and in Florence, without showing them) to make up his mind finally which of these he would put into execution. Wherefore, having determined to finish the gallery, he made diverse designs, which remained after his death in the Office of Works; but they have since been lost by reason of the negligence of those officials. In our own day, to the end that the whole might be completed, a part of it was made on one of the eight sides, but by the advice of Michelagnolo Buonarroti it was abandoned and not carried further, because it clashed with the original plan. Filippo also made with his own hand a model for the lantern; this was octagonal, with proportions in harmony with those of the cupola, and it turned out very beautiful in invention, variety, and adornment. He made therein the staircase for ascending to the ball, which was something divine, but, since Filippo had stopped up the entrance with a piece of wood let in below, no one save himself knew of this staircase. And although he was praised and had now overcome the envy and the arrogance of many, he could not prevent all the other masters who were in Florence from setting themselves, at the sight of this model, to make other in various fashions, and finally a lady of the house of Gaddi had the courage to compete with the one made by Filippo. But he, meanwhile, kept laughing at their presumption, and when many of his friends told him that he should not show his model to any craftsmen, lest they should learn from it, he would answer that there was but one true model and that the others were of no account. Some of the other masters had used some of the parts of Filippo's model for their own, and Filippo, on seeing these, would say, "The next model that this man makes will be my very own." Filippo's model was infinitely praised by all; only, not seeing therein the staircase for ascending to the ball, they complained that it was defective. The Wardens determined, none the less, to give him the commission for the said work, but on the condition that he should show them the staircase. Whereupon Filippo, removing the small piece of wood that there was at the foot of the model, showed in a pilaster the staircase that is seen at the present day, in the form of a hollow blow-pipe, having on one side a groove with rungs of bronze, whereby one ascends to the top, putting one foot after another. And because he could not live long enough, by reason of his old age, to see the lantern finished, he left orders in his testament that it should be built as it stood in the model and as he had directed in writing; protesting that otherwise the structure would collapse, since it was turned with the quarter-acute arch, so that it was necessary to burden it with this weight in order to make it stronger. He was not able to see this edifice finished before his death, but he raised it to the height of several braccia, and caused almost all the marbles that were going into it to be well wrought and prepared; and the people, on seeing them prepared, were amazed that it should be possible for him to propose to lay so great a weight on that vaulting. It was the opinion of many ingenious men that it would not bear the weight, and it appeared to them great good-fortune that he had carried it so far, and a tempting of Providence to burden it so heavily. Filippo, ever laughing to himself, and having prepared all the machines and all the instruments that were to be used in building it, spent all his time and thought in foreseeing, anticipating, and providing for every detail, even to the point of guarding against the chipping of the dressed marbles as they were drawn up, insomuch that the arches of the tabernacles were built with wooden protections; while for the rest, as it has been said, there were written directions and models.
How beautiful is this building it demonstrates by itself. From the level of the ground to the base of the lantern it is one hundred and fifty-four braccia in height; the body of the lantern is thirty-six braccia; the copper ball, four braccia; the cross, eight braccia; and the whole is two hundred and two braccia. And it can be said with confidence that the ancients never went so high with their buildings, and never exposed themselves to so great a risk as to try to challenge the heavens, even as this structure truly appears to challenge them, seeing that it rises to such a height that the mountains round Florence appear no higher. And it seems, in truth, that the heavens are envious of it, since the lightning keeps on striking it every day. The while that this work was in progress, Filippo made many other buildings, which we will enumerate below in their order.
With his own hand he made the model of the Chapter-house of S. Croce in Florence, a varied and very beautiful work, for the family of the Pazzi; and the model of the house of the Busini, for the habitation of two families; and also the model of the house and loggia of the Innocenti, the vaulting of which was executed without framework, a method that is still followed by all in our own day. It is said that Filippo was summoned to Milan in order to make the model of a fortress for Duke Filippo Maria, and that he left this building of the Innocenti in charge of Francesco della Luna, who was very much his friend. This Francesco made an architrave-ornament running downward from above, which is wrong according to the rules of architecture. Wherefore Filippo, on returning, reproved him for having done such a thing, and he answered that he copied it from the Church of S. Giovanni, which is ancient. "There is one sole error," said Filippo, "in that edifice, and thou hast followed it." The model of this building, by the hand of Filippo, was for many years in the hands of the Guild of Por Santa Maria, being held in great account because a part of the fabric was still unfinished; but it is now lost. He made the model of the Abbey of the Canons-Regular of Fiesole, for Cosimo de' Medici, the architecture being ornate, commodious, fanciful, and, in short, truly magnificent. The church is lofty, with the vaulting barrel-shaped, and the sacristy, like all the rest of the monastery, has its proper conveniences. But what is most important and most worthy of consideration is that, having to place that edifice on the downward slope of that mountain and yet on the level, he availed himself of the part below with great judgment, making therein cellars, wash-houses, bread-ovens, stables, kitchens, rooms for storing firewood, and so many other conveniences, that it is not possible to see anything better; and thus he laid the base of the edifice on the level. Wherefore he was afterwards able to make the loggie, the refectory, the infirmary, the noviciate, the dormitory, and the library, with the other principal rooms proper to a monastery, on one plane. All this was carried out by the Magnificent Cosimo de' Medici at his own expense, partly through the piety that he showed in all matters in connection with the Christian faith, and partly through the affection that he bore to Don Timoteo da Verona, a most excellent preacher of that Order, whose conversation he was so anxious to enjoy that he also built many rooms for himself in that monastery and lived there at his own convenience. On this edifice Cosimo spent one hundred thousand crowns, as may be seen in an inscription. Filippo also designed the model for the fortress of Vico Pisano; and he designed the old Citadel of Pisa, and fortified the Ponte a Mare, and also gave the design for the new Citadel, closing the bridge with the two towers. In like manner, he made the model for the fortress of the port of Pesaro. Returning to Milan, he made many designs for the Duke, and some for the masters of the Duomo of that city.
The Church of S. Lorenzo had been begun in Florence at this time by order of the people of that quarter, who had made the Prior superintendent of that building. This person made profession of much knowledge in architecture, and was ever amusing himself therewith by way of pastime. And they had already begun the building by making piers of brick, when Giovanni di Bicci de' Medici, who had promised the people of that quarter and the Prior to have the sacristy and a chapel made at his own expense, invited Filippo one morning to dine with him, and after much discourse asked him what he thought of the beginning of S. Lorenzo. Filippo was constrained by the entreaties of Giovanni to say what he thought, and being compelled to speak the truth, he criticized it in many respects, as something designed by a person who had perchance more learning than experience of buildings of that sort. Whereupon Giovanni asked Filippo if something better and more beautiful could be made: to which Filippo replied, "Without a doubt, and I marvel that you, being the chief in the enterprise, do not devote a few thousand crowns to building a body of a church with all its parts worthy of the place and of so many noble owners of tombs, who, seeing it begun, will proceed with their chapels to the best of their power; above all, because there remains no memorial of us save walls, which bear testimony for hundreds and thousands of years to those who built them." Giovanni, encouraged by the words of Filippo, determined to build the sacristy and the principal chapel, together with the whole body of the church, although only seven families were willing to co-operate, since the others had not the means: these seven were the Rondinelli, Ginori, Dalla Stufa, Neroni, Ciai, Marignolli, Martelli, and Marco di Luca, and these chapels were to be made in the cross. The sacristy was the first part to be undertaken, and afterwards the church, little by little. The other chapels along the length of the church came
