At the very root of our argument lies the fact that these broader and more human views are traceable to the growing influence of the democracy in the Italian cities. It must never be forgotten that such a work as the “Gates of Paradise” was in every sense a public work. Its general design and its detailed progress were continually supervised by the hard-headed burghers of Florence. When, for instance, Ghiberti was instructed on January 2, 1425, by the consuls of the Guild of Merchants to commence the third pair of gates, he was not free to choose his own subjects. Here is an extract from the letter of Leonardo Bruni d’Arezzo, the Chancellor of the Republic, who actually drew up the general scheme. After detailing the subjects he added: “It is necessary that he who has to design them should be well instructed in every story, so that he may dispose the characters and scenes to the best effect.... I have no doubt that the work as I have designed it will succeed well, but I should like to be near the artist that I may interpret to him the many meanings of the scenes.” It was no small task which the good Chancellor set Ghiberti. Imagine the feelings of a twentieth-century sculptor suddenly faced with a demand to give expression to the following subjects in ten panels, within the limits set by a single door. I II Creation of Adam. Adam, Eve, and children. Creation of Eve. The two sacrifices. Temptation. Death of Abel. Expulsion from Eden. Curse of Cain. III VII Noah leaving Ark. Moses on Sinai. Noah’s sacrifice. Noah’s drunkenness. IV VIII Abraham and the Angels. Joshua marching round Jericho. The sacrifice of Isaac. The Fall of Jericho. V IX Isaac. David and Goliath. Esau hunting. Defeat of Philistines. The blessing of Jacob. VI X Sale of Joseph. Queen of Sheba at Solomon’s Court. Pharaoh’s dream. Joseph’s brethren in Egypt.