er was very well designed and diligently
wrought, but the composition of the scene, with the gradual diminution
of the figures, was not good, as was the case with that of Jacopo della
Quercia; a third was poor in invention and in the figures, which was the
manner wherein Francesco di Valdambrina had executed his; and the worst
of all were those of Niccolo d'Arezzo and Simone da Colle. The best was
that of Lorenzo di Cione Ghiberti, which had design, diligence,
invention, art, and the figures very well wrought. Nor was that of
Filippo much inferior, wherein he had represented Abraham
sacrificing Isaac; and in that scene a slave who is drawing a thorn
from his foot, while he is awaiting Abraham and the ass is browsing,
deserves no little praise.

[Footnote 17: _I.e._, Jacopo della Quercia.]

[Illustration: THE SACRIFICE OF ISAAC

(_After_ Filippo Brunelleschi. _Florence: Bargello_)

_Anderson_]

The scenes, then, being exhibited, Filippo and Donato were not satisfied
with any save with that of Lorenzo, and they judged him to be better
qualified for that work than themselves and the others who had made the
other scenes. And so with good reasons they persuaded the Consuls to
allot the work to Lorenzo, showing that thus both the public and the
private interest would be best served; and this was indeed the true
goodness of friendship, excellence without envy, and a sound judgment in
the knowledge of their own selves, whereby they deserved more praise
than if they had executed the work to perfection. Happy spirits! who,
while they were assisting one another, took delight in praising the
labours of others. How unhappy are those of our own day, who, not sated
with injuring each other, burst with envy while rending others. The
Consuls besought Filippo to undertake the work in company with Lorenzo,
but he refused, being minded rather to be first in an art of his own
than an equal or a second in that work. Wherefore he presented the scene
that he had wrought in bronze to Cosimo de' Medici, who after a time had
it placed on the dossal of the altar in the old Sacristy of S. Lorenzo,
where it is to be found at present; and that of Donato was placed in the
Guild of the Exchange.

The commission being given to Lorenzo Ghiberti, Filippo and Donato, who
were together, resolved to depart from Florence in company and to live
for some years in Rome, to the end that Filippo might study architecture
and Donato sculpture; and this Filipp