DOI Page / Citation link:
https://doi.org/10.11588/diglit.57409#0398
382 LIVES OF THE ARTISTS.
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 an-
cient or modern. The justice of the praises bestowed on Lo-
renzo 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 :—11 They are so beau-
tiful, that they mightfittingly stand at the gates of Paradisef
a truly appropriate tribute, and offered by him who could
well judge of the work.*' Well indeed might Lorenzo com-
plete 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 ex-
treme, and beyond the power of words to express.f
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 Lam-
berti, 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 Lorenzo4 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 pre-
vious notes.
f 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.
J One only of these names is to be found cited as the assistant of
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 an-
cient or modern. The justice of the praises bestowed on Lo-
renzo 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 :—11 They are so beau-
tiful, that they mightfittingly stand at the gates of Paradisef
a truly appropriate tribute, and offered by him who could
well judge of the work.*' Well indeed might Lorenzo com-
plete 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 ex-
treme, and beyond the power of words to express.f
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 Lam-
berti, 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 Lorenzo4 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 pre-
vious notes.
f 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.
J One only of these names is to be found cited as the assistant of