The Lives of the Artists. Giorgio Vasari

in the distance, likewise, there is God asking Cain what he has done with Abel. Each square contains the representation of four stories. In the third square Lorenzo made Noah issuing from the Ark, with his wife, his sons and daughters, and his sons’ wives, together with all the animals, both of the air and of the earth, which, each in its kind, are wrought with the greatest perfection wherewith art is able to imitate nature; the Ark is seen open, with the poles in perspective, in very low-relief, insomuch that their grace cannot be expressed; besides that, the figures of Noah and of his kindred could not be more lively or more vivacious, while, as he is offering sacrifice, there is seen the rainbow, a sign of peace between God and Noah. But much more excellent than all the others are the scenes where he is planting the vine, and, having been made drunk by the wine, is showing his nakedness, and his son Ham is deriding him; and in truth a man sleeping could not be imitated better, the limbs being seen outstretched in drunken abandonment, while his other two sons, with consideration and love, are covering him in very beautiful attitudes; not to mention that there are the cask, the vine-leaves, and the other features of the vintage, so carefully made and fitted into certain places, that they do not impede the story, but serve as a most beautiful adornment. In the fourth scene it pleased Lorenzo to make the apparition of the three Angels in the valley of Mamre, giving them a close likeness one to the other, while that most holy patriarch is seen adoring them, with much appropriateness and vivacity in the position of his hands and the expression of his countenance; and, in addition, Lorenzo showed very beautiful feeling in the figures of his servants, who, remaining at the foot of the mountain with an ass, are awaiting Abraham, who had gone to sacrifice his son. Isaac is placed naked on the altar, and his father, with uplifted arm, is about to show his obedience, but he is hindered by the Angel, who is restraining him with one hand, while with the other he is pointing to where is the ram for the sacrifice, and delivering Isaac from death. This scene is truly very beautiful, since, among other things, there is seen a very great difference between the delicate limbs of Isaac and those of the servants, which are more robust; insomuch that there appears to be no touch therein that was not given with the greatest art. In this work, also, Lorenzo showed that he surpassed his own self in the difficulties of making buildings; in the birth-scene of Isaac, Jacob, and Esau; in the scene when Esau is hunting, at the wish of his father; and in that when Jacob, instructed by Rebecca, is offering the cooked kid, with its skin wrapped round his neck, while Isaac is feeling for him and giving him his blessing. In this scene there are some dogs, very beautiful and lifelike, besides the figures, which produce the very same effect that Jacob, Isaac, and Rebecca did by their actions when they were alive.

      Emboldened by his study of the art, which was making it ever easier to him, he tried his genius on matters more complicated and difficult; wherefore, in the sixth square, he made Joseph cast by his brethren into the well, and the scene when they sell him to the merchants, and where he is given by them to Pharaoh, to whom he interprets the dream of the famine; together with the provision against it, and the honors given by Pharaoh to Joseph. Likewise there is Jacob sending his sons for corn into Egypt, and Joseph recognizing them and making them return for their father; in which scene Lorenzo made a round temple, drawn in perspective with great mastery, wherein are figures in diverse manners which are loading corn and flour, together with some marvelous asses. Likewise there is the feast that Joseph gives them, and the hiding of the gold cup in Benjamin’s sack, and its discovery, and how he embraces and acknowledges his brethren; which scene, by reason of the many effects and the great variety of incidents, is held the most noble, the most difficult, and the most beautiful of all his works.

      And in truth, having so beautiful a genius and so good a grace in this manner of statuary, when there came into his mind the compositions of beautiful scenes, Lorenzo could not but make the figures most beautiful; as it is apparent in the seventh square, where he represents Mount Sinai, and on its summit Moses, who is receiving the Laws from God. Reverently kneeling, half-way up the mountain, is Joshua, who is awaiting him, and at the foot are all the people, terrified by the thunder, lightning, and earthquakes, in diverse attitudes wrought with very great vivacity. After this, he showed diligence and great love in the eighth square, wherein he made Joshua marching against Jericho and turning back the Jordan, and placed there the twelve tents of the twelve Tribes, full of very lifelike figures; but more beautiful are some in low-relief, in the scene when, as they go with the Ark round the walls of the aforesaid city, these walls fall down at the sound of trumpets, and the Hebrews take Jericho; and here the landscape is ever diminished and made lower with great judgment, from the first figures to the mountains, from the mountains to the city, and from the city to the distant part of the landscape, in very low relief, the whole being executed with great perfection. And since Lorenzo became from day to day more practiced in that art, there is next seen, in the ninth square, the slaying of the giant Goliath by David, who is cutting off his head in a proud and boyish attitude; and the host of the Lord is routing that of the Philistines, wherein Lorenzo made horses, chariots, and other warlike things. Next, he made David returning with the head of Goliath in his hand, and the people are meeting him, sounding instruments and singing; and these effects are all appropriate and vivacious. It now remained for Lorenzo to do all that he was able in the tenth and last scene, wherein the Queen of Sheba is visiting Solomon, with a very great train; in this part he made a very beautiful building drawn in perspective, with all the other figures similar to the aforesaid scenes; not to mention the ornaments of the architraves, which go round the said doors, wherein are fruits and festoons made with his usual excellence.

      In this work, both in detail and as a whole, it is seen how much the ability and the power of a craftsman in statuary can effect by means of figures, some being almost in the round, some in half-relief, some in low-relief, and some in the lowest, with invention in the grouping of the figures, and extravagance of attitude both in the males and in the females; and by variety in the buildings, by perspectives, and by having likewise shown a sense of fitness in the gracious expressions of each sex throughout the whole work, giving to the old gravity, and to the young elegance and grace. And it may be said, in truth, that this work is in every way perfect, and that it is the most beautiful work which has ever been seen in the world, whether ancient or modern. And right truly does Lorenzo deserve to be praised, seeing that one day Michelagnolo Buonarroti, having stopped to look at this work, and being asked what he thought of it, and whether these doors were beautiful, answered: “They are so beautiful that they would do well for the gates of Paradise”: praise truly appropriate, and given by an able judge. And well indeed might Lorenzo complete them, seeing that from the age of twenty, when he began them, he worked at them for forty years, with labor beyond belief.

      Lorenzo was assisted in finishing and polishing this work, after it was cast, by many men, then youths, who afterwards became excellent masters—namely, by Filippo Brunelleschi, Masolino da Panicale, and Niccolò Lamberti, goldsmiths; and by Parri Spinelli, Antonio Filarete, Paolo Uccello, Antonio del Pollaiuolo, who was then quite young, and many others, who, growing intimate together over that work, and conferring one with another, as men do when they work in company, gained no less advantage for themselves than they gave to Lorenzo. To him, besides the payment that he had from the Consuls, the Signoria gave a good farm near the Abbey of Settimo, and no long time elapsed before he was made one of the Signori, and honored with the supreme magistracy of the city; wherefore the Florentines deserve no less to be praised for their gratitude to him, than they deserve to be blamed for having been little grateful to other excellent men of their city.

      After this most stupendous work, Lorenzo made the ornament in bronze for that door of the same church which is opposite to the Misericordia, with that marvelous foliage which he was not able to finish, death coming unexpectedly upon him when he was preparing—having already almost made the model—to reconstruct the said door, which Andrea Pisano had formerly made; which model has now been lost, although I saw it formerly, when a youth, in Borgo Allegri, before it was allowed to be lost by the descendants of Lorenzo.

      Lorenzo had a son called Bonaccorso, who finished with his own hand the frieze and that ornament, which had been left incomplete, with very great diligence; which ornament, I declare, is the rarest and most marvelous work that there is to be seen in bronze. Bonaccorso, dying young, did not afterwards make many works, as he would have done, seeing that he had been left with the secret of making castings in such a way as to make them come out delicate, and also with the knowledge and the method of perforating the metal in that manner which is seen