[Footnote 3:  Vasari means that Lorenzo continued to receive his salary till 1426, although Filippo had been appointed sole master of the works in 1423, as he himself relates in the sequel.]

[Footnote 4:  How different was the treatment Ghiberti received from Brunelleschi, when the artists presented their models for one of the bronze doors of the Baptistery of San Giovanni at Florence.  The designs of Ghiberti, Brunelleschi, and Donatello, were considered the three best; but the two latter, considering that Ghiberti was fairly entitled to the prize, withdrew their claims in his favor, and persuaded the syndics to adjudge the work to him.  Brunelleschi was requested to undertake the work in concert with Ghiberti, but he would not consent to this, desiring to be first in some other art or undertaking than equal, or perhaps secondary, in another.  “Now, this was in truth,” says Vasari, “the sincere rectitude of friendship; it was talent without envy, and uprightness of judgment in a decision respecting themselves, by which these artists were more highly honored than they could have been by conducting the work to the utmost summit of perfection.  Happy spirits! who, while aiding each other took pleasure in commending the labors of their competitors.  How unhappy, on the contrary, are the artists of our day, laboring to injure each other, yet still unsatisfied, they burst with envy, while seeking to wound others.”]

[Footnote 5:  This distrust seems astonishing, after what Brunelleschi had accomplished, but it shows the opposition and enmity he had to encounter.  In 1434, he received a mortifying affront from the Guild of Builders.  Finding that he carried on the building without thinking to pay the annual tax due from every artist who exercised his calling, they caused him to be apprehended and thrown into prison.  As soon as this outrage was known to the wardens, they instantly assembled with indignation, and issued a solemn decree, commanding that Filippo should be liberated, and that the Consuls of the Guild should be imprisoned, which was accordingly done.  Baldinucci discovered and printed the authentic document containing the decree, which is dated August 20, 1434.]

[Footnote 6:  Masselli says that the Tuscan braccio, is the ancient Roman foot doubled for greater convenience, and is equal to one foot nine inches and six lines, Paris measure.  The editors of the Florentine edition of Vasari, 1846-9, remark that the measure of the whole edifice as given by Vasari, differs from that given by Fantozzi; the latter gives 196 braccia as its total height.  Milizia says, “Brunelleschi completed his undertaking, which surpassed in height any work of the ancients.  The lantern alone remained imperfect; but he left a model for it, and always recommended, even in his last moments, that it should be built of heavy marble, because the cupola being raised on four arches, it would have a tendency to spring upwards if not pressed with a heavy weight.