Beginning the work of that door, then, for that entrance which is opposite to the Office of Works of S. Giovanni, Lorenzo made for one part of it a large framework of wood, of the exact size that it was to be, with mouldings, and with the ornaments of the heads at the corners, round the various spaces wherein the scenes were to be placed, and with those borders that were to go round them. Having then made and dried the mould with all diligence, he made a very great furnace (that I remember seeing) in a room that he had hired opposite to S. Maria Nuova, where to-day there is the Hospital of the Weavers, on the spot that was called the Aia, and he cast the said framework in bronze. But, as chance would have it, it did not come out well; wherefore, having realized the mischief, without losing heart or giving way to depression, he promptly made another mould and cast it again, without telling anyone about it, and it came out very well. Whereupon he went on and continued the whole work in this manner, casting each scene by itself, and putting it, when finished, into its place. The arrangement of the scenes was similar to that which Andrea Pisano had formerly made in the first door, which Giotto designed for him. He made therein twenty scenes from the New Testament; and below, in eight spaces similar to these, after the said scenes, he made the four Evangelists, two on each side of the door, and likewise the four Doctors of the Church, in the same manner; which figures are all different in their attitudes and their draperies. One is writing, another is reading, others are in contemplation, and all, being varied one from another, appear lifelike and very well executed; not to mention that in the framework of the border surrounding the scenes in squares there is a frieze of ivy leaves and other kinds of foliage, with mouldings between each; and on every corner is the head of a man or a woman in the round, representing prophets and sibyls, which are very beautiful, and demonstrate with their variety the excellence of the genius of Lorenzo. Above the aforesaid Doctors and Evangelists, which are in the four squares below, there follows, on the side towards S. Maria del Fiore, the first scene; and here, in the first square, is the Annunciation of Our Lady, wherein, in the attitude of the Virgin, he depicted terror and a sudden alarm, as she turns away gracefully by reason of the coming of the Angel. And next to this he made the Nativity of Christ, wherein the Madonna, having given birth to Him, is lying down and taking repose; with Joseph in contemplation, the shepherds, and the Angels singing. In the scene next to this, on the other half of the door, on the same level, there follows the story of the coming of the Magi, and of their adoration of Christ, while they give Him their tribute; and their Court is following them, with horses and other equipage, wrought with great genius. And beside this, likewise, there is His Disputation with the Doctors in the Temple, wherein the admiration and the attention which the Doctors give to Christ are no less well expressed than the joy of Mary and Joseph at finding Him again. Above these—beginning again over the Annunciation—there follows the story of the Baptism of Christ by John in the Jordan, wherein there are seen in their gestures the reverence of the one and the faith of the other. Beside this there follows the Temptation of Christ by the Devil, who, terrified by the words of Jesus, stands in an attitude of terror, showing thereby that he knows Him to be the Son of God. Next to this, on the other side, is the scene where He is driving the traders from the Temple, overturning their money and the victims, doves, and other merchandise; wherein the figures, falling over each other, have a very beautiful and well conceived grace in their headlong flight. Next to this Lorenzo placed the shipwreck of the Apostles, wherein S. Peter is issuing from the ship and is sinking into the water, and Christ is upholding him. This scene shows an abundance of various gestures in the Apostles, who are toiling to save the ship; and the faith of S. Peter is recognized in his coming towards Christ. Beginning again above the story of the Baptism, on the other side, there is His Transfiguration on Mount Tabor, wherein Lorenzo demonstrated, in the attitudes of the three Apostles, how celestial visions dazzle the eyes of mortals; even as the Divinity of Christ is also recognized as He holds His head high and His arms outstretched, between Elias and Moses. And next to this is the Resurrection of the dead Lazarus, who, having issued from the sepulchre, is standing upright with his feet and his hands bound, to the marvel of the bystanders. Martha is there, with Mary Magdalene, who is kissing the feet of the Lord with very great humility and reverence. Beside this, on the other half of the door, there follows the scene when He rides on an ass into Jerusalem, while the children of the Hebrews, in various attitudes, are casting their garments on the ground, with the olives and palms; not to mention the Apostles, who are following the Saviour. And next to this is the Last Supper, very beautiful and well composed, the Apostles being placed at a long table, half on the near side and half on the farther side. Above the scene of the Transfiguration there is the Prayer in the Garden, wherein the three Apostles are seen asleep in various attitudes. And beside this there follows the scene when He is taken and Judas kisses Him, wherein there are many things worthy of consideration, since we see therein both the Apostles, who are flying, and the Jews, who, in taking Christ, are making most violent gestures and efforts. On the other side, next to this, is the scene when He is bound to the Column, wherein is the figure of Jesus Christ writhing not a little with the pain of the blows, in a pitiful attitude, while there are seen, in those gestures that the Jews who are scourging Him are making, terrible rage and lust of vengeance. Next to this there follows the leading of Christ before Pilate, who washes his hands and condemns Him to the Cross. Above the Prayer in the Garden, on the other side and in the last row of scenes, is Christ bearing His Cross and going to His death, led by a crowd of soldiers, who appear, with strange attitudes, to be dragging Him by force; besides the gestures of sorrow and lamentation that the Maries are making, insomuch that one who was present could not have seen them better. Beside this he made Christ on the Cross, and Our Lady and S. John the Evangelist seated on the ground, with gestures full of sorrow and wrath. Next to this, on the other side, there follows His Resurrection, wherein the guards, stunned by the thunder, are lying like dead men, while Christ is ascending on high in such an attitude that He truly appears glorified, by reason of the perfection of His beautiful limbs, wrought by the most ingenious industry of Lorenzo. In the last space is the coming of the Holy Spirit, wherein are very sweet expressions and attitudes in those who are receiving it.
This work was brought to that completion and perfection without sparing any labour or time that could be devoted to a work in bronze, seeing that the limbs of the nudes are most beautiful in every part; and in the draperies, although they hold a little to the old manner of Giotto's time, there is a general feeling that inclines to the manner of the moderns, and produces, in figures of that size, a certain very lovely grace. And in truth the composition of each scene is so well ordered and so finely arranged, that he rightly deserved to obtain that praise which Filippo had given him at the beginning—nay, even more. And in like manner he gained most honourable recognition among his fellow-citizens, and was consummately extolled by them and by the native and foreign craftsmen. The cost of this work, with the exterior ornaments, which are also of bronze, wrought with festoons of fruits and with animals, was 22,000 florins, and the bronze door weighed 34,000 libbre.
This work finished, it appeared to the Consuls of the Guild of Merchants that they had been very well served, and by reason of the praises given by all to Lorenzo they determined that he should make a statue of bronze, four braccia and a half high, in memory of S. John the Baptist, on a pilaster without Orsanmichele, in one of the niches there—namely, the one facing the Cloth-dressers. This he began, nor did he ever leave it until he delivered it finished. It was and still is a work highly praised, and in it, on the mantle, he made a border of letters,