ular, to the painter Masaccio, then a youth and much his friend,
who did him credit in this art that Filippo showed him, as it is
apparent from the buildings in his works. Nor did he refrain from
teaching it even to those who worked in tarsia, which is the art of
inlaying coloured woods; and he stimulated them so greatly that he was
the source of a good style and of many useful changes that were made in
that craft, and of many excellent works wrought both then and
afterwards, which have brought fame and profit to Florence for many
years.

[Illustration: THE CRUCIFIXION

(_After_ Filippo Brunelleschi. _Florence: S. Maria Novella_)

_Alinari_]

Now Messer Paolo dal Pozzo Toscanelli, returning from his studies,
and chancing one evening to be at supper in a garden with some of his
friends, invited Filippo, who, hearing him discourse on the mathematical
arts, formed such an intimacy with him that he learnt geometry from
Messer Paolo; and although Filippo had no learning, he reasoned so well
in every matter with his instinct, sharpened by practice and experience,
that he would many times confound him. And so he went on to give
attention to the study of the Christian Scriptures, never failing to be
present at the disputations and preachings of learned persons, from
which he gained so much advantage, by reason of his admirable memory,
that the aforesaid Messer Paolo was wont to extol him and to say that in
hearing Filippo argue he appeared to be hearing a new S. Paul. He also
gave much attention at this time to the works of Dante, which he
understood very well with regard to the places described and their
proportions, and he would avail himself of them in his conversations,
quoting them often in making comparisons. He did naught else with his
thoughts but invent and imagine ingenious and difficult things; nor
could he ever find an intellect more to his satisfaction than that of
Donato, with whom he was ever holding familiar discourse, and they took
pleasure in one another and would confer together over the difficulties
of their vocation.

Now in those days Donato had finished a Crucifix of wood, which was
placed in S. Croce in Florence, below the scene of the child being
restored to life by S. Francis, painted by Taddeo Gaddi, and he wished
to have the opinion of Filippo about this work; but he repented, for
Filippo answered that he had placed a ploughman on the Cross; whence
there arose the saying, "Take wood and make on