Brunellesco Di Lippo was his father, who was a notary public official, and Giuliana Spini was his mother, who was related to both Spini and Aldobrandini families. Brunelleschi had two brothers; one older, and one younger, whose names we don’t know. His father wanted him to study law, having the idea that his son would be a notary as well, but Brunelleschi wanted to have a career that was more artistic, and was determined to follow that route. Filippo Brunelleschi was trained as a sculptor and goldsmith in a florentine workshop, where he developed original ideas, which helped the Renaissance architectural style. While training, he also became an apprentice as a goldsmith in 1392, and later on, mastering it in 1398. While he was there, he became close friends with Donatello, who was an Italian sculptor as well, and, he never got married, or had any history of romantic …show more content…
Brunelleschi built the chapel as a perfect square, with many melodic proportions. He achieved this result by using additional knowledge that he absorbed during the time that he stayed in Rome, where focused on measuring ancient buildings, and used the Pantheon as a visual example. Andre de’ Pazzi commissioned Brunelleschi to the chapel in 1429, but work continued after Brunelleschi’s death in 1446. However, the building was never finished because the family suffered from the consequences of a conspiracy that had been organized by Jacopo and Francesco de’ Pazzi, along with the archbishop of Pisa Francesco Salviati, against the Medici family. Before these events occurred, the chapel was used as a chapter house by Santa Croce friars, and was proceeded by an atrium, an entrance hall, supported by six Corinthian columns, placed next to the central arch. It has a rectangular layout, containing a square room, which is sheltered by an umbrella shaped dome. The two sides of open space are covered by a barrel vault that has round windows. “The wall opens on a small square apse called scarsella covered by a dome decorated with a fresco painting reproducing the sky over Florence on July 4th 1442. A similar work still open to interpretation adorns the inside of the Old Sacristy in San Lorenzo