Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

John the Evangelist seated on the earth, overwhelmed with grief and indignation. On the opposite fold of the door is then depicted the Resurrection, where the guards lie, like dead men, in a deep sleep, while the Saviour rises upwards; and such is the grace of his attitude, and the perfection of the beautiful limbs produced by the genius and patience of Lorenzo, that he does indeed appear to be glorified. Finally, in the last compartment, appears the Holy Spirit descending on the Apostles; and truly exquisite are the attitudes and expressions of those who receive it.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

It was the high desert of Lorenzo which induced the sculptor Donato, and Filippo Brunelleschi, the architect and sculptor, both distinguished men, to place that youth before themselves, and to acknowledge, as they did,—although self-love might tempt them to affirm the contrary,—that he was indeed a better master than they in the art that was in question, on the occasion to which we allude, namely, that of casting in bronze.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

But as it rarely happens that talent can escape the persecutions of envy, it is most needful that all should strive, so far as in them lies, to ward off her attacks by the truest excellence, or should at least arm themselves with strength and resolution to sustain the impetus of her onset; as was admirably accomplished by Lorenzo di Cione Ghiberti, otherwise di Bartoluccio, who was well aided in the struggle by his own merits, as well as by the favour of fortune.
Source: Wikisource

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