and served asFlorence 56321-31Filippo Brunelleschi, interior of Santo Spirito (looking
northeast), Florence, Italy, designed 1434–1436; begun 1446.
The austerity of the decor and the mathematical clarity of the interior
of Santo Spirito contrast sharply with the soaring drama and spirituality
of the nave arcades and vaults of Gothic churches.
21-32Filippo Brunelleschi, early plan (left) and plan as constructed
(right) of Santo Spirito, Florence, Italy, designed 1434–1436; begun 1446.
Santo Spirito displays the classically inspired rationality of Brunelleschi’s
mature architectural style in its all-encompassing modular scheme
based on the dimensions of the dome-covered crossing square.N
0 50 1 00 feet
0 10 20 30 metersDome-covered crossing squareFour entrances Three entrances21-33Filippo Brunelleschi, facade of the Pazzi Chapel, Santa Croce,
Florence, Italy, designed ca. 1423, begun 1442.
The Pazzi family erected this chapel as a gift to the Franciscan church
of Santa Croce. One of the first independent Renaissance central-plan
buildings, it served as the monks’ chapter house.