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Filippo di ser Brunellesco di Lippo Lapi (1377 – 15 April 1446), commonly known as Filippo Brunelleschi (/ ˌ b r uː n ə ˈ l ɛ s k i / BROO-nə-LESK-ee; Italian: [fiˈlippo brunelˈleski]) and also nicknamed Pippo by Leon Battista Alberti, [4] was an Italian architect, designer, goldsmith and sculptor.
Ghiberti in his Commentari credited himself with a shining victory, while Brunelleschi's biographer reported of an equal victory, with the latter withdrawing at the prospect of having to cooperate with his rival. [1] In any case, the commission went to Ghiberti who, aided by his father and goldsmith Bartoluccio, set to work.
Lorenzo Ghiberti (UK: / ɡ ɪ ˈ b ɛər t i /, US: / ɡ iː ˈ-/, [1] [2] [3] Italian: [loˈrɛntso ɡiˈbɛrti]; 1378 – 1 December 1455), born Lorenzo di Bartolo, was an Italian Renaissance sculptor from Florence, a key figure in the Early Renaissance, best known as the creator of two sets of bronze doors of the Florence Baptistery, the later one called by Michelangelo the Gates of Paradise.
Ghiberti received the commission, although it is uncertain whether the 34 judges unanimously declared him the winner, as he asserted in his Commentari, or whether they were deadlocked between him and Brunelleschi, as a biography of Brunelleschi written 80 years later claimed.
Lorenzo Ghiberti had a large artistic impact on the cathedral. Ghiberti worked with Filippo Brunelleschi on the cathedral for eighteen years and had a large number of projects on almost the whole east end. Some of his works were the stained glass designs, the bronze shrine of Saint Zenobius and marble revetments on the outside of the cathedral.
Ghiberti's work presents figures modelled in a Hellenistic style, with an abandonment of physical beauty and perfection, without expression or implication, while Brunelleschi's work is inspired by the ancient style of Giovanni Pisano, a pyramid-shaped scene, with attention drawn to the intersection of the perpendicular lines of Abraham's hands ...
After years of considering options, Filippo Brunelleschi and Lorenzo Ghiberti were made joint leaders of the project to build the dome for Florence Cathedral in 1420. Brunelleschi's plan to use suspended scaffolding for the workers won out over alternatives such as building a provisional stone support column in the center of the crossing or ...
In Brunelleschi's panel, one of the additional figures included in the scene is reminiscent of a well-known Roman bronze figure of a boy pulling a thorn from his foot. Brunelleschi's creation is challenging in its dynamic intensity. Less elegant than Ghiberti's, it is more about human drama and impending tragedy. [12] Ghiberti won the competition.