Loo Y.
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Santa Maria Novella is not one church, it is a whole institution made visible. The Dominicans arrived in the 1200s and by 1420 the basilica was consecrated, but the place keeps writing new chapters in stone. Alberti takes a medieval front and snaps it into Renaissance mathematics - a façade finished in the 1470s, then, in a very Florentine twist, only fully completed in marble in 1920. Step inside and the nave behaves like a machine for public attention: wide, legible, built for sermons, built for seeing. Masaccio nails perspective to doctrine in the Holy Trinity; Giotto’s crucifix insists on an older, harsher kind of presence. Then the “church” leaks outward into the convent: the Spanish Chapel’s later-1360s fresco programme, the Green Cloister’s painted sequences. It is a curriculum disguised as architecture.