The Old Masters and Their Pictures, For the Use of Schools and Learners in Art — John Shaqi
The Old Masters and Their Pictures, For the Use of Schools and Learners in ArtTytler, Sarah
History
The Old Masters and Their Pictures, For the Use of Schools and Learners in Art
Tytler, Sarah
Painters; Painting -- History
Lorenzo Ghiberti has left us an expression of the feeling with which he
set about his task, an expression so suggestive that, even had we no
other indication, it is enough to stamp the true and tender nature of
the man. He prepared for his achievement 'with infinite diligence and
love'--the words deserve to be pondered over. He took at least
twenty-two years to his work, receiving for it eleven hundred florins.
He chose his subjects from the life and death of the Lord, working them
out in twenty panels, ten on each side of the folding doors, and below
these were eight panels containing full-length figures of the four
evangelists and four doctors of the Latin Church, with a complete border
of fruit and foliage, having heads of prophets and sibyls interspersed.
So entire was the satisfaction the superb gate gave, that Lorenzo was
not merely loaded with praise, he received a commission to design and
cast a third and central gate which should surpass the others, that were
thenceforth to be the side entrances.
For his second gate Lorenzo Ghiberti repaired to the Old Testament for
subjects, beginning with the creation and ending with the meeting of
Solomon and the Queen of Sheba, and represented them in ten compartments
enclosed in a rich border of fruit and foliage, with twenty-four
full-length figures of the Hebrew heroes and prophets, clearly and
delicately designed and finished, occupying corresponding niches. This
crowning gate engaged the founder upwards of eighteen years--forty-nine
years are given as the term of the work of both the gates.
The single defect which is found in those marvellous gates--left to us
as a testimony of what the life-long devotion of genius could
produce--is that they abound floridly both in ornament and action, in
place of being severely simple and restrained according to the classical
standard.
Michael Angelo called these gates 'worthy to be the gates of Paradise,'
and they are still one of the glories of Florence. Casts of the gates
are to be found in the School for Art at Kensington, and at the Crystal
Palace.
Public-domain text, read in full here on John Shaqi.
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