e thyself," as it is
related at length in the Life of Donato. Whereupon Filippo, who would
never get angry, whatever might be said to him, although he might have
reason for anger, stayed in seclusion for many months until he had
finished a Crucifix of wood of the same size, so excellent, and wrought
with so much art, design, and diligence, that Donato--whom he had sent
to his house ahead of himself, as it were to surprise him, for he did
not know that Filippo had made such a work--having an apron full of eggs
and other things for their common dinner, let it fall as he gazed at the
work, beside himself with marvel at the ingenious and masterly manner
that Filippo had shown in the legs, the trunk, and the arms of the said
figure, which was so well composed and united together that Donato,
besides admitting himself beaten, proclaimed it a miracle. This work is
placed to-day in S. Maria Novella, between the Chapel of the Strozzi and
that of the Bardi da Vernia, and it is still very greatly extolled by
the moderns. Wherefore, the talent of these truly excellent masters
being recognized, they received a commission from the Guild of Butchers
and from the Guild of Linen-Manufacturers for two figures in marble, to
be made for their niches, which are on the outside of Orsanmichele.
Having undertaken other work, Filippo left these figures to Donato to
make by himself, and Donato executed them to perfection.

[Illustration: THE SACRIFICE OF ISAAC

(_After_ Lorenzo Ghiberti. _Florence: Bargello_)

_Brogi_]

After these things, in the year 1401, now that sculpture had risen to so
great a height, it was determined to reconstruct the two bronze doors of
the Church and Baptistery of S. Giovanni, since, from the death of
Andrea Pisano to that day, they had not had any masters capable of
executing them. This intention being, therefore, communicated to those
sculptors who were then in Tuscany, they were sent for, and each man was
given a provision and the space of a year to make one scene; and among
those called upon were Filippo and Donato, each of them being required
to make one scene by himself, in competition with Lorenzo Ghiberti,
Jacopo[17] della Fonte, Simone da Colle, Francesco di Valdambrina, and
Niccolo d'Arezzo. These scenes, being finished in the same year and
being brought together for comparison, were all most beautiful and
different one from the other; one was well designed and badly wrought,
as was that of Donato; anoth