with the works themselves, he caused him to make a mitre of gold, weighing fifteen libbre, with pearls weighing five libbre and a half, which, with the jewels set in the mitre, were estimated at 30,000 ducats of gold. It is said that in this work were six pearls as big as filberts, and it is impossible to imagine, as was seen later in a drawing of it, anything more beautiful and bizarre than the settings of the jewels and the great variety of children and other figures, which served for many varied and graceful ornaments. For this work he received infinite favors from that Pontiff, both for himself and his friends, besides the original payment.
Florence had received so much praise by reason of the excellent works of this most ingenious craftsman, that the Consuls of the Guild of Merchants determined to commission him to make the third door of S. Giovanni, likewise in bronze. Now, in the door that he had made before, he had followed their directions and had made it with that ornament which goes round the figures, and which encircles the framework of both parts of the door, as in the one of Andrea Pisano; but on seeing how greatly Lorenzo had surpassed him, the Consuls determined to remove that of Andrea from its position in the centre, and to place it in the doorway that is opposite to the Misericordia, and to commission Lorenzo to make a new door to be placed in the centre, looking to him to put forth the greatest effort of which he was capable in that art. And they placed themselves in his hands, saying that they gave him leave to make it as he pleased, and in whatsoever manner he thought it would turn out as ornate, as rich, as perfect, and as beautiful as it could be made or imagined; nor was he to spare time or expense, to the end that, even as he had surpassed all other sculptors up to his own time, he might surpass and excel all his own previous works.
Lorenzo began the said work, putting therein all the knowledge that he could; wherefore he divided the said door into ten squares, five on each side, so that the spaces enclosing the scenes were one braccio and a third in extent, and round them, to adorn the framework that surrounds the scenes, there are niches—upright, in that part of the door—containing figures in almost full-relief, twenty in number and all most beautiful, such as a nude Samson, who, embracing a column, with a jawbone in his hand, displays a perfection as great as can be shown by anything made in the time of the ancients, in their figures of Hercules, whether in bronze or in marble; and to this a Joshua bears witness, who, in the act of speaking, appears to be really addressing his army; besides many prophets and sibyls, all of which he adorned with various manners of draperies over their shoulders, and with head-dresses, hair, and other adornments; not to mention twelve figures which are lying down in the niches that go horizontally along the ornament of the scenes. At the intersections of the corners, in certain medallions, he made heads of women, of youths, and of old men, to the number of thirty-four; among which, in the middle of the said door, near the place where he engraved his own name, is the portrait of his father Bartoluccio, who is the oldest of them, while the youngest is his son Lorenzo himself, the master of the whole work; besides an infinite quantity of foliage, moldings, and other ornaments, made with the greatest mastery. The scenes that are in the said door are from the Old Testament; and in the first is the Creation of Adam, and of Eve, his wife, who are executed most perfectly, it being evident that Lorenzo strove to make their limbs as beautiful as he was able to do, wishing to show that, even as these figures by the hand of God were the most beautiful that were ever made, so these by his own hand should surpass all the others that had been made by him in his other works—truly a very grand intention. In the same scene, likewise, he made them eating the apple, and also being driven out of Paradise; and in these actions the figures express the effect, first of their sin, recognizing their nakedness and covering it with their hands, and then of repentance, when they are made by the Angel to go forth out of Paradise. In the second square are figures of Adam and Eve, with Cain and Abel as little children, born from them; and there, also, is Abel making a sacrifice of his firstlings, with Cain making one not so good, while in the expression of Cain there is shown envy against his brother, and in Abel love towards God. And what is singularly beautiful is to see Cain ploughing the earth with a pair of oxen, which, with their laboring to pull at the yoke of the plough, appear real and natural; and the same is shown in Abel, who is watching his flocks, and Cain puts him to death, when he is seen, in a most impious and cruel attitude, slaughtering his brother with a club, in such a manner that the very bronze shows the limpness of the dead limbs in the most beautiful person of Abel; and 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
