DOI Page / Citation link:
https://doi.org/10.11588/diglit.61668#0046
22
POLLAIUOLO
tect and engineer is known, for in 1491 he is mentioned
as having furnished a design or model for the facade of
S. Maria del Fiore.* In 1467 and again in 1468 he was
among those consulted as to the metal ball which was to
crown the lantern of Brunellesco’s cupola (Doc. XIII.
p. 263). The document recording this deliberation is
of interest as a picture of such assemblies, and the care
bestowed on the minutest detail of the public works.
The list of “ the venerable citizens and most prudent,
excellent, and intelligent Masters ” met together to
decide whether the ball should be of cast or of hammered
metal, includes such names as those of Lorenzo de’
Medici, Matteo Palmieri, and Buonaccorso Pitti, among
the citizens, and of Luca della Robbia, Antonio
Pollaiuolo, and Verrocchio, among the Masters.
The few facts known of the life of Piero may be
briefly summed up, in order that an idea of his position
among his contemporaries may be obtained. The date
of his birth is uncertain, and as in the case of Antonio we
have to choose the most probable from those given in
“ Giardino di Roma” by Falda, Tavola iv. Taja and Chattard
writing 1750-1762, ascribe the architecture to Antonio, but this is
probably copied from Vasari. The Villa was almost completely
destroyed by Pio VI. in constructing the Museo Chiaramonti.
* Cavalcaselle,“Storia della Pittura,” Firenze,1894, vi. p. 95. J'he
name of Antonio is mentioned among the competitors who were
absent at the exhibition of the drawings and models. Burckhardt
asserts that the cupola of the Sacristy of S. Spirito was erected
from Antonio's design (,c Cicerone,” p. 128), but there seems to be
no foundation for the statement.
POLLAIUOLO
tect and engineer is known, for in 1491 he is mentioned
as having furnished a design or model for the facade of
S. Maria del Fiore.* In 1467 and again in 1468 he was
among those consulted as to the metal ball which was to
crown the lantern of Brunellesco’s cupola (Doc. XIII.
p. 263). The document recording this deliberation is
of interest as a picture of such assemblies, and the care
bestowed on the minutest detail of the public works.
The list of “ the venerable citizens and most prudent,
excellent, and intelligent Masters ” met together to
decide whether the ball should be of cast or of hammered
metal, includes such names as those of Lorenzo de’
Medici, Matteo Palmieri, and Buonaccorso Pitti, among
the citizens, and of Luca della Robbia, Antonio
Pollaiuolo, and Verrocchio, among the Masters.
The few facts known of the life of Piero may be
briefly summed up, in order that an idea of his position
among his contemporaries may be obtained. The date
of his birth is uncertain, and as in the case of Antonio we
have to choose the most probable from those given in
“ Giardino di Roma” by Falda, Tavola iv. Taja and Chattard
writing 1750-1762, ascribe the architecture to Antonio, but this is
probably copied from Vasari. The Villa was almost completely
destroyed by Pio VI. in constructing the Museo Chiaramonti.
* Cavalcaselle,“Storia della Pittura,” Firenze,1894, vi. p. 95. J'he
name of Antonio is mentioned among the competitors who were
absent at the exhibition of the drawings and models. Burckhardt
asserts that the cupola of the Sacristy of S. Spirito was erected
from Antonio's design (,c Cicerone,” p. 128), but there seems to be
no foundation for the statement.