While executing these two great works Ghiberti found time for others. Among these were two fine bronze reliefs for the font of the Baptistery of Siena (1417-27), representing episodes from the "Life of John the Baptist." Between 1432 and 1440 he also designed the bronze shrine of Saint Zenobius, in the Cathedral of Florence, the front of which contains a beautiful relief of the "Saint Restoring a Dead Child to Life," and the back six angels in relief. He also designed a grave-slab for Leonardo Dati, who died in 1423, in Santa Maria Novella, and two others in Santa Croce, all of which are much defaced by treading.
Ghiberti's chief strength, however, was in relief work on a small scale. Accordingly, we find in him the most celebrated goldsmith of his day. None of his works as a goldsmith survives, but in his second Commentary he himself men tions the principal examples. In 1419 he made for Pope Martin V. a mitre, covered with leaves of gold, among which were many different figures, and a cope button, adorned with a figure of Christ. Ile made another mitre in 1439 for Pope Eugenius IV., containing precious stones worth 38,000 ducats, and surmounted by figures of Christ and the Virgin with angels. He also set an antique intaglio, belonging to Giovanni de' Medici, between the wings of a golden dragon, crouching in a bed of ivy-leaves.
In statuary Ghiberti was less successful. He executed but three statues in bronze, all of which adorned .the facade of Or San Michele. "John the Baptist" (1414) is the earliest example, quite in the style of the first portal; "Saint Matthew" (1420-22), cast with the aid of Michelozzo, looks like a Roman orator; "Saint Stephen" (1428) is the finest of all, simple in treatment and grace ful in line.
Ghiberti also figured as an architect. He is mentioned in the record of 1520 as an associate of Brunelleschi in building the cupola of the cathedral at Florence; but if we may believe Vasari, he solicited this position, and perpetually annoyed his colleague by his endeavors to steal his plans. Brunelreschi feigned illness, and Chi
berti's incompetency became apparent. Whether or not this story be true, Ghiberti's Treatise on Architecture, which survives in manuscript form, certainly shows incompetency. As a designer for glass-painting he had greater success. Some of the finest glasses in the cathedral in Florence were carried out after his designs by Bernardo di Francesco, including those of the Chapel of Saint Zenobius, the middle window of the facade, and one in the drum of the cupola. As a citizen of influence Ghiberti was selected Chief Magistrate of Florence. and presented by the signory with a farm near Settino, in recognition of his services as an artist. He died December 1, 1455, and was buried in Santa Croce.
His son and pupil, Virroato, was a sculptor and goldsmith of note, who assisted his father in the second door. In 1454 he made a design for the tapestry of the tribuna of the Palazzo della Signoria, and in 1478 a bronze reliquary for the cathedral. Among Ghiberti's other pupils and assistants were Michelozzo, Lamberti, and Antonio Pollajuola.
BIBLIOGRAPHY. Ghiberti himself wrote a work; Bibliography. Ghiberti himself wrote a work; the Commentarii, or commentaries on the art of Florence, in which he did ample justice to him self. It is preserved in manuscript form in the Biblioteca Magliabecchiana, Florence, and was published in Lemonnier's revision of Vasari's lives (Florence, 1846-57). There is a French translation in Perkins, Ghiberti et son ecole (Paris, 1897). The other chief source for his life is the biography in Vasari, Vite, edited by Milanesi, vol. ii. (Florence, 1878-85), English translation by Blashfield and Hopkins (New York, 1897). The chief modern work on Ghi berti is that of Perkins, cited above. Consult also: Perkins, Tuscan Sculptures, vol. i. (London, 1867) ; Scott, Ghiberti and Donatello (London, 1882) ; Rosenberg, "Lorenzo Ghiberti," in Dohme, Kunst and Kiinstler Italiens, vol. i. (Leipzig, 1878) ; and Raymond, La sculpture Florentine (Florence, 1898-99).