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A 15-year restoration of the choir’s Legend of the True Cross (1448–66), the greatest fresco cycle by Piero della Francesca, has revived the vitality and vibrancy of this masterpiece.
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(see The Duomo Group, Florence).
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Arnolfo di Cambio’s asymmetrical masterpiece of Gothic civic architecture.
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Alberti’s mathematically precise Renaissance façade contrasts with the textbook Italian Gothic interior.
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Brunelleschi’s perfectly proportioned interior set the Renaissance standard.
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San Martino is a masterpiece of Romanesque stacked open arcades, stuffed with sculpture from Gothic reliefs to works by two great 15th-century talents, local Matteo Civitale and Sienese Jacopo della Quercia. (see Lucca)
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A split personality cathedral: Romanesque arcading topped by Gothic pinnacles and belltower. It houses wonderfully idiosyncratic sculpture: three takes on the life of local patron San Cerbone and lovely pre-Romanesque carvings.
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High Renaissance masterpiece of proportion (see Montepulciano).
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Granary-turned-church ringed with statues by Donatello, Ghiberti and Verrocchio (copies; the originals are in an upstairs museum). Orcagna designed the tabernacle to resemble a miniature cathedral containing a Madonna and Child (1348) by Bernardo Daddi.
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Behind the Classical façade is a reinterpreted German Gothic building, the result of Piccolomini Pope Pius II’s interference in Rossellino’s initial plan to build the perfect Renaissance town.
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