During that time Brunelleschi directed a dozen other projects, including churches and fortifications.
Brunelleschi won again, and in 1446 construction on the 10-meter octagonal lantern began.
Though the Opera del Duomo chose Brunelleschi's model, it appointed a four-man team to oversee construction, a team that included Ghiberti.
Filippo Brunelleschi, a notary's son who grew up in the shadow of the cathedral, showed an early knack for solving mechanical problems.
Arrogant and secretive, Brunelleschi kept the details of his plans to himself.
The ancient Greeks and Romans understood this technique for creating the illusion of depth, but the skill was lost until Brunelleschi rediscovered it.
Glimpse Brunelleschi's dome from the narrow streets of Florence and suddenly the behemoths of 20th-century architecture--the Sears Tower, the World Trade Center--shrink in importance.
Brunelleschi soon made a miraculous recovery, bolting up to the construction site, where he proclaimed Ghiberti's work incompetent and demanded that it be torn down.
Opponents of modern architecture may scoff that Sir Christopher Wren and Filippo Brunelleschi tended to make buildings that lasted a little longer than 60 years.
For this Brunelleschi invented a gargantuan hoist powered by an ox.
Since the span was too wide for builders to use the traditional type of wooden framework that had supported previous domes, Brunelleschi dispensed with framework altogether.
To calm the masons' nerves, Brunelleschi built a balcony of hanging scaffolding, so the men wouldn't have to stare down at the ground 80 meters below.
Florence was a wealthy medieval city that became the birthplace of the Renaissance, fostered by patrons like the Medici family and flowered by artists such as Michelangelo, Da Vinci, Botticelli and Brunelleschi.
As workers started to lay a wooden brace at the base of the dome, Brunelleschi suddenly became bedridden, leaving Ghiberti in charge of building a structure he had not designed.
In 1401, when he was just 24, Brunelleschi had gone after another prominent commission--for a set of bronze doors for the 7th-century Baptistery of San Giovanni, a striking octagonal structure just west of the cathedral.
The winners, Filippo Brunelleschi and Lorenzo Ghiberti, were in their early 20s, and their winning bronze panels are here side by side, along with examples of the classical Roman statuary they incorporated: one of the many marble versions of the "Boy with a Thorn" for Brunelleschi, and the muscular red marble torso of a centaur for Ghiberti.
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