There follows Ciuffagni (1381-1457), that poor sculptor working in his old age amid much that was splendid and strange at Rimini, where Lorenzo Ghiberti (1378-1455) had painted in his youth. For all his genius, Ghiberti, that euphuist, did not influence those who came after him as Donatello did. His work, inspired by the past, by Andrea Pisano, for instance, is full of the lost beauty of the Middle Age, the old secrets of the Gothic manner. His solution of the problem before him, a problem of movement, of character, of life, is to make the relief as purely picturesque as possible; with him sculpture almost passes into painting, using not without charm the perspective of a picture the mere seeming of just that, but losing how profoundly, much of the nobility, the delight of pure form, the genius peculiar to sculpture. As an artist pure and simple, as a master of composition, he may well have no superior, for the fantasy and beauty of his work, its complexity, too, are almost unique, and entirely his own; but in simplicity, and in a certain sense of reality, he is wanting, so that however delightful his work may be, those "gates of Paradise," for instance, that Michelangelo praised, it seems to be complete in itself, to suggest nothing but the wonderful effect one may get by using the means proper to one art for expression in another, as though one were to write a book that should have the effect upon one of an opera, to allow the strange rhythm and sensuous beauty of Tristan and Isolde, for instance, to disengage itself from pages which were full of just musical words.