This section is from "The American Cyclopaedia", by George Ripley And Charles A. Dana. Also available from Amazon: The New American Cyclopędia. 16 volumes complete..
Lorenzo Ghiberti, an Italian sculptor, architect, and painter, born in Florence about 1380, died there about 1455. The son of a goldsmith, he early learned to imitate ancient medals, and began to exercise himself in painting. The seignory and merchants of Florence determined in 1401 to procure for the baptistery of San Giovanni a bronze folding door to correspond with that already made by Andrea Pisano, for which a prize was offered. Each artist was allowed a year in which to execute a panel in bronze representing in bass relief the Sacrifice of Isaac." Ghiberti was proclaimed victor even by his most eminent rivals, Donatello and Bru-nelleschi. Intrusted therefore with this immense labor, he devoted 21 years to its accomplishment, dividing each half of the door into ten panels, each of which contains a bass relief representing a subject taken from the New Testament. In 1424 this door was placed in one of the side entrances of the baptistery, and its success led to his being commissioned to execute another. This was commenced in 1428, was divided into ten panels filled with subjects from the Old Testament, occupied him nearly as long as the other, and was superior to it, being declared by Michel Angelo worthy to be the gate of paradise.
During the 40 years that he was engaged upon these doors he executed several other works in bronze, among which were a statue of John the Baptist, two bass reliefs for the cathedral of Siena, a "St. Matthew and "St. Stephen," and the reliquary of St. Zenobius surmounted by six angels. The last, and the St. Matthew and the second door of San Giovanni, are the masterpieces of modelling in the 15th century, and the door is perhaps still unrivalled. As an architect, Ghiberti was associated with Brunelleschi in constructing the cupola of Sta. Maria del Fiore. He excelled in painting upon glass, and in the goldsmith's art. He also left a treatise on sculpture, a part of which has been published by Cicognara; a treatise on proportions, yet unpublished; and a treatise on Italian art, first published in 1841.
 
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