Ghiberti, "Gates of Paradise," east doors of the Florence Baptistery

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Ghiberti, "Gates of Paradise," east doors of the Florence Baptistery발음듣기

[Steven] We're in Florence at the museum of the works of the Cathedral of Florence.발음듣기

And we're looking at Ghiberti's the Gates of Paradise.발음듣기

[Beth] Although we're in the museum for the works of the cathedral.발음듣기

These doors were not for the cathedral of Florence.발음듣기

These doors were for the baptistery, an incredibly important building in the history of Florence.발음듣기

So the heart of Florence is the cathedral and the baptistery.발음듣기

These two buildings that stand side by side.발음듣기

And the baptistery was the place where the citizens of Florence would be baptized.발음듣기

And like many baptisteries it is an octagonal building.발음듣기

They were called the Gates of Paradise because they were so beautiful.발음듣기

And this goes back to Michelangelo who referred to them this way, but of course this is legend.발음듣기

[Steven] Well, he said that these doors were so beautiful that they could actually be the doors of heaven itself.발음듣기

This was the final set of bronze doors to be cast for the baptistery.발음듣기

The first set were coming out of the medieval tradition.발음듣기

[Beth] They were by Andrea Pisano and the subject of those doors was the life of St. John the Baptist.발음듣기

And that makes sense for a baptistery.발음듣기

[Steven] The second set of doors were by Ghiberti but at the beginning of his career.발음듣기

He had won a competition that had come down to him and Brunelleschi, and he was victorious.발음듣기

And would go onto cast, quite famously, this extraordinary earlier set of doors.발음듣기

When those were finally finished, he received this commission.발음듣기

[Beth] Even though these doors by Ghiberti were intended for the north side, when they were done they were considered so beautiful that were placed on the east side facing the cathedral itself, a place of honor.발음듣기

[Steven] Now the doors have recently been conserved and they are spectacular.발음듣기

Only a few years ago they were black with grime, but now all that original gilding is visible.발음듣기

All of the extraordinary detail here is visible.발음듣기

And we can see why the Florentines wanted to move them to the most prominent place.발음듣기

[Beth] Any why Michelangelo referred to them as the Gates of Paradise.발음듣기

Now we should say first too, that was commissioned by the wealthiest of the guilds of Florence.발음듣기

So this commissioned by the Guild of Wool Merchants.발음듣기

We might wonder why so much energy was spent on doors.발음듣기

[Steven] Doors historically have been the place where one focuses sculptural attention.발음듣기

If you look at medieval cathedrals, the doors are often surrounded by the most elaborate carving.발음듣기

But if you go all the way back to the classical tradition, if you go back to ancient Rome, there is a great tradition of bronze doors.발음듣기

[Beth] Right, so we have the great bronze doors on the Pantheon.발음듣기

[Steven] And it makes sense that the Florentines would want bronze doors in this tradition on the baptistery, since the Florentines believed that their baptistery had ancient roots.발음듣기

That it was a classical Roman building.발음듣기

So when we walk up to the doors, the first thing I notice is just how big they are.발음듣기

Now these are very different from the earlier doors, which were much more gothic in their design.발음듣기

And most specifically, each of the main scenes were in the shape of quatrefoils.발음듣기

That is they had four corners and four lobes.발음듣기

[Beth] But here instead of those quatrefoil shapes, Ghiberti is giving us ten square scenes.발음듣기

[Steven] Well look how these square panels are really pictorial spaces.발음듣기

They are allowing us to look into an infinitely deep space.발음듣기

If we compare these to the earlier quatrefoil forms, what I see is a sculptor who's trying to fit into a predefined space.발음듣기

Whereas here there is now this confidence, this renaissance notion that the artist is capable of creating an entire world within that space.발음듣기

[Beth] Before you basically had a ledge with some figures on it and a schematic architectural setting.발음듣기

Here, you're right, the artist can open up that space and make it deep, make it wide, and really create a virtual reality.발음듣기

That idea of the picture as a window that was so important in the Renaissance.발음듣기

[Steven] Well so much had happened in the periods since Ghiberti's first commission.발음듣기

[Beth] Well Brunelleschi had developed linear perspective.발음듣기

This mathematical way of constructing a really convincing illusion of space in relief sculpture or in painting.발음듣기

[Steven] You call this relief sculpture and in fact, some of the primary figures are almost in the round.발음듣기

They're almost free-standing figures.발음듣기

But then as we move back into the pictorial space, figures get smaller and they get shallower, until figures are only described by lines that are cut into the surface.발음듣기

[Beth] That way of creating an illusion of space goes back to Donatello's relief sculpture of St. George and the dragon.발음듣기

It's a kind of relief called rilievo schiacciato, or flattened relief.발음듣기

[Steven] And so we have this transition from the full sculptural form to what becomes almost drawing.발음듣기

[Beth] So everything here is not only about an illusion of space, but also about an illusion of reality in terms of the figures.발음듣기

They move gracefully and stand in contrapposto.발음듣기

There's an ease of the figures that is so different then the gothic doors that became before them.발음듣기

[Steven] These ten scenes are Old Testament.발음듣기

They are from the Jewish bible, from the Book of Genesis.발음듣기

They start with the creation of Adam, the creation of Eve, the fall.발음듣기

They show Noah and then perhaps most famously on these doors, the scene of Esau and Jacob.발음듣기

[Beth] Right, so Esau and Jacob were two brothers, the sons of Rebecca and Isaac.발음듣기

So we've got seven different moments of this story within a single frame.발음듣기

[Steven] And the scene starts in the extreme upper right corner, where we see God appearing to Rebecca.발음듣기

She's pregnant and she's asking God why is there so much turmoil in my womb?발음듣기

[Beth] Why do my two future children seem to be already fighting and they're not even born yet?발음듣기

And God answers and says those two children represent two nations and two peoples.발음듣기

And the younger will supplant the older.발음듣기

And this is of course, the opposite of the way things were.발음듣기

The older son would normally inherit.발음듣기

So in the very next scene, Rebecca gives birth to these twins, Esau and Jacob.발음듣기

[Steven] And then just to the right, we see a significant moment in the story.발음듣기

Esau has gone hunting, he likes to go hunting.발음듣기

And he's come back really hungry.발음듣기

He goes to his brother Jacob who's about to eat a bowl of stew and says, can I have the stew, I'm famished.발음듣기

The brother says, I'll give you my stew if you give me your birthright.발음듣기

[Beth] So Esau not being very clever sells his birthright, right?발음듣기

Sells his inheritance for a bowl of stew.발음듣기

[Steven] Then in front we see Isaac sending his son, Esau out to hunt for him.발음듣기

Isaac likes the meat that Esau brings back and he also tells him, when you come back I will give you my blessing.발음듣기

[Beth] And we see Esau going out hunting in the right edge of the panel.발음듣기

[Steven] And in fact, Esau is Isaac's favorite.발음듣기

[Beth] And Rebecca's favorite is Jacob.발음듣기

[Steven] So what's next?발음듣기

[Beth] In a way the climax of the story is next.발음듣기

Rebecca says to Jacob, while your brother's out hunting I want you to bring me a couple of goats.발음듣기

I'm going to make the stew for your father.발음듣기

And you're going to bring him that stew and you're going to trick Isaac into thinking that you're Esau.발음듣기

And have him give you his blessing, instead of the older son, Esau.발음듣기

[Steven] And in the lower right, we see Isaac blessing Jacob, thinking he's blessing Esau.발음듣기

[Beth] Rebecca and Jacob have tricked Isaac into blessing the wrong son.발음듣기

[Steven] This is a pretty complicated story and yet the artist has been able to delineate it quite clearly.발음듣기

This early Renaissance moment is so proud of their knowledge of the classical tradition and of their ability to reinvent it.발음듣기

Look at the clarity of the line.발음듣기

Look at the clarity of the geometry.발음듣기

All of that would have signaled the return to the classical tradition.발음듣기

[Beth] And the round arches and the plasters with Corinthian capitals and the way that the figures stand in contrapposto.발음듣기

[Steven] And what that does is it sets up a stage set, where this complex narrative can be clearly represented.발음듣기

[Beth] And within the space it's constructed by linear perspective.발음듣기

We see the orthogonals, those diagonal lines that recede into space, in the floor.발음듣기

[Steven] I also see them in the arches.발음듣기

[Beth] And they lead to a single vanishing point in the middle distance.발음듣기

This is a masterpiece of early Renaissance clarity in terms of the space.발음듣기

Early Renaissance interest in the human body.발음듣기

Look at that figure of Esau, he stands in this lovely contrapposto.발음듣기

That space is so believable, everything that we expect about the early Renaissance is here.발음듣기

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