Analyzing El Greco’s ‘Burial of the Count of Orgaz’ & Florence’s Dome
El Greco’s ‘Burial of the Count of Orgaz’: A Detailed Analysis
The work presents a composition in two horizontal halves. The upper half, the sky, is dominated by the central figure of the Risen Christ, enthroned as king of the universe, judging all mankind. Below Christ is the Virgin Mary, dressed in the traditional red and blue, ready to welcome the rising soul. To Christ’s left (the right side of the picture) are a series of figures who devoutly look to God. San Juan Bautista is recognizable by his camel skin garment. In the second row are Santo Tomas and, surprisingly, Apostila de Felipe II. On the left side are various figures from the Old Testament, such as King David and Moses.
In the earthly part of the painting, the deceased noble’s body is being received by St. Augustine and St. Stephen. El Greco includes some biblical characters to heighten the scene’s sadness. On the opposite side are three monks: Franciscan, Augustinian, and Dominican. In the center, a series of contemporary figures, including El Greco himself, who looks directly at the viewer, inviting them into the mystery. To the left is the late son of the deceased, pointing to El Greco. Almost in the center is the soul of the deceased, being assisted by an angel. These characters are also of great importance in the work.
The painting incorporates aerial perspective, with elements becoming more blurred in the distance. A key feature is the predominant use of color over line, reflecting the influence of Michelangelo. The theme is religious, depicting religious settings and scenes, and also incorporates elements of Mannerism. The Renaissance influence is evident in the naturalistic depiction of the human figure and the prominence of religious orders.
The Dome of Santa Maria del Fiore: An Architectural Marvel
The dome is pointed and topped with a large lantern, constructed of brick on an octagonal base with two parallel shells. Both the interior and exterior are layered, with the inner layer having a smaller radius. The inner layer closes before the second layer, whose width increases with height. Between these two layers are air spaces, nerves, and rings that form the dome’s structure. The foundation stone was used in both the inner and outer layers.
The dome consists of 24 brick nerves in a herringbone pattern. The eight nerves at the vertices of the dome are the main ones, bearing the weight of the structure. The lantern, standing 16 meters high, is a key piece of the architectural ensemble, open to the winds and designed for a pointed dome. The dome is raised on an octagonal drum, which subdivides its weight.
The Florence dome is considered one of the few monuments that has been deemed perfect since its construction. The interest of the dome is hemispherical, contrasting its thrust. Brunelleschi used a very large diameter, and constructing a hemispherical dome would have caused it to lean inward. The dome is influenced by the Roman Pantheon. Key characteristics of Renaissance sculpture evident here include symmetry, the canon, the study of perspective, and the use of classical techniques.