proceed; and, in their desperation made a public proclamation in 1418, that whoever wished, might make a model for the dome, or of anything pertaining to its construction. Fifteen models were presented, and over them there were months of public deliberation and discussion. It was not until March, 1420, that a final conclusion was reached, and the celebrated plan of Filippo Brunelleschi was adopted.

No more characteristic or remarkable design was produced during the whole period of the Renaissance than this, with which its great architectural achievements began. Not only were apparently insurmountable difficulties of construction overcome, but the new dome was also to be a masterpiece of beauty. The great domes of former times—the dome of the Pantheon, the dome of Aya Sophia—had been designed solely for their interior effect; they were not impressive or noble structures from without. But Brunelleschi had conceived a dome which, grand in its interior aspect, should be even more superb from without, and which, in its stately dimensions and proportions, in its magnificent lift above all the other edifices of the city of which it formed the centre, in its absolute unity and symmetry, in the beautiful shape and proportions of its broad divisions, the strong, simple energy of its upwardly converging lines, should be such that, more than a century later, when Michelangelo was told that he had an opportunity to surpass it in his cupola of St. Peter's at Rome, he replied sadly, with a shake of his head,—

Brunelleschi's plan was to build two octagonal domes, separated by a space wide enough for a passage and stairways, and united by eight strong ribs of masonry at the angles. The inner and smaller dome was for constructive purposes, to bridge the vault and to furnish a support for the outer, which was to be merely a light shell to secure the magnificent swelling lines. The whole was to be crowned by a lantern. We have not space to quote Vasari's animated account of Brunelleschi's difficulties in persuading the authorities of the practicability of his plan, of his jealous bickerings with his troublesome and incompetent confrère, Ghiberti, of the obstacles, difficulties and persecutions that he underwent,—suffice it to say that, in 1434, under his untiring supervision, just fourteen years from its beginning, the splendid dome closed over the central space of the Duomo, and Brunelleschi's fame was forever established.

PLATE XLVI

INTERIOR OF THE DUOMO

Without waiting for the completion of the cupola and lantern, the Florentines took advantage of the presence in their city of Pope Eugenius IV., to have him consecrate the Cathedral in person, with most impressive ceremony, on the Florentine New Year's day, the feast of the Annunciation, March 25, 1436.

PLAN OF DUOMO AND CAMPANILE

Not long after the consecration of the Duomo, the work on the cupola was completed