only a boy, but he must have been familiar with every stage in the
contest, which excited the deepest interest in Tuscany. A jury of
thirty-four experts, among whom were goldsmiths and painters as well
as sculptors, assembled to deliver the final verdict. The work of
Jacobo della Quercia of Siena was lacking in elegance and delicacy;
the design submitted by Simone da Colle was marred by faulty drawing;
that of Niccolo d'Arezzo by badly proportioned figures; while
Francesco di Valdambrino made a confused and inharmonious group. It
was evident that Ghiberti and Brunellesco were the most able
competitors, and the jury hesitated before giving a decision.
Brunellesco, however, withdrew in favour of his younger rival, and the
commission was accordingly entrusted to Ghiberti. The decision was
wise: Ghiberti's model, technically as well as æsthetically, was
superior to that of Brunellesco. Both are preserved at Florence, and
nobody has regretted the acceptance of Ghiberti's design, for its
rejection would have made a sculptor of Brunellesco, whose real tastes
and inclinations were towards architecture, to which he rendered
services of incomparable value.

* * * * *

[Sidenote: First Journey to Rome.]

For a short time Donatello was probably one of the numerous _garzoni_
or assistants employed by Ghiberti in making the gates, but his first
visit to Rome is the most important incident of his earlier years.
Brunellesco, disappointed by his defeat, and wishing to study the
sculpture and architecture of Rome, sold a property at Settignano to
raise funds for the journey. He was accompanied by Donatello, his
_stretissimo amico_, [Transcriber's Note: Probably should be