In this work, both in detail and as a whole, it is seen how much the ability and the power of a craftsman in statuary can effect by means of figures, some being almost in the round, some in half-relief, some in low-relief, and some in the lowest, with invention in the grouping of the figures, and extravagance of attitude both in the males and in the females; and by variety in the buildings, by perspectives, and by having likewise shown a sense of fitness in the gracious expressions of each sex throughout the whole work, giving to the old gravity, and to the young elegance and grace. And it may be said, in truth, that this work is in every way perfect, and that it is the most beautiful work which has ever been seen in the world, whether ancient or modern. And right truly does Lorenzo deserve to be praised, seeing that one day Michelagnolo Buonarroti, having stopped to look at this work, and being asked what he thought of it, and whether these doors were beautiful, answered: "They are so beautiful that they would do well for the gates of Paradise": praise truly appropriate, and given by an able judge. And well indeed might Lorenzo complete them, seeing that from the age of twenty, when he began them, he worked at them for forty years, with labour beyond belief. Lorenzo was assisted in finishing and polishing this work, after it was cast, by many men, then youths, who afterwards became excellent masters--namely, by Filippo Brunelleschi, Masolino da Panicale, and Niccolo Lamberti, goldsmiths; and by Parri Spinelli, Antonio Filarete, Paolo Uccello, Antonio del Pollaiuolo, who was then quite young, and many others, who, growing intimate together over that work, and conferring one with another, as men do when they work in company, gained no less advantage for themselves than they gave to Lorenzo. To him, besides the payment that he had from the Consuls, the Signoria gave a good farm near the Abbey of Settimo, and no long time elapsed before he was made one of the Signori, and honoured with the supreme magistracy of the city; wherefore the Florentines deserve no less to be praised for their gratitude to him, than they deserve to be blamed for having been little grateful to other excellent men of their city. After this most stupendous work, Lorenzo made the ornament in bronze for that door of the same church which is opposite to the Misericordia, with that marvellous foliage which he was not able to finish, death coming unexpectedly upon him when he was preparing--having already almost made the model--to reconstruct the said door, which Andrea Pisano had formerly made; which model has now been lost, although I saw it formerly, when a youth, in Borgo Allegri, before it was allowed to be lost by the descendants of Lorenzo.