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IT is a habit of Nature when she makes one man very great in any
art, not to make him alone, but at the same time and in the same
place to produce another to rival him, that they may aid each
other by emulation. And that this is true may be seen by the example
of Florence, which produced at one epoch Filippo, Donatello, Lorenzo,
Paolo Uccello, and Masaccio, each one most excellent in his way.
This last, who came from Castello San Giovanni di Valdarno, was
a most absentminded man, and seemed like one who, having fixed
his mind on things of art only, cared little for himself and less
for others. And because he would never trouble himself about the
things of the world, not even about dressing himself, and never
took the pains to get money from those who owed it him, unless
he were in extreme need, he was by every one nicknamed Masaccio
for Tommaso, which was his real name, and this not because he
was a bad man, but merely from his slovenliness, for he was goodness
itself, and as ready to do another a service as any one could
desire. All the most celebrated sculptors and painters from his
time until now have studied his works in the Brancacci chapel,
as Lionardo da Vinci, Perugino, the divine Michael Angelo, Raffaello
da Urbino, Andrea del Sarto, and many more, and if I have not
mentioned many Florentines and strangers who have gone to that
chapel to study there, it is because where the heads of the art
go, there the members are sure to follow. Yet although his works
have always been held in such reputation, it is the firm belief
of many that he would have brought forth much greater fruit if
death had not carried him off, at the age of twentysix, so suddenly
that there were not wanting those who laid it down to poison.
It is said that when Filippo di Ser Brunellesco heard of his death,
he said, "We have suffered a great loss in Masaccio,"
and mourned for him deeply.
There are some whom Nature has created little of stature, but
with a soul of greatness and a heart of such immeasurable daring
that if they do not set themselves to difficult and almost impossible
things, and do not complete them to the wonder of those who behold,
they have no peace in their lives. Thus it was with Filippo di
Ser Brunellesco, who was small in stature like Giotto, but great
in genius. His father, Ser Brunellesco, taught him in his childhood
the first principles of letters, in which he showed himself intelligent,
but careless of perfecting himself in these matters. Therefore,
seeing him occupied with matters of art, he put him under a goldsmith,
to Filippo's great satisfaction. Having become skilled in setting
stones, and in niello work, and in the science of the motion of
weights and wheels, not content with this, there awoke within
him a great desire for the study of sculpture. And Donatello,
then a young man, being held in esteem as a sculptor, Filippo
began to hold intercourse with him, and such an affection sprang
up between them that it seemed as if the one could not live without
the other. Filippo, who was capable of many things, was held also
by those who understood such matters to be a good architect. He
studied also perspective, and taught it to Masaccio his friend.
Messer Paolo dal Pozzo Toscanelli, having returned from his studies,
invited Filippo with other friends to supper in a garden, and
the discourse falling on mathematical subjects, Filippo formed
a friendship with him and learned geometry from him. And although
he was not learned, he would reason on all matters from his own
practical experience so as frequently to confound Toscanelli.
He also applied himself to the study of the sacred scriptures,
never failing to be present at the disputations or lectures of
learned men, and making such good use of his wonderful memory
that Messer Paolo used to say when he heard Filippo argue, he
seemed to him a new St. Paul.
Filippo, as we have said, entered into competition with Lorenzo
and the others for the gates of S. Giovanni, but when the work
was assigned to Lorenzo at the request of Filippo and Donatello,
they determined to set out together from Florence and to spend
some years in Rome, that Filippo might study architecture and
Donatello sculpture. And when he came to Rome, and saw the grandeur
of the buildings and the perfection of the form of the temples,
he remained lost in thought and like one out of his mind; and
he and Donatello set themselves to measure them and to draw out
the plan of them, sparing neither time nor expense. And Filippo
gave himself up to the study of them, so that he cared neither
to eat or to sleep, having twogreat ideas in his mind, the one
to restore the knowledge of good architecture, hoping thus to
leave behind no less a memory of himself than Cimabue and Giotto
had done, and the other to find a way, if it were possible, of
raising the cupola of S. Maria del Fiore in Florence, the difficulty
of which was so great that since the death of Arnolfo Lapi none
had had courage enough to attempt it. He confided his intention
neither to Donatello or any soul living, but gave himself no rest
until he had considered all the difficulties of the Pantheon and
had noted and drawn all the ancient vaulted roofs, continually
studying this matter, and if by chance they found any pieces of
capitals or columns they set to work and had them dug out. And
the story ran through Rome that they were "treasure seekers,"
the people thinking that they studied divination to find treasures,
it having befallen them once to find an ancient pitcher filled
with medals.
Then money becoming scarce with Filippo, he set himself to work
for the goldsmiths, and remained thus alone in Rome when Donatello
returned to Florence. Neither did he cease from his studies, until
he had drawn every kind of building, temples round and square
and eightsided, basilicas, aqueducts, baths, arches, and others,
and the different orders, Doric, Ionic, and Corinthian, until
he was able to see in imagination Rome as she was before she fell
into ruins.
In the year 1407 he returned to Florence, and the same year there
was held a meeting of architects and engineers to consider how
to raise the cupola of S. Maria del Fiore. Among them came Filippo,
and gave it as his opinion that it should not be done according
to the design of Arnolfo, but in another fashion, of which he
made a model.
Some months after, Filippo being one morning in the Piazza of
S. Maria del Fiore with Donatello and other artists, talking about
ancient sculpture, Donatello began telling them how when he was
returning from Rome he had journeyed by Orvieto to see the famous
marble facade of the cathedral, and afterwards passing through
Cortona went into the church there and found a most beautiful
piece of ancient sculpture, which was then a rare thing, for they
had not then disinterred such an abundance as they have in our
times. So Donatello, going on to describe the manner of the work
and its perfection and excellence, kindled such an ardent desire
in Filippo to see it that, without saying where he was going,
he set out on foot in his mantle and hood and sandals, and was
carried to Cortona by the love he bore to art. The sculpture pleasing
him much, he made a drawing of it with the pen, and returned to
Florence before Donatello or any one else had discovered that
he was gone. And when he showed him the careful drawing he had
made, oonatello marvelled greatly at his love for art.
The other architects meanwhile being dismayed at the difficulties
in raising the cupola, the masters of the works in S. Maria and
the consuls of the Guild of the Woollen Merchants assembled together,
and sent to pray Filippo to come to them. And he being come, they
laid before him the difficulties small and great which the architects
felt who were also present. And Filippo answered them, "Sirs,
there is no doubt that in great undertakings you have always to
encounter great difficulties, and in this one of yours there are
greater than you perhaps imagine, for I do not think that even
the ancients ever raised such a vaulted roof as this will be.
And I, having considered it much, have never been able to come
to any conclusion, the width as well as the height of the building
dismaying me. But remembering that it is a temple consecrated
to God and the Virgin, I believe that the wisdom and skill of
any one who undertook it would not be allowed to fail, and if
it were my affair I would resolutely set myself to find out a
way. But if you resolve upon doing it you must take counsel not
alone of me, who am not sufficient to give counsel in so great
a matter, but summon to Florence upon a fixed day within a year's
time architects, not only Tuscan and Italian but German and French,
and those of every nation, and lay before them this matter, that
having been discussed and decided by so many masters, it may be
entrusted to him who has the best judgment and knows the best
way."
And this counsel pleased them well, and they desired that he also
would consider the matter and make a model for it. But he made
believe not to care about the matter, and took his leave of them
to return to Rome. And they, seeing that their prayers availed
not to stop him, made many of his friends implore him also; and
when he would not be moved, the members of the council voted him
an offering of money. But he, keeping firm to his resolution,
left Florence and returned to Rome, where he applied himself to
continual study of the matter, thinking, as was true, that none
but he could accomplish it.
So the Florentine merchants who dwell in France and England and
Spain were commanded to obtain from the princes of those lands,
without sparing expense, the most skilled and gifted men in those
regions. And when the year 1420 was come, there were assembled
in Florence all these masters from other lands and those of Tuscany,
and the skilled artificers of Florence itself, and Filippo returned
from Rome. And they came together in S. Maria del Fiore,
with the consuls and members of the guild, and some ingenious
men chosen from among the citizens, that the minds of all might
be known, and the manner of raising the dome decided upon. So
one by one each architect was called upon to give his opinion
and describe the way in which it should be done. And it was a
fine thing to hear the strange and diverse opinions in the matter.
For some proposed that it should be built of spongestone that
the weight might be less, and many agreed that it would be best
to put a pillar in the middle, while there were not wanting those
who suggested that they should fill the space with earth, mixing
money with it, and when the dome was built give leave to every
one to take the money, by which means the earth would be cleared
away without expense. Filippo alone declared that he could make
a vaulted roof without much wood, without pillars or supports,
and with little expense of arches. It seemed to all who heard
him that what he had said was foolish, and they mocked him and
laughed at him, saying he was speaking like a madman. Then Filippo,
being offended, said, "Though you laugh at me, you will find
out that it can be done in no other manner." And as he grew
warm in explaining his ideas, they doubted him the more, and held
him to be a mere chattering fool. And when they had bidden him
depart several times and he would not go, he was carried out by
force, all supposing him to be mad. And this was how it came about
that Filippo used to say afterwards that he dared not at that
time pass along any part of the city lest it should be said, "There
goes that madman." So the consuls in the assembly were left
altogether confused with the difficult methods proposed by the
other masters, and Filippo's plan, which seemed to them foolish.
And on his part Filippo was many times tempted to leave Florence;
but desiring to conquer, he had to arm himself with patience.
He might have shown a little model that he had made, but he would
not, knowing how little the consuls understood the matter, and
aware of the jealousy of the artists, and the unstable character
of the citizens, who favoured now one, now another. And I do not
marvel at this, for in that city every one professes to know as
much as skilled masters themselves, although there are few who
really understand such things.
So Filippo, not having succeeded at the assembly, began to treat
with them separately, talking now to this consul, now to that
member of the guild, and to some of the citizens, showing them
part of his design. And so, having been moved by his arguments,
they met again and disputed of the matter. The other architects
desired that Filippo would tell all his mind and show his model.
This he would not do, but made a proposal that the building of
the cupola should be given to him who could make an egg stand
firmly on the smooth marble, for by doing this he would show his
skill. And an egg being brought, all the masters tried to make
it stand upright, but none found the way. And when they bade Filippo
set it up, he took it, and striking it on the marble made it stand.
And the architects murmured, saying that they could have done
that; but Filippo replied laughing that they could have built
the cupola, too, if they had seen his model and designs. So it
was resolved that the charge of the work should be entrusted to
him.
But while he was making ready to begin to build, some began to
say that such a work as this ought not to be entrusted to one
only, as too great a burden for one to bear alone. And Lorenzo
Ghiberti, having obtained great credit by his gates of S. Giovanni,
and being beloved by certain who had power with the Government,
he was joined with Filippo in this work. What was Filippo's bitter
despair when he heard of this may be imagined from his desiring
to leave Florence; and had it not been for Donatello and Luca
della Robbia, who comforted him, he would have gone out of his
mind. He set to work with little will, knowing that he should
have all the trouble and yet be obliged to share the honour and
fame with Lorenzo. In this state of torment they went on working
together until the end of 1426, when they had raised the walls
twelve braccia, and it was time to begin works of wood and stone
to strengthen it, which, being a difficult thing, he consulted
Lorenzo to see whether he had considered this difficulty, and
he was so barren of suggestions that he only replied that he would
leave it to him. The answer pleased Filippo, for he thought he
had found a way of driving him from the work. One morning, therefore,
he did not come to the place, but took to his bed, and lay groaning
and causing hot cloths to be brought him constantly, pretending
to be ill.
So the masons, having waited for his orders in vain, went to Lorenzo,
and asked what they were to do. But he replied that it was for
Filippo to order, and they must wait for him. And one asked him,
"Do you not know his mind?" and Lorenzo answered, "Yes,
but I will do nothing without him." And this he said to excuse
himself, for he had never seen Filippo's model. But when this
had lasted two days the chief masons went to Filippo to ask what
they were to do. And he answered, "You have Lorenzo, let
him do a little." So there arose great murmuring among the
men, some saying that Lorenzo was good at taking his salary, but
at giving orders, no!
Then the wardens of S. Maria went to see Filippo, and after having
condoled with him on his sickness, told him how it had brought
all the building into confusion. But he answered with passionate
words, "Is not he there-Lorenzo?" And they answered,
"He will do nothing without you." "I could do very
well without him," said Filippo.
But seeing that Lorenzo was willing to take his salary without
any work for it, he thought of another way of bringing him to
scorn; so, returning to his work, he made proposition to the wardens,
Lorenzo being present, that as they had divided the salary so
they should divide the work. "There are now two difficulties
to be overcome, the one the matter of the scaffolding to bear
the men, and the other the chainwork to bind the building together.
Let Lorenzo take which he will, and I will do the other, that
no time may be lost." Lorenzo, being forced in honour not
to refuse, chose the chainwork, trusting to the advice of the
masons, and remembering that there was something like it in S.
Giovanni. So they set to work, and Filippo's scaffolds were made
so that the men could work as if they were on firm ground. Lorenzo
with great difficulty made the chainwork on one of the eight faces,
and when it was finished the wardens took Filippo to see it, but
he said nothing. But to his friends he said it ought to be secured
in another way to that, and that it was not sufficient for the
weight to be put upon it. And his words being heard, they called
upon him to show how the thing ought to be done. So he brought
out his models and designs, and they saw into what an error they
had fallen in favouring Lorenzo. Then they made Filippo sole head
and manager of the building, and commanded that none should work
thereon but with his consent.
Lorenzo, although vanquished and shamed, was so favoured by his
friends that he was allowed to go on drawing his salary, having
proved that they could not legally withdraw it for three years.
So the works went forward, but the masons, being urged on by Filippo
more than they were used to, began to grow weary, and joining
together in a body, they said it was hard work and perilous, and
they would not go on without great pay, although they had more
than was usual. Thereupon Filippo and those who had the management
of the works, being displeased, took counsel together, and resolved
on the Saturday evening to dismiss them all. And on the Monday
following Filippo set ten Lombards to the work, and being constantly
with them, saying, "Do this here, and do that there,"
he taught them in a day so much that for many weeks they were
able to carry on the works. The masons, on the other hand, seeing
themselves dismissed and their work taken from them, and finding
no other work so profitable, sent men to intercede for them with
Filippo. But for many days he kept them in suspense, and then
received them at lower wages than they had received before.
The building had now proceeded so far that it was a long way for
any one to climb, and much time was lost in going down to dinner
and to drink, for they suffered much from thirst in the heat of
the day. So Filippo ordered that eatinghouses should be opened
in the cupola, where wine should be sold, and that no one should
leave his work till the evening, which was a great convenience
to them and profit to the work.
Although he had now overcome envy and was everywhere praised,
he could not prevent all the architects in Florence, after they
had seen his model, from producing others; even a lady of the
Gaddi family venturing to compete with him. He, however, laughed
at them all, and some of them having introduced in their models
parts of Filippo's work, he remarked one day when looking at them,
"The next model will be all mine." His own was infinitely
praised, but because people could not see the staircase leading
up to the ball, they said it was defective. So some of those presiding
over the work came to him concerning the matter, and Filippo,
raising a little piece of wood in his model, showed them tne staircase
in one of the piers, formed like a pipe, with bars of bronze on
one side by which one could climb up. He did not live to
see the lantern finished, but he left orders in his will that
it should be done as it was in his model, otherwise he protested
the building would fall.
While this work was going on, Filippo undertook many other buildings,
and his fame was spread abroad, so that any one who desired to
build sent for him, among whom were the Marquis of Mantua and
Count Francesco Sforza. Cosimo de' Medici also proposing to build
himself a palace, Filippo laid aside all his other occupations
and made a large and most beautiful model for it. But Cosimo,
thinking it too sumptuous a building, and fearing not so much
the expense as the envy it would excite, did not have it put in
execution. While he was working at the model, Filippo used to
say he thanked fortune for the opportunity of designing a house,
which he had desired for many years. Therefore when he heard that
Cosimo had decided not to have it carried out, in his anger he
broke it into a thousand pieces. But Cosimo afterwards repented
not having followed Filippo's design.
Filippo was a facetious man in conversation, and would often give
a witty answer. Lorenzo Ghiberti had bought a farm at Mount Morello,
called Lepriano, on which he had to spend twice as much as it
brought him in, so that it being an annoyance to him he sold it.
Some one therefore asking Filippo what was the best thing Lorenzo
had ever done, expecting as they were enemies he would begin to
find fault with his works, he answered, "Selling Lepriano."
Filippo at his death was greatly lamented by other artists, especially
by those who were poor, whom he often assisted. So having lived
as a Christian should, he left behind him a fragrant memory of
his goodness and his great talents.
