Lorenzo was concerned in two great works, neither of which came to perfection. The building and decoration of the façade of Sta. Maria del Fiore went on till about the middle of the fifteenth century. Donatello and his school contributed to it the marble facings and statues which were carried up to the rose-windows over the side doors.[180] The completion of the work was all the more to be desired as the gilt cross had gleamed above the lantern of the dome since May 30, 1472. On February 12, 1490, the following decree was issued by the consuls of the wool-merchants’ guild:[181] ‘Forasmuch as of late several of the chief citizens have repeatedly called to mind what a great dishonour it is to this city that the front of the cathedral church should remain in its present condition, to wit, unfinished, and also that the parts already executed in nowise correspond to the rules of architecture, and are bad in many ways, and that it would be highly praiseworthy to come to some conclusion on the matter, the said consuls have resolved and given authority to the present and future master-builders of the church to regulate expenditure and arrange everything that shall seem to them good and profitable for the said purpose now and hereafter.’ This decree shows that in the minds of those concerned the fate of the existing portions of the façade was as much decided as ninety-six years later, when they were destroyed after very brief deliberation. On January 5, 1491, a commission met, under the presidency of the two master-builders Maso degli Albizzi and Tommaso Minerbetti, to pass judgment on the numerous models and designs (_modelli et designi undique habiti et collecti_). Many who were not personally present had sent in plans: Benedetto da Majano, Francesco di Giorgio, Filippino Lippi, Andrea Verrocchio, Antonio Pollaiuolo. There were two designs by Giuliano da Majano, then lately dead. No less than twenty-nine artists had come forward, among whom were Cronaca, Benedetto da Majano, Francione, Lorenzo di Credi, Domenico Ghirlandajo, Pietro Perugino, Andrea Contucci of Montesansovino, Andrea della Robbia, Sandro Botticelli, Alesso Baldovinetti, and others who, except in this case, are known only as goldsmiths or painters. Lorenzo de’ Medici himself had sent in a design. The meeting was held in the portico and the loggia of the office of works (_Opera_), the arches of which—now blocked up and containing a fine marble bust of the first grand duke on the façade—may be seen behind the choir of the cathedral. The models and designs having been examined, were reported on by Tommaso Minerbetti, whereupon Carlo Benci—a canon and one of the competitors—being asked his opinion, rose and said that he held it advisable to take the opinion of Lorenzo de’ Medici, a man so versed in architecture that if they followed him they would be the least likely to fall into error. Bartolommeo Scala recommended that a decision should be adjourned to give opportunity for further