These northern gates are very beautiful, but those on the east are far more so; it is of these last that Michael Angelo declared, "They are worthy to be the gates of Paradise!" These are divided into ten compartments, representing: 1, Creation of Adam and Eve; 2, History of Cain and Abel; 3, Noah; 4, Abraham and Isaac; 5, Jacob and Esau; 6, History of Joseph; 7, Moses on Mount Sinai; 8, Joshua before Jericho; 9, David and Goliath; 10, Solomon and the Queen of Sheba (Fig. 83).
This sculptor showed great skill for one in his age, but to us there is some disappointment in them on account of the crowded appearance of the figures. Familiarity with them, however, reveals their beauty, and we find that, in truth, the stories Ghiberti wished to tell are brought out with much distinctness. They will ever remain one of the great monuments of the sculpture of the Renaissance.
Ghiberti endeavored to introduce fine backgrounds to his reliefs, which gave him an opportunity to add figures illustrating other incidents than the principal one of the work. His sculptures show the influence of the Gothic style, the study of nature and that of the antique all combined; with these are united his own power of conception, his ability in design, and his wonderful delicacy of execution. These gates have been continually studied by the artists of his own and succeeding generations.
The next work of importance by Ghiberti is the sarcophagus of St. Zenobius in the Cathedral of Florence. Other lesser sculptures are in other churches in Florence and in the Cathedral of Siena.
We come now to one of the most interesting sculptors of the fifteenth century. DONATELLO he was called, but his real name was DONATO DI BETTO BARDI (1386-1468). He was born in Florence, and from his boyhood was a member of the family of the rich banker Ruberto Martelli, who was the firm friend of the sculptor for life, and when he died he provided in his will that the works by Donatello which he bequeathed to his family should never be pledged, sold, or given away, but kept as a perpetual inheritance for his heirs. Donatello was a realist, and followed nature with great exactness. This was not always productive of beauty in his works; indeed, some of them are very ugly, and a story which illustrates this is told of himself and Brunelleschi. Donatello had made a crucifix, carved from wood, for the Church of Santa Croce, and when it was finished he asked Brunelleschi's opinion of it. This latter artist was principally an architect; but as he had learned the goldsmith's trade, he executed some sculptures, and a close friendship existed between himself and Donatello. Relying on their love for each other, Brunelleschi frankly told Donatello that his crucifix was very ugly, and his figure of Christ like that of a day-laborer, whereas it should represent a person of the greatest possible beauty.