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Current time:0:00Total duration:3:55

Video transcript

we're in Santo Spirito one of Brunelleschi's last churches in fact I believe only one column was raised by the time he passed away and we see a lot of the same things that we see in the old sacristy or in the Pazzi Chapel by Brunelleschi the use of this dark grayish green Pietra Serena that creates the columns and the moldings and the cornices you know just yesterday we were in the Laurentian library designed by Michelangelo which is also these white walls and the pietra serena and also very muscular energetic space and when we're here today in Santo Spirito I can really see that Michelangelo is building on what Brunelleschi did there is a kind of willingness to allow what would formerly have been the trim of the wall to become a visual force in itself the church is a basilica in its plan with a dome over the crossing but Brunelleschi in his typical interest in geometry used the square that forms the crossing as the basic unit of measurement throughout the church there's also a relationship between those widths and the elevation of the church kind of rigorous continuity in the geometry throughout a sense of circles and semicircles and squares and rectangles that all relate to another Brunelleschi has created a mathematical system that is so self-evident and makes so much sense that there aren't other options the mathematics determine the space and I think that that idea of beauty residing in the relationships between the parts of the church not in any one feature but in those proportional relationships is something that is very important to Brunelleschi in is also something that Brunelleschi is deriving from his study of ancient Roman architecture this is a building that feels to me about the relationship also between the line of the petrous arena and the plane of the stucco in between but unlike some of Brunelleschi's earlier work the Petrus arena has expanded it's become more muscular you can see the Pietra Serena expanding almost as if it's growing over the arches so it almost reaches the stringcourse molding below the cornice there seems to be that expansion of the Petrus arena in the string courses above in the extra cornices that exists above each of the capitals of each of the columns and even at the bases of the column the Petrus arena seems to expand outward into the paving itself until the Petrus arena is no longer functioning really as a line against plane but becoming a kind of sculptural form in fact it gives the entire church a kind of visual density it's a space that has a tension between energy in the Pietra Serena and the simplicity of the spatial elements I think it's also really important to talking about how classic this looks we really have a sense of being an ancient Roman building but there is a kind of severity here we don't see fluting in the columns or in the plasters and the petrol Serena's tone is a serious tone this church is one of the great expressions of early Renaissance architecture it's sometimes seen as a summation of the vocabulary that Brunelleschi created over his lifetime which was revolutionary you you