Lives of the Most Eminent Painters, Sculptors and Architects - All 10 Volumes. Giorgio Vasari
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by whom he was sent to that city, where he gave designs for dykes on the Po and certain other works according to the pleasure of that Prince, who treated him very lovingly, being wont to say that Florence was as worthy to have Filippo as a citizen as he was to have so noble and beautiful a city for his birthplace. In Pisa, likewise, Count Francesco Sforza and Niccolò da Pisa, being surpassed by him in the making of certain fortifications, commended him in his presence, saying that if every State possessed a man like Filippo it would be possible to live in security without arms. In Florence, also, Filippo gave the design for the house of the Barbadori, near the tower of the Rossi in the Borgo San Jacopo, but it was not put into execution; and he also made the design for the house of the Giuntini on the Piazza d'Ognissanti, on the Arno. Afterwards, the Captains of the Guelph party in Florence, wishing to build an edifice containing a hall and an audience-chamber for that body, gave the commission to Francesco della Luna, who began the work, and he had already raised it to the height of ten braccia above the ground, making many errors therein, when it was put into the hands of Filippo, who brought the said palace to that magnificent form which we see. In this work he had to compete with the said Francesco, who was favoured by many. Even so did he spend his whole life, competing now with one man and now with another; for many were ever making war against him and harassing him, and very often seeking to gain honour for themselves with his designs, so that he was reduced in the end to showing nothing and trusting no one. The hall of this palace is no longer used by the said Captains of the Guelphs, because the flood of the year 1557 did so great damage to the papers of the Monte, that the Lord Duke Cosimo, for the greater security of the said papers, which are of the greatest importance, removed them to the said hall together with the institution itself. And to the end that the old staircase of this palace might serve for the said body of Captains—who gave up that hall in favour of the Monte and retired to another part of that palace—Giorgio Vasari was commissioned by his Excellency to make the very commodious staircase that now ascends to the said hall of the Monte. In like manner, from a design by the same man there was made a coffer-work ceiling which was placed, after the plans of Filippo, on certain fluted pillars of grey-stone.
One year the Lenten sermons in S. Spirito had been preached by Maestro Francesco Zoppo, who was then very dear to the people of Florence, and he had strongly recommended the claims of that convent, of the school for youths, and particularly of the church, which had been burnt down about that time. Whereupon the chief men of that quarter, Lorenzo Ridolfi, Bartolommeo Corbinelli, Neri di Gino Capponi, and Goro di Stagio Dati, with very many other citizens, obtained an order from the Signoria for the rebuilding of the Church of S. Spirito, and made Stoldo Frescobaldi provveditore. This man, by reason of the interest that he had in the old church, the principal chapel and the high-altar of which belonged to his house, took very great pains therewith; nay, at the beginning, before the money had been collected from the taxes imposed on the owners of burial-places and chapels, he spent many thousands of crowns of his own, for which he was repaid.
Now, after the matter had been discussed, Filippo was sent for and asked to make a model with all the features, both useful and honourable, that might be possible and suitable to a Christian church. Whereupon he urged strongly that the ground-plan of that edifice should be turned right round, because he greatly desired that the square should extend to the bank of the Arno, to the end that all those who passed that way from Genoa, from the Riviera, from the Lunigiana, and from the districts of Pisa and Lucca, might see the magnificence of that building. But since certain citizens objected, refusing to have their houses pulled down, the desire of Filippo did not take effect. He made the model of the church, therefore, with that of the habitation of the monks, in the form wherein it stands to-day. The length of the church was one hundred and sixty-one braccia, and the width fifty-four braccia, and it was so well planned, both in the ordering of the columns and in the rest of the ornaments, that it would be impossible to make a work richer, more lovely, or more graceful than that one. And in truth, but for the malevolence of those who are ever spoiling the beautiful beginnings of any work in order to appear to have more understanding than others, this would now be the most perfect church in Christendom; and even as it stands it is more lovely and better designed than any other, although it has not been carried out according to the model, as may be seen from certain parts begun on the outside, wherein the design observed within has not been followed, as it appears from the model that the doors and the borders round the windows were meant to do. There are some errors, attributed to him, about which I will be silent, for it is believed that if he had completed the building he would not have endured them, seeing that he had brought all his work to perfection with so much judgment, discrimination, intellect, and art; and this work likewise established him as a genius truly divine.
Filippo was very humorous in his discourse and very acute in repartee, as he showed when he wished to hit at Lorenzo Ghiberti, who had bought a farm on Monte Morello, called Lepriano, on which he spent twice as much as he gained by way of income, so that he grew weary of this and sold it. Some one asked Filippo what was the best thing that Lorenzo had ever done, thinking perchance, by reason of the enmity between them, that he would criticize Lorenzo; and he replied, "The selling of Lepriano." Finally, having now grown very old—he was sixty-nine years of age—he passed to a better life on April 16, in the year 1446, after having exhausted himself greatly in making the works that enabled him to win an honoured name on earth and to obtain a place of repose in Heaven. His death caused infinite grief to his country, which recognized and esteemed him much more when dead than it had done when he was alive; and he was buried with the most honourable obsequies and distinctions in S. Maria del Fiore, although his burial-place was in S. Marco, under the pulpit opposite to the door, where there is a coat of arms with two fig-leaves and certain green waves on a field of gold, because his family came from the district of Ferrara, that is, from Ficaruolo, a township on the Po, as it is shown by the leaves, which denote the place, and by the waves, which signify the river. He was mourned by innumerable brother-craftsmen, and particularly by the poorer among them, whom he was ever helping. Thus then, living the life of a Christian, he left to the world the sweet savour of his goodness and of his noble talents. It seems to me that it can be said for him that from the time of the ancient Greeks and Romans to our own there has been no rarer or more excellent master than Filippo; and he is all the more worthy of praise because in his times the German manner was held in veneration throughout all Italy and practised by the old craftsmen, as it may be seen in innumerable edifices. He recovered the ancient mouldings and restored the Tuscan, Corinthian, Doric and Ionic Orders to their original forms. He had a disciple from Borgo a Buggiano, called Il Buggiano, who made the lavatory of the Sacristy of S. Reparata, with certain boys who pour out water; and he made a head of his master in marble, taken from the life, which was placed after the death of Filippo in S. Maria del Fiore, beside the door on the right hand as one enters the church, where there is also the following epitaph, placed there by public decree in order to honour him after his death, even as he had honoured his country when alive:
D.S.
QUANTUM PHILIPPUS ARCHITECTUS ARTE DÆDALEA VALUERIT, CUM HUJUS
CELEBERRIMI TEMPLI MIRA TESTUDO, TUM PLURES ALIÆ DIVINO INGENIO
AB EO ADINVENTÆ MACHINÆ DOCUMENTO ESSE POSSUNT; QUAPROPTER
OB EXIMIAS SUI ANIMI DOTES SINGULARESQUE VIRTUTES XV KAL. MAIAS
ANNO MCCCCXLVI EJUS B.M. CORPUS HAC HUMO SUPPOSITA GRATA PATRIA
SEPELIRI JUSSIT.
To do him even greater honour, others have gone so far as to add these two other inscriptions:
PHILIPPO BRUNELLESCO ANTIQUÆ ARCHITECTURÆ INSTAURATORI S.P. Q.F.
CIVI SUO BENE MERENTI.
Giovan Battista Strozzi made the second:
TAL SOPRA SASSO SASSO
DI GIRO IN GIRO ETERNAMENTE IO STRUSSI;
CHE COSÌ PASSO PASSO
ALTO GIRANDO AL CIEL MI RICONDUSSI.
Other disciples of Filippo were Domenico dal Lago di Lugano; Geremia da Cremona, who worked very well in bronze, together with a Sclavonian who made many works in Venice; Simone, who died at Vicovaro while executing a great work for the Count of Tagliacozzo, after having made the Madonna in Orsanmichele for the Guild of the Apothecaries; Antonio and Niccolò,