vel ground to the commencement of the
lantern, there are one hundred and fifty-four braccia;[6] the body of
the lanthorn is thirty-six braccia high; the copper ball four braccia;
the cross eight braccia; in all two hundred and two braccia. And it may
be confidently affirmed that the ancients never carried their buildings
to so vast a height, nor committed themselves to so great a risk as to
dare a competition with the heavens, which this structure verily appears
to do, seeing that it rears itself to such an elevation that the hills
around Florence do not appear to equal it. And of a truth it might seem
that the heavens were envious of its height, since their lightnings
perpetually strike it. While this work was in progress, Filippo
constructed many other fabrics."

BRUNELLESCHI'S ENTHUSIASM.

One morning, as Brunelleschi was amusing himself on the Piazza di Santa
Maria del Fiore, in company with Donatello and other artists, the
conversation happened to turn on ancient sculpture. Donatello related
that when he was returning from Rome, he had taken the road of Orvieto,
to see the remarkable facade of the Cathedral of that city--a highly
celebrated work, executed by various masters, and considered in those
days a very remarkable production. He added that as he was passing
through Cortona, he had seen in the capitular church of that city a most
beautiful antique marble vase, adorned with sculpture--a rare thing at
that time, as most of the beautiful works of antiquity have since been
brought to light. As Donatello proceeded to describe the manner in which
the artist had treated this work, the delicacy, beauty, and perfection
of the workmanship, Filippo became inflamed with such an ardent desire
to see it, that he set off immediately, on foot, to Cortona, dressed as
he was in his mantle, hood, and wooden shoes, without communicating his
purpose to any one. Finding that Donatello had not been too lavish of
his praise, he drew the vase, returned to Florence, and surprised his
friends with the accurate drawing he had made, before they knew of his
departure, they believing that he must be occupied with his inventions.
This urn, or funeral vase, according to the Florentine editors of
Vasari, is still in the Cathedral of Cortona. The sculptures represent
the Battle of the Centaurs and Lapithae, or as some say, a Warlike
Expedition of Bacchus. The design and workmanship are exquisite. It was
found in a field without the ci