presenting God the Father, placed near the convex side of the basin, and surrounded by other angels similar to those already described; all arranged by the help of irons in such a manner, that the circle representing heaven, the group of angels, the figure of God the Father, the mandorla with its infinitude of light, and the exquisite accords of soft music, did truly represent paradise. Then to all this was added, that Filippo, for the purpose of permitting the heaven to open and shut, had caused two large folding-doors, each five braccia high, to be constructed, and had provided them with iron or copper rollers, running in groves beneath, and these last were well oiled, so that when a slender cord placed on each side was drawn by a little windlass, the doors opened or shut as was desired; the two folds gradually retiring from or closing towards each other by means of the channels beneath as aforesaid. These doors, thus constructed, served a double purpose, the one that when they were moved their weight caused them to produce a sound resembling thunder, the other, that when closed they formed a stage whereon to arrange and make ready the angels, and prepare many other things which it was necessary to do out of sight. This machinery then, constructed as has been described, was invented by Filippo, with many other engines of various kinds, although there are those who affirm that they had been invented long before. However this may be, it was proper to speak of them, seeing that they are altogether gone out of use.[1]
But we will now return to Filippo, whose name and renown had increased to such an extent that he was sent for from distant places by whomsoever proposed to erect important fabrics, all desiring to have their designs and models from the hand of so great a master, insomuch that powerful means were used, and much friendship displayed, for that purpose.[2]
- ↑ The custom was restored at the marriage of the Prince Francesco, when a representation of the character here described took place in Santo Spirito, an edifice affording ample space, and where the spectacle was exhibited with a more magnificent apparatus. — Masselli.
- ↑ Bocchi, Bellezze di Firenze, p. 506, relates, that Pope Eugenius IV having requested an architect from Cosimo de’ Medici, for certain works which he desired to execute, the latter sent him Brunellesco, accoflapanied by a letter written with his own hand, wherein he says, “I send your Holiness a man of such immense capacity that he would have confidence enough to turn the world back on its axis.” Having read the
