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 labor 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 well composed. The figures had so graceful a manner, being made with grace and with very beautiful attitudes, and the whole was finished with so great diligence, that it appeared not made by casting and polished with tools of iron, but blown with the breath. Donato and Filippo, seeing the diligence that Lorenzo had used in his work, drew aside, and, conferring together, they resolved that the work should be given to Lorenzo, it appearing to them that thus both the public and the private interest would be best served, and that Lorenzo, being a young man not more than twenty years of age, would be able to produce by this exercise of his profession those greater fruits that were foreshadowed by the beautiful scene which he, in their judgment, had executed more excellently than the others; saying that there would have been more sign of envy in taking it from him, than there was justice in giving it to him.
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 moldings, 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 moldings 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
