d upon it for nine years,
from 1330 to 1339, and when finished, fixed in its place, and exposed to
view, the public enthusiasm exceeded all bounds; the Signoria, with
unexampled condescension, visited it in state, accompanied by the
ambassadors of Naples and Sicily, and bestowed on the fortunate artist
the honor and privilege of citizenship, seldom accorded to foreigners
unless of lofty rank or exalted merit. The door remained in its original
position--facing the Cathedral--till superseded in that post of honor by
the 'Gate of Paradise,' cast by Ghiberti. It was then transferred to the
Southern entrance of the Baptistery, facing the Misericordia."--Vol.
ii., pp. 125-128.

* * *

53. A few pages farther on, the question of _Giotto's_ claim to the
authorship of the designs for this door is discussed at length, and, to
the annihilation of the honor here attributed to _Andrea_, determined
affirmatively, partly on the testimony of Vasari, partly on internal
evidence--these designs being asserted by our author to be "thoroughly
Giottesque." But, not to dwell on Lord Lindsay's inconsistency, in the
ultimate decision his discrimination seems to us utterly at fault.
Giotto has, we conceive, suffered quite enough in the abduction of the
work in the Campo Santo, which was worthy of him, without being made
answerable for these designs of Andrea. That he gave a rough draft of
many of them, is conceivable; but if even he did this, Andrea has added
cadenzas of drapery, and other scholarly commonplace, as a bad singer
puts ornament into an air. It was not of such teaching that came the
"Jabal" of Giotto. Sitting at his tent door, he withdraws its rude
drapery with one hand: three sheep only are feeding before him, the
watchdog sitting beside them; but he looks forth like a Destiny,
beholding the ruined cities of the earth become places, like the valley
of Achor, for herds to lie down in.

54. We have not space to follow our author through his very interesting
investigation of the comparatively unknown schools of Teutonic
sculpture. With one beautiful anecdote, breathing the whole spirit of
the time--the mingling of deep piety with the modest, manly pride of
art--our readers must be indulged:--

* * *

"The Florentine Ghiberti gives a most interesting account of a sculptor
of Cologne in the employment of Charles of Anjou, King of Naples, whose
skill he parallels with that of the statuaries of