Author Tracey E. Fern climbed the 463 steps to the top of the Duomo in Florence, Italy. She “wondered how such an enormous structure could have been built in the fifteenth century.”
Researching the Duomo, she found Filippo Brunelleschi. She wrote Pippo The Fool, about how Filippo, considered a fool, constructed a masterpiece.
The Cathedral of Santa Maria del Fiore/The Duomo
Filippo, an architect without formal training, entered a competition that changed his life and that of the city of Florence forever. In 1418, the Florence wool merchant’s guild decided to solve a problem. The Duomo’s construction begun in 1296, had never been finished. No one knew how to construct a dome without buttresses and Gothic arches for support. In Florence, both were thought to be undesirable. The existing walls also required an octagonal shape. How could a stable eight-sided dome be built?
Filippo Brunelleschi
The guild held a competition for architects with the winner building the dome. Filippo Brunelleschi’s idea seemed the most promising. He designed an interior and an exterior dome. With this design, expensive wooden scaffolds would not be needed. But Filippo would not tell anyone how he would construct the dome. He thought his idea would be stolen. Filippo seemed both stubborn and foolish — Pippo the Fool.
The people in charge of the project hired Filippo. But they required that well-known architect, Lorenzo Ghiberti, to work on the project with him. Lorenzo had lost to Filippo in the competition. Now Filippo was forced to work with Lorenzo.
It was Filippo, without any help from Lorenzo, who constructed the dome. He invented complex machines that lifted heavy sandstone beams and over four million bricks above the Cathedral. These machines were unique. According to National Geographic, “…they weren’t rivaled until the industrial revolution.”
Filippo designed the dome’s brickwork in a herringbone pattern. This added stability. And his design used a lighter interior and exterior two-dome design. This worked where a heavier single-dome design might have failed.
Completed in sixteen years, the dome is a testament to the genius of Filippo Brunelleschi.
If you like this post, then please consider sharing it and leaving a comment below. Thank you! Barbara Lowell, Children’s Author
Vinnie Ream, eighteen-years-old, was the first woman and the youngest person, to receive a commission from the United States government to sculpt a statue. She won the commission over many talented male sculptors. But why?
As a young girl, Vinnie Ream learned to paint and draw from members of the Winnebago tribe, in Madison, Wisconsin where she lived. In 1861, her family moved to Washington, D.C. To help support her family during the Civil War, fourteen-year-old Vinnie worked as a clerk for the U.S. Post Office, the first woman to do so. Vinnie also volunteered in local hospitals helping wounded soldiers to write letters home.
Vinnie Ream
Through a congressman, Vinnie met sculptor Clark Mills, a renowned artist at the time. At his studio, she watched him work and felt that she too could sculpt. Vinnie worked with clay for a few hours and made a medallion of an Indian chief’s head. Impressed by Vinnie’s ability, Mills invited her to be his apprentice.
Soon, she sculpted busts of members of Congress who became her friends. They asked her to produce a marble bust. Vinnie chose President Abraham Lincoln as her subject. The president rejected the idea at first. But after learning that Vinnie was a westerner and was not well-off financially, he agreed. It is said that Vinnie worked on her bust of Lincoln in his office over a five month period.
Vinnie Ream’s Bust of Abraham Lincoln
After Lincoln’s assassination in April 1865, Congress decided to pay tribute to him with a full-size statue to be placed in the U.S. Capitol rotunda. Impressed by the life-like appearance of her bust of Lincoln, Vinnie was awarded the $10,000 commission and was provided a studio in the basement of the Capitol. To make the correct measurements, she was given the clothing that Lincoln wore the night he was assassinated.
Unlike other sculptors, Vinnie opened her to studio to the public. Visitors watched tiny Vinnie stand on scaffolding to sculpt the tall clay model. Once it was completed, it was cast in plaster and shipped to Rome. Vinnie and her parents traveled there to select marble for the statue. She choose white Carrara marble the type that Michelangelo had used. The statue was then sculpted by Italian stonecutters and unveiled at the U.S. Capitol in January 1871. Vinnie was only twenty-three-years-old.
Vinnie Ream’s Statue of Abrahma Lincoln
“The one great, lasting, all-dominating impression that I have always carried of Lincoln has been that of unfathomable sorrow, and it was this that I tried to put into my statue.” — Vinnie Ream
If you like this post, then please consider sharing it and leaving a comment below. Thank you! Barbara Lowell, Children’s Author
Michelangelo’s David didn’t happen the way you might think. The marble wasn’t a lovely block recently cut from the quarry. And it wasn’t presented to Michelangelo to sculpt into a masterpiece.
Instead, the giant marble block had been worked on before by two sculptors. Both rejected it. They thought it was too imperfect a piece to sculpt into a stable statue. One or both had also damaged the piece. Even the great Leonardo Da Vinci refused to work on it.
For twenty-five years it lay untouched in the Opera del Duomo’s courtyard in Florence. In 1501, Michelangelo was asked to turn the marble into a statue of the biblical figure David. At 26 years old, he was already a master artist and sculptor.
Michelangelo Bounarroti
Michelangelo agreed, believing that he could sculpt David from the rough marble. He worked on the statue privately at his workshop hiding it from view. He chipped away for over two years, often with little sleep, focusing solely on his work. Michelangelo successfully transformed the enormous marble block into a work of art. It stands 17 feet tall.
Florence, Italy
In January 1504, he presented his statue to the board members of the Cathedral of Florence. They had commissioned the statue to be placed along the Cathedral’s roofline with other statues. But when they saw Michelangelo’s David they knew it belonged in a prominent place in Florence — one where everyone could see it. The Piazza deel Signoria, Florence’s seat of government was chosen as the site.
In May 1504, forty men worked for four days to move David the half mile from Michelangelo’s workshop to its new home. A witness wrote:
“It was midnight, May 14th, and the Giant was taken out of the workshop. They even had to tear down the archway, so huge he was. Forty men were pushing the large wooden cart where David stood protected by ropes, sliding it through town on trunks. The Giant eventually got to Signoria Square on June 8th 1504, where it was installed next to the entrance to the Palazzo Vecchio, replacing Donatello’s bronze sculpture of Judith and Holofernes”. — From the Galleria dell’ Accademia (AccademiaGalley) website at:https://accademia.org
The statue of David became a symbol of freedom for the people of Florence. It warned others that Florence would defend itself just as David had defended the Israelites.
David at the Accademia Gallery
In 1873, David was moved into the Galleria dell’ Accademia, or Accademia Gallery, to protect it from additional weathering and damage. It stands there today, a magnificent testament to the genius and skill of its sculptor, Michelangelo Buonarroti.
If you like this post, then please consider sharing it and leaving a comment below. Thank you! Barbara Lowell, Children’s Author
In 234 words, Patricia MacLachlan tells the story of how young Henri Matisse became the master painter of color and light and movement.
Growing up in gray northern France, near the border with Belgium, Henri’s mother Anna Heloise brightened his world withcolor. She painted porcelain plates with scenes of nature. The plates hung on the walls of their house along with vivid red rugs that also covered a dirt floor. And Henri watched the colors of his pigeon’s feathers shimmer — “iridescence” his mother told him.
In The Iridescence of Birds: A Book About Henri Matisse, Patricia MacLachlan draws a child in by using the second person point of view and asking “ if you” questions, until the child knows, that if you had grown up in Henri Matisse’s world, then you would become a painter, too.
The Iridescence of Birds: A Book About Henri Matisse
Back Cover Illustrated by Hadley Hooper
Henri Matisse
Henri Matisse attended law school, passed the bar exam, and with his father’s help found a position as a law clerk — although he did not enjoy practicing law. But everything changed when Henri became ill with appendicitis. While recovering, his mother gave him paints and supplies. It was then that Henri knew he would spend the rest of his life as an artist.
If you like this post, then please consider sharing it and/or leaving a comment below. Thank you! Barbara Lowell, Children’s Author
