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GHIBERTI…GATES OF PARADISE, 1425-52 
FLORENCE 1420-1430 
CH. 4
https://www.khanacademy.org/humanities/renai 
ssance-reformation/early-renaissance1/painting-in- 
Florence/v/gentile-adoration#! 
The Adoration of the Magi (Strozzi altarpiece) 1423 tempera on panel 
Church of Santa Trinita, Florence may have been designed by Ghiberti 
GENTILE DA FABRIANO
Ghiberti, Gates of Paradise Doors, 1425- 
52 
• Organization comparable to Gentile’s 
Adoration of the Magi 
• Figures against hilly landscape…allows for 
multiple characters…covering entire surface
• “I was permitted to execute the commission 
in whatever way I believed would result in 
the greatest perfection, the most 
ornamentation, and the greatest 
richness…In the stories that called for 
numerous figures, I strove to imitate nature 
as closely…with all the perspective I could 
produce.”
Ghiberti, Gates of 
Paradise, Florence 
Baptistry, 1425-52 
Note: 
Square format…geometric 
simplicity 
Three-dimensional figures 
in three-dimensional 
space 
Architecture no longer 
frames the figures
Ghiberti, Lorenzo (1378-1455), 
one of the most important early 
Renaissance sculptors of 
Florence; his work and writings 
formed the basis for much of the 
style and aims of the later High 
Renaissance.
Adam/Eve and Cain/Abel
Noah and Abraham
Jacob/Esau and Joseph/Bros.
Moses/Sinai and Joshua/Promised Land
David/Goliath and Soloman/Q of Sheba
Ghiberti. Jacob and Esau, 1425-52 
On the rooftop…God tells Rebecca “Two nations are in thy 
womb, and two peoples shall be divided out of they womb, 
and one people shall overcome the other, and the elder shall 
serve the younger.”
Ghiberti. Jacob and Esau, 1425-52 
Rebecca in bed…Jacob and Esau confront each other 
(center)…Isaac instructs Esau to go hunting (meat for 
blessing)…Rebecca (holds meat) conspires with Jacob 
The use of architecture, scaled figures, gridded 
pavement…allows Ghiberti to show different chapters of 
Genesis in one frame.
Story of Jacob and Esau
PERSPECTIVE AND NARATIVE 
DONATELLO IN SIENA
Donatello, Feast of Herod, c.1425, baptismal font, Siena Cathedral
Donatello…first to demonstrate Brunelleschi’s new perspective. 
The marble slab below S. George explored illusionistic 
devices…atmospheric perspective. Now he created an interior 
layered with hard edges
Donatello, Feast of Herod, 
c.1425, baptismal font, 
Siena Cathedral 
Narrative: 
R…Salome danced to induce her 
stepfather to give her anything she 
wanted (musician in center arch) 
L…head presented to king
E.Renaissance Painting in Florence 
Massaccio (Big Tom) established a new 
direction in Florentine painting (Giotto) by 
integrating monumental and consistently 
scaled figures into rational architectural 
and natural settings using linear 
perspective. 
We see a change of feeling from an 
interest in purely decorative naturalism to 
a new and vivid realism.
Chiaroscuro…artistic use of light and shade: the 
use of light and shade in paintings and drawings, or 
the effect produced by this
MASSACCIO. TRINITY WITH THE 
VIRGIN, SAINT JOHN THE 
EVANGELIST AND DONORS, fresco, 
1425- 27/28 
Sta. Maria Novella, Florence 
• Renaissance interests: 
• Realism based on 
observation 
• Application of 
mathematics to pictorial 
organization of 
perspective 
• Where is the vanishing 
point?
• Holy Trinity provides a vivid example of a 
pyramid or triangular composition. Rather 
than placing his figures along a horizontal 
line, Masaccio linked them in a series of 
interlocking pyramids. 
• First used by Masaccio, the pyramid 
configuration became one of the hallmarks 
of Renaissance art.
Masaccio’s Trinity and van Eyck’s Ghent altarpiece are 
contemporary. 
Compare and contrast the two works.
http://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/ 
painting-in-Florence/v/masaccio-holy-trinity-c-1427 
• In 1427 Masaccio painted his Holly Trinity 
for the Santa Maria Novella church in 
Florence. This fresco is considered to be 
one of his finest masterpieces and was 
rediscovered in 1861 after being hidden by 
a stone altarpiece in the sixteenth century.
http://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/ 
painting-in-Florence/v/masaccio-the-tribute-money-1427
Brancacci chapel, Sta. Maria del Carmine, Florence
TRIBUTE MONEY, c.1426-28, fresco 
Masaccio’s figures represent a revolutionary step in Western art— 
solid three-dimensional figures, all standing in balanced 
contrapposto. A constant light source creates a realistic blend of 
light and shade. This chiaroscuro give each figure the illusion of 
volume.
http://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/ 
painting-in-Florence/v/masaccio-expulsion-of-adam-and-eve-from- 
eden-brancacci-chapel-c-1424-1427 
• Masaccio…Explusion…Brancacci Chapel 
• Fall from grace
Masaccio based 
his Eve on this 
ancient statue of 
the Modest 
Venus 
MASACCIO. 
THE EXPULSION FROM 
PARADISE, fresco
• In about 1428 the artist left Florence and travelled 
to Rome where he died at the age of 27. 
• During his short life he did not enjoy the popular 
esteem given to some of his contemporaries, his 
fame was confined to other painters, but his 
influence on successive generations of artists is 
profound. 
• It is said that all the Florentine artists studied his 
work, including Michelangelo. His legacy was to 
direct Italian Painting way from the Gothic style 
and towards a more realistic and natural 
interpretation of the world.

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