DOI Page / Citation link:
https://doi.org/10.11588/diglit.51584#0092
88
EARLY ITALIAN PAINTERS.
or twenty he had already secured to himself the
patronage of the Prince Pandolfo Malatesta, Lord
of Pesaro, and was employed in the decoration of
his palace, when Bartoluccio sent him notice of the
terms of the competition for the execution of the
gates of San Giovanni. Lorenzo immediately has-
tened to present himself as one of the competitors,
and, on giving evidence of his acquired skill, he
was accepted among the elected seven. They had
each their workshop and furnace apart, and it is
related that most of them jealously kept their de-
signs secret from the rest: but Lorenzo, who had
all the modest self-assurance of conscious genius,
did not; on the contrary, he listened gratefully to
any suggestion or criticism which was offered, ad-
mitting his friends and distinguished strangers to
his atelier while his work was going forward. To
this candour he added a persevering courage; for
when, after incredible labour, he had completed his
models, and made his preparations for casting, some
flaw or accident in the process obliged him to begin
all over again, he supplied this loss of time by the
most unremitting labour, and at the end of the year
he was not found behind his competitors. When
the seven pieces were exhibited together in public,
it was adjudged that the work of Quercia was want-
ing in delicacy and finish; that that of Valdam-
brina was confused in composition ; that of Simon
da Colle well cast, but ill drawn; that of Nicolo
EARLY ITALIAN PAINTERS.
or twenty he had already secured to himself the
patronage of the Prince Pandolfo Malatesta, Lord
of Pesaro, and was employed in the decoration of
his palace, when Bartoluccio sent him notice of the
terms of the competition for the execution of the
gates of San Giovanni. Lorenzo immediately has-
tened to present himself as one of the competitors,
and, on giving evidence of his acquired skill, he
was accepted among the elected seven. They had
each their workshop and furnace apart, and it is
related that most of them jealously kept their de-
signs secret from the rest: but Lorenzo, who had
all the modest self-assurance of conscious genius,
did not; on the contrary, he listened gratefully to
any suggestion or criticism which was offered, ad-
mitting his friends and distinguished strangers to
his atelier while his work was going forward. To
this candour he added a persevering courage; for
when, after incredible labour, he had completed his
models, and made his preparations for casting, some
flaw or accident in the process obliged him to begin
all over again, he supplied this loss of time by the
most unremitting labour, and at the end of the year
he was not found behind his competitors. When
the seven pieces were exhibited together in public,
it was adjudged that the work of Quercia was want-
ing in delicacy and finish; that that of Valdam-
brina was confused in composition ; that of Simon
da Colle well cast, but ill drawn; that of Nicolo