Santa Trinita, Church, Florence, Italy
| General Attributes |
DOI| 10.26301/rhe9-0980 | |
| Project Name | Santa Trinita, Church, Florence |
| Country | Italy |
| Status | Published |
| Citation |
| George Bent, David Pfaff, Micky Brown, Florence As It Was 2026: Santa Trinita, Church, Florence - LiDAR - Terrestrial, LiDAR - Terrestrial, LiDAR - Terrestrial. Distributed by Open Heritage 3D. https://doi.org/10.26301/rhe9-0980 |
| Download |
| Spatial Data | Download (Links to all available data types will be emailed) |
| Data Type |
Size |
Device Name |
Device Type |
| LiDAR - Terrestrial | 45 GB | Leica RTC360 , Nikon Z 1 | Time of Flight Scanner , Mirrorless |
| Background |
| Site Description | This church, for a time the headquarters of the Vallombrosan Order, is more important than it might seem. The remnants of an earlier church that stood there by the turn of the 12th century may still be seen in the contra-façade (entrance wall) and in the crypt that may be accessed from the nave near the crossing. This first structure was rebuilt and expanded by twice its former size in the mid-13th century, breaking with Florentine tradition by including burial chapels along the side aisles that flank the central nave (this trend would become commonplace in the city in the 15th century). Among these burial chapels is the Bartolini-Salimbeni Chapel that contains frescoes and an altarpiece of the Annunciation of the Virgin, all of which were painted by Lorenzo Monaco, ca. 1422. Beyond it lies the Sassetti Chapel with frescoes painted by Domenico Ghirlandaio that includes an urban portrait of the Piazza della Signoria as it appeared in 1485. The sacristy behind the north transept is formed by a double chapel, bisected by the tomb of Onofrio di Strozzi, a powerful Florentine and parishioner of S. Trinita who died in 1418. Into these chapels were installed altarpieces by Gentile da Fabriano (the Adoration of the Magi, 1423, Uffizi Galleries, Florence) and Fra Angelico (the Deposition of Christ, 1434, Museo di S. Marco, Florence) thanks to funding from Onofri’s son, Palla Strozzi, the wealthiest man in Florence according to his tax declaration of 1427.
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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.
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. | |
| UNESCO World Heritage Site | Historic Centre of Florence |
| External Project Link | View exhibit |
| Additional Information | Learn more |
| Collection Date | 2022-11-21 to 2022-11-23 |
| 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 |
| Entities |
| Contributors | George Bent, David Pfaff, Micky Brown, Florence As It Was |
| Partners | Washington and Lee University |
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