sculptor; at Bourges, about the same date, Aguillon, of Droues; at Montpellier, between 1331 and 1360, the two Alamans, John and Henry; at Troyes, Denisot and Drouin of Mantes, &c. Beyond France, Matthias of Arras, in 1343, laid the foundations of the Cathedral of Prague, which was to be continued and finished by another French artist, Pierre of Boulogne. Arrested as our attention must be by the statues and bas-reliefs which were multiplied under the porches, in the niches (Fig. 287), and on all the tombs, we can cast but a very cursory glance on the immense number of wood-carvings, figures in ivory, and movable pieces of sculpture, executed by artists who may be divided into two very distinct classes, the Norman and the Rhenish; all of other schools appear to have been nothing but imitators of these. In 1400 the _Maître_ Pierre Pérat, architect of three cathedrals, who was at once both civil engineer and sculptor, and one of the greatest masters of whom France can boast, died at Metz, where he was interred with all the honours due to his wonderful talents. Just at the same time a memorable competition was opened at Florence. The object in view was to finish the doors of the Baptistery of St. John. The formal announcement of the competition, which was made all over Italy, did not fail to call forth the most skilful artists. Seven of these were selected, on account of their renown, to furnish designs: they consisted of three Florentines--Filippo Brunelleschi, Donatello, and the goldsmith, Lorenzo Ghiberti; Jacopo della Quercia of Siena; Nicolo Lamberti d’Arezzo; Francesco da Valdambrina; and Simone da Colle, called _de’ Bronzi_. To each of these competitors the republic granted one year’s salary, on condition that, at the end of the period, each of them should furnish a panel of wrought bronze of the same size as those of which the doors of St. John were to be composed. On the day fixed for the examination of the works, the most celebrated artists of Italy were summoned. Thirty-four judges were selected, and before this tribunal the seven models were exhibited, in the presence of the magistracy and the public. After the judges had audibly discussed the respective merits of the works, those of Ghiberti, Brunelleschi, and Donatello were preferred. But to whom of the three was the palm to be awarded? They hesitated. Then Brunelleschi and Donatello retired apart and exchanged a few words; after which one of them, commencing to address the assembly, said:--“Magistrates and citizens, we declare to you that in our own judgment Ghiberti has surpassed us. Award him the preference, for our country will thus acquire the greater glory. It is less discredit to us to make known our opinion than to keep silence.” These doors, at which Ghiberti worked for forty years, with the assistance of his father, his sons, and his pupils, are perhaps the finest work we have in sculptured metal.