Lives of the Most Eminent Painters, Sculptors and Architects - All 10 Volumes. Giorgio Vasari

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СКАЧАТЬ granted afterwards, one by one, to other citizens of the quarter. The roofing of the sacristy was not finished when Giovanni de' Medici passed to the other life, leaving behind him his son Cosimo, who, having a greater spirit than his father and delighting in memorials, caused this one to be carried on. It was the first edifice that he erected, and he took so great delight therein that from that time onwards up to his death he was for ever building. Cosimo pressed this work forward with greater ardour, and while one part was being begun, he would have another finished. Looking on the work as a pastime, he was almost always there, and it was his solicitude that caused Filippo to finish the sacristy, and Donato to make the stucco-work, with the stone ornaments for those little doors and the doors of bronze. In the middle of the sacristy, where the priests don their vestments, he had a tomb made for his father Giovanni, under a great slab of marble supported by four little columns; and in the same place he made a tomb for his own family, separating that of the women from that of the men. In one of the two little rooms that are on either side of the altar in the said sacristy he made a well in one corner, with a place for a lavatory. In short, everything in this fabric is seen to have been built with much judgment. Giovanni and the others had arranged to make the choir in the middle, below the tribune; but Cosimo changed this at the wish of Filippo, who made the principal chapel—which had been designed at first as a smaller recess—so much greater, that he was able to make the choir therein, as it is at present. This being finished, there remained to be made the central tribune and the rest of the church; but this tribune, with the rest, was not vaulted until after the death of Filippo. This church is one hundred and forty-four braccia in length, and many errors are seen therein, one being that the columns are placed on the level of the ground instead of being raised on a dado, which should have been as high as the level of the bases of the pilasters which stand on the steps, so that, as one sees the pilasters shorter than the columns, the whole of that work appears badly proportioned. All this was caused by the counsels of his successors, who were jealous of his name and had made models in opposition to his during his lifetime. For these they had been put to shame with sonnets written by Filippo, and after his death they took vengeance on him in this manner, not only in this work but in all those that remained to be carried out by them. He left the model for the presbytery of the priests of S. Lorenzo, and part of the building finished, wherein he made the cloister one hundred and forty-four braccia in length.

      The while that this edifice was building, Cosimo de' Medici determined to have a palace made for himself, and therefore revealed his intention to Filippo, who, putting aside every other care, made him a great and very beautiful model for the said palace, which he wished to place opposite to S. Lorenzo, on the Piazza, entirely isolated on every side. In this the art of Filippo had achieved so much that Cosimo, thinking it too sumptuous and great a fabric, refrained from putting it into execution, more to avoid envy than by reason of the cost. While the model was making, Filippo used to say that he thanked his fortune for such an opportunity, seeing that he had such a house to build as he had desired for many years, and because he had come across a man who had the wish and the means to have it built. But, on learning afterwards the determination of Cosimo not to put this project into execution, in disdain he broke the design into a thousand pieces. Deeply did Cosimo repent, after he had made that other palace, that he had not adopted the design of Filippo; and this Cosimo was wont to say that he had never spoken to a man of greater intelligence and spirit than Filippo. He also made the model of the most bizarre Temple of the Angeli, for the family of the Scolari; but it remained unfinished and in the condition wherein it is now to be seen, because the Florentines spent the money which lay in the Monte for this purpose on certain requirements of their city, or, as some say, in the war that they waged formerly against the people of Lucca, wherein they also spent the money that had been left in like manner by Niccolò da Uzzano for building the Sapienza, as it has been related at length in another place. And in truth, if this Temple of the Angeli had been finished according to the model of Brunellesco, it would have been one of the rarest things in Italy, for the reason that what is seen of it cannot be sufficiently extolled. The drawings by the hand of Filippo for the ground-plan and for the completion of this octagonal temple are in our book, with other designs by the same man.

       THE OLD SACRISTY OF S. LORENZO (After Filippo Brunelleschi. Florence) Alinari View larger image

      Filippo also designed a rich and magnificent palace for Messer Luca Pitti at a place called Ruciano, without the Porta a San Niccolò in Florence, but this failed by a great measure to equal the one that he began in Florence for the same man, carrying it to the second range of windows, with such grandeur and magnificence that nothing more rare or more magnificent has yet been seen in the Tuscan manner. The doors of this palace are double, with the opening sixteen braccia in length and eight in breadth; the windows both of the first and second range are in every way similar to these doors, and the vaultings double; and the whole edifice is so masterly in design, that any more beautiful or more magnificent architecture cannot be imagined. The builder of this palace was Luca Fancelli, an architect of Florence, who erected many buildings for Filippo, and one for Leon Batista Alberti, namely, the principal chapel of the Nunziata in Florence, by order of Lodovico Gonzaga, who took him to Mantua, where he made many works and married a wife and lived and died, leaving heirs who are still called the Luchi from his name. This palace was bought not many years ago by the most Illustrious Lady Leonora di Toledo, Duchess of Florence, on the advice of the most Illustrious Lord Duke Cosimo, her consort; and she increased the grounds all round it so greatly that she made a very large garden, partly on the plain, partly on the top of the hill, and partly on the slope, filling it with all the sorts of trees both of the garden and of the forest, most beautifully laid out, and making most delightful little groves with innumerable sorts of evergreens, which flourish in every season; to say nothing of the waters, the fountains, the conduits, the fishponds, the fowling-places, the espaliers, and an infinity of other things worthy of a magnanimous prince, about which I will be silent, because it is not possible, without seeing them, ever to imagine their grandeur and their beauty. And in truth Duke Cosimo could have chanced upon nothing more worthy of the power and greatness of his mind than this palace, which might truly appear to have been erected by Messer Luca Pitti, from the design of Brunellesco, for his most Illustrious Excellency. Messer Luca left it unfinished by reason of his cares in connection with the State, and his heirs, having no means wherewith to complete it, and being unwilling to let it go to ruin, were content to make it over to the Duchess, who was ever spending money on it as long as she lived, but not so much as to give hope that it would be soon finished. It is true, indeed, according to what I once heard, that she was minded to spend 40,000 ducats in one year alone, if she lived, in order to see it, if not finished, at least well on the way to completion. And because the model of Filippo has not been found, his Excellency has caused Bartolommeo Ammanati, an excellent sculptor and architect, to make another, according to which the work is being carried on; and a great part of the courtyard is already completed in rustic work, similar to the exterior. And in truth, if one considers the grandeur of this work, one marvels how the mind of Filippo could conceive so great an edifice, which is truly magnificent not only in the external façade, but also in the distribution of all the apartments. I say nothing of the view, which is most beautiful, and of the kind of theatre formed by the most lovely hills that rise round the palace in the direction of the walls, because, as I have said, it would take too long to try to describe them in full, nor could anyone, without seeing this palace, imagine how greatly superior it is to any other royal edifice whatsoever.

      It is also said that the machinery for the "Paradise" of S. Felice in Piazza, in the said city, was invented by Filippo in order to hold the Representation, or rather, the Festival of the Annunciation, in the manner wherein the Florentines were wont to hold it in that place in olden times. This was truly something marvellous, demonstrating the genius and the industry of him who was its inventor, for the reason that there was seen on high a Heaven full of living figures in motion, with an infinity of lights appearing and disappearing almost in a flash. Now I do not wish to grudge the labour of giving an exact description of the machinery of that engine, seeing that it has all disappeared and that the men who could speak of it from personal knowledge are dead, so that there is no hope of its being reconstructed, that place being inhabited no longer СКАЧАТЬ