Gates of Paradise

Gates of Paradise
Lorenzo Ghiberti, Gates of Paradise, 1452 
by MEGAN GANNON

Today the Gates of Paradise act as the East Doors at the Baptistry of San Giovanni in Florence, a position they have held since 1452. Although today the gates are not the same, technically, the replicas produced in the early 21st century are a carbon copy, except for the fact that Ghiberti’s hands never touched the doors.

It seems as though the Gates of Paradise are a tale in deception. Upon completing them, Ghiberti's simply referred to the doors as doors. Then Michelangelo bestowed the name Gates of Paradise upon them. Within the panels, Ghiberti’s tells the stories of the Creation all the way to reign of Solomon. His usage of fluid building heights and distinguished foregrounds demonstrates his mastery of linear perspective. The detail in which he applies to each panel shows his meticulous devotion to accuracy. Each panel on it’s own is incredible, yet together they represent more power than one could attain individually. 

The original panels now live in the Museo del' Opera del Duomo in Florence. With 28.6 km separating them from their first home. Although at 15 feet tall these doors would attract attention anywhere. 

So let’s stand at them. Look up into their gilded beauty and what do we see? Rabelais wrote about the idea of “Do What You Will.”I want to open the Gates of Paradise and embrace myself with all knowledge beyond them. Now this is strictly metaphoric, due to a not insignificant three-foot barrier surrounding the doors that prevents me from touching the handle. Though the thought of pursuing something instead of merely standing by it, that’s what counts. Standing up against the megaphone, in your own pursuit of knowledge. 

Our inability to open the Gates of Paradise demonstrates our nature to as Rabelais said, “always strive after things forbidden and covet what is denied us." The Renaissance marks a shift in our educational path with a devotion to inquiry and a genuine desire to learn. 

We cannot open the Gates of Paradise, but we can open the wooden door to enter our classroom. As long as we strive to open that door, instead of standing by, we exercise our inner Renaissance man, embarking on our own quests of knowledge. 
  • 7:00 AM

Jacob and Esau

David DePriest
Lorenzo Ghiberti, Jacob and Esau, 1425-52

This relief, titled Jacob and Esau, is another relief from Ghiberti's magnum opus, the East Doors or Gates of Paradise. Crafted sometime between 1425 and 1452, the relief looks to tell the story of the twin brothers as they fight over their respective birthrights. While other parts of the story (e.g. the selling of Esau's birthright for stew) are depicted in the periphery, the ultimate end to the the biblical story, their reconciliation, is depicted in the front of the relief.

Looking at this relief for the first time, one of my biggest and most pressing questions was, "How"? With any ornate and detailed work of art there will be questions of how they decided to frame certain things or construct a scene, but for me this piece stands as both a technical achievement and an artistic one. Something that Ghiberti became known for, at least with his casting and relief work, was his exquisite detailing and positioning. His casts, unlike many of the ones at the time, possessed a level of detail and thematic consideration that was lost on contemporaries like Brunelleschi.

In this relief, we see Ghiberti's excellent workmanship at the forefront. The raised figures in the front lend it an acute sense of depth, and the structures (the building on the left and the circular veranda) are well done in their proportions and perspective. But the one thing that strikes me as "off" about this relief is how cluttered it seems. While there are many individual elements that are downright awesome, there is too much going on to identify what exactly the focus should be. The scene in the front where two factions appear to be confronting each other or the scene in the back in the mountains? While the scenes individually could make for a great relief, together they're at odds with each other. Despite this grievance, I still feel as though this piece only cements Ghiberti's reputation as an unparalleled goldsmith and relief crafter. 

  • 7:00 AM

The Gates of Paradise

David DePriest
Lorenzo Ghiberti, Gates of Paradise, 1425-52

There's something to be said for obsession. While never good in a vacuum, certain forms of obsession can help to create monumental things. This sentiment is evidence in Ghiberti's magnus opuses, a pair of gold and bronze doors dubbed by Michelangelo the "Gates of Paradise." Worked on excessively by Ghiberti through two commissions over 25 years, the doors show a meticulousness and attention to detail that is distinctly Ghiberti. While hardly resembling a gate (Michelangelo always did have a problem with distinctions), the so-called Gates of Paradise do indeed live up to a heavenly ideal, with their beautiful gold plates, all realizing scenes from the Bible. Ghiberti expertly crafted almost every part of this masterwork, lending an awesome amount of detail to each panel. Each face is emotive and relevant, even his own.

While Ghiberti's first work with the church through statue commissions and contests showed hints to the kind of intricate creations he was capable of, these doors stand as the most prominent and perfect presentation of his prowess as an artist.

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