Next is the Jeremiah, which, according to Vasari, was a portrait of another Florentine, but which, since he bears his name on a scroll, may none the less be taken to realize the sculptor's idea of Jeremiah.

It is (according to the photographs) a fine piece of rugged vivacity, and the head is absolutely that of a real man.

On the opposite side of the tower is the magnificent Abraham's sacrifice from the same strong hand, and by it Habakkuk, who is no less near life than the Jeremiah and Job, but a very different type.

At both Or San Michele and the Bargello we are to find Donatello perhaps in a finer mood than here, and comfortably visible.
For most visitors to Florence and all disciples of Ruskin, the chief interest of the campanile ("The Shepherd's Tower" as he calls it) is the series of twenty-seven reliefs illustrating the history of the world and the progress of mankind, which are to be seen round the base, the design, it is supposed, of Giotto, executed by Andrea Pisano and Luca della Robbia.

To Andrea are given all those on the west (7), south (7), east (5), and the two eastern ones on the north; to Luca the remaining five on the north.