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.[1] 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.[2]
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.[3] In addition to the sum paid for the work by
- ↑ 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.
- ↑ 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.
- ↑ One only of these names is to be found cited as the assistant of
