say more, thinking that when the time came he should, as usual, behold some miracle. It chanced that Donato was in the Mercato Vecchio buying fruit one morning, when he saw Paolo Uccello, who was uncovering his picture. Saluting him courteously, therefore, his opinion was instantly demanded by Paolo, who was anxiously curious to know what he would say of the work. But when Donato had examined the painting very minutely, he turned to Paolo and said, "Why, Paolo! thou art uncovering thy picture just at the very time when thou shouldst be shutting it up fron the sight of all !" These words so grievously afflicted the panter, that perceiving himself likely to incur derision instead of the glory that he had hoped for from this, his last labour, and not having the courage to show himself fallen, as he felt himself to be, he would no more leave his house, but shut himselt up, devoting himself wholly to the study of perspective, whch kept him in poverty and depression to the day of his death. He lived to become very old, but had secured little enoyment for his old age, and died in the year 1432,† in his eighty-third year, when he was buried in the church of Sinta Maria Novella. ‡ Paolo Uccello left a daughter, who had some ability ʼn design, and a wife, who was wont to relate that Paolo woul stand the whole night through, beside his writing-table, see!ing new terms for the expression of his rules in perspectiv: and when entreated by herself to take rest and sleep, he wold reply, “Oh, what a delightful thing is this perspective "§ And it is doubtless true, that as this study was delighful * This painting of St. Thomas has disappeared. This is most probably an error of the press, and should be 472 according to some of the authorities, according to others, 1497. See Gaye, Carteggio inedito, etc. i, 146–7. "On the death of this master," says Vasari, in his first edition, "any epigrams (sic), both in the Latin and vulgar tongue, were made fohini, but it shall suffice me to recite the following: Zeusi et Parrasio ceda et Polignoto Diei affetto et forza ad ogni mia figura, Volo agli uccelli, a' pesci il Corso e'l noto. § Let us then hope that this good labourer had not so dark a ose to his life as Vasari would have us believe. Surely that "delightfu hing," his beloved perspective, must have thrown some light over thgloom which Vasari describes.-Trans. to him, no less valuable and useful has it been rendered, by his means, to those who have occupied themselves with similar studies in after times. THE FLORENTINE SCULPTOR LORENZO GHIBERTI. [BORN 1381-DIED 1455.] WHOEVER obtains renown among his fellow-men for the possession of any particular gift, is without doubt for the most part a truly blessed light and exemplar to many, whether of his contemporaries or of those who come after him, to say nothing of the great honours and large rewards derived from this advantage by himself in his own life-time. This may be remarked in all cities and countries. Nor is there any thing by which the minds of men are more readily aroused to effort, or by which the discipline of study is rendered less onerous to them, than the honours and benefits to be derived from the heavy labours of the artist or man of learning. By these it is that every undertaking, however difficult, is rendered easy, and at no time will the powers of the labourer be put forth so effectually and with so rich and mature a fruit as when he is stimulated to effort by the praises of the world. There are infinite numbers of men who seeing and feeling this, subject themselves to many a pain, that they also may attain to the distinction, and merit the rewards conferred upon some one of their compatriots; therefore it was that in ancient times men of parts and distinction were rewarded with riches, or honoured by triumphs and statues. But as it rarely happens that talent can escape the persecutions of envy, it is most needful that all should strive, so far as in them lies, to ward off her attacks by the truest excellence, or should at least arm themselves with strength and resolution to sustain the impetus of her onset; as was admirably accomplished by Lorenzo di Cione Ghiberti, otherwise di Bartoluccio, who was well aided in the struggle by his own merits, as well as by the favour of fortune. It was the high desert of Lorenzo which induced the sculptor Donato, and Filippo Brunelleschi, the architect and sculptor, both distinguished men, to place that youth before themselves, and to acknowledge, as they did, although self-love might tempt them to affirm the contrary, that he was indeed a better master than they in the art that was in question, on the occasion to which we allude, namely, that of casting in bronze. This act, in truth, redounded to the glory of those two artists, as well as to the confusion of many, who, presuming on their own abilities, press themselves forward and occupy the place due to the talents of others, although they are unable to produce any good fruits; and after labouring a thousand years to effect nothing, do but oppress the efforts and hinder the advancement of those who might promote the progress of art and knowledge, but for their envy and malignity. Lorenzo was the son of Bartoluccio Ghiberti,* and in his early youth acquired the art of the goldsmith, under the care of his father, who was an excellent master, and instructed him in such sort that Lorenzo, aided by his natural abilities, became a better goldsmith than his teacher. But delighting still more in the arts of design and sculpture,† he sometimes worked in colours, and at other times employed himself in the casting of small figures in bronze, which he finished very gracefully. He also took much pleasure in imitating the dies of ancient coins and medals, besides which he frequently took the portraits of his different friends from the life. Whilst Lorenzo was thus labouring to acquire the art of gold-working with Bartoluccio, the plague, by which Florence was visited in the year 1400, broke out, as he relates himself in a book written with his own hand, wherein he discourses of matters touching the arts, and which is now in the possession of the venerable Messer Cosimo Bartoli, a Florentine * Lorenzo was the son of Cione di Ser Buonaccorso and of Madonna Fiore, who, on the death of Cione, was married, secondly, to Bartolo di Michele. In the documents relating to Lorenzo, which precede the year 1443, he constantly calls himself "Lorenzo di Bartoluccio," or Lorenzo di Bartolo; but, in that year, having been nominated for a place in the Council of the Twelve, an attempt was made to show that he was illegitimate. Lorenzo brought proof of his legitimacy, and ever after called himself Lorenzo di Cione, no longer retaining the name of his father-in-law. See Gaye, i, 148-155, ut supra; also Gualandi, Memorie di Belle Arti, Serie 4, 1731. + Baldinucci believes Ghiberti's master in drawing and painting to have been Gherardo Starnina.-Schorn. gentleman.* To this plague were added civil discords and various troubles in the city, from which Lorenzo was compelled to depart, when he repaired to Romagna, in company with another painter, where they worked together in Rimini, painting a chamber and other works for signor Pandolfo Malatesti, which were all completed by them with great diligence and to the satisfaction of that noble, who, although young, took much pleasure in all things relating to art. Lorenzo meanwhile did not remit the prosecution of his studies in relation to design, but frequently executed rilievi in wax, stucco, and other materials of similar kind, well knowing that such rilievi are the drawing-exercises of sculptors, without practice in which they cannot hope to bring any great work to perfection. But Lorenzo did not long remain absent from his country. After the pestilence had ceased, the Signoria of Florence and the Guild of the Merchants resolved to proceed with the two doors of San Giovanni, one of the oldest and most important churches in the city, concerning which there had already been so much discourse and so many deliberations. The time was favourable for such an undertaking, the art of sculpture then possessing able masters in abundance, foreigners as well as Florentines: those in authority therefore, considering that the work ought to be done as well as talked of, gave orders that all the artists, masters of eminence throughout Italy, should be given to understand that they might repair to Florence, there to present a specimen of their abilities in a trial of skill, which was to be made by the composition and execution of an historical representation in bronze, similar to those which Andrea Pisano had executed for the first door. Notice of this determination was sent by Bartoluccio to Lorenzo, who was then working in Pesaro, and whom his father-in-law urged to return to Florence, and show what he could do; saying, that this was an opportunity for making himself known and displaying his abilities, reminding him also that from the occasion now presenting itself, they might derive such advantages that neither one nor the other of them need any longer work at pear-making.† The words of Bar * The MS. of Ghiberti's work is now in the Magliabecchiana library. Many extracts from it may be seen in Cicognara, Storia della Scultura, vol. iv. † Ear-rings, perhaps called pears from their form.-Ed. Rom. 1759. toluccio roused the spirit of Lorenzo in such a manner, that although the Signor Pandolfo, the other painter, and all the court, were treating him with the most amicable distinction, and entreated him to remain with them, he nevertheless took leave of that noble and of the painter, who were with difficulty persuaded to let him depart, and saw him go with extreme regret; but no promises nor increase of appointments availed to detain him, every minute then seeming to Lorenzo a thousand years, until he found himself on the road to Florence. Departing from Pesaro, therefore, he arrived safely in his native city. A great concourse of foreign artists had by this time assembled at Florence, and had presented themselves to the syndics or consuls of the Guild, who chose seven masters from the whole number: three of these were Florentines, the remaining four were Tuscans. Each of these artists received a sum of money, and it was commanded that within a year each should produce a story in bronze as a specimen of his powers, all to be of the same size, which was that of one of the compartments in the first door. The subject was chosen by the consuls, and was the Sacrifice of Isaac by his father Abraham, that being selected as presenting sufficient opportunity for the artists to display their mastery over the difficulties of their art: this story comprising landscape, with human figures, nude and clothed, as well as those of animals; the foremost of these figures were to be in full-relief, the second in half-relief, and the third in low-relief. candidates for this work were Filippo di Ser Brunellesco, Donato and Lorenzo di Bartoluccio, who were Florentines, with Jacopo della Quercia, of Siena; Niccolo d'Arezzo, his disciple Francesco di Valdambrina, and Simone da Colle, called Simon of the Bronzes. All these masters made a promise before the consuls that they would deliver each his specimen completed at the prescribed time, and all set themselves to the work with the utmost care and study, putting forth all their strength, and calling all their knowledge to aid, in the hope of surpassing one another. They kept their labours meanwhile entirely secret, one from the other, that they might not copy each other's plans. Lorenzo alone, who had Bartoluccio to guide him, which last suffered him to shrink before no amount of labour, but compelled him to make various models before he resolved on adopting any one The |