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,[1] 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,[2] and in the head, in
- ↑ 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.
- ↑ 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
