Lives of the Most Excellent Painters, Sculptors, and Architects/Lorenzo Ghiberti

by Giorgio Vasari

 

THE FLORENTINE SCULPTOR LORENZO GHIBERTI.

[born 1381—died 1455.]

Whoever obtains renown among his fellow-men for the possession of any particular gift, is without doubt for the most part a truly blessed light and exemplar to many, whether of his contemporaries or of those who come after him, to say nothing of the great honours and large rewards derived from this advantage by himself in his own life-time. This may be remarked in all cities and countries. Nor is there any thing by which the minds of men are more readily aroused to effort, or by which the discipline of study is rendered less onerous to them, than the honours and benefits to be derived from the heavy labours of the artist or man of learning. By these it is that every undertaking, however difficult, is rendered easy, and at no time will the powers of the labourer be put forth so effectually and with so rich and mature a fruit as when he is stimulated to effort by the praises of the world. There are infinite numbers of men who seeing and feeling this, subject themselves to many a pain, that they also may attain to the distinction, and merit the rewards conferred upon some one of their compatriots; therefore it was that in ancient times men of parts and distinction were rewarded with riches, or honoured by triumphs and statues. But as it rarely happens that talent can escape the persecutions of envy, it is most needful that all should strive, so far as in them lies, to ward off her attacks by the truest excellence, or should at least arm themselves with strength and resolution to sustain the impetus of her onset; as was admirably accomplished by Lorenzo di Cione Ghiberti, otherwise di Bartoluccio, who was well aided in the struggle by his own merits, as well as by the favour of fortune. It was the high desert of Lorenzo which induced the sculptor Donato, and Filippo Brunelleschi, the architect and sculptor, both distinguished men, to place that youth before themselves, and to acknowledge, as they did,—although self-love might tempt them to affirm the contrary,—that he was indeed a better master than they in the art that was in question, on the occasion to which we allude, namely, that of casting in bronze. This act, in truth, redounded to the glory of those two artists, as well as to the confusion of many, who, presuming on their own abilities, press themselves forward and occupy the place due to the talents of others, although they are unable to produce any good fruits; and after labouring a thousand years to effect nothing, do but oppress the efforts and hinder the advancement of those who might promote the progress of art and knowledge, but for their envy and malignity.

Lorenzo was the son of Bartoluccio Ghiberti,^[1] and in his early youth acquired the art of the goldsmith, under the care of his father, who was an excellent master, and instructed him in such sort that Lorenzo, aided by his natural abilities, became a better goldsmith than his teacher. But delighting still more in the arts of design and sculpture,^[2] he sometimes worked in colours, and at other times employed himself in the casting of small figures in bronze, which he finished very gracefully. He also took much pleasure in imitating the dies of ancient coins and medals, besides which he frequently took the portraits of his different friends from the life.

Whilst Lorenzo was thus labouring to acquire the art of gold-working with Bartoluccio, the plague, by which Florence was visited in the year 1400, broke out, as he relates himself in a book written with his own hand, wherein he discourses of matters touching the arts, and which is now in the possession of the venerable Messer Cosimo Bartoli, a Florentine gentleman.^[3] To this plague were added civil discords and various troubles in the city, from which Lorenzo was compelled to depart, when he repaired to Romagna, in company with another painter, where they worked together in Rimini, painting a chamber and other works for signor Pandolfo Malatesti, which were all completed by them with great diligence and to the satisfaction of that noble, who, although young, took much pleasure in all things relating to art. Lorenzo meanwhile did not remit the prosecution of his studies in relation to design, but frequently executed rilievi in wax, stucco, and other materials of similar kind, well knowing that such rilievi are the drawing-exercises of sculptors, without practice in which they cannot hope to bring any great work to perfection. But Lorenzo did not long remain absent from his country. After the pestilence had ceased, the Signoria of Florence and the Guild of the Merchants resolved to proceed with the two doors of San Giovanni, one of the oldest and most important churches in the city, concerning which there had already been so much discourse and so many deliberations. The time was favourable for such an undertaking, the art of sculpture then possessing able masters in abundance, foreigners as well as Florentines: those in authority therefore, considering that the work ought to be done as well as talked of, gave orders that all the artists, masters of eminence throughout Italy, should be given to understand that they might repair to Florence, there to present a specimen of their abilities in a trial of skill, which was to be made by the composition and execution of an historical representation in bronze, similar to those which Andrea Pisano had executed for the first door.

Notice of this determination was sent by Bartoluccio to Lorenzo, who was then working in Pesaro, and whom his father-in-law urged to return to Florence, and show what he could do; saying, that this was an opportunity for making himself known and displaying his abilities, reminding him also that from the occasion now presenting itself, they might derive such advantages that neither one nor the other of them need any longer work at pear-making.^[4] The words of Bartoluccio roused the spirit of Lorenzo in such a manner, that although the Signor Pandolfo, the other painter, and all the court, were treating him with the most amicable distinction, and entreated him to remain with them, he nevertheless took leave of that noble and of the painter, who were with difficulty persuaded to let him depart, and saw him go with extreme regret; but no promises nor increase of appointments availed to detain him, every minute then seeming to Lorenzo a thousand years, until he found himself on the road to Florence. Departing from Pesaro, therefore, he arrived safely in his native city. A great concourse of foreign artists had by this time assembled at Florence, and had presented themselves to the syndics or consuls of the Guild, who chose seven masters from the whole number: three of these were Florentines, the remaining four were Tuscans. Each of these artists received a sum of money, and it was commanded that within a year each should produce a story in bronze as a specimen of his powers, all to be of the same size, which was that of one of the compartments in the first door. The subject was chosen by the consuls, and was the Sacrifice of Isaac by his father Abraham, that being selected as presenting sufficient opportunity for the artists to display their mastery over the difficulties of their art: this story comprising landscape, with human figures, nude and clothed, as well as those of animals; the foremost of these figures were to be in full-relief, the second in half-relief, and the third in low-relief. The candidates for this work were Filippo di Ser Brunellesco, Donato and Lorenzo di Bartoluccio, who were Florentines, with Jacopo della Quercia, of Siena; Niccolo d’Arezzo, his disciple; Francesco di Valdambrina, and Simone da Colle, called Simon of the Bronzes. All these masters made a promise before the consuls that they would deliver each his specimen completed at the prescribed time, and all set themselves to the work with the utmost care and study, putting forth all their strength, and calling all their knowledge to aid, in the hope of surpassing one another. They kept their labours meanwhile entirely secret, one from the other, that they might not copy each other’s plans. Lorenzo alone, who had Bartoluccio to guide him, which last suffered him to shrink before no amount of labour, but compelled him to make various models before he resolved on adopting any one. of them—Lorenzo only, I say, permitted all the citizens to see his work, inviting them, or any stranger who might be passing and had acquaintance with the art, to say what they thought on the subject; and these various opinions were so useful to the artist, that he produced a model, which was admirably executed and without any defect whatever. He then made the ultimate preparations, cast the work in bronze, and found it succeed to admiration; when Lorenzo, assisted by Bartoluccio his father, completed and polished the whole with such love and patience, that no work could be executed with more care, or finished with greater delicacy. When the time arrived for comparing the different works, Lorenzo’s specimen, with those of all the other masters, were found to be completed, and were given to the Guild of the Merchants for their judgment. Wherefore, all having been examined by the syndics, and by many other citizens, there were various opinions among them touching the matter. Many foreigners had assembled in Florence—some painters, some sculptors, others goldsmiths: these were all invited by the consuls, or syndics, to give judgment on those works, together with the men of the same calling who dwelt in Florence. The number of these persons was thirty-four, all well experienced in their several arts. But although there were divers opinions among them touching various points, and one preferred the manner of this candidate and one of that, yet they all agreed that Filippo di Ser Brunellesco and Lorenzo di Bartoluccio had presented works of better composition, more richly adorned with figures, and more delicately finished^[5] than was that of Donato, although in his specimen also the design was exceedingly good,^[6] In the work of Jacopo della Quercia the figures were carefully designed, but wanted delicacy of finish. In the specimen of Francesco da Valdambrina the heads were beautiful and the work well finished, but the composition was confused. That of Simon da Colle was a beautiful specimen of casting, because that was his peculiar branch of art, but the design was not good. The specimen presented by Niccolo d’Arezzo showed the hand of the practised master, but the figures were stunted and the work not well finished. The story executed by Lorenzo only, which is still to be seen in the Hall of Audience, belonging to the Guild of the Merchants,^[7] was perfect in all its parts. The whole work was admirably designed and very finely composed: the figures graceful, elegant, and in beautiful attitudes; and all was finished with so much care and to such perfection, that the work seemed not to have been cast and polished with instruments of iron, but looked rather as though it had been blown with the breath.

When Donato and Filippo saw the care and success with which Lorenzo had completed his specimen, they drew aside together, and, conferring with each other, decided that the work ought to be given to him, because it appeared to them that the public advantage, as well as individual benefit, would be thus best secured and promoted, since Lorenzo being very young—for he had not completed his twentieth year—would have the opportunity, while exercising his talents on that magnificent work, of producing those noble fruits of which his beautiful story gave so fair a hope. They declared that, according to their judgment, Lorenzo had executed his specimen more perfectly than any of the other artists, and that it would be a more obvious proof of envy to deprive him of it, than of rectitude to accord it to him.

Lorenzo therefore commenced the works for those doors, beginning with that which is opposite to the house of the wardens, and first he prepared a model, in wood, of the exact size which each compartment was to have in the metal, with the framework and the ornaments of the angles, on each of which was placed a head; and all the decorations by which the stories of every compartment were to be surrounded. After having prepared and dried the mould with infinite care and exactitude in a workshop that he had procured opposite to Santa Maria Nuova, where the Weavers’ Hospital now stands, and which was called the threshing-floor, he built an immense furnace, which I well remember to have seen, and there cast the portion he had prepared, in metal. But it pleased the fates that this should not succeed; yet Lorenzo, perceiving in what point he had failed, did not lose courage, nor permit himself to despond; but having promptly prepared another mould, without making the occurrence known to any one, he cast the piece again, when it succeeded perfectly. In this manner the artist continued the whole work, casting each story himself; and when he had completed and polished it, he fixed it in its place. The arrangement of the stories is similar to that adopted by Andrea Pisano in constructing the first door, which had been designed for him by Giotto. The number of them is twenty; the subjects being taken from the New Testament: beneath these stories, in eight similar compartments, are figures of the four Evangelists, two on each leaf or fold of the door, with the four Doctors of the Church in like manner. All these figures are varied in their attitudes, vestments, and other particulars: one is reading, another writing; some are in deep meditation, and differing thus one from another, all, whether acting or reflecting, are equally lifelike. The framework which encloses each picture is enriched with ornaments of ivy leaves and foliage of other kinds, with mouldings between them, and on each angle is a male or female head in full relief, purporting to represent the Prophets and Sybils. They are very beautiful, and their variety serves to prove the fertility of invention possessed by the master. Above the Doctors and Evangelists here described, and on the side towards Santa Maria del Eiore, is the first, or commencing story, which represents the Annunciation of Our Lady: Lorenzo has given to the Virgin an expression of terror and sudden alarm; as the angel appears, she turns from him in an attitude of infinite grace. Beside this representation is one exhibiting the Birth of Christ; where Our Lady is reposing in a recumbent position, with Joseph, earnestly regarding the shepherds, and angels, who are singing. On the opposite fold of the door, and at the same height with the last mentioned compartment, is one presenting a continuation of the story, and exhibiting the arrival of the Magi, with their adoration of Christ, to whom they offer tribute; their court and servants are also shown following them, with horses and other accessories, all displaying infinite ability. Next to this is Christ disputing with the Doctors in the Temple; and here the admiring attention with which the doctors are listening to Christ is very finely expressed, as is the joy of Mary and Joseph at finding him. Above these there follows (to commence with that over the Annunciation), the Baptism of Christ, by John, in the river Jordan; and here the reverence of the one is as clearly expressed as is the faith of the other. Beside this is the Temptation of Christ by the devil, who, terrified by the words of Jesus, stands before him in an attitude of abject fear; showing that he knows Christ to be the Son of God. Next to this, on the opposite fold, is the Saviour driving the money changers from the Temple, overturning their tables, and casting forth the animals for sacrifice, the doves, and other merchandize. In this picture the figures of the expelled traders falling over each other in their flight, are full of grace and beauty, giving proof of infinite judgment in the artist. Beside the Expulsion from the Temple is the Shipwreck of the Apostles, with St. Peter, who, having descended from the ship, is sinking in the waves, but is supported by Jesus. This story exhibits a rich variety in the different attitudes of the Apostles, who are labouring to save the ship; and the faith of St. Peter is made manifest by his proceeding to join Christ on the water. On the other leaf, and over the story of the Baptism, is that of the Transfiguration on Mount Tabor, wherein Lorenzo has shown, in the attitudes of the Apostles, how the eyes of mortals are dazzled by the sight of celestial glories; while the divinity of Christ is made obvious, as he holds his head aloft, and with extended arms appears between the figures of Moses and Elias. Beside this is the Resurrection of Lazarus from the dead: he issues from the sepulchre, and stands before the spectators with his hands and feet bound, to the infinite astonishment of all. Martha is present, with Mary Magdalene, who kisses the feet of the Saviour with the utmost reverence and humility. On the same level with these two last mentioned scenes, but on the opposite leaf of the door, is Christ entering Jerusalem, seated on the ass, while the children of the Hebrews cast their garments before Him, and strew the path of the Redeemer with palm leaves and olive branches; the Apostles are also shown, following their Master. Beside this scene is the Last Supper, an admirable composition, and full of beauty in all its parts: the figures are seated at a long table, half placed within and half without the chamber. Above the Transfiguration is the Saviour on the Mount of Olives, where the three Apostles are seen asleep in various attitudes of much truth and beauty. The story beside this is that of Christ betrayed by Judas, and taken by the Jews, which presents many admirable characteristics well meriting attentive consideration. The Apostles, who have been put to flight, exhibit many fine attitudes, while those of the Jews who take the Saviour captive equally display the violence they are using, and the triumph they feel. On the opposite fold of the door, and at the same height with these, is Christ bound to the column, his figure, bent beneath the flagellation, is somewhat contorted by the pain lie suffers, and exhibits an attitude which awakens deep compassion, while a fearful rage and desire for vengeance are manifest in the gestures and faces of the Jews by whom he is tortured. Beside this story is that of Christ conducted before Pilate, who washes his hands, and condemns the Saviour to the cross.

Above the scene in the garden, on the other side, and in the last series of these representations, is Christ bearing his Cross, and led to death by a furious rabble of the soldiery, who, by the violence of their gestures, appear to drag Him forcibly along. The deep grief and bitter wailings of the Maries are also expressed with so much truth and vividness, that those who were present at this mournful spectacle can scarcely have seen it more clearly. Near to this picture is that of Christ crucified, with Our Lady and St. John the Evangelist seated on the earth, overwhelmed with grief and indignation. On the opposite fold of the door is then depicted the Resurrection, where the guards lie, like dead men, in a deep sleep, while the Saviour rises upwards; and such is the grace of his attitude, and the perfection of the beautiful limbs produced by the genius and patience of Lorenzo, that he does indeed appear to be glorified. Finally, in the last compartment, appears the Holy Spirit descending on the Apostles; and truly exquisite are the attitudes and expressions of those who receive it.

This great work was carried forward to its completion without sparing either cost, time, or whatever else could promote the successful termination of the enterprise; the nude figures are in all parts most beautiful, and the draperies, although still retaining some slight trace of the older manner of Giotto’s day, have, nevertheless, a direct tendency towards that of more modern times, and this gives to figures of that size a grace of character which is very attractive. The composition of each story is, of a truth, so well arranged, the figures are so judiciously grouped, and so finely executed, that the whole work richly deserves the praise bestowed on it in the commencement, by Filippo. The merits of Lorenzo were most honourably acknowledged by his fellow citizens, and from them in general, as well as from the artists in particular, whether compatriots or foreigners, he received the highest commendations. This work, with its exterior ornaments, which are also of metal, representing festoons of fruits, and figures of animals, cost 22,000 florins, and the door weighed 34,000 pounds.

This undertaking being completed,^[8] the consuls of the Guild of Merchants considered that they had been extremely well served, and hearing the praises given to Lorenzo by all beholders, they determined that he should execute a second work, to be placed in one of the niches outside Or San Michele, and opposite to the building occupied by the cloth-dressers. This was a statue in bronze, four braccia and a half high, to the honour of St. John the Baptist. Lorenzo commenced the work accordingly; nor did he ever leave it until its entire completion: this figure also has been, and still is, highly commended: the name of the artist is engraved onthemantle. Thestatueof theBaptist was placed in the tabernacle designed for it in the year 1414,^[9] and in the head, in an arm, which seems to be of the living flesh rather than of bronze, in the hands, and in the attitude, may be seen a commencement of the good modern manner. Lorenzo was the first who began to imitate the works of the ancient Romans, of which he was a zealous student, as all must be who would attain to perfection in their art. In the front and upper part of the tabernacle enclosing this figure, the master made an attempt in mosaic, placing there the half-length figure of a prophet.^[10]

The fame of Lorenzo had now extended not only throughout all Italy, but also into other countries, where he was considered the most ingenious of all the masters in foundry work, insomuch that Jacopo della Fonte, Donato, and the Sienese Vecchietto having executed certain figures and historical pieces in bronze for the Signoria of Siena, to be placed in their church of San Giovanni, and which were intended to adorn the baptismal font of that church, the Sienese (having seen the works of Lorenzo in Florence), agreed among themselves that he also should execute two stories for them: the subjects of these works were from the life of John the Baptist,^[11] and in one was represented the Baptism of Christ by St. John, who is accompanied by many figures, some naked, others very richly dressed. The second exhibits the Baptist when taken and led before Herod. In these works Lorenzo greatly surpassed the artists who had executed the others, and was in consequence very highly commended by the Sienese, and by all who beheld the work.

The masters of the Mint had to furnish a statue for one of those niches of Or San Michele, which are opposite to the Guild of the Weavers. This statue was to represent St. Matthew, and to be of the same height with that of St. John above described. They confided the charge of it, therefore, to Lorenzo Ghiberti, who produced a work of the utmost perfection, and one which was more highly praised than that of St. John, the master having executed it more in the modern manner. The successful completion of this statue caused the Guild of the Woolstaplers to determine that our artist should execute another for the same place, likewise in bronze, and of the same proportions with that of St. Matthew. The figure was to represent St. Stephen, who was the patron saint of that guild, and was to be placed in the niche following that of St. Matthew. This also Lorenzo completed very happily, giving the bronze a very beautiful varnish, insomuch that this statue afforded no less satisfaction than those before mentioned, or than the other works performed in Florence by the same master.^[12]

At that time Maestro Leonardo Dati was general of the Preaching Friars, and, desiring to leave to his country a memorial of himself in Santa Maria Novella, where he had taken his vows, he caused Lorenzo to construct a sepulchre of bronze, with his own figure, taken from nature, in a recumbent position thereon;^[13] and from this work, which was very much admired, there arose another, which Ludovico degli Albizzi and Niccolo Valori caused to be constructed in the church of Santa Croce.^[14]

After these things, Cosimo and Lorenzo de’ Medici desiring to do honour to the relics of the three martyrs, Protus, Ilyacinthus, and Nemesius, caused their bodies to be brought from Casentino, where they had remained, receiving but little veneration, for many years, and commissioned Lorenzo to prepare a tomb of bronze.^[15] In the midst thereof are two angels, in basso-rilievo, holding a garland of olive, within which is inscribed the names of the aforesaid martyrs. In this tomb were placed the above-named relics, and it was fixed in the church belonging to the monastery of the Angeli, in Florence. On the lower part, and on that side which is turned towards the church of the monks, are the following

words, engraved on marble:—

“Clarissimi viri Cosmas et Laurentius fratres neglectas diu sanctorum reliquias martyrum religioso studio ac fidelissima pietate suis sumptibus aereis loculis condendas colendasque curarunt.”

And on the outer side, where the little church faces towards the road, are the words hereafter recited, also engraved on marble, beneath the arms of the Medici:—

“Hic condita sunt corpora sanctorum Christi Martyrum Prothi et Hyacinthi, et Nemesii. Ann. Dom. 1428.”

This work likewise succeeded perfectly well, and from that circumstance there arose a wish on the part of the wardens of Santa Maria del Fiore to have a sarcophagus and monument of bronze constructed by the same master, for the reception of the body^[16] of San Zanobi, bishop of Florence. This tomb is three braccia and a half long and two high; it is decorated with many and varied ornaments, and in the centre of the front Lorenzo has represented San Zanobi restoring to life a child who had been left to his care by the mother, and who had died while she was absent on a pilgrimage. In a second relief is also a child who has been killed by a wagon, with the same saint, who resuscitates one of the two servants or lay-brothers sent to him by Sant’ Ambrogio, and of whom one had died in crossing the Alps. The companion of the dead servant stands before the saint bewailing his loss, when San Zanobi, moved to compassion, consoles him by the words, ‘‘be at peace: he doth but sleep, and thou shalt see him alive again.” On the back of the tomb are six angels, who hold a garland of elm-leaves, within which are certain words to the praise of San Zanobi, and in memory of that saint. To this work also Lorenzo gave the most earnest care, and putting forth the many resources of his art, he finished it most successfully, insomuch that it was greatly celebrated, and considered an extraordinarily beautiful thing.^[17]

While the works of Lorenzo, who executed innumerable commissions for various persons in gold and silver, as well as in bronze, were daily increasing his fame, it chanced that there fell into the hands of Giovanni, son of Cosmo de’ Me- . dici, a large cornelian, on which the flaying of Marsyas by Apollo was represented in intaglio, which cornelian, as it was said, had once served the emperor Nero for a seal, and this being esteemed a rare thing, as well for the size of the stone, which was large, as for the marvellous beauty of the intaglio, Giovanni gave it to Lorenzo, to the end that he should make a gold ornament, also intaglio, to enclose and surround it; at this work the master laboured several months, but when it was completed, the intaglio that he had executed around it was found to be no less beautiful and meritorious than was the admirably perfect engraving of the stone itself. The success of this work caused Lorenzo to receive commissions for many others in gold and silver, but which are not now to be found.^[18] Among other ornaments he made a clasp or fastening of gold for pope Martin, which that pontiff wore in his cope: this was adorned with figures in full relief, and among them were placed jewels of very great price—a truly excellent work. He also made a wonderfully rich mitre, formed of foliage in gold, the leaves being wholly detached from the surface and of very beautiful effect: among them were also many small figures in full relief, which were considered marvellously fine. From this work the master not only acquired increase of fame, but also large rewards from the liberality of Pope Martin.

In the year 1439^[19] pope Eugenius arrived in Florence to unite the Greek and Roman churches, when the Florentine council was held. The pope having seen the works of Lorenzo Ghiberti, and being no less pleased with them than with the artist himself, who was very acceptable to that pontiff, his holiness commanded him to make a mitre of gold, weighing fifteen pounds, with pearls, the weight of which was five pounds and a half, the whole being estimated—with the jewels also set in the mitre—at 30,000 ducats of gold. It is said that among these pearls were six of the size of filberts, and no imagination could conceive any thing more beautiful (according to what was afterwards seen in a design of the whole) than the fanciful arrangement of these jewels, with the variety of figures, of children and others, which formed the varied and most graceful decoration of this work;^[20] for which the master received many favours from the pontiff, both for himself and his friends, beside the first remuneration of his labours.^[21]

The city of Florence had acquired so much glory and praise from the admirable works of this most ingenious artist, that a resolution was taken by the consuls of the Guild of the Merchants to give him a commission for the third door of San Giovanni, which was also to be of bronze. In the case of the first door, which Lorenzo had made, he had followed the directions of the consuls, as regarded the decoration of the frame-work, by which the figures were surrounded, since they had determined that the general form of all the doors should be similar to that constructed by Andrea Pisano. But having now seen how greatly Lorenzo had surpassed the elder master, the consuls resolved to change the position of the doors, and whereas that of Andrea had previously occupied the centre, they now placed it on the side of the building which stands opposite to the Misericordia,^[22] proposing that the new door to be made by Lorenzo should be substituted for it, and should thenceforward occupy the centre; for they fully expected that he would put forth every effort and zealously employ all the resources of his art, insomuch that they now placed themselves in his hands without reserve, referring the whole matter entirely to his care, and declaring that they gave him full permission to proceed with the work as he should think best,^[23] and to do whatever might most effectually secure that this third door should be the richest, most highly adorned, most beautiful and most perfect, that he could possibly contrive, or that could be imagined.^[24] Nor would they have him spare either time or labour, to the end that as he had previously surpassed all the sculptors that had lived before him, so he might now eclipse and surpass all his own earlier works. Lorenzo commenced the undertaking, calling all his knowledge and ability of every kind to aid. He divided his work into ten compartments, or pictures, five on each side, which gave to each compartment one braccio and a third; around the whole and serving as an ornament to the frame-work which encloses the stories, are niches filled with figures in almost full relief, the number of which is twenty, all of exceeding beauty. Among others is the naked form of Sampson, with a jaw bone in his hand and his arm round a column, and this exhibits a degree of perfection which will bear comparison with that displayed by the ancients in their figures of Hercules, whether in bronze or marble. The same may be said of Joshua, who is in the act of addressing his army, and really seems to speak: there are besides, many prophets and sybils, adorned in a richly-varied manner, and displaying the utmost fertility of invention in draperies, head-dresses, ornaments of the hair, and other decorations. Twelve^[25] figures, in a recumbent position, were placed in the niches, which are at each corner; and on the angles, in circular cavities, the master executed female heads, with those of youths and old men, the number of all being thirty-four.^[26] Among these heads, towards the centre of the door and near to the place where the master has engraved his name, is the portrait of his father-in-law Bartoluccio, which is the oldest of the series, while that of the youngest man is the head of Lorenzo himself, the author of the whole work. There are besides innumerable decorations of foliage, cornices, and other ornaments, all arranged and perfected with the utmost ability and the most zealous care. The folds of this door are adorned, as we have said, with stories from the Old Testament—the first presents the Creation of Adam, and Eve, his wife, whose figures exhibit the very perfection of beauty; and here we perceive that Lorenzo has had it at heart to give them the most exquisite forms that he could devise, intending to show that as our first parents came from the hand of God, the most beautiful of all the creatures that had been made, so in his work they were designed to surpass all the others that he had ever produced in any of his works: without doubt a most worthy consideration. In the same picture are seen our first parents eating the apple, and also at the moment when they are driven out of Paradise: and here the attitudes of the figures express the first effects of their sin; they are made aware of their nakedness, which they seek to conceal. We finally see them receive their punishment, being compelled by the angel to depart from Paradise.

In the second compartment are Adam and Eve, with their two little children, Cain and Abel. These last are also shown when Abel is offering the best of his flock in sacrifice, while Cain presents the less worthy oblation. The expression of the latter displays his envy of his brother—that of Abel makes manifest the love he bears to God. One part of this picture is of singular beauty: it exhibits Cain ploughing the earth with a pair of oxen, whose labour, and the efforts they make beneath the yoke, are so admirably exhibited, that they seem alive and in positive motion. The same maybe said of the figure of Abel, who is keeping his flocks: he is then slain by his brother, and here the movements of Cain are full of violence; his expression is that of pitiless cruelty, as he strikes his brother with his club, while the bronze itself has been made to exhibit the languor of death in the most beautiful form of Abel. In the distance, moreover, and executed in basso-rilievo, is seen the Almighty Father, demanding from Cain what he has done with his brother. Each of the compartments comprise four stories. In the third Lorenzo represented the patriarch Noah issuing from the ark, with his wife, his sons, his daughters, and the wives of his sons, together with all the animals, those of the air as well as of the earth: all these creatures are finished with such perfection of excellence, each in its kind, that it is not possible for art more effectually to imitate nature. The open ark is seen in the extreme distance, with the desolation caused by the deluge: this part is in perspective and in the lowest relief (bassissimo-rilievo), the whole being treated with the utmost delicacy: the figures of Noah and his sons could not possibly be more full of life, as they offer their sacrifice to God, while the rainbow, the sign of peace between God and Noah, is seen in the heavens. But much the most admirable of all is the scene when Noah has planted the vine, and having drunk of the fruit thereof has become inebriated, and is exposed to the derision of Ham, his son. And of a truth no sleeping figure could be more exactly imitated, the utter abandonment of the intoxicated limbs is finely rendered, the love and consideration exhibited by the other sons of Noah are equally well expressed, and the attitudes of the latter are beautiful. The vine, the cask, with all the requisites of the vintage, are moreover exhibited, but with so much judgment and all so treated, that they do not impede the action of the story, but on the contrary increase its force and give it most appropriate ornament. For the fourth story of this compartment Lorenzo has chosen the appearance of the three angels in the valley of Mamre: these figures have a close resemblance to each other: the holy patriarch is seen in the act of adoration before his celestial visitors, his hands are folded, and the expression of his countenance is most life-like and appropriate. The servants with the ass, who are represented as awaiting Abraham at the foot of the mountain, whither he has gone to make the sacrifice of his son, are equally excellent. Isaac stands naked on the altar, while the father, with upraised arm, is in the act of proving his obedience, when he is prevented by the angel, who arrests his arm with one hand, while he points with the other to the animal which he is to offer in sacrifice, and thus delivers Isaac from death. This story is of a truth exceedingly beautiful, and among other matters worthy of observation is the great difference between the delicate limbs of Isaac and those of the more robust servants, insomuch that there does not seem to have been a touch given which had not been calculated with the nicest exactitude and the most perfect knowledge of art. In the difficult matter of representing the buildings, Lorenzo appears to have surpassed himself in this work: the birth of Isaac’s sons, Esau and Jacob, with the chase of the former, at the desire of his father, must also be particularized: Jacob conducted by Rebecca, is offering the prepared kid, the skin of which his mother has wrapped around his throat, while Isaac stretches out his hands towards him and bestows the benediction: all these things are admirably represented; there are besides many beautiful dogs in this picture, and the figures of Isaac, of Jacob, and of Rebecca, must needs exhibit precisely the effect produced in their actual life.^[27]

Animated and exalted by the study of his art, its difficulties became daily more familiar to the master, and presented of Vasari, less formidable obstacles to his efforts, insomuch that he was constantly emboldened to new enterprises. His sixth compartment represents Joseph cast by his brethren into the well, and also his deliverance therefrom by the merchants, by whom he is presented to Pharaoh:^[28] the interpretation of Pharaoh’s dream is likewise exhibited, with the precautions taken to provide for the years of famine and the honours rendered to Joseph by Pharaoh. Then follows the patriarch Jacob despatching his sons into Egypt for the purpose of buying corn, where, being recognised by Joseph, he causes them to return to their father. In this story Lorenzo displayed his mastery over the difficulties of perspective, in a circular temple, which is one of the objects; there are, besides, various figures differently occupied in loading corn and meal, with asses, which are also most naturally represented. The feast given by Joseph to his brethren, the concealment of the gold cup in the sack of Benjamin, its discovery, with the return of the travellers to Joseph, who makes himself known to and embraces his brethren—all these things are here shown, and this story, for the varied passions and affections pourtrayed in it, as well as for the many rich accessories, is considered to be the most remarkable, difficult, and beautiful of the whole work.

But Lorenzo was, of a truth, endowed with so fine a genius, and possessed so peculiar a grace in the execution of the figures here described, that when his mind became occupied in the composition of a beautiful story, he could not well do otherwise than produce exquisite forms; and this we may infer from the seventh compartment, which represents Mount Sinai, with Moses on the summit, receiving the Laws from God, and kneeling in adoration, with the appropriate expression of reverence: midway up the mountain, is Joshua, who is awaiting the return of Moses, and the assembled people are gathered at the foot of the Mount, terrified by the thunders, lightnings, and earthquakes, and exhibiting an infinite variety of attitude, all represented with the utmost truth and nature. The master has also shown great love and diligence in the third compartment, wherein he has pourtrayed Joshua proceeding against Jericho, and causing the river Jordan to flow backwards. He has here represented twelve tents, for the twelve tribes, all full of highly animated figures: and still more beautiful are some others, in basso-rilievo, who are proceeding with the ark around the walls of the aforesaid city, when those walls are overthrown at the sound of the trumpets, and Jericho is taken by the Hebrews. In this picture the relief of the landscape is gradually lowered, so that the distance is increased with great judgment, and the true proportions of the first figures to the mountains, with those of the mountains to the city, and of the city to the distant country, are observed with infinite care, the degrees of relief being regulated with the nicest judgment, and the whole work conducted to the utmost perfection: the experience of the master, and his power in his art, increasing from day to day. In the ninth picture he has represented the Giant Goliath, with David, in a proud yet childlike attitude, who cuts off the Philistine’s head, when the army of God destroys that of the pagan. Here the artist has represented horses, chariots, and all the other accessories appertaining to war. In another part is seen David returning with the head of Goliath in his hand, and received by the people, who meet him with songs and the sound of instruments, all pourtrayed with perfect truth and full of animation. There now remained for Lorenzo to put forth all his strength for the tenth and last picture, where the Queen of Sheba, with a splendid retinue, pays her visit to King Solomon. Here there is a building drawn in perspective, and exceedingly fine, with a variety of figures similar to those in the previous stories. Nor less carefully and perfectly executed are the decorations of the architraves and the framework surrounding these doors, among which are fruits and festoons of foliage finished with the accustomed excellence of the master.^[29]

In this work, whether taken in detail or considered as a whole, we have proof of the wonders that may be accomplished by the fertile invention and practised ability of the sculptor, whether in full relief, in half relief, or in the low, and lowest relief; the effect he may produce in the composition of his work, by the disposition of his figures, and by variety of attitude in male and female forms; the rich effects to be derived from the judicious introduction of buildings, and due attention to the laws of perspective, with the grace that results from according their appropriate expression to each sex, and to the different ages, as we see done in this work, where, in the old we admire gravity, and in the young their beauty and graceful lightness. Wherefore it may be truly affirmed that this work is in all respects perfect, and is the most admirable production that has ever been seen in the world, whether ancient or modern. The justice of the praises bestowed on Lorenzo for this work may be inferred from the words of Michael Angelo Buonarotti, who, standing to look at these doors, and being asked what he thought of them, and whether they were beautiful, replied in these words:—“They are so beautiful, that they mightfittingly stand at the gates of Paradise,” a truly appropriate tribute, and offered by him who could well judge of the work.^[30] Well indeed might Lorenzo complete his undertaking successfully, since, from his twentieth year, wherein he commenced these doors, he laboured at them for forty years with a patience and industry more than extreme, and beyond the power of words to express.^[31]

Ghiberti was assisted in the completion and polishing of this work, after it had been cast, by many artists, then young men, who afterwards became excellent masters: by Filippo Brunelleschi, namely, by Masolino da Panicale, Niccolo Lamberti, both goldsmiths; by Parri Spinelli, Antonio Filarete, Paolo Uccello, Antonio del Pollaiuolo, who was then a youth, and by many others, who, labouring together at this work, and holding much conference respecting it, as will happen when people live together, acquired practice and knowledge, insomuch that they were labouring for themselves no less than for Lorenzo.^[32] In addition to the sum paid for the work by the consuls, Lorenzo Ghiberti received a good farm near the Badia di Settimo, as a gift from the Signoria;^[33] nor did any long time elapse before he was himself received among the Signory, and honoured with a place in the supreme magistracy of the city.^[34] On this occasion, therefore, the Florentines deserved praises for their gratitude, as they have well merited the reproach of unthankfulness towards the many excellent men with respect to whom the country has proved itself by no means grateful.

After this most stupendous work,^[35] Lorenzo undertook the bronze ornaments of that door of the same church which is opposite to the Misericordia, with those admirably beautiful decorations of foliage which he did not survive to finish, being unexpectedly overtaken by death when he was making his arrangements and had already nearly completed the model for reconstructing the door previously erected by Andrea Pisano. This model was suffered to be lost, but I saw it formerly, when I was but a youth, in Borgo Allegri, before the descendants of Lorenzo Ghiberti had permitted it to be ruined. Lorenzo had a son called Bonaccorso,^[36] who finished the decorations of foliage thus left incomplete by his father, with great zeal and diligence; and this ornament is one of the rarest and most beautiful specimens of work in bronze that can possibly be seen. Bonaccorso died young, and did not produce so many works as he most probably would have done, seeing that the secret of casting in such a manner that the work should succeed well and present an extreme delicacy of appearance, remained to him, as well as that of perforating the metal in the mode observable in the works left by Lorenzo, who, to say nothing of his own performance, bequeathed many relics of antiquity to his family, some in marble, others in bronze. Among these was the bed of Polycletus, which was a most rare thing;^[37] a leg of bronze, of the size of life, with certain heads, male and female, and some vases, which Lorenzo had caused to be brought from Greece at no small cost. He also left the torsi of many figures, with a great number of similar things, which were all dispersed; and, like the property acquired by Lorenzo, suffered to be destroyed and squandered. Some of these antiquities were sold to Messer Giovanni Gaddi, then “Cherico di Camera”, and among them was the aforesaid bed of Polycletus and some other matters, which formed the better part of the collection.^[38]

Bonaccorso left a son called Vittorio, who studied sculpture, but with very little success, as may be seen from the heads which he executed in the palace of the duke of Gravina, and which are not well done; this arose from the fact that he never devoted himself to his art with the love and diligence required to ensure success, but thought only of squandering the property and possessions of his father and grandfather. This Vittorio ultimately repaired to Ascoli, whither he had been summoned to serve as architect under Pope Paul III, and where he was murdered in the night by one of his servants, who had planned to rob him. Thus the family of Lorenzo Ghiberti became extinct, but not so his fame, which will endure to all eternity.^[39]

But let us return to our artist, during his lifetime he gave his attention to various branches of art, and took delight in painting and working in glass. It was by him that the rose-windows around the cupola of Santa Maria del Fiore were made, one only excepted, that namely in which is represented Christ crowning the Virgin, and this is from the hand of Donato. The three window's above the principal door of Santa Maria del Fiore are likewise by Lorenzo Ghiberti, with all those of the chapels and tribunes,^[40] as well as the rosewindow in the façade of Santa Croce. This master also made a window for the principal chapel of the capitular church of Arezzo; on it is represented the Coronation of Our Lady, with two other figures, all which were done for Lazzaro di Feo^[41] di Baccio, a very rich merchant of that city; but as all these windows were made of Venetian glass of very dark colour, they tend rather to obscure than to enlighten the buildings wherein they are constructed. Lorenzo was appointed to assist Brunellesco, when the latter received the commission for the cupola of Santa Maria del Fiore, but this arrangement was afterwards altered, as will be related in the life of that master. The same Lorenzo wrote a book in the vulgar-tongue, wrherein he discoursed of many and various matters, but in such sort that but little profit can be derived from it. The only thing good that there is in the book, according to my judgment, is the fact, that after speaking of many ancient painters, more particularly of those cited by Pliny, he makes a brief mention of Cimabue, Giotto, and many others of those times, but this he does with much more brevity than was fitting, and that for no better reason than to give himself the opportunity of falling with a good grace into discourse concerning himself, and enumerating as he does, with the most minute description, all his own works one after another. Nor will I conceal that he seems to intimate that this book is made by others, but in the course of the work, discoursing of himself (like a man better versed in making designs, in working with his chisel, and in casting bronze then in the weaving of stories), he speaks in the first person, and says “I made”, “I said”, “I was doing”, and “I was saying.”^[42] Finally, having attained the sixtyfourth year of his life, Ghiberti was attacked by a violent and continuous fever, of which he died,^[43] leaving an eternal memorial of his existence in his works, as well as in the writings of authors: he was honourably interred in Santa Croce. The portrait of Lorenzo is on the principal bronze door of San Giovanni; it is seen in the centre when the doors are closed, among the decorations of the border; the head is bald, and beside this portrait of Ghiberti is that of Bartoluccio, his father; near them are the following words:—

“laurentii cionis di ghibertis mira arte fabricatum.”^[44]

The drawings of Lorenzo are most excellent, and have much relief, as may be seen in our book of collected designs, from an Evangelist by his hand, as well as from some other figures in chiaro-scuro, which are truly beautiful.

Bartoluccio also, the father^[45] of Lorenzo, drew moderately well, as is shown by another Evangelist from his hand, in the same book, but which is considerably inferior to that ot Lorenzo. These drawings, with some by Giotto and other masters, I received in the year 1528, while still but a youth, from Vittorio Ghiberti. I have always held, and still hold them in high estimation, for their own merits as well as from reverence to the memory of men so distinguished. But if at the time when I lived in close intimacy and continual intercourse with Vittorio, I had known as much as I now know, I could easily have gained possession of many other things by Lorenzo, which were very fine. Many verses, both in Latin and Italian, have been made at different times in praise of Lorenzo; but of all these, that I may be the less wearisome to my reader, it shall suffice me to repeat the following:—

“Dum cernit valvas aurato ex iere nitentes
In templo Michael Angelus, obstupuit:
Attonitusque diu, sic alta silentia rupit:
O divinum opus! 0 janua digna polo!”

---

1. Lorenzo was the son of Cione di Ser Buonaccorso and of Madonna Fiore, who, on the death of Cione, was married, secondly, to Bartolo di Michele. In the documents relating to Lorenzo, which precede the year 1443, he constantly calls himself “Lorenzo di Bartoluccio,” or Lorenzo di Bartolo; but, in that year, having been nominated for a place in the Council of the Twelve, an attempt was made to show that he was illegitimate. Lorenzo brought proof of his legitimacy, and ever after called himself Lorenzo di Cione, no longer retaining the name of his father-in-law. See Gaye, i, 148-155, ut supra; also Gualandi, Memorie di Belle Arti, Serie 4, 1731.
2. Baldinucci believes Ghiberti’s master in drawing and painting to have been Gherardo Stamina.— Schorn.
3. The MS. of Ghiberti’s work is now in the Magliabecchiana library. Many extracts from it may be seen in Cicognara, Storia della Scultura, vol. iv.
4. Ear-rings, perhaps called pears from their form. — Ed. Rom. 1759.
5. Cicognara has made an admirable comparison of these works, judiciously and impartially apportioning the due mede of praise to each. It is to be remarked that the specimen presented by Lorenzo was cast all in one piece, while that of Brunellesco was cast in many pieces, which were afterwards conjoined.
6. Cicognara remarks that Vasari here speaks of Donato’s work as though he were possessed of positive intelligence respecting it, while in the life of Donato himself, he makes no further mention of it. Can Vasari be thinking of the model for a bronze door, prepared by Donato for the cathedral of Siena? In the life of Brunellesco, written by a cotemporary, no mention is made of Donato; but there can be no doubt respecting the names of those who were candidates for this magnificent work, since Ghiberti himself names them all in his Commentario. —Schorn and Ed. Flor. 1832-8, 1846-9.
7. This work is now in the Florentine Gallery, in the room where are the modern bronzes, beside the story executed at the same time by Brunellesco. See Cicognara, vol. ii, pi. 20. See also the fine work of Lasinio, Le tre porte del Battistero di San Giovanni di Firenze incise ed illustrate. Florence, 1821.
8. From the works of Cambi, and that of Giuliano Ricci, we find that the door was finished and erected in April of the year 1424. — Schorn.
9. Baldinucci, p. 11, cites a passage from Ghiberti’s own memoranda, wherein he has set down all the expenses of this work, with the remark that he has undertaken to cast the statue at his own cost. If it fail, he is to bear the loss; if it succeed, he is to receive from the Consuls the price they were to pay to another master, to whom they had in the first instance proposed to entrust the work.
10. Scarcely a trace of this mosaic now remains. —Ed. Flor. 1846-9.
11. For more extended details, see Rumohr, Ital. Forsch. vol. ii, p. 357.
12. These statues still retain their places.—Ed. Flor. 1832 -9.
13. The sepulchre was erected at the expense of the convent and the republic, in acknowledgment of services rendered by Dati. Being in the pavement before the high altar, and having been trampled on for ages, This work has now suffered greatly.— Ibid.
14. Ludovico degli Obizzi, that is; but of this work, now much worn, the design and model only belong to Ghiberti. The second name, moreover, is not Niccolo, but Bartolommeo Valori.— Ibid.
15. This tomb was broken up and sold as old metal, at the suppression of the monastery, under the French domination in Italy; but the pieces having been happily recovered, were joined together with infinite care, and are now in the Florentine Gallery, in the hall of the modern bronzes. —Ibid.. 1832-8, and 1846-8.
16. Bottari observes that this should be the head only, and not the body of San Zanobi.
17. See Gaye, i, 543-4, note. The principal group in this work is engraved in Cicognara. See also the Monumenti Sepolcrali della Toscana, published by Gonnelli; and the Metropolitana Fiorentina Illustrata, Florence, 1820, plates 31-2
18. Pelli, Saggio Storico della Galleria di Firenze, remarks that the gold ornament of the cornelian, made for Giovanni de’ Medici, has for some time been no longer to be seen.
19. More correctly 1438, according to the Florentine computation.— Masselli.
20. Cellini, in the introduction to his Treatise on Goldsmith’s Work, has the following passage in relation to our artist:—“Lorenzo Ghiberti was indeed a goldsmith, as well for the elegant style of his beautiful workmanship, as for the infinite care and extreme delicacy of its finish. This man may truly be cited as an excellent goldsmith, for all his genius in that art of foundery was employed when he had to perform his smaller works; and, although he sometimes set himself to execute large designs, yet it is easy to see that he was much more in his true profession when he was occupied with small ones,” etc. None of Lorenzo’s works in gold can now be found.
21. Although Vasari has taken the above almost verbatim from the manuscript of Ghiberti himself, he has yet omitted the principal ornaments of this rich work. “On the front of the Mitre,” says Ghiberti, “was the Redeemer, seated on his throne, and surrounded by angels; while, on the back part, was the Virgin, with a similar attendance of angels.” Figures of the four Evangelists, with many others representing angels, Avere also among the decorations of this splendid mitre. See Cicognara, iv, 221.
22. The Misericordia then stood where the Bigallo now is.
23. “La quale mi fu data licenza io la conducessi in quel modo ch’io eredessi tornasse piu perfettamente e piu ornata e piu ricca.” These are Ghiberti’s own words. See Cicognara, iv, 222.
24. The entire disposition of the work was left to Ghiberti, so far as the execution was concerned; but it was the Consuls, who had charge of the whole, by whom the determination to choose subjects from the Old Testament was made. These were, indeed, selected and described by Leonardo Aretino, as appears from a letter of his to the Deputati themselves. This has been published by Patch in the first illustration of these doors, now very rare; as also by Richa, and in Rumohr, vol. ii, p. 354. It is nevertheless of sufficient importance to warrant its reproduction here. On the outside we have the following:—“Respectable men, Nicholas of Uzzano and Companions, Deputati,” etc. Within, the letter commences in like manner, “Respectable men, etc. I consider that for the ten stories of the new door, which you have determined to choose from the Old Testament, two things must be secured, and above all the first, which is, that they be such as are capable of illustration; the other requisite is, that they be significant. Now, by capable of illustration, I mean, possessing qualities that may satisfy the eye by the variety of design they demand for their due representation; and by significant, I mean, that the events themselves have such importance as to render them worthy of being remembered. Presupposing these two qualities, I have selected, according to my judgment, ten histories, which I send you described fully. But it is needful that he who hath to design them should be well instructed in each history, to the end that he may represent both the persons and their actions, in suitable order and character. He must further have a certain elegance of fancy, that he may be able to adorn them as beseemeth. In addition to the ten histories, I have selected eight Prophets, as you will see. Nor do I make any doubt but that this work, if done as I have intimated to you, will be an admirable thing. But fain would I be beside him who will have to design it, that I might make him perceive the full significance of every point in each story. Recommending myself to you, your Leonardo of Arezzo.”
25. The number of recumbent figures is four only. —Schorn.
26. Here also there is an error, probably of the press, in the number, which is not thirty-four, but twenty-four. —Ed. Flor. 1846 -9.
27. The design for this compartment is in the Museum of Paris.—See Schorn, German Translation vol. ii, p. 120.
28. This is evidently departing from Scripture; but neither does Vasari faithfully describe the work in this particular. The only circumstance correctly given in the text is that of Joseph taken from the well. Vasari has partly followed the text of Ghiberti, who is rather describing the history as it occurred, than his own work. Neither is the description of the scenes which succeed the above precisely accurate.—Schorn.
29. Lorenzo himself speaks of this work in the following manner:—“I have done my best in all respects to imitate Nature, so far as was in my power. Some of the histories represented, contain more than a hundred figures, others have less; but all have been done with my best diligence.”
30. These doors were engraved in 1773-82, by Gregori and Patch. In 1800-2, by Calendi; as well as by Lasinio, in the work named in previous notes.
31. The commentators accuse Vasari of inaccuracy, in respect to the time employed by Lorenzo on this work; but it is manifest that he is here speaking of both the doors, and is therefore not in error.
32. One only of these names is to be found cited as the assistant of Ghiberti, in the most authentic description of this work—Paolo Uccello, namely. —Ed. Flor. 1846 -9.
33. Baldinucci affirms that this farm was not given to Ghiberti by the Signoria, but purchased by him with the money paid him for the work. —See Notizie de Professori.
34. Baldinucci cites authentic documents, which prove that the family of Lorenzo belonged to the noblest of the republic, and had already enjoyed the highest honours of the city. —See Notizie, etc.
35. Vasari tells us, in his Ragionamenti, that Ghiberti also prepared the model in wood for the church of San Lorenzo.
36. Baldinucci, iii, p. 49, calls the son and heir of Lorenzo, Vittorio, who had a son named Bonaccorso; but the master by whom the unfinished work of Lorenzo was completed, was doubtless Vittorio. Bonaccorso was the father of a son, also named Vittorio, whom Busini in his letters calls a “good little body”. Varchi, lib. x of his Storia Fiorentina, relates the following anecdote of this second Vittorio:—“He was lodging in the Via Larga, and was in some credit, but not so much for his ov/n abilities, as for those of his forefathers, he being descended from that Lorenzo di Bartoluccio who made the bronze doors for San Giovanni, a work that is certainly marvellous, and perhaps unique in the world. This Vittorio, either by the instigation of Bogia or others, or moved by some other cause, painted on the wall of the principal room in the house, the figure of Pope Clement, in his pontifical robes, and with the triple crown on his head, standing on the steps of the gallows; while Fra Niccolo della Magna, in the disguise of the hangman, was giving them the fatal thrust, which would leave his holiness suspended in the air. Jacopo Salviati, in the garb of a monk, was assisting in this operation; and the emperor was seated near, with a naked sword in his hand, on the point of which was written, Amici, ad quid venisti? and which he held towards the pontiff.”
37. Schorn remarks that it is not easy to say what is meant by this “bed of Polycletus”, but he inclines to think the recumbent figure in Greek marble, now in the Florentine gallery, to be that here alluded to. He refers his readers to Fiorillo, Geschichte der Malerei, i, 429.
38. Among these were the torso of a Satyr, a work of the best period of Greece, with those of a copy of the Medicean Venus, and of a winged genius; another torso of another Venus, a Narcissus and a Mercury were also of the number. The first of these torsi is in the Florentine gallery; the second, on the extinction of the Gaddi family, passed into the possession of a Marchese di Sorbello, who had married a lady of that house, and who presented the torso to a Signor Oddi of Perugia, his nephew (whose family still possesses a valuable collection of antiquities in that city). The third, which is believed to be a work of Praxiteles, and which came also to the Marchese di Sorbello, was afterwards possessed by the Cav, Lorenzo Adami. The three others passed into the possession of the Signori Nerli, “and were presented by them to the Academy of Fine Arts in Siena,” remarks Masselli; but a note to the latest Florentine edition (that of 1849) closes the account of these torsi with the following words:—“The fate of the last three is unknown to us.”
39. Baldinucci denies that the family of Lorenzo became extinct in this Vittorio. See his third volume, p. 49.
40. The windows designed for Santa Maria del Fiore by Ghiberti, were six, as he tells us himself, in his Commentario.—Ed. Flor. 1846-9.
41. Bottari corrects this name, which he says should be Lazzaro di Giovanni di Feo de' Bracci, according to the Aretine archives. The window has for some time past been destroyed.
42. This work of Ghiberti (manuscript) is in Florence, in the Magliabecchiana Library.
43. The death of Lorenzo took place in the year 1455, when he must have been seventy-five, or, as some writers say, seventy-seven years old. —Ed. Flor. 1846-9.
44. The tomb of Ghiberti is not now to be found. — Ibid.
45. Step-father.