PHILIPPE BRUNELLESCHI

Perhaps in no other area of the artistic culture of Italy turn to a new understanding has not been to a degree associated with a great master, as in architecture, where the founder of a new direction was Brunelleschi.

Filippo Brunelleschi was born in 1377 in Florence. Monetti so tells about his childhood and early adolescence Brunelleschi:

"As is usual for people wealthy, and as in most cases done in Florence, Filippo, from an early age he studied reading, writing and numeracy, as well as a little Latin. His father was a notary and thought that his son would be the same, because among those who did not want to become a doctor or a lawyer or a priest, there is little in that time, studied Latin, or who are forced to teach her.

Filippo was a very obedient, diligent, timid and shamefaced, and that he served for the benefit of more than a threat - at the same time, he was ambitious when it was necessary to achieve that either. From the earliest years he showed interest in drawing and painting and was very successful.

When his father decided, according to tradition, taught his craft, Filippo chose jewelry, and my father, being a reasonable, agreed with this.

Through its paining Filippo soon became a professional jewelry and crafts, surprisingly all very successful. In black and smalt, and in relief on stone, and in carving, cutting and polishing precious stones in a short time he became a great master, and so was the whole, for which he took, and in the arts and in any other, he sought Success is much more than seemed possible in his age. "

In 1398 Brunelleschi entered in the "Arte della set and became the goldsmith. In this workshop, a manufacturer of silk fabrics, pryali as gold and silver threads. However, entry to the shop has not yet been granted the certificate, he received his only six years later, in 1404. Prior to that he was the practice in the studio of famous jeweler Linards Duccio di Matteo in Pistoia. Filippo remained in Pistoia to 1401. When announced a competition for the second door Florentine Baptistery, it seems, has lived in Florence, he was twenty-four years.

A trip to Rome, together with Donatello, where both the master studied the monuments of ancient art was crucial to Brunelleschi in the selection of its main case. But his life was connected not only with architecture but with politics. Filippo had a large state, had a house in Florence and land ownership in its vicinity. He was elected to government authorities of the Republic, from 1400 to 1405 - the Council of Del del Popolo or the commune. Then, after thirteen break from 1418 he was elected regularly to the Board of Del Dudzhento and at the same time in one of the "Chambers" - del del Popolo or town, not пропу�кал almost any meeting.

All construction activities Brunelleschi, in the city and beyond, was held on behalf of or with the approval of the commune of Florence. According to Philip, and projects under his leadership has been built a system of fortifications in the conquered cities of the Republic, on the borders of subordinate or-controlled territories. The large fortification works were in Pistoia, Lucca, Pisa, Livorno, Rimini, Siena, and in the vicinity of these cities. Florence was surrounded by a wide ring of fortresses. Brunelleschi strengthened Bank Arnault was building bridges. It is included in the complex relations with the Duke of Milan. In the brief intervals of truce sent in Milan, Mantua, Ferrara - probably not only in connection with his professional responsibilities, but also from a diplomatic mission.

Photo — «Philippe Brunelleschi»

If, before the competition to build the cathedral dome of Santa Maria del Fore Brunelleschi was "private" person, freedom of choice of employment and entertainment, but now it became a public man, whose life was set out on the clock. He worked on several sites, led by large groups of masters and workers. In parallel with the construction of a cathedral in the same 1419 Brunelleschi began to create a set of teaching at home.

In fact, Brunelleschi was the chief architect of Florence, and he almost did not build for private individuals, mainly served the government or public order. In one of the documents Florentine Signoria, which dates from the year 1421, it is called: ′: husband discriminating mind, a gifted amazing skill and ingenuity: ".

The dome of the Cathedral of Santa Maria del Fore - most of the major early works of Brunelleschi in Florence. The construction of the dome above the altar of the basilica, which was initiated by architect Arnolfo di Cambio in 1295 and nearly completed in 1367 by architects Giotto, Andrea Pisano, Francesco Talenti, for medieval building techniques Italy has proved a daunting task. She was allowed only a master of the Renaissance, an innovator in the person of which harmoniously combine the architect, engineer, artist, scientist and inventor theorist.

Before we begin the work, draw a plan of Brunelleschi dome in full size. He used to this shelf next to the Arno in Florence. The official start of construction work was observed 7 Aug, 1420 Commemorative breakfast. For spiral stairs to the drum of the cathedral was raised food: cask of red wine for the workers and craftsmen, white trebbiano fyaska for executives and basket with bread and melons.

From October this year, Brunelleschi and Giberti received salaries, however, very modest, because we believe that they carry out only a general guide and are not required to visit the construction site regularly.

The difficulty of building a dome was not only in blocking the passage of the huge size (diameter at the base of the dome is about 42 meters), but also the need to build it without a forest on a high octagonal drum with a relatively small thickness of the walls. Brunelleschi, therefore, all efforts were aimed at facilitating the maximum weight of the dome and the reduction of stresses acting on the walls of the drum. Facilitating the weight set has been achieved device hollow dome with two shells, of which a large load is lower, but more subtle top - protective. Rigidity of frame design provides a system based on eight of the main bearing ribs located on the eight corners of octahedral and related surrounding their stone rings. It′s the biggest innovation of the construction technology revival was completed to characterize the Gothic reception - giving a set of lancet shape.

Alberti feel the artist to understand and appreciate this audacious idea, saying that Filippo "erected a huge building on the heavens", ie, above the heavens. That was the idea of Filippo, for which he was hitting his last day before - to create a second, man-sky, "unheard of and unprecedented, a huge celestial construction, the request as a challenge to the sky and the heavens rival.

Florentine dome really dominate the whole city and its surrounding landscape. The strength is determined not only by his enormous absolute size, not only the elastic strength and at the same time ease the take-off of its forms, but so much broad scale, which solved part of the building, towering over city buildings, - the drum, with its enormous round windows and covered the red tile the brink of a set of sharing their powerful edges.

Photo — «Philippe Brunelleschi»

The simplicity of its forms, and large scale contrast highlighted the relatively shallow-segmented forms crowning lantern.

The new image of majestic dome of the monument, erected to the glory of the city, embodied the idea of the triumph of reason, characteristic of the humanistic aspirations of the era. Thanks to an innovative image content, the important role of urban planning and design excellence Florentine dome was so outstanding architectural works of the era, without which would have been unthinkable not Michelangelo′s dome over the cathedral of St. Peter the Roman, nor go back to it numerous dome churches in Italy and other European countries.

Related parts of the mediaeval cathedral, Brunelleschi in his dome, of course, could not achieve full conformity with the style of old and new forms. So first the architectural style of the early Renaissance was the Educational Home in Florence.

The plan of the building, which is solved in the form of obstroennogo around the perimeter of a large square courtyard, framed with light arched porticos, used techniques that go back to the architecture of medieval houses and monasteries with their protection from the sun cozy courtyards. However, the entire system Brunelleschi space surrounding the center of the composition - the inner courtyard - has become more structured, regular. The most important new quality in the spatial composition of buildings has been the principle of "open plan" which includes such elements entourage of street transportation, entrance courtyard, connected system of entrances and stairs with all major facilities. These characteristics were reflected in his appearance. The facade of the building, dissected into two unequal height floors, in contrast to the medieval buildings of this type, provided exceptional simplicity and clarity of the proportional system.

Developed in the juvenile home tectonic principles, which express the identity of traditional order thinking Brunelleschi, have been further developed in the old sakristii (sacristy) Church of San Lorenzo in Florence (1421-1428). The interior of the old sakristii - the first example of Renaissance architecture tsentricheskoy spatial composition, and of reviving the system of the dome, which covers the square in the room. The interior of the sakristii is more simple and clear: on the proportions of a cubic room blocked ribbed dome on the sails and podpruzhnyh four arches, supported by a full entablature Corinthian pilasters. Darker in color pilasters, arhivolty, arches, domes herd and ribs, as well as binders and the frame elements (circular medallions platband windows, niches) painted their shape on a light background plastered walls. This combination warrants, arches and vaults of the bearing surfaces of the walls creates a feeling of lightness and transparency of architectural forms.

Along with rebuilding the church of San Lorenzo Brunelleschi worked on construction sites less responsible - in the chapel in the church of Santa Barbadori Felichita on the other side of the Arno and the Palazzo Barbadori.

In 1429, representatives of Florentine magistrates sent by Brunelleschi Lucca to guide the work related to the siege of the city. After visiting the area Brunelleschi proposed project. Brunelleschi was the idea that, erecting a system of dams on the river Serko and raised in this way, the water level, at the right time to open the floodgates to the water, hlynuv on special channels that flooded the entire area around the city walls, Lucca forced to surrender. The project was implemented by Brunelleschi, but failed, water, hlynuv, flooded not besieged city, and besieging the camp, who had hastily evacuated.

Photo — «Philippe Brunelleschi»

Perhaps Brunelleschi and was not to blame - the Ten not to take it, no complaints. But Florentine Filippo believed responsible for the failure of Lucca campaign, they did not give him passage on the streets. Brunelleschi was in despair. In September 1431 he made a will, probably fearing for their lives. It is believed that during this time he went to Rome to escape the shame and persecution.

But this did not prevent Filippo three years later, again to join the battle without fear of risk. " In 1434, he defiantly refused to pay a fee to the shop and woodworking masons. It was a challenge to the artist, perceive themselves an independent and creative personality, the principle of functional organization of labor. As a result of the conflict Filippo was in debtor′s prison. The conclusion is not compelled Brunelleschi submission, and will soon shop was forced to concede: Filippo released at the insistence of the Museum Opera del Duomo, as without it they could not continue the construction work. This was the revenge taken by Brunelleschi, after the failure of the siege Lucca.

Filippo felt that he was surrounded by enemies, zavistnikami, traitors, trying to circumvent it, to deceive, obokrast. Was it because in reality, is difficult, but it is so perceived position Filippo, that was his life attitude.

On the mood of Brunelleschi, undoubtedly, influenced by and act of his adopted son - Andrea Cavalcanti Latstsaro called Budzhano. Filippo adopted it in 1417 a five-year child and loved as a mother, brought up, did his student assistant. In 1434 Budzhano fled from the house, took all the money and jewelry. From Florence he went to Naples. What happened is unknown, it is known only that Brunelleschi made his return, forgave, and made her sole heir. As seems to be in breach of the fault was not one Budzhano.

Once in power, Cosimo de Medici very strong to deal with their rivals Albitstsi and all who support them. In the elections to the Council in 1432 Brunelleschi was the first pill. He ceased to take part in elections and to refrain from political activity.

Back in 1430 Brunelleschi began to build chapels Patstsi, where were the further improvement and development of architectural and design techniques sakristii church of San Lorenzo. This chapel, built by order of the family Patstsi as a family chapel and served as a meeting clerics from the Monastery of Santa Croce is one of the best and brightest works of Brunelleschi. It is located in a narrow and long medieval courtyard of the monastery and is a rectangular in the room, stretched across the yard and closing one of its short face sides.

Brunelleschi designed the chapel so that it combines the lateral development of interior space with tsentricheskoy composition, as pointed Facade solution outside the building with the dome of its completion. Key elements of an interior space divided into two mutually perpendicular axes, resulting in a balanced system of a building with a dome in the center on the sails and the three unequal to the width of the branches of the cross on its sides. The absence of the fourth offset by a portico, the middle part of which is allocated to a flat dome.

Interior chapel Patstsi - one of the most characteristic and perfect specimens of a warrant application to the art of wall that is characteristic of the early Italian Renaissance architecture. With the help of a warrant pilasters architects to break the wall of the bearing, and certainly part by identifying existing efforts at her camera overlap and give the necessary scale of construction and rhythm.

Photo — «Philippe Brunelleschi»

Brunelleschi was the first person that was able to truly show the load-bearing function of the wall and conventionality order forms.

In 1436 Brunelleschi began working on the project Basilica San Spiritus. The basilica has a unique plan: nefy side with the surrounding semi-chapel form a single continuous series of equal cells, obhodyaschy church along the perimeter, with the exception of the western facade. This building chapels in the form of semicircular niches is a significant positive value: fold the wall could be extremely thin and at the same time, well perceived disposition codes sailing side nefov.

The last religious building of Brunelleschi, which has been a synthesis of all his innovative techniques have been Oratorio (Chapel), Santa Maria degli Angeli in Florence (founded in 1434). Building this has not been completed.

The role of Brunelleschi in the creation of a new type of urban palace extremely complicated so that the only product of its kind for which the author masters evidenced documented, remains unfinished and badly damaged the Palazzo di Parte Gvelfa. But there Brunelleschi quite clearly has been a trailblazer, breaking with the medieval tradition is much stronger than most of his contemporaries and successors. The proportions of the building, its chleneniya and shape are determined by a system of classical order, which is the most remarkable feature of this building, representing the earliest example of the use of warrants in the composition of urban Renaissance palazzo.

In Florence remained a number of products that detect, if not directly involved Brunelleschi, is in any case, his direct influence. These include Patstsi palazzo, the Palazzo Pitti and the Badia (abbey) in Fiesole.

None of the initiated Filippo large construction was not finished them, for all he′s been busy, all led at one time, not only in Florence. In parallel, it has built in Pisa, Pistoia, Prato - in these cities have traveled regularly, sometimes several times a year. In Siena, Lucca, Volterra, Livorno, and in its vicinity, in San Giovanni Val d′Arno he led fortification work. Brunelleschi met at various boards, commissions, provide advice on issues related to architecture, construction and engineering business, he has been invited to Milan in connection with construction of the cathedral, asking his advice on the strengthening of the castle of Milan. He traveled as a consultant in Ferrara, Rimini, Mantua, had expertise in Carrara marble.

Brunelleschi very accurately described the situation in which he had to work throughout their lives. He served the orders municipality, the money came from public coffers. Therefore, the work of Brunelleschi, at all its stages controlled various kinds of commissions and appointed by the municipality officials. Each of his proposal, every model, every new phase of construction has been verified. His time and again been forced to participate in competitions, have been approved by the jury, as a rule, not so much from the professionals how many of the distinguished citizens who often could not understand the substance of the issue and kept the discussions of his political and private scores.

Brunelleschi had to deal with new forms of bureaucracy, established in the Republic of Florence. His conflict - this is not a new conflict with the remnants of an old man medieval device, but the conflict of rights the new time with new forms of social organization.

Brunelleschi died on April 16, 1446. He was buried in Santa Maria del Fore.