ractised in that art, there is next seen, in the ninth square, the
slaying of the giant Goliath by David, who is cutting off his head in a
proud and boyish attitude; and the host of the Lord is routing that of
the Philistines, wherein Lorenzo made horses, chariots, and other
warlike things. Next, he made David returning with the head of Goliath
in his hand, and the people are meeting him, sounding instruments and
singing; and these effects are all appropriate and vivacious. It now
remained for Lorenzo to do all that he was able in the tenth and last
scene, wherein the Queen of Sheba is visiting Solomon, with a very great
train; in this part he made a very beautiful building drawn in
perspective, with all the other figures similar to the aforesaid scenes;
not to mention the ornaments of the architraves, which go round the said
doors, wherein are fruits and festoons made with his usual excellence.

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 Filaret