_Ghiberti's Baptistry Doors (3rd Set) _
By: Steve
The work of art that I chose to do my research paper on was Ghiberti's 3rd set
of Baptistry Doors. These doors are known as "The Gates of Paradise." The
doors were commissioned in 1427; they were finally completed and installed in
1452 at the eastern entrance of the Baptistry of San Giovanni. The replication
of the doors is located in San Francisco, at Grace Cathedral. The doors
consist of ten square panels, gilded together. Surrounding the panels are
small heads, floral motifs, and niches that contain miniature statues of
ProphetsLeonardo Bruni created the iconographic formula, taken from stories
of the Old Testament. Ghiberti followed the plans and created 10 scenes
ranging from the Creation of Adam and Eve to the reign of King Solomon. The
top left panel is the scene of the Creation, Temptation and Expulsion of Adam
and Eve. The top right panel is the scene of Cain murdering Abel. The next
panel is of Noah and the Flood; then Abraham sacrificing Isaac; Jacob and
Esau; Joseph being sold into slavery by his brothers; Moses receiving the Ten
Commandments; Joshua and the battle of Jericho; David and Goliath; and finally
Solomon and the Queen of Sheba All the panels were gilded in gold, giving
them a uniform and seamless perspective. Ghiberti was a master of using
perspective in his works. The attention to detail is apparent when you examine
closely the sculpted figures in each panel. They all seem three-dimensional.
The way in which Ghiberti sculpted each figure, gives them a shadow against
the background which is key to the three-dimensional perspective of each
figure. The way in which the panels were positioned on the doors is
interesting. Instead of using smaller panels, which would allow for more
scenes, Ghiberti chose to use large panels that are easy to see. The miniature
figures and heads surrounding the ten panels is another interesting point. The
full body figures are Prophets. There are 20 prophets surrounding the panels.
Most likely they were also taken from the Old Testament. Each of these
prophets is in the motion of some type of action. Their action is probably
what they were known for and why they became Prophets. Again, Ghiberti gives
each a three-dimensional pose. He is past the old ways of symmetry and each
figure looks realistic in pose. They have a weight shifted stance that adds to
the realism of each. The detail on each is also magnificent. The folds in the
garment are clearly depicted. The way the clothes drape on the bodies is also
realistic. They gather more on one side as opposed to the other side. The way
the bodies limbs press underneath the garments also show great attention to
detail. There are 24 heads also placed on the outside of the panels. The
people that these heads depict are unknown. The only head that is known is of
Ghiberti himself. His head is located at the lower right corner of the Jacob
and Esau panel. As you can tell by his self-portrayal, Ghiberti was a man
about 30-40 years of age. Again, Ghiberti chose to pay great attention to
detail for these heads. The way the heads were fashioned is like the
techniques used by the Romans. Their heads come out of a circular ring, and
part of their upper body is visible. The ways in which the heads are sculpted
give them a background shadow that adds to their three-dimensionalism. Its
been argued that the people that these heads represent friends of Ghiberti.
The perspective used in each of the panels is unique. They all use linear
perspective, which Ghiberti became known for. Like Massacio, Ghiberti used the
perspective of building and how they relate to certain viewpoints. As the
figures and buildings recede into the background, they all have a certain
detail of spatial depth. The figures and buildings in the background are
considerably smaller than those in the foreground are. The scenery in the
background adds to the sense of depth in the panels. If you look at a certain
panel, the horizon extends well past the current scene in each panel. Ghiberti
knew how to use the vanishing point and could manipulate it to give each panel
a certain view of the scene. The perspective of each panel adds to the
three-dimensionality of each one. The way the buildings are sculpted is like
those in Massacio's paintings. Each panel holds a certain story of the Old
Testament. In each panel, they're different scenes of each story. Characters
in the panels appear in different places, so that the whole story can be told
instead of a particular scene The panel of Jacob and Esau is one of the more
interesting ones in the set. In this panel, Ghiberti tells the story of Esau
and his son Jacob. Esau is choosing one of his sons that will take his place.
Jacob's mother was able to get Jacob into Esau's room while he was about to
choose his successor. Esau eventually chooses Jacob to take his place. Jacob
and Esau are in many locations in the panel. In the panel, you can see Esau's
birth, Jacob talking with Esau, Esau hunting, and Esau's mother talking with
Jacob and also Jacob giving Esau his birthright. The building in the middle of
the panel are interesting because of its use of perspective and how it recedes
into the background. The building is an open hallway with a stairs. Columns
with Corinthian capitals support the arches of the hallway. On top of the
arches is a balcony. The ways in which the floor tiles are sculpted lead to
the belief that there is a vanishing point that they all point to. Again,
Ghiberti uses background scenery to add to the perspective of depth. The
different scenes in the panel also add to the uniqueness of the door panels.
In this panel, off in the distance, on the right, Esau can be seen hunting on
a hill. On the left side of this panel, is the scene of Esau's birth. In the
middle of the panel, Jacob is seen talking to Esau. On the right foreground,
Jacob is bestowing upon Esau his birthright. The figures in this scene are
sculpted in the subtractive method. Ghiberti took great care to make sure that
each figure was fully represented in detail. The garment on each of the
figures is realistic in the way they drape across the bodies. The folds of the
cloth add to the sense of realism. You can tell that Ghiberti understood how
clothes flow on a body. Each figures' limbs can be seen pressing against the
garments, allowing the viewer to see how the limbs bend and stretch underneath
the clothes Another interesting panel, is the one of Moses receiving the Ten
Commandments. Ghi
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