Cosimo de Medici grants the Jews of Florence the first formal charter for money lending activities in 1437.
The wealthy Humanist Niccolò Niccoli is one of the chief figures in the company of learned men who have gathered around Cosimo de' Medici, and his intellectual quarrels with other noted Humanists have created a sensation in the learned world.
His collections of ancient art objects and library of manuscripts of classical works have helped to shape a taste for the antique.
He has copied and collated ancient manuscripts, correcting the texts, introducing divisions into chapters, and making tables of contents.
Many of the most valuable manuscripts in the Laurentian Library in Florence are by his hand, among them those of Lucretius and of twelve comedies of Plautus.
Niccoli's private library is the largest and best in Florence, and he also possesses a small but significant collection of ancient works of art, coins and medals.
He is also an accomplished calligrapher whose slightly inclined antica corsiva script has influenced the development of italic type.
He dies on February 3 of this year.
Donatello continues to explore the possibilities of the new shallow carving technique known as schiacciato (“flattened out”) in his marble reliefs of the 1420s and early 1430s.
The most highly developed of these are “The Ascension, with Christ Giving the Keys to St. Peter,” which is so delicately carved that its full beauty can be seen only in a strongly raking light; and the “Feast of Herod” (1433–35), with its perspective background.
The large stucco roundels with scenes from the life of St. John the Evangelist (about 1434–37), below the dome of the old sacristy of San Lorenzo, show the same technique but with color added for better legibility at a distance.
Lorenzo Ghiberti has by this time cast the reliefs for the second pair of doors for the Florence Baptistery.
(The work so closely complements Alberti's theories in his pioneering 1435 “Treatise on Painting,” that scholars have proposed him as Ghiberti's inspiration.)
Alberti in this year creates the earliest known peep shows: the perspective views said to have been painted in transparent colors on glass and lighted from behind for various effects, from sunshine to moonlight.
Florentine painter Fra Filippo Lippi, also called Lippo Lippi, an orphan who was raised in a Carmelite monastery, had become a monk at the age of fifteen, but, finding religious life unsuitable, had left the Carmelite order in about 1431 at the age of twenty-five, later marrying Lucrezia Buti.
Like the late Masaccio (who may have been his teacher)—Lippi achieves a sense of grandeur in his earliest datable work, a “Madonna Enthroned” painted in 1437, by using monumental figures, heavy draperies, and lighting designed to heighten the sculptural effect.
The detailed domestic scenery in the background implies the influence of the Flemish masters; he may also have looked to the relief sculptures of Donatello and Ghiberti for inspiration.
Lippi's synthesis of these influences enables him to bring new ideas to painting.
