LIFE OF LORENZO GHIBERTI
[LORENZO DI CIONE GHIBERTI OR LORENZO DI BARTOLUCCIO GHIBERTI]
PAINTER OF FLORENCE
There is no doubt that in every city those who, by reason of any talent, come into some fame among men, are a most blessed light and example to many who are either born after them or live in the same age, not to mention the infinite praise and the extraordinary rewards that they themselves gain thereby while living. Nor is there anything that does more to arouse the minds of men, and to render the discipline of study less fatiguing to them, than the honour and profit which are afterwards won by labouring at the arts, for the reason that these make every difficult undertaking easy to them all, and give a greater stimulus to the growth of their talents, when they are urged to greater efforts by the praises of the world. Wherefore infinite numbers of men, who feel and see this, put themselves to great fatigues, in order to attain to the honour of winning that which they see to have been won by some compatriot; and for this reason in ancient times men of talent were rewarded with riches, or honoured with triumphs and images. But since it is seldom that talent is not persecuted by envy, men must continue to the best of their power, by means of the utmost excellence, to assure it of victory, or at least to make it stout and strong to sustain the attacks of that enemy; even as Lorenzo di Cione Ghiberti, otherwise called Di Bartoluccio, was enabled to do both by his own merits and by fortune. This man well deserved the honour of being placed before themselves by the sculptor Donato and by the architect and sculptor Filippo Brunelleschi, both excellent craftsmen, since they recognized, in truth, although instinct perchance constrained them to do the contrary, that Lorenzo was a better master of casting than they were. This truly brought glory to them, and confusion to many who, presuming on their worth, set themselves to work and occupy the place due to the talents of others, and, without producing any fruits themselves, but labouring a thousand years at the making of one work, impede and oppress the knowledge of others with malignity and with envy.
Lorenzo, then, was the son of Bartoluccio Ghiberti, and from his earliest years learnt the art of the goldsmith from his father, who was an excellent master and taught him that business, which Lorenzo grasped so well that he became much better therein than his father. But delighting much more in the arts of sculpture and design, he would sometimes handle colours, and at other times would cast little figures in bronze and finish them with much grace. He also delighted in counterfeiting the dies of ancient medals, and he portrayed many of his friends from the life in his time.
Now, while he was working with Bartoluccio and seeking to make progress in his profession, the plague came to Florence in the year 1400, as he himself relates in a book by his own hand wherein he discourses on the subject of art, which is now in the possession of the Reverend Maestro Cosimo Bartoli, a gentleman of Florence. To this plague were added civil discords and other troubles in the city, and he was forced to depart and to go in company with another painter to Romagna, where they painted for Signor Pandolfo Malatesti, in Rimini, an apartment and many other works, which were finished by them with diligence and to the satisfaction of that Lord, who, although still young, took great delight in matters of design. Meanwhile Lorenzo did not cease to study the arts of design, and to work in relief with wax, stucco, and other similar materials, knowing very well that these small reliefs are the drawing-exercises of sculptors, and that without such practice nothing can be brought by them to perfection. Now, when he had been no long time out of his own country, the pestilence ceased; wherefore the Signoria of Florence and the Guild of Merchants—since at that time sculpture had many excellent craftsmen, both foreign and Florentine—determined that there should be made, as it had been already discussed many times, the other two doors of S. Giovanni, a very ancient temple, indeed, the oldest in that city; and they ordained among themselves that instructions should be sent to all the masters who were held the best in Italy, to repair to Florence in order that their powers might be tested by a specimen scene in bronze, similar to one of those which Andrea Pisano had formerly made for the first door.
Word of this determination was written to Lorenzo, who was working at Pesaro, by Bartoluccio, urging him to return to Florence in order to give a proof of his powers, and saying that this was an occasion to make himself known and to demonstrate his genius, not to mention that he might gain such profit that neither the one nor the other of them would ever again need to labour at making ear-rings.
The words of Bartoluccio stirred the spirit of Lorenzo so greatly, that although Signor Pandolfo, with all his Court and the other painter, kept showing him the greatest favour, Lorenzo took leave of that lord and of the painter, and they, with great unwillingness and displeasure, allowed him to go, neither promises nor increase of payment availing to detain him, since to Lorenzo every hour appeared a thousand years until he could return to Florence. Having departed, therefore, he arrived safely in his own city. Many foreigners had already assembled and presented themselves to the Consuls of the Guild, by whom seven masters were elected out of the whole number, three being Florentines and the others Tuscans; and it was ordained that they should have an allowance of money, and that within a year each man should finish a scene in bronze by way of test, of the same size as those in the first door. And for the subject they chose the story of Abraham sacrificing his son Isaac, wherein they thought that the said masters should be able to show their powers with regard to the difficulties of their art, seeing that this story contained landscapes, figures both nude and clothed, and animals, while the foremost figures could be made in full-relief, the second in half-relief, and the third in low-relief.
The competitors for this work were Filippo di Ser Brunellesco, Donato, and Lorenzo di Bartoluccio, all Florentines; Jacopo della Quercia of Siena, and Niccolò d'Arezzo, his pupil; Francesco di Valdambrina; and Simone da Colle, called Simone de' Bronzi. All these men promised before the Consuls that they would deliver their scenes finished within the said time; and each making a beginning with his own, with all zeal and diligence they exerted all their strength and knowledge in order to surpass one another in excellence, keeping their work hidden and most secret, lest they should copy each other's ideas. Lorenzo alone, who had Bartoluccio to guide him and to compel him to labour at many models before they resolved to adopt any one of them—Lorenzo alone was ever inviting the citizens, and sometimes any passing stranger who had some knowledge of the art, to see his work, in order to hear what they thought and these opinions enabled him to execute a model very well wrought and without one defect. And so, when he had made the moulds and cast the work in bronze, it came out very well; whereupon, with his father Bartoluccio, he polished it with such love and patience that nothing could be executed or finished better. And when the time came for comparing the various works, his and those of the other masters were completely finished, and were given to the Guild of Merchants for judgment; but after all had been seen by the Consuls and by many other citizens, diverse opinions were expressed about them. Many foreigners had assembled in Florence, some painters, some sculptors, and others goldsmiths; and they were invited by the Consuls to give judgment on these works, together with the other men of that profession who lived in Florence. They numbered thirty-four in all, each well experienced in his own art. Now, although there were differences of opinion among them, some liking the manner of one man and some that of another, nevertheless they were agreed that Filippo di Ser Brunellesco and Lorenzo di Bartoluccio had composed and completed their scenes better and with a richer abundance of figures than Donato had done in his, although in that one, also, there was grand design. In that of Jacopo della Quercia the figures were good, but they had no delicacy, although they were made with design and diligence. The work of Francesco di Valdambrina had good heads and was well finished, but was confused in the composition. That of Simone da Colle was a beautiful casting, because the doing of this was his art, but it had not much design. The specimen of Niccolò d'Arezzo, which was made with good mastery, had the figures squat and was badly finished. Only that scene which Lorenzo made as a specimen, which is still seen in the Audience Chamber of the Guild of Merchants, was in every part wholly perfect. The whole work had design, and was very