Lives of the Most Eminent Painters, Sculptors and Architects - All 10 Volumes. Giorgio Vasari

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Lives of the Most Eminent Painters, Sculptors and Architects - All 10 Volumes - Giorgio Vasari


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whatever might be said to him, although he might have reason for anger, stayed in seclusion for many months until he had finished a Crucifix of wood of the same size, so excellent, and wrought with so much art, design, and diligence, that Donato—whom he had sent to his house ahead of himself, as it were to surprise him, for he did not know that Filippo had made such a work—having an apron full of eggs and other things for their common dinner, let it fall as he gazed at the work, beside himself with marvel at the ingenious and masterly manner that Filippo had shown in the legs, the trunk, and the arms of the said figure, which was so well composed and united together that Donato, besides admitting himself beaten, proclaimed it a miracle. This work is placed to-day in S. Maria Novella, between the Chapel of the Strozzi and that of the Bardi da Vernia, and it is still very greatly extolled by the moderns. Wherefore, the talent of these truly excellent masters being recognized, they received a commission from the Guild of Butchers and from the Guild of Linen-Manufacturers for two figures in marble, to be made for their niches, which are on the outside of Orsanmichele. Having undertaken other work, Filippo left these figures to Donato to make by himself, and Donato executed them to perfection.

       THE SACRIFICE OF ISAAC THE SACRIFICE OF ISAAC (After Lorenzo Ghiberti. Florence: Bargello) Brogi View larger image

       THE SACRIFICE OF ISAAC THE SACRIFICE OF ISAAC (After Filippo Brunelleschi. Florence: Bargello) Anderson View larger image

      The scenes, then, being exhibited, Filippo and Donato were not satisfied with any save with that of Lorenzo, and they judged him to be better qualified for that work than themselves and the others who had made the other scenes. And so with good reasons they persuaded the Consuls to allot the work to Lorenzo, showing that thus both the public and the private interest would be best served; and this was indeed the true goodness of friendship, excellence without envy, and a sound judgment in the knowledge of their own selves, whereby they deserved more praise than if they had executed the work to perfection. Happy spirits! who, while they were assisting one another, took delight in praising the labours of others. How unhappy are those of our own day, who, not sated with injuring each other, burst with envy while rending others. The Consuls besought Filippo to undertake the work in company with Lorenzo, but he refused, being minded rather to be first in an art of his own than an equal or a second in that work. Wherefore he presented the scene that he had wrought in bronze to Cosimo de' Medici, who after a time had it placed on the dossal of the altar in the old Sacristy of S. Lorenzo, where it is to be found at present; and that of Donato was placed in the Guild of the Exchange.

      In the same year a congress of architects and engineers of the country was summoned by the Wardens of Works of S. Maria del Fiore and by the Consuls of the Guild of Wool, to discuss methods for raising the cupola. Among these appeared Filippo, giving it as his advice that it was necessary, not to raise the fabric directly from the roof according to the design of Arnolfo, but to make a frieze fifteen braccia in height, with a large round window in the


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