A modification for the sake of the structure was prepared for the architects in 1436, however, the construction began only in 1446, the year of Brunelleschi’s death.

Santo Spirito appears to be Florence's largest church, second after Santa Maria del Fiore.  However, Santo Spirito is substantially bigger in size than the Church of San Lorenzo, but it has a tremendous correspondence with it, both in terms of the plan, that way and in the share of internal architecture.

 Similar to the Church of San Lorenzo, the general plot of Santo Spirito is gouged for three naves, while the barrier of the main nave is thin and fractured for hexagonal caissons.  The side aisles are isolated through mediocre colonnades.

The conformity with San Lorenzo is enhanced by the shaping of the main dome and several building details.  The discrepancy between these two structures, which establishes Santo Spirito in architectural terms for a more noble degree after comparison with San Lorenzo, is covered in the fact that the gallery-naves are freely used here, encircling the chapel with all its side borders.

 In San Lorenzo, as already were mentioned, has a three-nave division, is also adopted, but there this division concerns exclusively the general site, in the church but San Spirito, the side naves also look into the limits.  In Santo Spirito, the architect achieves an extraordinary building effect.  The correct alternation of the colonnades, enveloping the church, vaults and arches, giving rise to an extraordinary fun of gliding light, glare and shadows - all this organizes the memory of depth, spaciousness and together without giving back to the richness of the building.

 A similar but circular framing block was used in the Church of St. Brunelleschi in Constantinople, possibly using this motive.

 One distinctive side of the Church of Santo Spirito also directs the passion.   Instead of the rectangular side chapels of San Lorenzo, semicircular niches are provided here, located along the entire perimeter of the structure and separated by semicircular but pilasters, which is unconditionally activated by the urge to organize a large-scale construction special effect.  Indeed, the rounded, curving walls, together with convex columns that are important for their background, seem to push the space apart.  One distinctive side of the Church of Santo Spirito also directs the passion.  Instead of the rectangular side chapels of San Lorenzo, semicircular niches are provided here, located along the entire perimeter of the structure and separated by semicircular but pilasters, which is unconditionally activated by the urge to organize a large-scale construction special effect.  Indeed, the rounded, curving walls, together with convex columns that are important for their background, seem to push the space apart.

 The Chapel of Santo Spirito, similar to the church of degli Angeli Scoliari, was highly valued by the specialists of the Renaissance and had a tremendous impact on the further formation of divine architecture.

 Translated by Ustemirova Alina