that faces the church, and which were wanting, according to the design of Giotto, to go with that wherein are the Sciences and Arts, formerly made, as it has been said, by Andrea Pisano. In the first Luca made Donato teaching grammar; in the second, Plato and Aristotle, standing for philosophy; in the third, a figure playing a lute, for music; in the fourth, a Ptolemy, for astrology; and in the fifth, Euclid, for geometry. These scenes, in perfection of finish, in grace, and in design, were far in advance of the two made, as it has been said, by Giotto, in one of which Apelles, standing for painting, is working with his brush, while in the other Pheidias, representing sculpture, is laboring with his chisel. Wherefore the said Wardens of Works—who, besides the merits of Luca, were persuaded thereunto by Messer Vieri de’ Medici, then a great citizen and a friend of the people, who loved Luca dearly—commissioned him, in the year 1405, to make the marble ornament for the organ which the Office of Works was then having made on a very grand scale, to be set up over the door of the sacristy of the said church. In certain scenes at the base of this work Luca made the singing choirs, chanting in various fashions; and he put so much zeal into this labor and succeeded so well therein, that, although it is sixteen braccia from the ground, one can see the swelling of the throats of the singers, the leader of the music beating with his hands on the shoulders of the smaller ones, and, in short, diverse manners of sounds, chants, dances, and other pleasing actions that make up the delight of music. Next, on the great cornice of this ornament Luca placed two figures of gilded metal—namely, two nude angels, wrought with a high finish, as is the whole work, which was held to be something very rare, although Donatello, who afterwards made the ornament of the other organ, which is opposite to the first, made his with much more judgment and mastery than Luca had shown, as will be told in the proper place; for Donatello executed that work almost wholly with bold studies and with no smoothness of finish, to the end that it might show up much better from a distance, as it does, than that of Luca, which, although it is wrought with good design and diligence, is nevertheless so smooth and highly finished that the eye, by reason of the distance, loses it and does not grasp it well, as it does that of Donatello, which is, as it were, only sketched.
To this matter craftsmen should pay great attention, for the reason that experience teaches us that all works which are to be viewed from a distance, whether they be pictures, or sculptures, or any other similar thing whatsoever, have more vivacity and greater force if they are made in the fashion of beautiful sketches than if they are highly finished; and besides the fact that distance gives this effect, it also appears that very often in these sketches, born in a moment from the fire of art, a man’s conception is expressed in a few strokes, while, on the contrary, effort and too great diligence sometimes rob men of their force and judgment, if they never know when to take their hands off the work that they are making. And whosoever knows that all the arts of design, not to speak only of painting, are similar to poetry, knows also that even as poems thrown off by the poetic fire are the true and good ones, and better than those made with great effort, so, too, the works of men excellent in the arts of design are better when they are made at one sitting by the force of that fire, than when they go about investigating one thing after another with effort and fatigue. And he who has from the beginning, as he should have, a clear idea of what he wishes to do, ever advances resolutely and with great readiness to perfection. Nevertheless, seeing that all intellects are not of the same stamp, there are some, in fact, although they are rare, who cannot work well save at their leisure; and to say nothing of the painters, it is said that the most reverend and most learned Bembo—among the poets—sometimes labored many months, perchance even years, at the making of a sonnet, if we can believe those who affirm it; wherefore it is no great marvel that this should happen sometimes to some of the masters of our arts. But for the most part the rule is to the contrary, as it has been said above, although the vulgar think more of a certain external and obvious delicacy that proves to lack the essential qualities, which are made up for by diligence, than of the good, wrought with reason and judgment, but not so highly finished and polished on the outside.
But to return to Luca; the said work being finished and giving great satisfaction, he was entrusted with the bronze door of the said sacristy, which he divided into ten squares—namely, five on either side, making the head of a man at every corner of each square, in the border; and he varied the heads one from another, making young men, old, and middle-aged, some bearded and some shaven, and, in short, each one beautiful of its kind in diverse fashions, so that the framework of that door was beautifully adorned. Next, in the scenes in the squares—to begin at the upper part—he made the Madonna with the Child in her arms, with most beautiful grace; and in the one beside it, Jesus Christ issuing from the Sepulchre. Below these, in each of the first four squares, is the figure of an Evangelist; and below these, the four Doctors of the Church, who are writing in different attitudes. And the whole of this work is so highly finished and polished that it is a marvel, and gives us to know that it was a great advantage to Luca to have been a goldsmith.
But since, on reckoning up after these works how much there had come to his hand and how much time he spent in making them, he recognized that he had gained very little and that the labor had been very great, he resolved to abandon marble and bronze and to see whether he could gather better fruits from another method. Wherefore, reflecting that clay could be worked easily and with little labor, and that it was only necessary to find a method whereby works made with it might be preserved for a long time, he set about investigating to such purpose that he found a way to defend them from the injuries of time; for, after having made many experiments, he found that by covering them with a coating of glaze, made with tin, litharge, antimony, and other minerals and mixtures fused together in a special furnace, he could produce this effect very well and make works in clay almost eternal. For this method of working, as being its inventor, he gained very great praise, and all the ages to come will therefore owe him an obligation.
Having then succeeded in this as much as he could desire, he resolved that his first works should be those that are in the arch over the bronze door which he had made for the sacristy, below the organ of S. Maria del Fiore; and therein he made a Resurrection of Christ, so beautiful for that time that it was admired, when placed in position, as something truly rare. Moved by this, the said Wardens of Works desired that the arch over the door of the other sacristy, where Donatello had made the ornament of the other organ, should be filled by Luca in the same manner with similar figures and works in terra-cotta; wherefore Luca made therein a very beautiful Jesus Christ ascending into Heaven.
Now, not being yet satisfied with this beautiful invention—so lovely and so useful, above all for places where there is water, and where, because of damp or other reasons, there is no scope for paintings—Luca went on seeking further progress, and, instead of making the said works in clay simply white, he added the method of giving them color, with incredible marvel and pleasure to all. Wherefore the Magnificent Piero di Cosimo de’ Medici, one of the first to commission Luca to fashion colored works in clay, caused him to execute the whole of the round vaulting of a study in the Palace—built, as it will be told, by his father Cosimo—with various things of fancy, and likewise the pavement, which was something singular and very useful for the summer. And seeing that this method was then very difficult, and that many precautions were necessary in the firing of the clay, it is certainly a marvel that Luca could execute these works with so great perfection that both the vaulting and the pavement appear to be made, not of many pieces, but of one only. The fame of these works spreading not only throughout Italy but throughout all Europe, there were so many who desired them that the merchants of Florence, keeping Luca, to his great profit, continually at this labor, sent them throughout the whole world. And because he could not supply the whole, he took his brothers, Ottaviano and Agostino, away from the chisel, and set them to work on these labors, wherein the three of them together gained much more than they had done up to then with the chisel, for the reason that, besides those of their works that were sent to France and Spain, they also wrought many things in Tuscany; and in particular, for the said Piero de’ Medici, in the Church of S. Miniato al Monte, the vaulting of the marble chapel, which rests on four columns in the middle of the church, and which they divided most beautifully into octagons. But the most notable work of this kind that ever issued from their hands was the vaulting of the Chapel of S. Jacopo, where the Cardinal of Portugal is buried, in the same church. In this, although it has no salient angles,
