These are the Fonte Gaja on the public square of Siena, now unhappily restored, and the portrait of Ilaria del Carretto on her tomb in the cathedral of Lucca.

The latter has long been dear to English students of Italian art through words inimitable for their strength of sympathetic criticism.[83] Ghiberti was brought up as a goldsmith by his stepfather, and it is said that while a youth he spent much of his leisure in modelling portraits and casting imitations of antique gems and coins for his friends.

At the same time he practised painting.

We find him employed in decorating a palace at Rimini for Carlo Malatesta, when his stepfather recalled him to Florence, in order that he might compete for the gate of the Baptistery.

It is probable that from this early training Ghiberti derived the delicacy of style and smoothness of execution that are reckoned among the chief merits of his work.