Filippo Brunelleschi 1

Filippo Brunelleschi

Filippo Brunelleschi

Presumed depiction in Resurrection of the Son of Theophilus, MasaccioBirth name Filippo di ser Brunellesco di Lippo Lapi[1]

Born 1377Florence, Italy

Died April 15, 1446 (aged 68–69)unknown

Nationality Italian

Field Architecture, Sculpture, Mechanical engineering

Movement Early Renaissance

Works Dome of Santa Maria del Fiore

Brunelleschi's dome for the Duomo of Florence,Santa Maria del Fiore

Filippo Brunelleschi (1377 – April 15, 1446) was one of the foremostarchitects and engineers of the Italian Renaissance. He is perhaps mostfamous for inventing linear perspective and designing the dome of theFlorence Cathedral, but his accomplishments also included bronzeartwork, architecture (churches and chapels, fortifications, a hospital,etc), mathematics, engineering (hydraulic machinery, clockworkmechanisms, theatrical machinery, etc) and even ship design. Hisprincipal surviving works are to be found in Florence, Italy.

Early life

Very little is known about the early life of Brunelleschi; the onlysources are Antonio Manetti and Giorgio Vasari.[2] According to thesesources, Filippo's father was Brunellesco di Lippo, a lawyer, and hismother was Giuliana Spini. Filippo was the middle of their threechildren. The young Filippo was given a literary and mathematicaleducation intended to enable him to follow in the footsteps of hisfather, a civil servant. Being artistically inclined, however, Filippoenrolled in the Arte della Seta, the silk merchants' Guild, which alsoincluded goldsmiths, metalworkers, and bronze workers. He became amaster goldsmith in 1398. It was thus not a coincidence that his first important building commission, the Ospedaledegli Innocenti, came from the guild to which he belonged.[3]

Filippo Brunelleschi 2

Section of the dome

Nave of the Santo Spirito, 1441–1481

Chapel of the Pazzi family, one of his last works

In 1401, Brunelleschi entered a competition to design a new set ofbronze doors for the baptistery in Florence. Along with another younggoldsmith, Lorenzo Ghiberti, he produced a gilded bronze panel,depicting the Sacrifice of Isaac. His entry made reference to theGreco-Roman Boy with Thorn, whilst Ghiberti used a naked torso forhis figure of Isaac. In 1403, Ghiberti was announced the victor, largelybecause of his superior technical skill: his panel showed a moresophisticated knowledge of bronze-casting; it was completed in onesingle piece. Brunelleschi's piece, by contrast, consisted of numerouspieces bolted to the back plate. Ghiberti went on to complete a secondset of bronze doors for the baptistery, whose beauty Michelangeloextolled a hundred years later, saying "surely these must be the "Gatesof Paradise".[4]

As an architect

There is little biographical information about Brunelleschi's life toexplain his transition from goldsmith to architect and, no lessimportantly. From his training in the gothic or medieval manner to thenew classicism in architecture and urbanism that we now loosely callthe Renaissance and of which Brunelleschi is considered the seminalfigure. By 1400 there emerged an interest in humanitas whichcontrasted with the formalism of the medieval period, but initially thisnew interest in Roman antiquity was restricted to a few scholars,writers and philosophers; it did not at first influence the visual arts.Apparently it was in this period (1402–1404) that Brunelleschi and hisfriend Donatello visited Rome to study the ancient Roman ruins.Donatello, like Brunelleschi, had received his training in a goldsmith'sworkshop, and had then worked in Ghiberti's studio. Although inprevious decades the writers and philosophers had discussed the gloriesof ancient Rome, it seems that until Brunelleschi and Donatello madetheir journey, no-one had studied the physical fabric of these ruins inany great detail. They gained inspiration too from ancient Romanauthors, especially Vitruvius whose De Architectura provided anintellectual framework for the standing structures still visible.

Commissions

Brunelleschi's first architectural commission was the Ospedale degliInnocenti‎ (1419–ca.1445), or Foundling Hospital. Its long loggiawould have been a rare sight in the tight and curving streets ofFlorence, not to mention its impressive arches, each about 8 m high. The building was dignified and sober; therewere no displays of fine marble and decorative inlays.[5] It was also the first building in Florence to make clearreference—in its columns and capitals—to classical antiquity.

Filippo Brunelleschi 3

Sculpture of Brunelleschi looking at his cathedraldome

Soon other commissions came, such as the Ridolfi Chapel in thechurch of San Jacopo sopr'Arno, now lost, and the Barbadori Chapel inSanta Trinita, also modified since its building. For both Brunelleschidevised elements already used in the Ospedale degli Innocenti, andwhich will also use in the Pazzi Chapel and the Sagrestia Vecchia; atthe same time he used such smaller works as a sort of feasibility testsfor his most famous work, the dome of the Cathedral of Florence.

Santa Maria del Fiore was the new cathedral of the city, and by 1418the dome had yet to be defined. When the building was designed in theprevious century, no one had any idea about how such a dome was tobe built, given that it was to be even larger than the Pantheon's dome inRome and that no dome of that size had been built since antiquity.Because buttresses were forbidden by the city fathers, and clearly wasimpossible to obtain rafters for scaffolding long and strong enough(and in sufficient quantity) for the task, it was unclear how a dome ofthat size could be built, or just avoid collapse. It must be consideredalso that the stresses of compression were not clearly understood at thetime, and the mortars used in the periods would only set after severaldays, keeping the strain on the scaffolding for a very long time.[6] In1419, the Arte della Lana, the wool merchants' guild, held acompetition to solve the problem. The two main competitors wereGhiberti and Brunelleschi, with Brunelleschi winning and receiving the commission.

The competition consisted of the great architects attempting to stand an egg upright on a piece of marble. None coulddo it but Brunelleschi, who, according to Vasari[7] :

...giving one end a blow on the flat piece of marble, made it stand upright...The architects protested that theycould have done the same; but Filippo answered, laughing, that they could have made the dome, if they hadseen his design.

The dome, the lantern (built 1446–ca.1461) and the exedrae (built 1439-1445) would occupy most of Brunelleschi’slife.[8] Brunelleschi's success can be attributed to no small degree to his technical and mathematical genius.[9]

Brunelleschi used more than 4 million bricks in the construction of the dome. He invented a new hoisting machinefor raising the masonry needed for the dome, a task no doubt inspired by republication of Vitruvius' De Architectura,which describes Roman machines used in the first century AD to build large structures such as the Pantheon and theBaths of Diocletian, structures still standing which he would have seen for himself. He also issued one of the firstpatents for the hoist in an attempt to prevent theft of his ideas. Brunelleschi was granted the first modern patent forhis invention of a river transport vessel.[10]

Of the two churches that Brunelleschi designed, the Basilica of San Lorenzo, (1419-1480s) and Santo Spirito(1441–1481), both of which are considered landmarks in Renaissance architecture, the latter is seen as conformingmost closely to his ideas.

Filippo Brunelleschi 4

Other workBrunelleschi's interests extended to mathematics and engineering and the study of ancient monuments. He inventedhydraulic machinery and elaborate clockwork, none of which survives.Brunelleschi also designed fortifications used by Florence in its military struggles against Pisa and Siena. In 1424, hedid work in Lastra a Signa, a village protecting the route to Pisa, and in 1431 he did work to the south, on the wallsof the village of Staggia. The latter walls are still preserved, but whether these are specifically by Brunelleschi isuncertain.He also had a brief appearance in the world of shipmaking, when, in 1427, he built a monstrous ship called IlBadalone to transport marble to Florence from Pisa up the Arno River. The ship sank on its first voyage, along witha sizable chunk of Brunelleschi's personal fortune.Besides accomplishments in architecture, Brunelleschi is also credited with inventing one-point linear perspectivewhich revolutionized painting and allowed for naturalistic styles to develop as the Renaissance digressed from thestylized figures of medieval art. In addition, he was somewhat involved in urban planning: he strategically positionedseveral of his buildings in relation to the nearby squares and streets for "maximum visibility". For example,demolitions in front of San Lorenzo were approved in 1433 in order to create a piazza facing the church. At SantoSpirito, he suggested that the façade be turned either towards the Arno so travelers would see it, or to the north, toface a large, prospective piazza.

Invention of linear perspectiveThe first known paintings in geometric optical linear perspective were made by Brunelleschi about 1425. Hisbiographer, Antonio Manetti, described this famous experiment in which Brunelleschi painted two panels; the first ofthe Florentine Baptistery as viewed frontally from the western portal of the unfinished cathedral, and second thePalazzo Vecchio as seen obliquely from its northwest corner.The first Baptistery panel was constructed with a hole drilled through the centric vanishing point. Curiously,Brunelleschi intended that it only be observed by the viewer holding the unpainted back of the picture against his/hereye with one hand, and a mirror in the other hand facing and reflecting the painted side. In other words, Brunelleschiwanted his new perspective "realism" to be tested not by comparing the painted image to the actual Baptistery but toits reflection in a mirror according to the Euclidean laws of geometric optics. This feat showed artists for the firsttime how they might paint their images, no longer merely as flat two-dimensional shapes, but looking more likethree-dimensional volumes just as mirrors reflect them. Unfortunately, both panels have since been lost.[11]

Soon after, linear perspective as a novel artistic tool spread not only in Italy but throughout western Europe, andquickly became standard studio practice up to and including present time.

Theatrical machinery

Brunelleschi's tomb

Another of Brunelleschi’s activities was the designing of the machineryin churches for theatrical, religious performances that re-enactedBiblical miracle stories. Contrivances were created by which charactersand angels were made to fly through the air in the midst of spectacularexplosions of lights and fireworks. These events took place during stateand ecclesiastical visits. Though it is not known for certain how manyof these Brunelleschi designed, but it seems that at least one, for thechurch of S. Felice, is confirmed in the records.[3]

Filippo Brunelleschi 5

DeathBrunelleschi's body lies in the crypt of the Cathedral of Florence. As explained by Antonio Manetti, who knewBrunelleschi and who wrote his biography, Brunelleschi "was granted such honors as to be buried in the Basilica diSanta Maria del Fiore, and with a marble bust, which they say was carved from life, and placed there in perpetualmemory with such a splendid epitaph."[12] Inside the cathedral entrance is this epitaph: "Both the magnificent domeof this famous church and many other devices invented by Filippo the architect, bear witness to his superb skill.Therefore, in tribute to his exceptional talents, a grateful country that will always remember buries him here in thesoil below."

Principal worksThe principal buildings and works designed by Brunelleschi or which included his involvement:• Dome of the Cathedral of Florence, (1419–1436)• Ospedale degli Innocenti,‎ (1419–ca.1445)• Basilica di San Lorenzo di Firenze, (1419–1480s)• Palazzo di Parte Guelfa, (1420s–1445)• Sagrestia Vecchia, or Old Sacristy of S. Lorenzo, (1421–1440)• Santa Maria degli Angeli: unfinished, (begun 1434)• The lantern of the Florence Cathedral, (1436–ca.1450)• The exedrae of the Florence Cathedral, (1439–1445)• Santo Spirito di Firenze, (1441–1481)• Pazzi Chapel, (1441–1460s)

References[1] Walker, Paul Robert (2003). The Feud That Sparked the Renaissance: How Brunelleschi and Ghiberti Changed the Art World. HarperCollins.

p. 5. ISBN 0380977877.[2] For an English version of Vasari's description of the life and work of Brunelleschi, see: http:/ / www. fordham. edu/ halsall/ basis/ vasari/

vasari5. htm[3] Battisti, Eugenio (1981). Filippo Brunelleschi. New York: Rizzoli. ISBN 0847850153.[4] Walker, Paul Robert (2002). The Feud that Sparked the Renaissance: How Brunelleschi and Ghiberti Changed the Art World. New York:

William Morrow. ISBN 0380977877.[5] Klotz, Heinrich (1990). Filippo Brunelleschi: the Early Works and the Medieval Tradition. Translated by Hugh Keith. London: Academy

Editions. ISBN 0856709867.[6] King, Ross (2001). Brunelleschi's Dome: The Story of the great Cathedral of Florence. New York: Penguin. ISBN 0802713661.[7] From Lives of the Most Eminent Painters, Sculptors, and Architects, published 1500. Quoted from 'Italian Renaissance', Martin Roberts for

Longman, 1992[8] Saalman, Howard (1980). Filippo Brunelleschi: The Cupola of Santa Maria del Fiore. London: A. Zwemmer. ISBN 030202784X.[9] Prager, Frank (1970). Brunelleschi: Studies of his Technology and Inventions. Cambridge: The M.I.T. Press. ISBN 0262160315.[10] The origins of the industrial property right. See: http:/ / www. european-patent-office. org/ wbt/ pi-tour/ tour. php Step 3.[11] For proposed reconstructions of Brunelleschi's demonstration, see Edgerton, Samuel Y. (2009). The Mirror, the Window & the Telescope:

How Renaissance Linear Perspective Changed Our Vision of the Universe. Ithaca, NY: Cornell University Press. ISBN 9780801447587. AndIstván Orosz, http:/ / www. gallery-diabolus. com/ gallery/ artist. php?image=1612& id=utisz& page=214

[12] Manetti, Antonio (1970). The Life of Brunelleschi. English translation of the Italian text by Catherine Enggass. University Park:Pennsylvania State University Press. ISBN 0271000759.

Filippo Brunelleschi 6

Further reading• Argan, Giulio Carlo; Robb, Nesca A (1946). "The Architecture of Brunelleschi and the Origins of Perspective

Theory in the Fifteenth Century" (http:/ / jstor. org/ stable/ 750311). J. Warburg and Courtauld Institutes 9:96–121. doi:10.2307/750311.

• Fanelli, Giovanni (2004). Brunelleschi’s Cupola: Past and Present of an Architectural Masterpiece. Florence:Mandragora.

• Kemp, Martin (1978). "Science, Non-science and Nonsense: The Interpretation of Brunelleschi's Perspective". ArtHistory 1 (2): 134–161.

• Prager, F. D. (1950). "Brunelleschi's Inventions and the 'Renewal of Roman Masonry Work'". Osiris 9: 457–554.doi:10.1086/368537.

• Millon, Henry A.; Lampugnani, Vittorio Magnago, eds (1994). The Renaissance from Brunelleschi toMichelangelo: the Representation of Architecture. London: Thames and Hudson.

• Trachtenberg, Marvin (1988). What Brunelleschi Saw: Monument and Site at the Palazzo Vecchio in Florence.New York.

• King, Ross (2000). Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture. New York:Walker. ISBN 0802713661.

External links• Free audio guide of Brunelleschi's Dome (http:/ / www. italyguides. it/ us/ florence/ the_dome_of_brunelleschi.

htm)• O'Connor, John J.; Robertson, Edmund F., "Filippo Brunelleschi" (http:/ / www-history. mcs. st-andrews. ac. uk/

Biographies/ Brunelleschi. html), MacTutor History of Mathematics archive, University of St Andrews.

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Article Sources and ContributorsFilippo Brunelleschi  Source: http://en.wikipedia.org/w/index.php?oldid=432035656  Contributors: -Kerplunk-, 1243Rock, 21655, AGiganticPanda, AKGhetto, AWhiteC, Access Denied,Afluent Rider, Aitias, Alansohn, AlexWaelde, Allstarecho, Amandajm, Amazins490, Andonic, Andre Engels, Andrepalis, Andyjsmith, Anna, Anonymous101, Antandrus, Antonio Lopez, Aphaia,Arakunem, Ardonik, ArglebargleIV, Assianir, AtheWeatherman, Attilios, Avillia, BD2412, BRUTE, BTX, Baa, Bbatsell, Belovedfreak, Bencherlite, Bender235, BigHairRef, Biker Biker,Birdman1, Bjankuloski06en, Blackngold29, Bluerasberry, Blurpeace, Bobo192, Branson03, Briggl, Brosi, C+C, CXWCW, CXWCXW, Calmer Waters, Cambrasa, Can't sleep, clown will eat me,CanadianLinuxUser, Canderson7, Capricorn42, Caravaggisti, Casper2k3, Chantmayer, Ched Davis, Chodorkovskiy, Chris Roy, Chrisch, Clairebaer, CloudNine, Coho, Connormah, Corpx,Courcelles, Cowman109, Crimson30, Cst17, D, D6, DVD R W, DVdm, Daniel Case, DanielCD, Darsie, Daveh4h, Davewild, Dawn Bard, Ddigitalz, Dekaels, Demon65, Der Golem, DerHexer,Discospinster, Dogears, Donfbreed, DougsTech, Dragontorch14, Dreamachine, Drmies, Duane Otani, Dumelow, Dysepsion, EatAlbertaBeef, Egmontaz, El Cid, El aprendelenguas, Elassint,Epbr123, Epolk, Everyking, Excirial, Fantasy, FayssalF, Fbarton, Fetchcomms, Fifo, Fire8762739, Frazzydee, FreplySpang, Friginator, Funnybunny, Fyyer, Fæ, Gail, Galorr, Gamaliel,Gardenhoser!, Ghirlandajo, Gianfranco, Giano, Gilliam, Giraffedata, GoingBatty, Grandpafootsoldier, Gryffindor, Gurch, Gurchzilla, Hadal, Ham, HammerHeadHuman, Harangutan, Hclewk,Heythere123456789, Hilders, HistoryStudent113, Hkik, Hobartimus, HowardMorland, Hugby2, IGeMiNix, II MusLiM HyBRiD II, IRP, Ieverhart, Ingrid m., Iridescent, IrisKawling, Irvinmvp1,Ixfd64, J.delanoy, JForget, JNW, Ja 62, Jauhienij, Jdittyj, JeLuF, Jfurr1981, Jlittlet, Jmh, John254, Johndoh75, Joseph Solis in Australia, Jovianeye, Kakoui, Kameyama, Katalaveno, KeithEdkins, Ken Gallager, Kiril Simeonovski, Krumpaks, Krystal 33333, Kwork2, L Kensington, Landon1980, LeaveSleaves, Leonard G., Levalley, LibLord, M1ss1ontomars2k4, MER-C, MacDavis, Mag2k, Mahanga, Maksim L., Mandarax, Marek69, Mattbr, Mawfive, Meaghan, Megaman en m, Mentifisto, Merbabu, Messer1, Mightyxander, Mike Rosoft, Mikils, Mindblast101,Ministry of Silly Walks, Modernist, Monty845, Moodi999, Mr Stephen, MrFish, Mschel, Myskills, Nakon, Narthring, Natalie Erin, Nbrown999, Necrothesp, Nemonoman, NeoJustin, Netizen,NewEnglandYankee, Nickbigd, Nightscream, Nishkid64, Nneonneo, NodnarbLlad, Nono64, Ocvailes, Omegastar, Omicronpersei8, Onopearls, Opie, Parsynator, Pazsit Ulla, PericlesofAthens,Peruvianllama, Peterlewis, Pethan, Phantomsteve, Philip Trueman, Pip2andahalf, Pleroma, Prof saxx, Proofreader77, Pseudomonas, Puffin, Pupster21, Pwbrad, RainbowOfLight, Raven in Orbit,Recognizance, Renarthistory, Restu20, Rholton, Rhopkins8, Rich Farmbrough, Richard Arthur Norton (1958- ), Rick001, Rizalninoynapoleon, Rjwilmsi, Rob Hooft, Rocketsnail, Roger Davies,Ronhjones, Rtcpenguin, Ruthiesjunkyard, Ruy Pugliesi, SQGibbon, Sailko, Samboha, Scoop100, Seaphoto, Shmackhead69, Shoeofdeath, Shoessss, Skarebo, Skunkboy74, Slakr, Smk436,SnappingTurtle, Snowdog, Solipsist, Sophie, Spank me harder, Sparkit, Spartan, Spectrogram, Speedski, Srushe, Sry85, StaticGull, Stephenb, SteveHopson, Storm Rider, Stubblyhead, Supergaara, Sw258, Swingman8, Taco taco man, Tanglewood4, Techman224, Tempodivalse, TerriersFan, The Catholic Knight, The Dark, The Rambling Man, The Thing That Should Not Be,TheRealThang88, Thingg, Tide rolls, TimonyCrickets, Tiptoety, Tom harrison, Tpbradbury, Tresiden, Triona, TutterMouse, Tyranitar345, Vanished User 1004, Vanished user 39948282, Varano,Velella, Ventura, Voyagerfan5761, WODUP, Waltke, Washington Irving Esquire, Wetman, WikiBully, Williamb, Wizardman, Wolfgangus, Wrstln21, Wspencer11, Xiahou, Young Kreisler,Zannah, 1141 anonymous edits

Image Sources, Licenses and ContributorsFile:Masaccio, cappella brancacci, san pietro in cattedra. ritratto di filippo brunelleschi.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Masaccio,_cappella_brancacci,_san_pietro_in_cattedra._ritratto_di_filippo_brunelleschi.jpg  License: Public Domain  Contributors: see filename orcategoryImage:View of the Duomo's dome, Florence.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:View_of_the_Duomo's_dome,_Florence.jpg  License: Creative Commons Attribution2.0  Contributors: Frank K.Image:Brunelleshi-and-Duomo-of-Florence.gif  Source: http://en.wikipedia.org/w/index.php?title=File:Brunelleshi-and-Duomo-of-Florence.gif  License: Public Domain  Contributors:Bouncey2k, G.dallorto, Mac9, Ronaldino, Sailko, TomAlt, 1 anonymous editsImage:Santo Spirito, inside 1.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Santo_Spirito,_inside_1.JPG  License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Mac9, Sailko, 1 anonymous editsImage:Pazzi Chapel Santa Croce Apr 2008 P.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Pazzi_Chapel_Santa_Croce_Apr_2008_P.JPG  License: GNU Free DocumentationLicense  Contributors: GryffindorImage:Bunelleschi.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Bunelleschi.jpg  License: Public Domain  Contributors: G.dallorto, Mac9, Richardfabi, Sailko, 5 anonymous editsImage:Duomo Firenze Apr 2008 (13).JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Duomo_Firenze_Apr_2008_(13).JPG  License: Creative Commons Attribution-Sharealike3.0,2.5,2.0,1.0  Contributors: Gryffindor

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