Studying Jacopo della Quercia’s terracotta production, the author suggests that the great amount of busts representing the Madonna with the Child that are usually ascribed to Ghiberti’s workshop did not have a Ghiberti’s model as a prototype, but…
Analysing the Gates of Paradise panels, the article describes how the perspective structure of the scenes is based on both traditional medieval procedures and Alberti’s contemporary suggestions. It seems that for landscapes the “rule-of-thumb” is…
From a previously unknown record in the Tribunale della Mercanzia archive, the author identifies three Burgundian craftsmen that may have helped in Ghiberti’s atelier in 1422 for the frame of the first Baptistery door. The time during which the three…
Review of the exhibition tour in the USA of three panels from the Gates of Paradise, recently restored. The author emphatizes highlights the chance to look at small details that were hidden until the restoration and that allow to better appreciate…
The author wants to retrace the history of the workshops and of the Craft, as a guide to the contemporary industrial arts’ worker. The chapter about Lorenzo Ghiberti lists briefly his masterpieces (the Gates of Paradise, St. Matthew statue at…
An entire chapter of the volume is about the Gates of Paradise, with an historical and stylistc analysis. The author starts with Leonardo Bruni’s first concept for the door, with 28 panels, and gets to the final 10 panels structure through the…
The article retraces the different owners of the “Sigillo di Nerone” [Nero’s seal] after it was decorated with a frame by Ghiberti, as he had wrote in the Commentary. The ancient item was owned by the Camerlengo and Patriarch Trevisan and was in Rome…
The article focuses on the different kind of businessrelationships present between Florentine sculptors in the 15th century, through Michelozzo’s experiences. He worked several times with Ghiberti: the first time as a helper for the first Baptistery…
This is the transcript of Ghiberti's First Commentary by Leopoldo Cicognara, who added a brief note at the end. In the note he explains that he didn't published the transcript of the Second Commentary because it is even more obscure than the First…
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