The completion of the Cathedral belongs to that intermediate epoch which saw the decline of the great democracy and the dawn of the Renaissance, and ran from 1378 to 1421, in which latter year the third tribune was finished. Filippo Brunelleschi's dome or cupola, raised upon a frieze or drum high above the three great semi-domes, with a large window in each of the eight sides, was commenced in 1420 and finished in 1434, the year which witnessed the establishment of the Medicean regime in Florence. Vasari waxes most enthusiastic over this work. "Heaven willed," he writes, "after the earth had been for so many years without an excellent soul or a divine spirit, that Filippo should leave to the world from himself the greatest, the most lofty and the most beauteous construction of all others made in the time of the moderns and even in that of the ancients." And Michelangelo imitated it in St Peter's at Rome, turning back, as he rode away from Florence, to gaze upon Filippo's work, and declaring that he could not do anything more beautiful. Some modern writers have passed a very different judgment. Fergusson says:--"The plain, heavy, simple outlined dome of Brunelleschi acts like an extinguisher, crushing all the lower part of the composition, and both internally and externally destroying all harmony between the parts." Brunelleschi also designed the Lantern, which was commenced shortly before his death (1446) and finished in 1461. The palla or ball, which crowns the whole, was added by Andrea Verrocchio. In the fresco in the Spanish Chapel of Santa Maria Novella, you shall see the Catholic Church symbolised by the earlier church of Santa Reparata; and, as the fresco was executed before the middle of the fourteenth century, it apparently represents the designs of Arnolfo and Giotto. Vasari, indeed, states that it was taken from Arnolfo's model in wood. "From this painting," he says, "it is obvious that Arnolfo had proposed to raise the dome immediately over the piers and above the first cornice, at that point namely where Filippo di Ser Brunellesco, desiring to render the building less heavy, interposed the whole space wherein we now see the windows, before adding the dome."[41] [41] "There is only one point from which the size of the Cathedral of Florence is felt; and that is from the corner of the Via de' Balestrieri, opposite the south-east angle, where it happens that the dome is seen rising instantly above the apse and transepts" (_Seven Lamps_). [Illustration: PORTA DELLA MANDORLA, DUOMO]