Ghibertis Baptistry Doors (3Rd Set) Essays - Book Of Genesis

Ghiberti's Baptistry Doors (3Rd Set) 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 Prophets. Leonardo 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