[Footnote 1: Arnolfo had proposed to raise the cupola immediately above
the first cornice, from the model of the church in the chapel of the
Spaniards, where the cupola is extremely small. Arnolfo was followed by
Giotto in 1331. To Giotto succeeded Taddeo Gaddi, after whom, first
Andrea Orgagna, next Lorenzo di Filippo, and lastly Brunelleschi were
architects of the Cathedral.]
[Footnote 2: The story of Columbus and the Egg is familiar to every one.
The jest undoubtedly originated with Brunelleschi, as it is attested by
many of the Italian writers; it happened in 1420, fourteen years before
Columbus was born. Toscanelli was a great admirer of Brunelleschi, whose
knowledge of the Scriptures and powers of argument were so great, that
he could successfully dispute in public assemblies, or in private with
the most learned theologians, so that Toscanelli was accustomed to say
that "to hear Filippo in argument, one might fancy one's self listening
to a second Paul." So capital a retort could hardly have failed to reach
Columbus, through his instructor, nor would he have hesitated to use it
against his antagonists under similar circumstances. Brunelleschi was
born in 1377 and died in 1444; Columbus in 1436, and died in 1506.]
[Footnote 3: Vasari means that Lorenzo continued to receive his salary
till 1426, although Filippo had been appointed sole master of the works
in 1423, as he himself relates in the sequel.]
[Footnote 4: How different was the treatment Ghiberti received from
Brunelleschi, when the artists presented their models for one of the
bronze doors of the Baptistery of San Giovanni at Florence. The designs
of Ghiberti, Brunelleschi, and Donatello, were considered the three
best; but the two latter, considering that Ghiberti was fairly entitled
to the prize, withdrew their claims in his favor, and persuaded the
syndics to adjudge the work to him. Brunelleschi was requested to
undertake the work in concert with Ghiberti, but he would not consent to
this, desiring to be first in some other art or undertaking than equal,
or perhaps secondary, in another. "Now, this was in truth," says Vasari,
"the sincere rectitude of friendship; it was talent without envy, and
uprightness of judgment in a decision respecting themselves, by which
these artists were more highly honored than they could have been by
conducting the work to the utmost summit of perfection. Happy spirits!
who, while aiding each other took pleasure in commending the labors of
their competitors. How unhappy, on the contrary, are the artists of our
day, laboring to injure each other, yet still unsatisfied, they burst
with envy, while seeking to wound others."]
[Footnote 5: This distrust seems astonishing, after what Brunelleschi
had accomplished, but it shows the opposition and enmity he had to
encounter. In 1434, he received a mortifying affront from the Guild of
Builders. Finding that he carried on the building without thinking to
pay the annual tax due from every artist who exercised his calling, they
caused him to be apprehended and thrown into prison. As soon as this
outrage was known to the wardens, they instantly assembled with
indignation, and issued a solemn decree, commanding that Filippo should
be liberated, and that the Consuls of the Guild should be imprisoned,
which was accordingly done. Baldinucci discovered and printed the
authentic document containing the decree, which is dated August 20,
1434.]
[Footnote 6: Masselli says that the Tuscan braccio, is the ancient Roman
foot doubled for greater convenience, and is equal to one foot nine
inches and six lines, Paris measure. The editors of the Florentine
edition of Vasari, 1846-9, remark that the measure of the whole edifice
as given by Vasari, differs from that given by Fantozzi; the latter
gives 196 braccia as its total height. Milizia says, "Brunelleschi
completed his undertaking, which surpassed in height any work of the
ancients. The lantern alone remained imperfect; but he left a model for
it, and always recommended, even in his last moments, that it should be
built of heavy marble, because the cupola being raised on four arches,
it would have a tendency to spring upwards if not pressed with a heavy
weight. The three mathematicians who have written on the cupola of St.
Peter's, have clearly demonstrated a truth differing from the opinion of
Brunelleschi, viz., that the small cupola increases, in a great degree,
the lateral pressure. The whole height of the structure from the ground
to the top, is 385 feet; that is, to the lantern 293 feet, the latter
being 68 feet 6 inches; the ball 8 feet; the cross 15 feet 6 inches. * * *
"The plan of the dome is octangular; each side in the interior is 57
feet, and the clear width between the sides, not measuring into the
angles, is 137 feet; the walls are 16 feet 9 inches thick; the whole
length of the church is 500 feet. The nave has four pointed arches on
each side, on piers, separating it from the side aisles. The transept
and choir have no side aisles, but are portions of an octagon, attached
to the base of the dome, giving the whole plan the figure of a cross.
The edifice has a Gothic character, and is incrusted in marble and
mosaic work." * * *
According to Fontani, this cupola exceeds that of the Vatican, both in
height and circumference by four braccia; and although supported by
eight ribs only, which renders it much lighter than that of the Vatican,
which has sixteen flanking buttresses, it is nevertheless more solid and
firm. Thus it has never required to be supported by circling hoops of
iron, nor has it demanded the labors of the many engineers and
architects who have printed volumes upon the subject. The construction
of this cupola is remarkable in these particulars--that it is
octangular, that it is double, and built entirely on the walls,
unsupported by piers, and that there are no apparent counterforts.]