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Updated: June 24, 2025


Walking in the cloisters, you find the great ancient refectory of the convent itself, which has here been turned into a museum, while another part of it is used as a barracks; and indeed the finest cloister of the Early Renaissance, one of the loveliest works of Brunellesco, has also been given up to the army of Italy.

Yet it was in those gates which, Brunellesco, as it is said, retiring from the contest, the Opera then gave into his hands, that we shall find the best work of Ghiberti.

In one of the two small rooms which are on each side of the sacristy, having the altar between them, Brunellesco by Cosimo's orders made a well. Here, Vasari tells us later, Donato placed a marble lavatory, on which Andrea Verrocchio also worked; but the Lavabo we find there to-day seems very doubtfully Donatello's.

There was one art in which he surpassed many and even his own self, for, after Brunellesco, he was held to be the most methodical architect of his times, and the one who was best able to arrange and contrive palaces, convents, and houses for human habitation, and who designed them with the greatest judgment, as will be told in the proper place.

Not long afterwards there returned from Rome Lodovico di Gino Capponi, who had bought that chapel in S. Felicita, on the right hand of the entrance into the church, which the Barbadori had formerly caused to be built by Filippo di Ser Brunellesco; and he resolved to have all the vaulting painted, and then to have an altar-piece executed for it, with a rich ornament.

Now Ser Brunellesco, taking to wife a most excellent young woman from the noble family of the Spini, received, as part payment of her dowry, a house wherein he and his sons dwelt to the day of their death. This house stands opposite to one side of S. Michele Berteldi, in a close past the Piazza degli Agli.

It was, however, not for the Benedictines but for the Augustinians that Cosimo rebuilt the place, giving them, indeed, one of the most beautiful convents in Italy, and one of the loveliest churches too, a great nave with a transept under a circular vaulting, while the façade is part really of the earlier building, older it may be than S. Miniato or the Baptistery itself, as we now see it; and there the pupils of Desiderio da Settignano have worked and Giovanni di S. Giovanni has painted, while Brunellesco is said to have designed the lectern in the sacristy.

In the same church, below the tramezzo, and beside the scene painted by Taddeo Gaddi, he made a Crucifix of wood with extraordinary care; and when he had finished this, thinking that he had made a very rare work, he showed it to Filippo di Ser Brunellesco, who was very much his friend, wishing to have his opinion.

Something of the eager, restless desire for beauty, for antique beauty, so characteristic of the fifteenth century for the security and strength of just that, may be found in S. Lorenzo and S. Spirito, those two churches which we owe to the genius of Brunellesco, and in them we seem to find the negation, as it were, of the puritan spirit, of all that the Convent of S. Marco had come to mean: as though when, one day at dawn, the peasants ploughing in some little valley in the hills, had come upon the gleaming white body of the witch Venus, in burning the precious statue which had lain so long in the earth, they had not been able altogether to destroy the spirit, free at last, which in the cool twilight had escaped them to wander about the city.

It is said that there was in Florence a man of very good repute, most praiseworthy in his way of life and active in his business, whose name was Ser Brunellesco di Lippo Lapi, who had had a grandfather called Cambio, who was a learned person and the son of a physician very famous in those times, named Maestro Ventura Bacherini.

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