FILIPPO BRUNELLESCHI: BIOGRAPHY, CONTRIBUTIONS AND WORKS - CULTURE VOCABULARY - 2024

Filippo Brunelleschi (1377-1446) was a renowned Florentine architect noted for his participation in the Italian Renaissance. Thanks to his interest in science, mathematics and engineering, he discovered linear perspective, this being one of his most important contributions for which he developed principles and laws.

His performance in sculpture and architecture led him to interact with artists such as Donatello, with whom he forged a close friendship that lasted until the end of his days; and with Ghiberti, his rival since 1401 when they competed for the elaboration of the bronze doors of the Baptistery of San Juan (Florence), their hometown.

Aislesalvotimeingh, from Wikimedia Commons

He also became involved with Toscanelli, who tried to introduce him to his field - mathematics - without success, as Brunelleschi's passion for art was stronger. Similarly, he taught him geometry, aroused his interest in technology and helped him in the development of one of his emblematic works: the dome of Santa María de Fiore.

Brunelleschi was characterized by his ability to combine aesthetic, geometric, mathematical, architectural and engineering principles in his works; This is the reason for the magnitude of their contributions. He was always a person very given to learning and strong character, and is considered the father of the Italian Renaissance.

Biography

Filippo di ser Brunellesco di Lippo Lapi was the second of three children of Brunellesco di Lippo and Giuliana Spini. He was born in 1377 in Florence, Italy.

First training

His father was a lawyer and practiced as a notary; for this reason he wanted his son to follow the same path that he had taken years ago. His education in literature and mathematics was intended to prepare him to fulfill his father's aspirations and eventually serve as a civil servant.

However, Filippo's tastes pointed in another direction: art. Years later he enrolled in the Arte della Seta, which at the time was the guild of silk merchants, but also included metalworkers, goldsmiths, and bronze workers. This is how in 1398 Filippo became a master goldsmith.

Beginnings in art

In 1401 he began his competition with Ghiberti, a contemporary goldsmith, to make the bronze doors of the Baptistery in Florence. It was not until two years later, in 1403, when, after having worked hard on his work, he lost against his rival due to a matter of technique and delicacy at work.

Then, in 1404, he traveled to Rome for several years with Donnatello, a close friend, to study and learn about the ancient Roman ruins. Brunelleschi was amazed by the landscape, the buildings, and the perfection of the classical sculptures; then his interest in architecture really began.

Artistic development

Throughout his active life Brunelleschi explored the area of ​​architecture at different levels. He dedicated himself especially to the construction of religious buildings and the one that has been most emblematic of his work is the dome of the Florence Cathedral.

This construction was carried out between 1418 and 1437, and led Brunelleschi to become an important architect of that time, since the project seemed impossible to be built due to the characteristics of the original design, which began to be built in the year 1296 by Arnolfo di Cambio.

Death

Filippo Brunelleschi died in his hometown on April 15, 1446, a few years after completing his most renowned work. His remains rest in the Cathedral of Florence and at its entrance there is an epitaph that we paraphrase in this way:

“Both the magnificent dome of this famous church and many other devices invented by the architect Filippo, are witnesses of his magnificent skill. Therefore, in tribute to his exceptional talents, a grateful country he will always remember buries him here in the ground. "

Contributions

Linear perspective

The first great contribution for which he should be recognized was when he invented linear perspective. This invention was shared by León Battista degli Alberti in 1435, in order to make it a working tool for all painters of the time.

This concept seeks to imitate a three-dimensional space in the plane. Before having achieved the feat, the painting and its appreciation were much more complex because the work was not divided into planes, the viewer had to divide the painting when viewing it in order to appreciate the separation that was supposed to be between the elements.

Linear perspective is based on a mathematical method and elements of Euclid. For his study Brunelleschi used two existing buildings and recreated them in drawing: the Baptistery of San Juan and the Palace of the Lordship.

The technique consists of all the lines of the drawing converging on the same vanishing point, transmitting a sense of depth.

The use of this method extends from its discovery, approximately in 1425, to the present day. It went from being used in Italy to being used in Western Europe, to now being used throughout the world.

Theatrical machinery

Brunelleschi also dedicated himself to the design of machinery in churches for religious or theatrical performances that took place in them and dealt with stories about biblical miracles.

The design of artifacts of this style was required for events in which it was necessary to simulate that the characters, such as angels, were flying through the air, as well as if there was a need to recreate light using fireworks.

It is not clear how much machinery was created by Brunelleschi; however, it is known that there is at least one, since there is a record of it in the church of San Felice (Florence).

Other contributions

His interest in different disciplines allowed him to do work beyond his architectural works. For example, he invented advanced hydraulic machinery and watchmaking for the time, artifacts that are now obsolete.

Brunelleschi also served Florence through the design of fortifications used by the Florentine army in their battles against Siena and Pisa. In 1424 he worked in a town that protected the route to Pisa, called Lastra a Signa. Seven years later, in 1431, he worked towards the south, on the walls of the town of Staggia.

On the other hand, in 1421 he immersed himself in the world of ships, when he began the construction of a large boat called Il Baladone, which would serve as a transport of marble from Pisa to Florence through the Arno River.

For this design he received the first industrial patent of which there is evidence in history. Unfortunately, this ship did not go past the first sailing and sank on its first voyage.

Plays

The Sacrifice of Isaac (1401)

It was the sculpture with which he sealed his defeat against Ghiberti in the competition for the copper doors of the Baptistery of San Juan. Brunelleschi designed a piece with Isaac's naked torso and many pieces bolted to the plate.

On the other hand, his opponent prepared a single piece, a gilt bronze panel through which he managed to teach his knowledge and skills in the casting of this material. For this they proclaimed him the winner, for the demonstration he achieved of his sophisticated technical ability.

It is said that this fact was what caused Brunelleschi such disillusionment with sculpture, which led him to dedicate himself more strongly to architecture and to neglect the other discipline.

Il Duomo, dome of the Florence Cathedral (Santa Maria del Fiore) (1418)

It is the work that represents him most strongly. The construction was of immense size, approximately 45 meters wide and 7 meters high, inspired by the dome of the Pantheon in Rome.

So big and heavy was the model, that Brunelleschi had to build lifting machinery in parallel to support the weight of the dome. In addition, he also designed a flashlight that would be on the inside of it.

Hospital of the Innocents (1419)

It was the first building in Florence that is considered truly Renaissance. The commission that Brunelleschi chose to carry out the project belonged to the guild to which he was part when he studied at Arte della Seta.

Brunelleschi could not be alive for its culmination, but its essence was reflected in the design, with its impressive columns and arches, approximately 8 meters tall, without the presence of excessive decorative elements.

Basilica of San Lorenzo (1421)

Brunelleschi was originally hired to build the church sacristy, but after a year he was asked to redesign and build the entire church. In his design he used the technique of linear perspective as well as straight, calculated columns, very typical of his style.

As Brunelleschi died before he could finish the work, a student was in charge of continuing it, finishing it in 1428. Its appearance is similar to that of the Basilica of the Holy Spirit, a work also completed by others in 1444.

Pazzi Chapel (1429)

Located in the courtyard of the Basilica of the Holy Cross, it was made by Arnolfo di Cambio and others. It was the last work to which Brunelleschi dedicated himself.

It is a small building with a rectangular floor plan, central dome, portico, vault and façade made up of six columns.

Pitti Palace (1446)

Luca Pitti appointed Brunelleschi to be the one who designed and was in charge of the project, but he did not manage to finish it and was entrusted to a student of his: Lucca Francelli. This construction passed through the hands of several owners and underwent numerous renovations.

Palace of Parte Güelfa (1420)

It was a work done in collaboration with Vasari; it is the current headquarters of Calcio Florentino. Its name is due to the fact that in ancient times, when there were confrontations between Guelphs and Ghibellines, it was a barracks for the Guelph part of the city (defenders of the pope).

Anecdotes from Il Duomo

This work had structural problems from its inception, since the original author (Arnolfo di Cambio) did not leave specific indications on how to carry it out and Francesco Talenti prepared a model that did not seem to meet existing needs.

Brunelleschi realized that Talenti's proposal was not ideal due to the instability that he was giving to the dome and decided to prepare his own model. Years later, he was contacted by mayors and trustees and suggested calling experts from Europe to hear their proposals.

In presenting his ideas, Brunelleschi was rejected by the public. After this, he again contacted mayors and those in charge of the procedure privately. In the new meeting he rejected the proposals of all the architects and did not present his own; in fact, its design was a mystery for many years.

On that occasion Brunelleschi challenged his rivals to place an egg vertically on a table, and whoever succeeded would win command of the project. Nobody succeeded and Brunelleschi decided to give it a try.

He grabbed the egg with his hands, positioned it so that its largest base was facing down, and slammed it gently against the table, without breaking it completely, just so that it could stand upright.

Disgusted, they all complained to him and claimed that this solution could have been offered by anyone, but he replied that they would have said the same about his design. This is how he ingeniously got the project awarded.

Ghiberti was designated Brunelleschi's collaborator for this work. They divided the work and, as the proposal that Ghiberti offered was not efficient enough, he was left out of the project and Filippo returned to take charge of it alone.

A mysterious man

Some historical records indicate that Brunelleschi was very careful not to reveal information about the design and mechanism of the dome.

For centuries it was a mystery that Ricci (Italian architect) was able to solve after 40 years of research and study. When giving information about his discovery, he commented that the author of the work had the characteristic of being a cheater, giving false traces and confusing ideas so that no one could find his secret.

The workers who worked in the construction were ordered to place the bricks of the dome differently from how the bricks of the internal vault would be arranged, with the intention that whoever saw the construction from afar before it was finished, would be deceived regarding to the technique used.

Brunelleschi also requested that they be marked in such a way as to give the impression that they had been placed lengthwise rather than sideways.

The discovery of the methods used in this construction was made thanks to the use of advanced technology. The vault cracked and Ricci managed to insert a camera through it that allowed him to record everything and then carefully analyze everything observed.

References

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