“Fassi un’altra cupola di fuori sopra questa per conservarla dall’umido, e perché torni più magnifica e gonfiante.” (Filippo Brunelleschi)
Il film porta lo spettatore in volo sopra Santa Maria del Fiore e la celebre Cupola del Brunelleschi, simbolo della città, grazie a riprese aeree realizzate con elicotteri e droni, che hanno volteggiato sopra Firenze per regalare punti di vista inediti ed esclusivi. La ricostruzione grafica in 3D, realizzata a partire dai disegni originali, ha permesso di visualizzare il progetto di ingegneria e architettura avveniristica di Brunelleschi di una cupola dentro l’altra . Lunghi bracci pneumatici, sui quali sono state montate le telecamere 3D, hanno permesso di arrivare fino ai dettagli del Giudizio Universale di Vasari e Zuccari, opera imponente che decora mirabilmente l’interno della Cupola. Le vetrate, che compongono il più grande programma di arte vetraria del XV sec tra cui L’incoronazione della Vergine, l’unica opera bidimensionale di Donatello, vengono immortalate a distanza ravvicinata e possono essere ammirate da un punto di vista unico e irripetibile.
I PROTAGONISTI DEL FILM
The coronation of the virgin is a window of the drum of the dome, built and designed by Donatello and is the only witness to the artist's come down. Dates back to 1434-1437, it is round, with a diameter of 480 cm. The theme of the Coronation of Mary was very popular at the time and was in connection with the stories of the Virgin, who was the owner of the Florentine cathedral. The figures of Mary (left) and Christ (right), are sitting on two thrones and leaning towards each other nourishing the circular shape of the glass. They are represented in the time of laying the wreath, the Virgin accepts bowing humbly, clasping her hands. Donatello created a composition that develops in depth for some plans, thanks to the base of the throne, with the same precautions prospective already used in sculpture.
The Grand Duke Cosimo I de' Medici chose the theme of the Last Judgment fresco for the enormous dome, and entrusted the task to Giorgio Vasari, flanked by Don Vincenzo Borghini for the choice of the iconographic theme. The contents to be followed were those that emerged from the council of Trento, which had reviewed the medieval catholic doctrine ordering it in a clear arrangement. The dome is now divided into six registers and eight segments. Each segment includes four scenes from the fake central lantern surrounded by twenty-four elders of the apocalypse (three in each segment): a choir of angels with instruments of the passion (second register); a category of saints and elect (third register); a triad of personifications, representing a gift of the holy spirit, seven virtues, and seven beatitudes; a region of Hell dominated by a cardinal sin. On east clove, the front of the central nave, the four registers become three to make way for the great Christ in Glory between the Virgin and St. John resting on the three theological virtues (Faith, Hope and Charity) followed down by allegorical figures of time (character with hourglass, and two children representing the nature and seasons) and the Church Triumphant. Vasari died on June 27, 1574, after scoring only one third of the work and had time only to draw the circle of twenty-four elders of the apocalypse closer to the lantern. The work was then taken by Federico Zuccari and collaborators. The technique used is mixed: fresco by Vasari, dry techniques by Zuccari.
At the beginning of the fifteenth century, the space of 42 meters above the choir of the cathedral had not yet its octagonal dome. In 1419, Filippo Brunelleschi won the race banned from the Wool Guild and received the commission. The construction of a stone dome raised many technical problems. Brunelleschi had taken inspiration from the great dome of the Pantheon in Rome, but the secret construction of that work had enormous lost in the mists of time. So he decided to build the masonry dome. To show how it would look once completed, he produced a model in wood and brick with the help of Donatello and Nanni di Banco. The model then served as a guide for the workers, but was left intentionally incomplete for control on building. The solution of Brunelleschi, which involved the construction of a "false dome" was ingenious and unprecedented.