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;[1] for which the master received many favours from the pontiff, both for himself and his friends, beside the first remuneration of his labours.[2]
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,[3] 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
- ↑ 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.
- ↑ 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.
- ↑ The Misericordia then stood where the Bigallo now is.
