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- Howard - Brunelleschi a Poem
- Stanford Libraries
- Brunelleschi’s poetry | discovering disegno
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Other questions plagued the cathedral overseers.
Howard - Brunelleschi a Poem
Yet these were the only architectural solutions known to work in such a vast structure. Could a dome weighing tens of thousands of tons stay up without them? And could a dome be built at all on the octagonal floor plan dictated by the existing walls—eight pie-shaped wedges—without collapsing inward as the masonry arced toward the apex?
No one knew. So in the worried Florentine fathers announced a contest for the ideal dome design, with a handsome prize of gold florins—and a shot at eternal fame—for the winner. Leading architects of the age flocked to Florence and presented their ideas. From start to finish, the project was so charged with doubts, fears, creative secrecy, and civic pride that a lush tapestry of legend was woven around it, turning the story of the cupola into a parable of Florentine ingenuity and a central creation myth of the Italian Renaissance.
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When the first histories were written, the losers came off particularly poorly. One contending architect, it was said, proposed to support the dome with an enormous pillar rising in the center of the church. Yet another, according to early legend, proposed that a mountain of dirt mixed with coins serve as scaffolding, to be cleared away free of charge by the money-grubbing citizenry after the dome was complete.
What we know for sure is that another candidate, a short, homely, and hot-tempered goldsmith named Filippo Brunelleschi, promised to build not one but two domes, one nested inside the other, without elaborate and expensive scaffolding. Later he studied optics and tinkered endlessly with wheels, gears, weights, and motion, building a number of ingenious clocks, including what may have been one of the first alarm clocks in history.
Applying his theoretical and mechanical knowledge to observation of the natural world, he single-handedly worked out the rules of linear perspective.
Brunelleschi’s poetry | discovering disegno
The next year the overseers met with Brunelleschi several times, eliciting more details of his scheme. They began to realize just how brilliant and risky it really was. His dome would consist of two concentric shells, an inner one visible from within the cathedral nested inside a wider, taller external dome. He also assured the overseers that he could do without conventional, ground-based scaffolding.
In the overseers agreed to make Filippo Brunelleschi the provveditore, or superintendent, of the cupola project. They added one significant caveat. The two men had been rivals since , when they had vied for another illustrious commission, the new bronze doors for the Florentine Baptistery.
Ghiberti had won. Now Brunelleschi, whose design for the cupola had been accepted outright, was forced to work side by side with his gallingly successful rival. The arrangement would lead to much plotting and skulduggery. The first problem to be solved was purely technical: No known lifting mechanisms were capable of raising and maneuvering the enormously heavy materials he had to work with, including sandstone beams, so far off the ground.
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Here Brunelleschi the clockmaker and tinkerer outdid himself. He invented a three-speed hoist with an intricate system of gears, pulleys, screws, and driveshafts, powered by a single yoke of oxen turning a wooden tiller. It used a special rope feet long and weighing over a thousand pounds—custom-made by shipwrights in Pisa—and featured a groundbreaking clutch system that could reverse direction without having to turn the oxen around.
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Having assembled the necessary tool kit, Brunelleschi turned his full attention to the dome itself, which he shaped with a series of stunning technical innovations. His double-shell design yielded a structure that was far lighter and loftier than a solid dome of such size would have been.
He wove regular courses of herringbone brickwork, little known before his time, into the texture of the cupola, giving the entire structure additional solidity. Throughout the years of construction Brunelleschi spent more and more time on the work site. He oversaw the production of bricks of various dimensions and attended to the supply of choice stone and marble from the quarries.
He led an army of masons and stonecutters, carpenters, blacksmiths, lead beaters, barrelmakers, water carriers, and other craftsmen. He ran a thriving bottega in Siena, virtually mass-producing cassoni chests and small devotional panels, invested in mining operations in the Tuscan region of Montemassi, and was involved in the foundation of a lucrative foundry company in Siena, an investment in the future of armaments. As entrepreneurs, Brunelleschi and Francesco were known to speculate on their business ventures.
When Brunelleschi decided to patent his massive marble-transport barge in July , he was required to pay-up front for its construction, as well as the marble slabs it would transport during its maiden voyage. Francesco took a similar gamble when he applied for the position of operaio dei bottini chief overseer of aqueducts in Siena in In order to win the prestigious post, Francesco had to make a grand proposal.
And this he did. It is easy to romanticize men like Brunelleschi and Francesco di Giorgio, pioneering engineer-entrepreneurs who took huge risks and realized monumental results. However, their successes did not come without trial, criticism and scorn. When Brunelleschi was haggling with the city of Florence to patent the Badalone, periodically taking leaves of absence from his position overseeing the construction of the Cathedral dome to do so, he garnered some public scorn.
Brunelleschi, who was not only an expert engineer and mathematician, but was also educated in the humanities, published a sonnet in response. His sonnet reads as follows:. This exchange is remarkably telling. Acquettini, a University professor, lauded himself as a proponent of reason. According to Alberti, the architect was supposed to propose a complete, well-conceived design and judiciously execute it according to the original plan.
The role of the Albertian architect was straight-forward, cut-and-dry. But this vision for the architect was antithetical to that practiced by Brunelleschi and Francesco di Giorgio, scrappy-technician types who liked to experiment, make risky decisions and develop colossal structures. In the minds of men like Brunelleschi and Francesco, the Albertian approach to architecture was inherently limiting. If the architect knew the outcome of his project before he started, it meant that his design was unimaginative.
The constructions of the Albertian architect would not only be less innovative, but they would also do little to advance building technology. This view of architecture appealed to the working-class practitioners, the men who had little formal education and were willing to take risks to get a leg up in society.
But architect-entrepreneurs of this type posed a threat to the humanist-elite, those rationally-minded individuals who sought to control social and cultural developments, and had no interest in wasting their time or money with the outmoded, plan-as-you-go approach to architecture. Certainly, it is great fun to extol the renegade entrepreneur and to condemn the stogy academic. After years of planning and construction, the fully-loaded Badalone departed from Pisa in June, However, something must have gone terribly awry.
The next document on the voyage, dated four years later, confirms that the marble had yet to be delivered to Florence, and much of it in fact, had been lost in the Arno River. He lost his investment on the ship and probably a large part of the cost of the marble.