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Lives of Artists, Brunelleschi

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Lives of Artists, Brunelleschi FILIPPO BRUNELLESCHI Ill greatest, tallest, and most beaut!ful s~u~ure of all th?se built in modem times as well as m anuqwty, demonstratmg that the genius of Tuscan artisans, although it had been The Life of Filippo Brunelleschi, lost, was not completely dead. • Heaven also endowed F~ppo Sculptor and Architect with the highest virtues, a~g which was t~at of fne~d­ ~hip. so that there never existed a m~n m~re kmd or lovtng~ [1377-1446] than he. In his judgement he was dispasstonate, and when­ ever he considered the measure of another man's merits, he set aside his own interest or that of his friends. He knew himself and communicated the degree of his own talent to Nature has created many men who are small and insignificant others, and he was always ready to help a neighbour in need, in appearance but who are endowed with spirits so full of declaring himself a confirmed enemy of vice and :W ~dourer greatness and hearts of such boundless courage that they have of those who practised virtue. He never wasted his ~1me but no peace until they undertake difficult and almost impossible was always striving to assist his friends, either by hims~lf or tasks and bring them to completion, to the astonishment of with the help of others, and he went about visiting his fnends those who witness them. No matter how vile or base these and always supporting them. projects may be, when opportwtity puts them into the hands It is said that in Florence there lived a m:m of excellent of such men, they become valuable and lofty enterprises. reputation, with many praiseworthy habits and ~nd~trious ~ Thus, we should never tum up our noses when we meet his affairs, whose name was Ser Brunellesco di L1ppo Lap1, people who in their physical appearance do not possess the whose grandfather, called Cambio1 was an educate~ person initial grace and beauty that Nature should bestow upon skil­ and the son of a physician, Master Ventura BacherJrU, who ful artisans when they come into the world, for without a was very famous in those days. • Brunellesco married a very doubt veins of gold are hidden beneath the sod. And many well-bred woman from the noble Spini family, and as part of times those with poor features develop such great generosity her dowry she brought him a house, where he and ~is sons of spirit and sincericy of heart that when nobility of soul is lived until their death, which is situated just opposite San joined to these qualities, the greatc:st1tirU.S may be ex­ Michele Berteldi on the side in a comer past the Piazza degli pected of them, for they work to embellish ugliness of Agli. There be worked and lived happily until the. year 1377, • body with strength of int~ect. This an be clearly seen in when a son was born to him, whose birth made htm as happy Filippo di Ser Brunellesco, who was no less ill-favoured in as could be imagined and to whom he gave the name of appearance than Forese cb Rabatta and Giotto, • but whose Filippo, after his dead father. In his early years, the. father genius was so lofty that it might well be said he had been sent diligently taught his son the rudiments ofletters, m which the to us by Heaven to give a new form to architecture which had boy showed himself to be so clever and of such a lofty mtellect been going astray for hundreds of years; the men of those that he often kept his mind detached, as if he did not intend times had spent many fortunes badly, constructing buildings to perfect himself in such matters. On the contrary,.~~ seem.ed with no sense of order, bad methods, poor design, bizarre as if his mind were ru.rned to matters of greater utility, w1th inventions, a shameful lack of grace, and the wont kinds of the result that Ser Brunellesco-who wanted his son to fol­ decoration. And since the world had existed for so many years low his own profession, that of notary, or that of his gr_eat~ without such a remarkable mind and such a divine spirit, great-grandfather--was very displeased. Nevertheless, smce Heaven willed that Filippo should leave behind him the his father observed his son to be continuously attracted to Ill FILIPPO BRUNELLESCHI FILIPPO BRUNELLESCHI l!J ingenious matters of art and mechanics, he had him learn to doors and windows in a style derived from that of antiquity use the abacus and to write; :md then he apprenticed him in but which was then not widely wed, since architecture was in the goldsmith's craft so that he might learn the art of design a very crude state in Tuscany.• with a friend of his. And this greatly satisfied Filippo, who Then, the friars of Santo Spirito wanted him to carve a began to learn and to practise the various aspects of this craft, lime-wood statue of the penitent Saint Mary Magdalene to and not many years had passed before he could mount place in 2 ch<~.pel, and since Filippo had done a number of precious stones better than the older artisans in the trade. He small things in sculpture, he was anxious to demonstrate that tried his hand at niello• and worked upon larger pieces, such he could succeed in works of a larger scale and agreed to do as some half-length silver figures of prophets plaoed at the the figure. When it was completed and put in place, it was head of the altar of the church of San Jacopo in Pistoia, which considered very beautiful, but in the subsequent fire in that he executed for the trustees of the Works Department of that church during the year 1471, it was burned along with many city's cathedral and which are considered most beautiful He other important objects. also worked on objects in bas-relief. demonstrating such a pro­ Filippo paid great attention to perspectiv_;, then very badly found understanding of this craft that it was inevitable his employed as a result of the many errors made in using it. He mind would surpass the boundaries of this profession. Thus, wasted a great deal of time in this but fmally discovered by after taking some training with certain learned men, he began himself a means by which it could be: done correctly and per­ to speculate over matters of time and motion, weights and ;::;;,' ~"· by tracing ir with a ground-plan and profile wheels, how they could be made to turn and how they ersecting lines, a discovery truly very fu~ous and moved, and as a result, he created with his own hands a num­ useful to the art of design_. He rook such delight in perspective ber of very fme and very beautiful clocks. that he drew a sketch of Piazza San Giovanni,* which shows Not satisfied with this, there aro:se in his heart the des.irc to all the divisions of the black-and-white marble inlay dimmish­ do sculpture on the largest scale. And this occurred later, for ing with a singular gracefulness, and in a similar way he drew since the young Donatello was reputed to be talented in this the house of the Misericordia with the shops of the cialdone art and to show great promise, Filippo began to keep his makers• and the arch of the Pecori, with the column of Saint company constantly, and such great affection grew up be­ Zenobius on the other side. Since this work was praised by the tween them due to the talent each possessed that it seemed as if artisans and those who possessed good judgement in this craft, they could not live without each other. And so Filippo, who it encouraged him so much that before long he began another, was very skilled in many things, worked at"mafprofessions, and he drew the Palace, Piazza. and Loggia of the Signoria and he did not work in them long before he was considered along with the roof of the Pisani and all the surrounding by people with some underst!lding of these matters to be a buildings. These works kindled the spirits of other artisans most excellent architect, as he demonstrated in his techniques who studied them afterwards with careful attention. for decorating and restoring hl>uses: for instance, on the comer In particular, Filippo taught perspective to Masaccio, a of the Ciai family facing towards the Old Market, he did a young painter and his very close friend at the time, who then grea~ deal of work at the hc;me of Apollonio Lapi, one of his honoured his teacher by what he displayed in the buildings he reb.nves, where he worked while it was being built. And he painted in his works. It only remained for him to teach his did much the same thing outside of Florenoe for the tower and method to those who worked in tarsia, which is the craft of house of the Petraia at Castello. In the Palazzo della Signoria, inlaying coloured pieces of wood, and he stimulated these he arranged and partitioned all those rooms where the office of artisans so much that they developed excellent procedures the officials of the Monte• was located, and he constructed the and useful techniques from his teaching, for both then_ and 114 FILIPPO BRUNELLESCHI FILIPPO BRUNELLESCHI 115 afterwards many excellent works brought fame and profit to Florence for many years.
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