DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61902#0179
THE MAKERS OF FLORENCE.
159
the simple-minded, vehement sculptor. When he was
dying some of his relations sought him out for apparently
the first time in their lives, for he had another little podere
of his own somewhere to bequeath, which was worth look-
ing after. But the generous old craftsman was not a fool.
He told them that a single visit paid to a relation in so
many years was a poor price for a piece of property, and
that the figuerolo who had labored the soil for years had
done much more to deserve it than they had; then “cour-
teously dismissing them,’"’ he left the land to his laborer
who had done the work of it—a piece of even-handed jus-
tice entirely in Donatello’s way.
The architect, whose works were of a more imposing kind
than those of his friend, came to high fortune in Florence.
Brunelleschi was not the kind of man who would hang up
his fortune in a basket for every comrade to take his will
of. He was drawn for the magistratura, and held office,
the highest honor of citizenship, although indeed the time
was come, or nearly so, when the great offices of the state
became the easy possession of the party of the Medici.
Filippo, like most other artists, was for Cosimo, and was
consulted and employed continually by that cunning and
liberal patron of the arts, for whom he worked at San
Lorenzo and other places, making many designs, which,
however, were only partially carried out. Among others
Brunelleschi, “putting aside every other thought,” em-
ployed himself in designing “ a most beautiful and great
model for a palace,” which it was the desire of the wealthy
Medici to build. “ And while he worked at this model it
was Filippo’s wont to give thanks to fate for giving him
the occasion of building a house, which he had for years
desired to do, and for one who had both the means and the
will to carry out his design.” The architect, however, in
this reckoned without his patron, for the design into which
lie threw himself with such enthusiasm appeared to Cosimo
159
the simple-minded, vehement sculptor. When he was
dying some of his relations sought him out for apparently
the first time in their lives, for he had another little podere
of his own somewhere to bequeath, which was worth look-
ing after. But the generous old craftsman was not a fool.
He told them that a single visit paid to a relation in so
many years was a poor price for a piece of property, and
that the figuerolo who had labored the soil for years had
done much more to deserve it than they had; then “cour-
teously dismissing them,’"’ he left the land to his laborer
who had done the work of it—a piece of even-handed jus-
tice entirely in Donatello’s way.
The architect, whose works were of a more imposing kind
than those of his friend, came to high fortune in Florence.
Brunelleschi was not the kind of man who would hang up
his fortune in a basket for every comrade to take his will
of. He was drawn for the magistratura, and held office,
the highest honor of citizenship, although indeed the time
was come, or nearly so, when the great offices of the state
became the easy possession of the party of the Medici.
Filippo, like most other artists, was for Cosimo, and was
consulted and employed continually by that cunning and
liberal patron of the arts, for whom he worked at San
Lorenzo and other places, making many designs, which,
however, were only partially carried out. Among others
Brunelleschi, “putting aside every other thought,” em-
ployed himself in designing “ a most beautiful and great
model for a palace,” which it was the desire of the wealthy
Medici to build. “ And while he worked at this model it
was Filippo’s wont to give thanks to fate for giving him
the occasion of building a house, which he had for years
desired to do, and for one who had both the means and the
will to carry out his design.” The architect, however, in
this reckoned without his patron, for the design into which
lie threw himself with such enthusiasm appeared to Cosimo