Santa Maria Novella, Church and Cloisters, Florence, Italy
| General Attributes |
DOI| 10.34946/D6T59C | |
| Project Name | Santa Maria Novella, Church and Cloisters, Florence |
| Country | Italy |
| Status | Restricted |
| Citation |
| George Bent, David Pfaff, Florence As It Was 2026: Santa Maria Novella, Church and Cloisters, Florence - LiDAR - Terrestrial. Distributed by Open Heritage 3D. https://doi.org/10.34946/D6T59C |
| Data Type |
Size |
Device Name |
Device Type |
| LiDAR - Terrestrial | Not available | Not available | Not available |
| Background |
| Site Description | This Dominican friary was probably initiated in the early 1270s, although the exact date is contested by scholars (some say 1246, others say 1279). A small parish church called S. Maria delle Vigne originally stood on the spot of the current sacristy, moving perpendicularly across the nave: its foundations remain in the crypt below. The cruciform basilica, designed in the Tuscan gothic style (solid side walls, minimal fenestration, and quadripartite vaults) and complete with six burial chapels that flank the Cappella Maggiore in the transept, appears to have been completed by 1350, although the crossing appears to have been in use by about 1290. The nave features a pulpit from the mid-fifteenth century that stands before the fresco of the Holy Trinity produced by Masaccio sometime between 1425 and 1427: This painting is widely considered the earliest surviving example of perfect one-point perspective in European art. Fresco cycles in the Cappella Maggiore and Strozzi Chapel in the transept stand as major monuments in Florentine mural paintings. The three sets of cloisters to the west were repositories of fresco cycles by Andrea and Nardo di Cione, Andrea di Bonaiuto, and Paolo Uccello. The Chiostro Grande on the furthest western edge of the complex at one time held apartments used by two different Popes: Martin V and Eugenius IV.
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| Project Description | Florence As It Was has multiple aims within its broad goal of recreating selected structures in the city as they appeared in the year 1500. The pointclouds and photogrammetric models we build certainly serve their purposes as visual portals into the past, but the translations of early modern descriptions, transcriptions of contemporary documents, and the creation of a database of people, places, and things weaves these images into layers of information that help us interpret what we see. Intended as a study tool (as opposed to a substitution for the real thing), this project provides users with a combination of the type of original source materials that historians of art and architecture in particular typically use when crafting scholarly works. Its multi-variances routinely force us to make choices and adhere to a list of priorities as we go. We have progressed deliberately and with an eye toward posting the most original portions of our work first, and then filling in the gaps later on. We have concentrated much of our attention on the physically and politically challenging work of securing permissions, traveling to Florence, and then using state-of-the-art technology to scan the most important structures in the city before editing and modeling those scans so that they reflect accurately the dimensions and color patterns of those buildings.
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| UNESCO World Heritage Site | Historic Centre of Florence |
| External Project Link | View exhibit |
| Additional Information | Learn more |
| Collection Date | 2021-07-06 to 2024-02-25 |
| Publication Date | 2026-03-19 |
| License Type | CC BY-NC-ND |
| Model Information |
| Reuse Score | B - High-Quality Model without Georeferencing |
| Curator Notes | This dataset is restricted, to request access please consult the Florence as It Was Project
https://florenceasitwas.wlu.edu/
florenceasitwas@wlu.edu
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