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Both dome and architect offer King plenty of rich material. The story of the dome goes back to 1296, when work began on the cathedral, but it was only in 1420, when Brunelleschi won a competition over his bitter rival Lorenzo Ghiberti to design the daunting cupola, that work began in earnest. King weaves an engrossing tale from the political intrigue, personal jealousies, dramatic setbacks, and sheer inventive brilliance that led to the paranoid Filippo, "who was so proud of his inventions and so fearful of plagiarism," finally seeing his dome completed only months before his death. King argues that it was Brunelleschi's improvised brilliance in solving the problem of suspending the enormous cupola in bricks and mortar (painstakingly detailed with precise illustrations) that led him to "succeed in performing an engineering feat whose structural daring was without parallel." He tells a compelling, informed story, ranging from discussions of the construction of the bricks, mortar, and marble that made up the dome, to its subsequent use as a scientific instrument by the Florentine astronomer Paolo Toscanelli. --Jerry Brotton, Amazon.co.uk --This text refers to an out of print or unavailable edition of this title.
There are three things that I particularly like about this book: first, it is an excellent description of the tremendous work invested by literally entire communities to raise a structure like a mediaeval cathedral. Yes, Brunelleschi was the genius behind the dome but it took thousands of workers decades to make his vision a reality. Thinking of the skyscrapers we raise today with the help of modern machines, raising these churches was an incredible achievement.
Second, this book shows how scientific and engineering discoveries are often lost and rediscovered. The Roman methods of building aqueducts, arches and domes (like the Pantheon in Rome) had long been lost and many of their methods are still only vaguely understood. Still, Brunelleschi was able to study these structures (much as his work is studied now), rediscover old methods and invent even better ones to produce his work. This is something seen over and over again in the sciences: a discovery is made and, because it is not understood at the time or the explanation is lost somehow, it is forgotten, only to be rediscovered later.
Third, this book shows how difficult it is to understand some of the amazing achievements of antiquity. Even today, though the dome stands as a monument to his genius, we don't fully understand how Brunelleschi was able to make it work. Engineers and architects still make pilgrimages to Florence in an attempt to understand how this dome was built and remains standing after nearly six centuries. Still, a full understanding eludes us. Part of this is due to Brunelleschi own penchant for secrecy but that doesn't stop it from boggling the mind--how modern technology cannot unravel the mystery of this structure.
Having climbed up into the dome myself, I felt very close to what King described in this book and would recommend it as a must read to anyone who has visited Florence or is thinking of doing so. Even without a visit, however, this slim volume is worth reading for anyone with an interest in science or architecture.
He traveled to Rome and was able to observe the vaulting of the Pantheon. Filippo returned to Florence. He was a life-long batchelor. He took no heed of his dress. He developed theories about perspective.
He became involved in the construction of Santa Maria del Fiore, Florence's cathedral. Models for the dome were sought. People laughed at Filippo's. He had a revolutionary design.
Filippo was given a role in the construction of the cupola. Leon Battista Alberti was one of Filippo's ablest disciples. He wrote a book on architecture.
Filippo worked on a hoist powered by oxen. By 1421 the hoist was ready. Filippo's ox hoist was remarkable. It was both complex and powerful. Certain perils were inherent in its operation. The hoist raised on average fifty loads a day.
The hoist only moved things up and down. A means to move things laterally was required. The wardens selected Filippo's design for a crane. Leonardo Da Vinci later saw Filippo's machines and made sketches of them.
As many as four million bricks were used for the dome. Some were specially made for the project. Filippo also took a personal interest in the quality of the mortar. Mortar was always mixed on the site.
A dome is built on the principle of an arch. Filippo used herringbone bricks. The herringbone pattern was part of Filippo's technique to do away with the need for elaborate centering.
Buildings of large dimensions have always presented moral problems. Observers said the dome was built circle by circle. Domes have always been a conventional symbol of heaven. Filippo was a scholar of Dante.
It is a quick biography of the man responsible for the dome of Santa Maria del Fiore in Florence. There were several fact filled sentences i read to my wife but other than these few it was a quick breeze, painless read to acquire a simple knowledge of the times and tribulations involved in building what is still the large masonary dome in the world(according to the book).
I would have appreciated more diagrams of the dome as the text describes it. More sketches of the equipment and physical maps as the character travels. The word pictures at these points are not sufficent to fully disclose to the Italian-free unknowledgable among the readers what he is talking about.
A mildly interesting book although if i didn't already have an interest in architecture i don't believe it would have particularly stimulated one.
So overall a C+ book, but a rather good choice for a book group for dynamics of the group, not for the material.
thanks for reading this review
richard williams
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