bbia for the Sacristy of the Duomo, these in San Lorenzo are
among the latest which were produced according to the ancient model
and the correct idea. Thenceforward the doors ceased to be doors; the
reliefs ceased to show the qualities of bronze, and disregarded the
principles of sculpture. Donatello made two pairs of doors, one on
either side of the altar. The doors open in the middle; there are thus
four long-hinged panels of bronze, and each panel has five reliefs
upon it. It is doubtful if the most archaic doors in Italy show such
uniformity of design, for all the twenty bronze reliefs illustrate one
single theme, namely, the conversation of two standing men. The panels
simply consist of two saints, roughly sketched in somewhat low-relief
upon an absolutely flat background: there is great variety in the
drapery, and some of the figures might come out of thirteenth-century
illuminations. Never was a monotonous motive invested with such
variety of treatment: never was simplicity better attained by
scrupulous elimination. Donatello's symmetrical idea had been
previously employed, and Torrigiano put his figures in couples on what
Bacon called one of the "stateliest and daintiest monuments of
Europe."[171] Luca della Robbia put his figures in threes on the
Cathedral gates, a seated figure in the centre, with a standing figure
on either side. But Donatello had to make twice as many panels as
Luca. Martyrs, apostles and confessors are talking on the San Lorenzo
doors. Thus St. Stephen shows the stone of his martyrdom to St.
Laurence. Elsewhere St. Peter's movement suggests that he is
upbraiding his fellow, for the argument excites these saints. They
gesticulate freely; martyrs seem to fence with their palm-leaves. One
will turn away abruptly, another will pay sudden attention to his
book, while his companion continues to talk. One man slaps his book to
clinch the discussion, another jots down a note; two others are ending
their controversy and prepare to leave--in opposite directions. But,
though these are literal descriptions of the scenes, there is no
levity; everything is ordained according to Donatello's strict
formula. He was none the less determined to adhere to the old
conventional and non-pictorial treatment of the gates, and at the same
time to give animation to every panel. In this he has succeeded, but
the symmetrical arrangement in pairs preserves a decorum in spite of
the vigorous movement pictured on the doors