Prato Cathedral, Prato, Tuscany, Italy, Europe

Prato Cathedral is a Roman Catholic cathedral in Prato, Tuscany, Central Italy, from 1954 the seat of the Bishop of Prato, having been previously, from 1653, a cathedral in the Diocese of Pistoia and Prato. It is dedicated to Saint Stephen, the first Christian martyr. It is one of the most ancient churches in the city, and was already in existence in the 10th century. It was built in several successive stages in the Romanesque style. The church contains a number of notable works of art, in particular fine sculpture. The church of Saint Stephen was built in a green meadow after an appearance of the Virgin Mary near the village of Borgo al Cornio. The first building was a small parish church. which the earliest document dates from AD 994. The expansion of the church began in the 15th century and transformed the modest building into one of the most lovely Gothic-Romanesque buildings in Tuscany. The cathedral is documented as early as the 10th century as the Pieve di Santo Stefano, located in the Borgo al Cornio, the first settlement in Prato. The current structure dates from the Romanesque period of the 12th century: the nave, side walls and greater part of the bell tower remain from this date. The upper stage of the bell tower was constructed in 1356. During the 14th century the cathedral acquired an important relic, the Sacra Cintola or Belt of the Holy Virgin. This brought about the enlargement of the edifice by the addition of a transept which is attributed to Giovanni Pisano, but is probably the work of a pupil of Nicola Pisano. The Cintola Chapel was also built at this time to house the relic. In the early 15th century, a new façade or west front was added in the International Gothic style, in front of the old one. In the space between the two was created a narthex or corridor leading to the external pulpit, built by Michelozzo and decorated by Donatello between 1428 and 1438. The façade is architecturally simple, the shape of the building informing the new structure so that its low-pitched central roof and sloping side aisles mark the roofline, which is enlivened with an open parapet of simple Gothic tracery, uniting the building with the sky. The façade is divided into three sections by shallow buttresses or pilasters. That part above the springing of the door arch is faced with marble in bold contrasting stripes, while the lower part is pale-coloured but much stained in some areas, possibly from the absorption of pollutants. The façade has a single central portal with a lintelled doorway surmounted by a Gothic arch. In the lunette over the door is a glazed terracotta sculpture by Andrea della Robbia depicting the Madonna with Saints Stephen and John. Below the central gable, a decorative clock is set into the façade, in place of a central window. It is surrounded by segments of the contrasting marble and forms part of the harmonious design. The frescoes of the transept chapel are also of the 15th century, but are in the Renaissance painting style. Internally, the church, built on a Latin cross ground plan, has a nave and two side aisles, all in Romanesque style and dating from the early 13th century. They are separated by elegant columns of green serpentine, the capitals being attributed to Guidetto. The vaults, designed by Ferdinando Tacca, were added in the 17th century.
The north aisle houses a notable Renaissance pulpit in white marble (1469–1473). The base is decorated with sphinxes. The parapet has reliefs by Antonio Rossellino, portraying the Assumption and the Stories of St. Stephen, and by Mino da Fiesole portraying the Stories of St. John the Baptist. It is faced, in the opposite aisle, by a great bronze candelabrum by Maso di Bartolomeo (1440), having an elongated vase-shape from which seven branches protrude. Maso also executed the balcony of the inner west wall, which in addition is decorated with a fresco of the Assumption by David and Ridolfo del Ghirlandaio. A small staircase leads from the old church to the 14th-century transept, which has five high cross vaults, each ending in an apse divided by pilasters. The presbytery has three works by the American artist Robert Morris (2000–2001). In the south arm of the transept is the Renaissance tabernacle by the Da Maiano brothers: the Madonna with Child terracotta (1480) is by the more famous Benedetto. The chapels can be accessed through a 17th-century balustrade in polychrome marble, for which parts of the Renaissance choir were re-used (including crests and cherubims). In the south arm of the transept, the Vinaccesi Chapel houses a notable Deposition of Christ from the 13th century. It also has 19th-century frescoes by the Pratese painter Alessandro Franchi.