showed the drawing of the vase, which he had executed with much patience, to Donato, who was not a little astonished at this evidence of the loye Filippo bore to art. The latter then remained several months in Florence, secretly preparing models and machines, all intended for the erection of the Cupola, amusing himself meanwhile with perpetually bantering his brother-artists; for it was at this time that he made the jest of “the Grasso and Matteo.”[1] He frequently went also for his amusement to assist Lorenzo Ghiberti in finishing 4 certain parts of the doors. But one morning the fancy took him, hearing that there was some talk of providing engineers for the construction of the Cupola, of returning to Borne, thinking that he would have more reputation and be more sought from abroad, than if he remained in Florence. When Filippo had returned to Borne accordingly, the acuteness of his genius and his readiness of resource were taken into consideration, when it was remembered that in his discourses he showed a confidence and courage that had not been found in any of the other architects, who stood confounded, together with the builders, having lost all power of proceeding; for they were convinced that no method of constructing the Cupola would ever be found, nor any beams that would make a scaffold strong enough to support the framework and weight of so vast an edifice. The Superintendents were therefore resolved to have an end of the matter, and wrote to Filippo in Borne, entreating him to repair to Florence, when he, who desired nothing better, returned very readily. The wardens of Santa Maria del Fiore and the syndics of the Guild of Woolworkers, having assembled on his arrival, set before him all the difficulties, from the greatest to the smallest, which had been made by the masters, who were present, together with himself, at the audience: whereupon Filippo replied in these words — “Gentlemen Superintendents, there is no doubt that great undertakings
- ↑ This jest gave occasion to a story called “The fat Carpenter”, and has been lately published by Moreni, from a manuscript in the Magliabechiana Library. The writer is unknown; but, in a note at the end of the manuscript, we are assured that it was gathered after the death of Brunellesco, from those who had heard him relate it, as, for example, Michellozzo, Luca della llobbia, and others. Moreni supposes, with reason, that while the artists cited may have concurred to narrate the circumstances, yet that FeoBolcari, as being better versed in letters than they, was the person who wrote the story. — Ed. Flor. 1849.
