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The Feud That Sparked the Renaissance: How Brunelleschi and Ghiberti Changed the Art World
 
 
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The Feud That Sparked the Renaissance: How Brunelleschi and Ghiberti Changed the Art World [Hardcover]

Paul Robert Walker (Author)
3.9 out of 5 stars  See all reviews (14 customer reviews)


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Book Description

November 26, 2002
Chapter One Plague Of the Bianchi In these extraordinary times, it appears that nearly all of the citizens of Florence, as well as those subject to the city and residents of surrounding cities and regions, have put on white linen garments, and ... joined in processions.
-- Provvisioni of the Signoria, September 10, 1399

In the summer of 1399, a religious movement arose in Lombardy, the northern Italian region around Milan, and began to travel southward toward Rome, attracting thousands of followers on the way. They were called the Bianchi, the Whites, for the white linen robes they wore as a sign of penitence and spiritual renewal. The pilgrims reached Florence in August, and their effect on the city was extraordinary. Shops and factories closed as citizens joined pilgrimages to smaller towns and villages, up the Arno and into the Apennine Mountains, "piously singing lauds, engaging in acts of penitence, abstaining from meat for nine consecutive days, and from wine for another day, not sleeping in beds ... the air vibrating with their voices." Old enemies swore new friendship, and there were cries to throw open the gates of the city prison.

The fervor cut across social classes, from impoverished cloth workers to wealthy merchants and manufacturers, though the rich could follow their religious path in more comfort than the poor. One wealthy merchant, Francesco Datini from the town of Prato, near Florence, wrote of joining a pilgrimage on this 18th day of August 1399 ... clothed entirely in white linen and barefoot ... And that we might have what was necessary, I took with us two of my horses and the mule: and on these we placed two small saddle chests, containing boxes of allkinds of comfits ... and candles, and fresh bread and biscuits and round cakes, sweet and unsweetened, and other things besides that appertain to a man's life.

An aristocratic and powerful Florentine merchant named Buonaccorso Pitti followed this movement from the isolation of the Palazzo della Signoria, now called the Palazzo Vecchio, or "Old Palace," the massive stone building, topped by a looming tower, where the nine members of the Signoria lived and worked during their two-month terms of office. The Signoria was the supreme executive authority of Florence, and the brief terms reflected both the total commitment required of those who served and the concept that a short term of office prevented any single man from gaining too much power. In fact, ambitious men found ways to consolidate power, but by the standards of medieval Europe, the Signoria and other Florentine institutions formed a noble experiment in republican government.

"During my term in the Signoria," Pitti wrote, "a great novelty was seen throughout Italy when people of all conditions began to don white linen robes with cowls covering their heads and faces, and throng the roads, singing and begging God for grace and mercy. While this was going on in Florence someone raised the cry: 'Open the Stinche prison and free the prisoners!' By God's grace the danger of armed riots was averted, though it was a near thing. In the end everything turned out well, for the pilgrims brought about many reconciliations between citizens." Pitti's own family made peace with the relatives of a man he had killed in Pisa, settling their difference in a written and notarized compact. Other families made similar efforts to overcomelong-held vendettas, the seething, ritualized hatred of man for man and family for family that had poisoned Florentine society for centuries.

The spirit of brotherhood and forgiveness brought on by the Bianchi carried into the fall, and on September 10, shortly after Pitti's term of office expired, the Signoria issued a proclamation to the effect that "the lord priors are firmly convinced that all of this has proceeded from divine inspiration," but they could not free the prisoners who had been incarcerated for debt "without suspending those laws which prohibit this." Instead, the Signoria temporarily suspended the laws which limited their own authority to release prisoners, making it easier to show mercy in individual cases. It was a thoughtful and rational approach to a difficult situation: the Signoria could not suspend the laws that required punishment for debtors without destroying the very fabric of their mercantile society; yet neither could they ignore the will of the people.

Unfortunately, the Bianchi brought plague along with reconciliation. The pestilence had already struck Italy when the movement began, and the thousands of barefoot, white-robed pilgrims helped to carry it from town to town, so that it became known as the plague of the Bianchi. The sickness ran rampant through Florence, aided in its deadly course by a severe grain shortage in the winter and spring of 1400. By the time the carnage was over, some twelve thousand Florentines had died out of a total population of sixty thousand. It was a devastating blow to a city still struggling to recover from the Black Death of 1348, which had killed almost half the citizens of what was then among the largest cities inEurope. And it would not be the last such blow, for the plague would return with gruesome regularity throughout the Quattrocento, leaving a trail of death at the very time that Florentine art and culture blossomed with new creative life.

Beyond its personal toll, the plague of the Bianchi brought Florentine business to a halt. The timing could not have been worse, for the economy was already strained to its limits by heavy taxation to support a protracted war with Milan. Led by the brilliant despot Giangaleazzo Visconti, the northern Italian power had expanded its control throughout the decade, first in Lombardy, then moving south into Tuscany and beyond. In some ways, the Bianchi movement was a response to this militant expansion, a peaceful echo of Visconti's march; that the Bianchi proved more lethal than the army did not diminish their noble intentions. Visconti's own intentions were more questionable. He presented himself as a strong leader who could unify Italy ...



Editorial Reviews

From Publishers Weekly

Six hundred years ago, Lorenzo Ghiberti and Filippo Brunelleschi finished one and two in a contest to design the decorative bronze doors that now grace Florence's beloved Baptistry. Ghiberti, the youngest entrant, was the victor and subsequent recipient of many of the city's most sought-after projects. Wounded by his loss to the upstart Ghiberti, Brunelleschi (who was better educated and from a more respectable family than his rival) set out to reintroduce the glory of Antiquity in their age. Brunelleschi went on to design the dome that has long symbolized Florence's cityscape and succeeded in popularizing the return to the architectural vocabulary of Greece and Rome. Walker, author of various YA books and Every Day's a Miracle, contends (though too often he simply conjectures) that while fighting for architectural and sculptural commissions and fuming at one another, the two artists brought out the best in each other, their peers and subsequent generations. While that may be so, this book is hurt by the author's attempts to construct his imagined narrative without sufficient evidence to do so convincingly. Descriptions lacking originality and force (Brunelleschi's dome is "a vision of curving red tile and white marble perfection set against the pale blue Tuscan sky") and weak argumentation make this a disappointing popularization of the lives and work of two very talented men.
Copyright 2002 Reed Business Information, Inc.

From School Library Journal

Adult/High School-Drawing on a wealth of original source material and contemporary biographies, this engaging account introduces readers to rivals Filippo Brunelleschi and Lorenzo Ghiberti, the young geniuses whose artistic visions were the beginnings of the Renaissance in Florence. Their lives and works are the main topics of this book, but Walker also interweaves the stories of other famous individuals such as Donatello and the Medicis. He frequently speculates on motivations and activities that might have taken place during undocumented years but reminds readers that he is only offering logical conjectures. He makes note of past events that impacted Florentine life of the day, such as the plague, the Great Schism, and the Guelf/Ghibelline struggle. Use of anecdotes, particularly the tale of an elaborate practical joke, shows the human side of these masters. Eighteen black-and-white photographs, some full page, some very small, show the major works discussed in the text. Extensive source notes are included.
Kathy Tewell, Chantilly Regional Library, VA
Copyright 2003 Reed Business Information, Inc.

Product Details

  • Hardcover: 288 pages
  • Publisher: William Morrow; First Edition Stated edition (November 26, 2002)
  • Language: English
  • ISBN-10: 0380977877
  • ISBN-13: 978-0380977871
  • Product Dimensions: 9.3 x 6.4 x 1 inches
  • Shipping Weight: 1 pounds
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #1,276,646 in Books (See Top 100 in Books)

More About the Author

Paul Robert Walker has written more than twenty-five books on subjects ranging from the American West and the Italian Renaissance to folklore, baseball, and miracles. His newest adult publication is The Feud That Sparked the Renaissance, the story of four great artists who forged a new art in Quattrocento Florence (William Morrow 2002; pbk 2003). Kirkus Review called the book, "A convincing account of one of the defining moments in art and history," while Library Journal judged that "using an estimable cache of documentary materials...Walker makes a fine circumstantial case for an artistic feud." Alan Prince, former travel editor of the Miami Herald, wrote enthusiastically in BookPage, "His newest work is sure to bring such sheer pleasure to people interested in history, architecture and art that many of them will regard the book itself as a work of art."

Other recent adult titles include The Southwest, which explores 11,000 years of human history amid the rugged landscapes of the American Southwest, Trail of the Wild West, a reexamination of the American frontier, and "Rivers to the Pacific," a photo-illustrated essay for Exploring the Great Rivers of North America (National Geographic 2001, 1997, & 1999).

Walker's newest books for young adult readers are three volumes in the award-winning National Geographic "Remember" series, which documents key events in American history through eyewitness accounts and archival images. Walker's contributions to the series include Remember Little Rock (2009), Remember the Alamo (2007), and Remember Little Bighorn (2006). Remember Little Rock and Remember Little Bighorn both received coveted starred reviews in School Library Journal, while Remember the Alamo received the 2007 June Franklin Naylor Award from the Daughters of the Republic of Texas for the best book for children and young adults on Texas history. Walker's middle-grade and young adult books also have been honored by the American Library Association, the National Council for the Social Studies, the Children's Book Council, the American Folklore Society, and Storytelling World.

Born in Oak Park, Illinois, Walker studied acting at Boston University School of Fine Arts and graduated magna cum laude and Phi Beta Kappa in Anglo-American literature from Occidental College. He is a member of the Authors Guild, American Mensa, and the NAACP. A former teacher, journalist, and rock musician, Walker lives in Escondido, California.

Contact:
e-mail: readers@prwbooks.com
website: www.prwbooks.com

 

Customer Reviews

14 Reviews
5 star:
 (8)
4 star:
 (2)
3 star:    (0)
2 star:
 (3)
1 star:
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Average Customer Review
3.9 out of 5 stars (14 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

17 of 17 people found the following review helpful:
5.0 out of 5 stars When Art Really Mattered, April 28, 2004
By A Customer
This is a thoroughly engaging account of a key period in world cultural history. While most Americans tend to think of the Renaissance in terms of Leonardo and Michelangelo, Walker clearly demonstrates that the real breakthrough came in the early 1400s with the work of Brunelleschi, Ghiberti, Donatello, and Masaccio. Using primary source documents, Renaissance era accounts, and current research into the social, political, and economic history of Florence, he brings these characters to life and paints a fascinating portrait of a city striving for greatness. The dedication of the Florentines to public art is an inspiring story in itself and made me think about how visual art has become an afterthought in our modern world.

The comment by one reader on this page about portraying Ghiberti as a "well-connected hack," doesn't make sense to me, because Walker obviously admires Ghiberti enormously and gives his career and his work almost as much attention as Brunelleschi's. In fact, that was one of my favorite aspects of the book. I knew a little about Brunelleschi before I read it, but I didn't know much about Ghiberti, and I found him fascinating in his own right. Walker's main point is that it was the two of them - Brunelleschi and Ghiberti - who drove the Renaissance in early Quattrocento Florence. Each of them made the other greater than he would have been without their competition.

I also enjoyed the author's speculations into what happened during periods that are not covered by the documents. He always identifies speculation as exactly that, and to me that's part of the fun in reading history - trying to fill in the gaps and imagine what really might have happened. I recommend this book to anyone who wants a better understanding of how the Renaissance began, or to anyone who wants to read about a time when art really mattered

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22 of 24 people found the following review helpful:
2.0 out of 5 stars There are better books on this subject, August 1, 2005
By 
D. Ashton (Phoenix, AZ USA) - See all my reviews
(REAL NAME)   
I cannot recommend this book for several reasons:
1. The premise of the book is specious. There is no true evidence that Brunelleschi and Ghiberti engaged in a "feud". While they certainly competed with each other for the same commissions on occasion, this was completely expected during that period, and ultimately each distinguished himself well as a master artist and craftsman. There is very little evidence that either character attempted to discredit or destroy the other.
2. Because there is little evidence of this feud, the author spends a lot of time using conjecture to argue an ultimately baseless point. Those pages are largely wasted reading.
3. The author's focus detracts from the incredible contribution each of these men made to the Renaissance. Sadly, it's hard to get a sense of that from this book. Brunelleschi may have been the greatest architect in the history of Western civilization. One gets no sense of that from this book. The brilliance of his achievements are largely glossed over. Much of the same can be said for the author's treatment of Ghiberti. It does a disservice to both.

If you have an interest in the dome at Santa Maria della Fiore and/or Ghiberti's doors at the Baptistry on the same site, please read 'Brunelleschi's Dome', by Ross King. It's a very well-researched book and gives the reader a far better view into these two great artists. That book is highly recommended. Sadly, I cannot recommend "The Feud That Sparked the Renaissance".
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18 of 19 people found the following review helpful:
5.0 out of 5 stars Bringing Light to a Dark World, April 28, 2004
More than six months passed after my wife and I visited Florence before I discovered Paul Robert Walker's The Feud that Sparked the Renaissance. The book caught my attention and held it. Maybe because I had been to that historical center; equally likely it was because of the story he tells about the emergence of a three dimensional world and the creation of the magnificent dome of the Cathedral of Florence.

I had taken art history courses in college and I had some idea of the major movements in western civilization. Giotto loomed from the darkness; Michelangelo and Raphael and Leonardo basked in bright sunlight. I had only vague memories of Lorenzo Ghiberti and Filippo Brunelleschi, two artists who walked the streets of Florence early in the 15th century. Walker changed that for me. He drew such an exquisite picture of the times that I felt drawn into the community. I felt a part of the street scene. I felt the heat and the passion of the times. And I felt the competition between these two key figures that helped focus shafts of light on Florence.

They changed the world by what they saw. Ghiberti's doors are exquisite; Brunelleschi's dome is incomparable. What appeared to be an uncommon feat when I sat at a cafe table and admired the curve of the dome turned into an architectural and engineering marvel. Walker leads the reader through the political and cultural history of Florence, weaving tales of skirmish and battle that eventually bring us to the emergence of a new era. The story is not a simple one. Readers will have to work a bit to reach beyond the surface. But it is worthy of the effort. The author will not let you down. When you feel the need for additional explanation he provides it. And through it all he reminds us that the efforts of these key artists of the early Renaissance helped set the stage for the modern world.

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Inside This Book (learn more)
First Sentence:
IN THE SUMMER of 1399, a religious movement arose in Lombardy, the northern Italian region around Milan, and began to travel southward toward Rome, attracting thousands of followers on the way. Read the first page
Key Phrases - Capitalized Phrases (CAPs): (learn more)
Filippo Brunelleschi, Fat One, Opera del Duomo, Lorenzo Ghiberti, San Lorenzo, San Giovanni, Fat Woodworker, Parte Guelfa, Santa Maria del Fiore, Santa Maria Novella, Black Death, Palazzo Vecchio, Santa Croce, Santo Spirito, Leon Battista Alberti, Andrea Pisano, Antonio Manetti, Art Resource, Eternal City, Giangaleazzo Visconti, International Gothic, International Style, John the Baptist, Leonardo Bruni, Mona Fiore
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