The Dome of Sforzinda Cathedral

Abstract

Whether he be considered an amusing fiddler, a romantic, a second-rate artist or a first-rate mind with second-rate hands, Filarete seems due for a critical revaluation.¹ Anyone with the patience to plod through the arbitrary editing of von Oettingen's presentation of Filarete's treatise² soon becomes aware that the text is less dull than Alberti and less detailed than Vitruvius, although the debt to both is considerable. The importance of Filarete's writings for the more obvious aspects of fifteenth century Italian art, everything from the continuation of Gothic traditions through systems of proportion to the uncritical taste of the times, are readily apparent in the only available edition of the text. The good things that Vasari claims to have found among so much foolishness³ emerge only after a critical reading of the text and its illustrations. One such example, the dome of Sforzinda cathedral, contains implications that merit special attention both for the history of Renaissance architecture and for Filarete's personal reputation.