Lives of the Most Excellent Painters, Sculptors, and Architects/Filippo Brunelleschi

by Giorgio Vasari

 

THE FLORENTINE SCULPTOR AND ARCHITECT FILIPPO BRUNELLESCHI.

[born 1377^[1]—died 1446.]

There are many men who, though formed by nature with small persons and insignificant features, are yet endowed with so much greatness of soul and force of character, that unless they can occupy themselves with difficult—nay, almost impossible undertakings, and carry these enterprises to perfection to the admiration of others, they are incapable of finding peace for their lives. And, however mean or un- promising may be the occasion presented to such persons, however trifling the object to be attained, they find means to make it important, and to give it elevation. Therefore it is that none should look with contemptuous glance on any one whom he may encounter, having an aspect divested of that grace and beauty which we might expect that Nature would confer, even from his birth, upon him who is to exhibit distinguished talent, since it is beyond doubt that beneath the clods of earth the veins of gold lie hidden. So much force of mind, and so much goodness of heart, are frequently born with men of the most unpromising exterior, that if these be conjoined with nobility of soul, nothing short of the most important and valuable results can be looked for from them, since they labour to embellish the unsightly form by the beauty and brightness of the spirit. This was clearly exemplified in Filippo di Ser Brunellesco, who was no less diminutive in person than Messer Forete da Rabatta and Giotto,^[2] but who was of such exalted genius withal, that we may truly declare him to have been given to us by heaven, for the purpose of imparting a new spirit to architecture, which for hundreds of years had been lost: for the men of those times had badly expended great treasures in the erection of buildings without order, constructed in a wretched manner after deplorable designs, with fantastic inventions, laboured graces, and worse decorations.^[3] But it then pleased Heaven, the earth having been for so many years destitute of any distinguished mind and divine genius, that Filippo Brunelleschi should leave to the world, the most noble, vast, and beautiful edifice that had ever been constructed in modern times, or even in those of the ancients: giving proof that the talent of the Tuscan artists, although lost for a time, was not extinguished. He was, moreover, adorned by the most excellent qualities, among which was that of kindliness, insomuch that there never was a man of more benign and amicable disposition; in judgment he was calm and dispassionate, and laid aside all thought of his own interest and even that of his friends, whenever he perceived the merits and talents of others to demand that he should do so. He knew himself, instructed many from the stores of his genius, and was ever ready to succour his neighbour in all his necessities; he declared himself the confirmed enemy of all vice, and the friend of those who laboured in. the cause of virtue. Never did he spend his moments vainly, but, although constantly occupied in his own works, in assisting those of others, or administering to their necessities, he had yet always time to bestow on his friends for whom his aid was ever ready.

There lived in Florence, as we are told, a man of good renown, very praiseworthy habits, and much activity in his affairs, whose name was Ser Brunellesco di Lippo Lapi, and whose grandfather, called Cambio, was a very learned person, the son of a physician famous in those times, and named Maestro V entura Bacherini.^[4] Ser Brunellesco chose for his wife a young woman of excellent conduct, from the noble family of the Spini,^[5] with whom, as part payment of her dowry, he received a house, wherein he and his children dwelt to the day of their death. This house stands in a corner on the side opposite to San Michele Bertelli.^[6] after passing the Piazza degli Agli, and while Brunellesco there exercised his calling and lived happily with his wife, there was born to him in the year 1377 a son, to whom he gave the name of Filippo, after his own father, who was then dead. This birth he solemnized with all possible gladness. As the infant advanced in childhood, his father taught him the first rudiments of learning with the utmost care, and herein Filippo displayed so much intelligence, and so clear an understanding, as to frequently cause surprise that he did not take pains to attain perfection in letters, but rather seemed to direct his thoughts to matters of more obvious utility, a circumstance which caused Ser Brunellesco, who wished his son to follow his own calling of a notary, or that of his great-great-grandfather (tritavolo)^[7] very great displeasure. Perceiving, nevertheless, that the mind of the boy was constantly intent on various ingenious questions of art and mechanics, he made him learn writing and arithmetic, and then placed him in the Guild of the Goldsmiths, that he might acquire the art of design from a friend of his. This was a great satisfaction to Filippo, who no long time after he had begun to study and practise in that art, understood the setting of precious stones much better than any old artist in the vocation. He alse executed works in niello; among others, figures in silver, two prophets, namely, half-lengths, which were placed over the altar of San Jacopo di Pistoja,^[8] and were considered very beautiful; these figures were made by Filippo, for the superintendents of the cathedral in that city. He also executed works in basso-rilievo, wherein he showed so complete a mastery of that art, as to make it manifest that his genius must quickly overstep the limits of the goldsmith’s calling. Subsequently, having made acquaintance with several learned persons, he began to turn his attention to the computation of the divisions of time, the adjustment of weights, and the movement of wheels; he considered the method by which they might best be made to revolve, and how they might most effectually be set in motion, making several very good and beautiful watches with his own hand.^[9]

Not content with this, Filippo was seized with an earnest desire to attempt the art of sculpture, and this wish took effect in such sort that Donatello, then a youth, being considered of great distinction and high promise therein, Filippo contracted a close intimacy with him; and each attracted by the talents of the other, they became so strongly attached that one seemed unable to live without the other. But Filippo, who was capable of attaining excellence in various departmerits, gave his attention to many professions, nor had any long time elapsed before he was considered by good judges to be an excellent architect. This he proved in various works which served for the decoration of houses, as, for example, for that of the house of Apollonio Lapi,^[10] his kinsman, at the corner of the Ciai, towards the Mercato Vecchio, where he laboured industriously all the time that the edifice was in course of erection; and he did the same thing at the tower and house of Petraja^[11] at Gastello, outside of Florence. In the palace of the Signoria also, Filippo distributed and arranged all the rooms occupied for the affairs of their office by the officials of the “Monte.” He therein constructed the windows and doors after the manner of the ancients, a thing not then very frequently done, architecture being in a very rude state in Tuscany.

There was at that time a statue of Santa Maria Maddalena to be executed in linden-wood, for the monks of Santo Spirito in Florence, and which was to be placed in one of their chapels; Filippo therefore, who had executed various small works in sculpture, being desirous of proving that he could succeed in the greater also, undertook to execute this statue, which, being completed and fixed in its place, was considered exceedingly beautiful; but in the subsequent conflagration of the church in 1471 it was burnt, with many other remarkable things.

Filippo Brunelleschi gave considerable attention to the study of perspective, the rules of which were then very imperfectly understood, and often falsely interpreted; and in this he expended much time, until at length he discovered a perfectly correct method, that of taking the ground plan and sections by means of intersecting lines, a truly ingenious thing, and of great utility to the arts of design. In these inquiries Filippo found so much pleasure that he executed a drawing of the Piazza San Giovanni, wherein he pourtrayed all the compartments of the incrustation in black and white marble, the foreshortening being managed with singular felicity and grace. He represented the house of the Misericordia in like manner, with the shops of the wafer-makers and the arch of the Pecori, giving the column of San Zanobi on the other side. This work having been highly commended by artists, and all who were capable of judging in matters of the kind, gave Filippo so much encouragement, that no long time elapsed before he commenced another, and made a view of the Palace, the Piazza, the Loggia de’ Signori, with the roof of the Pisani, and all the buildings erected around that Square, works by which the attention of artists was so effectively aroused, that they afterwards devoted themselves to the study of perspective with great zeal.^[12] To Masaccio in particular, who was his friend, Filippo taught this art, the painter being then very young; but that he did much credit to his teacher is sufficiently manifest from the edifices depicted in his works. Nor did he fail to instruct those who worked in tarsia, which is a sort of inlaid work, executed in woods of various colours; the efforts of these artists he stimu lated so powerfully, that from this time a better method prevailed, and many useful improvements were made in that branch of art, wherein, both then and at a later period, various excellent works were produced, from which Florence derived both fame and profit during many years.^[13] Messer Paolo dal Pozzo Toscanelli^[14] returning to Florence about this time, and being at supper with some of his friends in a garden, invited Filippo also; who, hearing them discourse of the mathematical sciences, formed an intimate acquaintance with the philosopher, from whom he acquired the knowledge of geometry; and although Filippo possessed no learning, he yet reasoned so well, by the aid of his practical experience, that he frequently astonished Toscanelli. Thus labouring perpetually, Brunelleschi next turned his attention to the Scriptures, and never failed to be present at the disputations and preaching of learned men. From this practice he derived so much advantage, by help of his excellent memory, that the above-named Messer Paolo, alluding tohim, was accustomed to say that, to hear Filippo in argument, one might fancy oneself listening to a second Paul. At the same time he gave earnest study to the works of Dante, with whose description of localities, and their respective distances, he made himself very familiar, and frequently availed himself of them in his conversations, when he would cite them by way of comparison. Nor, indeed, were his thoughts ever occupied otherwise than in the consideration of ingenious and difficult enquiries; but he could never find any one who gave him so much satisfaction as did Donato, with whom he often held confidential discourse; these two artists found perpetual pleasure in the society of each other, and frequently conferred together on the difficulties of their art.

Now it happened in those days that Donato had completed a crucifix in wood, which was placed in the church of Santa Croce, in Florence, beneath the story of the girl restored to life by St. Francis, a picture painted by Taddeo Gaddi,^[15] and he desired to have the opinion of Filippo respecting his work; but he repented of having asked it, since Filippo replied that he had placed a clown on the cross. And from this time there arose, as is related at length in the life of Donato, the saying of “Take wood then, and make one thyself.” Thereupon Filippo, who never suffered himself to be irritated by anything said to him, however well calculated to provoke him to anger, kept silence for several months, meanwhile preparing a crucifix, also in wood, and of similar size with that of Donato, but of such excellence, so well designed, and so carefully executed, that when Donato, having been sent forward to his house by Filippo, who intended him a surprise, beheld the work (the undertaking of which by Filippo was entirely unknown to him), he was utterly confounded, and having in his hand an apron full of eggs and other things on which his friend and himself were to dine together, he suffered the whole to fall to the ground, while he regarded the work before him in the very extremity of amazement. The artistic and ingenious manner in which Filippo had disposed and united the legs, trunk, and arms of the figure was alike obvious and surprising to Donato, who not only confessed himself conquered, but declared the work a miracle. This crucifix is now placed in the church of Santa Maria Novella, between the chapel of the Strozzi family and that of the Bardi da Vernio, and is still greatly praised by the judges of modern times.^[16] The talents of these truly excellent masters being thereupon appreciated, they received a commission from the Guild of the Butchers, and that of the Joiners, to prepare the two figures, in marble, required for the niches appropriated to those guilds among the number surrounding Or San Michele. These figures, Filippo, being occupied by other affairs, suffered Donato to execute alone, which he did to great perfection.

After these things, and in the year 1401, it was determined, seeing that sculpture had reached so elevated a condition, to reconstruct the two doors of the church and baptistry of San Giovanni, a work which, from the death of Andrea Pisano to that time, there had been no masters capable of conducting. Wherefore, this intention being made known to those sculptors who were in Tuscany, they were sent for, their appointments were given to them, and the space of a year was allowed for the preparation of a story by each master. Among these artists Filippo and Donato were also invited, and each of them was required to prepare a story, in concurrence with Lorenzo Ghiberti, Jacopo della Fonte, Simone da Colle, Francesco di Valdambrina, and Niccolo d’Arezzo. All these stories being completed within the year, and placed together to be compared, were all found to be beautiful, but with certain differences. One was well designed, but imperfectly executed, as was that of Donato; another was admirably drawn, and carefully finished, but the composition of the story was not good, the gradual diminution of the figures being neglected, as in the case of Jacopo della Quercia; a third artist had betrayed poverty of invention, and his figures were insignificant, which was the defect of Francesco di Valdambrina’s specimen; but the worst of all were those of Niccolo d’Arezzo and Simone da Colle; while the best was that of Lorenzo di Cione Ghiberti, in whose work perfection of design, delicacy of execution, rich invention, knowledge of art, and •well-finished figures, were all combined. Nor was the story of Filippo greatly inferior to that of Lorenzo: the subject was Abraham proceeding to sacrifice Isaac, and among the figures was that of a servant, who, whilst he is awaiting his master, with the ass feeding beside him, is drawing a thorn from his foot. This figure merits considerable praise.

All these stories having been exhibited together, and Filippo and Donato not being satisfied with any, except that of Lorenzo, they judged him to be better adapted to execute the work than themselves or the masters who had produced the other stories. They consequently persuaded the syndics, by the good reasons which they assigned, to adjudge the work to Lorenzo, showing that the public and private benefit would be thus most effectually secured. Now this was, in truth, the sincere rectitude of friendship; it was talent without envy, and uprightness of judgment in a decision respecting themselves, by which these artists were more highly honoured than they could have been by conducting the work to the utmost summit of perfection.^[17] Happy spirits! who, while aiding each other, took pleasure in commending the labours of their competitors. How unhappy, on the contrary, are the artists of our day, labouring to injure each other, yet still unsatisfied, they burst with envy while seeking to wound others. Filippo was requested by the superintendants to undertake the work, in concert with Lorenzo, but he would not consent to this, desiring rather to be the first in some other art, than merely an equal, and perhaps secondary, in that undertaking.^[18] Wherefore he gave the story in bronze, which he had prepared, to Cosirno de’ Medici, who caused it at a subsequent period to be placed in the old sacristy of San Lorenzo, and at the back of the altar, where it still remains.^[19] That of Donato^[20] was given to the Guild of the Money-changers.^[21]

The commission for the door being given to Lorenzo Ghiberti, Filippo and Donato, who were together, resolved to depart from Florence in company, and to remain in Rome for some years, Filippo proposing to pursue the study of architecture, and Donato that of sculpture. And this Filippo did, desiring to surpass Lorenzo and Donato, in proportion as architecture is more useful to man than are sculpture and paintings he first sold a small farm which he possessed at Settignano, when both artists departed from Florence and proceeded to Rome, where, when Filippo beheld the magnificence of the buildings and the perfection of the churches, he stood like one amazed, and seemed to have lost his wits.^[22] They instantly made preparations for measuring the cornices and taking the ground-plans of these edifices, Donato and himself both labouring continually, and sparing neither time nor cost. No place was left unvisited by them, either in Rome or without the city, and in the Campagna; nor did they fail to take the dimensions of any thing good within their reach. And as Filippo was free from all household cares, he gave himself up so exclusively to his studies, that he took no time either to eat or sleep; his every thought was of Architecture, which was then extinct: I mean the good old manner, and not the Gothic and barbarous one, which was much practised at that period. Filippo had two very great purposes in his mind, the one being to restore to light the good manner in architecture, which, if he could effect, he believed that he should leave a no less illustrious memorial of himself than Cimabue and Giotto had done; the other was to discover a method for constructing the Cupola of Santa Maria del Fiore in Florence, the difficulties of which were so great, that after the death of Arnolfo Lapi, no one had ever been found of sufficient courage to attempt the vaulting of that Cupola without an enormous expense of scaffolding.^[23] He did not impart this purpose, either to Donato or to any living soul, but he never rested while in Rome until he had well pondered on all the difficulties involved in the vaulting of the Ritonda in that city (the Pantheon), and had maturely considered the means by which it might be effected.^[24] He also well examined and made careful drawings of all the vaults and arches of antiquity: to these he devoted perpetual study, and if by chance the artists found fragments of capitals, columns, cornices, or basements of buildings buried in the earth, they set labourers to work and caused them to be dug out, until the foundation was laid open to their view. Reports of this being spread about Rome, the artists were called “treasureseekers”, and this name they frequently heard as they passed, negligently clothed, along the streets, the people believing them to be men who studied geomancy, for the discovery of treasures; the cause of which was that they had one day found an ancient vase of earth, full of coins. The money of Filippo falling short, he supplied the want by setting precious stones for the goldsmiths who were his friends; which served him for a resource. Donato having returned to Florence, Filippo was left alone in Rome, and there he laboured continually among the ruins of the buildings, where he studied more industriously than ever. Nor did he rest until he had drawn every description of fabric—temples, round, square, or octagon; basilicas, aqueducts, baths, arches, the Colosseum, Amphitheatres, and every church built of bricks, of which he examined all the modes of binding and clamping, as well as the turning of the vaults and arches; he took note likewise of all the methods used for uniting the stones, as well as of the means used for securing the equilibrium and close conjunction of all the parts; and having found that in all the larger stones there was a hole, formed exactly in the centre of each on the under side, he discovered that this was for the insertion of the iron instrument with which the stones are drawn up, and which is called by us the mason’s clamps (la ulivella), an invention, the use of which he restored and ever afterwards put in practice.^[25] The different orders were next divided by his cares, each order, Doric, Ionic, or Corinthian being placed apart; and such was the effect of his zeal in that study, that he became capable of entirely reconstructing the city in his imagination, and of beholding Rome as she had been before she was ruined. But in the year 1407 the air of the place caused Filippo some slight indisposition, when he was advised by his friends to try change of air. He consequently returned to Florence, where many buildings had suffered by his absence, and for these he made many drawings and gave numerous counsels on his return.

In the same year an assemblage of architects and engineers was gathered in Florence, by the Superintendents of the works of Santa Maria del Fiore, and by the Syndics of the Guild of wool-workers, to consult on the means by which the cupola might be raised. Among these appeared Filippo, who gave it as his opinion that the edifice above the roof must be constructed, not after the design of Arnolfo, but that a frieze, fifteen braccia high, must be erected, with a large window in each of its sides: since not only would this take the weight off the piers of the tribune, but would also permit the cupola itself to be more easily raised. Models after which the work might be executed were prepared in this manner accordingly.^[26] Some months after Filippo’s return, and when he had recovered his health, he was one morning on the Piazza di Santa Maria del Fiore with Donato and other artists, when the conversation turned on the antiquity of works in sculpture. . Donato related, that when he was returning from Rome he had taken the road of Orvieto,^[27] to see the marble façade of the Duomo in that city—a work highly celebrated, executed by the hands of various masters, and considered in those days a very remarkable thing. He added, that when afterwards passing by Cortona, he had there seen in the capitular church a most beautiful antique vase in marble, adorned with sculptures—a very rare circumstance at that time, since the large numbers of beautiful relics brought to light in our days had not then been disinterred. Donato proceeding to describe the manner in which the artist had treated this work, with the delicacy he had remarked in it, and the excellence, nay perfection, of the workmanship, Filippo became inflamed with such an ardent desire to see it, that, impelled by the force of his love to art, he set off, as he was, in his mantle, his hood, and his wooden shoes, without saying where he was going, and went on foot to Cortona for that purpose. Having seen the vase^[28] and being pleased with it, he drew a copy of it with his pen, and returned therewith to Florence, before Donato or any other person had perceived that he had departed, all believing that he must be occupied in drawing or inventing something. Having got back to Florence, Filippo showed the drawing of the vase, which he had executed with much patience, to Donato, who was not a little astonished at this evidence of the loye Filippo bore to art. The latter then remained several months in Florence, secretly preparing models and machines, all intended for the erection of the Cupola, amusing himself meanwhile with perpetually bantering his brother-artists; for it was at this time that he made the jest of “the Grasso and Matteo.”^[29] He frequently went also for his amusement to assist Lorenzo Ghiberti in finishing 4 certain parts of the doors. But one morning the fancy took him, hearing that there was some talk of providing engineers for the construction of the Cupola, of returning to Borne, thinking that he would have more reputation and be more sought from abroad, than if he remained in Florence. When Filippo had returned to Borne accordingly, the acuteness of his genius and his readiness of resource were taken into consideration, when it was remembered that in his discourses he showed a confidence and courage that had not been found in any of the other architects, who stood confounded, together with the builders, having lost all power of proceeding; for they were convinced that no method of constructing the Cupola would ever be found, nor any beams that would make a scaffold strong enough to support the framework and weight of so vast an edifice. The Superintendents were therefore resolved to have an end of the matter, and wrote to Filippo in Borne, entreating him to repair to Florence, when he, who desired nothing better, returned very readily. The wardens of Santa Maria del Fiore and the syndics of the Guild of Woolworkers, having assembled on his arrival, set before him all the difficulties, from the greatest to the smallest, which had been made by the masters, who were present, together with himself, at the audience: whereupon Filippo replied in these words — “Gentlemen Superintendents, there is no doubt that great undertakings always present difficulties in their execution; and if none ever did so before, this of vours does it to an extent of which you are not perhaps even yet fully aware, for I do not know that even the ancients ever raised so enormous a vault as this will be. I, who have many times reflected on the scaffoldings required, both within and without, and on the method to be pursued for working securely at this erection, have never been able to come to a decision; and I am confounded, no less by the breadth than the height of the edifice. Now if the Cupola could be arched in a circular form, we might pursue the method adopted by the Romans in erecting the Pantheon of Rome; that is, the Rotunda.^[30] But here we must follow the eight sides of the building, dovetailing, and so, to speak, enchaining the stones, which will be a very difficult thing. Yet, remembering that this is a temple consecrated to God and the Virgin, I confidently trust, that for a work executed to their honour, they will not fail to infuse knowledge where it is now wanting, and will bestow strength, wisdom, and genius on him who shall be the author of such a project. But how can I help you in the matter, seeing that the work is not mine? I tell you plainly, that if it belonged to me, my courage and power would beyond all doubt suffice to discover means whereby the work might be effected without so many difficulties; but as yet I have not reflected on the matter to any extent, and you would have me tell you by what method it is to be accomplished. But even if your worships should determine that the cupola shall be raised, you will be compelled not only to make trial of me, who do not consider myself capable of being the sole adviser in so important a matter, but also to expend money, and to command that within a year, and on a fixed day, many architects shall assemble in Florence; not Tuscans and Italians only, but Germans, French, and of every other nation: to them it is that such an undertaking should be proposed, to the end that having discussed the matter and decided among so many masters, the work may be commenced and entrusted to him who shall give the best evidence of capacity, or shall display the best method and judgment for the execution of so great a charge. I am not able to offer you other counsel, or to propose a better arrangement than this.”

The proposal and plan of Filippo pleased the Syndics and Wardens of the works, but they would have liked that he should meanwhile prepare a model, on which they might have decided. But he showed himself to have no such intention, and taking leave of them, declared that he was solicited by letters to return to Rome. The syndics then perceiving that their request and those of the wardens did not suffice to detain him, caused several of his friends to entreat his stay; but Filippo not yielding to these prayers, the wardens, one morning, ordered him a present of money; this was on the 26th of May, 1417, and the sum is to be seen among the expenses of Filippo, in the books of the works. All this was done to render him favourable to their wishes; but, firm to his resolution, he departed nevertheless from Florence and returned to Rome, where he continued the unremitting study of the same subject, making various arrangements and preparing himself for the completion of that work, being convinced, as was the truth, that no other than himself could conduct such an undertaking to its conclusion. Nor had Filippo advised the syndics to call new architects for any other reason, than was furnished by his desire that those masters should be the witnesses of his own superior genius: he by no means expected that they could or would receive the commission for vaulting that tribune, or would undertake the charge, which he believed to be altogether too difficult for them. Much time was meanwhile consumed, before the architects, whom the syndics had caused to be summoned from afar, could arrive from their different countries. Orders had been given to the Florentine merchants resident in France, Germany, England, and Spain, who were authorized to spend large sums of money for the purpose of sending them, and were commanded to obtain from the sovereigns of each realm the most experienced and distinguished masters of the respective countries.

In the year 1420, all these foreign masters were at length assembled in Florence, with those of Tuscany, and all the best Florentine artists in design. Filippo likewise then returned from Rome. They all assembled, therefore, in the hall of the wardens of Santa Maria del Fiore, the Syndics and Superintendents, together with a select number of the most capable and ingenious citizens being present, to the end that having heard the opinion of each on the subject, they might at length decide on the method to be adopted for vaulting the tribune. -Being called into the audience, the opinions of all were heard one after another, and each architect declared the method which he had thought of adopting. And a fine thing it was to hear the strange and various notions then propounded on that matter: for one said that columns must be raised from the ground up, and that on these they must turn the arches, whereon the woodwork for supporting the weight must rest. Others affirmed that the vault should be turned in cysteolite or sponge-stone, (spugna), thereby to diminish the weight; and several of the masters agreed in the opinion, that a column must be erected in the centre, and the cupola raised in the form of a pavilion, like that of San Giovanni in Florence.^[31] Nay, there were not wanting those who maintained that it would be a good plan to fill the space with earth,^[32] among which small coins (quatrini) should be mingled, that when the cupola should be raised, they might then give permission that whoever should desire the soil might go to fetch it, when the people would immediately carry it away without expense. Filippo alone declared that the cupola might be erected without so great a mass of wood-work, without a column in the centre, and without the mound of earth; at a much lighter expense than would be caused by so many arches, and very easily, without any frame-work whatever.

Hearing this, the syndics, who were listening in the expectation of hearing some fine method, felt convinced that Filippo had talked like a mere simpleton, as did the superintendents, and all the other citizens; they derided him therefore, laughing at him, and turning away; they bade him discourse of something else, for that this was the talk of a fool or madman, as he was. Therefore Filippo, thinking he had cause of offence, replied, “But consider, gentlemen, that it is not possible to raise the cupola in any other manner than this of mine, and although you laugh at me, yet you will be obliged to admit, (if you do not mean to be obstinate), that it neither must nor can be done in any other manner: and if it be erected after the method that I propose, it must be turned in the manner of the pointed arch, and must be double—the one vaulting within, the other without, in such sort that a passage should be formed^[33] between the two. At the angles of the eight walls, the building must be strengthened by the dove-tailing of the stones, and in like manner the walls themselves must be girt around by strong beams of oak. We must also provide for the lights, the staircases, and the conduits by which the rain-water may be carried off. And none of you have remembered that we must prepare supports within, for the execution of the mosaics, with many other difficult arrangements; but I, who see the cupola raised, I have reflected on all these things, and I know that there is no other mode of accomplishing them, than that of which I have spoken.7’ Becoming heated as he proceeded, the more Filippo sought to make his views clear to his hearers, that they might comprehend and agree with him, the more he awakened their doubts, and the less they confided in him, so that, instead of giving him their faith, they held him to be a fool and a babbler. Whereupon being more than once dismissed, and finally refusing to go, they caused him to be carried forcibly from the audience by the servants of the place, considering him to be altogether mad. This contemptuous treatment caused Filippo at a later period to say, that he dared not at that time pass through any part of the city, lest some one should say, “See, where goes that fool!” The syndics and others forming the assembly remained confounded, first, by the difficult methods proposed by the other masters, and next by that of Filippo, which seemed to them stark nonsense. He appeared to them to render the enterprise impossible by his two propositions—first, by that of making the cupola double, whereby the great weight to be sustained would be rendered altogether unmanageable, and next by the proposal of building without a frame-work. Filippo, on the other hand, who had spent so many years in close study to prepare himself for this work, knew not to what course to betake himself, and was many times on the point of leaving Florence. Still, if he desired to conquer, it was necessary to arm himself with patience, and he had seen enough to know that the heads of that city seldom remained long fixed to one resolution. He might easily have shown them a small model which he had secretly made, but he would not do so, knowing the imperfect intelligence of the syndics, the envy of the artists, and the instability of the citizens, who favoured now one and now another, as each chanced to please them. And I do not wonder at this, because every one in Florence professes to know as much of these matters, as do the most experienced masters, although there are very few who really undertand them; a truth which we may be permitted to affirm without offence to those who are well informed on the subject. WhatFilippo therefore could not effect before the tribunal, he began to attempt with individuals, and talking apart now with a syndic, now with a warden, and again with different citizens, showing moreover certain parts of his design; he thus brought them at length to resolve on confiding the conduct of this work, either to him or to one of the foreign architects. Hereupon, the syndics, the wardens, and the citizens, selected to be judges in the matter, having regained courage, gathered together once again, and the architects disputed respecting the matter before them; but all were put down and vanquished on sufficient grounds by Filippo, and here it is said that the dispute of the egg arose, in the manner following. The other architects desired that Filippo should explain his purpose minutely, and show his model as they had shown theirs. This he would not do, but proposed to all the masters, foreigners and compatriots, that he who could make an egg stand upright on a piece of smooth marble, should be appointed to build the cupola, since in doing that, his genius would be made manifest. They took an egg accordingly, and all those masters did their best to make it stand upright, but none discovered the method of doing so. Wherefore, Filippo, being told that he might make it stand himself, took it daintily into his hand, gave the end of it a blow on the plane of the marble, and made it stand upright. Beholding this, the artists loudly protested, exclaiming, that they could all have done the same; but Filippo replied, laughing, that they might also know how to construct the cupola, if they had seen the model and design. It was thus at length resolved that Filippo should receive the charge of conducting the work, but he was told that he must furnish the syndics and wardens with more exact information.

He returned, therefore, to his house, and stated his whole purpose on a sheet of paper, as clearly as he could possibly express it, when it was given to the tribunal iri the following terms:—“The difficulties of this erection being well considered, magnificent signors and wardens, I find that it cannot by any means be constructed in a perfect circle, since the extent of the upper part, where the lantern has to be placed, would be so vast, that when a weight was laid thereon it would soon give way. Now it appears to me that those architects who do not aim at giving perpetual duration to their fabrics, cannot have any regard for the durability of the memorial, nor do they even know what they are doing. I have therefore determined to turn the inner part of this vault in angles, according to the form of the walls, adopting the proportions and manner of the pointed arch, this being a form which displays a rapid tendency to ascend, and when loaded with the lantern, each part will help to give stability to the other. The thickness of the vault at the base must be three braccia and three quarters; it must then rise in the form of a pyramid, decreasing from without up to the point where it closes, and where the lantern has to be placed, and at this junction the thickness must be one braccia and a quarter. A second vault shall then be constructed outside the first, to preserve the latter from the rain, and this must be two braccia and a half thick at the base, also diminishing proportionally in the form of a pyramid, in such a manner that the parts shall have their junction at the commencement of the lantern, as did the other, and at the highest point it must have two-thirds of the thickness of the base. There must be a buttress at each angle, which will be eight in all, and between the angles, in the face of each wall, there shall be two, sixteen in all; and these sixteen buttresses on the inner and outer side of each wall must each have the breadth of four braccia at the base. These two vaults, built in the form of a pyramid, shall rise together in equal proportion to the height of the round window closed by the lantern. There will thus be constructed twenty-four buttresses with the said vaults built around, and six strong and high arches of a hard stone (macigno), well damped and bound with iron fastenings, which must be covered with tin, and over these stones shall be crampingirons, by which the vaults shall be bound to the buttresses. The masonry must be solid, and must leave no vacant space up to the height of five braccia and a quarter: the buttresses being then continued, the arches will be separated. The first and second courses from the base must be strengthened everywhere by long plates of macigno laid crosswise, in such sort that both vaults of the Cupola shall rest on these stones. Throughout the whole height, at every ninth braccia there shall be small arches constructed in the vaults between the buttresses, with strong cramps of oak, whereby the buttresses by which the inner vault is supported will be bound and strengthened; these fastenings of oak shall then be covered with plates of iron, on account of the staircases. The buttresses are all to be built of macigno, or other hard stone, and the walls of the Cupola are, in like manner, to be all of solid stone bound to the buttresses to the height of twenty-four braccia, and thence upwards they shall be constructed of bricks, or of spongite (spugne), as shall be determined on by the masters who build it, they using that which they consider lightest. On the outside a passage or gallery shall be made above the windows, which below shall form a terrace, with an open parapet or balustrade two braccia high, after the manner of those of the lower tribunes, and forming two galleries, one over the other, placed on a richly-decorated cornice, the upper gallery being covered. The rain-water shall be carried off the cupola by means of a marble channel, one-third of an ell broad, the water being discharged at an outlet to be constructed of a hard stone, (pietra forte), beneath the channel. Eight ribs of marble shall be formed on the angles of the external surface of the Cupola, of such thickness as may be requisite; these shall rise to the height of one braccia above the Cupola, with cornices projecting in the manner of a roof, two braccia broad, that the summit may be complete and sufficiently furnished with eaves and channels on every side; and these must have the form of the pyramid, from their base, or point of junction, to their extremity. Thus the Cupola shall be constructed after the method described above, and without framework, to the height of thirty braccia, and from that height upwards it may be continued after such manner as shall be determined

FF on by the masters who may have to build it, since practice teaches us by what methods to proceed.”

When Filippo had written the above, he repaired in the morning to the tribunal, and gave his paper to the Syndics and Wardens, who took the whole of it into their consideration; and, although they were not able to understand it all, yet seeing the confidence of Filippo, and finding that the other architects gave no evidence of having better grounds to proceed on,—he moreover showing a manifest security, by constantly repeating the same things in such a manner that he had all the appearance of having vaulted ten Cupolas;— the Syndics, seeing all this, retired apart, and finally resolved to give him the work: they would have liked to see some example of the manner in which he meant to turn this vault without framework, but to all the rest they gave their approbation.^[34] And fortune was favourable to this desire: Bartolommeo Barbadori having determined to build a chapel in Santa Felicita, and having spoken concerning it with Filippo, the latter had commenced the work, and caused the chapel, which is on the right of the entrance, where is also the holy water vase (likewise by the hand of Filippo),^[35] to be vaulted without any framework. At the same time he constructed another, in like manner, for Stiatta Ridolfi, in the church of Santo Jacopo sopr’ Arno; that, namely, beside the chapel of the High Altar; and these works obtained him more credit than was given to his words. The Consuls and wardens feeling at length assured, by the writing that he had given them, and by the works which they had seen, entrusted the Cupola to his care, and he was made principal master of the works by a majority of votes. They would nevertheless not commission him to proceed beyond the height of twelve braccia, telling him that they desired to see how the work would succeed, but that if it proceeded as successfully as he expected, they would not fail to give him the appointment for the remainder.^[36] The sight of so much obstinacy and distrust in the syndics and wardens was so surprising to Filippo, that if he had not known himself to be the only person capable of conducting the work, he would not have laid a hand upon it; but desiring, as he did, to secure the glory of its completion, he accepted the terms, and pledged himself to conduct the undertaking perfectly to the end. The writing Filippo had given was copied into a book wherein the purveyor kept the accounts of the works in wood and marble, together with the obligation into which Filippo had entered as above said. An allowance was then made to him, conformably with what had at other times been given to other Masters of the works.

When the commission given to Filippo became known to the artists and citizens, some thought well of it, and others ill, as always is the case with a matter which calls forth the opinions of the populace, the thoughtless, and the envious. Whilst the preparation of materials for beginning to build was making, a party was formed among the artists and citizens; and these men proceeding to the syndics and wardens, declared that the matter had been concluded too hastily, and that such a work ought not to be executed according to the opinion of one man only; they added, that ii the syndics and wardens had been destitute of distinguished men, instead of being furnished with such in abundance, they would have been excusable, but that what was now done was not likely to redound to the honour of the citizens, seeing, that if any accident should happen, they would incur blame, as persons who had conferred too great a charge on one man, without considering the losses and disgrace that might result to the public. All this considered, it would be well to give Filippo a colleague, who might restrain his impetuosity (furore).

Lorenzo Ghiberti had at that time attained to high credit by the evidence of his genius, which he had given in the doors of San Giovanni; and that he was much beloved by certain persons who were very powerful in the government was now proved with sufficient clearness, since, perceiving the glory of Filippo to increase so greatly, they laboured in such a manner with the syndics and wardens, under the pretext of care and anxiety for the building, that Ghiberti was united with Filippo in the work. The bitter vexation of Filippo, the despair into which he fell, when he heard what the wardens had done, may be understood by the fact that he was on the point of flying from Florence; and had it not been that Donato and Luca della Robbia comforted and encouraged him, he would have gone out of his senses. A truly wicked and cruel rage is that of those men, who, blinded by envy, endanger the honours and noble works of others in the base strife of ambition: it was not the fault of these men that Filippo did not break in pieces the models, set fire to the designs, and in one half hour destroy all the labours so long endured, and ruin the hopes of so many years. The wardens excused themselves at first to Filippo, encouraging him to proceed, reminding him that the inventor and author of so noble a fabric was still himself, and no other; but they, nevertheless, gave Lorenzo a stipend equal to that of Filippo. The work was then continued with but little pleasure on the part of Filippo, who knew that he must endure all the labours connected therewith, and would then have to divide the honour and fame equally with Lorenzo. Taking courage, nevertheless, from the thought that he should find a method of preventing the latter from remaining very long attached to that undertaking, he continued to proceed after the manner laid down in the writing given to the wardens. Meanwhile the thought occurred to the mind of Filippo of constructing a complete model, which, as yet, had never been done. This he commenced forthwith, causing the parts to be made by a certain Bartolommeo, a joiner, who dwelt near his studio. In this model, (the measurements of which were in strict accordance with those of the building itself, the difference being of size only), all the difficult parts of the structure were shown as they were to be when completed; as, for example, staircases lighted and dark, with every other kind of light, with the buttresses and other inventions for giving strength to the building, the doors, and even a portion of the gallery. Lorenzo, having heard of this model, desired to see it, but Filippo refusing, he became angry, and made preparations for constructing a model of his own, that he might not appear to be receiving his salary for nothing, but that he also might seem to count for something in the matter. For these models Filippo received fifty lire and fifteen soldi, as we find by an order in the book of Migliore di Tommaso, under date of the 3rd October 1419,^[37] while Lorenzo was paid three hundred lire for the labour and cost of his model, a difference occasioned by the partiality and favour shown to him, rather than merited by any utility or benefit secured to the building by the model which he had constructed.

This vexatious state of things continued beneath the eyes of Filippo until the year 1426,^[38] the friends of Lorenzo calling him the inventor of the work, equally with Filippo, and this caused so violent a commotion in the mind of the latter, that he lived in the utmost disquietude. Various improvements and new inventions were, besides, presenting themselves to his thoughts, and he resolved to rid himself of his colleague at all hazards, knowing of how little use he was to the work. Filippo had already raised the walls of the Cupola to the height of twelve braccia in both vaults, but the works, whether in Avood or stone, that were to give strength to the fabric, had still to be executed, and as this was a matter of difficulty, ho determined to speak with Lorenzo respecting it, that he might ascertain whether the latter had taken it into consideration. But Lorenzo was so far from having thought of this exigency, and so entirely unprepared for it, that he replied by declaring that he would refer that to Filippo as the inventor. The answer of Lorenzo pleased Filippo, Avho thought he here saw the means of removing his colleague from the works, and of making it manifest that he did not possess that degree of knowledge in the matter which was attributed to him by his friends, and implied in the favour which had placed him in the situation he held. All the builders were now engaged in the Avork, and waited only for directions, to commence the part above the twelve braccia, to raise the vaults, and render all secure. The closing in of the Cupola towards the top having commenced, it was necessary to provide the scaffolding, that the masons and labourers might work without danger, seeing that the height was such as to make the most steady head turn giddy, and the firmest spirit shrink, merely to look down from it. The masons and other masters were therefore waiting in expectation of directions as to the manner in which the chains were to be applied, and the scaffoldings erected; but, finding there was nothing determined on either by Lorenzo or Filippo, there arose a murmur among the masons and other builders, at not seeing the work pursued with the solicitude previously shown; and as the workmen were poor persons who lived by the labour of their hands, and who now believed that neither one nor the other of the architects had courage enough to proceed further with the undertaking, they went about the building employing themselves as they best could in looking over and furbishing up all that had been already executed.

But one morning Filippo did not appear at the works: he tied up his head, went to bed complaining bitterly, and causing plates and towels to be heated with great haste and anxiety, pretending that he had an attack of pleurisy. The builders, who stood waiting directions to proceed with their work, on hearing this, demanded orders of Lorenzo for what they were to do; but he replied, that the arrangement of the work belonged to Filippo, and that they must wait for him. “How?” saidone of them, “do notyou know what his intentions are?” “Yes”, replied Lorenzo, “but I would not do any thing without him.” This he said by way of excusing himself; for as he had not seen the model of Filippo, and had never asked him what method he meant to pursue, that he might not appear ignorant, so he now felt completely out of his depth, being thus referred to his own judgment, and the more so as he knew that he was employed in that undertaking against the will of Filippo. The illness of the latter having already lasted more than two days, the purveyor of the works, with many of the master-builders, went to see him, and repeatedly asked him to tell them what they should do; but he constantly replied, “You have Lorenzo, let him begin to do something for once.” Nor could they obtain from him any other reply. When this became known, it caused much discussion: great blame was thrown upon the undertaking, and many adverse judgments were uttered. Some said that Filippo had taken to his bed from grief, at finding that he had not power to accomplish the erection of the Cupola, and that he was now repenting of having meddled with the matter; but his friends defended him, declaring that his vexation might arise from the wrong he had suffered in having Lorenzo given to him as a colleague, but that his disorder was pleurisy, brought on by his excessive labours for the work. In the midst of all this tumult of tongues, the building was suspended, and almost all the operations of the masons and stone-cutters came to a stand. These men murmured against Lorenzo, and said, “He is good enough at drawing the salary, but when it comes to directing the manner in which we are to proceed, he does nothing; if Filippo were not here, or if he should remain long disabled, what can Lorenzo do? and if Filippo be ill, is that his fault? The wardens, perceiving the discredit that accrued to them from this state of things, resolved to make Filippo a visit, and having reached his house they first condoled with him on his illness, told him into what disorder the building had fallen, and described the troubles which this malady had brought on them. Whereupon Filippo, speaking with much heat, partly to keep up the feint of illness, but also in part from his interest in the work, exclaimed, “What! is not Lorenzo there? why does not he do something? I cannot but wonder at your complaints.” To this the wardens replied, “He will not do anything without you.” Whereunto Filippo made answer, “But I could do it well enough without him.” This acute and doubly significant reply sufficed to the wardens, and they departed, having convinced themselves that Filippo was sick of the desire to work alone; they therefore sent certain of his friends to draw him from his bed, with the intention of removing Lorenzo from the work. Filippo then returned to the building, but seeing the power that Lorenzo possessed by means of the favour he enjoyed, and that he desired to receive the salary without taking any share whatever in the labour, he bethought himself of another method for disgracing him, and making it publicly and fully evident that he had very little knowledge of the matter in hand. He consequently made the following discourse to the Wardens (Operai), Lorenzo being present:— “Signori Operai, if the time we have to live were as well secured to us as is the certainty that we may very quickly die, there is no doubt whatever that many works would be completed, which are now commenced and left imperfect. The malady with which I have had the misfortune to be attacked, might have deprived me of life, and put a stop to this work; wherefore, lest I should again fall sick, or Lorenzo either, which God forbid, I have considered that it would be better for each to execute his own portion of the work: as your worships have divided the salary, let us also divide the labour, to the end that each, being incited to show what he knows and is capable of performing, may proceed with confidence, to his own honour and benefit, as well as to that of the republic. Now there are two difficult operations which must at this time be put into course of execution—the one is the erection of scaffoldings for enabling the builders to work in safety, and which must be prepared both for the inside and outside of the fabric, where they will be required to sustain the weight of the men, the stones and the mortar, with space also for the crane to draw up the different materials, and for other machines and tools of various kinds. The other difficulty is the chain-work, which has to be constructed upon the twelve braccia already erected, this being requisite to bind and secure the eight sides of the cupola, and which must surround the fabric, enchaining the whole, in such a manner, that the weight which has hereafter to be laid on it shall press equally on all sides, the parts mutually supporting each other, so that no portion of the edifice shall be too heavily pressed on or over-weighted, but that all shall rest firmly on its own basis. Let Lorenzo then take one of these works, whichever he may think he can most easily execute, I will take the other and answer for bringing it to a successful conclusion, that we may lose no more time.” Lorenzo having heard this, was compelled, for the sake of his honour, to accept one or other of these undertakings; and although he did it very unwillingly, he resolved to take the chain-work, thinking that he might rely on the counsels of the builders, and remembering also that there was a chain-work of stone in the vaulting of San Giovanni di Fiorenza, from which he might take a part, if not the whole, of the arrangement. One took the scaffolds in hand accordingly, and the other the chain-work, so that both were put in progress. The scaffolds of Filippo were constructed with so much ingenuity and judgment,^[39] that in this matter the very contrary of what many had before expected was seen to have happened, since the builders worked thereon with as much security as they would have done on the ground beneath, drawing up all the requisite weights and standing themselves in perfect safety. The models of these scaffolds were deposited in the hall of the wardens. Lorenzo executed the chain-work on one of the eight walls with the utmost difficulty, and when it was finished the wardens caused Filippo to look at it. He said nothing to them, but with some of his friends he held discourse on the subject, declaring that the building required a very different work of ligature and security to that one, laid in a manner altogether unlike the method there adopted; for that this would not suffice to support the weight which was to be laid on it, the pressure not being of sufficient strength and firmness. He added that the sums paid to Lorenzo, with the chain-work which he had caused to be constructed, were so much labour, time, and money thrown away. The remarks of Filippo became known, and he was called upon to show the manner that ought to be adopted for the construction of such a chain-work; wherefore, having already prepared his designs and models, he exhibited them immediately, and they were no sooner examined by the wardens and other masters, than they perceived the error into which they had fallen by favouring Lorenzo. For this they now resolved to make amends; and desiring to prove that they were capable of distinguishing merit, they made Filippo chief and superintendent of the whole fabric for life, commanding that nothing should be done in the work but as he should direct. As a further mark of approbation, they presented him moreover with a hundrEd. Flor.ns, ordered by the syndics and wardens, under date of August 13, 1423, through Lorenzo Paoli, notary of the administration of the works, and signed by Gherardo di Messer Filippo Corsini: they also voted him an allowance of one hundred florins for life,.^[40] Whereupon, having taken measures for the future progress of the fabric, Filippo conducted the works with so much solicitude and such minute attention, that there was not a stone placed in the building which he had not examined. Lorenzo on the other hand, finding himself vanquished and in a manner disgraced, was nevertheless so powerfully assisted and favoured by his friends, that he continued to receive his salary, under the pretext that he could not be dismissed until the expiration of three years from that time.

Drawings and models were meanwhile continually prepared by Filippo, for the most minute portions of the building, for the stages or scaffolds for the workmen, and for the machines used in raising the materials. There were nevertheless several malicious persons, friends of Lorenzo, who did not cease to torment him by daily bringing forward models in rivalry of those constructed by him, insomuch that one was made by Maestro Antonio da Verzelli,^[41] and other masters who were favoured and brought into notice—now by one citizen and now by another, their fickleness and mutability betraying the insufficiency of their knowledge and the weakness of their judgment, since having perfection within their reach, they perpetually brought forward the imperfect and useless.

The chain-work was now completed around all the eight sides, and the builders, animated by success, worked vigorously; but being pressed more than usual by Filippo, and having received certain reprimands concerning the masonry and in relation to other matters of daily occurrence, discontents began to prevail. Moved by this circumstance and by their envy, the chiefs among them drew together and got up a faction, declaring that the work was a laborious and perilous undertaking, and that they would not proceed with the vaulting of the Cupola, but on condition of receiving large payments, although their wages had already been increased and were much higher than was usual: by these means they hoped to injure Filippo and increase their own gains. This circumstance displeased the wardens greatly, as it did Filippo also; but the latter, having reflected on the matter, took his resolution, and one Saturday evening he dismissed them all. The men seeing themselves thus sent about their business, and not knowing how the affair would turn, were very sullen; but on the following Monday Filippo set ten Lombards to work at the building, and by remaining constantly present with them, and saying, “do this here” and “do that there”, he taught them so much in one day that they were able to continue the works during many weeks. The masons seeing themselves thus disgraced as well as deprived of their employment, and knowing that they would find no work equally profitable, sent messengers to Filippo, declaring that they would willingly return, and recommending themselves to his consideration. Filippo kept them for several days iri suspense, and seemed not inclined to admit them again; they were afterwards reinstated, but with lower wages than they had received at first: thus where they had thought to make gain they suffered loss, and by seeking to revenge themselves on Filippo, they brought injury and shame on their own heads. The tongues of the envious were now silenced, and when the building was seen to proceed so happily, the genius of Filippo obtained its due consideration; and, by all who judged dispassionately, he was already held to have shown a boldness which has, perhaps, never before been displayed in their works, by any architect ancient or modern. This opinion was confirmed by the fact that Filippo now brought out his model, in which all might see the extraordinary amount of thought bestowed on every detail of the building. The varied invention displayed in the staircases, in the provision of lights, both within and without, so that none might strike or injure themselves in the darkness, were all made manifest, with the careful consideration evinced by the different supports of iron which were placed to assist the footsteps wherever the ascent was steep. In addition to all this, Filippo had even thought of the irons for fixing scaffolds within the cupola, if ever they should be required for the execution of mosaics or pictures; he had selected the least dangerous positions for the places of the conduits, to be afterwards constructed for carrying off the rain water, had shown where these were to be covered and where uncovered; and had moreover contrived different outlets and apertures, whereby the force of the winds should be diminished, to the end that neither vapours nor the vibrations of the earth, should have power to do injury to the building: all which proved the extent to which he had profited by his studies, during the many years of his residence in Rome. When in addition to these things, the superintendents considered how much lie had accomplished in the shaping, fixing, uniting, and securing the stones of this immense pile, they were almost awe-struck on perceiving that the mind of one man had been capable of all that Filippo had now proved himself able to perform. His powers and facilities continually increased, and that to such an extent, that there was no operation, however difficult and complex, which he did not render easy and simple; of this he gave proof in one instance among others, by the employment of wheels and counterpoises to raise heavy weights, so that one ox could draw more than six pairs could have moved by the ordinary methods. The building had now reached such a height, that when a man had once arrived at the summit, it was a very great labour to descend to the ground, and the workmen lost much time in going to their meals, and to drink; they also suffered great inconvenience in the heat of the day from the same cause; arrangements were therefore made by Filippo, for opening wine-shops and eating-houses in the Cupola; where the required food being sold, none were compelled to leave their labour until the evening, which was a relief and convenience to the men, as well as a very important advantage to the work. Perceiving the building to proceed rapidly, and finding all his undertakings happily successful, the zeal and confidence of Filippo increased, and he laboured perpetually; he wrent himself to the ovens where the bricks were made, examined the clay, proved the quality of the working, and when they were baked he would select and set them apart, with his own hands. In like manner, while the stones were under the hands of the stone-cutters, he would look narrowly to see that they were hard and free from clefts; he supplied the stone-cutters with models in wood or wax, or^[42] hastily cut on the spot from turnips, to direct them in the shaping and junction of the different masses; he did the same thing for the men who prepared the iron-work; Filippo likewise invented hooked hinges, with the mode of fixing them to the door-posts, and greatly facilitated the practice of architecture, which was certainly brought by his labours to a perfection that it would else perhaps never have attained among the Tuscans.

In the year 1423, when the utmost rejoicing and festivity was prevailing in Florence, Filippo was chosen one of the Signori for the district of San Giovanni, for the months ot May and June; Lapo Niccolini being chosen Gonfalonier for the district of Santa Croce: and if Filippo be found registered in the Priorista as “di Ser Brunellesco Lippi”, this need not occasion surprise, since they called him so after his grandfather, Lippo, instead of “di Lapi”, as they ought to have done. And this practice is seen to prevail in the Priorista, with respect to many others, as is well known to all who have examined it, or who are acquainted with the custom of those times. Filippo performed his functions carefully in that office, and in others connected with the magistracy of the city, to which he was subsequently appointed, he constantly acquitted himself with the most judicious consideration.^[43]

The two vaults of the Cupola were now approaching their close, at the circular window where the lanthorn was to begin, and there now remained to Filippo, who had made various models in wood and clay, both of the one and the other,in Rome and Florence, to decide finally as to which of these he would put in execution, wherefore he resolved to complete the gallery, and accordingly made different plans for it, which remained in the hall of the wardens after his death, but which by the neglect of those officials, have since been lost.^[44] But it was not until our own days, that, even a fragment was executed on a part of one of the eight sides,^[45] (to the end that the building might be completed,) but as it was not in accordance with the plan of Filippo, it was removed by the advice of Michelagnolo Buonarotti,^[46] and was not again attempted.

Filippo also constructed a model for the lanthorn, with his own hand; it had eight sides, the proportions were in harmony with those of the Cupola, and for the invention as well as variety and decoration, it was certainly very beautiful. He did not omit the stair-case for ascending to the ball, which was an admirable thing; but as he had closed the entrance with a morsel of wood fixed at the lower part, no one but himself knew its position. Filippo was now highly renowned, but notwithstanding this, and although he had already overcome the envy and abated the arrogance of so many opponents, he could not yet escape the vexation of finding that all the masters of Florence, when his model had been seen, were setting themselves to make others in various manners; nay, there was even a lady of the Gaddi family, who ventured to place her knowledge in competition with that of Filippo.^[47] The latter, meanwhile, could not refrain from laughing at the presumption of these people, and when he was told by certain of his friends that he ought not to show his model to any artist lest they should learn from it, he replied that there was but one true model, and that the others were good for nothing. Some of the other masters had used parts of Fi- lippo’s model for their own, which, when the latter perceived, he remarked, “The next model made by this personage will be mine altogether.” The work of Filippo was very highlypraised, with the exception, that, not perceiving the staircase by which the ball was to be attained, the model was considered defective on that point. The superintendants determined, nevertheless, to give him the commission for the work, but on condition that he should show them the staircase; whereupon Filippo, removing the morsel of wood which he had placed at the foot of the stair, showed it constructed as it is now seen, within one of the piers, and presenting the form of a hollow reed or blow-pipe, having a recess or groove on one side, with bars^[48] of bronze, by means of which the summit was gradually attained. Filippo was now at an age which rendered it impossible that he should live to see the lanthorn completed; he therefore left directions, by his will, that it should be built after the model here described, and according to the rules which he had laid down in writing, affirming that the fabric would otherwise be in danger of falling, since, being constructed with the pointed arch, it required to be rendered secure by means of the pressure of the weight to be thus added. But, though Filippo could not complete the edifice before his death, he raised the lanthorn to the height of several braccia,^[49] causing almost all the marbles required for the completion of the building to be carefully prepared and brought to the place. At the sight of these huge masses as they arrived, the people stood amazed, marvelling that it should be possible for Filippo to propose the laying of such a weight on the Cupola. It was, indeed, the opinion of many intelligent men that it could not possibly support that weight. It appeared to them to be a piece of good fortune that he had conducted it so far, and they considered the loading it so heavily to be a tempting of Providence.^[50] Filippo constantly laughed at these fears, and having prepared all the machines and instruments required for the construction of the edifice, he ceased not to employ all his time in taking thought for its future requirements, providing and preparing all the minutice, even to guarding against the danger of the marbles being chipped as they were drawn up; to which intent the arches of the tabernacles were built within defences of wood-work; and for all beside the master gave models and written directions, as we have said.

How beautiful this building is, it will itself bear testimony. With respect to the height, from the level ground to the commencement of the lanthorn, there are one hundred and fifty-four braccia;^[51] the body of the lanthorn is thirty-six braccia high; the copper ball four braccia;^[52] the cross eight braccia; in all two hundred and two braccia. And it may be confidently affirmed that the ancients never carried their buildings to so vast a height, nor committed themselves to so great a risk as to dare a competition with the heavens, which thisstructure verily appears to do, seeing that it rears itself to such an elevation that the hills around Florence do not appear to equal it.^[53] And of a truth it might seem that the heavens did feel envious of its height, since their lightnings perpetually strike it.^[54] While this work was in progress, Filippo constructed many other fabrics, which shall now be enumerated in their due order.^[55]

For the family of the Pazzi, Filippo prepared with his own hand, the model for the chapter-house of Santa Croce, in Florence,^[56] a work of great and varied beauty. He likewise made the model of the Busini Palace,^[57] a dwelling calculated for two families, as also the model for the house and loggia of the Innocenti,^[58] the vaulting of which was completed without scaffolding, a method which is still observed in the present day. It is said that Filippo was invited to Milan, to construct the model of a fortress for the Duke Filippo Maria, and that he left the building of the house of the Innocenti meanwhile to the care of his intimate friend Francesco della Luna.^[59] This Francesco made the bordering of an architrave increasing from the upper to the lower part, which is a violation of architectural rules. When Filippo returned, and reproached him for having done such a thing, Francesco replied that he had taken it from the church of San Giovanni, which is antique. “One sole fault,” answered Filippo, “is to be found in that building, and that thou hast imitated.”^[60] The model of this edifice, by Filippo’s own hand, was for many years to be seen in the house of the Guild of Por Santa Maria, and was highly valued, as a portion of the fabric still remained to be finished, but it is now lost. Filippo likewise prepared the model for the abbey of the Canons-regular of Fiesole, for Cosimo de’ Medici.^[61] The architecture is of a richly-decorated character, and the building is cheerful, commodious, and truly magnificent. The church, of which the vaultings are coved, is lofty, and the sacristy has its due conveniences, as have all the buildings of the monastery.^[62] But the circumstance most worthy of consideration, and most important, is, that having to erect that edifice, properly levelled, on the declivity of the mountain, he availed himself with infinite judgment, of the descent, and placed therein the cellars, laundries, bakehouses, kitchens, stables, wood chambers, and many other offices beside, so that it is not possible to imagine anything more commodious. He thus secured a level space for the edifice,' insomuch that he was able to place the loggia, the refectory, the infirmary, the noviciate, the dormitory, the library, and other principal apartments proper to a monastery, on the same plane: all which was executed at his own cost by the magnificent Cosmo de’ Medici, who was moved to this partly by the piety which he constantly displayed in all matters touching the Christian faith, and partly by the affection which he bore to Don Timoteo da Verona, a most excellent preacher of the above-mentioned order, in whose conversation he took so much pleasure, that, for the better enjoyment thereof, he caused several rooms to be constructed in the monastery for his own use, and occasionally resided in them. On this building, Cosimo expended one hundred thousand scudi, as may be seen on an inscription still remaining there. The model for the fortress of Vicopisano was likewise prepared by Filippo, who moreover designed the old citadel of Pisa, and by whom the Ponte a Mare^[63] was also fortified. In like manner he also gave the design for the new citadel, whereby the bridge was closed by the two towers, and made the model for the fortifications of the harbour of Pesaro. Having then returned to Milan, he prepared the designs of various works for the duke, among others, the plans for the masters who were constructing the cathedral of that city.

It was at this time that the church of San Lorenzo, in Florence, was commenced by the inhabitants,^[64] who had chosen the prior superintendent of the building. That personage made profession of much knowledge in that matter, and busied himself with architecture by way of pastime. The edifice was already commenced, with columns constructed of brick, when Giovanni di Bicci de’ Medici, who had promised the inhabitants and the prior to build the sacristy and one of the chapels at his own expense, invited Filippo one day to dine with him. After conversing on various matters, Giovanni asked what he thought of the commencement made at San Lorenzo. Filippo was constrained by the entreaties of Giovanni, to give his opinion, and truth compelled him to point out many faults, the consequence of its being directed by a person who had, perhaps, more learning than practical experience in matters of that kind. Thereupon Giovanni inquired of Filippo if a better and more beautiful fabric could be devised, to which Filippo replied, “Without doubt, and I wonder that you, who are the chief of the undertaking, do not expend a few thousand crowns, and build such a church, with its proper appurtenances, as might be worthy of the place, and of the many noble families whose sepulchres are there. Moreover, if you were seen to commence the work, these families would then set about building their chapels to the very best of their ability, and the more readily, as knowing that no memorial remains of our existence but the walls, which bear testimony to those who erected them, hundreds or thousands of years before.” Encouraged by the words of Filippo, Giovanni determined to construct the sacristy, the principal chapel, and the whole body of the church, although seven families only were willing to aid in the building, the remainder not possessing the means. Those who took part in the work were the Rondinelli, Ginori, Dalla Stufa, Neroni, Ciai, Marignolli, Martelli and Marco di Luca, whose chapels were all to be made in the cross aisle. The sacristy was the first portion of the structure put in progress, and afterwards the church gradually proceeded; but, as it went on very slowly, the remaining chapels were granted by degrees to various Florentine citizens. The roof of the sacristy was not completed when Giovanni de’ Medici departed to another life, leaving Cosimo his son, who possessing more zeal than his father, and taking pleasure in the memorials of other times, caused the edifice to proceed. This was the first building that he constructed, and he found so much enjoyment in the occupation, that from that time forwrard, he continued constantly building, even to his death.^[65] Cosimo pressed forward the work in hand with infinite zeal, and while one part was in progress, he caused others to be carried to completion.^[66] So much pleasure did he take in the work, that he was almost always present himself; and his eagerness was such that, while Filippo erected the sacristy, he made Donato prepare the ornaments in stucco, with the stone decorations of the small doors, and the doors of bronze. In the centre of the sacristy, used by the priests for assuming their vestments, Cosimo caused the tomb of his father Giovanni to be constructed, beneath a broad slab of marble, supported by four small columns; and in the same place he made a sepulchre for his family, wherein he separated the tombs of the men from those of the women. In one of the two small rooms which are on each side of the sacristy, having the altar between them, he made a well in one corner, with a place for a lavatory. The whole work, in short, is seen to have been completed with much judgment. Giovanni and the masters first employed, had determined to construct the choir in the centre, and beneath the tribune, but this Cosimo altered at the request of Filippo, who increased the size of the principal chapel,—which was at first assigned but a small recess,—so that the choir could be made as we see it in the present day. This being finished, there still remained the central tribune and the remainder of the church, which tribune and the rest was not vaulted until after the death of Filippo. The length of this church is one hundred and forty-four braccia.* Many errors may be perceived in it: among others, that of the pilasters being placed on the ground, instead of being raised on a dado, the height of which should have been equal to the level of the bases supporting the columns, which are placed on the steps; since the consequence of the pilaster being shorter than the column is, that the whole work looks stunted and ungraceful. But all this was caused by the counsels of those who came after Filippo, who envied his fame, and who had made models for the purpose of opposing his views during his lifetime. For these they had been rendered contemptible, by sonnets which Filippo had written; and in this manner they avenged themselves after his death, not in this work only, but in all that remained to be executed by them. Filippo left the model of San Lorenzo complete, and a part of the capitular buildings for the priests was finished, making the cloister one hundred and forty-four braccia in length.

While this fabric was in course of erection, Cosimo de’ Medici resolved to construct his own palace, and forthwith imparted his intentions to Filippo, when the latter set every other occupation aside, and made him a large and very beautiful model for the building, which he intended to erect on the Piazza, opposite to San Lorenzo, proposing that it should stand entirely isolated on every side. On this occasion the genius and art of Filippo were so nobly displayed, that Cosimo, believing the building would be too vast and sumptuous, could not resolve to have it executed, but he abandoned it more in fear of envy, than because he was deterred by the expense. Whilst this model was in progress, Filippo used to ^[67] say, that he thanked his fortune for so fair an opportunity, since he had now a house to build, such as he had desired to have for many years; but when he heard the determination of Cosimo not to put his design into execution, he broke the model, in his anger, into a thousand pieces. And deeply did Cosimo repent of not having adopted the plans of Filippo, when at a later period he had built his palace on a different model;^[68] and when alluding to Filippo, he would often say, that he had never spoken with a man of higher intelligence or bolder mind, than was possessed by Brunellesco. For the noble family of the Scolari,^[69] Filippo made the model of that most fanciful and remarkable church of the Angeli, which remained incomplete and in the state wherein we now see it, because the Florentines spent the money (which was placed in the Monte for the expenses of the building), for certain exigencies of their city, or as some say, in the wars which they then carried on against the Lucchesi,^[70] and wherein they also expended the funds which had been left in like manner by Niccolo da Uzzano, to erect the college of the Sapienza, as we have related at length elsewhere.^[71] And of a truth, if this church of the Angeli had been completed according to the model of Brunellesco, it would have been one of the most extraordinary buildings in Italy; since that which we see of it cannot be sufficiently praised. The drawings for the groundplan, and those for the completion of this octagonal tempel by the hand of Filippo, are preserved in our book with othre designs of the same master.

In a place called Ruciano, outside the gate of San Niceolo at Florence, Filippo constructed a rich and magnificent palace for Messer Luca Pitti, but this was not by any means equal to that which he commenced for the same person within the city of Florence, and which he completed to the second range of windows, with so much grandeur and magnificence, that no more splendid or more beautiful edifice in the Tuscan manner has yet been seen. The doors of this palace are double; the height of each fold being sixteen braccia and the breadth eight: the first and second ranges of windows being similar to the doors; the vaultings are also double, and the whole building is of such high art, that richer, more beautiful, or more magnificent architecture cannot be imagined. The builder of this palace was the Florentine architect Luca Fanelli, who executed many buildings for Filippo, and who constructed the principal chapel of the Nunziata in Florence, for Leon Batista Alberti,^[72] by whom it was designed at the command of Ludovico Gonzaga. Luca Fanelli was afterwards taken by Gonzaga to Mantua, where he executed many works, and having chosen a wife in that city, he there lived and died, leaving heirs, who, from his name, are still called the Luchi. The palace designed for Luca Pitti was purchased, not many years since, by the most illustrious lady, Leonora of Toledo, duchess of Florence, advised to do so by the most illustrious Signor, the duke Cosmo, her consort, and she so greatly enlarged the property in all directions, that she succeeded in forming a very extensive garden, partly in the plain, partly on the summit of the hill, and partly on the declivities: this she filled with all kinds of trees, indigenous and exotic, very finely arranged, and caused beautiful groves to be planted of various kinds of evergreens, which flourish all the year round; to say nothing of the waters, fountains, fishponds, and aviaries, the espaliers, and many other things truly worthy of a magnanimous prince, which I do not describe, because it is impossible that he who does not see them should ever imagine their grandeur and beauty.^[73] And it is certain that duke Cosmo could not have found any undertaking more worthy of the elevation and greatness of his mind than the completion of this palace, which would seem to have been erected by Messer Luca Pitti, expressly for his most illustrious excellency. Messer Lucca left it unfinished, being constantly occupied with his labours for the state; and his heirs, not having means wherewith to complete the building, were glad to give it up to the duchess, who continued to expend money on it during the whole of her life, but not to such an amount as to give hope that it could be quickly finished. It is true that she had intended, as I have heard, to expend 40,000 ducats on it in one year only, if she lived, to the end that she might see it if not finished, at least on the way to completion. The model of Filippo has not been found, and his excellency has therefore had another made by Bartolommeo Ammanati, an excellent sculptor and architect.^[74] It is according to this that they are now working, and a great part of the inner court is already completed in rustic work, similar to that of the outer court.^[75] And of a truth, whoever reflects on the grandeur of this work, will be amazed that the mind of Filippo was capable of conceiving a building so vast and so truly magnificent, not only in its external form, but also in the distribution of all its apartments. Of the views from this palace, which are most beautiful, I say nothing, nor yet of the pleasant hills which form almost an amphitheatre around the edifice, in the direction of the city walls, because it would occupy me too long, as I have said, to describe these things in full, nor could any one who has not seen it, imagine how greatly this palace is superior to every other royal edifice.

It is said that the machinery for the “paradise” of San Felice in Piazza, in the same city, was invented by Filippo for the festival of the Annunciation, which was solemnized by a Representation, in the manner customary in old times among the Florentines. This was without doubt a most extraordinary thing, giving proof of great ability and industry in him who was the inventor, since there was the spectacle of a heaven full of living figures moving about on high, with an infinity of lights, which appeared and disappeared almost as does the lightning. All who could have described these things from their own knowledge are now dead, and the machinery itself is destroyed without a hope that it can ever be reconstructed, seeing that the place is no longer inhabited as of old by the monks of Camaldoli, but by the nuns of San Pier Martire; and also because the monastery of the Carmine suffered considerable injury from that machinery, which pulled down the timbers of the roof. I will therefore not refuse the labour of describing it exactly as it was. Filippo, then, for the purposes of this representation, had suspended between two of the beams which support the roof, the half of a globe, resembling an empty bowl, or rather the basin used by barbers, with the edge downwards; this half-globe was formed of light and thin planks, secured to an iron star, passing round the outer circle; they were narrowed towards the centre, the whole being held in equilibrium by a large ring of the so-callEd. Flor.ntine manner, which gives to domestic architecture the grave, fortress like aspect, most proper to express the relation of iron, around which moved the iron star, whereby the planks forming the basin were supported. The whole machine was upheld by a strong beam of pine-wood, well bound with iron, and placed across the main timbers of the roof: to this beam was fastened the ring which held the basin suspended and balanced; the latter, as seen from below, really presenting the appearance of a heaven. Within the lower edge of the machine were then fixed brackets of wood, exactly large enough to give space for the feet to stand on, but not larger, above each of these, at the height of a braccia, was provided an iron fastening; this was done to the end that a child of about twelve years old might be placed on each bracket, and the child was so bound to the iron above that it could not possibly fall even if it would. These children, twelve in number, being arranged as we have said, were dressed to represent angels with gilded wings, and hair formed of gold threads; they took each other by the hand at the proper time, and waving their arms appeared to be dancing, the rather as the basin was perpetually moving and turning round. Within this concave frame-work and above the heads of the angels were fixed three chaplets or garlands of lights, formed of minute lamps that could not be overturned, and which when seen from below, had the appearance of stars. The brackets also, being covered with cotton wool, presented the semblance of clouds. From the ring above described, there proceeded a very strong iron bar with a second ring, to which was affixed a slender cord, descending towards the ground, as shall be explained in due time; this strong bar of iron had eight branches or arms, which revolved in an arc sufficiently large to fill the space of the hollow basin: at the end of each arm was a stand about the size of a plate, and on every stand was placed a child of about nine years old, well secured to an iron fixed in the upper part of the branch or vane, but yet in such a manner that it could turn itself in all directions. These eight angels, upheld by the above-mentioned iron bar, were gradually lowered by means of a small windlass, and descended from the hollow of the circular space, to the depth of eight braccia below the level of the woodwork supporting the roof, in such sort that they could be seen without concealing from view the twelve angels within the edge of the machine. In the centre of this bouquet of the eight angels, (for so was it very appropriately called), was a halo or glory (Mandorla) of copper, wherein were numerous perforations, displaying small lamps placed on an iron in the form of a tube, which, on the pressing down of a spring, was concealed within the copper “mandorla”; but when the spring was not pressed, all the lamps appeared lighted through the apertures formed for that purpose in the mandorla. When the group of angels had reached its appointed place, this mandorla, which was suspended by a small cord, was moved softly down by means of another little windlass, and descended gradually to the platform, whereon the representation was exhibited. At that point of the platform where the mandorla was to rest, an elevated place in the manner of a throne was erected, with four steps; in the centre of this elevation was an opening into which the pointed iron of the mandorla descended: the latter having reached its place, a man concealed beneath the throne fixed it securely, without being seen himself, by means of a bolt, so that it rested firmly on its own basis. Within the mandorla was a youth of about fifteen years old, in the guise of an angel, he was bound by an iron cincture to the centre of the mandorla, and secured at the foot of it also in such a manner that he could not fall; but to admit of his kneeling before the Virgin, the iron fastenings were divided into three pieces, which glided one within the other with an easy motion, as the youth knelt down. Then, when the bouquet of angels had descended, and the mandorla was fixed into its place, the man who had secured it by means of the bolt, also unfastened the iron which supported the angel, whereupon he, having issued forth, proceeded across the platform, and approaching the spot where sat the Virgin, he made his salutation and uttered the announcement. He then returned into the mandorla, and the lights, which had been extinguished on his leaving it, having been rekindled, the iron which supported him was again secured by the man concealed below, that which held the mandorla to its place was taken away, and the latter was drawn up; while the angels of the bouquet, and those who were moving about in the heaven above, all singing, produced such an effect, that the show really appeared to be a paradise. And this illusion was the more effectually produced, because, in addition to the above-described choir of angels, and those forming the group, there was a figure representing God the Father, placed near the convex side of the basin, and surrounded by other angels similar to those already described; all arranged by the help of irons in such a manner, that the circle representing heaven, the group of angels, the figure of God the Father, the mandorla with its infinitude of light, and the exquisite accords of soft music, did truly represent paradise. Then to all this was added, that Filippo, for the purpose of permitting the heaven to open and shut, had caused two large folding-doors, each five braccia high, to be constructed, and had provided them with iron or copper rollers, running in groves beneath, and these last were well oiled, so that when a slender cord placed on each side was drawn by a little windlass, the doors opened or shut as was desired; the two folds gradually retiring from or closing towards each other by means of the channels beneath as aforesaid. These doors, thus constructed, served a double purpose, the one that when they were moved their weight caused them to produce a sound resembling thunder, the other, that when closed they formed a stage whereon to arrange and make ready the angels, and prepare many other things which it was necessary to do out of sight. This machinery then, constructed as has been described, was invented by Filippo, with many other engines of various kinds, although there are those who affirm that they had been invented long before. However this may be, it was proper to speak of them, seeing that they are altogether gone out of use.^[76]

But we will now return to Filippo, whose name and renown had increased to such an extent that he was sent for from distant places by whomsoever proposed to erect important fabrics, all desiring to have their designs and models from the hand of so great a master, insomuch that powerful means were used, and much friendship displayed, for that purpose.^[77] Thus the Marquis of Mantua, among others, desiring to secure the services of Filippo, wrote with very earnest instances respecting him to the Signoria of Florence, by whom the master was accordingly sent to the marquis in that city, where, in the year 1445, he prepared designs for the construction of dams on the Po, with other works, according to the wish of that prince, who caressed him infinitely, being wont to say that Florence was as worthy to number Filippo among her citizens as he to have so noble and beautiful a city for his birthplace. At Pisa, in like manner, Filippo gave proof of his pre-eminence to the Count Francesco Sforza and Niccolo da Pisa, whom he had surpassed in the construction of certain fortifications, and who commended him in his presence, saying, that if every state possessed a man like Filippo,^[78] all might live in peace, without the use of arms. In Florence, also, Filippo gave the design for the Barbadori Palace, near the tower of the Rossi, in the suburb of San Jacopo, but this was not put in execution. He likewise prepared the design for the palace of the Giuntini,^[79] on the piazza d’Ognissanti sopr’ Arno. At a subsequent period, the leaders of the Guelphic party, in Florence, determined to erect a building wherein there should be a hall, with an audience chamber, for the transaction of their affairs; and the care of this they entrusted to Francesco della Luna. The work was commenced, and was raised ten braccia from the ground, many faults having been committed in it, when it was put into the hands of Filippo, who constructed the palace in the form, and with the magnificence which we now see. In the execution of this work, Filippo had to compete with the said Francesco, who was favoured by many, and this was indeed the case with Filippo while he lived; he was ever striving, now with this man, and now with that; for many were hostile to him, and contending with him, and causing him perpetual vexations; nay, they not unfrequently sought to gain honour for themselves from his designs, by which he was ultimately brought to refuse to show anything or to confide in any one. The hall of the above-named palace is no longer used by those captains of the Guelphs before mentioned, seeing that the flood of 1557 having done much injury to the papers of the Monte, Duke Cosimo, for the greater security of the writings appertaining thereto, and which are of the utmost importance, removed them, together with the offices of the institution, to that hall.^[80] But, to the end that the ancient staircase of this palace should still serve for the office of the captains, who had given up the hall, which is used as the Monte, and had retired to a different part of the palace, his excellency gave commission to Giorgio Vasari for the construction of the very commodious staircase which now ascends to the said hall of the Monte, and which was erected by him accordingly. A balcony of wrought stone has also been executed, from a design by the same architect, and this has been placed, according to the intentions of Filippo, on fluted colums of a hard grey stone, called macigno. In the church of Santo Spirito, the sermons during Lent were one year preached by Maestro Francesco Zoppo, then very popular with the Florentines. In these sermons the preacher had earnestly recommended the claims of the convent and schools for youth, but more particularly those of the church which had been burnt about that time, to the consideration of his hearers.^[81] Thereupon the chief persons of that quarter, Lorenzo Ridolfi, Bartolommeo Corbinelli, Neri di Gino Capponi, and Goro di Stagio Dati, with many other citizens, obtained an order from the Signoria for the rebuilding of the church of Santo Spirito, of which they made Stoldo Frescobaldi proveditor. Frescobaldi, moved by the interest he felt in the old church, the high altar and principal chapel of which had been constructed by his family, devoted extraordinary care to the building; nay, from the very beginning, and before the funds had been gathered from those who, having chapels and burial-places in the church, were proportionally taxed for the purpose, he expended many thousands of scudi, of his own money, but which were afterwards repaid to him.

When the matter had been fully resolved on, Filippo was sent for, and he made a model, comprising all the requisites demanded for the due completion of a Christian temple, whether as regards utility or beauty. On this occasion Filippo laboured much to persuade those who had authority in the matter, to agree that an entire change should be made in the ground plan of the edifice, which he would have turned completely round, and this because he greatly desired that the space in front of the Church should extend to the shores of the Arno, to the end that he who arrived in the city from Genoa, and the Riviera, or from the Pisan and Lucchese territories, should behold the magnificence of this fabric. But as many of the citizens, unwilling to have their houses destroyed, refused to agree to this, the desire of Filippo did not take effect. He made the model of the church, therefore, together with the buildings for the dwelling-place of the monks, in the form that we now see it. The length of the church was one hundred and sixty-one braccia, the breadth fifty-four, and the whole building is so well ordered that no work could be constructed, which, for the arrangement of the columns and other ornaments, would be richer, more graceful, or more airy than is this church of Santo Spirito. Nay, were it not for the malevolence of those who perpetually ruin the beautiful commencement of things for the purpose of appearing to understand more than others, it would now be the most perfect church in Christendom. Even as it is, the building is more graceful and more conveniently arranged than any other, although it was not completed according to the model: this we perceive from the beginnings of certain parts of the outside, which have not been executed in accordance with the order observed within; as it appears that the model would have had the doors and the framework of the windows to do. There are some errors which I will not enumerate, and which are attributed to Filippo, but it is not to be believed that he would have endured their presence had he completed the building, seeing that all his works are brought to perfection with great judgment, prudence, ingenuity, and art, and that this building itself proves him to have possessed a genius truly sublime.^[82]

Filippo was truly facetious in conversation, and acute in repartee, as was shown on a certain occasion, when he desired to vex Lorenzo Ghiberti, who had bought a farm at Monte Morello, called Lepriano, on which he spent double the income that he derived from it. This caused Lorenzo great vexation, insomuch that he sold the farm. Filippo was asked about that time, what was the best thing that Lorenzo had done—being expected perhaps to answer in terms of depreciation respecting the works of Lorenzo on account of the enmity between them—when he replied, “To sell Lepriano.” At length when he had become very old, (he was sixtynine years of age that is to say), Filippo departed to a better life, on the 16th of April, 1446,^[83] after having laboured much in the performance of those works^[84] by which he earned an honoured name on earth, and obtained a place of repose in heaven.^[85] His death was deeply deplored by his country, which appreciated and esteemed him much more when dead than it had done while living. He was buried with most honourable and solemn obsequies in Santa Maria del Fiore, although his family sepulchre was in San Marco, beneath the pulpit and opposite the door, where may be found his escutcheon, bearing two fig-leaves with waves of green on a field of gold. His family belongs to the Ferrarese, and came from Ficaruolo, a castle on the Po,^[86] and this is expressed by the leaves, which denote the place, and by waves which signify the river. The death of Filippo was mourned by large numbers of his brother artists, more especially by those who were poor, and whom he constantly aided and benefited. Thus living in so Christian-like a manner he left to the world the memory of his excellence, and of his extraordinary talents. To me it appears, that from the time of the Greeks and Romans to the present, there has appeared no more excellent or more admirable genius than Filippo; and he is all the more worthy of praise, because in his time the German (Gothic) manner was in high favour through all Italy, being that in practice among all the elder artists, as may be seen in numerous edifices. It was Filippo who revived the use of the antique cornices, and who restored the Tuscan, Corinthian, Doric, and Ionic orders to their primitive forms. He had a disciple from Borgo a Buggiano, who was called II Buggiano; it was this artist who executed the lavatory of the sacristy of Santa Reparata,^[87] where there are figures of children, by whom the water is poured forth. He also executed the portrait of his master, taken from the life, in marble, and this, after the death of Brunellesco, was placed in Santa Maria del Fiore, at the door on the right hand as you enter the church; where there is still to be seen the following epitaph, placed there on the part of the public to do him honour, after his death, as he had done honour to his country during his life.

“Quantum Philippus architectus arte Dcedalea valuerit, cum hujus celeberrimi templi mira testudo, turn plures alice divino ingenio ab eo adinventce machines documento esse possunt. Quapropter ab eximias sui animi dotes, singidaresque virtutes, xv Kal. Maias anno MCCCCXLVI ejus b. m. corpus in hac humo supposita grata patria sepeliri jussit.”^[88]

To do the master the greater honour, the two inscriptions following were added by others.

“Filippo Brunellesco antiques architectures instauratori s. P. Q. F. civi suo benemerenti.^[89]

The second was written by Gio. Battista Strozzi, and is as follows:

“Tal sopra sasso sasso
Di giro in giro eternamente io strussi;
Che cosi, passo passo
Alto girando, al ciel mi ricondussi.”^[90]

Other disciples of Filippo Brunellesco were Domenico del Lago of Lugano, Geremia da Cremona,^[91] who worked extremely well in bronze, with a Sclavonian,^[92] who performed various works in Venice: Simone, who, after having executed the Madonna^[93] in Or San Michele for the Guild of the Apothecaries, died at Vicovaro, while occupied with an important work for the Count di Tagliacozzo.^[94] Antonio and Niccolo, both Florentines, who executed a horse in bronze at Ferrara, in the year 1461, for the Duke Borso; with many others, whom it would take too long to enumerate more particularly.^[95] Filippo was unfortunate in some respects; for besides that he had always to be contending with one or another, many of his buildings remained unfinished in his own time, nor have they all been completed at any subsequent period. Among these fabrics was that of the church of the Angeli, and it is indeed much to be regretted, that the monks of the Angeli could not complete the building commenced by Filippo, since after they had spent, on what we now see, more than 3,000 scudi, received partly from the Guild of the Merchants, and partly from the Monte, where the funds were placed, the capital was squandered, and the church remained unfinished as it still continues. Wherefore, as we have remarked in the life of Niccolo da Uzzano,^[96] he who desires to leave a memorial of his existence in this kind, let him do it for himself while he has life, and not confide the charge to any man, for what we have said of this church may be said of many other edifices planned by Filippo Brunelleschi.

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1. That this is the true date of Brunelleschi’s birth, appears from a document cited by Gaye, vol. i, 113, 115; as also from an anonymous biographer, contemporary with this master, and whose life of him was published by Moreni in 1612.
2. See Novella v of the Giornata vi of the Decameron. — Masselli.
3. An exaggeration similar to that respecting Cimabue, but which has frequently found an echo in later times. —Ibid.
4. Masselli has a note, to the effect that Ser Brunellesco was the son of Lippo, and grandson of Tura, or Yentura, not of Cambio; “who was probably,” adds Schorn, “the father of Tura.” This is manifest from the books of the Proconsul, where “Brunellescus filius olim Lippi Turse de Plorentia” is inscribed as a notary, in the year 1381. “But what shall we say of the Baeherini,” ask the Florentine commentators, “since this family is not found among those of Florence?”
5. Giuliana di Guglielmo degli Spini, a family which became extinct towards the middle of the last century. —Bottari.
6. Now called San Michele degli Antinori. —Masselli.
7. A physician, that is, supposing indeed that a “Maestro Tura Bacherini” was his ancestor in that degree —Ibid.
8. They occupy the two extremities, and were probably made not long after the other half-figures executed by Piero d’Arrigo, Tedesco (Peter Henry the German), who worked in Pistoja between 1380 and 1390. See Ciampi, Notizie della Sagrestia Pistojese, p. 80.
9. We learn from Gaye (Carteggio Inedito, i, 547-9) that among other inventions of Filippo Brunelleschi, was that of a construction (a kind of ship or bark) by means of which he declared himself able to transport all kinds of merchandize upon the Arno or other rivers, at all times, with diminished expense, and increased advantages.—Ed. Flor. 1846-9.
10. Baldinucci, and, what is of more importance, the anonymous writer contemporary with Brunelleschi, place this house at the corner of the Iiicci, instead of the Ciai. The house which forms the point of the road between the Via de’ Banchi and the Via de’ Panzani, likewise belonged to Apollonio; and who shall say that Filippo did not work at the decorations of this also?—Masselli.
11. Now a grand-ducal villa. The tower here mentioned also exists to this day. —Ibid.
12. It does not appear that any of these works now remain. The anonymous biographer describes them even more minutely than Vasari has done, the art of perspective being then new, and awakening much attention.—Masselli
13. Cicognara attributes to him all the merit of whatever has been executed of most excellent in the art of tarsia. — Ibid
14. he illustrious friend and counsellor of Columbus, as we have remarked elsewhere. —Ibid.
15. This crucifix is now in the chapel of Count Bardi.—Schorn,
16. It is now on the altar of the chapel of the Gondi. See Cicognara, Storie della Scultura, who has instituted a comparison between this crucifix and that of Donato.
17. “A rare thing indeed, and perhaps unique in all times wherein artists have existed”, has here been written on the margin, in large capitals, by an early annotator. — Masselli.
18. The anonymous biographer, partial to Brunellesco, places his specimen above that of Lorenzo, and affirms the former artist to have yielded to the latter, not from the conviction of his own inferiority, but from anger against the Syndics, for their wish to give the work to him in concert with Lorenzo, when he (Filippo) was desirous of undertaking the whole. But Ghiberti himself relates the fact, in his manuscript, as Vasari gives it, and adds.— “The palm of victory was yielded to me by all these experienced judges, and by all those who had competed with me.”—Ibid.
19. Brunellesco also made the design for the marble pulpit now in the church of Santa Maria Novella, and which was sculptured with stories in basso-rilievo, by a certain Maestro Lazzaro, at the expense of the Rucellai family. Borghini found the following document in the ancient books of the Borsario (Syndicate):— “S. Brunelleschi p. m. mag. Ieronimi pro modello ligni pro pulpito fiendo in Ecclesia for. unum larg. fuit valoris L. 4, 15. See Storia Annalistica di Santa Maria Novella, vol. ii, p. 418. — Ed. Flor. 1849.
20. The testimony of Ghiberti makes it obvious that Donato was not among the competitors for the door of San Giovanni. Vasari may probably have seen a fourth story, in addition to those of Ghiberti, Brunellesco, and Jacopo della Quercia, which he believed to be by Donato. — Ibid, and Ed. Flor. 1849.
21. The story of Brunellesco was placed by the Grand Duke Pietro Leopoldo—who obtained it as a present from the Chapter of San Lorenzo —in the Florentine Gallery, in the corridor of modern bronzes. It is beside that of Ghiberti; and the injustice of the preference given to it by the anonymous biographer is manifest, on comparing them. Both are given in the work ofCicognara. —Masselli.
22. Bottari observes that, at this time, the stupendous edifices of antiquity had not in so many instances been demolished, or suffered to go to ruin.
23. Arnolfo had proposed to raise the Cupola immediately above the first cornice, as Vasari concludes—see ante, life of Arnolfo—from the model of the church in the chapel of the Spaniards, where the Cupola is besides extremely small. Arnolfo was followed by Giotto, in 1331. To Giotto succeeded Taddeo Gaddi; after whom, first Andrea Orgagna, and next Lorenzo di Filippo, were architects of the cathedral. Brunellesco succeeded Lorenzo di Filippo, -whom Richa erroneously calls Filippo di Lorenzo. —Schorn.
24. Thence the assertion of many that the Cupola of the Rotunda served Brunellesco as his model, at least in a general manner, for that by which he afterwards immortalized himself.—Masselli.
25. Others believe that the perforation here mentioned was used for the reception of the iron or copper fastenings whereby the stones were secured. — Ibid.
26. At one of these models for the Cupola, Donatello and Nanni d’Antonio di Banco worked, in company with Brunellesco. — Ed. Flor. 1848 -9.
27. We know, moreover, that he worked in that city, a decree of the Superintendents of works at the Cathedral of Orvieto being still extant, whereby Donato is commissioned to prepare a statue of St. John the Baptist, either of gilded copper, or cast in bronze, and which was to be placed on the baptismal font. See Della Vaqlle, Storia del Duomo d'Orvieto, p. 299.
28. This urn, or sarcophagus, is still in the cathedral of Cortona. The sculptures represent the battle of the Centaurs and the Lapithse, or perhaps a warlike expedition of Bacchus. It is in truth an exquisite work, and is said to have been found in a field without the city, and almost close to the cathedral.
29. This jest gave occasion to a story called “The fat Carpenter”, and has been lately published by Moreni, from a manuscript in the Magliabechiana Library. The writer is unknown; but, in a note at the end of the manuscript, we are assured that it was gathered after the death of Brunellesco, from those who had heard him relate it, as, for example, Michellozzo, Luca della llobbia, and others. Moreni supposes, with reason, that while the artists cited may have concurred to narrate the circumstances, yet that FeoBolcari, as being better versed in letters than they, was the person who wrote the story. — Ed. Flor. 1849.
30. Here we have the words of Brunellesco himself, who gives us to understand whether the Cupola of the Rotunda could have been his model. — Masselli.
31. Not the Cupola properly so called, which is turned with the pointed arch, and is said to be the largest erected in the middle ages, but rather the external covering, the eight sides of which have the form of a pavilion.—Masselli.
32. According to a popular saying, cited by Baglioni, in the life of Giacomo della Porta, the Cupola of the Rotunda was constructed in that manner.
33. Nothing similar to this had ever then been undertaken. — Masselli.
34. In a deliberation extracted from the Books of the Works, and reproduced by Nelli in his description of this cathedral, by which we find the assertion that the cupola was constructed without frame-work fully confirmed; and wherein we read the following, among other remarks relating to the mode of its erection:—“And let large bricks also be made, weighing from twenty-five to thirty pounds each, and not more.” —Masselli.
35. This chapel afterwards belonged to the Counts Capponi, but the Cupola was removed in the last remodernization of the building.— Schorn.
36. Those who desire more minute details, may consult the anonymous biographer before cited, p. 324, et seq.
37. This statement does not agree Avith what has previously been said, namely, that the assembly of the architects did not take place until 1420.—Schorn.
38. Or more correctly 1423, at which time Filippo had already been appointed sole master of the Avorks, as Vasari himself relates in the sequel; but Lorenzo drew his salary until the year 1426.— Ibid.
39. The original design of these erections was preserved in the library of the Senator G. B. Nelli, by whom it was published for the first time in 1753, in his Discorsi di Architettura. See also the Metropolitana Fiorentina Illustrata, Florence, 1820.
40. The anonymous biographer varies materially in the account of these pavments. given in different parts of his work. See pp. 326 and 330. — Ed. Flor. 1849.
41. Of whom we have no other notice than these words. —Masselli.
42. This “or” has been added by modern editors, as necessary to the sense of the passage. — Masselli.
43. Two years before Brunellesco reached the term of his work—and of all his labours—he received a mortifying affront from the Consuls of the Guild of Builders. Finding that he carried on the building without troubling himself to pay the annual tax due from every artist who desired to exercise his calling, in addition to the fees paid at his registration, they caused him to be apprehended and thrown into prison. This being made known to the wardens, they became very indignant, and assembling instantly, issued a solemn decree, commanding that Filippo should be liberated, and that the Consuls of the Guild should be imprisoned, which was accordingly done. Baldinucci is the only writer by whom this fact is related. He discovered and printed the authentic document containing the decree, which is dated Aug. 20, 1434. See Moreni, Due Vite del Brunellesco, etc., pp.' 274-6.
44. Of all these models, designs, etc., there now remain in the hall of the wardens only a model, in wood, of the external Cupola and the drum beneath it; a second, shewing a part of the staircase formed between the exterior and interior Cupola, one, of the magazines constructed beneath the drum, and two of machines for raising weights. There is, besides, one small but well-preserved model of the lanthorn; but it cannot be that of Brunellesco, since it wants the staircase formed within the pillar, with all that would serve to show the internal construction.
45. On the south-east, and opposite to the Guadagni (now Ricardi) palace. The design was by Baccio d’Agnolo, and the work was executed in Carrara marble.—Schorn. See also Masselli.
46. Who, returning from Rome, made a great outcry respecting this gallery, which was in the style of a portico, and which he called a flycage, “gabbia da grillo” (more literally, perhaps, a cage for crickets). “Grillo” is also a whim; and such indeed it may well have appeared to him, comparing it, as he did, with the magnificent ornament by which the drum of the great Cupola of the Vatican is enriched
47. Five artists presented models for the lanthorn—Lorenzo Ghiberti, Antonio Manetti (respecting whom see Gaye, Carteggio Inedito, etc., i, 167, et seg.), Bruno di Ser Lapo Mazzei, Domenico Stagnaio, and finally Filippo Brunelleschi. We are indebted for these notices to the author of the Descrizione della Cattedrale di Prato, Prato, 1846.
48. “Staffe”,otherwise rendered “rings”.
49. The first stone of the lanthorn was laid in 1443, and was consecrated by Sant’ Antonio; the last was placed in 1461, and was consecrated by the Archbishop Giovanni Neroni, in the presence of the Chapter, with the Signoria and Gonfaloniere.— Moreni, Due Vite del Brunellesco, etc., p. 278, note.
50. The original is “un tentare Dio”. I give our familiar English phrase, as perhaps less offensive in the letter, though equally senseless and impious in the spirit.
51. Masselli observes that the Tuscan braccio, which is the ancient Roman foot doubled for the greater convenience, is equal to one foot nine inches and six lines Paris measure. The Florentine editors of 1846-9 add the remark, that the measure of the whole building, as given by Vasari, differs from that given by Fantozzi to the extent of six braccia, the latter assigning a hundred and ninety-six braccia as the total height.
52. The ball, with the cross (the work of Andrea Verrocchio, whose life follows), was fixed in its place twenty-three years after the death of Brunelleschi; but, having been thrown down by the lightning in the year 1601, it has been replaced by one somewhat larger.—Masselli.
53. It exceeds the Cupola of the Vatican, both in height and circumference, by four braccia; and although supported by eight ribs only, which renders it much lighter than that of the Vatican, which has sixteen flanking buttresses, it is nevertheless more solid and firm. Thus it has never required to be supported by circling hoops of iron, nor has it demanded the labours of the many engineers who have printed volumes of controversies on that subject. See the Tempio Vaticano of Fontani, the Discorsi dell'Architettura, etc. Schorn remarks that the columns on the south side did at first sink a little, which caused some slight cracks, but they were immediately closed. — German Edition, vol. ii, p. 204.
54. See the Metropolitana Illustrata of G. del Rosso, for an account of the most important injuries inflicted by lightnings down to that of 1776. In 1812 the building was furnished with lightning conductors, as the Vatican had previously been; and this seems to have sufficiently secured the edifice, which may without exaggeration be called the miracle of architecture.— Masselli.
55. For further details respecting this work, see Moreni, Due vite di Brunelleschi, etc., p. 272, et seq.
56. Brocchi, in his Lives of the Florentine Saints, attributes the erection of this chapter-house to the year 1400, when Brunelleschi was but twenty-three years old.
57. Now the Quaratesi Palace, in the Piazza d’Ognissanti, Nos. 3423, 3424. —Fantozzi, Pianta Geometrica di Firenze.
58. See Gaye, Carteqgio Inedito, i, 549.
59. his Francesco della Luna was the disciple of Brunellesco in architecture. In the archives of the Administration of Works for the Cathedral of Siena, are many of his letters to Messer Caterino di Corsino, warden of that church. —Ed. Flor. 1849.
60. The anonymous biographer is more diffuse than Vasari, when speaking of the audacity and want of judgment betrayed by Francesco della Luna, in frequently departing from the designs of Brunellesco.— Masselli.
61. For the many important buildings erected at the cost of Cosmo, called Father of his country, see his life by Fabbroni.
62. Great changes were made there when the monastery was suppressed.
63. For more minute details respecting this work and the preceding, see Gaye, Carteggio Inedito, i, 544, 545.
64. Rebuilt in the earlier part of the fifteenth century (about 1423), after having been destroyed by fire, as we are informed by Masselli, who follows Del Migliore. But Moreni affirms that to be a mistake, declaring the ancient building to have been in danger of falling, and therefore reconstructed. See also Gaye, ut supra, vol. i, pp. 546, 552, 557.
65. The later Florentine editors remark, that in all this narration respecting the church and old sacristy of San Lorenzo, Vasari falls into many errors, which were dissipated, with the aid of documents, by the Canon Moreni. Giovanni d’Averardo, called Bicci de’ Medici, never intended to do more than build the sacristy, with two chapels, one within it, and one close to it; and these buildings were completed when Giovanni died, in 1428. The principal chapel, with the whole body of the church, is due to Cosimo, Pater patriae, who, seeing that the chapter could not be brought to an agreement on the subject, pledged himself to construct the foundations of those two fabrics. See the Descrizione della Cappella delle pietre dure e delle Sagrestia Vecchia di San Lorenzo, etc., p. 48.
66. For this building Cosimo set apart 40,000 florins of gold. See Fabbroni, Vita M. C. Med. p. 194.
67. At the death of Brunellesco, the sacristy of Lorenzo was finished; but not so the cross-aisle of the church, nor yet the small tribune, which was completed, both within and without, in a manner deviating widely from the plans of Brunellesco. The architect who ruined his idea was Antonio Manetti, as we learn from a letter published by Gaye, vol. i, p. 167 ei seq. For the most accurate account of the principal dimensions of this building, see the Guida di Firenze of the architect Fantozzi. — Ed. Flor. 1846-9.
68. Built after the design and under the care of Michelozzo Michelozzi, as will be seen in the life of that architect, but with less magnificence, and in a manner by no means exempt from fault. —Masselli.
69. Of this church, which, by avow of the celebrated Pippo Spano, who belonged to the Scolari family, was to have been dedicated to the twelve Apostles, and which had been erected almost to the height of the Cornice, there still exist most beautiful remains, to the extent of nine braccia of the height; the external wall of sixteen sides, that is to say, five of which are visible on turning from the Via degli Alfani into the Castellaccio. Other parts also remain; but the roof was never erected, and the pavement has been taken up, to admit of the space being turned into a garden for the use of the monastery. Cosmo I proposed that it should be finished by the Academy of Arts, and used as their place of assemblage, as will be seen in the life of Gio. Angiolo Montorsoli. For drawings of this building, see Boni, Memorie per le belle Arte, Romse, 1786, ii, p. 57; also D’Agincourt, Archit., pl. 50, 16. But they are not entirely accurate; the windows in the Cupola not being in strict accordance with the intentions of Brunellesco. See Descrizione di alcuni disegni Architetionici di Classici Autori, Pisa, 1818.
70. Of this abstraction of funds there is mention in the notes to the Vita di Filippo Scolari, published in the fourth volume of the Archivio Storico Italiano.—Ed. Flor. 1846-9.
71. In the life of Lorenzo di Bicci, ante, p. 294.
72. See the life of Leon Batista Alberti, which follows.
73. For various details respecting the Pitti Palace and Gardens, see the well-known works of Anguillesi, Inghirami, etc.
74. Paolo Falconieri, a most accomplished architect, subsequently made a design for the completion of the work, which is described by Baldinucci in the life of Ammanati; but this was not put in execution, on account of its great cost. Among the designs afterwards prepared, that of Giulio Parigi was executed in part, as we are also told, by Baldinucci. Great additions and embellishments have been made, both inside and out, by the modern architects Gasparo Paoletti, Guiseppe Cacialli, and Cav. Pasquale Poccianti. Some notice of this royal palace will be found in almost all the most celebrated architectural works. — Masselii.
75. See Buggieri, Studio d'Architettura di porte e finestre, for drawings of many parts of this palace. The Rondo Vecchio, which forms a right angle with the main building, was completed in the year 1764, under Marshal Botta; and the Rondo Nuovo, which is on the other side, was commenced by the Grand Duke Leopold in 1785, and finished by Ferdinand III, in 1799. For this building Brunelleschi adopted the so-called rustic style, examples of which may be seen in ancient edifices in Tuscany, and in the Roman dominions, as, for example, in the Aqua Martia and Curia Ilostilia, in the walls of Colonocelli near Tivoli, in a temple near Terracina, and even in certain instances in Greece (See Dodwell, Views and Descriptions of Cyclopian and Pelasgic Remains in Greece and Italy, London, 1834). Instances are also found of the use of this style throughout the middle ages: as, for example, in the palace of the Emperor Barbarossa at Gelnhausen. Brunelleschi was the founder of the aristocracy of that time to the people, when it was indispensable that the rich and powerful should be well prepared for making an effectual defence against the violence of popular outbreaks. —Schorn.
76. The custom was restored at the marriage of the Prince Francesco, when a representation of the character here described took place in Santo Spirito, an edifice affording ample space, and where the spectacle was exhibited with a more magnificent apparatus. — Masselli.
77. Bocchi, Bellezze di Firenze, p. 506, relates, that Pope Eugenius IV having requested an architect from Cosimo de’ Medici, for certain works which he desired to execute, the latter sent him Brunellesco, accoflapanied by a letter written with his own hand, wherein he says, “I send your Holiness a man of such immense capacity that he would have confidence enough to turn the world back on its axis.” Having read the letter, his Holiness cast a glance at Filippo, and seeing him, as he was, so small and insignificant in appearance, he said with a pleasant manner, “This is the man whose courage would suffice to turn the world about.” Whereupon Filippo replied, “Let your holiness only give me the point whereon I can fix my lever, and I will then show what I can do.” Bocchi subsequently adds, that Filippo returned to Florence loaded with honours and rich rewards.
78. Vasari has forgotten to mention certain hydraulic operations attempted by Filippo, in the years 1429-30, when the war of the Florentines against Lucca wras at its height. Brunellesco having been sent thither by the republic, with Michellozzo, Donatello, Dominico di Matteo, and (adds Baldinucci) Lorenzo Ghiberti, for his assistants, conceived the thought of turning the city of Lucca into an island, by digging around and enclosing it within trenches, when, a part of the river Serchio being turned for that purpose, the city might be laid under water; but the effect was contrary to his intentions, for, by means of these operations, the city of Lucca became a fortress which the enemy could not approach, and vast numbers of men died at the works, whilst many others became sick; so that the mad inundation, as Giovanni Cavalcanti calls it in his Storie Florentine (yol. i, pp. 327-32). had an unhappy result, and its author obtained no praise, but rather much blame. Gaye (Carteggio Inedito, etc.), has published the letter of the Florentine republic to Binaldo degli Albizzi, which mentions Brunellesco being sent to Lucca for this purpose; and Moreni, in the notes to the Due Vite di Brunellesco, confirms the fact by documents, and by a passage taken from a contemporary author, who was, however, neither Francesco di Rinaldo di Papero nor Lodovico di Papero Cavalcanti, but the above cited Giovanni Cavalcanti himself. See his Storie Florentine, published by Molini in 1838, with learned and elaborate notes, historical and philological, by Signor Filippo Luigi Polidori. —Ed. Flor. 1846-9.
79. Afterwards incorporated, as is believed, with the Geri, now the Martellini palace.— Masselli.
80. This building still serves, in part, for the purposes of the Monte.— Ibid.
81. The church was not burnt at that time,—during the life of Brunellesco, that is,—but in 1471, which was many years after his death. Before the old church was destroyed, and at the instigation of the preacher, Fra Francesco Mellini, a new one had been commenced, much larger, and more magnificent than the former, but in immediate proximity with it, and according to the design of Brunellesco. Stoldo Frescobaldi had been chosen proveditor as early as 1433. The conflagration then caused the building to be accelerated, insomuch that it was ready for the performance of Divine service in the year 1481. See Moreni, Vite del Brunellesco, p. 99, note 2.
82. The admiration of Michael Angelo for this edifice is well known.— Masselli.
83. Dal Migliore, and with him Kicha and Bottari, assign 1444 as the year of Brunellesco’s death, but erroneously, since Vasari’s date is in strict accordance with the memorials of the times. See Gaye, i, 144, note.
84. The loggia of the hospital for convalescents, now the schools of St. Paul, on the Piazza di Santa Maria Novella, is attributed by some writers to Brunellesco, as is also the oratory of SS. Pietro e Paolo, called the Madonna di pie di Piazza in Pescia; but Gaye, Carteggio Inedito, is inclined to consider this last the work of Filippo’s disciple, Andrea di Lazzaro Cavalcanti, called II Buggiano.
85. Another work not mentioned by the biographers of Brunellesco is an arch in the sacristy of the Canons, in the Duomo. A decree of the wardens, issued on the 15th October, 1436, makes mention of this work. See Moreni, Vita del Brunellesco, p. 284, note.
86. Vasari took this notice, almost word for word, from the anonymous author of the Vita del Brunellesco, p. 293. There is full confirmation of its truth in the burial-registers of the convent of San Marco, where the origin of the Brunelleschi family is recorded as here given by Vasari, with the addition of the following words: —
    “Sciendum est quod creditur hoc sepulcrurn fuisse patris illius magni architectori Philippi ser Brunelleschi, qui habet statuam in Ecclesia Cathedrali, oh testudinem mirabilem ipsius ab eo factam ec.”
    So far the Florentine editors of 1846-9. Schorn remarks, that “the descent of the Brunelleschi from the ancient family of the Lapi, called in earlier times Aldobrandi, admits of no doubt; but of that family having originated in Ficaruolo, there is as little proof as there is of the assertion that the Lapi family was founded by the father of Arnolfo.” —German Translation of Vasari, vol. ii, p. 223.
87. With respect to this artist nothing was known, beyond the few indications given by Vasari, until the present time; but the Carteggio Inedito di Artisti, published by Gaye, has furnished us with more authentic and precise accounts of his existence, at least, if not of his works. His true name was Andrea di Lazzaro Cavalcanti, of the Borgo-a -Buggiano, in Val di Nievole, and not Michele, as Moreni affirms. He was brought up from a child by Filippo di Ser Brunellesco, and is registered as a “maestro di scarpello”; but he also practised architecture, following the doctrines of his master. For the lavatory in the sacristy of Santa Reparata—a most eccentric production—he received eighty florins. The portrait of his master and adoptive father, mentioned in the text, is in the font-room of the apartments used by the Superintendents of the Duomo. We have no authentic information as to any other work of this artist, but Gaye believes the oratory of San Pietro e Paolo, in Pescia, to be by his hand, as is also a sort of temple erected within the cathedral of the same city. (See Carteggio Inedito, i, 142-45.) Brunellesco made him his heir, and to him was entrusted the execution of the epitaph on the tomb of his master.
88. From a book of the Resolutions of the Superintendents, commencing in March 1446, and extending to 1449, we find that Brunellesco’s epitaph was composed by Carlo Marsuppini, Chancellor of the Republic, and not by his father Gregory Marsuppini, as asserted by Richa.
89. In the year 1830, the statues of the two architects who commenced and completed the cathedral of Santa Maria del Fiore—Arnolfo and Brunellesco, namely—were placed in the new Chapter-house of that church. They were executed by the talented Florentine sculptor Luigi Pampaloni (since dead), and are accounted among the best works of modern Italian art. —Schorn.
90. 
    As stone on stone I raised, as course on course
    For evermore I piled; so tend my steps,
    Face following pace, to my blest home in heaven.
91. We learn from Panni, Distinto Rapporto delle Pitture di Cremona, etc., that a fine work of this Geremia, a tomb of Carrara marble, with ornaments well executed in basso-rilievo, and bearing the date 1432, may be seen in the church of San Lorenzo.
92. The later Florentine commentators ask, “Who was this Sclavonian architect?” and conjecture that the “Maestro Luciano Martini of Lauranna”, a little city of Illyria, whom Federigo D’Urbino invited in 1468 to construct his palace, as the most learned architect to be found, may be the Sclavonian alluded to. Of this Maestro Luciano important notices are given by Gaye, i, 214-18.
93. This Madonna first occupied the niche afterwards appropriated to, and still retained by, the St. George of Donatello. The Madonna is now within the oratory.— Schorn.
94. The sculptures of Vicovaro are still in good preservation. They adorn the fa9ade of the church of the Madonna, now called the Old Church (Chiesa Vecchia). —Masselli..
95. Gualandi, Memorie di Belle Arti, publishes several documents relating to these two masters. Antonio di Cristoforo and Niccolo di Giovanni Baroncelli, both Florentines, laboured together at Ferrara, where they produced various works in bronze. In 1443, Antonio was commissioned to make the model for an equestrian statue of the Marquis Niccolo da Este, in competition with Baroncelli. The two models being presented, that of Antonio was chosen; but in 1450 the two artists executed together the bronze figure of the Marquis Borso da Este, on a horse also of bronze. These statues were thrown down in 1796. For further details respecting these masters and their works, see Gualandi, ut supra, Serie iv, pp. 33-48, and Serie v, pp. 178-183.
96. Bottari thinks it probable that Don Silvano Razzi, who took so large a part in these lives, may have written a “Life of Niccolo da Uzzano”, and cites it here perhaps, speaking in his own person. But Masselli considers the expression to be rather a slight inadvertence of the writer, who meant to say, “as related of Niccolo da Uzzano in the Life of Lorenzo di Bicci”, where the expression above repeated occurs.