each of its sides: since not only would this take the weight off the piers of the tribune, but would also permit the cupola itself to be more easily raised. Models after which the work might be executed were prepared in this manner accordingly.[1] Some months after Filippo’s return, and when he had recovered his health, he was one morning on the Piazza di Santa Maria del Fiore with Donato and other artists, when the conversation turned on the antiquity of works in sculpture. . Donato related, that when he was returning from Rome he had taken the road of Orvieto,[2] to see the marble façade of the Duomo in that city—a work highly celebrated, executed by the hands of various masters, and considered in those days a very remarkable thing. He added, that when afterwards passing by Cortona, he had there seen in the capitular church a most beautiful antique vase in marble, adorned with sculptures—a very rare circumstance at that time, since the large numbers of beautiful relics brought to light in our days had not then been disinterred. Donato proceeding to describe the manner in which the artist had treated this work, with the delicacy he had remarked in it, and the excellence, nay perfection, of the workmanship, Filippo became inflamed with such an ardent desire to see it, that, impelled by the force of his love to art, he set off, as he was, in his mantle, his hood, and his wooden shoes, without saying where he was going, and went on foot to Cortona for that purpose. Having seen the vase[3] and being pleased with it, he drew a copy of it with his pen, and returned therewith to Florence, before Donato or any other person had perceived that he had departed, all believing that he must be occupied in drawing or inventing something. Having got back to Florence, Filippo
- ↑ At one of these models for the Cupola, Donatello and Nanni d’Antonio di Banco worked, in company with Brunellesco. — Ed. Flor. 1848 -9.
- ↑ We know, moreover, that he worked in that city, a decree of the Superintendents of works at the Cathedral of Orvieto being still extant, whereby Donato is commissioned to prepare a statue of St. John the Baptist, either of gilded copper, or cast in bronze, and which was to be placed on the baptismal font. See Della Vaqlle, Storia del Duomo d'Orvieto, p. 299.
- ↑ This urn, or sarcophagus, is still in the cathedral of Cortona. The sculptures represent the battle of the Centaurs and the Lapithse, or perhaps a warlike expedition of Bacchus. It is in truth an exquisite work, and is said to have been found in a field without the city, and almost close to the cathedral.
