“ We are better acquainted with Ghiberti’s theories of art than with those of most of his contemporaries, for he left behind him a commentary, in which, besides his notices of art, he gives much insight into his own personal character and views. Every page attests the religious spirit in which he lived and worked. Not only does he aim at faithfully reflecting Christian truths in his creations, he regards the old Greek statues with a kindred feeling, as setting forth the highest intellectual and moral attributes of human nature. He appears to have cared as little as Donatello for money. ”

“ They consist of 42 plates in folio, and were published at Florence by Bardi in 1821. Still more vivid representations are the reproductions on a very large scale by the photographic establishment of Alinari. Both C. C. Perkins, in his History of Tuscan Sculpture (1864) , and A. F. Rio, in his Art chrétien (1861–1867) , have treated Ghiberti’s works with much fulness, and in a spirit of sound appreciation. See also the chapter expressly devoted to the history of the competition for the baptistery gates in Hans Semper, Donatello (1887) ”