Tales of Titans: From Rome to the Renaissance Vol. I by Rich DiSilvio

Author:Rich DiSilvio [DiSilvio, Rich]
Language: eng
Format: epub, azw
Publisher: DV Books
Published: 2016-10-25T04:30:00+00:00

BRUNELLESCHI: Master Builder

Born in Florence in 1377, Filippo Brunelleschi was well known by all Florentines, for he had invented the mathematical laws of linear perspective that the ancient Romans apparently exercised, yet were lost to time. Brunelleschi’s geometric invention gave a whole new generation of artists and architects the primary tool to develop earth-shattering wonders in paint, like those created by Verrocchio, Leonardo, Michelangelo, and countless others, not to mention 3D architectural plans.

However, Brunelleschi was also remembered in Florence for losing the bronze door competition to his rival Lorenzo Ghiberti. Ghiberti’s magnificently sculpted doors adorned the Baptistery and immediately enthralled the entire city. In turn, Ghiberti was garnished with the utmost adoration and world fame. In humiliation, Filippo left Florence, only to return many years later when a golden opportunity presented itself—the new dome competition.

Finally, here was Brunelleschi’s chance to regain his stolen title, and the respect he knew he deserved. The design was for the city’s huge Santa Maria del Fiore cathedral. Originally designed in 1296, the huge project lingered for over a century, facing revisions and cutbacks. By 1419, the building had finally reached near completion, except for the massive void at the top, which somehow was to be capped off with a dome.

Brunelleschi was dismayed to learn that his old rival, Ghiberti, also entered the competition, but more problematic, however, was that the project posed an additional conundrum. The dome’s drum foundation was not round like the Pantheon, but octagonal. This was an engineering first, which entered the participants into new and uncharted territory. Brunelleschi had previously traveled to Rome and meticulously studied the Pantheon. Despite the obvious differences, Brunelleschi had deciphered many of the hidden tricks and traits of the Pantheon’s unique anatomy. Confident that this covert acquisition gave him the edge over his archrival, Ghiberti, and every other contender, Brunelleschi feverishly set to work on his own master plan.

When the day finally arrived, the hopefuls submitted their grand plans. As the judging committee sifted through the entries, their jaws suddenly dropped when they gazed at Brunelleschi’s radical plans. For not only was his design astoundingly unique, but Filippo had the audacity, or sheer incompetency, to do away with the use of wooden centering.

Centering had long been the established and mandatory approach for erecting arches. It entailed creating huge wooden arches whereby masons would lay and set their bricks on top, thus following the curved wooden form. When some of the other contestants heard that Filippo was abandoning this only known procedure, they duly ridiculed him. Meanwhile, others anticipated new solutions.

It was clear, the octagonal obstacle, along with its unprecedented height, demanded a new approach. At first skeptical, the committee slowly recognized the validity of Filippo’s engineering skills when his flawless miniature model awed the public audience. Brunelleschi had even penciled out plans for constructing his own proprietary cranes, jacks, and scaffolding to complete the daunting task, all without the use of centering. No detail was left out, for nothing had escaped Filippo’s discerning eye.

With the

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