LIVES
OF THE MOST EMINENT PAINTERS,
SCULPTORS, AND ARCHITECTS.
THE FLORENTINE SCULPTORS—ANTONIO FILARETE[1]
AND SIMONE.
[flourished during the middle oe the fifteenth century.]
If Pope Eugenius IV. had used greater diligence in seeking for eminent masters to execute the work, when he resolved to construct the bronze door for San Pietro in Rome (and he might at that time have very easily found such, since Filippo di Ser Brunellesco, Donato, and other excellent artists were then living), that undertaking would not have been conducted in the unhappy manner which we now see it exhibit.[2] But perhaps it happened to him, as it very frequently does happen to the greater number of princes, who are either not conversant with works of that kind, or who take very little pleasure in them. If, however, these princes would consider how important it is that due regard should be paid to the selection of eminent masters for the execution of public works, on account of the fame that accrues from such, neither they nor their ministers would certainly be so negligent as they are; for whoever permits himself to make choice of inferior and incapable artists, will assure but a short life either to his works or his fame; besides which, he does injury to the public and to the age in which he is born, seeing that all who come after, will infallibly believe that if better masters had been to be found at that period, the prince would rather have
- ↑ His name was Antonio Averlino, or Averulino, as will be seen in a subsequent note. The Greek compound, “Filarete,” appears to liavebeen one of the bye-names so frequently attached in those days to the true names of artists.
- ↑ To the lamentations of Vasari, Bottari adds the following—“So many admirable works, executed by eminent men, that were formerly in San Pietro, have been removed, and yet this door, which for many reasons deserved to be destroyed, is permitted to retain its place.”
