less formidable obstacles to his efforts, insomuch that he was constantly emboldened to new enterprises. His sixth compartment represents Joseph cast by his brethren into the well, and also his deliverance therefrom by the merchants, by whom he is presented to Pharaoh:[1] the interpretation of Pharaoh’s dream is likewise exhibited, with the precautions taken to provide for the years of famine and the honours rendered to Joseph by Pharaoh. Then follows the patriarch Jacob despatching his sons into Egypt for the purpose of buying corn, where, being recognised by Joseph, he causes them to return to their father. In this story Lorenzo displayed his mastery over the difficulties of perspective, in a circular temple, which is one of the objects; there are, besides, various figures differently occupied in loading corn and meal, with asses, which are also most naturally represented. The feast given by Joseph to his brethren, the concealment of the gold cup in the sack of Benjamin, its discovery, with the return of the travellers to Joseph, who makes himself known to and embraces his brethren—all these things are here shown, and this story, for the varied passions and affections pourtrayed in it, as well as for the many rich accessories, is considered to be the most remarkable, difficult, and beautiful of the whole work.
But Lorenzo was, of a truth, endowed with so fine a genius, and possessed so peculiar a grace in the execution of the figures here described, that when his mind became occupied in the composition of a beautiful story, he could not well do otherwise than produce exquisite forms; and this we may infer from the seventh compartment, which represents Mount Sinai, with Moses on the summit, receiving the Laws from God, and kneeling in adoration, with the appropriate expression of reverence: midway up the mountain, is Joshua, who is awaiting the return of Moses, and the assembled people are gathered at the foot of the Mount, terrified by the thunders, lightnings, and earthquakes, and exhibiting an infinite variety of attitude, all represented with the utmost truth and nature. The master has also shown great love and diligence in the
- ↑ This is evidently departing from Scripture; but neither does Vasari faithfully describe the work in this particular. The only circumstance correctly given in the text is that of Joseph taken from the well. Vasari has partly followed the text of Ghiberti, who is rather describing the history as it occurred, than his own work. Neither is the description of the scenes which succeed the above precisely accurate.—Schorn.
