he 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.

[Illustration: FIG. 83.--FROM THE EASTERN GATES. _Showing compartments
6, 8, and 10._]

Donatello was very angry at this, and exclaimed, "It is easier to
criticise than to execute; do you take a piece of wood and make a better
crucifix!" Brunelleschi determined to do this, and when his work was
finished he invited Donatello to sup with him. He placed the crucifix in
a conspicuous place in his house, and then took Donatello with him to
the market to buy their food. He gave the parcels to Donatello, and
asked him to go before to the house, saying that he would soon follow.
When Donatello entered and saw the crucifix he was so delighted at the