Filarete

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Antonio di Pietro Averlino (c. 1400 - c. 1469), also "Averulino", known as Filarete (Greek for "lover of excellence"), was a Florentine architect, sculptor and architectural theorist of the Italian Renaissance.

Contents 1 Biography 2 Works 2.1 Bronze Doors of Old St. Peter's Basilica 2.2 Ospedale Maggiore 2.3 Trattato di Architectura and Sforzinda 3 Influence on Architecture and Urbanism 4 Notes 5 References

[edit] Biography

Antonio di Pietro Averlino was born c. 1400 in Florence Italy where he was likely trained as a craftsman. Sources suggest that he worked in Rome under Italian painter, architect, and biographer Lorenzo Ghiberti, who gave him his more famous name “Filarete” which means “a lover of virtue”. In the mid 15th century, Filarete was expelled from Rome after being accused of attempting to steal the head of John the Baptist and moved to Venice and then eventually to Milan. Here he became a royal engineer and worked on a variety of architectural projects for the next fifteen years. Filarete died in Rome c. 1469.^[1]

[edit] Works

[edit] Bronze Doors of Old St. Peter's Basilica

Under a commission by Pope Eugene IV, Filarete, over the course of twelve years, cast the bronze central doors for Old St. Peter's Basilica in Rome, completed in 1445; in the work, Filarete hoped to rival Ghiberti's great bronze doors for the Baptistery of Florence. In the following century, Filarete's doors were preserved when Old St Peter's was demolished; they were later reinstalled in the new St. Peter's Basilica. Although created during the Renaissance, the doors have distinct Byzantine influences and seem tied to the Medieval era. Some critics have noted that the doors offer a glimpse into the mind of Filarete, claiming that they show his “mind of medieval complexity crammed full of exciting but not quite assimilated classical learning”.^[2]

[edit] Ospedale Maggiore

Filarete built the Ospedale Maggiore (c. 1456), the overall form of which was rationally planned as a cross within a square, with the hospital church centrally-planned, at the center of the plan. Some of the surviving sections of the much-rebuilt structure show the Gothic detail of Milan's quattrocento craft traditions, which are at odds with Filarete's design all' antica (Murray 1963). Filarete also worked on the Castello Sforzesco, and on the Duomo di Milano.

[edit] Trattato di Architectura and Sforzinda

Filarete completed his Trattato di architettura ("Treatise on Architecture") sometime around 1464. The book, which was drafted in 25 volumes, enjoyed a fairly wide circulation in manuscript form during the Renaissance. The best known and best preserved copy of the Trattato is a profusely illustrated manuscript known as the Codex Magliabechiano (probably drafted c. 1465; now held in the archives of the Biblioteca Nazionale Centrale di Firenze). The fact that the Codex Magliabechiano is dedicated to Piero de' Medici and was conserved in Florence suggests that Filarete was well regarded in his native Florence despite his loyalty to Milan. The book, which is written as a fictional narrative, consists principally in a detailed account of the technical aspects of architecture (e.g., site and material selection, drawing, construction methods, and so on) and a sustained polemic against the Gothic style of Northern Italy, which Filarete calls the "barbarous modern style." Filarete argues instead for the use of classical Roman models.

The most famous part of his treatise is his plan for Sforzinda, his ideal city. Sforzinda was named for the tyrant of Milan Francesco Sforza, and was never built, but its design plans were described in vast detail. Its basic form was an eight point star, created by overlaying two squares so that all the corners were equidistant. This shape is then inscribed within a perfect circular moat. This shape is iconographic and probably ties to Filarete’s interest in magic and astrology.^[3] Consistent with quattrocento notions concerning the talismanic power of geometry and the crucial importance of astrology, Filarete provides, in addition to pragmatic advice on materials, construction, and fortifications, notes on how to propitiate celestial harmony within Sforzinda.

In terms of planning, each of the outer points of the star held towers, while the inner angles held gates. Each of the gates was an outlet of radial avenues that each passed through a market square, dedicated to certain goods. All avenues converged in a large square which was centrally located. The town contained three squares – one for the prince’s palace, one for the cathredal, and one for the market. Because the Renaissance was much taken with the idea of the canal town, Filarete's Sforzinda was to have every other street be a canal for cargo transport.^[4] The canal system also connected with the river, and thus the outside world, for imports and exports of goods. The city also contained many buildings, including parishes and separate schools for boys and girls. An example of a building that appears in the treatise is Filarete’s House of Vice and Virtue, a ten-story structure with a brothel on the bottom and an academy of learning on the higher levels. Filarete did much study on representation of Vices and Virtues, and there are suggestions that his radial design for the city was inspired by St. Augustine’s Earthly City, whose circular shape was divided into sections, each of which had its own Vice and Virtue.^[5]

Sforzinda was a direct response to the disorganized and chaotic cities of the Medieval period, whose random spurts of growth resulted in large and difficult to navigate cities.^[6] Filarete’s ideal plan was meant to reflect on society – where a perfect city form would be the image of a perfect society. This idea was typical to the humanist views prevalent during the High Renaissance.^[7] The ideal city, ironically, required a centralized power of a prince for organization, following upon the heels of Dante’s idea that “The human race is at its best under a monarch.”^[8] Thus the ideal city form remained conflicted between the need for a centralized power and the reality of tyranny.

[edit] Influence on Architecture and Urbanism

Filarete's complete organization of Sforzinda's layout embodied a higher stage of planning than that of any one before him. Despite the many references to medieval symbolism incorporated into Sforzinda's design, the city's principles became the archetype for the humanist city during the High Renaissance. The treatise gained interest from many important leaders such as Giangaleazzo Sforza and Piero de' Medici and later when Francesco di Giorgio and Leonardo da Vinci began to plan their ideal cities they borrowed ideas from Filarete.^[9] Not every one, however, viewed Filarete's ideas in such a pristine light. Giorgio Vasari dismissed the treatise as “most ridiculous and perhaps the stupidest book ever written”

Although never built, Sforzinda served as an inspiration for many future city plans. For example, in the 16th century, Renaissance military engineers combined Filarete's ideal city schemes with a sociopolitical program that stressed defense. These city types began to show up all over Europe as well as Moscow and Australia.^[10]

[edit] Notes

[edit] References

• Mumford, Lewis. 1961. The City in History: Its Origins and Transformations, and its Prospects. New York: Harcourt, Brace & World.
• Filarete, (1965). Filarete's Treatise on Architecture: Being the Treatise by Antonio di Piero Averlino, Known as Filarete. Originally composed in Milan c. 1460 - c. 1464. Translated by John R. Spencer. Facsimile ed. 2 vols. New Haven: Yale University Press, 1965.
• A short biography.
• An essay on Filarete and da Vinci's theories of city planning and architecture.
• A description of the center door.
• Peter J. Murray, 1963. The Architecture of the Italian Renaissance (London: Batsford), pp 100ff.
• Plan of Sforzinda
• Fred Luminoso, 2000. "The Ideal City: Then and Now"
• "Sforzinda: progetto di città ideale" (in Italian)
• The Filarete Door at stpetersbasilica.org
• Alighieri, Dante. De Monarchia. c. 1312
• "Il Filarete." International Dictionary of Architects and Architecture. St. James Press, 1993. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Gale, 2009. [1]
• Kostof, Spiro. The City Assembled: The Elements of Urban Form Through History. London: Thames and Hudson Ltd. 1991.
• Kostof, Spiro. The City Shaped: Urban Patterns and Meanings. London: Thames and Hudson Ltd. 1991.
• Lang, S. The Ideal City from Plato to Howard. Architectural Review 112. Aug. 1952, pp 95-96
• Madanipour, Ali. Designing the City of Reason: Foundation and Frameworks. New York: Routledge, 2007
• Roeder, Helen. “The Borders of Filarete's Bronze Doors to St. Peters”. Journal of the Warburg and Courtauld Institutes, Vol. 10, (1947), pp. 150-153.