A Wanderer in Florence. E. V. Lucas

to make him a notary. The boy, however, wanted to be an artist, and was therefore placed with a goldsmith, which was in those days the natural course. As a youth he attempted everything, being of a pertinacious and inquiring mind, and he was also a great debater and student of Dante; and, taking to sculpture, he was one of those who, as we shall see in a later chapter, competed for the commission for the Baptistery gates. It was indeed his failure in that competition which decided him to concentrate on architecture. That he was a fine sculptor his competitive design, now preserved in the Bargello, and his Christ crucified in S. Maria Novella, prove; but in leading him to architecture the stars undoubtedly did rightly.

      It was in 1403 that the decision giving Ghiberti the Baptistery commission was made, when Brunelleschi was twenty-six and Donatello, destined to be his life-long friend, was seventeen; and when Brunelleschi decided to go to Rome for the study of his new branch of industry, architecture, Donatello went too. There they worked together, copying and measuring everything of beauty, Brunelleschi having always before his mind the problem of how to place a dome upon the cathedral of his native city. But, having a shrewd knowledge of human nature and immense patience, he did not hasten to urge upon the authorities his claims as the heaven-born architect, but contented himself with smaller works, and even assisted his rival Ghiberti with his gates, joining at that task Donatello and Luca della Robbia, and giving lessons in perspective to a youth who was to do more than any man after Giotto to assure the great days of painting and become the exemplar of the finest masters—Masaccio.

      It was not until 1419 that Brunelleschi's persistence and belief in his own powers satisfied the controllers of the cathedral works that he might perhaps be as good as his word and was the right man to build the dome; but at last he was able to begin. [1] For the story of his difficulties, told minutely and probably with sufficient accuracy, one must go to Vasari: it is well worth reading, and is a lurid commentary on the suspicions and jealousies of the world. The building of the dome, without scaffolding, occupied fourteen years, Brunelleschi's device embracing two domes, one within the other, tied together with stone for material support and strength. It is because of this inner dome that the impression of its size, from within the cathedral, can disappoint. Meanwhile, in spite of all the wear and tear of the work, the satisfying of incredulous busy-bodies, and the removal of such an incubus as Ghiberti, who because he was a superb modeller of bronze reliefs was made for a while joint architect with a salary that Brunelleschi felt should either be his own or no one's, the little man found time also to build beautiful churches and cloisters all over Florence. He lived to see his dome finished and the cathedral consecrated by Pope Eugenius IV in 1436, dying ten years later. He was buried in the cathedral, and his adopted son and pupil, Buggiano, made the head of him on the tablet to his memory.

      Brunelleschi's lantern, the model of which from his own hand we shall see in the museum of the cathedral, was not placed on the dome until 1462. The copper ball above it was the work of Verrocchio. In 1912 there are still wanting many yards of stone border to the dome.

      Of the man himself we know little, except that he was of iron tenacity and lived for his work. Vasari calls him witty, but gives a not good example of his wit; he seems to have been philanthropic and a patron of poor artists, and he grieved deeply at the untimely death of Masaccio, who painted him in one of the Carmine frescoes, together with Donatello and other Florentines.

      As one walks about Florence, visiting this church and that, and peering into cool cloisters, one's mind is always intent upon the sculpture or paintings that may be preserved there for the delectation of the eye. The tendency is to think little of the architect who made the buildings where they are treasured. Asked to name the greatest makers of this beautiful Florence, the ordinary visitor would say Michelangelo, Giotto, Raphael, Donatello, the della Robbias, Ghirlandaio, and Andrea del Sarto: all before Brunelleschi, even if he named him at all. But this is wrong. Not even Michelangelo did so much for Florence as he. Michelangelo was no doubt the greatest individualist in the whole history of art, and everything that he did grips the memory in a vice; but Florence without Michelangelo would still be very nearly Florence, whereas Florence without Brunelleschi is unthinkable. No dome to the cathedral, first of all; no S. Lorenzo church or cloisters; no S. Croce cloisters or Pazzi chapel; no Badia of Fiesole. Honour where honour is due. We should be singing the praises of Filippo Brunelleschi in every quarter of the city.

      After Brunelleschi the chief architect of the cathedral was Giuliano da Maiano, the artist of the beautiful intarsia woodwork in the sacristy, and the uncle of Benedetto da Maiano who made the S. Croce pulpit.

      The present façade is the work of the architect Emilio de Fabris, whose tablet is to be seen on the left wall. It was finished in 1887, five hundred and more years after the abandonment of Arnolfo's original design and three hundred and more years after the destruction of the second one, begun in 1357 and demolished in 1587. Of Arnolfo's façade the primitive seated statue of Boniface VIII (or John XXII) just inside the cathedral is, with a bishop in one of the sacristies, the only remnant; while of the second façade, for which Donatello and other early Renaissance sculptors worked, the giant S. John the Evangelist, in the left aisle, is perhaps the most important relic. Other statues in the cathedral were also there, while the central figure—the Madonna with enamel eyes—may be seen in the cathedral museum. Although not great, the group of the Madonna and Child now over the central door of the Duomo has much charm and benignancy.

      The present façade, although attractive as a mass of light, is not really good. Its patterns are trivial, its paintings and statues commonplace; and I personally have the feeling that it would have been more fitting had Giotto's marble been supplied rather with a contrast than an imitation. As it is, it is not till Giotto's tower soars above the façade that one can rightly (from the front) appreciate its roseate delicacy, so strong is this rival.

CHAPTER II

       Table of Contents

      The Duomo II: Its Associations

      Dante's picture—Sir John Hawkwood—Ancestor and Descendant—The Pazzi Conspiracy—Squeamish Montesecco—Giuliano de' Medici dies—Lorenzo's escape—Vengeance on the Pazzi—Botticelli's cartoon—High Mass—Luca della Robbia—Michelangelo nearing the end—The Miracles of Zenobius—East and West meet in splendour—Marsilio Ficino and the New Learning—Beautiful glass.

      Of the four men most concerned in the structure of the Duomo I have already spoken. There are other men held in memory there, and certain paintings and statues, of which I wish to speak now.

      The picture of Dante in the left aisle was painted by command of the Republic in 1465, one hundred and sixty-three years after his banishment from the city. Lectures on Dante were frequently delivered in the churches of Florence during the fourteenth and fifteenth centuries, and it was interesting for those attending them to have a portrait on the wall. This picture was painted by Domenico di Michelino, the portrait of Dante being prepared for him by Alessio Baldovinetti, who probably took it from Giotto's fresco in the chapel of the Podestá at the Bargello. In this picture Dante stands between the Inferno and a concentrated Florence in which portions of the Duomo, the Signoria, the Badia, the Bargello, and Or San Michele are visible. Behind him is Paradise. In his hand is the "Divine Comedy". I say no more of the poet here, because a large part of the chapter on the Badia is given to him.

      Near the Dante picture in the left aisle are two Donatellos—the massive S. John the Evangelist, seated, who might have given ideas to Michelangelo for his Moses a century and more later; and, nearer the door, between the tablets to De Fabris and Squarciaparello, the so-called Poggio Bracciolini, a witty Italian statesman and Humanist and friend of the Medici, who, however, since he was much younger than this figure at the time of its exhibition, and is not known to have visited Florence till later, probably did not sit for it. But it is a powerful and very natural work, although its author never intended it to stand on any floor, even of so dim a cathedral as this. The S. John, I may say, was brought from the old façade—not Arnolfo's, but the committee's façade—where it had a niche about ten feet from the ground. The Poggio was also on this façade, but higher. It was Poggio's son, Jacopo, who took part in the Pazzi Conspiracy, of which