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Lives of the Most Eminent Painters Sculptors and Architects, Vol. 02 (of 10)

Giorgio Vasari · 1550s (2nd edition revised, with later additions); Volume II includes biographies of artists from Berna to Michelozzo

passage 114 of 157 · Part, which with the aid of the blessed God we have brought to conclusion. (79/122)

↪ you wandered here via “argument from design” — the connecting lines are tinted below

in brief
After the hostile tribunal, Filippo persuades individual officials and citizens, arguing with the other architects; the famous “egg” test is used to decide who should build the cupola, and Filippo is commissioned to proceed.

the reason that Filippo could afterwards say that he did not dare to pass through any part of the city, for fear lest someone might say: "There goes that madman."

The Consuls remained in the Audience Chamber all confused, both by the difficult methods of the original masters and by this last method of Filippo's, which they thought absurd, for it appeared to them that he would ruin the work in two ways: first, by making the vaulting double, which would have made it enormous and unwieldy in weight; and secondly, by making it without a framework. On the other hand, Filippo, who had spent so many years in study in order to obtain the commission, knew not what to do and was often tempted to leave Florence. However, wishing to prevail, he was forced to arm himself with patience, having insight enough to know that the brains of the men of that city did not abide very firmly by any one resolution. Filippo could have shown a little model that he had in his possession, but he did not wish to show it, having recognized the small intelligence of the Consuls, the envy of the craftsmen, and the instability of the citizens, who favoured now one and now another, according as it pleased each man best; and I do not marvel at this, since every man in that city professes to know as much in these matters as the experienced masters know, although those who truly understand them are but few; and let this be said without offence to those who have the knowledge. What Filippo, therefore, had not been able to achieve before the tribunal, he began to effect with individuals, talking now to a Consul, now to a Warden, and likewise to many citizens; and showing them part of his design, he induced them to determine to allot this work either to him or to one of the foreigners. Wherefore the Consuls, the Wardens of Works, and those citizens, regaining courage, assembled together, and the architects disputed concerning this matter, but all were overcome and conquered by Filippo with many arguments; and here, so it is said, there arose the dispute about the egg, in the following manner. They would have liked Filippo to speak his mind in detail, and to show his model, as they had shown theirs; but this he refused to do, proposing instead to those masters, both the foreign and the native, that whosoever could make an egg stand upright on a flat piece of marble should build the cupola, since thus each man's intellect would be discerned. Taking an egg, therefore, all those masters sought to make it stand upright, but not one could find the way. Whereupon Filippo, being told to make it stand, took it graciously, and, giving one end of it a blow on the flat piece of marble, made it stand upright. The craftsmen protested that they could have done the same; but Filippo answered, laughing, that they could also have raised the cupola, if they had seen the model or the design. And so it was resolved that he should be commissioned to carry out this work, and he was told that he must give fuller information about it to the Consuls and the Wardens of Works.

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topics: conquest, plunder, and captives · treaties, truces, and peacemaking

Lives of the Most Eminent Painters Sculptors and Architects, Vol. 02 (of 10) · Giorgio Vasari · 1547–1568