Malatesta with elephants

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Matteo de Pasti for Sigismondo Malatesta. The year 1446 is clear: M CCCC XLVI.
from https://www.numisbids.com/n.php?p=lot&sid=4229&lot=20

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Matteo de Pasti for Sigismondo Malatesta. The year 1446 is clear: M CCCC XLVI
from https://coinsweekly.com/sigismondo-mala ... of-rimini/
One can detect an IS below the elephant, which belongs to the mistress Isotta degli Atti.
https://en.wikipedia.org/wiki/Isotta_degli_Atti

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unknown date
from http://pre-gebelin.blogspot.com/2012/08 ... onado.html

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The personal heraldry of Sigismondo Pandolfo Malatesta with IS for Isotta.

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Cardinalvirtue of Strength with broken column 1446 with elephants, Matteo de Pasti for S.P.Malatesta
from https://www.meisterdrucke.de/kunstdruck ... 1446..html

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The same medal (fortitude) with front side

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This is a medal of Pisanello (Pisani), also made for S.P.Malatesta and also with elephant helmet. As there is also the IS sign at the shield, it's probable, that this production happened not before 1446, as the relation to Isotta degli Atti started in the year 1446.

.... both pictures are from https://bmmweb.blob.core.windows.net/kr ... ations.pdf


A larger picture from Wikimedia ...
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I already pointed to this ...
... but I assume, that none of the pictures refers to objects before 1446
Huck
http://trionfi.com

Re: What are the documents for Marziano's dates?

562
We've really wandered far from Marziano's dates in this thread. But the search function works well, everything can be mixed if you put unique or rare keywords in your posts.

Huck, you can find out everything that you need to know about Matteo and Pisanello and the situation of 1438-1441 in the papers of Filippo Dompieri I cited a couple of days ago, especially the section I posted in this post viewtopic.php?p=25633#p25633 (despite its confusing English; Dompieri has similar information his Italian book on Matteo here https://www.academia.edu/26739522/Matte ... architetto, pages 30-31)

Re: What are the documents for Marziano's dates?

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Ross wrote (at viewtopic.php?p=25625#p25625)
The redesigned San Francesco - "Tempio Malatestiano" - is Alberti's first known architectural project, although he is not known to have ever visited the site, instead directing Matteo from Rome. Alberti and Sigismondo met at least as early as the 1430s in Florence. Possibly Filippo Brunelleschi recommended his friend Alberti to Sigismondo, since Sigismondo consulted with Brunelleschi from 1436 onward when constructing the Castelsismondo in Rimini.
Since Brunelleschi's whereabouts 1436-1440 are of interest, I want to transcribe note 114, p. 141 of Howard Saalman's notes to The Life of Brunelleschi by Antonio di Tucchio Manetti (English translation, 1970), and related information. I hope I am not repeating what has already been posted; I made a word-search, but there is a lot in various threads about both:
The author of the Huomini Singularii, probably also Manetti (cf. n. 21 to Introduction), reports that Brunelleschi built a fortress for "gismondo di rimino" (Sigismondo Malatesta). This report is confirmed by a document of 1438 in which Brunelleschi was given leave by the cathedral operai to go to Rimini (Fabriczy 1907, pp. 28 f.). In 1427 he was invited to go to Volterra to give his opinion concerning reparations to the varilt of the thirteenth-century baptistery there; there is no evidence that he followed the invitation, however (cf. Fabriczy, ibid.). In 1432 Brunelleschi had leave to go to Ferrara and Mantua for a month and a half to give the princes of these towns the benefit of his advice (Guasti, Cupola, Doc. 102). In 1436 he got another twenty days leave to go to Mantua (Doc. 103). Manetti learned of these trips either from the opera documents or from Brunelleschi himself.
Fabriczy, 1907 is C. v. Fabriczy, "Brunelleschiana," Jahrbuch der koeniglich-preuszischen Kunstsammlungen, XXVIII, 1907, Beiheft, pp. 1f.

Guasti, Cupola, is C. Guasti, La cupola di Santa Maria del Fiore, Florence, 1857.

On pp. 17-18 of the Introduction, Saalman writes
The Biblioteca Nazionale codex G. 2. 1501, which contains, among others, a treatise on the stars and planets, a biography of Charlemagne by Donato Acciaiuoli emphasizing Charlemagne's reputed role in the more or less mythical reconstruction of Florence in the ninth century, and an Italian version of Filippo Villani's De civitatis Florentiae famous civibus to [start p. 18] which is appended the Huomini Singhularii in Firenze dal MCCCC innanzi, with short accounts concerning thirteen literary, theological, and artistic personalities of the fifteenth century including, most prominently, a brief Vita of Brunelleschi.(21)
________________
21.The Huomini Singhularii has been discussed by Peter Murray in the Burlington Magazine XCIX, 1957, pp. 330 f. He concluded that the Huomini is probably by Manetti, but that the Vita is not. I see no reason why both may not be by Manetti.
Peter Murray's article "Art Historians and Art Critics- XIV Uomini Singhularii" is in JSTOR, which includes the original and an English translation of the rather short work (with 14 entries, not 13), as well as a photo of the first page, in Manetti's handwriting. The first entry, on Brunelleschi, only talks of his works. Most are in Florence, of course, but he mentions a few outside that city (pp. 335 and 336):
Edificho la forteza o rocha di vicho pisano/ due torri al primo ponte cioe della ciptadella nuova di pisa Edificho uno castello forteza mirabile al signor gismondo di rimino/ . . . [This word is read by Milanesi acconciò; Frey aconco; possibly arco i.e. arrecò] parte della chiesa magiore di milano cio senulla vedibuono [Milanesi, se nulla vi è di buono].

He built the fortress, or Rocca, at Vico Pisano; two towers on the first bridge, that is, on the new citadel at Pisa. He built a castle, an admirable fortress, for Sigismondo [Malatesta], Lord of Rimini. He raised a part of the great church [i.e. Cathedral] at Milan; that is, whatever there is in it which is good.
Last edited by mikeh on 06 Jun 2023, 23:54, edited 2 times in total.

Re: What are the documents for Marziano's dates?

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Thanks for those excerpts from Saalman's Life of Brunelleschi, Mike.

The brief XIV huomini singhulari and Antonio Billi biographical accounts are in Eugenio Battisti, Filippo Brunelleschi, which was translated in 1981 by Robert Erich Wolf, as Filippo Brunelleschi, the Complete Work. It can be borrowed from archive.org here - https://archive.org/details/filippobrunelles0000batt

Here are the pages with the translated mini-biographies and Battisti's chronology. The pages are dark like that. I screen-grabbed them. Click on the links below each image for larger images. If still not large enough, you can borrow the book and zoom in, or screen grab the pages individually.
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http://www.rosscaldwell.com/battisti/englishp328.jpg
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http://www.rosscaldwell.com/battisti/englishp330.jpg
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http://www.rosscaldwell.com/battisti/englishp332.jpg
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http://www.rosscaldwell.com/battisti/englishp334.jpg
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http://www.rosscaldwell.com/battisti/englishp336.jpg

Re: What are the documents for Marziano's dates?

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Thanks, Ross. I was wondering when that work in Milan was done. In what you uploaded, I saw this, in the chronology:
englishp332a.jpg englishp332a.jpg Viewed 2193 times 8.6 KiB
That only says when he was paid, 1428-1430.

In the second life of Brunelleschi, that of the "Libro di Antonio Billi", there is also:
englishp328a.jpg englishp328a.jpg Viewed 2193 times 4.59 KiB
and
englishp328b.jpg englishp328b.jpg Viewed 2193 times 18.46 KiB
I see in the chronology that on 26 January 1427 "B. was paid for the last time at the Innocenti, receiving 10 gold florins, the work begin [sic] taken out of B.'s hands as of 1 May."

He would not have gone to Milan during the hostilities between Milan and Florence, which ended sometime in 1427 (with the Catasto initiated to pay for the war). So he might have been there as early as 1427, returning when is unclear, but by 1430. How long he was there is also unclear, but long enough for the work on the loggia to be completed in his absence.

A superficial look at the history of Milan's cathedral does not give any mention of Brunelleschi. Wikipedia says that :
at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, for lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
(I find the method of adding attachments here very strange. None have been visible in my posts until this one. Were they too big, even when they were less than 400 kb.?)

Re: What are the documents for Marziano's dates?

567
Yes the dating of Brunelleschi's visits to Milan cannot be fixed with certainty. Manetti's begruding mention of one thing at least confirms that it was current knowledge. He either heard it from Brunelleschi himself, or from his associates, like Toscanelli (or many others), who would have known. Manetti was no fan of "this or that prince" (Saalman p. 94) and merely alludes to such visits without details ("he was absent for a time" while Francesco della Luna made the mistakes on the Ospedale design. This appears to have happened after 1436, see below).

Here are some of my notes:

Trips to Milan

No primary documentation of Brunelleschi's trips to Milan or his activity there survives. Nevertheless, all commentators accept that they occurred. Battisti (232-233) suggests that Franchetti's inclusion of Brunelleschi in the Duomo's accounts in “1430 circa” (1821 p. 142) relied on a document in Turin destroyed by a fire in 1906. The indirect testimony comes from his biographers. The earliest is Antonio Manetti, circa 1490, in : “He made a part of the Duomo of Milan; that is, if there is anything good there.” (Acconciò parte della chiesa maggiore di Milano, cioè se nulla v'è di buono).
The next mention is in the Il libro di Antonio Billi, early 16th century, Fecie anchora il modello della casa, et facciata della loggia delli Innocienti, la quale fecie senza armadura: el qual modo fu anchora observato per molti, excepto de uno reggimento (sic, invece di: «ricignimento») fatto per ordine di Franc.o della Luna, che è falso, et fuori architettura; perchè Filippo in detto tempo si trovava a Milano a’ servitii di Filippomaria, duca, per il modello della forteza … Fecie il modello della forteza di Vico Pisano et quella del porto di Pesero, et a Milano assai cose; This episode is undated, but the Ospedale itself dates Francesco's direction of the project from 1436 onward, which would thus place Brunelleschi's second trip to Milan in the late 1430s.

The Codice dell'Anonimo Gaddiano (Magliabechiano), c. 1540, folio 62v: “Fece anchora (il Brunelleschi) il modello delle fortezze di Vicopisano, e il modello della fortezza del Porto di Pesaro, e il modello di una fortezza a Milano, a Filippo Maria Duca.” Cited by Beltrami, Il Castello di Milano [Castrum . Portae . Jovis] sotto il dominio dei Visconti e degli Sforza, MCCCLXVIII MDXXXV (Milano, Hoepli, 1894), p. 35 note 1. Giovanni Battista Gelli, Vite d'artisti fiorentini (1896 35), and then Vasari.

Giorgio Vasari paraphrases Magliabechiano: “Filippo Brunelleschi fu condotto a Milano per fare al Duca Filippo Maria il modello d'una fortezza, [...] a Francesco della Luna, amicissimo suo, lasciò la cura di questa fabbrica degl'Innocenti; il quale Francesco fece il ricignimento d'uno architrave, che corre a basso di sopra, il quale secondo l'architettura è falso: onde tornato Filippo, e sgridatolo perché tal cosa avesse fatto, rispose averlo cavato dal tempio di San Giovanni, che è antico. Disse Filippo: "Un error solo è in quello edifìzio, e tu l'hai messo in opera"”
"Filippo Brunelleschi was conducted to Milan to make for Duke Filippo Maria the model of a fortress, [...] to Francesco della Luna, a very good friend of his, he left the care of this fabbrica degl'Innocenti; which Francesco made the recignimento of an architrave, which runs from the bottom to the top, which according to the principles of architecture is a mistake: whereupon when Filippo returned, and scolding him why such a thing he had done, he answered that he had taken it out of the temple of San Giovanni, which is ancient. Said Filippo, "One sole error is in that building, and you have managed to repeat it.""

Brunelleschi (1377-1446) in Milan “poco dopo il 1421, condotttovi dal Duca Filippo Maria per fare il modello d'una fortezza, e vi ritornava ancora prima del 1438, per disegnarvi molte cose per il duca, e per il duomo di detta città a' maestri di quello (intendasi dare il disegno) – Vasari, Vita di F. Brunelleschi – V. III, p. 225 e 226, Ed. Le Monnier. 1848” (Lauro Pozzi, "Leonardo da Vinci e il disegno del Duomo di Pavia," Bollettino della Società pavese di storia patria, a. III. Fasc. III-IV, 1903, p. 405).

Vasari (1511-1574):
“It is said that Filippo was summoned to Milan in order to make the model of a fortress for Duke Filippo Maria, and that he left this building of the Innocenti in charge of Francesco della Luna, who was very much his friend.
(...)
“Returning to Milan, he made many designs for the Duke, and some for the masters of the Duomo of that city. “
(Adrienne DeAngelis, “Vasari's Lives of the Artists: Filippo Brunelleschi, Part III: Other Buildings by Brunelleschi”
https://web.archive.org/web/20181003175 ... Brun3.html )

Wikipedia for the Spedale degli Innocenti (same place as the records of the Arte della Seta, sponsors of the Ospedale, which contains many records of silk merchants purchasing playing cards for export) says that Francesco della Luna took over the direction of the construction in 1436. https://it.wikipedia.org/wiki/Spedale_degli_Innocenti
(no reference on wikipedia, but unanimous in quick search; see bibliography in “Repertorio delle architetture civili di Firenze” http://www.palazzospinelli.org/architet ... sp?ID=1398
“E' questo opera di Filippo Brunelleschi (seppure in parte snaturata rispetto al progetto iniziale), avviata nel 1419 a spese dell'Arte di Por Santa Maria. Sotto la direzione dell'architetto si costruirono entro il 1427 il portico, i due corpi di fabbrica a esso perpendicolari (a sinistra la chiesa e a destra il dormitorio dei fanciulli) e separati dal cortile d'ingresso (chiostro degli Uomini). Dopo un periodo di interruzione i lavori ripresero nel 1436 sotto la direzione di Francesco della Luna, che inizialmente operò nella zona oltre il dormitorio dei fanciulli. Nel 1439 lo stesso Francesco della Luna, dopo aver già aggiunto al portico di facciata una campata cieca sulla destra, soprelevò con un piano finestrato il portico per ottenere una vasta sala coperta sempre da destinarsi al soggiorno dei fanciulli: così facendo reinterpretò il progetto di Brunelleschi che prevedeva il loggiato coperto da una semplice tettoia a spiovente, ai lati della quale si disponevano i due volumi equivalenti della chiesa e del dormitorio, che superavano in facciata l'altezza del portico e ne sporgevano con tutto il colmo triangolare del tetto.” - this page has an extensive bibliography of which I have only been able to see few items).

February 1437, Francesco della Luna come “primo degli Operai” dell'Ospedale degli Innocenti alloga a Lorenzo di Matteo Marocho l'esecuzione di “xviii cholone tonde cho base echapitellj dj lunghezza in tutto braccia 5 ½ ...”
Richordo a questo dì xviiii di febraio [1437] Francesco della Luna primo degli operai dello Spedale allochò a Lorenzo di Marocho ischalpellatore a fare xviii cholone tonde cho base e chapitelli […] e più debe dare 4 cholonne che vanno in su chanti con base e chapitello (AOIF, Libro di muraglie D, 24/05/1436 – 30/04/1439, inv. 3643, c. 103r)
Apparently ran out of money in 1427; Francesco della Luna named successor of Brunelleschi, but work cannot begin again until 1436.

Brunelleschi's name appears in the records of the Ospedale from 1421 to 1427 (last time). Isabelle Hyman, Brunelleschi in Perspective (compilation), 1974, p. 160.
Manetti's “La novella del Grasso legnaiuolo” mentions that Lo Scheggia (1406-1486) also told the Brunelleschi joke on Grasso story.

Also Felice Fossati Vita p. 196 note lines 44-46: “... Brunelleschi (chiamato a Milano due volte, pare circa il 1422 o '23 e fra il 1431 e il '36, p. 435)” - cites Mongeri, “Il castello di Milano,” ASL 11 (1884), p. 435.
Mongeri cites Sansoni's edition of 1878, with the following note for the second visit (p. 368 note 3): “Della sua andata a Milano non conosciamo nessuna memoria. Ci è noto invece che nell'aprile del 1431 egli ebbe licenza di andare e stare 45 giorni a Ferrara e a Mantova, in servizio di que'principi, rinnovatagli, rispetto a Mantova, per venti giorni nell'aprile del 1436.” (April 1431 trip not noted in Battisti, “Appunti per una biografia,” p. 334, but 20 days in Ferrara and Mantova noted on p. 335; no primary sources given in Mongeri or Battisti to these notices)

See also Stefania Buganza, “Note su Filippo Maria Visconti” in Cengarle, Covini, eds., Il ducato di Filippo Maria Visconti, 1412-1447, economia, politica, cultura, Firenze, 2015, p. 250 and note 10, for the most recent bibliography.

Buganza's footnote:

La notizia di una fortezza milanese progettata da Brunelleschi compare per la prima volta nel Libro di Antonio Billi, datablile al primo Cinquecento (pp. 33-35, 136-137) e viene ripresa in seguito dall'Anonimo Magliabechiano, dal Gelli e dal Vasari (Vasari, Le Vite, III, p. 181), per restare ai testi più antichi. In tutte le fonti si fa esplicito riferimento ad un viaggio dell'architetto. Del disegno della fortezza tace invece la biografia più antica del fiorentino, quella di Antonio Manetti (Vita di Filippo Brunelleschi), di secondo Quattrocento, mentre un altro testo dello stesso Manetti (conservato nel ms. 1501.G.2 della Biblioteca Nazionale di Firenze: Murray, “Art Historians,” p. 335) riporta la notizia di Filippo nella cattedrale di Milano: “Acconciò parte della chiesa maggiore di Milano, cioè se nulla v'è di buono”. Franchetti, Storia e descrizione del Duomo, p. 142, ricorda alla data “1430 circa” Filippo Brunelleschi tra gli ingegneri stipendiati o consultati dalla Fabbrica, ma il nome dell'architetto non compare negli Annali della Fabbrica del Duomo. Un primo tentativo di mettere a fuoco la presenza di Brunelleschi a Milano si trova nella monografia di Battisti, Filippo Brunelleschi, pp. 232-233, 338, 377.

Battisti's discussion on pp. 232-233 suggests that Brunelleschi's work on the Duomo occurred during a peace between Florence and Milan in the years 1428 to 1431.
Battisti's note on page 377 mentions Gaetano Franchetti's Storia e descrizione del Duomo di Milano, Milano, 1908. He mentions Filippo Brunelleschi under the year 1430 on page 142 among the “architetti ed ingegneri stipendiati o consultati dalla veneranda Fabbrica del Duomo di Milano.” In fact Franchetti's book was published in 1821, and the book Battisti is referring to from 1908 is Ettore Verga's L'archivio della Fabbrica del Duomo di Milano, page 21, which according to Battisti suggests that Franchetti's inclusion of Brunelleschi must have relied on records later destroyed in a fire in 1906 at the "Fiera Internazionale di Torino" (year is mentioned on page 232, name of event on page 377). I wonder if Battisti has not confused it with the January 25-26 1904 fire at the Biblioteca Nazionale Universitaria, the same fire that damaged the 15th century cards. However, this date would not explain why Brunelleschi is missing from the edition of the archives of the Fabbrica del Duomo published in the late 19th century.
(Note that Battisti cites Franchetti with the initial “G.” in the text, but in the index of names the initial is “A.” Verga is not mentioned at all. Such mistakes are to be expected in a book of this scope and detail.)

Also in the Codice dell'Anonimo Gaddiano (Magliabechiano), c. 1540, folio 62v: “Fece anchora (il Brunelleschi) il modello delle fortezze di Vicopisano, e il modello della fortezza del Porto di Pesaro, e il modello di una fortezza a Milano, a Filippo Maria Duca.” Cited by Beltrami, Il Castello di Milano [Castrum . Portae . Jovis] sotto il dominio dei Visconti e degli Sforza, MCCCLXVIII MDXXXV (Milano, Hoepli, 1894), p. 35 note 1.

Libro di Antonio Billi – Cornelio de Fabriczy, ed., Il Libro di Antonio Billi, ASI VII (1891), pages 16 and 53
https://www.academia.edu/21680022/Il_Li ... iczy_1891_
Carl Frey, ed., Il Libro di Antonio Billi, Berlin 1892 pp. 34-35
https://www.google.fr/books/edition/Il_ ... frontcover

Peter MURRAY “Art Historians and Art Critics – IV: XIV Uomini singholari in Firenze dal MCCCC innanzi,” The Burlington Magazine, 99, 1957, pp. 330-336.
The text XIV Uomini singholari in Firenze was edited already in 1887 by Gaetano Milanesi, Operette istoriche edite ed inedite di Antonio Manetti, pp. 159-168; see page 163 for Manetti's remark, and Milanesi's note: “Fra coloro che ebbero più o meno parte nella edificazione del Duomo di Milano, non si trova ricordato il nome di Filippo Brunelleschi. Il che farebbe credere che in questo particolare il Manetti abbia preso equivoco.”

Patrick Boucheron, Le pouvoir de bâtir, (1998), p. 203, cites A. Vincenti for the idea that Brunelleschi was responsible for the "garland" (guirlanda) which Filippo Maria built around the castle on the north-west side, the part outside of the city walls. This survived the destruction of 1447 and Sforza's reconstruction, and was only demolished in 1892.
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"A la mort de Gian Galeazzo Visconti, les troubles politiques et la fragilité de ses appuis sociaux amènent le jeune duc Filippo Maria à poursuivre et intensifier les travaux de fortification du Castello. Vasari nous apprend que dans les années 1420, Brunelleschi est appelé par le duc pour dessiner “il modello di una fortezza a Milano.” La renommée du Florentin dans le domaine de l'architecture militaire est alors à son apogée, ce qui fait dire à Filippo Baldinucci “Chi a con sè Brunelleschi non a bisogno di mura.” Sans doute lui demande-t-on le dessin de la guirlanda qui forme une défense avancée du château vers le plat pays (20). Mais la présence de Brunelleschi n'est pas formellement attestée par les documents milanais, ce qui indique sans doute qu'il n'eût pas de responsabilité directe sur le chantier.

"(20) Voir, pour cette hypothèse, A. Vincenti, Castelli Viscontei e Sforzeschi, p. 76, n. 49. Cette défense avancée résista aux destructions de la République Ambrosienne, comme le laisse à penser une notation de Bernardino Corio: “Questo celeberrimo et potentissimo Castello dopo la morte di Filippo Principe terzo di Milano, per l'inclita libertà di questa Città fu roinato infino a fondamenti, sopra de i quali, ecceto le girlande e revellini, fu poi reedificato...” (Storia di Milano). C'est nous qui soulingnons."

Re: What are the documents for Marziano's dates?

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Thanks for assembling all these sources, Ross. So there is some suggestion he went to Milan in the 1428-1432 period to consult on the Duomo there. Wikipedia tells me there was little actual construction until considerably later - if so, what are they talking about, crediting him with whatever is good about it? And surely he wouldn't have wanted to spend too much time outside Florence, in case there were new problems on his dome (inaugurated March 25, 1436). There were Mantua and Ferrara in 1431, a month and a half, and 20 days leave in 1436 to visit Mantua, no mention of Milan. Vasari in vol. V says he went to Milan "before 1438." Why 1438? Would he have wanted to be in town for the construction of "the tribunes occupying recesses formed in the construction of the octagon lantern apse," done in 1438 according to https://www.thehistoryofart.org/filippo ... l-lantern/? I am not sure what these "tribunes" are, but I would imagine so, as an unforeseen emergency or incompetence might wreck everything. Then comes the upsetting part of della Luna's work on the hospital, done when Brunelleschi is out of town, in 1439 according to the "Repertorio". So is he in Milan again that year, or is Vasari off a year or two?

Re: What are the documents for Marziano's dates?

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In Eugenio Battista's chronology he relies on Gaetano Franchetti for the dates of 1428-1430. It is a confused entry, as I note:
Battisti's discussion on pp. 232-233 suggests that Brunelleschi's work on the Duomo occurred during a peace between Florence and Milan in the years 1428 to 1431.
Battisti's note on page 377 mentions Gaetano Franchetti's Storia e descrizione del Duomo di Milano, Milano, 1908. He mentions Filippo Brunelleschi under the year 1430 on page 142 among the “architetti ed ingegneri stipendiati o consultati dalla veneranda Fabbrica del Duomo di Milano.” In fact Franchetti's book was published in 1821, and the book Battisti is referring to from 1908 is Ettore Verga's L'archivio della Fabbrica del Duomo di Milano, page 21, which according to Battisti suggests that Franchetti's inclusion of Brunelleschi must have relied on records later destroyed in a fire in 1906 at the "Fiera Internazionale di Torino" (year is mentioned on page 232, name of event on page 377). I wonder if Battisti has not confused it with the January 25-26 1904 fire at the Biblioteca Nazionale Universitaria, the same fire that damaged the 15th century cards. However, this date would not explain why Brunelleschi is missing from the edition of the archives of the Fabbrica del Duomo published in the late 19th century.
Go down to year 1430.
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I haven't been able to find Brunelleschi mentioned in Franchetti's text, but his fastidiousness and access to documents subsequently lost convinced Battisti that he saw Brunelleschi's name in those sources for the Fabbrica del Duomo archives.

The "tiburio" is a structure that supports a dome. It is essentially the part of the "drum" that gives extra support to the dome where it starts to curve inward, by adding weight from above to the supporting walls. In the Milan cathedral, the dome is completely interior, so the drum and tiburium rise completely alongside it. In external domes, the tiburium is shorter.

Milan's dome, with the essential support of the tiburium, was first planned in the 1390s, but wasn't completed until 1500 if I remember correctly. So Battisti conjectures that Brunelleschi came for consultation on the design, maybe made a model as well. Manetti's snide remark suggests that he had a bigger involvement that a mere sketch or model for the tiburium. We really can't know.

General illustration of the concept:
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Milan's dome cross-section
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Detail:
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Re: What are the documents for Marziano's dates?

570
Thanks, Ross. I guess that's as much as can be said about 1430 and the duomo in Milan. If Brunelleschi was documented for 1430 (in documents since burned), might he not have gone at all, but only submitted calculations and drawings, based on information furnished by others?

About his last trip, there seems to be even less to go on. The plans for the castle fortifications might have been in the early 1420s, added to in c. 1430. If the last trip was when della Luna was doing the work that upset Brunelleschi, as Batisti says, probably on the basis of Vasari vol. v, that would be no earlier than late 1439, because that's the year della Luna did that part, according to the "Repertorio". Then we have Vasari in vol. III saying "before 1438" for Brunelleschi's return to Milan, to work for Visconti and the duomo. But that might just be the 1430 trip. In 1438 he went to Rimini, Saalman says. Before that, there was the installation of the tiburia in Florence, which I'd think would restrict Brunelleschi's trips.

Late 1439 seems to me rather late for proposing the tarot. But none of these dates for Milan (unlike Mantua, Ferrara, and Rimini) are very secure.