ootnote 3: Vasari means that Lorenzo continued to receive his salary
till 1426, although Filippo had been appointed sole master of the works
in 1423, as he himself relates in the sequel.]

[Footnote 4: How different was the treatment Ghiberti received from
Brunelleschi, when the artists presented their models for one of the
bronze doors of the Baptistery of San Giovanni at Florence. The designs
of Ghiberti, Brunelleschi, and Donatello, were considered the three
best; but the two latter, considering that Ghiberti was fairly entitled
to the prize, withdrew their claims in his favor, and persuaded the
syndics to adjudge the work to him. Brunelleschi was requested to
undertake the work in concert with Ghiberti, but he would not consent to
this, desiring to be first in some other art or undertaking than equal,
or perhaps secondary, in another. "Now, this was in truth," says Vasari,
"the sincere rectitude of friendship; it was talent without envy, and
uprightness of judgment in a decision respecting themselves, by which
these artists were more highly honored than they could have been by
conducting the work to the utmost summit of perfection. Happy spirits!
who, while aiding each other took pleasure in commending the labors of
their competitors. How unhappy, on the contrary, are the artists of our
day, laboring to injure each other, yet still unsatisfied, they burst
with envy, while seeking to wound others."]

[Footnote 5: This distrust seems astonishing, after what Brunelleschi
had accomplished, but it shows the opposition and enmity he had to
encounter. In 1434, he received a mortifying affront from the Guild of
Builders. Finding that he carried on the building without thinking to
pay the annual tax due from every artist who exercised his calling, they
caused him to be apprehended and thrown into prison. As soon as this
outrage was known to the wardens, they instantly assembled with
indignation, and issued a solemn decree, commanding that Filippo should
be liberated, and that the Consuls of the Guild should be imprisoned,
which was accordingly done. Baldinucci discovered and printed the
authentic document containing the decree, which is dated August 20,
1434.]

[Footnote 6: Masselli says that the Tuscan braccio, is the ancient Roman
foot doubled for greater convenience, and is equal to one foot nine
inches and six lines, Paris measure. The editors of the Florentine
edition of Vasari, 1846-9, remark that the measure of the