Architectural Models-I

Author(s): Martin S. Briggs

Source: The Burlington Magazine for Connoisseurs , Apr., 1929, Vol. 54, No. 313 (Apr.,
1929), pp. 174-175+178-181+183
Published by: (PUB) Burlington Magazine Publications Ltd.

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ARCHITECTURAL MODELS-I
BY MARTIN S. BRIGGS
HE subject of this article does not
of
of aan
appear to have received attentioncomplete building)
ornamental and *"vroq
detail). Roman(aarchitects
wax model
hitherto, except for occasionalalso used models as well as plans. But
refer-
ences in my own book, " TheinArchi-
these early periods, as in the Middle
tect in History " (1927). Architec- Ages, one has to beware of regarding every
tural draughtsmanship, on the other mention
hand, or representation of a building in
has
been treated of in several books, English and
miniature as evidence that a model was used
foreign, though writers on that topic have in theoften
course of erection. In some cases it may
tended to concern themselves rather with the have been made merely as a record, or have
decorative effect of the drawings than with their served to tell a story on a tomb-painting or a
practical use. But the main interest of an archi- religious fresco. Thus in the church of
tect's drawing, as of an architect's model, liesS.in Nicaise at Rheims, there is an effigy of Hugh
the evidence that it affords to posterity of his Libergier (d. 1263), architect of the church, in
methods of work. A model may be a skilful which he is shown holding in his right hand a
piece of joinery, but that is incidental; its his-model of the building. In Gloucester Cathe-
torical value depends on whether it enables dral us there is a Gothic recumbent effigy of the
to realize how an artist transmitted his ideas to Saxon abbot Osric, who clasps a model of the
those who were charged with carrying them out,abbey church on his breast. At Ravenna a
sometimes long after his own death. A little fresco depicts an archbishop offering a model
research shows that, at one time, such modelsof the church of S. Vitale to the titular saint.
were extensively used, and fortunately the chiefVasari relates Ghiberti's story that Giotto him-
examples surviving are the work of architects self made a model for his campanile at Florence,
of the first rank-Brunelleschi, Antonio da the foundation-stone of which was laid in 1334.
Sangallo the Younger, Michelangelo, and Wren But so far as I am aware, there is only one
-and were made for three of the chief Renais- complete medieval model in existence, and that is
sance cathedrals: the Duomo at Florence, St. now to be found in the Musee d'Art Normand at
Peter's at Rome, and our own St. Paul's. In Rouen [PLATE I]. It represents the church of
this study, I shall confine myself to models made
St. Maclou at Rouen, and is described as
before or during the erection of a building. A "Maquette de l'Eglise St.-M'aclou, execut6e en
model made afterwards is a mere mechanical carton-pate 'a la fin du XVIe sikcle par un
reproduction of the original building onvicaire a de cette eglise qui, dit-on, aurait pass6
smaller scale, and has no interest as an evidence
dix ans de sa vie 'a executer ce travail." This
of the processes of design. Moreover, we have model has formed the subject of a very inter-
nothing to learn from the past in the art of article in an American architectural maga-
esting
model-construction, for I have seen recent exam-
zine,2 in which the author makes out a
ples as skilfully and as ingeniously devised as
plausible case for a date much earlier than the
any of the historical models to be described sixteenth century. By comparing in detail the
here.
church as now existing with the model, he
It is probable that the story of the architec-
deduces that the latter must be earlier in date
tural model-maker goes back to a point very than the building, because the points of differ-
early in architectural history. Although there
ence are known, by their appearance as well as
appears to be no evidence that small-scale by documentary evidence, to be later additions
models were used by the ancient Egyptians or or alterations. lie also concludes, for various
Assyrians, Professor Capart' speaks of reasons, that it must have been the work of a
" architectural models giving parts of build-trained architect. He then adduces, in support
ings (for example, a column attached to the of his theory, an extract from the Cathedral
jamb of a doorway) or such details as a floral accounts of 144, showing that, in that year, the
capital." These presumably were standardized leading architect in Normandy, Jehanson Sal-
full-size patterns for a carver, and hence hardly
vart, who was in charge of the building of
come within our category; but there is no Rouen Cathedral, contracted to execute a cer-
reason to assume that the Egyptians, who pos- tain piece of work " for the treasurers of St.
sessed great skill as joiners and as modellers
Maclou for the considerable sum of 300 gold
in clay, never used models in designing. The pieces (dcus)." This work, he proceeds, could
Greeks certainly did, and we are able to dis-
2 A. L. Frothingham. " Discovery of an Original Church
tinguish between the term rapaSelya (a model Model by a Gothic Architect," in the Architectural Record
1 Capart, Egyptian Art, 1923, p. 157- (N.Y., 1907), pp. iio-ii6.

174

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Maquette of Church of St. Maclou, Rouen. Fifteenth century. (Musde d'Art Normand, Rouen)

Plate I. Architectural Models-I

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 A-Brunelleschi's model for the lantern of
Florence Cathedral, c. 1438. (Florence)

B-Brunelleschi presenting the model of S. Lorenzo to Cosimo de' Medici,

by Vasari. (Palazzo Vecchio, Florence)

Plate II. Architectural Models-I

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 Architectural Models-I

not have been on the old church of St. Maclou, ence, where he secretly made many models and
because that was never done; nor upon the new machines, all designed for the work of the
church, because that was not begun till c. 1432; cupola." . . . " But one morning the whim
nor for any " day-work." Therefore it is not took him to leave for Rome, for he knew that
unreasonable to infer that the payment referred it was proposed to appoint engineers to vault
to this model. The accounts for the first few the cupola, and he thought it would redound
more to his credit if he were sent for from a
years of building the new church of St. Maclou
distance than if he remained in Florence.
have been lost, but from 1436 to its completion
Accordingly, while he was at Rome he received
in 1517 and its consecration in 1521, the names
a letter begging him to come to Florence." . .
of the architects in charge (including a con-
sultant from Paris) are recorded. " Filippo, who wished for nothing better,
In 168o a " scandalous " priest who was returned with the utmost alacrity." However,
sacristan tried to sell the model in Paris for when he met the " building committee," as
3,000 to 4,000 gold pieces (livres) as hiswe should call them, he very skilfully indicated
own
work, though apparently he did no more thanhe was not prepared to offer advice unless
that
touch it up in parts. It was returned tohe were definitely appointed architect for the
the
church, but in 1835 was sold to the city work;
for and recommended a public competition.
800 francs by the incumbent, who wished The
to wardens " would have preferred him to
raise money for his starving parishioners. make It
a model in the meantime, and to have
is well made in carton or papier mdch&, devoted
and his attention to the question." But he
measures 2 ft. 4 in. by I ft. 51 in. and is returned to Rome, after drawing a fee on
3 ft. 2 in. high to the top of the spire. It is May 26, 1417 (according to Vasari and Manetti,
made in two sections, which are fastened May 17 according to Leader Scott, p. 41), and
together: the body of the church forming one without having disclosed the fact that he had
piece and the facade with its annexes another.already made a small model. Vasari and
The exterior is beautifully finished, but the Manetti both relate the subsequent events in
interior is quite rough, and the sustaining sup- great detail, and it is architectural history of
ports or piers are formless. The model is the first importance. The international public
coloured, the roof-tiling being in black, and thecompetition duly took place late in 1418,
masonry in two shades of grey-brown, the opinions being asked for as well as models and
darker tint being used to pick out points ofplans. Alone of all these experts, Brunelleschi
relief. There are also faint traces of red and said that he was prepared to vault the dome at
a reasonable
blue, and especially of gilding. The condition cost. His statements were
of the model is still very good, consideringridiculed,
the yet he still refused to show his mod
for
fragility of the material and the delicacy of thetactical reasons. At last his pertinacity
ornament. vailed, and he was tentatively appointed ar
tect on the basis of a diagram which he
Thanks to Vasari and other early chroniclers, submitted (not a model). Disputes with jealo
we are left in no doubt as to the use of archi- rivals followed, and " it was no thanks to th
tectural models in Italy from the fifteenth cen-that Filippo did not break his models, tear
tury onwards. The famous competition for his the plans, and in less than half an hour dest
Baptistery doors at Florence, opened in 1401, all the labour of so many years." Yet only
required models to be cast in bronze, and few
the lines later Vasari writes :-" It then
occurred to Filippo that he would make a mod
two panels unsuccessfully submitted by Brunel-
as he had not previously done so, and havi
leschi are now exhibited in the Museo Nazionale
set his hand to it he gave it to Bartolommeo
(Bargello). But these cannot be called archi-
a carpenter, to execute, a man who lived near
tectural models, and the story really begins
with the series made by Brunelleschi for thestudio. In this he made all the difficult
his
things to scale, such as the lighted and dark
dome of the Cathedral at Florence. In the year
staircases, all manner of lights, doors, chairs,
1407 according to Vasari,3 in 1417 according
to Leader Scott , quoting Manetti (the and buttresses and also a part of the gallery."
biographer formerly known as the anonimo),S. . " For his model Filippo received 50 lire
Brunelleschi and many other architects and 15 soldi . . . on October 3, 1419," while his
engineers were invited to advise the authorities Ghiberti was paid 300 lire for apparently
rival
in the design of the dome. " Models were similar work. The apparent discrepancy in the
accordingly prepared and the work started." above accounts is explained by Leader Scott
.. " He remained many months at Flor- (PP. 47-9), quoting original documents, who
3 Vasari, Lives of the Painters, Sculptors, and Architects. says that the last mentioned was a big model
The quotations here are taken from the translation by A. B. in brick and stone, apparently with wood fram-
Hinds (Dent, 1927).
4 Leader Scott, Brunelleschi (Bell, IgoI). ing, and begun on September I, 1418. It was

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Architectural Models-I

erected on the Piazza del Duomo, near the one illustrated here. It has sometimes been
Cathedral, until 1431, when it was removed on assumed that models were used as a substitute
the ground that it was no longer needed, the for drawings, but there are many references in
actual building being so far advanced, " takingVasari and elsewhere making it quite clear that
care, however, that the framework shall be pre-this was not generally so. For example,
served entire, and placed in a safe and moreVasari's own painting on one of the ceilings
convenient place." There is a long list of pay- of the Palazzo Vecchio at Florence [PLATE II, B]
ments to various persons for constructing andrepresents Brunelleschi presenting the model,
inspecting this large model, " ending on apparently in clay, of the church of S. Lorenzo
April 26, 1420, with 46 soldi 8 denari paid for to Cosimo de' Medici, while the plan lies beside
three flasks of white wine and two of vermiglio, him ready for subsequent action. A model gives
with bread, pomegranates and beans, for the to a layman the clearest notion of a building in
collation of the masters who went to inspect it three dimensions, and though we know that
on the morning of that day." It is clear from Brunelleschi was regarded as an expert in per-
another passage in Vasari that Brunelleschi had spective, on this occasion he is evidently rely-
taken infinite pains in the construction of this ing on a model and a utilitarian plan rather
model, including the iron ladders or staples, than on a skilful perspective drawing. Besides
and all the gutters for the rain-water.
He made many other models in wax and these,
models Brunelleschi .madeChapel,
of the Pazzi " with his
theown hand"
Palazzo
wood during the construction of the dome, Q.uaratesi, the loggia of the Innocenti, the Badia
especially wood models for the various scaffold- at Fiesole, the fortifications of Pesaro and
ing and hoisting machinery required. In 1432 Vicopisano, the Medici Palace (which be broke
the question of the crowning lantern had to be up in anger), the Pitti Palace, and the church
faced, and again a competition for its design of S. Spirito; that is, for practically every
was promoted. This was something of a blow building of importance that he designed.
to Filippo, who had already made a model, but Models of fortifications have just been men-
the unkindest cut of all was the appearance of tioned: there is a sordid story in Vasari about
the first recorded woman-architect, " a lady of one of these, the work of the Florentine archi-
the Gaddi family " who " ventured to set up tect Tribolo (b. I50o). When the Pope was
her judgment in competition with his." This planning the siege of Florence in 1529, he com-
appalling presumption was duly checked by missioned Tribolo and another man to make a
Brunelleschi's ultimate success, owing mainly relief model of the city and neighbourhood,
to a cunning concealed door to a staircase lead- showing its fortifications, chief buildings, and
ing up to the ball, a trick which tickled the physical features. This model, which the
fancy of the assessors. Leader Scott (pp. 74-5) treacherous Tribolo actually suggested to the
states that there were six competitors, and that Pope, involved much dangerous surveying Biy
Brunelleschi's winning design was enlarged night. It measured about 7 ft. 6 in. square, was
and made in wood (implying that the first model made of cork to facilitate transport, was strictly
had been in clay or wax) by Antonio Manetti, to scale and could be taken to pieces. It was
a skilful wood-worker who had himself com- smuggled out of the city in bales of wool, and
peted unsuccessfully. For this model Manetti conveyed to the Pope, who used it for direct-
was paid 35 lire I6 soldi 6 denari. PLATE II, ing
A, the siege in exactly the way that a tnodern
represents a model of the lantern, said to general
be uses his squared artillery map.
by Brunelleschi and now preserved in the
Bramante was another architect who used
Museo dell' Opera del Duomo at Florence.models It extensively, but the next case in which
is of worm-eaten wood, and is made, as nearly there is a full record of the actual use of models
as I can calculate, to a scale of 3 ft. to I in., occurs in the later history of the building of St.
measuring about z21 inches from the base of thePeter's at Rome. Giuliano da Sangallo and
lantern to the underside of the ball. A small his brother Antonio constantly used models:
portion of the dome is shown stripped of in its
fact Antonio had specialized in that work
covering, thus enabling the ribs and staircasesbefore he practised architecture, having been
to be seen. Whether this is actually Brunel- trained as a woodcarver. When their nephew,
leschi's handiwork or not, the models that he Antonio da Sangallo the Younger, who had
made served an important purpose, for Vasari been apprenticed as a carpenter, was appointed
records that " he did not live to see the com- to the post of architect to St. Peter's in I536,
pletion of the lantern, but he left directions he had
in a complete model made by his pupil
his will that it should be built as the model Antonio Labacco, which "cost 4,184 crowns
showed, and as he had directed in writing." for the carpenters and joiners only. Labacco
In the same museum are two wooden models did his part well, for he possessed a good know-
of the dome, said to be even earlier than the
ledge of architecture." . . . " The model is

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 A-Michelangelo's model for the dome of St. Peter's,
Rome, c. 1557. (Museo Petriano, Rome)

.B-Sun,,a'll', 's ( model for St. Peter's, c. i536. (Museo Petriano, Rome)
Plate III. *\rchlitettlratl 1\odels-- I

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 Architectural Models-I

now in the principal chapel of S. Pietro, and dows, cornices, projections, and every detail.""
is 35 palms long, 26 broad and 20J high, so At this time Michelangelo was well over eighty
that the complete work would have been I,o4o years of age, so that it is natural that he
palms or 1o4 canne long, and 360 broad or 36 employed a subordinate to carry out the work.
canne, the Roman canna being Io palms. For He fully realized the importance of the model
the labours on this model and the designs, as a means of ensuring that the building would
Antonio was granted 1,500 crowns, but he only be completed after his death according to his
received i,ooo before his death."' ideas, and Vasari advised the Pope to see that
PLATE III, B, illustrates this model, which is it was carefully guarded from jealous rivals.
now deposited in the Museo Petriano adjoin- PLATE III, A, illustrates this model, now
ing St. Peter's. As appears from the above erected close to Sangallo's in the very interest-
quotation, the scale is i in 30. A portion of the ing Museo Petriano at Rome. It forms a half-
facade is hinged so that one may see the interior section of the dome, the photograph showing
which is finished with some care in colour and
the external view. It is made to a very large
gilding. The photograph gives some idea of scale in wood, realistically coloured; and the
the fussy and intricate detail, which doubtlesssectional parts are tinted to show the materials
explains the high cost of the model. (brick, stone, etc.) used in construction. There
When Michelangelo plunged into architec-are Roman numerals on it, presumably refer-
ture, late in life, he used models for his build-ring to an accompanying report or specification,
ings; in fact he says on one occasion: " I hador possibly to supplementary drawings. The
prepared an exact model, as I do of every- interior is as carefully coloured and finished as
thing,"' and elsewhere... ". ' with a model such the exterior.12 The Museo Petriano also con-
as I make for everything, such an error...tains a large number of other models, mainly
should never have occurred."' He made a planin wood. One group of these consists of
for the church of the Florentines at Rome, butmodels of scaffolding, derricks, hoisting appli-
employed Tiberio Calcagni, a young Florentine ances, and other apparatus used in the erection
sculptor studying architecture to make a modelof St. Peter's, the obelisk in the Piazza, etc.,
in clay. This was eight palms long and took Of these some are the work of a brother of the
ten days to finish. As it pleased the authori-famous Bernini, others made by one Zabaglia,
ties, they then commissioned him to make one"a humble and ignorant mason, gifted with
in wood.8 For the cornice of the incomplete natural talent, who acquired a marvellous know-
Farnese Palace in Rome, " he made a wooden ledge of the laws of statics."13 Another group
model of six braccia of the proper size, and had comprises models made by different architects
it placed in situ on the palace to show the in competition for the new Sacristy (built
effect."''9 1776-84) in the eighteenth century. There is
When he succeeded Antonio da Sangallo as also a recent model in clay of the ancient Basi-
lica of S. Pietro.
architect to St. Peter's in 1546, he " made a
Other models of interest are to be found in
model to bring the work to its present form.
the Museo dell' Opera del Duomo at Florence,
* . . This model cost him 25 crowns and was especially (besides those by Brunelleschi
completed in fifteen days. That of Sangallo
is said to have exceeded 4,ooo, and took many already described) a series of six, made by lead-
years to make. . . At ilength Michelangelo's ing architects between c. 1586 and 1635 for the
model was approved by the Pope."'0 In 1557 completion of the west front of the cathedral.
he " was encouraged by his best friends" . . . Some of these are coloured, and the scale varies
" to make a model of the cupola, as the vault- from about I4 to 31 ft. to I inch. These cathe-
ing was being delayed. He remained irresolute dral museums at Rome and Florence, like that
for several months and at last began one, at Siena, are of interest to all architects and
slowly making a clay model before beginning archaeologists, for they display things connected
a larger one in wood from his plans and eleva-with the erection of the building, and other
tions. He began the latter, which was finishedobjects discovered or altered during rebuilding,
that enable us to trace the story of the enter-
in little more than a year, with great study and
labour. It was of such size that the small prise. Similar museums attached to our cathe-
details . . . were perfect, and it had finisheddals would be of great value to students.
(To be continued.)
parts, the columns, bases, capitals, doors, win-
11 Ibid. IV, I6I. See also Michelangelo's Letter No.
5 Vasari, op. cit. Vol. III, p. 95. 302, dated 13 February, 1557, in the Archivio Buonarotti.
6 Vasari, op. cit. IV, 16o 12 During the writing of this article I have unfortunately
7 Ibid. IV, 16x. lost my notes made in the Museo Petriano in April, 1928,
8 Ibid. IV, i68. giving dimensions, etc., of this and other models.
9 Ibid. IV, I46 13 Italian Touring Club's Guide to Rome (1925), p. 639;
1o Ibid IV, 148. my translation.

L83

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