1. Architectural and Artistic Genius

5. Defeat Lorenzo Ghiberti, 23 at the time, was Filippo’s mentor and adversary, and they both entered a very prestigious competition in 1401, to create the panel doors of the San Giovanni Baptistery. The competition would solidify any artist’s career, and Filippo was determined to win. Unfortunately, he did not, and lost to Ghiberti. It is speculated that the win was only because Ghiberti had political friends (McClelland). When viewing the two panels, it is clear that Filippo ventured out into a new expression of humanism, whereas Ghiberti played it safe and conservative. Simply the way that Abraham is gripping Isaac’s throat, the imminent sacrifice, and the angels with God intervening, is both brutal and moving in Filippo’s piece. This same emotion is not as present in Ghiberti’s work. Ghiberti’s Panel Brunelleschi’s Panel

7. A Second Chance A new competition was on the horizon, and Filippo wanted to win. He wasn’t going to take any chances this time, however, so he was careful in presenting his ideas to the judging committee; officially known as the Opera. The construction of the dome for the Cathedral of Santa Maria del Fiore (Florence Cathedral) was the prize, and Filippo knew that the Opera had also consulted with Ghiberti, his rival (McClelland). Filippo knew exactly how he would erect such a dome, and came up with the eight-sided brick-herringbone tambour, with a round window in each panel (Brown). When the Opera requested to see his plans, Filippo refused and they abruptly dismissed him as a candidate. Eventually, with the aid of Cosimo de’ Medici, a confident to Donatello and powerful political player, Filippo was again consulted and brought onto the project. The only problem was that Ghiberti was hired too (McClelland).

9. Vindication Justice for the loss of the baptistery panel contest finally came. When he publicly tested Ghiberti’s knowledge by claiming to be sick and staying home with the “reassurance” that Ghiberti, being an equal partner, could continue to raise the dome. This didn’t happen, and Ghiberti was then exposed for his arrogance and inability. Eventually, Filippo would be the sole architect on the project and establish himself with the Opera and people of the city. He was the real genius. He would construct the herring-bone dome in sixteen years time (McClelland). ©Museo de Duomo

10. San Spirito, Florence San Lorenzo nave, Florence His lifetime accomplishments included the Pazzi Chapel, an orphanage, a women’s cloister, governmental offices, and many churches and their structures. He was consulted to come in on many projects and fix what was blundered by others, because he was finally considered the expert in his field and was truly a genius at solving many of the constructive problems during the times (McClelland). Achievement

11. Filippo and his best friend, Donatello, created some of the most magnificent displays of art and architecture that we have the privilege of viewing today. Below are two examples of how Filippo and Donatello blended art and architecture. They remained good friends and worked together throughout their lives. I think what made their friendship so solid, was that although they were competitive, they trusted each other. Without their contributions, the Renaissance and many of the styles in architecture that we see still standing and still being created would be very different. Copyright: © Courtauld Institute of Art Partnership "At that time work was started on the church of San Lorenzo at Florence..Cosimo [de' Medici] pushed the work on with greater enthusiasm and it was because of his solicitude that Filippo completed the sacristy and Donatello made the stuccoes and the bronze doors and the stone ornaments for the little doors." (Vasari) Old Sacristy, San Lorenzo

12. Melbourne’s Royal Exhibition Building Masaccio’s Holy Trinity Melbourne’s Royal Exhibition Building Santa Maria della Carceri Examples of how other architects and artists were influenced by Brunelleschi.

14. The story of Filippo Brunelleschi relates to humanities in that it is not only a genius’ work of art, architecture, and a resiliency of the spirit, but also because this took place during a transitional time when the church and God were the ultimate authority and creativity was often strictly guided. Filippo was a pioneer not only in his craft, but also in his strength of self to overcome his insecurities, his adversaries, and his environment. If we are to truly appreciate what the men of the renaissance accomplished, we must take the time to learn about their lives, trials, and tribulations to become the masters that they were. Filippo remains immortal through his works. Filippo Brunelleschi – Death Mask, Museo de Duomo ©Museo de Duomo