jump to navigation

The Navigability of the Arno 04/08/2011

Posted by florencecapital in Uncategorized.
Tags: , , , ,
comments closed

c.1910

‘There is a background here which it is well to remember; thinking, as one sees the boats still moving on the stream, of what that movement once meant to the city; how it linked her with Pisa and the sea, and how Florence was great very much because of her place on this open water-way. The matter does not lie altogether beyond the memory of living men. I heard of a case in which the furniture of an English family moving from Leghorn to Florence, as late as 1863, was brought up all the way by water in a barge to the old city port at the Pignone. There, indeed, a basin and shelter had long been contrived for the ‘gondolas’ of the Grand Duke – you may still see the plans of it in the Archivio – and thence the Court used to drop down-stream in these state barges on their way to a villeggiatura at the Ambrogiana of Montelupo, or some other country resort. If you would add to the impression, and know what serious use was made of the river in the sixteenth century, go to the Piazza of Santa Trinita, and measure the great column of Justice that stands in front of the Church. This mighty shaft of granite, once part of the Baths of Caracalla, was a gift of Pius IV to Cosimo I and came all the way by water from Rome to Signa. The journey might have been completed in the same way had the season not been summer: a trial to the patience of the Grand Duke and of his architect Vasari, who chose to have the monument dragged by road these last eight miles to Florence rather than wait for the rains and the rising river. Such was the capacity of the Arno and the use made of it in 1562.’

Advertisements

Brunelleschi Goes to Rome 11/04/2011

Posted by florencecapital in Uncategorized.
Tags: ,
comments closed

The commission for the door being given to Lorenzo Ghiberti, Filippo and Donato, who were together, resolved to depart from Florence in company, and to remain in Rome for some years, Filippo proposing to pursue the study of architecture, and Donato that of sculpture. And this Filippo did. Desiring to surpass Lorenzo and Donato, in proportion as architecture is more useful to man than are sculpture and paintings, he first sold a small farm which he possessed at Settignano, when both artists departed from Florence and proceeded to Rome, where, when Filippo beheld the magnificence of the buildings and the perfection of the churches, he stood like one amazed, and seemed to have lost his wits.

They instantly made preparations for measuring the cornices and taking the ground-plans of these edifices. Donato and himself both labouring continually, and sparing neither time nor cost. No place was left unvisited by them, either in Rome or without the city, and in the Campagna nor did they fail to take the dimensions of any thing good within their reach. And as Filippo was free from all household cares, he gave himself up so exclusively to his studies, that he took no time either to eat or sleep; his every thought was of Architecture which was then extinct: I mean the good old manner, and not the Gothic and barbarous one, which was much practised at that period.

Filippo had two very great purposes in his mind, the one being to restore to light the good manner in architecture, which, if he could effect, he believed that he should leave a no less illustrious memorial of himself than Cimabue and Giotto had done; the other was to discover a method for constructing the Cupola of Santa Maria del Fiore in Florence, the difficulties of which were so great, that after the death of Arnolfo Lapi, no one had ever been found of sufficient courage to attempt the vaulting of that Cupola without an enormous expense of scaffolding.

He did not impart this purpose, either to Donato or to any living soul, but he never rested while in Rome until he had well pondered on all the difficulties involved in the vaulting of the Ritonda in that city {the Pantheon), and had maturely considered the means by which it might be effected. He also well examined and made careful drawings of all the vaults and arches of antiquity: to these he devoted perpetual study, and if by chance the artists found fragments of capitals, columns, cornices, or basements of buildings buried in the earth, they set labourers to work and caused them to be dug out, until the foundation was laid open to their view. Reports of this being spread about Rome, the artists were called ‘treasure-seekers’, and this name they frequently heard as they passed, negligently clothed, along the streets, the people believing them to be men who studied geomancy, for the discovery of treasures; the cause of which was that they had one day found an ancient vase of earth, full of coins.

The money of Filippo falling short, he supplied the want by setting precious stones for the goldsmiths who were his friends; which served him for a resource. Donato having returned to Florence, Filippo was left alone in Rome, and there he laboured continually among the ruins of the buildings, where he studied more industriously than ever. Nor did he rest until he had drawn every description of fabric – temples, round, square, or octagon; basilicas, aqueducts, baths, arches, the Coliseum. Amphitheatres, and every church built of bricks, of which he examined all the modes of binding and clamping; as well as the turning of the vaults and arches; he took note likewise of all the methods used for uniting the stones, as well as of the means used for securing the equilibrium and close conjunction of all the parts; and having found that in all the larger stones there was a hole, formed exactly in the centre of each on the under side, he discovered that this was for the insertion of the iron instrument with which the stones are drawn up, and which is called by us the mason’s clamps, an invention, the use of which he restored and ever afterwards put in practice.

The different orders were next divided by his cares, each order, Doric, Ionic, or Corinthian, being placed apart; and such was the effect of his zeal in that study, that he became capable of entirely reconstructing the city in his imagination, and of beholding Rome as she had been before she was ruined. But in the year 1407 the air of the place caused Filippo some slight indisposition, when he was advised by his friends to try change of air. He consequently returned to Florence, where many buildings had suffered by his absence, and for these he made many drawings and gave numerous counsels on his return.

Vasari Pays Tribute to Brunelleschi 28/03/2011

Posted by florencecapital in Uncategorized.
Tags: ,
comments closed

There are many men who, though formed by nature with small persons and insignificant features, are yet endowed with so much greatness of soul and force of character, that unless they can occupy themselves with difficult – nay, almost impossible undertakings, and carry these enterprises to perfection to the admiration of others, they are incapable of finding peace for their lives. And, however mean or unpromising may be the occasion presented to such persons, however trifling the object to be attained, they find means to make it important, and to give it elevation. Therefore it is that none should look with contemptuous glance on any one whom he may encounter, having an aspect divested of that grace and beauty which we might expect that Nature would confer, even from his birth, upon him who is to exhibit distinguished talent, since it is beyond doubt that beneath the clods of earth the veins of gold lie hidden. So much force of mind, and so much goodness of heart, are frequently born with men of the most unpromising exterior, that if these be conjoined with nobility of soul, nothing short of the most important and valuable results can be looked for from them, since they labour to embellish the unsightly form by the beauty and brightness of the spirit.

This was clearly exemplified in Filippo di Ser Brunellesco, who was no less diminutive in person than Messer Forete da Rabatta and Giotto, but who was of such exalted genius withal, that we may truly declare him to have been given to us by heaven, for the purpose of imparting a new spirit to architecture, which for hundreds of years had been lost: for the men of those times had badly expended great treasures in the erection of buildings without order, constructed in a wretched manner after deplorable designs, with fantastic inventions, laboured graces, and worse decorations. But it then pleased Heaven, the earth having been for so many years destitute of any distinguished mind and divine genius, that Filippo Brunelleschi should leave to the world, the most noble, vast, and beautiful edifice that had ever been constructed in modern times, or even in those of the ancients; giving proof that the talent of the Tuscan artists, although lost for a time, was not extinguished.

He was, moreover, adorned by the most excellent qualities, among which was that of kindliness, insomuch that there never was a man of more benign and amicable disposition; in judgment he was calm and dispassionate, and laid aside all thought of his own interest and even that of his friends, whenever he perceived the merits and talents of others to demand that he should do so. He knew himself, instructed many from the stores of his genius, and was ever ready to succour his neighbour in all his necessities; he declared himself the confirmed enemy of all vice, and the friend of those who laboured in the cause of virtue. Never did he spend his moments vainly, but, although constantly occupied in his own works, in assisting those of others, or administering to their necessities, he had yet always time to bestow on his friends, for whom his aid was ever ready.

Brunelleschi’s Early Years in Vasari 28/02/2011

Posted by florencecapital in Uncategorized.
Tags: , , , , , , , , ,
comments closed

There lived in Florence, as we are told, a man of good renown, very praiseworthy habits, and much activity in his affairs, whose name was Ser Brunellesco di Lippo Lapi, and whose grandfather, called Cambio, was a very learned person, the son of a physician famous in those times, and named Maestro Ventura Bacherini. Ser Brunellesco chose for his wife a young woman of excellent conduct, from the noble family of the Spini, with whom, as part payment of her dowry, he received a house, wherein he and his children dwelt to the day of their death. This house stands in a corner on the side opposite to San Michele Bertelli, after passing the Piazza degli Agli, and while Brunellesco there exercised his calling and lived happily with his wife, there was born to him in the year 1377 a son, to whom he gave the name of Filippo, after his own father, who was then dead. This birth he solemnized with all possible gladness.

As the infant advanced in childhood, his father taught him the first rudiments of learning with the utmost care, and herein Filippo displayed so much intelligence, and so clear an understanding, as to frequently cause surprise that he did not take pains to attain perfection in letters, but rather seemed to direct his thoughts to matters of more obvious utility, a circumstance which caused Ser Brunellesco, who wished his son to follow his own calling of a notary, or that of his great-great-grandfather very great displeasure.

Perceiving, nevertheless, that the mind of the boy was constantly intent on various ingenious questions of art and mechanics, he made him learn writing and arithmetic, and then placed him in the Guild of the Goldsmiths, that he might acquire the art of design from a friend of his. This was a great satisfaction to Filippo, who no long time after he had begun to study and practise in that art, understood the setting of precious stones much better than any old artist in the vocation. He also executed works in niello; among others, figures in silver, two prophets, namely, halflengths, which were placed over the altar of San Jacopo di Pistoia, and were considered very beautiful; these figures were made by Filippo, for the superintendents of the cathedral in that city. He also executed works in basso-rilievo, wherein he showed so complete a mastery of that art, as to make it manifest that his genius must quickly overstep the limits of the goldsmith’s calling. Subsequently, having made acquaintance with several learned persons, he began to turn his attention to the computation of the divisions of time, the adjustment of weights, and the movement of wheels; he considered the method by which they might best be made to revolve, and how they might most effectually be set in motion, making several very good and beautiful watches with his own hand.

Not content with this, Filippo was seized with an earnest desire to attempt the art of sculpture, and this wish took effect in such sort that Donatollo, then a youth, being considered of great distinction and high promise therein, Filippo contracted a close intimacy with him; and each attracted by the talents of the other, they became so strongly attached that one seemed unable to live without the other. But Filippo, who was capable of attaining excellence in various departments, gave his attention to many professions, nor had any long time elapsed before he was considered by good judges to be an excellent architect. This he proved in various works which served for the decoration of houses, as, for example, for that of the house of Apollonio Lapi, his kinsman, at the corner of the Ciai, towards the Mercato Vecchio, where he laboured industriously all the time that the edifice was in course of erection; and he did the same thing at the tower and house of Petraia at Castello, outside of Florence. In the palace of the Signoria also, Filippo distributed and arranged all the rooms occupied for the affairs of their office by the officials of the Monte. He therein constructed the windows and doors after the manner of the ancients, a thing not then very frequently done, architecture being in a very rude state in Tuscany.

There was at that time a statue of Santa Maria Maddalena to be executed in linden-wood, for the monks of Santo Spirito in Florence, and which was to be placed in one of their chapels; Filippo therefore, who had executed various small works in sculpture, being desirous of proving that he could succeed in the greater also, undertook to execute this statue, which, being completed and fixed in its place, was considered exceedingly beautiful; but in the subsequent conflagration of the church in 1471 it was burnt, with many other remarkable things.

Filippo Brunelleschi gave considerable attention to the study of perspective, the rules of which were then very imperfectly understood, and often falsely interpreted; and in this he expended much time, until at length he discovered a perfectly correct method, that of taking the ground plan and sections by means of intersecting lines, a truly ingenious thing, and of great utility to the arts of design. In these inquiries Filippo found so much pleasure that he executed a drawing of the Piazza San Giovanni, wherein he portrayed all the compartments of the incrustation in black and white marble, the foreshortening being managed with singular felicity and grace. He represented the house of the Misericordia in like manner, with the shops of the wafermakers and the arch of the Pecori, giving the column of San Zanobi on the other side. This work having been highly commended by artists, and all who were capable of judging in matters of the kind, gave Filippo so much encouragement, that no long time elapsed before he commenced another, and made a view of the Palace, the Piazza, the Loggia de’ Signori, with the roof of the Pisani, and all the buildings erected around that Square, works by which the attention of artists was so effectively aroused, that they afterwards devoted themselves to the study of perspective with great zeal.

To Masaccio in particular, who was his friend, Filippo taught this art, the painter being then very young; but that he did much credit to his teacher is sufficiently manifest from the edifices depicted in his works. Nor did he fail to instruct those who worked in tarsia, which is a sort of inlaid work, executed in woods of various colours; the efforts of these artists he stimulated so powerfully, that from this time a better method prevailed, and many useful improvements were made in that branch of art, wherein, both then and at a later period, various excellent works were produced, from which Florence derived both fame and profit during many years. Messer Paolo dal Pozzo Toscanelli returning to Florence about this time, and being at supper with some of his friends in a garden, invited Filippo also; who, hearing them discourse of the mathematical sciences, formed an intimate acquaintance with the philosopher, from whom he acquired the knowledge of geometry; and although Filippo possessed no learning, he yet reasoned so well, by the aid of his practical experience, that he frequently astonished Toscanelli.

Thus labouring perpetually, Brunelleschi next turned his attention to the Scriptures, and never failed to be present at the disputations and preaching of learned men. From this practice he derived so much advantage, by help of his excellent memory, that the above-named Messer Paolo, alluding to him, was accustomed to say that, to hear Filippo in argument, one might fancy oneself listening to a second Paul. At the same time he gave earnest study to the works of Dante, with whose description of localities, and their respective distances, he made himself very familiar, and frequently availed himself of them in his conversations, when he would cite them by way of comparison. Nor, indeed, were his thoughts ever occupied otherwise than in the consideration of ingenious and difficult enquiries; but he could never find any one who gave him so much satisfaction as did Donato with whom he had often held confidential discourse; these two artists found perpetual pleasure in the society of each other, and frequently conferred together on the difficulties of their art.

Now it happened in those days that Donato had completed a crucifix in wood, which was placed in the Church of Santa Croce in Florence, beneath the story of the girl restored to life by St. Francis, a picture painted by Taddeo Gaddi, and he desired to have the opinion of Filippo respecting his work; but he repented of having asked it, since Filippo replied that he had placed a clown on the cross. And from this time there arose, as is related at length in the life of Donato, the saying of ‘Take wood then, and make one thyself’. Thereupon Filippo who never suffered himself to be irritated by anything said to him, however well calculated to provoke him to anger, kept silence for several months, meanwhile preparing a crucifix, also in wood, and of similar size with that of Donato, but of such excellence, so well designed and so carefully executed, that when Donato, having been sent forward to his house by Filippo, who intended him a surprise, beheld the work (the undertaking of which by Filippo was entirely unknown to him) he was utterly confounded, and having in his hand an apron full of eggs, and other things on which his friend and himself were to dine together, he suffered the whole to fall to the ground, while he regarded the work before him, in the very extremity of amazement. The artistic and ingenious manner in which Filippo had disposed and united the legs, trunk, and arms of the figure was alike obvious and surprising to Donato, who not only confessed himself conquered but declared the work a miracle. This crucifix is now placed in the church of Santa Maria Novella, between the chapel of the Strozzi family and that of the Bardi da Vernio, and is still greatly praised by the judges of modern times.

The talents of these truly excellent masters being thereupon appreciated, they received a commission from the Guild of the Butchers, and that of the Joiners, to prepare the two figures, in marble, required for the niches appropriated to those guilds among the number surrounding Or San Michele. These figures, Filippo, being occupied by other affairs, suffered Donato to execute alone, which he did to great perfection. After these things and in the year 1401, it was determined, seeing that sculpture had reached so elevated a condition, to reconstruct the two doors of the church and baptistery of San Giovanni, a work which, from the death of Andrea Pisano to that time, there had been no masters capable of conducting. Wherefore, this intention being made known to those sculptors who were in Tuscany, they were sent for, their appointments were given to them, and the space of a year was allowed for the preparation of a story by each master. Among these artists Filippo and Donato were also invited, and each of them was required to prepare a story, in concurrence with Lorenzo Ghiberti Jacopo della Fonte, Simone da Colle, Francesco di Valdambrina, and Niccolo d’Arezzo.

All these stories being completed within the year, and placed together to be compared, were all found to be beautiful, but with certain differences. One was well designed, but imperfectly executed, as was that of Donato; another was admirably drawn, and carefully finished, but the composition of the story was not good, the gradual diminution of the figures being neglected, as in the case of Jacopo della Querela; a third artist had betrayed poverty of invention, and his figures were insignificant, which was the defect of Francesco di Valdambrina’s specimen; but the worst of all were those of Niccolo d’Arezzo and Simone da Colle; while the best was that of Lorenzo di Cione Ghiberti, in whose work perfection of design, delicacy of execution, rich invention, knowledge of art, and well-finished figures, were all combined. Nor was the story of Filippo greatly inferior to that of Lorenzo: the subject was Abraham proceeding to sacrifice Isaac, and among the figures was that of a servant, who, whilst he is awaiting his master, with the ass feeding beside him, is drawing a thorn from his foot. This figure merits considerable praise. All these stories having been exhibited together, and Filippo and Donato not being satisfied with any, except that of Lorenzo, they judged him to be better adapted to execute the work than themselves or the masters who had produced the other stories. They consequently persuaded the syndics, by the good reasons which they assigned, to adjudge the work to Lorenzo, showing that the public and private benefit would be thus most effectually secured. Now this was, in truth, 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 honoured 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 labours of their competitors. How unhappy, on the contrary, are the artists of our day, labouring to injure each other, yet still unsatisfied, they burst with envy while seeking to wound others.

Filippo was requested by the superintendents to undertake the work, in concert with Lorenzo, but he would not consent to this, desiring rather to be the first in some other art, than merely an equal, and perhaps secondary, in that undertaking. Wherefore he gave the story in bronze, which he had prepared, to Cosimo de’ Medici, who caused it at a subsequent period to be placed in the old sacristy of San Lorenzo, and at the back of the altar, where it still remains. That of Donato was given to the Guild of the Money-changers.

Vasari on Fra Angelico 03/01/2011

Posted by florencecapital in Uncategorized.
Tags: , , , , , , ,
add a comment

c. 1550

Fra Giovanni Angelico da Fiesole, whose secular name was Guido, deserves to be held in most honourable remembrance, both as an excellent painter and illuminator, and also as a perfect monk. He might have lived comfortably in the world, earning whatever he wished by his art, in which he excelled when still young, but being by nature good and serious, for his satisfaction and quiet, and also principally to save his soul, he entered the order of the Preaching Friars. There are in the convent of San Marco in Florence some choir books illuminated by his hand, which are so beautiful that nothing could be better, and some others like them, which he left at San Domenico of Fiesole, painted with incredible patience. It is true that in these he was aided by an elder brother, who was also an illuminator and skilled in painting. One of the first of this good father’s paintings was in the Certosa of Florence, our Lady with the Child in her arms and angels at her feet singing and playing. He also painted in fresco in Santa Maria Novella.

He was so beloved by Cosimo de’ Medici that when the church and convent of St Marco were built, he caused him to paint in it all the Passion of Jesus Christ, with many of the Saints. They say that for the figure of St. Cosimo Fra Giovanni drew from life his friend the sculptor, Nanni d’Antonio di Banco. Below he painted St. Domenic at the foot of a tree, and in medallions among the branches all the popes, cardinals, bishops, saints, and doctors who had belonged to the order of the Preaching Friars. In these the friars aided him by sending to different places and obtaining portraits from life. He also painted a picture for the high altar of San Domenico of Fiesole, but this has been retouched by other masters and injured; but other pictures there by him have been better preserved, and there are a number of little figures in celestial glory, which are so beautiful that they seem really in Paradise, and no one who sees them can ever weary of looking at them.

But beyond all that Fra Giovanni ever did is a painting in the same church of the Coronation of the Virgin in the midst of a choir of angels and an infinite number of saints, which it gives one a wonderful pleasure to look at, for it seems as if blessed spirits could look no otherwise in heaven, at least if they had bodies, and they are all so lifelike and so sweet; and the whole colouring also of the work seems to be from the hand of a saint or an angel, so that it was with good reason that he was always called Fra Giovanni Angelico.

By so many works the name of Fra Giovanni became famous in all Italy, and Pope Nicholas V sent for him, and made him paint the chapel of the palace where the Pope hears mass, and also illuminate some books, which are most beautiful. And because Fra Giovanni seemed to the Pope, as he was indeed, a man of most holy life, quiet and modest, when the archbishopric of Florence fell vacant he adjudged him worthy of the rank; but the friar, hearing of it, prayed his Holiness to give it to another, because he did not feel himself apt at governing men, and said that his order had another friar, loving to the poor, learned, skilled in government, and God-fearing, whom the dignity would much better become than it would him. The Pope hearing this, and perceiving that what he said was true, granted him the favour, and so Fra Antonino, of the order of Preaching Friars, was made Archbishop of Florence, a man of such holiness that he was canonised by Adrian VI. in our days. And this great goodness of Fra Giovanni was in truth a rare thing, thus to give up a dignity and honour offered him to one whom in sincerity of heart he judged more worthy of it than himself. And would to God that all religious men would spend their time as this truly angelical father did, in the service of God and to the benefit of the world and their neighbours.

Fra Giovanni was a simple man and most holy in his habits, and one day when Pope Nicholas V desired him to dine with him, he had scruples of conscience about eating meat without his prior’s leave, not considering the Pope’s authority.

He would not follow the ways of the world, but lived purely and holily, and was a great friend of the poor. He painted constantly, and would never represent anything but the saints. He might have been rich, but did not care about it, saying that true riches are nothing else than being content with little. He might have governed many, and would not, saying it was less troublesome to obey, and one was less liable to err in obeying. It was in his power to hold dignities among the friars and elsewhere, but he did not esteem them, affirming that he sought no other dignity than to escape hell and attain to Paradise. He was most kind and sober, keeping himself free from all worldly ties, often saying that he who practised art had need of quiet and to be able to live without cares, and that he who represents the things of Christ should always live with Christ. He was never seen in anger by the friars, which is a great thing, and seems to me almost impossible to believe; and he had a way of admonishing his friends with smiles. To those who sought his works he would answer, that they must content the prior, and then he would not fail. To sum up, this father, who can never be enough praised, was in all his works and words most humble and modest, and in his paintings facile and devout; and the saints whom he painted have more the air and likeness of saints than those of any one else. It was his habit never to retouch or alter any of his paintings, but to leave them as they came the first time, believing, as he said, that such was the will of God. Some say he would never take up his pencil until he had first made supplication, and he never made a crucifix but he was bathed in tears.